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DRAPING A N D FLAT P A T T E R N M A K I N G

MARION S. HILLHOUSE EVELYN A. MANSF|ELD Michxgar: Stale College

H O U G H T O N MIFFLIN C O M P A N Y ATLANTA - SAN FRANCISCO CHICAGO - oALLAs BOSTON - NEW voax Eh: Rihctsihr Orts: Camhnbgr

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Rl.GHT' T0 All, RIGHTS asssnven; INCLUDING msasos IN {IEPRODUCETHLS aoqx onpvprs _;.‚

PRINTED

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U.S.A.

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‘b. Slash to each underarm seam 3. Close the to

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line.

underarm dart. Spread equally at the edges to be gathered, addLr: enough flmugh length to cqual equal at least one and one-half -« the w» vcnical slash lengLh. vcrtical length.

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I37

Both edges spread Fig, Fig. 49. Both sprcad equally for gathers. Gathers lie lic parallel and effect is heavier.

Since the underarm seams have not been increased in length, length, both the seam edges and the gathered edges have become decided arcs. Another possible design using this is achicved achieved by slashing through the underarmprinciple seam lines and spreading the pattern pattem at both ends of the slashes for gathers running across the underarm seam. The eflect, however, is heavier and more effect, because "clothy," the fullness lines lie parallel and tend to t0 look flat and crushed (see Figure Figurc 49) .

D R R EE S SS S D DESIGN D ESIGN

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'will be be the the correct correct position pos1t1on for for thc the platte: placket opening will the little little Enger finger line. line. Add Add aa lap lap i! if buttom buttons and“: and but'. the — tonholes are are to to be be used. used. tonholes. 4. Slash Slash vertically vertically a: at the the side side back back and and side" side from 4.

Problem 33 Problem

SLEEVE WITH WITH SIMULATED CUFF CUFF SLEEVE (see Figures 50, 51 a and b) Sla und 50, (see Figures b)

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from the ends of the design line of the cuff to the tap

This sleeve sleeve illustrates illustrates another another way way to to introduce introduce This deta il at at the the lower lower edge. edge. It It is is similar similar in in silhouette silhouette to to detail bishop sleeve, sleeve, but but has has the the cuff cuff and and sleeve sleeve cut cut all all in in the bishop the one piece piece (see (see Figure Figure 50) 50) .. one

of the the sleeve. sleeve. Draw Draw these these slash lines lines equidistam“ equidistant from of the center line to keep the sleeve balanced. the center line to keep the balanced. 5. Spread Spread the the pattern pattern equally equally t0 to add add fullnm" fullness at 5. the lower lower ends of of the the (two These slashes, slashes, plus w o slashes. These n?‘ the the spread spread derived derived from from the the transler transfer of of zhe the elbow elbow dart the to the the lower lower edge‚ edge, will will supply supply enough enough fullneso fullness x; (one to and one-half one·half to to two two times times the the length length of of the slash slash for and the cuff). cuff) . The The sleeve sleeve will will be be lullest fullest toward toward die the bad the ‚A because two two of of the the three three poinls points spread spread are are back of because back.' the Center center of of the the cufl cuff (see (see F Figure 51 b). the igure 51b).

. l.I. On On the the master master pattern pattern sleeve, sleeve, draw draw in in the the design design lme of of the the cufl. cuff. That That is‚ is, measure measure up up from the the lower lower line the depth depth of of the the cuff cuff and and draw draw aa line line parallel parallel to to edge the edge the lower lower edge‚ edge, but but extend extend itit only only through through the the center center the of the the sleeve, sleeve, not not out out to to the the underarm underarm seam seam lines. lines. of Start the the line line approximately approximately II inch inch from from the the back back Start and end it approximately 2 inches from the front edge and end it front 2 inches from the edge approximately edge (see (see Figure Figure 51a). 51 a) . edge

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6. Redraw Redraw the the line line to to be be gathered, gathered, curving curving i: it ddown· n’ 6. . ward for enough extra length toward the back to allow ward lor enough extra length toward the back to. lag. the arm arm to to bend bend sharply. sharply. the Figure 52 shows the same same idea idea adapted adapted I0 to aa lh three· a. the Figure 52 quarter-length sleeve with curved line detail on the 2 line detail on wich curved sleeve quarter-length simulated cuff. cuff. simulated

2. Transfer Transfer the the elbow elbow dar: dart to to aa vertical vertical dart dart on on the the 2. little finger line. (See directions for the transfer of the little fingen‘ line. (See directions for the transfer of the horizontal to to the the vertical vertical dart, dart, Page Page 135) 135) .. horizontal 3. Slash across across the the design design line line of of the the cuff cuff to to the the 3. marked points. points. The line line on on which which the the culf cuff has has opened opened marked

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Dart

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(a)

Figs. 50, 50, 51 5 1(a) (a) and a nd (b) (b) .. Sleeve Sleeve with wi th blnused bloused lullness fulln ess above above Figs. 50 shows shows blnuscd bloused lullness fullness above a bove aa simula ted cufl. cuff. Fig. Fig. 50 aa simulated cuff. ln In Fig. Fig. 5| 5 1(a) (a) ‚, slasli slash lines lines are a re drawn: drawn ; and a nd in in simula ted cufl. simulatcd Fig. 5 1 (b), the slashes are spread fo r blousing and the full lor and thc lull are 5| the slashes blnusing spread Fig. (b) ‚ section is is lengrhened le ngthened (see (sec dotted do tted line) Ii ne) . section

138 I38

(b)

SLEEVES

ig.52. ig.52.

Simulated cuff cufl on thiiee-quaner-length thrcc-quarter-length sleeve.

Lantern sleeve. Fig. 53. Lamern

Problem 4 EVE WITH WIDTH BELOW THE ELBOW AND lEEVE A FITTED WRlST— WRIST—LANTERN LANTERN SLEEVE (see Figures 53. 54a and b)

hehe following directions explain how to t0 design a one horizontal horizontal seam below the w. _w. lt is easy to overdo intricate seaming. The ive is a very small part of the entire garment, and c u t up it is, _«smoother and less cut is‚ the better the geneffect will be. Silhouette is far more ‚f‘ Vl elfect important importam Lhe design will be less fussy and detail, and the lly bctter if made with few seams rather ralher than v‘!

‘cm sleeve with jem

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;=- On the one-piece master sleeve pattern draw a

_ parallel to the lower edge. This line divides the ‘ee into imo upper and lower sections. lt It should be i’t 51/2 inches up from the wrist or any other disdis— ‘fe that produces good proportion. Crossmark the line. i Rule lines from the top of the cap and parallel parallel 1: Center center line down to the division line established Malte the lines equidistant from the center. a‚pp 1.l. Make Continue the same lines drawn in step 3 through ower (hat they are Ofver section so that perpendicular to ‘st st

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(b)

Fig.54. Fig. 54. (a) Slash lines drawn (dottcd (dotted line). (b) Slashes spread. The matching edges of both sections must be the same length.

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edge.

139

DRESS DESIGN 5. Cut the upper upper and lower sections apart. apart. to a vertical 6. Close the elbow dart and transfer it to slash line line at at the poim point of the dart. 7. Slash the vertical lines of the upper upper section and 7. spread at enough to produce produce the them at the lower end spread enough to at the lower edge edge (see (see Figure Figure 54b) 54b).. desired width at tip over 8. Measure the arm from the shoulder tip sharply bent elbow to to the wrist (see (see Figure Figure 15). 15). the sharply length over over the back of the arm Since the total sleeve length equal this measurement, measurement, at at least 1% l V2 inches must must equal be added to to the upper upper section. Drop Drop the bottom line be upper section to to lengthen lengthen it it at at the vertical dart of the upper position at side back, and up at the then curve the line up back, position toward the back seam so (hat that it it emers enters the seam at at a right angle. angle. The dotted line line in Figure Figure 54b indicates right shape this line should take. the shape 9. Slash the vertical lines in the lower section and spread at the upper upper edge edge umil until it it exactly exactly equals equals the spread at lower curved edge edge of the upper upper section. The lower section now has has a sharply sharply curved wrist line, and its upper edge is a far more rounded curve than the lower upper edge edge of the upper upper section. edge

Problem 5 SLEEVE WITH PARALLEL DARTS AT AT THE TOP SLEEVE (see Figure Figure 55a) 55a) OF THE CAP (see

1.

Fig. 55 (a). (a) . Sleeve Wllh with three parallel parallel daru darts at at lhe the topl top. Fig.

D, E, E, and F to to point point Q Q on the girth 3. Rule from D, ;. ‚.

line.

point C 4. Measure lI inch down from point point £) B. and mark A and between E) point measurement from G to to H. H. measurement

(the halfwa) n. (the Repeat Repeal. tilt»

Jines from B to to Q Q and H to to Q. Q. 5. Draw lines 6. Slash from E to to Q; Q; from Q Q to to P; from Q Q toR. to R. 7. Slash from Q Q to to B; B; from Q Q to to H. H. to point point Q. 8. Slash from D and F to Note. The direction slash to means cut cut 1o to a cer certain Note. point through point. that not but through poim. point on a second sheet oi of pa, paper 9. Rule a vertical line on place the Center center lengthwise lengthwise grain grain line of the sl slee1e: and place

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pattern along along this line. pattem l 0. Decide Decide on on the new cap cap height height before spre spreading I0. the slashes. Lhe

Use the basic master master pattern pattern for a fitted sleeve Use with dart, bishop, or or other a bell, bishop‚ but for an elbow dart, with sleeve basic sleeve wide at edge, change the lower the at sleeve wide edge, change into the desired style slashing spreading and before into the desired style spreading slashing darted cap. cap. itit for a daned

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Cap heights heights vary vary with fashion and de depend Note. Cap on the prevailing prevailing Silhouette silhouette and the length length of of the on w" the seam of of the blouse. blouse. F Figure cap shows 55c shoulder seam igure height of of the foundation sleeve increased 13/4 1% in '** height Since the original height cap 5 inches, 11 was of the Since 51/, inches. cap Original height

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Sleeve will: with Three Parallel Darf: Darts (see (see Figures Figures 55 b. b, c. c, d. d, Sleeve and e). e).

4

is now 7 inches high. high. Spread vertically vertically between between Q Q and [O JO lI inch, and« l11. l . Spread ‘t thesl between JO and KN % inch. Notice that the slashes between J0 and KN 5% in "f from j] to to B B and and O 0 to to H H make it possible possible to w increase from the height height without overincreasing overincreasing the width of the Lhe lower part of of Lhe the cap. The outer outer doued dotted line indicll indicato lower cap. part 3nd t0 the cap shape without the slash to ] , and the"i" B I» from slash the cap shape inner dotted line shows the Original or iginal armscye.

I. Trace Trace and cut cut out out the master master sleeve patlern. pattern. InInI. the clude Jines marking the center lengthwise grain, C e n t e r lhe clude lines marking lengthwise grain, girth, and vertical quarter quarter division lines. girth, 2. According According (oto the placing placing given given in in Figure Figure 55b, 2. mark the the dart positions: positions: E, E, Ccenter of cap; cap; D, 21/; 2V2 e n t e r 0E mark inches forward along armscye the curve; F, E from forward armscye inches along is measurements 2V2 inches (This of of series E. behind (This 2% inches variable.) variable.)

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140

SLEEVES

Original Armscye

— Fig. 55. (b) Stcps Steps 1-5.

l2. 2.

Determine L aagainst -_ gainst zto the

the width of the darts. Push secllon section section BDK to t0 estimate the distance from 510 E, Lhe amoum amount added to the length of the armann; line. Repeat on the opposite half for the distance E2 E2 to E. Figure 55c shows a total spread of 3% les from E1 to E2. Sincc Since darted daned slceves sleeves do not re‘es the 35/, easing over the top of the cap, add to Lhe 3% ‘g excess the amount of ease allowed in the master difference in measurement between 1cm 3cmsleeve (the diflerence eeve armscye and Lhe the dress armscye) . The founlsleeve in sleeve in Figure 55b had 11/4 11A inches of ease. t0 the spread of 3%inches on the sleeve {kadded to ides iides 5 inches to be divided among the three darts. ‘r each will be 1%inches wide. ‘ Draw the Center dart SUT lI/a 1%inches long (see

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on A

g 55d). Measure Measure from the 4

Center

‚Ishu VWparallel to SU.

dart dar: 21/2 2% inches to

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Fig. 55. (c) Steps 6- l2.

15. l5. Measure 11A 1%inches on line VW and mark poim W.

I6. Measure along the armscye line and mark the dart width from V to X. dar:

l7. 17. Join join X and W. Then mark the correct dart length 11A, 11/3 inches on this line by measuring from W and ending at X1. Note that making darts parallel narrows the sleeve cap. l9. Follow the same method in placing the third

dart.

20. Dip the armscye line slightly between the darts

to make the corners right angles as shown from S to V and T to Y in Figure 55c.

21. To shape the cap edge fold the dann edgc darts in before cutting along the correctly, armscye.

DESIGN D RR EE SS SS D ESIGN

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Fig. 55. (e) ( e) Steps Steps 20.21. 20-21. Fig.55.

Fig. 55. (d) (d) Steps Steps 13-19. Fig.

Sleeve wifh with Five Parallel Darf: Da rts (see (see Figures Figures 56 a. a , b. b, and c) c) Sleeve I. Trace Trace and cut cu t out the one-piece one-piece master sleeve 1. pattern. lnclude Include lines marking marking the Ccenter lengthwise e n t e r lengthwise pattern. grain line a! a t F, F, the girth, gir th, TU TUV, q uarter and vertical V, quarter grain divisions at at C and I (see (see Figure Figure 56a). 56a) . divisions

2. Mark the position position of the darts: F at at the Center center 2. inches D of the cap; 1 Vz F; 11f2 from forward inches F; E of the cap; 11/2 I14 from E; E; G 11/2 l Vz inches back from F; F; H 11A I Vz inches from from G. G. 3. Rule Rule from from D, D, E, E, F, F, G, G, and H to to U on the girth girth 3. line. 4. Measure Measure 1I inch down from point point C and mark 4. I to from B. Repeat to find find]. ]. measurement this B. Repeat 5. 5. 6. 6. and and

Draw lines from B and j] to to U. Draw Draw aa line WXY parallel parallel to to the girth girth line TUV TUV Draw at least least 1I inch below it. Slash from F through U at

142 I42

w to X. X. Slash on on the girth girth line from U to to T and from to to V; V; from X to to W Wand to Y. Y. and from X to U t0 to B; B; from U to to]. 7. Slash from U to ]. 8. Slash Slash from from points points D, D, E, E, G, G, and H to point point U. 8. For ·ease in handling spreading sections, avoid sections. the and Forease in handling spreading lri the cutting through point U in order to keep triangu· to In!“ Order keep cutting through point U Jar pieces pieces together together at at their tip tip point point U. lar lines 9. Spread along 9. Spread along the horizontal slash a.-to lengthen the Ccenter of the sleeve 1/2 V2 inch aboit e n t e r line of lengthen X, Vz inch above U , ¥4 points mal marked above inch and inch above U, pomts X, 1/2 3/, Land S. L and 11€ d.artl 10. Follow Follow the same same procedure procedure in placing placing 1the l0. i“ as in the sleeve with three darts. cap height The as in the sleeve and should not be over 7 inches for this sleeve may over 7 should nov. malbe t0 even less. Determine the amount of excess to divide amount o1 even less. Detennine 55‘ among the the darts. darts. The The darts shown in in Figure Figure 56c art among Il inch long. long.

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To fransfer transfer parf part of fhe the shouldar shoulder darf dart fo to fullness af at the To center of a bishop sleeve: confer bishop

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1. Slash Slash from the Ccenter o f the lower edge edge of of the e n t e r of I. sleeve to the end of dart. the shoulder of sleeve to 2. Spread the sleeve at the Center center line and partially partiall y at 2. Spread close the shoulder dart line. close 3. Lengthen Lengthen the sleeve below the Center center of the bot3. tom line line in proportion proportion to to the increase in in width. lom

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N ote. The The transfer tra nsfer of the shoulder dart d art to to the Note. sleeves center of the sleeve su ita ble o nly gathered for suitable is sleeve gathered the only Center of at the the lower lower edge, edge, since the flare would swing swi ng out at loose sleeve in a. from top a awkwardly arm the of the top awkwardly and slash to the lower edge. It may necessary to at be necessary at the lower edge. lt may spread the the sleeve sleeve on on the th e vertical lines which wh ich divide spread the sleeve sleeve into into fourths fo urths in order to to balance balan ce the addithe tion al width at at the Center center of the sleeve. tional

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(b) Stepl

Variation E Variafion To fransfer transfer pan‘ part of the slioulder shoulder darf dart +0 to widfh width a1’ at fhe the To top cenfer center line line of of fhe the sleeve in orcler order io to creale create a barrel barrel fop silhouette (see (see Figure Figure 70a): silhouefle Slash as in Variation see Figures Figures 70b and c. c, Slash as in Variation D and sec the at width which show two methods removing at of whiCh show two methods lower part ot ot the sleeve: the one by by a shaped shaped seam line lower part the sleeve: a long dart from as on the top of the arm which serves on the top of the arm the elbow; above the top of of the the wrist to to a point point well elbow; the top the elbow above slash and t he other by horizontal a other by and the which when when overlapped overlapped reduces the width at at the wrist wrist which the length length o! of the top top of the sleeve in in by shortening the by shortening seam. underarm relation to the length seam. the of relation to the length

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(cl Step 2 51:02

dartl Fig 69. (a) Raglan sleeve part dart trans· 5 Fig 69. (a) Raglan sleeve with part of shoulder [erred into fullness along the raglan line; (b} Step l: line: ) Stepr (b front the raglan ferred into fullness along (c) Step Step 2. (c)

152 IQ Q3

SLEEVES

‘c: „ ‚ W w

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(a)

Fig. 70 (a). Raglan sleeve with barrel Silhouette having dar: transfcrred transfcrrcd to Ccemer e n t e r line. part of shoulder dart {rom lower part of slceve removed from slcevc by Fig. 70 (b). Width rcmovcd c e n t e r dotled Center doued lines. lowcr part of o! sleeve sleevc by Fig. 70 (c). Width removed from lower ncar girth. overlapping on horizontal line near overlznpping

_— __ Problem 2

vTHE EPAULET OR SHOULDER ‘

'

STRAP SLEEVE

(see Figures 7|a and b)

h: epaulet Ehe

varies little from the normal set-in e except that i: is cut in one with a narrow strip 9o tthe he lop top of the shou-lder. The regular shoulder is omitted, but seams at a1 the front and back of „I ‘vstrap are substituted for it. Decorative detail on iftrap Iepaulet focuses imerest on it, especially if the Lepaulet i5 continued into a is ‚‚P HP high neckline or a collar. lIhe he edge of the strap can serve as a yoke line to gathers or folds {olds in the bodice from. front. Its horizon_phasis phasis tends to broaden the shoulder line and to lhc lhe height by holding interest a: at a point poim high ‘ C figure‘ figure.

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153

Fig. 71 (a). Epaulet sleeve.

D R E S S D DESIGN ESIGN DRfiiSS

on Curve on Blouse·· Not Blouse-Not on Strap Strap on

Follow Dotted Curve From Blouse to to Steeve Cross Cross Sleeve Marking Markmg

Fig. 7l 71 (b). (b). Draft for epaulet epaulet sleeve. Fig. w’ seam, since lhere there is no no opportunity opportunity to lO ease shoulder seam, 1 the sleeve armscye armscye imo into the armhole of the dress aacross thc strap area. area. Draw a smooth curved Iine line exlen.’ extending the strap upper part part of the cap cap to to meet the strap strap line on the upper the back and Iront front of of the bodice. Do nol not rule sstraight -7V lines Lo to lhe the edge edge of of the the sleeve cap. cap. The extension extenswn m must on the tlte sleeve. be an

lront and the back bodice blocks with l.I. Trace the front shoulder seam seam lines meeting. meeting. Fold out the ease in the the back shoulder seam line. 2. Rule a straight straight line t0 to extend the shoulder seam from thc the armscye armscye the length length of of the sleeve. [rom cente1 lengthwise lengthwise grain grain line of the 3. Place the center S. sleeve on 011 the line drawn in step 2 with the [rom front half half sleeve slep of the sleeve facing highest The front. bodice the of highest {acing point of of the the Center center of the sleeve should touch the armpoint scye end of of the shoulder seam. Overlapping Overlapping them rescye duces the cap height and should be done only only {or for duces cap height sport sleeves. (The armscye shows a sleeve sport slecves. (The dotted armscye line cap that Louches touches at at Lhe the front and back strap strap lines and cap overlaps at at the Center, center, thcreby thereby reducing reducing the Original original overlaps height of the cap.) sleeve cap.) height Draw the strap design on the back back. and front of 4. 4. Draw the strap design the bodice. At the armscye not extend more it should thc bodice. A1 armscye than lI/‚ 101 inches either in front or or in back back of the than

and back notches on both lhe the s1 sleeve 5. Mark front und '_ * lines, on on thc the strap, strap, and on thef the front and dress armscye Iines, of the bodice. and back of L

"i On the Iront front and back oi of the bodice. bodice, curve the 6. On H. adjoining the strap strap 1A Ys inch outward frolll seam lines adjoining 7' and the strap at a point hallway the the neck lhe between lhe slrap a1 point haltway armscye in order t0 to allow more ease below the sl strap armscye line. D0 Do not not change change thc the line on on the strap strap itself.
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and inneres: in the cosFig. 9. Fine stripcs need variety tume design.

Aside from the general effect of floral pattems, of are still other plaids, and stripes, there Woven or problems printed plaids, fabric pauem t0 considcr. to see examined be should slripes, and floral pauerns and a if they have an up and down direction, right side lefl side o! the pattern, and a right am! wrong adds to of the fabric. Any one of these characteristics all ’ thc problems o! handling, and a labric possessing avoid. to of thcm i: one for an inexperienced person

Thicknus 1b Iody cf fho Fabric: Sfifiness. Weiglw end and clarification, Except {or purposes of explanation the considerai: is, o! ooune, impossible to separate a fabric into neat iion o! 1h: various characteristics of that you examine linde catcgories. At the samc time you will thc Iize and dominancc of a fabric pauern, determine texture that also consider the qualitics of

m use in more Fig. l0. A wide stripe is too dominant one direction. to cunle around Fig. l1. Diagonally used stripes appear figure. n the effect it will produce. A little cxperimenlal about ing will very quickly answer your questions sort of silhouette a fabric will give. lf you look at Figure l l ‚ you will notice that the fabric has stiflness of a talleta or it would not produce Ihm silhouette. The fine striped unaterial shown in i“ 9 obviously has not only a soll texture bin‘ also

lacks bulkiness. an: entstand Rayon jersey and moss crepe close to the examples of fabrics that fall so as to be fairly liquid, and yet in spite of an. all. Th weight have no bulkiness or buoyancy said Ihn the quality generally mcam when it is lach material A may labric poasesses “drape." bulkiness, wirinesa. quality because of stiflness, silk llat cmpe or l0 A unweighted buoyancy. in weig even though thin and soft, is too light

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fabric thc u ncut (Ircss length m lcnrn the Fig. I2. Drapc entire the nf a meinte and m wnrk ( n r quick imprcssion

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for quick eflect. To a taufen: lightly Ifig‘. l3.mDrupe‘ Ileetllcs am! only w wilh i! lahmt, thc lnjury

necessary.

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lllc llic wuiallinc, Limlci‘ Llic lhc pepluin waisllinc, pushcd puxhccl iL uu]; ] : undci" peplinn i1 liung u; am] lct it thc lloul’ und (h4: ll0o1'— ull all ol [lll>\\'l(l1— [llis Will]liang slash. Äloicover, alle Liscd uscd \van c n lcw ‘g cuuing Äloicovei‘, shc cuuiilg c w n a slzisll. [hat the labric would nol not be l)C injtncd. f! ‚ so [hat injuicd. Fignrc Figinc tallcla Lliuped a: Lhe “shows a still (allem shows [lle Lliaped up np into ua bustle zu slarlcd starlcd ( e r back. Herc tlic (lesigncr thc (er (lcsigncr b)‘ (lruping (lrziping by ot Ihc thc lubric lalnic uL ai thc Center CCIHCI‘ lront lmnt of the cing "cing onc end ol" l i1 uround around l0 [0 thc buck, back, diuped ; then shc pulled pulled it (liaped it lct il it lull [all m u) Ihr: thc llom‘ llour into lincs nutural 2nd lcl natural t0 [o ‚ and 7 talfeta. She Lhcn threw thrcw zhc oppositc cnd ol thc thc shouldcr lrom llOIIl lhc lront eta over lllC lmni und ancl (lrupcd (lrapccl v‘bodice lroin lrom lhc wuistlinc waistlinc up Lowuid l()\\'2ll(l Ihc Ilic shouldci". shoultlci. e in handling the tulletzi tallcta she hud had Io u) l)L‘ l)L' cspccially to pin und and crush as cruah it us ileful liltlc a» lcful l0 Iiulc u» pin possililc, posslblc, shc slcel nccdlcs lur lui pin: slituted steel stituted and uscd usccl \c1'_\ lcw ol pins und M1’) lew

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PlNG WITH MUSLIN MUSLlN FOR DETAILS OF DESIGN

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fo Produce Flares and Ripples hing "Accidenfally" lo aller inuking any ideas develop only alter l0 inaking a slash to I se se the excess lubric labric bcyond scani posibcyontl the normal sczun This lype ol “accidentuV “accidenlaV (cul u m will oltcn inspirc rson with any imuginatitm am ull all 1o u) imaginatitm a1 recogni/c recognizc ibililies for lhe the (levclopmcnt of ua good detuil (letail m" (levelopmcnt ol für the entire theme of ol ua (lrcss. drcss. But lhe experi. n fur T} Ztcan be frecly when (lruping lrecly indulgcd in only whexi (lraping u o! muslin, niuslin, lor then an error CITOI‘ in judgmcnt, scraps ol judgmcnl. in the wrong placc, involvcs nothing more lhun lhan nozhing inore sh h start stark wilh with a secoml second scrup ol pructicc maicrial. scrap of practicc inutcriul. fears ol of cuning lar or in the ihampcred hampered by lears thc cutting too lur i"g places. places, the expcrimenter can work with Will) specd speed Jet et ideas develop LlCVClOP as they will. hen a slash is made through thc exccss beyond thc ‘hen the to a seam line, the thc fabric falls over and forms ry whicl} can be handled in an endless vuriely variety i! is possible to Moreover, it l0 analyze this ys. ys. lhis "acci" l" occurrence und and to make malte it i: happen at will. by this method those who are in the habit ol elfects can learn to injcct uncing stereotyped eflects or even gor evcn Original ideas idcas imo their dcsigns. which seams or which points can you expect u ‘bilities for ideas to occur? possibilities Principally, they (hey lop a! points of articulation, or structural ‘ o’n n seams suitable for design emphasis. If you u v. above the shoulder to the lhe intersection inlersection of

‚

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x

v

i

4

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i}

*

283

D E S I G N

lall al cascadc’ ol (lmpcry sliouldci‘ sllullldt‘! und nuk, ua cuanudc(liapcrlv will lull ‘al inlor llic nul; loral im" (lic ua xci‘) lmul nL-(l; —— (lcsigil (lcsign 1nlogicul \ci‘_\ logical puinl lclcsl. ll you (Cltsl. (o IlIC lhc shouldcr u : [o ilic intcrscction intcrstcclion ol lllC ‘um (cuL sciilll und (hc stulll m m the outer fall {lmm outei‘ lhc unnsc} annsc} c. diupciy (lrapciy will lull cnd ul ol lhc thc slloulder. u t horizontully slioulxlei‘, „Äguin. horizontally Again, il you ccul llic wuistlinc loward tlie uaistlinc [min lmni ll1C lhc sidc scum scam towurd lhe ulung alung Lhc (u c nt le c r lront, o n i inlo into u a pcplum. lalnic will ripplc oul l i o n t , 111c lubric pcplnm. 01' il you slilsll Or slnsll Lowurd Lowanl Ihc thc CCHICI‘ buck back ulong lhe waist2ilong the llaic will spring [min linc, ua lluic lroin 111c lhc cnd ol" Lhc end ol lllC slush. slash. A! AI whutexcr whalexci‘ point you slash, from beyond a scam seam toward slush, lrom an intclscdioll, un IllC lulnic‘ lalnic will curl ('Ul'l uwuy lrom lhc [hc iniciscuiuii, Ihc away lroni l l c shcun slicai» und lull lall inm imo ua circulur circulai‘ cuscude or cascade m‘ point puint ul [lllC am u) scc wliut what u a xuricd \ill‘l('(l source ol inripplc. iipplc. ltll i:i» cusy lllis uuion (HIlUll ul ol ((‘lulll l o l l l ( "aa n bccomc. spiraliun lllls spirution illusziatus llurc llarc pioduccd t0 thc Figurc H illuslrulcs produccd by a slash l0 iniciscitiun nl Ihc inlciscsuirni ilic nuk ncck und and Ihc (h0 shouldcr. shonldcr. The ellect ellcct shuwn (ould (Ulll(l only liuuliau- hccn l)CCll pruduccd protluccd by b)‘ (lruping, (lraping, simc ullcx alici" tlic lllc lnst lilsl slusll slash wus was mudc, Olllcl’ idcas niadc. muny inany olhcr llJHC lcsllllctl. rc-snlicil. Thc llic unly knmvn lucl lacl wilh which xnight niight lnnc nnly known Ihc lllL‘ (lxupL-i" slailul wus was lhul lliat sonlc sonic sort sorl ol‘ ol" dctail ( l c l a i l would (liapcr slunvd lmm llUIIl lllc ilic c u c ( ‘ H 0 5» 5 labiic lulnic abovc ulmvc die thc shouldcr. (lmclop (lcxclop Whcn 55U(ll \\'hcn u(ll u a giawlul circului‘ ripple lcll oul of ol the lhe gxutchil Clltlllin‘ du: l, sl1L' (laut, sl1('(;Il'll('(l uniicd lllC ilic cllcu still lunhci‘ lanlici" by (lroppinf; lhe the dropping‘ ai pulnls llic shouldci‘ slmuldci" lo giuin giain ul t0 rcpeat puinis alung ulmlg thc rcpcat lhe lfm und I» I; show slmw thc druping iipplcs. Figurcs Flgurcs 15a (lraping proccaml l-‘iguw (llll'('‚ und LllIH‘. lli thc ihc puucrn l-‘iguic Hi paucrn shapc, sliupc, which produced this tliis cllcu. cllL-(l. In ln lhis iliis (‘usc casc in il sccmcd SCCIHCd intcrcsting t0 (o conlinuc lhc tinuc llic llnrcs llaics uround amuiinl thc llic unn ann u)1o lllC llic buck back armscye urmscye linc. 'l‘l1ix lhis onc unc (lcluil (lClllll would wuuld In: cnough Cllollgll u) lurnish inlor un ltcrcsl c l c s l lm’ an cntiic cmiic ((usiuinc. o s u n n c . Thc 'l'hc skirt und and slecvc (can "an llicn scrvc nicicly lllcn us l)i.l( lnu kground lur lor lllc thc shouldci" shouldcr lrill, mcicly 2h or in ua subllc sllllllc wu)" it by rcpetition, way ( “aa n vinphusi/c vinphasizc il rcpelilion, so as lllc llic icpclilinns urc kcpl subordinulc. long us lung rL-pctilions arc suborclinatc. ll lt is ncvci HCYCI wisc u; m slruin slrain lur l0!‘ niurc murc lliun llian onc good idea at a (inne. liine. ll ua sccond scmnml onc ( m c uccurs uuurs l0 you, kccp i1 it lor a second cosllnnc. costuinc. Thc bcauiy nl bcuuly ol uny any Llcsign (lcsigil (lcpcnds (lepends on thc the dcvclopincnt inain llicnic. dcvelopnicm ol onc niuin lhcmc. und on playvarialions ol that lhut thcmc rathcr ing up vurialions rauher than introdixcing ducing a compcting unc. This one examplc example illustrates that anyone who is lor an idca ought 1o cut groping for cxcess fabric away excess with thc Lhc uunost caution und and alcrtncss, alcrtness, particularly when approuching structural localions approaching Lhosc struclural locations wherc treatment is most likely t0 original Original treatmem to develop. One should also cxpcriment experiment with thc labric beyond lhc thc normal seam line lme 1o to see how many details searn may develop from any piece of cxccss excess labric. fabric.

——

a u s : oesnsn

Fig. l4. Ripples produced by slashing of neck and shoulder.

t0

the intersection

Fig. l5.(a)‚(b).Draping pmcedure Fig. l6. Pattex-n for Fig. l4.

Figure I7 shows the result of another “accidemal" a horizontal slash along the waistline from the cut side seam toward the cemer front but stopping short o! that poim. The fabric fell from the point of the shears into a rippling flare later interpreted as a peplum. The diagonal line from the end of the slash to the side hip repeats the motif of the diagonal dart to lhe neck and gives it emphasis. Whenever you make such slashes and separate the two edges, you must use an inset to fill in the space. The inset may be frankly a space filler, or i1 may be so carefully designed that i: adds interest to lhc entire costume. In this case, the inset is really the back of the peplum extended atound 1o the from, as Figure I8 shows. The diagram also shows (hat there was no separation ol the pattern sections along the waistline until the peplum front dropped downward imo a flare. l9 was achieved by The design illustrated in Figure a of effect the obtain T0 a very similar proccdure. across without a waistline seam perky peplum flare was i1 ncccssary to slash along the (h: ccntet back, l0 separate waistline away lrom the Center back ancl Ich a triThis slash sharply. (h: two edges o! the waistline thc of back cemcr across the

[or

eflect shown in Fig. I

——

Fig. 17. Rippling peplunn the waistline.

angulsr space

284

{mm

a horizontal slash w

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DESIGN D ESIGN

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Fig. l9. 19. Rippling Rippling Marc fl are produccd produu:d byslzlshing bv a lo ng wnistwaiHFig. alnng a t CCUICI‘ cen ter back. bac.k. line a!

E

"' .,a. "' Ql

SCJ) eam

"O

SCJ) haped

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Fig. i8. 18. Pattern fur for Fig. Fig. l7. Ii. Fig.

that had had ‚t0 to bc be fillcd filled M!!!

in. lt It would have have been been possible possible to set in in a plain plain Lriangle, triangle, but the pair pair o! of scrolls shown in Figure i9 19 scrve serve um not only only as the necessary necessary inset but Äslßfigure become Lhc the dccorative decorative feature of the costume costume as well‚ well, gßmc and whcu when repeated repeated at thc the front 01' of thc the neck, neck, give give balance‘ am! and cmphasis emphasis m to thc the whole design. design. Figure Figure 20 20 is the pattern fpr for thc the dcsignl design illuslralfid illustrated in in Figure Figure l9. I 9. ficpauem

I

I I I

M

285

I

Frg. 20. I-‘ng.

Il

Pattern diagrann diagram Im for Fig. l9. 19. Pauern Fig,

Ü R E S S

DESIGN

Fig. 2 | . Peplum rippling {rom a vertical slash down to the waistline.

Figure 2| shows the results when a vertical slash was made to the point on the waistline where the basic dar: nonnally falls. When the slash was spread apart at its lop end, a striking flare rippled into a peplum below lhe waistline end of the slash. Figure 22 shows the pauern [or this design. Center Figure 23 illustrates a peplum Hared at the in shown that to bark somcwhat sinlilar in character is the ripple so Figure I9. The melhod of producing diflerem, however, (hat it Warrants special mention here. lf you compare the two illustrations, you will note thal in Figure l9 lhere is no possible way of back without creating the sudden flare al the centcr the imroduction of an insel into the waistlinc slash. shown in Figure 23,011 the othcr back oI thc

The

"h-..

Fig. 22. Pattem for Fig. 2|.

jacket

been dropped from the point wherc the first fold introducetl. 'l‘hcre was also the problem of keepi the waistline cIose-fitting. Dropping the grain onl along the downward curve below the waistlinte in! the Center accomplished this. Study Figure 24. lh finished block pattcm, which shows that the tanpres folds sprcad mnre at the lower edgc than a! the t0 This is a blocking procedtnre with results (tontparab to lhose ol lowcßring the grain whcu draping.

curved seams haml, is cut completcly apart by the long, the waist. bclow to just from below Ihe shouldcrs it nxakcs sections possible to Cuuing ofl the side back in that sections un these drop nhe grain very suddenly lhc whcre curves thc an slwrt space Iran! the points where thc thcy point lines (auch the waistlinc down w thc flaring intrurhtccs This Iine. back Center nlcet the

r

Thc

circular {olds across Ihe cemcr back. rulhor problem thzm to out was t0 induce Ihr: folds lo ripple

286

.

S O U R C E S

I‘

ew

OF

DES

a: Flare a1 3. Flarc

CEHICI‘ back pmduu-d hy luwcring center lht‘ lowcrirxg thu lhe waistlinc waisllinc m lhc (Cllltf from the ( u n t e r bzuk |):l(k scmn ul duscunl u! (lum.

-_

nolher poim ‘other point

(hat may bc puuling is lhc prcscncc lhe sidc cdges ot the thc ccnlcr (‘cnlcr scction. scction, ctlges ol along the eas ease is usually Lhc cdgc of thc lhC Llsually found along Lhe . seclion. section. The reason for { o r lhis rcvcrsul i; that reversal is {hat thc {er back section is very widc und Ihr: thc CcuL wcll l l l falls well and outside oulside the lhe point ol‘ thc lhC basic busic waistline waisllinc dart. durl. poinl of ease ase helps to curve thc_ labric around thc form lhe_ fabric ‘will ill nol not bc be visible if thc scum sann is curelully joined. joincd. u will rennember renlember that (hat lhc lhe blouse shown in Figure lustraled ustraled one way o1 ol producing ripples at the der. e r. And an a: first glance, glnnce, the cflect shown in Fig_V5 may appear similar, for here too there is a der er frill. But there the similarity cossimilarily cnds. The cos— illustrated lustraled in Figure 25 is an asymmetric design ' [abric hingg two opposite ways of handling [abric {olds along the first half g it up into draped folds shoulder oulder length, length, and then reversing the procefrom there in ordcr order to by lowering thc gvrain grain (rom Ihre: the lower edge. The method of gflares along lhis one i" ing the pattern diflerent, as this patlern is also diflercnt, blocked and tially lly partially draped. Starting 0E the main body o! of (mjefully ly blocked pattem pattern o! which thc the draped folds {olds to the shoulder ‚ on ‚which the dnpenadded ed, ‚die of draper added a fairly Iairly large pieoe picce o! fit: t0 aee what eflect she could get by drap'

5e

x

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Dir: 951cm

4W

Grain

/

V

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Fig. 24. Fig.

Pullcrn lnr Ior dcsigun Puucru shnwn in Fig. 23. dcsign shown

the shoulder arca on the thc form. lorm. By slashing ing Lhe slashirlg lhrough thmugh the excess exccss above thc shoulder l0 u) thc shoulder shouldcr scam, and then by dropping lhc thc grain, grailw, she finally dcveloped the circular frill. lrill. There was somc doubt doubl whether to t0 lhe circular [olds folds thruugh the shoulder scam cdge, lay the througl: thc edge, or just to it; i1; but the experimental experimcntal draping quickly decided that xhat issue. Leuing the ripplc lines run t0, l0, but not lhruugh, the shoulder shouldcr seam scam created creatcd a Iighter, lighter, morc buoyant more buoyam eflect. T he diagram of the completcd completed pauern that the shoulder edge pattem (sec (see Figure 26) shows (hat beyond the drapery is a sharp arc from which the

Hares spring. Bares

DRESS D E S I G N ‘

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l

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1

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Drancd Folds

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circular Flam .

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.

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Fig. 25. Draped shoulder.

{olds

and circular ripples combined

a1 the

Fig. 26. Pattern diagraln for garment shnwn in Fig. 25 with draped folds and circular Hares. 7

The diagrams of the patterns for all of these dealso signs show thc lrued up, blocked patterns. They blockwith show the advamages o! combining draping ing. After you havc (Ievcloped ideas by experimenting on the {orm with scraps of practice fabric, the blockbccomes a fairly quick ing of the accurale pattern it makes unneccssary t0 drape the design process and t0

complction.

Lines 9o Disfribufing Gaben und Feld: Along Slash Produco Drapory This experimcm is smncwhat sinlilar to the previous of droponc o! slashing to producc fiarcs, but instcad thc aim this timc is to try a ping (In: grain for ripplc,

gathering the Iree edgc of the slash or draping il into folds. Figurc 27 shows a shoulder ( l a r t converted inlo. drapcry with an extensiol) carried around 1o the back. lt also illustrates Lhe eflect ol slashing the dart line ’

und distributing guthers alonxg it. lf the fabric i3 . soft and heuvy, the lincs of the (lesignl are as fluid and rhylhmical as in the illustration. Although lhis idea f scems complicated, you can readily block it t0 perfect the pzutern shapc. The (liagrann o! the flat pauem‘ (seo Figures 28a und b) shows that the Center iront‘; linc hus bccomc u sharp arc, am! thc separation o! thc Lwo sides nf the slash shows the Iocation) and 5in0’ 0|" lhc dart. Ä

SOURCES S O U R C E S

DESIGN D E S I G N

0 F OF

1

u>ll cul on the Ihe bizis. shows the top not cut but folded lolded sliow: which is n0: dann, wliich lop ol thc (lzirl. to in. Add an cxlcnslon t0 cxicnsioi) CDl-J under the (lrnpcry drnpery lorm u supporl lor ihe skin an a: ihc Center lronl as us shown lllt’ slilll center front sllppull Im Lhe dollcd line. linc. Tlic The ends (can tied a! at the back " a n be lied In b} lllC o1" i m" nun u n tlnough a bucklc buckle or ring. Oncc your e(\c to look for lhe becomes [Ydlllfll t0 the source trained eyc ol n PSITIlClIlLII ul see ideu, you will repealedly design ideal, purliciilui tlcslgn repeatedly secol {hat idcu, l(lCi|‚ und will constaxitly npplicuiions ol" upplicnlions constanlly bc made uware ol niure ziwnre more und niorc inore possibililies growing oul out ol slash. blilall. ol lhe buck, or tying of cvery pnssiblc cxcry pussiljlc lolding back, lulding llllnlt. .\ml lill)ll(‚ And you will soon ccolnc o i n c (o sec see inany olher many olhei’

i-xcess ( a n l)(‚’ bc manipulated order N i l } : in \\'lll(ll c-xccss W21}: nmnipulateil in Order clliecls. produw oiiginul und striking pruducc (niginul slriking cllects.

l0 t0

i

lhe knot. der thP knol. der

Bias Draped Sash

Excess from shoulder shouldcr dar: dan and above thc shoulder Extra:

..

39- Thc ‘Yinß Fig. 39. i408 intcrprctcd tying idca wizle girdle. FEBinlerprclcd in a wide 40. Pancrn Pattern for lor clress shuwn Fig. 4oFix. shown in Fig. 39.

. an becoming neckline. 5mm necklinc. Fulda from ( m m basic waistline ‘Feld: waisdine dart dar: ticd. tied. t

293 293

bness Suggestion 5 INTERPRETING SILHOUETTES A5 COMPLETE DESIGNS

Fach year fashion magazines present new trends pnmarily as silhouettes. for the shape, of course, is the most important characteristic of every costume. lndeed, if you were not interested in cutting a pattern for a garment. the sllhouette would show all you would need to know about lashion and style. lt shows, for example, the current breadth of shoulder; the shape o! sleeves; whether bodices are rib-fitting or bloused; whether waistlines are nipped in or wide; whether skirts are pencil-slim or bell-shaped, short or

long, flared at the side‚ front, or back. lt also shows whether there is a vogue for peplums, whether or not they flare, and just where they flare. In short, almost the only important thing the Silhouette falls to show is the location o! the structural seams and darts required to produce its distinctive outlines. lt is, therefore, a challenge to try to interpret a certain silhouette by placing the seam and dart lines within the contour‚ not only to produce the desired deshape, but also to introduce harmonious seaming dart and seam tail. There are usually many possible how many inpositions, and it is good practice to see All designing teresting arrangements you can make. is fundamentally interpretatioi} ol silhouettes, and

DESIGN only those seam: und darts that contribute 1o m ing of the contour are o! vital importance. l ing out this exercise, you will become in conscious of this fundamental principle anthvi to work more and morc for complete eflect rauher" "

for minute detail. The central sketch in Figure 4| illustrates a typi fashion silhouette but shows no seams. Obv’ there must be seams somewhere to produce the rflß fitting bodice and the sharply llared peplum. S113i rounding this Central silhouettcd figure are four w sible intcrpretations of the design, each one with almost the same contour. But the various cuts couW; not possibly have exactly the same grain locationv through the flare. Hence the elfect of each would vary". „ slightly, though not much. When placing lines withi the Silhouette, always observe the laws o! good spacc division, and place seams where they will harmonilc with the lines of the Silhouette. The simples: way (o arrive at any ol the four interpretations is to draw lhc structural lines on transparent tracing paper laid overv the silhouetted figure, and then to bloclt each inter- . pretation from the master pattern. Figures 42a, b, c, and d show the pattcrns for each oi the four interpretations of the Silhouette shown in Figure 41. This one example of Silhouette interpretation should stimulate you to interpret in a variety of ways ‚ 4 many others of your own choosing. V

i’

‚

(b)

v

Sketches (a), (b), (c). (d) show [nur interpre(unter ul thv illustations of thc silhnuctte shown ut thc l-‘ig 4|

tmtion.

294

SOURCES S OURCES

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(b)

(a) (b) Pa ttern cut d sprea d lor gathers. 513531 lines “m?! drawn Panzern (a) Slash drawn:: (b) cut on on yoke line and me an yo ke 1· spread for gathers

305

DRESS D E S | G N The second poim t0 observe is that the gathen radiate and disappear before reaching the underarm seam. l! the slashes for gathers had been cut completely through the underarm seam and if both edges hnd been spread evenly, then the lines of Eullness would have been parallel, horizontal, and altogether laclning the animation of gathers that spring from curved seams like the underarm and armscye seams shown here. This example illustrates the generalizaüon previously made, [hat gathers and folds are infall into variably more animated and less inclined to outradiate when they heavy, "clothy‚“ parallel folds of one edge the ward ftom an arc; that is, when only pattem is spread for fullness. Yokes with suspended fullness are a favorite means of introducing softness to emphasize figure contour its and yet of controlling the fullness so that it serves fit of where closeness purpose without billowing out have is essemial. Hence various other yoke designs been illustrated earlier in this book.

Suggnfion O

DEVELOPING UNUSUAL sxm cm5 man BASIC 1wo-. Foum. AND smeona mmlnsi

In Chapter 3, the principles of both draping am! 9km: blocking standara gored, clrapcd, und circular 6xnow so diflicult be not lt should wefe explaixxed. more thc of and the with blocking (lraping perimem unusual variations of these basic skirt forma. skirt Figure 60 shows the back view of a two-gore (wostandard the resemble even [ h a t does not remotcly form a two-gore skin gore cut. Although in its usual for anything except a master is most unsatislactory and draped Variation: pattern, in its many gathered This particular designghows l; it can be very effective. l

.

l

'

4L

a: skirt pattem was Fig. 6|. The basic lour-gore

m den paucrn was used

50 111e uandard (wo-gute stamlard. is far { m m „ein; (‚bis skirl, whicb i" 9E

f;

_

prnduce this design. dress shuwn in Fig. 6|. Fig. 62. Pattcm lnr

306

vaned

SOURCES U—. ‘

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drawn up omo u um! a1 lhc unter buck. The o! lhe blouse 1mm shmvs a rcpctitior) of lhis ui! t0 lorm a kcyhulc Ilccklinc. Notice {hat ' l all fullness diwucd loward thc hips dis.3‘ 0te il reachcs lhc sidc scmns. 111i: radiales and also fils lhc skin smuolhl)’ al lhc hip ‘

—

nhows onc o! (hc counllcss surialious of z: and Figurc (32 shmvs Ihr: mclhod uscd 5» uern for lhis dcsign.

„__ '

‚n

0F

D E S | G N In urdcl u; gcl lhc pruisc cflcu ol lhc lunnel pockel drapcry" shuwn in Figurc (i3. (hc (lcsigncr cul lhe skirt as u unrialiun 0| lhc aix-gorc slylc. First she cut lhe bclt cunc hnm (hc maslez (wu-gorc skirt pauern: lhcn shc ( u l lhc rcnucindcr u! lhc puttcrn inlo pauels zus ahmvn in l-‘igurc 6-1. ‚Shc nexl slashed lhe ccmer lronl xuliun. sprcud i! Im‘ gulhcra. und udded lhc lunncl pmLu ahupc u) cudl cdgc o! lhe sidc fronl. ‚wann. Shuping thc sidc { m m seam ducs away with [Julhng lxclow lhc pockels.

°°*' .°.9' 2s9_

Fold

F.

C.

DRESS DESIGN since cowl folds fall differently in Figure 67; showing a skirt with a sepafätd fabric set into the seam to form a semblanac“ drapery, illustrates the point that setaendtaixw usually inferior in design to drapery cut of the pattern. In this case, the Basic skitt 597 Hat and plain to besuddenly swathed in foldi‘ wir? appear to Abe stuck on rather than draped imov{o design. However, the difliculty of draping cowl such as those illustratcd in Figur-e 65 cxplzim whyr swathe draped cowl folds are often added as a bias of th cut the in Figure (i7, and not produced by

‘Figur: 65 shows another skirt variation, this time wnh a cowl drapery on the side of the hip. The pattem, illustrated in Figures 66a and b, shows how to place the hip seam on the bias and how to spread the (vom. and back sections of the skirt a: the top, thus eliminating the side seam through the drapery. Some o! the blousing at the hem on the side seam was taken o u t by making a diamond-shapetl dart. To cut the side seam section above the folds, follow Figure 66a, but extend the side section down to meet the under edge of the top fold. This is an extremely complicated design, and one which will most certainly need some adjusunent either on the form or on the model,

v’

paltern.

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Fix 66.

308

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cowl fulds produccd yiwgg, Decp bias. the hip neams an lhc

I I

|

|

(lmwn. (a) Design lines

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Fig. 67. (Jowl (olds addcd to a basic skirt. The design Incl: (h: rhythm ol Fig. 65.

DRESS D E S I G N Suggestion 9 CARRYING ONE PIECE 0F FABRIC AS FAR AS POSS|ILE WITHOUT C U T T | N G Tilns is not by any means a new idea. Under Sug— gesnon „I. lleveloping Line Arrangements by Sketchlng. you dnscovered that erasing crisscrossed lines smoothed up the design and matle it continuous instead of cut-up and choppy. This idea has permeated all of the other experiments described in this chapter, because continuity, rhythm. and smooth flow of line fundamental t0 good design. The costume shown ‘are m Figure 27 (page 289)is an outstanding illustration of this rhythmical quality, especially the folds to the shoulder which are carried across the shoulder seam line around to the Center back instead of being ended abruptly at the shoulder. The blouse illustrated in Figure 39 (page 293). with smooth curved lines that merge into a girdle tied around the waist, is another particularly good example of continuity of line. F igure 68 shows a dress with both the right and left halves of the front c u t in a single piece from shoulder to hem. lt avoids the usual crosslines at the waistline and yoke and as a result has unbroken rhythm and an elfect of uncluttered simplicity of the kind that characterizes the most expensive clothes. lt appears to be kind of plansimple and yet requires the most careful 1o avoid obvious seams while retaining a smooth

a aeam and in distributing the einem! waist dart cf the master patgern in the smooth, molded elfect o! the illufiraßiw. complish this, the designer distributgd around ‘three sides ol the bust, easilig amount (but not enough to (man: gaben} under edge of the lower horizontal tuck Gans", also easing a very little at the center man} t0 shape thc fabric over the bust and take the flamen of the pattern. But the biggest part cf the dar: transferred to the underann, and divided it inkl smaller darts concealed under the arm. Molding the fabric across the waistline was possi _. because the shaped center front line helped to d"; up the arc between waist and skirt pattems. v ‘l also that the bias runs vertically across the waistl‘ and that it will therefore mold the fabric to the fi as it hangs. Any excess left at the waistline can taken o u t at the fitting by stretching lhe waislli u horizontally. The waistline as well as the Center f le correct the each A; to be seam should stay taped This front pattem plus the threequarter sleeves n out

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and a lour-gore skirt baclt for the design can all be v from two shoulder to hem lengths of fabric, leavi x for. only the blouse back and lacings to provide 3‘ one. cut is therefore not an extravagant J

uing fit. This cxperiment brings out another and more technical point. Regardless of the method used to develop an idta, it frcquently happcns that in the final blocksee small pattern pieces ing ol the pattern you will to cut (hat you can altach to larger sections in order unneccliminate to thcm all in one piece and thus the reverse to essary seams. ()r you may discover just bc true. When you spread the pattern o u t Hat, you seam along the waistline, lor may find that a hidden saves material, and examplc, simplifics the cutting, Exerlels you place the grain more advantagcously. the to as comparative value cisc your own judgment one piece or of concealing of cutting a pattern all in is to

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DERIVING UNUSUAL EFFECTS FROM ASYMMETRIC CUTS

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The design balanced at the side lront or side bat: has always enjoyed the reputation ol being more sub in ellect than thc one with the two sides absolute alike. The asynmtetric design is less formal and stat‘ but the balance, although not so obvious, must nev theless be present and must be "lelt." The desig must possess much more than skill in pattern malti il" shc is to recognize o1‘ “leel" the right location oft lines so that thc two unlike sidcs will secm to have t same weight and importance in spite ol their di encc in size antl shape. T0 (lcsign an asyntmetricall balancetl costume, especially il it is a complicated 0 well as more tra' rcquircs mme natural talent ——as ol lines———than t1'. ing and experience in thc placing one cxactly balaitccd at thc Center. J

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to hidenccworlt to get thc eflcct of continuity and that thcy will ncvcr bc nouced. well so joinings cssary the puttcrn lor If you study Figurc (i9, which shows will notice that Ihe (lrcss illustrute-(l in Figurc (i8, you difficultics a1 thc sltirt lolds larcncm nu puttcrn-niaking

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DESIGN

Paucrn {or for Fig. 68. Notice the l-‘ig. 69. Panem Fig. thc method o! shapmg shapnng waistlinc. indcming indencing thc wainline.

the blome (h: blouse am! and also of o!

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Fifium 70 and 7| show two examples of asymmet-

In Figure 70, the larger plain area on the n.c balfmce. ade of the blouse balances the smaller but more rlghf detanled left snde. The fr_ont line swings in cominuous of the collar to the hip. from ‘the Pomtat the side front of the skirt movemelft lmes The smught vfmca}! sllhouette stabilize the design and and ‘oi the_ slu_n [umnsh relnef lrom the activity of curves and gathers.

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The { m m lines of the costume shown in Figure 71 are almost all curves, the upper one from shoulder to waist forming lhe loose simulated bolero which is balanced by the reverse curve of the peplum. The 71 straight-hanging sleeves in both Figures 70 andand supply necessary relief from drapery, gathers, curves. In all designing, some plain areas and strong. to the more destraight lines shoukl be used as foils these dresses, a both In tailetl or curvcd seclions. the eye effortlessly rhylhmical flow of line carries to the other side one through the entire costume from and from shoulder t0 hem. Two sleps in the development of each blouse pat-

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are so comtern have been shown because the cuts The corresponding to Figure 70 (see

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pattem plicated. that the and 72a b) illustrates the point Figures seams must be exshoulder, amxscye, and underarm they vary greatly actly the same length even thoughmentioned before, in shape. This point, although to is it likely very cannol be overcmphasized, because result disastrous the be forgolten by lhe beginner, with varies in size on opposite sides. (hat lhe

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7U pmves to On analysis, the dress shown in Figure in Figure 71, because be far easier to make than that the left side front are in the iormer, the gathers at line of joining. The alcached t0 thc right sidc at the shows a loose, second costume, on the other hand, must have not only a deep taciree, bolero eflect (hat set unclerbody in order to a the ing but also complete not only complncates weil (see Figure 73c). ’I'his dress the expensive because of construction but makes h. would spml the [arge amount o!’ material required.

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reduce eflcct, however, to the gracelul, Iree-flowing down the bolero edge. and rcquirement by sewing to intricale malfe This indecidedly both an i5 not fordcsxgr} the mexperlenced one; and it

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gathered spitze Asymmetrie 5 area. balances the larger plain balance is achieved through oppml 1 Fig. 71. Asymmetrie folds. radiating curves and through

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design. The smaller