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1

^'Art in Dress" 'By

P.

Clement Brown

620 Fifth Avenue

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SEP 25

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DEDICATED TO

MY MOTHER

CopyrigKt P.

b^J

CLEMENT BROWN 620 Fiftk Avenue

New

York

City,

IQ22

N. Y.

First Edition

P.

Clement Brown, Publisher,

New York

City,

New

York.

Ten

Introduction The

contents of this book

show how

it is

possible

toi

become an Original

Designer. P. Clement

Brown has answered every

possible question

by Descriptions

and Illustrations from his Pen and Brush, carefully carried out in diagrams of Patterns.

How How any

-

to think out to

Designs for your

own

f

success.

make your newest Seasons Blocks

(Professional Patterns) in

size.

How to successfully use the Blocks. How to handle your Materials and Fabrics. How to combine Colors and Materials. How to use Ornamentation. Your

may

line

comes

first

and each

detail follows in

sequence so that you

construct and put together the Smartest Fashions of the Day.

Study a Problem a Day and you that will compliment anyone

Eleven

known

will gradually put together a

as a Designer.

Model

Artistic Lines Are the Fine Arts of Costume

De Luxe

Design

Psychology of Line means Mental Products.

The elements

(Proportion, Symmetry, Simplicity, Variety and Grace) forth by the Lines of Creation and Adaptation. of materials

and

fabrics, color,

of

Beauty

of

Line are brought

So, too, the proper handling

and material combinations, and ornamentations

develop the Designs as a whole.

At

first it is

necessary to get the true idea of Line.

Taking

first

the

Silhouette Lines, which are the outside line forecasting the Fashion of the)

Day.

a Model for example,

It is the outline of

may

it

be a chemise, or

straight line, or semi-fit or figure fitting, or draped, or bouffant or

From

lines.

yoke

line,

exterior lines

line,

chemise).

we have

expanded

These may be the neck

interior lines.

center front line, or waist line (tight, semi-fit and loose or

Our governing

which are Line One, or Body Line, Chest

lines

Line, Bust Line, Waist Line,

Top

of

Limbs Line, and End

of

Knee Cap Line.

These are very important and must be properly mastered. Everything has line and

possibility.

As you

receive other ideas from your lines and apply

them

gradually proceed you will into

denote Individuality and must be properly handled.

mind a

line,

an original

now line.

The idea

Make

of Period re-creation is only adapting,

Harmony of Lines that

of Line

you are

is

Remember,

line

in

your

and substitute lines.

changing and modernizing

one of the most essential items after the preparation

Do

not spoil your effect by bring-

you have a round neck

simplicity is the key-note.

viduality at the neck line or

One

A

on the edge of the

one of the season's silhouettes, efforts.

same

form

to

and then adaptation.

to use in the Model.

ing in unrelated lines. If

by amateur

a part of the

Try

Lines

a Fashion Mirror and keep reflecting altered

First cultivate Line Sense

lines.

when

away

just cut or snip

your Fashions.

is

by

far

line

do not use square hnes.

creation with a touch of indisleeve,

with the frock featuring

a better design than one overdone

of the best slogans of a

Designer

is to

"Know

to quit".

Do

not apply ornamentation

and any applied

art

:

like collar, cuffs, laces,

embroidery, ribbons

and believe that you are introducing new

lines.

Lines

must be properly handled by themselves and then turn your attention

to

applied art.

Twelve

Line discussion of Line Construction

The

acter of your Model.

If it is

is

without Line,

The

importance with Color and Materials.

of great importance in the char-

it is

without Style.

It is of equal

character of your Model

is

deter-

mined by Line Draftsmanship. Beauty is

of

Line

is

the firm foundation

the individual impression that

upon which other ideas and

is

given to a Model.

It

Good

ideals are based.

Line can be used without Color, but Color cannot be used to advantage withIt is the

out Line.

Line for

is

frame of expression for beautiful materials.

something that began with Historical Periods.

permanency.

It

It is

constructed

changes with Seasons, year after year.

Designing can be taught through Psychology of Line.

Draftsmanship the Designer of the Modern School

is

Through

Style

able to create the Best

Line for the Consumers of Fashions. Necessary or

Hem

and

radius.

Common

Lines are the Neck Lines, Edge of Sleeve Lines,

These Lines are generally dominated by moving

of Skirt Lines.

Such Lines as Square, Round and

numbered among the "Best Designing upon

Common

V

Neck Lines

Sellers" of the Past-Present

are Lines that have

and the Future.

In

Lines use simple angles, pointing, arching, or forma-

You

can

arrange Lines to meet in different points forming different shapes, hence

dif-

by curvature

tion

ferent designs.

of Line.

line

V

is

the meeting of two points.

pointed shape about two inches long.

forming something

Panels, Side

angle

For instance, take a Square Neck Line, cut the corners open

and insert a projecting your

An

Seam

new

Lines, and

Edge

yet wearable.

Hem

of Skirts

This cuts

of Sleeves,

Edge

of

must be governed by simple

Logic.

Perpendicular Lines denote dignity or severity.

produces a majestic

Do

not

effect.

make an extreme

your supporting

These are

like the

Making

a line prominent

Girder Lines of your Model.

cut or overshadow by ornamentation, as

it

weakens

lines.

Lines that extend at right angles or across, like Chest Line, Bust Line,

Waist Line,

Top

of

are Divisional Lines.

Limbs and End

boldly cut

Thirteen

etc.,

away

of

Their predominance

Knee Cap Lines are

or distribute your Lines.

is position.

also in this class.

Do

The noto

This separates your Design into

two

different objects.

Divisional Lines

The

First:

example, finish

it

must be

Correct

logical.

Division must be treated and developed as a whole.

do not suddenly drop

it.

line to

For

a definite point and

There are nothing so bad as small cuts

in designing.

Second

You must

:

introduce exclusiveness of Line.

must be

different yet harmonious.

so that

will

it

keep your design as a whole.

you suggest a Yoke, continue your

if

out,

and jogs

It is better to

Third:

make up

easily,

Bear in mind mechanical connections,

is

the regard of spacing, placing and other

characteristics in your conception of ideas. is

work

and your Lines should not be confusing.

Conformity of Line

out your work that there

Interior Line

You

will gradually learn through-

such a thing as Vulgarity of Line.

Line must be

used as Decoration.

The

effective conception of

Line

is

a

"Common

Sense Line".

Fourteen

Fine Art of Costume Design de Luxe By P.

The Psychology programme

of Designing

influence, references

Designing

Indian,

We

who had

and

is

and writings.

By

a reasoning process.

is

every"

day

explained by applicable

facts,

perception, relation,

you can form modern

the gradual cultivation of a sense that

is

Being.

The

Costume Design de Luxe

of

of lessons, illustrations

The Art

Human

Clement Brown

a

is

creations.

embodied in the

need go no further back than the days of the American

mind

of cultural Individuality.

stages of the development in the "Art in Dress" are pursued through

the process of Psychology of Line, thus employing the into various

new and

profitable ideas.

mind

to

work the Lines

In other words, turn your Talents into

Profits.

Designing

is

purely mental.

this invisible gift,

This Talent sometimes

is latent.

Gradually,

through study and application, will arise and become a

valuable asset.

The

principal of designing

because of

its

popular

Everyone, but there

The

line.

is

is

aiming to create a model that

It is

work upon. As

Costume Design spins

its

a spider spins

its

Mind

Make your Artist Designer,

must have

web, from object to object, so

bits

taken from here and there should form

positions of value (Lines of constructive value).

may

that Molds,

way.

Most simple elements or book so you

acceptable

that you cannot please more than a majority appreciating Smart Clothes.

force of conception, or that part of the

a skeleton to

is

commonly known

It is

well to keep a note

compile knowledge and experiments for future usage.

Studio a Laboratory of Designing.

You may

either

be an

by just sketching your

ideas, or as a Designer from the Abroad and America, by producing your Model in the actual You may see and judge the result by draping the sample model

best atelier of

Fabric.

in muslin or tissue paper.

The important you employ.

This

principles of Designing are the is

done

like a

works towards advancement with a ing

is

Fifteen

a cultural development.

Powers

of Attraction that

Mechanic of Fashion Ideas. scientific point of view.

It is a

A

Mechanic

Scientific

movement thus begun

Design-

in France

and

has

now

spread through

You

America.

all

mentally combining Designs and People. Styles of the Present Day.

"If

it is

are analyzing your designing

Results find their expressions in the

worn

ment but

of

Dress" derived

its

gift to

Dress will always predominate. ment, and moods.

It

by the

"Art in Dress" It is

is

Some have

the expression for

express for the Beauty of Others.

mind, tempera-

It is the satisfaction of

one of the most talked of "Topics of the Day."

is

range from extremes

its

Beauty.

is classified

origin not alone for a necessary adorn-

an expression of Individuality.

for

themselves while others have the

has

analyze

at Large."

The "Art

It

We may

Designed."

it is

the infant Child to the experienced Individual so our field

"World

by

—Ecclesiastical

to Theatrical.

the artery through which flows the Life of Scintillating

ever changing through the same "Psychology of Line".

Architectural

Anatomy (From

Comprising

the French).

every department of Illustrating and Coloring.

Designing by Psychology of Line (a Twentieth Century Idea for Designing Everything That Is Worn). Professional

Making

Designers

Professional

To-Morrow

A

of Pattern Blocks (a

to

Book thoroughly

To-day

Yesterday,

of

Produce That "Made treating every

System Used by

in

France" Way).

Department

and answering every question on "Art

of Designing,

in Dress";

Sketching the Original Design to producing living Model.

Originals can be

made

and

in

from

it

on a

all sizes,

with-

out sacrificing their chic lines.

The

Success of a Designer depends on

Models are

you

"How

saleable, it is

and

this

how many

Book shows and

of his

instructs

Done."

By P.

CLEMENT BROWN of

BROWN'S SALON STUDIOS New York

City,

New York San Francisco,

Paris,

France

Calif.

Sixteen

Eighteen

Profile Face First

draw perpendicular Line AB.

at right angles, dividing

AB

your Line

Then draw Lines

take one-quarter the length of the nose (between Lines

shown

points

X

C, D, E,

into four equal parts,

E

F and G Next

1, 2, 3, 4.

and F) and mark

on the diagram, one-quarter the length

of the nose out on Line E, and one-quarter the length of the nose out on Line F. Through

these points

H

draw Line

from the top of the forehead

to the base of the

D and your AB Line to the intersection of AB Line). Next fix your point 5, which is one-half the distance Line H (on Line E and on Line F) and the main perpendicular

chin (from intersection of Line

Line

G

and

between Line AB.

Take one-quarter the length

of the nose

on both sides

(on F) and that will give the width of the nose from the

tip to

This should equal one-half the length of the nose, which

is

wing

of point 5 of nostril.

half the distance

E and F. Now draw Line known and marked as Arrow Line on the diagram, which should measure from (point 5 on Line E) one width of the nose in on Line E. This gives to you a position for the center between Lines

front of the eye-ball or in

from

also

X

The

iris.

on Line E, where Line

one width of the nose from

eyelid,

tip of

drop the corner

down

H

the eyelid

intersects E.

tip of the eyelid.

that

much and

with oval.

From

it

will be

one width of the nose

The width

of the eye

is

Whatever width you make

taper from front down.

width about one-eighth the length of the noses. directly through the center,

is

As Arrow-Line

even on both

sides,

Make

cuts eyeball

and connect back

the Arrow-Line to the front of the ear should equal three

times the width of the nose, and from the front of the ear to the back of the skull should be the same.

The

front of the ear

is at the end of the third space, and the length of the ear should be the same length as the nose (between Line E and Line F). Next draw your mouth. The point for the Cupid's

Bow

is

one-quarter the length of the nose

hp), and from that point

and between the two

down

intersection of Line

that

all

H and

Nineteen

Slant these measurements gradually towards the

Line

and those on Line

These rules are applied

lip,

opening or the channel of mouth (one-half

G

(the

bottom portion

the measurements on and below Line

of the nose,

point 5 (point of the upper

one-quarter more for the tip of the lower

tips is the

between the two points).

down under

to

E

any

F

of chin).

are in one-quarter the length

one-half the length of the nose. size.

Remember

Twenty

Full View Face First

draw

at right angles,

AB. Then

a perpendicular Line

which divide the Line

To commence your

AB

rule Line C, D, E,

into four equal parts (1, 2,

face start at the base of the nose (Line F).

the nose equals one-half the length (between Line

measure one-quarter the length

of the nose

sketch in nostrils.

Next draw the two

diagram.

fix

This will

Measure from each dotted the fix

of

E

on both sides

The width

of

to the

of

You

Line AB, then

parallel dotted lines as

must be equal

3, 4).

and Line F).

the position for the comers of the eyes.

of the eyes, irrespective of corners,

F and G

shown on

The width

width of the nose.

one width of nose.

The eyelid must be kept same throughout, (width about one-eighth length of nose), in order to line

points to measure from for the width of the face.

your face; the inner portion of the eye

outer portion or tip of the eyelid inner point.

The

distance

(marked with heavy

Draw

your mouth.

The

The

ear

is

the width of the nose, and the

the width of the eyelid out from the

temple from the outer portion of

the same length as the nose.

upper

tip of the

lip

or center of the Cupid's

quarter the length of the nose down, from Line that point one-quarter

more

between these two points

Twenty-one

is

take the sides

lid

should equal one-half the width of the nose.

lines)

in all outlines.

is

to the

is

Now

F on

for the tip of the lower

the divisional channel.

Next draw

Bow

is

one-

Line AB, and from lip.

One-half

way

TOP OF SHO ULDERS

^

>

A

Three-Quarter View of a Thirty-Six

Model with a Full View Face Commence by drawing your Body of

Then

your chart as shown on diagram.

one

parts, each part to be the length of

draw a

line at right angles

;

Line, or Line One, from top to bottom divide that line into ten equal

face.

At the end

of the first part

To

obtain the width

this is the top of the neck.

—that

of the neck, take half of the length of the face

Then measure

the width out on

Top

half of the first space.

is

Neck Line from Body

of

To

Length of the neck should be two-thirds of the width of the neck. these thirds

it is

parts, each part

down draw Neck

is

known

to be

Keep your

as a third.

When you

measure two-thirds

The drop

Measure

the width of the neck. of

of the shoulders is one-half

down on Body

this

The shoulder

your Shoulder Line.

the end of your

it

most important part

thirds intact, as they play a

throughout your work as a Designer.

draw the top

obtain

necessary to divide the width of the neck into three equal

a line at this point at right angles and call

Line.

The

Line.

Line, and at that point

you

that is nearest to

The

equal in width to one and one-third necks (or four equal thirds).

shoulder that

is

is

from you or shoulder turning away, should equal two

farthest

necks or (six thirds) from Body Line on Top of Shoulder Line.

The depth

of the arm-hole equals the width of the neck.

To

obtain the position for the Waist Line measure

half faces

point

from the top

draw a

of

your

line at right angles to

or Line One.

the side that

You might slightly

is

start

Now draw

Body

At

Line.

that point

the Silhouette

The width

Body Lines

should start from the

tip of

of

A

parallel to

and B, on

The

line

A

and

becomes straight Line.

Line

B

the receding shoulder, taking the curve on the

mould

of the bust.

becomes straight and passes through the intersection

Where

of the arm-hole,

Body Line and Waist

inside of the arm-hole, slightly curved for the

B

point, fix

your center

of

front.

Line

C

It

then

and the

To draw Line

(or Center Front Line), start at the center of your neck on the

Twenty-three

at this

of the waist

draw Lin© C

from the shoulder point and follow the curve

and passes through the intersection

D

and

nearest to you, should start from the end of the arm-hole.

expanding for the fullness under the arm.

Waist Line.

three and one-

line (inclusive of the first space),

should be one and one-half necks.

Body Line

down

End

of the

.

Neck Line, the curve

of

D

must cut Line C

at the

most prominent part (the A and B. Then draw

center of the Busts) and continues to the point of Lines

E from the end

Chest Line or Line

of arm-hole to the

Next draw your arms, the length to

which are

of

end

of arm-hole (across)

to wit

:

Waist Line equals from arm-pit to elbow and from elbow

Same can be swung

measurement.

To draw

any

in

hands, from the wrist to the

From

the arm-pit

to wrist the

same

position.

Like a pendulum.

first joint of

the finger should be

about three-foittths the length of the face; measure up one-third from

first

and one-third from second joint for knuckles;

tips

joint for second joint

extend over

To

is

the third of the width of the neck.)

obtain the proper proportions for the head, divide the top space into

AB

Face center Line comes

When use

third,

making the four

Body

no guess

on.

directly in the center of the neck.

Use every

proportions

Your

spaces.

a Designer becomes familiar, always start with the head

then draft the ers

(One-third

and add on top another such

thirds,

Line

first joint.

the

work,

the

and

As Design-

draft proportions, Lines, etc.

throughout

first

Designs

are

Bymmetrical.

Manikins

Corsetiering

Continue upon the three-quarter view of a Thirty-six Model with a Full

View

Face.

From

the Chest Line or Line

or four-thirds (these are the

neck)

;

at this point

draw a

same

E

measure down two-thirds

thirds obtained

line at right angles

from Waist Line one and one-half faces

from the

and mark Bust Line.

Limbs. is

the

Top

of

Limbs measure down two and

seven and one-half faces, inclusive of the

draw a

line at right angles

and mark

Knee Cap measure down two and first

it

of the

Measure

(this is five faces inclusive of first

space or face), at this point draw a line at right angles and

From

width

End

first

of

mark Top

of

one-half faces (this

space or face), at this point

Knee Cap.

one-half faces (this

is

From

End

the

of

ten faces, inclusive of

space or face), at this point draw a line at right angles and

mark

it

Soles of Feet.

For corsetiering measure out on Waist Line from Body Line or Line

One one and

one-half thirds.

Then measure

Line from Body Line or Line One.

On

three-thirds on

Top

of the

Limbs

the receding side (or side that

is

turned away) measure one-third from Line C.

Twenty-fuur

The abdominal remember

well to

C

Line

portions, hips,

that the side that

Waist Line,

all

governed accordingly, but

farthest

is

On the

with a semi-curve form.

thirds above

are

etc.,

it is

from you follows closely to

near side start on Line

A

about three-

slightly curving for shape of the waist, passing

through the one and one-half thirds and then down through the three-thirds with a corresponding hip curve to opposite side.

The limbs

are continued by sketching silhouette lines.

govern such, just practice.

down and

End

Knee Cap

of

at seven

No

rules can

and one-half faces

Soles of Feet at ten faces down.

Make

the foot bearing the poise and the weight of the

Body

rest directly

back on Body Line or Line One.

Small Backs Draw Line One

vertically

divide this line into ten equal parts,

;

each part the length of one head. the back

is

worked up

The

of these parts equal one face.

face.

Width

on each

side of

Body Line

width of the neck

is

Width

is

down.

and draw

At

is

of

Limbs

at right angles.

this point

point

draw a

this point

End

of

draw

in faces

;

making

take note

The length

Draw

of the neck

is

two-thirds

At

is

a line at right angles at

Bust Line

line at right angles.

this point

draw a At

is

two and one-

The Waist Line

line at right angles.

this point

draw a

seven and one-half heads down.

The

One-half

on each side of Line One or Body

and one-half heads down.

Knee Cap

evenly placed (one-half

line at right angles at this point.

draw a

line at right angles.

The width

Draw

is five

face,

the same width as neck.

three and one-half heads down.

The Top

At

or Line One).

of shoulders one face

;

worked up

a line at right angles at end of

the drop of the shoulders.

Line width of arm-hole half heads

Draw

neck equals one-half length of

of the width of the neck

this point.

is

Divide the top space into four equal parts.

in heads.

Three

of

front

At

line

this

Soles of the Feet are ten heads down.

a line at right angles.

of the waist

is

one neck each side of Line One or Body Line.

in outside silhouette lines

from

tip of

shoulders

down

to waist.

Thigh

one face out from Body Line or Line One each side of Top of Limbs Line.

Twenty-five

Twenty-six

Draft of Sleeve dot

One and Two

Draw

Lines

down

lYz inches

One.

V

your

for the sleeve

is

6 on A, with

V

and

16 hole in perforation

A

This

foration.

is

to

B

with Blue Square

Now

take your

Red

denoted by slant line of perfora-

is

of draft, a

this

Drop your Red Curve with your top of your sleeve from

;

4 resting on Line One, dot in Eyelet Dot

Next measure around arm-hole

Number

of paper

on Line One and Dot point A.

Curve (that part which tions), put

hand corner

in left

dots.

V

Model measure

dot in

is 16,

Dot make B. 6

That

Dot

resting on

still

A

and draw the

the curve and part above per-

is

the top of sleeve or Line Three.

Next put the Figure

2 (that is the 2-inch

Put

Syce Forming Curve.

measurement) on the Arm-

Dot B, and then continue

this 2 inches at

to

the underneath part of sleeve and the rest of Line Three from Dot

draw

B

to

Eyelet Dot One.

A

From Dot One.

This

is

on Line One measure down 13^ inches and Dot

the length of sleeve from point over shoulder to elbow.

Now put point of Blue Square

(where short and long arm

on Dot C short arm on Line One, and draw the long arm.

from Dot

B

the long

Dot One (the

made

dot

first

Dot your Line Five down

this

to Line

Put point

Line Four along

make Dot D.

the Eyelet

you draw from

indefinite length

of square unite)

Before moving this square Dot in on Line Four one and one-

quarter inches, and

From

C on Line

Four you draw Line Six

Dot

of Square at

arm continuing

as

you were about

if

straight, but instead dot only

down, and make Dot E.

on the inside

Now draw

Dot

to

D

on Line Four, now

parallel wdth

arm

C, short

in the perforated part)

this time

to

Line Five

on Line Four, with

draw a continued Line One

of the

Blue Square four inches

from Dot C through Dot

E down

inches (measurements from elbow to wrist) and at this point Dot F.

lOYz

This

is

the continued Line One.

From Dot D draw Line draw Line Six

parallel

You have now

To

Five parallel with the slant Line One, and next

with Line Five.

Square

drafted the top and the

off at

Lower

the bottom, wrist.

parts of your sleeve Block.

separate take a tracing wheel and lay draft on another piece of paper

and trace

off

Twentv-seven

lower Draft.

It is necessary to

jority of

reduce the Draft at wrist, as Model wrists

Model wrists measure 6 inches around.

3 inches each for wrist of

the Draft (that will exhibit to

is,

Top and Lower.

reduce evenly

you how

off

Divide into

Put your

Ma-

differ.

which

half,

3 inches even

is

on

Dotted lines on the guide

both sides).

Treat the lower part the same.

to proceed.

Sleeve Creations Designing.

Some

Sleeve designs must be carefully chosen to beautify a creation. of the

most charming ideas are

in suggestion

Do

not

of

arm

loses

its

harmonious touches to the sleeve taken

Remember

from the Frock.

make heavy

just

to keep simplicity as the keynote.

designs about elbow or wrist, such a model by

Sketch an arm

design.

according to proportions,

first

The

then design upon this sketch a bell-shaped sleeve.

Problem One Model was this line displays

No.

1.

A

originally without cut.

an original

side Line of this

simple insert cut on

idea.

Take your drafted block and cut across

Keep handy your

movement

Line Four

at

{elboiv).

thirds (the width of the neck of the sketch divided into

three equal parts).

Whatever measures a

upon the

third

an inch upon the pattern, taken from the same point. on the miniature denote the block

One

part of your draft. Line

your measurements of

thirds.

;

first

becomes

The; heavy lines

lay block on your tissue paper

perfectly straight from

Look on both you

is

measurements

in the center, three thirds, then

of the sleeve

Top

will

Top Take

to Wrist.

sides of wrist

(when an arm

on one side

sketch,

on the sketch;

have to place your block

measure on each

Do

side).

not expect the wrist of the sketch and block to measure the same across.

On

sketch the seam

is

on the

The

inside.

on the edge of sleeve you will note that

Look draft.

to pattern No.

1

;

whatever

inches straight up to

Back

to Back,

^

it

in

on a

fold.

On

measures two-thirds from dots.

inches more.

Draw

down on Top and then put lower

meeting at the top and

^

line.

Line 6

side,

you

is

to

line at four

part of draft

inch down, with bottom

separated four inches, two inches for top and two inches for bottom.

turn to sketch for seam

sketch

two inches; as an imderside

we measure two

inch

is

a third on sketch becomes an inch on

From Line One we measure

be considered as well, so

on,

is

outside

Now

will note that the measure-

Twenty-eight

ment on bottom two

inches.

side

two

Draw Line

straight

inches, as that also

up

straight

line is two-thirds, so

seams

up to

top,

at the

bottom

and measure out on the lower

measures two-thirds on sketch and draw

line

In cutting this block out leave one-half or three-quarters

to top.

of an inch

on pattern measure out

bottom and

at

an inch over curve

sides,

you want

if

but at top cut straight along

slight puff,

and continue on Line

draft, or

3 under-

neath arm.

No.

2.

In this problem the block

per diagram on

No.

3.

from elbow No.

4.

left

As

to wrist.

draw

per diagram on

For

cuff

line

material spread as

No.

two seam and extension on back

left

hand

side.

Cut without separating

With

at elbow.

measure down IJ^ inches and then out one inch,

up

to wrist

flat

is

and insert a spring y^ inch wide

pasted in pattern only.

as possible

In problem Five

all

and

cut.

cut,

When

at

bottom

laying on your

Right hand side of diagram.

cuts are doubled.

one inch from the center point of the inches.

As

Divide into one-half dot, then one-half on each side of

tapering up to nothing; this

5.

separated from elbow to wrist.

side.

Close-fitting sleeve.

curve line down.

No.

is

Perfectly straight tight sleeve,

extra flared cuff.

that dot,

hand

For example,

on pattern

it is

if it

measures

transferred to

two

Right hand side of diagram. 6.

In fullness lika problem Six, you add one or two inches extra,

according to amount desired.

In the problems of designing carefully study the points of advantage and manipulation of your blocks.

Twenty-nine

/ J

p /'

—

z

o

ux -

4—- -• Ai

Yoke

Instructions for Drafting Lay Blue Square on

hand

right

down middle

line corresponds to a line

draw Line One.

side of paper;

Draw Line Two

of back.

This square

with top of paper.

Now

now measure

place point of square at right hand corner of paper;

down on your Line One

Now

amount

the

of the

arm-syce measure IQYz-

put point of square at this dot, short arm of square resting on

Line One, and draw Line Three, across paper, parallel with Line Two. Before moving square. Dot in your half of the width of the back inches; also at continued measure which inches; next

Dot Chest

Dots are

on Line Three.

all

Now

draw

On

Two

Line

draw a short

Body Line

up from these dots to Line

These Lines as they come

with Line One. Six.

line

downward.

or Line

to

made and

your Line

One

in

above, parallel

and

in order are Four, Five

This

Line Seven and corresponds to our

is

on Line One of Draft.

at the dot

The

first

the beginning of Line Three; this Line Three corresponds

E

or Chest Line of your sketch. 8 inches,

is

from Dot, two inches;

back of the neck.

make

inch and

Two

of the Sketch.

the rise of your back, which

measure

These four

inches.

between Lines Five and Six divide into one-half and

Next place your square dot

the beginning of the front, 12

Dot Bust 21

19 inches; next

straight lines

is

6^

At

From

measure up

and make dot on Line One.

Nov/

amount over the bone

in the

this is the

two inches

the end of this

this dot

raise one quarter of an

dot.

Between the

first

on Line One for the

dot on Line rise,

you

One and

the dot that you have just

divide into half

made

on Line One, and from

this

dot you draw a Line Eight over to Line Four and measure one inch above

This point

the end.

Now

the end of the shoulder seam.

take your curve and look for that small part that says "Back of

This

Neck".

is

is

from the 8-inch

rise

on Line One, and

an inch put the front of

this

point, one-quarter of

an inch above.

where

it

where

it

Thirty-one

says,

"Forming Rule

of

it

down and

;

of

where you measured

to be used at that point

just

Back" you

says "Front of Shoulder".

;

Put

two inches

raised at the end one-quarter

is

Now

in

draw the shape

in

up to that

look on curve to that portion will note

this

V2 on

V2

just after the part

the end of your

Back

of the

Neck point and draw the back shoulder seam down and through the

point that

one inch above Line Eight, on Line Four, and extend one-

is

quarter of an inch beyond Dot.

Now first

"

made on Line One) and

dot

the

Dot that you have

end of your Back Shoulder Seam Line. inches,

A

measure the distance between the points on Line One,

This,

and the length of the shoulder seam

You

8%

take this

place your

left

up the end

hand finger on 13 inches on tape

of the tape

;

where

up Line Five)

;

(this is the inches of the

with pencil in right hand pick

measure and swing a curved

shoulder seam through Line Five and a

at the point

it

of the tape extends

pitch of the shoulder taken in measuring)

8%

6 inches.

inches of the tape-line and put

Line Five touches Line Three (8^ inches

at the

should be

correct,

if

made

just

(the

little

line

from the end of your This semi-circles to

beyond.

give the natural slope of the shoulders.

Now your tape

line

and place

it

Arm-syce measurement.

Make

You

let

shoulder slant.

this point rest

this point a length to a point

This

Red Curve and turn

is

6 inches.

Put a Dot

it

says,

out of

and Line Three,

at lO^/a inches, the

on Line Seven.

on the semi-circle

1

and place that on the dot

on Line Seven and then draw over the part where

Turn

put in the Arm-hole.

"Arm Syce

made on

let

says,

it

"Front

semi-circle line.

to that part of the

For the front

Curve".

line for

Pick up your

at this point.

V

marked

to that point

Shoulder"; stop at dot that you have

To

and stop

line

much

the front shoulder seam correspond with the back in length, so

you measure from

is

be take that

at the intersection of Line Five

and then look up farther along your tape

that

may

whatever the back of your neck

V

Red Curve where

8 touch Line Five with the

curved end of form resting on Line Three, the upper portion resting on the

end of the Front Shoulder Seam.

Now

that

we have drawn

front of the Arm-hole,

back by turning the Red Curve face downward.

Three and the curved portion extend through the end seam.

The

front

For the neck.

We

and back

We

lines of

neck that goes over the inches.

We

is

already

line in the

of

V

will 7

rest

draw the on Line

your Back Shoulder

Arm-Hole should meet.

will also use the part

deduct the amount that

Let

we

in,

marked "Arm Syce Curve".

in drafting that portion of the

back of the neck.

In this case

it is

two

look to the two inches on the curve and put that on the Dot

Thirty-two

that

We

on Line Seven.

is

into one-half

on the

;

Arm

amount

divide the

one-half of the neck here

is

of

your neck measurement

6^4 inches

;

we

let

Syce Curve rest on Line Six, and we draw in

number

that

this

curve for

our neck.

We curved

connect this point with the end of the Bust Point with either a

drawn with our

line or a straight line

These measurements are

square.

for a perfect Thirty-six.

Yoke Designing One your

of the

most technical points

two such common

common and fancies.

As you

double line feature.

first

In

Your law

lines.

the designing of a yoke, which will

is

note upon your illustrations

one

of designing should be, leave

line

beautify the other, trying to introduce one of the newest

my

designing you will notice:

do not introduce a combination

my

is

if

I

have a

line square-toned I

of curves, or Vs, or oddities, but

keep to

touch of harmony. Possibly

it

seems to you that Yokes are not at

just as important

all essential.

and as muchly used as any advantage point

For Blouses, Sports Wear, and Lingerie

They

are

of design.

especially.

We have three base mediums to work upon and they are Squares, Rounds and Vs.

We

turn

now

keep sketch and pattern before you.

to designing;

Become

your important guide points. relative points in both Sketch

familiar with corresponding Lines,

and Pattern.

Line Seven of Pattern becomes

your Body Line or Line One of your Sketch. your Line

D

Front Line of Pattern

is

Pattern

is

Select

Your Center Front Line

of

on Sketch, and four inches down on the Center your Bust Line on Sketch.

You

turn your pattern

back from Bust Line to neck point (point on Line 6) for your Center Front.

Your Chest Line

is

Line Three.

In your designing visualize your points. of lines try to treat space

In

my

Designs to you

center in

I

When you

place your creation

between important points as well as the points. have varied

Problem One, spread as

in

my

examples.

I

have kept to the

Problem Two, (you

spreads along coming close to and rising from Chest-Line).

lem Three gone so

far as to

extreme you can use your

Thirty-three

drop

line.

my

will note I

line into a collar effect,

have

my in

line

Prob-

showing how

Pattern Designing With

the thirds of the width of the neck proceed to take off your pat-

tern from the Sketch.

Whatever

a third on the sketch becomes an inch

is

draft.

Ideas.

We

Using Problem One as an example

on the

measure on Line

D

point and measure up, in this case

it

first

of transferring Original

for end of Yoke.

Get the nearest This

is

one-third

or one inch up from the Bust-Line on Center Front (Line D).

For the

is

the Bust-Line.

width of the band that extends from the Chest-Line down, the width

down

but in the case of up and

third,

pattern.

This being the case

the strip

is

is

One on Shoulder Seam 1^ thirds.

The space

thirds

in

one

necessary to double on

The length

of

The extension

is

pattern.

two-thirds or two inches from Chest-Line.

For the Yoke part measure from Line

one-third out from outside of strip.

up lYn

it

two inches on

is

it

strips

is

down and from

between

is

the tip of the shoulder

the width of the yoke.

Keep the

width the same throughout, also get your exact point on Line One at chest,

which

one-third out.

is

on Chest Line.

of design

The

In the case of Problem Two,

difference in

we have

all

points

In Problem Three, the points are more "intricate".

Problem Three

is

that the front shoulder

continued along your Red Curve downward, and the back

is

seam curve

made

is

to cor-

respond with the front.

Modeling To Model In

all

take your pattern and lay on material, white or colored tissue.

French Rooms or Studios the Models are always worked up

cambrics, lawns, or other inexpensive draping materials or stuffs. tern Houses they use Fancy Tissues.

or Block with a tracing wheel. half or three-quarter inch

and neck.

Trace

In cutting

it

off

in muslin,

In Pat-

your Pattern on the Draft

out from tracing leave a one-

seam throughout, but

close

up around arm-hole

Pin or baste your Model together.

How

to

Take Measures

1.

Tie a cord around the waist, well down.

2.

Place a pin level with arm-pits at seam in back.

3.

Always make your arm-syce lOJ^

(Middle of Back).

inches.

Thirty-four

4.

Always make the pitch

of

your shoulders 13 inches through size

36; then 15 inches. 5.

Width

of one-half of back starts 2 inches above pin.

measurement

to

where arm-hole would come

Take

this half

in the back.

Then

continue with same tape to where arm-hole would come in

In doing

front of arm.

arm

to the front with the

two inches above the 6.

you pass

same

tape,

right under the Model's

and

still

hold onto the pin

first pin.

Chest-Continue on with tape to over and above bust.

Drop from Chest with same tape

tightly. 7.

this,

Take around

fullest part of the bust, loose

to pass under (or else exact

—From Back— From

8.

Rise of Back

9.

Length

of

Take

this

to center of bust.

enough

for three fingers

measure) and add one inch.

pin to bone in back of neck.

first

prominent bone in back of neck to cord

at waist. 10.

—From

Length of Front

same bone

in

back of neck, passing over

shoulder to cord in center of waist front.

—Around

11.

Neck

12.

Waist

neck, the largest part, exactly where collar should

be on.

—^Around

down 13.

14.

it

will

measure

tight.

—From turn of shoulder to elbow; from elbow to wrist. Skirt— From cord at waist to that point below knee as Fashion

Sleeve

decrees.

Note bone inches.

Thirty-five

smallest part of waist, as far as

Be exact

in

measuring and your

in back of neck is

V/t

inches

fit

will be perfect.

through

*33,

then

two

..

Order of Taking Measures and Measures for Practice 32

Length

Width

Arm-Syce

of of

.

Back

Continued measure

.

.

Chest

Bust Rise of Back

Length

of

Back

Length

of

Front

Pitch of Shoulder

Neck Waist Sleeve

Top

Sleeve

Elbow

Skirt

to

Elbow. to

Wrist.

m JOAKEOUTONE

INCH

DART^.X^« OFF mCM

V

1 I

i

S 5

:

i- s

s s

I

_

s's s s H-4-

I

s

m

s

I

•

T

Continued Draft Draft Your

The

Yoke

as the

first

length of your back

top of the neck point, this

Dot from this

Yoke Lesson

the point where

down on your

this point

line

down

to waist-line

in a distance of one inch

Line measure

draw a

line

and look

for

2^/^

and

B and C

At

3 of

line

into Yz

inches.

Then from

up

and from

To your

^

to

of the

Back Line.

to the Center of

this arm-pdt

measure

right

At Back Waist-Line and the Dividing Dot

inches (this will do in any size).

up to arm-pit.

V

down

and 9 inches beyond. dot.

two

in

Before moving youn

in to under C.

9 inches

Divide on Line Three between

draw a

you measure

on Waist-Line and draw a

Below waist

Rise of the Back.

from the

line straight

center back line 16 inches.

Dot draw your back Waist-Line

square, measure in ^^-inch

Continue Block.

and draw a

is 16 inches,

is

Now

:

at this point

the dot on waist-line take your

Forming Rule or Back.

Turn

face

and

Red Curve

downward with

on 2j4'inch dot and draw Line of hip in down through the one-inch

V3

dot.

Front Draw

The length

Point E. is

the

down from

a line straight

Back

of the

on Line Seven.

of

your front

is

the Bust measure on Line Three on

22 inches

Neck measurement, and we

Then measure

Dot here and then draw

front

the remaining

;

we

take 2 inches out, which

place the

two inches

at

down on Center Front

Line.

Waist Line straight across to dividing

Before moving square dot ^-inch from dividing

Dot

line.

line.

your measurements are correct in the back we have 6J4 inches between the 2J^ inches in and the Yz inch in. This is Yz o^ Back Waist. Place your If

&Ya inches, which represents the back portion of your waist, on the

Now

Dot on Front Waist-Line. or Waist-measurement.

you divide

Make line

and

into Y2 for

waist-line

this Y2 of

The amount

two darts

you have

that

(in this case

it is

left is

Y2 o*

26^,

amount

that

is

the

inch

2 inches for a dart).

from center point slant up to intersection of back waist-

dividing-line,

square Y2 i"ch.

place a dot at 13J4, which

^

and from the dividing

Take

first

line

measure in before moving

one of your darts and divide into

J^.

your dart {one inch) and measure in from center front

Take

line

and

Dot, and draw from this dot up to Bust Dot on Line Three, and below waist

back to center front

Thirty-nine

line, 9

inches down.

Take the other

Y2 of the dart

and

measure on Line Three toward your front from dividing point or Arm-Pit.

You have now

in

used up one dart, by placing

You have now one more

points.

from your

V^ inch

Yz dart at arm-pit.

above the waist.

on waist

dart to dispose

You have now

are

this point to the

you measure one dart over from

line in front,

draw the hip

line

Creating Ideas Upon The problems

you measure

this dart

used both darts composing the block

Take Red Curve and

the end of the back hip at the 9 inch point. face up on waist line and

and

of,

Dot here and draw from

line.-

For the hip

from those two given

in halves

it

down through your

Points

The technique

Line.

here will be the proper and cleverly spreading of this

line.

a cut that the theme here

you open and

is

based upon, but

it is

as

if

3

9 inches.

Our Center

now arranged upon our Center

V

place

It is

not exactly pull this

center division line into shapes and smart ideas.

The name BIB is

is

name

often used for the

of this particular inset.

Your

also considered as a panel front or a vestee.

It

points or lines are closed

top or bottom, and you have side lines which also have to be considered.

Before anything else

Every

line will not

is

considered or designed look at your material.

go with every piece

openings to textiles where weave

stance, in

Problem One.

square as

it

of

my

Bib

I

if

you introduce

You

not apply square

it

into

in

your

So when

tie over.

lines.

It is also

line,

Line

I

is

you can

your designing.

will find the top line of the

forms the straps that used the straight

Do

diagonal or pattern curved.

Emphasize harmony

equally as important as color.

use parts of a square line

is

of material.

For

in-

open portion

is

cut the outside line

well to learn that the Lines)

are classified as straight, broken, curved and mixed.

In Problem One with an kept

my

inside opening

all

over design of a Paisley character,

between the Neck-Line and the Chest-Line,

small opening rather than spreading.

neck

is

The

used (Bateau).

figures of the material,

This

is

the

first

In Problem Two,

Neck and Chest

strips

we

is

a

semi-circle line of the cut corresponds with the

and with the

by added

it

have

time that the straight

line of the neck.

The upper

of the cut correspond with the outer edge of the Bib Lines.

carried longer

I

inside lines

The

lines are

which cross and button on the shoulders.

spread our lines

down

farther, not alone

Lines, but Chest Line and Bust Line.

We

between

are using a

Forty

Black or dark materials will make lines more pronounced,

plain material.

and

it

immediately make curved lines appear to us more beautiful than

will

unvarying straight

This problem will show you that

lines.

You have

tinue each other smoothly.

in this

separating the two by the ever classic

fect,

Now we

can note,

I

have taken

As

form pockets.

two

of the vestee lines.

going to denote your

end of the

and spread

line

it

at the

Near Waist-Line

bottom it

to

into

has been cut and turned back over

it

low the Bust Line, Waist Line, and Top

you carried your

You

This will form pockets by bringing them to the sides

it.

In this Problem you have spread to the end of your

the belt.

that

is

bring our lines into a more useful character.

my

ef-

tie.

you have taken your Center Front Line and cut

if

and drape

lines

can con-

problem the semi-pointed

In Problem Three, the character of your line Individuality.

lines

line to the logical

of

Limbs

line,

going be-

You may

Line.

say

extreme.

Pattern Designing Problem One.

For the straight Taper

inch off the center front.

The Block has

diagram.

half of a dart in

on the

is

D

is

down

You

This extra inch

we

will

line,

which

is

Our

of

Back.

Length

of Bib

two-thirds out from Line

is J/j

of a third.

makes an inch on pattern

is

thirds.

Transferred on

two-thirds below Bust Line, and width

One

or

Body Line

or Bust Line.

In putting this straight neck on remember that you shortened

your shoulder

line

one inch on Block

putting your yoke on the back.

and take

This third becomes

inner cuts (remembering from the cut on your sleeve) are

Block three inches. is

third (thirds of the

your strap

always doubled, so on the sketch this measures 1^4

same

only taken off

Measure down on your

one-third.

The width

draft.

is

add one inch from your side seam

All strips going at right angles are doubled, so this

of

on the

on the shoulder seam, one

also pinch in

Later

neck

one inch on your pattern or

The

necessary to take an

as per dotted line

an inch on your Pattern.

for the top of the

or draft.

is

it

not necessary on this lesson.

neck) on Illustration

Line

length

on Normal Waist Line.

inch as per the dotted lines. it

neck

already been evened off from the neck to the one

straight line necks.

outward, but

full

line

it off

in front.

Match your back up

to

it

in

Get the points of your shoulder to match

of the neck, (^back of neck).

In Back, proportions of thirds transferred to inches are drafted the same.

Forty-one

Problem No.

of the

Front intersects at the Chest and Line

one inch above Bust-Line and one inch below Bust-. The opening beginning below is two inches over from Line One. In

The

One.

The curve

2.

Line.

making a

slip tie is

slip tie

measure your thirds and then double the length.

The end

of the

opening

It

isi

one

three thirds here, doubled

makes

inch above Waist Line.

Curve your Waist Line now as pointed Basques

six inches.

The peplum below

are not suitable in this particular incident. is

^, and then

between 3 extra times.

Back

sprung,

is

it

Dividing on bottom line between side seam and

opened and sprung 6 times.

center front into

is

is

14 again

on each side

the same.

Draw

lines

of that dot.

Then

in

up from these dots to

Waist-Lines, open and insert spring, spreading one inch at bottom tapermg

up

Separate at the Waist Line

to nothing.

Problem No.

The

3.

The opening extends is

top.

end of the Vestee

is

then after cutting rejoin.

point on one side at the top laps over one-third.

one-third below Bust-Line.

drafted on the Vestee.

and put back on

;

The

Then

effect

trace through onto another piece of paper

belt is also

9 inches below.

same curve along arm-hole

The Patch Pocket

line for

done likewise.

The drop

of the

The

extension for the

same comes with the

a short distance and then drops straight

For any panels or vestees that hang from the shoulder or near Spring shoulder, get yoiu: position and then drop or continue downward. to end.

three times for added fullness but do not separate at waist-line.

When

full-

added by springing slight puckering comes into the pattern, but just that press out or flatten and cut straight. This does not come on the part you add fullness. Straighten your shoulder seam. ness

is

For

collar

measure around neck take straight piece and cut to that length,

four inches high.

Spring this evenly six times

^

way down.

curve one inch in at middle point, semi-circle to ends.

At the end

Fold collar at springs.

Forty-two

m Af^DJI ONE DARTED LINING

A TWO DAKTED

LINING

OARTLESS LINING

TRENCH BIAS LININ&

"^

PBlMCESS LINING

Forty- four

Two Darted we

First of all

The

size.

will draft our

thing to do

first

Work upon

is

Number One

Lining,

Block for the Linings.

to obtain the correct

amount

You may

measure the amount of one

half inches (lyi) dot, then

your darts.

of

your Tight or Normal Waist Line, measure

in

amount

and

y/^

of the darts

an inch remain the same

of

change according

to size.

in

Red Curve, put

draw

right side of curve

down and draw up

up

V

to dots

to tip of dart

and draw

line

draw down which

draw down

down from

to that point.

drawn

is

half-inch in (Face

Which

line

first

up on

For

sides of

each dart and

put face

left side

Below the waist take Blue

dot 9 inches and from second dot

first

Then measure

in

from

one dart

this end,

dot of second dart and then from last dot

For the under-arm seam use the

^

inch in

by taking your Red Curve and placing

Up) and drawing down

to the

one inch from your Dividing Line.

is

For the

last dot of

on Bust Line.

tip of the dart

up to the dividing point under the arm.

directly

draw hip

the waist

to that point.

The amounts

For the top or

on Bust-Line.

Square and draw straight down from of first dart

5 face

measure

every draft, but the

dot straight above the last dot of each dart on Bust-Line. the dart take your

one and one-

dart, dot, then

three-quarters of an inch (54). dot, then measure one dart, dot. of IV2 inches

use any

V

Below 3

on the

end of the Back hip

Use

line,

line.

plain drafted Block for

the back.

French Bias. From

the last dot of the second dart on Tight or

measure out one dart and

draw up point

Number Two

dot,

and from that point with your Blue Square

to the first dot of the first dart

drawn down

on Bust-Line, and then from that

to the last dot of the last dart.

with Blue Square draw

down

Normal Waist-Lin©

Below the Waist-Line

to the point of the last dart.

dart measure in one dart from the Yz inch point on Tight or Line, dot, then

draw up

to the dividing line

measure from the end of the back hip

hip curve to that point.

Forty-five

Use

Normal Waist-

under the arm. Below the waist

line over

3 and place on point of dart on Tight or

For the second

one

dart, dot,

then take

Normal Waist-Line and draw

the plain drafted Block for the back.

V

the

Number Three

One Darted Lining. Between the two darts on Bust-Line directly

divide into one-half

(5/2).

then

under that point on Tight or Normal Waist-Line, Dot, then directly

under that below Tight or Normal Waist Line dot nine inches (9) down. Place on each side of dot on Tight or Normal Waist-Line one-half of a dart

and

For the

dot.

Red Curve (Face Up) and up

to dot

your dart above waist-line take

sides of

on Bust-Line.

For the

of

The second

from the 54 inch

point.

dart

your dart below Tight

in

the 9-inch

in

and

dot,

from that point draw

Below the Tight or Normal Waist Line

up to center point under arm.

measure

to

taken out from under the arm,

is

Measure one dart

your

down and draw

Normal Waist-Line take Blue Square and draw down

measurement below.

line

For sides

5 of

right side of your dart

put (V 5) face

left side

that side up to the dot on Bust-Line.

or

draw the

place at dot and

V

one dart from the end of the back hip line and then from dot

on Tight or Normal Waist-Line, put

V

draw

to your dot.

in the front side of the hip

down

3 of

your Red Curve face up and

Use

the plain Block for

the back.

Number Four

Dartless Lining. Measure

in one-half (5^) of a dart

take one full dart out from the

^

from your center front and

inch point on Tight or

Then

dot.

Normal Waist-

Line point under the arm and dot, and from that point draw up to the

Below waist measure over one dart from the

viding line under the arm.

end of the hip

on waist lining

on

to the Yz

line

line of the

Back Block, and place

remaining

two small

dart.

side darts

Red Curve on dot

Use your two darted

placing

two

darts)

above that dot measure up one dart and

on Princess Waist-Line, which

is

for back.

Number Five

lining block for positions.

(top of your

make

When

on under arm seam, equivalent

Use same Block

front.

Princess Lining.

Waist-Line,

3 of

Fold your front block back to the J^ dart point

on Tight or Normal Waist-Line in

on Bust-Line

V

and draw the front hip down to dot below.

figure, take

di-

Between your two dots

divide into one-half and directly dot.

Directly below these

two dots

two inches above the Tight or Normal

dot and 9 inches below Tight or Normal Waist-Line

Forty-six

make another

dot.

work your Princess Lining

It is also permissable to

Divide your dart into one-half and place

on Tight or Normal Waist Line.

Divide your

evenly on each side of your dot on Princess Waist-Line.

Take your Red Curve (V

Shoulder Seam into one-half.

Now

draw down to the dot above the Bust-Line.

place on this point and

Red Curve (V

take your

up and

face

5)

5) face

up and place on dart dot on Princess Waist-

Line and draw in your right side of dart up to the dot above Bust-Line.

Face down on

draw down straight in

or

two

and draw up to same

left side

below Tight or Normal Waist-Line and then

to the 9 inch point

down

The

for both sides.

front and back of a Princess Lining is

For second dart take one dart

parts.

Take Blue Square and

dot.

^

from

in

inch point on Tight

Normal Waist-Line and dot and from that point draw up

to under the

Below the waist measure over one dart from the end

arm.

Take

9 inches down.

V

of the

back

your Red Curve and place

hip point, which

is

at the dot point

on your Tight or Normal Waist-Line and draw down to

that point just made.

3 of

Take your Blue Square and from the

point of your underarm seam and the Princess Waist-Line

intersecting

draw down touch-

Normal

ing the curve of your hip extending nine inches from the Tight or

Make

Waist-Line and then down perfectly straight.

length 30 inches from

Tight or Normal Waist-Line.

Put

Back.

back divide into one-half,

face of

is

two inches above

Between your underarm seam and your center

Tight or Normal Waist-Line.

dot.

Then on each Seam

Divide your Shoulder

inch, dot.

which

in your Princess Waist-Line,

side

measure out

one-half.

into

Now

up and put on dot on Princess Waist-Line and draw

your dart up to the center of your shoulder and

directly vmder

Waist-Line.

of an

(V

take

5)

in the right side

left side

and draw with the same curve up to your shoulder point.

%

(V

5) face

Dot down

up

9 inches

your dot on Princess Waist-Line from your Tight or Normal

Take

%

of

an inch on each side of

this point.

Draw from your

dart points on Princess Waist-Line to the opposite sides of these and then straight

down.

the overlapping

From

You

will

by tracing

note that your off

line

ing nine inches below Tight or straight.

Forty-seven

Make

overlap,

you can get

one side onto another piece of pattern paper.

the intersection of the underarm

with your Blue Square, draw a

sides

seam and the Princess Waist-Line,

down touching

hip of back block extend-

Normal Waist Line, and then

perfectly

length 30 inches from Tight or Normal Waist-Line.

;

Putting Together Lining Two

Darted Linings and One Darted Lining with Flat Felled Seams.

After your Linings have been cut out, having allowed Yz inch for seams

and sew together.

join

To sew

lace

Then

cut off i^ of one side.

side

and hem.

flat

around arm holes and neck, pin lace on right side of material

and sew y% of an inch from edge.

wrong

Turn

and then

Then turn

the J^ of an inch over on

flat.

French Bias with French Seams. Pin seams and sew 14 of an inch from edge on right terial

^

and sew, making finished seam

of

an

side,

then turn ma-

inch.

Dartless Lining with Standing Felled Seams.

Pin seam and sew on traced turn side over and

hem

and armholes and

roll at

from edge at

same

line,

then cut off Yz of one side of seam,

as far as Yz i"ch sewing.

—pin lace

same time:

of material, take a stitch

To sew

on right

lace

around neck

side Y» °i

through edge of lace and

roll

a" inch material

time.

Princess Lining French Seam.

Pin seam and sew terial

and sew making

%

of

an inch from edge on right

finished

seam

J4 of

an

side,

then turn ma-

inch.

Forty-eight

Fifty

Designing Straight Line One-Piece Creations. Introducing Silhouette Line The Trend

Silhouette Line

is

The Shadow Outlines

of Style.

recreation from a Period. silhouette.

who have good

In designing the

same

Under

probably denotes the

depend upon the

taste.

professional

is

it

the

first

below normal.

Silhouette

which you are

line.

This

make your Model,

to

ideas of adornment.

problem of Chemise Silhouette, we are planning a straight

The

a waist-line that

straight

is

definition of a straight line

would be as straight as

lines

know your

first to

new

lines to carry out

Model and with

seam

Model

of a

chic lines of your creation

as selecting your Block from

and add chic

line

The

Simplicity with smartness and exclusiveness of Line and quality

pleases those

is

the outline of your Model which denotes the

Model would be that the

Keep your

possible.

not rudely cut or use plastic form (that

and about three inches

lines simple

to cover over

is

and do

and lose a good

effect in line).

There are cycles

The Chemise

after Season.

The Chemise Line After

is

in chintz (this being a

above

my

relief

and

hem

still

good frame

This

Normal.

I

is

within the laws

placed at

have kept

my

far

line for

I select

a bold design

such a design).

my Body

Line

I

I

Just a httle

relieve the

Model by

have threaded under the straight panel

At the side loop

it

Chemise-Waist-Line which

enough from Center Front

panel front and in the back ing an Individuality.

one.

a panel of plain material (pique), 2i^ inches wide.

a four-inch (satin-faced) ribbon.

hang.

is

Chemise Silhouette Lines

Bust-Line and directly on

extending to the

For a

or Straight Line

the simplest line and yet the hardest to create.

my

have obtained

I

Designs that repeat themselves Season

in Silhouette

I

over and allow is

it

to

three inches below

to keep a

good straight

did not thread the ribbon through.

This keep-

Reason correctly and do not work away from the

subject.

Chemise Blocks Take Block from the neck

(the plain

working Block or Draft) and

to the waist line,

fold of the paper or material.

Fifty-one

which

is

^

of a dart in.

fold the front

back

Place this on the

Measure out two inches (place a Dot) from

;

Under the arm measure out One

your Chemise Waist-Line.

inch,

and

from that point draw down to the Dot two inches out from Chemise Waist

From

Line and to a point seven inches down from Normal Waist-Line. that point

draw

inches from the

straight

down

hem, which on a block should be about 30

to

Normal Waist-Line.

Place Chemise Waist-Line on Back Block, and from this straight

Back.

waist line on side measure out

Two

Do

inches (place Dot).

not measure out

under the arm in the Back, but from your arm hole draw down through this

Two

inch Dot to a point seven inches from Normal Waist Line and then

hem, which should be 30 inches from the Normal Waist Line.

straight to the

This rule applies to any size and block.

Applying Springs for Fullness.

To

put in fullness

it is

done by a term called springing.

the decision of the Designer, as to just

Common

out his ideas.

hem

line into one-half

and

line straight

Cut a

scissors.

strip

is

done by dividing the

dot, then divide each half into a half

—Back it

and

dot,

and Front the same.

up from these Dots

and apply

generally

fullness is desired to carry

springing of your Blocks

thus making three springs

Draw

how much

It is

so that

to Chest it

at the

bottom and then taper up to nothing.

or you

may

Line and cut open with

will spread

your draft one inch

You may

paste in these strips

lay your draft upon another piece of paper and open these springs

one inch at the bottom, pin down and then cut out fresh block. Experienced Designers have the Straight Line Blocks made up

in a

Round-neck, Square-neck, and the Straight-neck.

Sometimes the

fullness

comes

in the skirt

and not in the waist portion

then you can divide the Chemise Block at the Chemise Waist Line.

you divide

into one-half

and then one-half again, making three springs, spring

% of the skirt length down with

one inch springs.

Waist spring up with one inch springs into J^

If fullness

at the sides.

spring at any point desired, It all

comes

to or above Chest Line,

on the Chemise Waist Line and then the halves

You may

This

if

flat in

in the

by dividing

into one-half.

front then only spring

depends upon the Model that you have created where

the springs go.

Modeling.

To

get a straight line neck, take one inch off of the Center Front and

put same on fold of material or paper, then pinch

in

one inch dart

in the

Fitfy-two

Then add under

middle of your shoulder seam.

your Block, then from that point draw down

The change

that

is

made

in the

arm one

the

to the

Back Block

is

Add one

more

to

Chemise Waist Line. to place the tip of the

shoulder seams together, then draw in the straight neck portion off at the top of the seam.

inch

and take the

line,

inch under the

arm

as in the

front.

Take

flat

down on your

pattern and lay

down and

cause small ripples press these

from any

line just

add that much to

added the springing.

Leave

cut straight, should

it

take length

Never take away where you have

it.

half inch

material and where springing

seam when

or three-quarter inch

cutting.

Take off

piece of paper with your thirds properly fixed and proceed to take

Model.

If it is a third

Always take from the

on the Sketch

line of

is

one-third

Line and one half of a third up in front.

one and one-fourth

2^

inches.

I

but as

thirds,

I

The panel

to.

or

Body

is

placed one inch above

line.

The panel measures

have stated, doubling panels make

The Back

is

this

done the same on Line One or Body Line,

have also placed for you on pattern.

and 2^^ inches below.

ly^ inches above your straight or loose waist

Slightly cross your loose waist line

your Line One or Body Line and your seam front line of ribbon

by trimming.

2%

One

it

nearest

down from Line One

the nearest important

Take your ribbon and place line

is

Put your panel straight and evenly placed on Line One or Body

Line to the hem.

which

is

becomes an inch on the pattern.

importance that

In diagram this straight neck

the Bust Line as that

it

inches from Line

or

line

between

and then straighten the

Thread underneath your panel.

Body Line toward Center

Front.

It

is

In the Back

just goes under the panel. It is

according to Fashion decree

how

made from

the

and underarm

to-

long your skirt

is

regulation Block.

To make

a one-piece short tight sleeve, put upper

gether of Sleeve Block (Back to Back). this is 6 thirds.

Fifty-three

Measure up from elbow

for length,

J

—

'S—5

SEMI-FIT BLOCK

Fifty-four

Semi-Fit Creations With Refreshing Inspirations The Semi-Fit Line denotes

more expression

little

of a Silhouette Line.

a Line accomplished by the most extreme Leaders in

It is is

a

New

Ideas.

It

a line that almost in itself expresses a "Jeune Fille" fashion.

The importance

an object

of

of materials; therefore

gained by satisfaction of Line, regardless

is

distinguish by line value as

much

human

Line

needs of the Figure.

demands thorough and

Remember that

as possible.

The

object

to

is

to

meet the

an indispensable part of designing and

is

scientific study.

the Silhouette Line of your

Waist Line which

You want

have used Black and White Model.

I

is

way between your Normal and your Chemise

half

is

Model (the Semi-Fit Line)

Waist Line. In the Problem

but one value of panels

I

I

line,

have used value of

my

making

lines

have expressed the same value

harmonious. of lines in

utmost simplicity with similar

lines to bring in

ing value and laws of

No

line.

matter

Then you can turn your

new

In the construction of

two

ideas,

how you

Use the

materials.

always remember-

reverse this the direct

Realizing this you have gained your

satisfaction of line value is maintained. object.

Using two materials

line in panels.

attention to the material to produce the

Model, but remember your line value

is first.

Semi-Fit Blocks Take your

plain working Block and turn your front back from the neck

which

to the waist line,

paper or material.

of a dart in.

is J/^

Measure out

at

Place this on the fold of your

your Semi-Fit Waist Line

Dot.

Under the arm, measure out one inch and from

down

to the dot

out one inch and dot.

Normal Waist Line and on hip

From

to that point or dot

the dot

inches.

draw

measured out from your Semi-Fit Waist Line.

inches below your Tight or

down

that point

IJ/^

line

a line

At seven measure

on the Semi-Fit Waist Line draw

and then draw down perfectly

straight, 30 inches

from the Tight or Normal Waist Line. Back.

Measure out

1^

inches from the Semi-Fit Waist Line and then

from under the arm draw down to that measure down

Fifty-five

7

point.

From

inches on hip line then out one inch.

the Tight Waist Line

From

the Dot at the

down

Semi-Fit Waist Line draw

draw down

Draw

perfectly straight to hem,

down

Center Back

and then from

to that point, 3'0

this point

inches from the Tight Waist Line.

straight.

Fullness In the case of Fullness, divide the

Draw

hem

^

again.

Back and Front should

bottom tapering up to nothing.

springs, one inch at

and then

Cut open and insert one inch

up to the Chest Line.

straight lines

line into Yz

In separating your sketch for a Model be

be sprung in the same manner.

exceedingly careful in getting proper proportions and smart points on your

Do

Draft.

not get a

dowdy

length or a badly cut space.

On

your sketch

you must place the same properly and then measure from your important nearest

line.

You may

separate your Block and spring as in Chemise Model.

In the case of fullness your Design will show the number and amount of springs.

Modeling Take your regular Semi-Fit Block and place on the

Be

sure that

Body

all

of

your important lines are placed

One

such as Line

Line, Chest Line, Bust Line and your Semi-Fit Waist Line.

Block should be folded back from the neck Front.

1%

in,

fold of the material.

Use the

Front.

It is

nearer Line

Your

on Center

from the width of the neck, transferred

thirds taken

At the Semi-Fit Waist Line

inches.

to the Yz dart in point

One

or

it

Body Line

or

it

is

1^4 thirds in toward Center

is

so measure from that point.

In the measuring of a panel you cannot gauge in thirds or inches, as the different sizes vary.

It is

the Black Panel sets Y2

Seam

gauged by getting

way between Line One

Line, so you place

it

half

way on

You

position.

or

will note that

Body Line and the Side

the pattern.

In getting the folded

over ends you always measure the amount which in the sketch

Add

another one-third for the roll part,

underneath portion.

The Black

In this

case making

or Front Portion or Paneling

and Side Panels are

all

drafted in one.

beyond, measure from your

hem

is

one-third.

and then another one-third three-thirds in is all

all,

for the

or three inches.

drafted in one, also the Top'

In getting the points that extend

in thirds,

and transfer

in inches.

Fashion

denotes the length of the skirts.

Back

of sketch is transferred in

same manner

as

shown on

pattern.

Fifty-six

Sleeve with a folded cuff.

Put your sleeve pattern together with double measurements. inches.

Then you put

For the turn back

two-thirds, or

cuff, first

that

it is

add an inch as

from elbow.

10^

A

spring

in a piece of

Fifty-seven

is

now make

flare

we

side.

it

four

inches,

it

is

2^4 thirds from elbow; you

inches from the elbow to the wrist on a Model.

back to wrist on each center.

two

In this case

this cuff folds back,

For the

Bell-Shaped fashion, back to back

on each side of the seam. get the length by measuring down from the elbow

and not up from the wrist.

know

in the

This measures two-thirds;

then you add 8 inches, as

it is

ly^ inches

place one inch on each side of the seam. If

you want a wider

inserted in the pattern only

flare

First

add an inch

Draw in the

by cutting open and pasting

paper one inch at the bottom tapering up to nothing.

Fifty-c'uiht

Kimona

Creation of The

Composition of Lines bring out elegance and

Specialists in the

simplicity with youthful lines.

whole and not a

hit or

In your composition of lines so arrange them

Every

to impress the beholder.

offsets conflicting lines that are

Kimona

line

must form a harmonious part

Whatever

miss treatment.

be seen under similar conditions.

joined

Sleeve Models

For instance, brought

in

Sleeve of different material

of the

must

their shape the line

in the use of a

by designing a

Kimona

Sleeve,

set in sleeve.

A

not so severe as a blouse with

is

set in sleeves.

Your I

individuality determines your composition.

have used a building

The

cuts.

of space to

In this particular case

pyramidical shape with two small and one large

line of

triple idea

and the usage of the kimono sleeve gave

work

avoided congestion.

in.

I

view and by continual practice you

me

breadth

In designing you have an aim in

will gradually

broaden in your Creative

Art.

In your conception of a smart design you of a bib,

yoke

inset, cuts as in

edge of the sleeve and waist

may

either

the Model or possibly a

line in perfect

work upon the

new neck

line

lines

with the

harmony.

Pattern Making First take a piece of pattern paper or tissue paper and place

Front Blocks, shoulder to shoulder, so that you shoulder.

draw

Redraw

Between

B

a straight line

it

in

on the

front.

is

Placing points A,

on the Front part

B and C on

Line

and C divide space into one-half and from that point

down

to

Chemise Waist Line.

This

is

your underarm

Measure down on Center Front four inches and draw

seam.

Back and

fold along the slope of the

Continue your Line Three or Chest Line which

of the Block.

Three.

may

in

Bust Line

crossing the underarm seam.

For the regular Kimona Sleeve

I

would measure down about one inch

from the Chest Line on underarm seam and then draw the width parallel

with the top fold down to the wrist.

the width of your

To

Sleeve.

It will

is

my

sleeve

no rule governing

be governed by your Designing.

get the length of your sleeve you measure from neck across shoulder

down arm

Kimono

There

of

to

side

Fifty-nine

elbow and then from elbow

seam the same.

to wrist.

Cut the Front and Back under

Take tracing wheel and

Now

the back.

from the Back rests

turn your

trace through Line Six so that

work over and draw

Neck point

of the

on the traced through

can be used in

a Una with your Blue Square

a point where the length of your back

to.

Cut

line.

it

off at

Chemise Waist Line Back and

Front.

The Center Front

is

cut out the

same

as the Block, the line that

Trace or draw on

all

important

Line One or Body Line, Chest Line and Bust Line.

You may

back from neck to Yz dart

To add your Chemise Then

C.

at

turned

such as

lines,

also cut your

the fold of shoulder seam.

Kimona Block along

B and

in.

is

Silhouette Line,

you use

half the distance

between

your Chemise Waist Line measure out two inches and

extend from under the arm

down through

Tight or Normal Waist Line.

that point and seven inches

Then draw

straight to

beyond

hem, 30 inches from

Tight or Normal Waist Line.

Do

same on the Back.

the

To add your

B

Then

and C.

Semi-Fit Silhouette Line, you use half the distance between at

inches, seven inches

Draw from under

your Semi-Fit Waist Line measure out one and one-half

below Tight or Normal Waist Line measure out one

arm down

the

and from that point down hem.

Make

Do

to the seven inch point

30 inches from Tight or

Waist Line

and then down straight

Normal Waist

to

Line.

same on the Back.

the

It is

hem

the

to the point opposite Semi-Fit

inch.

necessary to add Springs to

all

You must add your

specially designed.

Blocks, only eliminated in cases

springs to your Three Blocks, both

Front and Back.

On

the bottom line divide into one-half and dot, then on each side into

one-half,

making three

Chest Line.

springs.

The Springs

Continue the cuts for the springs up to the

are one inch at the bottom tapering up to a gradual

point.

There

is

a difference in necks.

and Straight Necks. Square Neck

We

have the Round Neck upon the Original Block.

very easily applied, but the Straight Neck

is

Straight Neck Take one inch :

Then

fold of paper or material.

dart of one inch.

your underarm

There are Round Necks, Square Necks

It is

line

now

down

off

half

is

more

difficult.

Center Front and place this upon your

way on your Shoulder Seam

necessary to add one inch under the

to

A

Waist Line, which

is

take out a

arm and draw

Normal, Semi, or Straight.

Sixl's

Your Shoulder seam darts out.

is

smaller now.

Match up the back, but do not take any

Take from the neck and add your inch under the arm.

Problem

Three for Round and Square Necks and Number Four for Straight Neck diagram.

Modeling Lay off

first

your pattern upon your paper or material and proceed to slope

your design.

It is

well to cut your

Model

first in

muslin, baste and try on.

In transferring your design from Sketch to pattern you measure from your

main

lines,

which are supposed

sketch become inches plainly

when

to

transferred to pattern.

marked on your diagram.

for cuts, also take

Sixty-one

be very plainly placed.

Remember

The

The

thirds in the

points have been

previous rules as to doubling

your Model cuts from important points.

^

The Mechanics of Fashion—Introducing Coat and Skirt A

Line which formerly was figure

This

under Mechanical change become straighter. (Coat and Skirt) on account of

Wear. The

which

principal of

is

pendulum

its

an

less in consideration, so in conceiving

and

idea, the

is of

relative

problem would be to bring

Bold yet yielding

Mannish yet Feminine technique.

is

of the very simplest effect.

It is

the Scarf idea and drafting onto the same a pocket, a newer idea. it

to

desires.

In this case the Design

turn

motion of

Adjust your line sense to produce

out straight, easy and non-resisting lines.

Feminine

would suggest Sports

In Sports Wear, moving powers would be more or

Grace and Character.

a multiplied effect of

a two-piece suit

line, in

effect

easiness of line

now

an Athletic sense, has

fitting in

back, and stitch

too extreme.

The

it

Skirt

on.

is

We

executed by Just face

it,

have a Model Sportsman-like and yet not

a very simple affair of a striped sports stuff.

Pattern Designing Coat Block Take your Pattern Block and lay :

rial

it

on your paper or mate-

about one inch or so in from the edge of your material (Center Front).

Under the arm measure out one inch

From under

arm and through

the

;

at the Straight

Waist Line two

the two-inch point

we draw

nine inches further than the Tight or Normal Waist Line.

we measure down one

inch for a larger arm-hole because

curve in free hand our arm-hole. lar springs.

Back

Two

your two inches inch larger.

down

a line

Under the arm

it is

a Coat.

We

In springing or adding fullness put in regu-

may

of these springs

You do

:

inches.

extend higher than Chest Line.

not add the inch out under the arm, but you measure out

at the

Loose Waist Line.

From under

the

You

arm you draw

also

make your arm-hole one

a line

down through

the

two

inches at the Loose Waist Line, and extend nine inches below the Tight

Waist Line.

In springing for fullness in the back, divide into one-half and

one-half on each side,

making three

through the Chest Line. springs in

all for

Sleeve: in that

To

amount

Slxiy-three

You

springs.

You

spring two of these up and

then add three extra springs making six

the Back. draft a large sleeve

in the perforation

measure around your arm-hole and dot

on that part

of the

Red Curve

that

is

pre-

pared for the sleeve.

same

If

you have not the amount on curve,

and dot every half inch

slant

just continue

you reach the given amount.

until

on All

other principles are used as per sleeve rules and regulations.

For a good Sports Sleeve

—Cut the Sleeve Block at the elbow and separDo same

ate one inch in front, as per cut for Sports Sleeve.

The width

Front.

of the sleeve

Take your

Skirt:

straight to

or

hem

V

3 of

your Red Curve

one inch out point of the Waist Line and draw your Waist front.

fullness divide the

on each side

from there down perfectly

For Waist Line take your

Line curve towards the

To add

and from that point

on a block should be about 30 inches from the Tight

of skirt,

at the

it

to allow plenty of room.

at hip one inch

inches, touching hip curve,

Normal Waist Line.

and put

both Back and

plain working Block and place on paper or material.

Measure out on your Normal Waist Line

draw down seven

Be sure

optional.

is

in

bottom

line into one-half

Draw from

of this point.

and then one-half

these points up to Waist Line.

Cut

the line open and insert a piece of paper spreading one inch at bottom and

tapering up to nothing.

Back rial.

:

Spring ever3rthing by the rule of one inch.

Take your working Block and

Then measure up

^ of an inch.

Back

in Center

place on a piece of paper or mate-

At your Tight Waist

Line at the hip measure out one inch, seven inches down from the hip

measure out another

From

inch.

point and from this point straight

down

to

hem.

Normal Waist Line. For the curve

the Tight or of

Waist Line inch draw down

the

Make of

to that

length 30 inches from

your Waist Line take

V

3

your Red Curve and place on the Center Back and draw down the curve

towards your inch out on side seam.

In adding fullness for your block,

divide the bottom line into one-half and then one-half

three springs in

In making a

wish on the

first

at the bottom. If

lines

one inch

full skirt

a

making your seam

as

up

at the

to

on each

Waist Line, cut open and

bottom and tapering up

side,

making

insert a piece

to nothing.

you can make your springs go right through

springing,

Add

you want

more springs

Draw

all.

of paper spreading

3/^

line

making one inch

many

peg top

you

and one inch opening

desire.

you add more springs from the top down,

lines tapering in, or

to the bottom,

you

springs as

skirt

at the top

if

if

making your

you wish a side

seam

flare at the

bottom add

lines tapering up.

Spring

length up or down. It is well to

know now

that

you cannot get springing by simply adding

Sixty- four

it

You have

to the sides.

to

open and insert

It is

it.

done

paste the paper springs in or baste the material springs

in the pattern only,

Use springs

in.

in the

Pattern only.

In the case of gores, put front and back together; take and divide the

amount

of gores

and one-half inch on each

inches,

will cross

From

on the Waist Line. side,

draw

down

each point measure

nine

to opposite points so that the lines

Make

and then continue onto the hem.

as

many

gores as desired

but divide evenly on the Waist Line.

Modeling Take your regular Coat Block, from Line One or Body Line. on the edge it

Use

out.

of

Lay

your paper or material.

on top

directly

only necessary to place

It is

straight shoulder as

it is

at that point

it

the material double

you can get

if

For making Shoulder Seam

preferred.

one inch

of shoulder, take

two inches over

as the Scarf extends only

on Front Block, draw straight

off

shoulder seam and add one inch up to Back Block, drawing straight shoulder

seam.

Use regular Sports

Sleeve.

In case of drafting for the Scarf take your regular plain Block, with

This Scarf

important lines on. It all

falls straight

measures one-third on each side panels,

on each

etc.,

side of Line One,

transferred onto pattern

making the

full

Body

or

As you have been

Line One.

of

when

are doubled so

down Line One

width four inches.

all

Line.

advised,

it is

two inches

It is

two inches

below the edge of the coat and eleven inches from Tight or Normal Waist In measuring for the pocket,

Line.

Loose Waist Line and two and

have

to

rises

a half inches

one and a half inches above

below Loose Waist Line.

you know that the Scarf

getting the width of the pocket

We

it

add an inch for the turn, making

edge of the pocket It is faced

is

We

one inch longer.

and turned back for

is

It

extends three

The

eight inches.

outside

add same and taper to the

The edge

effect.

four inches across.

is

five inches.

inches over the inside line of the Scarf, so total

In

of the scarf

is

inside.

fringed.

In drafting a Collar of this design, you take your pattern and measure

around the neck. half size

Draw

and whatever the back 16,

inches.

Sixty-five

the

Back

From

of the

that dot

Divide

a straight line to that length. of the

Neck

draw

neck

will

is,

it

measure up that amount.

measure IY2 inches.

into oneIf it is

Measure up

a straight line the width of the collar.

a

lJ/$

The

measure taken straight

up

five inches

from end points.

or whatever the Back of the

draw up is

Line

in thirds is five thirds.

to those points.

Neck

is.

is five

From

top measure out

Then from

Curve the top edge.

up in center and one inch on each

and spread springs one inch

at the

side.

1%

inches

the neck line of your collar

In this particular Model there

a slight fullness in the back, from the neck line up.

line

Draw

inches on draft.

Spring from the bottom

Slant these two springs slightly

bottom and taper to nothing.

Cut with a half-inch or a three-quarter-inch seam. In this particular Sports Skirt make your three springs directly through,

and then add three more springs that go

directly through.

Making

six

springs for front and six springs for back.

For drafting the a line to that length. third

on the Sketch.

cuff

measure around your sleeve on the pattern.

Make your

Make

cuff

cuff double

two inches wide, as

it

Draw

measures one-

and put on a one-inch band.

Round

comers.

For Belt measure around loose waist

line

and swath with

scarf.

Sixty-six

^\

Essence of Simple Line Balance Relation of Line We come into both sides

is

true balance in the

way

of designing, in

which the force

of

The same

Silhouette Line

is

suspended for graceful movement.

obtained by equalizing your balance on each side of Silhouette.

We

find that

A

cut or strip your side lines, but hold to fine line balance. of this

your entire Make fine

ings, so

Up

sides of

side.

In this

your silhouette and design

in sensible balance.

balance use precaution in arrangement of even drapes and hang-

your designs will have an even number of swings on each side as

odd numbers

The

good example

end lengths that hang in a cascade formation on each

you would naturally compare both

In

not

the taking of a straight piece of material, drape straight across with

is

sufficient

case

Do

work well connected.

essential to keep our

it is

will never be balanced.

captivating quality of a design

An

ality to the Creation.

alluring effect

is is

lending and converting individu-

gained through rich and attractive

line.

In Designing according to formation rules lines. I

We

we must assemble

In Bodice Design

bring this into our Designs by Relation of Line.

There

have a Semi-Fit Line.

is

no other formation

the character expressed in the angles of cascade lines.

can even be used in reversed order. then the Cascade.

of line so acceptable as

These formation

might have designed the Bodice

I

depends on the relation of

It all

similar

line

and

its

lines first

proper

formation.

In designing the White Salome Velvet,

The

lines of the

I

have used the extreme decollete.

Bodice or the top part are upon the Semi-Fit Lines, extend-

ing to a nine-inch point with only four inches at the sides.

and upon a

line straight ^cross

Across the front

from the four-inch side seam point,

I

have

taken the straight of the material with ample extensions on both sides to

make

cascades.

These

I

attached on the side seams, cutting out the point

nine inches in on this piece of material.

At the bottom

the Center Front and taper to the ends.

This

front

is

length.

draped.

The

The width

is

train

is

is

cut up one inch in

the simple

way

in

which the

draped by taking a piece of material ample in

sufficient to rest

one inch from side seam on the end of

the Bodice and connects with the line of the decollete.

Sixty-nine

I

In the center

it

is

split

down

then

falls

you

to

below the knees to

upon the

still

carry out the pointed balance

Carefully study this formation and

mass.

floor in a solid

It

line.

will note the very true collection of balance line work.

Modeling Take your regular Drafting Block (any upon the

fold of

You always

your material.

Measure out one inch under the arm Line, and seven inches below points

by

side

seam

lines.

size that

1^

you

turn to your seam line

first.

inches out from the Semi-Fit Waist

Normal Waist Line one

Your

and place

prefer)

decollete neck line

is

inch.

Connect these

one inch higher than the

Bust Line, passing Chest Line one inch beyond Line One, and the width of the shoulder strap

Lay

inches lower.

waist front

is

Front.

in the neck

and arm

The

line curves.

Use your

seam throughout.

Follow your same silhouette

it is

two

extension below the

Cut out with a

straight line shoulde;r.

your Block as in the

lines as per

All proportions are the same as Front as to width of shoulder strap,

under the arm and side seam lengths. in from Line

The back

of material for center front

extension from side seam on each side for the

even on center front on a straight

seam

ends.

The^

sides.

and allow

fall of

away your point with

cut

connects with side seam.

is

at least a 12-inch

the cascades.

Place

it

from where your Bodice

line right across

an inch seam. The end of the drape than the

decollete drops to one inch

One on Normal Waist Line and then

Take your length

side

Under the arm

tip.

nine inches and on the side seam four inches.

J^ or a 54-inch

Back:

two inches up from the

is

at least a three-quarter or

tapered up one inch shorter in the front

Allow about a three-inch hem

to be faced back.

In getting

the width of the panel and train, measure across your Semi-Fit Bodice back

on the bottom

line

and make

line

and the decollete

two

sides.

Your foundation

line.

it

the width within

an inch

of the side

seam

Double the same in measurement, as you have

lining is the

French Bias, taken from your Lining Chart.

Cut out neck and under the arms the same as outer bodice, but make shoulder strap one inch in width.

The Bodice.

decollete part of the back

Make

cut on the

same

lines as the

Back

shoulder strap one inch in width, the same as Front.

The

Center Back decollete

is

curve up to the shoulder.

is

three inches above the Waist Line and takes the

The opening

is

in the back.

Seventy

The

skirt is a regular

peg top

skirt, that is

a regular Block sprung three

times from the bottom up, and four times from the top down.

Each

three-

quarters the length of the skirt.

Make

the lining that

is

underneath of white charmeuse.

part of the back in white Salome Velvet. Velvet.

The Gown

Seventy-one

is

trimmed with

pearls.

The

Skirt

is

of

The

decollete

White Salome

Seventy-tzvo

opposite Silhouette Logic E:tpression and relation of Line on

same Model

is

produced by different

Design of Line on each side (Contraries).

The treatment differ in

Model must be

of such a

both quantity and quality,

it

accurate.

will be contradictory in design.

logically carry our Lines with balance treatment, relative

we have made no

a difference,

Work now Psychology create

Give equal value to your different

so different that the sides will have the effect of

Naturally

if

sides, still

do not

two frocks

in one.

Silhouette that you have created in mind's

you are working on opposite silhouette your thoughts would

be the sides or side

You must

we

expressing

still

falsity of Line.

Your purpose depends upon the eye.

and

If

under the progress of thought and endeavor to design with

of Line.

them

opposite sides

If the

The theory

lines.

is

to apply simply

and

scientifically.

mind

distinguish your sides with a two-fold idea. Bear in

that

your judgment independent in treatment must bring your single object out

in

opposite independence with mutual relation.

wrong

Direct judgment of right and

lines

can be more clearly expressed

here.

The Problem shows I is

am

calling

your infmediate attention

Body

cut entirely with the

one side the sleeve

is

strips are threaded

continue

the Lines are based upon the Chemise Silhouette.

boldly

or Slip of this Creation.

for its simplicity

the cascades.

two cascades below the

waist.

While the other

small cascade drop.

Model

through the garland of flowers

down between

silhouette.

part of the

shown

side

We is

(Kimona;

to the fact that the Sleeve

and newness.

at the waistline

This side of the Model have

The

sleeve

and then

finished with

is

now completed one

side

of the

treated logically, using above the waist a

Both sides have the streamer sleeves but the cascade

partly subdue that side.

The

On

strips of the sleeve

\v\\\

on the opposite side han,^

loosely below the waistline, and slightly tacked to the end of the cascade

above the waist.

Modeliitg Take

a regular

Kimona Chemise Block

of this particular design, take

your paper or material, pinch the

arm you add one

Sevent^'-three

inch.

one inch in a

This

(unsl'ruiig).

in off the front

To

put in the neck

and lay on the fold of

one-inch dart on the shoulder, and under is

a regulation method.

Now

see that

;

important lines are properly placed for the taking

all

Your

ing to the rule of Thirds.

drawing your

sleeve formation

line,

to the

hem

have added one inch under the arm. is

comes

The width

You draw your

four inches.

This

of the dress.

under the arm that you have just drawn.

the line that

you

four-thirds

is

outside lines straight with the line

Then you draw your

The

from the Chemise Waist Line to arm-pit.

chemise lower portion of your Block.

strip

You

separated from your Chemise Waist Line.

lar

is

your sleeve

of

You

top or sleeve

Cut up imder the arm

portion of this Model straight with your sleeve edge.

is

Instead of

first.

under the arm down to the Chemise Waist Li^e only,

line

continue on with this

transferred

your Model accord-

off of

belonging to the sleeve

will

now draw your

regu-

spring only your Chemise

Block by separating into one-half between the Center Front Line and your Side

Seam

Line, Dot, and then into one-half on each side of this dot.

straight lines

up

to Chest Line,

open and insert your spring by spreading one

inch at the bottom and tapering up to nothing.

The neck

follows: Center Front from Chest Line IJ^ thirds up; one-third up and a three-quarter-extension over Line

way up on Line One

Body Line

or

Draw

it

is

Body Line

One

or

1^

thirds.

off

or Line

Body

comes within one-half

on the shoulder from Line One or Body Line

t£^en

Line.

of a third

These

as

One Half

and

all trans-

ferred are inches.

Back: The plans of your Back are worked out in the same rules as

Do

applied to the front.

not forget your regulation rules for the straight neck

with matching the shoulder tips or Kimona Sleeve tips and taking your inch the top of your neck, add your inch imder the arm.

off at

for the sleeve

and side

This imderslip

is

lines the

made

Your outer garment

same as the

front.

of crepe.

of paneled effect is

using the same neck opening, measurements,

remember your

silhouettes,

marked One (Right Hand Chemise Waist Line

by placing

cut will

is

5 of

etc.

For

Now,

for your different

instance, the dotted line

Side), connecting the tip of the shoulder to the

slightly curved.

You

can draw this in free hand or

your Red Curve and running that curve up from the Waist

your Right

fall softly

ideas are different.

worked over the same block

Side.

Your Left Side has the

into a cascade.

projection,

which when

Measure out four-thirds and the projecting

up 1J4 thirds above the extension of the Chemise Waist Line. From point draw directly up to the tip of the shoulder, marked Two (Left Hand

point this

V

This

Line.

is

Follow your rules

is

Side).

The

rest of

your Block

is

your regular tinsprimg Chemise.

Seventy-four

Your Back Right and Left Sides Cascade

:

Measure down the width

line,

as

much

the seven inches out line three inches,

cascade.

your cascade in

of

This one

thirds.

Take your Blue Square and draw a top

measures seven-thirds. length

are planned and cut the same.

as

it is

to the

draw down

now draw up

Between the end

hem

to the

of

and

your dress. Then from the end of

end

your

of

to the corner.

of this line

line

Drop down on

line.

This line

and the end

is

this

the top of your

of the cascade

you

you divide

divide

into

one

insert a

one

inch spring, spreading one inch at the bottom and tapering up to nothing.

In

into one-half half

and

dot.

and

dot,

Draw

and then on each side

lines

of this dot

from dots up to the comer.

Open and

cutting this spread out the line where the springs are and any puckering in

your pattern on the other line

above

The

lines press

this dart straight as

if it

top portion of this Model

Girdle of Roses.

Seventy-five

down and make

were not

is

to be

a tight dart.

Cut the

there.

made

of Velvet with

a Fashioned

Seventy-six

Line of Suggestion Often another Idea

created by Suggestion.

is

It is

the experiment of

bringing onto our Models the outlines from some other direct object.

They

the association of lines that have the advantages and usages. cisely different but at the

Your mind can tions, cultivate

ideas

same time might express

easily pass

from one thing

In the Problem given

I

will

are pre-

their origin.

to another gathering sugges-

good sense and develop similarity

by the proper following up

It is

These conceived

of ideas.

form objects and designs.

Lamp

received the Line from a

Shade, thus the

Do

association leads to the effect through the connection of ideas.

not carry

a too exact reproduction but just the idea to a certain extent (a similarity of line).

Through your mental connections you

will gradually

the knowledge of your Architectual Anatomy.

Be

proper position and advantage upon the Body.

The Laws

form

lines

able to place

with

same

in

of Association

are of the greatest importance and factors in Designing Art.

Lines of suggestion are produced by looking for Ideas in the simple forms of association

by transferring your sight sense from one object

Form your

with the proper grouping.

sense of discrimination in order to

drop the heavy parts, leaving the delicate silhouette sion as in the

to another

lines.

A

gentle expres-

Lamp Shade Gown.

Modeling Take one inch

off the front of

paper or material, as this

is

your Block and lay that on the fold of your

a straight line neck.

dart on the shoulder, and under the

point

draw down

third up.

to

The width

of the neck.

your waist 3/^

The Back

line.

of a third. is

Pinch out your one-inch

arm you add your one

The

From

inch.

point of your shoulder

Then draw

is

^

this

of a

straight across for the opening

placed in the same manner.

Put the

tips of

shoulder together, so the inch will come out at the top of the neck.

your

In curv-

ing both back and front get the curve of the arm hole and then straight down.

For the bodice (underneath) use the same Block, only take the remainder of the Yi dart off of the front.

You remember

on your Tight-Normal Waist Line.

For the Back use the regular Block.

Seventy-seven

Now

that

you took

%

ot a dart in

take the other y^ of your dart

in.

Use

the bottom part of your Block or

Peplum

of

Take the

your Block.

front and divide into Yz, dot, and then one-half on each side of this dot,

three springs.

Open and

spring up to waist line, spread and insert a piecei

one inch in at bottom tapering up to nothing.

same spread

Sprung Peplum, seam back and from the edge of

Do

the

same with the Back.

after they are properly sprung, touching sides

Put Back and Front together at top and letting

making

at the bottom. front.

Then

Gather onto a

cut one piece Circular steel wire.

Hang

lace

this.

skirt underneath.

Use the regular peg top

It is

made by taking your

regular Skirt Block that has been sprung three times, and on the waist line divide into one-half and dot, then take and divide into one-half on each side,

draw

lines

down

top tapering

54 t^^ length and open and spring, inserting one inch at the

down

The Model

is

to nothing.

made

In

of Black

like

manner make the Back.

Duchesse Satin and Metallic Lace

(Silver).

Seventy-eight

x

Eighty

Theme An

established fact

Theme

that the

is

of Line An

derived from something already suggested.

Under the Sun";

in this case

Your Base Influence

is

of Line is

old saying "Nothing

making something new out

it is

Line

of

Knowledge

of Line or

an old

of

New idea.

The

taken from Historiccd Compositions.

variations are to be brought up to a

modern

Historical Silhouette Lines or Present

Day

It is the evolution of

state.

some Country.

Influence from

Should your Inspirations come from Periods modernize the line but enlighten the Model with the

Gown, Bouffant

in

Line

Influence and Adaptation.

Line Form to the Present Day Ideas.

make your

values but do not

For instance the Wedding

same atmosphere.

— Spanish

lines

still

Adjust your

Reproduce your work with

relative

an exact duplicate; vary with your

Individuality. It is

permissible to have the skirt a copy of lines with a

just the opposite.

exaggerated.

The

Some

ity.

influences are reduced in design while others are

responsibility of the Design depends

tion of the Designer.

A

modern bodice or

Trend

is

a Style of Line that

For instance the Spanish Influence

of this

is

Season

upon the

interpreta-

adapted by a Majoris

one of the popular

Trends.

Modeling Take your regular Two-Darted Lining Block and convert

Kimona is

made

Sleeve Block.

This

Refer to your

up.

is

it

into

a

done the same as any Kimona Sleeve Block

Kimona Group.

The Body Part

is

made with

Two-Darts.

To make

a one dart with a straight neck, proceed as follows:

Take one

inch off of the neck and lay this on the fold of your material or paper, pinch

one inch dart

arm

(this is

dart, dot,

in center of Shoulder

Seam and add your one

your under arm side seam).

Measure

then draw line up under the arm-pit.

dart in the center of the

two darts

is

in

This

as follows

:

that

on Tight Waist Line.

underneath the point above.

To

Eighty-one

one

this side dart.

seam one

To have one

the Bust Line between

Square

off directly

below

square off means to get your point directly

Take one-half

point on the Tight Waist Line.

is

On

the tips of your two darts, divide into one-half, dot.

from

inch under the

of

your dart on each side of this

Take the Red Curve and put

V

5 face

up

and draw your

your right side and

in

measure down one inch

straight neck

The Back

your

in

left side of

For your

and one and one-half inches on

in front

drafted from yoiu- regiilar straight neck

is

in this draft with the one inch

made up

draw

to

Sleeve measures two inches under the arm.

the shoulders.

is

down

5 face

dots denote the route of the one darted pattern.

The

dart.

V

your sleeves so the inch will come

Lay

vious straight necks.

Kimona

Block.

Match up

added under the arm.

off at the

It

top of the shoulder, as in

all

pre-

patterns together and get line of neck, then just

Sleeve measures 2 inches under arm.

straighten neck line across.

All formation rules are used in drafting this

Back

of

Kimona Block

as

tracing through Line Six to obtain the position for Center Back, etc. Skirt

Take your regular

:

Skirt Block that has been sprung three times.

Measure out nine inches with the same

Then draw your new block.

slant as the

seam down the same

side

Waist Line

of

slant as the side

your

seam

skirt.

of

your

Divide your added portion into one-half, dot, then into one-half on

each side of that and dot, then in between each one of these points divide into

Now

one-half, dot.

On

springs. half

and

to

to the

you can

new

bottom part

up

To

just

is

on the Waist Line into one-

from each point down

between one-half

^ the length.

inch at top in each

line,

This makes

tapering to nothing.

open these and pin onto another piece

of

paper and

sure and keep the marks of your springs.

made by

six

The

springing every other one of these springs

Waist Line.

is

is

the only rule that properly and evenly balances a Bouffant Skirt.

After the Model portion that

same as Front.

drafted the

get the proper effect

is

is

you

will

have to resort to springing for Chic Lines,

draped in

lace.

Take

fullness.

sion under the front and back edge. tions for lace

is

Now make

away

properly put together and ready to hang, cut

been properly pinned in for

this piece

the

and lay on the lace which has

Cut the lace out with the proper extenLines across diagrams show

how

por-

cut away. a wire extension for your sides to be held in place.

piece of tape for waist, so that elastic

This makes

skirt.

side one-half again, dot, then in

Be

pattern.

Y^ the length of

skirt portion divide

lines

of the skirt

The Back This

down

Open and spring one

six springs.

cut out a

on each

Now draw

you care

lines

your regular

dot, then

again, dot.

If

draw

it

will

around hips seven inches down;

open fix

in the back.

so that

it

will

Take a

Put a piece

of

open in the back.

Eighty-two

Take a piece

of silk covered edge wire,

bend so that it will extend nine inches out on the hips, and about four inches over on back and front hips, so that you can tack it down on the elastic with good support.

Take three

tape and put in supports from the wire up to the waist tape. are always used in the support of Bouffant Lines.

For your

lining of this

Model (Crepe de Chine).

The

These extensions

Model make your pattern from the same Bodice

pattern using Crepe de Chine (white). skirt

pieces of

For the

skirt

underneath use a plain

French Seam throughout.

material used in this Model

Satin Faced Heavy Crepe (white). Princess Lace interlined with Crepe Georgette (white). Orange Blossoms and LiUies of the Valley edge the skirt where it is cut away and white satin faced ribbon forms the Heart on the side. is

The Court Train

Brocaded

Satin,

slightly tapers

and has an extension on the

from the shoulders, folded

floor of five

in to the

is

of Silver

yards in length.

It

width of the shoulders,

then gradually extending and flaring at the end.

on

sides.

down to almost the width of the Brocade rounded at the end starting about four inches up lined throughout in White Crepe de Chine.

It is slightly

It is

The Court Train

is

harnessed on by

silk ribbon. Take and run it over the shoulders and across in front (from opposite sides), connecting on piece

around waist.

Come

securely tack.

Besides tacking the train to

Bodice.

straight

down from

The harness worn underneath

shoulders to waist line in back,

tied

this,

hook on the shoulders

of

about waist will gracefully carry

the weight of the Court Train.

The

Bridal Veil

is

made

of Bridal Net.

Lace Heart Shape, and a Pearl Bandeau.

Eighty-three

With Coronet

of Medallion of

Eighty-four

Discovery of Line Models when they have characteristic of the

Country they represent.

The

ance.

The Discovery

almost speak in the language

Line

of

is

of practical import-

surface part (Front and Back) of the Design justifies sufficient

Ornamentation

co-operation to the line formation.

modern

ability suggests

discovery.

present an absolute likeness.

"Up

lines

It

The

to Date Different".

It is

wearing

the capacity of the Designer to

has the faculty of comparison to be just

sensitivity of difference is probably bringing

Costume and introducing

the idea from a Male

to the actual

into a Chic

it

Model

iot

Milady.

In your designing you must be able to discriminate and limit your line

Do

conditions.

not combine line discovery from one source or Country with

that of another.

Make

it

purely Russian or Chinese or from wherever you

have gathered the valuable

lines.

The Russian Discovery given sets forth

a

The suggestion

no exactness.

Drosky Driver's Coat or

through

line

tion of the idea.

in this

of

of lines

a specific Period.

masses and formation.

Laws

problem comes

in general lines,

but

might have originated from It

bears strict resemblance

This Coat Frock

is

a valuable determina-

Designing (front, sides and back) keep vibrating this

Other unrelated

lines

because of their saleability and popularity

may

be

brought into the Design for example a Surplice Front, High Collar and large ;

Kimona

Sleeves.

The

fullness of line

up and below the Waist are

strictly

the Russian discovery of line.

Modeling Take

a regular

Kimona Chemise (with round neck)

erly sprung three times (Front and Back Blocks).

Cut

that has been propit

straight across at

the Chemise Waist Line separating the Blouse and the Skirt parts of the Block.

Take

the upper portion and spring up three

up to Chest Line.

Divide this line into one-half, dot, then into one-half on

each side of this dot.

Making

three springs.

inch at bottom tapering up to nothing.

from the top down three times, divide each side divide into one-half.

open and spring one inch spread

Eighty-five

more times from the waist

Draw

Insert a one-inch spring, one

Take the

Skirt portion

this line into one-half, dot, lines

down

and spring and then on

three-quarters the length,

at top tapering to nothing.

Be

sure that your Important Lines are put on the pattern, such as Line

One, Chest Line, Bust Line, so that

it is

Turn your

first.

1% inches pattern. On Bust

of

within

side

of the Surplus

we

to one inch over

it is

is

The

still

on

Line One.

of

But

left side of

this piece of material or

is

nearer your

On

Chest Line

This

it

comes on the right This

continue our Surplus Line.

Line One at Neck.

line

continues

Trace through your

Also trace the Waist Line.

paper that

is

turned under and turn

it

out,

the Surplice Side of your Model.

Sleeve

is

made

regular length, add one inch out on each side and

slightly curve seam, divide into one-half

To

Line on your Waist Line comes

taken from that point.

Surplice Line including the round neck.

as this

the side that laps over and

your side seam, so measure that amount in on your

comes within three inches

Take

is

Line three inches from the side seam.

side of the Line so

up

The end

seam than your Line One so

this line

This

attention to the extension side.

must be drafted

and fold

a piece of material or paper

are going to draft a Surplice or a fold over Model.

we

double, as

Take

etc.

and add spring up

draft standing collar onto the Model,

draw

to elbow.

straight line

up from your

shoulder seam 5 inches, in center front draw straight line 5 inches up, add

out one inch on each into one-half

Then

side.

slightly curve

neck

to the

Divide

line.

on the top Une and add one inch spring, spreading one inch

and tapering

it

has been sprung, putting a dart in at

the neck line on shoulder seam, then add course, in this

at top

In putting this on the fold of the material

to nothing at end.

of paper just straighten this back after

Of

down

Model your front

what you have taken out above.

is

Surplice.

Put your other side on

and add the extension over as you would in any Surplice.

The

Surplice of Skirt

is

from side seam; draw straight down inches.

When you turn this out

The Back

is

drafted in the

ing a line from the Shoulder

taper

rial

as

shown

At

to it

Seam up

inches over

hem

oi

aroimd to side seam on opposite is

drafted on

5 inches, then out

Seam

this inch point place

It is IJ^

an extension below the

same way. The Collar

curved line back to the Shoulder center back.

same manner.

drafted in

1% side.

by draw-

one inch.

Draw

a

and Collar Line, Spring one inch in

your Center Back on straight of mate-

in diagram.

In placing on the trimmings. inch on Shoulder

Seam from

with Line One, which

is

You

get the width

point of shoulder.

the inside line.

by measuring up one

Draw

a line

down

parallel

Measure your back from the

Eighty-six

Shoulder to the Waist Line (on Pattern) and add that from shoulder for

This Scarf hangs loosely from the end of the Surplice Line,

length of Scarf.

over the shoulder and

down

the back, as seen in the

Show Window behind

the Model.

Below the waist

hem with

the

the band continues

same width

as the Scarf.

down

within three inches above the

The Band continues around

the Model.

In putting this Model together at Waist Line use a heavy cording of the material.

The Model

is

The embroidery,

The

made

is

of dark blue silk

of dark red

Duvetyne with Scarf

Cut length

Kasa Cloth.

and blue wool worked on in old gold threads.

of material

made

same old gold

thread.

on the bias two inches wide.

Place

fringe at the back is 15 inches long and

Cording:

of

of the

cord at center, fold and sew close. Elastic material.

Eighty-seven

Waist Line:

Sew

Pin straight band any width on under side of

at each edge

and draw

elastic through.

S s s s s

s s

lOTI^AES

Eighty-eight

Influence Sensation of Line By Mutual

Relation

we shape and form something

"Art of Design" we practice

power it

and

in points

External Lines have valuable

this extensively.

A

lines for Inspiration.

Sensation of Line

from another direct object that has excited you

The shape

Problem shown

of the

is

Through the

else.

to use

is

to receive

on a Model.

it

We apply

taken from a Basket.

only

outlines of objects.

Perceive things that have quality of Line then your structural ideas will express them in design. Your rights of judgment must be fixed and defined,

not to extreme, but bold.

Recognize and distinguish, through Line Formation, outlines of delicately

formed "Objects of Art", such as the design its

it is

Remember

simplicity.

French Basket.

lines of the

recognized only by outlines

still

Through

wearable in effect and saleable in

in modification of the object the influence of the

must predominate.

object

Modeling Take your regular working Block.

Lay on

the fold of your material or

paper, proceed with your regular working thirds.

Remember what

on the sketch becomes an inch on the pattern.

Waist Line.

It is

projecting point

the Basket effect that

we must measure

we

third

will use the

Normal

To

get the

will draft,

Cut

2.

out three inches, follow dotted

up three inches, then draw down to Waist Line. get the Basket effect,

You

is

lines,

then

Preparing for springing to

you add one inch on your seam

line,

tapering into the

Waist Line, then two inches up from the original seam you add another spring.

Cut down to waist

nothing. tie

point, spreading

Measure up one-half

of

one inch at the top tapering to

an inch on the shoulder, the width of your

measures one inch, so doubled makes two inches.

shoulder strap.

The extension measures two

length to

—making

Bodice.

tie

over

The Front

curve from shoulder

One.

This

is

four.

Curve your

This

is

the width of the

inches; you also double for line

down

to the point of the

portion drops two inches below Bust Line.

down

on the fold

to this point, pass

Make

the

one inch on right side of Line

of the material or paper.

We

cut open

thei

center

spring straight to the waist line and insert a one-inch spring, spreading one

Eighty-nine

Two

inch at the top tapering to nothing. side

we

making three springs

spring,

The Back

The Bodice

in

on waist

line

and

in front.

some manner.

or underneath effect

You open and

Block. half

done

is

inches from center spring on each

is

cut from a straight dartless or working

spring this Bodice three times, by dividing into one-

dot, then

on each side divide

into hcdf

open and spring

,

one inch.

The Back

done in same manner.

is

The

fullness is

The

Skirt

drawn

very

is

elastic.

top and bottom and

full

making than any other

on an

in

You

skirt given.

is

very different in design of

take your regular skirt block

thai;

has been sprung three times from the bottom up, as original skirt blocks

Keep on your Block your Chemise Waist Line skirt is all properly sprung,

You

Line.

divide your

side of this dot

you

into one-half.

after this

Chemise Waist on each

into one-half, dot, then

Between each one

Eight times in

you again divide and mark.

and back), as

are going to cut off at the

Normal Waist Line

you divide

(front

all.

You draw

are.

of these points lines

from each

one of these marks down 3^ the length. Open and spread one inch at top, tapering to nothing at the end.

The bottom

of skirt is

already have three springs from the Original Blocks. one-half, dot, then divide again into one-half dot.

You

divide again into

on each side of

and

this point

In between divide again and from each one of these points you draw a

straight line

at the

%

up

The Back

is

the length and spring one inch.

After

done the same.

the springing

is

done you cut

off the side

panels

across at the bottom in thirds.

when

18 inches

transferred.

we

three French

the panel.

The

A

loop

is

Bows

Lengths of

Ribbon trimmings are

of

effect is of Blue.

the material

is

the amount.

same by measuring Nine thirds doubled

In placing this on your pattern you get your

from your Line One or Body Line.

are placed one in center and one on each side of

made by

material of this

get the width of the

Then double

position from the distance in thirds

The

off

are governed by the prevailing styles.

In taking

Basket

all

Chemise Waist Line and use that as your Waist Line.

all skirts

is

You

sprung ten times.

pulling through a knot allowing one long end.

Model

is

Brocaded Satin (Flower Design).

French Blue and Purple. Strictly

French coloring

The

The

interlining of the

of the flower design for

used, or a Gold or Silver Brocaded Material

may

be used.

Ninety

FOLDED CASCADE

CONNrCTS ON BO\M

Ninety-two

Individuality of Line The importance It

of this line is to typify the Individuality of the

does not have to be singular but can be of plural representation.

Lines are the exhibition of

Lines

characteristic

Youthful

They

Youth.

to

Wearer.

are

emphasized in relaxation and buoyancy of grace. This branch of the work aims to design your Models with variations of the typical,

modern

you can distinguish moods and

fancies.

One may design

like the

wings

of a Butterfly delicate in texture

ness of

lines.

Every movement assimilating

Huge Bows, Large

Through

here loveliness and daintiness.

girl in all

and

the lines of a frock,

and beautiful-

in softness

artistic

lines

touchps in grace of

line.

Baskets of French Flowers (made of Silks and

Ribbons), Garlands, and Fluffy, Lacy effects (such as RufHes and Flouncings) are representations that

may

be used for the Intermediate Ages.

Almost

anything that suggests a waving motion might be used. In the problem given the Bodice (front and back) ending in a effect.

The

Skirt

is

is

swathed in one continuous girdle

huge bow, and then

falling into a large

circular, giving the line of rotary

The Bodice shows

cascaded

and the waving

effect.

the girlish simplicity through the graceful lines of the

figure, while the skirt falls in large graceful curves

even to the edge of the

same.

Modeling We

will first turn our attention to drafting the portion that is

the Swathed Bodice effect. This

is all

known

as

Take your regular working

cut in one.

Block, and place on the fold of your material or paper, this must be folded

double as you are going to draft this as a surplice draft the piece that ties over,

side

line

over to Line One.

The dotted

trace through this line this far,

curving

it

instead of pointing.

Turn

line

around the bow.

Ninety-three

You

will notice

it is

one-

Draw your

line

marked One

will guide you.

and on the waist this piece out

the tracing, open and spring the end three times.

will first

You measure on your

and you will also note that

above your Bust Line on Line One.

seam

Now

dot,

We

drafted.

marked one on diagram.

underarm seam four inches up and half inch

is

from your

line to the fold slightly

and add

six

This

the piece that ties

where your tracings

is

more inches

left off

to

and continue

this over the pattern to

you on diagram.

This

across and reaching

under the arm, the heavy is

line

marked

bow on

As

left side.

or paper under the center back. is

the back

From under

drawn on diagram down

the

is

a continued surplice,

down

arm we draw,

inches.

you measure up

Then draw

show you on diagram. Before turning out

to the Semi-Fit

as heavy line

above the tight

in the back,

on your underarm seam of the two blocks three

drop

Fold the material

to four inches

For the surplice part

waist line (center back).

dotted line Four will

will guide

the front swathed effect coming from the right side

connect the back block to the side seam of the front block.

marked Three

Two

line as

surplice

you

Waist Line and trace right through from surplice

block back portion the other half portion and directly to the center front.

Measure

for the

bow which

is

on the extension

ten inches, and the width of the other side of the

down you

bow

is

bow

ten inches.

is

of the surplice

you measure up

16 inches, also the extension for the

Open and

spring the

54 the distance three times, one-inch springs.

bow from

To make

the top.

a folded cascade

fold the material or paper three times, to the exact length about 36 inches

from the Normal Waist Line.

Measure down

18 inches about one-half the

length and then directly opposite that point on the fold side mark. point measure

measure

9.

down

half the

measurement that you have

Cut one layer slanting from

From

that

just taken 18, so

this 18 to 9-inch point.

Directly

opposite the 9-inch point on the opposite side mark, then measure 9 inches

down.

Cut the second layer on the slant from the 9

cut from the 9-inch point on the slant

down

your springs before opening the cascade. center almost to top on slant.

Then

to the 9-inch point.

to the point, last layer.

Mark

Spring the top layer one time in

Spring the second layer two times and the

third layer three times, spring all

up on the slant as diagramed.

Add

this

folded cascade onto the bow.

Circular Skirt Take your regular

skirt block that has already

and spring every inch up to almost the

top.

been sprung three times,

Your Back and

front are done

the same.

When

they have been sprung, you put your hips together and

let

the

rest spread, as per diagram.

One

part of the Bodice comes off of your regular dartless block,

it

is

Ninety-four

the

side portion between the swathed parts of the bodice.

left

After you

have cut your French Bias Lining lay your Front and Back together and draft

it

off of the

The

same

block.

material of this Model

and swathing georgette.

is

gold and vermilion shot taffeta, the

surplice is lined in heliotrope over deep

The ropes over

wine shade

bow

of crepe

the shoulder are hand-made by winding helio-

tropes on cable cord in shades ranging from light lavender to deep purple.

The bow on

the interior

is

edged with the same flower.

It is also

wired

out.

The

underslip, or lining,

is

made

of black crepe georgette.

Circular Skirt cut with Front and

Back Seam First pin side

seam

of skirt together.

pattern along selvage and pin.

come with the selvage

Then

place center of front of

Join any place where seam happens to

of the material.

Cut even with edge of pattern

and sew.

Circular Skirt with Side Seams Place center of front and center of back of pattern on fold of material, cut even with edge of pattern and sew.

Ninety-five

Ninety-six

Character of Line Character of the Wearer can be personified through Line.

Not alone

the Personal Character, but any character on the Stage can be represented

by Dress. The Personality of the Character of Dress,

and through

sometimes acted through

we have

this recognizable principle

lines

the co-operation

Actor and the Designer.

of Arts, the

Sometimes the popular.

is

A

on the Stage, become very

lines of a dress, introduced

good character

of line

one that has been accepted by the

is

Audience and has become one of the Trends of Fashion.

The World must cope with

many

Players.

and Design Models that

will suit

and upon

a Stage

is

this idea

kinds of characters.

It

Character of Line

are

it

The Designer

many

does not have to be Characters in the is

the Free Will of Line.

Modem

a Tragedienne.

full of active

motives.

We would We prevail

give a line expressing a

upon the Line

Skirt

is

is

lines, like

Type

active

lines.

and

The Seamless The

designed with the huge French Knot and Sash entrain.

designed on circular

we

to assist the character.

In the problem the lines express supple youthfulness. Princess

Plays.

In designing for the In-

genue we could not express the character by long clinging

would

different

The whole conception

in this

Design

expresses wit and vivaciousness.

Modeling Take your Regular Block and place your regu-

Semi-Princess Block: lation

Two

Darted Lining Dots on. Square

the Bust Line dot.

Half

way between

below

off directly

this dot

the

two dots on

on Semi-Fit Waist

Line, and square off seven inches below this dot (Square off

means dot

straight below).

Divide your shoulder seam into one-half and dot with

Red Curve (V

draw down

5)

of dot on Semi-Fit

up draw

to dot

on Bust Line.

Waist Line one-half

in right side of dart

(V

5) face

of dart,

down

Measure

in one dart

this dot

up to Dividing Line under the arm.

of

Waist Line and draw

Ninety-seven

in left side of dart.

From

to dot seven inches below.

from Yz inch on Semi-Fit Waist Line and draw from

Back Hip Line seven inches down one

Fit

side

with Red Curve (V 5) face

down draw

each point with Blue Square draw lines

Measure on each

in the

Measure over from the end

dart, dot, put

V

3

on dot on Semi-

curve of your hip seven inches down.

Back: Use your Regular Block and draw

From your

From

Waist Line.

On

Blocks hip ciuve.

up

an inch on the Semi-Fit

Red Curve (Face Down)

down seven

of the hip

On

and the half-inch

into one-half.

draw

the Semi-Fit Waist Line from the half-inch

from Center Back divide into one-half.

in point

Take your

V

inches touching the

Place one-quarter of an inch on each side of that point.

seam

place

the Semi-Fit Waist Line and the y^ inch point

to under the arm.

in point

your Semi-Fit Waist Line.

in one-half of

that point with your

draw the curve

3 on dot and

line

measure

side hip Line

in

V

Divide your shoulder

Red Curve and

5 of

place face up at the

one-quarter out point and draw the curve of your dart up to the division

Make

point on the shoulder seam.

the right and left side with the

same

Square and dot seven inches below your dart and measure out on

curve.

Draw from

each side one-half of an inch. each side

down

the one-quarter out points on

to the opposite sides.

Cut out without seams your four

different sections.

Transferring into a Seamless Princess Kimona.

Take Number One and Number and squeeze together dart

Two

(tightly).

pieces of your Princess just drafted

Pin down

Take Backs Number Three and Number Four and put

paper.

Arm Seam Back

Round

is

The Center Front

Center Back.

From

and Front

The Center Back

cess Block.

neck.

It is

to the Silhouette

cut the is

Make

Bow

Knot about

Line of your Front Prin-

cut with one inch taken off on account

not necessary to pinch in a dart on the shoulder.

the end of your Bodice Line measure

from side seam.

Cut

same as the Regular Kimona Block

up on

and from that point measure over four inches,

Knot or

a regular

Fold upon Shoulder Slant for a Regular Kimona Sleeve.

Kimona.

of the

dart tightly

As you do

together and put shoulder to shoulder with front.

under

on your material or

flatly

seam four

side

inches,

Cut straight across

dot.

the width of your band that attaches to your French

and Sash three inches.

8 inches wide.

Make

sash that

Crush one end down

ties

until

up it

for the

fits

French

onto end of

3 inch strip.

Back Follow the same :

of an extension of 6 inches

Sash by just folding strip

from Back.

or sash and

fill

it

rules for the cut as the front with the exception

on the

strip.

Tie your French Knot

back with a loop of 9 inches.

Let the sash drag on the

in cut

floor.

v\rith

the

Tie over the 6 inch

You may

face the train

with continued facing.

Ninety-eight

Semi-Circular Skirt Take your regular Semi-Fit Sprung Block. to the Semi-Fit

bottom up

To

Waist Line.

each dot to Semi-Fit Waist Line.

Spring every inch from the spring draw a line up from

Cut open and

insert a piece of paper or

material spreading one inch at the bottom tapering up to nothing.

may

just

open and pin down onto another piece of paper, spreading one

inch at the bottom and tapering up to nothing and cut out

Back

Or you

is

done by springing every

^

new

Block.

inch and then followed out the same

as the front. Frill:

Draw Line

inches down.

across at the end of your Block Line, which

Measure from Side Seam

three inches up, out three inches, three inch point above

draw

to the top of skirt line.

Cut

At the

down it

separately and placing

Studio Model of

draw

is

made up

it

back.

of

to line

frill off

frill is

as

(Top

it

of Skirt Line).

Spring every inch

sets better

by cutting

sprung and cut the same. The

Black Chiffon Taffeta.

White Broadcloth, edge corded

Ninety-nine

down

line straight across.

Back

seven

after all springing is accomplished,

line

this

is

Circular Skirt and Frill

in double cording of

Black and White.

riri

One hundred

Name

Lines in

Kimona

Butterfly Name Only

Lines in

We

design.

lines of

an open sleeve and

There are

Butterfly origin.

all

skirt panels are essentially of

modern improvements,

as silk lace for skirt

medallions with streamers.

silk

In

are always sensitive to the beauty of a symbolic

have the Butterfly Kimona for example.

The flowing

and

Only

probability the

all

Butterfly because

its

name

of this silhouette

wings are spread

was derived from the

In this Model

in flight.

it

is

only

the Lines of the Sleeves that have this silhouette origin.

Today's Butterfly Kimona has

The Designer

namesake.

all

the advantages over

its

These Lines

Name Only

in

often

popular and will be seen upon every representation of Designs.

narrow

we have

the Straight Neck,

light boat".

The neck

"The Bateau Neck"

line is long

has these lines to use continually and

and

Kimona

regards nothing further than the Butterfly

Block in the creation of the Design.

instances,

beautiful

become

In other

in definition

"Long

and narrow, thus the Designer

can continue to follow other ideas

still

ideals in the Design.

Modeling Use your Regular Drop Shoulder Night Gown Block. making same (Back and Front) you grams.

Do

will find in the

not spring between Shoulder

The Rules

for

French Lingerie Dia-

Seam and Chemise Waist Line on

Block for Butterfly Kimona.

Take your Regular Drop Shoulder Night Gown Block and place on the fold of the material or paper.

The length

of the sleeve

uring from the wrist up to the edge point.

The

measures four-thirds, so take 4 inches

20 inches).

Measure down on your Night

shoulder dot. point under the

and waist

of width.

Continue your straight

arm

to

Waist Line.

From

line

One hundred one

24

your measurement (making

Gown

Block 20 inches from the

down

to dot.

Curve from

this

seam

then two inches above and two inches

Slant these springs toward center one.

Open

is

the wrist up to edge

Fullness, divide between shoulder

line point into one-half, dot,

below, dot.

off of

obtained by meas-

length of your sleeve

inches from the top of the shoulder to the wrist. it

is

Draw

in to

about half

these three springs and insert one inch tapering to nothing.

The

fold panel

you remember the

in width transferred is 4 inches, as

In getting the position for a Panel you

One and

center of shoulder.

folds back, so

one inch spring on each with the streamers

is

side.

on the

By drawing

Two

side.

The Sleeve

is

The width

is

Cut same

insert

The Medallions

The same Line

that is

drawn

of the panel is used.

For

in thirds

of the streamers

when

is

doubled

transferred

on Chest

line extending one-

Width

for

times.

off at the

four inches and width of stream-

Chemise Waist Line.

connected on the

Neck Chemise Block sprung three inches wider.

open and

The Measurements

Length 30

Skirt portion

Open and

separated up to the Medallion.

from shoulder.

ers IJ^ inches each.

to fold edge.

The width taken

are 3 inches from Shoulder Seam, medallion half inch over Line

points one inch

amount from the Shoulder Seam and the ex-

tension over this Shoulder Line.

doubled.

side of the panel

springs on each panel.

from shoulder governing the position for the width the length obtain in thirds the

Each

line to waist line

proportioned as follows:

transferred in inches.

Waist Line toward

The panel

same and tapers down

line of

spring one inch on the fold.

The

rules for doubling.

one-half inches on Chemise

add two inches out on each

above the straight

is

measures 2/3

position from a point

fix its

the balance of width towards back.

Seam with

when

it

In your example this panel begins from a point directly below

shoulder.

Side

From Sketch

about 32 inches long.

is

slip

which

is

a Regular Straight

The arm-hole

is

Chemise Waist Line.

made about

l^^

Make bottom

the material of the Model and upper portion of China Silk.

Put back

of to-

gether with an elastic Waist Line.

Back and Front Back and Front

The Model

is

of the Butterfly of the

made

Chemise

of Satin

Kimona executed

Slip

the same.

and Skirt portion done the same.

Back Crepe with overskirt

The Medallion and Streamers made from

of Silk Lace.

Silver Cloth.

One hundred two

One hundred four

Artisans of Combining Blocks

Raglan Sleeves Artisans of Combining Blocks or Patterns are those skilled in putting together the Mechanical Blocks for the different

Sleeve

is

used with various Silhouette Blocks.

Art in designing.

The Kimona

It is the practical side of

has mechanical purposes and advantages in combining

It

blocks having one or more masses.

Its parts

make another

portion so arranged to

Sleeve drafted on the Regular drafted

Designs.

have symmetry or due proIn the diagram the Raglan

block.

Kimona Block and

upon the Kimona Chemise Block.

Fullness

the

Body

of the Coat

added after the masses

is

are constructed.

Modeling Use your Regular Kimona Block (Unsprung).

Same

from the Chemise Waist Line. three inches.

Draw

From Elbow measure

flat.

a curved Line from point on under

arm seam

Wrist

to

elbow

line is the

same.

the neck line toward the center front measure V/i inches toward center

back

1

Draw

inch.

from dot on front down to under arm seam point

line

You

and from the back the same. vary

One can be

in shape.

used.

The Bottom

for

can make the Lines of a Raglan Sleeve

curved, one straight and one scrolled.

diagram you have the example is

out and lay

out two inches.

Back measurements are the same and the curved

to wrist.

On

Open

has no seam on the shoulder. Measure up on under arm seam 3 inches

fullness

is

then one-half on each side and dot.

one inch

sprung.

For your Body

of the

Sketch the

the

Straight

Divide into one-half dot,

Three springs

bottom and taper to nothing up

at

On

the three.

of

On

in all,

open and spring

to elbow.

Coat use your Regular Kimona Chemise Block.

Place the Line of the set in portion and spring only to that point for fullness.

You may

spring through in

The Model shown Model

it is

sprung

across back.

is

7 times

on

if

from is

side

seam

you desire more

you plan your Design.

One

huntdred five

Add about

you want

As

this is

fullness in the sleeve.

an unusually Circular

to center back.

done the same.

spring through the line of the sleeve. as

if

not sprung through.

The Front

after the sleeve is

some instances

You may

fullness.

You may add 2 inch or

1^

Making

14 springs

spring 4 extra times

When

the sleeve

is

on

or reduce your fullness

extension in front

(/a/)).

-

The

Collar

The Cuff

is

is

a bias fold

made with

slot to thread

drafted on after the springing

way between elbow and The patch pocket

is

is

end through.

applied.

Its

width

is

half

wrist.

10 inches in width at

bottom and 8 inches

at top,

length 10 inches.

The Model

is

made

of Plaid Sports Material with Collar, Cuffs

and

Patch Pocket of Black Suede.

One hundred

six

or tUiiviA, uv enj0>u-

hundred

cigl't

Decoration of Line In Decoration of Line Beauty comes

first.

and novel drap-

Its artistic

ing will impart to the wearer an irresistible gracefulness and slenderness of It

line.

the abstract beauty that determines the artistic excellence of

is

Most cases

Dress.

in the use of decorative art

Line composition to

you have

lines

of

important.

of the

an error

It is

ornamentation and

most beautiful dresses are

be beautiful, though of plain material because

has a Decorative Art of Lines.

tion

of colors, materials,

Some

a design.

A gown may

the simplest.

is

the most serious quality of design.

assume that by the arrangement

mixed

it

is

—value

The

best results

come from

the applica-

Decoration of Line upon structural forms that have beauty of

proportion.

In the use of Decoration of Line Costumes must be wearable.

The

displayed in the problem given,

Mod-

ingenuity of the Decoration of Line

This Design

elled in a graceful silhouette.

The

simplicity.

are

more

style develops into

hung from shoulder

gracefully

in

is

an example

of fineness

and

more elaborate and ornate drapery when back.

Perpendicular Lines in Draping

distinctively artistic than the clustering lines.

Beauty of proportion

Model the continuity curving that

is

is

a substance to dwell upon.

For instance,

of line starting at the waist takes the

characteristic of the Design.

Decoration of Line of

is

is

One

in this

same degree

of

of the correlative lines ia

the draped across line, as the lace drapes in center

back to shoulder.

Modeling Take your regular unsprung Kimona Chemise. one inch

off of front

and place on fold

dart in on center of shoulder fullness at the

Add one

For drop neck

of material or paper.

line take

One one

seam and add one inch under the arm.

Normal Waist Line on a Straight Line Model add

inch

For

springing.

spring at Normal Waist Line, also one one inch above and one

one inch below, open and insert a one inch spring. half the width.

The neck

is

Taper

to a point one-

one inch up from shoulder point slightly curved

and then straight across. Back:

Make

according to rules of Regular Straight Neck Block.

not add side springs in back.

(7»^ hundred nine

Do

Start roll of lace 4 inches wide

Lace and Chiffon and a picot piece

Chemise Waist Line (use a piece of

at

of chiffon 4 inches wide)

continue around

;

with drop Center Front IJ^ inches, opposite side 2 inches, Center Back 1^2 inches.

The width

inches.

Very

bottom.

Put

of the space for the roll of lace

effective is a gathering

same width

in the

inches from side

as the

roll.

Keep

and then to point on

2^

of six inches for cascading.

lace even at

bottom by

lifting

lace to shoulder

sleeve.

Bind neck and Sleeves

in bias fold.

The

made up

Studio Model was

shirring at top

and

Drapted three

yards.

when continuing around. At Center Back drape

at top line

or 3

is 2^/^

material, shirred top

Lace

seam leaving an extension

Extension three inches below hem.

Black Charmuese and Cire Lace.

in

A

was used on one Model and Harem Roll on other (Lace and

A

Chiffon alternating in rolling).

ness at Waist Line of one while

on the

same

of

and chiffon

cluster of Silver Grapes caught the full-

White Cock Feathers

lined in brilliants

other.

Japanese Kimona Take Regular Chemise Kimona, make length

Add

floor.

fullness half

six inches out

by

springing.

on right side

and

six inches

to extend six inches

up and curve

to the point.

on

Add

Divide on bottom line into one-half dot, then one-

on each side of that dot.

dot, then again

Draw your

three

springs up to your shoulder seam, slightly curve the line from Chest Line up.

Open and

half inch

thirds

insert one inch spring at

on Shoulder Seam.

and

Including center dot divide toward front in

insert three springs six inches in length,

spring tapering to nothing. the

bottom and taper up, spreading one

arm and draw

Sleeve width

parallel with Shoulder

is

open and

insert one inch

taken from Bust Line under

Seam.

Divide into one-half on

wrist line dot, one-half on each side dot, open and spring

3/^

length up, one

inch springs tapering to nothing.

Fold material or paper as front three inches over from Line

Back

is

Collar

One

cut and draft'ed the

is

is

cut Surplice.

Cut Surplice from point

continuing straight Surplice to neck

same

line.

as usual.

cut on bias, seamed in back continues around to a desired

distance down, then faces back the

The bottom has

front.

a padded roll three inches around edge.

One hundred

ten

One hundred twelve

Descendency of Line Descendency

of

Line

is

a line

a portion of a design that has been

Probably these lines were used

used in past designing.

Grandmothers and now adapted

in the

days of our

day designing.

to present

Art of producing an Old Fashioned Idea to a present day Model.

It is the

A

making

Distinctive Art sometimes passes a generation before

in use again.

It is a recreation of free lines that

it is

brought out

can be used time and time

again.

The Art

of Transmitting Lines

of the old fashion ideas onto a

The

logic in the

whose elements form

Your

Drop Yoke.

is

shown

most up

Descendency

of

in the course of the descent!

to date frock.

Line

is

a combination of smaller lines

In the problem given

a subject.

creative composition

the Old Fashioned

it is

must express

originality, introduc-

ing an old fashioned or quaint touch by either trimming, flowers or smocking, etc.

Take your Idea or Inspiration and

To combine Old and New Too

build around

it.

Ideas in problems you need a critical sense.

loosely applied combinations do not exhibit designs of

Quality.

In the Design given the ornamentation has been carried out in ribbon trim-

ming which

The

an old fashioned idea, with

is

floral

motif and huge

Silhouette and Draping Lines are strictly modelled in the

to the

Wearer

While

the latest Trend.

Ideas imparting to the

Wearer

thte

flat

bows.

New, imparting

Yoke and Ornamentation

are Old

a Quaintness of Style.

Modeling Take your Regular Chemise Kimona Block (Sprung) and into a

Drop Shoulder Night Gown Block.

it

draw curve around same curve as neck.

inches then

The lower Take one inch

portion

which

is

sloped from your Regular

off front lay

dart center of shoulder of yoke,

transfer

Yoke drops 4

See Lingerie.

is

on fold

Kimona Block (Sprung).

of material or paper.

Pinch out one inch

seam and add one inch under the arm.

one inch above Chest Line on Line One.

Get position

Cut out and add

to Yoke.

The

side panels are cut, one inch over

Line and three inches below. roll,

^ for back. Back

of

The

from Line One on Chemise Waist

slot for

gathering

is

3^ in width,

Y/^

Block

is

folded in

same manner.

In the Panels, put Front and Back together and cut in one piece.

One hundred

thirteen

for

For fullness divide and spring six times, one inch springs.

One hundred fourteen

French Lingerie Lingerie has taken

of

all

de chine.

them charmingly

Some

of the

Corset Covers are

A

made

trimmed with that

is

in the affections of the

Lady

of

include a group of unusual novelties, variously

—fashioned of

more

fine linen, voile, batiste

and crepe

substantial designs of Bodices, Brassieres and

of the

heavy

silks

and

satins.

remarkable collection of charming intimacies (gowns, chemises, draw-

bodices and etc.)

ers,

wonted place

The Designs

cultured taste.

—but

its

;

some

in austerely tailored models,

others daintilyf

hand-made lace and embroideries, which have an appeal

fine

peculiarly their own.

Lingerie Sets always find the same daintiness with the light silky materials.

Crepe de Chine and Voile de Soie are mostly preferred, being so practical

and easily trimmed with

broidery or

many

adorned with open work motifs, em-

Filet or

other fancies.

Lovely materials that every modern all

woman demands

allows the use of

various shades: blue, mauve, yellow, and specially the roses, from the

flesh color to the

The Designs

salmon, which are so suitable to every lady. are always very simple,

many

small plaits can be used

divided by ranges of open work, embroideries, etc.

Large and small bands

of Filet or Valenciennes insertion are decorative.

There are always great demand sets.

for

charming and richly hand embroidered

Also Bridal Sets of white crepe de chine with insets of Filet Me-

dallions

Heart shape are most

The Seasons Designs

in

erent appropriate Lingerie.

ness of Dresses.

effective.

Frocks often oblige the Elegante to wear

For

Naturally this

instance, the petticoat, is

owing

diff-

to the sheer-

the reason to prefer the use of the Petti-

coat Combinations.

Lingerie

is

designed in strictly "decollete" and of the daintiness of design.

In Designing always remember simplicity.

In selecting your colors

let this little

Leave your Art Palette with Colors with Colors made from the juice pastel shades).

One hundred

fifteen

of

symbolic suggestion advise you.

of Oils

and turn to your Art Palette

Flowers (for the daintiest and lightest

I STEP-1N%.

y BNVtLOTlS.

OP£Af.

a CCMB/VAt/Om,

One

liundrcd sixteen

Lingerie Step-Ins.

1.

Take

material or a piece of paper large enough to fold, double, then fold

Dotted lines through center (Open B) will guide you

again center front.

Then

as for folding.

place the double fold Center Front

upon the Center

Place the Center Fold 14 inches from Waist

Front of the Regular Block.

Let top of your garment be even on Chest Line.

Line for Crotch.

Measure

out from point under the arm one inch and from Chemise Waist Line two

Draw from

inches.

that point

Waist Line and then down

material or paper

is

bottom

to the

two inches

inches) measure

down through

The Center Back

down

to Side

is

is

raised

Seam

Lines.

is

Chemise

the Crotch point (14

The Crotch

Seam being

left

two inches (Allowance (A)

at

figured for both sides as the

doubled (Back and Front).

Ins are generally designed by the Side

From

fold.

This

in, dot.

two inch Dot

the

is

Step

closed.

open about 6 inches.

for Seat)

and then taper

a closed diagram and (B)

is

an open

diagram.

Modeling 1. The Model Block.

The

is

side

of

Checked Gingham Taffeta made upon the Regulation.

Seam

is

opened

inch Crotch Point and 5 inch point a Line

At the

space with 3 inch rounded edge.

On

the Side Seams.

drawn.

is

5

From

Front and Back.

5 inches

Lace

is

inserted in this

inch up point a ribbon

the Chest Line insertion lace

is

the 2

bow

ties

used with shoulder

straps of ribbon. 2.

Combination (Shirt and Drawers).

Front.

(A).

Take our Regular Block and put on

down from Waist Line optional (this

is

14 inches for Crotch.

14 inches).

garments are generally cut mings.

fold of Material or Paper.

Draw Line off at

at the

Chest Line.

The Length

etc. are

Measure out from under arm point one inch and

Line two inches.

Draw Line down from under

inch point to the bottom on length

One hundred seventeen

line.

of the Shirt is

bottom straight Yokes,

Fullness

the is

at

Measure

across.

The

added as trim-

Chemise Waist

arm through the two added by springs.

Di-

Bottom Line between Center Front and Side Seam Line

vide on

then on each side of this line divide into one-half, dot, making three

half, dot,

springs in lines

into one-

and

all.

Draw

from these points up to Chest Line, open these

lines

one inch at bottom and tapering up

insert springs, spreading

to

nothing.

Back.

(B).

Measure down

Draw At

14 inches

from Chemise Waist Line

straight Line across for bottom line.

Center Back.

in

Like Front length

optional.

is

the Chemise Waist Line measure out two inches for your side seam, dot,

from under the arm draw down through the two inch point and then down

For

to the length line.

ana oiue Seam Line,

Making

fullness divide into one-half

and then into one-half on each side

dot,

three springs in

Draw

all.

lines

from points

the bottom part of the Regular Block (Peplum) for the Drawers.

Use

In front the Peplum will have a

your y^ dart

in,

little

a straight line from

inches out.

On

projection (this

Waist Line

draw down

V

For

in the waist curve.

all.

about

is

1^

measure down 4 or 6

Next draw the bottom,

bottom

to

3 of

line

Red Curve on

fullness

on bottom

line.

For

the one inch point and

draw

touching the hip

line divide into one-half dot,

side of this point divide into one-half dot.

From

these points

draw

lines

up

Making three springs

to waist line,

open and insert one

inch springs, spreading one inch at bottom tapering up to nothing. ing

this

14 inches.

this projection is generally

straight line opposite Crotch point

Waist Line curve place

in

Put

the Waist Line (Tight) measure out one inch for side seam.

that point

on each

caused by bringing

Measure down from Waist Line

inches and draw from projection line to that point.

From

is

then drawing your line back to Center Front).

Line on fold of material or paper.

From

Open and

to Chest Line.

(AV

Drav/ers

line.

of this point.

one inch at bottom and tapering up to nothing.

insert springs, spreading

From

between Center Back

optional, also

if

you wish an

elastic

Spring-

band around waist and more

ness send your one inch springs clear through.

Raise waist line to

full-

make

slot for elastic to thread through.

Back.

(Drawers B).

Use

Peplum

the

Back (caused by the Back).

of the

^

Back Block.

There

is

also a projection Center

inch in point and then drawing line back to Center

Place this line on edge of material or paper, measure

down

14 inches

One hundred

eighteen

from Chemise Waist Line for Crotch.

Waist Line.

Then draw your

from

straight line

Directly opposite Crotch on straight line measure

down

4 or

6 inches.

From

projection point

tom

From

the Tight Waist Line measure out one inch for side seam,

line.

draw down

down from Tight Waist Line measure

seven inches

down

top point draw

bottom

on each side

of this dot.

Making

line into one-half dot,

three springs in

all,

open and

spreading one inch at bottom tapering up to nothing.

then one-half insert spring,

you wish

If

around waist and fullness send one inch springs clear through. top of waist line extra for slot to thread elastic through. to Seat Springs.

into one-half.

From

out one inch, dot.

and then down to the bottom

to the seven inch point

If fullness is desired divide

line.

Next draw bot-

to this point.

elastic

Also add on

Turn your

attention

Divide your Center Back Line from Chemise Waist Line

Below

two inch below place

that point into one-half again dot,

two inch above and

Make

spring, taper to end of first spring.

spring about one-half of width

in.

inch and end tapering to nothing.

Open and

insert

length of

one inch springs, one

For curved Waist Line place

Curve Yn inches up Center Back and draw waist curve

to the

V

3

Red

one inch out

point (Side Seam).

Note (Front and Back).

Model

off at

If

you

Chemise Waist Line.

Band one

inch wide.

and draw

elastic through.

desire fullness

Waist Line

it

is

better to cut the

of Drawers.

Cut a Bias

Place on wrong side and stitch upper and lower edge

Modeling 2. The Material

is

Crepe Georgette.

only comes to the Chest Line. off of block.

slots are

The bottom

The Yoke

part of garment

made along bottom about an

open and double faced ribbon

slot turned

3

back and

elastic

Bears.

Front A.

One hundred

nineteen

is

of the

embroidered

Chemise Shirt linen.

Drafted

then attached to yoke.

Picot

inch up and two inches apart, cut

One

to waist line

threaded through.

There are seams always where

Teddy

is

strips inserted.

Drawers are sprung from bottom up

same.

The springing

The

at Center Front.

enough added

for elastic

The bottom trimming

seats are sprung.

is

the

Use your Regular Block and place on the Measure down from Center Front Waist Line

fold of the material or paper.

Measure up on Center Front two inches and on bottom

draw across

ure out under

to

bottom

seam

the side

up

inches,

Chest Line.

Meas-

For fullness divide into one-half on bottom)

line.

to Chest Line,

and tapering up

From

inches.

making three springs

line dot,

in

If

you wish top shirred on

elastic

at

and

Draw

all.

open and insert springs, spreading one inch

to nothing.

that

through the two inch dot continuing

line

one-half on each side of that point dot, lines

off at

line.

two

line over

arm one inch and Chemise Waist Line two

down

point draw

Garments are generally cut

to points.

Draw bottom

14 inches.

bottom

with fullness

allow your one inch springs to continue through.

Back

(B).

Put Center Back

down

14 inches

of Regular Block

on edge

from Chemise Waist Line

side

seam measure out two inches

line

two

inches,

draw

Chemise Waist Line

at

Measure

Measure up on Center

for Crotch.

Back Line two inches and over on bottom For

of material or paper.

to points.

from

dot,

under the arm (Chest Line) draw down through the two inch point to

bottom

line.

For

fullness divide

Making

each side of this dot.

to nothing.

If

three springs.

you wish top shirred on For the

one-half from Chemise

Waist Line.

line into one-half width.

Two

From

half inches wide.

turn in one-half inch and hem.

elastic

up from these

allow your springs to

Back Line

that point into one-half.

Three springs

in

Crotch Teddy Bears.

spread one inch tapering to nothing.

band one and a

on

into

Draw

inches above and two inches below this line

Taper toward center one.

spring.

lines

Seat, divide the Center

continue clear through.

make

Draw

dot, then one-half

Spread at bottom one inch and insert spring tapering

points to Chest Line.

up

bottom into one-half

Sew

first

Open and

all.

Cut a straight

on right side then turn over and

Close with snaps.

Modeling 3. The

Material of the

of Butterfly

Design

is

Teddy Bear inserted.

is

of

Crepe Georgette.

Filet Medallions

Starting with the Chemise Waist Line 3

These can be

ruffles are applied

one over the other.

terial or ribbon.

Over the shoulder ribbon straps are used.

either in the

same ma-

The Studio

One hundred twenty

Model was made up

The

three ruffles

Lavender Crepe, with White Medallions

in

were

same

the

of

Limb Bands were embroidered

Chest Band and

Butterflies.

The

lavender material picot edges.

Prim-

in a floral design of

roses of delicate shades.

Pajamas.

4.

Take the Regular Chemise Kimona Block.

Coat (A).

off the front, as the

same has

Make

straight neck.

shoulder seam and add one inch under the arm. is

up one inch from the shoulder

of the sleeve

is

point, (curve

The end

Draw up

side.

dot,

and

length

measures

of coat

line at that

into one-half

Open and

above Chest Line.

to point

The

neck around).

For fullness divide into one-half and

point across.

of the neck line

Draw your bottom

three inches below Chemise Waist Line.

on each

a one inch dart on the

The length

two inches under the arm.

Take one inch

spring by

spreading one inch at bottom and tapering to nothing.

Back.

Coat (B).

Point the shoulder seam at the sleeve edge and deduct the inch at the

Rules in straight necks.

top.

(match same

Neck opening

Add one

to front).

will be at

The length

inch under the arm.

draw the bottom

inches below Chemise Waist Line:

same point as front

line across.

is

three

For

full-

ness divide the bottom line into one-half dot, then one-half on each, side,

making three springs

Open and

in

is

made

lines

up to points above.

Chest Line.

one inch at bottom and tapering up to nothing.

insert springs

The Coat

Draw

all.

to slip over the head.

Pants (A).

Take your Regular

Measure down on your projecting

or paper.

The

Crotch. long.

Skirt Block unsprung.

Side

Measure

in

Seam

is

the

same

Draw down from

on bottom

Waist Line put

line.

and then draw in the shape in the top insert springs.

V

When

inches and dot for

14

6%

inches (or

more

the Crotch point to the 3 of

Red Curve on

of the waist curve.

If

Make if

34 inches

wider leg

6^/^

is

inch point

the one inch out point

you want more

fullness

Divide waist line into one-half dot, one-half on

each side dot, open and spring about inch springs.

line

as Regular Skirt Block.

from the Side Seam

preferred) dot.

Place on edge of material

7

inches down.

Spread and insert one

springs are added cut off at the Chemise Waist Line.

Back Pants (B).

Take the Regular or paper.

Skirt Block unsprung.

Measure down on projecting

One hundred twenty-one

line

Place on edge of material 14 inches

from the Chemise

Waist Line.

On

bottom

leg

is

Seam

Side

From

preferred).

divide from Chemise

in.

Add

6^

measure over

line

that point into

the same as Skirt Block and

Vq,

draw up

wider

if

For Seat

Below

length one-half the width

Open and spread one

If

you wish more

fullness

7 inches,

If fullness is

open and spring, spreading one inch

added cut

Waist Line.

off at

inch taper-

from the Waist down divide the

waist line into one-half dot, then one-half on each side.

stitch

more

a spring two inches above and two inches below, making three

ing to nothing.

about

(or

into one-half, dot.

Draw

Place springs.

Taper springs toward center one.

springs.

34 inches long.

to the Crotch point.

Waist Line and Crotch Point

again dot.

seam

inches from side

that point

make

Draw

down

lines

at top tapering to nothing.

Chemise Waist Line. Place on wrong side and

Cut a Bias band one inch wide.

upper and lower edge and draw

elastic through.

Modeling 4. The Model

The

initials are

is

made

Black Silk lined

of

embroidered in Vermilion Red Chinese Embroidery

Use your Regular Pajama Block; the Coat.

drafting.

On

and one inch below.

Waist Line. Block. line.

Side

Seam Line

Width

The Width

of

ties are

3 inches

of the tie is taken

side

Pants.

is

added as follows in the

above Chemise Waist Line

from the point

seam and

Connect with cut above and the bottom

Back

Silk.

Cut 54 '"ch top and one inch on Chemise

Measure lyi inches up on

in length.

Vermilion Crepe de Chine.

in

IJ/^

line

of the

Coat

inches over on bottom

and draw

strip 6 inches

done the same.

For width

of strip

measure up from point

inches and over on bottom line lYz inches. inches and

make width ^4

the same.

The Waist Line

of

an

is

inch.

Tie

put on an

of skirt block lYz

Measure up from is

6 inches long.

Strip point 4

Back

is

done

elastic.

5 Envelopes.

Front (A).

Take Regular Working Block and place on and measure down 14 inches and

dot.

As

fold of material or paper

the garments generally end at

Chest Line measure out one inch and dot under the arm and two inches at

Chemise Waist Line,

dot.

Draw down through

then continue down to bottom line (14 inches).

the

two inch point and

Draw from

this line to

One hundred twenty-two

For fullness divide bottom

Center Front. half

on each

From

side.

the three points

you have

draw

straight lines

bottom tapering up

spring, spreading one inch at fullness at top all

line into one-half dot,

do

to

is

to send

then one

up open and

to nothing.

you want

If

your springs clear through.

Back (B). Measure out from Chemise Waist Line on Regular Block two inches

From under

dot.

the

arm draw down through

tinue 14 inches to the bottom

from Chemise Waist Line for

Below

dot.

the two inch point and con-

Center Back measure

line.

14 inches

Divide Center Back Line into one-half

Seat.

that point into J4 again, dot, place spring, spring two inches above

and two inches below. Put in to about one-half width

For

and taper to nothing.

fullness at

on each

half dot, also one half

of block.

side dot,

top send your spring clear through.

two inches over and make one on each side

strip

— (Cross

Spread one inch

bottom divide bottom

draw

For

strap.

If

you want

fullness at

Measure from Center Back

two inches wide and

and attach

line into one-

up open and springj

lines

spreading one inch at bottom tapering to nothing.

is

dowm

in front).

six inches long. If

There

you prefer you may

put one strap 4 inches wdde in center (evenly placed).

Modeling 5. The Model

is

made

Henna and Black Lace. 6 Corset Cover.

of Voile de Sole

and Lace.

Line on the fold of the material or paper.

from Chest Line (Center Front) and across.

On

Side

Cut

off at

Seam put

is

Front (A).

Take Regular Block and take another i^ of a dart this

Color of material

Half inch Lace edges the straps.

1^

off of the front.

Place

Measure 2J4 inches down

inches under the arm.

Draw Line

Tight Waist Line and curve slightly toward your front. in

two

1/2

inch Darts.

These darts

will

draw same

in

Figure Fitting.

Back (B).

Use Regular Back Block and continue and Bottom. both edges.

Face Right side

On

left side

edge.

One hundred

twenty-three

of

Back with a

lines straight across for

half inch

band

Top

finished, stitch

have one-half inch band finished extend beyond

m

i

NIBHT eOWM VOKE fRoxr

'

DKOPSttOULDlK f-.. NliHTeOW» / M

cofniiMfTin'i

One hundred twenty-four

Modeling 6. The Model

is

made up

in Satin

embroidered in roses and leaves crossing

center front.

Yoke Night Gown. (Kimona).

7

Take the Regular Kimona Chemise Block

(A) of the

Yoke Night Gown.

It is

a straight neck so

Top

for the

we

will turn

it

portion

back one

inch in the front to the Waist Line, pinch up one inch on shoulder, add also

one inch under the arm.

Measure up one inch from

the neck straight across.

Measure down under the arm

two

inches.

The length

the curve on top measure

Button hole

and curve.

the top of

as the Front.

and back can be

long.

In making

pit.

up two inches and down on sleeve edge slot

on shoulder for

tie

as shoulder

1^

inches

seam opens.

Tip the sleeve so that you can take the one inch off on the neck as this is a straight line neck. Do not forget to add the

inch under the arm.

For

Chest Line

pit or

from arm

draw

Back.

(B)

same

of sleeve three inches

tip of shoulder,

The Length

of Yoke, Sleeve

Also button hole the

and curve on top

slot in the

tied together with ribbon

is

the

same position so front

on shoulder.

skirt portion use straight material 40 inches

wide and about 38 inches

Front and Back the same.

Modeling 7.

Yoke

is

of

Madeira Embroidery on handkerchief linen and the lower por-

tion is of crepe de chine with insertion of Valenciennes Lace.

8 Brassieres.

Take the Regular Block put on above and below Bust Line.

fold of material or paper.

Open and

spring at side seam, one in center

and one one inch above and one one inch below. ing one inch tapering to nothing.

Evenly placed

Open and

spring by spread-

In making figure on ribbon

7

or 8 inches

in width.

Back Draw your Bust Line

straight across

evenly place width above and below the Line.

One hundred

twenty-five

on Regular Back Block and

Modeling 8. The

Brassiere

is

made

Brocaded Ribbon, the edges are faced

of 7 inch

with narrow ribbon and on the front narrow silver lace

bound

is

in.

9 Empires.

(A).

dart under the

Take the Regular Block measure back one-half

arm and draw down Line measure up

1^

On

Place on fold of material.

Waist Line.

to

Then draw

inches and below one inch.

line straight

Below Bust Line on Line One measure 2^4 inches and on

across.

below Bust Line

Make curved

inch.

1

inches above Chest Line and

inch below.

Draw

seam

Measure lYz

lines straight across top

38 inches long.

skirt portion use 40 inch material

For the

and bottom.

1

side

line.

Continue Bust Line Across on Back Block.

Back (B).

Bust

Back and Front the same.

Modeling 9. The points;

on each point

Bouquet 10

material of the Empire

is

on

is

left side of

is

The edge

silk.

inserted a Heart

of the skirt is cut in

MedaUion

of Filet.

A

French

Bodice.

Drop Shoulder Night Gown.

Front (A).

Take Regular Kimona Chemise Block (Unsprung). For

the straight neck

turn back one inch in front, pinch in one inch on shoulder seam, and add

one inch under the arm.

Take Red Curve and put

V

1

and draw

in the

Shoulder Curve to the actual length of the shoulder (S^^), then take the Blue

Square and draw

in a

and draw in side slant from Chemise Waist Line Seam. Line.

For fullness between the End

V

Take

continued slant (8) inches.

to the

5 of

End

Red Curve of Shoulder

Seam and Chemise Waist

of Shoulder

Divide into one-half dot, then two inches above and two inches below

dot for another spring, making three springs in

up toward neck, and the springs on each Spring about half to nothing.

way

To add

in the width.

fullness in the

all.

Slant the

side taper to the

Open and

Body

first

spring

end of this spring.

spring one inch tapering

part of thq gown, divide

One hundred

on the

tiventy-six

bottom

Then on

line into one-half dot.

the right side into one-half dot,

then on each side of this dot into one-half.

Draw

straight lines

up put

in the

up

Making

three springs in

all.

Waist Line from these dots and from Waist Line

to

same curve as the curve

Open and

of the side line.

insert

one inch springs tapering to nothing.

Back (B).

On

Take Regular Kimona Chemise Block (Unsprung).

the Original

Add your

Block be sure you have followed the rules for the Straight Neck.

Take Red Curve

inch under the arm.

Curve

in the Shoulder

in a

in side slant

The Springing

Seam.

1

on top and draw

(5^), then take the

to the actual length of shoulder

Blue Square and draw

Curve and draw

V

as front and put

Take

continued slant (8) inches.

V

from Chemise Waist Line to the End

5 of

Red

of Shoulder

followed out the same as the Front.

is

Modeling 10. The Material

Night

of the

Gown

used for the bottom with diamond shapes cut out.

and

tied in

bows

in the

diamond shapes

Shadow Lace

Crepe de Chine.

is of

in lace.

Ribbon

On

is

is

threaded

shoulder wreaths of

roses are rnade of the crepe de chine and small black ribbon.

Around waist

a satin ribbon girdle.

is tied

11.

Billie

Burkes.

Front (A).

Take Regular Kimona Semi-Fit Block (Unsprung). neck turn back one inch in front, pinch

14 inches

paper.

The

below Waist Line.

14 inch point

from Waist Line. and

On

Draw from

dot.

is

Place on edge or fold of material or

straight line opposite Crotch

this point

8%

Draw bottom

inches and

line.

draw from

Fit Block.

Back (B).

One hundred twenty-seven

Draw

the end of Crotch.

up

From

Add

a straight line

down

measure down 4 inches

Make

to Crotch.

Tight Waist Line on Side Seam Line. bottom.

one inch on shoulder seam, and

Continue your Center Front Line straight

add one inch under the arm.

down

in

For the straight

length 34 inches from

3 inches

more

for fullness at

the Straight Line in front measure over

this point

up to the

7

inch point on your Semi-

Take Regular Kimona Semi-Fit Block (Unsprung). ular Rules as diagramed in

Continue your Center Back

Straight Necks.

all

Follow your Reg-

Line down 14 inches from your Chemise Waist Line for point of Crotch.

Between the Chemise Waist Line and

this

Crotch point divide into one-half

Place dot for Seat Spring and continue this spring

dot, then into one-half.

Place a spring two inches above and two inches below*

in to one-half width.

and continue the spring

in slanting

toward center one.

Draw

inch springs, one inch tapering to nothing.

Tight Waist Line, Opposite Crotch point on dot,

and from

From

Front.

and from

draw up

this point

The Length

the Straight Line measure over

draw up

this point

to the 7 inches

Straight Line

one

insert

down from

Line measure down 4 inches

this

to Crotch.

Open and

8^

down

the

same as the

inches on bottom line point on your Semi-Fit

Block.

Modeling 11. Use Block in front,

which

just drafted for Billie Burkes. is

2 inches over

Place position for Bib or set

from Line One on Neck Line and Bust Line,

continue end straight along Bust Line.

Divide line from Neck Line into 4 equal parts and add the points.

On

on Bust Line.

at bottom.

on Line One, bind same with bias

Make

top.

The Back

Billie

Burke

inserted Bib front

is

down

cut along this Line and

After you cut this

away put

a false

On

Shoulder Seam there are points that

Divide your Shoulder seam for two equal points.

button over on front.

The

fold.

The

picot slots and thread ribbon through.

done the same.

is

down

Semi-Fit Waist Line raise one inch and 6 inches

on Line One, one inch wide

end onto

Also

is

of

of

Crepe de Chine and ribbon of another color.

another color.

The edges

The

are picot throughout.

Bodice and Bloomers.

12.

Bodice (A).

Take Regular Block and take Line.

down

Under to

Arm

Yz dart off the front

on Chest Line measure out Yz

Waist Line.

Draw from

to Chest

this point

For Shoulder Strap measure up one inch on shoulder

seam and make width about one inch or lYz strictly decollete.

dart.

and draw up

Make

inches.

Lingerie are designed in

the curve of your neck extend to about Y2 inch

One hundred

twenty-eight

below Chest Line, and about one inch around arm hole

to about Yi inch

under the arm.

Back (B).

The Back

is

done upon your Regulation Block.

same as Front Shoulder

Make

the formation the

straps, etc.

Bloomers (C).

Take Regular

Then draw

ing line 14 inches for Crotch dot.

Crotch point on straight line measure

draw up

may add

to the 4-inch dot.

your bottom points

draw your bottom

draw

Fullness

up to waist.

Opposite

4 inches dot, and from this point

line straight across.

line into one-half dot, line

down

straight line down.

down

the 4 inch dot on straight line measure

From

to Crotch point.

2 inches and

Measure down on your project-

Skirt Block (Unsprung).

is

optional.

If

you wish length you

For regular

and one-half on each side

Open and

fullness divide

dot.

From

these

spring by inserting one inch spring

tapering up to nothing.

Back (D).

Take Regular

Skirt Block (Unsprung).

(projecting) 14 inches from Chemise

Continue on Center Back Line

Waist Line and dot

for Crouch.

Divide

from Chemise Waist Line and Crotch into one-hi^f and then one-hnlf again for Seat.

Draw for

spring in about one-half width, then two inches above

first

and two inches below add spring, taper these springs toward center one. Three springs

On

in

Open and

all.

insert one inch springs tapering to nothing;.

Straight Line from Tight Waist Line opposite Crotch po'nt mea'^'-e

down

4 inches dot, and from this point

like front

you may add

on straight

draw up

From

to the four-inch point.

Draw bottom

line 2 inches.

ness in Bloomers which

is

to Crotch pomt.

For

len