Men’s Tailoring

Men’s Tailoring: Bespoke,Theatrical and Historical Tailoring 1830–1950 introduces the reader to English tailoring and covers the drafting of
patterns, cutting out in cloth and the complete traditional construction techniques in sequence for the tailoring of a waistcoat, trousers
and jacket.The book contains:

– step-by-step instructions, complete with illustrations, for students and costumiers who are new to the making of male tailored
garments from the nineteenth and twentieth centuries;
– drafting blocks and construction techniques for the main three styles of nineteenth-century male garments: frock coat, morning coat
and dress coat;
– patterns, photographs and detailed measurements taken from a variety of male coats, jackets, waistcoats and trousers from c1830 –
c1950 from museums and collections.

From choosing the right cloth to preparing for the fitting process, this how-to guide will help readers create beautiful, historically
accurate three-piece suits for events and performances.

Graham Cottenden is a costumier, tailor and historian who graduated from the Wimbledon School of Art in 1975 and later
gained a master’s degree from Middlesex University. He was a freelance costume maker in London for 20 years working in theatre,
film, television and museums before becoming an educator. He has taught students and professionals in the UK and around the world,
including Europe, USA, Scandinavia, Brazil, Australia and Hong Kong.
 Men’s Tailoring
Bespoke, Theatrical and
Historical Tailoring 1830–1950

Graham Cottenden
First published 2019
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2019 Taylor & Francis
The right of Graham Cottenden to be identified as author of this work
has been asserted by him in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from
the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record for this book has been requested
ISBN: 978-1-138-33679-7 (hbk)
ISBN: 978-1-138-33680-3 (pbk)
ISBN: 978-0-429-44241-4 (ebk)
DOI: 10.4324/9780429442414
For Catherine, Olivia and Bia
 CONTENTS

Introduction xiii
Acknowledgements xv

CHAPTER 1 GETTING STARTED 1

Equipment needed 3

Some basic tailoring rules 4

Glossary of tailoring terminology and abbreviations 4

Measurements 7

The tailor’s square, the drafting power and the working scales 14

Working with a costume designer and/or supervisor 17

Period styles and detail 18

CHAPTER 2 THE BLOCK DRAFTS AND DIAGRAMS 19

Introduction to the blocks 21

Adapting the blocks to meet other styles and periods 23

The single-breasted (SB) waistcoat block and diagram 24

Adapting the block to a double-breasted (DB) waistcoat 31

The trouser block and diagram 32

Adapting the pattern to add pleats to the trouser front 38

The single-breasted (SB) jacket block and diagram 40

Adapting the block to a double-breasted (DB) jacket 47

The sleeve block and diagram for jacket, frock, morning and dress coat 48
viii Contents

CHAPTER 3 INLAYS, ALLOWANCES AND CLOTH 53

Understanding inlays and making up allowances 55

Theatrical allowances 56

What cloth should I use? 66

Using striped or checked material 67

Tailoring quantities 68

CHAPTER 4 CUTTING OUT AND MARKING UP 69

General points on cutting out, marking up and making up 71

Waistcoat cutting out and marking up 74

Trouser cutting out and marking up 76

Jacket cutting out and marking up 77

Basting, tacking, tailor’s chalk, mark stitching instructions and diagrams 79

CHAPTER 5 PREPARING FOR THE FITTING AND THE FITTING PROCESS 85

Preparing the waistcoat for the first fitting 87

Preparing the trousers for the first fitting 94

Preparing the jacket for the first fitting 96

The fitting process for trousers/waistcoat/jacket or coat 104

Fitting the trousers 106

Fitting the waistcoat 108

Fitting the jacket or coat 109

CHAPTER 6 MAKING UP THE WAISTCOAT 111

After the fitting 113

Sewing out the darts 113

Welt pockets 114

Making the waistcoat collar 131

The front facing and lining 136

Sewing out the front armhole 139

Finishing the hem and lower part of the side seam 140
 Contents ix

Putting the backs to the fronts 142

Final finishing 144

Buttons and buttonholes 145

CHAPTER 7 MAKING UP THE TROUSERS 149

After the fitting 151

The final making up of the trousers 151

The side entry and sloping pockets 151

The concealed button fly 156

Putting the front trouser pieces to the back 160

The waistband 160

Completing the trousers starting with the inside leg seams 163

Finishing the hems 166

Final finishing and fastenings 168

CHAPTER 8 MAKING UP THE JACKET 169

After the fitting 171

The outbreast pocket 171

The front jetted pockets and front pocket flaps 172

Re-attaching the canvas to the jacket fronts and making some canvas cuts 184

Preparing the break line 186

Pad stitching the lapels 187

Preparing the front edges for facing out 189

Cutting out the front facings 192

Cutting out the jacket linings 193

Adding an inbreast pocket 194

Sewing out the lapels and centre front edge 200

Securing the lining and facing to the canvas 203

Vents and hem canvas 206

Putting the backs to the fronts 209

x Contents

Finishing the lining at the side seam and hem 210

Shoulder seams and preparing the armholes 211

CHAPTER 9 MAKING UP THE SLEEVES, COLLAR, BUTTONS, BUTTONHOLES AND FINISHING 213

The two-piece sleeves 215

The envelope cuff 217

Lining the sleeves 220

Putting the sleeves into the jacket 222

Adding shoulder pads 223

Adding ice wool or wadding to the sleeve head 224

The collar 226

Putting melton and canvas together and pad stitching the under collar 229

Attaching the under collar to the jacket 230

The top collar 233

Buttons, buttonholes and finishing 237

CHAPTER 10 NINETEENTH-CENTURY BODY COATS 239

The frock coat, morning coat and dress coat blocks and diagrams 242

Frock coat block continued 247

Morning coat block continued 251

Dress coat block continued 255

Pattern layouts 259

Inlays, allowances and lines to be mark stitched 262

The making up of the coats and approaches to historical finishing 268

CHAPTER 11 ORIGINAL GARMENTS: PATTERNS, PHOTOGRAPHS AND MEASUREMENTS 273

Original patterns and photographs 275

Section 1: 1830–1850 276

c1830s DB Dress coat. Ref: 1963/2185:Worthing Museum & Art Gallery 276

c1835–1845 DB Dress coat. Ref: M1994–19:The Olive Mathews Collection,

Chertsey Museum 280
 Contents xi

1830–1850 Measurement research chart 284

Additional garment notes 291

Section 2: 1850–1900 292

c1870 DB 3pc dress coat suit. Ref: 1962/1905:Worthing Museum & Art Gallery 292

c1870 DB frock coat. Ref: 1962/1908:Worthing Museum & Art Gallery 299

c1890s SB morning coat. Ref: 1970/18:Worthing Museum & Art Gallery 304

Late nineteenth-century SB jacket and waistcoat. Ref: 1964/201: Museum in

the Park, Stroud 307

1850–1900 Measurement research chart 313

Additional garment notes 330

Section 3: 1900–1950 333

1907 SB 3pc Suit: University of Kentucky, Department of Theatre and Dance 333

c1900–1910 SB 3pc morning coat suit: Blandford Fashion Museum 340

c1910–1920 SB suit. Ref:W07436: National Trust, Killerton House 346

c1920s DB 3pc suit. Ref: 1974/303:Worthing Museum & Art Gallery 353

1929 SB 3pc suit: Private Collection of Nelson Fields 360

1939 DB 2pc suit: University of Kentucky, Department of Theatre and Dance 367

c1940s SB 2pc suit: Private Collection 373

c1946 DB 3pc suit. Ref: 2006/54: Museum in the Park, Stroud 378

1900–1950 Measurement research chart 385

Additional garment notes 445

Notes to explain how the measurements were taken 451

Abbreviations for the research notes and measurement charts 457
 INTRODUCTION

This book is intended for those who wish to learn the basics of male tailoring through the understanding of some traditional meth­
ods coupled with some modern approaches. It is a book aimed primarily at students and makers who are new to the making of male
tailored garments from the nineteenth and twentieth centuries and for those who wish to have a better understanding of the cut, con­
struction and style of different periods. It is closely linked to tailoring for theatre and performance. It is assumed that the student using
this book has a sound basic knowledge of cut and construction of garments and is competent at both the sewing machine and hand
sewing. It is not intended to be a history of tailoring, although it will inevitably discuss how certain ideas and techniques have developed
over the last 200 years or more.This is a practical book that will develop your tailoring knowledge, starting by taking you step-by-step
through the detailed process of drafting, cut and construction of a three-piece suit consisting of a jacket, waistcoat and trousers.These
three basic garments are not intended to be for any particular period, but offer the opportunity to understand and develop your skills
in the underlying cut and construction techniques needed for all male tailoring. Once these skills are acquired then these three garment
patterns can be adapted and styled for a number of periods from the mid nineteenth century onward. Furthermore, the book also
includes drafting blocks for the main three styles of nineteenth-century male garments, frock coat, morning coat and dress coat.This will
allow you to develop your tailoring skills even further as they still follow the same basic tailoring rules for drafting, cutting and making up
but have variations and a more complex approach to the final finish.

As with many other crafts, there are always going to be a number of ways to approach tailoring. All tailors will have their own particular
methods of working, however, you will find that most tailors will follow the same basic principles of traditional tailoring that were born
out of the many ideas and experimentation that advanced tailoring skills through the nineteenth century and that began to reach some
conclusion in the early to mid twentieth century when the male suit was at its height in fashion and use.

This book sets out an approach to tailoring that I have learned and developed from the many people with whom I have worked both
in bespoke suit tailoring and theatrical tailoring for male tailored garments used in performance.Throughout the book I try to explain
some of the traditional approaches taken by tailors for general everyday wear, but also give suggestions where variations can be consid­
ered which are more flexible for performance-based tailored costume.Whilst I am mindful of the great tradition that tailoring has, I am
also mindful of how easy it is for the contemporary student who is new to tailoring, to get lost in a sea of traditional tailoring jargon.
Often, it seems, it is now only there because of tradition and the need to continue to wrap tailoring in some sort of enigmatic cloak.
I have therefore tried to simplify where possible, whilst still explaining and using traditional tailoring terms where necessary.

As many of the nineteenth and early twentieth-century tailors discovered, no drafting system is able to give you the perfect pattern.
During the nineteenth century there was a constant experiment by numerous tailors to find the perfect ‘system’ for producing tailored
garments. In 1818 Thomas Hearn produced the Rudiments of Cutting Coats, Edward Minster (1820) System of the Art of Cutting and James
Wyatt (1822) The Tailors Friendly Instructor were some of the earliest publications experimenting with the drafting of patterns. Hearn
also suggested that anybody buying his book should also purchase the ‘inch measure’. It is extraordinary now to think that before this
time there was no tape measure in use. Some of the great tailors in the past such as Louis Devere,William D. F.Vincent, J. P.Thornton, F.
xiv Introduction

R. Morris, A. S. Bridgland and A. A.Whife all constantly experimented with their own and other systems to try to find a flawless solution
to providing a drafting system that would allow any variation of measurements to be used that would produce a garment that auto­
matically fitted near perfectly, every time and on every body. In some ways, this was almost achieved with the tailored suits of the early
decades of the twentieth century that were all very similar in style.Tailors were able to use a drafting system such as found in the Mod­
ern Tailor, Outfitter and Clothier, edited by A. S. Bridgland 1928 that, broadly speaking, almost produced that flawless garment. However,
this idea can only be taken so far, no two body shapes are identical and this cannot work for performance related, theatrical tailoring
where the tailor is working to a design for a character rather than a fashion style, and which is open to interpretation by the designer.
For that reason it takes the tailor to put their own individual stamp on a garment using their experience, knowledge and judgement to
take a drafting system and make it work for the human body. Any drafting system can only be regarded as a starting point and then it
relies on the tailor/cutter/maker to turn it into the garment that is needed.

If you are new to tailoring you will find it useful to know some of the traditional working methods, but you will also want to incorporate
modern variations so as to maintain a flexible approach.This book is intended to give you that starting point, but ultimately, you the
cutter/maker have to take into consideration all the variables that will affect how you approach your tailoring, such as the period style
you are working within, the design or individual style of the garment, the size and shape of the person you are making for, the weight
and ‘make up’ of the material being used, the intended use of the garment once finished and just a general ‘feel’ for what the context of
the finished garment is for.

This all means that a range of knowledge is needed and this book attempts to give you a basic grounding so that you are able to go on
and develop your skills through further practice.The traditional apprentice tailor was made to repeat processes over and over, partly to
perfect his skills but also to get quicker at his craft. It is likely that you will need to make a number of suits before you can perfect all the
techniques used and only by doing that will you get better and quicker. Many tailoring techniques that may initially seem slow to you as
you learn them, are in fact, designed purely for speed so that the tailor can make best use of his working day.

The layout of the book is designed to take you step-by-step through the entire process of basic tailoring for men. It takes you through
the various stages of tailoring a three-piece suit in the sequence in which you will need them.The book starts with some very basics
from looking at the equipment needed, how to take measurements and assess the figure, to the drafting of patterns through the tailor­
ing blocks. It then goes on through the various processes of cut, construction and finishing.

I have started with the waistcoat as this is the easiest garment and allows you to learn many of the basic techniques that are followed by
trousers before arriving at the more challenging work within the jacket. In the final part of the book I have included a range of research
taken from a variety of male coats, jackets, waistcoats and trousers from c1830 – c1950 from museums and collections. I have undertaken
a detailed study of each garment and set the information out in sections covering different periods or decades.This makes it possible to
chart in detail both the sizes and changes of a garment across a given time span. Of course, this work will never be complete and can be
constantly added to. It should be useful for both makers and designers and I have included patterns and photographs from a selection of
the garments.

Traditionally, jackets are referred to as coats. In order to make a clear distinction, I have chosen to refer to these garments as coats if
from the nineteenth century and jackets if from the twentieth century.

A large part of the skill in tailoring is as much to do with your thinking and approach to the work as it is to the technical skill in your
hands. If you take the time to study this book you will find a range of good advice, skills, knowledge and techniques that are born from a
career in theatre costume work, both as a maker and a teacher of many students across the world. I have been lucky to meet and work
with many skilled people, not just in my own particular area of tailoring, but in many areas of performance work, costume history and
museums and I extend many thanks to those who have shared their knowledge, skills, warmth, hospitality and friendship with me. I hope
this book can give something back and continue that sharing of knowledge that is so important to us all.
 ACKNOWLEDGEMENTS

This book would not have been possible without the assistance of many people and I would like to thank them all for their help and
encouragement.

I would like to thank Stacey Walker, Lucia Accorsi and Helen Evans at Routledge for their help and guidance in bringing this book into the
daylight.

The diagrams have been a major part of the work and I would like to thank Nelson Fields for his dedicated work on taking my initial
drawings and making them clearer, a task he undertook with immense patience.

The research on original garments is a significant part of this book and it would not have been possible without the help of the many
curators who allowed me access to their collections.

I would like to thank the following people all of whom were extremely generous with their time and assistance on my numerous visits:

Gordon Boutelle, Administrator at the Blandford Fashion Museum.

Alexia Clark, Documentation and Collections Officer at The Museum in the Park, Stroud.
Gerry Connolly, Senior Curator at Worthing Museum and Art Gallery.
Costume Curators at the Victoria & Albert Museum, London.
Grace Evans, Keeper of Costume at Chertsey Museum.
Nelson Fields, Professor of Costume Design, University of Kentucky, Department of Theatre and Dance.
Shelley Tobin, Costume Curator at the National Trust’s Killerton House, Devon.
Elaine Uttely, Collections Assistant at the Fashion Museum Bath.

I want to thank the many people I have worked with who have shared their knowledge and expertise with me and particularly the
many students around the world who I have had the pleasure to teach and who have contributed directly or indirectly to this book,
particularly those who tested the patterns and working methods giving me useful critical feedback. Hopefully, this book will be helpful
for future generations of costume and fashion students.

Finally, I want to thank my family and friends who are always there for me.

Photographs taken at the Blandford Fashion Museum are by kind permission of the Trustees.

All research undertaken at Chertsey Museum is from the Olive Matthews Collection.

The photograph 11.2.2 is image © The Olive Matthews Collection, Chertsey Museum. Photo by John Chase Photography.
 CHAPTER 1

GETTING
S TA RT E D

DOI: 10.4324/9780429442414-1
 G E T T I N G S TA RT E D

This chapter covers the basics of getting started in tailoring, what equipment is needed, some basic tailoring rules to be followed, what
measurements are needed and how to take them.

It shows you how to use a tailor’s square in the drafting process and discusses the working relationship you might have with a costume
designer or supervisor.

Lastly, it considers the importance of understanding period styles and detail.

EQUIPMENT NEEDED

If you work in theatre/performance wardrobe then you are likely to find most of this equipment already there.

You will need to have the following equipment before you start.

For the drafting of the patterns:

Pencil (HB or H) – needs to be kept sharp throughout

Ruler
Metre stick
Tailor’s square/L square
Eraser
Plain pattern paper
Paper scissors
Masking tape

For the construction of the garments:

Tape measure
Small pointed embroidery scissors
Cutting shears
White chalk (preferably not the pencil type)
Needles (sharps or betweens)
Basting/tacking thread (white or cream)
Open-ended thimble
Pins (not with large round heads on them)
4 Getting started

Sewing machine
Iron (with good steam facility)
Ironing board
Sleeve board
Tailor’s ham
Lapel point presser with clapper (used in conjunction with the iron to achieve crisp seams and edges and to reduce bulky seams)

SOME BASIC TAILORING RULES

Tailoring has its own language and you will need to know at least some of the terminology in order to fully understand the tradition
and processes, particularly if you want to research many of the past books written on tailoring. In theatrical costume making there are a
number of abbreviations used and I am therefore including a list of the most common ones along with the traditional tailoring terminol­
ogy. I will use both in this book. Normally a glossary appears at the end of a book, but I am including it here at the beginning as I think it
is more useful in order for you to understand the basic rules of tailoring.

GLOSSARY OF TAILORING TERMINOLOGY AND ABBREVIATIONS

Terminology

Arm scye – the curve of the armhole.

Basting stitch – the means by which a tailor holds different layers of material together using a zigzag hand stitch of single
white thread.
Break line – the line on which the lapel and collar fold. Also known as the ‘Bridle’ or ‘Roll line’.
Cross (X) stitch – a stitch that creates a cross over of the thread top and bottom and used for securing edges.
Felling – a small over stitch used to finish seams.
Finished nett (1) – finishing a seam or setting in without any visible tucks or gathers.
Finished nett (2) – the edge of the cloth or material without any allowances on it.
Fish tail back – the two points at the centre back of period trousers without a separate waistband.
Keyhole – a type of buttonhole in the shape of a keyhole.
Inbreast – refers to the pocket on the inside of a jacket or coat at chest level.
Inlay – the ¾”/2.0cm added to patterns to allow for alterations. Added at the front side seam and shoulder seam on jackets, coats and
waistcoats. Sometimes added to the back side seam instead of the front on waistcoats. Added to the back outside and inside leg
seams on trousers. Added to the hind arm seam of either the top or underarm piece of the sleeve.
Jigger button – the inside button on a double-breasted jacket that supports the jacket front.
Left hand side – the wearer’s left hand side of the garment when worn.
Making up allowance (MUA) – the ³⁄ 8”/1.0cm included in the drafting block and around the pattern pieces. Often referred to as a
¼”/0.6cm stitch as well.
Mark stitching – the means by which a tailor marks all sides of the cloth with one set of hand stitching using double white thread.
Outbreast – refers to the pocket on the outside of a jacket or coat at chest level.
Placement line – the tacked line ³⁄ 4”/2.0cm in from the edge of the fabric at the inlay that is then used to place up against it the edge of the
fabric of the seam with only the making up allowance.
Pocket mouth – the opening of the pocket.
Right hand side – the wearer’s right hand side of the garment when worn.
Right side – the side of the material that is normally on the outside and is showing.
Selvedge – finished edge of the cloth or material.
 Getting started 5

Slip stitch – a stitch that is virtually invisible to secure edges of cloth or material.
Stoating – the bringing together of the folded edge of two pieces of cloth such as the lapel and collar.
Straight of grain (S of G) – the vertical line used to place a paper pattern on the grain line of the fabric.
Suppression – normally used to describe the amount taken out at the waist through seams and darts to give shape, style and fit to
the garment.
Tacking stitch – the means by which a tailor holds different layers of material together or seams using a straight running
hand stitch, single or double basting thread.
Top tacking – once a seam has been tacked together, a running hand stitch in single basting thread is used along seams and applied
from the outside to give double strength when preparing for a fitting.
Uprights – the ends of the welt or jetted pockets.
Vent – an opening at the centre back or side seams of jackets and coats.
Weft – the threads of material going across horizontally from selvedge to selvedge edge of fabric.
Warp – the threads going vertically in fabric.
Wrong side – the side of the material that is normally on the inside of a garment.

Abbreviations

CB Centre back CF Centre front

CM Centimetres SS Side seam
MMS Millimetres OL Outside leg
” Inches IL Inside leg
Y Yes AH Armhole
N No BH Buttonhole
N/A Not applicable NF Non functioning
SB Single breasted TU Turned under (collar edge)
DB Double breasted TO Turned over (collar edge)
RHS Right hand side UA Under arm (dart placement)
LHS Left hand side OB Outbreast pocket (jacket pocket)
F Front IB Inbreast pocket (jacket pocket)
B Back SE Side entry (trouser pocket)
T Top SL Sloping (trouser pocket)
Bo Bottom S of G Straight of grain
MUO Making up allowance R/S or W/S Right Side/Wrong Side
X Cross

Some tailoring terminology differences from British English to American English

Arm scye – Armseye.

Basting stitch – Diagonal basting or tacking.
Calico – Muslin.
Checked – Plaid.
Cross stitch – Catch stitch.
6 Getting started

Domett – Baby flannel.

Dress coat – Tailcoat.
Jetted pocket – Double welted pocket.
Felling – Whip stitch or Overcast.
Finished nett – Clean finish.
Fish tail back – Fork back or ‘extra helping’ notch.
Making up allowance – Seam allowance.
Mark stitching – Tailor’s tacks.
Mounting fabric – Flat lining.
Nape – Neck.
Outside leg – Outseam.
Pattern block – Sloper.
Inside leg – Inseam.
Selvedge – Selvage.
Stoating – Invisible mending stitch.
Tack or machine – Stitch.
Tacking stitch – Basting.
Toile – Mock up.
Top tacking – Flat basting.
Trousers – Pants.
Waistcoat – Vest.

A list of some basic tailoring rules, we will discuss some in more detail later on

• Always use white chalk to mark lines, do not use coloured chalk.White chalk is easy to remove; coloured chalk will nearly always remain.
• Always use white or cream basting thread for basting, tacking and mark stitching. Coloured thread can leave a stain.
• Do not knot your tacking or basting thread.
• Basting is done in single thread.
• Mark stitching and tacking together pattern pieces is done in double thread.
• The iron is used constantly but also lightly.The materials such as cloth, canvas and linings are pressed flat continuously or pressed
over a tailor’s ham if the seams or jacket have been shaped.
• Pressing is permanent, so therefore tacking takes the place of pressing in the first stages when preparing for a fitting. Seams can also
be top tacked for extra strength for the fitting.
• In the final process of making up, most edges are created by tacking first and then pressing.
• Final pressing of seams and edges etc. is left for the final making up.
• You do not mark-stitch any of the sewing lines.
• Almost all seam allowances (making up allowances) are ³⁄ 8”/1.0cm.
• Inlays are always ³⁄ 4”/2.0cm.
• All the raw edges of the seams on a jacket and waistcoat are enclosed so no edges need finishing off.
• All the raw edges of the seams on the trousers are finished using a zigzag stitch even if you are half lining them.
• A tailor does not use an over-locking machine. Many of the allowances are too small and would be cut away or become thick with
the thread and distort the lay of the cloth.
• A tailor always uses an open-ended thimble.
• Many tailors do not use pins. However, you can use them by all means but do not use the pins with the very large round heads.
These will distort the lay of the cloth and are too large for this intricate work.
• Tailors work in a very organised way, methodical in their approach, precise in their sewing and careful in the way they gently handle
the cloth.
• The majority of the work is best done by standing up so you are standing over the work with the garment piece laying on the work­
room table.
 Getting started 7

MEASUREMENTS

Some measuring rules

• It is important to take accurate measurements and you should ideally take the measurements yourself so that you know they are
reliable.
• At the same time as taking the measurements you can take stock of the person you are making for and note down any observations
as to how they stand and their overall body shape.This will be very important as you prepare your patterns. In theatre one often
takes a photograph of the actor, but remember to ask their permission first.
• You will always find it useful to take a whole set of measurements, however, you will find that most tailoring blocks only require a
few of those measurements, for instance there are only three – chest, waist and nape to waist – needed for the waistcoat block.
• Think about what the person is going to be wearing. If the jacket is to go over a waistcoat then it will need to be slightly larger than
if it is to just go over a shirt.
• When measuring, you should ask the person to remove any bulky items of clothing such as pullovers and belts and ask them to
remove their shoes.
• When taking the chest waist and seat measurement, it is a good idea to place two fingers between the tape measure and the body
as you take the measurements, this will add a little more ease to the measures and allow for the clothing being worn more comfort­
ably. Be careful that the tape measure remains horizontal round the body as you measure and does not fall at the back.
• Finding the true waist can be difficult and you may find it useful to tie a tape around the waist so that you are aware of where the
waist is as you take all the measures. Do not assume that the waistband of any trousers being worn is where the waist actually is.
• One of the most important measures to take is the nape to waist.The nape is the bone at the back of the neck. Not getting the
correct measurement here will lead to your waistcoat or jacket being too long or too short, so it is vital that you know exactly
where the waist is.
• Use a tape measure with a metal end to take the inside leg measurement.
• The arm measurements are taken with arm bent but keeping the arm horizontal as you take them. Often, these measurements are
taken as a continuation from the half narrow back, starting from the centre back to the crease of the arm and then continuing to the
elbow and then to the wrist. See the measurement chart and Diagrams 1.3 and 1.4.3.
• It can be a good idea to write your measurements onto the pattern pieces for future reference along with the date and who/what
the garment was for.

Standard measurements

Where I have felt it appropriate, I have rounded up or down the conversion of inches to centimetres.This is to make the measurement
more practical to use.These can be used in the absence of actual measurements but will not be as accurate of course.

D I AGR A M 1 . 1 Standard measurements in centimetres

Chest 86 92 97 102 107 112 117 122

Waist 76 82 87 94 99 104 112 117
Seat 92 97 102 107 112 117 122 127
Nape 43 44.5 46 47 48 49 49.5 50
to
Waist
½ 18.5 19 19.5 20 21 21.5 22 23
Narrow
Back
Jacket 97 99 102 104 107 109 112 115
Length
8 Getting started

D I AGR A M 1 . 2 Standard measurements in inches

Chest 34 36 38 40 42 44 46 48
Waist 30 32 34 37 39 42 44 46
Seat 36 38 40 42 44 46 48 50
Nape 17 17½ 18 18½ 19 19¼ 19½ 19¾
to
Waist
½ 7¼ 7½ 7¾ 8 8¼ 8½ 8¾ 9
Narrow
Back
Jacket 38 39 40 41 42 43 44 45
Length

Measurement charts

The traditional method of taking and writing down the measures was often done in the following sequence:

Jacket: Waistcoat:

Natural waist length or nape to waist Waistcoat opening

Full length of jacket Waistcoat length
Half or across back
To elbow
To wrist
Chest
Waist
Seat

Trousers:

Side seam or outside leg Seat

Leg seam or inside leg Knee
Waist Bottom (hem) width

Only the measurement was written down, but because it was always done in the same sequence the tailor knew which was which.
 Getting started 9

DIAGRA M 1 . 3 A typical theatre wardrobe male measurement chart

ARTIST: PRODUCTION:
DATE: CHARACTER:
HEIGHT NAPE ACROSS CHEST to
WAIST FRONT
CHEST NAPE to JACKET LENGTH
WAIST OUTSIDE LEG to KNEE
SEAT OUTSIDE LEG to GROUND
NAPE to WAIST INSIDE LEG to KNEE
NAPE to GROUND INSIDE LEG to GROUND
HALF NARROW BACK SMALL
Continue to ELBOW (with arm bent) RISE
Continue to WRIST (with arm bent) HEAD CIRCUMFERENCE
WRIST EAR to EAR
ACROSS CHEST FOREHEAD to NAPE
NOTES:
10 Getting started

Notes on the diagram 1.4.1:

• The ‘rise’ measurement is the difference between the inside and outside leg measurement.
• The ‘small’ measurement is a tight measure taken directly below the knee around the leg.

D I AGR A M 1 . 4 . 1 Where to take the measures on the body

 Getting started 11

Notes on the diagram 1.4.2:

• A = Across chest.
• B = Back nape, across chest to waist front.

D I AG R A M 1 . 4 . 2 Front of body

Notes on the diagram 1.4.3:

• C = Half across back to armhole crease.

• D = Armhole crease to elbow.
• E = Elbow to wrist.
• The across back measure is generally taken as a half measure starting at the centre back (nape to waist line) to the armhole crease.
• You then continue the measure down the back of the arm to the elbow and then to the wrist.

D I AG R A M 1 . 4 . 3 Back of body
12 Getting started

Where and how to take the measurements

Height measurement:

– the measurement of a person taken from the top of head to the floor without shoes being worn.

Chest measurement:

– the measurement taken around the chest – level with the underarm.

Waist measurement:

– the measurement taken around the waistline.

Seat measurement:

– the measurement taken around the seat at the widest point.

Nape to waist measurement:

– the measurement taken from the protruding bone at the back of the neck to the waistline.

Nape to ground measurement:

– the measurement taken from the protruding bone at the back of the neck to the floor.

Nape to jacket length measurement:

– the measurement taken from the protruding bone at the back of the neck to the desired length of a jacket. Normally this will be in
line with the knuckle bone of the thumb with arms placed flat against the side of the body.

Across chest measurement:

– the measurement taken across the upper chest from the crease of the arm to the crease of the arm.

Across back measurement:

– the measurement taken across the back from the crease of the arm to the crease of the arm at the narrowest point.
 Getting started 13

Shoulder to elbow measurement:

– the measurement taken from the top of the arm to the back of the elbow with the arm bent.

Elbow to wrist measurement:

– the measurement taken from the back of the elbow to the wrist with the arm bent.

Wrist measurement:

– the measurement taken around the wrist.

Waist to knee measurement:

– the measurement taken from the waistline to the knee down the outside of the leg.

Waist to ground measurement:

– the measurement taken from the waistline to the floor down the outside of the leg.

Inside leg to knee measurement:

– the measurement taken from the top of the inside of the leg to the knee – down the inside of the leg.

Inside leg to ground measurement:

– the measurement taken from the top of the inside of the leg to the ground – down the inside of the leg.

Small measurement:

– a tight measurement taken around the leg directly below the knee.

Rise measurement:

– a measurement found by deducting the inside leg to ground measurement from the outside leg to ground measurement.
14 Getting started

THE TAILOR’S SQUARE, THE DRAFTING POWER AND THE WORKING SCALES

You will need to understand the tailor’s square or L square.This is used to keep the block vertical and horizontal but more importantly
it helps you to work out the fractions needed in the drafting of the blocks. Many of the traditional tools and techniques in tailoring are
designed for speed and quickness and the square is one of these. Once you understand how to use it, it will speed up the process of
drafting the blocks.

The square has a short and long arm. On one side are the centimetres or inches, on the other side it is divided into the fractions.

On the short arm of the square are found the fractions: 16ths, 8ths, 4ths and halves.

On the long arm of the square are found the fractions: 24ths, 12ths, 6ths, 3rds and ²⁄3rds.

Each fraction is divided into sections that are numbered from 12–24 in inches and 30–60 in centimetres on their respective squares.

Any measurement taken from the square, starts from the outside corner of the square (where the arms join).

D I AGR A M 1 . 5 The short arm of the tailor’s square

D I AGR A M 1 . 6 The corner and long arm of the tailor’s square

 Getting started 15

D I AGR A M 1 . 7 The long arm of the tailor’s square

A drafting power is used in the construction of most tailoring blocks. It is a number that is applied when using the tailor’s square.When
you use the square you will always be using the drafting power number and that amount will either be half the chest measurement, half
the waist measurement or half the seat measurement depending on which part of the garment is being drafted.You will need to find
your drafting power number within the section of the fraction you are using.

Remember, each section of fractions is divided up from 12–24 inches or 30–60 centimetres.

Your measurement is then taken from the outside corner of the square to your drafting power number within any section.

The block instructions will tell you when you need to use the square and drafting power.

For example:

If your chest measurement is 35½”/90.0cm then your drafting power will be 17¾”/ 45.0cm – half the chest measurement.
If, for example, the directions read: ‘3 from 1 is ¹⁄³rd chest on square’ then look for, 17¾”/45.0cm (your drafting power) on the
1/3 section of the square.

From the corner of the square (where the arms join) apply this amount from point 1 to point 3 on your block.

Another example:

If the waist measurement is 27½”/70.0cm then the drafting power is 13¾”/35.0cm – half the waist measurement.
If, for example, the directions read: ‘8 from 2 is ½ waist on square’, minus 3/16”/0.5cm.

Then look for 13¾”/35.0cm on the ½ section of the square, and from the corner of the square (where the arms join) apply this
amount from point 2 to point 8 on your block, and then take away 3/16”/0.5cm.

The rule is:

The drafting power equals half of the width of the chest, waist or seat measurement.

When you see the words ‘ON SQUARE’ in the instructions you know you have to use the tailor’s square.
16 Getting started

DIAGRA M 1 . 8 Working scales for tailoring blocks

CHEST 34.0 36.0 38.0 40.0 42.0 44.0 46.0 48.0 Inches
SIZE 86.0 92.0 97.0 102.0 107.0 112.0 117.0 122.0 cm
Chest and 17.0 18.0 19.0 20.0 21.0 22.0 23.0 24.0 Inches
working scale 43.0 46.0 48.5 51.0 53.5 56.0 58.5 61.0 cm
½ 8½ 9.0 9½ 10.0 10½ 11.0 11½ 12.0 Inches
scale 21.5 23.0 24.25 25.5 26.75 28.0 29.2 30.5 cm
¹⁄³ rd 5.66 6.0 6.33 6.66 7.0 7.33 7 /16
11
8.0 Inches
scale 14.3 15.3 16.2 17.0 17.8 18.7 19.5 20.3 cm
¼ 4¼ 4½ 4¾ 5.0 5¼ 5½ 5⅞ 6.0 Inches
scale 10.8 11.5 12.1 12.8 13.4 14.0 14.9 15.2 cm
¹⁄6 th 2⅞ 3.0 3⅛ 3¼ 3½ 3¾ 3⅞ 4.0 Inches
scale 7.1 7.7 8.1 8.5 9.0 9.3 9.8 10.1 cm
¹⁄8 th 2⅛ 2¼ 2⅜ 2½ 2⅝ 2¾ 2⅞ 3.0 Inches
scale 5.4 5.8 6.1 6.4 6.7 7.0 7.3 7.6 cm
¹⁄12 th 1⅜ 1½ l /16
9
1⅝ 1¾ 1 /8
7
11 /16
5
2.0 Inches
scale 3.6 3.8 4.0 4.3 4.5 4.7 4.9 5.0 cm
 Getting started 17

WORKING WITH A COSTUME DESIGNER AND/OR SUPERVISOR

Working in a performance environment, whether it is theatre, film or television will invariably mean you are working as part of a team.
Even a freelance cutter or maker does not work in isolation. It can be important to build a good working relationship with the designer
and the rest of the team so that you are able to give them the best interpretation of their design. Hopefully, you will find that designers
will come back to use you again if you can know and understand each other well.

It’s important for you, where possible, to have some background working knowledge of the production and the characters.That way,
you are able to ask the right questions when you first meet the designer to discuss the work. If the designer is busy, your initial discus­
sion may well be with an assistant or supervisor.The supervisor or design assistant will have a good working knowledge of the concept
and context production as they are dealing with all the costumes. It will be useful for you to ask about the context of the piece, perhaps
how it is being interpreted by the designer/director, before going carefully through the design asking any questions where the answer
does not seem clear.You need to be clear about what it is you are making as the design may contain a number of different garments.

Occasionally, you may be asked to give an estimate of how much fabric or cloth is needed. Often, a supervisor will have done this
already.

You may find that sometimes the amount of fabric you are expected to work with is very tight, especially if the budget is also tight.This
is where you need to be skilful in laying out the pattern and it is a time when having the allowances included in the pattern can really
help.

Always ascertain which side of the fabric is being used; don’t assume it’s always the right side. If you are not sure of the right side, always ask.

Ask about any trimmings or decorations that might be on the design. Be prepared to do samples to take to the fitting to show the
designer.

Discuss the actor with the supervisor, look at the measurements, do question any that do not seem to make sense. Ideally, you will have
done your own measuring and seen the actor so as to assess their body shape. But, you may have no idea who measured the person
and if the actor has measured themselves, you will not know how they did it – don’t just assume it was a tape measure that was used!

Ask about the fitting, when and where will it take place and how many fittings are scheduled?

I don’t think I ever took a calico toile to a fitting. I would suggest that by all means do one for yourself as part of your pattern explora­
tion if you need to, but always take the garment in cloth to the fitting. Having chosen the fabric, the designer will expect to see it, and of
course, in tailoring you can really do little else. Be prepared to only have one fitting and it is very rare to be given a lot of time to make
everything.

It is quite normal that your conversation at the fitting will be mainly with the designer/ supervisor and you should let the designer have any
conversation with the actor. But don’t forget to ask both if they are happy with everything before the fitting ends.
18 Getting started

PERIOD STYLES AND DETAIL

If you are working in costume for performance then it is likely that you will be expected to have a working knowledge of costume
history but that is not to assume that everything will be done authentically or historically correct. A costume designer is there to ‘design’
and therefore a costume maker can expect to produce a whole range of costume from the unusual to semi or fully historically correct
costume. If you are in doubt about anything it is always wise to ask.

Having a working knowledge of period styles and detail is essential when working with different periods of costume. In tailoring there
is what is known as ‘style’ areas.This is where the garment is likely to change for different periods and the tailor allows for this when
cutting out and leaving allowances.

The lapel, collar, pockets and front hem shape are all ‘style’ areas. So knowing the style or shape in a given period is clearly important.
For instance, a lapel of 1905 is, of course, very different to one in the 1930s and there can also be differences within a given decade,
which are not so clearly obvious.

Having that good working knowledge allows you to have a better conversation with the designer as to what they want. Sometimes,
design features will not always be clear on a design and this is where you ask or use your knowledge. As an example, the depth of the
welt on a welt pocket was often wider in the nineteenth and early twentieth century. It is only more recently that they have become
very narrow.This can seem like a minor detail at first but it can be all too easy to mistakenly use modern ideas that will then look out of
place on a period garment. Of course, research is the key here and you must do some of your own and not just rely on the designer to
give you all the information you need.

Students who are starting out to learn this craft cannot expect to have all the knowledge needed immediately.You will want to build
your knowledge base as you work on different productions and understand that you will continue to learn through your entire career.

In Chapter 10 I have included some ideas and techniques used in the finishing of historical tailoring. In Chapter 11 you will find some
original patterns, photographs and measurement research charts that may help to give you an indication of what the styles and sizes
were within certain periods.

It is worth remembering though, that for performance you are mostly working to a design to realise a costume for a performance.You
are only using historical research to support the outcome of a realised costume.
 CHAPTER 2

THE BLOCK DRAFTS AND

DIAGRAMS

DOI: 10.4324/9780429442414-2
 THE BLOCK DRAFTS AND DIAGRAMS

This chapter covers the drafting instructions and diagrams for the waistcoat, trousers, jacket and sleeve blocks.This will produce patterns
for the basic parts of these garments. It also covers adapting the waistcoat and jacket to the double-breasted style and how to add
pleats, turn ups and a modern waistband to trousers.The sleeve block covers the adaptation to a false forearm and the block is also
used for the nineteenth-century body coat sleeves.

INTRODUCTION TO THE BLOCKS

It is useful to know that most drafting blocks have to be considered as only a starting point for the garment you want.

No block can give you the perfect shape immediately and it is not meant to. It is open to too many variations in people’s measurements.
You will need to be guided by your person’s measurements (which you cannot change) and understand that once the block is com­
pleted you may need to change some lines to improve the shape and proportion of the pattern pieces. Put simply, from the block you
produce your pattern.

For instance, if you have a person with a bit of a stomach (a corpulent person), then your hem line on the waistcoat and jacket will
probably need to sweep lower and be slightly curved in order to give the illusion of a straight line. Darts will also need adjustment.The
pattern must take into account the shape of the figure; you should not wait and hope to sort it out at the fitting.

To start with though, you should strive to follow the block diagram as closely as possible and then consider the changes needed that are
dictated by the measurements and/or the design.

Keeping the pattern pieces in proportion to each other is important and the block diagram can help you to do this when comparing
it to your drafted pattern. Most pattern drafting involves drawing freehand lines and those that are shaped or curved can be the most
challenging.

Try to achieve a single smooth and uninterrupted line between any given point and draw only one line, not a series of lines.What you
draw is what you cut and is ultimately what you sew. Use a ruler or square for the straight lines.You can use a French curve (curved
ruler), but it is a good idea to practice mastering the art of drawing freehand curves.

Don’t be afraid to change a pattern line until you are completely satisfied with it, time spent on the pattern is the most valuable time
spent in the overall process.

At the end of each draft I would suggest that you double-check your pattern against your main measurements to ensure you have a
draft of the right size.
22 The block drafts and diagrams

Do remember that most garments will need extra width for ‘ease’ and these blocks include this, which will make certain measurements
seem larger than they should be.

Finally again, remember that the block that you draft for any particular garment is an important starting point – but it is only the start.
There will still be a number of opportunities for you to make changes as you work through the various stages of drafting, cutting, fitting
and making up. Just be sure you have carefully thought through any potential changes you are thinking of making, ask yourself why are
you making a change and what else might then be affected by that decision?
 The block drafts and diagrams 23

ADAPTING THE BLOCKS TO MEET OTHER STYLES AND PERIODS

As I have mentioned already, whilst the blocks in this chapter can be used as they are, quite often you will want to create a garment that
has certain differences and this is when you will use these blocks as a starting point to create your garment pattern to realise a certain
design.

These blocks will provide you with a standard pattern for a waistcoat, trousers and jacket shape of the first half of the twentieth century.
There are certain areas that are known as ‘style areas’ and these include the CF, lapel/break line, collar, pockets, buttons etc. All of these
can be changed to create different styles without any real change to the actual block.The size remains the same but you are creating a
unique pattern to meet your remit.

You can take this block adaption further and create garments from the blocks that will have more significant changes.To do this, it is best
to have an example of either an existing pattern or photograph of the style you want (such as the examples given in Chapter 11) or an
illustration that might well be a costume design.You can then follow these examples in order to change your pattern.

Remember, you are not concerned with the size of the example you are using, just its shape and proportion.

You already have the size you want by having used your measurements to create your pattern draft. Provided you do not increase or
decrease the length or width it will still fit your person despite any ‘style’ changes.

On a jacket for instance, this will generally mean that the measurements from 0–2 Nape to waist, 1–24 Chest and 5–10 Half narrow
back should not be changed as these are your three core measurements that will ensure a fit to the body. Similar measurements will
not be changed on the waistcoat. On trousers you will generally not change the waist, seat or length.

There are far too many styles for me to include them all here but once you have grasped the principle of the pattern adaption you can
then follow any example to change your pattern. Of course, as you become more skilled you can incorporate any changes you wish to
make to the block as you draft it rather than drafting it and then changing it.

To become a skilled pattern cutter you will need to practice and experiment drafting patterns and adapting patterns, only then will you
gain the experience needed to make the process second nature to you.You will not always get it right first time, but time spent on the
pattern is the most valuable time spent.

At the end of the main instructions for drafting a waistcoat, trousers and jacket I have included instructions for adapting the waistcoat
and jacket to a double breasted style and adding pleats to the trousers.This covers one of the main style changes of the early to mid
twentieth century.
24 The block drafts and diagrams

THE SINGLE-BREASTED (SB) WAISTCOAT BLOCK AND DIAGRAM (DRAFT THIS USING THE
TAILOR’S SQUARE)

We will start with the waistcoat, a garment where you can learn many of the techniques used in tailoring before moving on to the
trousers and then the jacket that is more complex.

The measurements you need before you start are:

Chest:
Waist:
Back nape to waist:
Half across back:
The drafting power is: (half the chest measurement or half the waist measurement as indicated.)

Other considerations

The block when finished will automatically have a ³⁄ 8”/1.0cm allowance included all round each pattern piece.This block should be
drafted onto plain pattern paper.
You will need the tailor’s square in either inches (imperial) or centimetres (metric).
Do not start the block too close to the edge of the paper; leave a good margin around the edge.
Use a sharp HB pencil and keep the block vertical and horizontal using the square.
As the pattern progresses, use your existing vertical and horizontal lines when squaring out, across and down.
Read each instruction carefully and always double-check each instruction as you complete it.

If you are doing this block for the first time, then I suggest having completed the first nine instructions, it is a very good idea to check
your pattern against those first nine instructions as it is very often that the first mistakes are made here and this may save you having to
re-draft later on.

I have highlighted in bold the instructions where you need to use the tailor’s square and I have underlined any extra measurement that
needs to be added or deducted as it is easy to forget this as you grapple with the square!
 The block drafts and diagrams 25

Refer to the diagram of the block 2.1.1 as you follow the instructions.

DIAGRA M 2 . 1 . 1 Single-breasted (SB) waistcoat block

Start with the back block

Draw a horizontal line across and vertical line down on your pattern paper starting on the left hand side, remembering not to draw the
lines too close to the edge of the paper.

Extend the lines across the full width and length of the pattern paper. Use your L square.

A final reminder

When you see an instruction in bold you know you have to use the tailor’s square and the drafting power number. Find your number in
the appropriate section (halves/4ths/6ths etc.) and apply the measurement to the pattern starting from the corner of the square.
26 The block drafts and diagrams

0 is the starting point.

1 from 0 = ½ (halves) chest on square plus 1”/2.5cm. Draw a horizontal line and measure ³⁄ 8”/1.0cm in and mark point 1.This is
the chest line.

2 from 0 = is the nape to waist measurement. Draw a horizontal line and measure 1”/2.5cm in and mark point 2.This is the waistline.

3 from 2 = 4”/10.0cm. Draw a horizontal line and measure ¾”/2.0cm in and mark point 3.This is the waistcoat back length.

4 is halfway between 0–1. Draw a horizontal line.This is the across back line. Shape centre back line from point 4 through 1–2–3. Use
the block diagram as a guide.

5 from 1 = ½ (halves) chest on square plus 1”/2.5cm. Draw a vertical line up and down to top and bottom line.

6 falls on bottom line.

7 falls on the top line.

8 from 5 = ¾”/2.0cm.

9 from 2 = ½ (halves) waist on square plus ¾”/2.0cm.

If your measurements provide you with a larger waist than the chest, this can be adjusted when you reach point 34.

Draw a line connecting points 8–9–6.

10 from 3 = ¼ (4ths) chest on square.

11 from 10 = 5¹⁄8”/13.0cm in a straight vertical line.

Extend the line from 9–6 by ³⁄ 8”/1.0cm to find 12.

Shape back hem line from points 10–12. Use the block diagram as a guide.

13 from 0 = 1/6ths chest on square plus ³⁄ 8”/1.0cm.

14 from 13 = ¾”/2.0cm. Connect 14–0 for the back neck run.

15 from 4 = the half across back measurement minus 1¼”/3.0cm.

Draw a vertical line up to the nape line and down to the chest line.

16 = 1”/2.5cm below the 0–7 line.

Connect 14–16 and extend the line by ¾”/2.0cm to find point 17.

Mark point 18 and then measure 15⁄ 8”/4.0cm from 18 to find point 19.

Shape the back armhole by connecting points 17–19–8.The armhole line should connect with line 18–15 just below 15. Use the block
diagram as a guide.
 The block drafts and diagrams 27

Front block

Extend the horizontal lines from points 0–1–2 and 4.

From points 5, 6, 7 measure 4”/10.0cm along the horizontal lines towards the front and mark new points 5, 6, 7. Draw a new vertical
line from point 6 through point 5 to 7.

Re-mark point 8 below 5 as per the back.

20 from 5 = ½ (halves) chest on square plus 15⁄ 8”/4.0cm.

Square down to point 21. Mark point 22 as indicated.

23 from 20 = ¼ (4ths) chest on square. Draw a vertical line up to top line and mark point 24.

Extend line 23–24 and place point 25 ¾”/2.0cm above the top line.

From 25 draw a line towards point 15 on the back draft. Extend it slightly the other way to find point 26 out from 25 by ³⁄ 8”/1.0cm.

Measure 14–17 and apply this measurement minus ³⁄ 8”/1.0cm from 26 to find 27.

28 = Halfway between points 5 and 23.

Extend a line up to the top line from 28. Use 1/3rd of the measurement 28–7 and apply it from 28.Then measure in 1¼”/3.0cm to find
point 29.

Shape the front armhole from points 27–29–28 round to 8. Use the block diagram as a guide.The correct shape is important so adjust
point 28 if you need to.

Centre front

30 from 20 = 5⁄ 8”/1.5cm.

31 from 22 = ³⁄ 8”/1.0cm.

32 from 21 = 1¼”/3.0cm. Draw a vertical line down from point 32.

33 from 32 = 2”/5.0cm.

Shape front edge from 30-31-21-33. Use the block diagram as a guide. 30–21 is a gentle curve. 21–33 is a gentle curve.They can be
done separately.

Connect 6 to 33 in a curved line for the bottom front line. Use the block diagram as a guide.
28 The block drafts and diagrams

Note:

The shape of the front and bottom line will vary depending on the style of the waistcoat.The distance between 32 and 33 can be
altered to suit the waistcoat style.

34 from 22 = ½ (halves) waist on square plus 15⁄ 8”/4.0cm.

Shape the front side seam using points 8–34–6. Use the block diagram as a guide.

Note:

At this point you can re – shape the back side seam if necessary. It is normal for the suppression shaping at 9 and 34 to be different but
you can even them up by moving points 9 and 34 in or out from the straight line 7–6.The back waist is generally smaller than the front,
but if you are dealing with a large waist then the front waist line must be larger than the back to accommodate the fullness.

Front dart

From point 6 along the front hem line use ¼ (4ths) chest on square plus ³⁄ 8”/1.0cm to find point 35. Draw a line from 35 towards
23.This is the dart line.

Mark ¼”/0.5cm on both sides of the dart line at point 35.

Make the dart 7”/18.0cm long. Draw the two dart lines as indicated.

The dart size will vary according to the chest/waist proportions and can be adjusted at the fitting.

Pockets

Measure 3½”/9.0cm along the dart line from point 35 and mark point 36.This is the centre of the pocket.

In this example the pocket mouth width is 4¾”/12.0cm. Draw a line that is parallel to the hem. Use point 36 and measure 2³⁄ 8”/6.0cm
both sides.This is the pocket mouth.

Draw two small vertical lines at both ends.

Note:

• The pockets can be either welt or jetted.

• Mostly they are welt on a waistcoat and the welt is finished about ¾”/2.0cm wide.
• A top pocket may be placed below the chest line (about 1¼” – 15⁄ 8”/3.0–4.0cm). It should start level with the front of the lower
pocket and should be the same angle as the bottom pocket mouth. It will be about ¾”/2.0cm shorter.
• The line of the pocket on the diagram is the mouth of the pocket (opening).
• The pocket line is generally a similar angle as the hem.
• All angles/sizes will vary according to the size/shape of the garment.
• If you need a wider/longer pocket then you should increase the 4¾”/12.0cm measurement used above.
• Remember to make the pocket mouth width around ¼”/0.75cm larger than you need to accommodate the dart.
 The block drafts and diagrams 29

Opening

Draw a straight line from point 26–30.This is known as the opening.

Find the halfway point and mark point 37 ³⁄ 8”/1.0cm in.

Connect 26–37–30 in a slightly curved line. Use the block diagram as a guide.

Button and buttonhole placement line

Draw a parallel vertical line 5⁄ 8”/1.5cm in from the line 30–22–21.

Back straps

A pattern for the two straps can be made as per the Diagram 2.1.2.

Start by using the measurement from points 2–9 and then deduct ¾”/2.0cm for the one with the pointed end and 1¼”/3.0cm for the
one with the blunt end.

The blunt end takes the buckle, which is placed on the left hand side.

Making up allowances are included in the measures.

D I AGR A M 2 . 1 . 2 Back straps

30 The block drafts and diagrams

Collar

A pattern for the collar can also be made at this stage.

Normally the collar is either a shawl or a step collar. Look at Diagram 2.1.3 for the two most common shapes.

First, draw a line on the pattern down the opening from the shoulder to the top of the CF that indicates the ³⁄ 8”/1.0cm making up
allowance that is part of the waistcoat front pattern.This new line runs to the left hand side alongside your line from 26–37–30.

Since this allowance will eventually be cut away it should not be included in your collar.

You must take the new line from 26–37–30 as your guide and then shape the collar accordingly. It will be wider at the lower half and
then taper towards the shoulder line.

It is difficult to give an exact measurement as it needs to be done in proportion to the size of the waistcoat front, but the line at the
shoulder will be around 2”/5.0cm including making up allowances.

Most collars finish at the shoulder line but some collars on period waistcoats have an extension to the cloth that goes across the back
neck line extending to the centre back.

There are a number of examples in Chapter 11.

D I AGR A M 2 . 1 . 3 Step and shawl collars

 The block drafts and diagrams 31

ADAPTING THE BLOCK TO A DOUBLE-BREASTED (DB) WAISTCOAT

You can adapt the block for a double-breasted (DB) waistcoat.

Note: A double-breasted jacket does not necessarily have a double-breasted waistcoat.

The main changes will be:

1. The over wrap at the CF will be greater.

2. The shoulder may need to be narrower, moving the shoulder neck point in.
2. The break line will be longer and probably lower.
3. The hem line of the front of the waistcoat may be horizontal in style and may need dropping slightly depending on the shape of
your person.
4. The CF corner at the hem line may be square.

You will need to decide how much over wrap you need. It is likely to be around 4”/10cm. But this will depend on the size of your per-
son.There is now no need to leave extra for the button wrap, this is now included.

Extend the true CF line 20–21 out by the desired amount of over wrap.

Extend the hem line from point 6 to the new 21.The hem line can be more horizontal now but if you are dealing with a large stomach
then you must slope it downwards.This will give the allusion of it being straight as the stomach will have pulled the cloth upwards.

Consider moving point 26 inwards slightly (making the shoulder seam narrower) so as to keep the opening hidden inside the jacket.
Adjust the back shoulder seam by the same amount.

Place point 30 (the base of the break line) in a new position lower down.

The exact position of 30 will depend on your jacket shaping and the period style, so check your research first.

Now re-shape the new CF line from the hem line up to point 30.The line will need very little shaping as most DB jackets have a
straight CF line. Again, the wearer’s body shape will determine the amount of shaping needed to give a visually pleasing line.

The buttonhole and button placement will change. Look at your research to best inform you.

There will be an extra buttonhole on the inside over wrap placed just below the base of the lapel and also an extra button called a
‘jigger’ button. It is there to support the weight of the inside front and keep it in place.

It may or may not have a collar, generally most DB waistcoats do and they are often the ‘shawl’ style, particularly on evening dress
waistcoats.