Extension Circular 306 November, 1943

Pattern Selection and Alteration By Alice Sundquist Extension Specialist in and Figure Study HEADs In selecting patterns or de- ---~··------o sign, the aim is to make the figure appear as well proportioned as pos- sible. Therefore, it is necessary to know the proportions of the normal figure and to compare one's own pro­ portions with the standard. The dir­ ections and chart below are a guide. The length of the head, from the crown to the base of the chin is called one head length. It serves as the unit of measurement. The relations and proportions in Figure 1 and the accompanying table, Figure 2, are considered standard for a woman's figure. In the standard figure the line of the hips and the i Knees- -- wrists divides the body into two equal parts. The armpits divide the upper half of the body into two equal parts. The knees divide the lower half of the body midway. If you would stand with arms at side, the Fig. 1. Standard body proportions hands slightly raised to the front, the for a woman's figure. elbows should come to the waist line. 1 Then dropping the hands you would find that the wrists come to the hip line and the finger-tips about halfway to the knees. The woman who measures closely to standard proportions is very free in the selection of her designs, for she has an ideal figure. The woman who varies widely from these proportions needs to know what lines to use to overcome these shortcomings in figure. Measurements around the body should be easy - not tight. Have another person measure you. Take measurements at fullest part of bust and hips. Hang a sheet of wrapping on the wall on which you can mark. Remove shoes and stand with heels to the wall. Mark the top of the skull, armpit, wajstline, hipline, wrist, fingertips and widest part of calf of leg. Record measurements in Figure 2. Example: If a person measures 63~" from head to floor (top of skull-doesn't include hair) divide by 7~ to get the length of a standard head length, which is in this case 8~/z inches. For each space section under "Standard" fill in what would be normal meas­ urements-by multiplying the number of heads by 8% inches (For instance, 1 yg heads x 8~ inches= 16 inches from top of head to arm­ pit.) Measure the distances marked on the wrapping paper and check with the Standard Measurements. See Example of Jane's Standard and Jane's Measurements in Figure 2. Jane is one inch longer in the waist and has longer arms than her standard. She is also broader through the shoulders, hips and waist than her standard. She is a fiat type rather than a round type figure. See suggestions for choosing patterns for fiat and round type figures on page 6. After this study if you find yourself too short here, too long there, or perhaps too broad in proportion to your height; remember such points in selecting patterns or garments. Choose lines and ­ mings that will minimize your defects of stature or your poorest points and will produce the effect nearest approaching standard proportions. The girl of high school age averages six and three-fourths head lengths. The figure is eight head lengths.

Record of Measurements for Alterations A record of body measurements, as in Figure 3, is handy for immediate use when . Save time by checking all measure­ ments with the paper pattern. Fashion changes, new foundation gar­ ments or loss or gain of weight may make a difference in size so it is necessary to take new measurements each season.

2 Table of Lengths Example Jane's Standard Jane's Meas- My propor- Stand- ure- My Measure- lions ard ments Standard ments T op of head to floor 70 63 Yti " 63 Yti " heads T op of head t o base of chin 1 head 80 " 80"

T op of head to armpit 1?-i 16" 16" heads Top of head to elbows and waist 2 Yti 22.7" 23 Yti " heads T op of head to hipline and 3Yti 32" 32 % " wrists heads T op of head to fin g ertips 4 0 38% 40% " heads T op of head to widest part of 5-9/ 16 51" 52 % " calf of leg heads T op of head to knees 6 heads 47.3" 45 Yti"

Top of head to floor 7Yz 63 Yti 63 Yti ' heads Table of Widths Shoulders across pit at neck 10 12 Yti " 13 0 " heads Bust 1% 100 ' 10" heads Waist ?-i 7.4" 9"-10" heads ·- Hips lYs 11. 7" 13"- heads 13 0 " Widest part of calf of leg 13/ 16 6.9" 7.5" I heads I Fig. 2. Tables of Measurements for Figures Measuring H2 Heads.

Before taking measurements, put on the type of foundation gar­ ment you will wear. Remove bulky garments that distort the meas­ urements. a tape around the waist as a base line for other measurements. The person taking the measurements should stand behind the person being measured. All horizontal measurements should have the tape parallel to the floor. Measurements should be easy-not too tight. If the hips are much larger below the 7-inch mark take a sec­ ond measurement at the fullest part. This is an important measure- 3 ment if the is of a straight type but it is unnecessary if the skirt is gored. The measurement around the hand is needed for closed ; the elbow measurement for adjusting elbow in two piece sleeves; and the upper arm measurement for short sleeves. Check measurements of the pattern with individual measure­ ments to which have been added an amount allowed for ease. Do not include allowance in measuring the pattern.

Average Ease Allowed on Various Parts of Garments: Chest, back, and upper Armseye 10 inches arm plane 1}'i to 1 J-:4 inches Base of cap 10 inches Bust 2 to 4 inches Elbow 1 inch Waist 0 to 1 inch Wrist 0 inch Hip (standing) 2 to 3 inches Back shoulder seam 0 inch longer than front

NAME NAME NAME

Bust (fullest part) ------· ------, ------Waist (normal , just below last rib) ------·------­ Hip (seven inches below waistline) ------·------·------· ------

Width of Chest ------·------·------· ·------~-- Front Waist Length (shoulder to waistline) .. ·------· ------· ·------­ Front Full Length (shoulder to floor) ------. ·------·------

Neck (at base) ------·------,------··; ------~------· .. Shou1der (neck to armhole line) ------·------Armhole ------­ Width of Back ------·------, Back Waist Length (neck to waist) ------. ·------· ·------­ Back Full Length (neck to floor) ------·------· ·------­ Back Skirt Length (waist to ) ------·------· ·------Outside Arm (shoulder to wrist- arm bent) Inside Arm (armhole to wrist-arm straight) __ ------·------· ·------Upper Arm (fullest part) ------Elbow (arm bent) ------·------·------· ·------. Wrist ------..------Hand (closed) ------·------. ·------

Fig. 3. Record for Home Sewing. 4 Differences Between the Front and Back of Patterns Blouse: Neck curve is lower in front than in back. Width of chest is equal to or less than width of back. Bust measure through the front is slightly greater than across back. Front points to or ends on bust. Armhole curve of front is deeper than in back. Back shoulder seam is about Yz inch longer than the front shoulder seam. Sleeve: The front of the sleeve cap has a little deeper curve than the back. The back of the sleeve is a little longer than the front. Elbow dart is at back. or dart line at little finger divides wrist into thirds: one-third to the back, two-thirds to the front. Wristline curves down more at back than at front. Skirt: Waistline curve is deeper in front and straighter in back. Usually there are vertical darts in back if skirt back is in one piece. Waistline of back is shorter than that of front. Pattern Size to Buy Patterns are made in sizes corresponding to the bust, waist, and hip measurements. Because one buys a size 16 in ready-to-wear it does not follow that one would buy a size 16 pattern. Take measurements each time a pattern is purchased. Select paper patterns according to size most suitable. Patterns are made with the waist measurement about 7 inches smaller than bust and the hip measurement 3 inches larger than bust. Pattern companies allow the necessary amount of ease. If one requires a 36 dress pattern, the same person should use a 36 pattern. If your bust measurement is 35 inches buy a size 34 pattern if you like your clothes to fit snugly or a size 36 pattern if you like your clothes to fit loosely. Other measurements as waist and hip will help you to determine which size needs the fewest adjustments. A gar­ ment too large is safer but quite as unattractive as one that is too small. One-piece dress patterns are easy to alter for hips that are larger or smaller than the bust. If there is more than a size difference ( espe­ cially in two-piece ) it is better to buy two patterns and make adjustments at the waistline. 5 In selecting a blouse pattern, select the size nearest the bust measure. If you measure 33 inches, choose either a size 32 or 34 if size 33 is not available. A size 34 can be altered more easily with a tuck whereas a size 32 may need to be slashed, thus spoiling the pattern. Also, consider the contour of the body in determining whether to buy a 32 or 34. If the circumference of the body at bust or hip approaches a circle rather than a flattened oval, choose the smaller size (32). For the broad, flat type, choose the larger size (34) especially if one has wide shoulders. A high bust will require the size 34 whereas a low bust will probably be better fitted in the smaller size with few alterations. For young girls who have broad shoulders in proportion to slender hips, it is best in such cases to select a blouse pattern of the correct size and a skirt one size smaller to make a good fit. For the woman who is large in the hips in proportion to the bust size, the one-piece dress pattern will offer a problem. Since changing from one size to another is easier to do in the skirt than in the blouse, it will be simpler to buy a pattern according to bust measure. But, if the skirt is complicated in design it would be better to buy accord­ ing to hip measurement and then decrease the blouse measurements. The full-breasted woman needs to give special consideration to purchasing a pattern. If she is high busted and bust measures 39 inches, her best choice is size 40. If she is low busted, she may wear size 38 better, because it will fit across the chest, shoulder, and back correctly. Then by letting out the underarm seam or slashing and spreading the pattern the bust measure may be corrected. Quite often this type figure is small in the hips and by selecting a smaller size pattern one may be saved the necessity of altering the skirt. For a large figure with narrow shoulders, as for example a size 38 bust, and 40 hip, it is often practical to buy a size 36 pattern which is smaller than the bust measure but will fit better at shoulders, arm­ holes, and sleeves. Slash blouse to allow for fullness of bust. \iVomen with excess weight through hips and who have devel­ oped a low bust line and a full abdomen need to buy two patterns to obtain a perfectly fitting garment. Women with slender hips and heavy shoulders and bust need to buy patterns to correspond to the bust and then narrow the skirt pattern to agree with hip measure­ ments. : Size 20's or over need to determine their figure types and what to do about it.

6 A woman who is larger than a size 20 will enjoy sewing for her­ self because she does not have to have the matronly looking clothes most frequently made in large sizes of ready-to-wear garments. Women with large figures should always avoid sleazy, cheap­ appearing fabrics. Buy the best quality that can be afforded, choose finer weaves avoiding bulky fabrics-~orsted rath(,'!r than tweed; crepe rather than taffeta or bulky satin, chiffon rather than organdie. Ready-to-W ear Dress Sizes Ready-to-wear come in sizes 12 to 20 and 38 to 44; m some instances, 48 to 52. Size 12 corresponds to 30" bust Size 14 corresponds to 32" bust Size 16 corresponds to 34" bust Size 18 corresponds to 36" bust Size 20 corresponds to 38" bust Sizes above 20 correspond to bust measurements. Testing a Pattern Testing patterns is necessary because they are not standardized (See below, "Using Commercial Patterns"), errors in patterns are possible, weight may be lost or gained, and style changes often add or decrease fullness. Mistakes in cutting a dress too small or too large may be avoided if the pattern is measured in a few places before it is used to make sure the measurements coincide with the measurements of the figure and allow for necessary ease. If a few important measurements are correct, it may be assumed the rest will be all right. (Refer to Figure 3.) The easiest method of testing a pattern is to pin the pieces to­ gether and try on the assembled pattern. It is not accurate because paper is stiffer than cloth and the same effect is not obtained. More accurate tests are: (1) Make a trial garment of before cutting into ex­ pensive materials. (2) Compare paper pattern with a foundation pattern that has been made to fit. See page 14. (3) Compare measurements of the pattern with a garment in the wardrobe which is satisfactory in fit and style. (4) Compare measurements of the pattern with individual measurements to which has been added an amount al­ lowed for ease. See pages 4 and 10. 7 Using Commercial Patterns A person who is a skilled sewer can use any pattern with fairly good success. Many women have preferences for certain commercial patterns because they are simple, or easy to follow, or have unusual style quality, or have very complete directions. Some have better success with a certain make of pattern because it seems to fit them better, for the reason, perhaps, that the model used by this company was more like their own figure in contour. If you have found a cer­ tain kind of pattern has always given a satisfactory style-effect on your figure, it is a good idea to use that kind again. The experienced is capable of using a commercial pattern without much study of the instruction sheet, nevertheless, a little checking of the pattern is helpful in achieving accuracy and in learning new ideas to increase one's efficiency. It is a wise buyer who uses this service. P attern companies try to get up-to-date ideas in finishes and trims into these guide sheets. With a yardstick, draw a line on the pattern pieces to indicate the lengthwise . Draw a line indicating crosswise grain of the sleeve pattern from corner to corner at the base of the sleeve cap. If the lengthwise line is not perpendicular to this crosswise line, alter it so it will be. This process is necessary because frequently the perforations in the sleeve of a commercial pattern have slipped a little to one side and need correction. If you do not have a 's square, fold the pattern first on the crosswise grain line, then fold this over on itself, making a line perpendicular to the base of the cap. For instructions on cutting out patterns obtain Extension Cir­ cular 283, "Cutting Out and Marking A Garment," from your County Extension Service Office.

Comparing Shapes of Commercial Patterns In order to buy patterns wisely, one needs to know the patterns that more nearly resemble one's figure. Commercial pattern compan­ ies use different models so that some patterns seem better suited for narrow-shouldered persons, others for wide-shouldered individuals, others for the athletic type, and so on. One can compare the various commercial patterns as to shape. Use patterns of about the same date of issue, same size and design, normal set-in sleeves, or all with the same general sleeve line. If possible secure those with normal high , the darts similarly located, and the same number of gores in the skirt.

. 8 Keep in mind the finished seam lines and not the cutting edges. Because companies allow different amounts for seams, make sure of the and the method of indicating it on the pattern. Some patterns often use wide seams on important fitting lines and narrower seams on curves, such as arm­ a holes. METHOD I. Comparing the Patterns Studied Item by Item. (a) Draw a hip line on the pattern beginning at 7 inches below the waist­ line at center front and continuing Fig. 4. Lines by Which to Check Ease of Various Commercial around the skirt front and back the Patterns. same distance above the , thus mak- ing a curved line around the hips. See Figure 4. (b) Draw horizontal lines at right angles to center front and back at the base of armhole or armseye (this line in most cases will be above the bust line). See b, Figure 4. (c) Draw horizontal lines at base of sleeve- this corresponds with the one drawn in the blouse. See c, Figure 4. (d) Draw lengthwise grain line at right angles to the middle of the cap line on sleeve. Seed, Figure 4. (e) Draw a horizontal (dotted) line at right angles to the center front and back, through the middle of the front armseye and sleeve cap. See e, Figure 4. Record measurements of various pattern companies on the chart on page 10, Figure 5. A comparison of the total length of line of a pattern with the total measurement of the same line on another will reveal whether a particular pattern would be tight in the chest or across the back when in action, since one part does draw on the other. One cannot criticize a pattern for being slightly narrow in the back if its sleeve cap is proportionately wider. To· get item 5, the total ease allowed for width through the shoulders, subtract the total measure of item 4, from the correspond­ ing body measurement for those lines given by the pattern company. If t.his is not available, find a set of body measurements by taking the average of the group making the study, who are of the same size. 9 Name of pattern company and date Design number and size - 1-- Width 1. Chest ...... 2. Back ...... 3. Sleeve cap ...... 4. Total ...... 5. Total ease allowed ...... Bust 6. Front ...... Line 7. Back ...... 8. Total ···································-~·-······ · 9. Total ease allowed ...... Waist 10. Front ...... 11. Back ...... 12. Total ...... '...... 13. Total ease allowed ...... Hip 14. Front ...... 15. Back ...... l6. Total ...... ,...... 17. Total ease allowed ...... ·-··············· ! ...... Shoulder 18. Front ""········-...... Seam 19. Back ...... 20. Amount of ease ... _...... Sleeve 21. Middle of cap ...... Width 22. Base of cap ...... 23. Elbow ...... 24. Wrist ...... ,...... 25. Center back of neck to tip end. of shoulder ... - ...... 26. Tip end of shoulder to elbow .. .. 27. Elbow to wrist ...... Length from Mid­ dle of 28. Front ...... Shoulder 29. Back ...... Seam to Waist ___ I ___ Length 30. Center front ...... ! ...... of Skirt 31. Side hip ______...... 32. Center back ...... 33. Front ...... 34. Back ...... Depth of 35. Sleeve cap circumference ...... Armseye 36. Difference between highest and lowest point of shoulder seam ...... Width of 37. Bust to shoulder seam ...... Funda­ 38. Bust to underarm seam ...... mental 39. Bust to waistline ...... ,...... Darts 40. Shoulder blade to neck ...... 1 ...... -.... , ...... 41. Shoulder blade to waistline ...... 42. Elbow to underarm seam ...... I ...... 1 - ......

Fig. li. Comparison of Commercial Patterns (Adapted from Chart VI Comparison Qf Commercial Patterns As to Shape"-:.Practical Dress Design by Mabel D. Erwin. 10 To get item 36, draw a horizontal line from the armseye end of the shoulder seam at right angles to the center back of the blouse pat­ tern. Draw a second line from the neckline end of the shoulder seam parallel to the first line drawn. Measure the distance between the two lines. The greater the distance between the two lines, the greater the slope. A shoulder seam line that slopes a great deal is better for a person having sloping shoulders. A shoulder seam line that does­ n't slope so much is better suited to a square shouldered person. Darts may be measured in inches of width at the open end of the darts. This study should help you to make true conclusions and state­ ments, not opinions based on . An up-to-date sewer will make these studies from time to time and readjust her theories and statements because variations in size do vary with style tendencies and because pattern companies may not always employ the same designs, draftsmen, or theories of designing and drafting.

METH 0 D II. Comparing Similar Pattern Pieces. Another method commonly used in comparing patterns is to draw an outline of each pattern on a or heavy paper using a different-colored pencil for each different pattern company. Place the center front, center back, and lengthwise grain lines on the same vertical line, and place the horizontal lines on the same horizontal lines. Differences in ease, slope of shoulder, and depth of armseye curve are then noticeable. See Figure 6 which shows the variations of a size 14 blouse pattern of two commercial pattern companies. Pat­ tern 1 is better suited to a person with sloping shoulders. Pattern 2 provides more fullness across the back, is shorter in the waist and better designed for a square-shouldered person.

-, I Sleeve Blouse Blouse I I Front Bock I Pattern I_ I I AJttern 2----- I Pattern 1- Pattern I_ / I Pattern 2----- i Pattern2 ...... / 1 ~-J

}'ig. 6. Comparison of Patterns of Two Companies, 1942.

11 METHOD III. Comparing Made-Up Muslin Blouses. In a group it may be possible for members to make up a set of muslin blouses, for instance, all size 16, but each from a pattern of a different company. When these garments are tried on, one can form an accurate judgment as to the type of pattern best suited to the in­ dividual. In such a group, it will be easily seen that certain company patterns are better adapted to certain types of body-build than others. Women could bring together the patterns they've purchased in the season from which these sample blouses could be made up thus eliminating any additional expense and giving a wide variety to the sizes. The Foundation Pattern A foundation pattern is sometimes called a basic pattern, a master pattern or a flat pattern. It has as few seams as possible; pattern pieces include a blouse front, blouse back, skirt front, skirt back, and long sleeve. All pieces fit the individual perfectly with the right amount of fullness throughout (see amount of ease to allow for garments on page 4) and with seams in correct position. From the flat pattern more complicated patterns may be . One may have foundation patterns of tight-fitting sleeves, raglan blouse, ki­ mono blouse, two-piece sleeves, two-piece skirt, a one-piece dress, or dart-top sleeve pattern. These foundation patterns are used to de­ sign other variations and save time in designing from a plain sleeve, blouse or skirt pattern. Frequently it is impossible to secure a paper pattern in the de­ sired style in the correct size, especially if there is a great difference between individual measurements and the standard ones. In such an instance, it may save time to develop designs from a foundation pat­ tern. However, making an original foundation pattern requires time and accuracy besides much checking.

How To Make A Foundation Pattern 1. Secure a commercial pattern which fits the figure well. A person who has considerable experience and training may be able to make a foundation pattern on a which conforms to her size and shape. 2. Select firmly woven muslin or gingham with crosswise grain easy to see. 3. Cut by rules. Be especially careful to keep the grain true. Allow % inch seams on curves, and 1 inch seams on straighter lines for fitting on shoulder, underarm, and side seams.

12 4. With colored basting mark center front and center back on blouse and skirt. Also mark the crosswise lines on the sleeve. 5. Baste as for any dress. Leave a 3-inch placket at left underarm seam of blouse and 6-inch at upper left of skirt seam. Cut a slash at center front of the neck so the blouse will over the head easily. The skirt may be pinned to bottom of blouse. Do not turn the top of the skirt over, simply lap it on top of the blouse. 6. This is practice material, so make al­ teration until the garment really fits. Slash and piece, tuck and dart, pin and repin seams and darts, keeping the grain of the material running true, with side seams straight, and

Fig. 7. l\Iark the length· center front and back lines perpendicular to wise and crosswise lines of the pattern. the floor. 7. Mark on muslin the fullest part of the bust, the point of the elbow, prominent shoulder-blade point, the fullest part of the hips, corrected normal neckline, normal armseye, corrected wristline, cor­ rected waistline, and the desired length of skirt. 8. Make a corrected pattern in muslin and refit. Make sure it is right in every detail. See Farmers' Bulletin "Fitting Dresses and Blouses," for more information on fitting garments. 9. If desired, make a pattern on a tough firm paper allowing Yz inch seams on all curves and ~ inch on straighter seams. Mark or cut out darts so they can be easily marked on the material. Name each garment piece and put name of person for whom it is made on the pattern pieces. Use this paper pattern in cutting your garment and in checking commercial patterns. Darts Are Necessary For Good Fit In order to keep the cross-grain of the material straight at the shoulders, bust and hips, darts are necessary. Usually the roundest curve to fit is at the bust line. This may be fitted by the use of a shoulder or under-arm dart, or both. The dart under the arm is not as wide as the shoulder dart because it is closer to the bust curve. The more curves in the figure, the more darts are necessary to give a good fit. The larger the person, the deeper the darts have to be. With a prominent bust, a 3-inch dart may be necessary. This is too bulky to fold into one dart, hence several are advisable. By

13 changing the placing of these darts, many variations in designs are accomplished. Usually the under-arm dart is placed two inches below the arms­ eye and points toward the bust, but it should never pass beyond a line dropped from the most forward curve of the armseye. The shoulder dart generally begins at a point slightly closer to the neck than half-way on the shoulder seam, and slants slightly toward the center front, ending on the point of the bust. The dis­ tance this dart extends depends on the style of the garment. Gen­ erally it ends at a point half-way down the armseye. Other darts may be necessary to give the desired fit, depending on the style. Small darts at the back of the neck line or at the back of the shoulder line take care of rounded shoulders or a pad of flesh across the back of the neck. Darts at the elbow are necessary to make a sleeve fit closely. A vertical dart running from the little finger at the wrist toward the elbow will make the sleeve fit snugly at the lower arm. Vertical darts from the waist down may be necessary to take care of a protruding abdomen. Darts are necessary in the back of a skirt to give a smooth fit from the waist and over the hips, as the greatest curve is usually from 7 to 10 inches below the waist. The skirt darts may be taken care of by the cut of the or by the use of gores. Advantages of A Foundation Pattern 1. Making a foundation pattern gives a better understanding of the correct position of seam and garment lines, and develops better ju-dgment in selecting or making well-fitted garments. 2. Garments can be made at home for family members far away. 3. Materials can be cut without waste. 4. Remodeling garments is made easier. 5. Time and labor are saved in making garments because fre­ quent and tiresome fittings are eliminated. 6. A knowledge of the use of a flat pattern helps one to modify any kind of pattern for such simple problems as changing proportions as well as sizes, adding or removing plaits, tucks, flares, and other fullness. To Check A Commercial Pattern With A Flat Pattern Pin the foundation pattern together with all the darts pinned in. Do the same with the commercial pattern. Put the two together with the new one on top of the foundation pattern, point of bust to point

14 of bust. Note any differences in the slant of the shoulJer seam, the depth of the sleeve cap, length of the sleeve, and placing of waistline and hip line. Compare all widths, such as arm, bust and hip and alter the commercial pattern where necessary. Use the flat pattern for size; for style, follow as much of the new pattern as possible.

Foundation Patterns Are Not For Beginners A beginner should work with good commercial patterns in order to develop an idea of how good patterns look and how they are put together. Good sewing and dressmaking is essential to the making of patterns and the use of flat patterns. Original pattern designs amount to little if the dressmaking technique is not of a high standard. Change the foundation pattern from year to year to keep up with the change in figure and style trends. New lines, of which the home seamstress is unaware, are put into dress design from season to season. Pattern Alterations If patterns must. be adjusted for you, don't think you have a poor I figure. Alteration rooms in shops record that two women in a hun­ ' dred buy a dress or a pattern without requiring some slight change in its proportion to have it fit correctly. If you know your measure­ ments, adjustments will be easy to make. Know your size. Know how and where it varies from the average. (See page 1 Figure Study.) The quickest, simplest way when adjusting patterns is to know your measurements. Smooth the pattern pieces out flat on the table. Measure the front of waist from shoulder to waist; front of skirt from waistline to your desired finished skirt length. Measure the back in the same way. Measure inside sleeve line. Lay and pin a fold in each pattern to make length correspond to each of your length measurements. (See Figure 8.) If the pattern is short it may be necessary to slash the pattern and insert a piece to get the necessary length. (See Figure 9.) After the length is correct, check the pattern for adjustment to other measurements.

15 GENERAL RULES TO FOLLOW IN MAKING ALTERATIONS: 1. Do not lose proportions. 2. Keep seam lines and other construction lines 1n place on figure. 3. To alter length, do so on crosswise grain line; to alter width, make the change on lengthwise grain line. 4. When removing more at one side or end of pattern than on the other, do so by making a lengthwise or crosswise tuck. 5. Slash or taper a tuck toward the seam line which you do not want to change in size. For instance, if you want to increase the bust measure, cut a slash from center front to side seam spreading on center front line and not underarm seam, or slash from waistline to shoulder seam line spreading at waistline and not altering shoulder line. (See Figure 15. Band C.)

LENGTHENING PATTERNS To lengthen sleeve, slash pattern crosswise above and below elbow and spread the necessary amount. See A, Fig­ ure 8. B. To lengthen blouse, slash pattern crosswise between and waistline and spread the necessary amount. See B, &I Figure 8. To lengthen skirt, slash pattern cross­ wise between hip line and hemline and spread the necessary amount. See C, Fig­ ure 8. To lengthen a one-piece front or back pattern slash pattern between bustline and D. waistline at proper places on the figure. Fig. 8. Lengthening Patterns. See D, Figure 8.

16 SHORTENING PATTERNS In shortening, the depth of tuck should measure one-half the alteration. See A, Figure 9. To shorten sleeve, make a tuck across pattern above and below the elbow. See B, Figure 9. For very short arms, take 7'3 of the amount out below the elbow and % above. To shorten the blouse, make a tuck in a straight line across the pattern a few c. inches above the waistline. See C, Figure 9. To shorten the skirt, make a tuck in a straight line across pattern between the hipline and hem. Take up half of the necessary amount here and take off the rest at the hemline. If you wish to keep all the width at the bottom of the skirt make the fold take out the total amount. D. E. SeeD, Figure 9. Fig. 9. Shortening Patterns. In shortening a one-piece front or back of a garment, make a tuck between bustline and waistline and another halfway between hipline and hemline, keeping bustline and waistline at proper places on the figure. See E, Figure 9. TO SHORTEN A FLARED SKIRT without losing fullness, cut off desired amount at lower edge. See A, Figure 10. Slash skirt from hemline to seamline at waist. Pin original hem over new edge, spreading slash to fit - don't

A. change the measurement of the original waistline, See B, Figure Fig. 10. Shortening a Flared Skirt With· out Decreasing Width at Bottom. 10.

17 TO WIDEN A SKIRT, slash from hemline to the waistline and spread two lengthwise sections of the skirt to ob­ tain the additional width required in the bottom of the skirt. ALTERING LENGTH. To shorten trousers, make tucks across pattern above the crotch and at the knee. See Figure 12. TO LENGTHEN TROUSERS, slash across pattern above crotch and at the knee. Spread necessary amount Fig. 11. Adding Width to a Skirt. and pin to paper to hold position.

TO DECREASE BLOUSE PATTERN, tucks both crosswise and lengthwise of the waist and sleeve pattern make the pattern both narrower and shorter. This decreases the length of shoulder seam, under­ arm seam and armhole seam. The lengthwise tuck in the sleeve should take out the amount of width to correspond to the decrease in the armhole made by the crosswise tucks across the front and back chest of the blouse pattern. See Figure 13. Fig. 12. Alt· ering Trons· ers.

:F ig. 13. Decreasing a Blouse Pattern.

Slashing and spreading will make the pattern both wider and longer. This increases the length of shoulder seam and underarm seam.

18 If armhole needs increasing, slash from center front and back to center of armseye as on dotted line, Figure 14, and spread pattern. If this is done, the dotted line on sleeve pattern should be cut and sleeve spread to allow for extra armhole size made by increasing size of armhole in blouse front and back. See Figure 14.

Fig. 14. Enlarging a Blouse Pattern.

FULL BUSTLINE often swings a dress out in front. \Vrinkles from bust to underarm seam are no­ ticeable and the horizontal grain of the material drops under arms and the under­ arm seam swings to front. Pattern Alteration: B. A rounded bulge of the body requires not only increased girth but also in­ creased length. Add width and length within the pattern at the place where the bust is fullest. Slash from waist­ line to shoulder seam. Slash crosswise through Fig. 15. Altering Bustline. fullest part of bust. Spread each slash to correspond to body measurements. See B, Figure 15. Take up increased width at waistline by darts or gathers. If only additional width and not length is needed, slash only from the waist to shoulder seam as in C, Figure 15.

19 Garment Alteration: Length and width must be secured. Rip shoulder seam and lift crosswise grain at armseye by taking deeper shoulder seam at the armhole end; slightly narrower at neck end. Rip underarm seam and lift front above back until crosswise grain is horizontal. Part of this material is pushed up into armhole and part is put into the underarm dart already there or into a new dart. Narrow shoulder and large bust. Where fullness is needed for the bust but less width is needed on the shoulders, slash blouse front from waistline to a p"oint about even with bottom of armseye. Make a tuck from shoulder seam tapering to this point to make the pattern lie flat. Do the same on blouse back pattern. Corrections for Square Shoulders. A garment that Fi~~J 6 :n~!fu~~~ does not hug the neck and appears to be strained at eration. the armseye end needs allowance for square should- ers. The wrinkles point toward the end of shoulder seam and flatten out at bustline, or they make crosswise folds across the chest. Diag­ onal wrinkles also appear in the sleeve from the center top to under­ arm. Pattern alteration. Draw shoulder seams more horizontal on both front and back, by building up the shoulder line at armhole and tap­ ering to neckline. Raise the underarm line accordingly. See Figure 17B. No change in sleeve is necessary if this is done. Generally, the same amount of change is made on front and back. Frequently, the square shouldered person is also broad shouldered. Another alteration if the blouse is extra long in front is to make a tuck from the center front line to the point of the armseye seam on the shoulder seam as in C, Figure 17. This straightens the shoulder seam and shortens the pattern in front.

20 Garment alteration: 1. Take shoulder seam deeper near neck and slash neckline if it becomes too tight. This will also shorten the blouse. 2. Where the sleeve is also affected, let out the shoulder seam at the armseye end until the grain is hori­ zontal and the strain is relieved (a wide seam allowance is necessary for this alter­ ation) . This method also enlarges the arm­ hole. If a wide armseye seam was allowed establish a higher line under the arm. I n this way the sleeve is not changed-but moved up in the armhole. If there isn't a wide seam allowance in the armhole and taking narrower seams in the sleeve won't help the entire problem, hollow out sleeve at under armseye. Fig. 17. Square Shoulders need less slanting shoulder seams.

C. D.

F ig. 18. Broad Backs and· Shoulders Need Width in Blouse Back.

BROAD BACKS-BROAD SHOULDERS are characteristic of the athletic figure who often tears out the set-in sleeve of dresses. Cut the back of the dress with the center back of the pattern placed back a little from the fold to allow extra width, see B, Figure 18. At the neck, lay tiny tucks to take out this extra fullness, or a box may be made down the center back.

If the back is broad only through the shoulders, allow a bout ~ inch at the curve of the armhole in cutting the back-see C, Figure 18-and a corresponding ~ inch at the back of the sleeve. See D, Figure 18.

21 FLAT CHEST causes the neckline in front to bulge and hang in lengthwise wrinkles or folds down to the bust. Pattern Alteration. J\1ake a tuck from neck to the point of the fundamental un­ derarm dart as in A, Figure 19, or to waist­ line as in B, Figure 19, until neckline and chest are correct size. Garment Alteration. Rip the shoulder seam and smooth the material outward from center front to armseye, as in C, Fig­ ure 19, or keep it in the blouse w ith shir­ ring as in D, Fi~· ure 19, or in a dart. B. l''ig. 19. Alterations for a Flat This method will make the neckline Chest. broader. It may need building up with a yoke or some other design feature.

Very flat hollow chest makes the blouse hang in lengthwise and crosswise wrinkles. The cause is generally that the darts are too wide for a small bust. Pattern Alteration. Taper a dart from A B. Fig. 20• A very Flat Hollow neck to waistline near center front-see B, ~~~a~t i:-~e;~ntL;~~~s!~a- Figure 20-and from center of basic dart to opposite side of pattern as in A & B, Figure 20. Lap each the needed amount at the top tapering to nothing at waistline or center of basic dart.

:Fig. 21. Removing Fullness at Neckline.

22 Garment Alterations. Rip the shoulder seam and the shoulder dart. Make the shoulder dart narrower and push the extra width over to the armseye to cut off. If there is an underarm dart, rip, pin in a new narrower dart, but keep the grain smooth over the bust. This will drop the front below the back at underarm seam and the extra length should be trimmed off. To correct a hollow appearance from shoulder to bust, raise the shoulder seam until there is a little fold in the fabric as indicated hy arrow in Figure 24A. Clip the lower part of the armhole until it feels comfortable.

SAGGING NE'CKS. If sag, or if they have been stretched in handling the garment during construstion, the edge of the neck with several rows of very fine stitches, and draw up until the neck fits smoothly. Try pressing out the fullness. If the neckline is to be finished without a a corded finish may be suitable. See Figure 21.

Stooped Figure With Rounded Shoulders Select design that has fullness in back, rather than one that has perfectly plain back. When length and width is needed across the back slash back lengthwise from waistline to shoulder seam and slash across fullest part of back, from center back to seamline at armhole. Spread pattern to get necessary width and 'length, see A, Figure 22. Place tucks at back of neck to take up fullness. Use tucks or gather fullness in back waistline. By slashing across back to seamline of armseye additional length can be secured in center back. The dotted line indicates cut­ ting line of new pattern. See B, Figure 22. When additional length is needed all the way across the back slash from the center of armseye across back and spread necessary amount. Make adjustment in armhole seam of back of sleeve to fit this adjustment. The front may also need some adjustment. Lay tuck from cen­ ter front to armhole to shorten the distance from neck to waist, see D, Figure 22. When you do this lay a small fold in the front of sleeve as shown in F, Figure 22.

2~ Where a large bulge is formed in the center of the back additional length is needed only in the center back. Then in place of slashing across the entire back blouse pattern as in A, Figure 22, slash only through the center section as in E., Figure 22.

Fig. 22. Provide Fullness In Back for Round Shoulders.

WIDENING SHOULDER SEAM. To widen shoulder on blouse back pattern, slash vertically from center of shoulder to waist­ line seam and spread pattern to give desired amount through the back. See A, Figure 23. This may also be done in front; however, it will add a little to the total circumference of the bust. Fig. 23. Widening Shoulder ~1~~:e 0~~,~~~ts~nd ack To widen the shoulder seam without adding to width of bust in blouse front, slash lengthwise from shoulder seam down half the depth of the armseye to the point of the slash. See B, Figure 23.

24 Sloping Shoulders are a usual de­ fect. Sometimes both shoulders slope, or one shoulder may slope more than the other. Garment Adjustment: Raise it on the shoulder. Taking up at the armhole end only may be the remedy; however, sometimes the seams must be taken up all the way across. See Figure 24. When the dress hangs smoothly, there will be a little fold dropping from the shoulder, see arrow in Figure 24, A. This garment alteration will tighten the armhole; therefore, it is necessary to

Fig. 24. Sloping Shoulders Need lay the pattern on the garment and re­ Armholes Ra.Jsed. cut the armhole. It may also shorten the blouse. If the blouse pattern is long enough and the shoulder slopes so that the armhole is too large, take out the surplus by laying a dart from armhole to center front. See B, Figure 24. If the blouse needs additional length down center front to adjust for sloping shoulders, slash pattern from center front line to outer end of shoulder seam and spread. This gives more of a slant to shoulder seams and raises the neckline. See C, Figure 24. When adjusting for sloping shoulders on a raglan sleeve and saddle shoulder take up the necessary amount in the shoulder dart if there is one, or in the seams. Neck and shoulder seam sliding back is caused by back blouse pattern being cut too narrow for the figure, or back arms­ eye of pattern cut too short in proportion to the figure or in proportion to front of QlB. c. pattern. Pattern Alteration. Slash back across Fig. 25. Back Blouse Too to deepen armseye and slash from waist­ Small Causes Shoulder Seams line to shoulder seam line to widen the to Slide Backward. back. See C, Figure 25. Garment Alteration. Rip underarm seam, adjust shoulders so that they are comfortable, the seam should be ;~" back of the high­ est point on the shoulder with the neckline well up in back. Repin shoulder seam so that the grain is straight across front and back. 25 Examine underarm seams and pin front to back to preserve balance and make a straight underarm seam. Generally, the back needs lifting above the front. See B, Figure 25. To secure addi-_ tional width across back let out armseye seam; or insert a center back panel to get more width if a new back cannot be cut. Large Arms. Strain at up­ per part of sleeve from center to armhole when the elbow is bent is caused by a large upper arm. See B, Figure 26. The sleeve cap is too short and tight. Slash the sleeve pattern as in A, Fig­ A. ure 26 and spread the de~red amount. Measure the width added to the top of the sleeve. This same amount must be added to the measurement of the armhole. Make the armhole larger by al­ tering front and back as in C, Fig. 26. Large Arms Need Large Arm· Figure 26. hole and Sleeve Cap. For the arm large all over split the pattern as in D, Figure 26 from the center top to seamline at wrist.

THIN ARM. Lay a fold in the pattern tapering toward wrist. See Figure 27. On the blouse front and back pattern lay a small dart in armhole below shoulder seam and taper off to center front line to make armhole smaller or just raise the armhole line. Fig. 27. Thin Arms Need Narrower Sleeve Cap. Too Short Sleeve Cap. Diagonal wrin­ kles from shoulder seam to underarm seam of a sleeve are caused by sleeve cap pattern being too short for a long upper arm. Pattern Alteration. Hollow out under­ arm of sleeve, or add to the top as illustrated in B, Figure 28. Garment Alteration. Trim out under- Fig. 28. Too Short Sleeve Cap Causes Diagonal arm seam of sleeve. Wrinkles from Top of Sleeve to Underarm. 26 SHOULDER SEAMS ARE TOO OFTEN TOO LONG for persons with narrow shoulders or flat-chested or undeveloped fig­ ures. Slash the waist lengthwise from shoulder to waistline seam and lap the slash until shoulder seam is the correct length. The back shoulder seam should be 0" longer than the front seam. Add to the top of the sleeve the amount that was taken off the shoulder seam of the dress. Garment Alteration. Lay a group of tucks on the shoulder seam of the blouse front. Reverse procedure for widening shoulders.

FOR LARGE ABDOMEN In a one-piece dress front pattern take one or more darts in front of the side seam, just above the waistline, taking up enough fullness so the side seam swings straight. Add the amount of length taken out by darts to the bottom as in Figure 29. In altering a two-piece dress front pattern slash skirt front from center front to side seam line and spread pattern thus allowing length over the abdomen. See B, Figure 29. If width is also needed across the front slash from waistline to hemline and spread. See C, Figure 29. It may also be advisable to lengthen the front waistline. Slash across the front waist pattern to side seam line adding the necessary amount of length. See D.

Fig. 29. Large Abdomen Needs Length and Width Added to Pattern Front.

27 SWAY BACK results in too much fullness in the back which hangs in cross­ wise lines near the waistline. Pattern Alteration. Split the back skirt pattern lengthwise between the dart and side seam, as in A, B, Figure 30. Split across the center section of the skirt from center back to side seam line as in C, D , Figure 30. Add extra width by separating the two lengthwise sections and add extra length in center back by separating pieces on the crosswise cut. Garment Alteration. Make the shoul­ der seam deeper at neck. Take a few darts at neck if it tends to bulge or sag. Take a crosswise dart at waistline to take out the crosswise lines. Taper the dart toward underarm seams.

Fig. SO. Sway Back Needs Length Added to Skirt Pat· tern.

REFERENCES Modern Dressmaking Made Easy-Mary Brooks Picken. Art In Everyday Life-Harriett and Vetta Goldstein. Practical Dress Design-Mabel D. Erwin.

Published and distributed in furtherance of the Acts of May 8 and June 30, 1914 by the State College of Washington, Extension Service, J. C. Knott, Director, and the U. S. Department of Agriculture cooperating. 11-43-10m-s538

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