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...... ------...... ,.,..- ...... ,// BUYING YOUR PATTERN Lesson 3 / / \, AND FABRIC / ' .,.. ., / -- ...... ------.-. --- - When you know your measurements and your • Short figure: Use lengthwise lines to give pattern size and type, you are ready to shop for the effect of height. Choose patterns with un­ your pattern, fabric, notions and other supplies broken skirt length and style details above the to make your dress. Make a list so that you will waist. Consider bolero or waist-length jackets. purchase everything in one trip to the store. • Tall figure: Use crosswise lines for the Pointers About Patterns effect of width and to shorten height. Choose style Size and type of pattern are important (see details on the skirt rather than on the blouse. Lessons 1 and 2) , but so is style. If you are a • Short plump neck: Choose V-necklines beginner, choose a simple pattern--one with only with contrast. A void round collars. a few pieces. Don't attempt a complicated pat­ • Long, thin neck: Use high necklines. tern until you gain experience. Many well-de­ • Narrow and sloping shoulders: Build out signed dresses come from the simplest patterns. and use padding. A void raglan sleeves and full skirts which would give further lack of balance. Pattern Features to Consider • Wide shoulders: Use slight padding for Choose a pattern with features you will need smoothness only. Break up width with narrow to learn-a collar, set-in sleeves, a natural waist­ lapels, raglan sleeves, and vertical necklines. Bal­ line that joins a skirt and blouse, a side placket, ance with skirt fullness. and perhaps a pocket and skirt pleats. These • Large waistline: Keep an unbroken line basic construction features will be shown later in from shoulder to hem. Try panel effects and other lessons in this series. coat dresses with an easy swing from the hipline. Watch Your Lines A void wide or contrasting belts. Stand before a mirror and analyze your fig­ • Large abdomen: Avoid tight-fitting dresses, ure carefully. Select pattern lines that flatter double-breasted jackets, and narrow, tight skirts. you. They should bring out your good points, Try front fullness at bust, and skirt side fronts. hide your poor ones and give the effect of figure • Thin or heavy arms: A void sJeeves that are balance. Well-proportioned women can wear either tight or loose. Try an easy fullness. almost any line. Follow these suggestions:

TIACHINO • IISIAICH IXTINSION EXTENSION SERVICE STATE COLLEGE OF WASHINGTON Pullman, Washington • Flat chest: Avoid tight blouses with full beginner is a plain-colored fabric or one with a gathered skirts. Wear shoulder fullness and bows small design that does not require matching. at neckline. Choose crisp blouse fabrics. Hold up in front of you a length of fabric No amount of judgment in selecting good pat­ you are considering. ·Stand back and look at the tern lines can help you look your best if your effect in a mirror, in good light from a distance. posture is poor and you do nothing to improve it. Tall, well-proportioned women can wear large de­ Work to correct figure imperfections including signs if they want. Small designs are best for too much or too little weight. You may need to small women. The colors should become you and. select and wear a well-fitted foundation garment blend or contrast with your skin, hair, and eyes. to smooth the outline of your figure. Be honest Consider Fabric Design in expressing your personality in choosing cloth­ • A natural or real-looking design may create ing type--casual, severely tailored or very fem­ a busy look that takes attention from you or from inine. the style of the dress. • A conventional design from nature has its Choosing Your Fabric details simplified and is usually less distracting When you choose a pattern, keep the fabric than the. naturals. in mind. Both should tell the same story. Soft, • An abstract design includes dots, stripes, drapable fabric needs a pattern design with the plaids, or geometric figures. same softness. Notice a stripe or plaid to see if it is "bal­ Choose a firm, balanced weave, with about anced"-that is-the pattern is the same in all the same nutnber of lengthwise and crosswise directions. Small, regular stripes are easier to similar in diameter and twist. Wiry, tight weaves match than wide clusters of several colors. are hard to pin, stitch and ease in fullness. Loose There are two types of stripes-even} with weaves may slip, pull out of shape as you cut bands of colors the same width, and uneven} with and stitch and the edges may stretch and ravel. bands of colors of different widths. An even A dress made of loosely may not hold stripe, without a left-and-right, is easier to handle its shape. Much of the fabric you buy today has been treated so that it will shrink only slightly. "San­ forized" guarantees that the fabric will not shrink more than one per cent; "preshrunk"-not more than two per cent. Some fabrics shrink as much E ven stripe : no left and right as four or five per cent. Read the label or ask about this before you buy. Otherwise, you will need to shrink your fabric before you cut it. This may require more fabric, as well as time and energy, and the original Even stripe : left and right to design freshness may be lost. A statement that the dyes are fast to washing, cleaning or to light adds to your confidence that the colors will last and will not run. A crease­ resistant finish adds to fabric appearance, .makes [llllllllllllllllllllllll it easier to launder and resists wrinkles and soil. Uneven stripe : no left and right Patterns with many seams require more fabric than the uneven. To decide whether a fabric and break up the design. A good choice for a has a left-and-right, check from a center stripe. If the repeat is not the same in both directions, fabric with the design woven into the fabric , is plan to cut pattern pieces with all stripes going preferable to one poorly printed. in one direction. Or, reverse them at the center Buy Interfacing front and back seams of the blouse and skirt. Almost ·any garment-no matter how light­ If there is a right and wrong side to- the fabric, weight the fabric-will be more professional look­ the cutting is further complicated and requires ing with the right interfacing to support the more fabric for matching. Plaids are designs with fabric, give it strength and firmness, and soften stripes in both directions and double the problem the turn of facings, hems and other construction of matching: details. You also need extra fabric for fabrics You may need to interface the front of your such as and , and for dress· under the buttons and buttonholes, the in­ with diagonal lines so that joining parts of the side of facings, collars and cuffs. For garment will not appear to be a different color dress fabrics, choose a cotton interfacing such as and design. Plan to cut pile fabrics with the , , or lawn. If you want extra running up to show a deeper color, or for firmness, buy a stiffer interfacing such as , more satisfactory wear, with the pile running sheer cotton , permanent finished , down. Test for the up and down of pile by run­ or nurses' cloth. ning your finger lightly over the fabric. Use a firm, plain-colored, matching, but light­ Always study the effect of the design and er weight interfacing than your dress fabric but the style of the garment on your figure. choose one with a similar texture or feel. Try Check Fabric Grainline them together. A self~fabric is good if there is Look at the end of the bolt to see if the fabric no design to show through. Don't just ask for has a torn end or has been straightened by pulling interfacing at the store-choose the right one for and cutting along a crosswise thread. A void your fabric. fabrics which are pulled lopsided in the For some purposes, non-woven interfacings are processes at the factory and are printed or pressed not as satisfactory as woven fabrics. In washing off-grain. Be sure the fabric is "on the straight' ~ or dry-cleaning, they sometimes lose color and be­ and a print design follows the straightened edge. come stiff. For fabrics like or for the roll If the fabric has a polished surface or is treated of lapels and collars, they lack flexibility. For heavily with crease-resistant finish and then is lining flaring skirts, non-woven interfacings are pressed crooked, it cannot be pulled back in shape. fine. The threads are permanently set in this position. For wool dresses, jackets, coats and suits, choose a hair canvas, of a suitable weight for the garment fabric. Besides goat's hair, some hair canvas may have cotton, and wool . Sheer cotton canvas for light weight garments may also contain a mixture of fibers. canvas is desirable for collars of suits and coats. Use organdy and marquisette with sheers, nets and . It is easy to match colors. Handker­ chief linen or rayon are excellent inter­ facings for fine fabrics because they are smooth, pliable and soft. They leave no marks Even though you like the color and design of on the silk when pressed as may do. the fabric, leave it in the store because your dress Use crepe fabrics in a matching color for will not look right. A striped, checked or plaid pockets, facings, linings and interfacings for dress- es made of sheer wool or wool-like fabrics. Light hand needles, a thiinble, yardstick, measuring tape weight rayon perks up collars and cuffs that doesn't stretch, sharp shears and scissors, a and is an excellent foundation lining for a sheath well-padded ironing board and an iron-either dress or a full skirt. For man-made fabrics, use steam or dry. If you use a dry iron, you will also made of Orion or . need a sponge or a press cloth. A small paper For interfacing belts, you will find beltings sack fastened to your machine or sewing table and ribbons of different stiffness. Press-on mend­ will help you catch threads and scraps as you ing tape pressed to the inside. of the back of the sew and snip. . belt makes an excellent reinfqrcement. You may Other useful tools are a cutting board, skirt find a belt-making kit useful. But be sure your belt marker, sleeveboard, seam roll, pressing cushion is as washable or dry-cleanable as your dress. or tailor's ham. Tools that make your work Notions easier are fine. But good tools deserve a handy Check your pattern envelope to tell you the place of storage. number: of spools of thread you'll need, the kind See that your sewing machine is clean, well and length of zipper, fastenings, shoulder pads, oiled and in good running condition. Check your buttons, and other supplies. Select buttons when machine needles for sharpness and a suitable size you buy your fabrics so that the color, texture, for your fabric. Learning to use sewing machine and design harmonize. attachments and how to get the most from your Match thread color, weight, and to your sewing machine makes your work easy, interesting fabric as nearly as possible. Do not plan to use and rewarding. rayon bias or ribbon tape on cotton fabrics. They Lesson 4 don't launder or wear alike. In the next lesson, you will learn how to Other Equipment prepare the fabric you have purchased so that it Other haridy sewing aids are: a sewing box is ready to cut out. or container, dressmaker's carbon for transferring This bulletin was adapted by Marjorie S. Lusk, pattern markings to your fabric, a tracing wheel, Extension Clothing Specialist, from a bulletin a 6-inch ruler or a guage, a wrist pin cushion and prepared by the clothing specialist of Iowa State sharp pins (size 15 or 16) , a package of assorted College.

Published and distributed in furtherance of the Acts of May 8 and June 30, 1914, by the! State College of Washington Extension Service, R. M. Turner, Director, and the U. S. Department of Agriculture, cooperating. ( SM-65 7) litho