CAP I. INTRODUCTION

WHY LEARN ABOUT DESIGNING?

It's smart — for many reasons — to learn something about dress designing.

Even if there are no serious ambitions to break into the field of dress designing and dress making, knowledge in these matters helps to cultivate better taste and appreciation of the background of each creation — it enables you to judge good design and good construction in the clothes you buy.

TO LEARN IS TO KNOW-TO KNOW IS TO APPRECIATE

No matter what we look at, listen to, eat, or use — if we have some experience in the related field — the end products immediately become more satisfying and more enjoyable. For instance: have you been fortunate enough to have had music lessons ? Isn't listening to it more enjoyable for that? If you have any knowledge of how to play some instrument yourself — don't you get an extra thrill from another's excellent rendition of something familiar to you? Isn't it more exciting when you know something of the technical difficulties being overcome?

THERE'S GOLD IN THE FIELDS OF FASHION

From the first fig leaf — to the burgeoning closets of today — nothing except food, lodging, the destruction and parallel stimulation of periodic wars — and love, of course — has engrossed Mr. and Mrs. Homo Sapiens more than the everlasting problem of what to wear.

Don't think this preoccupation with appearance and adornment is confined to the weaker sex alone — however in male fashions the style changes are more subtle (sportswear excepted) and therefore not as comment-provoking as female fashions. Probably too, the more subdued spotlighting of male fashions may be due to the fact that, being more severely and exactly tailored, they are not so easily reproduced by the individual in the home or in a small shop and consequently the more exacting details of such style changes are of particular interest only to the specialists in this phase of fashion.

But fashions for my lady fair! — No such subdued gentility attends these! The closely guarded secrets of each fashion house are a natural temptation to the style pirates. During the making and showing of the big collections of important designers an air of excitement, of mystery, moments of despair — and elation — fill the air. The "cloak-and-dagger" atmosphere at times even surpasses the deviations of international political espionage. Everyone concerned with the designing and manufacturing of fashions wants to be the first in presenting a new style trend. And such has been the fashion industry ever since Charles Frederick Worth organized his fashion dictatorship thereby developing the beginnings of the present day system.

In all phases of fashion designing and manufacturing billions of dollars are spent yearly — an extremely large percentage of our population is employed in the field itself or in some allied aspect of it.

Darling — / have nothing to wear! The little bird who hears everything must have run out of numbers for counting the times that phrase has been cried out through the length and breadth of this land. No wonder the designing, reporting, and making of fashions occupy so many of us — and what sweet music it is to the designer, as it is to Paris, Rome, London, and cities in California, Texas, Illinois, and to Seventh Avenue in New York, and to all the other places and people who are concerned with the designing and making of clothes.

The individual with flair, with good ideas, and with courage can create a small fortune with fashions.

THE POWER OF KNOWLEDGE

Your most useful tool in making full use of your ideas is knowledge. To make full use of these ideas the importance of background knowledge cannot be stressed too often.

LEARN YOUR CRAFT

KNOW ALL YOU CAN LEARN ABOUT SEWING.

KNOW ALL YOU CAN LEARN ABOUT PATTERN DRAFTING — ABOUT DRAPING AND WORKING WITH MATERIALS.

KNOW ALL YOU CAN LEARN ABOUT THE ARTS —ABOUT HARMONY OF LINE, FORM AND SILHOUETTE, ABOUT COLOR AND DESIGN.

AND KEEP ON LEARNING.

Learn to appreciate the feeling of the material with which you intend to work. Observe how it falls into folds or how it stands out crisp, or how it clings. Practice draping different types of materials on your dress form.

Get to know your materials and how to work with them to bring out their best and most distinctive qualities.

1. STYLES OF FASHION CLOTHES

STYLE

In the arts — in its pure sense — style refers to that excellence and quality of execution or expression which distinguishes it from all others of similar form. When we talking about style of fashion clothes, it can also refer to the inspired and elegant relation between the requirements of a particular moment in time space and the designer's expression of it in line, color, silhouette, and material translated into an appropriate costume.

High style and good style are not always synonymous.

High style is the latest breath of fashion created by the pace setters — and at times this last word can turn into a last gasp. Extremes in fashion are budget wreckers, and — unless you can afford to wear a dress, costume or another fashion clothes just once and then discard it — such extremes had best be left on the slick fashion pages.

The smartest and most durable styles of fashion clothes tend to vary very little from pure classic lines. The clever designer however will adapt the latest fashion trends, screen the extreme fads, and create for her client the type of costume within the dictates of current style most attractive and suitable for her individuality and requirements.

When you stop to think about it, it really is amazing what limitless variety can be performed with a piece of cloth used to cover the human form — male or female — a form which has not changed in general characteristics since modern man was evolved.

In the matter of fashion clothes for the ladies — from the basic poles of neckline to hemline all sorts of things happen. The waistline slips up and down with no apparent regard for the anatomy underneath. The bosom blossoms forth in full accented glory or recedes and remains hidden by various tricks and devices. The shoulders are wide and square — or narrow and sloping. The hips are padded and accented on one occasion — and smoothed down or camouflaged on another. The neckline plunges or hugs the chin. The silhouette changes from season to season and cycle to cycle: flowing Grecian drapery, small waists and hoop skirts, bustles, hobble skirts, no waists and straight skirts, bell shapes, balloon shapes — and on and on ad infinitum.

GOOD TASTE

Good taste in general design may be instinctive but good taste in dress is not necessarily inherent — however, it can be developed. Principles of creating stylish fashion clothes can change with the type of climate, social structure of a particular locality, geographical location, and era or time in history. Good taste in dress requires a sensitivity to the times,

to knowledge of fashion, and suitability not only to the individual but to the occasion as well.

Fashion represents the seasonal changes in silhouette, design, color, and material — it also represents the fads and fancies of the style setters and it could be termed as the timely use of an artifice intended to make the wearer more attractive.

Personal style or individuality in fashion clothes represents the use to which current fashion is put. It demonstrates the ability to be smartly dressed at all times, the ability to adapt the best of fashion's current dictates suitable for one's own figure and activities — spiced with a bit of daring — and yet in complete harmony with good taste.

HOW TO DEVELOP GOOD TASTE

The criterion of good taste in dress is suitability plus beauty plus apparent simplicity in design of fashion clothes. The ability to study, observe, and analyze are important to the development of good taste.

Study art. Go to the museums. Take a course in art appreciation. If possible go to an art school or subscribe to a correspondence course in art. Any of these will help develop keener insight and appreciation of color, line, and general composition in its relation to good design.

Study history and literature pertinent to dress and design. Learn about the effect history has had on fashion clothes. Notice how the morals and customs of a particular society have affected their dress. Most libraries in the larger towns and cities have many excellent books on these subjects.

OBSERVE. Make a habit of observing — of really seeing what people wear and what is currently in fashion. Subscribe to the better magazines and newspapers. Study the latest fashion magazines. Observe the people in public life and in the performing arts. Notice what fashion clothes the actresses wear as they appear in the theatre, movies, and on your television screen at home. A number of television shows have fashion forecasts as part of their regular programming — make it a point to see these.

Observe the general public at various places. Make a note of what fashion clothes are being worn at receptions, parties, meetings, concerts, the theatre — and in all walks of daily life. If at all possible, make a habit of going to the best places, the most fashionable restaurants, resorts, and wherever the public gathers. Go to as many fashion shows as are available to you.

Another good source for news of the latest fashions is in advertising — watch the trade advertisements in newspapers and magazines.

ANALYZE. As your circle of activities widens — learn to observe critically and make a habit of analyzing what you see.

Observe what makes one individual more attractive than another; analyze what part her clothes play in her apparent attractiveness and why one person seems to have more style than another even when both are dressed in the latest fashion clothes. As you study each costume think of how you would improve it to better suit the wearer or the occasion.

LEARN TO DISCRIMINATE. Keep your eye on good design — don't fall for fashion fads for the sake of the fad alone unless it will do something for you — then by all means use it!

All style news is important but discrimination is the basis of good style.

KEEP UP WITH THE TIMES! Don't make the mistake of concentrating only on fashion clothes, life is a continuous flow of a great

DIVERSITY OF PEOPLE AND THE THINGS THEY FEEL AND DO.  When the

creative designer is truly aware of the surrounding world — aware of its continuous state of change — designs will reflect this awareness —• these designs will be more successful. They will meet the needs and requirements of now — of this particular space in time — they will be alive!

Where do you get ideas or inspiration? Great inspiration can come from totally unrelated sources. Necessity is probably a prime requisite — you see the need for a change or for some improvement and you begin to think of ways you can begin to fill the need. If you were to ask successful designers where they get their ideas, the answers would be as varied as the shapes they dress.

Inspiration, or ideas of your future designs of fashion clothes, can come from watching a child at play, from the shape of the clouds in the sky, or the way a field of ripe grain bends and seems to flow with the wind. It can come from the way of a bird in flight — from a song or half remembered melody — from a painting or bit of sculpture — from architecture — and most often from the need of the moment itself.

Inspiration can come from history — remember "there is nothing new under the sun" — what is always has been; what's new is the modern expression of our adaptations of the sum of the past to suit our own times.

If you postpone doing and wait just for inspiration it can be mighty elusive and hard to find. However, if you keep working at your craft, keep yourself alert, receptive, and aware of everything about you, it can come unasked — it can "drop out of the blue" at any time. Inspiration in dress designing most often comes with the actual handling of the various types of materials and in observing how they behave.

A VERY BRIEF HISTORY OF FASHION

Throughout the ages fashion in wearing apparel has followed the temper of the times even though it may have appeared to be the leader on occasion. This apparent dual function of fashion serves to illustrate how necessary it is for the designers to be completely aware of the world in which they live.

The changing habits, customs, and circumstances of all phases of living have all had their effect on fashions—and at times fashion has seemed to have had an effect on the behavior of society in general. Various economic and social upheavals have markedly affected style. In times of scarcity of materials or of labor, as in wartime, we see that style of fashion clothes becomes simpler and even austere—and, in reverse, during times of prosperity and peace we begin to notice more decorative types of styles.

THE CHANGING SILHOUETTE

In the same manner the silhouette of fashion has see-sawed from slim to bouffant—and back again— with every conceivable combination of the two extremes being used to create a fresh and new approach at each change. But, relentlessly as the turning of the wheel, after a certain time the previously popular designs of fashion clothes comes back time and time again.

Students of fashions and customs have stated that these cycles occur at regular intervals—and so they have seemed to in the past— however, in the over-all speeding up in our atomic age (or space age, if you will) we seem to have upset this theory along with a great many others. We hardly have enough time to get accustomed to a new style—much less to get tired of it—before another style change comes along. In fact, today a variety of silhouettes appear in concurrent favor—and fortunately so for most of us; there is no reason why anyone need adopt an unattractive style—there are so many from which to choose.

INFLUENCE

In addition to the social-economic influence on fashion we also appear to be under the spell of the dramatic arts—any currently popular play or movie usually brings forth a rash of styles inspired by the fashions of the era it portrays. In other generations we turned to the royal houses of Europe for fashion leadership—today we turn to the movie queen.

Let's look at the past and see what shadows it has cast on fashion's future. We need not go all the way to the cave days—we can leave that to the bikini suit enthusiasts—but let's pictorially touch just a few highlights of the major changes in designs of fashion clothes since the days of the ancient Egyptians, Greeks, and Romans,

ANCIENT EGYPTIAN GREEK AND ROMAN ERAS

MEDIEVAL CRUSADES   ELIZABETHAN  PURITAN COLONIAL

AMERICAN REVOLUTION   NAPOLEONIC   VICTORIAN ERAS

DAWN OF 20TH CENTURY   1ST WORLD WAR   ARMISTICE

ORLD-WIDE SOCIAL REVOLUTIONS 2ND WORLD WAR    ARMISTICE

DAWN OF ATOMIC AND SPACE AGE

SECRETS OF THE GREAT AND SUCCESSFUL DESIGNERS

In studying the lives and personalities of the great fashion clothes designers — and those who have become exceptionally successful — it becomes apparent that they all have something in common:

First of all, of course — creative power Then — energy, courage, and daring

An important quality all the leaders in fashion clothes industry seem to have is a sensitivity to the spirit of the time in which they live. They all seem to be in tu'ne with the general cultural trend and they seem acutely aware of the intellectual, moral, and taste characteristics of their own time.

Doubtless there are hundreds or even thousands of others who are similarly endowed — and yet we hear nothing of them; their lights may shine brightly enough for a very brief period or only enough to be seen within a very small radius — but the rest of the world remains unaware of their excellent talents. The only difference we can find then probably is the difference in a sense of publicity — the willingness and daring to dramatize oneself in a way to attract attention — and the courage and staying power in following through. It is the willingness and ability to think big. Once attention is attracted, it becomes apparent that a masterful personality and a truly grand manner help to keep that attention focused.

In a small measure, luck or happy circumstance plays a part in each success.

As an illustration in point, let's very briefly consider the way some of our successful designers of fashion clothes started on their careers:

CHARLES FREDERICK WORTH — left England as a penniless draper's assistant. Worked for a Parisian dressmaker until his designs of fashion clothes began to attract attention and his originality became too daring for his employer. At this stage he set himself up as a couturier and thus started an industry that even now endures. His son Jean Phillippe Worth studied with Co rot and later worked for his father. He designed all the costumes for his close friend and great actress — Eleanora Duse.

POIRET — as a child was apprenticed to an umbrella maker. Later worked for Worth. Designing for the stage brought him his first success. He was known for his love of romantic, brilliant colors and for his predictions and promotion of bobbed hair, short skirts, and the trouser skirt.

PAQUIN —set the vogue for fur trimmings.

MOLYNEUX — An Irishman who found fame in Paris. After working for another firm set up his own shop. His designs of fashion clothes were known for social distinction rather than artistic genius.

LUCIEN LELONG — used his exceptional sense of publicity. Under his name and direction the work of many designers achieved distinction.

VIONNET —started as an apprentice. Known for perfection of cutting and design logic. Specialized in molded designs of fashion clothes.

CHANEL —started as a milliner—persuaded by friends to do dress designing. Known for straight line well constructed dresses of simple design with no meaningless

ornamentation. Though she denied being "arty" she backed the Russian Ballet at its beginning, and among her friends were Picasso, Cocteau, Stravinsky, etc.

LANVIN— began her career through the urging of people who admired the designs she created for her own daughter. Known for superb technique, sense of dramatic, and regal style, of her adaptations which made up for the lack of original innovations.

PATOU — was a great and witty showman who was willing to take chances. He restored the natural waistline and longer skirts. Designed for many actresses for the publicity value. Enjoyed commenting on anything that came to mind for the benefit of the press. His openings were always gala and smart functions flowing with champagne and stuffed with canapes. Known for the new colors and shades he launched each season.

AUGUSTA BERNARD — began her fashion career as a copyist. Known for perfection of technique and beauty of design which were not practical for mass production because of elegant workmanship and expensive materials.

SCHIAPPARELLI — owned and operated a small sweater shop in Paris before she got her start in fashion clothes design. Known for "Italian prodigality of ideas" and her starkly simple and highly stylized designs based on bold, sharp, square lines which, though not pretty, were magnificent.

MAINBOCHER — was editor of the Paris "Vogue" before he became a fashion designer. Known for distinguished and chic design of high originality.

DIOR — became internationally famous when he jolted the fashion world by dropping the hemline from the 2nd World War above the knee status down almost to the ankles.

NETTIE ROSENSTEIN— designs for a wholesale manufacturer. Makes periodic inspection trips to Paris. She designs by molding the fabric directly on living models. The excellence and originality of her designs of fashion clothes inspired a French textile house to make some of their fabrics exclusively for her use.

CLARE POTTER — designs for a wholesale house. Became widely known through publicity given her by Lord and Taylor. She received her training in art school and as an apprentice for a wholesale manufacturer. Known for her country-club,  suburban type of clothes.

CARNEGIE — began as a milliner, later had a dress shop. Known for excellent ability to anticipate fashion trends in women's wear.

JESSE FRANKLIN TURNER—painter and sculptor. Began fashion career with Bonwit Teller, later had her own shop. World-wide traveler in search of unusual fabrics and ideas. Known for originality and timeless elegance independent of current fashion.

ELIZABETH HAWES — sold original children's designs at the age of 12, later worked for Bergdorf Goodman. Had art school training. Did fashion reporting from Paris and worked as designer for a minor Parisian house. Opened her own shop in New York and followed Parisian custom by running exclusive openings.

MURIEL KING —at college did costumes for a Little Theatre. Later sketched for Vogue and other publications. Began professional fashion clothes designing casually for friends. Known for costumes which were changeable by the addition or subtraction of separate parts.

BERNARD NEWMAN— studied painting at Art Students League. Worked at sketching fashions and dressing Fifth Avenue Windows. In answer to his critical attitude toward fashions with which he worked in this capacity was challenged to do better —and so began his career of fashion clothes designing for Bergdorf Goodman.

SOPHIE GIMBLE — designed for amateur theatricals. Today directs the designing studio for one of New York's high fashion stores.

California designers among whom ADRIAN, BANTON, CASSINI, GREER, and IRENE must be mentioned at style leaders, have all worked for the various motion picture companies. When you consider the time lapse between picture production and release, you begin to realize how important it is for the designer to anticipate style trends of fashion clothes in advance.

2. FASHION DESIGN IDEAS

The couturier or dressmaker capable of creating original fashion design is an artist — as a sculptor working with the material on hand to create and mold a pleasing effect — one which creates an attractive picture by enhancing the best qualities of the wearer and unobtrusively subduing or camouflaging the less perfect points by applying the skill which comes with knowledge and practice.

A dress of good design is almost timeless — it can be worn for a great many seasons without appearing out of style.

THE BASIC REQUIREMENTS OF GOOD FASHION DESIGN ARE THE PROPER USE OF BALANCE, RHYTHM, AND PROPORTION.

BALANCE

This can be symmetric or occult.

SYMMETRIC BALANCE is formal, dignified, simple, measured and exact. It is duplicated in reverse on each side of the exact center in the same line, form and shape.

Occult (assymmetric) balance is off center balance. It signifies movement and freedom and the balance is achieved by feeling and sight rather than by measure. It can be achieved by various methods — by the use of line, color, or ornament.

RHYTHM

Rhythm is movement repeated. In dress designing it can be achieved by repetition of lines of direction in construction of the dress itself, or by repetition in the use of buttons and miscellaneous ornamentation, or the repetition inherent in tucks, pleats, and folds. Rhythmic movement in fashion design can also be accented by the use of contrasting colors.

PROPORTION

Proportion is the relation of one part of a fashion design to another in line, mass, or color. Proportion is also the relation of the entire design to the wearer. Care must be taken in keeping this relation of one part to another interesting — not to allow it to become monotonous. A good sense of balance and rhythm and the proper use of them will help your judgment in this respect.

Just as a chain is no stronger than its weakest link so is no design truly good unless each part of it is as perfect as you can make it.

INTERESTING DESIGN

Balanced fashion design, to be attractive, has to have one dominant quality which is achieved by convergence or a central focus of interest from which minor, or secondary

points of interest take their cue. Proper contrast in direction of line design and contrast in color should attract attention to the center of interest.

The secondary points of interest should never be important enough in line, mass, or color to detract from the dominant quality — but should be used in a way to create balance and rhythm to the entire fashion design. Under no circumstances should there ever be more than three secondary interests — usually two are enough.

These can be expressed as contrasting color accents, pleats, ruffles, various types of ornaments, buttons, pockets, or the direction of any of the inner lines of design.

To preserve unity in your fashion design so that each part of the dress or costume seems to be made for each other it is necessary to soften sharp angles and abrupt changes from curves to straight line. Such co-ordination, or harmonious movement is achieved by transitional lines.

A well designed costume or dress will be pleasing in appearance for its line alone. Once the becoming outline is adapted to the figure, the next problem is the introduction of the inner lines of design which must be in harmony with the outer lines, or silhouette. All future ornamentation will be on this space within this outline. If these proportions are not harmonious and attractive then the most beautiful ornamentation or colors cannot make up for this lack. If you remember and practice the basic principles of good fashion design then the dresses and costumes you create will have unity and grace which will be both beautiful and becoming.

Good fashion design should be applied to every dress or costume you create. Well balanced arrangement becomes good design — in utility clothes, wash dresses, severely tailored garments, formal wear. Each will be more attractive and flattering to the wearer for the care and creative thought that went into it.

LINE AND SILHOUETTE

When we speak of the good lines of a particular fashion design we refer to the silhouette. When we speak of line design we refer to the structural lines, to shaping and forming achieved by shoulder, side, and other seams, by neckline, armholes, waistlines, sleeves, and hemlines; and by ornamentation.

BASIC SHAPES

In dress designing there are seven basic shapes — each season adaptations of one or more of these predominates the fashion picture. They are as follows:

RECTANGLE

Examples: Long, straight, hanging in loose, graceful folds, such as in Greek and Roman styles; straight line sheaths; tailored suits. Styles with these lines are slenderizing and suitable for the well proportioned, heavier woman.

TRIANGLE

Examples: Spanish styles. Fitted bodice, bell shaped gently widening skirt.

Flattering to the figure with small bust and larger hips.

INVERTED TRIANGLE

Examples: Wide shoulders, narrow skirt, dolman or raglan sleeves. Good fashion design style for large bust.

SQUARE

Examples: Straight or boat shaped neckline, boxy jackets, capes. Generally this style is very good for the very thin figure, however, with proportions well planned, and good design, can camouflage various figure irregularities.

OVAL

Examples: Draped and softly molded, very feminine and decorative. Good for well proportioned, ideal figure. Suitable especially for afternoon and evening wear.

ROUND

Examples: Wide, crinoline lined skirts, petal shapes, puffed sleeves. Suitable for formal wear or afternoon frocks. This fashion design is the most attractive on the very young and the very thin figure.

HOURGLASS

Examples: Wide shoulders, leg of mutton sleeves. Natural or wasp waist.Smooth fit over hips and full skirt at bottom. Good fashion design for the tall, thin figure.

COMBINATIONS

Examples: Outline of any current fashion silhouette can be altered and combined with another, and adapted for the specific figure type. Thus irregularities or lack of ideal figure proportions can be minimized while the general effect of current fashion design style is preserved.

3. COLOR

IMPORTANCE OF COLOR

As color has a tremendous emotional impact and effect on moods and appearance its importance in fashion designing is without question; and because of its importance it is well to learn something about it now.

SCIENCE OF  COLOR

Color comes from light reflected, from the visible spectrum of radiant energy produced by electromagnetic waves. Light and color are composed of atoms traveling in waves at a speed of over 186,000 miles per second.

Various colors in the visible spectrum are of different wave lengths — red has the longest wave length and violet the shortest that the human eye can see. White is the combined reflected light of all the colors of the spectrum; and black is the absence of all reflected light and color.

COLOR IN LIGHTING

The use of colors in lighting differs from pigment colors or paint — and it mixes quite differently. In lighting the primary colors are not red, blue, and yellow — but blue, green and yellow red.

Blue, green, and yellow red light combined produce white light.

Blue and green combined produces blue-green light; blue and yellow red produces violet; green and yellow red produces yellow.

Red filters absorb all colors except red, which passes through; green filter absorbs all but green; blue filter absorbs all but blue; and the yellow filter absorbs all but red and green which pass through the filter in combination as yellow.

Green and red filters combined, absorb and stop the passage of all colors. The same thing occurs when blue and yellow filters are combined.

For the fashion designer who is going to create costumes for the theatre,-it is of prime importance to know how the colors of her costumes will react to the colors used for stage lighting.

COLOR IN PAINTS

In pigments, the substance we use to paint or color our material, the primary colors are red, yellow, and blue. These are the colors with which we can reproduce all the colors of spectrum. In addition to these, the chromatic colors, we have the achromatic or neutral colors which range from black, through the various shades of gray, to white.

When these are mixed, one or more with another, in various proportions and combinations we can get tremendous variations in hue, value, and intensity.

PURPLE

The primary colors are red, yellow, and blue.

The secondary colors are midway between each primary color:

Mixing yellow with red we get orange. Mixing red with blue we get purple. Mixing blue with yellow we get green.

The tertiary colors are midway between each primary and secondary color:

Yellow and orange produce yellow-orange.

Orange and red produce red-orange.

Red and purple produce red-purple.

Purple and blue produce blue-violet.

Blue and green produce blue-green.

Green and yellow produce yellow-green.

Complementary colors appear opposite each other on the color wheel, and when mixed with one another in equal parts will produce a neutral gray — or when in unequal proportions the complementary color will have a softening or neutralizing effect on the dominant color. For example, the following pairs of colors are complements to each other:

Red and Green Yellow-Orange and Blue-Violet

Yellow and Purple        Red-Purple and Yellow-Green

Blue and Orange           Red-Orange and Blue-Green

COLOR SENSE

HUE is the name for a particular color to distinguish it from another, such as red from blue, or pink from purple, etc.

VALUE expresses the tones tints, or shades of any particular color or hue ranging from very light — almost white but with a slight tinge of color — to very dark or almost black.

INTENSITY represents the purity of a color — color which is not neutralized or softened by mixing with its complement.

Dominant harmony is self color harmony of different values of the same color. Soft effects are achieved by combinations of closer color values, and more striking effects by values farther apart

analogous harmony is a combination of hues adjacent to each other in the spectrum or on the color wheel; for example •

Yellow and Yellow-Green and Green

Yellow and Yellow-Orange and Orange

Violet and Blue-Violet and Blue

Red-Orange and Red and Red-Purple

Complementary harmony is a combination of hues or colors opposite each other on the color wheel. These should never be used together in equal intensity and value as the result would be too striking

triadic harmony is a combination of analagous colors with one complementary color added; for example, Red-Orange and Red would complete the triadic harmony with the addition of a blueish green.

contrasted harmony is the combination of any chromatic hue in the color spectrum with any achromatic or neutral color such as black, white, or gray.

CHROMATIC    ACHROMATIC        CHROMATIC   ACHROMATIC

COLOR SOURCES

Today most colors are produced chemically in great quantities from coal tars or aniline, oxygen, hydrogen, sulfur, and many other organic and inorganic substances, giving a tremendous variety of many more brilliant hues than were possible in the past when all colors had to come from animal, vegetable and mineral sources such as these:

EARTHY BROWN, YELLOW AND DULL REDS from clay which, when richer and deeper colors were desired, was burned to achieve the exact shade.

WHITE — from chalk, lime, or gypsum.

RED — madder roots and birch bark; also dried and ground bodies of insects.

YELLOW — tree sap.

BLUE —elderberries, iris root, indigo; also by burning wood and ox blood together.

PURPLE —from plums and dandelion roots; crushed snails.

BROWN — walnut husks and oak bark.

SEPIA — inkbag of the cuttlefish.

BLACK — burned ivory, burned teeth and bones.

PSYCHOLOGY OF COLOR

COLORS   EXPRESS   PERSONALITY       AND   AFFECT   IT.

COLORS   EXPRESS   MOOD—AND   AFFECT   IT.

Color plays a more important role in daily life than we may at times realize. With selective use of color, a mood-atmosphere can be created, changed, or modified—and with it personalities and efficiency affected.

THE MEANINGS OF COLORS

Throughout the ages color has had many meanings — many of them based on superstitions, and many on actual physical reactions of the individual due to association of ideas such as:

Red — Fire — Heat

Blue — Sky — Water — Cool

Green — Grass — Nature — Peace

Yellow — Sun — Gaiety

Purple — Shadow — Mystery

WARM COLORS: red, red-orange, red-purple, yellow-orange, yellow, and yellow-green are stimulating and exciting, and seem to come forward or advance. When these colors are used in full intensity in large areas they seem to make the mass appear larger.

COLD COLORS: blue violet, blue, blue green, and certain shades of green and purple. These colors are more restful than exciting — used in large areas without any accents of warmer colors they can be too restful and even give a feeling of futility or rejection. Cool colors appear to recede and give a minimizing effect to the mass. In general, receding, silent colors are inconspicuous, such as the less intense, low value shades of secondary and tertiary colors or hues; and, the more intense the hue, the louder or more overpowering it becomes.

Traditionally the colors of spring have been pink and yellow green; of summer — yellow, blue and green; of autumn — orange and brown; and winter — red and black.

red indicates excitement, heat, bravery; and appeals to most basic instincts.

blue indicates distance, calm, truth, sincerity; and appeals to the spiritual or intellectual aspects of personality.

green is the color of nature and indicates coolness, youth, and hope of eternal life. In the proper hue, value, and intensity this is the most restful color without being too depressing.

yellow and gold colors indicate sunshine, gaiety, honor, loyalty.

violet indicates mystery, sorrow, high rank, royalty:

red violet indicates luxury, elegance, and sacrifice.

orange indicates cheerfulness, strength, endurance.

white indicates light, innocence, purity, faith, joy, and glory.

black indicates grief and sorrow.

DEVELOPING COLOR SENSE

Each fashion collection features a "new" color — actually this means that some particular hue is being used more often. The designer interested in creating attractive clothes will in practice, however, develop and use the colors most becoming to the wearer. Color should enhance the natural qualities inherent in the color of skin, hair, and eyes.

In learning which colors combine best with others it is well to note what effect colors have on each other. This is also important in choosing the predominant color for a costume as certain colors will accent various hues in certain skin tones — some complexions will appear more sallow, other paler — or brighter. Sometimes colors, or hues, which we have been told do not "go together" can be successfully combined when their intensity is changed or when their values are changed.

In general, the following can be easily observed:

Light colors appear lighter when placed next to dark colors.

Gray combined with any color assumes a tinge of that color's complement, as for example: a gray used with blue will have an orangey tinge or cast, and a gray used with red will seem to have a greenish tinge.

When CONTRASTING COLORS are used each color will assume a tinge of the other's complement, as for example: red and blue — the red will seem to have an orange tinge which it wouldn't have when viewed apart from the blue, and the blue would appear to have a greenish tinge which doesn't exist when the blue is viewed apart from the red.

Any color seems brighter when place next to its complement. In fact when placed next to each other in full intensity they will appear to fight or jump.

In choosing colors for a costume it is important to know whether the garment will be worn in the daytime or at night, or will it be worn at both times, because the effect of light on color has to be kept in mind.

ALL COLORS WILL APPEAR MORE INTENSE AND BRILLIANT WHEN VIEWED IN THE DAYLIGHT. In artificial light the same colors will be subdued. Candlelight will soften colors, incandescent light slightly brighten, and fluorescent will change the apparent hue.

AMBER LIGHTING will seem to make yellow more intense, green seem tinged with yellow, blue very dull, and purple slightly reddish.

BLUE LIGHTS will dull green and yellow, intensify blue, apparently change red to purple.

UNDER A RED LIGHT yellow will seem almost red and both green and blue will appear dull, while red will be very intense.

VIEWED UNDER A GREEN LIGHT yellow will seem almost green and all other colors very dull except for the green itself which will be intensified.

COLOR CARDS

To get a better idea of the effects of one color on another, get yourself some color cards either from the paint supply store or the Textile Color Card Association. Place various colors next to each other and observe the effect they have on one another. In this way you can learn to combine the most becoming colors for the effect you — the individual and creative designer, the artist — wish to create.

COLOR CHARTS

FOLLOWING ARE SOME SUGGESTIONS FOR VARIOUS COLOR TYPES. IN YOUR DESIGNING WORK, HOWEVER, DON'T BE BOUND BY THEM —DO A LITTLE BIT OF EXPERIMENTING—SOMETIMES A PARTICULAR SHADE OF SOME COLOR WILL APPEAR EXTREMELY ATTRACTIVE EVEN THOUGH IT MAY NOT BE RECOMMENDED ON THE CHART. IN GENERAL YOU WILL BE QUITE SAFE IN WHATEVER YOU USE IF YOU REMEMBER THAT NATURAL COLORING OF SKIN, HAIR, AND EYES SHOULD NOT BE OVERPOWERED BY THE DRESS COLORS — THEY SHOULD RATHER ACCENT AND ENHANCE THEM.

Pale Blonde— With Pale Skin: Light green, blue green, light and dark blue, blue violet, lavender, pink, dark brown, light orange, neutral red or red orange, blue gray, light gray, cream or flesh white, shiny black. Avoid intense colors or dead black.

Vivid Golden Blonde — Rosy or Cream Complexion: Colors slightly grayed or softened, blue, blue violet, violet blue, soft green, blue green, black, off-white, gray, pink, beige-tan, soft red, red orange, yellow. Avoid colors that are neutral or very intense.

Neutral Semi-Blonde — Dark Ash Blonde — Fair Skin:       Soft colors but not too low in value, medium greens and blues, soft blue, blue green, blue violet, soft reds and red orange, soft pink, dark brown, creamy white, shiny black. Avoid very Pale pastel tints and warm intense colors.

Medium Brown — Medium Fair Complexion: Black when trimmed with white, brown, dark gray, warm white, blue green, low intensity blue or green, dark red, soft orange or yellow, ecru, natural beige. Avoid purple, somber colors, or very intense colors.

Brunette — Dark Brown or Black Hair — Pale, Fair, or Ivory Skin: Various shades and hues of red or orange, medium — dark — or warm green, light or dark tan, cream white, medium blue green, neutral dark blue, warm gray, dark red purple. Avoid light blue, bright green, pale violet, blue purple, bright pink.

Dark Brunette — Dark Brown or Black hairi Skin Golden Brown, Olive, or Copper Colored:

Low value (dark) clear red — blue — or green, dark neutral orange, maroon, dark tan or gray, cream white, black velvet. Avoid the same colors mentioned for previous type.

Pale Red Hair — Pale Transparent Skin: Blue, blue gray, gray, blue green, brown, light or dark tan, light or dark gray, green, purple, ivory white, black. Avoid bright very intense red, orange brighter than hair, red violet, r«se pink.

Bright Red Hair— Vivid Complexion: Soft medium green or blue green, dark blue, blue gray, ivory white, light tan, dark gray. Avoid bright red or orange, purple or rose pink, yellow green.

Mixed Gray Hair — Pale Skin: All soft colors, dark blue, black only when accented with color near face. Avoid: bright yellow, natural beige, light greens or blues, and all intense high value colors.

Gray Hair — Pale Skin: All soft shades of most warm or cool colors, shiny black, dark gray. Avoid: Brown, tan, dull black, white, light gray.

White Hair — Pale Skin: Pastel tints, all shades and tints of low intensity red from flesh to maroon, soft blues or greens, creamy white, black. Avoid: Tan, brown, dead white, yellow green.

Complexion Variation:

Sallow skin — avoid bright blue and unrelieved black.

Sallow skin but coloring is cool — soft cool colors, blues and greens, creamy white accents near face.

Sallow skin but coloring is warm — soft warm colors, yellow orange to red.

Florid Complexion: can be subdued by dark values. Avoid complementary colors near face.

Color of complexion and cheeks can be EMPHASIZED BY ACCENTING OR CONTRASTING with color; also by cream white near the face.

To accent the color of eyes avoid a large expanse of a similar color near the face unless it is substantially subdued and darker or duller than the eye color — with contrast the eyes seem brighter. Exception: A small accent of bright or very intense color near the face of the same hue as the eyes will make the observer conscious of that color which will make the eye color seem brighter by reflection.

3. FOOL THE EYE

TROMPE L'OEIL

This is the French term for an art form which literally means "FOOL THE EYE". It refers to the painting of scenery, statuary, or furniture on the walls of the room so that an illusion of it as reality is created, indicating how easily the eye is fooled.

OPTICAL ILLUSIONS

We can use these same principles inherent in the tricks our eyes play on us to create an illusion of better proportion in the apparent figure. By so doing we can appear to increase or decrease any dimension under observation. Any figure can be made to appear shorter or taller, stouter or thinner, dumpy or svelte, by a variety of means which we will describe.

AREA

Which of these areas is wider? Which is higher? G or H? Measure them. Are you surprised to find they are both exactly the same length and width? Even though we have seen that a vertical line appears longer than a horizontal line, in this case the eye plays another trick. In this case the eye follows the succession of lines rather than the line itself. However, if we change the rhythm and proportion of the vertical and horizontal lines within the same space the illusion reverses itself. See the illustration below.

DIAGONALS

Notice in this illustration what effect DIAGONAL LINES have on apparent size. Here again the way you place the diagonals give you an illusion of different size.

HOW FABRICS CONTRIBUTE TO THE ILLUSION OF SIZE

Fabrics contribute greatly to the apparent size and shape in three ways: texture, pattern, and color.

FABRIC PATTERNS

Figured materials, plaids, stripes, and checks can be worn by every figure type. But the predominant flow of its design has to be kept in mind. Patterns which tend to force the eye to follow it in a horizontal direction would have a tendency to shorten and broaden the figure. Small prints can be worn by anyone with no apparent effect on size. Large

spaced prints have to be designed with care so that the placement of the design creates the illusion you wish to achieve.

CREATING ILLUSIONS WITH COLOR

Optical illusions can be created not only by line and form, but also by color. Some of these illusions are as follows:

Flight Of Colors — After staring at a lighted frosted bulb for about half a minute, close your eyes. As the dot of light you see (with your eyes closed) begins to fade, it will change color and appear in every color of the rainbow.

After Image — Stare at a spot of brilliant color for a while. Now look at a plain white surface. You will see a complementary color change. After looking at red you will see blue green, after yellow — blue, and after green — red violet.

\J Vibration — Equal values of contrasting or complementary intense hues, placed side by side will appear to jump or vibrate.

Seeing Color Where There Is None — This requires the use of Benham's disc (see illustration below). When this is rotated rapidly you will begin to see various colors; rotated in the opposite direction the colors will reverse themselves in position.

COLOR AS CAMOUFLAGE IN DRESS DESIGN

Color has a very decided influence on the apparent size of the figure. Warm, light, and bright colors all tend to increase the apparent size. Cool, dark, and dull colors generally minimize the size. Color contrasts, depending on what proportion they are used, have a very definite effect on appearance of size.

5. DRESS DESIGNING HINTS

Dress designing and dress making are as far apart as architectural designing and laying bricks, or reading blue prints, and yet — if the artist is going to design a dress or a building — in order to design not only a beautiful creation which can be executed and put to practical use — it will also be necessary to have knowledge of the dressmaking, or bricklaying, or the practical application of it.

We may have all sorts of beautiful ideas jogging about in our brains — but none of these can be of any use unless we can express our dress designing theories either on paper or in actual substance. In order to be able to give full expression to our ideas we have to have material to work with.

In dress designing — or more correctly in costume designing, as we intend to design not only dresses but all other items of wearing apparel in current use and fashion — in costume designing then, your basic material is the cloth which, by means of your artistic and creative genius, you intend to change into a glamorous costume.

There are a great variety of dress designing materials on the market today. Each is especially suited for specific uses, each has certain advantages and drawbacks. Only experience will tell which will suit your purpose best. To help you choose what you need for your work following is a list of material types and characteristics:

NATURAL FIBERS, ANIMAL AND VEGETABLE:

wool — hair fibers of various animals. Warm, absorbent, and wrinkle resistant. Should be preshrunk before being cut. Wool should be steam pressed with a cloth, never apply iron directly on material. Wool blended with synthetic fibers tends to pull. Some wools can be washed. Others have to be dry cleaned.

cotton — fluff from the matured seed pod of the cotton plant. Strong and long wearing. This dress designing material is sometimes blended with other fibres. Can be treated to become wrinkle resistant. Should be preshrunk before cutting. Can be pressed with hot iron while damp. Most cottons are washable. Comes in a variety of finishes and weights from sheer to heavy, and crisp and stiff to soft and clinging. Woven or knit.

silk — Unwound cocoon of the silk worm. Lustrous, naturally resilient, drapes well. Often blended with other fibers. Can be dry cleaned or washed. Should be pressed on wrong side.

linen — fibers of the flax plant. This dress designing material is cool and absorbent. Wrinkles excessively unless treated with crease resistant. Washable. Should be preshrunk before cutting. Must be pressed while very damp.

SYNTHETIC OR MAN MADE FIBERS:

rayon, acetate, triacetate — from cellulose. They come in a variety of finishes and weaves. Can be dry cleaned or washed. Must be pressed with a cool iron only. Cut edges tend to ravel very easily.

acrylic, modacrylic — acrilan, orlon, dynel — from acrylonitrile. Warm, bulky, and light weight. Moth resistant. Washable.

nylon — from coal and water. This dress designing material is tough and elastic. Moth resistant.

polyester — dacron — Used mostly in blends. Wash and wear type. Dries quickly. Cannot be eased in or shrunk during construction.

metallic — lurex, mylar — Yarn made from metal foil covered with plastic film. This dress designing material is usually woven or knitted in with other yarns.

Before deciding on any fabric — there are certain points to be checked: Find out whether it has to be dry cleaned or whether it can be washed. Has it been preshrunk ? Is it color fast ? Is the grain straight and are the prints on straight grain ?

All dress designing materials, after they have been loomed, are treated in various ways so that they will have special characteristics. They can be made moth proof, water repellant, crease resistant, fire proof, shrink proof, given insulating properties, and textured. Each of these processes have special process names and are labelled so for identification.

In addition to these materials there are also other dress designing materials used espe-cially for shaping. They can be either woven or non woven. Shaping materials are used to give added support for correct fit and to add firmness and body to fashion details, as in tailored clothes and in bouffant fashions. Trade names for these shaping materials which come in various weights for use with materials of corresponding weight are: Formite-Evershape, Pellon, Interlon, Veriform-Crisp, Siri-firm, and Sirisoft, Key back. Acron, Armo, and Hymo are hair canvas materials and are usually used in tailoring wool. Other materials used for this purpose are organdy, muslin, China silk, net, marquisette and a number of other materials. Shaping materials are available in widths of 25 to 49 inches.

SEWING EQUIPMENT

In order to do proper work the dress designing and sewing room has to be properly equipped. There are many labor saving devices on the market and many of these you will discover for yourself as you progress with your designing studies and work.

These are your basic tools:

Measuring tools — tape measure, yardstick, tailor's square, right angle triangle, T square, French curves.

Cutting dress designing tools— Shears, scissors, and pinking shears.

Marking tools — Skirt marker, tracing wheel and dressmaker's carbon paper, Tailor's chalk, and chalk board. This last you will have to make for yourself. Instructions will be found at the end of this chapter.

Sewing machine — electric preferred.

Seam ripper, pins, needles, and thimble. Get dressmaker or silk pins — they will not mark delicate fabrics.

Dress Form. There are various kinds on the market which are adjustable. You can also make your own with gummed tape over cotton jersey.

Full length mirror.

Cutting table of folding cutting board.

Emery bag; Tweezers; Pressing equipment; Iron — This is one of your most important tools. If you press each seam as you sew before sewing on an adjoining piece — the effect will be more professional. Press cloth. Ironing Board. Sleeve Board. Tailor's Ham. Press mitt. Seam roll. Needle board for pressing pile fabrics. Pounding block or tailor's wooden clapper.

NOTIONS AND TRIMMINGS

Threads — one shade darker than your dress designing material.

Mercerized cotton for cottons, linens and blends. Silk for silks and wools. Nylon for synthetics.

Zippers and Nylon Tape Closures.

Belting, bias binding or seam tape, ribbon seam binding.

Snaps, hooks, and eyes.

Buttons, buckles.

Elastic, cording, horsehair braid.

Featherboning, zigzag stays, weights.

Shoulder pads.

Trimmings, braid, ribbon, rickrack, beading, pearls, sequins.

HOW TO MAKE A CHALK BOARD:

The chalk board for dress designing should be about 20 x 24 inches in size. To make it you will require:

2 pieces of 22 x 26 inch soft white flannel

powdered chalk

rayon or cotton coarse net

carpet or thumb tacks

Smooth both pieces of flannel, one on the other, over the board — allowing an inch overlap on all sides.

Sprinkle powdered chalk evenly all over flannel. Rub in thoroughly and evenly.

Lay the net over the chalked flannel, tuck flannel and net under the board without tipping over the board.

Tack the center of each of the opposite sides to the edge of the board, then the centers of the remaining sides, then all around to keep chalked flannel and net stretched smooth and tight over board.

Cut off excess material.

Store your board for dress designing in a horizontal position to keep chalk from spilling.

6. SEWING TECHNIQUES AND TERMS

BASTING IS A TEMPORARY STITCH TO HOLD FABRIC TOGETHER DURING FITTINGAND STITCHING.

THE TYPE OF SEAMS YOU WILL SEW WILL BE DETERMINED BY THE MATERIAL USED. SOME SEAMS HAVE TO BE STRENGTHENED, OTHERS HAVE TO BE FINISHED

 

BUTTONHOLES ARE BOTH DEOORATIVE AND USEFUL. THERE ARE VARIOUS WAYS TO MAKE THEM. THE METHOD DEPENDS ON THE MATERIAL AND THE DESIGN Of THE GARMENT. IT'S ESSENTIAL TO

POSITION THEM CORRECTLY AND-MARK AND MEASURE THEM SO THAT THE FINISHED BUTTONHOLES ARE ALL EVEN AND EQUAL.

7. THE MEASURE OF SUCCESS

Aside from the originality of the design and its artistic merit, successful costume designing depends on perfect fit.

PERFECT FIT DEPENDS ON ACCURATE MEASURES.

In transferring the size and shape of the three dimensions of the human figure to the flat planes of the pattern and thence to the draping of the fabric, certain basic measurements have to be taken in every case — and this is notwithstanding the loose or tight fit of the finished creation. In ready made patterns the measurements are the ideal or average pro-portions for each size listed.

HOWEVER FIGURES WITH  PERFECT PROPORTIONS ARE VERY RARE.

For this reason — if you are going to be a successful designer — you will have to learn how to take accurate measurements and how to translate them into the finished product — your work of art.

THE PROCEDURE

Have the person being measured wear a plain dress or sheath with high un-trimmed neckline, plain set in sleeves or sleeveless regular armhole, and straight skirt.

Mark the center front at neck and waistline

Mark  the  center back at neck  and waistline

Mark both shoulder seams at armhole and neck

Mark both side seams at armhole and waistline

Mark both side seams at fullest part of hip

Mark  center  front and back at the same level as hip measure.

MEASURING FOR READY-MADE PATTERNS

To order the proper size in ready made patterns the measurements required are a great deal simpler, however, during the construction of the garment a number of alterations may have to be made. On the market today there are basic patterns which can be adjusted

to the individuals special figure problems and which can be used as a basic guide for all pattern alterations required. These are usually made of non-woven material, firm and inelastic, so that they can be pinned or sewn, and fitted and refitted.

HOW TO MEASURE FOR A COMMERCIAL PATTERN

Bust — over the fullest part of the bust and completely around figure keeping tape measure straight across the back. Take this measure while chest is expanded.

Waist — snug but not tight — around the natural waistline.

Waist length — from nape of neck to natural waistline.

Hips — around the fullest part of the hips.

Recently not only the ready-to-wear designers, but the pattern makers as well, have recognized the fact that the human shape differs not only in its circumference but also in the lengths of corresponding parts — such as, for example, the waistlength. Patterns are designed today not only in misses' and women's sizes but also in half sizes, petite, and junior sizes. In the last three the waistlength is shorter than average. It helps therefore to keep this measurement in mind when selecting your pattern — particularly that certain styles are designed to especially flatter these figures.

STANDARD SIZES FOR COMMERCIAL PATTERNS

READY TO WEAR

Standard sizes in patterns differ from the standard sizes for ready to wear — generally, ready to wear is slightly larger for the size marked than the pattern. Also, proportionate sizes differ somewhat between various wholesale houses as the basic pattern is made to fit a living model and the rest of the sizes are graded therefrom.

DRAFTING PROCEDURES AND SUPPLIES

THE BASIC SHEATH

The basic sheath is the simplest style possible to fit the figure accurately yet not so snugly as to create wrinkles and bulges. When this sheath is made for pattern purposes it is best to use some firm non-woven material such as Pellon to provide ease for fitting and altering and at the same time to prevent the shapes of various parts from stretching out of proportion. In the past, muslin was the chief material used for this purpose — but today there are many other materials which surpass this.

SLOPERS, BLOCKS

Slopers, or blocks, are the foundation patterns designed for a specific size. They are usually made of heavy paper — but firm non-woven material can be used as well. For a normal figure only half the pattern is required. For major differences — or even slight ones — in order to have a perfect fit and have the garment hang or drape properly, it is worth the extra trouble to draft each side separately.

All designs and patterns are variations of the basic sloper or block.

Front Fullness Waistline Depth

H-F to H equals 6-1 (the distance from center front at neckline to shoulder seam at armscye).

I—Extend this line (F-G-H) to a point on line D-E. Mark this point I.

J—Start from point IB and find a point on line D-E equal to the measure of 1-5 (center front at neckline to side seam at waist).

K—Distance from J to K equals measure of side seam 3-5 (waist to armscye).

L—Square a line from K to center front equal to measure of 3-4.

M—Square a line from G to line L-K. Mark this point M.

N—Mark this point a distance of 7-8" on the diagonal from M to I.

O—Extend line A beyond IB so that distance from 2C through IB to new point O equals 7-10 (the measure from waistline to shoulder seam at neckline. Square a line to P. O-P to equal measure 6-1.

P—Square a line to H.

Q—Find point Q on line P-H by taking a line equal to measure 6-2 from center front at waist to shoulder seam at armscye. Draw a curved line from G to Q to complete armscye of front half of bodice.

Shoulder Slope

R—Start from Q and find a point on line O-P equal to the measure 6-7 (shoulder seam). Mark this point R.

Neckline Curve

S—Square a  line from  point R to line B-D.  Mark this point S.

T—Measure a point 1/2" from S on line S-O. Draw a curved line from R-7 to B-l to complete one-half of neckline.

U—To find  point U draw diagonals from  L4 to J5 and from C2 to Gil.  Mark the point at which they cross.

V & W—Square a line from center front and side seam lines to pass through point U.

To  Form Front Waistline  Dart

X—Square a line from U to E.

Y—Starting from X measure   1/2" toward  C. Mark this  point Y and  draw line from

Y to U.

Z—To find point Z draw line from X to J. Measure C to Y, deduct from waist measure (2-5), and starting from J measure the balance of waist measure on line J-X. Mark this point Z. Draw a line from Z to U. Draw another line between Y and Z. This distance equals the reduction on waistline. The distance from C to Y plus the distance from Z to J equals 1/2 of front waistline measure. The waistline dart is formed by the lines Y to U and Z to U.

DRAFTING THE HIPLITSE FOUNDATION

DRAFTING THE SLOPER FOR THE SKIRT FOVNDATION

1. Use hipline part of previous foundation as guide. Trace on heavy paper.2. Raise side seams 1/4 inch at waistline and hipline. Draw new lines. Taper them

off at dart lines.3. Continue side lines the same distance at side seam and center front down to

desired skirt length.

The measure from side seam to center front will normally be about five to six inches wider at hem than at waist.

Follow the same procedure for back and front sections.

TO ELIMINATE WAIST DART AT FRONT

I. Slash dart. Measure I 1/2 inches in from side seam. Close up dart and bring section A side seam to this point. Draw new lines as indicated by solid lines.

2. Draw similar new lines on section B (skirt back) but this time only 1/2 inch in at waistline side seam so that seam lengths of A and B correspond.

GRADING

To change your patterns from one size of another a procedure called "grading" is followed. Any pattern can be reduced or enlarged in the same way.

The dotted lines on the figures show the sections into which the basic patterns are divided for size changes.

DRAFTING A PLAIN SLEEVE SLOPER

1. Use the hipline foundation as a guide for making  the  plain  sleeve sloper. Place front and back sections together so that seam lines at armhole and hipline touch. Trace the combined outline.

2. Measure 3/4 inch above A and mark point B. Draw line from A through point where side seams touch at hipline, continue to C. The distance from A to C will be 17 inches. Square a line through C. Mark the point where line A-C crosses the waistline at X. The distance from J-X is 2  3/4"  and  from X to  K is 2  3/4"  also.  Find line E by taking 1/3 of armhole circumference, add 1/2 inch, and mark this distance in a straight line upward from A. G is halfway between line E and D on the front edge of armhole. Mark I on a level with G  I  inch apart.

F is 1/2 inch above the level of I-G. Mark this point on the back edge of armhole. Measure point H on the same level with F I inch apart.

Find line D by squaring a line from A at the lower edge of armhole at side seam.

3. Draw a line through I and J. Extend it upward to line E (capline) to point marked L The same line passes through point P on line D and down through J to M on the line squared from C. Draw a similar line through H and K up to point N and down through Q and K to O.

4. Divide line L-N into 4 equal parts—marked R, S and T in the diagram. Find center point between P-A (mark this U). Measure I inch from A toward Q (point marked V). Connect R to I, I to U, V to H, and H to T for guide lines.

5. Draw curved lines from I to S, S to H, H to B, and I to B.

6. Slash lower half of sleeve from J to K. Pivot from point J to a point (W) 1/2 inch from M. Lengthen C-X line to meet X and Y-K line to meet K.

7. Trace the outline of sleeve from I-B-H to W-C-Y. Slash along center line from C through X and B, and again from X to J and X to K. Number these sections I, 2, 3 and 4. Place section I with points I and J touching, section 2 with points J and W touching, section 3 with points H and K touching, and section 4 with K and Y touching. Section 4 will have a space between the 2 X points which forms the dart on the back seam of the sleeve.

8. The complicated sleeve sloper. When making your pattern from this, don't forget to add on seam allowances.

To allow for shoulder pads the ease allowance in sleeve cap should be increased by slashing from top of capline to elbow and across at underarm points of armhole and at elbow bend. Spread the four sections so that the cap is 1/2 inch higher and that there is a 1/2 inch spread at underarm.

DRAFTING SLOPERS FOR CULOTTES

I. Use the skirt sloper for your guide. Trace the outline. Place side seams together as in diagram. Measure crotch line by taking distance from waist line to chair of seated figure. Measure an additional one inch for ease. Mark this total measure on seam line.

II. Take the measure of distance between crotch line and bottom of skirt guide and mark a similar depth on center front and center back lines. Square the crotch line beyond center front for one half of the distance less

IV Slash through center front and center back. Spread each section 3 or more inches apart from hemline to waistline. (The amount of spread controls the depth and number of pleats.) This, your basic culotte sloper, completes one half of your pattern. Many variations can be worked with this sloper as your guide. All around pleats, circular effects, various inside lines of design, and other changes can be made by the same slash-and-spread method used for any skirt pattern.

TO SEW: After you have cut two sets of front and back sections Join leg seams A to B for right half. Repeat for left leg seam. Press open. Place right section on left, right sides facing. Match center fronts, crotch lines, and leg seams. Sew from CF through A to CB. Tack and press in pleats. Sew side seams. Place placket in seam on left side. Attach waist band.

SLACKS

Measure   line   C-D   equal   to length of side seams from waist to ankles. On this line mark hipline (E). Mark crotch point (F) the distance from waist to chair of seated figure. Mark knee line (G) midway between hipline and ankle line.

1. Measure hips and square a line across C-D at hip line. Mark  ¼ of hip measure plus I" from side  seam to front and back centers. Mark these points A and B re-spectively.

Square a line at A and draw it from ankles to waistline. End it 1/2" lower than side seam at center front.

Using a line from A to B as radius, arc a line from B up toward waist on the back center. This will be used for a guide line.

3. Crotch line: Extend line H-F toward center front to   I   1/4 of the distance between H and F. Measure   1  1/2"  diagonally  out ward and upward from point H to J.

Draw a curved line from I through J to a point halfway to A on the front center line. Draw another curved line from I to kneeline (O).

Extend crotch line from F toward center back the same distance to K and beyond L. L to K equals  I to H.

(The line F to L equals the distance between H-F plus one half.) Draw a line I  1/4" diagonally out and up at K to M. Draw  a   line  from  K  up  toward waist   just   touching   the   curved guide  line.  Extend   line to waistline (N). The distance from K to N is 2 inches greater than the corresponding   line  at center front. Connect L to line K - N curving it to pass through point M and tapering curve toward  point B. Square a  line at K and  draw it down to ankle line at O. Curve a line from L to knee line at P.

Legs: At the ankle line measure a point (Q) one inch from side seam (D) toward center back. Draw a line from this point (Q) to E for side seam guide.

Mark your crease lines by finding exact center of both front and back sections at ankle and knee lines. Extend the crease line to the hip line.

Taper the leg pattern by measuring equal distances in at the ankle line (about 3/4" at center front, each side of side seam, and again at center back).

Draw a line from this point at ankle line to knee line at center front and center back and to the crotch line at side seam.

Mark centers (R) of A to E and (S) of E to B.

C2 to U is equal to 1/2 of back waistline. Draw line from S to U.

Cl to T is equal to 1/2 of front waist.

Connect Cl through T to C and C through U to C2 with a slightly curved line.

Reduce waistline to equal one half of waist measure by taking off 1/2" at center front seam, 1 1/2" at side seam of front section, and 1/2" at side seam of back section.

(If the waistline is proportionately very much smaller these reductions may have to be greater.)

Section I

At point T measure off an equal and sufficient distance on each side of T to bring the measure between the reduced side seam and center front seam equal to the waist measure from center front to side seam. Form the front pleat at T.

Section II

At point U measure off equal and sufficient amounts on either side to reduce to waist measure from center back to side seam. Form a dart at these points to a point on line U - S 6" below waistline.

CUTTING AND SPREADING—PATTERN ALTERATIONS

Basic slopers are in fact flat dress forms. All design changes are worked from the slopers by cutting and spreading. This same method is also used in making size changes and any individual figure changes for any given design or style, as well as changes in the design itself. Trace the outline of the sloper on heavy paper. Mark the points for pattern changes. Draw lines between point, slash accordingly and spread to new proportions. Trace new outline on another paper. Mark all matching points and cut out your new size or revised design.

BODICE ALTERATIONS

DRAFTING VARIATIONS ON THE WAIST

DRAFTING VARIATIONS ON SLEEVES

DRAFTING VARIATIONS ON SLEEVES

VARIATIONS ON INSIDE LINES OF DESIGN

COLLAR VARIATIONS

DRAFTING POCKET VARIATIONS

SUPPLIES AND EQUIPMENT

Dress forms are essential for proper fitting and draping. You can make your own dress form by glueing strips of gummed paper tape over gauze draped over the figure. Use short pieces and keep overlapping.

When the entire figure is completely taped to hip line, cut open with blunt-nosed scissors along a straight line at the center of back from hip line to neck line. Allow to dry thoroughly.

Put together by overlapping J4 inch at center back line. Recheck your measurements. Make your corrections by slashing and overlapping at sides. Criss cross tape over these areas.

When you are satisfied with the measurements reinforce the entire form with additional layers of gummed paper tape on the inside. At least two layers will be needed to strengthen your form. Trim neck, armholes, and hip line — fold strip of tape over the edges. Again allow to dry thoroughly. Coat the inside with shellac. Repeat over the entire outside. If you use more than one coat of shellac be sure to let the form dry thoroughly between coats.

Trace the circumference of the lower edge on heavy cardboard. If you intend to use an old lamp stand or broom stick for your stand, cut a hole in the center of your cardboard shape. Cut several thicknesses of cardboard to the same size and glue one on top of the other for greater strength. Attach this to the inside of your form. Repeat the same procedure for the neckhole — however this does not need to be so heavily reinforced. Cut a hole through the center at a point perpendicularly above the hole in the bottom card-board — this will be the point at which the stick you use as part of your stand will protrude in order to keep the form erect. Take care at this stage so that the form will not lean in any direction — make sure it will be erect.

Sew a jersey cotton foundation sheath to measure, slip over your taped form — and you're all set.

Suitable dress forms can also be bought from various sources — you will find advertisements in most needlework or pattern books. These are of various adjustable types — and your choice depends entirely upon your own preference.

In addition to the above it might prove helpful to have a padded sleeve — this can be made by removing a long fitted sleeve from an old dress, padding it with any suitable material, and sewing the ends to keep the padding in place.

ADDITIONAL EQUIPMENT

Tailor's square                          Chalk   Muslin

T square                                   Colored pencils Light weight Pellon

Triangle French curve                Tissue paper

Ruler     Scissors                       Heavy Craft paper

Tape measure                           Tracing wheel   or wrapping paper

8. DRESS FABRIC SECRETS

CUTTING AND CHOOSING YOUR DRESS FABRIC

With a basic knowledge of how to draft a simple pattern and how to draft variations of design for any part of the pattern, we can now begin to think of the dress fabric.

In choosing your material you must keep several things in mind. Keep the style you have designed in mind. Remember to judge the dress fabric for its suitability as far as season, occasion, and the individual who will wear it is concerned.

HOW MUCH MATERIAL WILL YOU NEED?

The dress has been designed, the pattern drafted and cut — every necessary part, facings, bias bindings, pockets, trimmings, etc., have all been cut and marked.

First decide on width of dress fabric to be used, then lay all your pattern pieces on the same width muslin or paper exactly as it will be layed out for the final cutting. Make sure to place all your pattern pieces parallel with the straight of the goods. The amount of material you will need is exactly the amount you have used for laying out your pattern.

Special planning is required for stripes, plaids, prints, and material with nap. The additional amount of dress fabric needed will depend on the style and amount of matching required, and on the size and spacing of the fabric design. Generally fabrics with small designs will require 1/8th yard extra.

Medium designs, stripes, and small plaids —¼ yard extra.

Napped materials, large plaids and large spaced prints will require ½ yard or more extra depending on the design and style.

PREPARING MATERIALS FOR CUTTING

Before any cutting is to be done the dress fabric must be checked for shrinkage control. It is always best to shrink all cottons and woolens whether they have been preshrunk or not. This is best accomplished by immersion in tepid water and pressing dry through a cloth or by pressing the dry material with a damp cloth and steam iron. When pressing be sure to just press and not push the iron back and forth over the material — the latter will only stretch it out of shape.

Another important thing to do with all materials is to straighten edges. Firm materials can be straightened by clipping selvage and tearing.

Delicate materials require delicate handling. Some materials are impossible to tear — with these you will have to draw a thread across the dress fabric and cut along this guide.

Determine which side of the material you want to use as the right side: Washable materials usually come with the right side folded out.

Silks and Wools usually come with the right side folded in to prevent soiling.

Some materials may be used either side — use your own judgment as to which side is more attractive in finish, pattern, weave, etc.

Straighten grain of dress fabric by stretching on the bias from selvage to selvage. Press out all creases and wrinkles.

Pin selvages together to make certain the center fold will be directly on the straight of the dress fabric. Always fold your right side in. Extra pinning is required for plaids, checks, stripes, and smoothe slippery materials to prevent material from crawling and the design from creeping out of alignment.

When you lay out your material for cutting use a large table. Special cutting boards (folding) are available — these are especially good because they are marked for straight lines and right angles and fabric can be pinned to it to keep it in place.

CUTTING

Have all pattern pieces properly marked for straight of goods and for joining points. Place all pattern pieces on your dress fabric making certain that the straight of goods marking matches the grain of the material.

Use sharp, long scissors. Keep material and pattern flat on table. Don't pick up the material. Let the blade of the scissors lift only enough to enable cutting. Take long, clean strokes.

Before removing pattern from material, make sure that you have transferred all the markings to the dress fabric. In a later chapter you will learn how this is done.

SPECIAL CUTTING PROBLEMS

MATCHING STRIPES

In preparing your material for cutting, pin stripes together. Have fold of material exactly in the center of a stripe or exactly in the center of the space between. If dress fabric has a tendency to crawl, pin stripes together at varying intervals.

With no front opening in the dress design place dominant stripe at center of front and match the rest to this.

On openings stripes must be matched and appear unbroken.

Your second pattern piece with the opposing stripe marked on it is placed on the material, for proper placing, keep the shoulder seam on this piece turned back and move your pattern over the dress fabric until you match the stripes marked on them at the points where they cross the seamline. Pin your pattern securely at this point, unfold seam line — and this is ready for cutting.

HOW TO MATCH OTHER FABRIC DESIGNS

The same procedure can be used for matching stripes, plaids, or checks at any seam.

Plaids or checks have to be matched crosswise and lengthwise at the same time. Since there is always some difference in the horizontal and vertical dimensions of the fabric design in plaids and checks, always remember to match lengthwise design with lengthwise design and crosswise with crosswise.

With all such problems it is important to train your eyes and your judgment.

Cutting plaids or checks on the bias requires extra care. Fold your dress fabric on the true bias and pin at frequent intervals to keep the design in perfect alignment and symmetry on both sides.

When cutting sleeves on the bias of plaid material, cut each sleeve separately. Use the first sleeve cut as your pattern for the second sleeve. Place right side to right side and move sleeve on dress fabric until you have the fabric design exactly matches at all points.

Figured materials can be treated as plain materials unless the design is large and widely spaced. Under such circumstances you will have to place the various parts of your pattern on the dress fabric in such a way — always matching the straight of grain — that the design of the print will show on the finished dress exactly where you want it. With such careful planning and placing the fabric designs can and do contribute a great deal to the style of the dress.

DIAGONAL WEAVES

In the front, lines should travel from the left shoulder down to the right waistline.

In the back they travel from the right shoulder down to the left waistline.

NAPPED FABRICS, VELVETS, OTHER PILE FABRICS

Care must be taken in laying out your pattern that straight of goods of each pattern piece runs in the same direction. Richer effects are obtained by having the nap of the dress

fabric facing or running in an upward direction, smoother effects with nap running downward.

KNITTED MATERIALS

As some knitted materials have a tendency to ravel at cut edges, it may be necessary to machine stitch around the edge of each piece you have to cut out.

SHEER MATERIALS

Chiffons and voiles and other sheer materials stretch very easily. To insure accurate size in cutting, it's worth the extra effort to pin or baste the entire dress fabric on thin tissue paper before laying out the pattern. Then after your pattern has been properly pinned, cut through the material and tissue paper at the same time. All bias edges have to be stay stitched either by machine or by hand to prevent stretching out of shape or size. In cutting straight edges in sheers it helps to draw threads for a more accurate guide.

LEATHER AND SUEDE

Leather and suede present special problems to the designer. To smooth out wrinkles, creases, and stretched out bumps — use a lukewarm iron (dry iron) on the wrong side and keep on pressing and gliding iron over it until the leather lies smooth. These materials have to be sewn with a larger stitch than usual. All the seams should be stay stitched with tape to prevent pulling and cutting through the skin.

Both leather and suede come in the shape and size of the animal from which it is obtained. For full size garments larger sections have to be pieced, therefore your design will have to be well worked out in advance to take this into consideration and to have the lines of patching form an integral part of the design.

important — do not pin leather or suede — Cut and fit your entire pattern accurately in muslin and after all alterations and fittings are as good as can be — use this muslin for your pattern in cutting out the suede or leather. Once your material is cut out — this is it — no changes can be made.

Lay your pattern pieces on the wrong side of the dress fabric, do not pin. Weight it down to keep it in place. Outline and put in all marks with tailor's chalk. Cut. Seam allowances need not exceed 1/4inch but neckline and armscye have to be stay stitched with tape to reinforce all points of possible strain and tearing.

In working with leather or suede — the first sewing has to be the final sewing. If stitching has to be removed and done over, the material will be weakened and cut by the needle, and unsightly markings will be produced.

FURS

Cutting of furs is very exacting, and delicate, and difficult, but if your design calls for fur trimming you will want to know how it's done. Follow the same procedure for marking as you have done with your leather and suede. Place the fur side down and do all your marking on the skin side. With a sharp razor blade cut into the hide — but be careful not to cut into the fur itself. After you have finished this cutting procedure grasp the fur with both hands and firmly pull apart on each side of the cut

MARKING THE PATTERN PIECES

CHALK MARKING

Carefully lift pattern from cutting table to chalk board with muslin side up. With your tracing wheel trace over every marking, all sewing lines, and every cross mark. Use short firm strokes and lift wheel at each stroke so that dress fabric is not pushed out of place.

Remove from chalk board and check that all markings are clear. Remove muslin pattern, but don't unfold material. Place the opposite side on the chalk board and proceed to mark this side by tracing over the first chalked lines. Again check that all markings are clear and that you haven't forgotten any.

Don't knot the thread. Leave a tail piece and secure your thread with one or two back stitches. End your line of marking stitches in the same manner. Do not Knot. Never knot your marking or basting threads. You will run into less trouble this way when pulling them out later.

Begin and end each straight line of stitching in the same manner. Do not turn corners with a continuous thread. Break off your thread each time direction changes and start anew.

Cross marks take the place of notches. In making cross marks use a double thread, no knots, and no back stitches. Start with a tail, taking small running stitches, and end with a tail.

PIN MARKING

On light dress fabric when chalk marks will not show up very well pin marking is used. For very delicate materials on which pins will leave permanent marks use needles instead.

9. GARMENT DESIGN TIPS

PREFITTING WORK

Up to this point, if you have cut and marked your garment material properly — you are now ready to proceed.

Baste or pin in all darts, tucks, and any other inside design form shaping details.

Stay stitch all curved and bias edges to prevent stretching material out of shape. Remember to handle your garment material lightly at all times.

Pin or baste shoulder and side seams of bodice. Baste sleeve seams and put aside. Pin or baste skirt seams.

THE FIRST FITTING

Drape bodice on dress form or living figure. Make any changes necessary in the fit of the garment by removing original pins or basting as you go along and replacing them at proper places.

These changes may be made at constructions seams, or at the darts, or other shaping seams. Don't make the mistake of over fitting — remember to leave room for action.

When you are satisfied with the fit of this part of your costume, drape the skirt over your form, turn down seam allowance at waistline and attach to bodice at the waistline by matching your side seams, center front and center back, and other markings inherent to your garment design. Make corresponding alterations in the same manner you followed in fitting the bodice.

CHECK ON YOUR STRAIGHT OF GOODS. MAKE SURE THIS AT CENTER FRONT AND CENTER BACK IS EXACTLY PERPENDICULAR   (AT RIGHT

angles) to the floor. THIS IS MOST IMPORTANT if you

EXPECT TO HAVE YOUR GARMENT HANG OR DRAPE PROPERLY. When your design calls for a bias cut pattern — the exact line of true bias must be perpendicular to the floor in the same mariner — either at the center front and back, or at the design center as, for example, the center of each gore or godet.

Mark any changes you have made with chalk. Remove garment from form and take the next step to the finish line. Before you remove any pins, make sure that you have marked all seam allowances and all changes.

Detach skirt from bodice and take apart side and shoulder seams — BUT DO NOT DESTROY OR REMOVE ANY OF YOUR MARKINGS!

Begin with sewing in all your darts and inner lines of design.

At this point Vah-Li, our designing friend says "Don't forget to press as you go along. This alone can make the difference between a professional looking garment and a homemade one."

PRESS EACH DART, SEAM, OR LINE OF SEWING BEFORE ATTACHING ANY CROSS SEAMS OR ASSEMBLING THE ADJOINING PART.

Press darts from the wider part toward the tip. Use your press mitt or tailor's ham. Press waistline and shoulder darts toward the center of the garment; and bust line or sleeve darts downward. When working with very heavy garment material or very wide darts — trim dart to about %" of sewing line and press open, leaving a triangular fold at the tip of the dart.

In pressing seams — first press them open and then toward the direction desired; or leave them open if this is your intention as a designer. When one edge of seam has to be eased to match the length of the opposite edge as for example the top edges of sleeves or fullness over bust — in order to achieve neat shaping, gather in the fullness with a small running stitch to the length desired and steam shrink to shape by pressing over a curved surface such as your tailor's ham.

ALWAYS PRESS BIAS SECTION WITH THE GRAIN OF THE MATERIAL TO AVOID STRETCHING OUT OF SHAPE.

TIPS FROM A PROFESSIONAL DRESSMAKER

Time for a second fitting.

Complete the bodice in all details except for final finishing. Sew in the interfacing if use of it is necessary to hold and reinforce the shape of your garment design.

Sew in facings wherever required.

If your design calls for a collar — baste it in.

Set in your sleeves and baste.

Have another fitting to check on collar and sleeves — Do the sleeves fall properly? — Is there enough ease for movement? — Does the collar lay smooth or roll the way you planned it? Measure off the length of the sleeves. Mark any changes necessary.

Now finish the bodice completely.

Remember to press each seam before sewing on a cross seam.

TIME FOR A FOURTH FITTING

Ready now for the skirt.

Sew all inside lines of garment design as marked in your original fitting. Finish any decorative sewing work, buttonholes, pockets, piping, etc. Press each seam as you go along.

You may be tired of hearing press, press, PRESS — but — if you expect to have the effect of the finished dress resemble your dream — any designer or dressmaker will tell you this — after cutting and fitting — proper pressing at the proper time is most important.

Sew your side seams along marked seam allowances. Baste skirt to bodice — matching at side seams, center front and center back, and at all other marked points. Ease in your bodice fullness if any is indicated in your design.

Now you are ready for the next fitting. Put your garment on the dress form or, preferably, on the person for whom the dress is being made.

Check on the grain of the material. — Does the straight of goods hang perpendicular to the floor at center front and center back? — Does it drape or fall properly? If it hikes up at any place give the skirt more length at that point by borrowing from the seam allowance at the waistline — or by lowering the waistline itself. If it droops or seems to fall in toward the bottom edge — do the reverse — take in some of the seam allowance. See that the side seams hang straight and perpendicular to the floor.

Check on the hips. — If it wrinkles above the hips you may have to take in additional allowance at the seams near the waist. Or if this is caused by not having followed your original markings accurately you may have to let out the side seams and give the necessary added width at the hip line.

When you are completely satisfied with the drape of the garment mark the changes with tailor's chalk or colored thread if there are any to be made. Mark the placing of your zipper placket or any other type of closure you intend to use — and the bodice and skirt are ready to be joined.

Remove the garment from your dress form. Remove pins and bastings no longer needed — BUT DO NOT DESTROY THE MARKINGS! Place the right sides of bodice and skirt facing each other, pin or baste along the seam allowance as marked and checked at the last fitting. Put in your permanent stitching by machine — or hand if you prefer — along the marked seam allowance. Pin or baste binding tape to the joined seam allowances, working with bodice side up, place tape so that joining seam is just covered and stitch permanently about ⅛" just below the seam. This will act as a reinforcing stay and will keep the waistline from stretching out of shape. Again — remember to press your seams as you go along.

Sew in the plackets and baste in the zipper or nylon tape closures — and you are ready for your final fitting. With a bias skirt — allow the garment to hang for at least 24 hours before measuring the hem.

FIT FOR A QUEEN OF FASHION

At this fitting — the garment is ready for measuring the length, turning up the hem, and checking on whatever last minute changes may be necessary. Use the skirt marker and measure for the length most becoming to the wearer but which is still within fashionable limits.

(The type of hem depends on the design and the type of material used. Knitted jersey, for instance, is best hemmed by catch stitching; bias or circular shirts are either rolled, piped, or have very narrow hems. The weight of the garment material will have a certain effect on the type of hem you choose. For a flat, non-bulky appearance, bias binding is usually sewn to the raw edge on the right side so that the binding overlaps the edge by about a third of its width. When the hem is turned all raw edges will be hidden.)

Make your final check on how the entire garment fits. Does it hang straight? Does it fit well without limiting movement? Remember that the wearer will have to walk, sit, climb stairs. Will she be able to move her arms comfortably without pulling out the seams ?

Mark the placing for buttons if these are being used. Check on the smoothness and fit at the closing placket whether for zippers, nylon tape, hooks and eyes, snaps or whatever.

Is everything the way you planned it to be? The last stage of making your garment is finally at hand. Put in all your finishing touches. Sew on your zippers or buttons. Stitch the hem accordingly to plan. PRESS. And your garment is ready — and fit — for the Queen of Fashion.

TAILORING TIPS

Tailored garments require a specialized type of planning and sewing. In the first place the materials used in severely tailored styles are usually heavier or firmer than those ordinarily used for the so-called dressmaker styles which have softer lines.

The preparation and handling of your garment materials is the same in any case. Remember to pre-shrink the material. Check out the straight of goods. Match stripes or other material design. Remember to make all your marks. Remember the importance of pressing all seams as you go along, pressing tip — to avoid seam allowance impression to show on the right side, place heavy paper between seam allowance and body of the garment before applying pressure with your iron. All rounded areas should be pressed over a tailor's ham, and straight seams on a roll cushion.

All tailored styles require interfacing in order to hold the shape and crisp lines of the design. Interfacing is cut from the same pattern and it usually covers an area in a tailored suit jacket — about 3" below armscye, curves over bust line, and extends down along the front edge in about a 3 or 4" width. In the back it reaches about 5" below the neckline and curves to the same depth as the front interfacing below the armscye. Interfacing is also necessary for the collars, cuffs and pocket flaps if the garment design calls for them.

SEWING TIPS FOR INTERFACING: Instead of being joined in the conventional manner, the seams are overlapped and catch-stitched. This prevents unsightly, bulky ridging. Darts are handled in a similar way — they are slashed, overlapped, and catch-stitched.

METHOD OF PROCEDURE: The interfacing has to correspond exactly to the markings and alterations, if any, on the garment itself.

(Drape the garment, inside out, on the dress form.  Smooth out all wrinkles. Pin the interfacing to it. Make sure all markings are matched.

See that the material and interfacing are placed together wrinkle free.

Baste interfacing to material at seam lines, front edges, armscye, and neckline.

Beginning at the point where your lapel will fold or "roll" pad-stitch the two together working from the fold to the outer corner of the lapel. Be sure to pick up only one thread of your material with each stitch so that they will be completely invisible on the right side. Sew twill tape to the roll line of lapel, and after clipping the front edge of interfacing almost to the seam line, join it to the garment with tape by sewing one edge of tape to garment and the other to interfacing with slip stitches. At this stage — if you are going to have bound buttonholes — sew them in right through interfacing.

Now baste interfacing to wrong side of collar. If collar is to remain flat, join it to the garment material entirely with padding stitches. If it is to have a folding line or roll — mark the line of this with machine stitching and follow with rows of additional

machine stitching until the entire area to the neckline is filled. The rest of the collar is finished with padding stitches. Steam press the collar to shape and leave on tailor's ham until thoroughly dry.

Attach the collar to the neckline — right sides facing — stitch at the seam line through material and interfacing. Notch neckline seam allowance. Clip interfacing close to stitching line. Press seam open.

Sew upper collar to lapel and neckline facing. Clip corners and notch seam allowance. Press seam open. Pin, right sides facing, to garment. The upper collar and lapels have to be eased slightly in order to form the proper shape or roll as you sew them to the garment.

Clip all interfacing close to stitching at seam allowance. Grade all seam allowances so that they are of different widths. Clip corners and notch curves wherever they would buckle or ripple when turned. Before turning press open all seams with the tip of your iron so that all edges will be crisp after turning.

Turn the facing and garment right side out and baste together about half inch from outer edges. Finish backs of button holes and catch stitch edge of facing to interfacing.

Use the same procedure in sewing sleeves. Match markings. Press seams as you finish stitching. A double row of running stitches along the top edge of sleeve is used as a means of easing the sleeve to fit the armscye. This easing has to be shrunk by steam pressing. Match all markings — pin — and sew sleeve in. Press armhole seam over ham and long seams over roll.

Measure and mark your correct lengths. Cut a strip of interfacing a little wider than hem depth to fit along the lower edge of the jacket. Slip stitch into place so that the lower edge will be exactly at the fold of the hemline. Catch stitch the top edge to garment. Turn up hem and catch stitch edge to interfacing and finish stitching facing.

If your garment design calls for shoulder pads, tack the centers to shoulder seams and catch stitch the edges to the interfacing.

LINING COATS, JACKETS, DRESSES AND OTHER GARMENTS

In lining coats and jackets care must be taken to follow the same pattern with the same alterations, under no circumstances cut the

LINING SMALLER THAN THE GARMENT.

After cutting and marking make a pleat at the center of front shoulder seams. Sew the side seams. Press seams open. Clip and notch wherever necessary to reduce the bulk or prevent rippling. At the center back neckline make another pleat — catch stitch this on the right side.

Drape your garment inside out on your dress form and fit lining smoothly over it. Match centers and seams. Pin securely. Baste side seam allowance of garment to side seam allowance of lining to about 3 or 4 inches of bottom (this is to allow for turning up of the hem). Baste front shoulder seam allowance of lining to back garment seam allowance.

Turn down seam allowance at back of neck of lining, clip or notch where needed to avoid pulling or rippling. Ease into place and slip stitch to neckline at the collar seam allowance. Bring forward lining of back shoulder, turn under shoulder seam allowance and slip stitch to front lining at shoulder seam line.

Baste lining to garment securely around armscye. Turn under front edge of lining, pin into place about l/2 inch beyond catch-stitching at edge of interfacing. Slip stitch into place.

Now the sleeves'. Make the sleeve lining the same way you made the sleeves. Remember the lining should never be smaller than the garment it is to line. Turn garment sleeve inside out and baste seam allowance of garment sleeve to seam allowance of lining. Turn lining right side out. Pin and ease shoulder of sleeve lining at seam around armscye. Slip stitch into place.

IN THE WORKROOM OF A CUSTOM DRESS SHOP

Step1 — Deciding on the style. Taking measurements. Regular customer probably has sloper previously prepared

Step 2 — Original muslin pattern is centered on the dress form and slashed and spread or patched wherever needed to fit the measurements of the customer, and still keep the essential lines and design of the original.

All garment material used for patching has to be on the same grain to avoid distortion of lines.

All new lines and cross marks are marked with a contrasting color pencil to distinguish them from the original markings.

Step 3 — The entire muslin pattern is then laid out on the garment material. In cutting generous seam allowances are used at places where alterations are commonly made: side seams, shoulders, arms, and neckline.

Step 4 — After all the style lines are thread marked the pattern pieces are ready for the draper.

Step 5 — In a busy shop the draper may work on several dresses every day.

As the draper works on putting the dress together each thread marked piece is pinned on the dress form. The seams of one piece folded back and then pinned over the adjoining piece. Any inside curves of style lines are slashed and pinned to lie smoothly.

Step 6 — The fitting — Sometimes the style line seams are stitched before the first fitting, but usually, and especially with a new customer the garment will be pinned only to facilitate fitting.

Step 7 — The drapers assistants now take over — the actual sewing is now in progress. As each seam is finished it is carefully pressed before being joined to the next piece. The number of fittings required during this procedure will be decided and agreed upon with the customer. A final fitting will be made before the finishing touches are put in.

Step 8 — The garment is finished, pressed, and ready for delivery.

References :

Evolution of Fashion — Gardiner Costume Silhouettes — Evans                   Dress Design — Hughes

Costume Antico e Moderno — Ferrario Psychology of Dress — Parsons McCall's Easy Sewing Book