Manual de Alfaiataria
Manual de Alfaiataria
Manual de Alfaiataria
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Library
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Cat.No.1137
CornellUniversityLibrary
515.S91 1956
A tailoring manual /
3 1924 003 5£
A Tailoring Manual
THE MACMILLAN COMPANY
NEW TOUC• CHICAGO
DALLAI• ATLANTA• (AN FRANCISCO
LONDON• MANILA
THE MACMILLAN COMPANY
OF CANADA, LIMITED
A Tailoring Manual
GERTRUDE STRICKLAND
Professor Emeritus
Clothing, Textiles, and Related Arts
Oregon State College
Corvallis, Oregon
First Printing
rr
515
Sf/
199288
Accuracy in tailoring details is absolutely essential in securing a well-made garment. Short cuts
will hinder the achievement of such a goal. Much of the work involved in a tailored garment is
hidden from the eye, but it is important. Sufficient time should be allowed for the construction of a
tailored garment, for it cannot be made as quickly as a dress. Accuracy in detail, frequent com
parison between the two sides, and careful workmanship will be justified, for the finished garment
quickly shows up any carelessness.
The following instructions are planned in sequence in so far as is possible, to guide the home
sewer in the construction of a suit, a coat, or slacks. Not all instructions in basic sewing can be in
cluded in this manual, since there are adequate texts already available. This manual, with its illus
trations, should assist one in developing better constructions in tailoring, give one an appreciation
of what goes into a custom-made garment, and aid one in the selection of future ready-made suits,
coats, and slacks.
G. s.
v
Table of Contents
Foreword v
Glossary of Terms 1
Selection of Fabric and Findings for Garment 3
Fabrics of Wool or Worsted 3
Materials Used in the Making of Suit or Coat 4
Shrinking 5
Laboratory Equipment and Tools 6
Directions for Making Laboratory Equipment 6
Adhesive Paper Dress Form 9
Measurements 14
Preparation for Measurements 14
Measurement Sheets 16
Measurement Sheet for Raglan Sleeve 17
Grading Patterns 21
Pattern Alteration 25
Darts (Four Main Positions) 25
Other Dart Positions Used in Garment Construction 26
Lining 56
Interlining 57
Canvas (or Interfacings) 57
Stay Line Stitching Before Basting 59
Steaming Wool 60
Zipper Placket 67
Piped Buttonholes 78
Buttonhole Facing 80
Worked Buttonhole 82
Buttonhole Loops 82
Pull-up Stitch 92
Fly Facing 92
Pockets 96
Welt Pocket 96
Flap Pocket 99
Corded Pocket 100
Collar 11 1
Collarless Garments 1 17
Sleeves 1 18
Lining the Vent and the Bottom of the Long Coat 129
Interlining 131
Armscye or Armhole: The garment edge that fits b. Hymo: A wiry canvas used for padding or
around the arm at the shoulder end. stiffening.
Basting: Long stitches used to hold garment edges c. Haircloth or horsehair: Stiff, wiry fabric
together for fitting or stitching. made of cotton, worsted, or linen warp, with
Bias: A diagonal line of seam, cut or stitched a filling of horsehair.
across a fabric. d. Linen: Stiff linen canvas for stiffening.
a. True bias: True bias for cutting bias bands Chalk: A waxed or dry square of chalk used for
or portions of a garment is found by folding marking.
the fabric so that the warp thread parallels Collar stand: The folded edge of a collar of a
the filling thread. The fold thus formed is a jacket or suit.
true bias. Dart: Short tapering seam used in a garment to
b. Garment bias: Any bias not a true bias is insure a better fit.
called a garment bias, such as a side seam Ease thread: A fine running or gathering thread
of a skirt. used along the stitching line, where that edge
Break line: The folded edge of a lapel. will be matched to a shorter space.
Bridle stay or tape: A stay tape along the lapel Flap: Finished fold of material hanging over the
fold to prevent stretching, also to help insure top of a pocket.
the fit of the bust of the garment. Fly facing: A closing in a garment so constructed
Buttonhole twist: A strong silk thread used for that it conceals the fastenings.
working buttonholes, French tacks, and belt Godet: A piece of fabric shaped like a section of
loops. pie, inserted into a garment edge to add ease
Catstitch or catch stitch: A method of hemming or fullness.
the raw edge to garment by taking a tiny stitch Gore: A section or panel of a skirt.
in the fabric parallel to the hem, then cross Grading: The art of increasing or decreasing a
the cut edge and take a stitch in the hem edge. pattern from one size to another.
These stitches are Vi inch apart and V* inch be Grading seams: Cutting one seam edge slightly
tween the two rows. The direction of stitching narrower than its matching seam to decrease
is left to right, the stitches cross and resemble bulk at the edge of garment.
a herringbone stitch. Grosgrain: A firm, stiff ribbon or fabric made
Canvas: Fabric used as inner stiffening on a tai with crosswise ribs.
lored garment to give it body and shape. Gusset: A shaped section at underarm of garment
a. Wigan: Cotton muslin in varying degrees of to allow more ease and strength.
stiffness. Haircloth: See canvas.
1
A Tailoring Manual
Ham cushion: An egg-shaped, hard-stuffed cush Silesia: A twill cotton fabric used in pockets, lin
ion used to press shaped portions of a garment. ings, and facings in slacks and men's tailored
Hymo: See canvas. garments.
Interlining: Cotton flannel or wool used between Sleeve cap: The section above a line drawn across
lining and garment to add warmth. a sleeve from armpit to armpit.
Lapel: A reverse and collar at garment front. Stab stitch: A stitch made by pushing the needle
Linen: See canvas.
straight through thicknesses of material, pull
Manila tag: A thin crisp cardboard 30" by 24",
ing the thread after, then returning the needle
125-pound weight. (Referred to in text as Tag.) and thread in the same manner.
Nap: Pile of a fabric.
Stay stitch: A temporary machine stitch along a
Notch lapel: A lapel with a V-shaped break in it.
stitching edge to hold it in place until perma
Pad stitch: A small prick-stitch used to fasten
nent stitch is used.
canvas to the wrong side of the lapel or collar
of a garment to give it shape. It is made by Stiletto: A short, slender pointed instrument for
sticking the needle through the canvas, picking making eyelet holes.
up a few yarns on the back surface of the wool, Sunbak: A trade-mark for patented satin lining
and bringing needle up to the right side of the with wool backing. Use of this lining eliminates
canvas. Stitches zig-zag, the spread is V* inch, the handling of extra interlining.
and stitches are V* inch apart. Threads at stitch Tailor tacks: A method of transferring pattern
point do not cross. markings onto a cut garment, using short looped
Paddle or beater: A hardwood paddle or rectan stitches through two thicknesses of fabric. When
gular block used to pound thick edges or but fabric is separated and looped stitches cut, the
tonholes to flatten them when steaming. two sections are marked identically. If darning
Pick stitch: A hand stitch in place of machine cotton is used to tailor tack, only one stitch is
stitch used around edges on tailored garments. used through the two thicknesses as it does not
Plumb line: A string with a weight attached at slip out as readily as sewing cotton.
the end, which is used against a seam to deter Tailor's square: A ruler with a right-angle turn.
mine its straightness.
Vent: A lapped opening from the bottom edge of
Purl: A fine loop made along the worked button a garment.
hole edge.
Wadding: A prepared sheet of carded cotton used
Reversible: A garment so constructed that it looks
for padding.
equally well with either side exposed.
Saddle stitch: A decorative hand stitch using Warp: The lengthwise thread of a fabric.
coarse thread and long stitches, usually along Wigan: See canvas.
the edge of a garment. Woof: The crosswise or filling thread of a fabric.
Selection of Fabric and Findings for Garment
Gabardine: Smooth, hard-surfaced twill fabric 3. Canvas with ends torn or cut along grain.
which is soft and dull. Suits, slacks, or summer Use any one of the following:
coats.
a. Wigan or soft unbleached muslin: a
Homespun: Loose plain weave and rough in tex
very soft material suitable for soft dress
ture. Suits, coats.
maker suit. Used across upper back in
Poplin: Corded effect. Plain weave. Suits.
nearly all garments.
Ratin6: Loosely woven, nubby, plain weave. Suits
b. Hymo: best weight for most tailored
or coats.
garments.
Serge: Worsted fabric, twill weave, not as fine or
c. Haircloth or horsehair: very stiff and
soft as French serge. Wears shiny. Suits, slacks,
wiry.
or summer coats.
d. Tailor's linen: may be used instead of
Sharkskin: A firm fabric of plain or basket weave.
hymo, but it wrinkles while being
Suits, slacks.
handled.
Tweed: Rough-surfaced in plain or twill weave
in light or heavy weight. Suits, slacks, or coats. 4. Shoulder pads may be purchased ready-
Whipcord: Woolen or worsted twill. Slacks, suits. made or made at home.
5. Linen tape for taping garment edges.
MATERIALS USED IN THE MAKING OF SUIT OR COAT
Rayon tape, straight, may be used for very soft
1. Wool fabric cut along the grain (either or thin fabric.
torn or cut along a pulled thread.) 6. Interlining (optional): Cotton flannel or
Allow 6 inches in a garment length for shrink wool interlining.
age and for extra seam allowance. 7. Lead weights for jacket hem.
A garment cut on the bias, or one with a 8. Zipper for skirt.
pleated skirt or a flared coat will need 12 inches, 9. Sewing silk: 4 or 5 spools for stitching.
since more yardage is required in cutting. A me 10. Matching mercerized cotton thread for
dium or large plaid will need at least 18 inches some hand work on inside of garment.
for shrinking and waste in cutting since all plaids 11. Buttonhole twist for tacks, buttonholes, if
must be matched. worked, and for sewing on buttons.
Allow extra length for the tall figure because 12. Heavy-duty thread in contrasting color for
yardage estimations are for those of average basting.
height. 13. Darning cotton for tailor's tacks.
2. Lining cut along grain. Allow the same 14. Hooks and eyes for skirt belt.
amount as for the wool for extra height. 15. Grosgrain ribbon for skirt belt.
Shrinking
All wool fabrics, whether labeled preshrunk or Open up fabric and press along crease.
not, should be shrunk before being made into a After being pressed, the fabric will still be
garment. Each end of fabric must be torn or cut slightly damp; spread it smoothly on cutting table
along the thread before shrinking to save loss of to dry thoroughly, having both cross and length
yardage. This may be suggested to the clerk when grains parallel to table edges.
purchasing fabric.
Wet one half of a sheet and wring out; then
fold the dry end into the wet end and wring again Canvas, linen tape, grosgrain belting:
until the sheet is evenly damp all over. To shrink canvas, fold the material loosely
Smooth out the sheet on cutting table. back and forth like an accordion and submerge
Lay the folded wool along the edge of wet sheet into container of hot water, allowing to stand
and fold the remaining sheet width over the top until cold.
of the wool. Remove from water bath, strip water out by
Loosely fold the sheet and wool together and hand, roll in cloth or spread smoothly on flat
allow to stand at least six hours, preferably surface to dry partially before ironing.
overnight. Do not wring out the materials from water
Remove wool from sheet, and while damp pull bath; this causes wrinkles which are difficult to
it diagonally into shape until the folded edges iron out.
and ends of wool lie square with the table. Keep the grain of material parallel with table
Loosely woven woolens will not need to be edges while ironing.
pressed and may be left to dry on table. To prevent the filling in canvas from adhering
Smooth, closely woven woolens will need press to the iron, place a piece of tissue or thin wrap
ing. Place on broad pressing table with fabric ping paper over the wet canvas while ironing.
squared to edges. Linen tape and grosgrain belting may be placed
With warm iron press lightly with the length in the same water bath with the canvas and strip
grain, but not over the center fold as this causes ped through the fingers to remove excess water.
a sharp crease. When partially dry, press parallel to a yardstick
Turn material over and press second side. to prevent curves in the tape.
5
Laboratory Equipment and Tools
garment where a shaped surface is formed, any napped fabric as well as velvet. A heavy
such as darts or curves. The garment con Turkish towel is the best substitute.
forms to the curve of the pad and produces /, g. Paddle: Made of hardwood with very smooth
a shape that fits the curve of the body. surface and slightly rounded edges to pre
Press pad for sleeves: This may be made the vent marring fabric. The paddle is used to
same as the above press pad with boxing, pound thick edges or buttonholes during
or the two ovals may be sewn together with steaming, also to remove steaming "shine"
out boxing. The large end is used to steam from a garment. The board may be rec
edge curves, as the cap curve of a sleeve. tangular as in/ or shaped like a hand pad
Seam board: It has no covering and is used dle as in g.
raw. It is convenient for pressing open seams, h. Mit: Made of two thicknesses of sturdy
especially those which are difficult to get at, cotton or wool fabric with a pocket for hand
such as collar or lapel points. on one side. The mit is filled with layers of
Sleeve board: This board is padded like wool piled 3A inch thick, which are tacked
an ironing board. It is convenient for press together to prevent slipping. This mit is
ing not only when sewing, but also when used to pound shiny surfaces sometimes
ironing the family laundry. acquired during steaming.
Velvet board and cleaner: This board is not i. Tailor-trik: A small, inexpensive tool very
a necessity but is convenient for steaming effective in turning angles or points.
Adhesive Paper Dress Form
9
10 A Tailoring Manual
on the second layer down from the neck joinings had occured on the first layer. The
in front and back. second layer from underarm to lower hip
3. Third group of strips, around 9 to 5 line is reinforced with 5- to 9-inch strips the
inches, cut 3A inch in from outside edge same as in c, the first layer.
of roll. e. Reinforce around armscye to form a good
These strips are used diagonally under shape, using 3- to 5-inch strips. Some per
the arm on both first and second layers sons may wish a short sleeve cap. This is
in making the form. formed from 1 to 3 inches beyond armscye
4. Cut around 250 3-inch strips for finish at shoulder tip, using short 3- to 5-inch
ing edges of form and for joining the two strips, building a smooth upper arm curve,
sections. allowing strips to follow the arm curve when
b. Put the shirt, or substitute, on the person pasting on. (It is difficult to put on and re
and sew edges together so that the shirt fits move garments with an extended sleeve
smoothly and firmly on the figure. It should cap.)
run up onto the neck to form a neckband, Finish the neck with one layer of 6- to
extend out over upper arm to form a smooth 9-inch strips around the neck to form a good
armscye, and extend well below the widest shape until dress form is removed from per
son. The neck can be reinforced more
hips. Pull the shirt down smoothly from
shoulder, and paste a long strip of moistened sturdily when form is removed.
tape closely around the normal waistline, /. Measure and mark the form before remov
overlapping tape ends to prevent slipping. ing.
Paste another strip of tape closely below the
Form Person Differences
widest hip. Paste strips curving under each
bust to preserve contour. Neck
c. First layer of strips, 12 to 15 inches. Begin Bust
at center front and back, paste moistened
Waist
strips on the figure from neck and shoulder
edges to taped waistline, overlapping strips Widest hip
3A of the strip width. Let strips curve to body
contour as they will, and if too long tear off Measure from floor up to within 2 or 3
excess length. inches below the widest hip and carefully
Continue pasting strips to armscye edge, mark for the base of the form.
overlapping strips at top of shoulder. Re g. Mark for removing form from person, down
peat for second side of front and back. From center front and back with ruled line, across
waist to lower hip edge, paste 9- to 1 2-inch front and back at intervals for matching
strips at right angles to waist, joining tape when joining half sections. To remove form
ends to those above the waist. Paste short from the figure, cut with a one-edged razor
5- to 9-inch strips diagonally from under blade down center front and back marked
arm to lower hip edge, allowing strips to lines. Be careful to cut through paper only.
overlap front and back strips at side front Finish cutting through the fabric with sur
and back. Repeat for second side. gical scissors or sharp-pointed shears.
d. Second layer of tape. Above the waist use Remove the two sections.
9- to 12-inch strips. Start just below the Either before the form is made or after it
neck, paste strips diagonally across front, is removed, measure the person at the follow
alternating strips from right and left side, ing positions and record in /; neck, bust,
having strips overlap at top of shoulder. waist, and widest hip.
As you continue downward, the ends of Compute the difference between the per
strips should touch and form the upper son and the form at neck, bust, waist, and
armscye. Continue these crossed strips down hip. Divide by 4 and remove this difference
the body to the lower hip line edge, using from the two center-front and two center-
12- to 15-inch strips below the waistline. back edges of form.
This should form a smooth surface over the Cut smoothly along marked hipline which
entire figure, especially at the waist where is parallel to the floor.
Adhesive Paper Dress Form 13
Hold each section up to the light; and re edges of the hip and neck and join to the
inforce on the inside of the form any spots form with 3-inch strips.
that seem thin. k, I. Outer Covering. To keep the paper edges
sections, using 3-inch strips. from curling, the form should be shellacked
h. Join
Place fronts down on the table with edges and thoroughly dried.
and cross markings matching both front and A top shirt is tightly and smoothly fitted
back, and pin a tape securely around the over form, sewing where necessary, and tap
waist. ing at armscye, neck and under the lower
Paste 3-inch strips across cut edges of edge of the form.
front, first on the outside and then on the Using Vi-inch colored tape, mark the
inside. following measurement positions: center
These strips should be closely overlapped front, center back, neck, shoulder width,
to hold edges permanently. Repeat for back.
back width, bust, waist, armscye, 3-inch hip,
6-inch hip, widest hip.
i . Trim neck and armscye edges smoothly and m. Standard. A standard is needed in order to
reinforce with 3-inch strips around cut edge.
use the form successfully. This is made, using
Trim bottom of form along marked line two 2" x 4" x 18" pieces of wood for base,
until it stands evenly on the table.
and a pole 5 to 5'/2 feet tall and 1Vi inch in
j. Place bottom of form on paper and mark diameter with nail holes bored up the length
around the hips, also mark center front and to adjust the height.
center back. An oval board cut from plywood should
Repeat the same for the neck. be smaller than the base of the form. Bore
Cut cardboard from paper patterns and a IVi-inch hole in the center. This oval is
cut a 1 '/4-inch hole in the center of each. slipped on the pole to rest over a large nail
Fit the cardboard flush into the inside and support the form.
Measurements
14
Measurements 15
b. Back
Underarm seam:
5. Waistline I-F -I
a. Normal waist or belt Ease up
line. to 1"
b. Front waistline be
Ease up
tween underarm seams.
/-/' to W
6. Hips
a. 3" down from waist.
J-J'-J 1 to 2"
JM
Sleeve Hold chain around neck and B
W
a. Place point R 2" be mark ■ § i E
i i
f
m
low armpit. Place chain a. center front
6 18 1 8 1
around arm parallel Plus W for b. side neck * o £ * — S. E -t
to floor and touching arm ease c. back neck
R and mark 5 on outer Hold chain around width of
arm. C to 5 equals Plus shoulder shoulders, across chest and
height of cap. (Nor pad back. D-D'-D
mal measurement height
Measure from neckline to
range, bW to 6W. if used
tape along
Allow extra the thick
1. Center front line from
ness of pad and for cap
neck. A-E
Center back line from
b. Outer arm
neck. C-F
Shoulder tip to bent W
elbow. C-T 3. Shoulder line from
neck. B-D
c. Shoulder tip over
W Raise arms out slightly and
bent elbow to wrist.
allow chain to slip through
C-T-U
fingers for amount of ease
needed around D-E-iy-F-D
d. Around fullest part of
3" or
upper arm 2" below
more Sleeve length
armpit. S-R-S
*1. Measure from center
e. Around bent elbow, back of neck C, at
place tape inside el bone to shoulder tip
0
bow, bend elbow shut, G, and over bent el
and measure. T-T-T bow H, to wrist /.
f. Around wrist, easy To slip Fullest part of arm
measure. U-LT-U hand
(opposite 2 inches be-
through
easily
low armpit). J
•3. Bent elbow, H. (Place
* The first half of space is for the second half for tape around elbow,
full measurement,
half measurement to use when measuring the pattern. bend forearm up al
lowing tape to slip
through the fingers.
This measurement will
be minimum girth at
elbow.)
*4. Wrist, /. (Plus ease of
tape to slip easily over
hand.)
* Same measurement is used for kimono sleeve. If a three-quarter
sleeve is used, pin the tape around the arm, the sleeve length de
sired, and measure from center neck at back along the same posi
tions used for a full-length sleeve, to the desired length.
Figure 4 (b)
Measuring the Commercial Pattern
18
Measuring the Commercial Pattern 19
Bush-
Jacket, 4 to 7 inches.
Coat, 5 to 10 inches, or more in a garment
with swing back. A jacket which is to be worn
over a thin blouse requires less ease than
one which is worn over a sweater. A coat to
be worn over a suit will require the increase
of all width measurements, this increase de
d. pending on the heaviness or lightness of the
Figure 5 (d) garments worn underneath.
Measuring the Commercial Pattern 21
Hip.- (for narrow skirt) lined. These diagrams show where variances
occur.
Full hip, 3 to 4 inches.
3 inches down, 1 to 2 inches. Owing to these variances, each pattern used
must be accurately measured to determine what
6 inches down, 2 to 4 inches.
alterations are necessary.
(The above hip measurements will increase as
skirt increases around the bottom edge.)
One pattern make may fit a particular figure
better than another; therefore, it may be wise to
Arm: (fullest part of upper arm) use that pattern company, whenever possible, to
eliminate some of the problems of alteration.
3 inches or more.
e. Raglan
Figure 7 (Continued)
Pattern Alteration
Because commercial patterns are made for the The following four main darts, or a combina
ideal figure, almost all patterns will need some tion of two of them, are most commonly used in
alteration owing to figure variances. patterns.
Most of the problems in fitting can be elimi b. Shows the position for slashing to transfer a
nated by taking careful measurements of both dart position.
figure and pattern. 1 . Waistline dart position.
By comparing figure and pattern measure 2. Diagonal underarm dart position.
ments, one can decide the amount of increase or 3. Underarm dart.
decrease of the pattern size. 4. Shoulder dart.
Additional seam allowances may be chalked
These darts may be used singly, or in combin
on the fabric after the pattern is pinned to the
ations on one garment as follows:
fabric, but all other pattern alterations should be
1 and 3 — waistline and underarm darts.
made on the pattern before it is pinned to the
1 and 4 — waistline and shoulder darts.
fabric.
2 and 4 — diagonal underarm and shoulder
darts.
DARTS (FOUR MAIN POSITIONS)
3 and 4 — underarm and shoulder darts.
Figure 8.
For the very full-busted figure, a shoulder dart
Darts are used in garment construction to is essential to keep the grain of jacket straight.
allow ease over curved portions of the figure. A A second dart may be used at any other position
single dart or a combination of darts may be used, desired. Since the underarm dart is the shortest
depending upon the amount of ease needed. of all darts, it is usually broken down into two or
Concealed darts may appear in the structural three darts. Not more than 3A inch should be
lines of a garment as in Figure 9. taken into one dart, making the stitched dart %
For a very full-busted figure it is advisable to inch on wrong side.
use a shoulder dart plus an additional dart else c. Shows the waistline dart pinned out.
where on the garment in order to keep the grain d. Shows the spread of the new dart position.
of the garment hanging correctly. e. Shows the diagonal underarm dart pinned
a. All stitched darts in the jacket front point out and transferred to the underarm dart
toward the bust tip, but end before reaching position.
the bust tip as indicated in the dotted lines /. Shows the underarm dart pinned out and
in figure. transferred to the shoulder dart position.
Instead of stitched darts, tucks or gathers Any dart in a jacket front may be pinned out
may be used at the shoulder, or at the and transferred to any position without following
waistline. the sequence given above.
25
26 A Tailoring Manual
Figure 8
OTHER DART POSITIONS USED IN GARMENT a. In a coat or suit,a dart is frequently con
CONSTRUCTION cealed under the collar, dropping down
from the neck edge. Frequently a second
Figure 9. dart may appear elsewhere on the garment
Design lines of a garment frequently conceal or be worked out in the construction lines
the position of a dart, incorporating it in the de of the garment.
sign line. Darts may also be used at other positions b. When a yoke is used, the dart may be in
on a figure as shown in a few diagrams in the corporated in the construction line from the
following figures: armscye line.
Pattern Alteration 27
a.
e.
Figure 9
f.
F1gur*9 (f)
Fold in waist dart or any other dart posi Dart at shoulder line:
tion, and allow shoulder dart to spread until
c. All
one-piece-back jackets have ease at the
pattern lies flat.
waistline which may be gathered or made
2. Fill in new shoulder dart with pattern tissue.
into one or two darts above the waist. Fold
3. Fold dart edges together and stitch down
into Vi inch of dart at waist. From top end
5 inches, leaving dart free below.
of dart draw a line up through the center
These are only a few designs showing positions
of shoulder seam.
where darts may be used in the construction lines
d. Cut from shoulder to dart end along drawn
of a garment.
line and spread Vi to 3A inch at shoulder
seam. The pattern should lie flat on the
Figure 10.
table. Fill in the shoulder-dart spread with
Dart at back of neck: pattern tissue.
e. Mark dart length 2V2 or 3 inches down
a. Mark the center back halfway between neck
from shoulder, using dart width at shoulder,
edge and waistline.
running off to nothing at end.
Place center back along the ruled edge of
pattern tissue and draw around pattern. ENLARGED BUST ALTERATION
Hold the marked center of back length to
Figure 1 1.
the tissue and swing the upper half of pat
tern outward Vi inch to widen neck edge of a. Rule and cut through front pattern along
back. Draw new upper back along pattern bust line from center front to within lA inch
edge. of the underarm pattern edge, and from the
b. Measure 1 inch in on neck line from new middle of shoulder seam through tip of bust
center back and mark. Draw line 2Vi or 3 to within Vi inch of waistline edge of pattern.
inches down from this mark and parallel to b. Pin lower center front pattern along a ruled
center back for dart position. Fold along edge of pattern tissue. Swing armscye and
dart line and make dart V* inch at top run underarm section away from lower front
ning off to nothing at bottom. This dart may section allowing Vi of the bust increase
be made into two small darts if desired. needed at the intersection of the two cut
Pattern Alteration 29
Figure 10
lines at bust tip. Pin this lower side section seam. This alteration is used for a full-busted
and armscye section to paper with the inner person.
edge of each along a ruled line. Place the If only a slight increase is needed in the bust,
upper front neck section with the center the following alteration may be used. This altera
front along the ruled edge of pattern tissue, tion swings the increased dart at the waistline,
allowing spread from tip of bust to center but this dart may be transferred elsewhere on the
front and keeping the shoulder line straight pattern if desired.
from neck edge to shoulder tip. c. Slash the jacket front from center front
This increases the width and length over straight out to the tip of bust, then diago
the bust, also adds a new dart at the shoulder nally to within V* inch of armscye.
A Tailoring Manual
a.
d.
b.
Figur* 1 1
Figure 12
J
crease, keeping line A on the center
sleeve line AB.
a.
K Vi of CF.
b.
L Vi of GD.
Figure 14 Slash sleeve section up to within Vb
inch of K.
Slash sleeve section up to within Vi
b. Place pattern on new paper and overlap inch of L.
cut section on back to desired back width Raise the two side sections of sleeve
and pin into position. Rule from neck edge cap until the cap top curves smoothly
to shoulder tip for new shoulder line. into the wedge.
Repeat exactly the same alteration on This new cap formed should give
the front jacket. Rule new shoulder line desired height and add some width,
from neck edge to shoulder tip. Fill in or which is always needed with an in
cut away surplus seam. creased cap height.
Pattern Alteration 33
d. e. f.
Figure 1 5
SLEEVE CAP INCREASE OF SLEEVE WITH Intersection of HK and IJ.
SEAM AT CENTER Slash along line from H to within Vb
inch of K.
Figure 1 6 c, d.
Slash along line from /
to within Va
c. AB Length grain. inch of J.
The two sleeve sections are placed On sleeve sections raise wedges GHL
V* inch apart with sleeve grain par and FIL
the desired cap height in
allel to AB. crease, keeping the sides GL and FL
CD Cap base. Connect the two stitching the same distance from line AB.
corners at armpit. M y% of ch.
E Intersection of AB and CD. W of ZD.
F Top of back half of sleeve cap. Slash sleeve section up to within Ve
G Top of front half of sleeve. inch of M.
H lVi inches from G. Slash sleeve section up to within Vs
I IV2 inches from F. inch of N.
JK 2 inches down from C.
2 inches down from D.
Raise the two side sections of the
sleeve cap until the cap edge curves
Connect HK. smoothly into the two raised wedges.
Connect IJ. Connect sections by dotted line to
A Tailoring Manual
Figure 16
Pattern Alteration 35
Figure 1 6 e, f.
K Intersection of A B and IH.
AB Figure 1 6 g.
Length grain of the upper sleeve
section. g. AB Length grain of sleeve.
End of stitching seam on back edge IH Cap base.
of upper sleeve section. K Intersection of AB and IH.
D End of stitching seam on front edge AK Cap height.
of upper arm section. L IV2 inches from A on sleeve cap.
EF Length grain of under sleeve section. M 1V6 inches from A on sleeve cap.
G End of stitching seam on front edge N 2 inches below /.
of under sleeve section. 0 2 inches below H.
H Edge of armscye touching line EF at Connect MN.
underarm. Connect LO.
Edge of armscye touching line EF at P Intersection of MN and LO.
Slash along line from M to within
Vfc
underarm.
3 End of stitching seam on back edge inch of N.
of undersleeve section. Slash along line from to within
l/s
L
Cut under sleeve section along EF, inch of 0.
making it into two sections. Raise wedge LAMP just above point
J
Match point to C, allowing sleeve
stitching lines to touch downward
P
the desired amount of cap height
increase, keeping line AP on the cen
toward the elbow. ter sleeve line AB.
Figure 16 (Continued)
36 A Tailoring Manual
Figure 16 (Continued)
R Vi oiMH.
Slash sleeve section up to within Vs
inch of Q.
Slash sleeve section up to within Vb
inch of R.
Figure 1 6 h.
To eliminate any hazards in construction, it is For additional seam allowances, mark along
wise to construct a muslin jacket or upper part of ruled line, except for curved edges.
a coat before cutting into the fabric itself. In a Refer to page 38 for suggested seam allowances,
coat of princess lines, the entire garment should and mark seams out beyond muslin edge before
be made first in muslin. Although this method cutting. Cut the entire muslin garment.
takes somewhat longer in the construction process, All edge notches should be cut out of instead
it is justified because it eliminates the possibility of into the seam edge.
of mistakes likely to occur with even the most All
length grains are marked along a ruled
careful sewer. line on the muslin since the muslin will be used
Heavy unbleached muslin or similar material in place of the tissue when cutting the wool
is used for this purpose. The muslin is cut from garment.
the altered pattern, marked, and basted (using
long machine stitch or hand basting). The muslin
garment is fitted as accurately as the garment CUTTING THE MUSLIN JACKET
itself. The collar and both sleeves are fitted into
the garment. For cutting one should use shears about 8
The muslin should be torn across each end, inches long, with sharp edges and a fine point for
pulled into shape, and pressed before any cutting clipping. Cutting should be done with fabric lying
is done. It should be folded right side in, so that flat on the table and with the full length of the
all markings, except center front and back, appear blade.
on wrong side. If a muslin jacket or coat is made prior to the
Spread the muslin on the cutting table with wool garment, no cutting is planned on the wool
selvage parallel to table edge and torn ends par before the muslin has been cut, fitted, and ad
allel to the end of the table. justed. This muslin is then used as a part of the
Plan the entire pattern layout on the muslin pattern in the garment layout.
before pinning into place and check carefully the It is not advisable to use pinking shears when
grain of the pattern with that of the muslin. Pin cutting out a garment for one does not get as
each pattern piece to the muslin before cutting. clean-cut an edge as with shears. Also, all gar
Carefully mark the entire cut garment before ment edges will not need to be pinked, especially
removing the pattern. those covered with a lining.
On the muslin, the stitching lines may be The pinked edge should be made after the
marked along a ruled line with a tracing wheel seam is stitched so that the edge will be parallel
or pencil. to the stitched seam.
37
38 A Tailoring Manual
SUGGESTED ALLOWANCES FOR FINISHED The two sections of the garment are then sep
SEAMS AND HEMS arated and the tacks cut between, leaving match
Inches ing thread tacks on each section. These tacks are
1 to Fitting seams left permanently in muslin for reference, and in
Shoulder the wool garment until ready for permanent
Underarm
stitching.
Sleeve
Long and short bastings are used down the
y« to 1 Design seams
center front and back of each garment piece.
Vi Neck
These bastings are left in until the garment
is
>A Armscye
finished.
Vi Waistline
Hem finishes Figure 8.
1
1Vi or more Jacket and coat sleeves
The sleeve marked with long and short
is
2 to 3 Wide coat or jacket sleeve
basting:
'/2
b.
to Skirt hem. Allow extra inch for hanging
2
b.
2
Figure 17. basting inches above and parallel to c.
A
d.
2
Tailor tacks are made through two thicknesses These sleeve bastings are used to keep the grain
of material on tucks, darts, pleats, buttonholes, straight when fitting sleeve into armscye.
and buttons. Sometimes tailor tacks are made
BASTING THE JACKET
along the stitching edges of wool garments so that
the two portions of the garment are marked For fitting, all bastings should be done with
identically. short even stitches, using heavy-duty thread that
If tailor tacks are made of contrasting darning stronger and smoother than regular white bast
is
cotton, take only one stitch as does not slide ing cotton. A contrasting color advisable, for
is
it
from the fabric. If made of basting thread, take more easily seen than a matching color. On
is
it
a
two tiny stitches through the two thicknesses, white or pastels, a pastel-colored thread should
leaving a loop and thread ends about inch long be used as some dark colors may crock and stain
Vi
-c :
B
Figure 17 Figure 18
Making the Muslin Garment 39
In a garment with set-in sleeves, the sleeves ding in the shoulder pad or one of the pads should
are not basted into the garment for the first be reduced in thickness.
fitting. If bust, chest, or other parts of the figure need
In the raglan, kimono, or dolman, the sleeves wadding to smooth out the figure, these sections
are basted into position for the first fitting. should be cared for in this first fitting.
For the first and all subsequent fittings, shoul See padding problems in Fig. 20, p. 42.
der pads of the correct size and shape must be When the garment has been rebasted after the
used. first fitting, it should be tried on and carefully
Baste all darts or tucks in front, back, and checked to insure a correct fit before any stitch
sleeve, using small basting stitches. ing is done.
Carefully match stitching edges together and
pin, with pins at right angles to the cut edges,
SELF FITTING
and baste with short bastings along stitching edges.
Baste the following seams: If one has to do her own fitting, she will find
1. Yokes to garment section. as an excellent aid a dress form which is made
2. Princess seams, if used. over her own figure.
3. Lengthwise back seams. Directions for the dress form are given on p. 9.
4. Underarm seams, leaving darts standing If a dress form is not available, one can use the
free. trial and error method. This, of course, means
5. Shoulder seams, leaving darts standing trying on many times but can be successful if one
free. Ease back shoulder seam onto the is patient.
front shoulder seam. To fit a skirt, first measure the belt around the
6. Lengthwise sleeve edges with darts stand waist and baste across the two matching ends;
ing free. also mark second side seam, center front, and back
with bastings. Pin the skirt to the belt before try
ing on for first fitting. Try on and fit skirt down
FITTING THE JACKET OR COAT
to widest hips. Remove, baste fitted section, then
A suit jacket should be fitted over a blouse or rule remaining seams up from skirt bottom and
sweater; and a coat should be fitted over a dress continue basting with the grain. Try on for
or over a suit, if suits are to be worn under the readjustments.
coat. To hang the skirt, adjust to the figure, use table
Adjust the garment to the figure and pin the edge as a guide, and mark with pins around the
center fronts together the entire length of the skirt at table top. Measure from table edge to
garment. floor, subtract the distance from floor that the
Insert the shoulder pads from the armscye edge skirt is to be worn, and measure skirt hem edge
of the garment, allowing the straight thick edge parallel to pins at hip.
of the pad to extend Vi inch (or as fashion dic Adjust the jacket and pin opening. Adjust
tates) outside the armscye stitching line. Pin the shoulder pads and pin into place. Fit one shoul
pads into position. der and underarm, remove, and pin second side
When fitting a garment, stand behind or at to match the fitted one. Try on for additional
the side of the model, with the model facing a adjustments.
full-length mirror. This position permits both Pin and baste collar into place, then try on to
persons to see fitting process in the mirror. check for accuracy. Remove to make adjustments.
Fit the garment in the following order: the Mark the armscye by placing one pin at shoul
back shoulders, front shoulders, then the under der tip, one at chest width, and one at under
arm seams. arm. Remove and try back width the same as
The garment should fit the figure smoothly, chest width marking. Connect the four pin mark
without any wrinkles and with center front and ings with basting, keeping a good armscye shape.
center back bastings and side seams hanging per Use a dress form or pad a coat hanger with a
pendicular to the floor. See fitting problems on turkish towel to simulate a shoulder.
the following pages. Place garment on one or the other and pin
If one shoulder is lower than the other, the upper half of sleeve into place, remove, and pin
low shoulder should be built up with more wad under section. Baste into place and try on for fit,
40 A Tailoring Manual
k.
Figure 19
marking with pins any points which need adjust Materials needed are cotton or felt wadding,
ment. Remove and adjust until you reach a cor crinoline, canvas, muslin.
rect fit. a, b. Normal shoulder pads in two thicknesses.
c. Wadding cut with decreasing sizes until it
SHOULDER PADS
is the desired thickness.
Figure 19.
d. Crinoline for top covering.
Shoulder pads are used in tailored garments to e. Canvas for underside with dart to reduce
give a smooth finish at shoulder and armscye and size for inside curve.
should be used for each fitting of the garment. /. Wadding curved over the hand while sew
The size varies with current fashion, type of gar ing together. Begin at center and stab stitch
ment, and the slope of the wearer's shoulder. the wadding sections together, curving
Pads may be purchased ready-made or be made larger sections downward overhand as you
by the individual. stitch.
Making the Muslin Garment 41
Begin at center and repeat for second side. 3 Problem: Very full low bust with hollow be
Crinoline and canvas cover top and bot tween bust and armscye.
tom and are sewn by hand or machine Fill in hollow until line from shoulder to
around curved edge. bust tip is straight, using wadding of cotton
g. Figure shows pad used in a drop shoulder or felt. This will reduce the apparent bust
or raglan sleeve. size. Sew the wadding to the canvas between
h. Wadding is cut with greatest thickness at canvas and lining.
shoulder edge and tapered toward neck and
4 Problem: Hollow chest.
outer edge.
Fill in the chest hollows where needed
Darts are cut from lower edge and wad
with two or three thicknesses of wadding,
ding edges are drawn together and sewn, but
shape as desired, and sew to canvas.
not overlapped.
i. Stab stitch wadding thickness together, be 5 Problem: One shoulder lower than the other.
ginning at center, and curve overhand as Add enough extra wadding to shoulder
you continue stitching. Repeat for second pad to equalize the two shoulders. See shoul
side. der pads in Fig. 19, p. 40.
j. Crinoline with darts to curve over shoulder.
6 Problem: Hollow below back waist and large
k. Canvas with large dart to curve for under
derriere.
side of pad. Make covered pad of correct shape, size,
and thickness and attach at lower inside
edge of belt.
FIGURE PROBLEMS
Figure 20.
GARMENT PROBLEMS IN FITTING
J Problem: Lower back armscye of pattern is cut
too deep and is tight across lower back Figure 21 .
armscye. (Stout persons with narrow shoul J Problem: Back neck of garment too wide.
ders and wide lower backs frequently have a. Neck edge at the back of the garment is too
this problem.) wide and stands away from the body. Some
Widen the lower half of armscye from of it may be eased onto the neck finish but
back width to armpit up to Vi inch. the surplus will need to be fitted out.
Widen the sleeve section which fits along b. Two darts, one on either side of the center
the widened armscye edge of the jacket up back, might be used. Measure 2Vi inches
to Vi inch. out from the center back at neck and 3
If the above alteration is too much, the inches down below neck edge and mark.
excess may be fitted out when the sleeve is Make two small darts Va inch at top and
fitted into the armscye. tapering to nothing 3 inches down from
Figure peculiarities can be overcome and neck.
made to look better proportioned and at c. The excess fullness may be fitted out down
tractive if some padding is done in the gar from the neck if garment has a seam at cen
ment. This padding is made of cotton or ter back.
felted wadding to the correct size and thick d. The upper back may be recut. Rip apart
ness and is sewn into place within the shoulder and underarm seams. Place the
garment. back pattern down from the shoulder and
neck edge and recut the upper back, de
2 Problem: Aflat-busted figure.
creasing the neck width the desired amount.
Fill out bust in the jacket with bust pads
Rebaste and check for correct fit.
sewn to the canvas between the canvas and
the lining. These pads are made by cutting 2 Problem: Wrinkles below collar at upper back.
decreasing circles which are stacked together a. Wrinkles across back below neck seam.
until right thickness is reached, then stab b. Neck seam may be too tight and needs
stitched together. Results produce a better clipping to ease.
proportioned figure. c. Back shoulder seam too tight on front seam.
42 A Tailoring Manual
Rip and ease back seam on to front seam. 3 Problem: Round shoulder.
d. Shoulder high at shoulder tip. Rip seam and a. Garment bunches at armscye below back
let out more at shoulder from neck toward width.
shoulder tip. b. Rip shoulder seam, raise armscye edge until
Making the Muslin Garment 43
d.
Figure 21 (Problem 1)
b.
d.
bust line but should not be used if it distorts Transfer same size tuck to pattern front
the design of the garment. and back.
Release tuck in garment. Rip side seams.
8 Problem: Back of princess or fitted garment too
Fold garment down center front and back.
long from neck to waist and wrinkles across
b. Pin pattern to garment with center fronts
shoulders.
and center backs matching and recut along
Use the same alteration as 7 a, b, and c
armscye and side seams.
to remove excess back length.
Rebaste garment for second fitting.
9 Problem: Garment too wide both front and
back. 10 Problem: Entire bust too tight.
a. Pin out surplus front and back in a tuck Rip underarm seam and let out both front
from shoulder down to bottom of jacket. and back seams.
46 A Tailoring Manual
Km
) j
V \
a.
Figure 21 (Problem 7)
I J Problem: Entire bust too large but shoulder and seam along darts and raise or lower the
width correct. dart to the new marked position.
Take up underarm seams. This reduces the
armscye, which may be increased by clip 13 Problem: Hollow chest, with wrinkles appear
ping around the underarm curve to give the ing below the shoulder seam.
desired ease. Rip shoulder seam to within Vi inch of the
neck edge.
J 2 Problem: Underarm dart too low or too high. Smooth front shoulder section out to
With garment on the figure, mark with a ward shoulder tip and repin shoulder seam.
row of pins the new bust line dart opposite Mark new stitching line of front upper
the tip of bust and parallel to the floor. armscye with pins, and trim away any ex
Remove garment; rip underarm darts cess material.
48 A Tailoring Manual
15
a. One sleeve is placed into position on the arm, the garment should be equidistant from the
the two ease threads at top are slightly pulled floor.
up to ease the cap into position, and the t. If diagonal wrinkles appear from highest
seam edge is tucked under. Adjust the sleeve part of the cap, the sleeve cap is too short.
so that the length grain is perpendicular to Unpin cap across the shoulder top and
the floor, and pin at shoulder-top x, the let out the top of sleeve cap if the seam al
highest point of the shoulder, using a tiny lows, and repin sleeve to garment. If wrinkles
stitch with pin parallel to, and right on, the do not disappear, raise the underarm seam
folded edge of the sleeve. This point falls of the sleeve on the armscye of the garment
slightly in front of the shoulder seam. from underarm up toward the width of the
Adjust the cross grains parallel to floor chest and of the back. After the adjustment
and pin at widths of chest and back as in is made, lower sleeve stitching edge under
dicated by x, x. Place the forefinger in the arm and trim away.
garment and the thumb in the sleeve at j. If diagonal wrinkles appear at upper front
underarm, bring the two edges together, and back arm, lift the sleeve cap up with
and pin as indicated by x. more ease along the armscye of the garment
Repeat for second sleeve. at both front and back.
Check both sleeves for correct hang, using k. If the underarm of the jacket bends outward
a weighted string for the length grain; and toward the arm at under armscye, the gar
stand away from the side of the person to ment is too high at underarm. Clip the
check with a rule for cross grain. garment armscye and lower under the arm.
b. With the model's arm relaxed, pull up the /. If the underarm of the sleeve bends inward
ease thread and pin down back from shoul toward the body at underarm, the sleeve is
der to back width of each sleeve. too high at this point. Lower by clipping
With the model's arm slightly eased for the under armscye of sleeve, then raise on
ward, the fitter sitting down, pin the sleeve the armscye of the garment.
on each arm from back width to underarm. The girth of the sleeve should be fitted to the
c. With the model's arm relaxed, pull up the arm until a comfortable fit is achieved, or until
ease thread and pin down front sleeve from the sleeve appears correct for the individual.
shoulder to chest width. Since many persons have one arm longer than
Repeat for second sleeve. the other, it is wise to take the length of each
With the model's arm slightly held out sleeve.
and away from the body, the fitter sitting A close-fitting sleeve should be fairly long on
down, pin each sleeve from the chest width the hand; whereas a wide sleeve should be shorter.
to underarm. An estimated long sleeve length for a suit or
The sleeves should fit into the garment coat should be halfway between the wrist bend
without wrinkles, gathered appearance, or and first thumb knuckle joint. The back edge of
flat stretched section at any point. the sleeve should reach halfway between the
If the sleeve does not fit correctly check wrist bone and little finger knuckle. This length
for d-l. allows the sleeve to be slightly longer at the back
d. Darts at elbow. If one dart, it should fall at edge. The sleeve length can be adjusted up or
elbow bend. Two or more darts should fall down from this measurement.
equally above and below elbow bend. To measure second sleeve, with the fitted arm
e. Gathers at elbow should be distributed and hand straight down, measure from thumb
equally above and below elbow bend. tip to sleeve edge for the front, and from the little
/. In a two-piece sleeve, the back seams of the finger tip to the sleeve edge for the back edge.
sleeve should be directly opposite each other Using these measurements, mark second sleeve.
across the width of the back. This allows each sleeve to fall in the same posi
g. If gathers are used, the position of the ends tion across the hands.
of the gathers at width of back and of chest
BASTING THE SLEEVE INTO THE ARMSCYE
should be parallel to the floor.
h. If darts are used at sleeve cap, the positions From the right side, baste the sleeve into the
of the two outside darts where sewn into armscye, using the slip basting. Turn to the wrong
54 A Tailoring Manual
side and rebaste with a continuous row of short ease, straightness of armscye basting, the fit of
bastings for the slip stitch is often uneven, and it the sleeve, width, and length.
is difficult to stitch a straight seam. Use a con
trasting colored thread for this second basting
MARKING THE FITTED MUSLIN
and remove the slip basting.
All darts and seams are left standing free when All fitting and alterations are made on the
basting, so that each may be stitched before the muslin garment and refitted if necessary.
sleeve is stitched into the armscye. Before ripping the muslin garment, mark care
Adjust any elbow ease or darts that have been fully along stitching lines, hem edge of sleeve and
refitted. garment length, the pocket, top and bottom but
Rebaste the length seam if refitting has been tonhole positions, and armscye stitching line.
done. Cross markings on matching seams, especially
Place a basting along the folded edge of sleeve around the armscye, are excellent guides for mark
at wrist, and up the placket if used, so that the ing the wool garment and save time in refitting.
turn-up at the wrist may be straightened out to When all markings are complete, the garment
allow the length seams to be stitched. is ripped apart and pressed. The muslin pattern
After all the sleeve seams have been rebasted, is used instead of the paper one in cutting the
try on the garment to check for accuracy of cap final garment.
General Suggestions in Garment Construction
Tailoring requires the best of one's sewing abil Some persons will need to fill out hollows
ity, in accuracy of details, in correct fitting, in the figure with padding to create more
straight stitching and careful steaming of each pleasing results in the outward appearance of
step in garment construction. Inaccurate work the garment. This should be done in the first
manship stands out much more readily in a tai fitting.
lored garment than in a soft wool dress. Uneven To avoid ripping: Be sure that each part of the
or unmatched lapels, poorly pad stitched lapels garment correctly fitted and marked before
is
or collar, poorly made pockets or buttonholes are any permanent stitching done.
is
all noticeable in a tailored garment. A garment Stitch length: Machine stitch length should be
will look just as good as the construction proc the same throughout the garment. Use 15 to 20
esses put into and there are no short cuts
it,
one wishes to have beautiful garment. terials. Length of stitch and tension should be
a
Correct foundation: Each fitting should be tried on double thickness of scrap material before
made over the correct foundation garments to be using on garment.
worn with the article of clothing. Stay stitching along all cut edges except length
Fit both sides of garment right side out: Since grain of material necessary in most wool fabrics
is
few persons are of identical size on the two sides, before basting done, to prevent edge from
is
each side of the garment should be fitted while stretching out of shape while handling. Use or
8
on the figure. The center front and back bastings 10 stitches per inch so that stay stitching will be
are used as guides to keep the garment centered easy to pull out when no longer needed.
correctly on the figure. Steaming most important while constructing
is
Shoulder pads: Pads should be adjusted to the garment. Each seam must be steamed as soon
a
correct size and thickness in the first fitting and as stitched before sewed to another sec
is
it
is
it
should be tacked into place, so that in each suc tion of the garment. The finished garment will
cessive fitting the garment will hang correctly. need a final steaming.
55
Cutting the Wool Garment
PLANNING THE WOOL GARMENT LAYOUT In some patterns the under collar is marked to
FOR CUTTING be cut on the length grain at the center back.
The wool garment is not cut until after the This collar should be changed so that the collar
is cut on the bias, with a seam at center back;
muslin jacket or coat has been fitted.
The wool is placed on the cutting table with otherwise it will be difficult to secure a correct
folded edge along the table edge and cut ends roll of the collar.
flush with the table ends.
Figure 24.
The muslin pattern pieces and the tissue skirt
patterns are blocked out on the fabric before any When cutting a skirt with a seam on the inside
piece is pinned into place. When all pieces are fold of a pleat, the seam may be transferred from
accounted for and in place, check each pattern the folded edge of the pleat around to the flat
piece for correct grain, measuring with rule from side. This will allow greater smoothness through
the folded edge to check length grain, and from the hem, for it removes the bulk of the seam away
the end on the sleeve to check the cross grain from the fold of the pleat.
with the cap grain. Pin each piece first at grain Cut out the garment with plain shears.
ends then along the edges to hold securely in
Mark the garment:
place while cutting.
If the fabric has an up and down, as in a pile Seam edges with chalk, transfer paper, or tailor
material, place all pattern pieces on the fabric tacks.
with the tops facing one end of the fabric. Darts, tucks, pleats, pockets, buttonholes, and
If the fabric has a stripe, center all center front buttons with tailor tacks.
and center pack pieces either between or on the Center front and back with long and short
dominant stripe. basting.
If the fabric has a plaid design, match the
LINING
plaids both crosswise and lengthwise on the pat
tern, and center down both front and back. The lining of the garment (and interlining if
If the plaid design in the fabric has an up and used) should be cut immediately after pattern is
down or left and right, face all tops of the pattern removed from the wool in order to allow the same
toward one end of the fabric and match all plaids seam and hem allowances as on the garment.
both crosswise and lengthwise on the pattern. An extra fullness of 3 inches is needed down
Chalk any additional seam allowances which the center back to allow for ease through the
are not already included on the pattern. See sug shoulder width. Patterns allow only 2 inches,
gested allowances, p. 38. which is not enough in most instances.
56
Cutting the Wool Garment 57
Front:
Bade:
a. b. c.
Figure 26
a seam at the center back. The canvas If a crisp or flared effect desired in jacket
is
a
should be cut with material folded so that below the waistline, that part of the jacket may
the canvas grain is correct on the two collar be lined with one thickness or more of hymo or
halves as shown in Fig. 69 b, pp. Ill,112. crisp canvas. Some styles have additional padding
Canvas used in the collar is the same as that or wadding to give a more flared hipline.
in the garment fronts.
STAY LINE STITCHING BEFORE BASTING
A true bias strip is cut for the lower sleeve edge Fabrics that are loosely woven and have a tend
to give a crispness at sleeve edge. This bias is cut
Va
ency to stretch or fray should be stitched inch
Vi inch wider than the finished hem at sleeve edge outside of stitching line, so that the seam edge
is
and long enough to fit around the lower sleeve, firmly held during construction. Stitch with
plus seam allowance. matching thread, using to stitches per inch.
6
of the hem, inch wider than the finished hem Do not stitch around corners; cross stitch
of the garment. This usually of wigan and pre ing lines at clear angles on corners.
is
vents the hem imprint from showing on the right Both sides of skirt front and back are
side of the garment when pressed. handled identically.
Steaming Wool
(Figure 1 a-i, p. 7, for equipment) in water and run along the stitching line on the
wrong side, moistening only the stitching and not
Wool, when steamed, must be handled differ surrounding surface. Lightly run the tip of the
ently from other fabrics. It should be left slightly iron backward between the two seam edges to
damp after steaming, and never pressed thor open seam. Place 3-inch-wide strips of tag or
oughly dry as the fabric will become shiny. One folded wrapping paper between seam and fabric
should steam each part of a garment as one pro to prevent seam imprint on fabric when steaming.
gresses with the construction of it. If a steam iron is used, the seam does not need
Use either a steam iron without press cloth or to be dampened.
a plain iron with a press cloth. With each, use a Where a seam appears at an edge turn, baste
moderately warm iron, never a hot one. An iron the seam along fold turn, slightly rolling seam to
too hot will scorch wool through a press cloth the wrong side to prevent stitching edge from
even though the press cloth will show no scorch. showing from the right side. Steam the seam from
Use heavy drilling or its equivalent for press the wrong side. After the seam is steamed, remove
ing seams, darts, edges, and to shape the gar bastings and resteam to remove basting imprints.
ment; and a good quality of cheesecloth for sur This is essential as the imprints are difficult to
face steaming. In each, wet one half of the cloth remove if allowed to dry. When imprints are
and wring dry; then fold the dry half into the wet stubborn to remove, they may be steamed along
half and wring until entire cloth is uniformly the edge, pounded with a wooden paddle or by
damp. hand, then resteamed. Use the paddle also to
Whenever possible all wool should be steamed flatten out bulky spots, such as buttonholes or
with the grain, especially on the surface. The iron sharp turns in a seam.
must be pressed lightly over the surface. On seams, All curved surfaces, such as dart ends, lapel
darts, hems, and seam edges pick up the iron curve, or collar shaping should be steamed over
each time you move it and place it down again a curved surface. Tailors' hams, press pads, a
in the motion of patting the fabric. rolled towel, a padded rolling pin, or anything
Use a long rule along long seams or seam edges, one can devise may be used. This helps to acquire
keeping the portion steamed parallel to the rule. the correct curve in a garment.
This prevents curved seams or edges. Hem edges, which are fuller than the skirt sur
Seams, whether on the surface of the garment face to which they fit, must have the surplus
or on edges, must be steamed open to secure a flat steamed out. Turn hem and baste along folded
appearance or a sharp turn of a seam because edge. Mark hem width and trim off surplus.
wool cannot be creased open as can cotton. To Place an ease thread at hem edge and pull up
steam seams open with plain iron, dip the fingers excess edge to fit skirt with length seams match
60
Steaming Wool 61
ing. Place tag between hem and skirt and steam Many short seams are difficult to steam on a
by lightly pushing iron from folded edge to seam flat surface but will be easy on a seam board.
edge. Steam until the hem lies flat against skirt. Sharp turns, such as lapel points, are difficult to
The hem width may widen in stretches, so it must turn and steam. Use tailor-trik or sharpened pen
be rechecked for width. cil with lead broken off for turning and the point
Place fabric with a pile on a velvet board and of the seam board for steaming.
steam darts, tucks, and surface, or, in a plain When a tailored garment is ready for the lin
fabric, use a dry Turkish towel topped with a ing, a final all-over steaming may be necessary.
damp cloth over surface at seam edges and hem. It is difficult to give some fabrics a sharp steamed
If a velvet board is not available, use two thick edge; therefore, it is advisable to take the finished
nesses of Turkish toweling placed on ironing garment for a final steaming to your favorite dry
board, with one thickness of towel over section cleaner who has commercial equipment. The
being steamed. If the pile becomes pressed down, presser should be warned, however, that this is
throw steam into section and pound with paddle a newly made garment and that special care
to raise pile. should be taken in its steaming.
Making the Skirt
Figure 27.
Figure 27
When the front and back sections are basted,
spread the two sections flat on the table with
side seams matching. Pin front and back sections The seam from widest hip to skirt bottom
together along one side seam at points a, b, c, d, should be the same width as at the" widest hip so
allowing one half the skirt and one half the ease that the seam may be reduced or increased in
measurement from center front to center back as width after pinning points a, b, c, d. Rule a new
planned on the measurement sheet. basting line from d to skirt bottom for basting.
a. waist = V2 waist plus ease Measure the second side seam from the first,
b. 3 inches below waist = Vi hip plus ease pin, and baste.
c. 6 inches below waist = Vi hip plus ease From the bottom of placket to waistline put in
d. widest hip below waist = Vi hip plus ease a guide basting on both front and back placket
Continue pinning the two seams to bottom of edge for fitting, exactly matching seams from
skirt. placket to waist as in the first pinned seam.
62
Making Skirt 63
Many of the fitting problems will be eliminated Turn seams along belt length to wrong
if the skirt is basted accurately to the exact size Fold belt lengthwise
side, baste and steam.
of the waist and hip measurements, plus planned through center, allowing outside belt width
ease. to be approximately Vie inch wider than
under belt width. Baste along fold and
FITTING THE SKIRT
steam. Pin the belt around waist of model
When making a suit, it is wise to fit the skirt to the correct tightness, with belt ends at
first, then to fit the jacket over the skirt. The right angles to waist. As the skirt top is in
lengthwise lines of the jacket and skirt can then be serted between lower belt edges, the lower
accurately matched, the hip line of the jacket outer fold of the belt may be turned upward
correctly fitted, and the proportions of the entire to the upper belt fold so as to be out of the
garment more easily checked. way while pinning the skirt top on the lower
The skirt must be fitted over the foundation edge of the underbelt.
garment with which it is to be worn, as founda
b. Grosgrain ribbon backing the fabric belt. Gros-
tions vary and may cause refitting problems.
grain is used where fabric is bulky or
Both sides of skirt are fitted while on the figure
stretches badly.
as hips vary in size.
Pin the ribbon belt around the waist,
with ends at right angles to the figure.
BELTS
Fit the skirt onto the lower edge of the
Figure 28. ribbon as in Process a.
Turn the top fabric belt edges to the
There are several methods of finishing a skirt
wrong side, baste, and steam. Pin and baste
at the waistline, depending upon the desires of
folded edge along grosgrain ribbon, edge
the wearer and upon fashions. Whichever method
stitch as in 1 .
is chosen, the skirt must be fitted onto the belt or
The belt must have two hooks and eyes
its equivalent. Any one of the following methods
to fasten the underlap, and may have hooks
may be chosen:
and eyes or button and buttonhole for the
a. Belt can be made entirely of the fabric. This belt overlap.
is cut 3 or 4 inches longer than waist meas
c. Shaped facing in a skirt where skirt top extends
ure and twice as wide as the finished belt
above waistline. This type of waistline finish
width, plus the width of seams at ends and
varies with fashion and must have a stiff
sides.
inner fitted facing of buckram, horsehair, or
the equivalent.
Cut the stiff facing to shape into the waist
line at side seams and perhaps center front
and center back if the facing is wide, or half
way between center front and side seams or
center back and side seams.
Overlap and stitch seams.
Cut a fabric facing to fit the above inner
stiffening.
Fit skirt onto the top edge of belting.
Pin fabric facing and baste at top skirt
edge, right sides of fabric facing and the
three thicknesses stitched together.
Grade seams, trimming inner facing close
to stitching line, and turn facing to wrong
side of garment.
Sew the two lower edges of facing and
belting together.
Outside edge stitching may be used along
Figure 28 (a) skirt top.
64 A Tailoring Manual
way around.
t\
\ \•
1 7. At widest hip adjust skirt to correct fit,
i i
At l: either taking up surplus or letting out
x' 1•
1l
11 by clipping seam basting so that bast
I •j ings are left on each side of seam to act
as a guide in letting out.
8. Fit side seams from widest hip up to
Figure 28 (Continued) waist by overlapping flat with the front
seam edge over the back seam edge.
9. Check with weighted string to see that
If skirt top has a tendency to roll away both seams are perpendicular to floor.
from the figure, sew whalebone stays at in
10. Continue fitting skirt from widest hip
tervals to the buckram belting and cat-
to skirt bottom, either by letting out or
stitch along each side.
taking up seams, keeping the seams
1. Adjust the grosgrain belt at waistline,
perpendicular to floor.
and pin with belt ends at right angles
See the following fitting problems in skirt for
to figure.
further fitting instructions.
2. Place skirt on figure and pin up placket
3. Pin center front of skirt to belt center
and continue pinning to belt to point be FITTING PROBLEMS IN SKIRT
low the bust tip.
4. Pin center back of skirt to belt center Figure 29.
and continue pinning to belt to point be J Problem: Side seam swings toward the front.
low the shoulder blade. Raise back skirt on belt until side seams
5. Overlap any surplus skirt at side seams hang perpendicular to floor.
and pin correct tightness at waist or re 2 Problem: Side seam swings toward the back.
lease seams if tight, and pin to correct Raise front skirt on belt until side seams
waist fit. hang perpendicular to floor.
Making the Skirt 65
Figure 29 (Problems 5, 6)
Figure 30.
ZIPPER PLACKET
Figure 32.
Figure 32
skirt edge to the right, away from the 1. With the zipper closed, match the two
stitching line of the zipper, before ma placket edges of the garment, pin together
chine stitching is started. and baste the placket closed the full
3. Begin V* inch below the zipper end and zipper length.
stitch as close as possible along the skirt 2. Securely baste the front zipper into posi
fold from bottom to zipper top as at 1. tion.
Making the Skirt 69
3. Place a guide basting parallel to the folded The outer belt end may have a squared, pointed,
edgeof placket and far enough from zip or rounded finish, and is used for the buttonhole
per metal to escape when stitching. end, for snaps, or for hooks and eyes to hold into
Remove basting, 1, which will open position.
the zipper. To locate the hooks, zip up the placket, hold
4. Follow the guide basting, stitch the zip the underextension with eyes into place against
per from bottom up to the belt edge. wrong side of front belt, and mark for hooks.
When stitching along the zipper it is Sew hooks into place.
necessary to stop along the length, leave With placket zipper and underbelt end hooked,
the needle down, and slip the zipper pull locate overlap fastening position and sew on but
to the opposite end out of the stitching ton, snaps, or hooks and eyes.
path. If the zipper pull is bulky, the
stitching may be widened out at the top SNAPS, HOOKS AND EYES
to allow room for that bulk.
Figure 33.
The zipper may be back stitched by
hand if preferred. This is done by taking Snaps:
a short stitch through the fabric and zip
In sewing on snaps, sew the thin section of the
per, then a very short back stitch for the
snap to the overlap of the garment and the heav
next forward stitch.
ier section to the underlap.
34
overstitch. In either case the stitches should be the cut edge and pull up until the edge fits
regular and tight to insure permanency. smoothly along the garment where it is to be
Begin sewing on the hook at one outside edge hemmed.
of an eye or circle of the hook, continue around
to inside center, and carry the thread to the tip SHRINKING HEM TURN-UP
of the hook, which is fastened down securely to
the fabric. Carry thread back to center and con This surplus ease in hem is shrunk out to elim
tinue fastening down second eye. inate creases or folds from hem fold to hem top.
In the eye, begin stitches at outside eye or circle; Place a piece of tag or folded wrapping paper
between hem and skirt.
continue around to center; catch the inside edge
Place a damp cloth over hem, or use a steam
to garment with several stitches; and repeat
around second half of eye. iron, and shrink away surplus fullness of hem.
Push the iron from fold upward to cut edge to
MARKING THE HEM OF THE SKIRT shrink out as much as possible of the surplus ease.
If the hem turn-up is wider than garment along along cut edge, the raw edge may be closely
which it lies, place an ease thread V* inch from overcast, or machine zigzag may be used.
Making the Skirt 71
c.-2
Figure 35
The loose hem edge (% inch) is folded person will find it easier to apply than
outward upon the hem itself and held by straight tape.
the thumb while hemmed to the garment at The taped hem may be finished by one
the fold. The hemming stitch actually occurs of two methods:
between the hem and the garment. 1. After hem is shrunk, pin bias tape to
When the hem is complete and the %-inch the cut edge of hem, lying flush with the
loose edge released, it returns to position flat skirt proper where it is to be hemmed to
against the garment. prevent looseness or folds. Open and fold
This hem shows least from the right side back tape with right side of tape and
and is the easiest to do. garment hem matching. Baste along
creases and machine stitch or sew by fine
b. Catstitched hem:
running stitch with sewing silk. Trim
After the hem is shrunk, cut the hem seam as narrow as material will allow.
edge parallel to the folded edge and baste Fold bias closely over cut edge to
to the garment with seams matching. wrong side, baste, and stitch along bias
Loosely catstitch over the raw edge. edge from the right side.
Stitches are V* inch apart and V* inch down Baste the hem to garment, matching
into the hem. seams, and slip stitch or blind stitch to
Only one row of stitches shows on right garment.
side of the garment. This method leaves a narrow binding
at top hem edge.
c. Hem with tape.
2. The bias or straight tape may be placed
Bias silk tape has more elasticity than wrong side down to right side of skirt
straight tape; therefore, an inexperienced hem edge, straddling cut edge. Pin and
72 A Tailoring Manual
WVWWWWIAW
Figure 38
Making the Skirt
Usually a tailored garment is buttoned if fas d. Place cross bastings for each buttonhole
tenings are used, but a zipper or fly front may be position.
used.
Sometimes in commercial patterns the spaces
between buttonholes are not accurate, or one may
wish to shift the buttonholes either up or down,
or change the number indicated on the pattern. I— -D--W
To be sure of accuracy, mark the top and bottom
positions of buttonholes on the garment and then
accurately divide and mark between these two
marks for the desired number of buttonholes. If
the buttonholes end at the waist or continue
below, place a buttonhole at the low waistline to
add apparent length to the figure.
In women's garments the right side carries the
buttonholes and overlaps onto the left, which
holds the buttons.
The end of the buttonhole should extend slightly
over the center front line toward the garment
edge. This extension should be one half the width
of the shank of the button when sewn to the gar
ment, which is approximately Vi 6 of an inch.
Figure 40.
garment.
b. Toward the cut edge from the center front I
place a basting for one end of the buttonhole AS
one half the button shank width from the
center front basting.
c. On the garment side place a basting the
exact length of the buttonhole. Figure 40
78 A Tailoring Manual
These markings are placed on the right buttonhole of garment, matching center
side for worked and corded buttonholes, and basting to marked buttonhole, and con
on the canvas side for piped buttonholes. trasting bastings at ends on buttonhole
In all garments opening down the center front, section to ends of buttonhole on the
sew the button along the center front grain line, garment.
which is already marked with a basting. Pin and baste into position between
To secure the correct position for buttons, pin the cords.
the right and left garment edges together and Stitch the corded section to garment
mark accurately each button position through exactly on basting along cord and stitch
the buttonholes on the right garment section to each end of stitching back on itself to
the left garment section along the center front prevent ripping, or leave a long thread
basting. on each end of the stitching line so that
In wool use canvas between the two thicknesses the two stitching ends may be checked
of material to prevent the buttonhole from pull for correct length. Either lengthen or
ing away from the fabric. shorten, if necessary; thread loose threads
in needle, and fasten securely.
CORDED BUTTONHOLE Check on the canvas side of garment
to see that the two stitchings are exactly
Figure 41 . parallel and that the ends of stitchings
This buttonhole is used more frequently than are opposite each other.
any other on tailored garments and is the simplest c. Spread the two raw edges and cut
to make. through length of buttonhole between
Make ladder for buttonholes on the right side cords to within Vie inch from end, then
of garment. diagonally out to stitching ends.
Cut a true bias of fabric 2 inches wide and 1 d. Pull the seams of buttonhole through to
inch longer than the buttonhole. Mark center wrong side and from the right side baste
length with basting. Cut two lengths of twine the the corded edges together.
length of the bias. e. With buttonhole facing the machine, and
a. 1. Along the side of the center basting with the garment folded back, locate the tri
cord to wrong side of material, baste the angle, and stitch securely in an arc to
material tightly around the cord, using the seam at end of the buttonhole. Re
short running stitches of matching sew peat for second end.
ing thread. Sew the second cord on the To eliminate bulk at ends, cut away
opposite side of the basting parallel to any excess cord from buttonhole, also
first cord. some of the pleat formed around cord.
The space between stitchings that hold Steam buttonhole. If fabric is bulky,
the cord determines the width of the fin pound with paddle while steaming to
ished buttonhole. flatten out buttonhole.
This space should be less than V* inch
as a buttonhole when finished should
PIPED BUTTONHOLES
never be wider than V* inch.
To check for this width, hold the ma
Figure 42.
terial taut, crosswise of the cords, push
the cords with thumbnail to the center In making piped buttonholes place the ladder
basting. The two cords should touch. If there marking on the canvas side of the garment. (Fig.
is any space between, the cords are too 40, p. 77.)
far apart; if they overlap, the cords are The material for piping may be cut either on
too close together. the straight grain or on the true bias.
2. With contrasting basting thread, mark Cut piping pieces 1 Vi inch wide times the but
the buttonhole ends at right angles to tonhole length plus Vi inch for seams, and baste
the cords. each strip through the length center.
b. With raw seams standing up from gar Baste the center grain of piping to buttonhole
ment, place the corded section on marked length with right sides of fabric facing.
Fasteners on Garments 79
_J
(
! i
d.
e.
Figure 41
From the canvas side of garment stitch a e. From the right side fold the facing, forming
rectangle the exact length of the buttonhole a piping Vi the width of the buttonhole
and about 3/i6 inch wide. Machine stitch opening and baste along fold. Repeat for
should be short to secure stitching. second side.
Begin stitching at the center of a long /. Baste folded piped edges together down cen
side, stitch to the end, leaving the needle ter of buttonhole.
down to use as a pivot while turning a cor g. Turn garment to wrong side, place button
ner. Continue stitching the entire button hole in position, and stitch the triangle to
hole, overlapping the first three or four the piping in a slight arc. Stitch the facing
stitches. along buttonhole length to the seams by
Count the stitches across the end to machine, or back stitch by hand.
insure a more accurate width in all button Trim away any excess material, leaving
holes. up to V* inch seam around buttonhole.
Cut the buttonhole through the center to Steam buttonhole, remove basting, and
within 3/i6 inch from the ends, then cut resteam.
diagonally out to the corners. If the buttonhole seems thick, pound with
Pull the fabric through to wrong side. paddle while steaming.
Press all seams around buttonhole away Make the facing for the piped buttonhole
from the opening. the same as for a corded buttonhole.
A Tailoring Manual
BUTTONHOLE FACING
Figure 43.
Figure 43
3. Baste and closely slip stitch to the back The piped or corded buttonholes should be
side of the buttonhole. made through the outer fabric and the canvas,
This method is likely to leave frayed while the worked buttonhole is made through
ends of fabric at turned edge and is more the outer garment, the canvas, and the facing
difficult to handle than Method a. and should always be made by hand.
82 A Tailoring Manual
WORKED BUTTONHOLE Cut buttonhole:
BUTTONHOLE LOOPS
Figure 45.
rOTvmvrmvmvOTv
Loops may be used in place of buttonholes.
a. Cut a true bias strip 1 inch wide and long
enough to make several loops.
b. Fold lengthwise through the center with
Figure 44 right side in and machine stitch parallel to
Fasteners on Garments 83
Figure 46.
00 0 0
84
DOUBLE-BREASTED GARMENTS
Double-breasted garments may have two rows
of buttons and buttonholes, two rows of buttons
and one row of buttonholes, one row each of
buttons and buttonholes, or just an overlap, held
in place by a belt.
In the long double-breasted coat, the under
extension, if not buttoned, should be held in
place by a tie made of the lining, or of matching
grosgrain ribbon about 1 inch wide.
Cut two strips of lining on the length grain 15
inches long and 2V5t inches wide. Fold each strip
lengthwise through the center with right side in,
baste, and stitch down length and across one end.
Turn right side out and steam.
After basting the body of the lining to the
armscye sew the two raw ends of the ties securely
into the right armscye at underarm seam along
with the lining. When the sleeve lining is put in,
the raw seams are hidden.
On the underlap of the coat at the waistline
position, make a loop at garment edge through
which one tie is slipped and tied to second one to
hold up the underlap of the garment (see Fig.
45, p. 83).
Making the Jacket or Coat
PREPARING INSIDE CUTS ON GARMENT SURFACE c. From the seam edge, stitch an arrowhead
to the point of seam, pivot the fabric around
Figure 47.
the needle, take one short stitch across the
Reinforced corners or turns: point and stitch back to seam edge as shown
Any seam cut at any angle within the surface by dotted lines. Clip from seam edge as
of the fabric must be reinforced before stitching shown by solid line to point, but not through
to prevent the turn of the cut from fraying. stitching.
a. Place a basting thread along the stitching d. Turn along basted stitching line to wrong
lines of the two intersecting seams. side, baste and steam seam to the wrong
b. Cover the point of intersection with a 1- to side. The lining square will form folds. Cut
2-inch square of silk crepe or light-weight off surplus square, leaving ample seam. This
lining fabric with right sides facing and with forms a seam around inside cut with no
grains matching, and baste into place. frayed edges at seam turn.
86 A Tailoring Manual
e. When a garment is cut straight in from an From the wrong side, steam all uncut waist,
edge, the seam end may be reinforced to shoulder, and neck darts toward the center front
it,
a pocket, godet,
if
strengthen especially and center back.
or other trim to be used. Steam all darts and curves over curved press
is
Place 1-inch square over cut end. pad for best results.
/.
3A
Beginning inch from cut end, stitch an Tailor tack the shoulder seam (except where a
g.
arrow point around cut end as indicated by shawl collar used) with tacks inch apart from
is
1
dotted lines and clip to stitched end, but neck to armscye edge and clip apart. These tacks
not through the stitching. allow the seam to be rebasted exactly as in the
Turn end seam to wrong side ready for original fitting.
h.
needed finish.
Place silk square on wrong side of fabric BASTING THE LINING
I.
and stitch from the right side, using the silk At the end of the final fitting of the jacket or
only as a reinforcement. coat and before the garment seams are trimmed,
baste the lining for stitching.
BASTING THE GARMENT Since the lining must fit exactly into the jacket
The jacket or coat basted together as in the or coat, make the same alterations as in the
is
Use heavy-duty thread in contrasting color, and Mark on the lining the same permanent stitch
short, firm basting stitches where strain appears. ing lines, darts, etc., as appear on the finally
All plaids, checks, and stripes must be matched fitted garment before garment seams are trimmed.
crosswise and lengthwise. Baste the lining, except the sleeves, which may
All inside cuts must be reinforced to prevent be stitched at any time before being attached to
fraying at cut turn. inside of garment.
Use the same directions which have been used Baste the 116-inch pleat inches out flat)
(3
for the muslin for fitting the wool garment. down the back length.
A dress shield may be cut and basted into the
FITTING THE WOOL GARMENT
underarm seam desired.
if
Because muslin and wool fabric handle some
what differently, will be necessary to check
it
fitted skirt to check for matching length seams %-inch seams on two lower straight edges.
and for the hip size before stitching permanently. a. Shows the shield folded right side out on the
Refer to fitting problems under Muslin Garment, length grain with lower edges basted ready
Figs. 20-23, pp. 41-54. to insert at underarm seam of lining before
lining stitched.
is
Stitch all darts and length seams. along the stitching line after having been
Trim down front shoulder dart, leaving %-inch applied to the underarm seam of the lining.
seam. Where the dart tapers below 3/s-inch width The armscye curve stitched to the under
is
to the point, leave untrimmed. arm of the garment lining. In some garments
Steam all seams wide open. Trim seams par there are two underarm seams which fall
allel to stitching line, and leave edges unfinished one in front of and one behind the under
where lining used. arm seam of the normal seam line position.
is
Spread wide open to lower clipped edge, the In this case the shield folded wrong side
is
seam of the shoulder dart that has been trimmed out and stitched along the basting as in
a,
down, and press the remaining undipped portion then turned right side out and pressed as
to the dart point like a box pleat. This dart in The seam line of shield then fastened
is
b.
should be steamed over curved press pad to by hand between the two underarm seams
a
Figure 48
c. Shows the finished appearance of the shield Steam over curved board for smooth end
in the lined garment with the two bias edges finish.
left free. d. When a princess line is used, the two prin
cess stitching seams of the canvas are matched
c. d.
49
Figure 51 .
Figure 51
These rows of pad stitches are made to the TAPING THE GARMENT FRONTS
right and left alternately, sliding the hand from
Figure 52.
neck to buttonhole to prevent twisting of the
canvas. The rows of pad stitches touch on a a. Lay garment flat on table with canvas up.
common line. 1 . Pin tape along back edge of break line,
Continue the operation to the point of lapel easing break line onto tape Va to Vs inch.
stitching line, slightly easing the canvas with the Baste tape into position and hem to
thumb onto the garment to shape the lapel. canvas along both edges.
Repeat for second side. This prevents the break line from
Making the Jacket or Coat 91
stretching and helps the fit of the gar and length, carefully check the two sides
ment over the bustline. together after basting on the tape.
2. Trim away the canvas Va inch behind the Hem the tape lightly to the wool on the
stitching line along front facing edge from outer edge first, then hem the inside edge
bottom of hem, along the garment edge, of tape to the canvas.
around the lapel point to the collar notch. The outer tape edge forms the stitching
Later, when you make the garment line for the facing.
hem, cut the canvas off across the hem
edge.
STEAMING THE TWO FRONTS AFTER TAPING
Tape these stitching edges of the gar
ment fronts with narrow linen, silk, or After the tape is sewed on the fronts, place
rayon tape. The tape straddles the canvas front lapels over curved pad and steam from the
edge, the front tape edge being flush
canvas side to the top button, shaping lapels as
with the facing stitching edge. they are being steamed.
3. From the top button, around the lapel From the top button to bottom of garment is
point, and to the collar notch hold the a straight edge, so should be steamed along a
b. If the lapel or lower garment edges have a The matching curved edges of the sleeve and
curve, the outer tape edge follows the stitch the garment armscye when stitched together have
ing line, and the inner tape edge is notched a tendency to stretch and bunch away from the
away to prevent forming of folds. figure at both front and back lower armscye.
To insure accurate matching of lapels and To prevent this and to make the armscye hug
curves at lower jacket fronts in both shape the figure, you will need to tape the armscye.
Figure 53
92 A Tailoring Manual
The tape is clipped along one edge to allow it
to lie flat when curved around the armscye.
Place an ease thread along the marked stitching
line of the under half of the armscye from width
of chest to width of back.
Beginning at the width of chest, place the un
dipped edge of tape along ease thread and ease
in about V* inch of the armscye from chest width
to underarm seam and pin into place.
Leave flat across the seam at underarm.
From underarm seam to back width of the
armscye, ease from V* to % inch onto the tape and
pin into place.
In fabrics that stretch badly it may be necessary
to carry the tape up to the back shoulder seam.
Baste the tape first along the armscye stitching
line, then along the spread clipped edges.
Hem loosely by hand along both edges.
PULL-UP STITCH
Figure 54.
Figure 55.
93
94 A Tailoring Manual
made only on the buttonhole or overlap side of GRADING SEAMS AT EDGE OF GARMENT
the garment, after the fronts are pad stitched and
Figure 57.
edges taped. The button or underlap side of the
garment is not changed. A seam at the edge of a garment is likely to
The length
spaces for buttonholes are marked show the seam imprint and be bulky when pressed
on the buttonhole side of the front overlap, and right side out. To prevent this bulkiness first
on a matching position on its facing. trim both seams parallel to stitching line, then
Two lengths of facings are cut, plus the desired trim away Vs of that edge of the seam that touches
width needed for planned buttonholes, plus Vi- the inner side of the garment.
inch seams on both sides and ends.
a. Place one buttonhole facing length on gar
ment with right sides facing and baste into
position.
Stitch in diagonally to tape edge (which
forms the stitching edge of garment), stitch
along tape to end of facing, then diagonally
out to garment edge as indicated by dotted
lines. Clip straight in to stitching turn as
shown at Points 1 and 2.
b. The buttonholes are made only through the
CURVED EDGES
Figure 58.
Inside curve:
Outside curve:
b.
b. Where an outside curve appears, the seam
around the curve is notched to the stitching figure 58 (Continued)
line before the fabric is turned right side
out.
This notched seam prevents folds of seam
from appearing within the garment edge.
Positions for pockets on the garment were If decorative idea desired, cut pockets on
is
a
tailor tacked after the garment was cut. the true bias, especially in checks or plaids, or
Because all persons are not the same size, these place them on the cross grain.
positions may need to be changed to keep them In a corded or piped pocket use bias because
in correct proportion to the wearer. adjusts more easily to that type of pocket. The
it
With the garment on the wearer, turn the hem bias should always be cut in the same direction
up before the permanent location of the pockets from the fabric.
is decided upon. Mark the new pocket location Always cut the grain of the pocket bag the
accurately on one side of the garment. same as the garment grain.
Remove the garment and pin together, accu In an inset pocket, one section of the bag
is
rately matching the two front sections of the usually of wool and one of lining. To save wool,
garment; and transfer the marked pocket position a narrow strip of wool may be stitched across the
to the second half of the garment. upper pocket lining bag instead of making the
If one hip is larger, the garment may be wider section entirely of wool.
on one side of the pocket position. This variance When a pocket parallel to the floor, the wool
is
in width should appear from the pocket edge to section always sewed to the upper edge, the
is
the side seam of the garment. lining to the lower edge of a pocket.
All set-in pockets should be reinforced with In a perpendicular pocket the wool section
is
canvas along the stitching line on the wrong side sewed to the back edge, the lining to the front
of the garment. This canvas prevents too great edge of the pocket opening.
strain on the fabric. The pocket above the bust Check pocket size and length in relationship
line already has canvas behind but pockets to the size and scale of the individual.
it,
In patch, welt, flap, or saddlebag pockets the lower edge of an inserted pocket, which may
match the fabric grain with the garment grain. be parallel to the floor, perpendicular to the
If a design such as stripes, checks, or plaids ap floor, or on the diagonal.
pears in the fabric, the design should match the In whichever direction the pocket made, the
is
garment in both cross and length grain. grain and design of the welt, whether of plain,
96
Pockets 97
stripes, or plaids, must match the grain and de Pin and baste into place at the lower edge
sign in the garment when attached. The excep of the pocket opening. If stitching is to ap
tion is the welt made on the true bias. pear on welt, stitch across top edge only,
The welt may be made of two thicknesses of ending at the turn of stitching at corner;
wool, as in the flap pocket, or with the outside have threads long, pull through to wrong
of wool and the wrong side lined with matching side, and fasten securely.
lining silk. /. Cut two pocket bag sections, the grain of
To give crispness to the welt use hymo or its each of which will match the fabric grain
equivalent as interlining, cut the exact size of the when the finished pocket bag falls into posi
finished welt. tion. Place lower (lining) section over welt
a. Cut the three welts, one each of wool, lining, with stitching lines matching and baste.
and canvas with the ends cut on the straight Place upper (wool) section into position
grain or on the true bias. This welt when with cut edge touching cut edges of welt and
finished is approximately 4 to 5 inches long bag and baste.
by 1 or VA inches wide. Allow '/2-inch seam 1. Stitch the lower section of bag and welt
on top edge and two ends and Vi-inch seam into position, beginning and ending with
on edge which is sewed into garment. machine stitch crowding around the end
b. Place the canvas on the wrong side of the of the welt, and stitch back 3 or 4 stitches
wool, pin into position, and trim away Vi- on stitching line to prevent ripping.
inch seams at one side and the two ends.
Baste the canvas into place.
c. Turn the '/2-inch wool seams over onto the
canvas, miter the corners, and baste into
place. Slip stitch the mitered corners, and
catstitch the wool to the canvas, making
sure the stitches do not appear on the right
side of the welt.
d. Fit the lining to the wrong side of the welt,
turn under '/4-inch seam, miter corners, and
baste along turned seam. Baste the lining
into place and slipstitch to the wool seam.
Remove all bastings and steam. Place a
basting Vi-inch from the raw edge for stitch
ing line.
e. Place the welt into place on the garment,
b. d. f.
Figure 59
98 A Tailoring
2. Stitch the upper section of bag into posi Remove all bastings, steam thoroughly
tion, with stitchings ending 2 or 3 stitches and, if necessary, pound flat with press
short at each end, to prevent a hole's paddle.
appearing when pocket is finished. Stitch
back on the end of the stitching to pre
vent ripping.
To check for correct stitching lengths,
turn the bag up from the welt ends and
check to see that the end stitch hugs the end
of the welt closely.
Fold the welt into the correct position
into which it will fall when finished; stick
pins at welt ends through stitching ends of
upper bag. The pins should fall outside the
stitching ends of the bag stitching line.
Cut the pocket opening between the raw
edges of the sections of the bag to within
Vi-inch of stitching ends, then diagonally
out to the stitching ends. Pull the sections
of the bag to the wrong side, which will
allow the welt to fall into correct position
on the garment.
g. Baste the sections of pocket bag together.
With the bag on the machine, fold the gar
ment away at one end of the pocket, adjust
the triangle at end of pocket opening into
position, and stitch in an arc close against
the pocket across the triangle. Continue
stitching around the pocket bag and up to
the second pocket end where the triangle is
to be stitched into position.
h. The welt on the right side of the garment
is left standing free. It may be finished in
either of two ways.
1. If outside stitching is used, the welt is
stitched across the top edge in e and the
thread ends are fastened securely on the
wrong side.
Baste the welt ends to the garment.
Stitch the welt ends to the garment.
Stitch the welt ends from the lower edge
where it joins the garment, up to the
stitching end across top of welt, then di
agonally out to upper point.
Pull threads to wrong side and fasten
securely at each stitching end.
2. Where no outside stitching is used, the
ends of the welt may be slip stitched
closely to the garment just under welt
h.
ends to prevent ends from curling under.
Fasten securely at top welt edges with
a few stitches at right angles to pocket
ends. Figure 59 (Continued)
Pockets 99
c d.
Figure 60
A Tailoring Manual
CORDED POCKET
Figure 61 .
SADDLEBAG POCKET
Figure 64.
b.
Figure 64
Flgur* 65
Pockets 107
Figure 66.
e.
Figure 66 (Continued)
Figure 67.
Figure 67
the facing edge to hold the pocket ends 3. Repeat the cycle until the stitches on base
securely into position. line touch at center, and the stitches across
point opposite base widen out from angle
DECORATIVE TACKS point, ending halfway down sides.
4. Push needle to wrong side and fasten to
Figure 68. prevent ripping.
Decorative tacks are used to finish the ends of Stitches should touch each other closely
piped or corded pockets, at stitching ends of without fabric underneath showing through.
pleats, or at dart ends. The base of the decora
tive tack touches the end where used.
a. Arrowhead:
c. Fabric iack:
Figure 68 (Continumd)
Collar
basting.
d. Place under wool collar on table, wrong side
up. Place canvas collar on wool, center backs
matching, and loosely baste the two to
gether along the neck edge only.
e. Pin neck edge seam of collar to garment.
Adjust on dress form or on self, and pin
fronts together along button section.
Mark one half side of collar fold from
center back toward front where fold touches
front break line, 1 and 2.
/. Remove collar from garment and mark sec
ond side from marked side, chalking along
marked edge.
This break fold to neck edge forms the
collar stand.
Pad stitch collar stand. c.
Hold canvas side of collar neck edge to
ward you and start pad stitching at one side Figure 69
111
A Tailoring Manual
Figure 69 (Continued)
1. Break line of lapel which meets the collar Rebaste loosely with diagonal stitches
stand at neck edge. until collar is basted into garment.
2. End of collar stand. Place a basting thread all around stitch
Pin and baste collar to neckline of ing line of both under and upper collar
garment. neck edge. These two bastings must fall
3. Pull up ease thread around neck of gar one on top of the other.
ment and ease neck edge onto collar to
where collar stand meets the break line
JOIN COLLAR TO GARMENT
of garment front.
One inch across point 2, ease the collar Figure 70.
onto the neck edge of garment.
a. The neck of garment already has an ease
4. Lapel notch. Continue pinning to this
thread at stitching line.
notch, easing neck to the collar.
Match facing and garment neck edges;
5. Mark collar end where it touches notch
transfer neck seam position to facings and
of lapel at front. Remove collar from
put in ease thread.
garment and mark second half of collar
from the first. Place a basting or pencil
line across each newly marked collar end.
Attach upper and under collar.
Place under collar on table with right
side up.
Place upper collar to under collar with
right sides together and center backs
matching.
Pin center backs of collars together.
Holding collar in hand, begin at center
back and slightly ease upper collar to
under collar, along outer stitching edge
and across ends. Repeat for second side,
easing same amount along edge and end.
Baste and stitch.
If collar has square turn, cut off point.
If collar has rounded edges, notch out
surplus curve at seam edge. Grade seams
and press wide open.
Turn collar right side out and baste
along folded edge, rolling seam slightly
to under side.
/. Finishing collar.
1. Using easy diagonal stitches, begin at
Point to end 2, then return to 1.
1, baste
Repeat until upper collar is entirely
basted to under collar. Shape the upper
collar to fit smoothly over the under Figure 70
collar when basting.
3. When collar is finally shaped, trim the
neck edges of upper and under collar b. Match collar ends tightly into lapel notch
until the two edge seams are flush. and pin stitching seams together.
Steam into shape, remove bastings, re- Match center backs of collar and garment,
steam to remove any basting imprints, and pin.
and place on form or shaped towel to Pin collar to garment, matching stitching
dry. lines. Beginning at collar end, ease neck to
114 A Tailoring Manual
Figure 71
draw a line to top button. Pad stitch the TAPING THE SHAWL COLLAR
space between this line and diagonal stitch d
The garment with shawl collar is taped from
k,l. Beginning at 1, the top button on basting the bottom of the garment to the top button, pin
line d, pad stitch a continuous line the en ning the tape slightly taut along the garment
tire length of the collar to the top buttonhole, stitching edge to keep the garment edge hanging
k. Continue pad stitching the entire collar, perpendicular to the floor.
alternating each row, to prevent the canvas Sometimes the tape may be carried upward
from twisting on the garment. When pad on the collar edge toward the shoulder if fabric
stitching, hold the loose open edges of the has a tendency to stretch.
collar and hymo in the hand with the gar Tape should not be carried around shoulders
ment against the fingers so that the thumb and back edge of collar as it causes too tight an
is free to ease the hymo onto the collar to edge on the collar.
shape while pad stitching.
m Loosely catstitch the back edge of the hymo FACING THE SHAWL COLLAR
below curved edge to bottom of garment, The facing for the shawl collar, which is the
making stitches at least 1 inch apart. upper collar, is cut in one with the front facing
116 A Tailoring Manual
of the garment. The facings of the two sides meet rolling seam to wrong side from bottom to
at center back and are seamed. The steps listed top button, reverse and roll seam to opposite
below are handled the same as in a garment with side to prevent seam stitching edge from
an attached collar and facing. showing.
1. With right sides facing, pin the center backs Repeat for second side.
of facing and garment together. 4. From center back of collar to top button
2. Working from center back, down each side, hole, roll collar outward on garment and
pin facing to garment, slightly easing facing baste with loose diagonal stitches from col
onto garment to the top button. lar edge to break line and collar stand.
This allows an easy roll of collar from Reverse basting to keep grains of facing and
back, over shoulders, to top fastening. garment together.
3. From top button to garment bottom, smooth 5. Fold collar back onto right side of garment
the facing closely onto garment and pin so along break line and collar stand, lay gar
that the front facing edge does not roll out ment on table and baste loosely over folded
ward to the garment below buttons. edge.
Baste collar edges together. From folded edge of collar, smooth re
Turn collar facing right side out and pin maining collar, lapel facing, and neck edge
into position. onto the garment proper from shoulder
Try on and check for correct amount of down to position opposite top button.
ease around collar, also correct hang below Repeat for second side.
top button. From the top button to garment bottom
Stitch collar facing to garment, grade smooth the facing onto garment canvas, pin
seams (remember to reverse trimming at top into position, and baste.
button), notch out around outside curve, 6. Sew the collar across back neck and across
and steam seam wide open. shoulder securely to neck and shoulder
Turn seam and baste along folded edge, seams, using back stitch.
Collarless Garments
Figure 72.
standing open, the neck will need pad stitch
In all garments without collars an ease thread
ing so that it will look equally well which
or stay stitching should be placed around the neck
ever way it is worn.
to prevent stretching while fitting or handling.
In c, d and e, f, ease the tape slightly along the
In a cardigan the stay should extend down the
section which rolls away from the body. Also ease
front through the bias section to where the grain
the facing slightly from shoulder to lower edge of
straightens out.
roll, then hold taut below the rolled section.
a, b. In a cardigan that fits fiat against the body
or in a jacket that buttons up to the neck
with or without a collar, the canvas will not
need to be pad stitched; however, all edges
will need to be taped to prevent stretching.
c, d. In a cardigan that is built up around the
neck, the front curve below the neck will
need pad stitching, so that the garment will
roll away from the body.
e, f. In a garment with a high round neck which
rolls away from the body at the neck edge,
or one that is worn either buttoned or left
a. b. e. f.
72
117
Sleeves
FITTING SLEEVES INTO THE WOOL GARMENT seam seems too bulky, notch out until seam lies
After the collar has been basted on the garment flat against garment.
the sleeves are fitted into the armscye (see Fig. 23
If the sleeve has darts at shoulder, steam the
on pp. 50-53). upper half of sleeve seam toward the garment
side of the armscye, and the under half of the
The armscye and matching sleeve seams were
seam wide open.
carefully cross-marked in the muslin garment.
These marks were transferred to wool armscye
If a padded effect is desired around upper half
seams when cut.
of sleeve cap, press the seams into the sleeve side
Match these marked seams, pin and baste the of the garment.
sleeves into the garment, and try on for checking
A narrow bias strip of wigan or felt may be
sewed across the upper half of the sleeve cap and
since the wool may handle differently. Make any
necessary alterations.
Figure 73.
118
Sleeves 119
pressed into the armscye, filling out the cap ease MITERED CORNER
and giving a smooth cap fit to the upper arm.
Figure 75.
On the under section of the sleeve seam (that
part which has been taped and pressed wide open) A mitered corner should be used on squared
press the sleeve and garment tightly together to turns along the cut edge of fabric to prevent frayed
give a sharp turn under the arm. edges from appearing, also to eliminate bulk where
Should it be necessary to remove the fitted a hem or seam appears along two converging
sleeve from the armscye for stitching any portion edges.
of the sleeve, you must tailor tack the sleeve and
armscye all the way around with tacks Vi inch
apart. After stitchings are complete, refit the
sleeve to armscye, carefully matching each tailor
tack. After basting, check the sleeve for correct
~1
fit before stitching.
Figure 74.
c.
Figure 74 75
120 A Manual
d. e. f.
g. Cuffs are frequently used on sleeves. A cuff ease the outer fabric section over the
which is an extension of the sleeve proper hymo, pin, baste, and stitch the three sec
is much simpler to make than a separate tions together across each end and along
cuff which must be attached. When a sep top edge.
arate cuff is used, the sleeve is finished as in Grade seams, notch out curved turns
a, with the hem turned back and catstitched or trim across angles, steam seam open,
to the canvas. If the fabric is firm, the canvas and turn cuff right side out. Baste around
may be eliminated in the sleeve and used cuff, slightly rolling seam edge to the
only in the cuff. The cuff is completely fin wrong side.
ished before it is attached to the sleeve, 7. Turn the '/2-inch seam around lower cut
eliminating a bulky seam edge at the wrist. edge to the wrong side, baste, and cat
The cuff should be made slightly larger stitch over raw edges.
than the sleeve since the sleeve edge is a Steam cuff, remove bastings, and
smaller circle fitting inside the larger cuff resteam.
circle. From the wrong side slip stitch the
Cuffs may be open at the ends, or they may be two cuff edges together Vi inch, the width
sewed into a circle. In either case the cuffs are of the turned up seam.
finished before they are sewn to the sleeve. 8. Fit the wrist edges of cuff and sleeve to
1. Cut two inner sections of fabric the cuff gether and closely slip stitch just above
size plus %-inch seams at ends and across the cuff edge. This method of making and
top. joining cuffs to the sleeve leaves less bulk
2. Cut two hymos the same size as 1 . at wrist than the method of joining cuff
3. Cut two outer sections of fabric with %- to the sleeve with a facing.
inch seams at ends and across top, and
BIAS FOR BINDING
Vi-inch seam at lower edge.
4. Cuff in a circle. Fit the inner section of Figure 77.
fabric around the wrist of the garment Cutting and joining bias:
for correct size.
a. Cutting Bias. To cut a true bias a piece of
Pin, baste, stitch, and steam seam.
fabric is folded so that the warp or length
Fit the hymo onto the wrong side of
grain falls along the woof or cross grain. The
the cuff, slightly easing hymo onto cuff.
bias formed is a true bias. Cut bias the de
Overlap seams and sew together with
sired width.
short diagonal bastings.
Ease the outer section of fabric over
the hymo, baste, stitch, and steam seam.
Stitch the three sections together
around the top edge, grade the seam,
press open, and turn cuff right side out.
Roll the seam edge to the wrong side,
baste, steam, remove basting, and resteam
to remove basting imprints.
5. Turn the wrist edge seam of outer cuff
section around the raw edge and baste
up on the under cuff section. Catstitch
over raw edge, but do not allow stitches
to prick through to outer cuff section.
Repeat for second cuff.
6. Cuff open at ends. Measure the inner
fabric section around sleeve wrist for cor
rect size and mark each cuff end for
stitching line.
Slightly ease canvas onto the fabric
across the top edge and baste. Slightly
122 A Tailoring Manual
made from the lining silk of the garment. edge, using 6- to '/s-inch stitch lengths.
Vi
b. The pockets are sewed securely to the hem Slip stitch open edge of facing closely to
3.
is
Jackets that are to be lined will have the hems the rounded edge to the back edge of the canvas.
French hemmed or catstitched at lower edges of Stitch the facing and garment together around
sleeves and garment. the curve to the end of the tape. Finish the hem
If the jacket is unlined, the hem will be bound as in the jacket above.
as in Fig. 35, pp. 70, 71. c. In the jacket, turn up the surplus lining
1.
a. 1. Onthe jacket, the hem is finished to the Mark the hem of the lining the same
back edge of the front facing. width of the jacket hem, and trim off the
2. Shows taped edge of garment. surplus.
3. Shows hymo of garment. Baste the lining to the garment inch
Vi
2.
4. Baste the hem edge through the facing above the folded edge of the lining. Leave
and the section of the jacket covered by the '/2-inch center back ease basted in
1
123
124 A Tailoring Manual
1=3= 2
5-
6' b.
Figure 79
same manner as the lower edge of the The hems of the long coat and lining are fin
jacket. ished separately.
In a garment with wide sleeves at the a. The long coat is hemmed entirely across the
lower edge, the garment facing should hem and the facing. This will allow for al
be wider than 1 Vi inches. This will push teration, if necessary. The hem may be
the lining farther up into the sleeve so finished as any of the hems illustrated in
as not to be seen when the arm is raised. Fig. 35, pp. 70, 71.
In a sleeve that is opened at the elbow b. 1. The facing is then turned back onto the
seam for decorative purposes, the lining garment with the lower edge of the facing
is not continuous at lower edge, but must left open.
be left open at elbow seam 1 inch higher 2. The facing above hem is loosely cat-
than the sleeve opening. The lining edges stitched to the hymo or to the garment
parallel to the sleeve opening should be itself if canvas is not used.
pushed far enough back from the open 3. The edge of the facing through the hem
sleeve edge so that they do not show is closely catstitched to the hem, using
when worn. The lower edge of the lining '/8-inch stitches.
is finished as in the normal sleeve.
Slip stitch the entire garment lining
very closely to the garment, using stitches BASTING THE GARMENT FACING INTO PLACE
less than Vi6 of an inch apart.
If sunbak lining is used in a coat, it is Figure 81 .
wise to slip stitch the lining with button a. 1. When the collar was joined to the gar
hole twist. Regular sewing silk is too light ment it was basted into shape with edge
in weight to hold the heavy lining. (Sun basting and with diagonal basting on the
bak is lining with a fleeced wool backing collar surface. Leave these bastings in
which is used instead of separate lining until the garment has its final steaming
and interlining.) before inserting lining.
Hemming the Jacket or Coat 125
X * *
a.
J'
I*
J3
Figure 80
LINING THE BODY OF THE GARMENT seam and match the front edge of the under
WITH SET-IN SLEEVES arm seams of lining to garment from armpit
to bottom of garment. Stretch the garment
The garment should be completely finished
seam slightly so that the lining will not be
and steamed before the lining is put in. In fitting
the lining fit the two sides in the same operation. tight, and pin the two front edges of the two
seams together.
To insure the correct fit of the lining, the lining
was earlier basted exactly the size of the garment
These two seams are permanently basted
after the garment was fitted. It should be stitched together to within 3 inches of the hem edge.
and pressed and ready for the garment. Repeat for second side. Fold the front lining
sections into position on the garment.
Place the garment right side down on the table.
b. 1 . Match the front armscye of the lining to
Place the lining on the garment with wrong sides
the garment from underarm up to the
together and with underarm seams matching
shoulder, and pin and baste into position
those of the garment. Pin the underarm seams
to the armscye seam up to the shoulder
of garment and lining together.
Frequently in fitting the garment the under pad; then pin to the shoulder pad up to
the shoulder seam.
arm has been lowered to increase the armscye.
The armscye of the lining should be checked The armscye seam of the garment is
usually pressed wide open so that both
against the garment before any permanent work
is done. To do this, measure the armscye seam
front and back lining around the under
of the lining to the garment seam from the under half of the garment (between the ends
arm seam up the front to shoulder, and up the of the shoulder pad), will fall across the
back to the shoulder seam. There should be garment seam edge. Baste to the sleeve
seam, which is pressed into the sleeve.
ample shoulder seam, at least 3A inch, at both
2. If darts appear at the front shoulder, fold
front and back of the lining to overlap at the
the marked dart of the lining into posi
shoulder.
Should there not be ample shoulder seams on tion, pin, and baste down to the width of
the lining, raise the underarm seam of the lining chest, 4 to 5 inches below shoulder seam.
Catstitch dart closely down the folded
along the garment seam. Clip the lining seam to
fit the underarm of garment and to allow ample edge through the three thicknesses of the
Figure 82 (Continued)
Figure 82 (Continued)
LINING THE SLEEVE
basted in a 1 '/i-inch pleat) needs adjust When the length seams of the sleeves were fit
ment, it may be let out or taken up to ted, the sleeve lining was basted to match exactly
fit the width across the back. the garment sleeve size.
5. The inside fold should be turned to the Stitch any darts and the length sleeve seams
left side of the garment. and steam.
To prevent this inner fold of the center a. 1. The seam at armscye is folded to the
back pleat from falling loose inside the wrong side and an ease thread is placed
lining, hand stitch the pleat securely along the exact fold, beginning and end
across the width at the neck edge just ing at the highest point of the sleeve.
above the stitching line. 2. Since the lining does not shrink, notch
1. Match the shoulder seams of lining to away the surplus ease of the seam on the
garment seam, turn to wrong side, pin, inside of sleeve cap.
and baste along fold. Match the correct sleeve lining to the
2. Clip the neck edge Va inch, turn under correct garment sleeve. Turn the lining
lining until neck seams of lining and gar and the garment sleeves wrong side out.
ment match, pin, and baste along fold. b. 1. Match the stitching edge of the sleeve to
Repeat for second side. the stitching edge of the garment seam
Ease the basted shoulder and neck at the underarm and pin into place.
edges of the lining (1 and 2) into posi 2. From armscye to wrist, match the front
tion across shoulder and neck, and pin sides of the underarm seams of lining and
into position. the garment and pin together. Stretch
3. To check the correct fit of the lining the garment sleeve slightly so that the
across the upper shoulders, grasp the up lining will be slack along the seam.
per back width of garment and lining and Baste these two seams together perma
pull across width of back to determine nently to within 3 inches of the folded
whether there is strain. The lining should edge at the wrist. Slip the hand through
fit with ease, with no strain at any part the sleeve lining at cap end; take hold
of the back. of the lining and of garment at wrist and
Should there be any strain, let out the turn the lining right side out over the
center back pleat of the lining or rip the sleeve.
armscye lining from the garment and c. Match together any other armscye seams or
ease over onto the garment from the darts of the lining to the garment, and pin
armscye seam. together.
Lining the Garment 129
Pull up the ease thread at sleeve cap of a. The 3-inch ease at back was earlier basted
lining, adjust the ease around the armscye in a 1 '/2-inch pleat down center back. Place
edge of lining, and pin the entire lining arm pins the length of garment on either side of
scye to the armscye of the garment, hiding pleat to hold the lining into place.
the stitching line along the lining at armscye. Place a basting down the edge fold at the
Pin into place and baste. center back of garment and release the
Closely slip stitch the cap edge to garment pleat.
lining. b. 1 . Measure the vent overlap in inches on the
Figure 84c.
Figure 84
Fasten the two hem edges together at the hem to the lining so that the stitches do not
seams, and between seams if circumference show from the right side of the lining.
of garment is wide, by %-inch long French In the short jacket the hem at jacket and
tacks (see Fig. 87, p. 133). Release the V/2- sleeve edges is handled as a single fabric.
inch pleat down the center back of the lining
and leave free so that the lining hem edge
is wider than garment hem across the back.
1. Measure the lining hem % inch shorter
than the garment, fold lining hem to
wrong side, pin, and baste along fold.
2. Measure the lining hem the same width
as garment hem, plus % inch for turn
under.
3. Turn under the ys-inch allowance to the
INTERLINING
Figure 85.
UNLINED GARMENT
Figure 86.
The remainder of the lining is fitted like the b. Buttonhole these threads around the full
garment with set-in sleeves. length of the loose threads. This allows free
In the raglan the lining is fastened along the dom between the two garment sections and
shoulder seam and through the shoulder pad if will prevent either garment edge from
a pad is used. The underarm sleeve seams are puckering.
fastened together or, if a gusset is used, the two
may be sewed together around the gusset seams.
FRENCH TACKS
A 8
Figure 87.
French tacks are used to hold two edges loosely
( J V 1
together and may be any length desired.
a. Using buttonhole twist, make three or four
stitches connecting lining and garment hems
opposite each other, having threads 3A inch
long. Figure 87
Edge Stitching the Garment
Edge stitching is used to give a finished look appear around the upper half of the
to a tailored garment, and also to give a firm edge sleeve, between widths of chest and back;
to fabrics which do not take a sharp press. patch pockets also may be edge stitched.
Hand stitching is a slow process, but the satis All edge stitching throughout the gar
faction one receives in the results is worth the ment must be consistent in the width
effort. from the edge.
Machine stitching is used more frequently than b, c. If a garment has a notched lapel, the stitch
hand stitching and achieves the same results, ex ing lines should be shaped at the point
where collar and lapel join. In hand stitch
cept in appearance. However, it may be best to
machine stitch some types of garments. ing, one of three methods may be used (d,
On all garments where there is an edge seam, e,f). Matching buttonhole twist is used.
the seam must be rolled slightly under to the d. Hand stitching is made by stab stitching,
one stitch at a time. Push the needle straight
wrong side so that the facing edge does not show
from the right side. This edge should be basted through to the wrong side, pull the thread
carefully along the folded edge to hold it into through, return the needle straight through
to the right side and pull the thread through.
position.
For edge stitching, place a guide basting, in One stitch is completed at a time, the stitches
addition to the edge basting, on the right side of being the same length on each side of the
the garment exactly parallel to the folded edge. garment.
e. The needle is pushed diagonally through the
a. 1. Where a garment has a revere, reverse fabric, the thread pulled through; then the
the right side of the garment at the point needle is returned diagonally to right side,
of the fold back at the top button posi making a very tiny prick stitch on each side
tion, or just below the shoulder seam if of the garment.
there is no collar. /. The needle is pushed diagonally through to
All edge stitchings are done from the wrong side and thread is pulled through; a
right side, so that the machine stitching back stitch is taken and the needle is pushed
must be ended at the reverse point, and diagonally through to right side.
started on opposite side of fabric. The This back stitch is used only for a very
stitching ends must touch and long spongy or bulky fabric where neither stitch
threads from each stitching end must be will hold the fabrics firmly together.
left, threaded into a needle, pulled to the In appearance on the surface, this stitch
inside, and fastened invisibly. In this way may have a prick stitch or stitch Va inch in
the edge stitching will look continuous. length.
134
Figure 88
Arm Straps for Coats
tion when worn as a cape. straps to hold the coat on the shoulders. The
The straps may be made of the fabric of the straps may be pushed up over the shoulders and
coat or of the lining, approximately 9 to 12 inches the coat may be carried on the back instead of
over the arm.
long, 1 to l'/2 inches wide when finished.
a. Either one may be sewed flat to the garment
if made of the wool or to the lining if made
from lining fabric.
b. Either one may be sewed to the fabric or to
the lining, forming a loop which falls flat
against the garment when worn as a coat.
To make the straps, cut the fabric lengthwise,
twice the desired width and the length, plus %-
inch seam all the way around.
Stitch across end and along the side until one
inch to the center. Repeat for second end and
side. Clip across the two stitched corners to within
Vi 6 inch to the stitching turn, and steam the seams
wide open.
Turn the two ends right side out through the
2-inch opening along the side. Baste the entire
strap around the seam area and slip stitch the
2-inch open seam. Steam, remove basting, and
resteam.
Place these straps with the top end approxi
mately 9 to 1 1 inches down from the shoulder
seam. Slip stitch each end securely to the garment. Figure 89
136
Slacks
Figure 90.
b.
Figure 90 (Continued)
leg along the length grain and spread If abelt is used, cut on the length grain, twice
each pattern Vi the desired circumference the desired width plus seams and the length
increase. needed plus overlap and seams.
Pin tissue under spread. Mark all stitching lines and placket edges with
Redraw a new grain length on each chalk, transfer paper or tailor tacks.
pattern piece as in d. Along the left side placket opening where the
f. Some figures have very full hips at back and zipper will be placed, mark 3 inches out from
may need extra crotch length. This may be stitching edge for facing the zipper on the back
added by extending the back crotch up to edge and for facing the pocket on the front edge.
1 inch and extending the increase 6 inches These extensions will eliminate sewing extra ma
down the leg (or 1 Vi inches 8 inches down terial for finishing the zipper opening.
leg).
To baste slacks:
To cut slacks:
Baste in all waistline darts the length indicated
Place folded fabric on table with torn edge on pattern, or front pleats 3'/2 inches down if
parallel to table end, and selvage edge parallel pleats appear at side front.
to side of table. Place basting along matching placket edges at
Place pattern on fabric with length grain par left side of slacks.
allel to selvage, and pin into place. Place basting along pocket edges on right side
If stripes are used, they must match one on top of slacks.
of another in the fabric before cutting. Baste center front seams together through the
If plaids are used the plaid must be matched crotch.
in both the length and cross grains of the fabric Baste center back seams together through the
when folded, and must match around the figure crotch.
when cut. Cut pocket section matching in both Baste side seams together. On the left side baste
grain and design. from lower edge of placket to hem edge.
140 A Tailoring Manual
Baste inside leg seams together. Carefully tailor tack top edge of slacks to belt
Turn waist line seam to wrong side and baste. or facing, placing tacks 1 inch apart. Mark posi
Cut a facing 2 inches wide or more from the tion on belt at center front, center back, and
folded edge of a true bias of silesia or heavy side seam.
sateen. Turn down a '/2-inch seam along cut edge Baste across each matching belt end, and sepa
and baste. rate slacks from belt so as to be able to re baste
If a belt is used turn down seam allowance all fittings; stitch darts, pleats, crotch, and inside
along each edge, baste and steam, remove bast leg seams, making garment ready to set in the
ings, and resteam. pocket and zipper.
To fit slacks:
POCKETS
Slacks may have pockets on both sides in seam
and placket, or in the right side seam only, or
pockets may be made 2 inches in front of and
parallel to side seam. This last mentioned pocket
is made in the same manner as a corded pocket
in a suit or coat (Fig. 61, pp. 100, 101) and is 5
to 5'/2 inches long at opening when finished. The
bag of silesia is the same size from top edge of
pocket as a pocket in a seam.
If slacks are made of cotton, the pockets will 1. Enlarged
be made from the same material and will not need
the strips of fabric along pocket edges.
In wool, the bag is made of silesia or similar
material so will need to be faced along the pocket
sides to prevent the silesia from showing at the
pocket opening.
Figure 91 .
1. Right side
5. Wrong side
2. Wrong side
3. Wrong side
144 A Tailoring Manual
c. Pocket in the left or zipper side of slacks. and stitched on with the zipper to pre
1 . Baste the side seam from bottom edge of vent zipper from catching into under
placket, 9 inches down from waistline, garments.
to bottom of leg. Close the zipper and turn garment to
6.
Place bastings along the two matching wrong side. Stitch bag from end of pocket
placket edges, a continuation of side seam opening down the side and across the
from waist to bottom of placket. bottom.
2. On the back placket edge make an under- If a belt used, start the top edge of
is
zipper and pocket at the belt edge. Attach
3/i
lap by measuring out inch from basted
6
placket edge, fold under, and baste along the top edge of the pocket to the lower
folded edge. Steam edge, remove basting, belt edge.
and resteam to remove basting imprint. If a facing used on inside waistline,
is
This edge will receive the zipper. fasten the top of pocket bag to the lower
The pocket bag of silesia or sateen cut facing edge.
3.
is
the same size as the bag for the right side Make a bar tack at each end of pocket
7.
in pocket a. opening from stitching to pocket edge.
On the right-hand edge of the pocket, These stitches are stab stitched through
baste a 3-inch wool facing, stitch inner the pocket to prevent ripping.
edge to silesia then catstitch or zigzag by Make two buttonholes on the overlap
machine to prevent fraying. with buttons on the underlap.
4. a. The front edge or overlap of placket If a pocket not made on the left or
is
has been cut with an extension of zipper side, finish the placket in the same
3
inches out from the matching placket manner as one on skirt (see Fig. 32,
a
edge. pp. 67, 68).
Place the left-hand edge of pocket
b.
pocket, baste and stitch the front edge Fasten the facing to all seams and darts, but
of a 6-inch zipper. do not allow stitches to appear on right side.
Fold the pocket bag to wrong side If desired, stitching may be used across the top
5.
a.
along the matching placket edge and waistline edge or 3/\e inch down from edge.
Vi
to leg bottom, matching the pocket wide and of the length desired, plus inch at
V*
and leg stitchings at end of pocket. each end for seams, for as many belt guards as
c. Beginning inches down from the needed. Stitch in tube along the length, turn
a
3
the folded edge, which will be the Place guards at darts, both front and back,
pocket opening. side seam at right side, and just behind the
Baste and sew the back edge of the zip placket on the left side.
d.
per to the side seam of the leg. Start Turn end seams in toward the loop to conceal
from the bottom and work up so that stitching.
the zipper works smoothly when Sew invisibly into place, and buttonhole or
closed. closely catstitch over the raw edges. Place the top
A 3-inch wide fabric extension cut on of guard inch below the top edge of
V*
Vi
e. to
the length grain may be placed behind waistline.
Slacks 145
CUFFS ON SLACKS
Figure 92.
Figure 93.
A professional steaming will help the appear A tailor or dry cleaner has adequate equip
ance of a garment, and few laboratories or homes ment which is not available to everyone. It is rec
have equipment for this steaming. ommended that the finished garment be taken
During the process of construction each gar for a final steaming to be done by a tailor or dry
ment part is steamed, following the steaming sug cleaner. However, the operator should be warned
gestions given on page 5. However this is not that it is a newly made garment and that great
enough for all materials. Some spongy fabrics do pains should be taken when steaming. These
not take a sharp edge and are difficult to steam. operators have been found to be most co-operative
Closely woven hard twisted yarns in fabrics are and the appearance achieved is well worth the
apt to become shiny when steamed and fabrics added cost. In fact this final steaming improves
with a heavy nap or pile may be flattened out in some garments to such an extent that it covers
some areas of the garment. up poor workmanship.
148