DRESS 0551mm, PATTERN MAKING
AND LAYOUT son swap-en FABRIC ,4;

Thesis for the Degree of M. A.
MICHIGAN STATE COLLEGE

Dorothy Ann Sherwood
1950

 

 

 

This is to certify that the

thesis entitled

"Dress Designing, Pattern Making
and Layout for Striped Fabric"

presented by

Dorothy Sherwood

has been accepted towards fulfilment

of the requirements for

M. A. degree in jlfngjJBS

Clothing and Related Arts

Date ME-TCh 3; 1950

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Major professor

 

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Dorothy nnn_:a:§yood

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Submitted to the School of Graduate Studies of Kicnigan
State College of “griculture and “pplied Science
in partial fulfillment of the requirements
for the degree of

Y - TT} CT .’rr‘,i‘;‘
1:44.»; JJLL J. aé‘elu

Department of Textiles, Clothing, and Related nrts

1950

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gratitude
to the following peeple:
Kiss Lsrion s. Zillhouse, lssocicte Professor of

Textiles, Clothine and Related nrts, for her guidance

a d assistance in selection of u problem and its super-

e H. Christiansen for his milling assistnnz

with the jnotOQreahy and mounting of the illustrations

suggestions and assistance.

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KIT. :LUUQQQo o o o o o o o o
lidster Blouse . . .

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Blouses with a {one
French Dart Elouses

French Dart Jackets

Conclusions . . . .

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TJ-]:O ULLJ. LLU 0 O O O O O O O 0

Circular Shirts

"Draped” or Fe

Conclusions . . . .

VII. CLD"JLQ . . . . . . . .
Set—in Sleeves. . .

Sleeves Cut-in-one w“

Conclusions . . . .

VIII. COICLUCI NS. . . . . . .
IA. SUi'JL-rnl. o o o o o o o o

X. LI:JU;:ZII{L§ CIT o o o o

I. INTRODUCTION

Definition of the study,

Striped fabrics were used in garments by the ancient
Egyptians as far back as 3000 B.C.(2) and although they have
continued to be worn in all periods of fashion no evidence
has been found of any books or published studies showing
systematic eXperimentation with stripes in garments. Perhaps
this is because dogmatic rules regarding the cutting and
handling of stripes are difficult to formulate since there
is infinite variety of Spacing, color, repeat pattern, and
reversibility in striped designs. In Spite of the intrica-
cies of the problems, this study is an attempt: l.) to
develOp designs for striped fabrics which are becoming to
the figure and 2.) to develOp methods of cutting and joining
the seams and darts so that the position of the stripe will
appear orderly, matched and adjusted to the curves of the
body. The cut of the garment must also be subordinated to
the lines of the fabric stripe.

Observation of the handling of striped fabrics in current
dress shows wide variation of skill in planning, some care-
fully thought out to mrke the most of the stripe whereas
others show no evidence of being treated differently from
plain fabrics even though it is common knowledge that

striped fabrics cannot be handled in the same manner as

solid colors. This study deals with two major problems

 

2
involved in cutting and handling striped fabrics, one of
which is a design problem -- the placing of the stripe within
the silhouette so that it will not only harmonize vith the
design of the garment but also compliment the lines of the
figure. To take advantage of the stripe it is usually neces-
sary, particularly when the stripe is fine or indistinct, to
use it in more than one direction and yet its use in several
directions often results in confusion. The second problem
encountered in the use of stripes is that of matching them
along the seams, darts and openings of the garments. This
is a cutting problem, since it requires careful planning
of the layout. Hatching the stripes in construction is
impossible if an error has been made in the layout. The
problems of left and right, up and down, and right and wrong
(as in printed designs) may also be encountered to further
complicate matching unless the stripe is both even and woven.
This entailed a preliminary study of the possibilities of
matching stripes apart from their adaptation to body curves
to acquire an understanding of the directions in which a
stripe can be turned and still match before attempting the
more difficult study of the behavior of a flat geometric

design when adapted to a three dimensional figure.

Suggestions for further study.

 

The problem turned out to be so inclusive that several

aspects had to be omitted which might serve as suggestions

 

3

for further study of the use of stripes in clothing con-

struction.

l.

5.

4.

Purpose.

The omitted aspects were:

a study of figure types and the effect the
various stripedesigns (size, spacing, repeat,
etc.) have upon the size and apparent pro—
portions of the figure,

an exhaustive study of different striped
fabrics (size and design of stripe) in each
dress cut,

an all inclusive study of dress out designs
and the use of stripes in each, and

an extensive study of fabric textures and
their effect on the design and the silhouette

of the out.

After the problem had been defined and limited the

purposes of the study could then be stated.

1.

2.

3.

To explore the design possibilities and
limitations of stripes in blouses, jackets,
skirts, sleeves, and a few entire dresses by
designing original but representative cuts
in current fashion.

To try the usual grain placements for unpat-
terned fabrics and change and modify them
where necessary to adapt the cut to stripes.

To try unusual grain placements and discard

4
those that are impractical for the designs
and patterns.

4. To analyse the design quality of the various
garments and, from the information gathered,
formulate some general guides for the design-
ing of stripes in dress cuts.

5. To draw definite conclusions concerning the
limitations as well a greater possibilities
for cutting striped fabrics to serve as
general guides for handling stripes to better

advantage.

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II. RhVIJU CF LITETHTUEE
Little specific information regarding stripes and
their use in dress designing could be found. n few general
statements about the effect of stripe direction on the
figure and he matching of stripes along the seams of the
garment and the general types of stripe designs proved to
be all that could be found concerning stripes.

Latzke and nuinlan in the introduction to their book,

 

Clothing, state, "The nature of the objective factors limits
and defines the possibilities of the design. One should i
accept the art maxim, 'Respect your nedium', quite as much
when working pith the heterOgeneous objective factors of
figure, fabric, and mental fixations as when working with ,
oils or crayons. There should be a desire to so understand

both the limitations and possibilities inherent in this

field of art that time need not be wasted in attempting

the absurd. ,Cne's work should be pointed toward a fulfill-

(7)

ment of Known possibilities." This statement seems to
apply to striped fabrics even more than to designing for
plain colored fabrics.

.General statements were found in clothing textbooks
regarding the type of striped designs found in the various

fabrics. The general and most important division seemed

to be that of the even and uneven repeat of the stripe

 

design. Further classifications were made according to the

right and wrong or the up and down of the fabric. Over-all

6
statements as to the kinds of stripes which should be chosen
for different figure types were made,such as, small persons
should avoid bold stripes, and stripe should be selected in
scale pith the person.

A few more specific statements were made about the
placement of the stripe along the seams of the garment and
the placement of the stripe within the silhouette. Todd(g)
states that stripes can be used effectively to call atten-
‘tion to construction lines thus making a more interesting
design with the striped fabric than with plain fabrics.
Baldt(l) mentions the fact that additional material should
be purchased to allow for th= matching of the stripe along
the seams of the garment.

a few suggestions were made for the placement of the
stripe within the design. One which was made by several
textbook writers was that either the center of a stripe or
the center of the plain area between the stripes should be
placed on the center front and center back. Kiss teach in

(8)

her book on hodern Tailoring_for Komen suggests that the
outer edge of the lapel facing be laid along the lengthwise
grain of a striped fabric to avoid awkward bias lines of the
stripes along the facing edge. Hillhouse and hansfield(5)
state, fine stripes "...tend to be monotonous if allowed to
run in the same direction throughout a costume; at the sam

time, they seem confused if allowed to go in too many

directions in a single design." They also go on to state

7
that narrow, unimportant stripe design benefits froh interest
in the cut whereas daninant stripes are too important to be
used in more than one direction and the out should be sub—
ordinate to the stripe. They likewise caution that stripes
used diagonally tend to take on the effect of curves.
Diagonal stripes, however, are more active and dynamic than
either vertical or horizontal stripes if the curve does not
over emphasize body curves.

host textbooks made some reference to the irportance
of matching the stripe along the seam lines, but there was
no information about the matching of stripes along dart
lines. Directions were given also for the best method of

placinc and cutting the patterns so that the stripe could

be matched along the seam lines, that is, cutting one piece

1-

s before cutting the

(T)

and then carefully matching the strip
second piece. fiauck,(8) however, goes on‘to point out that
matching at the stitching line is more irportant than at
the cutting edge of the pattern.

Several writers mentioned gored skirts and the problems

(6)

involved in the placeaent of the stripe. Hyde states
that in gored or shaped skirts the stripe should meet at a
good angle and one becoming to the figure, but fails to
elaborate further on the Leaning of what constitutes a good
angle. Killhouse and hansfield(5) state that when using
geometric designs for six or eight-gore skirts, the flare

should be introduced by sloping the seams out rather the

~.

by lowering the cross-wise grain in order to keep the

horizontal lines parallel to the floor. In the Dress haker

 

by the Butterick Publishing Company(3) it is pointed out
that stripes should be placed so that they will be on the
bias on all seam lines in circular skirts. host textbooks
advise that either slip stitching or alteration basting

fro; the right side should be used to match the stripe along
seam lines.

Some statements about the effect of stripe on the figure
were found in many of the textbooks. Inasmuch as this study
is not connerned pith the effect of stripes on different
figure types, only the most general statements will be in-
cluded here. It is obvious that one cannot escape the
effect of stripe on figure size and prOportion because any
dress design lacks meaning unless related to the figure.
Hyde(6) makes the statement that the pOpular idea that
materials of striped design reduce apparent size of a stout
person does not hold true when either a wide or conspicuously
colored stripe is used. Stripes of this kind emphasize
size rather than reduce it.

any statements concerning the effect of stripes on the
appearance of the figure, in general, referred to: 1.)
vertical stripes which emphasize height, 2.) horizontal
stripes which emphasize side to side movement thus increas-
ing the appearance of breadth, 5.) diagonal stripes whicn

are active and dynamic and may be used to either minimize

9
or increase width, the result depending on the angle. If

bold, evenly Spaced, horizontal strides are used they will

tend to add apparent height to a slender figure because

the ladder effect of the design leads the eye up and down
rather than across. Conversely, bold, evenly Spaced,
vertical stripes will broaden because the eye is carried
across the figure from stripe to stripe. Eddy and Tiley(4)

point out that the eye tends to move downward along a
diagonal line instead of upward and if the angle points
down it leads the eye toward the point of the angle and
creates an illusion of more height than the same angle
fainted upward. Little specific infornstioi concerning
problems involved in the use of strips in dress designing
or their effect on the figure was to be found in the avail-
able literature although unpublished studies nay have been

made.

III. EXPERILEKTAL PROCEDURE

The model.

 

After the preliminary study of striped fabric apart
from its adaptation to the figure had been completed and
after methods of experimentation had been investigated, the
following one Was decided upon. First, a model form had
to be chosen on which to fit the designs and a decision had
to be made as to whether it should be full size or half
size. Because of the time and expense involved in using a
full size figure both a half size 14 dress form and a half
size fashion figure mere considered. Sample garments were
made for both models and photographed for effect. It was
decided to use the fashion figure rather than the half
size dress form because it appeared more flexible and added
style and reality to the picture. Note:— the model used
was made for the Butterick Pattern Company for illustrative
purposes by Margot Kilsen. The fashion figure is somewhat
taller and more slender than the half size dress form but
the difference in prOportion between the two figures would
have little effect on the results of the study which stresses

design and out rather than individual differences in figures.

The naster_pattern.
A master pattern was next draped in muslin on the fig-
ure by the method outlined in the text Dress Design by Hill-

house and hansfield,(5) and it was then trued up and cut

ll

from tagboard ready for blocking the designs in the study.

The fabric.
In selecting the fabrics to be used, an effort was
made to choose the various classifications of stripes:
1.) even and uneven, 2.) woven, therefore usually reversi-
ble and non-reversible prints, and 5.) right and left.
An exhaustive study of all kinds of stripes in all types
of garments was far too involved, so for the main body of
the thesis, in order to reduce the number of variables, it
was decided that one fabric could be used throughout to
simplify and make clearer the comparisons between designs
and cuts. The more complicated stripes were reserved for
a few designs showing striped dresses draped on the form.
The fabric chosen, a woven, double striped cotton
chambray had stripes running warpmise and since lengthwise
grain is determined by the warp of the fabric, the stripe
parallels this grain. Thus, for the remainder of the study,
except where otherwise stated, the terms stripe and length-

wise grain will be used interchangeably.

The organization.

 

The general classifications of cuts to be used in this
study include both standard cuts and variations of them.
The study is divided into sections under the following main

divisions.

12
I. Blouses
1. master blouse and its variations
2. yokes
5. French dart -- both standard and varied
4. miscellaneous types
II. Skirts
1. straight —- pleated, gathered, and wrap-
around
2. gored -- four and six—gore
3. circular -- smoothly fitted and very flared
4. peg—tOp and draped
III. Sleeves
l. set-in

2. those cut-in-one with the blouse

The method of designing,

After a sketch of the design had been made, the method,
draping or flat pattern making, of obtaining each pattern
was decided upon. The designs which represented the standard
cuts and variations of them were blocked from the master
pattern. The remaining designs were draped on the figure.
Some of the designs combined both methods with the main
portion blocked from the master pattern and the details,

such as collars and necklines, draped on the figure.

Lavout.

A paper pattern for each design to be cut was blocked

from the master pattern. The paper pattern was then laid

15
on lined muslin or the paper pattern itself lined to test
the grain and stripe placement of the design. hfter part
of the experiment had been completed the use of lined mus—
lin was discontinued bec use it was thought that the effect
of the stripe could be quite clearly ascertained by striping
the paper pattern and trying it on the figure so this
method was used to determine the grain and stripe placement
for the remainder of the study. Although this saved time
in the construction of the models, it was not always possi-
ble to foresee the effect of the stripe on the figure
especially in the more complicated cuts and there were
many surprises.

After the grain position had been determined, the
pattern was ready to be cut from the fabric. Changes often
had to be made to improve the design after it had been cut
and tried on the figure. These changes mere usually made
by draping directly on the figure.

A standard model of the grain placement most used for
plain materials was made for each section of each main divis-
ion and all of the models made were compared with this standard
to see what deviations must be made for the stripe. Various
grain placements were tried wherever it seemed feasible and
in some grain positions, pattern lines had to be straightened
to conform to the stripes. Note: The seams and darts were

sewed and the models pressed but no attempt was made to

14

finish the designs.

fhotographs.

 

After the models had been completed, tried on the fig-

.nd milor adjustments made, they were pressed and re-

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placed on the figure. Shetches or photographs were con-
sidered as possible methods of illustration. PhotOgraphy
was selected as the most accurate and realistic method of
illustration.

A 182 Kodak with an auxiliary portrait lens Was used
to take the photographs and verichrome film, two fluorescent
lamps and a 150 watt bulb completed the photographic equip—
ment used. The photoSraphy was done by the author and an
assistant.

-Written criticism was made of the models on the form,
either after the model ha been completed or at the time of
photography. These were kept and when the photographs were
collected for analysis of the results, they were used as
references. A critical analysis was made of each section

from which comparisons were made and conclusions drawn.

IV. PEEL KIInRT STTDY
Eefore beginning the main cart of the studv designing
C.) .J - v ’ L. y.

for striped dresses, a preliminary study of matching the

stripes apart from the contours of the body was made to

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at darts and seam

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nvesti ate the matchin" possibilitie'

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lines. The first step of the procedure was to collect
representative samples of fabrics with different stripe
arrangements and then to experiment with matching them in
all possible ways in an attemnt to discover the problems
which might be encountered in the use of each for clothing
construction. It was found that the samples could be
divided in three ways according to their design character-
istics. These were: reversibility, left and right, or

up and down.

A few general conditions were found to be necessary
in order to match stripes regardless of the arrangement.
These were:

I. The two edges to be matched must cross-cut
the stripe at the same angle if the stripe
is to chevron along the seam.

a. Stripes 2gp be matched at any angle as
long as the angle on both sides is the
same .
II. Two curved edges to be matched in garments,
for example, French darts and yohes, are never

exactly the same and thus cannot be matched

latching Stripes at Darts and Sean Lines

 

One side must be eased to the other
to match stripes along a curve.

%/

 

 

 

 

Stripes match at any angle as long as the
stripe is cross-cut at the same angle on
both sides of the seam.

V T ////Z
W/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

III.

16
without easing one edge to the other. The
result is that the eased side will pucker a-
long the seam unless the excess can be shrunk
out between the stripes.

Stripes cross-cutting straight seams at two
different angles can be matched gply by

easing one side to the other and ggly if the
angles at which the edges cross-cut the stripes
differ slightly. a puckering along one side

of the seam will result here also.

The design of the stripe also affects the problem

encountered in matching the stripe along the seams even

though the general conditions as listed above have been met.

The factors which cause additional problems in matching stripes

can be divided into three main groups:

I.

II.

Reversible and non-reversible striped fabrics.

l. Reversible stripes are woven and therefore

can be turned over to match them.

2. Yon-reversible stripes are either woven,

as in a satin fabric, or printed. In
either case only one side of the fabric

can be used as the right side.

Even and uneven stripe spacing; that is, with
a right and left.

1. Even Spacing of the stripe and background

area allows the fabric to be turned end

for end and still match.

 

 

17

2. Uneven spacing of the stripe and/or the
background prevents turning the fabric
end for end. “11 pieces must be cut in
the same direction except when chevroning
the stripe along a seam and then one side
has to be turned end for end in order to
match the stripe.

III. Up and down of the stripe design.

1. host striped designs have no up and down
and therefore can be turned end for end if
the stripe design has no right and left.

2. The stripe which has an up and down pattern
must be used in the same direction throughout.

The factors just enumerated occur in some combination
in every striped fabric. The combination which would present
the fewest additional problems in planning for the matching
of the stripe would be the reversible, even, with no up or
down striped design. The most difficult to use from the
standpoint of matching is the non—reversible, uneven, with
an up and down design. The difficulties encountered in
matching other possible combinations lie between these two

¢

extremes.

 

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19
Commercial patterns using this basic cut generally place
the lengthwise grain or warp at the center front. Occasion-
ally when stripes are used, the warp is placed perpendic-
ular to center front, or with the cross-grain down the
center front. As one purpose of this study is to aid in
the handling of striped fabric in clothing construction,

these two customary grain placements were considered first.

Design 1. (Fifi. l)

C

In Design 1, the lengthwise grain was placed on a center
front fold with a stripe on the center. Figure l,A shows
the master blouse without any change. The waistline dart
does not detract from the design as much as the shoulder
dart because it folds out one of the light stripes with
the result that most of the dart seam is in the darker area
and is therefore inconspicuous. This, however, makes the
stripe which is folded out by the dart very noticeable by
ending it abruptly below the bust. The shoulder dart
detracts from the appearance as the stripes are not matched.
Thus, the effect of the design is one of mis-matched and
discordant stripes.

The design was improved then the shoulder dart was
Shifted toward the neckline until its inner edge fell along

a stripe as shown in Figure l,B. This brought order to

the stripe arraigement.

D981gn 10

 

figure 1.“ Figure l ,b

 

20
Desigp72. (Fig. 2)

Design 2, Figure 2,A, was made by placing the length-
wise grain perpendicular to center front. The waistline
dart shows that the stripes match but the shoulder dart is
mis-matched. The stripe was matched in the waistline dart
by easing the outer edge of the dart. By easing, stripes
in a blouse can sometimes be made to match if they are just
a little off. This causes the other side of the dart to
cling to the figure and whereas this is not objectionable
and is even desirable in some blouse darts or other sections
which shape to the body, this method of matching stripes
cannot be used in skirts or any section which flares from
the body. Easing one side of a shirt seam to another causes
the seam to curl and the eased side to pucker.

Figure 8,3 shows the shoulder dart inproved by taking

up the dart fullness into a series of small tucks. These

"Q

soften the harsh angle of the stripe and ,ive the appear-

ance of a single line which curves up at its outer edge
rather than that of two lines which start and stop abruptly
with no particular relation to one another. Two methods

of treating dart excess, tucks and shifting the dart to
follow the stripe, have been used thus far to improve the
original design.

1

Whereas tiese changes improved the design of the models,
there were still severe points of design which had to be

dealt with. The curving of the stripe around the bust in

Design 2.

 

 

 

Figure 2 ,A Figure 2 .15

   

 

21
the side front area of Design 1 resulted in an undesirable
Optical illusion of an out-of-prOportion bust.

Figure 2,B shows that the stripe takes on a wave-like
motion across the figure which is most pronounced across
the upper chest. In Design 1 not much can be done to over—
come the curving of the stripe around the bust. Therefore
it may be concluded that this general placement of the
lengthwise grain at center front would probably be unsatis-
factory in a stripe and that it is impossible to foresee
this effect until the blouse is tried on the figure. It is
then too late to change the grain position. In Design 2,

a straight high rolled collar phich covered the base of
the neck was used to hide the most pronounced portion of
the wave-like motion, but this grain position also proved
somewhat unsatisfactory.

In order to visualize the actual effect of striped
fabric in all of the designs it was necessary to draw stripes
on muslin and cut the pattern from the muslin or to stripe
the paper pattern and try it on the model before cutting

the ClOtllo

Design 5. (Fig. 3)

 

Whereas Designs 1 and 2 were cut tith the center front

J

on a fold, Design 3 was cut with a center front seam. To
try to bring order to the stripe along the dart edge, the

pattern was laid on the material so that a stripe ran the

DGSign 30

 

Figure 3

22
length of the blouse section along the inside edge of both
the shoulder and waistline darts. (See Figure 3) This
tended to give the impression that the blouse front was made
of four pieces rather than two. The stripe chevrons
downward at too sharp an angle on the center front seam and
in the side sections the stripes curve in toward the center,
both over and under the bus . Notice that when viewed from
the front, the impression of half circles around the bust
is all too apparent. To improve this design the pattern
should have been cut entirely apart along the darts so that
the stripe directions in both center and side sections
could have been changed. This, of course, would have con-
verted the pattern to a French dart out which is a vertical

cut through the blouse from the shoulder or armscye

section to the waist. (See French darts, pp. 41—52).

Design 4. (Fig. 4)

 

The same master pattern was also used to cut Designs
4 and 5, but with still different placement of the length-
wise grain. In Figure 4,a and Figure 5,3 of each model,
it is evident that some changes are necessary to improve
the design. Design 4 was placed on the fabric so that a
stripe fell along the outer edge of the shoulder dart.
This placement determined the angle at which the stripes
entered the center front seam -- in this example almost a

true bias. The placement of a stripe along the outer edge

U631gn he

 

 

Figure A» Figure 4,5

 

25
of the shoulder dart gives the blouse an effect of neat-
ness and precision and proved to be the best of the four
positions tried thus far. In construction, the outer edg
of the dart was lapped over the inner edge to produce a
yoke-like effect.

As in the other designs considered, when one dart is
attractive the second dart often needs to be changed before
it harmonizes with the design. The waistline dart in this
example detracts from the design as can be seen in Figure
4,A. Whenever stripes run diagonally across_a dart, match-
ing them is virtually impossible. Therefore, the only solu-
tion is to either move the dart or to take up the excess
into tucks or gathers. Figure 4,8 illustrates one way of
treating the dart fullness. The excess was pulled to the
center front and tied into a knot which crushed it into
soft folds following the stripe direction. This change gave
the whole front a harmonious, unified appearance and con-
verted an ordinary master pattern into an unusual design
planned throughout for the fabric used. This change could
only have been made by draping the striped fabric or lined
muslin on the figure after the first dart position proved

unsatisfactory.

Design 5. (Fig. 5)
The grain in Design 5 was placed so that the center

or under-crease of the shoulder dart fell on the true cross-

Design 5.

t

  

 

 

 

 

Figure 5rd

 

 

 

24
grain. Bisecting the dart automatically matched the stripes.
This resulted in a chevron slanting upward from the dart
on each shoulder and downward from the center front seen.
The stripes in the normal waistline dart did not match, and
therefore had to be changed, Figure 5,A. Figure 5,B shows
the waistline dart fullness taken up into two tucks placed
so that on each tuck half of the stripe was matched, giving
the effect of linear gradation. although this resulted
in a more abrupt drop than a continuous line, the stripe
design appears planned rather than mis-matched.

A second variation (Figure 5,C), which is perhaps a
better solution, shows the dart shifted toward the center
front until the cross-grain bisected it, making it possible
to match the stripe and is a definite improvement because
it increased the illusion of waistline slenderness.

A downward chevron from the center front seam of the
blouse tends to produce a drOOping shoulder and bust line
and a broader waistline. However, Design 5 counteracts
this effect somewhat by the upward tilting chevrons formed
along the outer portion of the shoulder dart seam.

The common characteristic of the first five designs
is that the master blouse pattern was cut without change
in dart position and in all five the one change that was
common was the variation in grain position. Also, all
other adjustments were made by draping on the figure, minor

changes in dart position that could not be foreseen when

Design 6.

 

higmeo

the striped fabric was cut.

The next group of designs show changes nade both in the
flat pattern by actually shifting the darts from their
original master pattern positions before cutting the fabric
and also changes made later on the figure by draping after
the pattern as planned proved to need adjustment to the

striped fabric.

n

DeSifin 6. (Fig. 0)

 

For Design 6 both the shoulder and the waistline darts
were shifted in the flat pattern before the fabric was cut.
The shoulder dart was moved to the neckline just at the side
of center front and the waistline dart was swung to a low
underarm position. Both darts vere placed so that the
straight cross-grain would bisect them in order to match
the stripes. In other words, the pattern was placed with
the cross-grain falling through the center of both darts.

The underarm dart was stitched flat. The neckline
dart was pressed and left loose to produce a softer design
line at the neck. The inner edges of the neckline dart
formed an inverted V at the base of the neck and was ex-
tended a little to loop over a band which finished the
neckline and served as a support for the neckline darts.
The two dart lines of this design have continuity and by
location the stripes match so that the effect is neat and

trim. It is possible to state that one way to achieve a

Design 7.

 

Figure 7

26
successful design'with striped material is to keep the
treatment of the stripe as uncut as possible and to place

the grain so that the stripes match at both seams and darts.

Deaign 7. (Fig. 7)

Only one dart was changed from the master pattern
when Design 7 was blocked. The shoulder dart was shifted
to the underarm. Even though the darts are inconspicuously
placed this variation of the master blouse pattern proved
to be quite unsatisfactory because when the grain was ad-
justed so that the stripes through the underarm dart could
be matched the resulting diagonal line leping downward from
the center front seam gave the illusion that the bust was
large and low.

Another cut with this same dart placement was tried with
the center front on the cross-grain. The stripes through
the waistline darts matched and the underarm dart folded
out a stripe which fell across the point of the bust. As
a result of these darts, a sharp dip of the stripe occurred
which was most pronounced immediately above the short under-
arm dart and the bust. This model has not photographed.
These two variations of Design 7 were so unsatisfactory that
it can be concluded that any variation of the master blouse
in which one of the darts is placed at a level with and the

other below the bust is undesirable for striped fabric.

Design 8. Design 9.

 

 

Figure 8

Figure 9

27

Design 8. (Fig. 8)

 

Both Designs 8 and 9 have all of the dart excess pivot-
ed to the center front at the neckline. The fabric in each
was extended above the neckline at center front so that the
excess could be tied in a knot. The difference between
the two is the grain position. For Design 8 the pattern
was laid so that a stripe was parallel to the upper part
of the armscye seam. This resulted in an upward chevron
along the center front seam which gives this model rhythm
and continuity.

Notice that the shoulder area was broadened and the
waist slenderized by this stripe position. It should also
be noted that when fullness in striped fabric is removed
along the stripe by gathering or by crushing the fabric
into ties the straight lines of the stripe take on a curved
appearance which, in this example, softens the geometric
severity of stripes. The illusion of curving stripe is
not pronounced here where the fullness has been tied together
as it would be if it had been gathered. The illusion of
curves.may or may not be desirable, depending upon its
location on the figure. Although in Figure 8 these curved
lines improve the design, curved lines are undesirable in

Designs 1, 2, 3 where they overemphasize the bust.

DeSign 90 (Fig. 9)

___

The pattern for Design 9 was placed on the fabric so

Design 100

 

 

Figure 10

28
that the center front was on the straight lengthmise grain.
A sunburst effect below the ties is apparent in the blouse
front making this design less attractive than Design 8.

«f 1..

Blouses with a lens

 

This section consists of blouses with yohes because
they are second to the master blouse in simplicity. The
semi or partial yoke cuts are considered first as they form
the transition between the master blouse and the blouse
with a true yoke. They look like complete yoke cuts but
are cut in one piece with the blouse. The remainder of this
section is c mposed of real yoke designs, cut apart from
the lower blouse either horizontally across the chest so
that the resulting line appears parallel with the floor or
slanting upmard or downward across the chest from the center
front. The patterns for this group were blocked from the

master pattern with only incidental draping.

Desirn lO, the first of the semi or partial yoke cuts
shows the yoke line slanting diagonally from the point of

the shoulder downward toward the center front as far as

necessary to swing in fullness from the master dart over

the bust. The important decision that had to be made in
every case was how to place .he pattern on the fabric to

feature the stripe to best advantage. In this example the

pattern was laid on the material so that a stripe outlined

29
the yoke line. This grain placement resulted in a chevron
along the center front seam. The fullness was handled a
little differently on the right and left sides. On the
left side it was distributed evenly al n3 the entire yoke
cut whereas on the right, the excess was concentrated just
above the bust. There was one outstanding fault in the
planning of the left side. n wavering and buckling of the
stripe is noticeable at the end of the slash due to the
distribution of the fullness too far out t ward the a ns-
cye. In a partial yoke cut for a blouse front, concentrat-
ing the fullness near the point of the slash and directly

over the bust, as shown on the right side, made the pucker

The stripe was also tried on the bias along the center
front, on the center front itself, and parallel to the waist-
line sean. None of these grain positions were suitable
because of the direction of the yoke slash. The stripes
appeared confused and mis-natched along the yoke line in
each case. It seemed necessary to have the stripe follow
the edge of the yoke as shown to gain any sense of order

or stability.

Design 11. (Fig. ll)
The yoke line in Design ll was raised to follow the
neckline closely. Originally the slash line vas curved,

but as curved lines do not conform to stripes the line was

Design 11.

 

 

Figure 11:A Figure 11,8

changed so that the edge of the yoke would be straight
with a separate piece mitered in to simulate a curve. This
should be done to every pattern with a curved yoke that is
to be cut in stripes in order to keep an orderly effect.
This semi-yoke differs from the previous one in that the
slash for the yoke line runs from the center front outward
rather than from the shoulder toward the center front and
this places the fullness across the front of the blouse.

The master waistline dart excess was transferred up to the
lower edge of the yoke line as in Design 10. The pattern
was laid on the material so that a stripe outlined the side
of the neck at th shoulder which resulted in a very shallow
downward curve from the shoulders across the center front,
giving the hard straight stripe the illusion of curved soft-
ness. It is evident that straight line designs appear
curved whenever fullness is concentrated in one area.

In Figure ll,A the yoke section was cut so that one
stripe ran along each edge. For Figure ll,B, the yoke piece
was cut so that one stripe only showed along the uyper
edge,.the only difference bet een Figures ll,A and B. This
was tried to avoid placing the straight stripe of the yoke
against the curved stripe in the gathers but Figure ll,a
appeared the more interestin of the two. hlthough the
yore of Figure 11,; aieears more finished than 3, this

n, particularly in a strong stripe, might be consid-

DGSign 120

 

 

 

Figure 12’“ Figure 12,B

 
 

ered unsatisfactory, as the straight angular line of the
yoke is in slight Opposition to the curved, sof‘
of the lower section of the blouse. Thenever a pattern
shows a curved yoke or collar the simplest solution for the
unification of curves and angles would seem to be to use a
solid color for the curved section.

This design is becoming to a slender figure because
the stiipes which run from the shoulder downward across the
center front of the figure not only broaden the shoulders
but make them appear strong or raised. The slight downward
curve of the stripe across the bust and rib area requires

a trim, slender figure.

Design 12. (Fig. 12)

 

The same pattern was used for Design 12 as for ll.
The principa difference was grain placement. This model,
like ll, was cut in one piece but with the center front

train or stripe. Because of the

Pa
.‘
9

along the lengthwise
amount of fullness along the yoke, the shoulder seam fell
along the lengthwise grain also, showing that the gathering
pulled the fullness into a semi-circle from shoulder to
shoulder as it did in Design ll.

F'gure 12,3 cannot be classified strictly with the
semi or partial yoke cuts as the section around the neck
was cut out and was completely replaced to get a better

stripe effect. however, it will be considered with

Design 12 as the pattern used was the sane.

Placing the stripe parallel to the shoulder seam
emphasizes shoulder width and the fullness of the gathering

minimizes the drOOping effect of stripe‘ which run downward

and out tomard the underarn. The fullness along the yoke,
homever, should not be as near the side as it is, beCause
this causes the armscye seem to raver. a sunburst effect
is seen when viewed from the front. This enlarges the bus

1

1 makes the waistline atpear mider. The d

greatly

r\

11

f“
( 0

sign
is suitable only for a figure with a small bust and slender
waistline but appeared attractive on the model.

The Opposition of yoke line and stripe within the yoke
in Figure 12,a forms a diagond shape which confuses the
design. In Figure lB,B, the yoke piece was made so that
there is a stripe along each edge which gives form and a
clear-cut outline to the yoke. A variation of model B might
be made by extending the yoke pieces into a tie since they
are cut on the straight lengthwise grain.

The remainder of the designs in this section are com-
plete yoke cuts. Those considered first have yoke lines

above the bust that appear parallel to the floor but actually

0

curve upward a little toward the armscye seam, for any yoke
which should appear horizontal then on the fifiure must

curve upward as it nears the arhscye.

Design is. (Fig. 13)

Three variations of stripe placement in the yoke section

DeSign 13 o

e x
:3.

N

 

    
 

I
O u
x“.

‘3‘ gym

  
    
 

  
  

4!:-
”15

   
 
   

 

o“-

‘Uhina I

9

 

> I

Figure 13 ,A Figure 13 .13

 

Figure 13,0

L—k

 

33
were tried in Design 13. For Figure 13,3 the pattern was
laid with the lengthwise stripe at a 450 angle along the cen-
ter front, in Figure 13,3 parallel to center front, and in
Figure 15,0, the yoke was cut into two sections and the
pattern placed so that the stripes formed a chevron at
the center of each shoulder. horizontal grain placement
was not used in the yoke, for it would repeat the grain
placement of the lower blouse section and would be monot—
onous.

In Figure 13,3, the downward direction of the stripe
tends to accentuate the slope of the shoulders excessively
and also appears inconsistent with the stripe in the lower
section. The Opposition of lines in B creates a better
effect because there is more feeling of order but the stripes
seem to slant inward around the neck as they go over the
shoulder. The chevron effect formed in Figure 13,0 stresses
shoulder width but seems to be chOpped off at the lower
edge of the yoke and shows clearly that the chevron should
have been reversed so that the lower edge of the yoke would
follow a stripe.

Figures 13,5, B, and C each show two different treat-
ments of the mas er dart excess in the lower blouse section.
On the left sides the dart excess was transferred up to the
yoke edge and removed by gathers and the right sides show
the excess in its original master dart position, removed

by a dart. The pattern for both the right and left sides,

54
in each of the three, was laid on the material so that, as
nearly as possible, a stripe fell on the upper edge of the
lower blouse section and was perpendicular to center front.
The stripe on the left side of the blouse tends to run
across the body unevenly, producing a wave—like notion across
the blouse front. Because of the dart transfer to the yoke
line, the stripe curves upward toward the armscye. a dip
of the stripe over the bust (left side) was produced by
trying to adapt the gathered line to a stripe. In solid
color the grain would not dip. On the right side of each
'of the views, the dart at the waistline causes the stripes
to slant downward sharply to the underarm seam. This can
be seen in Figure 13,0 of the design. The angle is greater
at the vaistline and flattens out above the dart until it
is horizontal at the yoke edge. This illustrates the point
that grain across the figure rises at the outer edge if
the dart excess is located above the bust (left side) and
dips dow ward toward the underarm seam of the figure if the
excess is removed below the bust (right side).

B is the best yoke design of the group but still is
not very good. The horizontal stripe of the lover section
is not desirable when a yoke is to be used. Stripe follow-
ing the yoke section line used with vertical stripes in
the lower section is a better arrangement as can be seen

in Design 14.

 

F
i
gur
e 11..
,A

D
esign
1h

 

 

Fi
gure 11.
,B

 

IE’
)

Si

35
Design 14. (Fig. 14)

 

The yoke section for Design 14 was laid on the fabric
so that a stripe fell along the yoke line, and this line
was extended to form the built-up collar. The collar line
was determined by draping, after the design was placed on
the model. This yoke line would not be satisfactory for a
person with leping shoulders, as it would emphasize the
slant of the shoulders. The yoke line could, however,
slope downward less to adapt it to a figure with excessively
weak shoulders.

In the lower sections of both Figures 14,3 and B the
fullness on the left side was taken up along the waistline
into a series of box pleats that accent the stripe. The
stripes appear to fan out from the waistline toward the
side seam and yoke line. This treatment of the left lower
section worked out well, as the stripes are handled in an
orderly fashion, and there is a soft, slenderizing effect
at the waistline due to the conversion of the stripes.

Removal of the fullness at the yoke line as shown on
the right side, Figure 14,A, is undesirable because it was
taken out too suddenly and too close to the armscye seam
thereby producing a bulge. Spreading the tucks along a
greater portion of the yoke line was tried but had its
disadvantages also for it caused the stripes to come to-
gether above the bust to produce the effect of stripes

encircling the bust (not photographed). The waistlines of

DeSign 15 o

 

 

Figure 15 s“ Figure 15 ,B

 

36
both Figures 14,5 and B have a wide appearance on the right

side because the stripes slant outward toward the underarm

888.81.

Design 15. (Fig. 15)

The yoke line of this design, which chevrons at the
center,might be questioned on the basis of its becoming-
ness to a person who has excessively sloping shoulders.
However, placing the seam in the yoke section nearer the
center front than the armscye divides the space unequally
and produces an interesting proportion that would be satis-
factory on reasonably strong shoulders. The stripe was
planned to fall along the yoke line. The stand-up collar
is stiff and almost Oriental in character.

After the yoke line had been established for Design
15, the dart fullness was distributed between gathers
along the yoke line and a dart at the underarm seam. The
lower sections of both A and B were laid on the material
with the lengthwise grain parallel to the center front.

To show the effect of a stripe laid off center, the center
front line of this design was laid on the plain or back-
ground material but not at the center of this area. Thus
the design appears to be a little off balance even though
both sides are symmetrical. Either the center of the
dominant stripe or the center of the Space between the

stripes should always be placed on the center front or

57
center back of a design whenever the stripes run vertically.

The lower left side of Figure 15,5, shows the fullness
removed by gathers along the yoke line and by a short in—
conspicuous underarm dart. The gathers have a tendency to
pull the stripes tOgether above the bust, thus over empha-
size a large bust. There is also some puffiness over the
bust. when all of the fullness is removed at the bust line
or above, the stripes appear to bow out at the waistline
making it appear wide and bulky on any but the most slender
waisted figure.

The treatment of the fullness on the right side, Figure
15,B, is less satisfactory than that of the left side. The
tucks which remove the excess along the yoke line are spaced
to fold out the stripe rather than the plain fabric between
the stripe as was done at the waistline of Design 14,
Figure l4,A. The effect would have been better if the
dark area had been folded out and the light dominant stripe
emphasized. The outward direction of the stripes in the
waistline area widens the waist just as it did in Figure

1": ’15..

ppsign is. (Fig. 16)

In Design 16, the yoke line formed a chevron with the.
point downward and was emphasized by the stripe along the
yoke edge. There had to be a seam at the center in order

to chevron the stripes. The upward slope of the outer

DeSign lb 0

 

 

 

Figure 16

 

58
section of the yoke line broadens and raises the shoulders,
giving an effect of buoyancy and becomingness to the
shoulders. The cut-on collar treatment is stiff as shown,
but could have been turned over into a soft roll.

The lower section of Design 16 is very similar to
Design 15. The stripe runs vertically as in Design 15, but
the center front was placed on the edge of the dominant
light stripe. This focuses attention at the center front
of the model and produces an orderly effect. The excess in
this model is divided between the yoke line and the under-
arm seam as in Design 15. The gathering at the yoke line
is slight and could even be shrunk out in a woolen fabric.
The rest of the fullness was removed by the underarm dart.
As in Design 15, the stripes in the waistline area run to
the outer edge of the body and make the waist appear broader
and stiffer. This model, like Figure 15, would be improved
if, instead of an underarm dart, the excess had been shifted
to the waistline and taken out in gathers. Such a change
would have softened and slenderized the waistline by draw-
ing the stripes together and moving them toward center front.

In comparing Design 16 with Design 15, it is easy to
see that the upward chevron of Figure 16 would be more
becoming of the two, especially on figures that are short
or have narrow, weak shoulders. Lines running upward toward

the shoulders give a lift to the figure whereas downward

Design 17. 99318“ 18'

 

Hi

Figure 18

 

 

59
lines emphasize shortness and shoulder weakness or droop-

iness.

Design 12; (Fig. 17)

Design 17 is essentially a French dart cut with a yoke
at the top and should be classified as a very complicated
cut. The yoke was cut so that the stripe chevrons in the
Opposite direction from the lower section. Even though
all of the stripes match, the effect is overpowering as
the diamond shapes are so strong. This design is obviously
unsuccessful because it is chopped up too much for striped

fabric. It might possibly be a success in a in stripe or

*6

one with very little value contrast if it were also worn
by a small person who did not have a prominent bust.

The lower section was cut into four pieces to produce
a herringbone effect across the front of the blouse. The
fullness in this model was transferred to three different
seams. Some was placed along both sides of the vertical
cut in the blouse front as well as in ease along the yoke
line and a dart was used to take up the remainder of the
excess in the underarm seam. The ease along the yoke line
shows as slight gathering in this cotton fabric but could

have been shrunk out if the fabric had been a soft woolen.

esign 18. (Fig. 18)
The purpose of Design 18 was to investigate the effect

of stripes in a fitted cowl yoke. In order to have precise

40
folds there had to be a curved seam down the center front
of the inset. The pattern was laid on the fabric with the
stripe perpendicular to the yoke edge. When the cowl folds
were laid, the stripes lost their continuity and became
disjointed. Though stripes are difficult to use in cowls,
the lines of the folds are interesting and harmonize with
the design of the lower section. In a case such as this,
a possible solution would be to make the inset of a solid
color which matches the dominant stripe of the fabric and
thus avoid the confusion of stripes in cowl folds.

The upper edge of the lower section of Design 18 was
laid on a stripe with the result that the stripe chevrons
downward to a center front seam. The center of the under-
arm dart is on the cross-grain and so the stripes match.
The chevroning of the stripes in the front section of the
blouse slenderizes the waist and broadens the shoulders
and is trim and neat in appearance. It will therefore be

used as the basis for the next yoke.

Design 19. (Fig. 19)

The last model in this group, Design 19, has the same
lower section as Design 18 but the yoga inset is treated in
three different ways. A pattern for the yoke, as nearly
exact as possible, was laid on the fabric with the stripe
perpendicular to the yoke edge and was out with extra

fabric at the neck which was later draped into collar effects

ml

 

D3818n 19 o

 

 

 

19 - 1 Figure 19 ,8
Figure ,A

 

41
on the figure after the yoke edge had been sewed to the
lower section. In Figure l9,A, the fabric has pulled flat
and finished with a small roll-over collar. The sli3ht
wrinkling under the collar would have to be removed by a
small dart, taken up exactly on the basic neckline. The

ppearalce of this design is trim and conservative.

{D

Figure l9,B is similar to A but the neck finish was changed
to a larger collar which rolls higher. Here afa n there

is a wrinkle at the base of the neck which should be re-
moved by a small dart. In a flexible woolen fabric this
could be molded to the contour of the neck without a dart.
Figure l9,A might be suitable for a small fi3ure *ith its
smaller collar but Figure 19,8 is the more da s1in3 of the
two.

Figure 19,0 was begun in the same manner as A and B
but the plain material between the stripes was folded out
at the neckline to 3ive the sta nd— —up collar more fullness
which was held in place by the tie. This last View of
Design 19 has a criSp, trim appearance due mainly to the

treatment of the yoke.

French Dart Blouses
The French dart used in both blouses and hip length
jackets to obtain a close fitting bodice has one contin—

uous cut through each side of the front of the blouse

Design 20.

 

Figure 20

-!” ‘~._ d._..pl——— -,— _.A.-__--_ _v—. _—_-._.-‘— .-— -- «Ag-— - - ‘Is A.\_

42

joining the shoulder and waistline darts as shown in the
accompanying pattern. It presents
many problems when used for striped
material because the seam cuts in

a long diagonal across the bust, and

is decidedly curved on the side front

FRO/vr

section. Because this section con-

 

 

(ff/VII)?

tains the more complicated, intricate

 

 

1 cuts, the problems will be to make

 

 

the designs appear both becoming to
French dart the figure and orderly through care-
ful matching of the stripejand to
avoid the appearance of being too out up by using stripes in
too many directions. All the designs in this section were

blocked from the standard French dart pattern with the

exception of Design 24.

Design 20. (Fig. 20)

Design 20 represents the standard French dart with the
usual grain placement. The center front seam is on the
lengthwise grain and in the center of the side section the
grain is perpendicular to the waistline. The French dart
seam runs from the middle of the shoulder down over the bust
and tapers toward the center into the waistline. It is

evident from the illustration that the French dart style is

not attractive in striped material when the usual grain

 

Design 21.

 

 

 

Figure 21,5

Figure 21 ,A

"

 

'II‘I‘
Wfl
'I‘ 1'.rlll ll‘".

 

Figure 21,0

 

 

 

43

I
.

placements are followed. The strl es run off at the seam
line in a hit or miss fashion and give the appearance of

curving in over the bust, particularly in the side section.

Desigp_21. (Fig. 21)

 

The French dart line was modified to adapt it to striped
fabric. First, the curve was taken out of the French dart
seam on the center section so that it could be cut with a
stripe along the seam. This resulted in a sharp chevron
at the center front of the blouse which stresses long
diagonal movement, a figure narrowed at the waistline and
broadened at the shoulders. The high neckline further
accentuated this long oblique movement. The stripe also
appears orderly and planned to emphasise the seam.

Figures 21,5, B, and C illustrate three different stripe
directions in the side front section. In all French dart
cuts the placement is complicated by the pronounced curve
of the side front and also by the fact that there must be
ease over the bust in the side section. In a, the side
section was laid on the material with the stripe parallel
to the shoulder seam and thus perpendicular to the dart seam
above the bust. Below the bust, the diagonal of the stripe
becomes sharper because of the ease over the bust. The
effect is precise and trim, but would be suitable only for
a person with a moderately small bust and square shoulders

because the drop of the stripe along the outer edge of the

44
design rzould emphasize the SIOpe of t11e shoulders as well
as the size of the bust. However, the generally ridening
effect of the stripes in the side section is so: mat
counteracted by the stripe in the center section which
stresses broad shoulders and a narrow waistline.

Figure 21,B appears wrinkled and confused at the under-
arm and was an unsuccessful atte11.pt to have the stripe
enter the lrench dart seam at the same angle along its entire
length. To accomplish this, it was necessary to transfer
the usual fullness over the bust to the underarm seam until
the French dart seam line had been straightened, tnereoy
ruining the fit over the bust. nlthough all of the stripes
entered the dart as am at the sage angle, the transfer of all
shaping to the underarm seam jumbled the stripes because
matching of the stripes in the and erarn: darts was irp ossible.
Even though stri es slantinfi downward toward the French
cart seam generally are more becoming than those that slant
upward as in n, this model is a failure because of the
tightness over the bust .11ich resulted fron transferring
the fullness to the under n1 we 1 and because of the jun led
a’ppearance of the stripe in the underarm darts.
In Figure 21,0 the stripe in the side section was
placed perpendicular to the French dart line at the bust.
c

as a result of the ease over the bust, the stripe runs

somewhat diagonally from the French dart s an up toward

DeSIEH 220

 

Figure 22

 

 

the shoulder and down towerd the waistline.
line opposition and nearly horizontel stripe in the side

section would over—emphasise a large bust as well as thicken

1-1.

oe errdngrment is generally inferior

J

(1‘

the waistline. This str

.n-

a a“ T". (3:)
in Law. (1‘18. wig)

Desi
To test the effect of horizontul stripes in the center
front section, the pattern nus laid on the fabric so that

the stripes were oerpendiculur to the center front. Then

.. uh

he side section was placed with e Stripe along the dert
seen from the shoulder down to the bust there the pattern
edge curves beck diagonally across the stripes. The lower

‘

part of the side section was eased considerebly to match

H‘

the stripe with a result t1et is surprisinjly orderly and
effective.

The line across the bust sreu, which takes on somewhat
the appearsnce of a yoke is a little low, but any other
placement of this design line would not be desirable because
of the excessive amount of ease which would result between
the stripes over the bust. The collar was nhde by mitering
t1e corner so that its edge would be us nearly parallel to

the french dart line_ss possible und else be outlined by

the stripe. (See Fieures 3 end 7)

 

 

n
This desish is e verintion of the French dart, cut off

DeSign 23 o

 

 

to form a square neckline. The dart line was st eithtened

es in besign 8 so that the stripe yould outline the center
section. The nitered wedge at the neck, with the stripes
carefully me_ch:d, shows how very strong and douinant Op os-
ins stripes are and would be successful only if a fine stripe
were used in a fabric with very close value contrasts.
Otherwise, the design would overpower the nearer. This.
design would be best suited for use a. a dress to: with the
sleeves cut-in-one with the side section.

ht and left side sections mere cut fron the same
pattern with the stripes running in the sens direction but
the fullness was handled differently on each side. Cn the
left side it was taken up into box pleats along the dart
line and on the right side, by cuthering. The left or
pleated side is rather trim and geometric in appearance
and Kore in character with the center than the gathers on
the riint side which appear too soft for the strong angles
of the central section. It must be pointed out, however,
that tie top pleat on the left side was placed a little
too hieh and threw too much fullness into the ermscye

\

section mith the result he pucgering is noticeable.

Design 24. (Fig. 24)
Another variation of the French dart which 9 ssibly

idered one

U)

differs so much that it cannot properly be con

at all, was draped entirely on the figure. The center

Design 214-.

 

 

 

’8
1S
I

Design 25.

 

section was first out along the strdignt leng n 'se
of the fabric and then this straight stric was placed on
the figure to form the v shaped plastron. Then the side
sections were cut, Fijure 2i,n, with vertical stripes end

B, with horizontal ones. The vertical strijes further

enphasize the long obligue lines of the center and the

figure apnears broad shoulde“ed and narrow waisted.
Figure 24,5 shove how much more stocky even a slender

figure appears when horizontal stripes cut into the sil-
houette. The two make e good comparison of the general

.-

effect of vertical and horizontal lizes on figure size.

7‘ -

'es en 25. (F18. 35)

ALL

43

The French dert line Or this design was modified to
ive the effect of a combination of the yoke and French
dart cuts. Although the stripes are carefully matched, it
is evident that the effect is very poor because it is cut

up into unbecoming shapes. The excessive narrowing of the

center section at the chest, the curve of the stripes in the

)1

Si"

e section, the downward tilt of the strips in the center

i

section, and the outward slepe of the French dart line at
the waist all contribute to the undesirable appearance of
the design and further emphasise hon unwise it is to allow

stripes to appear to form circles around the bust.

DeSign 20 o

 

 

Figure 26 ,A

Design 27.

 

48

French Dart Jackets

 

 

The remaining designs in this section illustrate the

Q

rench dart in hip length

iackets. Figure 26,3

0

T‘.‘
.L.

shows the design most clearly, the double rench dart lines

with both seams placed to taner sharply inward to the waist-
line and then flare sharply outward to produce the conical
flare of the peplum.

The outer edge of the center front section in both A
and u mas laid along a stripe after the French dart line
had been straightened. This resulted in an elongated chev—
ron along the center front seah, Figure 26,5. The side
front section vas cut with the strijes running horizontally
up as far as the bust. The underarm section was cut with
the stripes slanted to match along the side front seam line
through easing, Figure 26,B. The ties at the center front

made by extending the waistline stripe of

""V

waistline were
the side front section. The neckline was built up in
front to form a suggestion of a collar cut-in-one tith the
bodice if it were turned back.

A pronounced peplum flare such as this, although smart
in effect from the front (Figure 26,5), thickens both the
waist and abdomen as shown in Figure 26,B and, as always
with front flares, is a much more cumbersome and less

slenderizing View. Even though the stripes run horizontally

49
in the peplum flares, their conical shapes are strongly
vertical and are becoming to a tall, slender figure.
Although the center section of the peplum (FL ure 26,A)
continues the stripe direction of the top, it still
appears confused and the design Mould be improved if the
horizontal stripe direction of the side front section were
carried to the center front of the odel and scarred along
the waistline under the tie. This is at exarple of an
extremely cut up des 3n vith the stripes carefully :atched
to produce a fairly go ood effect if the stripe is not too
bold but the handling of more than two stripe directions

in one garment requires skill and inge nu Hit

9

Desig 27. (Fig. 2 )

 

a non d1 fica tion of Design 26 to reduce

P.
0’)

This design
the number of stripe directions. The same pattern was

used with a change in the stripe direction of the center

front section which was placed to repeat the oblique lines
of the stripe in the front underarm section. The contin-
uity can be seen best in the peplum section. This limits

the stripe ui ctions to tw ,inproves the effect from

all angles and makes it easier to wear.

Design 28. (Fig. 28)
The French dart line for Design 28 was tilted outward
sharply to exaxaerate both shoulder width and ma ist slender-

(JD

ness and the peplum section juts outward to form pouch

Design 28. Design 29.

 

 

Figure 28

Figure 29

(.11
0

pockets. The center section was cut pith the center front
on the cross-grain of tie fabric so that the stripes run
horizontally across most of the jacket front. The side sec-
tions were laid on the fabric with the stri es mat mi c the
center section along the French dart line. The left side
is tucked and has more fullness than the r i3ht side mhich
has the fullness folded out by two box pleats. Since the
tucks on the left stop at the waistline, the stripes fan
out to forra blous ing at the waist and to hatch along the
French dart sea n1 line. The right side appears rather stiff
and awkward and the left side with more blousin; ha. a
better silhouette. The horizontal stripes in the center
section appear to drOp downward slightly near the French
dart seam, particularly across the chest, an effect which
is always evident nhen the French dart line is moved out
beyond the center of the shoulder. It is not particularly
notice able when the yearer has good strong shoulders. nn'
improvement could be made by fastening the jacket just as
far as the ua’ stline to allow the peplum se cti n to Spring

apart slightly at center front and m1n1nm1 the horizontal

ehpha’ sis of stripes across the abdomen.

. 29)
This design is the most complicated and cut up of the
four jackets, for unlike the others it has a waistline seam.

The center section of the upper jacket was laid on the

material with a stripe along the shoulder yoke and this
determined the angle of the chevron dOKn the center front
and, subsequently, the alone of the diagonal in the under-
arm section which was laid on the fabric to chevron the
stripes along the French dart. The replum sections were
placed on the fabric so that the stripes would chevron
along the waistline seam forming the diamond on either
side of center front. A stripe was continued from the
center section to form the bottom edge of the peplum.

The left side of the design had fullness added along
the yoke edge, fullness along the front edge of the peplum,
and a kimona sleeve cut-in-one with the side section of the
blouse. as a result of the fullness in the left side of
the peplum, the stripes and t1; pathers fan out and up over

the hips. The stand-up collar is stiff and should be rolled

over to soften the line. Because of the gathers, the left

{'0

side does not seem to be suited to stiff striped material
but might be very effective in a soft fabric such as jersey.
Though line emphasis up and over the hips tends to enlarge
them, tae fact that the gathers are pulled tightly reduces
this effect. This could be worn by a person with a slender
waistline, especially when fashion emphasizes the hip

curve. The right side is more severe than the left but is

neater for a crisp cotton (Figure 29). The underarm dart

‘4

removes the fullness which 7as not eased in along the

French dart line. It would have been less conspicuous if

(fl

9
5-"

it had been hortened and laid along a stripe rather than

(I)

across it. The peplun section shows the sane general line

s flat and fitted over the

P'

direction as the left side but
hip an nd the lo*er ed3e is pointed at the side front nhich
reduces the emphasis on th ships. The ‘rinll around the
base of the neck could be removed by cutting the desirn

in a more flexible fabric or by clipping the shoulder seam
and fitting it on the figure.

This des irn should not oe used nith a fabric of strong
color or value contrast. Like Desi3; n 26, it may be too out
up. The strong line contrast is sonevhat overcone by the
fact that the stripes match and give a no odified herringbone
effect across the front. The diamond sha-pes in the waist-

line area could not be worn by a person with a large'walst

or large h1ps.

 

The neck finishes used on the naster blouse and its
variations (Designs 1-9) will be considered first. Tie
neck finish is important because it can either unify the
design, or it cal ruin an otherwise attractive design by
adding a discordant note. These finishes can be any one
of the following types: collars, bands, bindings, ties,
or cut-in-one with the blouse.

On Designs 1 and 2 the same band tgrpe of neck finish
vas used differing only in the grain placement. The band

in F1gure l was out along the lengthwise grain of the fabric

 

and attached to the blouse neckline so that the band was
one stripe wide. The resulting line, unich encircled the
neck, served us a finish for the stripe which entered the
neckline of the blouse. nlthough the usual standing collar
is shaped, when handling stripe, the band should be cut to
emphasize it. The band helped to complete the design but
was undesirab e when fit was considered. Kotice tha the
band gaps fr m the neck, especially at the center front
because it is a straight Strip. This fit could be improved

the band were narrow, the width of a single stripe, with

H.)

i
a break at center front to eliminate the bulge. In Figure
2 the band was cut on the true bias and herefore clings to
the neck. It illustrated the molding advanta3e of bias.
The bands in Designs 5 and 6 were used as design details

as well as for neck finishes. In 6, the band serves as a

support for the neckline darts.

The collar in Figure 3 is a Peter Pan (a semi-circular

shape) with the center bacn fold laid on the cross-grain.
In this type of collar it is impossible to predict or plan
the stripe placement which will diffs with the size of

the stripe, size of the collar and/or the Spacing of the
stripe. For figure 7 the same pattern was used Lith the
center back fold of the collar laid on the lengthwise grain.

It is evident that this collar does not improve the desig

of the model. Here it Can be seen that in curved design ,
as in these collars, the curve of the design is in opposition

with the straight line design of the fabric stripe. AS

 

54
Desirhs 5 and 7 are representative of curved collcr designs,
the conclusion may be drawn thht mnrved coll;rs ere not
suitable for strioed febrics. Curvec collers c-h be
modified cy miterih; the corhe s end flo0_fi* the efice alert
a stripe (See Fivure 22).

The collar in DGSiFTl4iiugrLOHiZfiS with tLe strei;ht
line of the fabric. It is a hivh roll, convertible type.
The outer ed3e of the coller use strei;1m sued so thet it was
co ss ible to place the ed3e on e stripe to repeet the chevron
of the s3rioe alor 3 the center iront section chi, there fo e

seeus to hermOhi e with the Vapt of th; iesign.

All of the collors in the yoke section were cut—in-
one tith the yokes (nesi

the desi he smoothly. In all of them, the side uhich mould

be famed .11en finish ed shows the strife run 1ih3 in the stile
direction es on the utter side of the fabric. The stripe

in the fecih3 could be turhei in the oo“osite direction to

r 5
H:

get a di ere eht effect
balanced. Untelerced weave or o dierhel (bies) direction

u3einst L febric 3r; in jroduces o erotlem in lounderih3 us

One side will stretch and :rihkle hen 1rohed or pressed,

tion of the one in

yoees. The one most commonly usai in this section is the

’ l

ceus e it sVOids adding to the DUIHET of striye fiirections.

 

01
U1

Conclusion.

From these exumples it oun 1e concluded thnt tends
must be cut either slon; the struiiht lengthwise groin to
feature the stripe or on the true tins end collers nust

r . '1 n‘ 'L V c‘ . 4 4“ :“
nich ere CUb stru13nt 11c”

be of the mcximun roll tyne r
the stripe. All curved collurs ure est to grove unsuccess-
ful. If a commercial pattern shous s curVed collcr it should
be changed to either e struight bend, u high, strcight roll
collar to conforn to the strine, or be mitered ct the

corners so that the outer edge follows the stripe es in
Figure 8 . Stripe must always tuke precedence over the
details of the cut. Collars mhich ere cut-in-one vi,h
blouses are usually successful as the sane stripe cirection

is curried from the blouse section into the collar.

Conclusions
Designs must be planned to neke the most of striped
fabric. It is evident from some of the preceding models
that simple, uncut designs ere fencrslly successful. Tle
more complicated designs reguire more planning to overcome
the problems involved.

I. General conclusions concerning less cut up blouse

des gns.
1- Plan arcin plecement in the derts so thst:
a. a stripe follows the edge of the dart, or

b. the dart avoids the strife altogether, or

c. the stripe bisects the durt and netches
autometically at the seam.

Stripes running diagonally across u dert are

elmost impossible to mntch unless the diagonal

is so slight that one side can be eased to the

other.

Generally, stripes chevroning uptard from the

center front seam are more flattering to the

shoulders then those chevroning downward.

U)

-tripes which appear to curve around the body

as a result of the treatuent of the dert excess
must be carefully notched to see that the curves
produce desirable optical illusions such as broad

shoulders in F1 ure

k1

rather then curves around

07

the bust as in Figure 5.

Dart excess, 1hen the stripes do not match,

may be either moved on the nodel to d position
where the stripes will match or the excess nai
be tucked, crushed, and/or gathered but should
not be left his-matched.

n sunburst ef ect at the neck enlarges the bust
and widens the waist.

haster dart excess removed below the bust causes
the grain to drop down into the undererm seam.
Dart fullness removed above the bust ruises the

grain along the outer edge of the figure.

 

II.

III.

_‘

Blouses with a yoke.

l. To use the stripe most effectively in either

V

the semi-yore or yoke cut, let it follow the

upper edge of the yoke.
t. Straighten curved yoke lines to adapt them to
striped fabric.
0. harrow, curved yokes can be adapted to striped
fabrics by settinn in nite~ed sections as in
Figures ll and 12.
4. Solid color fabric can be used Iith stripes to
solve the problem of curved yokes and collars.

5. Downward leping yoke lines outlined by stripe

emphasize drOOping shoulder lines.

6. nvoid using stripes in a shaped cowl yoke.

French dart blouses and jackets.

1. Usually the lines of the French dart
straightened along the center front section of
a commercial pattern to make it possible to
outline the section with a stripe or to match
the stripes to the next section if they are
horizontal or oblique.

2. Grain placements intended for plain fabrics

often prove unsuccessful in striped fgbrics
mak'ng necessary such changes as placing the
stripe to follow the French dart line or to

chevron into it.

14>-

58
Stripe the paper pattern or muslin and pin the
sections together to avoid forming undesirable
and unexpected line patterns such us Here found
in Design 25.
avoid a cut up apaearance by planning the layout

«I.

so that the stripes match along the seams of

each section as was done in Designs 26 and 27.
Limit strikingly bold cut up designs formed by
stripes within the silhouette to figures which

are slender and well preportioned and person—

alities thich can dominate the stripe.

 

DeSign 10

 

Figure 1

 

VI. SK RTS

Representative samples of each of the four nain skirt
groups: straight, gored, circuler, and draped are included
in this division. The first section, straight skirts,
treats the stripe simply, the easiest and often the best
way of handling stripes in skirts. Gored, circular, and
draped skirts each present more problems than the straight
skirts because it is necessary to adapt the stripes to the
wedge shapes of the skirt sections. Draped skirts are
perhaps the most difficult of the three. However, when
compared to the problems involved in blouses, it can be
generally stated that skirts present fewer problems because
they need less shaping and fall free at the lower edge
whereas blouses must be fitted to the figure on all sides

of the pattern.

Straight Skirts
The skirts in this section consist of rectangular
pieces of fabric fitted to the figure by the use of gathers,
pleats and/or darts. The grain is kept level both at the

hips and hem of all the skirts.

Design 1 (Fig. 1)
This design represents one of the easiest yet most
effective methods of handling a wide border stripe in a

skirt. The stripe is a woven one, running werpwise, but

 

Design 2.

 

 

 

Figure 2

 

60
is used horizontally in this straight wrap-around style.
although this places the stiffer direction of the veave a-
round the hips and therefore increases their apparent width,
a tide border stripe had to be handled in this may to be
effective. The skirt was fitted from the hips to the
naistline by means of darts and the severe plainness was
relieved by a belt tied at the side Opening.

A slender figure appears mell prOportioned in a wrap-
around skirt vith a border stripe if the spaces of the
stripe arrangement are graduated and adjusted to the wearer.
Usually the darker space or stripe grouping is placed at
the henline of the skirt and is narrower than the plain
space at the top. No stripe grouping should divide th skirt

in half horizontally.

Design 8. (Fig. 2)

 

The straight all—around pleated skirt is one of the
most effective ways to treat stripes if the pleats are
laid to accent the dominant stripe and also if they face
toward or avianr from a box pleat at center front. In this
design the vertical stripes stress height and slenderness
in spite of the skirt fullness. The one difficulty in
making this skirt is that the excess, which results from
the difference in size between the waist and hips, must
be distributed evenly between all of the pleats so that each

will enter the waist at a right angle. This is especially

 

Design 3.

 

 

.. 0-..

{is .
. 1“

Figure 3

   

61
difficult in a finely pleated skirt such as is shown in
Figure 2. Although this model was made of cotton it would
be impractical because of the laundering difficulties.
Therefore it would be advisable to use a firmly woven
woolen for any all-around pleated skirt because it not only
takes and holds a press but vould be dry cleaned rather
than laundered. It is also advisable to stitch the pleats

down from the waist to the hips.

Design 3. (Fig. 5)

 

Design 3 shows another version of the all-around straight
pleated skirt made of a wider stripe and correspondingly
fewer pleats. In this model, the lighter section of the
stripe design was folded under, starting with a box pleat
at center front so that the pleats face away from the center.
The contrast of the dark and light stripe makes the design
more emphatic and bold.

as in the previous design the pleats were tapered from
the hips up into the waistline so that the skirt would fit
and so that each pleat would enter the waistline at a right
angle. A belt, one stripe in width, was used at the we st-
line to finish the design. This skirt also would be most
practical in a firm, resilient wool although pressing would
not be as difficult since there are fever and wider pleats
than in 2. Designs 2 and 3, both straight pleated skirts,

are successful because straight line designs are obviously

suited to the straight line character of striped fabric.

Design a. ‘ Design 5.

 

 

 

   

Design 4. (Fig. 4)

Design 4 is a modification of the all-around pleated
skirt with straitht pleated panels in front and back but
with the sides fitted from hips to raist by darts which fold
out the stripes. This model is a more unusual straight skirt
than the two previous desigis because th pleats zere
grouped and the fitting was accenplished through the use of
darts over the hips. The waist band for this design is
narrow -- the width of a stripe —- the simplest and neatest

way to complete the design.

Design 5. (Fig. 5)

 

Figure 5 is still another modification of a straight
pleated skirt. To eliminate the problem of fitting the
pleats to the figure from the hips to the waist, the straight
pleated lower section was mounted on a hip yoke. In order
to cut the yoke so that both the tOp and bottom edges
followed a stripe rather than curved in the usual ray, the
excess was darted out to fit the waist. The pleated section

was made by folding out the light stripes, the Opposite of

[‘0

Design , Figure 2, so that the skirt, with the exception
of the voke, appears to be a solid color, especially when
viewed from the side. This treatment of the pleated section

over emphasizes the horizontal yoke stripes and would be

particularly undesirable for a figure with large hips.

 

Design 7.

Design a.

 

Figure 7

 

 

 

This desig. a variation of the straight gathered
skirt, shows the lower section gathered and mounted on the
same yoke as the one used for Design 5. Here also the yoke
stripes would tend to enphasize large hips but not in the
way that Design 5 does because the lower section of the

"3' °

skirt does not give a one color effect. lflls

(0

tripe place-
ment is broadening to the entire lower portion of the
figure and should not be used for a figure even moderately
large unless the stripe in the lover skirt section runs
vertically. Even vertical stripes will not make gathered

1a_ticularly \hen mounted

I
.5

skirts becoming to broad hips,
on a yoke tith horizontal stripes that draw attention to

the hips o

Desisn 7. (Fig. 7)

 

This design is an exanple of an all-around gathered
or dirndl skirt made of the same border stripe tha was
F

used for the straight wrap-around skirt of igure 1. The

I
disadvantage of this style is that it is not becoming to
any but the nest slender fi are. The gathering around the
waist tends to emphasise both hips and waistline. however,

the graduated spacinr of the border is pleasing and the

skirt appears soft and becoming to a tall slender model.

Design 8.

 

 

 

Figure 6 Figure 9

Design 10.

'—————_.H

 

"i.,'_ r__

 

Figure 10

 

(_J
O]

‘iirts in this sectioh are all fitted ty slantine
the seams rather than by sleatirg, darting, or “gthrlK
out the excess around the waist to fit the figure. The

vere cut iron the two-gore has or natterh'usine the flat

oattern method of desicninn.

‘ -_, V

 

Design 8. (Tig. E)

The striye was chevroned along the center front seas
of this four—gore desiLn, with a snail a ount of flare in-
troduCed along the seuns. To match the stripes, the slant
of both eiQes of every seam uust he exactly the sane. lien
using a cosmercial pattern for a four-£0re skirt, the slope

of the front and back edges of the side seams "Eiuld almavs
be checked and pads equal.

The stripe in this uodel Was placed to chevron do niard
rather sharply fron the center. This angle is probubly as

becoming to the figure as ahy in which stripes anrle off

into the silhouette. EoveVer, this brain placenent Woes

stripe outward toward the side SGT

v

(D

s of the skirt.

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yoke. The inset on the left side mas made with the pleats
facing toward the front rith tne stripe folded out so that

the effect is that of a solid color. On the right side the

“

inset vas nle ated to*ard the back tith half of the striDe

.L

113et mith no stripe shoring is better as it

P.

ShOn’ing. The

does not e1;:“siz another line direction to distract the

(D-

attention from the center section. It would be preferable,
however, to face the pleats toward tie back. This design
is effective because the stripe desiwn is Cumtulfl‘i within

the center panel by the vertical inset at tLe sides.

Desien 10. (rig. 10)

This is sonewhat like nesi n 9, but the position of

the inset has been changed to the center front of the figure
and the stripes slant down toward the sides 0
In Figure lO,A the inset was pleated with all the stripes
folded out to give the appearance of a solid color. Vten
compared uith Figure 9, it is evident that this design is
neither as good nor as complimentary to the figure because
the stripe runs out of the silhouette at the sides and the
shape of the inset draws attention to the abdomen and Mitens
the figure across the hips. Kotice that the side seam
matcles because the an fil of the seam has been equalized on

each edge.

Design ll. (Fig. 11)

The pattern was placed .ith the stripe perpendicular

Def-Sign ll.

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Figure 11

 

 

\

b?
to the center of each gore in this six-gore shirt. The
flare along the seams is necessarily the same on both edges
of the seam as it is impossible to match the stripe other-
wise. It is easy to see the drOp of the stripe from the
center of each section to the seen line. As the flare be—
comes more pronounced, this dip of the stripe in each
section becomes clearer and the wavery effect of the whole
skirt becomes more noticeable.

The flare of this shirt appears 5 newhat stiff and
awkward, which is probably due to two things: 1.) the cross-

0 the flare of

V

grain of the fabric is used vertically causin
the design to fall across the less flexible direction of
the fabric, and 2.) the flare was introduced too near the
waistline. This stripe direction would not be generally

advisable because of the horizontal emphasis.

Design 12. (Fig. 12)

A variation of the six-gore skirt, this design has a
pleat in the gore seam. In blocking this model, some lib—
erties were taken with the shaping of the seams in order
to adapt them to stripes. Figure 12,A shows that the first
attempt to place a stripe along the pleat edge as tell as
along the front edge of the side section was very unsuccess-
ful because the pleat does not fall flat but stands open.
The center section is also broad and perfectly straight so

that the waist appears to be thickened. a change was made

 

D
esign l
2

 

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D

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68
in Figure 12,8 to improve the fall of the pleat by goring
musthe seam of the side section with the result that the
pleat does lie flat. Though the introduction of flare
inproved the pleat, the general effect of the design is
undesirable because of the perfectly straight central panel.
These two photOgraphs show how difficult it is to cut a
six-gore skirt with a pleat in the gore and have the stripe

run vertically in all the Sores.

Design 13. (Fig. 13)

Design 13 represents an attempt to improve the previous
design, a six-gore shirt with a pleat in the side front
seam. The center section was kett strairht to follow the
stripe but was narrowed considerably to reduce the extreme
blockiness of Figure 12. The side sections were Cored out
enough to compensate for the straight out of the center
gore in order to make the pleat lie flat. To further im-
prove the design by avoiding the unmatched stripe effect
Of Design 18, the stripes at the sides were placed at a
rather sharp oblique angle down into the center gore. It
is evident that this design is an inprovehent over the
previous one but it is also apparent that oblique lines
running out into the silhouette draw attention to hip
and are less trim than when they are contained within a

central panel as shown in Figure 9.

 

 

 

DBSign 11+.

 

Figure la

 

C“;
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DeshgllAu (Fig. 14)
Another six-gore skirt, Design 1& has a wide flare
introduced from break points at the hip level on the se"“
lines. Like a l gored skirts made of striped fabric, t e
flare has to be introduced at the seahs to make th= stripes
nmtch and to avoid curving the stripes. Each section has
placed on the striped fabric so that the len

fell through the center. then all the flare is added a

(j)-

the seams with 10 drOpping of grain, it is impossible to
introduce a great deal of flare because it all swings
around the seam instead of being distributed over the
whole skirt. It does provide one ray of fitting taistline

and hinline and still have a noderate flare.

Circular Skirts
No attempt has been made to try all kinds of circulars,
ranging from narrow to full. Then considering the number
of seams in the skirt, piecing seans are not mentioned.

Li

however, in the maximum or complete circular shirts, piecing
along the grain of the fabric in the direction of the stripe
would be necessary. The number and position of the piecing

seams 1n a circular skirt vary with the midth of the fabric

and the numrer of sections used.

 

Design 15.

    

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Figure 15,AA

 

 

"Fiche 15 ,B

 

 

just invisible piecing on the strui_ht len‘thnise grnfn.
-icure 15,” hoxs the skir plnced so thdt the cross- ruin

of the fngiC fills doxn tie center front sni tn; ls” thrise
grcin donn ne oidBT. 11 -1 ure l5,E the yrnil jldci;;n

mus reversed so thut the L2n"t‘ti;e jrnin of tie rubric is

at the center front dn1 t: cross- :sin ut tkc aides. Totr
ould tend to enlsr;s the Id‘lhfl; run since tn leg thwise
crsin of the fabric clir;s to the fi;ure ore then the ores:-
grdin the front view of Pi ure l",3 unyeurs better shun

Figure 15,4, whereas the

then EiU- ure 15 ,EB.

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l..£.Xlflll.UIL

tripe cs one piece, cunnot be euuully

of 1'i.f‘ure 14,r.1is rnatte

circulurs hen hnndled in

3

good from ull ungles.

Tflis d851§_:n ShOT.'_‘S (AILOthBI‘ {“I‘Qin I‘l‘c. 'CBLIient Of tile 1711.2:1“
mun circular skirt, u true tins seen chevroned ct tie center

front u'nd center 0 cc.

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better siid stre s he

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stripe runs either in

throughout. : m.ever,

1d, is best

slender waistline und

. 17)

 

of grain

uovnwsrd into

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more the 11i:s are Gap

cnlgr oiieuu-e 511 tl1i

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This plucenent of the stri is

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13ht more then the prev1ous tho is the

ohligue or verticgl line

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e1y full circulur skir

su

median height.

\A-t 1&3»;th

nrevious one
use done to chevron the

the center front. Fotice

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31’ d by t1e unvurd curve of the

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Design 17.

DeSign lb 0

       

 

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Figure 17

Figure lb

Design 15.

 

Figure 15

 

 

4.,
by;

shfipes at the side end ulso the curving effect the
streirht stripe tukes on alen u yuttern which hes been cut
circular fells over s fijure curve. This strifie plscenent

is inferior to 16.

 

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esi n 18 shows yet snother Vuriution of thr
circulur shirt, this one cut with four seems; center frunt,
center beck, end one at such side.
to bisect eech niece end es s result it chevrcns st econ

seem und fslls vertically done the center of such section.
Tn1s placement is the best of the group from the design
stsndpoint end is the ;ost slenderizing end greceful of ell
those tried. after considering the four Vnrintions of the
circular skirt included, it can be concluded thht it is

better to cut circular skirts into at lesst four sections

and to chevron the stripe at euch seem.

Design 19. (Fig. 19)
The yoke for this design Mus blocked from the two-

pcttsrn end the lower circular section nus

gore.nuster

draped. n stripe YQS placed along the yoke edge to out-

k..—

line it vith the result thnt the strige chevrons up from

\

"3

both the center front and cent) buck. (See Figures 19”;

end B). The lengthwise grain of the febric nss placed ut
the center front of the skirt und kept slmost vertical out
to the hips. Then, frog the side tousrd the center beck,

the grain was drorped until it was almost horizontul ut

UGSign 190

 

 

 

Figure 19,8

Figure l9,n

 

Figure 20,B

Design 200

 

 

 

1

the center beck. This introfluced u pronounced duck flare.

v

*4.

eued from the front (Fi;ure 19,“) it ejjedrs stiff

and severe heCuuse the gruin res not lorered at the sile

front to introduce u rinnle end tresk the snhulsrity. The

1 I. «1F - r.‘ -1 — '3 A-L- - . ( L: q-'-,, 1 _.‘ I ‘.- :I l‘-. ‘.‘|'
duCrs. OJ. the Lublagll lb HOS": 111o(:7‘v;.-;o_Lil;/ CigOuleti +lul‘e LciS

introduced end the stripe direction res chunged to relieve
the severity and stiffness of verticul lines. The buck
View (Figure 19,3) of this ‘esign hes u crisp, perky effect

but the nearly horizontul str“pes would brouden excessively

all but the neetest JOSt slender bins.
’ _.

)

Design 20. (Fig. 2“)

L:—

C

This is a vuriution of Design 19 with flare added to
both the front end heck of the lower section. Some flere

was added by drogning the gruin tomerd the center front

U

which mace e seem necessary. The re(ult is that the stripe

C

slants outward from the seam to relieve the flat verticel
severity of Design 19. The streight grain now fells at the
side of the figure tith the stripe dropped toward the center
beck of the figure for voluminous fullness concentruted

at the back. The grain mes lowered to the extent that the

stri,e direction nus reversed along the center tack seen.

}

Iote: It would be inpossible to drape one-half of this
shirt from one piece unless the fabric vere 50 inches wide.
This design would be especially ep:ropridte for s fornel

when the full flured heck is in fashion.

Design 21.

 

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Ipigure 2 2

 

"Drflped" OI‘ Peg—TC‘LSKthS

Desig I31. (Fl.‘-.‘. 2 )

This design end the follonin; two nonld not he suit-
able as sepsrste skirts but are iLcluded here us represent—
ative of shirts in which the groin is raised rather then
lovered us it Wes in both gored end circulor skirts. The
model shown is usually referred to es the "draped” skirt.
The design led to be dreped on the figure as it is prec—
ticelly impossible to foresee what the stripe direction
will be in any other Key. Some flare mus introduced at
the center front in the for: of un unpresscd pleat, cuusing
the grain to drop a little. lt the side front the {rain
was ruised at the waistline tith the result thut the hen
sweep is narrow, end it pouches around the hips. The unex-
pected effect of stripe gradation at the waistline could
never have been foreseen if the fubric had been flat on

the table.

Design 23. (Fig. 28)

After Design Bl had been draped, a paper pattern was
cut from it to use for Design 33 but the groin position was
changed. The puttern was placed on the true bids at the
center front seen. It is interesting to note the difference
that grain pldcement and e Setin febric will mdxe in the
appearence of a design. This version seems to cling to the

figure more in the hem ereu end the peg top effect is more

Design 23.

 

\I: I: It.: .

 

Figure 23

74
pronounced. The folds are softer and have more character
'an.in the lifhter materiel used for Design 21. Eoth the

silhouette and the stripe direction are better in 22.

Design 23. (Fig. 23)

This design represents another treatment of the ”draped"
skirt and was entirely draped on the form. The grain in
this model w:s raised at the center front rather than at
the side front as was done in Designs 31 end 22 and then
allowed to drOp to the back. The folds which resulted
continue down to the sides end heck of the fi
fullness was swung in at the center front becuuse the grain
was raised excessively end the sides drOpped, thus the hem
sweep is wide rather then nnrrOL. he can be seen, this type
of design is well suited for use in formels as its sweeping

lines give a rich, graceful effect.

Conclusions

 

after experimenting nith the four main types of shirts,
some general conclusions can be drown concerning the use
of stripes in shirts.
I. Straight shirts.
I. The wrap—around skirt is a simple effective
method of hendling a wide border stripe.
2. All-around pleated skirts are naturally suited
to striped fabrics becuuse the straight line of

the design conforms to the straight character

II.

of the stripe.

"‘Jo"-'.V:V‘3d
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3. Unusual striped design eitec

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by combining pleats and dnrts.

4. Avoid using fitted gases in striped skirts as

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they over-euph‘

5. Gathered striped SKiTtS are best suite

their best in clinging textures because other-
wise they broaden hips excessively.

Gored skirts.

l. Equalize the flare along both sides of a seam
so that the stripe can be matched.

2. To reduce conflicting line directions, stripes
can be folded out into pleats to appear almost
like solid color.

3. hvoid stripes which outline the abdomen.

14>

Horizontal stripes appear wavy in wide gored
skirts in which the grain hes been dropped
within the gores.
5. Gored skirts, handled with the stripe running
vertically and with a pleat in the seam, must
be adapted to the stripe by eliminating the
shaping on the central panel as in Figure 13.
6. Diagonal lines which run into the side silhouette
are generally less compact in appearance than

diagonals contained within the silhouette.

III.

IV.

Circular shirts.

1. Circular cuts are best suited to the slender,
youthful figure because no matter what grain
placement is used some portion of the figure
is usually over emphasized.

2. Generally, it is best to avoid a full circular

irt in which the stripe chevrons up over the

C-
5.)

Rd

hips from the center front.

3. hvoid the stiff severe effect that was evidenced
in the front of Design 19 by introducing some
flare.

4. Circulars cut in at least four sections seen to
be the best from all angles, the stripe either
vertical or diagonal all around.

"Draped" or Peg tog skirts.

1. To visualize the effect of the stripe, these
designs must be draped on the figure.

8. Fabric textures must be firm with body and yet

soft enough to drape effectively.

 

VII. E ZLVSS
There are two main cluseificutions into which sleeves
can be divided: 1.) those which ere :et into the blouse at

the armscye end 2.) those thich ere cut-in-one tith the

V

of

blouse or a portion of it thereby onittin; the erhscye seen
or a major part of it. The getterns for the sleeves were
blocked from the master sleeve draft with the exception of
Designs 8 and 15. The usual hori—
zontel elbov ddrt was transferred
into a vertical dert so thet the
stripe could be nutched along the

underarm seem end dart whenever the

GRAIN

lengthwise grain or cross-groin is

 

t
placed domn the center of the sleeve.
The center of the dart is parallel

to the center of the sleeve, thus

 

 

the grain bisects the durt. Then
the sleeve is cut down the center
Easter Sleeve to chevron the stripe, the dart is
transferred to the center slash and
appears as shaping along the seam lines of the sleeve. To

q

ensemble the three nein 'ivisions; blouses, skirts, end

p;

Sleeves the models shown in this section have been united

into complete dresses.

Design 2

Design 1

 

 

Figure 2

Figure 1

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Design 1. (fig. 1)

‘

The master sleeve pattern shown ebove is a one-piece,
fitted sleeve vhich mes drafted from the neusurenents of
the arm. The pattern was luid on the meteriel tith the
stripes running horizontally to repeat the stripe direction
in the front of the jecket. The cep height of the sleeve
hdd to be decreesed s‘ijhtlv so thut the stripes could be
matched eround the ermscye. This is generully necessery

b cause it is injossible to sees the sleeve ot the sides in

(l)

the usuel may without nis-nutchin: the stripes, therefore
some of the excess must usually be tdken.out., This nos

1

resulted in a noticesble unverd bend of’the stripe, but in
Spite of this stripes must be metched to maintain a sense
of order. The effect of the sleeve, jacket, end skirt as
a whole design is very peer beceu e there ure too many
line directions even though the sleeve strires mutch end
the stripes of the skirt run horizontully end dip down
toward the sides in on ettenpt to netch them at the side
front. The silhouette, which is clumsy and wide, shous

tnet the skirt should always be very narrow under a peplmi

 

The master sleeve pattern mes elso used tithout ulter-

etion for this model but the pattern vus out in half verti-

 

Figure 3

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79

cally and placed on the fabric so thut the strihe chev1ons

:3

along the center of the sleeve. I this design also, a
little cup height and width hud to he reaoved in order to
nwtch the stripes along the srnscye.
Ihen comparing the effect of this design x.ith Fig ure l,

it is evident that this one is much better. Cne idnrove—
ment \'W as made by removing one of the line iirect ior is. The
stripe in the center front section, side underarm sections,
sleeves and skirt ell run obliguely in this design. The
narrow skirt is better suit c to the design as it helps
out the tidth of the fi ure considerctly end contrasts th
pepluh flure. Both designs us u whole ure eytrenely cut up

and mould Certainly afgz‘er;:;;rhco 211 used if the strife is 631.12.13.62?

.

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wide or hold in color contrust.

This vuriution of the Lester sleeve YhiCh produces u
4.1

Very square shoulderef silhouette hes 3 seen over the ton of

t‘n
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cup perellel to the srmscye seem.. The pattern was placed
on the rubric so that the lcnr hr'se :rhir run V31 icutl
through the center of the sleeve and n stripe exterwd d no
end over the cap with uh effect that is boxy and souure
shouldered.

The vertical stripes at the side Iront of the Skirt
1e stripe direction of the sleeves and the strine

thdt runs over the tOp of the sleeve nersllels the stripe

lines of the blouse. This unites the stri

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Design 5.

 

Figure 5

 

 

 

 

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The bishop sleeve shown in Fi;ure 4 is e veriet

r N " V . -, ‘~n ('1‘ -' .-._J-‘-~- .( ,._. ‘-: -1. (_ f
the Lubtur sleeve drult. ihe lehflcflfllsfi ireln nus plucel

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vertically through the center 0 tie sleeve and at the sides

of the skirt The fullness sround the wrist was lsil into

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tt {8 t enohssige the strires. The vertical strires in

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the sleeve contein the oblique stripes o; the blouse end

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srirt center tittin the silhouette end so unify the eesi

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Full blouse sleeves elvuys vie n the fijure end perticulurly

in stripe.

esicn 5. (31

 

Fi;ure 5 shows e ruglun, that is, a sleeve with the
shoulier section out fron.the tOp of the blouse. h durt
at the shoulder seem position fits the sleeve lefl: the
tOp of the shoulder. The lower pert of tre sleeve is the

some es in Fl“

ure 4. Running u stripe along the edge of

W N

ide front enu use? of the shoulder,

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the sleeve seem at t
around the neck, wrist, end usistline borders the design
and finishes it.

The striees in both the blouse chi skirt run verti-

cally end the design appears well uni:“ee uni giutuined

Design b. Design 7.

 

 

 

Figure 6

 

-——H ,‘_

 

 

 

 

 

within the silhouette as Hell s

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7 ‘ ‘xfi '3 .8 .-\-. ~'-. 1 ‘r ~5< L‘. .:I ’ I,“
0') ’,‘-_LJ...;-UJ.—lbull’ b0 bile ll ""

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ure. The desiyn mi ht heve been further unified by foldin“

out the sleeve fulln ss into tucxs to :stch the tucks of

d)

both blouse und skirt. It beCunes incressingly sppsrcnt
that sigplicity of cut end control of st ipe direction to

maintuin order is en essentiul port of designing for stripe.

The epsulet sleeve shown resentles o normel set-in sleeve
but has a strap-like extension from the Cup across the too
of the shoulder. The puttern mes lsid on the fuiric so

thst n stripe outlined euch side of the eneulet and th

so thst the stripe ron the length of the arm and was matched

to the blouse st the srnscye seen. The result is s trig,

tailored sleeve and a nest precise dress es s whole. This
is un example of stripe used in tvo directions only,

vertically at the sides and diagonally at the center so
that the strong, dynamic obligues appear contsined tithin
the silhouette by the vertical stripes in the sleeves and

at the sides of the skirt.

Desisn 7. (Fig. 7)

 

he sleeves in this end the following designs are cut

with the blouse end therefore the iroblem of mstchinc strives
along the ermscyc seem will not be encountered. This is

an exemple of s cap sleeve thic1 is, in reality, en exten-

sion of the tlouse. It is e style commonly used for

summer dresses when patterned or trsnsperent futrics here
an ermscye seen difficult to conceel.
treothent of chevroned stripes notched ut u shoulder durt
and at the center fr nt and center tuck;
zebra-like beouuse the strine itself is hold end elmost

evenly spuced.

.J

‘esic kimono pattern used for tne following five

desi-ns is shown here. For Desi;n 8 the pattern nus out in

f
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Kimono Blouse

Design 8.

 

 

Figure 8

DeSign 10 o

 

Figure 9

 

 

ll

 

83

.,.A

one piece from center front to center back with t e center
of the sleeve on the true cross—irein. Therefore the stripes
run horizontally across the urn on; disgonully :t center
front and center beak. The silhoueite of this blouse fits
less closel;vt11un those with :3t—in sleeves occuuse of the

v - ‘

dre ned lines under the deep urnhole end the curved SLOUlGBT
line. It would require 3 fubric vi h good drepin: guelity,
one that uould fell into soft folds at the underarm. The

stripes have contin Mt! oeceuse the stripe dim“ ction of tie

s: :irt reoests tile stripe direction of he blouse.

[:3

If)

e i’n go (Firm. 9)

AL—L.

. ‘

nnother variation of tne kimono blouse, the stripe

chevrons into the center of the sleeve. The oleoement of
the stripes in the sleeve necessarily dete mine d t‘ue direc-
tion of the stripes in the blouse, since they are cut
toiether. The blouse dtrt Les trunsferreu to the sloulder
us in figure 7 end the front turned beck to form a tuxedo
"onsl strine of the four-gore skirt hur-
Monizes uith the strife direction of tie blouse and sleeve

unifying the desi n.

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This xmo ificution of the kimono blouse rep oresents the
”peas sent" style. The center front and cents been were

aid on the lenr huise stripe end the blous» mus therefore

kg

Cut in one niece reking u coyrlete circle and reduires u

uesign 11. ”931%“ 12'

 

Figure 11 r‘igur 12
e

 

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febric tnut is scit uni Ulllvlipo ills resign use: eVen

F“. 'H I“ A; .A . r. em . , -- . n ‘ r" ‘ . x . .. “ ‘ - " e . ' ‘ I ~ " '

» clcfmel‘ Ll‘ Ur“: ““32“; ..l..-. st ”1.1.1. “' uni - . 1(7‘.;.-‘J ., 01.7-3
k.- .— 45 ~— L k; v

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; still unocner vuriution 0; tie

."’. ‘3- . ‘ ‘ .-‘ I‘ ~,, .J’-?- . y' V F .f.4;\ "." "’ "
nlNOHO ulouse, a“; n multinl “r_SOfd seuu necuuse the un er-

true bins resulting in u che"ren ulcn; the seen. The unier-
urn section mus p seed 2 thut the stripes LOU d ugjeur to
be u continuution of those in the 33er urn.

The stripes in the shirt aere plucea to repent those
in the blouse, vertical at the center front end dissonul
at tre sides. ”ith this repetition, tne de51gn sine "s

are diff'cclt to veer beCuuse of their hrouiening effect

(r

particularly when viewed from the .iie.

Pesipn 12. (Fig. 12)

 

r~~ . .- o ‘- , ‘.r . a ' "t -" ,~ -' . "W I ""r‘ ‘ vr’ ‘P
a vurlutlon of the nimono UlOUoc end Simuluceo \one

0
I

, this blouse mes iesigned to go with ,he druped Skirt

(/1
’41
} .J
Q
i:
b—J
O
t 3
CL)
C
1-.)
O
,C.’
(1
(D
U)
c‘.‘
H
P
(D
U)
H
(Y)
.4
(’x
H
U)
(D
d“
’_..4
r)
w‘
0
5
<:
e
{‘5
P.
’J
O
*‘ .9
(F)
c+
*‘3
‘40
(D
(0

r‘ '1‘" r--. -,- -3 \ - ,~ - ‘~- ~. .w~- ‘1 -. '\ ‘.‘.
u cite Center front ell-l hue str]. was 3.1; the

Chevrons into u seun down its center. The drugntic effect

I!

 

 

Figure 13

Design lb.

 

Figure 14,3

of this design is partly due to the dynsnic diugonuls and

partly to the texture and volue contrust of the sstir fubric

n

used. The omiss'on of the setin stripe uround the Huis'
and a substitution of a dark belt yould have elihinnted one

line direction and improved the effect. This design would

“"3

be suitable only as a dinner dress for occasional wear or
the indivinusl vith a forceful personality und one whose
personal coloring afforded sufficient velue contrust so

that she was not dominated bf the dress.

)

his design is u Dolmen sleeve nit

Cr!

Design is. (Fig. 1

*3

5‘

its characteristic

deep armhole cut

(0

e nrately from the blouse but not on the

4..

normal e mscye line. The stripe runs vertically at the
center front outlin n; the sleeve inset seam and horizon-
tally across the sleeve girth. The direction of the stripe
in the circulur skirt repeats the stripe direction of the
blouse, vertically at center front and horizontully at the
sides in order to unify the stripe line directions. The
result is therefore fairly successful. The fullness in
the blouse was laid in tucks to euphusize the stripe and
if the treetment of fullness had been carried into the

V
5

center front of the skirt it might neve improved the

p.

I
eSlgn.

Essisn 14. (Fig. 14)
The cape-like sleeve of this desisn was draped on the

fifure and illustrates an effect which could not hsve been

 

 

.U-d

anh-

 

86
obtained by designing flut on the tcble. Deep pleuts were
drawn to ether und then funned out over the shoulders. In
n nos dTLUBd on the
the unique effect possible to be obtained only by draping
experinentslly on the figure with u Specific stripec fubr
asymmetric cuts und hip drsperies are dif
mathematically in solid colors end gui
designs. This model is suiteble on_y for u tell, nicely

UI‘O :tOl" lCIlE'Cl llf _‘U.I‘8o

Conclusions

 

From the illustretions included in this section, it
is evident the problems incre wte cs one major purts of
the dress -- blouse, shirt, uhd sleeve —— ere ense bled.
nn analysis of this se ection :uhes gossible the for Mil tion

’3

‘ome gonerul rules for the designing or sleeves as well

l—b
(n

o
as for the ense bl n; of the co;gonent psrts of the dress.
all sleeves must be treuted us one shell segment of u
therefore, should not introduce new or

costume end,

‘

separute interest by the audition of s new stripe dii ection.
I. Set-in sleeves.

eat the stripe direction either of the

H
O
:0
(D
*3

blouse or the skirt: that is, do not introduce
an sdditionul one.
2. To Lad ch the stripe along the c nscye seen

reduce slightly h; cup heifht end width.

II

r“
0.0

Decresse

‘

‘ .-~ 4-
iorllxn1ssl

(1"
H
0.)
(I)
<1
(D

b. Harrow

P
U:

. "u , ‘l {:3 _" ; ff; 'V‘Ve
*- t '.4~'.J~‘.J le‘JJ J
\-‘

t 0 1.1.2.1; 011

- 1 " " ~ ‘\ \ A— “. ‘v " ‘1‘
ulucvcb CUo—lH—Uie‘.

"I ‘ 3‘ ‘- ,~ _ . .
l. ._l no zlzxx c' 1 ~Clee*n,~

lat Of t l}. B

(“‘2

E“~\-J-‘.

k. s .11.
A _.~

cup to Lstch

C

O
,, .t. .. -~ ,i r‘
L. ,.__, -_
5.1 I 1 1'.) .

shorten

1
”‘3“ . - _.
K)A.; tZJtz

LJ.
I.—o
<1
P1
9
i
H
(O
8
Ho
J
(D
d-

ve give on illusion
thst the Cesign is CCFiglLVJ 'it .'n the silhou—
ettv ruther than c 1M‘i u ctvond the silhouette.

e. To keen u lisss terns

l—J
H
S
H
C"
H
C
r:
o

-- L; ,

l. '\.J \‘

l-‘m‘
't‘iili

blouse.

~3— “ . -.‘ --—’~- _-‘- " ’ . ‘ ”‘1 \A-Jln‘ -\ '
nttcnin. strr,os Mb tne urtuvle seen onu ure
J—‘ .. - ,,.
bllLJI‘sl .1363

7: C3 IL) :1

b l 0 1.19 e s‘: :; u l (1

‘—.
U ,

,,‘.$_‘i i #1., ,.
1’51 VLJJI‘ fK‘jV)

one result then

in A -.‘—1 .1
E‘Iihux-L‘ L; tli

' , A11. _ . ..
4-01119 LIL-C' L¢-+D‘:«

ections.

\JIL (:11 LuaL-4

t

":iLl.

,
T
.-.

‘

O
. _ .l-
. fi 3
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.‘,-r__L

i."

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\Juvu

VIII. co:c'r 10:3

The troblets encounters in de simnire for striped
fabrics were nsny, and varied Litt eacn fs "i

N
”35.3
II , Lu..k.il

design and purt of the d:

p.

hsve beer listed at the ,r” of

rr‘ . . .— - 1-,
Ineso, ss tell es s

‘-

Bj‘ ' 1 s at the end of each division, csn be

Le guides then udupting cornercisl nutterns intended

rIted febric

()3

Or then desiv

y—d

linw for
striges.

1. 'TO ifiltctI<VtrifmT“ at
out the stripe at tl‘
e. To mutch strifies in durts the grsin must bisect

the (ill—ft o

3. ”lien

U}

trifii are mIs—mutched orl. = '

sun be notched by easing provided the se=

dsrt is one Ihi ch shapes to the “l ure end the

f bric is fle :ible enou 11 to es: e.

4. Before cutting into the fubric and following

grain rlscenent directions intended
colored febrics, a trisl muslin or
which hes been yenoil striped should be fitted

to the figure as s rreliminery test.

 

 

 

7.

To obtain unusual and originul effects in striped
fabrics, it is advisable to drape on the figure

in the fabric itself.

Liwit the choice of patterns to those with few

seems end sections unless skill eni e hanehce
enables one to metct the stripes effectively in

the more compliceted rctterns.

Ivcid more tin n two line uI irections or their reverse
and geOIetric shsjes formeu by striges beCIuse of
the resulting confusion, unless preliminary experi-

Iuslin to cscertcin the

F-1
, u

Mental drcping is done In
effect.

Genernlly, stIipes vvhich appear curved s hould not
be used near striges which uppeur straight.
Striges which appeur curved should 1; ct be pl; ced

2e figure curves.

0"
H.

to over—emphc"
When the stripe runs vertically, place the center
front uni center buck eitaer It the ll icile of a

doninunt stripe or in the nwi die of the solid

Verticul striyes which are darted or tucked at

the ‘ uiSt ILOt orly cogwlILVNL the figure by
dru 1P3 the stri;es tOJether torurd the center at

Din: erul lilw sgeneral

are contained within the silhouette by vertical

 

y-

D .. _ ‘ Q ‘0 F‘ 1‘ .. ‘5 0 _'~ ‘ ‘ "
stripes at tie siees of t4; nguffio

A \" “L- ~,P~I r . ‘ ~ -‘ s.‘ L x 1‘ ‘.‘ rx . (\ . ‘3“ ‘
ueIeIully,Ise &urtb, elect: or uULKD us u Iorm
I .0 .5! ‘ . _ _ .- _ I ‘_ .A ‘ , V l ‘1, fl “ 2 . '

oI Iullness In preference to Lutners cccutse

‘ ‘r‘r - a ‘ ‘r H x ‘ , ' ‘i ’ “, -. , I r ‘ ‘. .-‘ a. I . ‘ ' . ~ . P\
tuey com or” better to tne pfdblqfi, *rin ciuructer

*

of strijes.

rf‘»
ll:

 

 

T“: ; I“? 7717'

4.--. L.) ..4.L-......l .L
I; study of the problems involved in designing end
cutting dress patterns fer striged fubrics Mus Curried
out after u prelilinnry study of hgtCthfi stripes two

dimensionally bed been mile. Lech design res produced

I)

in strid C febric to test both the design Quality uni the

(11‘

effect on the particular fi3ure used —- e feshion model.
is each res coupleted end tried on the nodel changes were

-D ' j r e r - r‘ P ‘ ' r r an “ r 7‘. P1 ' . ~* 7- . I
Iounu to be necesscry and new :TOL ens to lHVSctl cte

-' ' ‘7 ~ .‘v‘. ' 1- 4- I ‘5 \ .'\ . ~ ‘\ . o ».~'~ (x '0': ~"~ ' ‘ 'fi (3 I. r,‘ ‘
l.) ulQUEthHUS oI oruIn ncSItIoIs I“on those connunly

used for fubrics if solid color to positions Iore suiteble
_ a o _. ‘N _ Q‘ \ L. a O r‘ . " 0‘ 0 04 :r‘ ‘ D

Ior strIweo febrics, we) LLB LubCIlL_ chIIcIlItiss oi

strIpes in mung different designs and 3., e COJDngSLH for

3 o
prtl
55V»

cm guclity of sinpler less cut un desi
thut were gore coupliccted.

Beceuse of the infinite Veriety of striped fabrics
possible to choose to torn with, a woven, even stripe nus

for most of the designs thich Vere blocked from

CW
( U
H
a“.
Q
C"
x I

a raster psttern nude especially for the model. The
remainder of the striped fabrics (non-reversible with a
right and left and therefore more compliCuted) rere draned
directly in the fubric on the figure because it fies

innos=ible othervise to foresee the effect of the strives

 

 

 

95
fuhric, euch design mes cut either in strined muslin or the
peer puttern itself “es striwed and held up or. fine model
to test the gruin and stripe plu ce ent mithin the design.

-n hsd teen nude in the striried fabric,

‘

hfter esc cn xesi
tried on the model and necessn y chdnges nude, it
photo rs filed. These photographs were used in making a

criticul enulysis of the design end in so: :e ceses the

(D

deSi US had to he Chunged QHd re-DhOtOSTQPhed bCCQUS
desi n defects not noti ce- ble be fore tere brought out by

phot05rnphv.

V

rein wli is ions of the study —— blouses, shirts
and sleeves -- were further subdivided into sections so the

comparisons between the designs within each section would

(.0

be easier to make. To help fornulete gene el guide for

either desieninn :etterns for strides or for aduptntion

w k.) ‘-

of commercial patterns to stripes, the usual grain place-

(D

ment advised for plain or non-patterned fabrics nus red
for each of the repres en utiv ve sections.
jxperimentsl vork on blouses was carried out, compuring
first the simpler cuts, the master blouse and its variations,
nd then the more compliceted cuts, yokes and French darts.
It as found that the sihpler the blouse cut the greater
tere the chances of a successful design because the design

must elrnys he subordinuted to tie stripe. Zeke were

considered second, for they edd a problem by introduCinc

the yoke slash. French dart ja-kets were placed last
because the vertical slasl from shoulder through the
waistline to hipline makes them the most complicated of all
the blouse cuts included. Specific conclusions regarding
each small section as well as general conclusions for all
blouses were listed on pages 55-58.

The division on skirts was also treated in the some
way, that is, progressing from the simplest to the most
complicated designs. Straight shirts, because they are
unshaped except from hip to waistline, are the least
complicated and therefore presented very little difficulty
of either matching the stripes or handling the fullness.
It was found that the straight lines of the cut play up.
the straight stripes advantageously. Gored skirts caused
much more difficulty in matching stripes along the seam
line, especially the six-gore with the stripes running
vertically. Stripes used horizontally were found to be
usually too broadening to the figure from waist to hen.
Diagonal chevroning of the stripes produced the best
effect but only on a slender figure.

Stripes in circular skirts were handled as one piece
with invisible matching at seams or out into two or four
sections with the stripes chevroning along the seams but
they all tended to widen the_figure more than any other
shirt. The chief problem of full circular skirts was

found to be that they are not equally becoming from all

 

95
views. If the stripe runs vertically at the center front
it curves up and over the hips and runs horizontally at
the sides. ‘The best circular shirt was cut into four
sections with the grain straight at the center of each
section and with the stripes chevroned at all seans.
"Draped" skirts were placed last because the difficulty
of predicting the stripe effect was so great that each
skirt had to be draped directly in the fabric on the form.
Both Specific and general conclusions were listed at the
end of this division also (pp. 74—76).

Both set-in sleeves and those cut-in-one with the
blouse presented problems so that it is questionable which
of the tmo sections was the more difficult. It was found
that placing the grain to natch the stripes around the
armscye seam vas the most difficult problem encountered in
the set-in sleeve. In every case sons reduction in can

.1.

width had to be made in order to hatch the stripes along

(I)

the armscye seam and thi reduction night very tell cause
difficulty in wearing the sleeve beCause it reduces freedom
of arm movement. Sleeves cut—in-one with the blouse
presented no problem around the armscye, but since the
whole pattern is in one piece the grain had to be placed

to emphasize the stripes advantageously in both the blouse
and sleeve at the same time. This was difficult to foresee
as the stripe position does not remain the same throughout

the blouse and sleeve when the arm is down at the sides.

It was concluded thst generully a new str1pe direction
should not be introduced in sleeves. Other specific end
gene"el conclusions Mere listed slso at the end or this
section (pp. EG—EE).

Complete dress cuts were included in this section

to unite the three e‘urute divisions of the study into

(I)

k

harmonious ensembles. Coordinuting the stripe lirectiun
in sleeve, blouse and skirt proved to he the LOSL difficult
probleg of all. It was recessury to nuke mung ch:n e: in
this section ufter photogrunkin; the ensenbles because
many defects in Stri‘e direction were enphssized end even
exevnerut d t“ nhoto:ruphy. puny designs, therefore, had
to he re-sssemhled end re-photogrsnhed. 1he main con-
clus ion th ut Res dru"1iconcerriNj the ersemclin; of the
blouse, skirt and sleeves into n dress is that the totsl
effect should he unified ty rcducinv un excessive number
of stripe directions. Ccnerully strines should be linited

to two iirectiors or their reverse.

The one nos inportunt spe01f1c conclusion drawn
a — 4 '~,. ~. 4 .4, —. ..4 «1 -~ , ‘,4 . ~
iron. the 3Ltlle stud,r ..s tmd’ tne :ruln enculd Le ,lcced
in such puttern ;1ece so tnut th- strive eithel outliries

chevron them 01, :eferrin: to see s, enters such ed;e of
u scum at e:_:1ctlr the same unr‘le in order to chevron the
stripes. The Lost i-goluuht generu l corclusion drown res

that the singler, less cut un designs are veneruuly the

._. ,~. .. , 3 _1 ‘. \ ‘ 1 I xr -L
1;; in» 97;,11 bllOOl‘uliluLu-xl to

the striped febriC.

Fe

\3

(‘71

 

 

 

 

 

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.

 

 

MICHIGAN STATE UNIVERSITY LIBRARIES

9

3 1293 031031 65