Strickland A Tailoring Manual 1956

A Tailoring Manual
THB MACMILLAN COMPANY

NEW YOKE • CHICAGO
PALLAS • ATLANTA • SAN FRANCISCO
LONDON • MANILA
THB MACMILLAN COMPANY

OF CANADA, LIMITED
TORONTO
A Tailoring Manual
GERTRUDE STRICKLAND
Professor Emeritus
Clothing, Textiles, and Related Arts
Oregon State College
Corvallis, Oregon
THE MACMILLAN COMPANY New York

© Gertrude Strickland 1956
Published simultaneously in Canada
All rights reserved—no part of this book may be reproduced in any

form without permission in writing from the publisher, except by a
reviewer who wishes to quote brief passages in connection with a
review written for inclusion in magazine or newspaper.
Printed in the United States of America
First Printing
rr
515
57/
1151
199288
,
Earlier editions copyright 1944 and 1947 by Gertrude Strickland.
Library of Congress catalog card number: 56-7341

Foreword
Accuracy in tailoring details is absolutely essential in securing a well-made garment. Short cuts
will hinder the achievement of such a goal. Much of the work involved in a tailored garment is
hidden from the eye, but it is important. Sufficient time should be allowed for the construction of a
tailored garment, for it cannot be made as quickly as a dress. Accuracy in detail, frequent com¬
parison between the two sides, and careful workmanship will be justified, for the finished garment
quickly shows up any carelessness.
The following instructions are planned in sequence in so far as is possible, to guide the home
sewer in the construction of a suit, a coat, or slacks. Not all instructions in basic sewing can be in¬
cluded in this manual, since there are adequate texts already available. This manual, with its illus¬
trations, should assist one in developing better constructions in tailoring, give one an appreciation
of what goes into a custom-made garment, and aid one in the selection of future ready-made suits,
coats, and slacks.
G.S.
v
Table of Contents
Foreword v
Glossary of Terms 1
Selection of Fabric and Findings for Garment 3
Fabrics of Wool or Worsted 3
Materials Used in the Making of Suit or Coat 4
Shrinking 5
Laboratory Equipment and Tools 6
Directions for Making Laboratory Equipment 6
Adhesive Paper Dress Form 9
Measurements 14
Preparation for Measurements 14
Measurement Sheets 16
Measurement Sheet for Raglan Sleeve 17
Measuring the Commercial Pattern 18
Suggested Allowances for Ease 20
Variances in Commercial Patterns 21
Grading Patterns 21
Pattern Alteration 25
Darts (Four Main Positions) 25
Other Dart Positions Used in Garment Construction 26
Enlarged Bust Alteration t 28
Round Shoulder Alteration 30
Widen Shoulders 31
Narrow Shoulders 31
Types of Set-in Sleeves Used in Tailored Garments 32
Sleeve Cap Increase in Height 32
Sleeve Cap Increase of Sleeve with Seam at Center 33
Sleeve Cap Increase for a Two-piece Sleeve 35
Making the Muslin Garment 37
Cutting the Muslin Jacket 37
Suggested Allowances for Finished Seams and Hems 38
Marking the Garment 38
Basting the Jacket 38
Fitting the Jacket or Coat 39
Self Fitting 39
Shoulder Pads 40
Figure Problems 41
Garment Problems in Fitting 41
Baste Collar to Muslin Jacket 50
Preparing the Sleeve for Fitting 50
Fitting the Sleeves into the Armscye 50
vii
viii Contents
Basting the Sleeve into the Armscye 51
Marking the Fitted Muslin 54
General Suggestions in Garment Construction 55
Cutting the Wool Garment 56
Planning the Wool Garment Layout for Cutting 56
Lining 56
Interlining 57
Canvas (or Interfacings) 57
Stay Line Stitching Before Basting 59
Steaming Wool 60
Making the Skirt 62
Basting the Skirt 62
Fitting the Skirt 63
Belts 63
Fitting Problems in Skirt 64
Rebasting the Skirt 65
Directions for Stitching Darts and Seams 66
Outside Stitching on Pleats 66
Zipper Placket 67
Fastening the Belt to the Skirt 69
Snaps, Hooks and Eyes 69
Marking the Hem of the Skirt 70
Shrinking Hem Turn-up 70
Hem Finishes 70
Pleated Skirt 72
Inside Seam Finishes 74
Seam Finishes on Right Side of Garment 74
Fasteners on Garments 77
Corded Buttonhole 78
Piped Buttonholes 78
Buttonhole Facing 80
Worked Buttonhole 82
Buttonhole Loops 82
Sewing on Garment Fastenings 83
Double-Breasted Garments 84
Making the Jacket or Coat 85
Preparing Inside Cuts on Garment Surface 85
Basting the Garment 86
Fitting the Wool Garment 86
Stitching and Steaming Darts and Seams 86
Basting the Lining 86
Lining Shield Pattern 86
Stitching the Canvas Darts and Seams 87
Basting the Canvas to the Garment 87
Pad Stitching the Garment Fronts 88
Taping the Garment Fronts 89
Steaming the Two Fronts after Taping 91
Taping Underarm of Armscye 91
Pull-up Stitch 92
Attaching Facing to the Garment 92
Fly Facing 92
Grading Seams at Edge of Garment 94
Contents IX
Curved Edges 95
Stitching Shoulder Seams 95
Pockets 96
Welt Pocket 96
Flap Pocket 99
Corded Pocket 100
Patch Pocket 102
Simulated Patch Pocket 103
Saddlebag Pocket 104
Pocket in a Seam 105
Pocket Made in the Design Line of a Garment 107
Pocket Between Lining and Facing of Garment 108
Decorative Tacks 109
Collar 111
Making the Collar 111
Join Collar to Garment 113
Shawl Collar 114
Taping the Shawl Collar 115
Facing the Shawl Collar 115
Collarless Garments 117
Sleeves 118
Fitting Sleeves into the Wool Garment 118
Stitching the Sleeves 118
Marking Hems of the Sleeves and Jacket 119
Mitered Comer 119
Sleeve Finishes at Wrist 120
Bias for Binding 121
Bound Edge 122
Fitted or Shaped Facing 122
Fastening Shoulder Pads to Garment 122
Hemming the Jacket or Coat 123
Hemming the Jacket 12 3
Hemming the Long Coat 124
Basting the Garment Facing into Place 124
Lining the Garment 126
Lining the Body of the Garment with Set-in Sleeves 126
Lining the Sleeve 128
Lining the Vent and the Bottom of the Long Coat 129
Hemming the Lining of the Long Coat 130
Interlining 131
Unlined Garment 132
Lining the Raglan or Kimono Garment 132
French Tacks 133
Edge Stitching the Garment 134
Arm Straps for Coats 136
Slacks 137
Pockets 141
Finishing Waistline of Slacks 144
Cuffs on Slacks 145
Plain Hem at Bottom of Slacks 145
Final Steaming 148
A Tailoring Manual
Glossary of Terms
Armscye or Armhole: The garment edge that fits b. Hymo: A wiry canvas used for padding or
around the arm at the shoulder end. stiffening.
Basting: Long stitches used to hold garment edges c. Haircloth or horsehair: Stiff, wiry fabric
together for fitting or stitching. made of cotton, worsted, or linen warp, with
Bias: A diagonal line of seam, cut or stitched a filling of horsehair.
across a fabric. d. Linen: Stiff linen canvas for stiffening.
a. True bias: True bias for cutting bias bands Chalk: A waxed or dry square of chalk used for
or portions of a garment is found by folding marking.
the fabric so that the warp thread parallels Collar stand: The folded edge of a collar of a
the filling thread. The fold thus formed is a jacket or suit.
true bias. Dart: Short tapering seam used in a garment to
b. Garment bias: Any bias not a true bias is insure a better fit.
called a garment bias, such as a side seam Ease thread: A fine running or gathering thread
of a skirt.
_ m
used along the stitching line, where that edge
Break line: The folded edge of a lapel. will be matched to a shorter space.
Bridle stay or tape: A stay tape along the lapel Flap: Finished fold of material hanging over the
fold to prevent stretching, also to help insure top of a pocket.
the fit of the bust of the garment. Fly facing: A closing in a garment so constructed
Buttonhole twist: A strong silk thread used for that it conceals the fastenings.
working buttonholes, French tacks, and belt Godet: A piece of fabric shaped like a section of
loops. pie, inserted into a garment edge to add ease
Catstitch or catch stitch: A method of hemming or fullness.
the raw edge to garment by taking a tiny stitch Gore: A section or panel of a skirt.
in the fabric parallel to the hem, then cross Grading: The art of increasing or decreasing a
the cut edge and take a stitch in the hem edge. pattern from one size to another.
These stitches are Vi inch apart and Vi inch be¬ Grading seams: Cutting one seam edge slightly
tween the two rows. The direction of stitching narrower than its matching seam to decrease
is left to right, the stitches cross and resemble bulk at the edge of garment.
a herringbone stitch. Grosgrain: A firm, stiff ribbon or fabric made
Canvas: Fabric used as inner stiffening on a tai¬ with crosswise ribs.
lored garment to give it body and shape. Gusset: A shaped section at underarm of garment
a. Wigan: Cotton muslin in varying degrees of to allow more ease and strength.
stiffness. Haircloth: See canvas.
1
A Tailoring Manual
Ham cushion: An egg-shaped, hard-stuffed cush¬ Silesia: A twill cotton fabric used in pockets, lin¬
ion used to press shaped portions of a garment. ings, and facings in slacks and men’s tailored
Hymo: See canvas. garments.
Interlining: Cotton flannel or wool used between Sleeve cap: The section above a line drawn across
lining and garment to add warmth. a sleeve from armpit to armpit.
Lapel: A reverse and collar at garment front.
Stab stitch: A stitch made by pushing the needle
Linen: See canvas.
straight through thicknesses of material, pull¬
Manila tag: A thin crisp cardboard 30" by 24", ing the thread after, then returning the needle
125-pound weight. (Referred to in text as Tag.) and thread in the same manner.
Nap : Pile of a fabric.
Stay stitch: A temporary machine stitch along a
Notch lapel: A lapel with a V-shaped break in it.
stitching edge to hold it in place until perma¬
Pad stitch: A small prick-stitch used to fasten
nent stitch is used.
canvas to the wrong side of the lapel or collar
of a garment to give it shape. It is made by Stiletto: A short, slender pointed instrument for
sticking the needle through the canvas, picking making eyelet holes.
up a few yarns on the back surface of the wool, Sunbak: A trade-mark for patented satin lining
and bringing needle up to the right side of the with wool backing. Use of this lining eliminates
canvas. Stitches zig-zag, the spread is V4 inch, the handling of extra interlining.
and stitches are Vi inch apart. Threads at stitch Tailor tacks: A method of transferring pattern
point do not cross. markings onto a cut garment, using short looped
Paddle or beater: A hardwood paddle or rectan¬ stitches through two thicknesses of fabric. When
gular block used to pound thick edges or but¬ fabric is separated and looped stitches cut, the
tonholes to flatten them when steaming. two sections are marked identically. If darning
Pick stitch: A hand stitch in place of machine cotton is used to tailor tack, only one stitch is
stitch used around edges on tailored garments. used through the two thicknesses as it does not
Plumb line: A string with a weight attached at slip out as readily as sewing cotton.
the end, which is used against a seam to deter¬ Tailor’s square: A ruler with a right-angle turn.
mine its straightness.
Vent: A lapped opening from the bottom edge of
Purl: A fine loop made along the worked button¬ a garment.
hole edge.
Wadding: A prepared sheet of carded cotton used
Reversible: A garment so constructed that it looks
for padding.
equally well with either side exposed.
Saddle stitch: A decorative hand stitch using Warp: The lengthwise thread of a fabric.
coarse thread and long stitches, usually along Wigan: See canvas.
the edge of a garment. Woof: The crosswise or filling thread of a fabric.
Selection of Fabric and Findings for Garment
Care should be used in the selection of fabric, FABRICS OF WOOL OR WORSTED

and one should purchase the best woolen or wor¬ Astrakhan: Pile fabric resembling Persian lamb.
sted material with the money available. Coats.
The use of the garment must be considered, Bedford cord: Corded material of woolen or wor¬
whether for utility or dressy occasional wear. sted with woven vertical rib. Excellent wearing
Many hard twills become shiny with use and are quality, unless weave is loose. Suitable for
not practical for utility purposes. Also twills are slacks, sportwear, or coats.
more difficult to tailor because they do not shrink Bengaline: Rib weave similar to poplin. For coats
so easily as tweeds and are more likely to show or suits.
any poor workmanship. Boucl6: Yarns with loops which give fabric a
The selection of color will depend upon one’s rough appearance. Suits or coats.
present wardrobe, the accessories on hand, and Broadcloth: Rich-looking fabric with a nap lying
one’s preference for color. A conservative color in one direction. Smooth surface. Suits or coats.
is usually more practical because it may be worn Cashmere: Woolen suiting with smooth surface
longer without going out of style, or one’s becom¬ or nap. Twill or plain weave. Suits or slacks.
ing tired of it. Camel’s hair: Twilled and napped fabric in neu¬
The lining should be purchased along with the tral or dyed colors. Coats.
fabric. It should be durable in a matching, neu¬ Cheviot: Rough-surfaced fabric with twill weave.
tral, or contrasting color of pure-dye satin, silk, Suits or coats.
crepe, or taffeta; or acetate and rayon satin, Covert cloth: Twilled fabric with mottled effect
crepe, or twill; milium satin or crepe fabric with due to the use of two-ply warp yarn of white
metallic backing; or Sunbak, a satin fabric with and color. Suits, coats, or slacks.
a wool backing. Crepe: Fine crepe spiral-twisted worsted with
Matching or contrasting colored buttons may tone on tone. Light weight. Suits.
be purchased; or buttons may be made from the Duvetyn: Suede-surfaced effect with cotton back.
fabric of the garment. Suits or coats. Not durable.
The selection of a pattern is important. Lines Flannel: Soft-napped surface with plain or twill
should be flattering to the figure and suitable for weave. Suits or slacks.
the fabric selected. One should get the correct French serge: Smooth firm fabric, twill weave.
size as nearly as is possible in order to eliminate Suits, slacks, or summer coats. Becomes shiny
alteration problems. very quickly.
3
4 A Tailoring Manual
Gabardine: Smooth, hard-surfaced twill fabric 3. Canvas with ends tom or cut along grain.
which is soft and dull. Suits, slacks, or summer Use any one of the following:
coats.
a. Wigan or soft unbleached muslin: a
Homespun: Loose plain weave and rough in tex¬
very soft material suitable for soft dress¬
ture. Suits, coats.
maker suit. Used across upper back in
• Poplin: Corded effect. Plain weave. Suits.
nearly all garments.
Rating: Loosely woven, nubby, plain weave. Suits
b. Hymo: best weight for most tailored
or coats.
garments.
Serge: Worsted fabric, twill weave, not as fine or
c. Haircloth or horsehair: very stiff and
soft as French serge. Wears shiny. Suits, slacks,
wiry.
or summer coats.
d. Tailor’s linen: may be used instead of
Sharkskin: A firm fabric of plain or basket weave.
hymo, but it wrinkles while being
Suits, slacks.
handled.
Tweed: Rough-surfaced in plain or twill weave
in light or heavy weight. Suits, slacks, or coats. 4. Shoulder pads may be purchased ready¬
Whipcord: Woolen or worsted twill. Slacks, suits. made or made at home.
5. Linen tape for taping garment edges.
MATERIALS USED IN THE MAKING OF SUIT OR COAT Rayon tape, straight, may be used for very soft
1. Wool fabric cut along the grain (either or thin fabric.
tom or cut along a pulled thread.) 6. Interlining (optional): Cotton flannel or
Allow 6 inches in a garment length for shrink¬ wool interlining.
age and for extra seam allowance. 7. Lead weights for jacket hem.
A garment cut on the bias, or one with a 8. Zipper for skirt.
pleated skirt or a flared coat will need 12 inches, 9. Sewing silk: 4 or 5 spook for stitching.
since more yardage is required in cutting. A me¬ 10. Matching mercerized cotton thread for
dium or large plaid will need at least 18 inches some hand work on inside of garment.
for shrinking and waste in cutting since all plaids 11. Buttonhole twist for tacks, buttonholes, if
must be matched. worked, and for sewing on buttons.
Allow extra length for the tall figure because 12. Heavy-duty thread in contrasting color for
yardage estimations are for those of average basting.
height. 13. Darning cotton for tailor’s tacks.
2. Lining cut along grain. Allow the same 14. Hooks and eyes for skirt belt.
amount as for the wool for extra height. 15. Grosgrain ribbon for skirt belt.
Shrinking
All wool fabrics, whether labeled preshrunk or Open up fabric and press along crease.
not, should be shrunk before being made into a After being pressed, the fabric will still be
garment. Each end of fabric must be torn or cut slightly damp; spread it smoothly on cutting table
along the thread before shrinking to save loss of to dry thoroughly, having both cross and length
yardage. This may be suggested to the clerk when grains parallel to table edges.
purchasing fabric.
Wet one half of a sheet and wring out; then
fold the dry end into the wet end and wring again Canvas, linen tape, grosgrain belting:
until the sheet is evenly damp all over. To shrink canvas, fold the material loosely
Smooth out the sheet on cutting table. back and forth like an accordion and submerge
Lay the folded wool along the edge of wet sheet into container of hot water, allowing to stand
and fold the remaining sheet width over the top until cold.
of the wool. Remove from water bath, strip water out by
Loosely fold the sheet and wool together and hand, roll in cloth or spread smoothly on flat
allow to stand at least six hours, preferably surface to dry partially before ironing.
overnight. Do not wring out the materials from water
Remove wool from sheet, and while damp pull bath; this causes wrinkles which are difficult to
it diagonally into shape until the folded edges iron out.
and ends of wool lie square with the table. Keep the grain of material parallel with table
Loosely woven woolens will not need to be edges while ironing.
pressed and may be left to dry on table. To prevent the filling in canvas from adhering
Smooth, closely woven woolens will need press¬ to the iron, place a piece of tissue or thin wrap¬
ing. Place on broad pressing table with fabric ping paper over the wet canvas while ironing.
squared to edges. Linen tape and grosgrain belting may be placed
With warm iron press lightly with the length in the same water bath with the canvas and strip¬
grain, but not over the center fold as this causes ped through the fingers to remove excess water.
a sharp crease. When partially dry, press parallel to a yardstick
Turn material over and press second side. to prevent curves in the tape.
5
Laboratory Equipment and Tools
Cutting table Buttonhole twist

Sewing machine Darning cotton for tailor’s tacks
Pressing equipment Tape line
Sleeve board Pencil
Seam board Stiletto
Press cloth of drilling or its equivalent Bodkin
Press cloth of cheesecloth Edge marker or short rule
Velvet board and cleaner brush Seam gauge
Hardwood paddle Tailor-trik—a patented wooden pointed tool for
Iron turning and spreading points
Plain Plumb line
Steam The above equipment will be used in a tailor¬
Tailor’s press pads, large and small ing class, but for home tailoring one may impro¬
Sheet for shrinking, 4 to 4 Vi yards long vise and get good results with less equipment.
Turkish towel, heavy, white
Tag board strips, 2 or 3 inches wide, any length DIRECTIONS FOR MAKING LABORATORY EQUIPMENT
needed, or heavy wrapping paper if tag is
not available Figure 1.
Shears, 7 Vi or 8 inches Some laboratory equipment may be made at
Pinking shears home and will afford great convenience for doing
Buttonhole cutter home sewing. The dimensions given below are
Transfer paper, light and dark approximate measurements. The materials used
Tracing wheel in seam board, sleeve board, paddle, and saw¬
Tailor’s chalk, wax and dry dust for pads should be of hardwood to eliminate
Yardstick any possibility of pitch appearing.
Square Dimensions for the following equipment are
Skirt marker listed on the drawings in Figure 1, a through L
Full-length mirror a. Press pads: These are made of sturdy duck
Dress form or similar material. Cut two oval pieces and
Needles, sizes 7 to 10 stitch together with a 2-inch boxing, leav¬
Thimble ing a 4-inch opening along one seam at one
Pins end. Stuff tightly with hardwood sawdust,
Heavy-duty basting thread in color then sew opening securely.
Silk thread for stitching garment This pad is used to steam any part of the
6
garment where a shaped surface is formed, any napped fabric as well as velvet. A heavy
such as darts or curves. The garment con¬ Turkish towel is the best substitute.
forms to the curve of the pad and produces f>g• Paddle: Made of hardwood with very smooth
a shape that fits the curve of the body. surface and slightly rounded edges to pre¬
b. Press pad for sleeves: This may be made the vent marring fabric. The paddle is used to
same as the above press pad with boxing, pound thick edges or buttonholes during
or the two ovals may be sewn together with¬ steaming, also to remove steaming “shine”
out boxing. The large end is used to steam from a garment. The board may be rec¬
edge curves, as the cap curve of a sleeve. tangular as in / or shaped like a hand pad¬
c. Seam board: It has no covering and is used dle as in g.
raw. It is convenient for pressing open seams, h. Mit: Made of two thicknesses of sturdy
especially those which are difficult to get at, cotton or wool fabric with a pocket for hand
such as collar or lapel points. on one side. The mit is filled with layers of
d. Sleeve board: This board is padded like wool piled 3A inch thick, which are tacked
an ironing board. It is convenient for press¬ together to prevent slipping. This mit is
ing not only when sewing, but also when used to pound shiny surfaces sometimes
ironing the family laundry. acquired during steaming.
e. Velvet board and cleaner: This board is not i. Tailor-trik: A small, inexpensive tool very
a necessity but is convenient for steaming effective in turning angles or points.
Adhesive Paper Dress Form
Because it is difficult for a person to fit herself, Method of procedure:

and a fitter is not always available, a dress form Four persons are necessary to construct the
the exact duplicate of one’s figure is almost essen¬ form quickly; two to moisten strips, and two to
tial. One that is made on the individual is more paste strips to person, one working on the front
satisfactory and less expensive than the commer¬ and one on the back. Allow one hour for making
cially made form. For that reason, the instruc¬ the form on the figure and one hour for finishing it
tions for making a form have been included in after it is removed from the figure.
this tailoring manual. The person should wear a bra and girdle which
give desirable style lines. She should stand so that
Figure 2. her hands may be placed on the back of a chair
or rest on the edge of a table for support.
Materials needed:
To cut the paper, hold the roll with edge ex¬
1. Two shirts of thin knit material such as T tending over a table edge, and cut through the
shirts. Thin muslin cut on the bias and roll with a razor blade.
about 5 inches wide, to build up a neck¬ All strips should be cut before starting to make
line; or gauze tubing shaped to the figure; the form on the person.
or a packaged dress form kit (from a depart¬ Keep separate on table each group of strips
ment store) which will contain all necessary cut from the two rolls of tape to prevent confusion
material. and to speed up the operation.
2. Two rolls of medium weight adhesive paper, a. Diagram showing the depth each group of
one inch wide. strips is cut from the two rolls. Each group
3. Eight yards of colored scotch tape, lA inch should be labeled as it is cut.
wide. 1. First group of strips is cut % inch in from
4. Stiff, corrugated cardboard, large enough to outside of both rolls and are approxi¬
cut out a base for the largest hip size, and mately 15 to 12 inches long. These strips
a neck size piece. are used from shoulder to waist on first
5. Other materials: two sponges, two small layer, and diagonally from neck down
basins for water, needle, thread, sharp scis¬ front and back on the second layer.
sors, surgical scissors if available, pencil, 2. Second group of strips, around 12 to 9
yardstick, rule, tapeline, sharp razor blade inches, is cut % inch from outside of each
with one cutting edge only, shellac, small roll. These strips are used on the first
paint brush. layer from waist to lower hip edge, and
9
on the second layer down from the neck joinings had occured on the first layer. The
in front and back. second layer from underarm to lower hip
3. Third group of strips, around 9 to 5 line is reinforced with 5- to 9-inch strips the
inches, cut 3A inch in from outside edge same as in c, the first layer.
of roll. e. Reinforce around armscye to form a good
These strips are used diagonally under shape, using 3- to 5-inch strips. Some per¬
the arm on both first and second layers sons may wish a short sleeve cap. This is
in making the form. formed from 1 to 3 inches beyond armscye
4. Cut around 250 3-inch strips for finish¬ at shoulder tip, using short 3- to 5-inch
ing edges of form and for joining the two strips, building a smooth upper arm curve,
sections. allowing strips to follow the arm curve when
b. Put the shirt, or substitute, on the person pasting on. (It is difficult to put on and re¬
and sew edges together so that the shirt fits move garments with an extended sleeve
smoothly and firmly on the figure. It should cap)
run up onto the neck to form a neckband, Finish the neck with one layer of 6- to
extend out over upper arm to form a smooth 9-inch strips around the neck to form a good
armscye, and extend well below the widest shape until dress form is removed from per¬
hips. Pull the shirt down smoothly from son. The neck can be reinforced more
shoulder, and paste a long strip of moistened sturdily when form is removed.
tape closely around the normal waistline, /. Measure and mark the form before remov¬
overlapping tape ends to prevent slipping. ing.
Paste another strip of tape closely below the
Form Person Differences
widest hip. Paste strips curving under each
bust to preserve contour. Neck_
c. First layer of strips, 12 to 15 inches. Begin Bust_
at center front and back, paste moistened
strips on the figure from neck and shoulder Waist_
edges to taped waistline, overlapping strips Widest hip_
% of the strip width. Let strips curve to body
contour as they will, and if too long tear off Measure from floor up to within 2 or 3
excess length. inches below the widest hip and carefully
Continue pasting strips to armscye edge, mark for the base of the form.
overlapping strips at top of shoulder. Re¬ g. Mark for removing form from person, down
peat for second side of front and back. From center front and back with ruled line, across
waist to lower hip edge, paste 9- to 12-inch front and back at intervals for matching
strips at right angles to waist, joining tape when joining half sections. To remove form
ends to those above the waist. Paste short from the figure, cut with a one-edged razor
5- to 9-inch strips diagonally from under¬ blade down center front and back marked
arm to lower hip edge, allowing strips to lines. Be careful to cut through paper only.
overlap front and back strips at side front Finish cutting through the fabric with sur¬
and back. Repeat for second side. gical scissors or sharp-pointed shears.
d. Second layer of tape. Above the waist use Remove the two sections.
9- to 12-inch strips. Start just below the Either before the form is made or after it
neck, paste strips diagonally across front, is removed, measure the person at the follow¬
alternating strips from right and left side, ing positions and record in f: neck, bust,
having strips overlap at top of shoulder. waist, and widest hip.
As you continue downward, the ends of Compute the difference between the per¬
strips should touch and form the upper son and the form at neck, bust, waist, and
armscye. Continue these crossed strips down hip. Divide by 4 and remove this difference
the body to the lower hip line edge, using from the two center-front and two center-
12- to 15-inch strips below the waistline. back edges of form.
This should form a smooth surface over the Cut smoothly along marked hipline which
entire figure, especially at the waist where is parallel to the floor.
Adhesive Paper Dress Form 13
Hold each section up to the light; and re¬ edges of the hip and neck and join to the
inforce on the inside of the form any spots form with 3-inch strips.
that seem thin. ky /. Outer Covering. To keep the paper edges
h. Join sections, using 3-inch strips. from curling, the form should be shellacked
Place fronts down on the table with edges and thoroughly dried.
and cross markings matching both front and A top shirt is tighdy and smoothly fitted
back, and pin a tape securely around the over form, sewing where necessary, and tap¬
waist. ing at armscye, neck and under the lower
Paste 3-inch strips across cut edges of edge of the form.
front, first on the outside and then on the Using Vi-inch colored tape, mark the
inside. following measurement positions: center
These strips should be closely overlapped front, center back, neck, shoulder width,
to hold edges permanently. Repeat for back. back width, bust, waist, armscye, 3-inch hip,
6-inch hip, widest hip.
i. Trim neck and armscye edges smoothly and m. Standard. A standard is needed in order to
reinforce with 3-inch strips around cut edge. use the form successfully. This is made, using
Trim bottom of form along marked line two 2" x 4" x 18" pieces of wood for base,
until it stands evenly on the table. and a pole 5 to 5V£ feet tall and lVi inch in
j. Place bottom of form on paper and mark diameter with nail holes bored up the length
around the hips, also mark center front and to adjust the height.
center back. An oval board cut from plywood should
Repeat the same for the neck. be smaller than the base of the form. Bore
Cut cardboard from paper patterns and a 1 V4-inch hole in the center. This oval is
cut a 1 Vi-inch hole in the center of each. slipped on the pole to rest over a large nail
Fit the cardboard flush into the inside and support the form.
Measurements
PREPARATION FOR MEASUREMENTS It is much easier to take accurate measure¬

The measurements for a garment should be ments if the figure is carefully marked with a soft
taken over smooth-fitting undergarments with pencil at important points between which meas¬
dress removed. If a heavy garment is worn un¬ urements are to be taken.
derneath the jacket or coat, additional measure¬ The following figures and instructions offer a
ments should be taken over that garment so as guide for marking the figure.
to estimate the added increase. It is difficult for
Figure 3.
one to measure herself. A well-fitted garment in
the wardrobe may be measured for size, or the a, b Fasten tape snugly around the normal
pattern may be pinned together and held against waistline. Use a beaded chain or string
the figure for size. The last two methods are not to locate positions on the figure to be
too accurate. marked. The chain (secured in a hard¬
Accurate measurements for both the figure ware store) is more accurate and easier
and the pattern used are needed for all garment to handle than a string.
construction. The differences in the two measure¬ 1 Center front neck
ments should be compared and listed on the 2, T Sides of neck
measurement sheet in the space allowed, or upon Place chain closely around the base of
the pattern itself at the point where the variances the neck, touching the prominent bone
occur. at back neck and just above the two
The fullness for ease that is allowed on the gar¬ bones at throat hollow at front.
ment will depend upon the type of garment being 3 Center back neck
constructed, the type of individual figure, the Place the chain or string around the
weight and type of fabric used, the purpose for armscye, perpendicular to the floor, and
which the garment is intended, the prevailing mark.
fashion, and the individual’s preference for the 4 Highest point on shoulders
tightness or looseness of the garment. 5, 5' Swing the chain or string outward xh to
The suggested ease allowance in Column 2 on 3A inches from 4 for the correct shoulder
the measurement sheet is for minimum amounts tip.
and is to be used as a guide in planning each gar¬ 6, 6' Locate width of chest, 6, 6', halfway be¬
ment made. tween shoulder tip, 5, 5', and a point
While measuring the figure, observe any figure opposite the underarm.
variances and list them on measurement sheet. 7, 7' Locate width of back, halfway between
When checking the pattern, one can make the shoulder tip and a point opposite the
necessary alterations. underarm.
14
Measurements 15
10 Point halfway between 2 and 9. The

shoulder dart starts from this point.
8 At Position 8 on Figure d, place the
chain or string around the arm (with
arm relaxed) parallel to the floor and
mark 11 on outer arm.
11 Indicates the base of the sleeve cap
from which the sleeve cap height is
obtained.
9, 11 Indicates the sleeve cap height plus xh
inch for ease at sleeve top, plus V2 to 1
inch for shoulder pads, if used, depend¬
ing on the thickness of the pads. The
three combined measurements give the
correct height of sleeve cap.
Underarm seam:
To locate the normal underarm seam, stand at
the side of a person, place a plumb line (a string
with a weight at one end) at Point 9 on c at tip
of shoulder seam, and allow the weight to drop
free. With the arm hugging the body, swing the
8 Measure down 2 inches from armpit arm forward and press the string against the fig¬
and mark. ure under the arm and mark with pins parallel
c, d To mark normal shoulder line on c, to string:
stand at the side of the person being 12 Bust line
measured and place the chain or string 13 Waist line
from 2 to 5 along top of shoulder. At 14 Widest hip position
Point 5 on c swing the chain V6 inch to¬ Marking the figure with pencil and drawing a
ward the back and mark 9. tape around waistline will help eliminate much
2, 9 Average normal shoulder line of the of the guesswork involved in trying to find correct
figure. positions on the body. Following the directions
on the measurement sheet on the following pages 1 + 2 = 3 4 5
should result in accurate measurements of the
Measurements
The allowance for ease in g i
figure.
allowances
column 2 is planned for a |
Minimum
ill
for ease
suit or coat and will need £ 3
1 ft 2
MEASUREMENT SHEETS more ease at some positions. ^ |
Figure 4 o.
3. Between ends of shoulder
Note: The same lettering used in Figure 3 when marking seams. C-C 0
the figure with pencil is not used in Figure 4 when taking
actual measurements, as the markings on the figure were 4. Bust D-D'-D 4" to
used only to make figure measurements more accurate. a. Over fullest part. 7"
b. Front bust width to 2" to
underarm seam. D-D' 3V*"
c. Back bust width to un¬ 2" to
derarm seams. D'-D mu
d. Distance down from
shoulder to tip of bust
0
along princess line.
E-F
e. Distance from shoulder
over bust tip to waist¬
line. E-F-G Plus ease
f. High chest measure¬

ment close up under
arms and above full 0
bust. H-H>-H
5. Waistline I-I'-I
a. Normal waist or belt Ease up
line. to 1"
b. Front waistline be¬
Ease up
tween underarm seams.
to Vi"
i-r
6. Hips
a. 3" down from waist.
1 to 2"
j-y-j
b. 6" down from waist.
K-F-K 2 to 4"
c. Around widest hip.

3 to 4"
L-L'-L
d. Across front of widest Depends
hip. L-U on flare
The allowance for ease in e. Distance down from
column 2 is planned for a waistline to widest hip. 0
G-M
suit or coat and will need
more ease at some positions.
1. Neck A 7. Dress length along center
a. At base of neck back
2. Back Width B-Bf a. From neckband to Plus ease
waistline. N-0
cl xh distance between
shoulder tip and un- Va" for b. From waistline to fin¬
active Plus 4"
derarm seam between ished length along cen¬
garment for hem
marks for armscye. ter back. 0-P
(Approximate 4" be¬ c. Skirt length from floor.
low neck bone.)
p-Q.
Measurements 17
1+2 = 3 4 5 MEASUREMENT SHEET FOR RAGLAN SLEEVE

The allowance for ease in | | |
column 2 is planned for a | § | g § | J Figure 4 b.
suit or coat and will need S| .§ | 8 | N 1 | J
more ease at some positions. J; | i — £ 1 ^ __1+2 = 3 45
8. Sleeve Hold chain around neck and

a. Place point R 2" be¬ mark
low armpit. Place chain a. center front g
around arm parallel Plus W for b. side neck §>
to floor and touching arm ease c. back neck
R and mark S on outer Hold chain around width of
arm. C to S equals Plus shoulder shoulders, across chest and
height of cap. (Nor¬ pad back. D-D'-D
mal measurement height
Measure from neckline to
range, 5V*" to 6V*". if used
tape along
Allow extra the thick¬
1. Center front line from
ness of pad and for cap
neck. A-E_
curve.)
2. Center back line from
b. Outer arm
neck. C-F_
Shoulder tip to bent W'
elbow. C-T 3. Shoulder line from
neck. B-D_
c. Shoulder tip over
Raise arms out slightly and
bent elbow to wrist w
allow chain to slip through
C-7-U
fingers for amount of ease
d. Around fullest part of needed around D-E-D'-F-D
3" or
upper arm 2" below
armpit. S-R-S
more Sleeve length
*1. Measure from center
e. Around bent elbow, back of neck C, at
place tape inside el¬ bone to shoulder tip
0
bow, bend elbow shut, G, and over bent el¬
and measure. T-T-T bow H, to wrist I.
/. Around wrist, easy To slip
*2. Fullest part of arm
measure. U-U'-U hand
(opposite 2 inches be-
through
_low armpit). J_
easily
*3. Bent elbow, H. (Place
• The first half of space is for full measurement, the second half for tape around elbow,
half nuasurement to use when measuring the pattern. bend forearm up al¬
lowing tape to slip
through the fingers.
This measurement will
be minimum girth at
_elbow.)_
♦4. Wrist, /. (Plus ease of
tape to slip easily over
_hand.)_
* Same measurement is used for kimono sleeve. If a three-quarter

sleeve is used, pin the tape around the arm, the sleeve length de¬
sired, and measure from center neck at back along the same posi¬
tions used for a full-length sleeve, to the desired length.
Figure 4 (b)
Measuring the Commercial Pattern
Since commercial patterns vary in size, each

pattern used should be carefully measured and
checked against figure measurements to insure
correct size and fit. This should be done before
any alterations are attempted.
All body measurements are taken in full
circumference.
Commercial patterns produce only half the
figure pattern for the front and back jacket and
for skirt; hence care must be taken when reduc¬
ing the matching figure measurements.
All seam lines should be carefully marked on
the pattern so as not to include seams, when meas¬
uring the pattern, or all seams may be trimmed
away from the pattern edge for measurements.
Surplus tissue around the cutting edges of any
pattern pieces should be cut away before trying
to use the pattern.
Each grain marking should be ruled the full front or center back along center grain marking.
length of pattern piece for accuracy in measuring. Place flat on table and measure all positions cor¬
Use the center front pattern marking for responding to those on measurement sheet.
straight grain instead of the grain marking on Indicate where alteration is to be made in Col¬
the pattern front. umn 5 on measurement sheet or on the pattern.
Pin in all darts or measure between darts. Pin Since only half the width of the jacket pattern is
in all tucks, gathers, pleats and measure across measured, be sure that planned alterations are
these. All measurements must be taken between for only half the width alterations needed.
seams and recorded in Column 4 on measure¬
ment sheet or upon the pattern where alteration Blouse:
is to be made. 1. Back width between seams.
2. Shoulder tip to shoulder tip.
Figure 5 a. 3. Back length.
4. Chest width.
Jacket: 5. Middle of shoulder to bust tip.
Pin the jacket pieces together along all length 6. From shoulder over bust tip to waistline.
seams with stitching lines matching. Fold center 7. Full bust width of front and back.
18
8. Bust width of front. Figure 5 c.
9. Bust width of back.
10. Waisdine between seams and darts. Two-piece sleeve:
Mark the length grains indicated on upper and
Figure 5 b. under sections of sleeve patterns the full sleeve
length.
Sleeve: 1. Pin the two back edges of sleeve together
Since grain markings may be slightly off grain almost to elbow with stitching edges
in some patterns all sleeve grains should be care¬ matched.
fully checked. 2. Pin two front edges of sleeve together
almost to elbow with stitching edges
matched.
To secure the base of cap on the upper sleeve
section, fold the sleeve so that the underarm grain
falls along the upper sleeve grain and mark point
X on upper sleeve on length grain, where under¬
sleeve armpit touches grain. This will indicate
cap base on upper section.
3. Unpin front seam; place sleeve flat on
table for measurement.
1. Draw cap base line on upper and un¬
der sleeve sections at right angles to
length grains and measure base of cap
between seams.
2. Elbow width between seams.
3. Wrist width between seams.
4. Cap height between seams, plus Vi inch
for cap curve and Vi inch to % inch
for shoulder pad if pads are used.
5. Cap to elbow.
6. Elbow to wrist between seams.
b. Add measurements 4, 5, and 6 for the full
Figure 5 (b) sleeve length.
Fold the one-piece sleeve through length cen¬ Figure 5 d.

ter, matching the sdtching lines along length seam
Skirt:
and crease. Rule this creased line.
Rule across the base of the sleeve cap from Pin front skirt sections together with stitching
matching stitching points at underarm. edges matching.
Rule across sleeve at elbow and at wrist. Pin back skirt sections together with stitching
Place the marked sleeve flat on the table and edges matching.
measure Pin front and back skirt sections together along
1. Base of cap between seams. side seams to just below the widest hip having
2. Elbow width between seams. stitching edges matching. This allows skirt to lie
3. Wrist width between seams. flat on the table without curling up from table.
4. Cap height with xh inch added for cap
curve, and xh inch to % inch for shoulder Measure:
pad, if pads are used. 1. Waist of front and back between seams
5. Base of cap to elbow. and darts.
6. Elbow to wrist. For the full sleeve length, Front waist.
add measurements of 4, 5, and 6. Back waist.
c-1 c.-2 c.-3

Figure 5 (c)
2. Hip 3 inches below waist, between seams

to darts.
Front hip.
Back hip.
3. Hip 6 inches below waist between seams.
Front hip.
Back hip.
4. Widest hip, the distance down from waist
of figure measurement.
Front hip.
Back hip.
5. Skirt length along the side seam.
SUGGESTED ALLOWANCES FOR EASE
Bust:
Jacket, 4 to 7 inches.
Coat, 5 to 10 inches, or more in a garment
with swing back. A jacket which is to be worn
over a thin blouse requires less ease than
one which is worn over a sweater. A coat to
be worn over a suit will require the increase
of all width measurements, this increase de¬
d. pending on the heaviness or lightness of the
Figure 3 (d) garments worn underneath.
Hip: (for narrow skirt) lined. These diagrams show where variances
occur.
Full hip, 3 to 4 inches.
Owing to these variances, each pattern used
3 inches down, 1 to 2 inches.
must be accurately measured to determine what
6 inches down, 2 to 4 inches.
alterations are necessary.
(The above hip measurements will increase as
One pattern make may fit a particular figure
skirt increases around the bottom edge.)
better than another; therefore, it may be wise to
Arm: (fullest part of upper arm) use that pattern company, whenever possible, to
eliminate some of the problems of alteration.
3 inches or more.
Cap depth: GRADING PATTERNS

Cap depth plus thickness of pad to be used (V2 Figure 7.
to 3A inch) plus V2 inch for arm curve.
Grading is the process of increasing or decreas¬
Hem: ing a pattern proportionally from one size to
another. This is done by cutting pattern pieces
3 inches or more.
apart at stated positions to add additional width
or to decrease pattern size.
VARIANCES IN COMMERCIAL PATTERNS The following diagrams indicate places at
which the pattern is cut, and the amount to add
Figure 6. or decrease.
Because commercial patterns are not standard¬ After the pattern has been graded, the necessary
ized, one finds variations in the same sizes of the alterations can be made.
different patterns available. a. Plain jacket, front, back, sleeve e. Raglan
a, b, c. The fronts, backs, and sleeves of the b. Kimono /. Dolman
same size in three different pattern makes have c. 1, 2. Design in jacket g. Skirt
been superimposed one upon the other and out¬ d. Two-piece sleeve
Pattern Alteration
Because commercial patterns are made for the The following four main darts, or a combina¬
ideal figure, almost all patterns will need some tion of two of them, are most commonly used in
alteration owing to figure variances. patterns.
Most of the problems in fitting can be elimi¬ b. Shows the position for slashing to transfer a
nated by taking careful measurements of both dart position.
figure and pattern. 1. Waistline dart position.
By comparing figure and pattern measure¬ 2. Diagonal underarm dart position.
ments, one can decide the amount of increase or 3. Underarm dart.
decrease of the pattern size. 4. Shoulder dart.
Additional seam allowances may be chalked
These darts may be used singly, or in combin¬
on the fabric after the pattern is pinned to the
ations on one garment as follows:
fabric, but all other pattern alterations should be
1 and 3—waistline and underarm darts.
made on the pattern before it is pinned to the
1 and 4—waistline and shoulder darts.
fabric.
2 and 4—diagonal underarm and shoulder
darts.
DARTS (FOUR MAIN POSITIONS)
3 and 4—underarm and shoulder darts.
Figure 8. For the very full-busted figure, a shoulder dart
Darts are used in garment construction to is essential to keep the grain of jacket straight
allow ease over curved portions of the figure. A A second dart may be used at any other position
single dart or a combination of darts may be used, desired. Since the underarm dart is the shortest
depending upon the amount of ease needed. of all darts, it is usually broken down into two or
Concealed darts may appear in the structural three darts. Not more than % inch should be
lines of a garment as in Figure 9. taken into one dart, making the stitched dart %
For a very full-busted figure it is advisable to inch on wrong side.
use a shoulder dart plus an additional dart else¬ c. Shows the waistline dart pinned out.
where on the garment in order to keep the grain d. Shows the spread of the new dart position.
of the garment hanging correctly. e. Shows the diagonal underarm dart pinned
a. All stitched darts in the jacket front point out and transferred to the underarm dart
toward the bust tip, but end before reaching position.
the bust tip as indicated in the dotted lines /. Shows the underarm dart pinned out and
in figure. transferred to the shoulder dart position.
Instead of stitched darts, tucks or gathers Any dart in a jacket front may be pinned out
may be used at the shoulder, or at the and transferred to any position without following
waistline. the sequence given above.
25
d. e. f.
Figure 8
OTHER DART POSITIONS USED IN GARMENT a. In a coat or suit, a dart is frequently con¬
CONSTRUCTION cealed under the collar, dropping down
from the neck edge. Frequently a second
Figure 9. dart may appear elsewhere on the garment
Design lines of a garment frequently conceal or be worked out in the construction lines
the position of a dart, incorporating it in the de¬ of the garment.
sign line. Darts may also be used at other positions b. When a yoke is used, the dart may be in¬
on a figure as shown in a few diagrams in the corporated in the construction line from the
following figures: armscye line.
c. In a princess line the dart is fitted out in Figure 9 f.

the construction line, part at the shoulder
and part at the waistline. Flange or shoulder edge dart:
d. When a garment has the design line curv¬ This dart is used in dressmaker suits and is
ing from the armscye down into the waist¬ good for a full-busted person where a shoulder
line, part of the dart is fitted out at armscye dart is needed and where one wants softness
and part at waistline position. instead of a tailored effect.
e. If the garment has a design of crossbands, 1. Slash front V* inch in and parallel to arm¬
part of the dart is fitted out at the armscye scye 6 inches down, then diagonally to
edge, and part at the underarm dart. bust dp.
f.
Figure 9 (f)
Fold in waist dart or any other dart posi¬ Dart at shoulder line:
tion, and allow shoulder dart to spread until
c. All one-piece-back jackets have ease at the
pattern lies flat.
waistline which may be gathered or made
2. Fill in new shoulder dart with pattern tissue.
into one or two darts above the waist. Fold
3. Fold dart edges together and stitch down
into Vi inch of dart at waist. From top end
5 inches, leaving dart free below.
of dart draw a line up through the center
These are only a few designs showing positions
of shoulder seam.
where darts may be used in the construction lines
d. Cut from shoulder to dart end along drawn
of a garment.
line and spread Vi to % inch at shoulder
Figure 10. seam. The pattern should lie flat on the
table. Fill in the shoulder-dart spread with
Dart at back of neck: pattern tissue.
t. Mark dart length 2 Vi or 3 inches down
a. Mark the center back hallway between neck
from shoulder, using dart width at shoulder,
edge and waistline.
running off to nothing at end.
Place center back along the ruled edge of
pattern tissue and draw around pattern. ENLARGED BUST ALTERATION
Hold the marked center of back length to
Figure 11.
the tissue and swing the upper half of pat¬
tern outward Vi inch to widen neck edge of a. Rule and cut through front pattern along
back. Draw new upper back along pattern bust line from center front to within Vi inch
edge. of the underarm pattern edge, and from the
b. Measure 1 inch in on neck line from new middle of shoulder seam through tip of bust
center back and mark. Draw line 2 Vi or 3 to within Vi inch of waisdine edge of pattern.
inches down from this mark and parallel to b. Pin lower center front pattern along a ruled
center back for dart position. Fold along edge of pattern tissue. Swing armscye and
dart line and make dart Vi inch at top run¬ underarm section away from lower front
ning off to nothing at bottom. This dart may section allowing Vi of the bust increase
be made into two small darts if desired. needed at the intersection of the two cut
lines at bust tip. Pin this lower side section seam. This alteration is used for a full-busted
and armscye section to paper with the inner person.
edge of each along a ruled line. Place the If only a slight increase is needed in the bust,
upper front neck section with the center the following alteration may be used. This altera¬
front along the ruled edge of pattern tissue, tion swings the increased dart at the waistline,
allowing spread from tip of bust to center but this dart may be transferred elsewhere on the
front and keeping the shoulder line straight pattern if desired.
from neck edge to shoulder tip. c. Slash the jacket front from center front
This increases the width and length over straight out to the tip of bust, then diago¬
the bust, also adds a new dart at the shoulder nally to within lA inch of armscye.
Figure 11
d. Pin upper front section along ruled line on ROUND SHOULDER ALTERATION
new tissue. Swing the lower front section
Figure 12.
away from the center front ruled line until
A round-shouldered figure increases in width
Vi of the desired increase appears at the
upper center front spread, and pin the lower across the upper shoulders, also in back length
section into place. The increase at lower from shoulders to waistline.
a. Rule and cut along back bust line of blouse,
center front waistline may be incorporated
or 2 inches below underarm, from center
in a dart at the normal waistline dart posi¬
back to within V4 inch of the underarm seam.
tion, or may be transferred to any other dart
Figure 12
b. Pin lower back section to a ruled line of WIDEN SHOULDERS

pattern tissue. Raise upper back section,
Figure 13.
swinging center back away from the new
pattern edge to widen the upper back one a. Rule back jacket pattern and cut 1 inch
half of the desired back increase. within shoulder line on back parallel to
Draw around entire new pattern edge as center back to 1 inch below bust line, then
shown by broken edge line. straight out, almost to underarm seam.
This alteration has increased the back b. Place back pattern on new paper and spread
neck width which must be reduced to the cut section to desired shoulder width and
original size. pin into position.
Remove the original upper back section, Rule from neck edge to shoulder tip for
place it on the new pattern with shoulder
new shoulder line. The front of the pattern
edges touching new shoulder line and cen¬
must also be made wider to care for the
ter back falling on center back ruled line.
shoulder width, so the same width altera¬
Redraw a new neck line to replace that in¬
tion must be made on the front pattern to
creased during alteration.
match the back alteration. Repeat exactly
The shoulder seam has been increased in
the same alteration on the front jacket, in
length. the same position from armscye.
Place a dart halfway between neck edge
and shoulder tip to use up this increase.
NARROW SHOULDERS
This dart is 2or 3 inches long and the
point of dart should swing V* inch toward Figure 14.
the center back, off the straight grain of
material. a. Rule and cut 1 inch within shoulder line on
If the fabric shrinks easily, the excess back parallel to center back to 1 inch below
shoulder length may be eased onto the hunt bust line, then straight out almost to un¬
shoulder. derarm seams.
TYPES OF SET-IN SLEEVES USED IN
TAILORED GARMENTS
Figure 15.
a. Plain sleeve with darts from wrist to elbow.
b. Bell sleeve.
c. Sleeve with dart or darts at elbow.
d. Two-piece sleeve, most commonly used in a
jacket.
e. Sleeve with seam down center, commonly
used in a coat.
/. Sleeve with darts at shoulder, used occa¬
sionally when fashion dictates.
SLEEVE CAP INCREASE IN HEIGHT
Figure 16 a, b.
a. AB Length grain of sleeve.
To secure, fold sleeve lengthwise with
b. stitching comers matching at armpit
a. and length seams falling flush.
Figure 13 CD Cap base. Draw line at cap base
connecting the two underarm stitch¬
ing comers at armpit.
E Intersection of AB and CD.
AE Cap height.
F IV2 inches from A on sleeve cap.
G 1 lh inches from A on sleeve cap.
H 2 inches below C.
I 2 inches below D.
Connect FI.
Connect GH.
J Intersection of FI and GH.
Slash along line from F to within Vi
inch of I.
Slash along line from G to within Vi
inch of H.
b. Raise wedge FA GJ above point J the
desired amount of cap height in¬
crease, keeping line AJ on the center
sleeve line AB.
K Vi of CF.
a. b.
L Vi of GD.
Figure 14 Slash sleeve section up to within Vi
inch of K.
Slash sleeve section up to within Vi
b. Place pattern on new paper and overlap inch of L.
cut section on back to desired back width Raise the two side sections of sleeve
and pin into position. Rule from neck edge cap until the cap top curves smoothly
to shoulder tip for new shoulder line. into the wedge.
Repeat exactly the same alteration on This new cap formed should give
the front jacket. Rule new shoulder line desired height and add some width,
from neck edge to shoulder tip. Fill in or which is always needed with an in¬
cut away surplus seam. creased cap height.
Figure 15
SLEEVE CAP INCREASE OF SLEEVE WITH L Intersection of HK and IJ.
SEAM AT CENTER Slash along line from H to within Vb
inch of K.
Figure 16 c, d. Slash along line from / to within Vb
c. AB Length grain. inch of J.
The two sleeve sections are placed d. On sleeve sections raise wedges GHL
Vi inch apart with sleeve grain par¬ and FIL the desired cap height in¬
allel to AB. crease, keeping the sides GL and FL
CD Cap base. Connect the two stitching the same distance from line AB.
corners at armpit. M xh of CH.
E Intersection of AB and CD. N V20UD.
F Top of back half of sleeve cap. Slash sleeve section up to within Vb
G Top of front half of sleeve. inch of M.
H 1 xh inches from G. Slash sleeve section up to within Vb
I Vh inches from F. inch of N.
J 2 inches down from C. Raise the two side sections of the
K 2 inches down from D. sleeve cap until the cap edge curves
Connect HK. smoothly into the two raised wedges.
Connect IJ. Connect sections by dotted line to
wedges. This new cap formed should Match point G to D, allowing

give the desired cap height and add sleeve stitching lines to touch down¬
some width, which is needed with ward toward the elbow.
an increased cap height. Connect points H and /. This line
formed is the cap base and should
SLEEVE CAP INCREASE FOR A TWO-PIECE SLEEVE
be at right angles to line AB.
Figure 16 e, f. K Intersection of AB and IH.
e. AB Length grain of the upper sleeve Figure 16 g.

section. g. AB Length grain of sleeve.
C End of stitching seam on back edge IH Cap base.
of upper sleeve section. K Intersection of AB and IH.
D End of stitching seam on front edge AK Cap height.
of upper arm section. L VA inches from A on sleeve cap.
EF Length grain of under sleeve section. M V/z inches from A on sleeve cap.
G End of stitching seam on front edge N 2 inches below /.
of under sleeve section. 0 2 inches below H
H Edge of armscye touching line EF at Connect MN.
underarm. Connect LO.
I Edge of armscye touching line EF at P Intersection of MN and LO.
underarm. Slash along line from M to within Vs
J End of stitching seam on back edge inch of N.
of underslecve section. Slash along line from L to within Vs
/. Cut under sleeve section along EF\ inch of 0.
making it into two sections. Raise wedge LAMP just above point
Match point J to C, allowing sleeve P the desired amount of cap height
stitching lines to touch downward increase, keeping line AP on the cen¬
toward the elbow. ter sleeve line AB.
Figure 16 (Confinumd)
Figure 16 (Continued)
Q V2 of IL.
R V2 of MH.
Slash sleeve section up to within Vs
inch of Q.
Slash sleeve section up to within Vs
inch of R.
Figure 16 h.
h. Raise the side section of sleeve cap
until the cap top curves smoothly
into the wedge.
This new cap formed should give
the desired height and add some
width, which is always needed with
an increase of cap height.
Figure 16 /.
1. Join the two sections of the under¬
sleeve.
Separate the two under sections,
with their alterations, from the upper
sleeve section.
Match H and / back to line EF
and paste the underarm sections back the cap size of each upper and un¬
together. der sleeve section of the two-piece
This increase formed has increased sleeve.
Making the Muslin Garment
To eliminate any hazards in construction, it is For additional seam allowances, mark along
wise to construct a muslin jacket or upper part of ruled line, except for curved edges.
a coat before cutting into the fabric itself. In a Refer to page 38 for suggested seam allowances,
coat of princess lines, the entire garment should and mark seams out beyond muslin edge before
be made first in muslin. Although this method cutting. Cut the entire muslin garment.
takes somewhat longer in the construction process, All edge notches should be cut out of instead
it is justified because it eliminates the possibility of into the seam edge.
of mistakes likely to occur with even the most All length grains are marked along a ruled
careful sewer. line on the muslin since the muslin will be used
Heavy unbleached muslin or similar material in place of the tissue when cutting the wool
is used for this purpose. The muslin is cut from garment.
the altered pattern, marked, and basted (using
long machine stitch or hand basting). The muslin
garment is fitted as accurately as the garment CUTTING THE MUSLIN JACKET
itself. The collar and both sleeves are fitted into
the garment. For cutting one should use shears about 8
The muslin should be torn across each end, inches long, with sharp edges and a fine point for
pulled into shape, and pressed before any cutting clipping. Cutting should be done with fabric lying
is done. It should be folded right side in, so that flat on the table and with the full length of the
all markings, except center front and back, appear blade.
on wrong side. If a muslin jacket or coat is made prior to the
Spread the muslin on the cutting table with wool garment, no cutting is planned on the wool
selvage parallel to table edge and tom ends par¬ before the muslin has been cut, fitted, and ad¬
allel to the end of the table. justed. This muslin is then used as a part of the
Plan the entire pattern layout on the muslin pattern in the garment layout.
before pinning into place and check carefully the It is not advisable to use pinking shears when
grain of the pattern with that of the muslin. Pin cutting out a garment for one does not get as
each pattern piece to the muslin before cutting. clean-cut an edge as with shears. Also, all gar¬
Carefully mark the entire cut garment before ment edges will not need to be pinked, especially
removing the pattern. those covered with a lining.
On the muslin, the stitching lines may be The pinked edge should be made after the
marked along a ruled line with a tracing wheel seam is stitched so that the edge will be parallel
or pencil. to the stitched seam.
37
SUGGESTED ALLOWANCES FOR FINISHED The two sections of the garment are then sep¬
SEAMS AND HEMS arated and the tacks cut between, leaving match¬
Inches ing thread tacks on each section. These tacks are
1 to \Vi Fitting seams left permanently in muslin for reference, and in
Shoulder the wool garment until ready for permanent
Underarm stitching.
Sleeve
Long and short bastings are used down the
% to 1 Design seams
center front and back of each garment piece.
V* Neck
These bastings are left in until the garment is
xh Armscye
finished.
xh Waistline
Hem finishes Figure 18.
1 xh or more Jacket and coat sleeves
2 to 3 Wide coat or jacket sleeve The sleeve is marked with long and short
1 xh or more Jacket hem basting:
2 to 3 Coat hem. Allow 1 extra inch for hanging a. The entire center grain length.
2 to 3 Skirt hem. Allow 1 extra inch for hanging b. Base of the cap from stitching points or arm-
cap to armcap on underarm seams.
MARKING THE GARMENT
c. A basting 2 inches above and parallel to b.
Figure 17. d. A basting 2 inches above and parallel to c.
Tailor tacks are made through two thicknesses These sleeve bastings are used to keep the grain
of material on tucks, darts, pleats, buttonholes, straight when fitting sleeve into armscye.
and buttons. Sometimes tailor tacks are made
along the stitching edges of wool garments so that BASTING THE JACKET
the two portions of the garment are marked For fitting, all bastings should be done with
identically. short even stitches, using heavy-duty thread that
If tailor tacks are made of contrasting darning is stronger and smoother than regular white bast¬
cotton, take only one stitch as it does not slide ing cotton. A contrasting color is advisable, for
from the fabric. If made of a basting thread, take it is more easily seen than a matching color. On
two tiny stitches through the two thicknesses, white or pastels, a pastel-colored thread should
leaving a loop and thread ends about lh inch long be used as some dark colors may crock and stain
on the wrong side of the garment. the fabric when steamed.
Figure 17 Figure 18
In a garment with set-in sleeves, the sleeves ding in the shoulder pad or one of the pads should
are not basted into the garment for the first be reduced in thickness.
fitting. If bust, chest, or other parts of the figure need
In the raglan, kimono, or dolman, the sleeves wadding to smooth out the figure, these sections
are basted into position for the first fitting. should be cared for in this first fitting.
For the first and all subsequent fittings, shoul¬ See padding problems in Fig. 20, p. 42.
der pads of the correct size and shape must be When the garment has been rebasted after the
used. first fitting, it should be tried on and carefully
Baste all darts or tucks in front, back, and checked to insure a correct fit before any stitch¬
sleeve, using small basting stitches. ing is done.
Carefully match stitching edges together and
pin, with pins at right angles to the cut edges,
SELF FITTING
and baste with short bastings along stitching edges.
Baste the following seams: If one has to do her own fitting, she will find
1. Yokes to garment section. as an excellent aid a dress form which is made
2. Princess seams, if used. over her own figure.
3. Lengthwise back seams. Directions for the dress form are given on p. 9.
4. Underarm seams, leaving darts standing If a dress form is not available, one can use the
free. trial and error method. This, of course, means
5. Shoulder seams, leaving darts standing trying on many times but can be successful if one
free. Ease back shoulder seam onto the is patient.
front shoulder seam. To fit a skirt, first measure the belt around the
6. Lengthwise sleeve edges with darts stand¬ waist and baste across the two matching ends;
ing free. also mark second side seam, center front, and back
with bastings. Pin the skirt to the belt before try¬
ing on for first fitting. Try on and fit skirt down
FITTING THE JACKET OR COAT to widest hips. Remove, baste fitted section, then
A suit jacket should be fitted over a blouse or rule remaining seams up from skirt bottom and
sweater; and a coat should be fitted over a dress continue basting with the grain. Try on for
or over a suit, if suits are to be worn under the readjustments.
coat. To hang the skirt, adjust to the figure, use table
Adjust the garment to the figure and pin the edge as a guide, and mark with pins around the
center fronts together the entire length of the skirt at table top. Measure from table edge to
garment. floor, subtract the distance from floor that the
Insert the shoulder pads from the armscye edge skirt is to be worn, and measure skirt hem edge
of the garment, allowing the straight thick edge parallel to pins at hip.
of the pad to extend Vi inch (or as fashion dic¬ Adjust the jacket and pin opening. Adjust
tates) outside the armscye stitching line. Pin the shoulder pads and pin into place. Fit one shoul¬
pads into position. der and underarm, remove, and pin second side
When fitting a garment, stand behind or at to match the fitted one. Try on for additional
the side of the model, with the model facing a adjustments.
full-length mirror. This position permits both Pin and baste collar into place, then try on to
persons to see fitting process in the mirror. check for accuracy. Remove to make adjustments.
Fit the garment in the following order: the Mark the armscye by placing one pin at shoul¬
back shoulders, front shoulders, then the under¬ der tip, one at chest width, and one at under¬
arm seams. arm. Remove and try back width the same as
The garment should fit the figure smoothly, chest width marking. Connect the four pin mark¬
without any wrinkles and with center front and ings with basting, keeping a good armscye shape.
center back bastings and side seams hanging per¬ Use a dress form or pad a coat hanger with a
pendicular to the floor. See fitting problems on turkish towel to simulate a shoulder.
the following pages. Place garment on one or the other and pin
If one shoulder is lower than the other, the upper half of sleeve into place, remove, and pin
low shoulder should be built up with more wad¬ under section. Baste into place and try on for fit,
Figure 19
marking with pins any points which need adjust¬ Materials needed are cotton or felt wadding,
ment. Remove and adjust until you reach a cor¬ crinoline, canvas, muslin.
rect fit. a, b. Normal shoulder pads in two thicknesses.
c. Wadding cut with decreasing sizes until it
SHOULDER PADS
is the desired thickness.
Figure 19. d. Crinoline for top covering.
Shoulder pads are used in tailored garments to e. Canvas for underside with dart to reduce
give a smooth finish at shoulder and armscye and size for inside curve.
should be used for each fitting of the garment /. Wadding curved over the hand while sew¬
The size varies with current fashion, type of gar¬ ing together. Begin at center and stab stitch
ment, and the slope of the wearer’s shoulder. the wadding sections together, curving
Pads may be purchased ready-made or be made larger sections downward overhand as you
by the individual. stitch.
Begin at center and repeat for second side. 3 Problem: Very full low bust with hollow be¬
Crinoline and canvas cover top and bot¬ tween bust and armscye.
tom and are sewn by hand or machine Fill in hollow until line from shoulder to
around curved edge. bust tip is straight, using wadding of cotton
g. Figure shows pad used in a drop shoulder or felt. This will reduce the apparent bust
or raglan sleeve. size. Sew the wadding to the canvas between
h. Wadding is cut with greatest thickness at canvas and lining.
shoulder edge and tapered toward neck and
4 Problem: Hollow chest.
outer edge.
Fill in the chest hollows where needed
Darts are cut from lower edge and wad¬
with two or three thicknesses of wadding,
ding edges are drawn together and sewn, but
shape as desired, and sew to canvas.
not overlapped.
i. Stab stitch wadding thickness together, be¬ 5 Problem: One shoulder lower than the other.
ginning at center, and curve overhand as Add enough extra wadding to shoulder
you continue stitching. Repeat for second pad to equalize the two shoulders. See shoul¬
side. der pads in Fig. 19, p. 40.
j. Crinoline with darts to curve over shoulder.
6 Problem: Hollow below back waist and large
k. Canvas with large dart to curve for under¬ derriere.
side of pad.
Make covered pad of correct shape, size,
and thickness and attach at lower inside
edge of belt.
FIGURE PROBLEMS
Figure 20. GARMENT PROBLEMS IN FITTING

1 Problem: Lower back armscye of pattern is cut
too deep and is tight across lower back Figure 21.
armscye. (Stout persons with narrow shoul¬ 1 Problem: Back neck of garment too wide.
ders and wide lower backs frequently have a. Neck edge at the back of the garment is too
this problem.) wide and stands away from the body. Some
Widen the lower half of armscye from of it may be eased onto the neck finish but
back width to armpit up to Vi inch. the surplus will need to be fitted out.
Widen the sleeve section which fits along b. Two darts, one on either side of the center
the widened armscye edge of the jacket up back, might be used. Measure 2 Vi inches
to Vi inch. out from the center back at neck and 3
If the above alteration is too much, the inches down below neck edge and mark.
excess may be fitted out when the sleeve is Make two small darts Vb inch at top and
fitted into the armscye. tapering to nothing 3 inches down from
Figure peculiarities can be overcome and neck.
made to look better proportioned and at¬ c. The excess fullness may be fitted out down
tractive if some padding is done in the gar¬ from the neck if garment has a seam at cen¬
ment. This padding is made of cotton or ter back.
felted wadding to the correct size and thick¬ d. The upper back may be recut. Rip apart
ness and is sewn into place within the shoulder and underarm seams. Place the
garment. back pattern down from the shoulder and
neck edge and recut the upper back, de¬
2 Problem: A fiat-busted figure.
creasing the neck width the desired amount.
Fill out bust in the jacket with bust pads
Rebaste and check for correct fit.
sewn to the canvas between the canvas and
the lining. These pads are made by cutting 2 Problem: Wrinkles below collar at upper back.
decreasing circles which are stacked together a. Wrinkles across back below neck seam.
until right thickness is reached, then stab b. Neck seam may be too tight and needs
stitched together. Results produce a better clipping to ease.
proportioned figure. c. Back shoulder seam too tight on front seam.
3 4 5 6
Figure 20 (Problems 1-6)
Rip and ease back seam on to front seam. 3 Problem: Round shoulder.
d. Shoulder high at shoulder tip. Rip seam and a. Garment bunches at armscye below back
let out more at shoulder from neck toward width.
shoulder tip. b. Rip shoulder seam, raise armscye edge until
4 Problem: Full bust.
a. Garment bunches may appear at front
armscye as in 3, Round shoulders, a above.
b. Rip shoulder seam, raise jacket until smooth
along armscye, swing slightly in toward
neck at shoulder, and add excess shoulder
length into shoulder dart.
If there is no shoulder dart, the excess
may be made into a small dart under the
collar.
a.
d.
Figure 21 (Problem 1)
smooth along armscye, swing armscye edge

over slightly toward neck along shoulder
seam, and make dart at shoulder center.
This raises back seam higher at shoulder
tip than front shoulder seam and disposes
of extra armscye length. Figure 21 (Problum 2)
5 Problem: Sloping shoulders. Pin same size tuck in original back pattern.
Armscye edge of shoulder seam sags on fig¬ Rip shoulder seam, fold back halves to¬
ure. Take up slack in seam at shoulder and gether, and pin along shoulder and armscye
run out to nothing at neck edge of seam. edges.
c. Place pattern on garment with underarm
6 Problem: Square shoulders.
and lower armscye edges matching and re-
Let out seam at armscye to accommodate
cut shoulder and neck.
extra shoulder height and run out to nothing
Rebaste and fit garment.
at neck edge of seam.
d. Rip underarm seam to width of bust line.
7 Problem: Diagonal wrinkles. Raise front underarm seam until diagonal
a. Diagonal wrinkles from bust tip to under¬ wrinkles disappear and make small under¬
arm seam. arm dart.
b. Pin tuck across one half of back width until Refit underarm seam below dart. This
diagonal wrinkles disappear from front. fitting narrows the front pattern below the
bust line but should not be used if it distorts Transfer same size tuck to pattern front
the design of the garment. and back.
Release tuck in garment. Rip side seams.
8 Problem: Back of princess or fitted garment too
Fold garment down center front and back.
long from neck to waist and wrinkles across
b. Pin pattern to garment with center fronts
shoulders.
and center backs matching and recut along
Use the same alteration as 7 a, b, and c
armscye and side seams.
to remove excess back length.
Rebaste garment for second fitting.
9 Problem: Garment too wide both front and
back. 10 Problem: Entire bust too tight.
a. Pin out surplus front and back in a tuck Rip underarm seam and let out both front
from shoulder down to bottom of jacket. and back seams.
d.
Figure 21 (Probtom 7d) Figure 21 (Problum 8)
11 Problem: Entire bust too large but shoulder and seam along darts and raise or lower the
width correct. dart to the new marked position.
Take up underarm seams. This reduces the
armscye, which may be increased by clip¬ 13 Problem: Hollow chest, with wrinkles appear¬
ping around the underarm curve to give the ing below the shoulder seam.
desired ease. Rip shoulder seam to within lh inch of the
neck edge.
12 Problem: Underarm dart too low or too high. Smooth front shoulder section out to¬
With garment on the figure, mark with a ward shoulder tip and repin shoulder seam.
row of pins the new bust line dart opposite Mark new stitching line of front upper
the tip of bust and parallel to the floor. armscye with pins, and trim away any ex¬
Remove garment; rip underarm darts cess material.
14 15
Figure 21 (Problems 12,13,14,15)
14 Problem: Shoulders too narrow on a full- 15 Problem: Front bust too tight.
busted figure. Rip underarm seam and let out front seam
A shoulder dart should be used, preferably only along underarm,
a flange dart at armscye edge which gives
the appearance of widening the shoulders. 16 Problem: Kimono-sleeved garment too long
See Fig. 9, p. 28, for directions. in back from neck to waistline.
Lines in the design of the garment should a. Take a tuck from width of back at center
be selected to give the appearance of wid- back upward to shoulder line about 2 inches
ened shoulders. beyond the shoulder tip, decreasing the tuck
in width toward shoulder edge. The shoul¬

der line from neck to elbow may need to be
straightened out after the tuck is formed if
the continuous line is disturbed.
Pin a tuck at the same position and of
same size in the back tissue pattern. Re¬
move the tuck from the garment, rip the
shoulder seams, and fold the back down
center back with all shoulder edges matching.
b. Fit the lower back and sleeve of pattern to
garment and cut away surplus at neck and
shoulder.
7 7 Problem: Armscye of garment too tight and

tends to fold over at underarm, or is too high
and binds the underarm.
a. Clip Vi inch in around lower underarm sec¬
tion of one armscye and, if necessary, con¬
tinue clipping Vs inch more until armscye is
of correct size.
b. Turn down clipped sections and pin each
section to garment to check. When the arm
is held down, the underarm of garment
should stand straight up without breaking.
Mark final stitching line with row of pins
a seam’s width from fold. The armpit to un¬
derarm stitching line should measure 2 to
3 inches for a normal suit sleeve, more for a. b.
a coat.
Figure 21 (Preblum 17)
Remove garment and baste around the
one marked sleeve. Fold garment, matching
shoulder and underarm seams and armhole
edges, and transfer same markings to the
second armscye.
BASTE COLLAR TO MUSLIN JACKET

The neck of the garment is larger than the
collar so must be eased onto the collar or facing.
The stay stitching at neck edge may be used for
this purpose.
Use the straight outer muslin collar for the
first fitting (see Fig. 69, pp. Ill, 112, for com¬
plete directions for finished collar).
Match and pin center back of collar to center
back of garment. Ease and pin the neck of gar¬
ment onto the collar to within 1 inch below
shoulder seam. Ease collar to neck for one inch,
then ease neck to collar to the lapel turn. Repeat
for second side and check to make sure the two
collar sides match. Baste collar to neck.
A collar basted into place holds the garment
in position on the figure when fitting sleeves into
the armscye.
FITTING THE SLEEVES INTO THE ARMSCYE
PREPARING THE SLEEVE FOR FITTING Figure 23.

The body of the garment should be stitched
Figure 22 and steamed with collar basted on and shoulder
a. 1. After the sleeve is cut place a basting pads in correct position. It may be placed on the
down center length grain, the entire figure or on a dress form and fastened down front
sleeve length. for fitting the sleeves.
2. Place basting at cap base from stitching Both sleeves are fitted along together. Alternate
point to stitching point at underarm from one to the other to prevent pulling the gar¬
seams. ment off center to one side.
3,4. Two additional rows of basting above 2, The notches in the sleeve edge at front and back
2 inches apart, if grain is not visible. of cap do not necessarily have to match the cor¬
Baste in any darts at elbow, wrist, or responding notches on the garment edge, nor
sleeve cap. Baste lengthwise sleeve seam do the underarm seams of the sleeve and garment
or seams. Leave all the above bastings in have to match when the sleeve is finally fitted.
the sleeve until it is stitched into armscye. The length and cross-grain markings in the
b. Place ease thread around stitching line of sleeve are used in setting the sleeve into the arm¬
cap, beginning and ending at the center top scye. The length grain must be kept perpendicular
of sleeve cap, leaving extra length thread to the floor, while cross-grain markings must be
ends. Leave underarm seams standing free kept parallel to the floor.
and not basted flat to cap. See Fig. 22. When a sleeve is folded lengthwise through the
c. The sleeve cap is at least 1 Vi inches larger center with the stitching lines of the underarm
around than the armscye and must be eased seams matching, the back curve of the sleeve cap
into the armscye of the garment by shrinking. should be larger than the front cap curve. If this
1. Adjust the sleeve cap over a small press does not exist, difficulties will be encountered
pad or small towel rolled up and folded when fitting the sleeve into the armscye. It is ad¬
through the center. Pull up ease thread visable to superimpose a well-fitting sleeve cap
until the cap curves over press pad, and onto the above sleeve and recut the cap before
steam to shrink out the extra ease around any fitting is done.
cap. This steaming allows the cap to The darts and length seams of sleeve are basted
curve over the upper arm into the sleeve only and not stitched until the sleeve has been
without apparent gathers. fitted into the garment.
d. Shows side view of sleeve cap curve after When fitting in sleeves stand at the side of the
shrinking. model, who should be in front of a mirror.
a. One sleeve is placed into position on the arm, the garment should be equidistant from the
the two ease threads at top are slightly pulled floor.
up to ease the cap into position, and the t. If diagonal wrinkles appear from highest
seam edge is tucked under. Adjust the sleeve part of the cap, the sleeve cap is too short.
so that the length grain is perpendicular to Unpin cap across the shoulder top and
the floor, and pin at shoulder-top x, the let out the top of sleeve cap if the seam al¬
highest point of the shoulder, using a tiny lows, and repin sleeve to garment. If wrinkles
stitch with pin parallel to, and right on, the do not disappear, raise the underarm seam
folded edge of the sleeve. This point falls of the sleeve on the armscye of the garment
slightly in front of the shoulder seam. from underarm up toward the width of the
Adjust the cross grains parallel to floor chest and of the back. After the adjustment
and pin at widths of chest and back as in¬ is made, lower sleeve stitching edge under
dicated by x, x. Place the forefinger in the arm and trim away.
garment and the thumb in the sleeve at j. If diagonal wrinkles appear at upper front
underarm, bring the two edges together, and back arm, lift the sleeve cap up with
and pin as indicated by x. more ease along the armscye of the garment
Repeat for second sleeve. at both front and back.
Check both sleeves for correct hang, using k. If the underarm of the jacket bends outward
a weighted string for the length grain; and toward the arm at under armscye, the gar¬
stand away from the side of the person to ment is too high at underarm. Clip the
check with a rule for cross grain. garment armscye and lower under the arm.
b. With the model’s arm relaxed, pull up the /. If the underarm of the sleeve bends inward
ease thread and pin down back from shoul¬ toward the body at underarm, the sleeve is
der to back width of each sleeve. too high at this point. Lower by clipping
With the model’s arm slightly eased for¬ the under armscye of sleeve, then raise on
ward, the fitter sitting down, pin the sleeve the armscye of the garment.
on each arm from back width to underarm. The girth of the sleeve should be fitted to the
c. With the model’s arm relaxed, pull up the arm until a comfortable fit is achieved, or until
ease thread and pin down front sleeve from the sleeve appears correct for the individual.
shoulder to chest width. Since many persons have one arm longer than
Repeat for second sleeve. the other, it is wise to take the length of each
With the model’s arm slightly held out sleeve.
and away from the body, the Jitter sitting A close-fitting sleeve should be fairly long on
down, pin each sleeve from the chest width the hand; whereas a wide sleeve should be shorter.
to underarm. An estimated long sleeve length for a suit or
The sleeves should fit into the garment coat should be halfway between the wrist bend
without wrinkles, gathered appearance, or and first thumb knuckle joint. The back edge of
flat stretched section at any point. the sleeve should reach halfway between the
If the sleeve does not fit correctly check wrist bone and litde finger knuckle. This length
for d-l. allows the sleeve to be slightly longer at the back
d. Darts at elbow. If one dart, it should fall at edge. The sleeve length can be adjusted up or
elbow bend. Two or more darts should fall down from this measurement.
equally above and below elbow bend. To measure second sleeve, with the fitted arm
e. Gathers at elbow should be distributed and hand straight down, measure from thumb
equally above and below elbow bend. tip to sleeve edge for the front, and from the little
/. In a two-piece sleeve, the back seams of the finger tip to the sleeve edge for the back edge.
sleeve should be directly opposite each other Using these measurements, mark second sleeve.
across the width of the back. This allows each sleeve to fall in the same posi¬
g. If gathers are used, the position of the ends tion across the hands.
of the gathers at width of back and of chest
should be parallel to the floor. BASTING THE SLEEVE INTO THE ARMSCYE
h. If darts are used at sleeve cap, the positions From the right side, baste the sleeve into the
of the two outside darts where sewn into armscye, using the slip basting. Turn to the wrong
side and rebaste with a continuous row of short ease, straightness of armscye basting, the fit of
bastings for the slip stitch is often uneven, and it the sleeve, width, and length.
is difficult to stitch a straight seam. Use a con¬
trasting colored thread for this second basting
MARKING THE FITTED MUSLIN
and remove the slip basting.
All darts and seams are left standing free when All fitting and alterations are made on the
basting, so that each may be stitched before the muslin garment and refitted if necessary.
sleeve is stitched into the armscye. Before ripping the muslin garment, mark care¬
Adjust any elbow ease or darts that have been fully along stitching lines, hem edge of sleeve and
refitted. garment length, the pocket, top and bottom but¬
Rebaste the length seam if refitting has been tonhole positions, and armscye stitching line.
done. Cross markings on matching seams, especially
Place a basting along the folded edge of sleeve around the armscye, are excellent guides for mark¬
at wrist, and up the placket if used, so that the ing the wool garment and save time in refitting.
turn-up at the wrist may be straightened out to When all markings are complete, the garment
allow the length seams to be stitched. is ripped apart and pressed. The muslin pattern
After all the sleeve seams have been rebasted, is used instead of the paper one in cutting the
try on the garment to check for accuracy of cap final garment.
General Suggestions in Garment Construction
Tailoring requires the best of one’s sewing abil¬ Some persons will need to fill out hollows
ity, in accuracy of details, in correct fitting, in the figure with padding to create more
straight stitching and careful steaming of each pleasing results in the outward appearance of
step in garment construction. Inaccurate work¬ the garment. This should be done in the first
manship stands out much more readily in a tai¬ fitting.
lored garment than in a soft wool dress. Uneven To avoid ripping: Be sure that each part of the
or unmatched lapels, poorly pad stitched lapels garment is correctly fitted and marked before
or collar, poorly made pockets or buttonholes are any permanent stitching is done.
all noticeable in a tailored garment. A garment Stitch length: Machine stitch length should be
will look just as good as the construction proc¬ the same throughout the garment. Use 15 to 20
esses put into it, and there are no short cuts if stitches per inch, the longer stitch for bulky ma¬
one wishes to have a beautiful garment. terials. Length of stitch and tension should be
Correct foundation: Each fitting should be tried on double thickness of scrap material before
made over the correct foundation garments to be using on garment.
worn with the article of clothing. Stay stitching along all cut edges except length
Fit both sides of garment right side out: Since grain of material is necessary in most wool fabrics
few persons are of identical size on the two sides, before basting is done, to prevent edge from
each side of the garment should be fitted while stretching out of shape while handling. Use 8 or
on the figure. The center front and back bastings 10 stitches per inch so that stay stitching will be
are used as guides to keep the garment centered easy to pull out when no longer needed.
correctly on the figure. Steaming is most important while constructing
Shoulder pads: Pads should be adjusted to the a garment. Each seam must be steamed as soon
correct size and thickness in the first fitting and as it is stitched before it is sewed to another sec¬
should be tacked into place, so that in each suc¬ tion of the garment. The finished garment will
cessive fitting the garment will hang correctly. need a final steaming.
55
Cuffing fhe Wool Garment
PLANNING THE WOOL GARMENT LAYOUT In some patterns the under collar is marked to
FOR CUTTING be cut on the length grain at the center back.
The wool garment is not cut until after the This collar should be changed so that the collar
muslin jacket or coat has been fitted. is cut on the bias, with a seam at center back;
The wool is placed on the cutting table with otherwise it will be difficult to secure a correct
folded edge along the table edge and cut ends roll of the collar.
flush with the table ends.
Figure 24.
The muslin pattern pieces and the tissue skirt
patterns are blocked out on the fabric before any When cutting a skirt with a seam on the inside
piece is pinned into place. When all pieces are fold of a pleat, the seam may be transferred from
accounted for and in place, check each pattern the folded edge of the pleat around to the flat
piece for correct grain, measuring with rule from side. This will allow greater smoothness through
the folded edge to check length grain, and from the hem, for it removes the bulk of the seam away
the end on the sleeve to check the cross grain from the fold of the pleat.
with the cap grain. Pin each piece first at grain Cut out the garment with plain shears.
ends then along the edges to hold securely in
place while cutting. Mark fhe garment:
If the fabric has an up and down, as in a pile Seam edges with chalk, transfer paper, or tailor
material, place all pattern pieces on the fabric tacks.
with the tops facing one end of the fabric. Darts, tucks, pleats, pockets, buttonholes, and
If the fabric has a stripe, center all center front buttons with tailor tacks.
and center pack pieces either between or on the Center front and back with long and short
dominant stripe. basting.
If the fabric has a plaid design, match the
plaids both crosswise and lengthwise on the pat¬ LINING
tern, and center down both front and back. The lining of the garment (and interlining if
If the plaid design in the fabric has an up and used) should be cut immediately after pattern is
down or left and right, face all tops of the pattern removed from the wool in order to allow the same
toward one end of the fabric and match all plaids seam and hem allowances as on the garment.
both crosswise and lengthwise on the pattern. An extra fullness of 3 inches is needed down
Chalk any additional seam allowances which the center back to allow for ease through the
are not already included on the pattern. See sug¬ shoulder width. Patterns allow only 2 inches,
gested allowances, p. 38. which is not enough in most instances.
56
Front:
All hymo for fronts is cut identically to the
upper part of the front garment, with the center
front on the length grain of the canvas.
a. Beginning three inches below the armscye,
the canvas curves downward toward the
front coat edge to within xh inch of the front
facing edge, where it straightens out to the
bottom of the jacket.
A long coat may have the canvas the full
front length of the coat. If a soft effect is de¬
sired, the canvas may stop just below the
bottom button.
b. In the princess style the front section is cut
from the front pattern of the garment.
In the side section, the canvas extends 3
inches below the armscye and swings down¬
ward in a curve to the front edge of the side
Figure 24 section.
Back:
All garments need wigan or light-weight un¬
The front lining is cut wide enough to allow bleached muslin to reinforce the entire upper
ample ease between underarm seam and front back; or, if the fabric is very firm, around the
facing (of approximately one inch) plus a seam armscye.
lap along the front facing. This back canvas is always cut on the true bias
If the garment is on the straight grain and has across the width of back.
a seam down the center back, the seam may be c. Begin 3 inches below the armscye and swing
folded back and the lining may be cut on the fold, an upward arc to the center back, 9 or 10
thus eliminating the seam. inches down from the neck edge.
Mark all darts and pleats ready for basting d. For very firm fabric a 3-inch facing is cut
after the garment is fitted. from the back armscye pattern, with the
width of back on the true bias.
e. For a swing back where the garment flares
INTERLINING from the shoulder, the upper back canvas
The interlining is cut exactly as the lining. must be cut narrower than the coat back,
Each piece of interlining is spread smoothly on to fit the wearer. This allows the flare to fall
the cutting table and each matching piece of lin¬ free from the shoulders without causing the
ing is placed on top, with wrong side down. garment to slide out on the armscye.
These two matching pieces are then basted all /. The princess is cut into two sections. The
around the edges. The lining is then handled as center-back section starts 9 or 10 inches be¬
one piece and basted together for stitching. The low the neck and swings downward to the
fullness, 3 inches at center back, is basted from side seam.
the neck to the bottom of the garment in a 1% The side-back section starts the same dis¬
inch pleat. tance from shoulder as its matching seam of
front section and swings downward to 3
inches below underarm.
CANVAS (OR INTERFACINGS) The width of back in each section is on
the true bias.
Figure 25.
Collar:
All hymo or wigan used in the construction of
a tailored garment must be shrunk. (See shrink¬ g. The canvas for the collar is always cut on
ing instructions on p. 5.) the bias from the under collar pattern with
Figure 26
a seam at the center back. The canvas If a crisp or flared effect is desired in a jacket
should be cut with material folded so that below the waistline, that part of the jacket may
the canvas grain is correct on the two collar be lined with one thickness or more of hymo or
halves as shown in Fig. 69 b, pp. Ill, 112. crisp canvas. Some styles have additional padding
Canvas used in the collar is the same as that or wadding to give a more flared hipline.
in the garment fronts.
STAY LINE STITCHING BEFORE BASTING
Bias for sleeve at wrist: Figure 26.

A true bias strip is cut for the lower sleeve edge Fabrics that are loosely woven and have a tend¬
to give a crispness at sleeve edge. This bias is cut ency to stretch or fray should be stitched Vs inch
xh inch wider than the finished hem at sleeve edge outside of stitching line, so that the seam edge is
and long enough to fit around the lower sleeve, firmly held during construction. Stitch with
plus seam allowance. matching thread, using 6 to 8 stitches per inch.
a, b,c. The following diagrams show positions
Bias for jacket hem and for some coat hems: in which each seam edge should be stitched,
and the arrows indicate the direction in
A true bias is cut for the entire circumference which stitching is done.
of the hem, V4 inch wider than the finished hem Do not stitch around corners; cross stitch¬
of the garment. This is usually of wigan and pre¬ ing lines at clear angles on corners.
vents the hem imprint from showing on the right Both sides of skirt front and back are
side of the garment when pressed. handled identically.
Steaming Wool
(Figure 1 a-i, p. 7, for equipment) in water and run along the stitching line on the
wrong side, moistening only the stitching and not
Wool, when steamed, must be handled differ- surrounding surface. Lightly run the tip of the
endy from other fabrics. It should be left slightly iron backward between the two seam edges to
damp after steaming, and never pressed thor¬ open seam. Place 3-inch-wide strips of tag or
oughly dry as the fabric will become shiny. One folded wrapping paper between seam and fabric
should steam each part of a garment as one pro¬ to prevent seam imprint on fabric when steaming.
gresses with the construction of it. If a steam iron is used, the seam does not need
Use either a steam iron without press cloth or to be dampened.
a plain iron with a press cloth. With each, use a Where a seam appears at an edge turn, baste
moderately warm iron, never a hot one. An iron the seam along fold turn, slightly rolling seam to
too hot will scorch wool through a press cloth the wrong side to prevent stitching edge from
even though the press cloth will show no scorch. showing from the right side. Steam the seam from
Use heavy drilling or its equivalent for press¬ the wrong side. After the seam is steamed, remove
ing seams, darts, edges, and to shape the gar¬ bastings and resteam to remove basting imprints.
ment; and a good quality of cheesecloth for sur¬ This is essential as the imprints are difficult to
face steaming. In each, wet one half of the cloth remove if allowed to dry. When imprints are
and wring dry; then fold the dry half into the wet stubborn to remove, they may be steamed along
half and wring until entire cloth is uniformly the edge, pounded with a wooden paddle or by
damp. hand, then resteamed. Use the paddle also to
Whenever possible all wool should be steamed flatten out bulky spots, such as buttonholes or
with the grain, especially on the surface. The iron sharp turns in a seam.
must be pressed lightly over the surface. On seams, All curved surfaces, such as dart ends, lapel
darts, hems, and seam edges pick up the iron curve, or collar shaping should be steamed over
each time you move it and place it down again a curved surface. Tailors’ hams, press pads, a
in the motion of patting the fabric. rolled towel, a padded rolling pin, or anything
Use a long rule along long seams or seam edges, one can devise may be used. This helps to acquire
keeping the portion steamed parallel to the rule. the correct curve in a garment.
This prevents curved seams or edges. Hem edges, which are fuller than the skirt sur¬
Seams, whether on the surface of the garment face to which they fit, must have the surplus
or on edges, must be steamed open to secure a flat steamed out. Turn hem and baste along folded
appearance or a sharp turn of a seam because edge. Mark hem width and trim off surplus.
wool cannot be creased open as can cotton. To Place an ease thread at hem edge and pull up
steam seams open with plain iron, dip the fingers excess edge to fit skirt with length seams match-
60
Steaming Wool 61
ing. Place tag between hem and skirt and steam Many short seams are difficult to steam on a
by lighdy pushing iron from folded edge to seam flat surface but will be easy on a seam board.
edge. Steam until the hem lies flat against skirt Sharp turns, such as lapel points, are difficult to
The hem width may widen in stretches, so it must turn and steam. Use tailor-trik or sharpened pen¬
be rechecked for width. cil with lead broken off for turning and the point
Place fabric with a pile on a velvet board and of the seam board for steaming.
steam darts, tucks, and surface, or, in a plain When a tailored garment is ready for the lin¬
fabric, use a dry Turkish towel topped with a ing, a final all-over steaming may be necessary.
damp cloth over surface at seam edges and hem. It is difficult to give some fabrics a sharp steamed
If a velvet board is not available, use two thick¬ edge; therefore, it is advisable to take the finished
nesses of Turkish toweling placed on ironing garment for a final steaming to your favorite dry
board, with one thickness of towel over section cleaner who has commercial equipment. The
being steamed. If the pile becomes pressed down, presser should be warned, however, that this is
throw steam into section and pound with paddle a newly made garment and that special care
to raise pile. should be taken in its steaming.
Making the Skirt
BASTING THE SKIRT
If the skirt has pleats, baste and steam the

pleats before basting seams.
Pin the marked pleat edge from waist to skirt
bottom and baste along folded edge.
Steam the basted fold along a ruled line, re¬
move basting, and resteam to remove basting
imprints.
Match folded pleat edge into position, pin and
baste fold to skirt the entire skirt length.
If the skirt has a panel or seam front and back,
pin and baste the front and back skirt sections
before the side seams.
In basting long seams, place the two matching
seam edges together flat on a table, with stitching
edges matching, and pin together with pins at
right angles to cut edge. Baste with the grain,
from hem to waistline, to prevent fraying.
Figure 27.
When the front and back sections are basted,
spread the two sections flat on the table with
side seams matching. Pin front and back sections The seam from widest hip to skirt bottom
together along one side seam at points a, b, c, d> should be the same width as at the widest hip so
allowing one half the skirt and one half the ease that the seam may be reduced or increased in
measurement from center front to center back as width after pinning points a, b, c, d. Rule a new
planned on the measurement sheet. basting line from d to skirt bottom for basting.
a. waist = xh waist plus ease Measure the second side seam from the first,
b. 3 inches below waist = xh hip plus ease pin, and baste.
c. 6 inches below waist = xh hip plus ease From the bottom of placket to waisdine put in
d. widest hip below waist = xh hip plus ease a guide basting on both front and back placket
Continue pinning the two seams to bottom of edge for fitting, exactly matching seams from
skirt. placket to waist as in the first pinned seam.
62
Making the Skirt 63
Many of the fitting problems will be eliminated Turn seams along belt length to wrong
if the skirt is basted accurately to the exact size side, baste and steam. Fold belt lengthwise
of the waist and hip measurements, plus planned through center, allowing outside belt width
ease. to be approximately Vi 6 inch wider than
under belt width. Baste along fold and
FITTING THE SKIRT steam. Pin the belt around waist of model
When making a suit, it is wise to fit the skirt to the correct tightness, with belt ends at
first, then to fit the jacket over the skirt. The right angles to waist. As the skirt top is in¬
lengthwise lines of the jacket and skirt can then be serted between lower belt edges, the lower
accurately matched, the hip line of the jacket outer fold of the belt may be turned upward
correctly fitted, and the proportions of the entire to the upper belt fold so as to be out of the
garment more easily checked. way while pinning the skirt top on the lower
The skirt must be fitted over the foundation edge of the underbelt.
garment with which it is to be worn, as founda¬
b. Grosgrain ribbon backing the fabric belt. Gros-
tions vary and may cause refitting problems.
grain is used where fabric is bulky or
Both sides of skirt are fitted while on the figure
stretches badly.
as hips vary in size.
Pin the ribbon belt around the waist,
with ends at right angles to the figure.
BELTS
Fit the skirt onto the lower edge of the
Figure 28. ribbon as in Process a.
Turn the top fabric belt edges to the
There are several methods of finishing a skirt
wrong side, baste, and steam. Pin and baste
at the waistline, depending upon the desires of
folded edge along grosgrain ribbon, edge
the wearer and upon fashions. Whichever method
stitch as in 1.
is chosen, the skirt must be fitted onto the belt or
The belt must have two hooks and eyes
its equivalent. Any one of the following methods
to fasten the underlap, and may have hooks
may be chosen:
and eyes or button and buttonhole for the
a. Belt can be made entirely of the fabric. This belt overlap.
is cut 3 or 4 inches longer than waist meas¬
c. Shaped facing in a skirt where skirt top extends
ure and twice as wide as the finished belt
width, plus the width of seams at ends and above waistline. This type of waistline finish
sides. varies with fashion and must have a stiff
inner fitted facing of buckram, horsehair, or
the equivalent.
Cut the stiff facing to shape into the waist¬
line at side seams and perhaps center front
and center back if the facing is wide, or half¬
way between center front and side seams or
center back and side seams.
Overlap and stitch seams.
Cut a fabric facing to fit the above inner
stiffening.
Fit skirt onto the top edge of belting.
Pin fabric facing and baste at top skirt
edge, right sides of fabric facing and the
three thicknesses stitched together.
Grade seams, trimming inner facing close
to stitching line, and turn facing to wrong
side of garment.
Sew the two lower edges of facing and
belting together.
Outside edge stitching may be used along
Figure 28 (a) skirt top.
A Tailoring Manual
b.
C.F. 6. Continue pinning skirt to belt all the

way around.
7. At widest hip adjust skirt to correct fit,
either taking up surplus or letting out
by clipping seam basting so that bast¬
ings are left on each side of seam to act
c. as a guide in letting out.
8. Fit side seams from widest hip up to
Figure 28 (Continued) waist by overlapping flat with the front
seam edge over the back seam edge.
9. Check with weighted string to see that
If skirt top has a tendency to roll away
both seams are perpendicular to floor.
from the figure, sew whalebone stays at in¬
10. Continue fitting skirt from widest hip
tervals to the buckram belting and cat-
to skirt bottom, either by letting out or
stitch along each side.
taking up seams, keeping the seams
1. Adjust the grosgrain belt at waistline,
perpendicular to floor.
and pin with belt ends at right angles
See the following fitting problems in skirt for
to figure.
further fitting instructions.
2. Place skirt on figure and pin up placket
3. Pin center front of skirt to belt center
and continue pinning to belt to point be¬ FITTING PROBLEMS IN SKIRT
low the bust tip.
4. Pin center back of skirt to belt center Figure 29.
and continue pinning to belt to point be¬ 1 Problem: Side seam swings toward the front
low the shoulder blade. Raise back skirt on belt until side seams
5. Overlap any surplus skirt at side seams hang perpendicular to floor.
and pin correct tightness at waist or re¬ 2 Problem: Side seam swings toward the back.
lease seams if tight, and pin to correct Raise front skirt on belt until side seams
waist fit. hang perpendicular to floor.
Making the Skirt 65
Figure 29 (Problems 5,6)
The skirt is cut too high at center back.

Raise on waistline until wrinkles disappear
and repin to belt.
5 Problem: Skirt curls under back hips.
The skirt is too tight for figure. Let out
side seams until skirt hangs straight from
fullest back hips.
6 Problem: Center front swings to one side.
One hip is larger than the other. Raise
skirt on smaller hip side until center front
hangs perpendicular to floor.
REBASTING THE SKIRT

Baste across matching belt ends.
Baste along new placket edges.
Baste all refitted seam lines, using slip basting
from the right side and then rebaste on the wrong
side to straighten up any uneven basting lines.
Remove the slip basting.
The skirt on the belt may be handled in either
of two ways:
Figure 29 (Problems 1,2,3,4) 1. By tailor tacking skirt and belt about one
inch apart on the wrong side at lower belt
3 Problem: Entire skirt wrinkles around hips be¬ edge and cutting apart while finishing skirt
low belt. seams. A colored tailor tack at center front
The skirt is too tight. Rip side seams and and back and at side seams will simplify
let out until a smooth and easy fit is attained. joining skirt to belt. Rebaste belt and skirt
4 Problem: Back skirt bunches just below back together and try on for final check before
belt. stitching.
2. By basting skirt to belt between seams and

darts and leaving the two basted together
while stitching seams.
DIRECTIONS FOR STITCHING DARTS AND SEAMS

Figure 30.
When stitching the garment, it is advisable to
stitch with the grain instead of against the grain.
This insures a smooth seam and prevents raveling.
A garment that flares around the bottom should
be stitched from the bottom up.
d.
a, by c indicate directions in which seams and
darts should be stitched.
d. All darts should be started from the wide or Figure 30
cut edge and stitched to the point.
To insure a smooth flat dart which does
Pleats may be stitched from outside along the
not pucker at the point, do not stitch as in
pleat fold.
1 but follow the folded edge in an inside
When pleats start below the belt, the pleats
curve as in 2.
must have width stitching across the top edge to
OUTSIDE STITCHING ON PLEATS prevent sagging at hem edge.
Width stitching may be done in any of four ways:
Figure 31. a. With an inverted V at end of stitched
If a skirt pleat extends from belt to skirt bot¬ pleat.
tom on the inside, the pleat edges may be stitched b. With a V at end of stitched pleat.
from the inside belt edge to the top of open pleat. c. With horizontal stitching at end of stitched
If fabric is bulky, attach a thin, firm lining pleat. If a fabric does not take a sharp
material at top pleat width at inside and extend crease, the stitching may be extended
to belt edge. This prevents the inside folds of pleat along the folded edge through the hem
from sagging below the skirt hem. on the outside.
Making the Skirt 67
d. By catching the top width of pleat by

hand from the wrong side of skirt; also
along the wrong side fold if desired.
e,f Show the waistline finish outside and in¬
side when a fitted inside belt is used.
ZIPPER PLACKET
Figure 32.
a. The front edge of the zipper placket 1, and

the basting along the back of the placket
length 2, are continuous lines above the
skirt seam 3.
The back or underlap edge of the placket
has an extension 4 which is made by fold¬
ing Vi or %6 inch out toward the seam edge
and parallel to basting 2.
This extension is carried V4 to lh inch be¬
low the lower opening of placket.
Baste and steam the folded edge.
Fold the front or overlap of the placket
along the placket edge 1 to the wrong side,
baste and steam.
b. If the front placket edge is curved or bias
over the hip, reinforce the folded edge in
any of the following three ways to prevent
curling away from the zipper when fastened.
1. Run three or four fine, permanent gather¬
ing threads through the single thickness
of the placket turnback just behind the
fold at 1. Pull these threads slightly tighter
than the fabric to prevent stretching the
placket fold.
2. On the wrong side of the front placket
turnback, place a straight thin tape just
touching the fold as at 2, baste into posi¬
tion, and sew by hand along both tape
edges.
3. Cut a straight piece of lining material 1
inch wide along the selvage edge. Place
straight cut edge next to the inside fold
and baste into place. The placket edge
is folded over the lining strip and stitched
in with the zipper.
c. 1. Working from the bottom end of the
zipper, pin the under extension and baste
along the back edge of the zipper very
f.
close to the teeth. The zipper pull should
escape the belt at the skirt top by Vi inch.
2. Turn the skirt wrong side out, place the
zipper on machine, fold front placket Figure 31
skirt edge to the right, away from th
stitching line of the zipper, before ma
chine stitching is started.
3. Begin V* inch below the zipper end and
stitch as close as possible along the skir
fold from bottom to zipper top as at 1.
Making the Skirt 69
3. Place a guide basting parallel to the folded The outer belt end may have a squared, pointed,
edge of placket and far enough from zip¬ or rounded finish, and is used for the buttonhole
per metal to escape when stitching. end, for snaps, or for hooks and eyes to hold into
Remove basting, 1, which will open position.
the zipper. To locate the hooks, zip up the placket, hold
4. Follow the guide basting, stitch the zip¬ the underextension with eyes into place against
per from bottom up to the belt edge. wrong side of front belt, and mark for hooks.
When stitching along the zipper it is Sew hooks into place.
necessary to stop along the length, leave With placket zipper and underbelt end hooked,
the needle down, and slip the zipper pull locate overlap fastening position and sew on but¬
to the opposite end out of the stitching ton, snaps, or hooks and eyes.
path. If the zipper pull is bulky, the
stitching may be widened out at the top SNAPS, HOOKS AND EYES
to allow room for that bulk.
The zipper may be back stitched by Figure 33.
hand if preferred. This is done by taking Snaps:
a short stitch through the fabric and zip¬
In sewing on snaps, sew the thin section of the
per, then a very short back stitch for the
snap to the overlap of the garment and the heav¬
next forward stitch.
ier section to the underlap.
FASTENING THE BELT TO THE SKIRT
(See Fig. 28, pp. 63-64, belt finishes and fastenings)

If the skirt and belt have been tailor-tacked and
separated in order to stitch the seams and make
the placket, rebaste the two together by matching
corresponding tailor tacks.
Stitch the skirt to the under belt from the
wrong side along the lower belt edge.
If the skirt belt of the fabric is to have a piped
or corded buttonhole, make this buttonhole before
stitching the outer belt facing into place. Face
the end of the belt receiving the buttonhole with
a piece of canvas long enough to receive the
buttonhole. (See directions for buttonholes on pp.
78-80.) A corded buttonhole is difficult to make
where grosgrain is used but a worked buttonhole
is satisfactory.
After the buttonhole is on the right side of the
belt end, baste the top belt into place and stitch
along the belt edge either by machine or slip
stitch by hand. Sew the snap into place with either the button¬
Finish back side of the buttonhole after the top hole or overstitch, making the stitches close to¬
belt section is basted and stitched into place. See gether and at right angles to the eye of the snap.
Fig. 43, p. 81, for finish of buttonhole. Carry the thread from eye to eye under the snap
The underlap of belt has an extension beyond to prevent wear on thread by friction between
the zipper up to one inch, with belt ends finished the snap sections when finished.
by turning in together before belt is stitched.
This end of the belt receives the two eyes of the Figure 34.
fastenings.
Hooks and eyes:
The top or overlap end of the belt extends up
to 1 Vi inches beyond the outer placket edge on In sewing on hooks and eyes, sew on the fas¬
outside of waistline. tening with either a buttonhole stitch or plain
overstitch. In either case the stitches should be the cut edge and pull up until the edge fits
regular and tight to insure permanency. smoothly along the garment where it is to be
Begin sewing on the hook at one outside edge hemmed.
of an eye or circle of the hook, continue around
to inside center, and carry the thread to the tip SHRINKING HEM TURN-UP
of the hook, which is fastened down securely to
the fabric. Carry thread back to center and con¬ This surplus ease in hem is shrunk out to elim¬
tinue fastening down second eye. inate creases or folds from hem fold to hem top.
In the eye, begin stitches at outside eye or circle; Place a piece of tag or folded wrapping paper
continue around to center; catch the inside edge between hem and skirt.
to garment with several stitches; and repeat Place a damp cloth over hem, or use a steam
around second half of eye. iron, and shrink away surplus fullness of hem.
Push the iron from fold upward to cut edge to
MARKING THE HEM OF THE SKIRT shrink out as much as possible of the surplus ease.
Adjust skirt to figure and fasten all openings as
they are to be worn when finished. HEM FINISHES
To secure a more even hemline, have the model
Figure 35.
stand erect with weight balanced evenly on both
feet. Using skirt marker, rule, or square, mark The hem may be finished in any one of various
the garment hem parallel to the floor, placing ways, according to the texture of the fabric.
pins 2 or 3 inches apart. The person marking Stitches in wool hems should be lA inch apart,
the hemline should move around the model, for with very tiny stitches taken in the wool, and the
the model may shift position when turning and thread left easy along the hemming edge.
cause an uneven hemline.
After hem is marked, fold it to wrong side along a. French hem:
marked edge and place pins along fold at right If the material is firmly woven and does
angles to edge, about 2 or 3 inches apart. Pin cut not fray, the hem edge may be pinked, the
edge up on garment, then try garment on to seams of the hem matched to the garment
check accuracy or hang. seams, and the hem basted to the garment
Baste the garment hem along the folded edge. % inch below the pinked edge.
Mark hem width parallel to the folded edge and If the hem has a tendency to fray place
trim the surplus. two rows of machine stitching Vs inch apart
If the hem tum-up is wider than garment along along cut edge, the raw edge may be closely
which it lies, place an ease thread lA inch from overcast, or machine zigzag may be used.
Making the Skirt 71
Figure 35
The loose hem edge (% inch) is folded person will find it easier to apply than
outward upon the hem itself and held by straight tape.
the thumb while hemmed to the garment at The taped hem may be finished by one
the fold. The hemming stitch actually occurs of two methods:
between the hem and the garment. 1. After hem is shrunk, pin bias tape to
When the hem is complete and the %-inch the cut edge of hem, lying flush with the
loose edge released, it returns to position flat skirt proper where it is to be hemmed to
against the garment. prevent looseness or folds. Open and fold
This hem shows least from the right side back tape with right side of tape and
and is the easiest to do. garment hem matching. Baste along
creases and machine stitch or sew by fine
b. Catstitched hem: running stitch with sewing silk. Trim
After the hem is shrunk, cut the hem seam as narrow as material will allow.
edge parallel to the folded edge and baste Fold bias closely over cut edge to
to the garment with seams matching. wrong side, baste, and stitch along bias
Loosely catstitch over the raw edge. edge from the right side.
Stitches are V4 inch apart and Vi inch down Baste the hem to garment, matching
into the hem. seams, and slip stitch or blind stitch to
Only one row of stitches shows on right garment.
side of the garment. This method leaves a narrow binding
at top hem edge.
c. Hem with tape: 2. The bias or straight tape may be placed
Bias silk tape has more elasticity than wrong side down to right side of skirt
straight tape; therefore, an inexperienced hem edge, straddling cut edge. Pin and
takes more material but has a tendency to
hang better.
b. Two and one-half measurement.
Measure two and one-half times around the
widest hip, plus seams. This skirt has wide
pleats on outside but narrower ones on the
inside. The appearance is the same as in a
but takes less material.
c. Two to one measurement.
Measure two times around the widest hip,
plus seams.
Because of the very shallow pleats under¬
neath, this skirt does not hold the pleats as
well as a or b, but does require much less
material.
When sending the skirt to be pleated, it
is necessary to mention the width of pleats
outside; also whether the pleating is 3 to 1,
2V6 to 1, or 2 to 1.
baste to hem edge. Stitch tape to skirt Baste, stitch, and seam all but one length
hem from right side of tape along lower seam. Turn hem, baste, hem by hand, and
edge. steam. (See Fig. 35, p. 71 for hems.)
Pin upper edge of tape to garment Pleats may all go one direction around
with seams matching, baste, and slip figure.
stitch or blind stitch. Pleats may form a box pleat at center
front, turn in opposite direction, and form
Figure 36. an inverted pleat at center back. This method
requires a center front basting down skirt
Seam in pleat: length (which should be on the surface of
When a seam appears at the under side fold the fabric) and never down a seam, which
of a pleat, the seam is clipped to the stitching line would spoil the appearance of the skirt.
just above the hem edge to allow the seam within Send the skirt to a professional shop to be
the hem to be pressed wide open. pleated.
d. Fittings.
PLEATED SKIRT Put row of basting along waist edge and
A full pleated skirt is cut on the length grain around the widest hip position, basting all
with each end of the fabric torn or cut along a pleats flat.
drawn thread. Place belt around waist with placket
Measure the finished skirt length at side hip, opening at side or center back. (For placket
plus hem at bottom and seam at top. Any one of openings see Fig. 28 a, b, pp. 63-64.)
three measurements may be used, depending on Place skirt around figure, hold in place,
the amount of material on the inside pleat depth. and put tape line around widest hips to
However, the wider inside pleat has a tendency hold pleats temporarily to the figure until
to give a more pleasing effect as well as not to skirt is anchored to the belt.
lose its effectiveness as quickly as the narrower Adjust length and hem evenness by rais¬
pleat depth. ing or lowering skirt under tape at hip.
Smooth front pleats up from widest hip
Figure 37. to waist and pin to belt.
Smooth back pleats up from hip to waist
Pleating:
and pin to belt.
a. Three to one measurement. Smooth side pleats up from hip to waist
Measure three times around the widest hip, and pin to belt.
plus seams. This “three to one” pleated skirt Remove basting at waistline.
Making the Skirt 73
Baste securely each pleat edge from widest

hip up to belt edge, basting the pleat edge
onfy through one thickness of the skirt and
not through the underneath pleats. Steam
pleats from wrong side of skirt as new pleat
edges are formed.
Rip back the hem at open seam edges
and baste the open seam from hem edge to
placket end of skirt.
Stitch and steam open the seam.
Rebaste the hem across seam and hem by
hand.
Steam pleats from waist to widest hip and
leave free from waist to skirt bottom if
desired.
e. Stitch pleats.
Pleats may be edge stitched from waist
to desired depth.
Measure down from waistline the desired
depth of stitching and baste around the hip
Flgur* 37
so as to keep each pleat stitching the exact
length desired.
Each outside pleat edge must be perpen¬ 1. As shown on the left-hand side.
dicular to floor. This is achieved by smooth¬ Stitch along the exact edge of the out¬
ing each pleat from hip up to waist and pin¬ side pleat edge and leave long threads at
ning to belt. The pleat edges on the outside hip end of pleat. Pull threads to wrong
will then fall closer together as they approach side, thread both threads into needle, and
the waist. fasten securely by hand.
When each pleat is adjusted at the waist, 2. Stitch back from outside pleat edge the
remove the tape from hip and pin each pleat desired width and diagonally out to pleat
from hip to the waist. Some pleats will over¬ edge at hip end of stitching. Pull both
lap more than others because of body curves. threads to wrong side, thread into needle,
Check the hem line to see that it is parallel and fasten securely by hand.
to the floor. Remove all basting and resteam.
Remove skirt from the figure. Placket finish, Fig. 32, p. 68.
Baste skirt at lower belt edge. Belt finish, Fig. 28 a, b, pp. 63-64.
INSIDE SEAM FINISHES frays badly and where no other finish seems
satisfactory.
Figure 38. e. A machine attachment zigzagger or a ma¬
The edge finish of inside seams will depend chine which does edging is very satisfactory
upon the firmness of the fabric. for seams which have a tendency to fray.
If the seam is covered with a lining, no edge
finish is needed. SEAM FINISHES ON RIGHT SIDE OF GARMENT
All inside seams must be cut parallel to the
Figure 39.
stitching line, regardless of the seam width or its
location. Any of the following finishes may be a. Double stitched seam: This seam is first
used: stitched on the wrong side, and edges are
a. 1. Pinking is the simplest and most satisfac¬ steamed wide open. From the right side,
tory method. stitch two rows of stitching equal distance
2. Machine stitching and pinking give the from seam, one on either side.
edge a firmer finish than pinking alone, b. Welt seam: This seam is used in polo coats or
especially where fabric is likely to stretch as a decorative seam on tailored garments.
or fray. The seam is stitched first on the wrong
b. Blanket stitch may be used on a fabric that side.
has a tendency to fray. For some persons it is One seam edge is trimmed away to the
easier to do than overcasting. width of the finished seam on the right side.
c. 1. Overcasting is made by taking stitches The two seam edges are pressed to one
Vb to Vi inch apart and the same depth side with the wider seam uppermost. From
into the seam edge. the right side, place a guide basting parallel
2. First edge stitch Vb to Vi inch from cut to stitching line, the width of the narrow
edge, and overcast around stitching. cut seam underneath. From the right side,
d. Bound seams add thickness to seam edges stitch along basting, avoiding the narrower
and should be used only on material that seam width.
d.
Figure 38
Making the Skirt 75
c. Double stitched welt: This seam is used on

a polo coat or as a decorative seam on
tailored garments.
The seam is stitched first on the wrong
side.
One seam is trimmed down to the width
of the finished seam on the right side.
The two seam edges are pressed to one
side with wide seam uppermost.
From the right side a guide basting is
made parallel to stitched seam, just escaping
the narrow underneath seam.
Machine stitch along basting, also along
the first stitched seam edge.
d. Edge stitched or corded seam: This seam is
used where outside stitching is used to ac¬
cent the seam.
The seam is basted and stitched on the
wrong side of the garment.
The two edges are pressed together toward
the center back or center front of the gar¬
ment and basted into position. From the
right side the seam is stitched very close to
the folded seam line.
e. Plain seam: This is the most commonly
used of all seams. The seam is stitched on
the wrong side; the edges are trimmed par¬
allel to stitching line and pressed wide open.
/. Slot seam: This is a decorative seam, where
two folded seam edges come together and
are stitched on a matching or contrasting
strip of material.
A straight or shaped strip of fabric is cut,
and a basting is placed down its length
center.
The seam allowance of each garment edge
is folded to wrong side, basted, and steamed.
The two steamed edges are matched along
the basting line of the strip and basted into
position.
Top stitching is done at equal distances
from the folded edge.
g. Strap seam: A method of decorating a plain
seam, but rarely used.
The seam is first stitched on the wrong
side, edges are trimmed parallel to stitching
line, and steamed wide open.
A strip of cloth covers the outside of seam.
This strip is cut desired width plus seams
on each side.
Seam edges are turned to wrong side,
Figure 39
basted, and steamed.
Flgun 39 (Continued)
The strip is pinned and basted over stitched parallel to the folded edge, seam width
seam, and edge is stitched. uppermost.
h. Tuck seam: This seam has one row of stitch¬ From the right side, place a guide basting
ing on the outside from the folded edge. parallel to the stitching line, the exact width
Fold back the overlapping seam along the of the desired seam and escaping trimmed
stitching line, baste, and steam. seam underneath.
Match the folded edge to the stitching Machine stitch along the guide basting
line of its matching seam, baste, and stitch or pick stitch by hand.
Fasteners on Garments
Usually a tailored garment is buttoned if fas¬ d. Place cross bastings for each buttonhole
tenings are used, but a zipper or fly front may be position.
used.
Sometimes in commercial patterns the spaces
between buttonholes are not accurate, or one may
wish to shift the buttonholes either up or down,
or change the number indicated on the pattern.
To be sure of accuracy, mark the top and bottom
positions of buttonholes on the garment and then
accurately divide and mark between these two
marks for the desired number of buttonholes. If
the buttonholes end at the waist or continue
below, place a buttonhole at the low waistline to
add apparent length to the figure.
In women’s garments the right side carries the
buttonholes and overlaps onto the left, which
holds the buttons.
The end of the buttonhole should extend slighdy
over the center front line toward the garment
edge. This extension should be one half the width
of the shank of the button when sewn to the gar¬
ment, which is approximately Vi 6 of an inch.
Figure 40.
To be accurate in spacing the buttonholes,
make a ladder, using long and short bastings.
a. The center front basting is already in the
garment.
b. Toward the cut edge from the center front
place a basting for one end of the buttonhole
one half the button shank width from the
center front basting.
c. On the garment side place a basting the
exact length of the buttonhole. Figure 40
77
These markings are placed on the right buttonhole of garment, matching center
side for worked and corded buttonholes, and basting to marked buttonhole, and con¬
on the canvas side for piped buttonholes. trasting bastings at ends on buttonhole
In all garments opening down the center front, section to ends of buttonhole on the
sew the button along the center front grain line, garment.
which is already marked with a basting. Pin and baste into position between
To secure the correct position for buttons, pin the cords.
the right and left garment edges together and Stitch the corded section to garment
mark accurately each button position through exactly on basting along cord and stitch
the buttonholes on the right garment section to each end of stitching back on itself to
the left garment section along the center front prevent ripping, or leave a long thread
basting. on each end of the stitching line so that
In wool use canvas between the two thicknesses the two stitching ends may be checked
of material to prevent the buttonhole from pull¬ for correct length. Either lengthen or
ing away from the fabric. shorten, if necessary; thread loose threads
in needle, and fasten securely.
CORDED BUTTONHOLE Check on the canvas side of garment
to see that the two stitchings are exactly
Figure 41. parallel and that the ends of stitchings
This buttonhole is used more frequently than are opposite each other.
any other on tailored garments and is the simplest c. Spread the two raw edges and cut
to make. through length of buttonhole between
Make ladder for buttonholes on the right side cords to within 3/i6 inch from end, then
of garment. diagonally out to stitching ends.
Cut a true bias of fabric 2 inches wide and 1 d. Pull the seams of buttonhole through to
inch longer than the buttonhole. Mark center wrong side and from the right side baste
length with basting. Cut two lengths of twine the the corded edges together.
length of the bias. e. With buttonhole facing the machine, and
a. 1. Along the side of the center basting with the garment folded back, locate the tri¬
cord to wrong side of material, baste the angle, and stitch securely in an arc to
material tightly around the cord, using the seam at end of the buttonhole. Re¬
short running stitches of matching sew¬ peat for second end.
ing thread. Sew the second cord on the To eliminate bulk at ends, cut away
opposite side of the basting parallel to any excess cord from buttonhole, also
first cord. some of the pleat formed around cord.
The space between stitchings that hold Steam buttonhole. If fabric is bulky,
the cord determines the width of the fin¬ pound with paddle while steaming to
ished buttonhole. flatten out buttonhole.
This space should be less than V4 inch
as a buttonhole when finished should
PIPED BUTTONHOLES
never be wider than V4 inch.
To check for this width, hold the ma¬
Figure 42.
terial taut, crosswise of the cords, push
the cords with thumbnail to the center In making piped buttonholes place the ladder
basting. The two cords should touch. If there marking on the canvas side of the garment. (Fig.
is any space between, the cords are too 40, p. 77.)
far apart; if they overlap, the cords are The material for piping may be cut either on
too close together. the straight grain or on the true bias.
2. With contrasting basting thread, mark Cut piping pieces 1 xh inch wide times the but¬
the buttonhole ends at right angles to tonhole length plus Vi inch for seams, and baste
the cords. each strip through the length center.
b. With raw seams standing up from gar¬ Baste the center grain of piping to buttonhole
ment, place the corded section on marked length with right sides of fabric facing.
Figure 41
a. From the canvas side of garment stitch a e. From the right side fold the facing, forming
rectangle the exact length of the buttonhole a piping xh the width of the buttonhole
and about 3/i6 inch wide. Machine stitch opening and baste along fold. Repeat for
should be short to secure stitching. second side.
Begin stitching at the center of a long /. Baste folded piped edges together down cen¬
side, stitch to the end, leaving the needle ter of buttonhole.
down to use as a pivot while turning a cor¬ g. Turn garment to wrong side, place button¬
ner. Continue stitching the entire button¬ hole in position, and stitch the triangle to
hole, overlapping the first three or four the piping in a slight arc. Stitch the facing
stitches. along buttonhole length to the seams by
Count the stitches across the end to machine, or back stitch by hand.
insure a more accurate width in all button¬ Trim away any excess material, leaving
holes. up to Vi inch seam around buttonhole.
b. Cut the buttonhole through the center to Steam buttonhole, remove basting, and
within $Ae inch from the ends, then cut resteam.
diagonally out to the comers. If the buttonhole seems thick, pound with
c. Pull the fabric through to wrong side. paddle while steaming.
d. Press all seams around buttonhole away Make the facing for the piped buttonhole
from the opening. the same as for a corded buttonhole.
BUTTONHOLE FACING
Figure 43.
The facing of the corded or piped buttonhole
may be finished in either of two ways.
After the several buttonholes are made, adjust
the facing of the garment, pin into permanent
position.
From the right side of the garment mark with
pins through on the facing the length of each
buttonhole, then carefully baste each buttonhole
on the wrong side of the facing.
a. This method produces a neat bound button¬

hole in the facing. Cut true bias facings
from lining silk 1 inch wide and lh inch
longer than buttonhole to be faced.
1. Cover each buttonhole length on the
facing with the bias silk, with right sides
of materials together.
Stitch from die facing side a rectangle
around marked buttonhole, the exact size
of buttonhole to be faced.
Cut through the buttonhole length to
within inch of ends, then diagonally
out to comers.
2. Pull bias through the rectangular open¬
ing to wrong side of the garment, fold
along stitching line, baste, and steam.
3. This opening is fitted to the wrong side
of the buttonhole, basted, and closely
slip stitched into position.
This method is simple to make with
no frayed edges around the facing side
of the buttonhole, also the buttonhole is
reversible.
b. This method, though apparently simpler, is

not as satisfactory as Method a.
1. Match the facing to buttonhole, locate
the exact position of the facing, and
stitch a rectangle on facing the exact
size of the buttonhole proper.
Baste the facing of the garment per¬
manently into position. Baste around each
buttonhole so that facing and garment
will not slip.
Cut the facing through the buttonhole
to s/46 inch to the end, then diagonally
out to the four corners. The stitching
forms a stay around edge which is to
face the buttonhole.
2. Turn the facing seams to the wrong side
around the buttonhole.
Figure 43
3. Baste and closely slip stitch to the back

side of the buttonhole. ma
This method is likely to leave frayed wh
ends of fabric at turned edge and is more the
difficult to handle than Method a. an
WORKED BUTTONHOLE Cut buttonhole:
Figure 44. a. The buttonhole length is determined as for

piped or corded buttonholes, and cutting
In buttonholes on tailored garments cut away
must be straight. The buttonholes may be
a small section of fabric from the outside end of
padded in either of two ways:
the buttonhole to hold the button shank. This
b. Take a small stitch at the back end of but¬
enlarged end prevents the buttonhole from spread¬
tonhole, then at the beginning of eye at
ing around the button. It may be made by a reg¬
opposite end, and continue around cut-out
ular buttonhole cutter or by sharp scissors.
eye with short stitches; then repeat for sec¬
ond side. Repeat this three or four times.
This leaves long loose threads along top
and bottom edge of buttonhole, or
c. Pad the buttonhole. Take a length of but¬
tonhole twist, double in center, and twist;
then double the second time. This leaves
four strands of thread twisted together,
which are held into place along the button¬
hole edge with the thumb when working
the buttonhole, or beginners may lighdy
overcast the twist along the cut buttonhole
with sewing silk.
d. Begin at the lower right-hand end away
from the garment edge, and fasten the thread
invisibly. Place the needle down through
the open edge, up through the fabric, and
around the pad stitch; swing the thread
under needle point from right to left, then
pull the needle at straight angles from the
buttonhole edge. This leaves a purl at the
cut edge of the hole.
e. Repeat this operation to the enlarged end,
where the stitches should spread fanwise
around the end. Buttonhole along second
side to end.
Make a bar across the back end of the button¬
hole. Take three or four stitches the full width of
stitches across the end of the buttonhole. Take
each stitch and return through the same hole.
Holding buttonhole toward you, either button¬
hole around these stitches or wrap the thread
closely around the stitches covering the entire
length. Pull the thread to wrong side and fasten
invisibly in stitches around the buttonhole.
BUTTONHOLE LOOPS
Figure 45.
Loops may be used in place of buttonholes.
a. Cut a true bias strip 1 inch wide and long
enough to make several loops.
b. Fold lengthwise through the center with
Figure 44 right side in and machine stitch parallel to
folded edge the desired width of finished

loop. Widen out one stitching end on the
bias through which to start the turning of
bias right side out. Stretch the bias while
stitching to prevent stitching from breaking
while turning.
Trim bias seam the same width as the
tube.
To turn the bias, insert a bodkin into the
enlarged bias end and sew bias to bodkin
eye. Push the bodkin through the tube and
turn tube right side out.
c. Thread a wool yarn through the bodkin
and pull through the tube. This straight
yarn pads the loop and also prevents the
tube from stretching.
d. Measure a loop long enough to allow a but¬
ton to slip through, plus seam at each end.
All other loops are cut from this first pattern
loop.
Mark the correct buttonhole positions
along the seam edge.
Place a loop, seam side up, in a U-shaped
position around each buttonhole position,
with stitching lines of loops and garment
matching, and with the loops lying back on
the garment. Baste loops securely to garment.
Place facing into position covering loops
at garment edge, pin, baste, and stitch;
then remove all bastings.
e. Fold facing to wrong side allowing loops to
extend out from the seam edge.
/. Loops may lie flat along the garment edge
when used to hold up an under lap of a
wrap-around coat, or when an inconspicuous
loop is desired.
g. A loop may be used at garment edge as a
decorative fastening.
SEWING ON GARMENT FASTENINGS
Figure 46.
The thread used in sewing on buttons should
be of heavy linen which is already waxed, or of
buttonhole twist, which should be waxed.
If a backing button is not used the button is
sewed only through the outer fabric and canvas.
a. Buttons showing different arrangement of
stitches.
b. On all garments buttons should be sewed
on with a shank. This shank length should
be the thickness of the material surrounding
the shank.
To secure this shank hold a pin, nail, or
©@ © © an equivalent over the button’s eye and

pass the stitches over this object.
c. When the button is sewed on, remove the
object, pull the button to the loop ends,
and with the needle and thread between
the button and cloth, wind the thread sev¬
eral times around the shank to hold the
button away from the garment. Pull the
thread to the wrong side and fasten firmly
to the canvas.
d. In a heavy coat where strain on the garment
is great, use a small backing button on the
facing side of the garment. Sew the thread
through the eyes of both the top and the
backing button.
e. Sewing buttons together, using a shank.
This button arrangement is used where two
edges touch without overlapping.
DOUBLE-BREASTED GARMENTS
Double-breasted garments may have two rows
of buttons and buttonholes, two rows of buttons
and one row of buttonholes, one row each of
buttons and buttonholes, or just an overlap, held
in place by a belt.
In the long double-breasted coat, the under
extension, if not buttoned, should be held in
place by a tie made of the lining, or of matching
grosgrain ribbon about 1 inch wide.
Cut two strips of lining on the length grain 15
inches long and 2xh inches wide. Fold each strip
lengthwise through the center with right side in,
baste, and stitch down length and across one end.
Turn right side out and steam.
After basting the body of the lining to the
armscye sew the two raw ends of the ties securely
into the right armscye at underarm seam along
with the lining. When the sleeve lining is put in,
the raw seams are hidden.
On the underlap of the coat at the waistline
position, make a loop at garment edge through
which one tie is slipped and tied to second one to
hold up the underlap of the garment (see Fig.
Figure 46 45, p. 83).
2-inch square of silk crepe or light-weight
lining fabric with right sides facing and with
grains matching, and baste into place.
Figure
e. When a garment is cut straight in from an From the wrong side, steam all uncut waist,
edge, the seam end may be reinforced to shoulder, and neck darts toward the center front
strengthen it, especially if a pocket, godet, and center back.
or other trim is to be used. Steam all darts and curves over curved press
/. Place 1-inch square over cut end. pad for best results.
g. Beginning % inch from cut end, stitch an Tailor tack the shoulder seam (except where a
arrow point around cut end as indicated by shawl collar is used) with tacks 1 inch apart from
dotted lines and clip to stitched end, but neck to armscye edge and clip apart. These tacks
not through the stitching. allow the seam to be rebasted exactly as in the
h. Turn end seam to wrong side ready for original fitting.
needed finish.
i. Place a silk square on wrong side of fabric BASTING THE LINING
and stitch from the right side, using the silk At the end of the final fitting of the jacket or
only as a reinforcement. coat and before the garment seams are trimmed,
baste the lining for stitching.
BASTING THE GARMENT Since the lining must fit exactly into the jacket
The jacket or coat is basted together as in the or coat, make the same alterations as in the
muslin garment after stay stitching is done. garment.
Use heavy-duty thread in contrasting color, and Mark on the lining the same permanent stitch¬
short, firm basting stitches where strain appears. ing lines, darts, etc., as appear on the finally
All plaids, checks, and stripes must be matched fitted garment before garment seams are trimmed.
crosswise and lengthwise. Baste the lining, except the sleeves, which may
All inside cuts must be reinforced to prevent be stitched at any time before being attached to
fraying at cut turn. inside of garment.
Use the same directions which have been used Baste the 1 %-inch pleat (3 inches out flat)
for the muslin for fitting the wool garment. down the back length.
A dress shield may be cut and basted into the
FITTING THE WOOL GARMENT
underarm seam if desired.
Because muslin and wool fabric handle some¬
what differently, it will be necessary to check LINING SHIELD PATTERN
carefully the fit of the wool garment before doing
any stitching lest there may be some slight refit¬ Figure 48.
ting problems. The outline of the shield is drawn the exact
It is wise to check the fit of the jacket over the size used for a shield in a lined garment, allowing
fitted skirt to check for matching length seams %-inch seams on two lower straight edges.
and for the hip size before stitching permanently. a. Shows the shield folded right side out on the
Refer to fitting problems under Muslin Garment, length grain with lower edges basted ready
Figs. 20-23, pp. 41-54. to insert at underarm seam of lining before
lining is stitched.
STITCHING AND STEAMING DARTS AND SEAMS
b. Shows the shield with the length grain falling
Stitch all darts and length seams. along the stitching line after having been
Trim down front shoulder dart, leaving %-inch applied to the underarm seam of the lining.
seam. Where the dart tapers below %-inch width The armscye curve is stitched to the under¬
to the point, leave untrimmed. arm of the garment lining. In some garments
Steam all seams wide open. Trim seams par¬ there are two underarm seams which fall
allel to stitching line, and leave edges unfinished one in front of and one behind the under¬
where lining is used. arm seam of the normal seam line position.
Spread wide open to lower clipped edge, the In this case the shield is folded wrong side
seam of the shoulder dart that has been trimmed out and stitched along the basting as in a,
down, and press the remaining unclipped portion then turned right side out and pressed as
to the dart point like a box pleat. This dart in b. The seam line of shield is then fastened
should be steamed over a curved press pad to by hand between the two underarm seams
secure a good curve at the dart end. of the garment lining.
c. Shows the finished appearance of the shield Steam over curved board for smooth end
in the lined garment with the two bias edges finish.
left free. d. When a princess line is used, the two prin¬
cess stitching seams of the canvas are matched
STITCHING THE CANVAS DARTS AND SEAMS by overlapping.
The same seam allowance is used as in
Figure 49. the garment.
After the garment is fitted the hymo darts or Stitch two parallel rows of machine stitch¬
seams are stitched exactly the size of the garment, ing Vi inch apart along the seam and cut
for the canvas and front must fit together perfecdy. away excess seam.
a. In the hymo, cut away all the dart along
the stitching line.
b. Cut a strip of hymo the length of the darts BASTING THE CANVAS TO THE GARMENT
and 1 inch wide along the length grain.
Figure 50.
Match the two cut edges of dart to the
center of strip, pin, and baste into position. Place the garment right side down on the table.
c. By machine, zigzag stitch across the dart, Smooth the canvas fronts on garment fronts,
sewing edges securely to the strip. matching seams or darts, and pin into position.
the full width of the front canvas, so that

the canvas and garment fronts are held to¬
gether without wrinkles in either one.
Leave the section from diagonal basting
to the lapel point free for pad stitching.
Baste back canvas to upper back, first
down center back, across neck and shoulder,
and down around armscyes 1 xh inches from
cut edge.
PAD STITCHING THE GARMENT FRONTS
Figure 51.
The pad stitch is used to fasten the canvas into
the garment and at the same time to shape and
roll the lapels of the garment and the collar.
The pad stitch is made by pushing the needle
through the canvas, catching a few yams of wool,
Figure 50
and returning the needle to the canvas side, all in
one stitch process. (For best results use No. 10
a. Locate the break line, and chalk it. This needle and matching sewing thread.) The stitches
line begins within 1 to 1 xh inches below the are Vi inch across, with Vi inch between stitches.
shoulder seam on the neck edge, depending a. To hold the garment correctly place canvas
on the length of the lapel roll, and ends side of the garment on table with front edge
opposite the top button. of garment away from table edge.
b. Chalk a second line 1 inch back of the break b. Fold the lapel edges so that the lapel section
line on the garment side. is held in the hand with thumb uppermost
Using short easy diagonal basting, baste so as to be free for easing canvas.
along this line. On the lapels, start the pad stitch 1 inch be¬
c. With even basting stitches, baste from di¬ hind the break line, paralleling this line from neck
agonal basting to bottom of garment. edge to edge of garment just below the top
Continue basting rows 2 xh inches apart, button.
Figure 51
These rows of pad stitches are made to the TAP

right and left alternately, sliding the hand from
Figu
neck to buttonhole to prevent twisting of the
canvas. The rows of pad stitches touch on a a
common line.
Continue the operation to the point of lapel
stitching line, slightly easing the canvas with the
thumb onto the garment to shape the lapel.
Repeat for second side.
stretching and helps the fit of the gar¬ and length, carefully check the two sides
ment over the bustline. together after basting on the tape.
2. Trim away the canvas V& inch behind the Hem the tape lightly to the wool on the
stitching line along front facing edge from outer edge first, then hem the inside edge
bottom of hem, along the garment edge, of tape to the canvas.
around the lapel point to the collar notch. The outer tape edge forms the stitching
Later, when you make the garment line for the facing.
hem, cut the canvas off across the hem
edge.
STEAMING THE TWO FRONTS AFTER TAPING
Tape these stitching edges of the gar¬
ment fronts with narrow linen, silk, or After the tape is sewed on the fronts, place
rayon tape. The tape straddles the canvas front lapels over curved pad and steam from the
edge, the front tape edge being flush canvas side to the top button, shaping lapels as
with the facing stitching edge. they are being steamed.
3. From the top button, around the lapel From the top button to bottom of garment is
point, and to the collar notch hold the a straight edge, so should be steamed along a
tape easy. Pin into place and baste. ruled line.
4. From the top button to the lower gar¬ Buttonholes may be made in the right hand
ment edge, hold the tape taut. side of the jacket or they may be left until the
Place the garment edge along a rule facing is sewn on. See “Fastenings on Garments,”
to check whether the tape is too taut or pp. 77-84.
too slack. The garment edge must hang
perpendicular to floor. TAPING UNDERARM OF ARMSCYE
If the lapel or lower garment edges
have squared turns, miter the tape. Figure 53.
b. If the lapel or lower garment edges have a The matching curved edges of the sleeve and
curve, the outer tape edge follows the stitch¬ the garment armscye when stitched together have
ing line, and the inner tape edge is notched a tendency to stretch and bunch away from the
away to prevent forming of folds. figure at both front and back lower armscye.
To insure accurate matching of lapels and To prevent this and to make the armscye hug
curves at lower jacket fronts in both shape the figure, you will need to tape the armscye.
Figure 53
The tape is clipped along one edge to allow it

to lie flat when curved around the armscye.
Place an ease thread along the marked stitching
line of the under half of the armscye from width
of chest to width of back.
Beginning at the width of chest, place the un¬
dipped edge of tape along ease thread and ease
in about V4 inch of the armscye from chest width
to underarm seam and pin into place.
Leave flat across the seam at underarm.
From underarm seam to back width of the
armscye, ease from Va to % inch onto the tape and
pin into place.
In fabrics that stretch badly it may be necessary
to carry the tape up to the back shoulder seam.
Baste the tape first along the armscye stitching
line, then along the spread clipped edges.
Hem loosely by hand along both edges.
PULL-UP STITCH
Figure 54.
The pull-up stitch instead of tape may be used
around armscye.
Start from the right-hand end, take a stitch Vs
inch long on the needle, throw the thread from the
needle’s eye around the needle point from left to
right and then pull the needle through the loop.
Repeat successive stitches by placing the needle
in the hole in the front end of the proceeding
stitch. Pull each stitch tightly enough to ease in
the amount desired along the stitching line.
ATTACHING FACING TO THE GARMENT
Figure 55.
Place the garment right side up on the table.
Match right side of front facing edge to the gar¬
ment edge.
a. From top button to top of lapel around to Turn facing to the right side, pin into
the collar notch, slightly ease facing onto place, and check for correct fit of the facing
the garment and pin into position. onto the garment.
b. Across the lapel point ease the facing slightly, From the taped side of the garment stitch
or until it forms a blister of the facing. the facing to the garment along the tape
This ease allows the seam edges to roll edge, but not on tape, from collar notch to
under after being stitched and turned right the bottom edge of a garment if square, or
side out. around the curve if rounded.
c. From top button of squared garment edge,
or from the back of the jacket curve at hem FLY FACING
edge, hold the facing slightly taut onto the
garment so that the garment hangs perpen¬ Figure 56.
dicular to the floor. A fly facing is used to fasten a garment with
Pin edges together and baste. concealed buttons and buttonholes. The fly is
made only on the buttonhole or overlap side of GRADING SEAMS AT EDGE OF GARMENT
the garment, after the fronts are pad stitched and
Figure 57.
edges taped. The button or underlap side of the
garment is not changed. A seam at the edge of a garment is likely to
The length spaces for buttonholes are marked show the seam imprint and be bulky when pressed
on the buttonhole side of the front overlap, and right side out. To prevent this bulkiness first
on a matching position on its facing. trim both seams parallel to stitching line, then
Two lengths of facings are cut, plus the desired trim away lA of that edge of the seam that touches
width needed for planned buttonholes, plus Vi- the inner side of the garment.
inch seams on both sides and ends.
a. Place one buttonhole facing length on gar¬
ment with right sides facing and baste into
position.
Stitch in diagonally to tape edge (which
forms the stitching edge of garment), stitch
along tape to end of facing, then diagonally
out to garment edge as indicated by dotted
lines. Clip straight in to stitching turn as
shown at Points 1 and 2.
b. The buttonholes are made only through the
facing of the garment; therefore, the second
facing length must be lined with canvas.
Baste facing and canvas strips together.
Stitch diagonally in from edge to seam;
stitch along seam edge to end, then turn
and stitch out to garment edge as indicated
by dotted lines.
Cut straight in to stitching turn as shown
Figure 57
by solid lines at Points 1 and 2.
Grade seams.
Steam seam of a and b wide open. This grading staggers the two seam widths in¬
c, d. Turn facing lengths to wrong sides on gar¬ side the garment edge and produces a smooth
ment and facing, roll edges slighdy to wrong appearance from the right side.
side, baste, and steam. Remove bastings and Steaming the seam wide open from the wrong
resteam to remove basting imprints. side of the garment produces the smoothest seam.
Rebaste each strip along folded edges a. Trim off V6 of seam touching b, the facing
until facing is attached and stitched. side of the garment.
e. Join facing to garment (see Fig. 55, p. 92). c. From the right side of the garment, with the
Stitch from 1 to 2 and from 3 to 4, stitch¬ facing edge held toward you, slightly roll
ing back on seam ends to prevent ripping. the facing edge to the wrong side so that the
Cut off lapel point and grade se ms. stitching line does not show from the right
Press seams wide open. side of the garment. This edge is basted,
Baste along folded edges, rolling seams steamed, bastings are removed, and edge
slighdy to wrong side. is resteamed to remove any basting imprints.
/. Baste and stitch from 1 to 2 to 3 to 4 and In some instances it will be necessary to re¬
securely fasten thread ends on inside of baste this edge when dry in order to follow
garment. This stitching is essential to hold through on other construction processes.
the garment, the facing, and the two inside In a garment with lapels or rolled collar it is
facings together. Buttonholes used in fly necessary to reverse the above operation at the
facings should be worked by machine if an top button and buttonhole positions so that the
attachment is available, or may be worked seam edge does not show either above or below
by hand. the top button position.
CURVED EDGES
Figure 58.
Inside curve:
a. When an inside curve appears, as an arm-
scye or neckline, the seam is clipped to the
stitching line in order to allow the shorter
tight edge to spread when pressed away
from the stitching line.
Outside curve:
b.
b. Where an outside curve appears, the seam
around the curve is notched to the stitching Figure S8 (Continued)
line before the fabric is turned right side
out.
This notched seam prevents folds of seam
from appearing within the garment edge.
STITCHING SHOULDER SEAMS

Shoulder seams of the garment have previously
been fitted, tailor tacked, and opened up to apply
front and back canvas.
Match these tailor tacks exactly in the wool
only, pin, baste, stitch, and steam open. Trim
seams parallel to stitching lines, leaving %-inch
seams.
Trim away excess canvas seams, overlap over
the wool seam, and sew together by hand, using
Vi-inch diagonal basting. Catch stitches through
to wool seam to hold canvas securely in place.
Overlap underarm seams of canvas And sew
in the same manner.
Machine stitch other seams, neck, and arm-
Figure Si scye, when the collar and sleeves are attached.
Pockets
Positions for pockets on the garment were If a decorative idea is desired, cut pockets on
tailor tacked after the garment was cut. the true bias, especially in checks or plaids, or
Because all persons are not the same size, these place them on the cross grain.
positions may need to be changed to keep them In a corded or piped pocket use bias because
in correct proportion to the wearer. it adjusts more easily to that type of pocket. The
With the garment on the wearer, turn the hem bias should always be cut in the same direction
up before the permanent location of the pockets from the fabric.
is decided upon. Mark the new pocket location Always cut the grain of the pocket bag the
accurately on one side of the garment. same as the garment grain.
Remove the garment and pin together, accu¬ In an inset pocket, one section of the bag is
rately matching the two front sections of the usually of wool and one of lining. To save wool,
garment; and transfer the marked pocket position a narrow strip of wool may be stitched across the
to the second half of the garment. upper pocket lining bag instead of making the
If one hip is larger, the garment may be wider section entirely of wool.
on one side of the pocket position. This variance When a pocket is parallel to the floor, the wool
in width should appear from the pocket edge to section is always sewed to the upper edge, the
the side seam of the garment. lining to the lower edge of a pocket.
All set-in pockets should be reinforced with In a perpendicular pocket the wool section is
canvas along the stitching line on the wrong side sewed to the back edge, the lining to the front
of the garment. This canvas prevents too great edge of the pocket opening.
strain on the fabric. The pocket above the bust Check pocket size and length in relationship
line already has canvas behind it, but pockets to the size and scale of the individual.
below the waistline will need to be reinforced.
In a patch pocket, reinforce the two top comers WELT POCKET
with canvas on the wrong side of the fabric. Cut
the canvas on the same grain as the fabric it is Figure 59.
reinforcing. A welt pocket is made with the welt sewed into
In patch, welt, flap, or saddlebag pockets the lower edge of an inserted pocket, which may
match the fabric grain with the garment grain. be parallel to the floor, perpendicular to the
If a design such as stripes, checks, or plaids ap¬ floor, or on the diagonal.
pears in the fabric, the design should match the In whichever direction the pocket is made, the
garment in both cross and length grain. grain and design of the welt, whether of plain,
96
Pockets 97
stripes, or plaids, must match the grain and de¬ Pin and baste into place at the lower edge
sign in the garment when attached. The excep¬ of the pocket opening. If stitching is to ap¬
tion is the welt made on the true bias. pear on welt, stitch across top edge only,
The welt may be made of two thicknesses of ending at the turn of stitching at corner;
wool, as in the flap pocket, or with the outside have threads long, pull through to wrong
of wool and the wrong side lined with matching side, and fasten securely.
lining silk. /. Cut two pocket bag sections, the grain of
To give crispness to the welt use hymo or its each of which will match the fabric grain
equivalent as interlining, cut the exact size of the when the finished pocket bag falls into posi¬
finished welt. tion. Place lower (lining) section over welt
a. Cut the three welts, one each of wool, lining, with stitching lines matching and baste.
and canvas with the ends cut on the straight Place upper (wool) section into position
grain or on the true bias. This welt when with cut edge touching cut edges of welt and
finished is approximately 4 to 5 inches long bag and baste.
by 1 or 1V4 inches wide. Allow Vi-inch seam 1. Stitch the lower section of bag and welt
on top edge and two ends and Vi-inch seam into position, beginning and ending with
on edge which is sewed into garment. machine stitch crowding around the end
b. Place the canvas on the wrong side of the of the welt, and stitch back 3 or 4 stitches
wool, pin into position, and trim away xh- on stitching line to prevent ripping.
inch seams at one side and the two ends.
Baste the canvas into place.
c. Turn the Vi-inch wool seams over onto the
canvas, miter the corners, and baste into
place. Slip stitch the mitered corners, and
catstitch the wool to the canvas, making
sure the stitches do not appear on the right
side of the welt.
d. Fit the lining to the wrong side of the welt,
turn under Vi-inch seam, miter corners, and
baste along turned seam. Baste the lining
into place and slipstitch to the wool seam.
Remove all bastings and steam. Place a
basting Vi-inch from the raw edge for stitch¬
ing line.
e. Place the welt into place on the garment,
matching the design lines if a design appears
in the fabric.
Figure 59
2. Stitch the upper section of bag into posi¬ Remove all bastings, steam thoroughly
tion, with stitchings ending 2 or 3 stitches and, if necessary, pound flat with press
short at each end, to prevent a hole’s paddle.
appearing when pocket is finished. Stitch
back on the end of the stitching to pre¬
vent ripping.
To check for correct stitching lengths,
turn the bag up from the welt ends and
check to see that the end stitch hugs the end
of the welt closely.
Fold the welt into the correct position
into which it will fall when finished; stick
pins at welt ends through stitching ends of
upper bag. The pins should fall outside the
stitching ends of the bag stitching line.
Cut the pocket opening between the raw
edges of the sections of the bag to within
V4-inch of stitching ends, then diagonally
out to the stitching ends. Pull the sections
of the bag to the wrong side, which will
allow the welt to fall into correct position
on the garment.
g. Baste the sections of pocket bag together.
With the bag on the machine, fold the gar¬
ment away at one end of the pocket, adjust
the triangle at end of pocket opening into
position, and stitch in an arc close against
the pocket across the triangle. Continue
stitching around the pocket bag and up to
the second pocket end where the triangle is
to be stitched into position.
h. The welt on the right side of the garment
is left standing free. It may be finished in
either of two ways.
1. If outside stitching is used, the welt is
stitched across the top edge in e and the
thread ends are fastened securely on the
wrong side.
Baste the welt ends to the garment.
Stitch the welt ends to the garment
Stitch the welt ends from the lower edge
where it joins the garment, up to the
stitching end across top of welt, then di¬
agonally out to upper point.
Pull threads to wrong side and fasten
securely at each stitching end.
2. Where no outside stitching is used, the
ends of the welt may be slip stitched
closely to the garment just under welt
h.
ends to prevent ends from curling under.
Fasten securely at top welt edges with
a few stitches at right angles to pocket
ends. Figure 39 (Continued)
Pockets 99
FLAP POCKET d. Cut one section of pocket bag of wool and
one of lining silk.
Figure 60.
1. Match the stitching line of the wool sec¬
a. Cut two rectangular pieces of wool approx¬ tion to stitching line of flap and baste
imately 5 inches by 2 inches with 14-inch into position.
seam all around. The flap may be rectan¬ 2. Match the stitching line of the lining
gular, curved, or shaped at outer edge. section to the lower stitching line of pocket
Pin the two sections together around outer opening and baste into position.
edge, slightly easing top section onto under Stitch the wool section and flap into place
section to allow the seam to roll to wrong with one row of stitching, being careful
side, baste, and stitch V* inch in from edge. that stitching is exact at end of flap. The
Trim across angles, or notch out curved two stitching ends should be back stitched
edges, then press seam wide open. upon themselves a few stitches to prevent
b. Turn to right side, baste around seam edge, ends from ripping back. Stitch the lower
steam, remove bastings, and resteam to re¬ pocket section into place, having the two
move basting imprints. Make two flaps stitched ends two or three stitches shorter
exactly alike. than the upper stitching row. This prevents
If edge stitching is required on the flap, a hole at the outside ends of the flap when
the stitching should be done before flap is the pocket is finished.
sewed to garment. Cut the pocket opening halfway between
c. Baste flap into position with open raw edges the two parallel rows of stitching to within
touching basted cutting edge of pocket V* inch from ends. Cut diagonally from
opening. center cut to stitching ends of pocket bag.
This gives a small triangle at each pocket
end. Turn the pocket sections to the wrong
side. Fold the triangles at pocket ends back
onto the garment.
e. Fold the lower section of bag over the cut
seam to form a binding.
Baste and stitch along binding from the
right side of the garment.
Steam the pocket into position from the
right side.
/. From the wrong side, match the two pocket
bag sections together and baste.
b.
Figure 60
g. This shows the wrong side of the pocket bag

when completed, with backing canvas be¬
hind the stitching line of the flap. On the
right side the flap falls down over the pocket
opening as indicated in e.
CORDED POCKET
Figure 61.
Corded pockets may be made parallel or per¬
pendicular to the floor, on a diagonal, or on a
curve.
e. Usually the material is cut on the true bias,
but if the fabric has a stripe and the stripe is used
for a trim, the fabric may be cut on the straight
grain.
When cutting the bias, always cut the bias in
the same direction across the fabric, so that the
grain will all run one way.
Cut two strips on the true bias for each pocket,
the pocket length plus 1 inch for seams, and 1
inch wide.
a. Fold the bias closely around cord (coarse
twine) and sew with fine running stitches
as snugly as possible. If matching thread is
used, it may be left in when stitched, where¬
as a contrasting thread would show and need
f. to be removed.
Cut off surplus seam until seam edge from
basting is equal in width to corded edge from
basting.
b. Locate the pocket positions after the hem
is folded up, so as to keep pockets in pro¬
portion to the whole garment.
c. Place the two corded strips along marked
pocket position, with cut seams touching,
pin, and baste into position.
Baste across the pocket ends, having
bastings at right angles to pocket opening.
If the pocket is curved, ease the cord
slightly on the inner or concave edge (1)
and hold cord slightly close on the outer or
convex pocket edge (2). This will allow the
9-
two corded edges to match smoothly when
Figure 60 (Contlnumd) pocket is cut and cords meet along opening.
Stitch closely against cord, forming two
To stitch, place the pocket bag down on parallel rows of stitching. Each stitching end
the machine, fold the garment away from should be backstitched on itself to prevent
the pocket end, and stitch two or three times ripping.
across the triangle in an arc, hugging closely After both inner and outer edges of pocket
the end of the flap. Continue the stitching are stitched survey each from the wrong side
around the bag, up and across the triangle to check the accuracy of width between
at the second pocket end. stitchings.
Cut through the center to within lA inch b. Cut a pocket lining from lining silk, using
of end of stitching, then diagonally out to the same grain as the pocket. Fold seams of
each stitching end. Turn the seams through lining to the wrong side, mitering the cor¬
opening to the wrong side. ners, and make the lining large enough to
d. From the right side, baste the two corded cover raw seams and the hem of the pocket
edges together along the pocket length and Baste into position and slip stitch to pocket,
steam thoroughly. but do not allow stitches to prick through
e. From the wrong side, stitch the two corded to outer pocket section. Remove bastings
edges on machine, fold away the garment, and steam.
and stitch the triangle securely at each c. The pocket may be either machine stitched
pocket end to the corded sections and can¬ or slip stitched to the garment. In either
vas. Trim away excess cord inside the bias case the strain on the pocket is at the two
at pocket ends to relieve bulk in end seams. top comers where stitching should be rein¬
/. The wool section of bag is sewed to the upper forced. This is done by carefully hand stitch¬
seam edge of the corded seam if the pocket ing a few hidden stitches from comer across
is parallel to floor. If the pocket is perpen¬ top just below the top edge, between pocket
dicular to the floor or on the diagonal the and garment. These stitches should catch
wool bag is sewed to the back seam of pocket. through the reinforcing canvas on the wrong
The lining section of bag is sewed to the side of the garment.
opposite edge in each type of pocket used. 1, 2. The stitchings indicate two methods of
The edges of the two bag sections are machine stitching which may be used.
basted together in a rounded shape and When the pocket is slip stitched, the row of
stitched from pocket end to pocket end. stitches should be slightly under the folded pocket
g. Decorative tacks, bar tacks or fabric tri¬ edge instead of right on the fold in order to pre¬
angles may be used at each pocket end for vent puckering along the edge.
attractiveness, and also to reinforce the
pocket ends against strain. SIMULATED PATCH POCKET
PATCH POCKET Figure 63.

The simulated patch pocket is one in which
Figure 62. the bag sections may be cut entirely of lining,
cl Gut pocket the desired width and length, with a 2-inch strip of wool sewed to one section
plus seams on three sides and a hem at the of pocket bag, that showing under the flap. This
top. Baste all around pocket at seam and bag is stitched to the garment to simulate a patch
hem turns. Miter the comers as in Fig. 75, pocket, and is good to use when one is short of
p. 119, and turn seams and hem to wrong wool. A flap at the upper edge of the pocket
side and baste along folded edges. Slip conceals the opening. This flap may be any shape
stitch mitered corners. Steam the pocket, desired.
remove bastings, and resteam to remove a. Cut two wool sections for the flap.
basting imprints. b. Ease the top section of flap onto the under
Pockets 103
section, so that the seam edges will roll
under; pin, baste, and stitch. Clip square
across corners or notch curved edges and
grade the seams, leaving the wider seam
against the right side of flap. Steam seam
open, turn to right side, and baste around
seam, rolling seam slightly to the wrong side.
Steam the flap, remove basting, and resteam
to remove basting imprints.
Make a second flap exactly the same size
and shape.
c. If you use edge stitching, either machine
stitch or pick stitch around the seam the de¬
sired width from edge. (Fig. 88, pp. 134,135.)
d. 1. Mark pocket positions on the garment
with bastings parallel to the floor and
equidistant from center front.
2. Place right side of flap to right side of
garment, flap turned upward, the open
edge of flap along the marked pocket,
and baste into position. The flap seam
should be lA inch or less.
e. 1. Cut one bag section the desired length
and width from lining silk, plus xh inch
for seams on all edges. This bag must 1
be the same grain as the garment where
attached.
2. On the top edge of the bag section, baste
a 2-inch strip of wool, and machine stitch
along both top and bottom edge. e
Closely catstitch across the raw edge of
the wool to the lining to prevent raveling.
/. Cut a 2-inch section of matching lining or
wool the width of the pocket bag. This sec¬ f.
tion is used to bind the lower edge of the
pocket opening opposite the flap edge. This
binding section may be of wool if the fabric
is light in weight.
g. .
1 Place bag section, e, over flap, d, with
wool edge facing the flap; baste into
place with cut edge matching flap edge.
Machine stitch Vi inch in from cut
edge; stitch bag section and flap into po¬
sition. To prevent stitching ends from
ripping, stitch back several stitches on
each end.
2. Place cut edge of binding section at
lower edge of basting, touching cut edges
of bag section and flap, and baste into
position.
9-
Stitch binding section into place, hav¬
ing stitches end two or three shorter than Figure 63
stitching ends above as indicated in dia¬
gram g. This will prevent the open ends
of the pocket openings from showing
when flap falls into position over pocket
opening.
Remove bastings, cut garment between
the edges of bag section and facing to
within lA inch of stitching ends, then
diagonally out to stitching ends.
A. Pull the bag and binding sections through
the opening to the wrong side of the gar¬
ment, leaving the flap on the right side.
Bind the lower edge of the opening by
folding the narrow section around the seam
and baste into position. From the right side,
h.
machine stitch along the binding. Catstitch
the raw edge to the garment. These stitch-
ings will fall under the flap and will not
show.
i. Fold the bag down over the bound edge.
Place the pocket bag down on the machine,
fold the garment away from the open end
of the pocket, and stitch the triangle into
position in an arc so as to hug the pocket
end closely.
j. Baste the bag to the garment. From the
right side of the garment stitch the bag into
position having the stitching line drop down
from flap ends. Bag may be stitched with
square or curve at lower turns. The flap may
be stitched across the top on the garment
edge.
SADDLEBAG POCKET
Figure 64.
The finished saddlebag pocket is similar in
size to the patch pocket but is used only on gar¬
ments for active sports. This pocket is stitched
to the garment at the top edge only, permitting
the bag to hang from the garment. The pocket
is cut in three pieces.
a. Cut the back piece of wool the length of the
pocket and the flap, plus the width of the
pocket with seam allowance all around.
b. Shape the flap section of wool to suit the
individual’s taste; cut it the pocket width
and from 2 to 3 inches in depth.
c. Cut the lining for the bag (which is the
outside of the finished pocket) of wool the
same size as the bag, plus V4 inch hem at
top. Turn the hem to the wrong side, baste,
catstitch, and steam. Figure 63 (Continued)
Pockets 105
b.
]
C.
Figure 64
d. Match flap facing (b) to the top of the

This is done just under the flap along the
pocket, easing the pocket edge to the facing,
catstitch at lower flap edge.
pin, baste, and stitch.
Press flap down over pocket opening and
Trim away corners to stitching turn,
stitch across pocket top, matching width
notch out all curves, and grade the seams
from edge to the edge stitching around bag.
by trimming the flap (b) and the pocket
portion (a) Ye inch narrower than the pocket
Steam seams wide open, turn pocket right POCKET IN A SEAM
side out, baste around all seam edges, slighdy
rolling the seam to the wrong side. Figure 65.
e. Catstitch the lower raw edge of the flap This pocket is made in a construction seam of
facing to the pocket. If stitching is used the garment and may be invisible or have a welt
around pocket edge, stitch before the pocket on the outside of the garment.
*8,
is basted to the garment. Cut two shaped pocket bag sections, one
/. Baste the pocket into position on the gar¬ wool and one of lining silk, 8 inches long by
ment and stitch. inches wide with open edge 4 xh inches.
a. 1. Baste and stitch the silk bag section to

the front seam slightly back from the
construction seam of pocket opening.
2. Baste and stitch the wool bag section to
the back seam edge slightly behind the
construction edge.
b. Fold wool bag section (2) across seam onto
lining bag section (1), baste and stitch. Steam
seam (section 2) where bag joins garment.
c. If a welt is used, both pocket bags may be of
lining silk. The welt is made and inserted
between the silk bag section (a 1) and gar¬
ment, and stitching must follow exactly the
garment’s stitching edge. (See Fig. 59, p.
97 for making welt.)
From the right side of the garment the
welt ends must be sewed securely to the
garment
1. by hand slightly under the welt ends.
2. by machine stitching. If stitching is used,
stitch the open length edge of the welt
first, to turn at ends before being applied
to the garment.
Rgurt 65
Pockets 107
POCKET MADE IN THE DESIGN LINE
OF A GARMENT
Figure 66.
When a pocket appears in the design lines of
a garment, the pocket will need to be partially
made before the garment is basted together.
Pocket bag may be cut on side section (d) if
desired.
cl Cut pocket section of wool (1) if c is used
and an additional pocket of lining which
will be used for either c or d.
b. 1. Baste along the seam edge of the front
section of the garment.
2. Place a cross basting at each finished
pocket end on basting line (1).
c. 1. Baste along the seam edge of the side
section of the garment.
2. Baste pocket bag section of wool into po¬
sition and stitch lA inch below the seam
edge so that seam edge does not show
when pocket is finished.
e.
d. Instead of a separate pocket bag section as

in c, the bag section may be cut in one with
the side section of the garment.
e. Place a stay tape on the wrong side of the
garment, one edge touching the seam edge,
with the tape felling out on the seam. Hem
both edges of tape lightly to seam.
/. 1. A reinforced comer is needed at the turn
of the seam. (See Fig. 47, p. 85, for in¬
structions in making.)
2. Baste the silk pocket bag section into po¬
sition with right sides facing and stitch
lA inch out on seam from the seam fold.
b. This prevents the bag’s showing at folded
Figure 66 pocket edge when finished.
g. Turn the seam edge along basting (as
marked in b 1), baste, and steam. Remove
bastings and resteam to remove basting
imprints.
h. Stitch across pocket top the exact pocket
opening length, the distance from edge that
is planned for the entire seam.
Rebaste seam allowance along a from
shoulder to turn, then out to underarm
seam.
Place Section a on Section c or dy match
stitching edges, pin, and baste into place for
fitting.
After fitting, stitch the seam from shoulder
to front pocket end, leaving long threads to
be pulled to wrong side and fastened invisibly.
Stitch the seam from underarm seam to
pocket end, with end threads pulled to wrong
side and fastened.
Pin two bag sections together, baste, and
stitch, beginning and ending stitching at
ends of pocket opening.
POCKET BETWEEN LINING AND FACING

OF GARMENT
Figure 67.
If there is no pocket on the outside of the gar¬

ment, one may be inserted at the facing edge
between the lining and the garment just above the
waistline in the buttonhole side of the garment.
a. Cut two pocket bag sections from lining silk
7 or 8 inches long and 4 inches wide, with
seams allowed all around. The open edge
is 4xh inches.
Turn each straight open edge to the wrong
side, baste, and steam.
b. Baste the two pocket sections together with
right sides facing, baste around the bag
curve, and stitch.
c. When lining the garment, insert the pocket
between the lining and the garment just
above the waistline.
One edge of the pocket is basted to the
lining stitching edge; the second edge is
basted to the matching facing edge of the
garment.
The pocket is slip stitched to the two
edges of the garment.
d. At each end of the pocket one may use a
Figure 66 (Continued) short row of catstitches at right angles to
Pockets 109
the facing edge to hold the pocket ends 3. Repeat the cycle until the stitches on base
securely into position. line touch at center, and the stitches across
point opposite base widen out from angle
DECORATIVE TACKS point, ending halfway down sides.
4. Push needle to wrong side and fasten to
Figure 68. prevent ripping.
Decorative tacks are used to finish the ends of Stitches should touch each other closely
piped or corded pockets, at stitching ends of without fabric underneath showing through.
pleats, or at dart ends. The base of the decora¬
tive tack touches the end where used.
a. Arrowhead:
1. Mark the arrowhead by basting a triangle
at the desired position. The two sides of the
triangle may be curved inward as in 2 to
form a more slender tack.
Using matching buttonhole twist, start
the arrowhead by fastening the thread within
the tack and bring the needle out at the left-
hand angle at base.
Take a stitch across the angle opposite
the base, placing the needle from right to
left parallel to base.
2. On the base line push the needle through
at the angle at right and bring out the
needle point on base line within the first
stitch at the left angle. Figure 68
b. Crow's foot: d. Bar tack:

1. Mark the triangle as in a. 1. Using buttonhole twist make a bar tack by
Fasten the thread within center of the taking several stitches, pushing the needle
triangle and bring the needle through at in and bringing it out of the same holes.
left angle on base. 2. The bar may be finished by closely wrap¬
2. Turning the triangle from right to left, take ping the thread around these several stitches,
a stitch at each angle, pushing the needle or by buttonholing around the stitches.
through from right to left. The bar may be placed within the end
3. Each successive stitch widens across the of a corded or piped pocket, which gives
angle as the stitches fill in down the sides. added strength as well as attractiveness.
Each stitch should touch closely.
4. Repeat the operation until the stitches meet
on each side of the angle; then carry the
thread through and fasten to wrong side.
c. Fabric tack:
1. Cut a triangle the desired finished size plus
a narrow seam along each side, with the
base on the straight of the material.
Miter each point and baste down with
knot on folded edge.
2. Turn seams down along sides of the angles
to wrong side, baste, and steam.
3. Place the base of the triangle into position
on the garment, baste into place, and slip
sdtch closely to garment just under the
folded edge.
d.
Collar
MAKING THE COLLAR of center back, pad stitching across in an

arc parallel to marked stand to other side
Figure 69. of center back.
The upper section of the collar has been cut Repeat several rows of pad stitching, al¬
with center back on the length grain, and a ternating direction to keep canvas from
basting down center back. slipping to one side on wool.
The under sections of both collar and canvas Point each stitch taken toward center
have been cut with center back on the bias, with back at neck edge.
a seam in each. Pad stitch to within Vi inch of stand mark,
a. Stitch seam at center back of wool under¬ shaping collar back to an inside curve to fit
section and steam open. back neck.
b. Overlap seam edges of canvas and stitch
with two parallel stitchings. Trim off excess.
c. Indicates upper wool collar with center back
basting.
d. Place under wool collar on table, wrong side
up. Place canvas collar on wool, center backs
matching, and loosely baste the two to¬
gether along the neck edge only.
e. Pin neck edge seam of collar to garment.
Adjust on dress form or on self, and pin
fronts together along button section.
Mark one half side of collar fold from
center back toward front where fold touches
front break line, 1 and 2.
/. Remove collar from garment and mark sec¬
ond side from marked side, chalking along
marked edge.
This break fold to neck edge forms the
collar stand.
Pad stitch collar stand.
Hold canvas side of collar neck edge to¬
ward you and start pad stitching at one side Figure 69
111
g. Reverse collar with outside collar edge held

in hand, with collar over forefinger between
thumb and middle finger. This allows easing
canvas over the under collar with the thumb
as one pad stitches. Ease more canvas over
break line fold because of the sharp turn at
this point.
Continue pad stitching alternately across
collar and ease canvas in as needed to shape
collar into correct position as it should ap¬
pear on the neck of wearer.
h. Collar showing shape when pad stitched.
i. Roll a Turkish towel from end to middle
r_3 until it forms a roll 2 or more inches thick.
Shape into curve until inner curve is neck
size.
j. Fit pad stitched collar over curved towel
l_-J
and steam into correct shape with steam
iron or with damp cloth over collar. Collar
may be pinned to dress form to dry thor¬
J- oughly or left on curved towel.
Figure 69 (Continued) k. Mark collar length.
Collar 113
1. Break line of lapel which meets the collar Rebaste loosely with diagonal stitches
stand at neck edge. until collar is basted into garment.
2. End of collar stand. Place a basting thread all around stitch¬
Pin and baste collar to neckline of ing line of both under and upper collar
garment. neck edge. These two bastings must fall
3. Pull up ease thread around neck of gar¬ one on top of the other.
ment and ease neck edge onto collar to
where collar stand meets the break line
JOIN COLLAR TO GARMENT
of garment front.
One inch across point 2, ease the collar Figure 70.
onto the neck edge of garment.
a. The neck of garment already has an ease
4. Lapel notch. Continue pinning to this
thread at stitching line.
notch, easing neck to the collar.
Match facing and garment neck edges;
5. Mark collar end where it touches notch
transfer neck seam position to facings and
of lapel at front. Remove collar from
put in ease thread.
garment and mark second half of collar
from the first. Place a basting or pencil
line across each newly marked collar end.
Attach upper and under collar.
Place under collar on table with right
side up.
Place upper collar to under collar with
right sides together and center backs
matching.
Pin center backs of collars together.
Holding collar in hand, begin at center
back and slightly ease upper collar to
under collar, along outer stitching edge
and across ends. Repeat for second side,
easing same amount along edge and end.
Baste and stitch.
If collar has square turn, cut off point
If collar has rounded edges, notch out
surplus curve at seam edge. Grade seams
and press wide open.
Turn collar right side out and baste
along folded edge, rolling seam slightly
to under side.
/. Finishing collar.
1. Using easy diagonal stitches, begin at
Point 1, baste to end 2, then return to 1.
Repeat until upper collar is entirely
basted to under collar. Shape the upper
collar to fit smoothly over the under
collar when basting.
3. When collar is finally shaped, trim the
neck edges of upper and under collar b. Match collar ends tightly into lapel notch
until the two edge seams are flush. and pin stitching seams together.
Steam into shape, remove bastings, re¬ Match center backs of collar and garment,
steam to remove any basting imprints, and pin.
and place on form or shaped towel to Pin collar to garment, matching stitching
dry. lines. Beginning at collar end, ease neck to
collar up to within V2 inch of garment break SHAWL COLLAR

line, 2.
Figure 71.
Across collar stand, V4 inch on either side
of 2, ease collar to neck edge, continue A garment with shawl collar is one in which
basting collar to center back, easing neck the under collar and front are cut in one piece.
onto collar. Repeat for second collar side. It has a seam at center back in both upper and
On under side of collar, Vb inch behind col¬ under collar.
lar notch 1, tack collar and neck edges The garment with shawl collar is handled dif¬
together with several tiny stitches, using ferently from the garment with a separate collar.
matching sewing silk. This holds the collar Make reinforced comers at seam turn of collar
end tightly into lapel notch while stitching. and shoulder seam.
The facing may be joined to collar by ma¬ Baste, fit, stitch, and steam all shoulder seams
chine stitching or by slip stitching. and collar.
To machine stitch, baste upper collar and Hymo is cut exactly like the garment front with
facings together, easing facing to collar. seams or darts fitted to match the garment.
Check collar on figure before stitching. The Hymo is fitted, pinned into place, and basted
collar should hug the neck closely. The seam onto the two garment fronts and collar.
around the back neck of collar must not show. a. Canvas collar seams are overlapped at center
Stitch collar. back and may be basted together with di¬
Beginning at under collar end, start machine agonal bastings or stitched by machine.
stitching at end of lapel stitching and continue b. Neck edge of hymo is basted across back
to end of lapel stitching at second collar end. neck of garment and along shoulder seam
Fasten thread ends securely. and stitched by machine or fastened by
Beginning at upper collar end, start machine hand to the neck and shoulder seams of the
stitching at end of lapel stitching and stitch upper garment.
collar and facing together. Fasten thread ends
c. Place garment on figure and fasten down
securely.
center front. The fold formed along collar
If collar is correctly stitched, the notch will form
edge from buttonhole around neck to button
a sharp V, and the stitching seams appear to be
is the front break line and the back collar
continuous from lapel through collar.
stand. Chalk this line from center back to
Clip seams almost to stitching along collar neck
center front on one side only.
edge.
Remove garment, and chalk second side
Steam all neck seams wide open.
from first marked stand.
Cut away any bulk at inside collar seams to
d. Baste hymo to wool garment 1 inch on the
form smooth outside appearance. Hymo may be
garment side from the chalked stand line,
trimmed to stitching line.
using diagonal bastings.
Match stitching seams of collar and facing from
notch to shoulder, curve slightly outward toward e. Baste hymo (below basted line along stand)
to the garment, with basting rows 2 inches
shoulder and pin together.
Clip back neck seam of outer collar between apart and parallel to center front of garment
shoulder seams. Match the two back collar seams, /. Leave free collar and hymo from stand line
to collar edge.
pin and baste.
Sew neck collar seam securely to garment seam, g. Sew the shoulder seams of hymo and gar¬
using combination stitch. ment together securely by hand, using di¬
3-4. If the material is firm, the facing and agonal stitches.
upper collar edges may be slip stitched h. Baste the armscye edges of hymo and gar¬
from notch to shoulder. Turn seams of ment together lVi inches from armscye.
both collar and lapel to wrong side and 1. Chalk an arc on the hymo from shoulder
baste along fold. Baste by whipping seam to shoulder seam, curving the arc Vi
the two folded edges together, slightly inch below the collar stand at center back.
easing facing onto collar. Slip stitch Pad stitch this arc in exactly the same
the two edges very closely. The collar way as in a separate collar. (Fig. 69( p. 112.)
is then finished as in directions above. j. From shoulder and collar turn at neck edge,
Collar 115
Figure 71
draw a line to top button. Pad stitch the TAPING THE SHAWL COLLAR
space between this line and diagonal stitch <L The garmcnt ^th shawl collar is taped from
k, l. Beginning at 1, the top button on basting the bottom of the garment to the top button, pin¬
line d, pad stitch a continuous line the en- ning the tape slightly taut along the garment
tire length of the collar to the top buttonhole, stitching edge to keep the garment edge hanging
k. Continue pad stitching the entire collar, perpendicular to the floor.
alternating each row, to prevent the canvas Sometimes the tape may be carried upward
from twisting on the garment. When pad on the collar edge toward the shoulder if fabric
stitching, hold the loose open edges of the has a tendency to stretch.
collar and hymo in the hand with the gar- Tape should not be carried around shoulders
ment against the fingers so that the thumb and back edge of collar as it causes too tight an
is free to ease the hymo onto the collar to edge on the collar,
shape while pad stitching.
to Loosely catstitch the back edge of the hymo FACING THE SHAWL COLLAR
below curved edge to bottom of garment. The facing for the shawl collar, which is the
making stitches at least 1 inch apart. upper collar, is cut in one with the front facing
of the garment. The facings of the two sides meet rolling seam to wrong side from bottom to
at center back and are seamed. The steps listed top button, reverse and roll seam to opposite
below are handled the same as in a garment with side to prevent seam stitching edge from
an attached collar and facing. showing.
1. With right sides facing, pin the center backs Repeat for second side.
of facing and garment together. 4. From center back of collar to top button¬
2. Working from center back, down each side, hole, roll collar outward on garment and
pin facing to garment, slightly easing facing baste with loose diagonal stitches from col¬
onto garment to the top button. lar edge to break line and collar stand
This allows an easy roll of collar from Reverse basting to keep grains of facing and
back, over shoulders, to top fastening. garment together.
3. From top button to garment bottom, smooth 5. Fold collar back onto right side of garment
the facing closely onto garment and pin so along break line and collar stand, lay gar¬
that the front facing edge does not roll out¬ ment on table and baste loosely over folded
ward to the garment below buttons. edge.
Baste collar edges together. From folded edge of collar, smooth re¬
Turn collar facing right side out and pin maining collar, lapel facing, and neck edge
into position. onto the garment proper from shoulder
Try on and check for correct amount of down to position opposite top button.
ease around collar, also correct hang below Repeat for second side.
top button. From the top button to garment bottom
Stitch collar facing to garment, grade smooth the facing onto garment canvas, pin
seams (remember to reverse trimming at top into position, and baste.
button), notch out around outside curve, 6. Sew the collar across back neck and across
and steam seam wide open. shoulder securely to neck and shoulder
Turn seam and baste along folded edge, seams, using back stitch.
with or without a collar, the canvas will not
need to be pad stitched; however, all edges
will need to be taped to prevent stretching.
c, d. In a cardigan that is built up around the
neck, the front curve below the neck will
need pad stitching, so that the garment will
roll away from the body.
e, /. In a garment with a high round neck which
rolls away from the body at the neck edge,
or one that is worn either buttoned or left
a. b.
Figure 72
Sleeves
FITTING SLEEVES INTO THE WOOL GARMENT seam seems too bulky, notch out until seam lies
After the collar has been basted on the garment flat against garment.
the sleeves are fitted into the armscye (see Fig. 23 If the sleeve has darts at shoulder, steam the
on pp. 50-53). upper half of sleeve seam toward the garment
The armscye and matching sleeve seams were side of the armscye, and the under half of the
carefully cross-marked in the muslin garment. seam wide open.
These marks were transferred to wool armscye If a padded effect is desired around upper half
seams when cut. of sleeve cap, press the seams into the sleeve side
Match these marked seams, pin and baste the of the garment.
sleeves into the garment, and try on for checking A narrow bias strip of wigan or felt may be
since the wool may handle differently. Make any sewed across the upper half of the sleeve cap and
necessary alterations.
STITCHING THE SLEEVES
Figure 73.
The sleeve is not stitched until it has been fit¬
ted into the armscye to make sure of the correct
fit and dart locations.
The diagram indicates the direction in which
seams and darts are stitched.
Without removing the sleeve from the armscye,
stitch darts at elbow and sleeve cap if used.
Darts at elbow are steamed on wrong side with
folded dart edge turned toward the cap.
Darts at sleeve cap are split open and steamed
with seams wide open.
Stitch length seam, trim parallel to stitching
line, leaving seam Vi or % inch wide, and steam
wide open.
Stitch armscye, trim seams parallel to stitching
line, leaving V&-inch seam; clip seams almost to
stitching line and steam seams wide open if the
sleeve is plain. If the upper section of the sleeve
118
Sleeves 119
pressed into the armscye, filling out the cap ease MITERED CORNER
and giving a smooth cap fit to the upper arm.
On the under section of the sleeve seam (that Figure 75.
part which has been taped and pressed wide open) A mitered corner should be used on squared
press the sleeve and garment tightly together to turns along the cut edge of fabric to prevent frayed
give a sharp turn under the arm. edges from appearing, also to eliminate bulk where
Should it be necessary to remove the fitted a hem or seam appears along two converging
sleeve from the armscye for stitching any portion edges.
of the sleeve, you must tailor tack the sleeve and
armscye all the way around with tacks xh inch
apart. After stitchings are complete, refit the
sleeve to armscye, carefully matching each tailor
tack. After basting, check the sleeve for correct
fit before stitching.
MARKING HEMS OF THE SLEEVES AND JACKET
Figure 74.
To hang the hems of the lining of the sleeves
and lower edge of the suit or coat, place the gar¬
ment right side out on the figure or on a dress
form and adjust the lining so that all length seams
match those of the garment.
1. Place pins parallel to the floor 6 inches
above the lower fold of the sleeve edge, pin¬
ning the lining and the garment sleeves
together.
2. Place pins parallel to the floor 3 to 6 inches
above the jacket or coat hem edge, pinning
the lining and the garment together, leav¬
ing enough space below pins to work with
the lining hem.
Figure 74 Figure 75
Figure 76
a. Baste along the seam turns.

b. Fold the comer of fabric so that the fo
touches the intersection of the two mergi
bastings (1), and have the grains (2) of t
fabric fall along the grains underneat
Baste along fold (3) and steam. Cut aw
surplus material (4).
c. Fold hems along basting as indicated in
and baste along folded edge.
The basted bias edges (b-3) will fall t
gether and should be closely slip stitched.
SLEEVE FINISHES AT WRIST

Figure 76.
a. The sleeve at the wrist may be reinforc
with a piece of true bias hymo or wiga
This bias is cut V2 inch wider than the f
Sleeves 121
g. Cuffs are frequently used on sleeves. A cuff ease the outer fabric section over the
which is an extension of the sleeve proper hymo, pin, baste, and stitch the three sec¬
is much simpler to make than a separate tions together across each end and along
cuff which must be attached. When a sep¬ top edge.
arate cuff is used, the sleeve is finished as in Grade seams, notch out curved turns
а, with the hem turned back and catstitched or trim across angles, steam seam open,
to the canvas. If the fabric is firm, the canvas and turn cuff right side out. Baste around
may be eliminated in the sleeve and used cuff, slightly rolling seam edge to the
only in the cuff. The cuff is completely fin¬ wrong side.
ished before it is attached to the sleeve, 7. Turn the V^-inch seam around lower cut
eliminating a bulky seam edge at the wrist. edge to the wrong side, baste, and cat¬
The cuff should be made slightly larger stitch over raw edges.
than the sleeve since the sleeve edge is a Steam cuff, remove bastings, and
smaller circle fitting inside the larger cuff resteam.
circle. From the wrong side slip stitch the
Cuffs may be open at the ends, or they may be two cuff edges together xh inch, the width
sewed into a circle. In either case the cuffs are of the turned up seam.
finished before they are sewn to the sleeve. 8. Fit the wrist edges of cuff and sleeve to¬
1. Cut two inner sections of fabric the cuff gether and closely slip stitch just above
size plus %-inch seams at ends and across the cuff edge. This method of making and
top. joining cuffs to the sleeve leaves less bulk
2. Cut two hymos the same size as 1. at wrist than the method of joining cuff
3. Cut two outer sections of fabric with %- to the sleeve with a facing.
inch seams at ends and across top, and
BIAS FOR BINDING
Vi-inch seam at lower edge.
4. Cuff in a circle. Fit the inner section of Figure 77.
fabric around the wrist of the garment Cutting and joining bias:
for correct size.
a. Cutting Bias. To cut a true bias a piece of
Pin, baste, stitch, and steam seam.
fabric is folded so that the warp or length
Fit the hymo onto the wrong side of
grain falls along the woof or cross grain. The
the cuff, slightly easing hymo onto cuff.
bias formed is a true bias. Cut bias the de¬
Overlap seams and sew together with
sired width.
short diagonal bastings.
Ease the outer section of fabric over
the hymo, baste, stitch, and steam seam.
Stitch the three sections together
around the top edge, grade the seam,
press open, and turn cuff right side out.
Roll the seam edge to the wrong side,
baste, steam, remove basting, and resteam
to remove basting imprints.
5. Turn the wrist edge seam of outer cuff
section around the raw edge and baste
up on the under cuff section. Catstitch
over raw edge, but do not allow stitches
to prick through to outer cuff section.
Repeat for second cuff.
б. Cuff open at ends. Measure the inner
fabric section around sleeve wrist for cor¬
rect size and mark each cuff end for
stitching line.
Slightly ease canvas onto the fabric
across the top edge and baste. Slightly
FITTED OR SHAPED FACING

A fitted or shaped facing is one which is cut
exactly like the edge of the garment to be faced,
but the inside may parallel the contour edge or
b. may be cut any shape one desires.
Figure 77 (Continued) The facing may be used on the wrong side
when a collar or a cuff is not used on a garment,
Fabric should always be folded from the or where the edge of a garment is not hemmed
same angle on the fabric, otherwise the de¬ back on itself. The facing also may be used as a
sign in the fabric will not match. decorative finish on the outside of the garment,
All bias used as a trim or a binding should as self facing, a contrasting facing. If the fabric
be cut on the true bias. has a design such as stripes or checks, it may be
b. Joining Bias. All ends of bias should be cut used on the bias or on the reverse stripe.
along the length grain of the fabric so that To cut the pattern, use either the original pat¬
when bias is joined the length grain runs in tern or the garment edge to be faced; place the
the same direction throughout the bias strip. pattern edge on a new piece of pattern tissue and
BOUND EDGE trace around the stitching edge and seams.
Remove the pattern from the tissue, plan and
Binding used on the edges of a garment is us¬ mark the inside edge of the facing with pencil to
ually cut on the true bias of the material. For a the exact width and shape desired.
decorative effect the binding may be cut on the Seams must be added on all edges of the facing
cross or length grain if a stripe is used. pattern, before it is cut out. Cut the fabric from
Bias must all be cut in one direction; otherwise, the new pattern on the same grain as edge to be
when joining the bias in a seam or in making faced, and mark all stitching lines with chalk or
buttonholes or pockets, the design in the twill, basting lines.
stripe, or plaid will not match. It is recommended When facing the inside of a garment, ease the
that a trial sample be made on a scrap of material garment slightly onto the facing. When using the
to see which gives the best effect before applying facing on the outside of the garment, ease slightly
to the garment. onto the garment.
Bias is cut twice the width of the finished edge Stitch all seams in the facing and steam open
plus two seams. before applying to the garment, and match all
Place the bias to the garment edge with right seams.
sides facing and stitching edges matching. Stretch
the bias slightly onto the garment edge to prevent FASTENING SHOULDER PADS TO GARMENT
fullness on the bias edge. Pin and baste into po¬ After the sleeves are stitched at armscye, put
sition and miter any angle turns. the garment on dress form or figure and perma¬
On an outside curved edge ease the bias slightly nently adjust both shoulder pads into position
along the stitching edge to allow folded edge of under the front facing. Usually the outer edge of
the bias to lie flat when finished. On an inside pad extends approximately xh inch beyond arm¬
curve stretch the bias slightly to prevent the fold scye stitching edge, depending on fashion and
edge of the bias from rippling. appearance. Pin securely into position from right
Machine stitch from garment side along marked side of garment so that when the pad is sewed to
stitching edge. garment there will be no slippage.
Steam the bias away from the stitching line to¬ Pads are sewed to canvas from armscye toward
ward the cut edge. neck where point of pad is securely anchored to
Measure from the stitching on the bias the shoulder seam. Where the pad falls along arm¬
exact width desired; fold the bias to the wrong scye seam, sew the two together with a loose stab
side and baste along folded edge. stitch and securely anchor each pad end to arm¬
From the wrong side of the garment, fold under scye seam, using a double strand of mercerized
the bias edge, leaving the bias just wide enough to cotton.
cover the machine stitching, and baste into place. In a raglan or kimono sleeve use the curved
Closely slip stitch the bias into position, con¬ shoulder pad and adjust it until it gives the best
cealing the machine stitches. Remove all bastings shoulder shape from right side of garment. Sew
and steam. the pad securely to the shoulder seam or seams.
Hemming the Jacket or Coat
HEMMING THE JACKET 5. %-inch seam is allowed below 2.

6. Surplus material is cut away.
Figure 78.
b. Turn the %-inch hem in a to the wrong side
Lead weights: and baste along the fold. Fit the facing back
Lead weights are used in jackets, if necessary, onto garment and baste into place.
at underarm and back seams to hold the jacket 1. Catstitch facing loosely to canvas, using
in place on the figure. Vi to 1 inch between stitches.
cl The weights are slipped into cases or pockets 2. Catstitch over raw edge of facing to hem
made from the lining silk of the garment. edge, using Vi 6- to Vi-inch stitch lengths.
b. The pockets are sewed securely to the hem 3. Slip stitch open edge of facing closely to
edge of the jacket before hem is sewed to garment.
the garment. If the lower edge of the jacket is rounded, tape
Jackets that are to be lined will have the hems the rounded edge to the back edge of the canvas.
French hemmed or catstitched at lower edges of Stitch the facing and garment together around
sleeves and garment. the curve to the end of the tape. Finish the hem
If the jacket is unlined, the hem will be bound as in the jacket above.
as in Fig. 35, pp. 70, 71. c. 1. In the jacket, turn up the surplus lining
hem to the wrong side so that the folded
Figure 79. edge is % inch above the jacket hem.
cl 1. On the jacket, the hem is finished to the Mark the hem of the lining the same
back edge of the front facing. width of the jacket hem, and trim off the
2. Shows taped edge of garment. surplus.
3. Shows hymo of garment. 2. Baste the lining to the garment Vi inch
4. Baste the hem edge through the facing above the folded edge of the lining. Leave
and the section of the jacket covered by the 1 Vi-inch center back ease basted in
the facing. place so that the lining and garment be¬
tween underarm seams are the same size.
3. Fold the loose edge of the hem below 2
back onto the garment along the basting
line. Slip stitch the underneath turn-up
of the hem closely to the garment. This
leaves the folded Vi-inch section of the
hem below the hemming line free to al¬
low ease from lower hem edge to the
shoulders. (Be sure the slip stitches do
Figure 78 not prick through the outer lining.)
123
c.
In the normal close-fitting sleeve, and HEMMING THE LONG COAT

in the sleeve with a vent at back seam,
attach the lining to the sleeve in the Figure 80.
same manner as the lower edge of the The hems of the long coat and lining are fin¬
jacket. ished separately.
In a garment with wide sleeves at the a. The long coat is hemmed entirely across the
lower edge, the garment facing should hem and the facing. This will allow for al¬
be wider than 1 xh inches. This will push teration, if necessary. The hem may be
the lining farther up into the sleeve so finished as any of the hems illustrated in
as not to be seen when the arm is raised. Fig. 35, pp. 70, 71.
In a sleeve that is opened at the elbow b. 1. The facing is then turned back onto the
seam for decorative purposes, the lining garment with the lower edge of the facing
is not continuous at lower edge, but must left open.
be left open at elbow seam 1 inch higher 2. The facing above hem is loosely cat-
than the sleeve opening. The lining edges stitched to the hymo or to the garment
parallel to the sleeve opening should be itself if canvas is not used.
pushed far enough back from the open 3. The edge of the facing through the hem
sleeve edge so that they do not show is closely catstitched to the hem, using
when worn. The lower edge of the lining Vi-inch stitches.
is finished as in the normal sleeve.
Slip stitch the entire garment lining
very closely to the garment, using stitches BASTING THE GARMENT FACING INTO PLACE
less than Vi 6 of an inch apart.
If sunbak lining is used in a coat, it is Figure 81.
wise to slip stitch the lining with button¬ a. 1. When the collar was joined to the gar¬
hole twist. Regular sewing silk is too light ment it was basted into shape with edge
in weight to hold the heavy lining. (Sun¬ basting and with diagonal basting on the
bak is lining with a fleeced wool backing collar surface. Leave these bastings in
which is used instead of separate lining until the garment has its final steaming
and interlining.) before inserting lining.
Hemming the Jacket or Coat 125
the opposite edge of facing onto the lapel

edge earlier in the process of construction.
Pin the back edge of facing into place
from neck, across shoulder, down side to
bottom edge of garment.
Baste into position and catstitch to the
canvas, and across to shoulder seam where
it laps on top of shoulder pad.
b.
Figure 80
2. Baste the facing around the edge from

collar to lower edge of garment, rolling
seam edge to the wrong side to the top
button, where the seam is reversed and
rolled to the opposite side of garment.
3. Beginning at the lapel point, baste diag¬
onally from point to break line of lapel,
rolling the lapel toward the coat as you
baste.
4. With lapel uppermost, fold the facing
back along break line and baste the fac¬
ing loosely to garment along the break
line, using diagonal bastings.
b. Turn the garment over with lapel face down
on the table.
1. Place an ease thread along the facing b.
opposite the break line. This will better
allow for shrinking out any ease that
might appear in facing, caused by easing Figure 81
Lining the Garment
LINING THE BODY OF THE GARMENT seam and match the front edge of the under¬
WITH SET-IN SLEEVES arm seams of lining to garment from armpit
The garment should be completely finished to bottom of garment. Stretch the garment
and steamed before the lining is put in. In fitting seam slightly so that the lining will not be
the lining fit the two sides in the same operation. tight, and pin the two front edges of the two
To insure the correct fit of the lining, the lining seams together.
was earlier basted exactly the size of the garment These two seams are permanently basted
after the garment was fitted. It should be stitched together to within 3 inches of the hem edge.
and pressed and ready for the garment. Repeat for second side. Fold the front lining
Place the garment right side down on the table. sections into position on the garment.
Place the lining on the garment with wrong sides b. 1. Match the front armscye of the lining to
together and with underarm seams matching the garment from underarm up to the
those of the garment. Pin the underarm seams shoulder, and pin and baste into position
of garment and lining together. to the armscye seam up to the shoulder
Frequently in fitting the garment the under¬ pad; then pin to the shoulder pad up to
arm has been lowered to increase the armscye. the shoulder seam.
The armscye of the lining should be checked The armscye seam of the garment is
against the garment before any permanent work usually pressed wide open so that both
is done. To do this, measure the armscye seam front and back lining around the under
of the lining to the garment seam from the under¬ half of the garment (between the ends
arm seam up the front to shoulder, and up the of the shoulder pad), will fall across the
back to the shoulder seam. There should be garment seam edge. Baste to the sleeve
ample shoulder seam, at least 3A inch, at both seam, which is pressed into the sleeve.
front and back of the lining to overlap at the 2. If darts appear at the front shoulder, fold
shoulder. the marked dart of the lining into posi¬
Should there not be ample shoulder seams on tion, pin, and baste down to the width of
the lining, raise the underarm seam of the lining chest, 4 to 5 inches below shoulder seam.
along the garment seam. Clip the lining seam to Catstitch dart closely down the folded
fit the underarm of garment and to allow ample edge through the three thicknesses of the
seam at shoulder. lining.
Repeat for second side.
With the garment flat on the table,
Figure 82. smooth the front lining from underarm
Match the underarm seams of lining and gar¬ and armscye seams toward the front wool
ment, and pin together. facing edge, keeping the cross and length
a. Fold back the front lining from underarm grains straight with the garment grains.
126
3. Ease this section of the lining slightly

onto the garment between underarm
seams and front facings. This width ease
prevents strain on both lining and gar¬
ment. This is done by easing the lining
onto the garment the full garment length
and pinning into position with several
rows of pins.
4. Turn the front edge of the lining under,
allowing an overlap along the entire
length of the back edge of the garment
facing.
5. Turn back the surplus along this folded
edge of the lining, pin, with pins at right
angles to edge, and baste along the fold.
Trim away any surplus material be¬
hind the folded edge, with cut edge
parallel to folded edge.
6. Match the stitching lines of lining and
garment across shoulder, pin, and baste
into position using small diagonal bast¬
ing or back stitch; fasten shoulder seam
to garment and shoulder pad.
7. Match the lining on the edge of the gar¬
ment facing from shoulder to lower edge
of garment, pin, and baste into position.
If there is to be a pocket in the lining, it
should be inserted at this step in the
lining of the garment, on the buttonhole
side (see Fig. 67, pp. 108, 109 for pocket).
Repeat (omitting pocket) for second lin¬
ing front.
c.
c. With the back of the garment right side

down on the table, take hold of the two
lower back armscyes and pull lightly, bring¬
ing the grains of lining and garment into
line.
1. Pin the lining closely to the garment with
pins parallel to the floor. This keeps the
upper section of the lining grain straight
with garment back while fitting the up¬
per lining into position.
2. Begin at underarm seam, match, pin,
and baste armscye of lining to armscye
of garment up the shoulder seam.
3. Smooth the lining up from the pinned
section, 1, to neck and shoulder edges
and pin into position, keeping center
backs of lining and garment together.
Figure 82 Repeat 2 and 3 for second side.
4. The lining at neck is closely catstitched

1V4 inches down through the three lining
thicknesses along the pleat fold.
5. The lining at the waist may be held in
place by catstitching along the pleat
edge or across the pleat width. Sew the
armscye seams together permanently,
using a back stitch around the under
armscye close to the armscye stitching
edge on the garment, a loose stab stitch
through the pad across the upper section
of the armscye seam.
The entire lining is then closely slip
stitched into position, using stitches less
than H 6 of an inch apart.
LINING THE SLEEVE
4. If the center back fullness (the 3-inch

extra width down center back which is Figure 83.
basted in a 1 Vi-inch pleat) needs adjust¬ When the length seams of the sleeves were fit¬
ment, it may be let out or taken up to ted, the sleeve lining was basted to match exacdy
fit the width across the back. the garment sleeve size.
5. The inside fold should be turned to the Stitch any darts and the length sleeve seams
left side of the garment. and steam.
To prevent this inner fold of the center a. 1. The seam at armscye is folded to the
back pleat from falling loose inside the wrong side and an ease thread is placed
lining, hand stitch the pleat securely along the exact fold, beginning and end¬
across the width at the neck edge just ing at the highest point of the sleeve.
above the stitching line. 2. Since the lining does not shrink, notch
d. 1. Match the shoulder seams of lining to away the surplus ease of the seam on the
garment seam, turn to wrong side, pin, inside of sleeve cap.
and baste along fold. Match the correct sleeve lining to the
2. Clip the neck edge V6 inch, turn under correct garment sleeve. Turn the lining
lining until neck seams of lining and gar¬ and the garment sleeves wrong side out
ment match, pin, and baste along fold. b. 1. Match the stitching edge of the sleeve to
Repeat for second side. the stitching edge of the garment seam
Ease the basted shoulder and neck at the underarm and pin into place.
edges of the lining (1 and 2) into posi¬ 2. From armscye to wrist, match the front
tion across shoulder and neck, and pin sides of the underarm seams of lining and
into position. the garment and pin together. Stretch
3. To check the correct fit of the lining the garment sleeve slightly so that the
across the upper shoulders, grasp the up¬ lining will be slack along the seam.
per back width of garment and lining and Baste these two seams together perma¬
pull across width of back to determine nently to within 3 inches of the folded
whether there is strain. The lining should edge at the wrist. Slip the hand through
fit with ease, with no strain at any part the sleeve lining at cap end; take hold
of the back. of the lining and of garment at wrist and
Should there be any strain, let out the turn the lining right side out over the
center back pleat of the lining or rip the sleeve.
armscye lining from the garment and c. Match together any other armscye seams or
ease over onto the garment from the darts of the lining to the garment, and pin
armscye seam. together.
Pull up the ease thread at sleeve cap of а. The 3-inch ease at back was earlier basted
lining, adjust the ease around the armscye in a 1 Vi-inch pleat down center back. Place
edge of lining, and pin the entire lining arm¬ pins the length of garment on either side of
scye to the armscye of the garment, hiding pleat to hold the lining into place.
the stitching line along the lining at armscye. Place a basting down the edge fold at the
Pin into place and baste. center back of garment and release the
Closely slip stitch the cap edge to garment pleat.
lining. б. 1. Measure the vent overlap in inches on the
garment being lined and baste from top
to bottom edge of vent parallel to the
LINING THE VENT AND THE BOTTOM folded edge.
OF THE LONG COAT 2. Measure from the center back of the lin¬
ing to the right the exact width of the
Figure 84. vent width, 6-1, and mark new fold edge.
If there is a vent in the coat at the back seam, Transfer the center back pleat to the po¬
attach the upper lining in the same manner as sition marked to the right and baste the
in a long coat, except for the center back ease folded edge the full lining length.
(lVi-inch-pleat) and around the vent at lower edge 3. The underneath folded edge must turn to
of lining. the left on the inside of the lining.
tween these two points allowing the lining

to fall slack.
Pin the lining into place at points 4
and 5 while working with the vent.
6. From the bottom of the lining, cut %
inch behind the basted fold up to the top
of the vent.
7. Begin at 5 directly under the folded edge
of the pleat, and fold back the lining from
5 to the lower garment edge exactly along
the length grain and baste along the fold.
Cut away the surplus material from vent
top to lower hem edge, leaving %-inch
seam.
Baste this folded edge of the lining, 7,
to the inner edge of the vent width from
the top of vent to hem edge.
When the vent opening edge, 6, is al¬
lowed to fall into place the two folded
edges of the lining of the vent openings
should fall together. Closely slip stitch
vent edges (6 and 7) of lining to the
garment.
3 This method of lining a vent leaves no
outside cut at vent top to show on the
lining side of the garment and is not
easily torn from the garment as frequently
occurs with vent linings.
The hem is handled the same as in a
long coat.
HEMMING THE LINING OF THE LONG COAT
Figure 84c.
c. In the long coat, the hem of the garment
and the hem of the lining are hemmed sep¬
arately, so that the hem edge of the coat
will not be pulled up by the lining, nor will
the lining show below the hem edge.
Figure 84
4, 5. Baste the folded edge, 2, to the lining

only from the neck edge to top opening
of the vent.
To prevent the lining from being too
short or too tight from the neck, 4, to
the vent top, 5, pull the coat taut be¬ Figure 84 (c)
INTERLINING
Figure 85.
Interlining is handled as in the regular lining
with a few exceptions.
a. When cutting the lining and interlining,
smooth like pieces together with wrong sides
facing; then pin and baste together as one
piece. Baste as the regular lining and stitch
the exact size of the garment.
b. 1. Down the front lining edge that fastens
to the facing edge, cut back the interlin¬
ing to the turn of the facing edge.
2. Fold lining closely around this cut edge,
baste, and catstitch to the interlining.
c. To hold the sleeve caps of lining and inter¬
lining together, machine stitch Vie inch to¬
ward the cap edge from the stitching arm-
scye (2) edge before turning the seam to
wrong side.
Place the ease thread around cap edge
through four instead of two thicknesses of
material as in the regular lining.
d. To lessen bulk at hem of a long coat, cut off
the interlining at hem fold (1), turn the
lining closely around the cut edge, and hand
UNLINED GARMENT
Figure 86.
An unlined garment has seams and hems which
must be finished, front canvas and shoulder pads
which must be covered. The upper part of the
garment will, therefore, have some lining.
Seams and hems may be bound with narrow
bias binding (Fig. 35, pp. 70, 71), or the seams
may be finished with machine zigzag and the
hems bound.
To cover front canvas and shoulder pads, some
lining must be used in the upper portion of the
garment. This lining should be cut from the gar¬
ment pattern, slightly longer than the canvas at
lower edges.
a. The front lining drops down from the shoul¬
der and follows the front facing edge and
armscye edge, and is cut down 3 inches
below armscye curve to cover canvas used
in the coat, also to conceal the armscye
seam.
b. The upper back may be cut in one piece
from the back pattern, about 10 inches down
at center back with back on the bias, curving
down 3 inches below armscye to match the
front lining.
c. The back may be cut into two sections with
the back on the straight grain. Cut from left
neck edge, circling down below the right
underarm; repeat for second side. This
method prevents any strain across back
between shoulders.
All lower raw edges of the lining must be
finished.
Sleeves may or may not be lined. If not lined,
the sleeve seam will need to be pressed toward
the garment side so that seams and pads will be
covered with the lining.
LINING THE RAGLAN OR KIMONO GARMENT

Sleeves in both the raglan and kimono garment
must be sewed into the lining before lining is
fitted into place. The 3-inch ease at center back
is basted the full lining length.
Begin at center back of raglan and pin lining
around neck edge to armscye seam. Fit the back
seams of lining and garment together and baste
from neck to underarm seam, using short stitches.
Slip the lining sleeve into the garment sleeve
and pin and baste the two front seam edges to¬
gether from underarm up to neck. This anchors
the lining to the garment and prevents the lining
from slipping out of place when worn.
The remainder of the lining is fitted like the b. Buttonhole these threads around the full
garment with set-in sleeves. length of the loose threads. This allows free¬
In the raglan the lining is fastened along the dom between the two garment sections and
shoulder seam and through the shoulder pad if will prevent either garment edge from
a pad is used. The underarm sleeve seams are puckering.
fastened together or, if a gusset is used, the two
may be sewed together around the gusset seams.
FRENCH TACKS
Figure 87.
French tacks are used to hold two edges loosely
together and may be any length desired.
a. Using buttonhole twist, make three or four
stitches connecting lining and garment hems
opposite each other, having threads % inch
long. Figure 87
Edge Stitching the Garment
Figure 88. 2. In a tailored coat, edge stitching may

Edge stitching is used to give a finished look appear around the upper half of the
to a tailored garment, and also to give a firm edge sleeve, between widths of chest and back;
to fabrics which do not take a sharp press. patch pockets also may be edge stitched.
Hand stitching is a slow process, but the satis¬ All edge stitching throughout the gar¬
faction one receives in the results is worth the ment must be consistent in the width
effort. from the edge.
Machine stitching is used more frequently than by c. If a garment has a notched lapel, the stitch¬
hand stitching and achieves the same results, ex¬ ing lines should be shaped at the point
cept in appearance. However, it may be best to where collar and lapel join. In hand stitch¬
machine stitch some types of garments. ing, one of three methods may be used (4
On all garments where there is an edge seam, cy /). Matching buttonhole twist is used.
the seam must be rolled slightly under to the d. Hand stitching is made by stab stitching,
wrong side so that the facing edge does not show one stitch at a time. Push the needle straight
from the right side. This edge should be basted through to the wrong side, pull the thread
carefully along the folded edge to hold it into through, return the needle straight through
position. to the right side and pull the thread through.
For edge stitching, place a guide basting, in One stitch is completed at a time, the stitches
addition to the edge basting, on the right side of being the same length on each side of the
the garment exactly parallel to the folded edge. garment.
e. The needle is pushed diagonally through the
a. 1. Where a garment has a revere, reverse fabric, the thread pulled through; then the
the right side of the garment at the point needle is returned diagonally to right side,
of the fold back at the top button posi¬ making a very tiny prick stitch on each side
tion, or just below the shoulder seam if of the garment.
there is no collar. /. The needle is pushed diagonally through to
All edge stitchings are done from the wrong side and thread is pulled through; a
right side, so that the machine stitching back stitch is taken and the needle is pushed
must be ended at the reverse point, and diagonally through to right side.
started on opposite side of fabric. The This back stitch is used only for a very
stitching ends must touch and long spongy or bulky fabric where neither stitch
threads from each stitching end must be will hold the fabrics firmly together.
left, threaded into a needle, pulled to the In appearance on the surface, this stitch
inside, and fastened invisibly. In this way may have a prick stitch or stitch Vi inch in
the edge stitching will look continuous. length.
134
Arm Straps for Coats
Figure 89. When the garment is worn around the shoul¬

Arm straps are used to hold a coat into posi¬ ders as a cape the arms are slipped through these
tion when worn as a cape. straps to hold the coat on the shoulders. The
The straps may be made of the fabric of the straps may be pushed up over the shoulders and
coat or of the lining, approximately 9 to 12 inches the coat may be carried on the back instead of
long, 1 to \lh inches wide when finished. over the arm.
cl Either one may be sewed flat to the garment
if made of the wool or to the lining if made

from lining fabric.
6. Either one may be sewed to the fabric or to
the lining, forming a loop which falls flat
against the garment when worn as a coat.
To make the straps, cut the fabric lengthwise,
twice the desired width and the length, plus %-
inch seam all the way around.
Stitch across end and along the side until one
inch to the center. Repeat for second end and
side. Clip across the two stitched comers to within
Vi6 inch to the stitching turn, and steam the seams
wide open.
Turn the two ends right side out through the
2-inch opening along the side. Baste the entire
strap around the seam area and slip stitch the
2-inch open seam. Steam, remove basting, and
resteam.
Place these straps with the top end approxi¬
mately 9 to 11 inches down from the shoulder
seam. Slip stitch each end securely to the garment Flgur* 89
136
Slacks
Figure 90.
Making a pair of slacks is not very different
from making a skirt. The measurements and fit¬
tings are similar except through the crotch.
Slacks may have side front pleats or may be
fitted smoothly with darts both front and back,
depending on fashion and one’s preference.
a. The crotch should be fitted close enough to
look well when standing, but loose enough
for comfort when bending or sitting.
The side seams should hang perpendicular
to the floor and the ease through the hips
and legs should be ample for comfort at all
times.
1. Crotch measurement may be taken in Figure 90
either of two ways. Pin a tape tightly
around the waist from which the meas¬ b. Measurement of the figure with minimum
urement is taken. Seat a person on a flat¬
allowance for ease.
surfaced chair with space at the side, or
upon a table. The measurement is taken 1. Waistline: snug enough to stay in place.
from the normal waistline to chair seat 2. Hip: 3 inches down, plus 1-inch ease or more.
along side seam and perpendicular to 3. Hip: 6 inches down, plus 2-inch ease or more.
4. Widest hip of the figure, plus 2-4 inches for ease.
floor. Double this measurement for entire
5. Crotch, plus 2 inches for ease or more.
crotch and add 2 inches or more for ease.
6. Along side seam for leg length.
2. The crotch may be measured from the
center front waist, through the crotch Selection of pattern is important if one wishes
around to the center back waist line, plus to make few alterations. Whether the hips are
two inches or more for ease. wide or narrow, whether waist small or large, se¬
In either measurement taken, some lect a pattern that better fits the hips; for the hip
persons may desire slightly more ease. alteration is more difficult than that of the waist.
If slacks do not have a belt, the waist line will c. Measure the pattern.
be raised above the normal waist line, but this Pin out all darts or pleats in pattern.
added height must not be counted in the crotch Pencil in all seam allowances at center front,
measurement. center back, if printed patterns are not used.
137
Check all pattern measurements against
the figure measurements and mark needed
alterations on the pattern.
e. Pattern alteration.
1. To increase crotch length cut across pat¬
tern halfway between waist line and
crotch. Pin new tissue under cut edges and
spread the pattern the amount needed.
2. Repeat lengthening of the leg in the same
manner, halfway between crotch and
hem edge.
Repeat for back pattern and check
length grain with ruler to keep the grain
length in line.
3, 4. To decrease crotch or leg length, fold in
a tuck at the same positions as in 1 and
2, removing from the pattern the excess
length.
Recheck grain lengths of pattern,
crotch length, and leg length after the
above alterations.
5. If pattern is too tight through the hips,
cut both front and back patterns from
the waist to within V4 inch of bottom of
Figure 90 (Continued) -1 ■
Waist and crotch seams.

Turn up hem at bottom of leg.
Pin pattern pieces together along side seams
to the position opposite the crotch.
Check measurements 1-6 against figure
measurements, and plan both the position
and amount of each alteration needed. (All
measurements are to be taken between seams
or between seam and hem allowance.)
1. Waistline.
2. 3-inch hip.
3. 6-inch hip.
4. Widest hip.
5. Crotch front and back.
6. Leg length along side seam.
d. To check the accuracy of length grain, fold
slacks with inside leg seam below crotch
flush with side leg seam.
Crease the folded edge formed at center
of leg pattern, which should give the accu¬
rate grain length. Repeat for back leg pat¬
tern. Rule along the entire crease so as not
to lose the grain length. Figure 90 (Continued)
Slacks 139
leg along the length grain and spread If a belt is used, cut on the length grain, twice
each pattern Vi the desired circumference the desired width plus seams and the length
increase. needed plus overlap and seams.
Pin tissue under spread. Mark all stitching lines and placket edges with
Redraw a new grain length on each chalk, transfer paper or tailor tacks.
pattern piece as in d. Along the left side placket opening where the
/. Some figures have very full hips at back and zipper will be placed, mark 3 inches out from
may need extra crotch length. This may be stitching edge for facing the zipper on the back
added by extending the back crotch up to edge and for facing the pocket on the front edge.
1 inch and extending the increase 6 inches These extensions will eliminate sewing extra ma¬
down the leg (or 1 xh inches 8 inches down terial for finishing the zipper opening.
leg)-
To baste slacks:
To cut slacks: Baste in all waistline darts the length indicated
Place folded fabric on table with torn edge on pattern, or front pleats 3V2 inches down if
parallel to table end, and selvage edge parallel pleats appear at side front.
to side of table. Place basting along matching placket edges at
Place pattern on fabric with length grain par¬ left side of slacks.
allel to selvage, and pin into place. Place basting along pocket edges on right side
If stripes are used, they must match one on top of slacks.
of another in the fabric before cutting. Baste center front seams together through the
If plaids are used the plaid must be matched crotch.
in both the length and cross grains of the fabric Baste center back seams together through the
when folded, and must match around the figure crotch.
when cut. Cut pocket section matching in both Baste side seams together. On the left side baste
grain and design. from lower edge of placket to hem edge.
Baste inside leg seams together. Carefully tailor tack top edge of slacks to belt
Turn waist line seam to wrong side and baste. or facing, placing tacks 1 inch apart. Mark posi¬
Cut a facing 2 inches wide or more from the tion on belt at center front, center back, and
folded edge of a true bias of silesia or heavy side seam.
sateen. Turn down a Vi-inch seam along cut edge Baste across each matching belt end, and sepa¬
and baste. rate slacks from belt so as to be able to rebaste
If a belt is used turn down seam allowance all fittings; stitch darts, pleats, crotch, and inside
along each edge, baste and steam, remove bast¬ leg seams, making garment ready to set in the
ings, and resteam. pocket and zipper.
To fit slacks:
(See fitting of skirt, Fig. 29, pp. 64, 65.)
Pin bias around waist with seam to outside at
upper edge and opening at left side. If a belt is
used pin around waist with open seam at lower
edge.
Slip on slacks and pin up placket on left side
and pocket opening on right side.
Pin center front, center back, and side seams
to waistline band, with top edges of slacks and
band matching, or pin slacks to lower belt edge.
Begin at center front and pin slacks to facing,
slightly easing slacks onto band for ease over hip
curves. Pin across to side seams. Repeat for back.
If hips are large and waist small, it may be nec¬
essary to fit out excess fullness at waistline, at the
darts, the front pleats, at the center front and back
seams, or down side seams.
If the slacks are too large through the hips, fit
out the excess ease at the two side seams at the
leg length.
If the crotch is too loose, lift the slacks all the
way around on the waistline facing and take off
surplus across the top of the waistline.
If the crotch is too tight, narrow the waistline
facing to allow the slacks to drop slightly lower
around the waistline.
g. 1,2. If diagonal wrinkles appear at seat in
back of slacks, raise the slacks across
the back waist and repin to the belt.
Fit out excess fullness down back
crotch seam, and along back leg seam
6 inches below crotch. This should
remove wrinkles and allow side seam
to hang perpendicular to the floor.
3,4. If wrinkles appear across stomach at
front, raise the front across waist line
and pin into position. Fit out excess
fullness down front crotch seam, and
along leg seam 6 inches below crotch. 3 4
This should remove wrinkles and al¬
low side seam to hang perpendicular 9-
to the floor. Figure 90 (Continued)
d. Wool facing 10 inches by 3 inches.
Place wool facings on the bag edge,
baste outer edge, and stitch inner edge
to silesia. Either catstitch or machine
zigzag stitch over stitched edge to prevent
fraying.
On each wool edge of pocket mark
down 2 inches from narrow top edge;
then mark off 6 inches below that for
pocket opening. The remaining 4 inches
will form the bag below pocket opening.
The top of this bag will begin at the nor¬
mal waist line and not extend to top edge
of slacks where the waist extends above
the normal waist.
2. Side seams of the slacks have been fitted
and rebasted.
Mark with basting the normal waist¬
line in both 2 and 3.
Mark with basting the position of the
pocket on both front and back of side
seam and open up the seam about 12
inches down to make the pocket.
On the two matching seam edges of
right side of the slacks mark 2 inches
down from normal waistline basting, then
6 inches below that for pocket opening.
6. From the wrong side baste and stitch the

bag from lower pocket bag to the lower
pocket edge, then across bottom to the
folded edge, stitching back on each stitch¬
ing end to prevent ripping.
From the right side make a bar from
stitching end to seam edge at each end
of the pocket, as shown in 5. These
stitches should be stab stitched through
the pocket to prevent ripping. (See Fig.
684 p. HO.)
Sew the upper width of the pocket bag
to the lower edge of belting.
b. In many slacks the zipper is placed in the
pocket bag itself, two inches in from the
stitching edge of the pocket where it joins
the back edge of the side seam. This pre¬
vents the zipper from showing along the
placket opening.
Cut the bag with the center on the length
grain.
14 inches long
11 inches across at top
13 inches across the bottom
Cut two wool facings
10 inches long by 4 inches wide
10 inches long by 2 inches wide
1. Place basting 9 inches down from top and
2xh inches in from right-hand side for
zipper position.
2. Place the 4-inch wool strip over zipper
position with right side of wool facing
wrong side of pocket, and baste into
position.
From right side stitch a rectangle
around the basting, stitching Vs inch
from basting.
3. Cut along basting to within s/i6 inch of
end, then diagonally out to corner turns.
Turn wool to right side of the garment,
baste around stitched edge, and steam.
4. On left-hand edge baste the 2-inch strip.
Stitch along inside edge and across bot¬
tom of each strip; then catstitch over raw
edge or use machine zigzag stitch.
Begin at the bottom, pin, baste, and
stitch an 8-inch zipper into the pocket.
5. a. With right sides facing, pin, baste,
and stitch the pocket into the left side
seam of the slacks.
Stitch down 9 inches from the top
edge, which will end the stitching
Figure 91 (a) (Continued) opposite the zipper end.
1. Right side
c. Pocket in the left or zipper side of slacks. and stitched on with the zipper to pre¬
1. Baste the side seam from bottom edge of vent zipper from catching into under¬
placket, 9 inches down from waistline, garments.
to bottom of leg. 6. Close the zipper and turn garment to
Place bastings along the two matching wrong side. Stitch bag from end of pocket
placket edges, a continuation of side seam opening down the side and across the
from waist to bottom of placket. bottom.
2. On the back placket edge make an under¬ If a belt is used, start the top edge of
lap by measuring out V\s inch from basted zipper and pocket at the belt edge. Attach
placket edge, fold under, and baste along the top edge of the pocket to the lower
folded edge. Steam edge, remove basting, belt edge.
and resteam to remove basting imprint. If a facing is used on inside waistline,
This edge will receive the zipper. fasten the top of pocket bag to the lower
3. The pocket bag of silesia or sateen is cut facing edge.
the same size as the bag for the right side 7. Make a bar tack at each end of pocket
in pocket a. opening from stitching to pocket edge.
On the right-hand edge of the pocket, These stitches are stab stitched through
baste a 3-inch wool facing, stitch inner the pocket to prevent ripping.
edge to silesia then catstitch or zigzag by Make two buttonholes on the overlap
machine to prevent fraying. with buttons on the underlap.
4. a. The front edge or overlap of placket If a pocket is not made on the left or
has been cut with an extension of 3 zipper side, finish the placket in the same
inches out from the matching placket manner as one on a skirt (see Fig. 32,
edge. pp. 67, 68).
b. Place the left-hand edge of pocket
along the basted placket edge, allow¬ FINISHING WAISTLINE OF SLACKS
ing the 3-inch extension to fall over The slacks were earlier fitted to the bias facing
on the pocket bag. Baste into position, or belt, tailor tacked, and separated to finish the
stitch along wool edge, and catstitch upper portion.
or use machine zigzag over raw edge. With right side stitching edges together match
c. On the opposite edge, fold the edge the tacked facing to the tacked waistline and ends
of the pocket bag to the wrong side at placket opening. Baste into position and stitch
and baste. along seam edge. Steam seam open; then roll
d. Two inches down from the top of the and baste the facing to the wrong side.
pocket, baste and stitch the front edge Fasten the facing to all seams and darts, but
of a 6-inch zipper. do not allow stitches to appear on right side.
5. a. Fold the pocket bag to wrong side If desired, stitching may be used across the top
along the matching placket edge and waistline edge Vi or %6 inch down from edge.
baste. Belt guards are used on faced slacks to hold
b. Stitch the leg seam from zipper end the belt into position. Cut strips of fabric 1 inch
to leg bottom, matching the pocket wide and of the length desired, plus Vi inch at
and leg stitchings at end of pocket. each end for seams, for as many belt guards as
c. Beginning 3 inches down from the needed. Stitch in a tube along the length, turn
waistline, stitch Vi or % inch back from to right side, and steam.
the folded edge, which will be the Place guards at darts, both front and back,
pocket opening. side seam at right side, and just behind the
d. Baste and sew the back edge of the zip¬ placket on the left side.
per to the side seam of the leg. Start Turn end seams in toward the loop to conceal
from the bottom and work up so that stitching.
the zipper works smoothly when Sew invisibly into place, and buttonhole or
closed. closely catstitch over the raw edges. Place the top
e. A 3-inch wide fabric extension cut on of guard V4 to V4 inch below the top edge of
the length grain may be placed behind waistline.
3
Figure 91 (c)
Final Steaming
A professional steaming will help the appear¬ A tailor or dry cleaner has adequate equip¬
ance of a garment, and few laboratories or homes ment which is not available to everyone. It is rec¬
have equipment for this steaming. ommended that the finished garment be taken
During the process of construction each gar¬ for a final steaming to be done by a tailor or dry
ment part is steamed, following the steaming sug¬ cleaner. However, the operator should be warned
gestions given on page 5. However this is not that it is a newly made garment and that great
enough for all materials. Some spongy fabrics do pains should be taken when steaming. These
not take a sharp edge and are difficult to steam. operators have been found to be most co-operative
Closely woven hard twisted yarns in fabrics are and the appearance achieved is well worth the
apt to become shiny when steamed and fabrics added cost. In fact this final steaming improves
with a heavy nap or pile may be flattened out in some garments to such an extent that it covers
some areas of the garment. up poor workmanship.
148

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A Tailoring Manual

THB MACMILLAN COMPANY

THB MACMILLAN COMPANY

THE MACMILLAN COMPANY New York

Published simultaneously in Canada

All rights reserved—no part of this book may be reproduced in any

Printed in the United States of America

Earlier editions copyright 1944 and 1947 by Gertrude Strickland.

Library of Congress catalog card number: 56-7341

Care should be used in the selection of fabric, FABRICS OF WOOL OR WORSTED

Cutting table Buttonhole twist

Because it is difficult for a person to fit herself, Method of procedure:

PREPARATION FOR MEASUREMENTS It is much easier to take accurate measure¬

10 Point halfway between 2 and 9. The

f. High chest measure¬

c. Around widest hip.

1+2 = 3 4 5 MEASUREMENT SHEET FOR RAGLAN SLEEVE

8. Sleeve Hold chain around neck and

* Same measurement is used for kimono sleeve. If a three-quarter

Since commercial patterns vary in size, each

Fold the one-piece sleeve through length cen¬ Figure 5 d.

c-1 c.-2 c.-3

2. Hip 3 inches below waist, between seams

SUGGESTED ALLOWANCES FOR EASE

Cap depth: GRADING PATTERNS

c. In a princess line the dart is fitted out in Figure 9 f.

b. Pin lower back section to a ruled line of WIDEN SHOULDERS

wedges. This new cap formed should Match point G to D, allowing

e. AB Length grain of the upper sleeve Figure 16 g.

Figure 20. GARMENT PROBLEMS IN FITTING

Figure 20 (Problems 1-6)

smooth along armscye, swing armscye edge

Figure 21 (Problem 16)

in width toward shoulder edge. The shoul¬

7 7 Problem: Armscye of garment too tight and

BASTE COLLAR TO MUSLIN JACKET

PREPARING THE SLEEVE FOR FITTING Figure 23.

Bias for sleeve at wrist: Figure 26.

BASTING THE SKIRT

If the skirt has pleats, baste and steam the

C.F. 6. Continue pinning skirt to belt all the

Figure 29 (Problems 5,6)

The skirt is cut too high at center back.

REBASTING THE SKIRT

2. By basting skirt to belt between seams and

DIRECTIONS FOR STITCHING DARTS AND SEAMS

d. By catching the top width of pleat by

a. The front edge of the zipper placket 1, and

(See Fig. 28, pp. 63-64, belt finishes and fastenings)

Baste securely each pleat edge from widest

c. Double stitched welt: This seam is used on

a. This method produces a neat bound button¬

b. This method, though apparently simpler, is

3. Baste and closely slip stitch to the back

Figure 44. a. The buttonhole length is determined as for

folded edge the desired width of finished

SEWING ON GARMENT FASTENINGS

To secure this shank hold a pin, nail, or

©@ © © an equivalent over the button’s eye and