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momma IN PATTERN Flu-1m

By
Margaret Thur

A PRCFLSH

Sublitted to the Faculty of 1 1 College of Home Economics of
Michigan State University in Partial Fulfillment of
the requirements for the degree of _

MASTER OF SCIENCE
Department of Textiles, Clothing end Related Arts

1959

 

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u'm <———— v -e- ~

 

ACKNOWLEDGEMENTS

I would like to unpress my deep appreciation to Mill
Marion 5. Hillhouee, Associate rrofeesor of Textiles,
Clothing and Relu ted Arts for her many houn of guidance
while conducting this problem in fitting. ."I

Also I would like to express my apprecittion to
Miss Hazel etrehen, Head of The Textiles, Clothing and
Related Arte Department.

 

 

COfiTENTS
INTHODUCTION
rnocanuun

PRELIMINxRI nTUDY or DISTRIBUTION or FIGURE
DEVIATIONS REJUIRING PATTLRN ALTLRATIONS

OBSHHVATIONS ov FITTINGS AND RECORDING or
CHANGES ON QU RTER SIZE PATTERNS

EXPMHIMRNTAL comm RCIAL PATlBRN FITTINGS AND
MUULIN PROOF CHECKING

A Comparison of Simplicity and Vogue fetterne
CONCLUSION
SUMMARI
IBIBLIOGRAPHI

11

55

87
90
92

INTRODlC TION

Sewing of one's own clothing can be of great
satisfaction if prover fit can be obtained.

"Any garment must be judged by its appearance on the
wearer, and nothing is more important to its total effect
than the way it fits. For fit determines the quality of
all important structural lines and either flutters or de- ‘
tracts from the contours of the figure; fit can make the difé
forence between a dress that sells for 317 and one for
870. Dissatisfaction with a garment can more often be
traced to a fault in fitting than in construction. Hence
from the beginning, time should be spent only on garments
'cut from patterns of the size best suited to the individual,_
and checked and altered for preportions that vary from the
average used by the pattern maker. Human figures are not
standardised. The problem of sizing which confronts the
pattern makers (commercial and ready-to-wear) can scarcely
be solved to satisfy everyone. Their basic patterns for
various sizes are based on measurements they believe will
fit the greatest number of figures."1

If the individual is to appear well-dressed clothes
must fit prOperly. This means that the garment should“
follow the contours of the body in the prevailing f shion
without producing wrinkles, bulkiness or uncomfortable
tightness. Not only should the garment fit, but the design
should camouflage the individual's figure irregularities.

\

A An .__A

1. Mansfield, Evelyn A., Clothing Construction, New Yerh:
Houghton hifflin Company. 1953. p.49.

 

A preper fitting garment has the following amounts of
ease - at least three inches around the bust, two inches
around the hips, two inches at the sleeve girth, one inch
at the Wrist and one and one half inches at the ten of the
sleeve cap.

The purposaof the stvdy are (1) to ‘gain experience
and deve10p some skill in fitting; (2) to gain experience
in recognizing common fitting faults; (3) to gain experience
in making corrections of fitting faults in a simple and
efficient manner.

The problem areas were: (1) to determine the accuracy
of fitting with a commercial paper pattern; (2) alterations
which occur most frequently; (3) to determine how well a

beginner can fit; and (4) how to alter muslin models as one

would alter a cut out dress.

This analysis would give a teacher, whether she works
in a school system or teaches groups of extension women
some basis for the emphasis to put on various figure _
problems and the necessary pattern alterations resulting
from then.

 

 

. ‘-. ...—.- __.._._._..

-3-

EROCEDURE

This problem has been divided into three parts.

The first was a preliminary study and consisted of com-
pllliug the results of a problem by Rita Janice Adrosko

and n rbnrn dpilker in the fall of 1956. in their study,
pattern alterations necessary for preper fit were compllled.
This was done by observing Miss Evelyn mansfield's fittings
of a beginning sewing class.

Part 11 of the study consisted of observing the master
pattern fittings of ten girls in Miss nillhouse's pattern
making and draping class. in this class the girls pad
their own forms and drape their own master patterns so
fewer alterations could be expected than when fitting
“the commercial pattern.

The results were combined with the tabulations from
the Adrosho and bpilker study. The tabulations were made'
of the fitting corrections to learn the frequency with
‘which each occurred. This tabulation had not previously
. been made and it was heped that it might lead to familiarity
with the alterationsthat generally have to be made.

quarter-size patterns were then made of the master
pattern fittings of the ten girls.to show the necessary
alterations of each and the manner in which these alter-
ations were made. The reason the patterns did not fit
as initially designed and the corrections made to obtain
the desired fit were listed to explain the alteration on“
each of the master pattern fittings.

Part 111 of the study consisted of the selection of
six figure types to be fitted with a commercial pattern.
This was done to analyze where to alter the pattern and
how to make the alteration. Vogue patterns for all six

-4-

were used for this study. The other student working
on the same study used nimplicity patterns, so that comparisons
could be made. .

The pattern size has determined by the combination
of the model's measurements. These measurements include
bust, wrist, hips, and back waist length.

The commercial pattern was pin fitted to each model.
To check the paper pattern pin fittings full size muslin
proofs were then made up to see if the faults had actually
been corrected. then further alterations were necessary these
were made as they would h've to be mrde in a garment that
had been cut and b st~d for a fitting, since one of the main
points to learn has the im ort ace of seeing errors before
the dress is cut. ‘ ‘

gunrter-size patterns were made to show the necessary
alterations of each of these six models and the manner in
which these alterations were made. 1he reason the patterns
did not fit and the corrections made were listed to explain
the alterations on the paper pin fittings. I

Lastly, the necessary alterations of the two patterns,'
Vogue and simplicity, were compared to see which ones were
'due to individual figure differences and vhich to the make
of the pattern. ‘ '

PART I
PRELIMIN a! are»! or DISTRIBUTIUN or
PIGUuE DeVIATIous REgUIRlNU PATTERN ALTERATIONS

xiia Janice rdroeko's and Barbara Spilder's “Pattern
fitting noblem" completed in the fall of 1956 were used as
background m terial for this study. They observed eighteen
commercial pattern fittings in miss mansfield's class in
beginning clothing construction and analyzed the flaws that
occurred in the pattern when the individual was fitted, the
reason for the flaws and the alterations that were necessary
to coxrect them.

The number of times each alteration occurred and the
fault and cause of the alterations had not previously been
tabulated. This was done and the results were combined
with a tabulation of alterations occurring in Miss hill-
house's class in pattern deaign and fitting. by combininh
the two sets of figures alterations most fre uently needed
by the twenty—eight college students could be determined.

it is interesting to note the number and variety of
fitting problems that occurred during the fitting of the
.twenty-eight girls. see Table 1. Those which occurred four
or more times were considered as eSpecially significant.

insufficient room at the b.ck of the bodice for arm
movement occurred six times. rive of these; however, occurred
in the pattern design and fitting class and were because the
students did not allow room across the back for reaching
forward or possibly these let outs were simply made as
precautionary measures. _

The college girls in this group tended to have a larger
bust than was allowed for by the pattern companies._ In four

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cnaos there was insufficient width at the side of the
bodice becaufle of a 1 rge bust and smell bone structure.

In seven cases the patterns were too wide at the shoulders.
Since patterns were bought by bust «ensurement, shoulders
were evidently narrow in relation to the bust.

Diagonal wrinkling from the neck to the bust occurred
four times. All four of these occurred in the draped mwster ‘
patterns. This wrinkling may be caused from s neck which
is larger than the pattern are or because the shoulders
slope more than the pattern shoulders. It is often seen in
muslin and missed in paper since cloth wrinkles and paper
does not.

Gapring at the armscye occurred very frequently. In
seven cases the front underarm gepped and in seven cases the
beck underarm gepped. The gn~ping at the front underarm is
again related to the large bust of the individual and
indicates need for deeper darting. Uspping at the buck underb
arm may be due to prominent shoulder blades and again shows
need for deeper waistline darts.

The waistline of the pattern was more often too small
then too large; there were four too small and two too large.
This indicates that in six cases the waistline had to be
increased or decreased and in no case could this be done by
letting out or taking in the side seen but rather by in-
creasing or decreasing the dart size.

The length of the bodice pattern was seldom right for
the individual; howeVer, it too was just as liable to be
too short as it was too long. The pattern was too short
seven times and too long ten times. It was too long in the
buck nine times due to over erect posture and five times
there was excess length near the back neckline.

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There were no significant conclusions that could be
drawn from the fit of the sleeve. Most of the alterations
re uired were in the height of the sleeve Cap. Three had
excess cap height and four inadequate cape height; in seven
cases th» can height needed to be adjusted to asks the cross
grain fall level. .

The most significant factor in the fit of the skirts
was that they were too tight around the hips. This
occurred eight times in the twenty eight cases. There was
too much.f1are at the side seem in four cases. This too,
is related to large hips as it is liable to be caused by
a large curve at the side from the waistline to the hipline
and therefore insufficient length of pattern.

Six times the patterns were too long at the center back
of the skirt between the hipline and the waistline. This f
problem occurét when an individual has a sway buck.

Although the sampling is small it is indicative of
fitting problems which arise most frequently among college
women and special attention should be given to an under- .
standing of the cause and cart .ion of those faults.

If the fitter becomes adept at making the alterations
which do occur most often, accuracy and speed will event-
ually result and with experience a better fit of the
pattern may be obtained.

without an analysis of cause and correction, trial (
and error esperiences alone will never suffice to produce ,-'
good results, since they may lead to the practice of m1..'
takes and the develoPment of has habits. ' I

 

...H—

PHDMIUENCE 0F

Fault

Bodies

General Characteristics
‘00 Light all-over. e e e e
TOO 10039 all—over. o e o e
Insufficient room at back .
for arm movement
Loose nt midriffo e e e e .

dide Uodice
EXCGSS Width 0 e o o e e 0
Too tight . . e . . .- . . o

leckline
Too wide an arc . . . . . .
Too narrow an arc .-. . . .
urinkling at side neck. 0 o
Irinkles at front neckline.
Location of neck
flattering

Armscye
“sphing near front undevarm
uupping near back underarm.
'TOO high. 0 e e o e o e e o
T00 deep. e e e o e e o e e

Shoulders - Back
,Excess fullness neur seam o

T ' of shoulder
'Bxcess width at shoulder. .
Shoulder width of pattern .

too narrow,
bPullness below neckline o .
Tight over shoulder blades.
arinkles rddi ting from o 4

shoulder blades

Bust
Pattern too large . . . . .
kCtthD too small e o e e e

dart Hat‘s

'Prominent

hlUURE FAULTS

Cause

Large bone structure. . . . . J .
omnll bone structure. . . . . .'o
IHSUffiCient 393°. 0 o e e e e e

“mull rib cage. o‘e e o e e e e 0

Large bust, small bone structure.
Large bone structure. . . . . u..

dlnflll [leeks e e e e e o e e e e 0
Large DECK. o e e o e e e o o c‘e
Insufficient clipping at neckline
Mellow chest, forward heed. e e .
Prominent sho lder blades . .*a e

Large-busted. . . . . .
Prominent shoulder blades
Large arm girth . . . . .
small arm girth e e e e e

O O O O
O O C O
O

bloping ShOUlders e e e e o o d 0

Narrow ShOUldGrSe o e e o e o'e 0
Bread shoulders .

e e e e o e e e

e
. -
8

shoulder blades
Prominent shoulder blades o
iromineut shoulder blades . o-.{.

o
O.
2

email—busted. . . . . . . . . .t.
Large-busted. . . . . . . . . e e

IO¢DG>'hDGD CD

_ Times
Occurring

huh

NH‘CDNHD

HHQQ

.30

 

 

-9-

TABLE l-Continued

Fault Cause Times
‘Qccurigg_

Bodice, cont.
ust, cont.

"'Bh13e !t point of bust dart small-busted. . . . . . . . . . 2
lxcess length vt bust level Large-busted. . . . . . . . . e . 2
at center front '
wrinkling - neck to bust. . Insufficient neckline c lipping. . 4
too much darting
Unpping — bust to armscye . Large-busted. .'. . . . . . . . . 3
Irinkling - Point of waist. Insufficient darting. . . . . b l

dart to side seam at
waistline

Point of yoke beyond crmscye Design fault . . . . . . . . . . .1
front and back .

waistline
Pattern too small . . . . . Large waist . . . . . . . . . . 4
l'nttrrn LOO large ole e e .DMflll waist o o o e e e e o e e e 2
Pattern too llrge at b” Ck e Unusual bOdy structure. 0 e o e e 1..
Length .
Pattern tOO short .,. o o e T511 stature. o e e e o e e o s 7
Too short at front. . . . . Large-busted. . . . . . . . e . 3
TOO long. 0 e-e o e a e e e short stature. o e o o e o e e o 10
100 long at bflCKe e e e e e Erect posture e e 0's 0 e o e o 9
100 long at front e o e e 0 'Slightly BtOOpOde o e e o e e e 1
Excess length near back . . Erect posture . . . . . . . . . 6

necaline

Sle-ve , - , ._.

Length
Pattern too short . . . . Long arm. . . . . . . . . . . . . 2
Too long between shoulder . short upper arm . . . . . . . . . 2
and elbow -
Too long between elbow and. Short lower arm . . . . . . . . .2
wrist '

Uirth
hxcess width at girth . . . omell upper arm . . l
insufficient width at girth Large upper arm . . . . . . . . . 2

Cap
hxcess cap height . .-. . . . Armscye too small for sleeve. . . 3

 

——

-10-

'1‘ ABLE l-Contimwd

Fan 1 t

shave , cont .

to cont.
I

Shir

nadequate cup height . . .
Too much ease in cap. . . .

Center of sleeve not falling

on shoulder sea. ,e

leistline

iattern LOO IDIlle o e e o
fattern tOO large. 0 e e e
Too nach'curve it waist. e

[ups

Putt" n too tight 0 e e e o
T00 10088 e e e e e o e e 0
Too tight at front hipline.
loo loose at front. . . . .

'Tightness in bRCk o e e o 0

Horizontal wrinkling at . .
side front
Center front dart too large

length at hinline
»flPatternut00uleng..eemn..ae.

Too dong at center back . .
Too long at center front. .
Too short at center front .

Seams

Narrows at hem line . . . .
aide seam hunks forward . .
”ids seem too far buck. . .
Center back seam sticks out

Too much ilsre at side seam'

Cause ’

sleeve too small for armscye.a. 9
Poor pattern design . . . . .

BOdy posture. o e e e 0

Large waist .
bmnll waist o
Large waist . . . . . .

Large hips. . . .

omnll lliPSe e o o o e 0
Large thighSo o o o e e
Too much Isrting. . . .
Full rounded hips. . .
Insufficient darting.fl.

Fl’m Stomache o 0'. e e

”mall hips. e o e o e
bway back e o e e e 0-
Full hiPB e e e e e e
Protruding stomach. 0

Big curVe from waist to

Pattern fault or large hips . . .
Excess pattern length center back

5W8y b80k e 0 Ole o o o

’away back 0 e o e e e o

O O C 0

hip

Times
Occurring_

fiDth

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-11..

PART 11
OBSERV2T10NS 0F FITTINGS AND uncoun1mu or CHANGES
' ON QUARTER SILE PATTERNS

The master pattern fittings of ten girls in miss uill-
house's class in pattern making were observed to gain ability
in recognizing flaws, analysing the difficulty and making '
the neceszary alteriticns._

”To learn to fit successfully, one must observe the'
figure keenly and study the relationships among its
contours just as a sculptor would do. One must become
.sonscious of grain in order to knos where and when to
adjust it. and one must learn to trace wrinkles and
unvanted bulges to their orgin in order to know whether
they are caused by figure irregularity, mistake in pattern
shape, or nosture." ‘

The girls in this class had previously padded their own
dress forms and draped their muslin master patterns on the
dress form. sleeves were drafted to each individual's arm _
measurements. The master patterns, therefore, could be ex-
pected to fit better than those from standard cemmerciel_paté
tsxns used in Part 111.

many of the inaccuracies in fit of the master pattern
were a result of the individualis lack of experience in
draping. Uther inaccuracies were due to posture and figure
variations of the individual from the padded form.

”There are two possible fitting procedures, and both
have their advantages. The first one is to open the seam
lines and 'rcdrape' the section requiring alteration. This
method is useful when some experimenting is necessary in

‘0 lbids. p0 1960

order to determine what changes will improve the fit and
seen the design of the garment. it is also a good pro-
eedurs for an alteration involving only a short seam line.
out rat's complicated alteration, it requires not only skill
in draping on the part of the fitter but also tiresome standd
inf for the person being fitted. The second method requires_
less of both persons involved. ror alterations can simply
be indicated during the fitting by pinning up darts and
tucks where there is excess; marking linvs for slashing
and spreading where more case or flare is desired; and
lurking in new lines with pins where a seam or a dart
line is poorly placed but the fit is correct. This is
twally fitting through 'blocking', and has the double
sdvant go of requiring less of the fitter's time and of
being easier for the amateur to do. There is also less
chance of losing the lines that are already correct - an
advent ge of no small value; the changes are transferred
to a paper rattein hhich is then altered and used in
-rennrking the correct lines on the dress.“1

in watching the fittings, a gr at many different
fitting problems were observed. mach pattern was made
in quarter-size so as to illustrate and explain the
alterations that mere made and to help develOp skill in
Imking alterations. Quarter-size patterns of the changes
are illustrated on the following pages with the explanation
of each on the facing pages.

more fitting treblems were found in the bodices than
in either the skirts or the sleeves. The most common
f ult, occnring five out of ten times,_vas that the bodice
was too tight across the back and did not allow enough room
L. Billhouse, Marion 8., & Mansfield, Evelyn A., Dress D03182'

New IorkI heughton Mifflin Company. 1948. p. 196.

 

-13- . '
F

 

for on. movement. This should always be checked by having
the model reach with her right arm across her chest to the
left shoulder. This is apt to be forgotten by fitter.
Diagonal wrinkling from the neck to the bust occurred
four times. This is c used by patterns being too high in I
the shoulder or the neck too large. In one case this Was ‘ :
caused by a large neck column and was remedied by simply t
lowering and widering the neckline; the other three hnd‘a r
dart pinned out from the bust running to nothing at the . E
neckline. then this dart w.s transferred to the bust dart ”L [,

 

it reduced its size. ' . f
Some/of the girls had trouble obtaining the correct -

bodice length; however, there were as many bodices too 3 _ l
long-wristed as too short-waisted - three in each case. I
Three sleeves had short caps. They were raised the preper

amount and the cap readjusted so as to maintain one and

one half inches of ease when inserted into the armscye.

The fault occurring most frequently in shirts was that - ’
they were tight. Although this occurred four times,
only one of the skirts needed to be slashed and Spread;
the other three were merely increased at the side seen
from hip to hem evenly to avoid changing the hang of the
side seam.

The number of alterations made and the reasons
responsible for the alterations were combined with
lhrt I of this study and tabulated with then. The . , }
total number of problems arising and their frequency can
he‘deternined from part I of the study. ' ‘»

Code for Quarter-Size Patterns - ‘ h
original pattern line ' ;
final pattern line ' ‘ r

intermediate pattern line-
—m a line iormed after an alterntion,
but not the final line.

 

 

FAULT
Bodico

Not enough room across
back for arm movement

aboulder noum not atrhight

firinklinx
bust point

from neck to

brinkle'ncroaa front of
shoulder from prominent
neck bong

8:00" 13' good

-14-

cunm-zc'r ION

Increase width of bodico bdok
at loner armscya

atraighten shoulder scan

Clip and lamer at the neck
nem3r1.ncck11ne

Hun shoulder front dart down
to bust point '

i’1n out dart from armacyc to
neck seam

—-

‘

~19

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PAUUT
Skirt

'5kirt 1- too tight

Side eenn too for bnok

-/6 -

CORRECTION

Slash between how and darts on

front panel and let our 1/4" at

hip level

Add on to side seam from hip to!
hem of back panel. Remove samei

amount from side seam from hip
hem of front panel.

.—.. 7*... w-v *1-

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-/’_

PAUDT
Bodies

Blouses too much in back

Neck of blouse too low due LU
to small neck 1

Tight across book of blouse
Too wide at tap of shoulders

Armecye too deep

maistline too short in front

Shoulder dart not flattering
Sleeve

Sleeve too long between
shoulder and elbow

-Center of sleeve cap in
front of shoulder line

suflsisewneck line at the front

CORRECTION

Lap out.l/4" tuck at center E
back to nothing at side seam

Increase width of bodice back
at lower armscye

:Iw'www—v-UW' *

_ ‘77-‘-

Redrdw armscye, nattoring 1t
at top of shOulders

Raise at underarm E
Lower front waistline by drapinJ

Change to a neck dart l

Lap out 1/2” between shoulder
and elbow

Hove sleeve esp back

 

 

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FAULT
Skirts

Side eenm on skirt falls for-
word

I Center back seam sticks out

s1de front dart too big

CORRECTION

Lap out tuck irnm center
back to nothinfi at side seam

Take out 1/4” on center back
seam end straighten seen

Lap out tuck from point of
dart to hem

www w—r—v

 

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...23-

FAULT

Bodice
Neckline are too large
i’light too tight across
'bust

Wrinkle from point of back
waist dart to bottom of side
seam

Back shoulder dart not
flattering.

Sleeve is correct

CORRECTION

Raise neckline front and back

when transfering shoulder to
waist dart, use point of should
dart as pivot point °

Pin out dart from point of bust
dart to armscye. During classi
was done by redrapeing the back
to increase the dart and corred
the armscye and side seal

Change to neck dart

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FAULT - , CORRECTION

Skirt. .
Center front waistline needs kaise skirt at waistline at
to be lifted center front
Skirt too tight Add 1/4" to each side sea-

from hip to hen line.

 

,v
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-FAULT

'Bodice,

Neckline too high at sides

Shoulder seam pulled
Back shoulder dart unbecoming

Fullness at shoulder seam
Qapning at brck armscye
Tight over bust

Not enough room across buck for
arm movement

haistline too short at center
front

*aistline too long at center

Sleeve

Cap too short

CORRECTION

Lower neckline at side front
and side back

Release end of shoulder dart
Transfer to neck dart

Increase depth of back shoulder
seam .

Pin out tuck from armscye to
shoulder dart

Use point of shoulder dart for
pivot point

Increase width of bodice back
at armscye'

Lower waistline at center front
by draping. -

Pin out tuck from center back
to nothing at side seam.
During class this was done by
draping

Increase height of sleeve cap

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-29-‘

PAUUT CORRECTION
lkirt
I Loose at waistline , Take in at seam line from hip

to waist. This could also be ‘
done by deepening the darts.

 

-‘3/_

no L'l‘

Bodies .
Shoulder swam too loose

Excess fullness between bust
and neck

Too long waisted at center
back

Not enough room across back
for arn movement

Blteve‘
Sleeve too tight at girth

Sleeve too long between
elbow and wrist

CORRECTION

Pin up shoulder seam on both
front and back

Pin out dart between point of
front waist dart to nothing at
neck edge

Pin out tuck from center back
to nothing at side seam

‘Increase width of bodice back
at'lowerrarmscye

Add 1/2" at girth of sleeve
by spreading at quarter lines

Shorten l/d' between wrist'
and elbow

 

 

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FAULT

Skirt

Too largo just above hip

Skint wrinkling at cantor
front below yoiotlino

CORRECTION

Take up soon both front and
back

Add on to skirt at wuiatlxng
ot center front

...-H n.- m. . :- ...--

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-.3:’;-

FAULT
Bodioe
wrinkle from hunt to neck

Not enough roou ocroee book

0

Too wide at shoulder

Sleeve
Cap too short

‘Sleewe too long between
elbow and shoulder

Center of eleeve fallinc’
behlng shoulder seen.

 

' , .4‘
j.“

 

CORRECTION

line was mkc.d and the depth of
shoulder dart incre sed by
draping.

Increase width of bodice beck
at lower nrmsoye

Redraw ormscye. neking it

.nerrower at trout end back

shoulder sea-

Increaee height of cup 1/2"

Shorten sleeve 1/4“ between

L

E

F
Pin out dart from neck to bust
point. During class a new new
elbow end shoulder

Howe eleewe forwerd 1/2'

T— T‘fi rev-

 

.. 36"

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m nee}

lepth 01 1

p beck

not
non

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Skirt

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eurwee too for up it et side front and back

 

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FAULT CORRECTION
Bodies
Darts in front too short too Lengthen shoulder dart end.
tit'nttractiwely waistline dart
Short waisted in front end Slash front end beck pettern
beck . pieces and spread
Sleeve

Tight et girth line, but tits Slash on back quarter section

et wrist end spreed et the shoulder to
Are lerger et beck nothing et elbow

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FAULT . *' CORRECTION
Skirt
Sid. noun swings forward Lap out dart from center bacv
- to nothing at side soul -
Tight from hips to hem Let out 1/4" on side loam fr
' . and back from half-way botwe
waist and hip to he. ;

Short at center front Add 1/4' to waistltno pt cam;

front
5" i

 

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FAULT
Bodies
Fullness from bust to neck
Fullness from bust to arm-
scye -

Armscye does not fit due to
underarm dart

Back neck dart unflattering
Short waisted

Not enough‘room across back
for arm movement

Sleeve

Too Inch ones in sleeve cap

CORRECTION

Pin out tuck from point of bm
dart to nothing at nook odge

Pin 1n underarm dart

Hedrape ermscye

Transfer to shoulder dart

“engthen pattern by slashing
and spreading. In close this
was done by draping

Increase width of bodioe back,

at lower armscye

Take out tuck across top of

sleeve and restore cop. Never

1 1/2” Of .8800

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, stunt ,‘ '. ' _ CORRECTION
Skirt '

Fullness st osntsr front dart Pin out took from tip of
dart to nothing st hsl "

 

 

 

 

 

 

 

 

 

 

 

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FAULT
Bodies
Armhole too high
Brinkle from armhole to
bust point

Long waisted at center bask

Sleeve'

rosjnush.fullnsesuin;osp

CORRECTION

'Deepen armhole by draping

Let out underarm seam l/4"M
armhole to nothing at waist-
line

Shorten blouse at center has
'nothing at side seal

Narrov,oap by taking in at
edges .

 

 

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FAULT ' CORRECTI 0N
Skirt

'Iaistline too curved ' Redraw waistline eurve

 

 

 

 

 

 

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-55...

PART III
t\r-R1HENTAL communalln PATTERN FITTINGS
AND MUSLIM PROD! onscxlnc '

“lav faults in fitting cannot be corrected after the
“reset is out. All alterations are easier to make in the
”More. ani accurate patterns are essential to quick and
easy suing. ....ritting a paper pattern directly on
in. "figure and making adjustments is easier than taking f"
to” nosmrments and checking them against the flat pattern.
......ymmt. help in checking alters, tions already mdde, but '
Is est shes the kind of pattern changes needed.”

sis collcge girls of different figure types and irregulé-

i I
A .

ariiios sore chosen as models for this pi rt of the study. 5;,
tho else of the commercial pettern to fit each girl '.

us “immined by taking -the follo-«ing measurements: bust,
eeisi, hips, bnok waist length and front waist length.

Vogue patterns were used in fitting all students and
its method of taking measurements advocated by Vague
reitern Company were used. .

at the same time that this study was being conducted
its same study was done by another student using simplicity
veiierns. A comparison. of the fit of the two makes of
saunas will be discussed later in this paper.

a basic dress pattern was used on each of the models. °
.e'r students needed (according to Vogue) a size 14 pattern

._ - . r . . _
. . Lac" when; - ...-'4. 19-. ,’-_m:;.-:.'- " l 7,... 9x.

as! the romnining models needed patterns size 16 and 18.
nus-Vogue Basic pattern was used to fit all of the models.
The paper patterns were pin-fitted to each student
aeesrding to the method described in Clothing Construction
by Avelyn A. Mansfield. - ' ._- s as --

 

i. Usesfield, lively!) A. Clothing gonetruction. Nev Iorki
heughton Mifflin Complny. 1953. p. 63.

i

 

 

 

—- .h

 

«am-pucnua-am”. ____ _

' 'L' 3‘2””- '-.‘

fl.—

—5e- . ‘ E

trying on the Pattern ,
I. wit in paper pattern over'a slip and the type of F
foundation garment you will wear under the dress. .
...l “but tb. ribbon bands around neck, bust, waist, and , r
Mp. ( Mark center front and center back on‘the . L," E

ribbon bendl.) , , l.;

I. -ii; irto the pattern carefiny in order not to ._ w~1 i h
F

I

i

i

 

tear it or loosen pins. Leave unpinned the top

2 inchs of the underarm seam to avoid damaging

it. Do not bring the arm down close to the side V

during the fitting. gig;
t. AnChOl’ the pattern by pinning it (a) to the neckline .

band at center front, shoulder seam, and center back;' . ’

and (b) to the ether bands at center front and back.1 ”’73:.

ill situations were made on the paper patterns using “I!
(In! in. t-onstruction by .;velyn A. Mansfield and Dress . ‘ -'

Design Hr.ning and Flat Pattern Making by Marion 8.

.E
lilihcuse and Evelyn A. Mansfield as references to
‘ I

deter-ins the proper method of making the alterations. .

‘be alterations made on full-size patterns VOIOOOPiOAff;
ee quarter-size patterns to be used to illustrate this
pas-er. in illustrating the quarter-size patterns, the

fellesing code was used.«

 

 

original pattern line
final pattern line

intermediate pattern line- -
"'a line formed after an alteration,
but not the final line.

H

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A -‘~J‘.

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‘0. l‘ide' p05.

 

 

 

The reason for the alteration and a description of
u go so the page facing the illustrations.

g.‘ only was the fit of the pattern analyzed, but
..." changes in design that would be more becoming to
..., {“uf' were attempted.

the altered, full-sise' pattern was used to make a
....u.‘ proof for each of the six girls. This dress was
...ie tried on each model and analysed to see how successful 3
the paper fitting had been.

'During all fittings the model should stand before a
ainor so that the fitter may see her results without
twin; to move away from the model. Matching the progress
ef the fitting also encourages the model to keep her head
up and face forward. The too—curious person who insists on
touting around to see what is happening is the'fitter's
has. The fitter should stand or ‘sit as she works, whichever:
peeition brings .the part requiring adjustment to her eye'
but. All fitting should be done with the garment right f
.u. out, and it should beam. on only one” side. 111 oil—anus
should be transferred to the other half of the garment .rmf'
the fitting. 1 “

The fitter, before making alterations should settle
the auslin proof on the model, step back and view the
ledOde .

Additional alterations were made on the muslin proofs
as they would be on any already constructed garment to ,see
if they could still be corrected.

These changes are described but not illustrated in
o'erter-eise patterns.

 

..58...

Vogue llaster Pattern

 

 

 

 

 

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—*$

VOGUE PATTERN

03h TULSE BODY MEASUREMENTS
TO CHOOSE YOUR SIZE

 

 

 

 

arm length . . 18 1/2 18 3/8 18 1/4

.
.-

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”it” e e e e e e 3 10 12 14 16
'0“ Bill‘ e e e e e O 29 30 32 34 36
'Ii‘t e e e e e 23 24 25 ' 26 28
3"‘5 51p . . . . . . 31. 32 34 36 38
”IOR length, .
neck to waist. 14 1/2 14 3/4 15 15 1/4 15 1/2
... length . .'. 15 1/4 15 5/8 16 16 1/4 16 1/2
‘ 3‘89 e e e e e e 9 11 13 15 17
"" Bust . . . . . .30 1/2 31 1/2 33 35 37 -
1ni1t . . . . . 23 1/2 24 1/2 25 1/2 27 28 1/2
’”"““ Nip . . . . . . 32 1/2 83 1/2 35 37 39
uses neck length, h ,_1- -~
neck to waist. 15 15 1/4 15 1/2 15 3/4 16
,U.( 0129 e e e e e e10 12 14 16 18 . 20
'r‘ ‘3 but 0 e e e e cal. 32 34 36 3") 40
‘go 1‘91. e e e e o 24 25 .26 28 30 . . 82
.(ur’ "ip‘e e e e e e 33 I 34 36 38 4O 42 -
' Hicklength, ‘
nvch to waist. 15 3/4 16 16 1/4 16 1/2 16 6/4.17
arm length . . 17 17 1/4 17 U/4 13 1/4 16 3/4 18 6/8
bize e e e e e e40 42 44’ 46
DUSt e e e e e e42 44 46 48
aist . . . . . 34 86 38 1/2 41
"if! e e e -e s e 44 46 48 50
”Bfitklttgtkiat. 17 1/6 17 1/4 17 3/8 17 1;2
18 1 8

A—L 41.44

 

 

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FAULT ° connecriou
v Bodice
rront, long waisted Fin out tuck between .
. - center front and side seam
hack, long waisted ‘ Pin out tuck between center
back and side seam .
'Too much fullness increase sis of shoulder
across shoulder dart
sleeve
sleeve too long . Shorten sleeve 2 inches bet..
a ‘shoulder and elbow and l ind
' . ' below elbow
Too much ease in Lap out tuck across tap of
sleeve cap . sleeve. have 1 1/8 inches of
‘ - 038's '

 

 

 

 

 

 

 

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’ nodel so. 1 was a very small girl. “or body measure-
..nte were as follows: bust - 34", waist - 25 l/2", hips-
'3'. back waist length - 14 3/4", front waist length - 13".
.georrling to her measurements she needed a teen pattern,
else it, as her bust measurement was 34 in~ hes and her back
e.tst length was short. a Misses' sise 14 was fitted to
Mr. this was not the best sise because it was long waisted
and roony across the back.

the preceding pages can be checked to see what alterations
were nude on the paper pattern and the manner in which these i
were made. "hen the muslin proof was tried on and analyzed 1
the following additional alterations were necessary.

The back shoulder area was to wide so a tuck was lapped '
est fros point of back shoulder dart to point of waistline ‘
east. rhis necessitated recutting the bodice back from the
Corrected paper pattern.

ill. back bodice was too long waisted at center back and.
was shortened by pinning out a tuck at center back to nothing
st the side seen. .

Looseness at the shoulder seam was pinned up making a
see shoulder scam.

the neckline arc was lowered “at the center front and
raised at side neck.

the 31.... was too full to be attractive. as tuck was
taken out of the length of the sleeve on the front quarter
line taking in more at the elbow and nothing at the cap and

The waistline of the skirt did not curve ergugh so was
lowered at the center front and raised at side front.

.’ g "g

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' ~ 9

j g -7. a

(s)

-84—

 

Bodice .
Shoulder seam too loss
Too much fullness under-
.arm at side front

Waist too short at center
back

Sleeve

Too much fullness and
height in cap

Sleeve too long

CORRECTION

Pin up shoulder seam on boflr
front and back

Increase size of bust dart

Slash and lengthen at centuf
back

Pin out tuck through oap

Lap out 2 inches from shouu'4
to elbow and 3/4 inch from.
to wrist - ?

 

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Model I! had a large bone structure with ample flesh

ngtelbuti'oa. She was very high and rather large busted

.n‘ slightly sway backed. fler measurements were as follows! _
.U“ " 33" '“fl "' 29 1/2"e hips - 41", back waist length— '
I. ”2". front waist length - 14 1/2". According to her° l ’_
euresents she needed a misses' pattern, size 18 as her ‘ ' {r

‘ *. smite-‘1'

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test seaeursment was 38 inches. . _ If
he suslin proof fitted very well through the shoulder -

area. A diagonal wrinkle ran from the bust to the side
.... so the side scan was ripped and redraped to increase
u. curt size and eliminate the wrinkle. The alteration ..
’sas ends by draping to avoid transfering a pinned correction
Q. paper pattern and then recutting the muslin. "
the center back of the shirt was too long from waist

to Mp. The waistline was' ripped and the top edge of

shirt turned under to reduce length from the waist to .
Hp. Any edge correction is easier to make after the dress
is out as.it does not involve recutting but often does not I“

[1v 1).;-

 

‘ “WWW . 4 FW“ WW. W‘ W _ ‘ ‘-

sslve the problem. . . .
the model's left-hip was noticeably smaller than the

lhht hip. The skirt looked better when the smaller hip
«I nodded than' if the hip was tightly fitted since this
ads the difference more noticeable. .

Llhe the preceding case the sleeve was too full to be
attractive. The width at the girth of the sleeve was
eutistaotory. but needed to be reduced fro. the elbow to
the srist on the front quarter lines.

 

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FAULT . coimacrlun

Bodies
heist too large Redraw side seam
Transfer underarm dart Poor design for broad
to shoulder dart ~ shoulder
Neckline toohigh Lower neckline curve at
at center front center front

31eevs

fToo much ease and heiglh Lap out 1/4 inch in cap'
“in cup _ ' ' g. ,

 

 

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-70

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-71..

Idol 1!! is a tall, well-proportioned girl with

Deed shoulders. Her body measurements were as follows:
be" . as 1/2", waist - 27 3/4", hips - :56 l/2“‘ back-
....| lcfl“h - 16 l/Z'. front - waist length - 13 1/4".
... ensure-eats were quite close to those of the size
It alsns' and-women's pattern -- bust - 86", waist 28",
.... - 35-, and back waist length is 1/2".

ten few faults were section the paper pattern when
ne-fltung this girl. " Adart above the bust line put
Is «no. the pin-fitting was much more flattering _to_ ___
use eo'iel. Not only did it produce better fit by keeping
he but grain line level, but also the dart line at the
unite: diminished the width of her shoulder. The bodice
e! we auslln proof fitted very well.

the front skirt dart was placed too far. from center.

the sodsl has a prominent shoulder ball which required
sentinel length at the front of the sleeve cape

Its sleeve pattern was too wide at the wrist and .was
'O‘IOO‘Q ' ‘ '

 

 

972-

TPAULT

Bodice

Dart poor design for
individual

Front waist dart too
large
Too tight across back'
Gapping at back armscye

Back too long waisted

‘Pattern size to small

Sleeve

Too much ease in sleeve.

cap

6

CORRECTION

Change to French dart line.
front and back ,

Transfer into French dart line

Slash at waist to nothing at
armscye and spread

Pin out tuck from armscye to
shoulder dart .

Pin out tuck between center back

to side seam -- , “*w

Needs a size 16, Junior Miss

Lap out tuck across top of
sleeve. have 1 1/2 inches .
of ease.

7v .rv‘: —wr WW .

 

 

 

 

 

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Model IV's body measurements were as follows:

bust-- 36 l/d", waist - 27", hips - 89 3/4", back waist
length - 16 1/4', front waist length - 14 3/4",. Her

“waist was small and hips lurge - the normal difference.
being ten inches. she was somewhat sway-backed and round
“shouldered. .The size 14 misses' paper pattern was too small
for the model. A size 16 in a junior miss would fit more
closely according to her measurements.

The design of the pattern-was.changed at the paper
fiattern fitting to one with a French dart line. This .
design balanced the grain at the bust level by having part
or the darting above the bust. It also made fitting the
pattern much easier as there was an additional seam on
which to make adjustments.

. There was a slight bulge at_the back of the armscysy
however, rather than darting it out a small thin shoulder.
’psd was tried. This absorbed the pouching as well as
raisethhe model's'sloPing_shoulders.

‘ The sleeve hung too loosehv This was corrected by
‘pinning out a tuck on the front and back quarter lines
beginning with nothing at the cap to one fourth inch

at elbow to nothing at the wrist. in altering the sleeve,
‘it is helpful to check the individual's arm measurements
Against those of the sleeve draft to predict its probably
fit. . ' ,. -

On this model a skirt with four or six gores would
.have~been more becoming than a two gore skirt as the
Tsdditionsl gores flare more .t side front over the thighs.

 

 

-78...

./ z
. I /\ \J /

FAULT '

 

Bodice

Long waisted at center
front

Too narrow across should-
ers '

Neckline too high at
center front

Diagonal wrinkle from
bust to arnscys

Darts poor design for
individual

sleeve
Sleeve,too short
Sleeve does not fir arm-
hole after bodice alter?
ation '

sleeve too loose

CORRECTION

Shorten blouse at center front,
nothing at side seam

Redrawtop of armscye, widening
it.

‘Redraw neckline curve lowering '

at center front
Pin out dart froa bust to arascye

Change to French dart line

Lengthen sleeve below elbow l '

Pin out excess through cap

Pin two.tucks on quarter lines -
l/2 inch at wrist to nothing at
cap

‘-—-—-—. “—1— — WW w:

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~79-

Hodel V isya tell angular, very thin girl. Her
body measurements are bust - 34", waist - 24 1/2", hips 9
35", back waist length - 17 1/4", front waist length -
13 1/2”. The size 14 pattern which was chosen was made
to fit an individual with the following measurements:
‘ bust - 84", w:iet - 28", hips, ~36", and back waist ,
length 16 1/4".. ' I
The design of the pattern was changed at the paper

pattern fitting to one with a French dart line. Al Di
the preceding model this design change balanced the.grain
.st the bust level by having part of the darting above the
bust.
_ The waistline of the dress fitted too loosely. lt_isi
better to fit a thin waist snugly rather than too loosely
so it was taken in by increasing the darting. There was
extra ease in the bustline, but this helped to camouflage
_ thinness or flatness at the bust. . ~

Additional length tee needed .t the waistline of the
shirt at center front and center back.

The neckline was raised in the center back at the
_mnslin fitting. eince it was en edge correction it was

1‘.“

leasily and quickly done.-
The sleeve of the muslin pattern fitted very well
and needed no alterations. nowewer since the model was thin,
. small thin shoulder pad added to the attractiveness
of the garment by producing extra thickness at the »
shoulder from the profile View.

__...__.V_ T ——-——

w.” .—.-——

 

 

 

FAULT

Bodice

Too short at center back

neckline too high at
center front

Too much fullness at bust

Too long waisted at center
front

waistline not at wuist
after alteration at side
see-

nrmecye too deep due
to draping

Too much fullness under-
arm at side front

SiOOVO

Too much fullness and
height in cap

CORRECTION

slash and add length at center
back

Redraw neckline lowering at center

front

hengthen waist dart to bust point
Pin out 1/2 inch tuck from

center front to nothing at side
seam.

Redraw waistline‘
Redraw armscye

Redrape side front changing
armscye

. Pin out tuck through cap

 

 

 

 

...X/_.

‘t ‘I
‘0‘“. .

 

 

~80?“

Ex

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tilt-I I VJ

 

Model VI needed a size lé‘puttern as her body

‘ measurements were bust - 35 1/2", waist - 28”, hips - 37”,
back waist length - 16 8/4", and front waist length - 12”.
She was slightly round shouldered, had a prominent clavicle
and‘wns largo-waisted in proportion to her bust and hipl.
nsr posture was poor and she had a tendency to lean
backwards when standing.

Two alterations were made on the front of the
bodice. the neck was raised at center front.

’firinklcs or pouching from the bust line to the
armscye still remained and-those were eliminated by ._
easing the excess into the underarm dart.' This was ripped 3"
and draped on the model. ‘ i ;

“scenes of her high chest, a V-nech would have been
nore.becoming than the high round basic neckline. '

rhe darts in the skirt of the muslin dress were
placed poorly for the model's figure. The darts were
redrawn to a more becoming position. i

The sleeve was too long from shoulder to elbow and
was shortened 1/4 inch in the muslin. I

'stRT or VOGUE PATTERN

Fault I , Correction
_ shirt
‘ Poor fit . A Add darts to center front end
' to center back
side seem swings _ ~ Dart out tuck from center
back front and center back to ,
new second darts to be formed.
inadequate width 'Redrnp side sea. from hip to hot.

at hen edge adding width.

The design of the Vogue master skirt pattern is
tubular in shape. the width at the hip line, the hem
line were the same, being very difficult for the average
figure to wear. This was true with each of the six models
chosen. in each case the skirt at the paper pin fitting
wasmcompletely redraped on the model.

at the-muslin fitting excess width at the hip line in
all cases and pouching of darts at their point, indicated
that the shirt had been overdarted at the paper fitting
therefore a dart at the side darts in front and back was
taken to nothing at the henline.

.——7 .v

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‘ ir', "

-87- ' - - a“

A COMPARISON OF VOGUE AND SIMPLICIT! PATTLRNS

Vogue patterns were used in fitting all of the six students.
The alterations made were compared with alterations mode inc
second study by another student using simplicity patterns to
fit the same six girls.

ihe simplicity pattern had more case allowed over the bust
than did the Vogue. The ease in the simplicity pattern

.neasured 4 1/2 inches. lhis was an inch wider across the bust .

and approximately 1/4 inch wider at each shoulder seam than!“
the Vogue pattern. The waistline circumference of the two *;'
patterns was the same. ihe,¥cgue pattern had a larger bust
dart than did the simplicity pattern and a smaller underarm
dart. ' I '

ihe vogue pat ern h(d slightly more length at the center
back of the bodice.

When the sleeve patterns were compared, the width at

'the girth of the two sleeves was the same; the Vogue pattern

was 3/16 “narrower at the elbow and 1/2“ wider at the wrist.

. both patterns had a long sleeve cap. Vegue’s sleeve cap was"

6 1/4" high and simplicity's 6“. The draft in the text, Dress

r” Desi n. by narion s. nillhouse and 37013‘3 ‘,filgnsfield has

a sleeve cap of 5 1/4“. - ‘
The most cvbious difference between the two patterns
was in the_shirt. Vague's shirt pattern appeared to be

”narrower at the hem than at the hip level, whereas °1“911°*t".

skirt flared out at the sides. 1he comparative measurements

are as follows: Beg ue . Simplicity
width at hip level 37 81/2“ 38“
Width at hen as" 48 1/2'

Vogue had one large dart at the front and one in the back of
the skirt. Simplicity had two smaller darts in the front and in
the back. 'The two smaller darts produced a better fit. The'
one large dart with the narrower shirt tended to produce a peg

'top which is fashionable at present, however, it still left the

side front from the hip to the waist tight and it strained over

4|. 4. 1.4.. has.-.

 

-88..

In fitting the girls, mrny cf the same alterations nor.
made on both patterns. More alterations were necessary to
produce a desired fit in the shirts of the Vogue patterns
than were necessary in the bimplicity patterns.

l‘he Vogue patterns generally fitted better around the bust'
than did the Simplicity. Many of the simplicity patterns had
too much ease over the bust. then Model l was fitted, a sise
12 Simplicity pattern was used and a size 14 Vogue pattern
was used. . I

Esther fiieman in her thesis, ”A Comparison of the Sises
and Shapes of Dress Patterns Made in Five Commercial Pattern
Companies", stated that Simplicity and Vogue Patterns are node
to fit an individual of the following proportions.

Vegue Pattern

Neck - medium, well-proportioned front to back and side
O to side, medium frcn neck base.
Shoulders - long, medium shape, curved shoulder with high
tip at nrmscye, rounded in back.
Chest - hide through front and back, comparatively  flat
in front and rounded in back.
Bustline - full front and back, medium to low front with _
fullness at lower bust, rounded back. 7'
Rib cage - small to mediun, tapering markedly to waist,
comparatively narrow front to bach.
Arnscyos - deep, narrow, proportionately longer and fuller
in hick than in front. '
'Arms - long through upper urn, fairly full girth tapering
to lbow. ‘
Iaist length - long center front and center back with great
deal of back length from shoulder to scye to waist. I '
waistline - small total circumference, wide through front.l'
flip - small, flat back, prominent hip bones. .

v e

-ao.

Simplicity Pattern

Neck — small to medium, well-proportibned front-to back ; ...
Qand side to side, medium front neck base. ':
Shoulders - short to medium, medium slope, erect, camper—p m
ntively flat back. 1

Chest - narrow to medium front and~back, rather straight/5
back. '
- Bustline - medium with greatest proportion of fullness
through front bust, comparatively flat in back, mediu-
_ to high front bust, erect posture.
’ Rib cage - medium.
Armscyes - medium, well-preportioned (erect figure). ‘ [5
Arms - medium length, full upper arm, tepering from elbos'
to wrist, small wrist. - ‘P the,{
heist length - medium length at center front, medium to l
short in back, medium side length. , ' e¢.,
Waistline - medium '
Hip - full back, ample but gradual side hip curve coming
rather low, rounded stomach. . . n_[§

 

-90.

CONCLUSIONS

Accurate body measurements must be taken before buying
a pettern. For figures of average weight in relation to bone
the best pattern size can be determined by following the
bust, waist, hip, and back vaist length measurements. The large
boned unguulr figure will find fitting easier if she buys :
a larger size than her bust. ihe alterations can be made h
through the bust to remove the excess while the shoulders
and waist length will fit better. a pattern of a smaller
[size than bust measurement will produce a heater effect and.
'slteretions to increase the bustline require only elementnry f
knowledge of pattern shaping on the short, small-booed woman.
speed and accuracy er: important requirements for pattern
fitting. ihe more quickly the individual can be fitted the
better will be her posture and therefore the more accurate the
fit. .accurucy and speed necessary_in fitting will increase

as the individual becomes adept at those alterations which occura

most frequently and as an understanding increases the
complications of fitting becomes more evident to the fitter.
Fitting and pattern alteration are complicated and any attempt ‘
to simplify shows lack of understanding of the principles of;

U-

fitting and experience.
. There are two methods of alteration, the first is to
open the seam lines and "redrape", the second is to fit ,
:by pinning up darts and tucks where there is excess, slashing
,snd spreading where more ease or flare is desired and marking
'with pins the placement of . new seam line. This method is’;§
called "blocking” or flat pattern. "
In the flat pattern method many alterations can simply
be marked at the fitting and made after the pattern is
removed. For instance, pouching below the point of arskirt"

, .

 

dart can be pinned out from dvrt point to hem, and the
alteration mrde later. A nuistline sun be marked and ;-¢
altered later. It is also much easier to lap out a dart

and make a pattern smaller than it was to slash it and in-
crease its size. The pattern must be removed to slash,

spread and taped and then tried on again. Time isxsdved

on these alterations and the person being fitted would be much
I happier.

After the girment is made and if further alterations
are necessary for proper fit, it is easier and faster for the
fitter.to fit by pinning out a dart rather than to make the
adjustments by ripping and redraping. However, when a dart.
is pinned out, this necessitates transferring the adoration!”
to the paper pattern and recutting that area of the dress. If
the adjustment is made b: redraping it on the person, all
lines must be transferred to the opposite side and restitched .
The garment has to be ripped however in either case and flat'
pattern method requires less risk and less skill.

Any edge correction on a dress already cut is easy to make
as it does not involve recutting but seldom is’it possible to
fit acceptably this way.

Darting above the bust as well as below maintains a level
‘grain line and a bodice with a be.1ance.d grain around the bust
Awill fit beeter and be more comfortable.

A french dart line because it provides a seam instead of
two shorter darts,cun be deepened or let out easily as the H
situation demands, thereby often improving fit and design as well.-

The muslin proof is easier to fit than a paper pattern
because the muslin tends to cling to the body while the paper is
stiff and very fragile, however all changes made in the proof '
necessitate transferring the alteration back to the paper pattern .'
ripping seams and recutting the muslin. This can be done, but
requires more time and pntience then if caught in the paper pn pr
pattern fitting. This points up the need to catch errors in the
paper where they can be corrected easily. ;‘

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Knowing how to alter any pattern one can choose the paper . , .
pattern with the best design and alter it to fit her measure-Quin. 1' '?

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SUMMARI
Inability not only to recognize good fit but to actually
h'xve the skill to fit a garment properly is one of the ‘

problems of women professional, teachers, or homemakers, whore.
seie . I. ‘

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tf a dress is cut without pattern alteration the result .
is bnund to be an ill-fitting garment, which gives little ‘
satisfaction to the maker, the ability to analyze fitting.

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faults and to know when and where to mike alterations is
essential in order to make well-fitted garments and more
especinl'y to teach others .‘ it is necessary to have an- .
,understsnding of the principles of fitting and this can

be acquired by the trial and orror‘experiences, but will‘

‘never suffice to produce good results, since they may
develop into the pr ctiee of mistakes and acquisition of
.bsd habits.

rlues in the fit of a garment were analyzed and the . _
resulting alterations were observed by watching Miss Hill-jpil
qhouse fit the master patterns in her fitting and draping ~ I
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The same methods as used above were put into practise .f
iin altering the paper dress patterns for the six studentsand
the muslin proofs that were made from these altered paper
patterns.

To become adept at fitting it is necessary to analyze
' the flaws, understand the --flethods used and to recognize
the fact that it takes much practise to acquire skill and

speed. Without an understanding of the principles of fitting}

the fitter is likely to overfit.
The ability to analyse flaws in the fit of a garment

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and to acquire skill in making alterations is of first
import nce for teachers of clothing classes, 4-H leaders.
or adult groups of women if the classes are to be suc-
cessful. The teacher needs to know how and where to

make alterations and to become adept at making these
'alterations which occur most frequently and to raise

the standards of her students: This will enable the
pupils to have better fitting garments, resulting in e
greater-degree of satisfaction to both the teacher and the
pupil. .

 

BIBLIOGRAPHY

adrosko, Rita Jane. "Pattern Fitting Problem." Unpublished
problem, Department of Home Economics, Michigan state
University, 1956.

Hillhouse, Marion 8. and Mansfield, Evelyn A. Dress Design
Draping and Flat Pattern Making. Cambridge: The River-
side Press, 1948.

Hansfield, bvelyn 1., glothing.0onstruction. Boston: Houghton
Mifflin Compnay, 1963.

§ieman, Ester 3., "A Comparison of the sizes and Shapes of .
Dress Patterns Made in Five Commercial Pattern Companies."
Unpublished laster‘s thesis, Department of Home Econonies,
Michigan State University, 1957. "

Spilker, Barbara. "Pattern Fitting Problem.” Unpublished
problem, Department of Home Economics, lichigan State: .
University, 1956. " '

“QUNO 9’-