The Blue Book of Mens Tailoring
The Blue Book of Mens Tailoring
The Blue Book of Mens Tailoring
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The Blue Book of
Men's Tailoring
Copyright
New York-Chicago
1907
II
IV
GR^Miy EBITIOH
°/
SUPREME SYSTEM
FOR. PR.ODUCING
MEN'S GARMENTS
SCIENCE
By
Frederick T. Croonborg
Published by the
COPY B.
-^
1
*
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Introduction
When Eve, in the Garden of Eden, fashioned the first garment worn by one of the human race,
there is no doubt that in weaving the leaves together she used some method which was to her mind
the best way to produce the apron which was the progenitor of the multitude of garments which have
followed it.
Ever since the earliest times there have been "systems" in cutting, and the brightest minds, the
most earnest students of the centuries have devoted their energies to finding a set of mathematical
rules which would produce, for the making of garments and the fitting of the human form, an infalli-
ble method.
For the foundation of the science of garment cutting some sort of a system is necessary. The
human body follows approximately the same lines, even when the variations of stature and curva-
ture are extreme, and the average proportions of the different members may be reduced to a set of
tables which will serve as a ground work on which to erect the superstructure which produces the
perfect garment.
In so many years of study there have been evolved many different methods whose goal was the
same. Most cutters are firmly wedded to the arrangement which has secured for them the result
they aim to achieve, and would in many cases destroy any other. Every one praises the bridge that
supports him over the stream although there may be many weak points in it which would not bear
The originator of a system of garment cutting, through the very study to prepare himself and
the observation and trial to which he must subject his system, is eminently qualified to judge of the
strong and weak points of any method, and if the personal element and the just pride in his own
work could be eliminated, would usually be an impartial critic. But this is too much to expect from
a mortal.
Every system has its strong points, each its weak ones.
The earnest pioneers in the science, who gave their best thought and work for the benefit of
succeeding generations, are worthy of all honor, and to each student who has discovered a new and
easier way to do a hard thing due credit should be given.
The object of this work is, therefore, not to condemn previous efforts, but rather to acknowledge
their value as pioneers, enabling others to take up the science where they left off, and thus, building
block by block, the edifice will in the end be a beautiful and worthy one.
If all men were cast in one mold, or if all were clothed with the same material, it would be
easy to produce an ideal system, by which a cutter could with his square and tape line, following
exact mathematical rules, construct garments which would be absolutely satisfactory to his customer.
But as men are of different minds, of varying proportions, and choose to clothe themselves in a
diversity of materials, the author by a simple system has laid the foundation which produces a gar-
ment for the normal male figure, then shows how his pattern may be changed to meet the requirements
of taller or shorter, larger or smaller than the average, or to cover defects of figure.
Theory Justified
We have heard of good as well as bad cutters.
We have seen two persons working at the same cutting board with entirely different results.
We have seen proportions used with good effect where direct measures have failed, and vice versa.
We have seen cutters using long measures who were fairly successful, when others were absolute
failures.
Yet in response to all inquiries as to the reason for these varying observations the answer is
be sure to obtain proper balance in the garment. This will rectify the greater portion of the errors.
Balance in garments seems to be the great center for arguments and theories in this profession
and the diversity and confusion of ideas in this respect is astonishing. Therefore, it is a positive fact,
as well as a necessity, that a cutter should thoroughly understand the scientific part of garment
is simply doing. Art is the work or task, while Science is that which guides and regulates the work.
Science shows us how things should be done and why they should be done. Science illustrates to us
cause and effect (variations), and Science is, therefore, the fundamental part of garment cutting. Art
can only reach excellence as a product of Science, and there is no true Art without the proper exer-
cise of Science. Consequently, Art is doing; Science is knowing how. We cannot do things unless
we know how to do them. Therefore, the secret of high achievements is to be found in Science or
system.
and Variations (Science) coupled with a methodical way of taking and applying direct measures.
Short or direct measures belong to the artistic part of our work for the reason that measures are
more or less subject to judgment and anything that is a matter of judgment should be classed with
Proportions
Artists and painters always require a model from which to draw the fundamental part of their
product. This is also true in Sartorial Art, and the ideal model for Supreme proportions is that of
an Apollo, 5 feet 8 inches in height, weighing 135 pounds, which practice has demonstrated will
measure 36 inches around breast. Furthermore, this subject is absolutely normal in every respect,
including shoulder, circumference, etc. Therefore, in selecting a model for practice we choose the
Contents.
Page. Page.
INTRODUCTION 1 Hunchback, 60 ; Diagram 61
Theory Justified 2 Overcoat, Fashion, Description 62
Science and Art 2 Overcoat, Fashion, Illustration 63
Supreme System 2 Box Overcoat, E.xaggerated, Single and Double
Proportions 2 Breasted, 64 Diagram ; 65
Height 3 Overcoat, Single Breasted, Newmarket 66
Circumference 3 Overcoat, Double Breasted Surtout 67
Exaggerations 3 Overcoat, Inverness, 68 Diagram ; 69
Variations 4 Full Dress, Fashion, Description 70
Direct Measurements 4 Full Dress Fashions, illustration 71
Block Patterns 6 Full Dress Coat 72
Individuality 6 Full Dress Coat without strap and lapel seam,
Fashions 6 72 Diagram
; 73
THE SQUARE 7 Tuxedo, or Dinner Coat, Fashion, 74; Diagram. 75 .
Capes, Description 132 Frock Coat, 1-Button Novelty, 192; Diagram. .. 193
Full Dress Trousers, Description 132 Frock Coat, 3-Button Novelty, 194; Diagram. .. 195
Dress Trousers, Description 132 Frock Coat, Double Breasted Novelty, 196; Dia-
White Trousers, Description 132 gram 197
Service Trousers, Description 132 Full Dress Coat, Novelty, 198; Diagram 199
Dress Breeches, Description 132 Newmarket, Double Breasted Novelty, 200; Dia-
Service Breeches, Description 132 gram 201
Evening Uniform, Description 134 Collars and Lapels 202 and 203
Aless Jackets, Description 134 Sleeve Cuffs, Fancy 202 and 203
LTniforms for Enlisted Men, Description 134 Flaring of Skirt, Frock Coat 204
Line Officer Full Dress, Dismounted, Illustra- Vest, Novelty Dress 206
tion 127 Vest, Double Breasted 207
Social Dress Uniform, Illustration 127 Vest, Single Breasted, Novelty 208
Field Officer, Mounted, Illustration 129 Vest, Notched Collar 209
General Officer, Illustration 129 Vest, Full Dress 210
MiHtary Overcoat, Illustration 131 Dress Ethics 211
Military Cape, Illustration 131
Dress Uniform, Illustration 133
CLOTH CUTTING— 213, 220.
Summer Uniform, Illustration 133
Chaplain, Illustration 135 Lay for 3-Button Frock Suit 214
Knight Templar, Illustration 135 Lay for Overcoat -I3
Frock Uniform for Army Officers, Mounted Lay for Sack Suit 21
and Unmounted, 138; Diagram 139 Lay for Stout Men's Sack Suit 215
Military Blouse, 140 Diagram ; 141 Lay for Trousers 216
Military Overcoat, U. S. Army, 142 ; Dia- Lay for Stout Men's Trousers 216
gram 143 Lav for Double Breasted Vest 217
General Officers' Dress Uniform, 144; Dia- Lay for Notched Collar Vest 217
gram 145 Fittings for Sack Coat 218
Circular and Military Capes, 146; Diagram. 147 Fittings for Overcoat 218
Regular Capes, 148 Diagram
; 149 Fittings for Vest 219
Clencal Coat 150 Fittings for Frock Coat 219
Knight Templar Coat, 150; Diagram 151 Fittings for Trousers 219
Coachman's Coat, Single and Double Breasted.
152 Diagram
; ..\ . 153 PRACTICAL TAILORING— 221.
Footman's Coat, 154 Diagram ; 155
Automobile Ulster, 156; Diagram 157 How to Make a Try-On 224
Chauffeur Sack Coat 158 Canvas for Coat 225 and 226
Policeman's Blouse 159 How to Make a Pocket 227
Policeman's Frock Coat, 160; Diagram 161 How to Try On 229
Norfolk Jacket, 162 Diagram
; 163 How to Instruct the Maker 231
Golf Coat, 164 Diagram
; 165 Coat Making 233
Riding Coat 166 Vest Making 237
Hunting Sack 167 Trouser Making 238
\iii
Preface
The demand from the progressive members of the profession who desire to keep abreast of the
latest developments in sartorial science and art, and the necessity for a permcinent record of the thought
and work, both of the author, and of the thousands of earnest students, who, by the use of the Supreme
System have attained success and have created many original ideas, has led to the publication of this
third, enlarged, simplified and grand edition of the Supreme System of Garment Cutting.
In presenting this volume to the public, the author believes that the following features of his work
1. It contains no more than can be mastered by the average intellect in the time usually given to
2. It is thoroughly systematized.
The order and development of subjects is thought to be logical and practical, and the arrangement
3. It is written and illustrated in accordance with modern theories and practice, and no pains or
expense have been spared in the attempt to make it fully represent the present needs of the Art, so far
In addition to his efforts to make these features prominent, the author has not forgotten that a
student will succeed best when required to learn one thing at a time. He has, therefore, as far as
practical, presented each subject separately and in natural order, like the successive steps of a ladder,
leading to a height from which the student may have a clear and comprehensive view of the Science
of Garment Cutting, and at the same time, let us hope, reach that Acme of Artistic Skill, which THE
SUPREME SYSTEM makes easily accessible to those who desire to give serious thought and honest
THE AUTHOR.
i.\
Inspiration—
''All Things Come To Him Who Hustles While He Waits
practical application, previous to its publication, in high-class merchant tailoring, not alone by the
author but by hundreds of his successful students as well. The experience gained during these years
of practice has revealed many improvements, and it is with the fullest confidence that the best results
aimed at in high-class tailoring can be obtained from this system upon its proper application that I
Personally I believe in man and have faith in his capacity to do just as he wills. I further believe
that hesitation is a detriment to one's own interests and the creator of unnecessary thoughts which
sap one's energies and waste one's brains. Therefore, the best advice I can give the student begin-
ning the study of this volume is to have faith in the system you are about to learn. Confidence is not
only valuable, but an absolute necessity in order that a student may maintain steady progress toward
The practical value of this volume lies in the fact that a realization of sartorial truths will make
you stronger in your work. The right mental attitude is very necessary to success in this masterly
yet simplified subject. Further, in addition to confidence in the system, you must have confidence in
yourself so that you will be able to thoroughly absorb the details herein set forth. Be perfectly hon-
est with yourself and honest in your application of the system, and, while the details are numerous,
you will find that the farther you proceed the more interesting the subject will become. With confi-
dence incorporate perseverance, and, while it must be admitted that it is not an easy task to learn to
In order to encourage perseverance in the student, the first part of the work has been drawn up
with scientific simplicity, for it would be a great mistake to study more than one thing at a time. It
would be unwise for the student to branch off into disproportions or direct measurements before the
elementary portion had been completely mastered. Therefore, the proportionate draft should be gone
over and over again until its principles have been thoroughly acquired, and in this way, having
secured the principal points, it will be a surprise to the student to recognize in the following drafts
the same principles incorporated, while the subject of the different heights, attitudes and dispropor-
tions, as well as direct measurements, will each in the proper order be thoroughly mastered.
FREDERICK T. CROONBORG.
original 36-inch normal. A proportionate subject measures 4 inches less at the waist than around
the breast, and 1 inch more over the seat than over the breast. The measures for the ideal model
In drafting we use the regular tailoring square (illustrated on page 9.) One side of this
square shows the gradations and fractions of inches and the other side the full inches. By means of
these divisions on the square we find the proportions for our ideal model, and by the same method
we are able to produce any kind of garment with promptness and exactness. The beginner should
first of all familiarize himself with the square. Inasmuch as the various divisions on the square are
applied in the Supreme System, it should be thoroughly studied. Further, the application of divisions
is so regulated that each pattern will have uniformity, and formulate the gradations of patterns
in the different sizes, therefore necessitating that these divisions must be absolutely applied accord-
Height
While 5 feet 8 inches in height is the ideal model, we constantly come in contact with the tall
or short man. This, however, in no way changes the application of the divisions, but necessitates
additions and deductions to depth of scye, waist length, length to seat, and in all probability also to
the length of the garment. (As per instructions and illustrations on pages 20 and 21.)
Circumferen ce
While 4 inches is the normal difference between breast and waist, it must be understood that
increase and decrease of waist must be treated in the manner illustrated and instructed on page 23.
These illustrations and instructions should be given attentive consideration, as in corpulent and
stout there are varying points relative to both circumference and depth of scye ; also, for the reason
that they give the student a thorough understanding of the definition of slim, normal, corpulent and
stout.
Exaggerations
Exaggeration is the scientific resource for enlargement of patterns. More or less exaggeration
is incorporated in order to obtain the different effects the style demands. If half the cutters knew
how and when to exaggerate they would have less trouble, and thousands of dollars would be saved
By the use of exaggeration the cutter is able to produce a coat as large
in the busheling department.
circumference as he desires, while the garment still clings to the neck, the goods drape propor-
in
tionately around the body ; and, the armhole is placed in the right position and at the proper height.
Variations
Under this head we come in contact with many subjects that at first seem to be most complicated,
but upon application to the direction and instruction from numerous illustrations on this subject,
after study of cause and effect from the original draft, it will become a most simple, reasonable, as
well as scientific, way of variations for the different attitudes and subjects a cutter is called on to fit,
therefore, by giving attention and proper study to the types of forms (as shown in illustrations on
pages 41-43), and fixing in one's mind the regular code of the types, and in that connection studying the
mathematical drawing of variations of coats illustrated on pages 45-49, it will soon be plain that by
applying the divisions in the usual way it makes it possible to produce a good pattern for any size or
form of type, whether it be slim, stout, or corpulent, stooping or erect, head forward or backward,
However, careful study of attitudes is very essential so as to be sure that in actual practice they
have been stipulated in the right direction. It is to be noticed that by working the ideal model in
the various directions stipulated it will develop striking similarity in all patterns, indicating that,
while the pattern has been swayed in various ways for the different types of forms, increases or de-
creases of circumference, and different heights, it retains the symmetry of the original, insuring a
well balanced garment for any form or type of man. Therefore, caution should be exercised by the
cutter in stipulating the type, as it will be surprising to see how well a proportionate coat will fit
most men of the same size. The alteration in most cases would be slight, even where the cutter
may have stipulated the third degree of deformation of a certain type. It is not advisable to find
fault with the form of the subject, and unless there is a positive inclination of a certain type, cut
'Direct Measurements
I am a firm believer in fundamental principles, consisting of Supreme proportions. Height,
Weight, Circumference and Variations for the different types of men as a regulation for obtaining
In discussing direct measures, what has been stated heretofore in this introduction in connec-
tion with illustrations and instructions pertaining to fundamentals, contains the principles of the Sys-
tem proper, inasmuch as it comprises the scientific part of garment cutting. Direct measures is a
methodical way of applying measures over said proportions, variations, heights, circumferences, etc.
In connection with these proportions, direct measures are of value, but direct measures cannot
be relied upon, as a foundation in themselves, inasmuch as in applying measures to any part of the
methods, enabling them to take measures with great exactness, but that proves only their own skill.
The fact remains that the great majority of cutters cannot handle the customer with the manner of
No material progress in measuring has been made during the past twenty-five years and in
view of my personal study on this subject for years, I have come to the conclusion that the object
the cutter should have in view in cutting a garment should be to cut it so it will fit and clothe the
customer gracefully.
I am perfectly aware of the fact that it is an utter impossibility to be successful with direct meas-
The principal reason for this is that the form will not measure the same for five consecutive
seconds ; a deep breath, a shifting of the weight from one foot to the other, or any other slight move-
ment on the part of the customer not only changes his size, but so varies the relations of the points
This, together with the difference of undergarments, renders accuracy out of the question.
Any cutter who has ever placed a square under the arm of a customer knows very well that a
slight pressure will easily make a difference of one-fourth to one-half inch, and who is the cutter
who can measure the depth of scye, blade and strap twice alike with a tape and square where pro-
portions are not stipulated to guide him. Young cutters are especially inclined to adopt methods
which require many superficial measurements, and are prone to believe they should have a knowledge
of anatomy to enable them to succeed. They strain their eyes in an endeavor to take measures
to the sixteenth of an inch, and are happy so long as the measures are fractional.
But in spite of all these uncertainties in measurements, direct measures are of great value in
connection with proportions and variations, but they must be taken and applied in the manner de-
scribed in the various diagrams on how to take them and WHEN and WHERE to apply them. It
will then be readily seen that direct measures should not be used without fundamentals, which only
goes to show that there is no true art without the proper exercise of science. For these reasons, in
the Supreme System will be found a complete combination of Supreme proportions, Variations,
Heights, Circumferences, Exaggerations and Direct Measures, hence the name the GRAND
EDITION of SUPREME SYSTEM.
Block Patterns
Any man who thoroughly understands the system of drafting, measurements and applications,
as well as exaggerations, and has the principles of variations, etc., can use block patterns with as
much success as by drafting. This is especially true in regard to sacks and overcoats. It is also true
that block patterns are safer to use than uncertain drafted patterns. The block, of course, would
be used as a model, subject to variations and measurements, and the fact is that a good block in the
hands of a proficient cutter will give the same results as drafting. It must, however, be understood
that no man who does not thoroughly understand System and its resources can intelligently use
block patterns.
Individuality
By Individuality, I mean the quality of being distinct or personal, and the extent to which a
cutter is individual in his productions depends entirely on his artistic ability in connection with his
scientific and practical knowledge of tailoring, as in the individuality of his productions he displays
his special and independent personality. Toward this end the exaggerations and manipulations of
patterns and a thorough knowlege of practical try-ons and draping act as his resources. These re-
sources, in connection with the development of the latest styles, such as correct shoulders, placing
of vents, the different positions of pockets, as well as collars and lapels, cuffs on sleeves, various
lengths and the general effect of the prevailing styles enable a cutter to produce not only stylish
Another thing which should be given thorough consideration in this respect is the cutting and
making of the canvas of the coat, as the canvas should be changed as often as the style demands and
for the different individual effects and shapes of fronts. For this reason the canvas is a most im-
portant factor in the production of individual and stylish garments. (See the Treatise on Practical
Tailoring; also, study the lecture on "How to Make a Try-on and How to Try on.") Remember it is
the cultured public which is to be gratified, and Individuality is the interpretation of Sartorial Art
Fashions
The style of yesterday, which may never return, would be useless, and the style of tomorrow
would be impossible to foretell. For this reason no account has been taken of the fashion of the
future in this volume, but every style, past, present, and future, is based on the scientific and artistic
principles set forth in this work, and the fashion cuts adorning the pages of this work are, therefore,
of the standard type of the time of its publication to serve as a foundation for whatever may be the
style in the future. They are also valuable as an illustration of the finished product of the various
diagrams and instructions, and, further, with the view of illustrating the regulations of dress for dif-
the square, and the square is the most essential device, for the reason that upon the various divisions
illustrated on it, we find fractions of inches, which when put in practice, enable us to find the various
proportions of the different parts of patterns, as well as enabling us to produce any size desired.
Therefore, the square must be studied thoroughly by all persons whose ambition it is to begin the study
of drafting, as without a knowledge of this square and its various divisions, nothing can be accomplished
in drafting. A full knowledge of this square must be acquired first of all. In this connection it is well
to remember that in producing patterns for garments of any kind the cloth is always laid double in
cutting, while one pattern is used for both sides. For example: The front and back part are pro-
duced, laid on double cloth and so cut out for both sides. Therefore, use only half of the breast or waist
measure in drafting patterns. For example : If a person measures 40 breast, 20 is the figure on the
divisions which is used, or if a person measures 36 breast, 18 is the figures on the various divisions
Now, let us take a general examination of the square illustrated. Notice the divisions on the
long arm of the square, starting from the right angle. You will first find the twenty-fourths ; next, the
twelfths ; then the sixths, and again the thirds, and finally the two-thirds of inches, all on the long
arm of this square. Be sure you fix in your mind just where these divisions are located.
Next, make a thorough examination of the short arm of the square starting with the right angle.
First are the sixteenths, then the eighths, then the fourths, and finally the half inches on the short
arm. Be sure you have fixed in your mind just where these divisions are located on the short arm
of the square.
j^a>**
Next, take the regular square and study it together with the illustration. Be sure you thoroughly
understand and know where to find the various divisions of inches. Therefore, study both illustration
and regular square until you are satisfied that you have absorbed and know it thoroughly.
Remember, in drafting you are using only one-half of the regular measure for the reason that you
draft only one pattern and the pattern is laid on double cloth for cutting.
The Tester
To Draft
Draw lines A-1, and A-L at right angle. A to E is 1/6 on divisions of 48 ; 24 on the square.
The difference between the figures from A down 1 to 5 is 1/6 on divisions of 24; 12 on the square.
to 1 is J/2 in. Rule a line from E to 5.
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The Ideal Model for
Supreme System
Hoiv to Measure
Those whose ambition it is to become successful cutters should give thorough study to the art
of measuring. They should further train their faculties by observing the different types, shapes and
forms of men; and last, but not least, in taking short, or direct measures, exercise the utmost care,
as exactness of these measures is hard to obtain.
Measurements are, therefore, divided into three different sections. The first consists of length
and circumference in connection with heights. The second consists of the definition of types, forms
and attitudes. The third section is that of Short, or Direct Measures, sometimes called Cross
Measures. We will, therefore, proceed to give Measurements in the manner in which the illustrations
and instructions are arranged in this volume by now taking the Fiist Section under consideration,
and as many measures as are necessary in order to produce a propoitionate coat, subject to height
and circumference. i
Practice has demonstrated that taking the length of the coat and width cf back before a cus-
tomer removes the garment will give the best satisfaction, for the reason that the old coat acts as a
foundation for these measurements, and the cutter by taking these measurements over same can
better distinguish whether the old coat is too long, or too short, and how rr uch, thereby obtaining
more correct length for the new coat. For the same reason the width of the back is also taken in
the same manner. (See Plate No. 1.) Next, after the coat is removed place the regular tailoring
square at the top of shoulder and have the short arm of square rest en the end of the right shoulder
the long arm of square across the back; hold same even with left shoulder end witl: your left hand
and with a piece of chalk in your right hand mark off point Z, as illustialed in Plate 2. Fix the
point of the neck by laying on the tape to the back of the neck, allowing both ends of same to run
to the front. Turn the tape under the arms and across back, holding both ends of the tape together
with the left hand, and with a piece of chalk in the right hand mark points A and B as shown in illus-
tration in Plate 2. Next remove the tape from the back of the neck and place tape around breast, and
register the figure of circumference of breast. Next, fix the waist line by placing the tape around
the hollow of the waist, holding the tape together with the left hand, and with the piece of chalk
in the right hand mark off the waist line, or point C, Plate 2, at the same time register the circum-
ference of the waist. Next, place the tape around the most prominent part of the seat, hold the
tape together with the left hand, marking with the right hand point D, Plate 2, and register seat
measure. Plate No. 3 illustrates the front view of Plate No. 2 with a square properly placed under
the arm and tape attached for the measuring of sleeve length from H to G as shown, as well as
illustrating the manner in which the tape line should be placed when breast, waist and seat measure
is taken. Next, if possible, ascertain the correct height and weight of the customer. While the length
of coat and width of back will in proportions be given from height and circumference, these two
measures were registered first with view of applying in connection with said proportions. The
measures so far taken should be entered in the measuring books as follows:
This is the First Section of Measurements. For the Second Section see Definition of Types, and
for the Third Section see Direct Measures.
How to Measure
MMl(i/i
as laborer, wears a sack coat. It is the great Ameri- been in vogue for about the same time.
can business coat, and in other countries is recog-
In the change from the wide shoulder, it would
nized as the badge of the American.
seem that logically narrow shoulders will be the next
That it is roomy and comfortable, loose enough
distinguishing mark in favor.
to allow free movement, and because it has no tails
ness man.
the same time witiiout any trimming or finishing
which will nl>struct free movement, and have plentv
Although from year to year slight changes are
of pockets.
observable in the fashion of sack coats, the general
design has remained unchanged for many years. It The different models of sack coats are all built
grows shorter, then longer, then short again. It is on the same general design, the double and single
loose and boxy, then body-litting and has many varia- breast, the placing of the pockets, buttons, cuff's, etc.,
tions between these extremes. the cutting of fronts, collars and lapels, express only
For ten years past the sack coat has been half the individuality of the tailor, the personal taste of
fitting, and for six years the padded shoulders have the customer, or the exactions of fashion.
Sack Coats
To Draft
A to B is 9 in.
Rule a line from Q to I.
A to D is 2Zy2 in.
T to R is 34 in.
F to H is \y, in.
Q to P is 1-6 breast measure.
B to S is 3/ breast measure. These are the principal points for normal, and
16
Systematical Outline for Sack Coat
I N W C S H F
U D
DIAGRAM NO. 1.
liegulatlon Sack Coat — continued
Measures:
To Draft
First la_v up all points as described in outline, then The pockets are found % of the sleeve length,
continue as follows :
from G down pockets for this size of coat are 6V2
;
'"•
Square down from M. For double-breasted sack note the dash lines at
front.
Rule a line from \ to M.
H to 15 is 1-12 breast measure.
From I to 25 is 3^ in.
From 16 to 20 is in.
15 to 2 is ^ in. 3K-
Notch at top is 3 in.
3 to 4 is J4 in.
Shape front as shown by dash lines.
K to 11 is J4 in.
Add in. to top of back at A and shape back as Take out a V of ^ in. at point P and you have
Yf,
From 8 to 3
Shape from V down as shown by dotted lines.
is ZY^ J"-
From 10 to 12 is 2 in.
9 to 3 is the amount to be reduced, which is
Make width of lapel 3 in. from 18 to 17. 27 to 22 is the same distance as from A to R
I to 13 is \Y2 in. and X to 27.
DIAGRAM NO. 2.
19
Heights
In variation of heights men are
divided into three classes, viz. :
2()
Heights
The fact remains that the depth mal, and variations for 5 ft. 4 in. coat is ]^, of the entire height. For
of scye is approximately ]/& of en- and 5 ft. 12 in., as shown by dash fashionable waist add IJ^ in.
tire height of figure, and in vary- and dotted lines.) Illustrating that
Waist length for sack coat is J4
ing from the normal height 34 of for 6 ft. there is 3^ in. addition to
of the entire height plus Yz in.
an inch is added to the depth for the depth of scye and for 5 ft. 4 in.
(See Diagram 3, Point C, for nor-
every inch the subject is taller than there is lA deduction from the nor-
mal, dotted line for 5 ft. 4 in., and
5 ft. 8 in., and ]4, in. is deducted mal representing 14, of an inch for
dash line for 5 ft. 12 in.) The
from depth of scye for every inch each inch he is taller or shorter
1-3 of the entire
length to seat is
the subject is shorter than 5 ft. 8 than the normal.
height plus 1 in. (See Diagram 3,
in. (See Diagram 3, Point A, nor- The natural waist for a frock
Point D, for normal, dotted line
for 5 ft. 4 in., and dash line for 5
ft. 12 in.)
D D is length to seat.
5-ir
By a careful study of the illus-
.a'*"
and thereby illustrated, will make
the student conversant with relative
E heights as well as the necessity of
incorporating the same in produc-
L Ji'^"
tion of patterns.
DIAGRAM NO. 3.
Proportionate Table of Breast Measures by Weight and Height
Circumference
In variations of circumference customers are divided into four types : Slim, Normal, Corpulent and
Stout. (See illustrations.) By Slim I refer to persons who measure less than normal around waist, as
36 breast and 30 waist, who should be treated in the manner stipulated and insttucted in diagram 2;
the Normal coat is that of the solid lines in the same diagram. The Corpulent differs from the Stout
around waist as well as over breast. By the Corpulent figure I mean a figure which hasgrown heavy
while still retaining its athletic type, but measuring more than proportionatearound the waist for;
example, 42 breast and 42 waist is termed Corpulent : 40 and 39 waist with the 42 breast measure would
also be corpulent. (See Fig. 8.) Any man whose waist measures more than Normal, or any man whose
waist measure is the same as over breast, termed Corpulent, and should be treated as shown in diagram
is
4. The stout man is he who measures more around the waist tiian around the breast. .Study Fig. 9 for
Stout form, and treat same as shown in diagram 11. In classifying Circumference, the Slim measures
less around waist than Normal, the Corpulent measures more around waist than regulation or Normal
waist measure, and the Stout measures more around waist than around breast. In application of the
divisions for depth of scye, the increase and decrease for depth of scye over 42 will be only 1-12 inch.
( See diagram 4.
Sack Coat for Corpulent Figure
Note difference of increase on depth of scye. A corpulent figure is one whose waist measure is more
than normal, but still does not exceed breast measure.
Measures Used
Breast -18 in. Seat 48 in.
To DraLft
Square out and down from A. indiagram from A to R, R to 11, 11 to 2, 2 to 3, 17
and down.
A to 48 is 1-3 breast measure, but inasmuch as
point for regular grade, size 42 is
to P is 1-6 breast measure.
42 is stipulated
1-3 Rule a line from J to P.
taken into consideration. Therefore, .\ to 42 is
X to Y is same distance as from R to 1 1 minus
of size 42.
y^ in.
V is half way between 48 and 42. Shape armholc as shown in diagram from Y to 2,
V to B is 3 in. Shape shoulder from Y to X and shape neck
A to C is >4 height plus {2 in. hole from X to P and out.
A to D is height plus
i/ii in. 1
Apply waist measure from 3 to and to 8. M
A to E is >4 height minus 3 in.
8 to '4
is 3K' in.
Square out B, C, D and E. Apply seat measure on % of division from 17 to
B to F is % breast measure.
14 and U to 10.
F to H is \y2 in.
10 to 12 is 2 in.
B to S is J/2
breast.
Sweep back from point 5 to 6, using point 2 as
S to G is Zyi in.
a pivot.
G to W is 1-6 breast measure.
Sweep forward from 6 to 16, using point X as
B to N is breast measure.
a pivot.
N to I is 2J4 in.
1 to 13 is iy2 in.
Square down from I. to 15 is ly. in.
Square up from W. Shape lapel and front.
Square up and down from G. 16 to 18 is \y2 in.
Square up and down from H. Shape cutaway of front as shown in illustration
C to M is >4 in. also shape side of front part from 2 to 4, 12 and down,
Square down from M. and shape bottom of coat from 6 to 18.
Rule a line from V to M. For double-breasted coat note dash line in this
A to T is 1/6 breast measure. illustration, and add same amount to front as for
T to R is % in. double-breasted coat illustrated in diagram 2.
Sweep back from point 1 to X, using point G Place pocket as shown in diagram.
as a pivot. Cut a slash in pattern from center of armhole to
1 to X is y2 in. point 21 and from 21 to front end of pocket, as shown
Rule a from VV to R.
line in illustration.
Square back frpm K, finding point Z. Make plait from front of pocket dpwn to front
Rule a line from X to Z. corner of coat as shown by shaded lines, in size so that
Square out from X by balance line. distance from 20 to 21 will be y% in. for each inch
X to O is 1/6 breast measure. the garment is over normal waist. In this case the
L to O is 3^ waist measure. coat is 4 in. over normal and total from 20 to 21
Shape as shown in illustration from O to 1, O is yi in.
DIAGRAM NO. 4.
Exaggeration
In these days fashion is hablc to change ahnost over night, and the general demand is for indi-
viduality in clothes. We are past the time when clothes are valued simply as a fit ; but fitness in clothes
isexpressed by style and individual effect produced for particular customers. E.xaggeration, then, becomes
a most valuable resource, because by the application of exaggerations to the patterns a cutter is able
to produce a garment that not only holds the fitting points, but can be made as many sizes larger than
the actual circumference of the man as is necessary, while distributing the material proportionately
around the body. For the tall and thin figure exaggeration is of incalculable value, for if a garment
was cut according to measurements alone it would by no means represent the advanced style of to-
day. Exaggeration is therefore a scientific resource subject to the personality of the type of customer
as well as to style, and can be relied on for exactness in enlargement of circumference in garments
to the fullest extent. Measurements taken of a customer remain the same as for a fitting garment,
and the amount of excess is stipulated according to the type of the customer as well as the prevailing
style, by so many inches in excess. The amount of excess also varies in different classes of trade.
In providing for different figures requiring exaggeration it would be well to include one size of
excess in the normal, or 5 ft. 8 in. and 36 breast, and an average of 3-2 in. more excess for each inch
the customer is taller than 5 ft. 8 in., provided he does not increase in circumference in proportion to
his height. This is for sack coats.
For overcoats it has been found practical to give 2 inches of excess to the figure of normal height
'and circumference, and an average of yS inch more for each inch a man is taller than normal. In frock
coats advisable not to include any excess for normal height and circumference, but to add J2 inch
it is
for each inch the subject is taller than normal. This is for the tall and slim types.
For Short and Corpulent and Short and Stout it is advisable to cut a sack according to regular measure
overcoat two sizes in excess, and frock coat J^ size less than regular measure. Personal practice has
demonstrated that this conservative advice should be followed by students ; also, that measurements
should be taken according to instructions, and the excess stipulated at the time measurements are taken. <
In the Second Section or Definition of Types, Ex. 1, 2 and 3, thereby meaning excess 1. 2 or 3 inches.
The diagram on opposite page illustrates exaggeration of 36 to 40.
To Draft
The dotted lines indicate the regular 36, 32 and S to G is iyi in.
2)7 in. circumference, and 5 ft. 8 in. in height, accord- G to 9 is 1 in., or ^4 in. for each size the coat
ing to the regular instructions of sack coat. is exaggerated. ( See dashes between G and 9.
The solid lines show an exaggerated coat to 40, 9 to W is 1/6 of regular breast measure.
36 and 41 in., respectively, also 5 ft. 8 in. in height. W to 8 is 3/ i"- ''»
Vi i"- t'"'" e^it^'i size the coat
It will be noticed that the depth of scye, waist jg exao-gerated.
length, length to seat, as well as length of coat re-
Square up from 8
mains the same as the original, while the increases
g^^,^^^ ^,p ^^^^ ^^^^.^^ ^^^^^^ 9
are m the circumference, which places the goods of an
g^^^^^ ^^ ^^^ ^^^^ ^^^^^^ ^
exaggerated coat in the proper position. This being
g ^^ jg j^ ^^^ ^^^^j^^ ^^^^^^ measure.
a coat exaggerated four sizes, the increases are, there-
^ ^^ ^^ j^ ^,^^ exaggerated breast measure.
fore, placed as follows:
„,,.,,,
B to % of regular
1 IS
, , ^
breast measure.
.„,
Note
,
.
,
that the increase between
.
.
,
,,,,.,,. and N
,0
18
, ^t
is
,^
V2
r>
B ^
to
T-
F is %
-t , ijubreast measure, making
exaggerated L. 1- ui. for each size, as indicated
'
bv dashes in the distance
,r r from 18 to N.
an increase of \1/6 c j-u •
t. 4.
m. for each size the coat is e.x-
26
Diagram for Exaggerated Sack Coat
DIAGRAM NO. 5.
Also add four sizes to the seat measure and aggerated coat is completed.
apply in the regular manner, plus 2 in. Should less exaggeration be desired over waist
These are all the points moved b}' exaggeration and seat, add less to your measure, and operate on
or obtained by exaggerated measures. front part by taking out a V in the same manner as
All other points relative to shoulders, top of back, illustrated in the regular sack coat for small waist.
shape as shown by solid lines and finish, and the ex- tions in this volume.
Single and Double Breasted Sack Overcoat
Mea.sures Used
Breast 40 in. Seat 41 in.
To DrcLft
B to S is J4 breast measure.
From X to Y is same distance as from R to 11
Square up and down from G. Shape neck hole as shown in illustration from
Square up from W. X to P and out.
K to 11 is 34 in. 18 to 21 is 4 in.
Shape back as shown in illustration by starting ]/% Peak lapel according to taste.
in. above line at point A, from A to R, R to 11, 11 to 2, Make width of lapel 33-^ in.
28
Single and Double Breasted Sack Overcoat
DIAGRAM NO. 6.
The Frock Coat
The frock coat, as worn in the twentieth century, The strict regulation as to what is proper in the
is a heritage handed down to us by our ancestors. cut and material of the double-breasted frock, ex-
It is a modification of the coat which has been worn tends also to the accessories of the costume which
by gentlemen for hundreds of years, and is today as are worn with it.
ularized by the late Prince Consort of England, has The single-breasted frock in its various models
grown into the correct garment for formal day dress. is very generally worn by professional and business
For day receptions, weddings, church wear, etc., men as a business coat. The tendency in that direc-
it is the only correct garment. As in other dress tion grows steadily stronger every year, as most pro-
garments, there is little variation in general design fessional men want to wear something different in
from season to season, the changes in model which design from the ordinary sack coat.
made from black or Oxford gray materials, trousers collars, a four-in-hand tie, and a soft or derby hat
of gray striped worsted are worn, although if a fancy may be worn, although if the coat is black, a silk hat
vest is part of the costume, the trousers should be of and other accessories as worn with the double
the same material as the coat. breasted frock mav be worn for semi-dress.
Frock Coats
t^S
To DraLft
32
Outline for Body of Frock Coat
33
Three Button Frock— continued from outune
24 to 10 is J4 in.
From 26 to 25 is 3 in.
Shape bottom of side body from 10 to 20, and Shape top of skirt as shown in illustration from
shape bottom of front part as shown by illustration J4 in., above point 10 to point 12.
15.
Vs in.
Shape armhole as shown by illustration from Y Shape bottom of skirt as shown by illustration
Shape shoulder from Y to X, and shape neckhole Take out a \^ in front part as shown in diagram.
C o 1 1 a. r
Draw a line from 18 to ^4 in. in front of point Shape 'as shown in illustration from 30 to 29
To Dra^ft
.Square out and down from A. 4 to U is waist suppression, which is divided into
37
Frock Coat for Corpulent Figure
Measures as Follows:
Natural waist 17 in. Breast 42 ni.
To Draft
Square out and down from A. every inch the man measures over normal at waist.
A to V is 1/3 breast measure. In this instance, being 4 in., J4 in. would be taken out
V to B is 3 in. between 25 and 27.
Rule a line from 1 to Z. Extend width of laix'l desired, and shape same,
Square out from X. as well as front, front of skirt, bottom of skirt, and
X to O is 1/6 breast measure. shape as shown by illustration from 10 to 17 on back
L to is 1/ waist measure. of skirt, and a three-button frock is finished.
Rule a line from O to I, and down. For double breasted effect shown by dash lines,
22 to 9 is 1/6 breast measure. see normal draft of double breasted frock, as the
Square back from 9. shape of front and skirt is identical with it.
9 to 25 is 34 waist measure. The technical part for V in front and more
Take out a Y between 25 and 27 of J/^ in. for crooked shoulder are the same as for this diagram.
Frock Coat for Corpulent Figure
DIAGRAM No. 10
39
Biagram for Stout Figure
DIAGRAM No. 11
Mea-sures:
Breast 46 in. Waist ?0 in.
All regular points are obtained in the same man- Then apply waist measure on the J^s from 30
ner as for corpulent coat with the following additions to 4.
iO
Definitions of Types
Second Section of Measurements
Having completed the study of Section 1 (Measurements), as well as drawing proportionate
patterns from Height and Circumference, and the section on Exaggerations, we now arrive at the
definition of types. In actual practice the Definition of Types comes immediately after the First
Section of Measurements, and for this reason we have so arranged the illustrations. In order to ex-
plain the subject in a comprehensive manner a number of types in figures, illustrated, are introduced,
with the idea that the student may study the types and forms of men, and fix in his mind the reg-
Stooping or Erect.
The degrees of these variations from the normal are three in number and are termed:
1. Slight inclination.
2. Medium inclination.
3. Extreme inclination.
These degrees of deformation hold good in any of the above stated types from the normal. There-
fore, after having taken the measurements stipulated in Section 1, as well as registering height and
weight, and ascertaining the style of garment desired, make a thorough examination of the custom-
er's figure and attitude. Find the inclination at back of neck by placing the yard stick in position
of the straight line shown in illustration of Relative Heights, and with the regular tailoring square
pressed against the neck point, ascertain the distance from the neck-point to the yard stick. The
normal inclination is 2^ inches. If the distance is greater it indicates that the customer is stooping
or holds his head forward. If distance is less it indicates that he is erect or holds his head backward.
To a student with an active mind a mere glance will suffice to give character to the form and classify
the type. By first viewing the customer from the front a cutter is able to ascertain whether he is
sloping or square shouldered, and in what degree, also, to notice the development of the muscles
and whether he is broad or narrow chested. Next it is well to view the customer from the side or
profile. This will enable the cutter to notice and stipulate in what degree the customer is stooping, or
erect, using the inclination as a guide, or whether he holds only his head forward or backward,
and in what degree. Next, observing the customer from the back will enable a cutter to notice
and stipulate in what degree the customer has large or small blades or long or short neck. In order
to give the final idea of the extent of the degree of deformation five different illustrations are shown,
of which all, with the exception of the Normal, show the Second degree of variation from the Normal.
^S^;:
In providing for the requirements of the different forms we constantly come in contact with
two or more types in one subject. For example, a man can be both Sloping and Stooping, or he can
be Sloping, Stooping and have large blades, and also have a long or short neck in that connection; or
he can be Square, small blades and erect, etc., etc. (See Figure 5 for Sloping, large blades and Stoop-
to them are thoroughly understood. Then picture to yourself the three different degrees. Place
yourself before a mirror and arrange yourself first in the Normal position, then in the first, next in
Next arrange yourself as nearly as possible in the three degrees of Sloping. When this is done
study your own form for large or small blades. Stooping or Erect, etc., and whenever in public
places notice the different types and forms of men. Ascertain whether this or that man has a long or
short neck, or any other deformation, and in what degree. The sooner you accustom yourself to
this study the better it will be for you. Always carry in your mind the Normal and notice the varia-
tions from it and fix the degree. It will surprise ycu to find that in a comparatively short time you
will be able to classify the different types and stipulate the degree of variation with promptness and
The Second Section of Measurement consists of defining all the types and degrees of variation, and
should, therefore, be entered on your order book just after the First Section of Measurements and
before taking direct measures, so as to be sure that the variations have been thoroughly stipulated, as
These deformations of types and degrees of variation must be thoroughly defined before taking
or applying direct measures. Therefore, stipulate in your order book as Section 2 whether the cus-
tomer is Normal
Or square in the first, second or third degree.
Then, again, caution should be exercised in stipulating the degree of the above types, as in draft-
ing, the application of them will have prompt effect on the pattern. Therefore, do not try to find fault
with the form of the customer if on careful examination no noticeable inclination to any of the above
stated types can be found, as practice has demonstrated that a garment produced from a good propor-
tionate pattern will fit at least one-half of the men of the same height and circumference. Therefore,
if the inclination to a certain type is so slight that it is hard to distinguish, I would advise to cut a pro-
Incline
How to obtain the incline is illustrated in Relative Heights. For application to draft see Varia-
tions. The incline measurement is taken with the view of ascertaining whether the customer is stooping
or erect, head forward or backward, or whether he has large or flat blades, and is a valuable resource in
conjunction with definition of types and in stipulating degrees of same. 2^4 in. is normal incline, 3^ in.
either more or less than normal means one degree. For example : If the distance is 2^ in. the cus-
tomer is either stooping, or has head forward, or has large blades in the first degree, and for each addi-
tional Yz in. of incline the customer would be stipulated an additional degree. If the customer measures
less than normal the incline indicates whether erect, head backward, or has small blades, in either first,
second nr third degree, according to the amount he measures less than normal.
The incline is obtained by placing the yardstick perpendicularly against customer's back, and with
regular drafting square press against neck point. The distance on the measuring square from yardstick
to neck point is the incline. For positions of incline see illustration Relative to Heights. For further
instructions see Second Section of Measurements in connection with Definition of Types, and for appli-
44
Variations
Diagram A illustrates variation of head forward Point C is half way between A and B. Square
or backward in second degree. out from C.
Point 12is half way between C and D.
Solid lines show normal shoulder ; dotted lines
Sweep up and down from A, using point 12 as
illustrate variation of head backward ; dash lines il-
a pivot, and sweep up and down from X, using point
lustrate variation of head forward. 12 as a pivot.
Head Forward
Stipulate degree of variation for head forward by line from point 2 as indicated by dash lines, thereby
either J4 in-- Y^ in. or ^ in. from A to 2 and X to 8. finding point 8 on front shoulder.
Rule a line from 2 to Z and square out by same
Head Backward
For head backward stipulate degree by either 34 point 7 on front shoulder,
in., 2 in. or %in. from A to 3 and X to 7. The other lines e.xplain themselves. Always study
Rule a line from 3 to Z and square out by same inclination and definition of types in connection with
line, as illustrated by dotted lines from point 3, finding thi s fliaarram.
Variations
^h^^'m^^ ^V^<>1
Stooping
Diagram B illustrates variation for stooping and Draw a line from 12 to H and out as shown by
erect. dash line.
Solid lines illustrate normal, dash lines show Square up from same line from W, G, H and 12.
stooping, and dotted lines illustrate erect. 12 to 2 is y^ breast measure, plus 3 in.
Point H is half way between W and B. Square out from 2 by dash line, finding point 8.
Stipulate variation by 34 '"> 3^ in. or y^ in. from Shape back, armhole, shoulders and neckhole as
Erect
For erect, stipulate degree of variation 34 i") V^ Shape back, armhole, shoulders and neckhole as
in. or % in. from B to 13. shown by dotted line for erect.
Draw a line from 13 to H and out as shown by Always study definition of type and inclination in
Diagram C illustrates large and small blade. ample, from FI to 6 is same distance as from G to 8,
Solid lines show normal, dash lines show large blade anil from FI to 5 is same distance as from G to 7.
Diagram E illustrates long and short neck. Shape top of back and front shoulder as shown
by dotted line for long neck.
The arrow shows point 1 and is half way be-
Short Neck
tween B and W.
Stipulate degree of variation by Y^ in., Yz in., or
Long Neck % in. from A to 3 and from X to 7.
Rule a line from 1 to X and out. Square out from point 7 by balance line.
49
Sleeves
All sleeves must be produced from the size of
armhole. Therefore, always measure your armhole
and whatever the armhole is in circumference use
that for 3-our size of sleeve.
For example, if your armhole or scye is 18 in.
To Dracft
Square out and down from .\.
A to C is 1/12 arm-scye.
A to B is % arm-scye.
B to E is 1/6 arm-scye.
B to D is 1 in.
Dotted lines indicate stooping. on the sleeve, and if shoulders are wide the top of
by 3/2 in., 1 in. or
Stipulate degree of variation sleeve should be less. Therefore, in the diagram per-
taining to high and low tops on sleeves, the dotted
\y2 in. from P to 2. Shape top and under sleeve as
shown by dotted line from H to 2 and J to 2 and — lines illustrate the high top and the dash lines the
For Erect the normal sleeve, which has been explained, but it
Dash lines indicate erect. must be understood that the amount you reduce the
Stipvjlate degree of variation by J4 in., 1 in. or width of shoulder must be added to the sleeve and
1^ from P to 1. Shape top and under sleeve as
in. the amount you widen the shoulder of coat must be
shown by dash lines from H to 1 and T to 1 and — taken from the sleeve. Earnest attention should be
from D to 1. oiven to this in drafting.
Direct Measures
Third Section of Measurements
Having in the First and Second Sections of Measurements illustrated and instructed the manner
and order in which measurements should be taken, as well as the Definition of types and the Degrees of
Deformation and application to draft of these variations, I would like to have it understood that, while
all measurements, as well as the Definition of Types, are a matter of judgment, that in application to
the draft, the proportions, heights and circumference, as well as variation of attitudes, all spring from
the same principle, and are, therefore, the fundamental and scientific part of this work. Measures
heretofore taken in connection with the fundamental principles we shall, therefore, term proportionate
measures, as they have reference only to lengths and circumference. Short, or direct measures are
from the scientific point of view supplementary measures, as these measures can be taken from and to
any part of the body and applied to and from any part of the draft. The name in itself is aggravating,
and it would be unwise to rely on these supplementary measures for symmetry and grace, but in con-
nection with fundamentals they act as a guide to attitudes. While proportions and variations have in
the past been considered, and in fact, are a system in themselves, direct measures have also been
known as an independent method for the production of clothes. Modern developments and practical
application of both principles and theories are not only beneficial and practical, but a necessity, hence,
this combination of the two principles: a methodical way of measurement, and application in connec-
tion with fundamental and scientific proportions and variations. The term measuring means the
application of the measuring tape to and from different parts of the body, thereby ascertaining that
one part of the body is so many inches from another. If the space on which the measuring tape is
applied differs from one side or the other, the different quantities of surface on which it was applied
are either smaller or larger than normal. This is the theory of measurements and should be so under-
stood. The most essential direct, or supplementary measures are as follows
The chalk marks made on the customer's back when proportionate measures were taken are meant
to indicate the different stations for supplementary measures. In taking these direct or supplementary
measures the utmost care should be exercised in order to have them as nearly correct as possible,
as mismeasuring would cause all kinds of trouble in patterns and try-on. Toward this end it is hereby
suggested to the student that he procure for himself a measuring square on which the various propor-
tions of these measurements are stipulated, and with the tape attached to the angle of this square we
will now, in a methodical way, proceed to take these supplementary measures. In measuring, stand
behind the customer and place the end of the tape at point A, Plate 4. Pass the tape through your
right hand to point Z, Plate 4, and register the measure for slope of shoulder. Next, pass the tape
through the right hand to point B, Plate 4, and register the measure for depth of scye. Next, let the
tape pass through the right hand to point C and register waist length from A to C, Plate 4. Next, pass
'Direct Measures
FU\e ± rii^^t 5.
r.3
the tape through the right hand to point D, and register length to seat, from A to D, Plate 4. Now,
place the measuring square under the left arm. Be sure said square is placed well under the arm,
but not so high that it would raise the shoulder of the customer. Particular care should be taken to
ascertain that the square is placed exactly level. Now, recall the breast measure taken in the First
Section of Measurements. Find the same figure on the square. Also, proportion figures for the sup-
plementary measures in this connection, and while it is not certain that the measures taken will
correspond with these proportionate measures, it will materially assist in obtaining better measure-
ments than without these tables of proportions. Having the square properly placed, etc., as shown in
From H of front view, Plate 5, under arm to B on back view, Plate 4, register blade measure.
Next, turn tape around and over breast, and hold square in same position, and register front meas-
ure from H to X, as per front view, Plate 5. Next, turn tape around and up on shoulder and to back
of neck, and register strap measure from H on front view, Plate 5, to A on back view, Plate 4. Next,
turn the tape over shoulder to point B, and register over shoulder measure from point H front view,
Plate 5, to point B of back view, Plate 4. The complete measurements for a coat of the style of the
ideal model for Supreme System you have entered in your measuring book stand as follows
While these are all the measures necessary, additional measures can be taken to and from any
point of the body and incorporated with other supplementary measures and applied in the same man-
ner over draft, but practical cutters do not take more measures than necessary, for the reason that it
would be confusing, and my advice to beginners is to stay as near fundamental principles as possible,
because supplementary measures are difficult to obtain correctly. By using proportions and variations
as heretofore stipulated, apply these measures for your own satisfaction, and where direct, or supple-
mentary measures differ from the fundamental, give proportions and variations at least half the bene-
fit by cutting difference between the two points in two, placing the point in the middle. Direct meas-
ures are of more value to the experienced cutter or advanced student, as by experience they have
learned to take measurements with more exactness, so in application they are more experienced, con-
sequently, they more thoroughly understand the value of these measures. The truth, however, is that
a good, experienced cutter always lays up his proportions subject to height and circumference. He
applies his variations to the draft according to the definition of attitude so as to place the different
points in position for measurements and finally applies direct measurements as he finds practical and
divides the difference between the fundamental and direct measures, as my advice to beginners shows.
Application of Measurements
Strap 12 in.
Height 5 ft. 8 in.
Attitude Normal
From G to AA is 1/6 breast measure (or same Apply strap measure plus J4 in. from AA to X,
A to T). and the three most essential measures have been ap-
distance as from
Apply measure for depth of scye from A to B plied to draft with the proper additions. Read third
(For large blade second degree, long neck sec- Width of back 7^ in.
ond degree.)
To Dratft
First lay up normal draft subject to height and Apply blade measure plus V/z in. from B to D.
circumference. (Note that point G is normal.)
Promptly note variations and degree of same and Apply strap measure, plus yi in., from AA to X.
apply them to draft as shown in illustration of varia- Apply measure for width of back, plus ^ in.,
tion (see Diagram C and E on Variations), thereby as shown in illustration.
placing your draft in position for measurements. Apply waist measure in regular manner from 12
Draw a line from X to D and down. to 13 and 9 to 5.
D to AA is 1/6 breast measure, or same dis- Add 3>^ in. for shape up on side of front part
tance from 6 to 3. at waist.
Apply measure for depth of scye from B to 6. Read third section of measurements.
56
application of Measurements
Height, 5 ft. 8 in., stooping in second degree and Over-shoulder 18^ in.
To Draft
First lay out your normal draft subject to height Apply depth of scye from 7 to 4.
and circumference. Apply blade measure plus 1^/2 in. from 7 to D.
Stipulate stooping in second degree as per Defi-
Apply strap measure, plus '< in., from AA to X.
nition of Types and incline. (See Diagram B —Vari- Apply over shoulder measure, plus 1 in., from 7
ations.)
to 14 and D to J.
Next slope same in second degree. (See Diagram
D — Variations.) Apply measure for width of back, plus J^- in., as
Draft is now in position for measurements.
shown in illustration, and apply front measure, plus
Draw a line from X to D and down. % in., from D to E.
D to AA is 1/6 breast measure, or same distance Apply waist measure in regular manner.
as from 4 to T. Read third section of measurements.
57
Application of Measurements
DIAG. N.
lOl _5T
Li asl cn| -$1 ^1 iai d ^1 SI ^g
Waist 30 in.
Strap in.
11J4
Height 5 ft. 4 in., erect in second degree, small
Over-shoulder 15^ in.
blade in second degree, square in second degree.
Width back 6i^
Incline 1 M in- of in.
To Dracft
First lay up regulation draft subject to height Having finished these preliminaries, the draft is
of types as stipulated in Diagram B- -Variations. out a V in side and add 2 seams, or }4 in., to side of
Next square same as shown by regulation illus- front part as shown by direction in diagram 2 show-
trated in Diagram D — Variations. inof small waist.
58
application of Measurements
This diagram is produced for the purpose of il- ured in with the measurements, and these are the
lustrating how measurements are appHed in connec- - only three short measures to be applied in connec-
tion with exaggerations, and it will be clearly seen tion with proportions and variations for an exagger-
plied in same manner as usual, as well as that of In connection with the study and practice of these
blade, with 1>4 in. addition, which is the total distance diagrams, thoroughly study the different types, height,
G to D is the amount the coat is exaggerated, Practice, and try to commit same to memory, as all
amount allowed for draping necessary in of these have direct bearing on these drawings and
and this is
59
Hunchback
This diagram illustrates the manner in which a Seat 36 in.
coat is drafted for regular hunchback. While same Squared 1/4 in.
can be produced from proportions and variations, Head forward in third degree.
actual measures are of more value for a subject of this Direct measures applied:
Upper width of back 14 in.
kind than for any other.
Measures used as follows: Lower width of back 15 in.
To Draft
Square out and down from A. Rule a line from 13 to M and down.
A to 18 is breast measure.% H to 22 is % in.
18 to 20 is 3 in. B to 19 is 34 in.
20 to B is 1^ in. for square. Place corner of square at 22, letting short arm of
A to C is waist length. same rest on point 19, and square down from 22.
A to D is length to seat. H to 15 is 1/12 breast measure.
A to E is full length of coat. 15 to 2 is J4 in.
B to F is ip. breast measure. Apply blade measure plus 1J4 in. from B to G.
F to H is \y2 in. Apply half upper width of back plus ^4 in. from
B to S is J^ breast measure.
Z to K.
S to G is 3j4 in. Apply half lower width of back plus 34 in. across
60
Diagram for Hunchback
1 to 23 is iy2 in.
X to Q is 1-6 breast measure.
to 24 in-
shown in ilkistration from Q to I, and is 1J4
Shape as
Take out a V in gorge as shown in illustration.
down. and bottom.
Shape lapel, front
Q to P is 1-6 breast measure.
Place collar and pockets in regular manner and
Rule a line from J to P.
finish as shown.
Shape neckhole from X to P.
61
Overcoats
The shifting and uncertain temperature wliich shoulders, and the sack or Chesterfield overcoat,
characterizes most of tlie northern hemisphere makes which may be more or less body fitting. The short
necessary an overgarment which may be put on or box overcoat is designed for riding, driving or country
removed to suit the differences in climate. wear and is called a covert coat, from the material
overcoat has been adopted in America as the model for box coat.
this garment. Fashion in overcoats decrees many There is little change of design in garments made
changes, sometimes rapid, other times slowly growing, from either light or heavy materials, for wear in cool
divided into the loose coats without a waist seam, the difiference between the spring and fall and tRe
and the frock overcoats, on the order of the New- winter overcoats.
The single-breasted frock overcoat is called the Sometimes a novel idea in overcoats comes to
Newmarket, the double-breasted the Surtout. the surface, but its reign is usually short lived. Such
In the straight falling style there are two mod- was the Raglan, which was so popular a few years
To Draft
Square out and down from A. C to M is >^ in.
Apply measure for depth of scye from A to B. Rule a line from S to 18 and down.
A to C is waist length. From H to 17 is 1 in.
% inch for every inch the coat is exaggerated. In Place the pockets down % of the sleeve length.
this case 1 in. For top coat as shown by dot and dash lines pro-
Shape as shown in illustration from Q to I, and duce same coat as heretofore described with the ex-
down to 18. ception of the length, which may be 34 to 36 in.
Exaggerated Single and Double Breasted Box Overcoat
65
Single Breasted Hewmarket and Double Breasted Surtout
Solid lines indicate front of Newmarket and dash Waist 36 in.
lines indicate the way the front is cut for surtout. Seat 41 in.
This diagram is produced from the following meas- Height 5 ft. 8 in.
To Draft
Square out and down from A. 22 to 9 is 1/6 breast measure.
A to V is y^ breast measure. V to B is 3 in.
'1- L to M is 2 in. M to 4 is >4 waist measure.
A to C is natural waist length. 4 to U is waist suppression, which is divided into
A to D is fashionable waist length. three equal parts, as Figures 4, 2 and 3 indicate.
A to E is full length of coat.
8 to 7 is % waist suppression, or same distance
Square out from B, C, D and E.
as 2 to U. 7 to 6 is V^ waist measure.
Apply depth of scye from A to B.
B F
6 to 5 is % waist suppression, or same distance
to is Vs breast measure.
as 4 to 2. Rule a line from 23 to G.
F to H is \y2 in. B to S is J/4 breast measure.
S to G is 3y2 in.
, 13 to 23 is Yi in. 24 to 10 is ^ in.
K to 23 is % breast measure. K to 11 is X' '"• Make width of lapel from 28 to 27, 3>-^ in.
Add Ys in- to top of back at point A and shape as Shape from 27 to 18, 19 and down to 12.
shown in illustration from A to R, R to 11, 11 to 23, Square down from 12 by fashionable waist line.
Sweep back from point 1, using point G as a pivot. Rule a line from 12 to 34 and down. .
G to AA is 1/6 breast measure, or same distance same distance as D to E plus J/2 in.
10 to 17 is
For Surtout
Note dash lines at front of coat. frock, with the exception that width of lapel averages
67
Inverness
MeeLSuremervts Used Are As Follows:
Waist length 18 in. Waist 36 in.
To Dracft
Square out and down from A. Square back from K, finding point Z.
A to V If', breast measure. Rule a line from X to Z.
V to B is 3 in. A to C is waist length. X to Q is 1/6 breast measure.
A to D is length to seat. L to is J 2 waist measure plus J4 in. for each
A to E is length of coat. size the coat is exaggerated.
Square out B, C, D and E. C to is >4 M in. Shape as shown in illustration from Q to I, and
Rule a line from V to and down. M down to bottom of coat.
B to F is %
exaggerated breast measure. Apply seat measure on % of divisions from 20
F to H is V/i in. to 14 and U to 10.
B to S is J4 regular breast measure. 10 to 12 is 3>4 in.
T to R is in. %
Rule a line from to R. W to 15 and 16 to 19.
14 to 20 is J4 breast measure.
Shape front as shown in illustration and body of
Rule a line from K to 20 and down. coat is finished.
Cape
This cape is drafted over coat and is traced off point are in same place as those of coat. Shoulder
from draft on another paper. Front and shoulder of cape is shape of regular coat.
To DraLft
X to Y is same distance as R to K. Shape as shown in illustration from Y to 18 and
Y to 17 is 1 in. 17 to 18.
Rule a from 36 to V and out.
line Shape from 36 to 17.
Apply measure for length of cape as taken over From 17 to 27 is same distance as from K to 2,
shoulder from X to Y and 17 to 24. plus ^ in.
Sweep forward from 24, using point X as a pivot. 24 to 28 is 7 in. for vent in side.
Add 1 in. to length of cape at 23. From 2 to 25 and 2 to 26 is same distance as from
From Y to 18 is 4 in. 27 to 28.
Collar
To Dra.ft
From. P to 33 is same distance as from A to R and Shape from ZZ to P.
X to P. 33 to 32 is 3 in. P to 31 is 3 in.
Custom decrees that when formal evening dress The garments should be of black material, al-
is required, the long-tailed coat which has earned the though a slight tendency toward gray is sometimes
name of evening coat should be worn. allowable. The trousers are braided on the outside
The formal evening coat is worn after 6 o'clock kid, and hat, silk or opera. This fashion is subject
in the afternoon at any formal occasion, such as wed- to slight variations from season to season, but in its
dings, receptions, balls, the opera and theater, when- general effect will doubtless be unchanged for many
ever ladies are present. No other costume can be held
years.
by any excuse to be correct.
70
Full Dress
Dash lines illustrate the manner in which the dress Seat 37 in.
coat is cut without strap or lapel seam, the following Height, 5 ft. 8 in.
To DraLft
Square out and down from A. Distance from 4 to U is waist suppression, which
A to V is breast measure. % is divided into three equal parts, as Figures 4, 2
V to B is 3 in. and 3 indicate.
Check same distance by measure for depth of 8 to 7 is % of waist suppression, or same dis-
scye. tance as 2 to U.
A to C is natural waist length.
7 to 6 is J4 waist measure.
A to D is fashionable waist length.
6 to 5 is % waist suppression, or same distance
A to E is full length of coat.
as 4 to 2.
Square out B, C, D and E.
Square down from 7.
C to U is 5^ in.
G to W
is 1/6 breast measure. 22 to 9 is 1/6 breast measure.
B to N is breast measure. 24 to 10 is ^ in., 23 to 13 is Y^ in.
Skirt
10 to 14 is 1/3 seat measure.
9 to 12 is i< in.
12 to 19 is 2 in.
of 9 to 24.
be worn interchangeably with the dress coat, and The Tu.xedo being a sack coat, requires to be
at the theater, formal dinners, balls, etc., where la- worn with it a soft or derby hat, never a silk or
dies are present it is frequently seen. opera hat.
The Tuxedo or Dinner Coat
To Dracft
Draw up your crease lines from the bottom of If shawl collar is desired, shape as shown in illus-
Take out a V of 1^ in. from 2 to 1. If peak lapel is desired, peak lapel according to
style.
Point 3 is 1J4 in. below breast line.
4 to 6 is 2y2 in.
Run same V to point 3, as shown in illustration.
Shape as shown by dash lines in illustration from
This is done whether there is a shawl collar or a peak
4 to 6 and 6 to 5.
lapel dinner jacket.
All other points are the same as in a regular
1 to 4 is 3 inches. sack coat.
Cassock
Mea.sures as Follo\vs:
Natural waist 17 in. Breast 36 in.
„,.,,.
i-ashionable waist
. r,
ly
.
in.
Waist
t-u r ^ r *i ^ •
-u ^o u ^^ j
32 in.
To Draft
Square out and down from A. Sliape as shown in illustration from A to R, R to
Square out from B, C, D and E. Shape as shown in illustration from 13 to 7 and 27.
B to F is %
breast measure. Shape from 5 to 6 and 20 and shape from 5 to
L to is I/2
waist measure. Shape top of skirt as shown in illustration from
Shape as shown in illustration from O to I, and 30 to 9.
down. Extend a plait of 2 in. as shown in illustration
22 to 9 is 1/6 breast measure. from D to 33 and 18 to 34.
L to M is 2 in. Extend a plait of 2 in. as per illustration from
M to 4 is 5^ waist measure. 30 to 32 and 17 to 31.
4 to C is waist suppression, which is divided into Extend a plait of 2 in. as shown in illustration
three equal parts, as Figures 4, 3 and 2 indicate. from 28 to 30 and 16 to 29.
C to 81/6 breast measure.
is From P to 26 is Ij^ in.
8 to 7 is %
waist suppression, the same dis- I to 25 is lj4 in.
6 to M is ifi waist suppression, or same distance Shape as shown in illustration from 26 to 25, 24
as 4 to 2. to 12 and down to bottom.
K to 23 is 1/6 breast measure. Put on standing collar of l.)4 in. width, as shown
K to 11 is 14 in. in illustration.
76
The Cassock
Theories and Practice
The practical cutter and the advanced student who have studied cutting as a science will no doubt
recognize in this work many of the ideas they have proved to be of good practical value. At the same
time they will observe many new ideas introduced and expressed, which may be in direct opposition to
their views, as well as in opposition to the opinions of other system makers and instructors of cutting.
While it is not my intention to criticise anybody else, or his work, there is no doubt that many of the
ideas I have expressed will to a considerable extent revolutionize some of the practices which have
been in use heretofore and have been accepted as correct, but which are in fact nothing but fallacious
theories.
For instance, it has been a common practice to lay up the normal points of a coat and then to
apply direct measures without having arranged the points in position for measurement. For example:
Where the depth of scye is 54 of an inch longer than normal, measures are applied direct without the
cutter knowing the reason why the depth is greater. The Second Section of Measurements, as described
in this volume, has been either ignored or else the cutter does not know anything about scientific varia-
tions, and the consequence is that this measure has been applied before regulating the draft for the
type or form which causes this measure to be 3^ inch longer. The reasons for the excess length could
be traced to one or more of the following types : Height, stooping, sloping, or long neck. It is
essential that this be thoroughly understood. If it is not, see diagrams and instructions.
The same applies to the strap measure, or any other measure which may be long or short in com-
parison with the normal. There must be a reason for this increase or decrease in length from normal,
and this reason can be found promptly if it is stipulated when measurements are taken, in the Second
Section of Measurement, and may be remedied in a scientific way by adhering to the illustrations and
instructions of variations. First laying out the proportionate points, applying height and circumference,
and next, variations, according to definition of types. It will be readily seen that the points have changed
positions, and by this operation the different points are placed in graphic harmony with each other,
and the draft is then in position for measurement that is less conflicting. In fact, if the types have
been correctly stipulated and measurements accurately taken, there should be no difference between
the measurements and variations. At the same time the garment will have the proper fitting points and
retain the symmetry and grace of the ideal model. While it has been for various reasons subjected
to scientific variations and methodical measurements, yet balance and fitting points have been retained.
79
The shoulder point has been a subject of much discussion in the trade, but from a scientific point
of view the shoulder point has only a fixed relation to the neck that a point in the circumference has
to any circle. It has nothing to do with what is commonly called straight or crooked shoulders. To
attempt to fix the shoulder point by direct measurement, or by any other means without reference to
the top of the back is wrong. For instance, a stooping figure is as a rule also round-backed, and to
reduce the length of front shoulder of a coat without reference to the back is fallacious, yet, even in
some modern methods, such theories are put in practice. The length of the back determines whether
there is to be a straight or crooked shoulder. (See diagram for stooping and erect).
Raising or lowering of the back and increase or decrease of the distance from A to B demands
raising or lowering of the shoulder point. Therefore, to alter the shoulder point without reference to
the back is out of the question. An independent shoulder point has no existence, and crooked and
straight shoulders are only terms. The word "term" is something that has no independent
influence. The location of the so-called shoulder point is entirely dependent on the increase
or decrease given to the length of the back to produce the intended effect, fit, or character of the
garment. To produce a well-balanced garment necessitates all parts of the coat being in strict har-
mony with each other, and this important feature can not possibly be secured by any process of meas-
uring that is practicable for students to use, without the aid of proportions and variations. The style
of a garment depends entirely on the taste and individual skill of the cutter in adapting the garment
to the type and figure, and in making it the proper size so as to dress the customer correctly.
80
VEST SECTION
The Supreme Vest System
with Instructions How to
Measure and Apply Meas-
urements to Vests; also
Proportion Tables*
81
Proportiona.te Front Length for Vests from Height and Circumference
Breast. 5-4 5-5 5-6 5-7 5-8 5-9 5-10 5-11 6 ft.
82
Vests
"^'^
>»(•.
^
1
83
How to Measure
Vests
After having ascertained the style desired and arranged the vest so that it is smooth front and
1. Measure as shown in illustration for actual opening desired from A on back view to E on
front view.
2. Measure as shown in illustration for full length of vest from A on back view to F on
front view.
4. Measure all around breast as shown in front view illustration. Measurements taken should
be medium snug.
5. Measure all around waist as shown in front view of illustration. Measurements taken should
be medium snug.
Height and weight of customer are essential in order to prove up breast measure with the table
of breast measures compounded from heights and weights, and also so as to designate the proportionate
Measurements for vest when entered in order book should stand as follows:
Opening Breast
For the different attitudes and deformations, see Definition of Types or Second Section of Meas-
urements. For short or direct measures, such as depth of scye, waist length, blade, strap, over shoulder
84
How to Measure Vests
fprn'/y
W^^'-
85
Proportionate Vest
To Draft
Square out and down from A. Apply measure for opening plus 1 in. from A to
A to V is I3 breast measure. T and X to 8.
V to B is 3 in. Apply measure for full length plus 1^4 in. from
A to C is waist length. A to T and X to J.
Square out from B and C. Apply measure to side plus 1 in. from A to T
B to F is 1/3 breast measure. and X to 6.
Rule a line from W to R. below breast line and Yi in. in front of balance line
Square back from K, finding point Z. from Y to E.
C to M is 1 in. Shape shoulder from Y to X.
Shape as shown in illustration from Z to M and X to 13 is % in.
2 to X is J4 in. from bottom, and make lower pocket 4j/2 in. in length.
Double Breasted
For double-breasted vest see dash line on front. Shape as shown in illustration from 8 to 11, 11
Make distance from solid line to point 11, 4 in. to 12 and J to 12, and double-breasted vest is finished.
Make distance from J to 12, 2}i in.
86
Proportionate Single and Trouble Breasted Vest
87
Vest for Stout Figure
Mea-sures bls Follou's:
To Dracft
Square out and down from A. Shape as shown by illustration from V to 11 and
A to 42 is Ys of 42 on divisions. down.
A to 48 is 1/3 of breast measure. From 11 to 5 is J^ waist measure.
V is half way between 42 and 48. From 5 to 14 is 1 in.
V to B is 3 in. From 14 to 4 is same distance as to 12.
breast and 50 waist, the distance from 13 to X is in. ^ Shape armhole as shown by illustration from E
Rule a line from X to Z. to P.
From L to is ^ waist measure. Shape front of armhole as shown by solid lines
From to 12 is ^ for each inch
in. waist meas- Y to 16 and taking out as much
of illustration from
ure exceeds breast measure, in this case being 48 more in armhole as distance from P to 16.
breast and 50 waist, the distance from to 12 is % in-
Shape from 18 to J.
2 to Q is 1/6 breast measure.
Place pocket and cut same open and lay a plait at
Shape as shown by dotted lines from Q to I and
point 10 as much as to make opening between 3
12.
and 9, J/g
in. for each inch waist measure is over nor-
Square down from 12.
mal ; in this instance waist measure exceeds normal
Add from I to 15 as much as is necessary to get
a good shaped front, or an average of in. for each
by 6 in., therefore the distance from 3 to 9 is % in.
J/^
From M to 11 is J/^ in. for every inch waist meas- Shape from 6 to J.
ure exceeds normal. In this case waist measure is Extend button stand of }i in. as shown by dotted
6 in. over normal, consequently the distance from M line of front according to illustration to right side
to 11 is J4 in. and finish as represented.
Vest for Stout Figure
S9
Trouble Breasted Vest With Separate Lapel. Also Full
Bress Vest With Small Waisted Effect
Measures a^s ^ollo^vs:
To Draft
All systematical points are oJDtained in same man- row at the waist and retaining the width over the
in front part, which, when seamed up, will eliminate In other details the opening remains the same as
the distance from 9 to 0, making the front part nar- in resrulation draft.
Square forward and back from 15 through 8. Shape as shown in illustration from 8 to 0, 14 to
vest. as while system remains the same for all vests, subject
Measure for whatever opening is desired plus 1 to variations which will be given hereafter, various
in. from 2 down and shape as shown by dash line and fronts are only additions and deductions according to
full dress vest is completed. the |iurposc for which the vest may be designed.
90
Double Breasted Vest With Separate Lapel. Full Dress
Vest With Small Waisted Effect
Variations
7^>>
^foy^tnp' / Qi-ecl
Diagram F. Illustrates variations for stoopingand erect. Solid lines show normal. Dash lines
illustrate stooping, and dotted lines illustrate erect. Point H is half way betweenW and B.
Stooping
Stipulate variations of }i in., >4 in or % in. from Square out from 10 by dash line finding point P.
B to 8.
Draw a line from 8 through H 18 is found by sweeping back from P as in regu-
and out as shown
lar draft.
by dash line.
Square up by same line from H, G and W and 8. Shape back, armhole, shoulder and opening as
8 to 10 is 1/3 breast measure, plus 3 in. shown by dash line and stooping is finished.
Erect
Stipulate degrees of variation of 1,4 in., yi in. Square out from point 11 by dotted line, finding
or % from B to 9.
in. point M.
Draw a line from 9 through H and out as shown 19 is found in regular manner by sweeping back
by dotted line. from M.
Square up by dotted line from \V, G, H and 9. Shape back, armhole, shoulders and opening as
9 to 11 is i/j breast measure, plus 3 in. shown by dotted line, and erect is finished.
92
Variations
DIACC.
Diagram G. Illustrates large and small blades. moves in either direction as the front of scye is moved.
Solid lines illustrate normal ; dash lines show large For example
blade, and dotted lines illustrate small blade. From H to 6 is same distance as G to 8, and
Stipulate degree of variation of J4 in., /^ in. or from H to 5 is same distance as G to 7.
^ in., varying from point G. Shape arnihole, shoulder and opening as shown
G to 7 is for large blade and G to 8 is for small by dash line for large blade.
For Sloping
Stipulate degree of variation by ^ in,, lA in. or Y to 10 same distance as E to L.
is
Diagram J.
Illustrates long and short neck.
}i in. for long neck from A to 5, and X to D. Square out from 6 and shape top of back, front
and shoulder as shown by dash line for short neck.
Square out from 5, and shape top of back, front Be sure to study incline and definition of types
shown by dotted lines for long neck. in connection with these diagrams of variations.
and shoulder as
93
J^otch Collar Vest for Corpulent Figure
To Dra.ft
Square out and down from A. M to 11 is J/2 in., or ]4, in. for each size waist
A to V is y^ breast measure. measure is over proportion.
V to B is 3 in. , 11 to 5 is ^ waist measure.
A to C is waist length. 5 to 4 is 1 in.
B to F is % breast measure. G to P
1/12 breast measure.
is
line from
Rule a to R. W 11 to 10 is lJ-2 in.
Apply blade measure plus 1 in. from B to G. X to Y is same distance as R to E minus 34 in.
Sweep back from 2, using point G as a pivot. Shape as shown in illustration from A to R and R
From 2 to X is 3^ in. to E.
Rule a line from X to G and down. Shape armhole from E to P and Y to P.
G to AA is 1/6 breast measure, or same distance Shape shoulder as shown in illustration from Y
as A to T. to X.
Apply strap measure plus ^ in. from AA to X. Place pocket and make plait in front of pattern
96
N.otch Collar Vest for Corpulent Figure
Clerical Vest
To Dra.ft
All systematical points are obtained in the same which will serve as button stand.
manner as for regular draft. Shape another part as indicated by dash line for
From O to 8 is 1/6 breast measure. side where button holes are to be put in.
Shape as indicated from X to 8. Place one button hole at point X and one op-
Rule a line from where collar is attached down to posite Y and put six button holes at side.
bottom at side as indicated by dotted line. Draw up collar as indicated in diagram and finish
This will give you a separate part for right side as shown.
98
TROUSERS SECTION
The Supreme System for
Breast
101
How to Measure
Trousers
At the start, request the customer to adjust his trousers so that they will fit up in the crotch to
the extent desired. Next, have him stand erect so that the body rests well on the legs with the feet
1. Measure outside seam from point A at the waist to point B at the bottom. See illustration.
2. Measure for inside seam from point C close up in crotch to point F to the heel of the shoe.
See illustration.
3. Measure waist all around the body over the waist band, drawing tape moderately tight.
4. Measure seat all around the body at point D, the most prominent part of the seat.
Request the customer to stand with his heels together while this measurement is taken. This
measurement should be taken moderately easy. For corpulent or stout figures, measurements may be
taken over the abdomen half way between waist and seat.
Measures for knee and bottom are subject to style and individual taste in a great measure.
The regular measures for trousers when entered in the order book should stand as follows:
Having completed measurements, take a careful examination of the customer, and request him to
place his heels together. Place your hand between his legs at knee. If there is a distance between
the legs of two fingers' breadth, he is slightly bow-leg. Breadth of three fingers would indicate that
he was bow-leg in medium degree, and the breadth of the hand would indicate bow-leg in the extreme
degree. Notice whether he bends over or whether he requires a long front to trousers, or whether he
has a large or flat seat ; notice whether he has large or small hip, and whether he spreads his feet out
or keeps them close together when in a natural position. Note all these deformations in the measuring
book so that in drafting a pattern you can use variations to overcome these difficulties. As far as
measurements are concerned, it is possible to take them correctly relative to length and circumference,
but unless the various attitudes and deformations have been stipulated at the time measurements were
taken, thus enabling you to use variations in drafting, the result will be unsatisfactory.
How to Measure Trousers
103
Proportionate Trousers
Bacck PaLrt
Cut out front part. Place on another paper and C to Z is \y2 in.
Sweep forward from S, using point O as a pivot. X to 3 is 34 waist measure plus 1 in. for seams.
Sweep forward from L, using point F as a pivot. X to Y is 1/ seat measure plus 1 in.
Sweep backward from C. using point V as a between 3 and Y minus two seams.
pivot.
Shape as shown in illustration from X to T and
S to W is 1/12 seat measure.
down to VV, from W to U and down to N.
O to U is 1 in.
Shape from Y to 5, Z, V, and down to P.
R to N is 1 in.
arm of same rest on point C, and square up from Shape from Y to 1 and 2 to X.
T to X. Finished.
104
Proportionate Trousers
105
Peg Top Trousers
Waist i^ in.
Seat 38 in.
Bottom 16 in.
To Draft
All systematical points are obtained in tiie same
manner as in proportionate trousers with the excep-
tion that the knee measure is ignored. Excess of size
5 to Z is IJ^ in.
106
Dress Trousers
Produced from the following measures:
Outside scam . . .40 in. Seat 36 in.
6 to S is ^ seat measure.
S to G is ^ in.
BaLck PaLrt
Cut out front part, place same on another paper
and draft back part as follows
Line across from P to N and V to U.
Sweep forward from point S, using point O as
a pivot.
Sweep forward from point L, using point F as
a pivot.
Sweep back from L, using point V as a pivot.
Sweep back from C, using point V as a pivot.
S to W is 1/12 seat measure.
O to U is 1 in.
R to N is 1 in.
C to Z is lYz in.
To Draft
Square out and down from A. Rule a line from H to I.
C to F is J4 seat measure.
Shape as shown in illustration from O to S and
F to 6 is 5/2 in. from Q to T and G.
6 to S is J^ seat measure.
M O and M to V are each y^ knee measure.
to
Back Part
Cut out front part and lay on another paper and 10 to 5 is 1 in.
Sweep back from L, using point V as a pivot. Shape as shown by solid line in illustration from
Sweep back from point C, using point V as a Y to 5, 7, Z, V and down to P.
pivot. Shape from Y to X and from X to 2, 1, T and
S to W is 1/12 seat measure.
down to W.
C to Z is lj4 in.
W
Shape from to U and down to N.
Place corner of square at point T, letting long
Shape from P to N.
arm of same rest on C, and square up from T, finding
If an easier pair of trousers be desired, sweep
point X.
back part backward as shown by dash lines, take off
Apply seat measure from 15 to T and 1 to 4.
4 to 7 is 1^ in.
% in. at X, adding same amount at 14, also adding
Apply measure for abdomen from 9 to 8 and same amount at point 12, and shape as shown by dash
108
Trousers for Corpulent Figure
Variations
The upper part of this diagram ilhistrates the
manner of handhng regular drafted pattern for long
and short front. Solid lines illustrate normal, dash and
dot lines illustrate long front, and dotted lines illustrate
short front.
Long Front
Square back from point T, obtaining normal line.
Stipulate degree of variation by ^4 '". Vz in- or
% in.from T to 9.
Rule a line from 9 to 25.
Square up from 22, finding point 5.
Square back and forth from 5 through L.
From 5 to 2 and 5 to 4 are each >4 waist measure.
Rule a line from 2 to 9.
Shape as shown in illustration from 2 to 9 and
down.
Shape from 4 to 25.
Shape from 4 to 2.
Short Front
Stipulate degree of variation by J4 i"-, V^ in. or
% in. from T to 8.
Rule a line from 8 to 25.
Square up from 24, finding point 7.
Square back and forth from 7 through L.
Apply yi waist measure from 7 to 1 and 7 to 3
each.
Rule a line from 1 to 8.
Shape as shown by dotted lines from 1 to 8, 3 to
25, and 3 to 1.
open trousers.
Closed Trousers
For closed trousers stipulate degree of variation
Large Seat
Stipulate degree of variation by >4 in., ]/> in. or
ing point 7.
W from T to 18.
to 8 is half the distance
Shape as shown in illustration from 7 to 4, 4 to
18, and 18 to 8.
Shape from 8 to U.
Shape as shown by dash and dot line from 7
down.
Flat Seat
Stipulate degree of variation by >-4 in., ^ in. or
19 and 19 to 9.
Shape from 9 to U and Y down.
Bow Leg
Stipulate degree of variation by >4 in. 1 m. or
1>4 in.from I to N for bow leg.
Rule as shown by dotted line from to N. M
N to 11 and N to 12 are each Y^ bottom measure.
Rule as shown by dotted line from to 11.
To Draft
Square out and down from A. Square back from T, finding 15.
D is half way between C and B. Square up from 13, finding point 10.
Bsvck PeiLrt
Cut out front part and lay same on another paper. Apply seat measure plus l}i in. from 8 to 15
Sweep forward from S, using point as a pivot. Apply waist measure in regular manner with
Sweep forward from 12, using point F as a pivot. same additions as shown, and take out a V in back
Sweep back from 12, using point V as a pivot. part, as shown in illustration.
112
Small Hip, Kjiock Kjie^t Short Front, Large Seat
Combinations of Variations
Measures Used
Outside seam 40^4 in- Knee 18 in.
To Draft
Square out and down from A. C to 15 is 1/6 seat measure.
A to B is outside length. Rule a line from T to 15.
J to K
and J to Q are each J4 waist measure.
Shape from G to 0.
Rule a line from F to K. Shape from C to V, and front part with variations
F to T is 1/6 seat measure. stipulated is complete.
Back Part
Cut out front part and lay on another paper. U
to is 1 in.
Sweep forward from L, using point F as a pivot. Apply seat measure plus \j/\ in. from 9 to 15 and
Sweep back from L, using point V as a pivot. T toZ.
Sweep back from C, using point V as a pivot.
Apply waist measure in regular manner.
From T to 8 is 5^ in., amount of change for small
Take out a V in back part, as shown in illustra-
seat.
tion.
Lay corner of square at point 8, letting long arm
of same rest on point C, and square up from 8.
Shape from Y to 1, 2 to X, X to S and W.
To Draft
Square out and down from A. I to R is 1% in.
Rule a line from P to J and out to L. Place your front part on another paper and com-
Back Part
Square up from J. X to 2 is the waist measure plus 1 in.
Sweep back from L, using point N as the pivot. X to Y is the seat measure plus 1 in.
J to X is 1/6 of the seat measure. to the distance between 2 and Y minus two seams.
Rule a line from T to X. Shape back part from Y to Z, V, 5 and 8.
I to 4 and I to 5 are each ^X in. more than one- Shape from Y to 6, 1 to X, X to T and T to W.
third of the knee measure. Shape from W to U, 4 and 7.
one-third of the knee measure. The cuff closes with 4 buttons and holes.
Apply bottom measure of cuff across the front part A button stand is allowed on the back part as
and from 7 to 8 on back part and add to same 1 in. indicated bv dotted line from 5 to 8.
116
Knickers with Cuffs Attached
in
li^lding Breeches
Mea.sures as Follows:
To Draft
Square out and down from A. I to R is 34 small knee measure.
A to B is the rise, or 10 in. J to T is 34 calf measure and G to Y is 34 of
Square out from B. ankle measure.
BeiLck Pevrt
Place the front part on another paper. Apply small knee measure plus 1 in. from S to
Extend line at K. R and R to 5.
E to 2 is ly in.
Take out a ^^ of 1 34 in. in the back at point G and
apply ankle measure plus 134 in. from V to Y, Y to
Shape as indicated from X to 2.
G and V to 8.
Extend the line from M,
Shape as indicated from W to 10, 10 to 4, 4 to 5,
Apply waist measure plus 1 in. from L to M and
5 to 7 and 7 to 8.
X to W.
Cut back part from 4 to R
off the in the manner
Z to 10 is 2 in.
indicated in this diagram and take out 1 in. at the
Apply knee measure plus 1 in. from P to Q anil center line.
119
liiding Breeches
The draft is produced from the following nieas- Seat H m.
tirements Knee 17 in.
To Draft
Square out and down from A. 28 to 11 and 28 to 14 are each 34 of the calf
A to C is the rise, or 9y2 in. measure.
C to E is 2 in. less than ^4 of the inseam measure, I to 5 and I to 6 are each 34 of the ankle meas-
or 14 in.
ure.
C to B is 2y2 in. less than the inseam measure.
E to D is 3 in.
M to 24 is 134 in.
C to F is 1/ of the seat measure, plus 3-2 in. 17 to 20 is 1/6 of the knee measure.
F to S is 3/^ of the seat measure. Shape from L to C, extending 34 in. at C, 20,
S to G is 1/24 of the seat measure. 24, 10 and 9.
H is half way between G and C. In order to have the outside run well toward the
Square up from H. front, the front part is thus reduced, and while the
B to I is same distance as C to H. average amount is given, the exact amount cut off
Rule a line from H to I.
from the fore part would vary a little, according to
J to K is % of the waist measure.
whatever is taken off the front part must be
style
K to Q is J<^
in.
;
M to 12 and Al to 13 are each 34 of the small Extend the waistband from L to K and the front
knee measure. part is completed.
Back Part
Cut out the front part and place same on another 12 to 2i and 11 to 15 are each 1 in.
paper. 5 to R is 134 in.
Square across at knee, small knee, calf and ankle. Apply knee measure plus I34 in. from 18 to 20,
Square up from J. 21 and 27.
Sweep from S to W, using point 18 as the pivot. Apply small knee measure plus I34 in. from 12
Sweep from L to Y, using point 20 as the pivot. to 24, 23 to U and V to 25.
J to X is 1/6 of the seat measure. Apply the calf measure plus 134 in. from 11 to
S to W is 1/12 of the seat measure, plus 3^ in. 10, IS and 16.
Rule a line from T to X. Apply ankle measure plus 13/ in. from 5 to 6,
Apply waist measure plus 1 in. from X to 2. R to 7 and 8 to N.
Apply seat measure plus 1 in. from X to Y. Shape side of back part from Y to Z, 27, 25,
Take out a V at 1 and 4 amounting to the dis-
16 and N.
tance between 2 and Y minus two seams.
Shape from Y to 4, 1 to X, X to T and T to W.
17 to P is 2 in. M to U is % of an inch.
M to V is J^ of an inch.
Shape from W to 21, 23, 15 and R.
120
Hiding Breeches
121
Spring Bottom Trousers
All systematical points for this kind of trousers Suppose measures to be:
To Draft
From I to 6 is 4^^ in. P to N is y2 bottom measure plus 1 in.
122
Broad Falls and Split Falls
Broad Falls
Broad fall trousers are cut the same
bearer.
about 7 or 8 inches.
Pockets are put in the bearer as
indicated.
Split Falls
The lower diagram shows the older
Knee 13 in.
To Draft Calf 13K' i"-
Draw a straight line from A to U.
Ankle 11 in.
Square across from A.
A to U is the length of the gaiter. To Dracft
U to C is 4 in. R is half way between U and C. Rule a line from A to R.
C to B is 4 in. Square across at B, C and U. A to R is the length of the legging.
Square back from R. A to B is 3,'/. in. R to C is 1% in.
C to E is one-fourth of the ankle measure. Square back and forth from A, B, C and R.
Square up line from E to F and G. A to P is one-half the knee measure plus Yi in.
G to P is one-half the measure around the leg B to N is one-half the calf measure plus ^ in.
plus y> in. C to K is one-half the ankle measure plus J^j in.
125
Description of Garments for Officers of the Army
Fvill Dress Coat
For all officers, except Chaplains. —A double-breasted frock coat of dark blue cloth, with standing
collar ; the skirt to extend from one-half to three-quarters the distance from the point of the hip to
the l)end of the knee ; the lining to be black, with pockets on the inside of the skirt.
For general officers the collar will be made of blue black velvet ; the sleeve will have a cuff of blue
black velvet 4 inches wide. For other officers the collar will be made of the same material as the coat,
and the cufTs will simply be a continuation of the material of the sleeves.
For all other officers, shoulder knots of gold wire cord, to be securely fastened to the coat, and to
COLLAR ORNAMENT. — The ornamentation of the collar for the General will be such as he may
prescribe ; for the Lieutenant General, such as he may prescribe after consultation with the General.
For other general officers the collar will be ornamented with a band of oak leaves embroidered in
For all other officers the ornament will consist of two bands of J/2 inch gold wire lace, two vel-
lums, passing all around the collar and parallel with its edge, the upper edge of the upper band being
y^ inch from the edge of the collar, the lower edge of the lower band resting on the collar seam.
The upper band to be brought down parallel to the front edge of the collar and distant 34 inch there-
from, and to be joined to the lower band. The two bands of gold wire lace to be on a ground of silk
or cloth of the color of the facings of the corps, department or arm of the service, with an interval of
not less than J4 inch nor more than V^ inch between the bands.
SLEEVE ORNAMENT. —The ornamentation of the sleeve for the Generals will be such as he
may prescribe ; for the Lieutenant General, such as he may prescribe after consultation with the General.
For other general officers the velvet cuff of the sleeve will be ornamented with a band of oak
leaves embroidered in gold passing around the cuff ; the top of the band of oak leaves to be 1 inch
below the upper edge of the velvet cuff; to be surmounted by two stars for a major general and one
star for a brigadier general, embroidered in silver, each star to have one point up and placed above the
velvet cuff.
For general officers of the staff departments, except the General Staff' Corps, the proper insignia
will be placed 1 inch above the velvet cuff, and the stars, as before, 1 inch above the insignia.
For all other officers the sleeve will be ornamented with a band of Yi inch gold wire lace, two
vellums, passing around the cuff 2^-2 inches from the end of the sleeve ; to be surmounted by the insignia
of rank, indicated by flat gold wire lace Y^ inch in width. The insignia of the corps, department or
arm of service, in gold or silver metal or embroidery will be placed in the center of the open space
under the lace insignia.
BUTTONS. —Two regulation gilt buttons will be placed at the back of the waist, and one regulation
gilt button near the end of each skirt, making four buttons on the back of the coat, for all officers.
Three small regulation gilt buttons will be placed on the cuff at sleeve for general officers only.
For officers of the various grades regulation gilt buttons will be placed on the breast of the coat as
follows
GENERAL. — Two rows, twelve in each row, placed bv fours, the distance between rows being from
8 to 10 inches at the top and from 4 to 5 inches at the bottom ; rows and groups to be symmet-
rically disposed.
121)
U. S. Army Uniforms
127
U. S. Jirmy Uniforms
LIEUTENANT GENERAL. — The same as for the General, except that there will be ten buttons
in each row, the upper and lower groups by three and the middle groups by fours.
—
MAJOR GENERAL. The same as for the General, except that there will be nine buttons in each
row, placed by threes.
BRIGADIER GENERAL.— The same as for the General, except that there will be eight buttons in
COLONEL, LIEUTENANT COLONEL AND MAJOR.— The same as for the General, except
that there will be nine buttons in each row, buttons at equal intervals.
CAPTAIN, FIRST LIEUTENANT, SECOND LIEUTENANT AND ADDITIONAL SECOND
LIEUTENANT. —The same as for a Colonel, except that there will be seven buttons in each row.
FOR THE CHIEF OF ENGINEERS.— The same as that of general ofificers, with the following
exceptions
Piping: A
piping of scarlet velvet >^ inch wide, to be placed along the upper and outer edges of
the lapels, continuing down the edges of the skirt to the bottom, and from top of back flaps in middle
of back to bottom of skirt.
Skirt Facings: To be of scarlet velvet with one row of Yz inch gold two-line vellum thread lace
placed upon white braid, showing 3-32 inch of braid on each side, }4 inch from the outer edge of the
scarlet velvet, following the vertical and horizontal lines, with a regulation gilt button placed in the lower
corner of the scarlet velvet just inside the gold lace.
For all other officers of the Corps of Engineers. —The same as for other officers, with the following
exceptions
Piping: A piping of scarlet cloth yi inch wide, to be placed around the base of neck, the edge
of collar lace along top, and down the front edge of lapel, stopping at the bottom, and from top of
back flap in the middle of the back to the bottom of skirt.
Skirt Facings: To be of scarlet cloth with one row of J/' inch gold wire two-vellum lace placed
upon white braid, showing 3-32 inch of braid on each side, ^4 inch from the outer edge of the scarlet
cloth, following the vertical and horizontal lines, with a regulation gilt button placed in the lower corner
of the scarlet cloth just inside the gold lace.
—
For Chaplains. A black frock coat, without ornamentation, with standing collar, one row of nine
black silk buttons on the breast. Of same length as for other officers.
Dress Coat
—
For general officers. A sack coat of dark blue cloth or serge; three small regulation gilt buttons
will be placed on the cufT at sleeve high rolling collar double breasted, with two rows of regulation gilt
; ;
buttons grouped according to rank, as on the full dress coat the skirt to extend one-third the distance
;
from the point of the hip to the bend of the knee. A slit extending from 2 inches above to 2 inches
below the hip, so as to permit of hooking up of saber. A shoulder strap will be placed on each shoul-
der, adjacent to the seam, and collar ornaments on the collar. Inside pockets.
—
For all other officers. A single-breasted sack coat of dark blue cloth or serge, with standing collar
fastened with two hooks and eyes coat to close with flap containing suitable concealed fastenings
;
slit ;
not exceeding 3 inches for hooking up saber the skirt to extend from one-third to two-thirds the
;
distance
from the point of the hip to the bend of the knee, according to the height of the wearer cut to fit the :
figure easily; a vertical opening at each side of the hip, according to pattern. The coat to be trimmed
with lustrous flat black mohair braid 1^4 inches wide, as follows: Edged all around the bottom, the
front edges, the collar, and for 6 inches upward from the bottom along both side openings of the skirt.
Shoulder straps and collar ornaments will be worn with this garment.
Service Coat
For all officers. —A single-breasted sack coat of olive drab woollen material or khaki-colored cotton
material, made with two outside breast choked-bellows pockets and two outside pockets of same pat-
tern below the waist ;
pockets to be without plaits and covered by flaps, rounded at edges, buttoned by
128
U. S. Army Uniforms
129
a small regulation button. The coat to have falling collar, from 1 to 1;54 inches in width, depending
on the wearer. On each shoulder a loop of the same material as the coat let in at shoulder seam and
reaching from the sleeve seam to the edge of the collar, and buttoning at the upper end with a small
regulation button; loops to be 2 inches wide at the shoulder end and 1 inch wide at the collar end. The
coat to fit closely at the waist and loosely at the chest, at least 5 inches in excess of the chest measure-
ment ; buttoned down the front with five regulation buttons. The skirt to extend one-third the dis-
tance from the point of the hip to the bend of the knee. Sleeves to be without cufTs. All buttons for
this coat to be of dull finish bronze metal.
Collar ornaments will be worn with this garment. The insignia of rank will be placed on the
shoulder loop, near the sleeve seam. Chaplains will wear a plain Latin cross of dull finish bronze metal
in lieu of the insignia of rank.
Officers of the General Staff Corps, except the Chief of Staff, will wear a band of black braid i/S
inch wide on the sleeve of the service coat, the lower edge of the braid 3 inches from the end of the
sleeve.
White Coa.t
—
For all officers. A single-breasted sack coat of white material, with standing collar fastened with
two hooks and eyes, white metal coat to close with a flap containing suitable concealed fastenings. The
;
skirt to extend from one-third to two-thirds the distance from the point of the hip to the bend of the
knee, according to the height of the wearer ; cut to fit the figure easily ; a vertical opening at each
side of the hip, according to pattern. The
trimmed with white flat braid 1J4 inches wide, as
coat to be
follows Edged all around the bottom, the front edges, the collar, and for 6 inches upward from the
:
bottom along both side openings of the skirt. White shoulder loops of the same material as the coat,
let in at shoulder seams, and of the pattern prescribed for the service coat.
Insignia on the collar to be the same as prescribed for the dress coat ; insignia of rank to be placed
on the shoulder loop, as prescribed for the service coat.
OvercoBLt
For all —A
double-breasted ulster of olive drab woolen material, suitably lined, and closing
officers.
by means of five large buttons 45 lines diameter; a standing rolling collar, the "stand" to be not less
than }i nor more than lj4 inches, and the turn down (falling) part not less than 4 nor more than 5
inches in width. Collar in front to be closed by two hooks and eyes; a flap of same material as the
coat, 5 inches in length and 2 inches in width, provided with one buttonhole at each end, made de-
tachable, so as to close the falling part of the collar when worn closed.
A
pocket on each side, placed vertically, lower end of pocket 2 inches below the hip bone, extending
from 8 to 10 inches upward. Over the pockets a flap of same length, rounded at edges and closed by
a small button at middle of flaps. Slits of pockets to be cut through linings, thus permitting the slings
to come through left pocket hole for hooking up of saber. The back to be slit up from the bottom
20 to 25 inches and closed by small buttons under concealed flap, the latter buttoning from right to left.
Coats to extend down the legs from 8 to 10 inches below the knee, according to the height of the
wearer. Sleeves loose, without cuffs or slit. Back straps placed at waist line, let in at the side seams,
and to button together by two large buttons.
A hood of same material as coat, lined with suitable material of same color; made to button around
the neck under the collar by means of five small buttons. Hood to be large enough to cover the head
and cap. When in garrison the hood will ordinarily be worn only at night or in inclement weather.
Under arms, only when prescribed by the commanding officer.
The front corners of the skirt to be provided with buttons or hooks, so that said corners may be
turned back when it is necessary to facilitate marching.
Insignia on Sleeve. — Sleeve insignia of rank as prescribed : in addition thereto the insignia of corps.
U. S. Army Uniforms
131
department, or arm of service, of diill finish bronze metal, will be placed in the middle of the lower
loop 13^ inches above the end of the sleeve.
For general band of lustrous black mohair braid, 1,'4 inches wide,
officers the insignia will consist of a
placed with its lower edge 2^ surmounted by the proper number of stars, 1
inches above end of sleeve ;
inch in diameter, of dull finish bronze metal, placed % inch above the braid the stars to be surmounted ;
by a band of lustrous black mohair braid 3^ inch wide, 34 inch above the stars.
Overcoats for chaplains to be without insignia of rank.
Officers of the General Stafif Corps, except general officers, will wear a band of black mohair braid
% inches wide on the sleeve, the lower edge of braid to be l^A inches above the end of the sleeve, the
lower ends of the prescribed insignia of rank to rest upon the upper edge of this band.
Cacpes
For all officers. —To be of dark blue cloth without braid binding, reaching at least to the tips of the
fingers with the arm dropped at the side, and not below the knee ; with a rolling collar of black velvet
3 inches broad, and closing at the throat with a long loop. It may be worn by all officers when not
on duty with troops under arms. To be lined as follows
For general officers and officers of the Staff Corps and departments. Dark — blue.
For officers of infantry. Light blue. — For officers of artillery. — Scarlet.
For officers of cavalry. Yellow. —
Full Dress Trousers
For general — Of
dark blue cloth, with two stripes of gold wire lace 3^ inch wide with 34
officers.
inch interval between them, mounted upon light weight velvet of color of cuffs and collar of coat and
placed along the outside seam of the trousers. In the case of the Chief of Engineers the interval between
the two stripes shall be scarlet velvet.
For officers holding permanent appointments in the Staff Corps and departments, except Engineers.
Of dark blue cloth, with one stripe of gold wire lace Y^ inch wide along each outside seam.
For —
and infantry. C)f sky blue cloth with stripes 13^ inches wide, welted
officers of cavalry, artillery
at the edges ; the color of the stripes to be that of the facings of the respective corps or arms, except that
for officers of infantry the stripes shall be white.
For all officers of the Corps of Engineers. — Of dark blue cloth, with stripes of scarlet cloth 13/$ inches
in width, with a piping of white cloth 34 inch in width.
For chaplains. — Of plain black or blue black cloth, without stripe, welt or cord.
Dress Trousers
For general officers, officers holding permanent appointments in the Staff Corps and departments, ex-
cept Engineers. —Of dark blue cloth without stripe, welt or cord, except that for the Chief of Artillery the
trousers shall be of blue light cloth with the addition of a stripe of scarlet cloth I3X inches wide.
For all other —The
officers. same as for full dress.
White Trovisers
For all officers. — Of plain white material to match the white coat, without stripe, welt or cord.
Service Trousers
For all officers. — Of olive drab, woolen, or khaki-colored cotton material, to match the coat, without
stripe, welt or cord.
Dress Breeches
For all —Of
same material and with same stripes as dress trousers, cut in the prescribed
officers.
pattern and fastened from the knee down with dark bone buttons of appropriate size or with laces.
Service Breeches
For all officers. — Of olive drab woolen or khaki-colored cotton material, to match the service coat,
132
U. S. Army Uniforms
\:
133
without stripe, welt or cord. To be and above the knees to fit closely below
made loose about the seat ;
the knee, extending to the tops of the shoes, and to be fastened with tapes or laces or buttons. To .
have a re-enforced or saddle piece of the same material on the seat and legs for officers required to be
mounted.
is authorized, and officers are at liberty to wear it or the full dress dismounted uniform
An evening dress coat of dark blue cloth cut on the lines of the civilian dress coat, with the gilt but-
tons of the same number and place as regulation requires the sleeves of this coat to be ornamented for
;
all officers in the same manner as the sleeves of their full dress uniform coats.
A waistcoat of dark blue or white, cut low with full open bosom, three small gilt regulation but-
tons, should be worn with this coat; also full dress trousers by all officers except those of engineers,
cavalry, artillery and infantry, who will wear dark blue trousers without stripes, patent leather shoes and
full dress cap. Shoulder ornaments for general officers will be epaulets or shoulder knots for other ;
officers, except chaplains, shoulder knots. On proper occasions which are not official in character, officers
are authorized to wear civilian evening dress.
Mess Jacket
Officers of the staff corps and departments, the corps of artillery and the regiments of cavalry and
infantry are authorized to adopt a "mess jacket" distinctive of their corps, department or regiment.
To be made of dark blue cloth. Body of jacket to be cut like evening dress coat, to descend to point
of hips, slightly curved to a peak behind and in front; five buttonholes on lapels, three buttons of regu-
lation coat size on each side, placed IJ^ inches from bottom, and spaced 2 to 3j^ inches apart. Sleeves
to be ornamented same as full dress coat. Such further distinctive ornamentation of this jacket as may
be desired by the organizations named is authorized, but when once adopted the "mess jacket" for any
particular organization shall not be changed without authority of the Secretary of War on the recom-
mendation of a majority of the officers interested.
With this jacket will be worn the detachable shoulder knot provided for full dress coat; also vests
of the color of the coat or white.
Commanding officers may in the tropics or in the warm season authorize the white trousers to be
worn with this jacket.
Professors and associate professors of the United States Military Academy holding permanent ap-
pointments as such, will wear the full dress and dress uniforms of officers of the Military Secretary's
Department, omitting the aiguillettes.
J 35
Collar ornaments for enlisted men, of _vellow material similar to those for officers, will be placed on
this coat in the same manner on the dress coat of the officers.
as
Musicians and trumpeters wear the insignia of regiment or corps on
will their coat collars. Band
musicians a lyre, same as worn on cap.
Breast Cord
Cords and tassels of mohair of the color of the corps, department or arm of the service, to be at-
tached to the dress coat, beginning at the button of the left shoulder loop, one cord passing in rear of the
neck and the other in front, under the first button of the coat, crossing under the right shoulder loop
and brought together under the right arm with a slide, then passing across the breast between the third
and fourth buttons and attached to the left shoulder button.
Service Coat
A sack coat of olive drab woolen material or khaki-colored cotton material conforming in design and
cut to the service coat for officers. The same collar ornaments will be placed on this coat as on the
dress coat, except that all buttons and metal ornaments will be of dull finish bronze metal.
White Coat
A sack coat of bleached cotton duck. Collar ornaments to be the same as prescribed for the dress
coat.
Fatigue Coat
For ail enlisted men. — Of brown cotton duck.
Overcoats
For all enlisted men. —Of olive drab woolen material, general design and cut to be that of the officers'
overcoat, the buttons to be of dull finish bronze metal.
Dress Trousers
For all enlisted men. — (_)f sky blue kersey.
Army service detachment of the United States Military Academy, West Point, N. Y. — Buft'.
All noncommissioned officers above the rank of corporal will wear stripes 1>4 inches in width, in-
cluding pipings. All corporals will wear stripes ^^ inch wide, including pipings.
Musicians and trumpeters will wear two stripes, each ;/ inch wide.
White Trousers
Of bleached ciittun duck, without stripes.
Service Breeches
of drab woolen or khaki-colored cotton material, to match the service coat. To be worn with-
olive
out stripes; to be made loose above the knee, fitting closely below the knee, extending to the tops of
the shoes, and fastened with tapes or laces to be worn with shoes and leggings.
;
For mounted use, to have a reinforced or saddle piece of the same material on seat and legs. The
general design of the breeches will conform to the pattern prescribed for officers.
DIAGRAMS for
UNIFORMS.
LIVERY and
SPORTING
COSTUMES
137
Frock Uniform for U. S, Army Officers, Mounted and
Unmounted
Proportionate draft subject to height, variations Measurements as Follows:
and supplementary measurements. Note that in mih- Natural waist 1/ ni.
^ ^
-r- ,, , 1 ii
^ _ Full length ii in.
"
blade K' 'i- smaller, and waist measure is 1 in. less Breast 36 in.
To Draft
Square out and down from A. Shape as shown in illustration from A to R, R to
Square down from U and rule a line from \' to U. Rule a line from 28 to 25.
U to 8 is 1/6 breast measure. Shape bottom of lapel as shown in illustration, and
Square down from 8. place buttons and l)uttonholes as shown.
K to 23 is 1/6 breast measure. Lav up a standing collar in connection with this
K to 11 is J/2 in. diagram as per illustration, and be sure it is in length
Add }i in. to top of back at point A. the same distance as from A to R and X to P.
138
Frock Uniform for U, S. Jlrmy Officers^ Mounted and
Unmounted
Skirt
10 to 14 is 1/3 seat measure. From 10 to 17 is same distance as from D to E.
14 to 15 is 1/12 seat measure. 12 to 29 is same distance as from 10 to 17 minus
10 to 12 is same distance as 24 to 20, 21 to 35, 1 in.
and 27 to 25. Shape top of skirt, front and bottom, as well as
Square down from 12 bv fashionable waist line. back of same, and finish as shown.
139
Military Blouse
Measures as Follows:
Waist length 17 in. Breast 36 in.
To Draft
Square out and down from A. Rule a line from B to 23.
A to \' is 1/3 breast measure. C to 21 is 1 in.
Square out from X by balance line. Apply seat measure on 2/3 of divisions plus IjX
X to O is 1/6 breast measure. in.from 10 to 14 and U to 12.
L to is 54 waist measure. Shape as shown in illustration from 23 to 3 and 12,
Square down from 0. from 19 to M
and 17, and from 19, 8 to 18.
Shape as shown in illustration from O to I and 0. Sweep back from point 5, using 23 as a pivot.
Rule a line from X to Z. Sweep forward from 6, using point X as a pivot.
K to 24 is K' i"- Shape as shown in illustration from 6 to 17 and 18
Shape as shown in illustration from A to R, R to to 16.
24 and out. Lay up standing collar l}^ in. wide, as shown in
24 to 11 is ^ in. illustration.
Mess Jacket
Take out V of Ij/^ in. from P to 15. Shape lapel and front from 15 to 13, and 13 to 21.
From 15 to 13 is ZjA in. Cut away as shown by dash line, and mess jacket
From to 21 is 3^4 in. is finished.
Crease line is shown bv dot and dash line.
140
Military Blouse
Mess Jacket
Military Overcoat — U. J. Army
Measures as Follows
Waist length 18 in. Waist 36 in.
To DraLft
ner as in double-breasted box overcoat, with the ex- Square out from 30.
ception of collar and V taken out in front.
20 to 21 is 3^ in.
CoUacr
28 to 27 is 1 in. Make width of collar from 2i to 24 4 in., and
Shape as shown in illustration from 27 to P. same width in back.
Shape as shown in illustration from 27 to 23, and Place belt on back with two buttons and finish
142
— U.
Military Overcoat J. Army
General Officer's Dress Uniform
Measures Used as Follows:
Waist length 17^ in. Breast 38 in.
To Draft
All systematical points are obtained in the same Square across from P by line W-1.
manner as for regular military blouse. 21 to 15 is same distance as P to 21.
The difference between this garment and the
15 to 13 is 4 in.
military blouse is that this is double breasted, and
25 to 26 is 3 in.
front is obtained in the following manner
O 1/6 breast measure.
to 25 is
Square down from waist line through 26 and rule
Place corner of square at 25, level same with a line from 13 to 26.
point and square up.
Collar
From P to 27 is same distance as A to R and 27 to 29 is 3 in.
X to P. P to 30 is 3 in.
Ui
General Officer's Dress Uniform
Circular and Military Capes
111 view of the fact that it is often required tiiat the shoulder and down to side, as well as back length
the cape fall to a certain position on the hand or arm, from back of neck down, and front length from throat
it is advisable to take measurements from the neck over down.
Breast 36 in. From neck over shoulder and down at side. . .ZSyi in.
To Dratft
Milita.ry Ca.pe
Is produced from same pattern by cutting it open tape shall be basted on the neck to remain there until
from R to E and plait as shown by illustration from E the cape is ready for the collar. Capes lend themselves
to J and U, leaving opening as shown by dotted lines to various styles and lengths, the accompanying drafts
from R to K, reducing width at bottom and front. forming the groundwork. These are intended for style
Dot and dash lines illustrate military cape, as shown of opening through or facing with fly or without but-
by points A, R, E, K, L, V, U and D. ton stand. Some are made with lapels and collars to
It will be noticed that cutting a cape is a very turn down and others in military style as shown in
simple matter. They must be properly balanced to illustration in regular cape. Any style of collar de-
allow the fulness to fall in graceful folds. All of these sired can be attached to these capes for the reason
garments are to be made before the collar is put on. that the neckhole of the cape is the same shape as
Neck being on the bias of the cloth necessitates that a regular coat.
146
Circular and Military Capes
147
Capes
Regular Cape
Cape is cut with seams over the sliuulders and Back length 32 in.
To Draft
Back Part
Square out and down from A. Square out from H.
A to C is 1/6 breast measure. H to I is ;^ breast measure.
A to E is full length of cape. Rule a line from R to G.
A to T is 1/6 breast measiu'e. Rule a line from G to I and down.
T to R is }i in. Sweep forward from point E, using point R as a
Square out from C. pivot, finding" point J.
L to N is iy2 in.
In the production of the Clerical, Chaplain and are exactly the same, while they differ in front as re-
Knight Templar coats the same diagrams are used, Sfards buttons.
Measurements as Follows:
Natural waist 17 in. ner as for regular frock coat. The only difference is
Fashionable waist 18>1 in. that' these garments have straight front and button up
Full length 40 m.
^^ ^^^^ throat in military style, and have standing col-
same.
All systematical points are obtained in same man-
l.iO
Regular Capes
Clerical and I^night Templar Coat
Full length for under coat 7)7 in. Seat . .39 in.
To Dracft
All systematical points are obtained in the same From 9 to 12 is 3 in.
manner as for regular frock coat, subject to height, Shape lapel and skirt as shown by solid lines.
variations and measurements according to stipulations Collar has turn down produced as follows
efifect,
Extend a button stand from I .out to dash line of Shape as shown in illustration from 22 to P and
1J4 in-, and same amount from 22 ^to dash line. 34 to P.
Shape as shown by dash line 33 to 22 is 3J/' in.
152
Single and Double Breasted Coachman' s Coat
153
Footman s Coat
I /
Mea-surements as Follows;
Natural waist 17 in. Breast 36 ni.
To Dra.ft
All systematical points are obtained in the same Place broad flaps at side extending down from
manner as for regular frock coat, subject to height, the front of skirt.
variations and measurements as shown ni illustrations These flaps should be shaped as indicated in this
While the edges meet there is no button stand There should be six buttons on each side of the
extended to front, and this garment is closely on the front, as shown in diagram.
It has a side edge at the back fold, and this same manner as regular frock coat, subject to sys-
side edge should lie -/;; of the leni^th of the skirt. tematical reeulations for fit, etc.
154
Footman' s Coat
lo5
Automobile Coat
Length 49 in. with the exception of a V taken out at front, and the
16 to 18 is 4 in.
21 to 20 is 3^ in.
and 18.
Coll&.r
29 to 28 is 1 in.
Produced on the style of the Norfolk, but with tration. These straps are sewed on the goods. The
turn down collar and military closing at throat. In pattern is cut regular and these trimmings are laid
drafting a coat of this kind, always add two sizes to on over pattern.
regular measures. For example: If circumference In producing the collar, the distance from P to
is breast 36, waist 32, seat 2>7. the draft should be 20 is same as from A to R and X to P.
38, 34 and 39, so as to make the garment easier. 20 to 21 is 114 in.
All systematical points are obtained in the same Shape as shown in illustration from 21 to P.
manner as in regular sack coat. Variations and Shape from 20 to P. 20 to 19 is 3 in.
measurements are to be allowed as shown in directions P to 18 is 3 in. Shape from 21 to 20 and 19.
in Variations and Measurements. The difference, be- Shape from 19 to 18. Shape from 18 to P.
sides the excess, is that nothing is taken out at point Place at side patch pockets 8 in. in length, with
C. For yoke and straps, as well as belt, follow illus- flap and button, as shown in illustration.
158
Policemen's Blouse
16-
159
Policemen s Coat
Measures as Follows:
Natural waist 17 in.
Breast 40 in.
Waist 38 in.
Seat 41 in.
To Draft
All systematical points are obtained in the same
manner as for regnlar frock coat, with the exception
29 to 12 is 3 in.
12 to 9 is VY in.
'
Shape as shown by illustration from P to I and 26
to I.
26 to 25 is iy^ in.
29 to 27 is 314 in.
161
N o rfo I k
Mea-sures a.s Follows:
32 in.
To Dracft
ner as in regular draft for sack coat, with the excep- Spread pattern 4 in. from 18 to 19 and 17 to 20,
tion that there is nothing taken out at point C, and the being 2 in. for box plait; the other inch on each side is
Line up as shown in illustration from 4 to 7 and The back will then assume position shown by
Line up from 20 to 25. The same thing is done with fore part, spreading
to 24 is 1/6 breast measure. the pattern as cut 4 in. from 21 to 23, 22 to 24.
Line up from 25 to 24. The fore part will then assume the position as
18 is half way between 4 and 7. shown by dotted lines.
17 is half way between 20 and 25. Point 23 is brought back to 21 and 24 to 22,
21 is half way between 9 and L which creates a box plait of 2 in.
From 24 to 22 is same distance as from I to 21. Point 19 is brought back to 18 and 20 to 17,
Cut patterns apart as follows : which creates a box plait on back from 18 to 17.
From 20 to 25. Place the pockets as shown, and also belt, cover-
162
Norfolk Jacket
163
Golf Coat
L to O is
J/ waist measure.
Shape from Q to I, O and down.
Q to P1/6 breast measure.
is
F to 2 is 3^ in.
C to V is ]/ in.
at point 7.
This finishes the regular draft of sack coat.
To produce the golf or stroke coat do as follows
Place the breast pocket and the lower pocket and cut
out pattern as shown by heavy lines. Plait a piece
of thirteen plaits of 1 in. each and place under pat-
To DraLft tern as shown. Mark around same and this will be
Square out and down from A. the piece to insert for the plaiting. Also place the
A to B is %
breast measure plus 3 in.
belt the same width at back as shown. Give a little
B to H is 1-. breast measure plus lYz in. The breast pocket has a flap to go in and out.
164
Golf Coat
16.-)
llidlng Coat
Measurements as Follo^vs;
Waist length 17j-j in. sufficient space for ammunition and other things to
Length to seat 23^4 ™- be carried in the pockets. It is cut on the principles
Full length 29 in. of the straight front sack, and has a turn down collar
Breast 36 in. and buttons to the throat in military style.
Waist 32 in. This coat is cut with a straight back and shaped
Seat 37 in. only a little at the sides. As indicated by dotted lines,
All systematical points are obtained in the same a protector is put on the shoulder so as to give more
manner as for regular sack coat, subject to height, service in wear. The pockets are generally patch,
variations and measurements, as shown in directions in and finished with flaps as indicated in draft, and are
diagrams illustrating same, but in producing a coat of unusually large. The breast pocket is about 63^ in.
this kind it is advisable to cut it 2 or 3 sizes larger wide and about 8 in. deep the side pockets are 10 in.
;
than called for by the measurements, so as to allow wide and as deep as the length of the coat will allow.
167
INDIVIDUALITY SECTION
Showing Construction of
160
IndiuLduality
Individuality to the tailor means the process of putting into his garments the different touches
No two men are cast in the same mold. Each one has some small distinction which makes him
This is personality.
It is personality which makes a man liked or disliked, a success or a failure. A man who has
The tailor who is an artistic tailor makes it his business to emphasize this personality as much
as possible. This is the difference between custom-made and ready-made clothing.
A garment which is cut and made so as to suit one man as well as another tends to bring a man
down to the common level, and takes away that attraction which is the birthright of every man.
To increase a man's personality is to make him noticed and increase his chances of success. It
is a cutter's duty to study each customer's build, attitude, character, and even his business, to be able
to produce clothes which shall harmonize with and express his personality.
Progressive cutters should cultivate individuality as well as style in the garments, for, while any
average man can learn system without trouble, the true Sartorial Artist is not satisfied with the
scientific part alone. He who can, by the use of graceful lines and curves, incorporate individuality
with system, and produce garments which heighten the customer's personality and are becoming to
the individual, has solved the problem, and is in fact, as well as name, an artistic tailor.
Individuality is the strongest point today for the custom tailor. The ready-made manufacturer
may obtain the best patterns in the world and work out the most complete system for his workmen,
but for him to produce personal clothes for the individual customer is an impossibility. When a model
has been graded, hundreds, and perhaps thousands of garments must be made from it, and these
clothes must fit hundreds or thousands of men of varying personality, with only the difference in the
height and size to distinguish one from another. The result is that the ready-made manufacturers
While I admit that it is possible for them to sometimes produce fitting, and even exaggerated, gar-
ments, they can not produce individuality to the extent that their garments will express the person-
The more study the cutter gives to the producing of individuality and style, the better will be the
result of his work. The merchant tailoring cutter has an opportunity to display his resources because
he knows his customer's peculiarities, because he prepares a special pattern for each individual cus-
tomer, and because the cloth is cut and made specially from these patterns.
For the purpose of illustrating to the student what is meant by INDIVIDUALITY and how to
produce it, I have inserted in this section a number of drafts pertaining to individual garments, as
INDIVIDUALITY can best be expressed by variations in the style of a garment, as, an individual
lapel or a certain shoulder, or a particular shape of collar, or the line or curves or the corners, etc.
In the diagrams illustrating INDIVIDUALITY, it will be well to study the various lines and
curves, also the different positions of seams, dashes, vents, etc. Exaggeration is a valuable aid to
special study should be given the different patterns of woolens which suit each type of man, so that
each customer will receive such cloth as suits his own personality. It should be becoming to his
complexion, and the style and weave should be appropriate to his build, height, weight, age and occu-
pation, so as to prevent, for instance, the possibility of making a suit of Scotch plaid for a man who is
only 5 feet 4 inches in height and weighs 225 pounds, or of making a small stripe or a fine silky mix-
While it is true that the customer usually selects his own cloth, it is the duty of the merchant
tailor and cutter to advise him whether his selection is right or wrong, and whether it is becoming to
him. Personal experience has demonstrated that a customer will often fancy a piece of cloth which
would be utterly unsuitable for him. Unless he is advised differently, he will, after the garment is
finished, see his mistake, and blame the tailor for an unbecoming garment. Therefore, it is advisable
to familiarize yourself with what is appropriate and becoming to various types of men in materials, as
In connection with the diagrams illustrating INDIVIDUALITY, study also the making of can-
vases, how to make a try-on, how to try on, and the tailoring part thoroughly, as it matters not how
good a pattern you produce nor how much style and individuality you incorporate in your patterns,
manipulations of patterns, and lines and curves for individuality, you have enough knowledge of prac-
tical tailoring to direct your workmen so that you can obtain what you desire. If not, the result will
be unsatisfactory. See the article on "How to Instruct the Maker," and study to understand the
reasons why it is essential to make such clothes as not only please the customer, but are also a credit
to yourself.
171
Double Breasted Outing Sack Coat
Measures as Follows :
Breast 38 in.
Waist 34 in
Seat 39 in.
To Dracft
All systematical points obtained in regular man-
ner, subject to height, circumference, variations,
measurements and exaggeration.
The special feature jf this garment is the V
taken out in the crease line of 1J4 'n. from point
1 to point 9, giving an oval shape to the crease of
apel.
Also attention is called to the shape of the patch
pockets, position of same and shape of lapel.
Extension of button stand from front line is 4
in. all the way down.
173
One Button Novelty Sack Coat
^5
Measures as Follows.
Waist length 17>^ in. Breast 36 in.
To Draft
All systematical points are obtained in the regular crease line and are scooped out on the outside edge.
manner, subject to height, circumference, variations, Take out a V of 1^4 in. at point P.
Shape as shown in illustration from Y to X. In all other details the garment is exactly the
The lapels are long and have the oval effect on same as regulation.
174
One Button J^ovelty Sack Coat
175
Three Button Novelty Sack Coat
Breast 36 in.
To DraLft
All systematical points are obtained in regular Take out a \^ in gorge of Ij^ in., thereby obtani-
manner, including exaggeration, and subject to height, ing oval effect of lapel.
From 4 to Y is Yx in.
Take out a V in side and stretch lower part of
Shape shoulder of back part as shown in illustra-
V as shown by dashes in illustration, and shrink in
tion from R to S.
upper part of V, thereby producing chest in the coat.
Shape shoulder of front part as shown in illus-
Shape lapel, front and bottom, as shown in illus-
tration from Y to X.
tration.
From L to is J/2 waist measure.
Re sure to study lines and curves of this garment.
Apply regular waist measure plus 3j^ in. from
3 to V and to 9.
176
Three Button Movelty Sack Coat
177
Three Button Hovelty Sack Coat
Measures as Follows:
Waist length 17>2 in. Breast 38 in.
To seat 23^ in. Waist 34 {„'
Full length 29>^ in. Seat ...2,9 m.
To Draft
All systematical points are obtained in the regu- V is stretched and upper part is held in so as to pro-
lar manner, subject to height, circumference, varia-
(]^,(-e ^^e chesty effect.
tions, measurements and exaggeration.
Special attention should be given to the shapes
The special features of this garment are the shape
of the lapel, and welt pockets (which are made to har- and curves of lapels, front and bottom.
monize with the hollowed out lapel) ; front and bottom. Also note that a V is taken out in gorge, which
A V is taken out in the side, and lower part of produces the oval effect to the crease line of lapel.
178
Manipulation of Front for Corpulent or Stout Figure
In sack or overcoat for corpulent or stout figures making the opening between 2 and 3 ]4, in. for every
there is always a surplus length of edge below the inch subject measures more than normal at waist. The
abdomen. This can be remedied as shown in illustra- dotted lines at side and bottom illustrate the shape of
tion by making a cut from center of armhole down to side and bottom after this operation is performed. In
pocket from 1 to 2, and another cut in pocket from 3 cutting cloth cut as per dotted lines at side and bottom
to A. Fold surplus over according to illustration at 4, and take out goods in V from 1 to 2 and 3 to 2.
Manipulation of Sack Coat Pattern
This illustration shows how to obtain a square fit, and one at the back end of pocket and another at
effect in shoulders ; also how to obtain a chesty effect front end of pocket, as shown in illustration. Add to
from a regular pattern. Besides these it also shows spring of front part as much as is taken out in V at
how to obtain a double breasted front. back end of pocket. In making, hold the back a trifle
After having drafted pattern according to pro- full to the front part at side. Draw in the back a
portions, height, circumference, variations and meas- little before you sew in the sleeve and hold the back
urements, proceed as follows for square shoulders full to shoulder. Also, hold in the front of armhole
Raise shoulder seam of back 34 i"- Forward slightly. This will give a smooth fitting back and
front shoulder ]/?, in. and shape as per solid line, as chesty effect.
(lotted lines indicate the regularly drafted pattern. For double breasted note dash lines and have
In making, stretch the shoulder a trifle where shaded. buttons lj4 in. farther apart at chest than at waist.
This will produce the square effect of shoulders. This will further increase the chesty appearance of the
For chesty effect take out a V in side for closer garment.
ISO
Flaring of Overcoat
This
diagram explains itself, therefore an ex- Spread the back
planation would hardly be necessary. at bottom about V/, inches and
the front about 2 inches.
Make a slash from the bottom 'of theback up to
about V/> inches above the Place this pattern upon
breast line and to arm- another paper and mark
hole.
off. and you will have an overcoat
Make that spreads well
a slash in the front part,
extending about at the bottom without changing the
Vz mches above the breast balance of the
1 line and to the armhole.
coat.
181
Novelty Top Coat
Mea.sures as Follows:
Waist length 18 in. Waist 36 in.
To Dra^ft
All systematical points are obtained in regular part and the side seam of the back part together and
manner, subject to height, circumference, variations, reduce same two seams.
measurements and eyaggeration.
The armhole, shoulder, neckhole, front and bot-
The special feature of this garment is that it is
tom will present the appearance of the dotted lines.
produced without side seams.
After having drafted pattern in regular vv^ay and Cut the front and back part in one piece and the
having cut it out, paste the side seam of the front result will be a top coat without side seams.
182
J\louelty Top Coat
183
Single Breasted Box Overcoat
Measures as Follows:
Waist length 18 in.
Breast 40 in.
Waist 36 in.
Seat 41 in.
To Draft
All systematical points are obtained in the regu- sleeve is attached to armhole, and its relation to the
The special feature of this garment is the oval The sides are slightly shaped. This diagram is
efTect of lapel and hollowed out outside edge of same. placed in this volume especially for its outlines.
The dotted lines illustrate the manner in which Therefore, study the lines and shape of same.
Single Breasted Box Qvercoat
185
Shell for Fur Coat
Measures as Follows:
Waist length 18 in. Waist 38 in.
To IDroLft
AH systematical points are obtained in the regular Add a button stand of 5 in. all the way down the
height, circumference and measurements. Shape collar and lapel as shown in illustration,
The difference is as follows: and with these few changes, including depth of scye
Make depth of scye J4 in. lower than proportions and exaggerations, you will have a good shell for a
or measures call for. fur coat.
186
Shell for Fur Coat
Manipulation of Overcoat Pattern
This illustration shows manner of obtaining a flar- reshape side as shown by solid line. Insert a wedge
ing effect at the bottom of overcoat as well as a chesty in opening from armhole down to the pocket. This
effect of same. Having produced a pattern from reg- will give the flare at the bottom.
down to the pocket. Plait goods from the pocket For double breasted space buttons IjX in. wider
down to the bottom to the extent you wish the coat to over chest than at waist. Remember, )'0u use an ordi-
flare. This will leave an opening from armhole down nary pattern and these manipulations are made on the
to the pocket. Lay the regular pattern on again and cloth.
Manipulation of Overcoat Pattern
Two Button Novelty Frock Coat
r ^
Measures as Follou's:
To Draft
All systematical points are obtained in the regular one being in the waist seam and the other 5 in. above.
manner, subject to height, circumference, variations By making two slashes in the skirt and spreading
and measurements. same 2 in. each slash, a flaring effect will be given.
The special feature of this garment is the flar- Width of side body at waist is J4 waist measure
ing skirt, length of lapel and narrow side body at the minus i/i in.
190
Two Button Novelty Frock Coat
191
Novelty One Button Frock Coat
Measures as Follows:
Natural waist 1 7 in. Breast 36 in.
To Draft
All systematical points are obtained in the regular Width of side body at waist is 34 waist measure
manner, subject to height, circumference, variations minus ^ in.
The special features of this garment are the low chesty effect.
opening and long oval lapel with scooped out effect on The run of the front will allow vest to be shown
outside edge of same and pockets at side which are when finished.
X92
Novelty One Button Frock Coat
193
Three Button Alooelty Frock Coat
Measures as Follows:
Natural waist . 1/ in. Breast 38 in.
To Draft
All systematical points are obtained in regular The side body is narrow, obtained by % waist
manner, subject to height, circumference, variations, !>ieasure minus y^ in. Special attention should be
measurements and exaggeration. The special feature given to the run of the front, as well as that of the
of this garment is the chesty effect produced from bottom, also shape of flaps. See they are hollowed
two Vs being taken out the front part from waist out as shown in illustration so as to conform with the
seam up, as shown in illustration. hollowed out lapel. The breast pocket, vi'hile placed
The long oval lapel is obtained by taking out a on slant, also has the same oval shape so as to con-
Take out a V at front end of flaj) of ^j, in. and Too much study cannot be given to the lines,
take out Yz in. V on side of front part running up shapes and curves of the various parts of a garment
191
Three Button Movelty Frock Coat
195
Double Breasted Novelty Frock Coat
Measures as Follows:
Natural waist 17 in. Breast 38 in.
To Draft
All systematical points are obtained in regular The illustration shows flat braided edges and lap-
manner, subject to height, circumference, variations, els are silk faced to notch.
and measurements, as shown in system. The front closes with 2 buttons and there are two
The special feature of this garment is the narrow button holes on lapel.
side body, the width of which is ^ of waist measure Width of lapel at bottom is 2j/2 in. and where the
minus ^ in. top button hole is placed it is 3^-2 in. wide.
The special width of skirt is obtained by using Special attention should be paid to the lines and
14, seat measure from U to 17 and hollowing top of curves of this draft.
skirt seam.
Double Breasted Novelty Frock Coat
197
Novelty Full Dress Coat
Measures as Follows:
Natural waist 17 in. Breast 36 in.
To Draft
All systematical ])oints are obtained in the same so as to obtain slickness in side and length in front
manner as for regular full dress coat, subject to height, part, for seam necessary to join front part and skirt.
circumference, variations and measurements. Side body is narrow, and obtained by 34 waist
also one in skirt. ( See point 10). Special study should be given to the lines and
198
J\lovelty Full Dress Coat
199
Novelty Double Breasted }iewmarket Coat
Measures as Follows:
Natural waist 17 in. Breast 40 in.
To Draft
AH systematical points are obtained in the usual from L to O. ( See distance between squared down
This draft may be subjected to height and meas- Also, take out another V in side of front part, as
market is as follows
waist.
No seam in middle of back.
From P to 26 is 2^ in.
Width of back from V to 8 is j5/^ breast measure.
Shape lapel and front as shown by illustration.
Width of side body is Y\ waist measure minus
% inch. The front part and skirt are cut in one piece at
N to W is 1/6 breast measure plus li/. in. front. After laying up regular skirt make four
The V taken out at button stand is the same slashes in same as per dotted lines and spread each
line and the line obtained by applying waist measure In all other details the diagram explains itself.
200
Movelty Double Breasted Newmarket Coat
J -L. s_
201
Collars and Lapels
Different Styles of Makeup of Sleeves
Collars
and
Lapels
Different Styles
of Makeup
of Sleeves
203
Flaring of Skirt
204
Vests
205
Novelty Vest
Measures as Follows:
Waist length 17 in. Opening 16 in.
To Draft
AH systematical points are obtained in regular Special attention should be given to placing the
and measurements. This diagram has been specially inserted with the
view of showing a pattern of vest front suitable for
The special feature of this vest is the shaping of
fancy material, such as brocaded velvet or novelties,
the opening, front and bottom.
and while the edges in this instance are braided, it is
There is only one pocket at each side and these not necessary to have them so, provided the ma-
pockets have flaps. terial would make up a good edge without braiding.
206
Double Breasted Vest
Measures as Follows:
Waist length 17 in. Opening 15 in.
To Dra.ft
All systematical points are obtained in the regu- The buttons are 7 in. apart at top and i]^ in.
It will be noted that the crease line of opening tion, it is possible to obtain not only a chestv efifect, but
is produced with oval effect and the outside edge ot also a closer opening without the aid of too much hold-
lapel is absolutely straight. ing in with the stay tape. .
•
207
Single Breasted Novelty Vest
Measures as Follo\vs:
To DraLft
All systematical points are obtained in the regular The front has one pocket on each side with flaps.
manner, subject to height, circumference, variations A V is taken out in the front part from the bot-
The special feature of this vest is that the opening By careful study of this diagram and noting the
is produced with a turn down lapel and standing col- way the opening is made the student will be able
Measures as Follows:
Waist length 17 in. Opening 16 in.
To Draft
All systematical points are obtained in the regular Flaps shaped as shown in illustration.
manner, subject to height, circumference, variation A V is taken out in front part so as to give
and measurement. smoothness to the waist and a chesty effect.
The special feature of this vest is the artistic
Special attention should be given to the oval ef-
shape of collar, front and bottom of front part.
fect of opening, shape of collar, front and bottom, as
This vest front closes with four buttons and but-
ton holes, and has one pocket on each side of front effects and lines of this character should be used by
2oy
Full Dress Vest
Measures as Follows:
Waist length 17 in. Opening 21 in.
To Dra^ft
All systematical points are obtained in regular vest, and the V in front part taken out which gives
210
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Cloth Cutting
While the systems published are numerous, the authors seem to forget that besides the production
of patterns there is another important part of tailoring, viz. : Lay-outs and cloth cutting. Much time
and material has been wasted in gaining this knowledge, and realizing this fact, the author of this
volume therefore places before the student a few layouts so as to give him a good start in cloth cut-
ting, as well as in the placing of outlets, pockets, buttons, etc., as shown in illustrations of layouts. In
this connection we have also illustrated the necessary fittings, such as facings, flaps, facings for pockets,
collars, etc. Careful study of the illustrations and trials from regular patterns on cloth will be found
not only a great saving of labor, but of great practical value to the student.
213
215
Lays for Trousers
LAY FOR DOUBLE BREASTED VEST LAY FOR NOTCH COLLAR VEST
Breast, 38 in. Amount of material required, Vi yard, single Breast, 38 in. Amount of material required,% yard, single
width, doubled over. Fold, in. width, doubled over. Fold, in.
Fittings
For Coats, Vests, Trousers and Overcoats
The diagrams in this section illustrate the fittings necessary for Coats, Vests and Trousers, such as front
While the undercollar is illustrated, it is customary to cut it from special undercollar cloth. In all other
218
Fittings for Frock Coat, Vests and Trousers
221
Practical Tailoring
There is only one kind of tailoring which can be recognized, and that is the kind which makes
it pleasant in an establishment ; the kind that is appreciated by persons of good taste and wearers of
good clothes ; the kind that causes a new customer when he puts on his suit to make up his mind not to
go elsewhere in the future for his clothes, and to willingly pay the price asked, because he is satisfied
that he has received full value for his money and the best of everything that makes up an ideal garment,
To my idea a good tailor is as much an artist as the cutter. It is not his sewing alone that pro-
duces the smoothness, beauty and effect so much desired ; it is his artistic skill.
I am aware of the fact that there is another kind of tailoring, but that I could not possibly rec-
ommend. Undoubtedly you have heard of it. It is the kind that makes the cutter feel the chills creep down
his back when the garment is brought to him ; it is the kind that creates argument between the customer
and the producer. In establishments that handle this grade of work there are always misfits for sale.
This class of tailoring is detrimental to the trade and the merchant who deals in it may be ranked
among the money sharks. The bargain-hunting customer will soon find that he has paid from seventy-
five to one hundred per cent profit to a man who does transient tailoring business, while the high-priced
dealer charges only from thirty-three and one-third to forty per cent profit. By showing your customer
these comparisons he will clearly see that by paying more for a suit, he is a gainer both in a financial
These e.xplanations I find necessary in order that I may be clearly understood in my attempt to
illustrate and explain the manner in which I used to make coats, vests and trousers, and at the same
First, in cutting the patterns they should be carefull}' prepared. The principles applied should
be those of proportions, variations and direct measures, and exaggerations and manipulations of pat-
tern should be incorporated when necessary. The height of the subject should be given consideration so
as to stipulate the exaggeration and to obtain the proper depth and proportionate length, etc. In other
words, the cutter should not only apply his technical knowledge and ability, but also analyze his measures,
inasmuch as some of them are useless and others may have been taken incorrectly or carelessly ; in fact,
Before laying the pattern on the cloth, be sure that the cloth has been properly shrunk. Notice
that the lay of the pattern conforms with the run of the grain of the cloth. Be sure that the lay is sat-
isfactory from an economical as well as practical point of view. Allow the regulation outlets. See that
the chalk is well sharpened, so that in chalking around the pattern you obtain good and clean lines.
Carefully mark your pockets, placing of buttons, etc. Then chop out. After having trimmed the suit in
the proper manner and wrapped it up in the canvas, tie it up with a stay tape and attach the maker's
223
Hotv to Make a Try On
Having finished putting in the thread marks in the different ])arts of the coat, such as outlets,
pockets, button stands, etc., proceed to cut the canvas. It is understood that the canvas should be
thoroughly shrunk before cutting and it should be cut so that the threads will run straight with the front,
to give steadiness to the front of the coat. It is well to bear in mind that the canvas is the foundation of
the garment and the tailor cannot be too careful in preparing it.
Having cut the canvas according to regulation, make a cut in shoulder as illustrated by point D,
diagram 1. Take out the V as in same illustration at point B. Place the straight edge from the shoul-
der point down to center of chest. Place point C one inch below the scye depth. Measure down seven inches
for the average size and take out % of an inch opening at angle and the same amount at point A, bear-
ing in niiiiil that the straight line should always run with the front. Now you are readv to join the
opening by placing a strip of stay linen on under side and cross stitch over edge to edge. Insert a V of
3-4 in. at point D and sew up same as shown in illustration. Sew up the V taken out at point B by placing a
piece of linen on the under side and cross stitch from edge to edge, as shown in illustration on diagram 2.
Next prepare the hair cloth as indicated in diagram 2. Have the horsehair run straight across the
shoulder: make slashes in the haircloth where indicated in the illustration, and fit it on the canvas in
the shoulder, by making a cut at point E, and placing another piece of haircloth, with the horsehair
running up and down, at same point, thereby making a spring to the shoulder, as shown in illustra-
tion. Cover the edges of the haircloth with silesia, or some thin material, and be sure that the hair-
cloth and canvas harmonize in the shoulders.
Ne.xt in order examine diagram 3, which shows the canvas com]:)leted, the haircloth having been
covered with one sheet of wadding in the shoulder and over the chest, and this then covered with
flannel. Padding is too thick and does not work so well. Then pad the canvas as indicated in diagram
.3. Do not pad too close, nor take too long stitches, as one way would be as bad as the other. If i>adde<l
too close it would make the canvas and breast too stiff, and would not produce fhe smooth effect desired.
Therefore, do not pad too close nor pull the stitches too hard.
Next, press the canvas thoroughly into shape ; also press the fore part of the coat into shape. Stretch
the shoulder a trifle at the place where the V is inserted in the canvas, or point D, and give a slight
stretch to the neckhole near the shoulder point. Press in the breast of the coat and press the coat over
thoroughly, and be sure the edges are inclined to be short all around the front and the bottom. Press in the
armhole slightly at front of scye. Be sure the canvas and front part are so shaped in pressing as to
conform with each other.
Before going further I will say that I prefer to have the pockets put in a sack coat or overcoat
before try-on. I am aware of the fact that it is not practiced to a great extent for the reason that in
many cases the tailor is given no time to put in the pockets. In many tailoring establishments there are
special try-on men, consequently the regular coaimaker does not make the try-on. Still another rea-
son is that some cutters are afraid of misplacing the pockets for fear that in try-on they would have
alterations that would misplace them. While admitting that with a cutter who takes careless measures
and is not in the habit of paying attention to details of the customer, difificulties of this kind would arise,
I am of the opinion that a careful cutter who knows how to produce jiatterns properly, including the way
of placing the pockets, will be far more successful by having his pockets in for try-on, because the canvas
is then basted under the front for good. On the other hand, if the pockets are not put in before the
try-on, the canvas is generally torn away from the front part and the front part pressed over separate
from the canvas and nine times out of ten the cloth is stretched more or less in different directions. When
the canvas is basted under for the second time, the front part and canvas do not harmonize. Many
tailors do not seem to think is necessary that the cloth and canvas should harmonize and that it must be
224
Canvas for Coat
DIAGRAM 1.
225
DIAGRAM 2. DIAGRAM 3.
exactly as it was when tried on, in order to procure good results. Extraordinary care should be taken
to be sure that the front part and canvas harmonize, as it is a well-known fact that the canvas leads
the cloth. Therefore, the front part and canvas must be in absolute harmony, for if they did not har-
monize it would dislocate the shoulder and throw the coat out of balance. It would make no difference
how good patterns a cutter produces or how carefully the coat has been tried on.
Therefore, for the above reasons I favor having the pockets put in and the canvas basted under
for good before the garment is tried on.
In starting to make pockets, see that they are put in the right place and of the proper size, and
carefully mark the same. Next proceed to mark out the flaps to correspond with the length and width of
the pocket. Cut cmt the flaps, allowing sufficient for seams all around. Now turn the right side of the
goods toward the lining and in basting the lining under the flaps see that it is rather snug, especially in
the corners. Particular care should be exercised in this respect. Next sew around the flaps. Turn them
and carefully baste around their edges. Stitch around the first row before pressing and if double
stitched, stitch the second row after pressing. Having completed and pressed the flaps, mark from the
wrong side the width desired. Next baste a strip of stay on the wrong side of the front part where the
pockets are to be placed. Baste a strip of goods, well-stayed, to the right side of the lower part of the
pocket and baste the flap to the upper part. Then sew through the flap as well as the stayed strip, as
shown in diagram A. Next examine diagram B. which shows the staying of the pocket from the wrong
/7/aj». a.
Di^o-D.
^
side, also where the pocket has been cut open between the two rows of stitching, leaving a seam on
each side and illustrates the manner in which the ends of the pockets should be cut in order to obtain
a turn for the finish. Next press out the seam of the lower part of the pocket and press down the flap.
Then turn the stayed strip of goods over and mark the semi-welt the same width as you intend to stitch
the edges of the coat. Turn and stitch same as shown in diagram C. Face the under side of the pocket
which now appears on the lower part on diagram C, with a piece of lining and baste same to the upper part,
covering up the flap. Baste a stay from the back end of the pocket up to the armhole. Stitch through the
upper part. Make the pocket the desired depth. See diagram D, pocket completed.
For regulation welt pocket, first make your welt properly. Mark off the width of same. Sew
it to the front part and press out the seam. In details this pocket is made very much like the one in the
foregoing explanation, less the flap. Press the pockets thoroughly and see that you have everything
smooth and get ready to baste the canvas under. Lay
Place the canvas right before you on the bench.
the front part over the same. Be sure and the canvas harmonize in every detail. Then
that the front part
start to baste, as indicated in diagram E, from 1 to 2, 1 to 3, 3 to 4, 4 to 2, 6 to 7 and 7 to 2. See that your
front part is good and smooth over the canvas in the shoulder, having the canvas rather full under the front
part between 1 and 2, 1 and 3, 3 and 4, 4 and 2 and 6 and 7, and push the goods back a little from the
edge from 7 to 2, so as to give the front edge a tendency to turn in. Next turn the ends of your pocket
and tack same, and in tacking your pocket, do so with accuracy and be sure to have the same good and
clean, as well as firm, so that it can withstand the strain. The canvas is then basted under and the pocket
presents a complete appearance. Diagram F illustrates the canvas from the wrong side after it is
basted under the front part, as well as the pocket completed, and the stay from the pocket to the arm-
hole and front end of pocket tacked to the canvas. The diagram explains itself.
Next baste your side seams together. Hold your back a trifle full to the front part just below the
armhole. Baste together the back seam even all the way down. Turn all seams and rebaste them. Press
the seams, also the front parts and turn in the edges all around. Baste your shoulder seams together and
give the back about ^ in. fullness.
Use special under collar cloth for the collar. The canvas for the collar should be cut so that it
runs with the thread in the front of collar and on the bias in the back. The collar should not be stretched
much; hardly anything on the outside, but stretch it some on the inside, so as to conform with the stand.
Then crease it over. In basting on the collar, see that you hold it good and full near the shoulder seam
on the front part, and rather short in the gorge and even in the back.
Baste up your sleeves. Se sure that they do not twist in any way and in basting them into the arm-
hole, see that they are properly placed and have the proper amount of fullness.
Give the whole coat a good smoothing over with the press iron. Trim off uneven outlets, canvas or
anything that does not look clean and your coat is ready for try-on. Remember that unless the try-on
has been properly prepared, it is practically of no value, as the defects of the garment can only be traced
in a coat that is properly basted.
228
Hotv to Try On
Before going into the details of how to try on, I will first direct your attention to the fact that be-
side being a good try-on man and draper of garments, it is very essential to understand how to handle
the customer at the time of the try-on, inasmuch as the try-on is a most important and very trying ordeal.
It is advisable that in trying on a garment you do it without the assistance of anybody else. Most
customers have a decided objection to more than one person trying on a garment. Apart from the truism
"that too many cooks spoil the broth," it certainly acts as a detriment to the cutter in obtaining the cus-
tomer's confidence in his ability as a cutter and fitter. The result is that often after a garment has been
completed and sent home, it is returned to the firm with the words, "the garment is not altogether what I
expected." You wonder why it is sent back. You look the garment over carefully and you cannot detect
any material defects. You send word to the customer, asking him to call, so that you may slip on the
garment. The customer calls. You inspect the garment and find it to be good. In fact, as good a gar-
ment as you anticipated when you tried it on, but the customer does not seem to think so. He asks
questions about this or that. He seems to hesitate as to whether you are telling him the truth when you
say that the garment is all right and he seems to doubt your judgment. The fact is these difficulties orig-
inated because you did not try on the garment alone. There was someone else connected with the estab-
lishment present when the garment was tried on, who no doubt made some suggestions to you as to the
fit and style of the garment, and the customer simply took it for granted that you were incapable and
must have some one to direct you in order to produce the proper style, etc. I mention this inasmuch as
I am personally acquainted with merchant tailors, managers and salesmen who are very desirous of im-
pressing the customer with their broad experiences in the trade as well as their ability as creators of
style. But these impressions generally prove a financial loss to the firm and in many instances these in-
truders display rather their want of knowledge, practical experience and fitness as creators.
When trying on a garment the cutter should under all circumstances maintain a calm and collected
demeanor, and by all means listen to the customer's requirements in a respectful manner, showing by intel-
ligent inquiries that his sole aim is to please. Overcome any semblance of nervousness, for should the
customer notice that you are nervous, he will lose faith in you at once.
Before slipping the basted garment on the customer contrive that he does not stand in front of the
mirror, for if the customer sees himself he generally assumes an attitude different from his usual one.
For this reason I would advise you to select a certain place where you can slip on the garment and give it
a preliminary examination. This place should be so arranged that the customer will be confronted with
something which will attract his attention, a pretty picture or anything that will occupy his mind while
you are making your inspection. I will call his attention to this, saying, "How do you like this prettv
picture here?" etc. By drawing the customer's attention to this attraction he will momentarily forget
all about the try-on and his interests will be centered elsewhere. He w'ill assume his regular position
and attitude, and it will then be possible for you to give the garment a thorough inspection as well as
draping.
First, be sure the garment is placed in proper position, as it is from want of this one-half of the
difficulties may be traced. Turn to the front, pin it together and be sure to notice that both sides are
being fitted alike.
Notice the length and width and hang of the sleeve. Make necessary markings for alterations
Place your hands under the arms of the customer, thereby ascertaining whether the armhole is too
deep or too shallow, or if it has the proper depth, and proceed in a methodical manner to inspect the gen-
eral defects of the garment.
Smooth your hand across the shoulder and see if your back balance from the back of neck to the
bottom of scye is correct. Then pass on to the front and observe the fit from the shoulder. Does the
229
garment balance correctly? If not, unrip the collar, turn to the back, arrange a perfect balance, and
Next open the right shoulder and pin it together so that you obtain the proper balance front and
back. Turn to the left shoulder and perform the same operation. Next pass again to the back and no-
tice what effect this changing of shoulder had on the waist and seat. See that you have made proper
provision for the hips. Notice the run of the side seams and that the garment is properly fitted over the
blades. Observe the tit of the back of armhple and see that it is in harmony with the curve of the back.
Notice the position of neck point and pin the collar on to the garment in such a way that you obtain the
proper height, length and run. Next mark the shoulder seams and neck hole. Carefully inspect the arm-
hole, also mark the same. See that any change you may make is in harmony with all other points. Then
mark the front of the garment.
At this point I would politely request the customer to step before the mirror and when there would
inquire if he wishes to make any suggestions, regarding either style or fit. In deciding such matters with
the customer, be sure that he does not lead you on to make alterations such as would change the balance
or spoil the garment, but at the same time defer to his opinion.
Ne.xt unpin and take off the garment. Show the customer courtesy by helping him to redress and in
As soon as you can find time after the customer has gone be sure to re-mark the different alterations.
Too much care cannot be exercised in this respect. It is well to remember that "Nature in her productions
slow aspires by just degrees to reach perfection's height." and it is the smaller details that count in a well
230
Hoiv to Instruct the Maker
Having under the head of "Making of Try-On," and also "How to Try On," dwelt upon the neces-
sity of handling the customer so that you beget confidence and respect in him, I will now make an at-
tempt to explain how I instruct the maker of the garment and I take this opportunity to impress upon the
mind of the student that to obtain good results in the end there must exist a perfect understanding
between the cutter and the journeyman tailor, as to the making of each individual garment, as well as
to the absolute necessity that good feeling between these two individuals should exist. Unless there is
harmony between the cutter and the journeyman tailor the productions of this combination would be
unharmonious and deficient in style and probably also in quality. Let me, therefore, suggest to the cutter
that he select such jours, to do his work are are in harmony with his own ideas and teachings. I say teach-
ings, for the reason that it is necessary to instruct the tailor as to particulars of each garment. Remem-
ber that your customer has his clothes made to order chiefly for the reason that he may get the small
details attended to in a most careful manner, as well as to obtain clothes that are suitable for his par-
ticular build and up-to-date style. In view of these facts, it is necessarv that the cutter and tailor should
not only be friends, but should also recognize and respect each other for the mechanical qualifications
possessed by them as individuals, as well as for positions occupied by them in their respective branches
of sartorialism. Further, the cutter should by all possible means endeavor to create a good feeling among
his help as well, by good, sensible, practicable instructions. Tn giving the tailor his work, let him luider-
stand that it must be executed in the manner he had instructed and that this is a matter of business, and
further impress upon him the fact that unless these details are carried out to the letter the work will not
be accepted. On the other hand, these instructions and rules should not be given in a hastv or impatient
manner, but in a way calculated to give the proper impression and have the desired efTect. I have seen
cutters who, after they had tried on the coat and pinned up the shoulders, omitted to take out the pins,
simply giving the tailor the coat, telling him to make it up as it was pinned and that it would be all
right. Now, this is not the way to obtain good results. The cutter then places all responsibility on the
tailor and the tailor may do the best he can, but the fact is he has no conception as to the customer's
I have noted the results from such deficient handling of garments which have by no means been
satisfactory either as to fit or as to style, and have seen that these lame instructions to the tailor act
as a creator of arguments between the cutter and the tailor. The cutter will say after he has had to make
alterations that had the tailor made it as it was pinned, it certainly would have been all right ; while, on
the other hand, the tailor will say that he made it as it was pinned, but had no definite instructions as to the
making. He will add that he has done the best he could in marking it off, but in view of the fact that the
cutter did not say anything further about this or that, he made it according to the regulation that he
had learned years ago. I have seen some very good tailors quit their positions on account of this kind of
argument and because the cutter has not been careful in his instructions. It is unreasonable to expect
the tailor to know everything in detail unless he has been instructed for each particular garment.
231
I will say right here that the cutter shoiiW unpin the i^arment, mark the alterations carefully ; in
fact, unless the cutter attends to these details, the tailor will he impressed with the lack of knowledge
displayed by him, and the truth is that the careful, practical and capable cutter always marks his altera-
tions such as shoulders, armholes, fronts, etc., carefully, where changes may be needed, and makes notes
of details as well.
Then, again, I have seen the cutter who has made his markings, etc.. tie up the garment in a bundle,
throw it intd his usual corner and probably let it lie there for a week or two. When he is ready to give
the garment out, he simply hands the bundle to the tailor without any further instructions than to tell him
to have the garment completed by a certain time.
This is also wrong in my estimation. In place of simply giving the tailor the bundle and telling
him make the garment, I would untie the bundle and with the tailor I would go over every detail of
alteration, showing him in an intelligent manner the reasons why I had made these alterations. I would
inform him of the customer's disproportions and attitude and give him comprehensive instructions as to
the style of the particular garment. The collar and the lapels should also be thoroughly delineated. I
would give the tailor a special pattern to follow in this respect. I would inform him about the length of
the collar required, how to hang the sleeves. I would instruct him whether they should hang normal, for-
ward or backward and give reasons therefor. For example, "This customer stands erect and requires a
longer collar, and have the sleeve hang backward to this or that extent," or "Mr Jones stoops quite a bit
and see to it that the collar is not too long and that the sleeves are brought forward so and so much."
"Move the back up so and so much as to avoid this or that, or move the back down so or so much," and
give reasons therefor. "Further, take out the front of armhole so and so much and add so and so much to
the width of back," and give reasons therefor. "See about and crook the shoulder so or so much," and
state why you do so. Further, I do this or that for creating this or that effect. In moving your collar up
or down state reason for same, so and so much fullness is necessary there or there, and give reasons why
this is done, or do this or that so as to create a square shoulder effect, or do this or that so as to obtain
Further follow this line here (indicating) for your front, place your buttons so or so. In fact,
familiarize your tailors with all the details necessary in order to obtain a well balanced, fitting and stylish
garment, and be sure that they understand you in every detail. If you think the tailor is forgetful write
down the directions on an extra slip of paper, pin it to your measure ticket and impress upon his mind not
to forget anything. Tell him that the garment must be well made, finished, and have the style you
stipulated. Then state your time when the garment must be completed and let him understand that it is
necessary that he shall have it completed and brought to you for an examination by that time. After
having told him of all these details give him a few cheerful words, something that will display your con-
geniality and sympathy, and bid him good-bye. Remember that you must be friendly to your tailors and
at the same time you must handle them so that they will respect you.
232
Coat Making
Upon getting the coat back from try-on the tailor should thoroughly examine the details of instruc-
tions received from the cutter, smooth out the various parts of the garment and proceed to put in new
threadmarks where alterations have been marked. In sewing up the seams, instructions as to fullness, etc.,
should be followed to the Having sewed up the side seams and padded your lapels, press the front
letter.
into shape and re-mark the front as previously marked by the cutter. Lay on the lapel pattern given you
by the cutter and mark around it carefully, then cut away all unnecessary material. Trim away your
canvas 34 in- from the edges. Next fit out your facing and lining. Sew on the lining to the facing and
put in your inside breast pocket. Having completed the linings, baste on stay tape around the front.
Be sure that you hold it sufficiently short, but not too much, as one way is as bad as the other. After
having felled down
the stay tape on both sides, press over the fronts thoroughly. Also press the facing,
inside breast pocket and lining and have the facing and lining so arranged that it harmonizes with the
front part. Next lay the lining on the bench wrong side down. Lay the front part above same with
the right side to the lining and baste as indicated in diagram G. See that you have the facing sufficiently
long, but not too long. Baste so that the lower corner will turn inward, and in basting around the lapel
be sure that there is sufficient fullness on the facing side. Then press from facing side, so that it will be
smooth. Mark with the chalk the front edge where you are to sew. Next sew around the edge where
marked.
Next seam of edge thoroughly; trim seam down to yi in. on each side. Then turn
press out the
the edge and baste down. In basting down be sure to hold the seam even in the middle of the edge,
it
so that in stitching you are sure to catch both sides. See edge as illustrated in diagram H. Next,
provide for sufficient fullness of lapel. Attach your inside breast pocket to canvas. Baste from the
wrong side of the lining where the lining is sewed to the facing, and attach this seam to the canvas.
Next baste the lining under in such a way that it will have sufficient length and width. Sew the seam in
the middle of the back and press seam out. Turn up the bottom and stitch the first row of stitching
around the edge then press edge thoroughly before stitching the second row. Having finished stitching the
;
edges, take out the basting around them and press the edge thoroughly. Baste in the back lining and be
sure it is long enough, but not too long, and allow a pleat in center seam. Should the lining be shorter or
even in length with the goods, you will find there will be wrinkles on the outside therefore, the lining ;
should average Y^ inch in excess of the outside goods. Having completed the basting under of the lining
and turning in at the side seams, turn up the bottom of the lining in such a way that you can fell it Yz in.
beneath the turn. Diagram I illustrates the way a garment should look after the lining has been basted
under and the extra length required in comparison with the outside goods. Now make preparation for
the bottonholes by noting that they are in the proper place, and in cutting them be particular that they
are of the proper length, as a small button hole looks bad, and besides it is hard to button and wears out
more quickly. They should not be too large, but they should be sufficiently large to permit of being
buttoned without too much effort, and and wrinkles around them when
this will also eliminate the fullness
buttoned. In making buttonholes the tailor should exercise a great deal of care so as to make them
soft and even. There are many good tailors who are not able to make good buttonholes. I have seen
beautifully made garments spoiled by poor buttonholes, and I must say that good buttonhole makers are
rare. The general fault in buttonholes seems to be that the makers put in too many stitches. It seems as
if they were anxious to show the amount of work they had done on them. The fact is that when the
stitches are too close it makes the buttonhole hard, and in consequence it wears out much sooner. If it
had been worked with a moderate number of stitches in the proper direction and with the right kind of
silk, an even looking buttonhole would have been produced and the softness given so essential for wear.
The secret of a good buttonhole cannot be explained in writing or by illustration it must be explained ;
Having completed the buttonholes in the best possible manner, re-mark the shoulders and baste them
together. This is a very particular part of the work because it must be done exactly according to the
directions given by the cutter so as to correspond with the alterations made in the try-on. At this stage
of the making it may be well to take into consideration a second try-on. While I personally seldom have
a second try-on, I you have any doubt as to the fitting
will say to the students of Practical Tailoring, if
points and balance of a garment, would advise a second try-on to avoid busheling. Therefore, after having
I
basted the shoulders together and basted the seams over, arrange the canvas, lining, etc., so they are
smooth and even in the shoulder re-mark the line where it should be basted to the collar press collar
;
;
into shape and baste it on. If I intended to have a second try-on I would baste in the sleeve as a reassur-
ance that I had the right length and width in every particular. In preparing for a second try-on, I would
pull out as many basting threads as are not absolutely necessary to hold the garment together. I would
press the edges all around, smooth the lining and trim out any excess there might be in armholes, etc.,
and show up the garment in the best possible shape. See diagram J.
In trying on the garment the second time I would carefully inspect every detail in the same manner
as in the first try-on, and if necessary I would redrape the shoulders. While a second try-on would
indicate inexperience on the part of the cutter, at the would show that he was careful, and
same time it
often a second try-on saves a great deal of busheling. a garment has been tried on twice at
In fact, if
the proper times, and properly handled, there should seldom be any occasion for busheling after com-
pletion. After receiving the garment back from the second try-on and having received proper instruc-
tions from the cutter, 'promptly note alterations, if any. Then again baste the shoulder together with
the same care so that you have the fullness in the proper place according to the cutter's directions, and
—
sew the shoulder seam by hand a machine-sewed shoulder is never so satisfactory as a hand-sewed one,
for the reason that the machine will stretch some and displace the fullness of the back. A hand-sewed
shoulder will hold the seam short, as well as enable you to have the fullness properly placed. All good
tailors sew the shoulder seam by haiiil. Next, press the seams out, and prepare to rearrange the canvas
2.34
in the shoulder. In doing this be sure the canvas is sufficiently long and wide and that it will harmonize
with the cloth in every respect. Next same manner. Be sure to notice that
arrange the lining in the
neither canvas nor lining interferes with the outside goods in any way. Baste around the neckhole close to
the line where the collar is to be attached. Give the shoulder and neckhole a thorough pressing; also
re-press crease line of under collar into shape; test shape of same to neckhole; then re-mark line to which
collar is to be basted.
In basting on collar I would start at the back, basting toward the front of the left side of the coat,
giving Ss inch fulness to the collar on the front part from the shoulder seam to the crease line, and hold
the collar slightly short to the lapel from the crease line to the gorge. If the left side is satisfactory,
back of the neck and baste the collar to the right side, leaving the same amount of fulness, etc.,
start at the
as on the left side. Next, fell the collar down neatly also fell the inside edge to the collar take out the
; ;
bastings and arrange collar and lapel on the pressing block in a way to give them a thorough shaping
and pressing with the iron. Next mark off the width, etc., of the collar according to the pattern furnished
by the cutter or the prevailing style. See diagram J.
In putting on the top. collar be sure that it has been shaped so as to conform with the under collar. In
basting it on notice that it fits the crease, and that there is a certain amount of fulness, especially at the
DIAG. I.
front end. Be positive that you have a turn of Y\ inch. After having felled the outside edge of the
under collar to that of the turn of the top collar, stitch the first row before pressing. Also press the
crease of the collar and then stitch the second row.
In making the sleeves, see that they are of the proper width so as to conform with the armhole an ;
average fulness of 2^4 inches should be allowed. For example: If the armhole measures 18 inches,
the sleeve should measure 20-;4 inches, and be larger or smaller in comparison with the arm scye. In
marking them off be sure they are of the proper width at the bottom, as well as over the elbow. Pre-
pare and produce the cuff desired, and in seaming up the sleeve be sure it does not twist in any way. Also
be sure that the sleeve lining conforms with the sleeve before seaming up. Having finished them ac-
cording to regulations and instructions from the cutter, give the sleeves a thorough pressing oflf. Next
carefully inspect the top of the sleeve, trim off any unevenness, if any, and give the sleeve lining ^
excess at the top as allowance for turn, which turn should also be basted down before fitting the sleeve
to the armhole. Having properly finished the sleeve, re-mark the armhole and draw in the back of
the armhole with linen thread; also draw in the front of scye a little with linen thread before basting
in the sleeve.
235
In basting the sleeve to the armhole, start with the right sleeve at the front of the armhole. See
that the notches meet and baste toward the back, giving about }i inch fulness to the under sleeve at the
back of the armhole. At no place should the sleeve be held tight to the armhole. Hold it easy around
the shoulder seams and give about lyi inch fulness from about 2^ inches to the front of the shoulder
seams and down the front of scye. Now, if the right sleeve hangs properly, baste in the left sleeve
in the same manner, and seam them in by hand. Press out the seam and place a little wadding in the
shoulder and let it run down a bit in the sleeve. It is also well to leave the seam loose at the top of
the shoulder. That is to say, do not fasten canvas from the shoulder seam to about 3 inches
it to the
above the front of scye. Finish armhole by felling the sleeve lining in carefully, and the coat is then
ready to press off.
In pressing off I have found it a good way to start with the shoulders, next the body of the coat,
then the edges and linings, leaving the collar and lapels to the last. Be sure the coat is thoroughly
DIAG. J.
pressed and sponged, and in sewing on the buttons have them sewed on so they have a neck of %
inch. Before bringing the garment in for the cutter's examination, give it a good preliminary in-
spection. First: —
See that the sleeves balance and have the proper fulness, and that the collar and
lapels have the proper shape according to the style. Second: -View the sleeves from the back and —
see that they fall gracefully, and also notice the general appearance of the back. Third: View the —
shape of the collar by holding the coat up by the shoulders with both hands. Fourth Inspect the lining. :
—
See that it is of sufficient length and width also see that the felling and sewing have been properly
;
executed. Fifth :
—Take the coat by the back of the collar with the left hand and hold the lower end
of the lapel with the right hand and be sure the collar is of the right length and proper shape. Also
inspect the pockets and other details. Ascertain whether everything is in proper order, and if so the
garment is finished.
236
Vest Making
After having marked all points where the pockets are to be placed, as well as the button stand,
proceed to cut inter-lining for vest. Take out ^ inch in armhole, and also 3^ inch at bottom of front
in the interlining. Also insert a V of 3^ inch in shoulder of same. Next proceed to put in pockets and
press the front parts thoroughly into shape and baste under the interlining. Tack the pockets through
the interlining. Next give the front parts a thorough press over. Stretch the shoulders a trifle, also
pressing in the edges all around opening, front and bottom. In putting on stay tape, be sure same is
put on properly by holding it moderately short around opening, front and bottom. Having felled same
down and pressed it thoroughly, seam on facing, press out the seams and trim them and turn over and
baste down edge. Stitch first row of edge before pressing, then stitch second row. Turn in as much as
a seam around armhole and after having finished buttonholes and inside breast pocket, baste under lining.
Be sure it is long and wide enough, and in felling it down to the facings of front as well as in arm-
Pull out all unnecessary bastings and give front part a thorough press over. Finish up back by
first sewing middle seam, and if straps are used place them in proper position. Join inside and outside
back at bottom. Next place both front parts between the inside and outside back, and after having prop-
erly basted them, sew side seam back of armhole and shoulder. Next turn vest by pulling out both front
parts through the only opening, the neckhole. After having turned vest and smoothed it out, fit the back
to strap at collar. Fell back down neatly and it is ready for press ofif. The press ofif should be done in
the most careful manner, first by pressing over the front parts, then sponging, and finally smoothing the
lining. Mark ofif the places of buttons, sew them on, and, if buckle straps, sew on buckle. Then give
237
T r o use r Making
A good hanging pair of trousers can be procured only from a tailor who is careful and understands
thoroughly the shaping of a pair of trousers. While it may be true that trouser making does not neces-
sitate so experienced a tailor as coat making, it must be understood that a good trouser maker is a jewel
to a merchant tailoring house, as they are scarce. A good trouser maker must know how to handle the
press iron and produce proper shape. The most important points in trouser making are as follows
See that the front part is held in 34 inch from crotch to 5 in. below. Hold the front part a trifle short
in curve of front. Put pockets in both front and back parts, and be sure they are properly placed and
stitched. Stretch the front part slightly on each side near the bottom. Stretch the back part at knee
on outside edge and press in calf on outside edge. Stretch inside edge from knee up. In joining the
front part to the back part be sure the notches meet at the knee and that the trousers balance properly
and do not twist in any way. Having pressed out the seams and finished placing the canvas in waist
band as well as in button fiy, and lined and turned over the side where buttonhole fly is to be
placed, give the waistband and flys a thorough press over. Next arrange the seams so they meet at the
bottom and place them so that the inside seam is 2 inches to the back of outside seam at crotch.
Press the trouser legs into proper shape. Be sure to shrink the back part at crease from knee up.
Press calf into proper shape. Crease front all the way down and shrink in front at instep near bot-
tom. Next see that buttonhole fly is properly placed. In joining the two parts together sec that they
measure correctly around the waist. The back seam should under all circumstances be sewed by hand.
Next measure ofT the inside length of trousers from the crotch down. Be sure they are up to measure-
ment, and in turning the bottom it is well to soap the crease so as to make it firmer at the bottom. Fell
the turnup down in a neat manner and sew a cloth protector 4 in. long to the bottom of the back part.
Carefully mark ofif and sew on buttons in the proper places on waistband and fly. Next be sure the
lining at top part is properly placed and smooth when felled down. In pressing ofif the trousers be sure
to do all shaping from the wrong side ; also take out creases before turning. Press the bottom thor-
oughly all around. After having turned them, give the top of the trousers, including the pockets and
flys, a thorough press off. Next lay the trousers so that the inside and outside seams meet at the
bottom, and see that inside seam is 2 in. toward the back of outside seam at crotch. Press both sides
and both legs in the same manner and take out crease around bottom. Having thoroughly pressed
over all parts of the trousers, re-measure the length of inside seam, as well as waist, so as to be satisfied
zae
19Cy
i