\ ‘I!, ‘ ‘ ‘l fi ~|:, 1| ‘ ’l ‘ I i all A .5 k H\ l {u} I I‘ In ‘ ‘ll Ei" ‘ t” H l \ , , I s 1H 1“ !\| \ Ill '|: l I} l \ I r “I H i l ! I! r l( H 3 l N Hm; Iooo (f)__x_3 L é PROBLEMS IN PATTERN FITTING By Phyllis N. Zack A PROBLEM Submitted to the Faculty of the College of Home Economics of Nichigan State University in Partial Fulfillment of the Requirements for the Degree of FASTER OF ARTS Department of Textiles, Clothing and Related Arts 1959 D l. 5." 1 B _ '1': ”w; {#11:} ”9'14 0- $11: I E’ W at .9 “”2 Au4§.§...w. e. n. v r... m ‘n’d .cs 1 .- \Y . 1 . 9. I \\ 1 ‘ l'!_- v . 34.4.. t a t- V b'. :‘T .'.\l ‘1 I 53.21 In I 21 k’nik I am as.“ at“: k | h AC KI‘TOW LED 3-? El *TS The writer wishes to express her sincere appreciation to Miss Yarion Eillhouse, Associate Professor of Textiles, Clothing and Related Arts, for her interest, guidance and assistance throughout this study; and to the students who served as subjects and whose COOperation made this study possible. Thanks is also due to Kiss Hazel Strahan, Head of Textiles, Clothing and Related Arts Department. I}? CE‘ROD‘L—IC:I'I()I\"I O O O O O O O O O O O O O O O O O O O O PROCEDURE 0 O O O O O O O O O O O O O O O O O I O O PRELILIKARY STUDY OF DISTRIBUTION OF FIGURE DEVIATIONS. REQUIRING PATTERN ALTERATIONS OBSERVATIONS OF FITTINGS AND RECORDING OF CHANGES ON. QUARTER SIZE PATTERNS EXPERIMENTAL COMFERCIAL PATTERN FITTINGS AND NUSLIN PROOF CHECKING A Comparison of Simplicity and Vogue Patterns. . CONCLUSION. . . . . . . . . . . . . . . . . . . . . SUMMARY . . . . . . . . . . . . . . . . . . . . . . BIBLIOGRAPHY. . . . . . . . . . . . . . . . . . . . .16 .101 .105 .109 .111 INTRODUCTION The importance of longer-lasting clothes is becoming increasingly important with the steadily increasing cost of living. Clothes that fit properly will be more durable if excessive strain is eliminated and be more comfortable to the wearer. If an individual is happy with the fit and style of a garment, she will receive a greater degree of satisfaction when wearing that garment and will receive more service from the orarment before a replacement is made. The proper fit of a garment largely determines its appearance. Clothes must fit properly if an individual is to appear well-dressed. This means that the garment should follow the c0htours of the body in the prevailihg fashion without producing wrinkles, bulkiness or uncomfortable tightness. For a garment to fit properly, the following amounts of ease are minimum - 3 inches around the bust, 2 inches around the hips, 2 inches at the sleeve girth, 1 inch at the wrist‘ and 1 1/2 inches at the top of the sleeve cap.l Not only should the tarment fit comfortably, but the design should camouflage the individual's figure irregular- 1. Marion 8. Hillhouse and Evelyn A. Mansfield, Dress Design Dra.ing and Flat Pattern Making, (Cambridge: The River- side Press, ”5, pp. 27, 67, l - , 13%. -3- J -h- ities and be related to the fit. When the construction lines of the garment not only help disquise figure irregularities, but produce style and smartness in the garment, then the design is well chosen. The durability of a garment is also related to its fit. If the proper amounts of ease for body movement are allowed in the garment many of the points of strain will be elimin- ated, thus increasing the length of wear and the comfort of the wearer. The purpose of this study is to obtain some ability (1) to spot fitting faults, (2) to pin fit paper patterns on the individual and (3) to make the necessary alterations to fit the garment properly. Problems must also be analyzed to discover the easiest and quickest method of making alterations. This is equally important to the home sewer if she is to enjoy creating garments, as it is to the studeht in a class room if she has a desire to further her education in this field. This information will not only be used in the actual construction of garments, but will help in the recognition of well~fitted garments, and will therefore help the individ— ual to make wiser selections when purchasing clothes. An understanding of pattern alteration enables one to alter ready-to-wear more successfully. A study is also made of the figure irregularities that are most prevalent in a single class of 16 college girls and the resulting fitting faults of a garment. It shows which alterations occur most frequently in this group and with which ones the fitter should be most adept for accuracy and speed. 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 them. PROCEDURE This problem has been divided into three parts. The first was a preliminary study and consisted of compiling the results of a problem bv Rita Janice Adrosko done in the fall of 1956. In her study the pattern alterations necessary for dresses of eighteen girls in Niss Evelyn Nansfield's class in Beginning Clothing Construction were analyzed. The fault, cause and correction were listed and quarter-size patterns made by Miss Adrosko. The results were combined with the results of the ten girls in Part II of this study and tabulations were made of the corrections to learn the frequency with which each occurred. This tabulation had not previouly been made and it was hoped that it might lead to familiarity with the alterations that generally have to be made. Part II of the study consisted of observing the master pattern fittings of the ten girls in hiss Hillhouse's class TCRA 350. Quarter-size patterns were made to show the necessary alterations of each of these ten and the manner in which these alterations 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 alterations on the quarter-size patterns. The cause of the fitting fault and the correction was then tabulated and compiled with the results of Part I of the study. The last and major part consistedof pin fitting paper patterns, making the necessary alterations and analyzing muslin proofs for the success of the paper fitting. A The first girl was very small. She had narrow shoulders and a large waistline in relation to her bust and hips. The second had a large bone structure with ample flesh distribu- tion. She was very high and rather large busted and slightly swaybacked. humber three was a tall, well-proportioned girl with broad shoulders. hodel four had a very small waist with large hips. She was slightly-swaybacked and slightly round shouldered. fodel five was a tall, angular, very thin girl. The last girl was slightly round shouldered. She had a prominent clavicle and was large waisted in proportion to her bust and hips. Her posture was poor and she had a tendency to lean backwards when standing. The Simplicity basic bodice, sleeve and skirt paper pattern was pin-fitted to each girl according to the method described in Nansfield‘s Clothing Construction. The quarter-size patterns shown were used to illustrate and explain the changes made. They show the reasons the pattern does not fit the individual as initially designed and what corrections were made to obtain the desired fit. -8- Full-size muslin proofs were made up to see if the faults had actually been corrected in the paper pin fitting. When further alterations were necessary these were made as they would have to be in a garment that had been cut and bested for a fitting, since one of the main points to prove was the importance of seeing errors before the dress is out. At the same time that this study was carried on the same study was being done by another student using Vogue patterns on the same six models. The necessary alterations were compared to see which ones were due to individual make of pattern. PART I PRELININARY STUDY OF DISTRIBUTION OF FIGURE DEVIATIONS REQUIRING PATTERN ALTERATIONS Rita Janice Adrosko's "Pattern Fitting Problem" completed in the fall of 1956 was used as background material for this study. She observed eighteen commercial pattern fittings in Piss Nansfield's class in Beginning Clothing Construction and analyzed the flaws that occurred in the pattern when the ind- ividual was fitted, the reason for the flaws and the altera- tions that were necessary to correct 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 kiss Hillhouse's class TCRA 350. By combining the two sets of figures the alterations most frequently needed in this group of mirls 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 I.) Those which occurred four or more times were considered as especially signifi- cant. Insufficient room at the back of the bodice for arm movement occurred six times. Five of these, however, occurred -10- TABL IROFRUECE 0? Fault Bodice General Characteristics Too tight all-over. . . . . Too loose all-over. . . Insufficient room at back . for arm movement Loose at midriff. . . . . . Side Bodice Excess width. . . . . . . . Too tight . . . . Neckline Too wide an arc . . . . . . Too narrow an arc . . . . . Wrinkling at side neck. . . Wrinkles at front neckline. Location of neck dart not . becoming . Armscye Capping near front underarm Capping near back underarm. Too high. . . . . . . . . . Too deep. . . . . . . . . . Shoulders - Back Excess fillness near seam . of shoulder Excess width at shoulder. . Shoulder width of pattern . too narrow Fullness below neckline . . Tight over shoulder blades. Wrinkles radiatin: from . . shoulder blades Bust Pattern too large . . . . . Pattern too small . . . . . E 1" L1 1 IGURE FAULTS Cause Times Occurring Large bone structure. . . . . . . Small bone structure. . . . . . . Insufficient ease . . . . . . . . Small rib cage. . . . . . . . . . Large bust, small bone structure. Large bone structure. . . . . . . Small neck. . . . . . . . . . . . Large neck. . . . . . . . . . . . Insufficient clipping at neckline Hollow chest, forward head. . . . Prominent shoulder blades . . . . Large busted. . . . Prominent shoulder blades . I . . Larye arm girth o o o o o o o o 0 Small arm girth . . . . . . . . . Sloping shoulders . . . . . . . . NarI‘O‘J ShOUlders. o o o o o o o o Broad shoulders . . . . . . . . . Prominent shoulder blades . . . . Prominent shoulder blades . . . . Prominent shoulder blades . . . . swall-bUSted. O O O O O O O O O O Large-busted. . . . . . . . . . . e! ovare HH\I\) NHWNN H-F' WWW mox UJ \IUJ -12.. TABLE l-Continued Fault Cause Times Occurring Sleeve, cont. Cap, cont. Inadequate cap height . . . Sleeve too small for armscye. . . h Too much ease in cap. . . Poor pattern design . . . . . . . 2 Center of sleeve not falling Body posture. . . . . . . . . . . 2 on shoulder seam Skirt Waistline Pattern too small. . . . . Large waist . . . . . . . . . . . 1 Pattern too large. . . . . Small waist . . . . . . . . . . . 2 Too much curve at waist. . Large waist . . . . . . . . . . . 2 Hips Pattern too tight . . . . . Large hips. . . . . . . . . . . . 8 Too loose . . Small hips. . . . . . . . . . . . 3 Too ti7ht at front hipline. Large thighs. . . . . . . . . . . 3 Too loose at front. . . . . Too much darting. . . . . . . . . 2 Tightness in back . . . . . Full rounded hips. . . . . . . . 1 Horizontal wrinkling at . . Insufficient darting. . . . . . . 2 side front Center front dart too large Flat stomach. . . . . . . . . . . 1 Length at hipline Pattern too long. . . . . . Small hips. . . . . . . . . . . . 1 Too long at center back . . Sway back . . . . . . . . . . . . 6 Too long at center front. . Full hips . . . . . . . . . . . 1 Too short at center front . Protruding stomach. . . . . . . . 2 Seams Too much flare at side seam Bic curve from waist to hip . . . H Parrows at hem line . . . . lattern fault or large hips . . . 1 Side seam hands forward . . E)cess pattern length center bac k 3 Side seam too far back. . . Sway back . . . . . . . . . . . . 1 Center ~sack seam sticks out Sway back . . . . . . . . . . . . l -33- in the TCRA 350 class and were due to the students not making sufficient allowances of ease 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 cases there was insufficient width at the side bodice due to a large bust and small bone structure. In seven cases the patterns were too tight across the bust. In six cases the pattern was too wide at the shoulders due to the narrow shoulders of the individual. Since patterns were bought by bust measurement, shoulders were evidently narrow in relation to the bust. Diagonal wrinkling from the neck to the bust occurred four times. All four of these again occurred in the draped master patterns and it is felt that this problem stems from the individual's lack of draping experience rather than from figure variations. This wrinkling may be caused from a neck which is larger than the pattern arc. It is probably seen in muslin and missed in paper since cloth wrinkles and paper doesn't. Gapping at the armscye occurred very frequently. In seven cases there was gapping near the front underarm and in seven cases gapping near the back underarm. The gapping at the front underarm is again related to the large bust of the individual and indicates need for deeper darting. Capping at the back underarm may be due to prominent shoulder blades -14... and again shows need for deeper waistline darts. The waistline of the pattern was more often too small than too large; there were four in the former case and two in the latter. This indicates that in six cases the waist- line had to be increased or decreased and in no case could this be done by letting out or taking in the side seam. 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 lon7. The pattern was too short seven times and too long ten times. It was too long in the back nine times due to over erect posture and five times there was excess length near the back neckline. There were no significant conclusions that could be drawn from the fit of the sleeve. Most of the alterations required were in the height of the sleeve cap. Three had excess cap height and four inadequate cap height; in seven cases the cap height needed to be adjusted to make 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 flare at the side seam 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 -15)- back of the skirt between the hipline and the waistline. This problem occurs when an individual has a sway back. Although the sampling is small it is felt that it is indicative of the fitting problems which arise most frequently and special attention should be given to an understanding of the cause and correction of those faults. If the fitter becomes adept at making the alterations which do occur most often, accuracy and speed will eventually result and with experience a better fit of the pattern may be obtained. Without an analysis of cause and correction, method experiences alone will never suffice to produce good results, since they may be the practice of mistakes and the development of bad habits. P ART I I (,2 (D r‘LJ O r 4 »J L. C; Pl OBSERVATIONS O? FITTITES AND RBCORDIT: ON QUARTER SIZE IAITERTS The master pattern fittings of ten girls in Piss Hillhouse's class in pattern making were observed to gain ability in recognizing flaws, analyzing the difficulty and making the necessary alterations. "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 conscious of grain in order to know where and when to adjust it. And one must learn to trace wrinkles and unwanted bulges to their orgin in order to know whether they are caused by figure irregu- larity, mistale in pattern shape, or posture."l The girls in this class had previously padded their own dress forms and draped their muslin master pattern‘on the dress form. Sleeves were drafted to each individual's arm measurements. The master patterns, therefore, could be expected to fit better than those from standard commercial patterns used in Part III. Pany of the inaccuracies in fit of the master pattern were a result of the individual's manner of draping. Other inaccuracies were due to posture and figure variations of the l. Iarion S. Pillhouse and avelyn A. Pansfield, ibid., p. 105. / -10- -17- 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 'redrape' the section requiring alteration. This method is useful when some eXperimenting is necessary in order to determine what changes will improve the fit and even the design of the garment. It is also a good procedure for an alteration involving only a short seam line. But for a complicated alteration, it requires not only skill in draping on the part of the fitter but also tiresome standing for the person being fitted. The second method requires less of both persons involved. For alterations can simply be indicated during the fitting by pinning up darts and tucks where there is excess; marking lines for slashing and spreading where more ease or flare is desired; and marking in new lines with pins where a seam or a dart line is poorly placed but the fit is correct. This is really fitting through 'blocking', and has the double advantage 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 advantage of no small value. The changes are transferred to a paper pattern which is then altered and used in remarking the correct lines on the dress."1 In watching these fittings, a great many different fitting problems were observed. Each pattern was made in 1. Ibid. p. 196. -18- quarter-size so as to illustrate and explain the alterations that were made and to help develop skill in making these alt- erations. These quarter-size patterns are illustrated on the following pages with the explanation on the facing page. Fore fitting problems were found in the bodices than in either the shirts or the sleeves. The most common fault, occurring five out of ten tines, was that the bodice was too tight across the back and did not allow enough room for arm arm movement. Diagonal wrinkling from the neck to the bust occurred four times. This is caused by patterns being too high in the shoulder. In one case this was remedied by simply lowering the neckline; the other three had a dart pinned out from the bust to nothing at the neckline. When this dart was trans- ferred to the bust dart it reduced its size. Some of the girls had trouble obtaining the correct bodice length; however, there were as many bodices too long- waisted as too short-waisted - three in each case. In three sleeves the cap height was too short. This was raised the proper 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 skirts was that they were tight. Although this occurred four times, only one of the shirts needed to be slashed and spread; the other three I were merely increased at the side seam from hip to hem evenly -19- to avoid changing the hang of the side seam. The number of alterations made and the reasons respons- ible for the alterations were combined with Part I of this study and tabulated with them. The total number of problems arising and their frequency can be determined from Part I of the study. Code for Quarter-Size Patterns ——— original pattern line final pattern line new w~~ »* ~ intermediate pattern line - a line formed after an alteration, abut not the final line. FAULT CCRBECTICK Bodice Not enough room across back Increase width of todice back for arm movement at lower arrscye Shoulder seam not straight Straighten shoulder seam Wrinkling from neck to Clip and lower at the neck bust point Remark neckline Run shoulder front dart down to bust point Wrinkle across front of Pin out dart from armscye to shoulder from prominent neck seam neck hone Sleeve is all right FAULT CORRECTION Skirt Skirt is too tight Slash between hem and darts on front panel and let out l/h" at hip level Side seam too far back Add on to side seam from hip to hem f back panel. Remove same amount from side seam from hip to hem of front panel. FAULT Bodice Blouses too much in back Neck of blouse too low due to small neck Tight across back of blouse Too wide at top of shoulders Armscye too deep Waistline too short in front Shoulder dart not becoming Sleeve Sleeve too long between shoulder and elbow Center of sleeve cap in front of shoulder line CORRECTICTN Lap out l/h" tuck at center back to nothing at side seam Raise neck line at the front by draping Increase width of bodice back at lower armscye Redraw armscye, narrowing it at top of shoulders Raise at underarm Lower front waistline by draping Chance to a neck dart Lap out 1/2" between shoulder and elbow Move sleeve cap hack ‘ 1.1.11. L LLL‘L‘JLLZLC'LI i ”ii- \\\.\ \, .\ / \ \\\ .II In It, ) \\ l i I )\\.\.\!I to J .il I .. 1. iii: if; _“-l,,l_,_l,--.__-.‘Q;?, '-\—-“ ._.. -26- FAULT CORRECTION Skirt Side seam on skirt falls Lap out tuck from center forward back to nothing at side seam Center hack seam sticks out Take out l/h " at bottom of center back seam and straighten seam Side front dart too big Lap out tuck from point of dart to hem -27- a; C) \‘L\. 'I 7‘ , ___.——-0"' av“; Bodice Neckline are too large Slightly too tisht across bust Wrinkle from point of back waist dart to bottom of seam Back shoulder dart not becoming Sleeve is correct side CCRRECTICH Raise neckline front and back When transfering shoulder to waist dart, use point of shoulder dart as pivot roint Pin out dart from point of bust dart to armscye. During class it was done by redraping the back to increase the dart and correcting the armscye and side seam Chanie to neck dart FAULT CORRECTICK Skirt Center front waistline needs Raise skirt at waistline at to be lifted center front Skirt too tirht Add l/h” to each side seam from hip to hem line by draping -31- ._,..-r-r-——~- x :‘tq F———-g—— ‘— I { W. Li... ... i1; ,Htwihm_flwvmw1m2wwmwn n -32- FAULT CORRECTION Rodice ("i D es Lower neckline at side front and side back Neckline too hish at sir Shoulder seam pulled Release end of shoulder dart Rack shoulder dart unbecoming Transfer to neck dart Fullness at shoulder seam Increase depth of back shoulder seam Capping at back armscye Pin out dart from armscye to shoulder dart fight over bust Use point of shoulder dart for pivot point hot enough room across hack Increase width of bodice hack for arm novement at armscye 'aistline too short at center lower waistline at center frort front by draping Waistline too long at center Pin out tuck from center back back to nothing at side seam. During class this was dcne by draping leeve Cap too short Increase height of sleeve cap -33a- C kirt Loose FAULT at waistl E—ao y (D -3b- Take in at seam line from hip to waist. Vhis could also be done by deepening the darts. -35.. .Iillll lliil lllt'uy (-1 a u ‘nill '[Iriliilliuri v -. _____‘,,.___..«—~—-—-—-"" ' A _ FAULT Bodice Shoulder seam too loose Excess fullness between bust and neck Too long waisted at center back Not enough room across hack for arm movement Sleeve Sleeve is 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 edse Pin out tuck from center back to nothing at side seam Increase width of bodice back at lower armscye Add 1/2" at girth of sleeve by spreading at Quarter lines Shorten l/h" between wrist and elbow FAULT Skirt Too larse just above hip Skirt wrinklin:r at center front below waistline I CCRRECTICW Take uo seam both front and beck Add on to skirt at waistline at center front by draping III“! .14U‘IN 1'11 ul‘l'l'lll': fill Ill'l‘i- K. is III III I ‘Illll‘l‘l‘Il'lll I'll FAULT Bodice Wrinkle from bust to neck Not enouqh room across back for arm vovement Too wide at shoulder Cap too short Sleeve too long between elbow and shoulder Center of sleeve falling behind shoulder seam Iin out dart from neck to bust point. During class a new neck- line was marked and the depth of shoulder dart increased by draping. Increase width of bodice back at lower arvscve Redraw arnscye, making it narrower at front and back shoulder seam Increase height of cap 1/2" Shorten sleeve l/M" between elbow and shoulder hove sleeve forward 1/2" / \ i 7" (It ,4 4-4.4 VA .4, A; “d 1" fl -L- R l \ \. ,, , , ..| I. “It .. // /,W , .Q.\ I I1\ ,-_L i T \ l \ V‘ / I \ FAULT CORRECTION Skirt Waistline curve at side front Bedraw waistline curve lowering curves too far up it at Side front and back -u3- ILA. l _..._. -..‘-_s.______.— —__..—_-——-_.__—-———— -hb- ’1'} *) ULT } CORRECTION Bodice Darts in front too short to Lengthen shoulder dart and fit attractively waistline dart Short waisted in front and Slash front and back pattern back pieces and spread {’1 oleeve Tivht at girth line, but fits Slash on back quarter section at wrist and spread at the shoulder to Arm lareer at back nothing at elbow FAULT CORRECTION Skirt Tight from hips to hem Add l/h" on back and front side seams by draping -u7- W W h FAULT COfiRECTION Bodice Neck too high Redraw neck line front and back Too much darting Pin out tuck from bust to nothing at armhole Short waisted Slash front and back pattern pieces and lengthen Back of neck dart not becoming Place neck dart 1 1/2" frow center back instead of 1" Insufficient roovr across Increase width of bodice back back for arm vovement at lower arnscye Sleeve Insufficient cap height Increase cap heirht FAULT CORRECTION Skirt Side seam swings forward Lap out dart from center back to nothing at side seam Tight from hips to hem Let out l/k" on side seam front and back from half-way between waist and hip to hem. Draping Short at center front Add l/h" to waistline at center front 7 , r z 2/:227/277‘ "'4 air/y - Eta; ! l - .litlil... L .4 a L L L L L. L L L L a; it. I LIL ..L a -\ Bodice £111an L T Fullness from bust to neck Fullness from bust to armscye Armscye does not fit due to underarm dart Back neck dart unflattering 'Short waisted Pot for Sleeve Too enough room across back arm moverent much ease in sleeve cap 2- CORRECTION Pin out dart from point of bust dart to nothing at neck edge Pin in inderarm dart Redrape armscye, raising it Transfer to shoulder dart Lengthen pattern bv slashing and spreading. In class this was done by draping Increase width of bodice back at lower armscye Take out tuck aross top of sleeve and restore cap. Have 1 1/2" of ease. FAULT CORRECTION Skirt Fullness at center front dart Pin out tuck from tip of dart to nothing at hem p I: If! 1\\l\H|II 3‘ .-\ \ \\ \ ' '4’. I ‘ \eu lull 1 . . i 15 i 0’ l 1 O ~ 1 1 IN .I‘J. I“ Inunlruviltirtvt uvl.lu.|.\|..uw|n.-.l... \. k-.. ..... _ L ULT F :r) Bodice Armhole too high Wrinkle from armhole to bust point Long waisted at center back Sleeve haistline too curved -56- Deepen armhole by draping Let out underarm seam l/h" at armhole to nothing at waist- line Shorten blouse at center back, nothinr at side seam Redraw waistline curve CAUSE CORRECTION Skirt Waistline too curved Redraw waistline curve - SQ... EXPERIKEKTAL CCYIERCIAL PATTERI FITTINGS C AYD FUSLIH IRCOF "kany faults in fitting cannot be corrected after the garment is cut, all alterations are easier to make in the pattern, and accurate patterns are essential to quick and easy sewing. .... Sitting a parer pattern directly on the figure and waking adjustments is easier than taking body measurements and checking them against the flat pattern. Yeasurements help in checking alterations already made, but do not show the kind of pattern changes needed."1 Six girls of different figure types and irregularities were chosen as models for this part of the study. The size of the commercial pattern to fit each girl was determined by taking the following measurerents: bust, waist, Eips, back waist length and front waist length. Simplicity patterns were used in fitting all students and the method of taking measurements advocated by Simplicity Pattern Company was used. At the same time that this study was being done the same study was done by another student using Vogue Tatterns. A comparison of the fit of the two makes of patterns will be discussed later in this paper. 1. Evelyn A. iansfield, Clothing Construction, (Boston: Youghton Yifflin Company, g); , p. 33. -60- A basic dress pattern was used on each of the «odels. inree students needed a size 1% pattern and the Simplicity Basic Iattern was used to fit them. The remaining models {3 eeded patterns size 12, 16 and 18. A pattern similiar to the basic pattern was used for these girls since exact dup- licates could not be obtained as they were out of print. The main differences were that the skirt had a pouch pleat in the front instead of two basic darts and the pattern had a long sleeve gathered onto a band rather than the long fitted Sleeve. The paper patterns were pin-fitted to each girl ac- cording to the method described in Clothing Construction by Evelyn A. Nansfield. All alterations were made on the paper patterns using Clothing Construction by Evelyn A. Lansfield and Dress Design Drapiug and Flat Pattern Making by Larion S. Eillhouse and Evelyn A. Iansfield as references to determine the proper method of waking the alterations. H The alterations made on full-size patterns were copied on quarter-size patterns to be used to illustrate this paper. In illustrating the quarter-size patterns, the following code was used. LLLL c... -—-original pattern line W-*““-final pattern line “w‘ “‘ ““‘”W"‘” “ intermediate pattern line — a line formed after an alteration, but not the final line. ‘ The reason for the alteration and a description of it is on the page facing the illustrations. Iot only was the fit of the pattern analyzed, but minor changes in desifn that would be more becoming to the figure were attempted. The altered full-size pattern was used to make a muslin dress or proof for each of the six girls. This dress was aeain tried on each eirl and analyzed to see how successful the paper fitting had been. Additional alterations were then made on the ruslin proofs as they would be on any already constructed {ardent to see if they could still be corrected. These chanfes are descrihed but not illustrated in quarter- size patterns. " 1 Size 1h Size 12, 16 and 18 ‘J ~—4 LAILT Bodice CORRECTION Arc of nechline too big at Redrape neckline, waking it side Too wide across shoulders NecV dart unbecoming Too much darting below bust Too snall at waistline Too lone waisted Sleeve - all right snaller at the side Redrape arnscye, rating it narrower across front and back shoulders Chance desisn so that dart slants outward Redrape dart, waving it smaller Redrape back waist dart making it smaller Redrape waistline, raking it shorter -53- TVODEL I “/r-bl. I! \\\ final :13 )- C " u -66- FAULT CORRTCTION Shirt Not enough flare Increase flare at front and back side seams 1/2" waistline too small Decrease size of darts, front and back Position of darts in front Pattern had a pouch dart in front; not becoring this was chanted to two basic darts by draping Skirt too long Shorten at the bottom -67- I‘ll] Fodel No. l was a very small girl. Her body measure- ments were as follows: bust - 3h", waist - 25 1/2", hips - 35", back waist length - 1h 3/h", front waist length - 13". According to her measurements she needed a teen pattern, size 1h, as her bust measurement was 3% inches and her back waist length was short. However, only misses and womenssizes were available, and because of small shoulders a size 12 pattern was used. It fitted through the bust, but had to be let out in the waist. The preceding pages can be checked to see what altera- tions were made on the paper pattern and the manner in which these were made. When the muslin proof was tried on and analyzed the following additional alterations were necessary. The neck arc was too small and needed to be lowered sl"htlv at the center front. Although the paper pattern bodice had been shortened, the muslin was still too long and needed to be shortened l/h inch more in the front and 1/2 inch at the side front and across the back. An additional l/H inch of length needed to be added to the entire top of the shirt. The sleeve was much too wide and a 1/2 inch tuck was taken out the full length of the sleeve on the front quarter section. Some of this fullness was due to the style of the sleeve. Even though it was designed to be full and gathered onto a band at the wrist it would have enough width with the tuck. -69- Additional 1en3th was needed at the front of the sleeve cap. This alteration was due to a prominent shoulder ball. The shirt fitted very well after the slight alteration at the waistline was made. The shirt had excess fullness below the side front dart which was not seen in the paper pattern. Almost a quarter of an inch could be pinned out at the point of the shirt dart and carried down to nothing at the hem. This reduced the dart size. The side seam of the shirt swung forward due to too much length at center-back between the waistline and the hip line. A dart was pinned out fron the center-back running to nothing at the side seam. Both of the alterations on the skirt had to be trans- ferred to the paper pattern and the vuslin; then recut to the resulting specifications. All alterations could have been made , but would involve time at this stage. It would have been better if they could have been discovered in the paper pattern. but this was not done because of lack of experience. FAULT Bodice Looseness at shoulder seam at back Shoulder too wide Position of neck dart poor Dart below bust too short Underarm dart too low Too nuch fullness between bust and arnscye Too long-waisted Sleeve Cap height too short -70- Redrane shoulder seam, roving it back Redrape arnscve, patina bodice narrower at shoulder Chance to shoulder dart Increase lenvth of dart to bust point Raise dart Pin out tuck between point of bust and arvscye Fin out extra length and shorten \ Increase cap teirht l/h" il71-_ FCDEL II o’lu Iliw ‘il‘u’ii v _ 1| 0 .1 ‘ ) 1 f. [1.4 .. V: Ff.- L a at, . I: .r, . (alibi! /.l. V V/ Iv/r .Il \ \\ / , \ I\\ 2" r I]! 1 ’ll"! (.1: \J 7 "7‘". ‘ ‘-‘: a _: ‘ . i’- Ill. Il'l ’ II; I r ‘. II! £51! 1.4..Tiif, twill 1.. i IXITLT CORQ-iECTTCN Skirt Position of darts in ”rent Pattern had a touch dart in front; not beconing this was chanted to two basic darts. -73_ 1' I! I II, ./ [ll-Ly rltll Ll. - 1'11: llll'i'l" Nodel II had a large bone structure with ample flesh distribution, Rbe was verv hirh and rather large busted and sliqhtly pwovbadred. Her reasureverts were as follows: bust- 38", waist - 29 1/2”, hips - kl", back waist lenzth - 16 1/2", front waist length - 14 1/2". According to her measurements she needed a size 18 pattern. The body measurements Sinplicity recomnends for this are; bust - 38", waist - 30", hips - MO”, and back waist length 16 3/h". The alterations made on the paper pattern and the reason for them can be determined by checking the illustrations immediately preceding. In analyzina the fit of the muslin dress, it was observed that there was too Y“uch fullness across the bust and a dia- gonal fold resulted between the bust and the armscye. A dart was pinned out from the bust to nothing at the armscye. When transferred to the waist dart, this decreased the size of the dart. A French dart line would have been bore flattering to the nodel and provide better fit since it would have balanced the grain at the bust by dividinq the darting. The back bodice qapped at the riddle of the arnscye. This was pinned out and transferred to the back shoulder dart. In both of these problems the alterations had to be transferred back to the paper pattern and the front and back bodice had to be recut. This is one reason for always having one inch seam allowances on a aarment. The sleeve was too loose at the front elbow and fitted better when part of this fullness was removed from the front quarter line. The sleeve fitted at the girth so the fullness was revoved only at the elbow and the wrist. FAITLT Necklinetoo high and sides at Prcnt Sleeve Cap too short CCXVVCCVICII iedr "e: ne'l”11;e Tbcrea e can height 1/2" , lowering it 7 7'. EL III l- OD III!!!“ I: 0' Too ruch darting Too narrow at the s zirt front r]; to- "I. ' fl -'r\,1 ‘1“ t1 . I 1'. l 1' 5 ' " ' ‘4 -" ' ' f “"' ‘ "‘I I r v\ P- : «3 "37.3.“. an- t a -m gilt)? P Q I 9 ’ r. '4 y - ‘ '." -. I. P t b ‘L ~ 't-.u -,1L;.L l a ct on A. . ’ . ‘v’. .'-‘ t‘ 1 ”1 7 r‘ c- 9 L 5 r. W .—‘ ‘I‘I L . -'. -—. J A 0‘ ~ ‘1"! L a ‘3""1111'31‘. OP Nodel III is a tall, well-proportioned girl with broad shoulders. Her body measurements were as follows: bust - 36 1/2”, waist - 27 3/h", hips - 36 1/2", back-waist length - 16 1/2", front-waist lenqth - l3 l/h". Her measurements were quite close to those of the size 16 misses' and women's pattern --bust - 36", waist 28", hips 38", and back waist length 16 1/2". Very few faults were seen on the paper pattern when pin- fitting this girl; however, when the muslin was fitted it was found to be too large through the bust and a diaconal wrinkle from the bust to the armscye was observed. A dart was pinned out from the bust point to nothing at the armscye. To make this alteration after a dress has been cut it would be necessary to make the transfer to the paper pattern and then recut the muslin. This could be done, butit requires nore time and patience than if it could be caught at the pin fitting. A dart above the bust line would be much pore flattering to this f‘irl. Not only would it produce better fit by keeping the grain line level, but also the dart line at the shoulder would diminish the width of her shoulderl The model has a prominent shoulder ball which necessitates additional length at the front of the sleeve cap. As was found in the previous two cases, the sleeve was too full to be attractive, although it was desianed to be gathered onto a band at the wrist. The width at the girth of the sleeve was satisfactory, but needed to be reduced from the elbow to the wrist on both the front and the back quarter lines. The side seams curved too much from the waistline to the hip line, and this was merely pinned out on the side seam. Any edse correction is easier to make as it dees not involve re-cuttina. FAULT Podice Pattern too loose at back shoulder I Z O [U I Redrape shoulder seam taking up fullness on the back Pattern too narrow at shoulder Redraw ton of armscye, increasing Too much fullness side front Too much fullness side hack Too long center back Side seam not straight after alterations Waistline not at waist aft alterations Sleeve Cap too short Grainline on sleeve too far back underarm at width at front and back Increase size of bust dart nothina at seam Pin out dart from tip of waist dart to side Fin out tuck from nothing at tip of waist dart to center tack seam Redrape side seam er Redraw waist line Increase height of cap. hove sleeve forward -fiu- FAULT 43CTRECTICEF Skirt Too tight across hips Increase size of darts, center front and center hack and re- drare side seam increasing the width from waist to nothing at hem Insufficient length from Redrare waistline, raisins it waistline to hips across the entire bacV and the side of the skirt front -85- (I!!! ..... Nodel IV‘s body measurements were as follows: bust - 35 l/h", waist - 27", hips - 39 3/h", back waist length 16 l/M", front waist length 1% 3/h". She had a small waist with large hips -- the normal difference being 10 inches. She was slightly sway-backed and sliahtly round shouldered. The size 14 paper pattern had been increased in width at the top of the shoulders at the pinned fitting. The wuslin pattern was too wide at the shoulders and was decreased to the original line, but this was easy to do and did not involve changes within the pattern. The underarm dart was too high and was lowered l/2 inch so as to point toward the bust. The back of the bodice was too long at the center. A hor- izontal tuck was pinned out from the center-hack to nothing at the side seam. This necessitated recutting the bodice back from the corrected paper pattern. The bodice was too long waisted and was shortened 3/8 inch around the entire waist and 3/8 inch was added to the top of the skirt on the corrlete circumference of the waistline. There was a slight bulge at the back of the armscye; however, rather than tahinq it out in darting it was felt that a small thin shoulder pad would absorb the pouchinq as well as raise the model's slopina shoulders. The sleeve was too full and had too nuch ease at the top of the cap. Tullness was lapped out on both front and back quarter lines from the sleeve cap to the elbow and to nothing at the wrist. This reduced the arount of ease in the sleeve cap. The ease was checked to insure 1 1/2 inches. In altering the sleeve, it is helpful to check the individual's arm measurements against Kansfield's standard dimensions to predict its probable fit. The skirt of the muslin pattern fitted very well and needed no alterations; however, a skirt with four or six gores would have been more becoming to this model than a two gore skirt as the additional gores give more fullness over the hips. C')‘ HJ In. ' *J V) (:1 ti Fa ice Wrinkle from shoulder blade to neck Arc of neckline too snall in back hust Diasonal wrinkle from to arrscye Too Yruch length in center front at bust level Too much fullness under shoulder hlades Too narrow across shoulders Arvscve too high after alt- erations iruiiv- Darts desinn for idual FOOT CCRJHCTICN dirt to shO”lder redrare shoulder seam nenh Transler dart and Draw new neckline curve lowerinz t the back Tin out dart free bust to art- S (3379 Pin out dart from bust to center front Fin out tucV fro” top of dart to arrscye Redraw top of armscye, widening it Lower the Fottom of arhscye Chanfie to French dart line Sleeve Sleeve does not fit arnhole after bodice alteration Elbow dart l/h” too hiéh Sleeve too short Lenvthen 1/)+II Lehqtlen l lFICh in out excess p and restore can teizht sleeve 'fi ( 1- -\ ——._fv~1.-1-T(-.)“T \J 7".{L‘LJ-‘J‘J- -1. 41' ‘1‘: e i at: t throu {Th above elbow sleeve below elbow 5‘5...sz LT The desiqn is too wide at the her for the irdi"idual Yarrow shirt to have panels ll inches wide at hem .‘IIII'I' "l’i‘f lodel V is a tall anéular, very thin airl. Her body measure ents are bust - 3%", waist - 2% 1/2", hips - 35”, bach waist lenath - l7 l/M", front waist length - l3 l/2”. The size 1H pattern which was chosen was made to fit an individual with the followina heasurerents: bust - 3h", waist - 26”, hips -36", and back waist length 16 l/h”. The desiqn of the pattern was channed at the paper pattern fitting to one with a French dart line. This design balanced the grain at the bust level by havina part of the dartinv shove the bust. It also made fitting the pattern much easier as there was an additional seam on which to rake adjustvents. Althounh the fullness at the front armscye near the underarm had been reduced during the paper pattern fitting, there was still too nuch remaining in the nuslin proof. This was fitted out on the Trench dart line by taking the excess off the side front panel. This was easy to do as the adjust- ment was on the sear. The nechline was lowered in the center back in the paper pattern and this was restored in the muslin; the neck- line was narrowed at the shoulders and lowered in the front. All edge corrections are easily and quickly done. The sleeve cap in front was too short due to a proninent shoulder ball and was lenithened. Because of the thinness of he individual, a sliaht shoulder pad would add to the attrac- tiveness of the garrent by producing extra thickness at the shoulder from the profile view. The waistline of the dress fitted snunly, which is better than too loose on a thin person; however, the bust fitted more loosely than normal -- there was four and one- half inches of ease. This helps carouflage the extreme thinness of the individual. Additional length was needed at the waistline of the shirt at the side front. The side seam of the skirt swung forward showing that the shirt was too long at the center back between hipline and waistline. To correct this a dart was pinned out from the center back to nothing at the side seam. This alteration was made by recuttinz the shirt from the altered paper pattern. Off FAULT Bodice Wrinkline from bust to arvscye Nrinvlinc from shoulder blade to arvscye Too small at waist Neckline too high in front and low in back Pattern too wide at shoulders Shoulder seam falls too far and has excess fullness Sleeve Cap does not fit due to altera- tions on bodice Sleeve too long back common or: Iin out dart fron point of bust to armscye Pin out dart from point of waist dart to armscye Lake front and back waist darts svaller and redrape side seam lettinv it out Redraw neckline lowering it in front and raising it in back Redraw arvscye narrowing it at shoulders Redrape shoulder seam taking excess off of the front Sleeve drafted to obtain prOper fit. The sleeve girth was too wide and was narrowed, the cap was lowered to 5 1/2", and the top of sleeve redrawn to give 1 1/2” of ease. Sleeve shortened 1/2" from elbow to shoulder according to reasurenents \J; I ¢‘___. , /'. I II. I! ”4”!” I / _ 4 7/. _ 7 d e I m W _ \. it: 1 , , ’ I 3 / a I . , / ‘1 ‘ E [x r l 2;» i fx‘ ‘\ 1 I . . . . O . \ . \ \ J ., vizilitt r, . fin! ‘ ./ \r! V‘ l . \ 1 ‘ ”a, -. . . 5 fi/ ,. ,4 . . L‘fJIIYlill..l I A tvipnflnuO litliv|ll J! L I ‘1 it W W r . _ i a .7 fl , _ , r _ .1. y 4 _, _ fl 4 .. Eli-Hill 4% A 1 1| [Jill ulnl- .LIL} I . _ .. .w-i! y i i I/ If], ’ . v, v . ill!» {‘1‘ , — ‘——- ~ ‘-. Nodel VI needed a size 1% pattern as her body measure- wents were bust - 35 1/2", waist - 28", hips - 37", back waist length - 16 3/h", and front waist length - 12". She was slightly round shouldered. She had a prorinent clavicle and was large-waisted in proportion to her bust and hips. Her 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 arc was widened at the side front, narrowed at the shoulder and raised in the back. The shoulder seam was made to cling by taking excess off the front bodice. Wrinkles or pouching from the bust line to the armscye still remained and these were eliminated by easing the lower armscye onto the sleeve instead of increasing the dart still more. The grain at the center front of the garment rose because of an unusually high chest. Additional length was needed between the bust level and the neckline to level the grain and the length needed to be reduced between the bust level and the waistline. It was too late to do this after the gar- ment had been constructed. A shoulder dart or darting above the bust level would also have helped alleviate this trouble. Because of the high chest a V-neck would have been pore becoming to the individual than the high rounded neck. There was too much darting in the back of the bodice causing it to pouch out over the shoulder blades. The waist -io3- dart was reduced and the side seam was ripped and redraped taking up the excess width of the bodice back. This seemed easier than recutting from the altered pattern. Either method could have been used. The sleeve cap was lengthened 1/8 inch in the muslin. It had previously been shortened 1/2 inch in the paper pattern. The skirt of the muslin dress fitted very well and required no alterations. -101- A COFFARISON OF SIVFLICITY ATD VOGUE PATTERNS Simplicity patterns were used in fitting all of the Si? students. The alterations made were compared with alter- ations made in a second study using Vo'ue patterns to fit the same sir girls. The Simplicity pattern had more ease allowed over the bust than did the Vogue. The ease in the Simplicity pattern measured M 1/2 inches. This was an inch wider across the bust and approximately l/h inch wider at each shoulder seam than the Vogue pattern. The circumference at the waist of the two patterns was the same. The Vogue pattern had a larger bust dart than did the Simplicity pattern and a smaller underarm dart. The Vogue pattern had slightly more length in the hack 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 inch narrower at the elbow and 1/2 inch wider at the wrist. Both patterns had a long sleeve cap. Vogue's sleeve cap was 6 l/h inches high and Simplicity's 6 inches. Hill— house's and Nansfield's draft has a sleeve cap of S l/M inches. The most obvious difference between the two patterns was in the skirt. Vogue's skirt pattern appeared to be narrower at the hem than at the hip level, while Simplicity's skirt flared out at the sides. The covparative measurements are as follows: -109- A Vogue Simplicity Width at hip level 37 1/2" 38" Width at hem 39" h8 1/2" Vogue had one large dart at the front and one in the back of the skirt. Simplicity had two smaller darts in tte front and in the back. The two smaller darts produced a better fit. The one large dart with the narrower skirt tended to produce a peg top which is more fashionable; how- ever, it still left the side front from the hip to the waist tight and it strained over the hip bone. In fitting the girls, many of the same alterations were made on both patterns. Fore alterations were necessary to produce a desired fit in the skirts of the Vogue patterns than were necessary in the Simplicity patterns. The Vosue patterns tended to fit better around the bust than did the Simplicity. Nany of the Simplicity patterns had too huch ease over the bust. When Nodel I was fitted, a size 12 Simplicity pattern was used and a size 1% Vogue pattern was used. Esther Sieman in her thesis "A Corparison of the Sizes and Shapes of Dress Patterns Fade in Five Commercial Pattern Corpanies", stated that Sirplicity and Vogue Patterns are made to fit an individual of the the following proportions. Vogue Pattern Feck - medium, well-proportioned front to back and side to side, medium front neck base. -103- Shoulders - long, medium shape, curved shoulder with high tip at armscye, rounded in back. Chest - Wide through front and hack, comparatively flat in front and rounded in back. Bustline - full front and back, medium to low front with fullness at lower bust, rounded hack. Rib cage - small to medium, tapering markedly to waist, comparatively narrow front to back. Arvscyes - deep, narrow, proportionately longer and fuller in back than in front. Arms - long through upper arm, fairly full girth tapering to elbow. Waist length - long center front and center back with great deal of back length from shoulder to scye to waist. Waistline - small total circumference, wide through front. Hip - small, flat back, prominent hip bones. Simplicity Pattern Neck - small to medium, well-pronortioned front to back and side to side, medium front neck base. Shoulders - short to medium, medium slope, erect, compar- atively flat hack. Chest - narrow to medium front and back, rather straight back. Bustline - medium with greatest proportion of fullness through front bust, comparatively flat in back, medium to high front bust, erect posture. Rib cage - medium. Armscyes - medium, well-proportioned (erect figure). Arms - medium length, full upper arm, tapering from elbow to wrist, small wrist. Waist length - medium length at center front, medium to short in back, medium side length. -10h- Waistline - medium. Hip - full back, ample but gradual side hip curve coming rather low, rounded stomach. CONCLUSION Accurate measurements of the individual must be taken before buying a pattern. If the individual is very small through the shoulders, it is well to consider buying one size smaller pattern, depending upon how nearly her bust measurement compared to that of the pattern. In altering the sleeve, it is helpful to check the individual's arm measurements against those of the sleeve draft to predict its probable fit. It is much easier to fit a muslin proof than a paper pattern. The muslin tends to cling to the body while the paper is stiffer and more fragile; however all changes made in the proof necessitate transferring the alteration to the paper pattern and then recutting the muslin. This can be done, but requires more time and patience than if caught in the paper pattern fitting. Any edge correction is easy to make and does not involve re-cutting. When one is fitting patterns, design changes as well as fitting alterations may have to be made since the one influences the other. When fitting the pattern this should be taken into consideration. A bodice with a balanced grain around the bust will produce a better fit and be more comfortable on the individ- -105- -lO6- ual. Dartin~ ahove the waist as well as below maintains a level grain line. A French dart line produces this corfort- able fit and also provides a seam instead of shorter darts which can be deepened or let out as the situation demands; thereby often improving fit and design as well. Speed and accuracy are important requirements for pattern fitting. The more quickly the individual can be fitted the better will be her posture and the more accurate the fit. The time required to fit each individual decreased as this study progressed. The fitting time averaged approximately one-half hour per student. When the pattern was fitted it was discovered that it was much easier to lap out a dart and make a pattern smaller than it was to slash it and increase its size. The pattern must he removed to slash, spread and tape it and then tried on again. Many alterations can simply be marked and be made after the pattern is taken off the individual. For instance, full- ness at a skirt dart can be pinned at the tip of the dart and at the hem, and the alteration made later. A waistline can be marked and altered later. Time would be saved in both of these alterations and the person being fitted would be much happier. When determining the waistline of a person, a tape measure tightened around the waist will help determine the correct placement of the waistline seam. -lO7- After the garment is made and if further alterations are necessary for proper fit, it is easier and faster to fit by pinning out a dart rather than to wake the adjustrent by ripping and redrapina. However, when a dart is pinned ou , necessitates transferring the alteration to the paper Ff H. U) ¢ pattern and recutting that area of the dress. If the adjust- ment is made by redrapinq it, all lines must be transferred to the opposite side and restitched. The proof has to be _pped in either case. L—h r If there is slight excess fullness at the underarm armscye, the seam line way be stay-stitched and ease pulled up. This way be better than increasing the size of the dart. In making the alterations on the paper patterns and the muslin dresses, and observing the alterations necessary on the muslin master patterns, the number and variety of fitting problems was reCOgnized. This was further emphasized by the tabulation of the prominence of figure faults. If an individual becomes adept at those alterations which occur most frequently, the accuracy and speed necessary in fitting will be increased. If an individual uses paper patterns consistently, she will learn to know what alterations are necessary for the particular brand of pattern she is usinj. It would be easiest for her to find the brand of pattern that fits her with the least alterations and to use it consistently. However, this limits her to the desizns of that particular company. By knowing tow to alter any pattern she can choose the one with the best design and alter it to fit her measurements. FT“?”? Owl .i' mt One of the great problems of women who sew is the in- ability to recogonize good fit and to fit a garment. She often cuts without pattern alteration with the result that she finds little satisfaction from making an ill-fitting garment. This is one of the prime reasons that women give Hp sewing. The ability to analyze pitting faults and to know when and where to make alterations is a prerequisite if one is to have a well-fitted garment. Flaws in the fit of a garment were analyzed and the resulting alterations were observed by watching hiss Eillhouse fit the master patterns in her Pattern Making class. The same methods as used above were put into practice in altering the paper dress patterns for six students and the muslin proofs that were made from these altered patterns. The ability to analyze flaws in the fit of a garment and to acquireskill in making alterations is necessary when teaching girls in a home economics class, h-H leaders, or groups of women. Teachers in a sdhool system and H-H leaders need to know how and where to make alterations and to become adept at those alterations which occur most frequently. This will enable the pupils to have better fittin: garments and both teacher and pupil will derive a greater degree of satisfaction. -109- ~110- To become adept at fitting it is necessary to analyze the flaws, unierstand the methods used and to reCOgnize the fact that it takes practice to acquire skill and speed. As this study progressed the time required for each fitting was reduced and the ability to recognize flaws and make the resulting alterations was increased. Caution must be used in fitting patterns. If the individual is over zealous at seeing flaws it is possible that over fitting will result. Women's groups are interested in altering ready-to- wear as well as making alterations in a pattern. The same practices that were used in altering the muslin proofs could be used in altering ready-to-wear, but it is far more diffi- cult and requires a clear understanding of the problems in- volved. It is important to understand the principles of alter- ation and leave alone what is not known. BIBLIOGRAPBY Adrosko, Rita Jane. "Pattern Fitting Problem." Unpublished problem-, Department of PWom Economics, Iichigan State Lniversity, 1956. Eillhous e, Tarion S. and Tansfield, Evelyn A. Dress Design Draping and Flat Pattern Taking. Cambridge: The River- side }ress, 1948. I ansfield, Evelyn A. Cloth_ing Construction. Boston: Houghton Tifflin Company, 19/3. Sieman, Esther E. "A Comparison of the Sizes and Shapes of Dress Patterns Tade in Five Commercial Pattern Companies." Unpublished T'aster' s tnesis, Department ofP ome Economics, Tichigan State University, 1957. Simplicity Pattern Company Inc. "Simplicity Primer." 1958. -111-