The American system of dressmaking

Preface

The Science of Dressmaking and Ladies' Tailoring embraces a vast scope of knowledge, much of which because of the very nature of the relation which they sustain to the home and society, becomes, in a general way, the common property of all women. Beginning with the simplest forms, and gradually developing chapter by chapter, the more complicated phases of the profession, the author has studiously striven to classify and crystallize this general knowledge into a tangible working system. The success of her effort will depend largely upon the student's attitude toward the study and her desire to become proficient in the application of the principles outlined.

This volume is intended to be at once a complete and comprehensive text book for the beginner, a handy guide for the seamstress in the home, and a ready reference for the graduate and professional dressmaker.

The large printed drafts and tailor's square which accompany the lessons are essential to an intelligent application of the American System.

Chapter I

Introduction ; hints ; rules ; taking measurements ; description of the square and its use; order of taking measurements, neck, bust, waist, front, back, chest, width of back, under arm, armhole and shoulder; drafting front of waist.

CHAPTER U.

Drafting back of waist; determining length of back, width of side-bodies, width of center back ; finding position of back bust line; extension of lines below waist line; position of waist line when the under arm measure is short compared with the back measure; position of waist line when the under arm measure is long compared with the back measure; neck rules, different sizes, etc.; dart rules.

CHAPTER in.

Testing measurements in front and back; tracing the linings, fronts, center back and side bodies ; allowing width of seams in cutting the lining portions ; method of cutting a pattern from the draft; irregularities in waist drafting, persons more developed on one side than the other, persons with enlarged necks, persons with round shoulders, persons hollow between the shoulder blades, fleshy forms, etc.; the French lining.

CHAPTER IV.

Sleeve measurements ; order of taking, length of sleeve, length of sleeve from shoulder to elbow, inside measure from armhole to wrist, armhole measure, elbow measure, hand measure; drafting a sleeve pattern; tracing and cutting the sleeve; shirt waist sleeve; Leg O'Mutton sleeve; Bishop sleeve; Mousquetaire sleeve; elbow sleeve.

CHAPTER V.

Basting lining of waist; seams to baste first; shoulder seam, under arm, darts; basting the sleeve lining, how to pin before basting, how to correct errors in basting; fitting the waist lining, how to have person stand, how to pin, numerous points to observe; fitting the sleeve lining, how to pin into the armhole, points to observe, how to remove lining and make changes; stitching lining and finishing seams in the waist; arranging for hooks and eyes on waist; boning the waist; second fitting of waist; padding the waist; draping waist on the lining; fitting a lining over a form ; to prepare a form for one's own use.

CHAPTER VI.

Sewing stitches, basting, running, back-stitch, overcasting, overhanding, hemming, cat-stitching, feather-stitching, hemstitching; French seam, fell seam, French hem, French knots, buttonholes of different kinds, eyelets, loops, sewing on buttons, button moulds; draping a waist, the yoke, the part below the yoke; evening waists; plain tight-fitting waists; basting material on lining; pressing seams and different fabrics ; basting of different fabrics.

CHAPTER VH.

Points to take into consideration in boning; the various forms of featherbone; to bone dart or seams going to the shoulder, boning under arm seams, finishing the bones, hook and eye bone, three-cord tape for coats, collarbone ; girdles; drafting a waist pattern with one dart in front, under arm portion and two back pieces; drafting a waist pattern with two darts and two back pieces; how to fit irregular or disproportionate figures; short -waisted, long-waisted, round-shouldered, over-erect, very prominent or very small bust; altering for the high or low bust person, square and sloping shoulders, etc.

CHAPTER vni.

Shirt waist, preparing the pattern, how to lay it on the material, how to mark for tucks and to put them in correctly; fitting shirt waists, points to observe and how to correct errors, fitting the sleeve, marking and making changes, seams to stitch after first fitting; gathering the fullness at waist line in back of waist, gathering the front fullness into a band, adjusting the neck band; finishing the sleeve, the opening, cuff, etc.; drafting a stock collar; Bertha collars; Sailor and Buster Brown collars; cuffs, drafting a circular, cuff for the Bishop sleeve, for wash waists, lapped; Sailor blouses; the Gibson waist.

CHAPTER IX.

Skirt measurements; waist; around the hips; length of dart; length of front; length on side; length of back; use of square in skirt drafting; relative proportions of gores; drafting top part of skirt; testing hip line; constructing the waist line; testing waist line; drawing dart lines ; inverted plait ; extension of gores below the hip line.

CHAPTER X.

Cutting the skirt; notching the gores; basting the skirt; fitting the skirt; stitching; finishing the bottom; applying velveteen ; putting on braid ; lined skirts ; walking skirts, finishing the bottom, pressing,

CHAPTER XL

Drafting five-gore skirt; drafting nine-gore skirt, adding flare to nine-gore; drafting fifteen-gore, adding flare to fifteen-gore skirt; adding flare to five-gore skirt; adding fullness to skirts by plaits or tucks at the seams; adding flare to seven-gore; general instructions for adding flare to skirts. ' - *!

CHAPTER xn.

Side-plaited skirts, drafting those with an equal space between the plaits and those with few seams, how to cut gores when plaits are to turn toward the front, how to cut when plaits are to turn toward the back, stitching and finishing plaited skirts ; skirts with plaits placed in at knee depth ; skirts with two, three or more plaits between the plain gores; gored skirts with a wide or inverted box-plait let into the seams some distance from the bottom, how to support the plaits; shirred skirts; skirts with flounces, drafting, cutting and applying a graduated circular flounce; plaited, shirred, gathered and tucked flounces and how to apply; skirts of uneven number of gores; skirts of even number of gores ; skirts of even number of gores with a seam in center front ; skirts of an even number of gores measuring more than three inches at hip line without a seam in center front and those whose gores measure less than three inches, how to proportion the gores.

CHAPTER XIII.

How to finish a drop or foundation skirt, cutting and applying foot ruffle and graduated flounce, making and applying accordion-plaited flounce ; garments for maternity wear, underwear, shixt-waists, blouse, waist with fitted lining, surplice waist, suitable plaited skirt, — how to adjust the plaits and finish skirt at top; Empire skirt; circular skirts, two-piece with seam in center front, one-piece, three-piece, two methods of cutting; finishing plackets; tucks at bottom of skirt, obtaining exact skirt length, putting in hem, measuring for tucks and stitching; Tunic or overskirt, one-piece circular, two-piece with seam in front, how to trim to make the seaming invisible.

CHAPTER XIV.

Single box-plaited skirts; skirts with single box-plaits set in at the seams both full length and at a graduated distance from the bottom, how to cut, baste and finish ; double box-plaited skirts; triple box-plaited skirts; irregularities in skirt drafting, points to be observed in taking measurements, how to proportion the darts in the diff"erent forms, importance of proper underwear and correct pose, drafting for those with round abdomen, prominent hips, prominent abdomen, etc; variances to the general rule of skirt cutting, cutting skirts from striped and plaid material; stitching seams as a trimming, single stitched, double stitched, broad seam stitched, welt seam, double stitched welt, open welt, tucked seam, bound open welt, slot seam double and single stitched, strap seam, imitation strap, raw-edge lapped seam, cord seam.

CHAPTER XV.

Tailor-made suits, points to be carefully observed, methods of shrinking cloth, shrinking colored fabrics to prevent spotting or fading; drafting a close-fitting coat, single-breastted, double-breasted, drafting the rolled turn-over collar with lapels; the lined coat; how to lay the pattern on the material ; cutting the interlining for the fronts and side-fronts ; basting the canvas on the material ; making and applying hair cloth pad to fronts; basting the canvas to the collar, stitching the standing part, padding and applying to coat; taping the coat; cutting and applying the collar and front facings ; how to cut and apply a velvet collar facing; interlinings for warmth; padding the shoulders and around the armhole; making and putting in the sleeves; lining the coat, how to cut and baste the portions to the coat preparatory to felling; how to cut interlining for sleeve; making and putting in the sleeve lining,

CHAPTER XVI.

The unlined coat, how to cut the interlining and what kind to use in coats made of the different materials, stitching and finishing the seams, cutting and applying the collar and front facings, making, putting in the sleeves and finishing the armhole, buttons and simulated buttonholes used as trimming, putting weights in bottom of coats of light-weight material; coat pockets; the Peplum; drafting a tailor's cushion; making fancy coat collars; an evening coat, suitable material, cutting and applying the interlining, basting, fitting, taping and stitching the coat, cutting and putting in the lining; drafting an evening cape, one, two and four-piece, suitable materials, trimming, etc., basting, fitting and stitching, preparing the openings for the arms; lining.

CHAPTER XVII.

Russian blouse coat, drafting a pattern for the upper part, with and without a dart in front, also, how to draft a tight-fitted upper portion with two darts in front ; drafting the skirt portion of coat and fitted belt; how to draft with a V-shaped neck ; cutting the portions of coat ; cutting the interlining, fitting, making and finishing the coat ; drafting a tight-fitting princess, tracing and cutting the different sections, how to cut and make the lining when used, finishing the bottom of princess; how to cut the sections for a high-waist line princess; panel front princess with plaited lower skirt portion ; semi-fitting princess with long-waist effect, panel front and flounce; constructing, trimming and finishing ; wrappers, to make a pattern, etc. ; dressing sacques; matching figures and plaids.

CHAPTER XVIII.

Infants' first outfit, drafting front, back and sleeve; petticoat, coat; little girls' dresses, taking measurements and drafting pattern, suitable materials, Bishop dress, French dress, Buster Brown dress, suspender dress or bretelle skirt, blouse dress, yoke apron, suspender apron, kimono, one-piece apron; rompers, little girls' Russian dress, Russian coat, surplice effect dress, making the shield and collar, yoke dresses, panel or princess effect dress; boys' pants, taking measurements, drafting front and back of pants, pockets — side and back, fastening, -finishing; boy's Russian suit, knickerbockers and coat or jacket; Norfolk jacket.

CHAPTER XIX.

Muslin underwear, drafting umbrella drawers, tucking, applying insertion, gathered ruffle of embroidery, etc. ; making a band; drafting circular drawers; underskirts, drafting yoke, finishing of tucks, insertion, ruffles of lace and embroidery, etc. ; night gowns ; chemise ; corset covers, tight-fitting, embroidery, seamless; embroidery bust supporter or brassiere; combination suit seamed together at waist line; combining under garments; combination suit with top and lower portions in one piece; one-piece children's drawers.

CHAPTER XX.

Selection of material ; how a tall woman should dress ; how a stout woman should dress; points to be considered in designing a garment; what a blonde should wear; what a brunette should wear; choosing colors that are harmonious, blending and combining; the touch of black in trimming; origin of style, where styles come from, where designers get their ideas, comparison of past and present styles; copying from fashion plates; the study of styles; bias bands and folds ; making and applying ; circular yoke ; girdles; cording; shirrings; tucked shirring; French shirring or gathers; ruchings, pinking; mode of applying shirred trimming; single side plaits; single box-plaits;

double box-plaits; applying fur trimming; crow foot; tailor's tacks or mark stitching; skirts of bordered material; illustrations showing points in designing.

CHAPTER XXI.

Fitting up a dressmaking shop ; location, room, space, reception room, sewing room and fitting room, furnishings ; how to construct a form for one's own use; household recipes.

CHAPTER XXn.

Helpful hints; methods of increasing trade; how to advertise your services, sample advertisements.

CHAPTER I.

Introduction; Hints; Rules; Taking Measurements; Description of the square and its use; Order of taking Measurements, neck, bust, waist, front, back, chest, width of back, under arm, armhole and shoulder; Drafting Front of Waist.

Introduction

For a great many years much has been known of making beautiful tapestries, embroideries and needlework, but the great problem of putting the art of plain sewing on a scientific basis and making it a part of woman's education is just now being solved. To meet the growing demand for more practical methods and to supply the longfelt want that has been but sparingly met by the use of patterns, the American College of Dressmaking has spared neither time nor expense in the preparation of these lessons.

Since in any work a thorough understanding of the rudiments is essential, so in sewing the first step is to implant those elements and principles which are the foundation of all needlework, and each part should ba so thoroughly mastered that the next becomes easy. Thus we have arranged a course of twenty lessons so systematically that each succeeding lesson is a natural stepping stone to what follows.

study these lessons carefully and diligently, as much depends upon the aptness, energy and spirit with which you enter into the work. You cannot become a successful dressmaker unless you manifest every interest in the study and put forth every effort to carry the work through from start to finish without dragging.

Nor do we want you to rush through with the course with a view to finishing in the shortest possible time, but rather to study each lesson until you are thoroughly familiar with every part of it before taking up another. If at any time there are any points that you do not perfectly understand to your own satisfaction, write and ask us on the special blank furnished for that purpose, and information will be cheerfully and promptly given.

If at all possible, arrange your work so that a certain time, say an hour or two, more or less, each day, may be set aside for this special study. Permit no other task or duty to take its place. If possible it is well to have a little room that you can call your study and sewing room, where you can withdraw from other duties and apply all your energies to the work in hand. You will find it very convenient. Provide yourself with a good tape, yard stick, tracing wheel, a sharp pair of scissors and a good pencil.

HOW TO PROCEED.

First — Study the lesson carefully, comparing instructions and accompanying drafts. (You will observe that the instructions tell how the large draft is made.)

Second— With the lesson and draft before you for reference and comparison, take a sheet of wrapping paper and draft a pattern exactly like the large printed one.

Third — Draft ten other patterns, using different measures each time. (This is not required, but we strongly recommend it.) One of the main secrets of the success of our graduates is that they knoiv the system, because they learned it well by much practice.

Fourth — Write the answers to the questions and send them to us to be graded.

TAKING MEASUREMENTS.

Just a word of caution about taking measurements before entering upon the lesson proper. Strange as it may seem, there is nothing more important in dressmaking than the taking of correct measurements. It matters not how nicely you have drafted the pattern or how carefully you have put the different parts together, you cannot turn out a satisfactory piece of work unless the measuring was accurately done. This requires practice — much practice. Practice as much as possible until you have become perfectly familiar with every detail.

Observe very closely the form of the person whose measures you are taking. This is very essential, as different forms have different characteristics of contour. Two persons may have the same measurements exactly, yet their forms be so different that a pattern that will fit one may not fit the other at all. For instance, two persons may each have 38 bust measure; one of them may have a full, rounded bust and a narrow back, while the other may be flat in front with large protruding shoulder blades and a deep hollow in the back, where the measure is taken up.

For practice it is well to take the measures of as many different persons as possible. Before beginning to take measures, tie a cord tightly around the waist at waist line and take the measure to the bottom of this cord. Pay no attention to the seams in the waist of the person whose measures you are taking. They may or may not be correct. Always take the measures in the order given below, and write each measure down in same order. For recording measures, use the accompanying blank. For practice measures you can extend this blank as far as you like, ruling blank paper and pasting it on at the bottom.

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THE SQUARE.

We have had many calls from our students for a square. A regular tailor's square, made either of wood or metal, would cost the student so much as to make its use almost prohibitive in the majority of cases; moreover, it would be practically impossible to send such a square through the mails. We have, therefore, had one made from the best pressboard obtainable, which . will, with reasonable care, last a lifetime. A yardstick can be had for the asking at most any general store. It is practically impossible to send one by mail. Be sure you get a good straight one.

Face of Square — On this side

of the squr.rG will be found indicated the inches, half inches, quarter inches and eighth inches.

The half inches occur on both ends. This is called the "scale of halves." The eighths are indicated along both sides of the square but are not numbered on this side. Now turn the square over.

Reverse of Square— On the reverse side of the square the fourths, eighths, thirds and sixths of inches are indicated and numbered ; the fourths and eighths are on the short end, and the thirds and sixths are on the long end of the square. These are called respectively the "scale of fourths," "scale of eighths," "scale of thirds" and "scale of sixths." Inches are also numbered on both ends of this side of the square. Sixteenths are indicated on the short end, but not numbered. On the inside of the long end and on reverse of the square occur the curves "A," "B" and "C," while on the face they are simply named A, B and C, which are used for the various curves in all the drafting.

Always measure from the corner of the square.

The Use of the Square — The use of the square saves calculations. For instance, one will find the different scales on the square a great time saver and convenience in dividing space accurately. Thus to divide a 15-inch space into four equal parts, divide by placing the short end of the square upon which the scale of fourths is marked (reverse) on a line with the space to be divided and mark off at 15 on the scale of fourths, which will make each division 3% inches, as by measuring from corner of square to this mark you will find it 3% on the scale of inches. If the 15-inch space is to be divided into eight equal parts, or 1% inches, mark on the scale of eighths opposite mark representing 15, which is half way between figures 14 and 16; a glance will show you that 15 on the scale of eighths is 1% on the scale of inches. To divide the 15-inch space into three equal parts or three parts of 5 inches each, mark opposite figure 15 on the scale of thirds, which you see is marked 5 on the scale of inches. If you wish the same space divided into six equal parts, mark on the scale of sixths opposite mark representing 15, or half way between 14 and 16, and you will see you have 2V2 on the scale of inches. Thus in every case use the scale representing the number of parts into which the space is to be divided, placing that edge of the square on a line with the space to be divided and mark opposite the figure on the scale representing the entire number of inches.

THE WAIST MEASURE.

The American System uses the following ten measures for the waist:

First, neck; second, bust; third, waist; fourth, front; fifth, back; sixth, chest; seventh, width of back; eighth, under arm; ninth, armhole; tenth, shoulder.

1. Neck measure: This measure is taken around the neck directly under the chin. (See Line 1, Figs. 1 and 2.)

2. Bust measure: This measure is taken around and over the fullest part of the bust, having the tape line well up under the arms, and bringing it to the center of the back. This may be taken as tight as desired. (See Line 2, Figs. 1 and 2.) It is well to stand directly behind the person in taking this measure.

3. Waist measure: Pass the tape around the waist line, drawing it very snug and tight. (See Line 3, Figs. 1 and 2.)

4. Front measure: Place the end of the tape line on the prominent bone at the back of the neck; pass the line over the shoulder near the base of the neck and down over the fullest part of the bust to the waist line, drawing it snug. This measure is taken from the back of the neck to get the length of the front from the shoulder down to waist line. It might be taken from the shoulder, but as there is no set or determined point from which to take the measure on the shoulder, we take- it from the back of the neck. (See Line 4, Fig. 1.)

5. Back measure : Measure from the prominent bone at the back of the neck to bottom of waist cord. Allow plenty of room, as too short a measure gives a low neck in the back. (See Line 5, Fig. 2.)

6. Chest measure: This measure is taken across the chest, from armhole to armhole, midway between the base of the neck in front and bust line. (See Line 6, Fig. 1.)

7. Width of back: This measure is taken across the back, from armhole to armhole, about midway between base of neck in the back and bust line. (See Line 7, Fig. 2.)

8. Under arm measure: Place the end of the tape line close up under the arm and measure straight down to the bottom of waist cord. (See Line 8, Figs. 1 and 2.) The arm should be dropped naturally at the side while this measure is being taken.

9. Armhole measure: Pass the tape around under the arm and bring it up to the shoulder. This measure should be taken very tight, or the draft will be too long from bust to shoulder. It drafts out larger than taken. It is the tightest measure we take, and should not be more than one inch larger than neck measure. (See Line 9, Figs. 1 and 2.)

10. Shoulder measure : Measure from the base of the neck at the side, to shoulder point. This measure can be taken as long as desired, depending on the prevailing style. (See Line 10, Figs. 1 and 2.)

The draft used in this lesson is made from the following measurements: Neck, 12 inches; bust, 36 inches; waist, 24 inches ; front, 20% inches ; back, 15 inches ; chest, 14 inches; width of back, 14 inches; under arm, 8 inches; armhole, 13 inches; shoulder, 51/2 inches.

DRAFTING FRONT OF WAIST.

inches from the left edge of the inches from the top, and draw a

Measure in two paper and down two perpendicular line to the bottom of the paper; this we will call Line 1. Measure down from the top of this line 2 inches and make dot A ; also measure down on this same line one-fourth of the neck measure and make dot N.

From the top of Line 1 draw a horizontal line to the right parallel with the top edge of paper; mark this Line 2. From the left end of Line 2 measure to the right 21/2 inches and make dot M.

Dots N and M are the ends of the neck curve. (Rules for different neck measures are given in Lesson 2.) From dot M measure out on Line 2

to the Ticyhf fVtP This miniature draft of tlie front of the waist

^ f is shown here simply for Immediate reference in

length of the shoulder study, it is reduced to one-fifth actual size. In

, drafting always refer to the large draft accom-

measure, and make a panying this lesson. dot ; then drop or

lower this dot V/2 inches and mark it S, for shoulder point. (This is called the shoulder drop, and usually averages about V/2 inches. However, if the person for whom you are drafting has very sloping shoulders, the drop will be 2 inches; but if the shoulders are high and square, 1 inch will be sufficient. The form must be observed when taking the measures.)

Draw a line from dot M to dot S and mark this Line 3 — the shoulder line. From dot A measure down on Line 1 one-half the armhole measure and make dot B. From dot B measure out to the right one-fourth of the bust measure on the scale of fourths and make dot C; then measure out one inch further and make dot D. Draw a line from dot B to dot D through dot C. This is the bust line. Mark it Line 4.

(The draft we use for this lesson is for one-half the front, and, as the front should be a little wider than the back, we add an additional inch to one-fourth of the bust measure. By using just one-fourth of the bust measure the line would come directly under the arm, but by adding the one inch it comes a little past.)

From dot D measure straight down the length of the under arm measure and make dot E. Then draw Line 5 from dot D to E. Make a dot 21/2 inches below E and measure out to the right of this dot 1 inch and make another dot and then continue Line 5 so as to touch this last dot. This is to give width over the hips.

Now measure down 414 inches from dot B on Line 1 and make dot F; also measure down 2^4 inches from dot D on Line 5 and make dot G. Draw Line 6 from dot F to dot G. This is the dart line. From dot M draw Line 7 straight down — parallel with Line 1 — ^21/2 inches shorter than the front measure. This is the front measure or front line. (See draft.)

(You will remember that we took the front measure from the prominent bone at the back of the neck across the shoulder at the base of the neck and down in front to waist line. Now this 21/2 inches we take off when drawing Line 7 is the width of the neck from the prominent bone around to the shoulder, and since we are only drafting from the shoulder, Line 7 should be 21/2 inches shorter than the original front measure. Take off 21/2 inches when the neck measure is from 12 to 15 inches; when it is below 12 inches take off 2 inches; when above 15 inches take off 3 inches.)

Now draw Line 8 from dot E to the end of Line 7 and on to Line 1. This is the waist line. (Line 8 in different measures will come in different positions.

Sometimes when the front measure is quite short it slants up.

When this occurs, if the darts above the waist line appear too short, move Line 6 a little

size.

nearer Line 4, using your own judgment as to how far to move it.)

The top of the first dart is determined by the point where Line 7 crosses Line 6. Make dot H on Line 6 2V2 inches to the right of the junction of Lines 6 and 7 ; this is the top of second or back dart. The first or front dart is nearly always one and one-half inches wide. To get the width of back dart, find the difference between the bust and waist measures and use one-fourth of the difference for the width. Rules regarding darts will be given in the following lesson.

Make a dot on Line 8 each side of Line 7 one-half of first or front dart's width, and draw lines from these dots to junction of Lines 6 and 7, placing A curve on square on the dots and letting long end of square touch the junction, and mark these Lines 9 and 10, respectively.

'iiusj iniiiiatiire dral't of the back of the waist is shown here simply for immediate reference in study.

It is reduced to one-fifth actual

After drawing Line 9 the square must be reversed or turned over to draw Line 10, but always place A curve or A on the dot. Make a dot on Line 8 three-fourths of an inch to the right of the back edge of the front dart; now measure out to the right of this dot on Line 8 one-fourth of the difference between bust and waist measures and make another dot, and draw lines from these last two dots to dot H; mark these Lines 11 and 12, respectively. Finish darts below the waist line on same reverse slant by measuring down below the waist line the same distance that the top of the darts are above the waist line; that is, make the center line of each dart the same length below the waist line as above, then draw the other lines. (See draft.) The darts below the waist line are made here to give the idea of how they should appear in the tight-fitting dresses, such as the Princess, and sometimes wrappers. They are not used in waists.