A STUDY OF DESIGN'IN
PATTERN NLKING

RELLTION TO
AND FIGURE PROPCRTION

 

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Ruth Faye Sm

 

 

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A STUDY OF DESIGN IN RELATION TO PATTERN MAKING
AND FIGURE PROPORTION

BY
Ruth Faye Constance Smith

A SPECIAL PROBLEM
Submitted to the School of Graduate Studies of Michigan
State University of Agriculture and Applied Science
in partial fulfillment of the requirements
fbr the degree of
MASTER OF ARTS

Department of Textiles, Clothing and Relpted Arts

1959

m ‘4’?”
‘L I.
II.
III.
IV.
V.

TABLE OF CONTENTS

INTRODUCTION . . . . . .

PURPOSE OF THE STUDY . .

REVIEW OF LITERATURE . .

METHODS AND PROCEDURES .

DISCUSSION OF RESULTS .

I.

II.

III.

Figure types .

l.
2.
5.
2+.
5.
6.
7.

Construction of the Patterns

1.
2.

5.
4.

Normal .
Fashion. .
Tall Thin Angulsr
Medium Hesvy
Short Heavy
Thin Long Weisted

Short Small Boned

Normal
Tell Thin Angular
Medium Heavy

Thin Long Weisted

Skirt Designs on the Half Size Model

1.
2.

5.
1‘.

Pleated Circular

Peg Top

Six-Gore with Flared Beck

Gored Skirt with Loose Back Plest

CDU'IW

15
1h
16
20
2A
27
51
55
55
59
1+9

61

67
67
69
69

IV. Explanation of the Costume Plates

1. Tall Thin Angular .

2. Medium Heavy .

5. Long Weisted Thin .

VI. CONCLUSIONS . . . . . . . . . . . . .
VII. SUMMARY . . . . . . . . . . . . .

IX. LITERATURE CITED . . . . . . . . . .

ACKNOWLEDGEMENTS

The writer wishes to express sincere appreciation
to the following people:

Miss Marion Hillhouse, Associate Professor of
Textiles, Clothing, and Related Arts for stimulating a
desire within the writer to create beautiful designs in
the Costume Design Class, also for her patience, guidance
and assistance in preparing and planning this study.

The students who made their dress forms and master
patterns available.

Miss Hazel Strahan, Head of the Textiles, Clothing

and Related Arts Department for her encouragement.

I. INTRODUCTION

Since the beginning of time, all great civilizations
~ have had their idealgof the beautiful figure. The Greeks
had Venus de hfilo as one of their ideals and throughout
Europe different ideals were chosen for each century.
During the Renaissrnce Empress Eugenie was the ideal .
beauty stxndard with sleping shoulders and tiny waists which
resembled the slender flrt chested boyish figure of the 1920's.
Todafh ideal is the tall slender fashion model with full bust
and small waistline.1 It is usually every woman's desire to
appear as much like the ideal figure of her time as possible.‘
Perhaps it is fortunate that this is impossible for our world
would be quite monotonous. Yet every designer is faced with
the problem of trying to satisfy this desire to approach or
resemble the fashion figure. The short person wants to appear
taller, the tall figure shorter, the thin figure larger and
the large figure smaller; Nknufacturers according to Grace
lbrton avoid this problem by making garments to strndard
sizes and ch rging the buyer the alteration bill.2

Beauty of figure is deternined by the.proportion of the
various prrts of the body which is measured in head lengths.
Therefore a good designer will attempt to use lines to play

up ideal proporticns which the figure has and create an illusion
l. Merton,THE Arts of Costume and Personal

Appearance, p. 228.
2. Ihid

 

 

 

 

of others by a wise use of the principles of design. She
applies the principles - harmony, proportion, balance, rhythm,
emphasis, subordination to her use of line, color and texture.
Morton further emphasizes figure beauty by listing two types

of beauty, (1) The anatomy or bone structure, an example of
this is the slender wrist, well shaped foot etc. (2) The
covering of the bones with muscles and flesh sometimes
inadequrtely and excessively. This covering determines

whether a figure will be considered angulrr with body lines
approaching straight lines or roundly curved. The ideal

figure is neither too curved nor too angular,. Many

women appear beautiful who possess various figure irregularities
which have been skillfully concealed by the ingenious use of
line. This studgris an attempt to analyze methods of improving

figure irregularities by the use of line.

PURPOSE OF THE STUDY

In this study the prinmry aim was to minimize figure
irregularities by the use of line. Since the current trend
today is the slender fashion figure, it was the writer's
aim to analyze the effect of line to see how to improve
figures chosen so that they appear like the fashion model.
Lines were used in each case to try to restore better
balance and proportion to the figures to harmonize with
the age and personality of each person. Although this study
was limited to four figures developed in muslin, other types
were sketched and suggestions were mentioned for figure
improvement. A further aim was to show the development of
a sketch into a muslin pattern and draping on the form for
the four figure types chosen.

Additional purposes of this study were the following:

1. To gain more experience in creating
good designs- sketching on paper and
establishing lines on the form

2. To gain skill in carrying out any
any design sketched from the master
pattern

5. To gain experience in judging muslins

for design and fit

(/1

*452c. CLOTHING CONSTRUCTION VI-ADVPNsED pass

DESIGN AND CONSTRUCTION, the text, Dress Design Draping

 

and Flat Pattern Making by Hillhouse and Nansfield, Color

and Line in Dress by Laurens Hempstead, and The Arts of

 

Costume and Personal Appearance by Grace Morton served as

a foundation for this study.

-5-

II. REVIEW OF LITERATURE

There is usually a section on figure types in most
clothing books; however, Hempstead gives an extensive
analysis of various figure irregularities and suggested

methods of improving each in her book, leor and Line in

 

nggg. This book has been referred to throughout this study.

Dress Design Drapingiand Flat Pattern hhking by Hillhouse
and Mansfield with emphasis on chapters 2, 5, 4, 6, and 7 was
used as a basis for pattern designing. This book explained
the methods that the writer used in making the suits for the
figure types used in the study. The authors also stressed
the fact that besides a knowledge of flat pattern designing
and draping, a student of design should be acquainted with
a knowledge of the current fashion to better interpret
fashion and understand and apply the principles of design-
in every costume created.

In chapter IX, Morton discusses the various figure
irregularities and gives examples of the types of clothing
that should be worn for improving them.in her book, 223_.
Arts of Costume and Personal Appearance. The tall thin
angular, the shortstout, the Nordic type, the short
plump and the small boned figure types are mentioned.

Chapter IV, Design Essentials for Good Costume and chapter

-6-

VII. Texture and Texture Combination were beneficial to
the writer in analyzing the results of this study. An
interesting quotation from Morton's book is cited below.
"There is no intellect that does not
desire to create continually, and the pleasure
in the perception of a new or unaccustomed
form of unity is comparable to that of original
achievement." 1
Herbert Langfeld, THE AESTHETIC ATTITUDE
This statement expresses the sentiments of the writer who
has experienced a great deal of satisfaction first of all
from creating designs from various sources of inepiration
and lastly seeing these designs become a reality in fabric
through flrt prttern designing and draping.
Further suggestions for figure types were given in
Art in Everyday Life by Harriet and Vetta Goldstein.
The authors state that a structural design should be made
up of shapes and sizes beautiful in themselves and pleasing
in relation to the human figure. A good design will have
its dominating lines so skillfully placed that they will
subordinate less attractive features and the good ones
will be emphtsized.
Harriet Pepin explains the principles of design in
detail in her book: Fundamentrls of Apparel Design. She
mentions that the designer is faced with the problem of

creating structural and decorative plans which can be

1. Merton, The Arts of Costume and Personal

 

appearance, p. (v).

adapted to various figure types.

Color and Design in Apparel, by Bernice G. Chambers,

 

Dress Design and Selection.by'barguerite Stotts Hopkins, and
Scientific Designing by Gaetan J. Lapick contributed to the
study by their general information on line and figure pro-

portion. Hopkins begins her chapter on The Art of Figure

 

Proportion with the following quotation.

 

"0 wad some pow'r the giftie gie us
to see ourselvs as others see us."

Burns

If every woman could actually see herself as she appears
to others, more interest would be stimulrted iJI a study
of line and design to create an illusion of beauty where
seemingly little beauty exists.

A folder on Corrective Line compiled by Miss Hillhouse
was used to secure a general idea of the study. Mimeographed
date, clippings and drawings of figure types were included

in the folder.

.8-

METHODS AND PROCEDURES

I. SELECTION OF STUDENTS FOR FIGURE TYPES

 

Students in the advanced construction classes were
observed to discover distinctive types to use for the study.
The observation was limited to these classes because it was
necessary thrt each student have a master pattern and a dress
form. Six students were chosen first; however, after further
consideration, only four were used.

(1) Tall thin angular
(2) Medium heavy
(5) Longwaistcd thin-straight from armpit
to waist
(Normal) (4) Slender- approaching the fashion figure
II. DESIGNS CHOSEN
The feur figure types listed above were studied and
drawings were made on the lay figures to appear like the types
chosen. A basic suit was designed on the normal lay figure
using the french dart line which ‘as proven to be an excellent
line both for fitting and for adapting design to various figure
proportions. This same suit was adapted to the remaining figure
types, medium heavy, long waisted thin, and tall thin angular.
Changes in the structural lines were made on the drawings to
suit each type. Half size patterns were cut for each suit first
and the same procedure was used for developing the full size

muslin patterns.

III. HALF SIZE SKIRTS

 

Skirt variations on the half size model were
added to the study to broaden the writers's experience
in pattern making. Five skirt designs were chosen from
current fashion and patterns for them were cut from the
basic master skirt pattern and msde in muslin“ to fit
the half size form.
(1) Pleated circular
(2) Peg top
(5) Six-gore with flared back
(A) G‘ored'. -' skirt with full
loose brck pleat

IV. COSTUEE SKETORES

 

Three dresses were also sketched over the 12" lay
figures using horizontal, verticrl and radiating lines
for the tall thin angular, the longweisted thin, and
the medium heavy types.

V. THE FfiBRIC

 

Unbleached muslin wrs uscd to construct the suits

and half size model skirt variations.

-10...

LABORATORY YETHODS
I. _Eey figure with fashion figure proportions:
The lay figure was drawn with the proportions listed.
It was drawn nine inches with an eight herd length.
From this figure, the four figures used in the study
were drawn showing differences in prosortions.

II. Lay figures of the four types chosen:

 

The normal figure was drawn using the same proportions
of the fashion lay figure; however, the medium heavy
figure was made larger, and the tall thin angular
taller and thinner. The long waisted thin lay figure
was drawn to show the extremely long waist.

III. Suit design for the Normal figure
IV. Verietions of the suit on the three types 'with line

treatment to improve figure irregularities

Pattern.Nhking

 

The original suit designed for the normal figure
was placed on each figure with variations to conceal the figure
irregularities. The standard suit and the suit with variations
were placed on the same drawing to observe the changes. The
basic suit variations for the tall thin angular, longwaisted
thin, and the medium heavy were cut in quarter size patterns
and approved by advisor. The master patterns belonging to
each girl chosen for the suit study were used on which to
design the suits in full size on construction paper. following
standard procedures used previously in pattern making courses.
The basic pattern pieces were cut in construction paper and
pinned to each girl's form . Lineswere then drawn following

the carefully planned drawing of the suits. The patterns were

-11..

trued, cut sport and grein established on each piece and then
cut in muslin. The muslin proof was made for both sides of
the figure representing the fashion model figure end only
one side was cut for the other figure type variations.
V. Drsoing
After the patterns were cut in muslin, they were
marked and sewed together by hand and machinejmatching
lines and notches. These were then plrced on the dress forms
and observed. Changes were made to improve each design,
For example, a diagonal line was used at the hemline of
the jecket inste d of the straight curved line for the suit
representing the normal figure to give it more style.

The collrrs of each suit were dr'ped on the form,
lifting or lowering the line to produce the desired collar
roll. This gave an opportunity to gain experience in com—
bining drrping with flit pattern designing.

VI. Half size model skirt variations

Designs were chosen for four skirt variations and
blocked from the master pattern to fit the half size form.
Directions for the skirt blocking from the standard Hester
pattern were followed from the text Dress Design, Draping
snd Flat Pattern Making by Hillhouse and Mansfield in
chapter three. The grain was determined for each skirt
and cut in muslin for one side of the half size form. The

seems and darts were sewn by machine, pressed and placed

’12—

on the models to study the effect. Each skirt was analyzed for

the lines expressed in it.

VI.

VII.

Method of illustr'tion

 

Front views of lay figures representing each of the
four figure types were drrwn. Side views of three were
also sketched to display posture irregularities.

Sketches were mrde of the basic suit and the variations
for the figure types used before they were made in muslin.
After completion of the jackets and skirts, they were placed
on the forms and analyzed. Changes were made in some cases
and these were shown in the sketches.

Photogrrphs of the skirt variations on the half size
model were taken with a Brownie Kodak flesh camera.

Costure 4plrte designing

 

The basis for this aspect of the study was 554a, Costume
Design. The figure types were drawn to the 12 inch lry
figure messurements with variations to show definite
figure types. Three designs were sketched over the figure
with tracing paper. After many changes, final designs were
chosen for the figures. They were tansferred from the tracing
paper to illustration board 10 inches by twenty inches in

order that they might be done in water color.

-13-

DISCUSSION OF RESULTS

I. FIGURE TYPES

 

Six figure types were used in this study. They are
listed below.
1. Normal
2. Trll thin angular
5. Medium heavy
4. Thin long waisted

. Short heavy

U1

6. Short small boned

The first four types were used for the suit experimentation
and the last two have been shown and discussed according to
the principles of design.

Hempstead mentions that the actual size of the figure
is less important than its proportions.1 The important thing
is btltnce and proportion of one pzrt to another to make a
pleasing whole. Whether the head is snsll or large will
determine the appearance of the individual's height. A
small head in proportion to the body seemingly lengthens

the figure and a large head conveys the illusion of a shorter

figure.

1. Hempstead, Color and Line in Dress, p. 150.

-14..

THE NORMAL FIGURE

This figure was drrwn for a nine inch layout, and is
eight heads tall. Mbrton mentions e studyithet was made-to deter-
mine the head length of the average American woman's figure.
Upon completion of the experiment, 7.5009 heads was the
figure received. Therefore, the average American women's
figure measures approxim'tely seven and a half head lengths.1
Morton further strtes the weight of the "Mean'I American
Woman as 15§.h8 1b. and 65.16 inches in:stature.2 "The
fashion figure is eight heads tall with the shoulders wider
than the hips. The width of the fashion figure's shoulders
is 15 heads and the hip width is 1% heads. When the shoulders
are wider than the hips, the figure appears taller and when
the hips are wider than the shoulders the opposite is true.

In this study, the normsl figure from which deviations
were checked was drawn eight heads tall. Since there is no
"normal,figure, the model chosen approaches the proportioned
figure. The fashion figure layout was drawn first and used
as a basis for the normal and deviations from the normal.
Since this figure required no specific line changes, it was
only referred to in comparing figure irregularities of the
others. It is true that this type of figure can wear almost
any type of good design beautifU1ly.

1.Goldstein, Art in Evggyday Life pp. 509, 510.

2.Morton, The Arts of'Costume and Personal Appearance,
p. 2550

 

 

-15-

The side view of this figure has been sketched to show
no evidences of body sags. A person's posture will determine
whether his figure appears tall or short. If the trunk sags,
there is a tendency for the height to be decreased. The
clothing designer should recognize that defectSJif any

are present may affect both fit and design.

~16-

8 HEAD FISIJION

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-17-

EIGHT HEAD FflSHION FIGURE

PROCEDURE FOR DRAWING MAIN VERTICIL DIVISIONS

l.

The

The

Vertical center line was drawn first

total length was divided in half

The upper half was divided into 4ths & 5rds.

The

lower half was divided into halves

This fashion figure is a simplification of the

natural—figure form and is based on long, slim ovals.

The herd is drawn in an egg shape or tapering oval.

This figure was used as the basis for the study of

various types.

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-18-

8 HEADS

 

NORMAL FI GURE

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-19.

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-20-

TALL THIN ANGULAR

First of all this figure type must be differentiated
from the tall slender fashion model. The angular figure
chosen is characterized by prominent shoulder blades,
bony neck and thin arms. The posture is illustrated
in the figure drawings.

There are two brsic problems confronting the angular
figure, (1) transforming the angularity into restrained

curves
(2) decreasing the height of the too tall
figure by line treatment rnd color

SUGGESTICNS FOR SCLVING THFSE PROBLEMS 1,2,5

 

1. Horizont 1 lines such as deep yokes, pouched pockets
and hip length jrckets should be used in moderation
to carry the eye across and cut extreme length.

2. Modified restrained_curves in structural lines
are excellent for concealing angularity. These
are found in bell skirts, bloused sleeves and
blousing above the belt.

5. Constrasting sashes or belts break the height
of this figure.

4. Skirts— Circular, grthered, pleated and bouffrnt types

add width and decrease the height.

1. Norton, The Arts of dostume and Personal
Appearrnce, p. 250.

2. Hempstead, Color and Line in Dress, pp. 217-221.
5. Goldstein, Art in Everyday Life p. 279.

 

 

 

 

 

-21-

5. Capes, wide sleeves and constrrsting ensembles add
width and decrease height.
Goldstein suggest that the tall thin.angular should'
avoid! 1 .-
1. Severely straight lines
2. Angles in the lines of the dress
5. Long narrow skirts
4. Flat tight waists
5. Short sleeves that revel bones.
Norton adds more things to this list below:2
1. Knitted dresses and sweaters except
when worn over blouses
2. Clinging materials; coarse, wiry,
sharp fabrics
5. Long tight sleeves
These are just a few of the general ways that the tall9
thinflangular figure may improve her figure and give the

illusion of having beautiful body contours.

 

10 G‘Oldstein’ PIE. 9-1-20, p. 2790
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2. Morton, Op

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-25-

TALL THIN ANGULAR
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-24-

MEDIUM HEiVY

No specisl listing was found in references for
the medium hervy figure; however, this figure has
large hips end bust and is stockily built. The hips
are wider than the shoulders. It wee found thst msny
surgestions for the medium heevy women apply to the
short stout women. The short stout woman however, has
a greeter problem of creating an illusion of height
as well as slenderness.

SUGGESTIONS FOR FIGURE IMFROVEKENT

1. Emphasis should be plrced vertically st or near
the center of the dress.

2. Disgontl lines thrt rre contrined within the silhouette
decrease the width.

5. Fullness introduced in the skirt if flared from
the hips at side front or side or center back
minimizes the hip size. The flare should not be
on the side seam.

4. A slight blouse at the waistline over a firm belt
tends to minimize the size of the hips.

Additional suggestions from Morton and Goldstein are

mentioned below:

1. One fabric used throughout the costume

2. Cool colors
5. Dull textures

5.

-2 5-

THE IEDIUM HELVI FIGURE SHOULD AVOID -

Very full fluffy or tight garments

Ruffles

Horizontrl emphnsis in the lines of the dress

Spike heeled pointed toed shoes because they have a
tendtncy to unke the figure look too heavy for

the smrll feet.

Full sleeves or cuffs beceuse these too widen

the arms.

Belts or s shes which are conspicious in width or
in color _

Lines levding to the 1:rgest pert of the hip

Spreading lines

 

 

-26- MEDIUM HEAVY

 

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-27-

SHORT HEAVY

The very shortjstout figure has the greatest
problem of the six figure types selected. Morton gives
an example of this type of woman. She mentions Miss Elsa
thwell who is five feet three inches and weighs "two hundred
pounds." Although it is unreasonable for anyone to think
that the designer can nske this figure appear like the
fashion model, yet a good designer will try to create an
illusion of dignity and distinction or at least inconSpicious-
ness. Many suggestions listed for the medium heavy woman
apply as well to the short stout figure. A side view of
this figure is also given to emphasize the designing pro-
blem crested by improper posture. Back fullness or flares
can be used to correct cupping under of the skirt. This
figure presents a fitting problem too which will not be
discussed in this study.

SUGGESTIONS FOR IMPROVSNENT

l. The use of vertical and,better yet}diagonel lines to

remove emphasis from the side curves of the figure.
2. Diagonal lines that appreach the vertical and are kept

within the confines of the contour.
5. Waist length jackets with matching skirts that give the

illusion of a one piece dress

- V ‘83-

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-28-

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-50- FRONT VIEW or
THE THIN LONG
WAISTED

8 Heads

 

 

 

 

 

 

 

 

 

 

 

THIN LONG WAISTED

An attempt was made to improve this figure

by the use of blousing at the waist and sashes.

Lhny of the suggestions for the tall thin angulrr

figure can be duplicated for this figure because

they have the same problem in common of filling out a

too thin figure by the use of gathers, fullness and

bows but yet must not overdo it and thereby suggest

too much fussiness.

2.

SUGGISTICNS FOR FIGURE INFROVRKENT

Draped folds at the underarm such as radiate from
dolsrn sleeves

Wide belts or sashes and cummerbunds to break

the length of the trunk

Jickets bloused slightly at the waistline to fill
in the long line of the chest)or free falling

boxy jrckets

 

 

 

 

 

 

 

 

-52

SHORT SMALL BCNED--FRONT VIEW

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ShCRT SKILL BONED

This figure has few problems of proportion but rather of
choosing clothes that are scaled to her size. There are definite
lines thrt are more becoming to this figure. Hempstead states
that the basic problem here is emphasizing the form in a manner
thrt will be chrrming. Therefore the use of lines which will
emphasize the smrll figure should be avoided. Collars, yokes, and
peplums scaled to size of the figure and features will enhance
the sprePance. Morton further states that the hands, arms,
ankles and feet should be emphasized without the use of added

. 1.2
bulk. Emphasis should be plrced near the frce.

SUGGESTIONS FOR FIGURE IKPROVEMENT

1. high necks which add inches to the figure
2. Empire waist 9nd brief boleros
5. Modified princess style dresses which avoid pronounced
lines in either direction
h. InconSpicious belts which do not break the height of the figure.
5. Short skirts if legs are well proportioned, but
longer if the opposite is true.

1 e Hempstef‘ d ’ 930 93-34.. , 252-2h1 o

 

2. Morton, 02. Cit., 259, 260.

54..

MASTER PATTERNS

QUARTER SIZE

 

FRONT AND BACK

BODICES

-715-

CONSTRUCTION OF THE PATTERNS

The master blouse backs and fronts were used with
the hip to waist sections of the master skirt back and front
to make the french dart jacket. The master sleeves were
varied too according to the designs of each suit.
The skirt back and front master patterns were used to
make the basic suit skirt. Where a seam was introduced
down the center, the grain was shifted so that the seam
would not be on straight grain. An eight gore skirt was
made from the skirt master patterns for the medium heavy
figure with flare introduced in the center front and back.
Four skirts were also blocked from the half size
master skirt petterns. These presented more variety
and in the plerted circular, the front and brck basic patterns
were Spread first at the bottom and re-spreod again at the

top for pleats.

-55-

SKIRT W. STER PATTERNS

Be ck Front

MASTER SLEEVE PA TTERN'

 

 

 

 

 

 

 

 

 

 

 

Figure I shows the structural lines of the suit
which was used as the standard from which to deviate
for the other figures. It was constructed from the
basic master patterns for the sleeve, skirt, and blouse.
This suit has the following details:
1. French dart line
2. Fitted wrist
5. Set in sleeves with cuffs
#. Roll collar cut in one with bodice front
5. Five buttons down the front
6. Basic master skirt with grain shifted in
the back to introduce slight flare
Upon completion of the muslin jacket, it was placed
on the form and analyzed. A change was made in the hem
line of the jacket to repeat the yoke and collar lines.

This added style and made the figure appear more slender.

-—-'.—v ‘1'. . . w-. _

~ ~‘ . ~ - . . - m. .?2t'°."‘.lm""

 

 

~40-

EXFLPNATION OF PATTERN CONSTRUCTION

The French Dart jacket for the normal figure
was constructed by the use of the master prtterns
shown on pages 54-57.

Directionsfor this type of jacket were found in
the Dress Design text by Hillhouse and Mansfield on
pares 57, 58.

Figure A shows the jacket front with the collar

1

outlined. This was cut and draped on the form to produce

the desired roll. The arrows indicrte the final length

of the jacket after the lower edge was draped on the

form. (C) was found to be the best length. (A) was the

first length, and (B) the second with (o) the final choice.
The lengthwise grain was placed perpendicular to the

waistline on each section. A well proportioned figure

can usually wear any good design therefore, the change

in the jacket hem was only to add style and improve the

quality of the design.

.41-

 

 

 

 

Ktemxux uthufilu

 

 

 

\meme

 

 

 

 

 

 

 

 

 

 

 

 

 

it'll]. il’I'VILL‘A‘I.

4&2-

Figure Bl illustrates how the back of
the jacket wrs constructed. A, B, and C show:
the various lengths tried for the jacket with

C the final choice shown in red.

.45..

 

 

 

 

 

 

 

 

 

 

5/

-1114 -

Figure 01 was adapted from the master pattern
sleeve. It was shortened to three—quarter length
and the large elbow dart was divided into three
small parallel darts for better fit.

A2 shows the cuff which was cut separately.

A indicates that the cuff was cut on the bias

5
because the bias cut gives a better roll effect.

.45..

 

 

 

 

 

 

 

fl.f%gp

'f’1’

V Cut sepsrately— can be
cut on the fold or on
the bias

-46-

Figure 2b shows the skirt pattern used for
the normal, tall thin angular, and thin longwaisted
figures. The basic master skirt front was used

without any changes and the front was cut on a fold.

\
O

(B) indicates the pleat in the back of the
skirt. (A) shows where the skirt was spread to
introduce flare. This skirt has % inch outward

slop from hip to hem.

 

 

 

.47..

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

4+9.

TALL THIN ANGULAR

The Tall, Thin, Angular figure has the problem

of concealing the angularity in the body line through

the introduction of fullness, large roll collars and

other points of interest that round the angles.

The following changes were made on the first

standard suit to make this figure appear softer and rounder.

l.

5.

A double-breasted front was introduced to fill in

the flat chest line that is typical of this figure.

A l“rge rolling collar reduced the angularity of the
shoulder line and formed a trrnsition between the neck
column and shoulder plane.

The raglan tvpe sleeves weke introduced to reduce

the height and round the square shoulder line.

'The cuffs were made slightly deeper to balance

the large colltr and to adv width to the body.

A belt and blousing above it were introduced.

The belt wrs used to bre k the length of the tall
figure and the blousing was added to fill in the too

thin rib section.

This figure looks better in a full flared skirt or a peg top

variety when there is no peplum but since this is a suit with

interest in a hip length jrcket a narrow skirt silhouette was

USCdo

-50-

Figure (G) illustrates the method used for blocking
the double breasted front.

(D) shows where the pattern was spretd to introduce
fullness above the belt. (A) illustrrtes the new jrcket
line thtt wrs changed after plrcing the muslin jacket on
the form. Although this figure can wear long jackets
those that are extremely long tend to appear clumsy.}(B)
illustrates the cut-on lapel and (C), the back collar which

was draped from the directions given in Dress Design by

 

Hillhouse and Kansfield.
sleeve

This suit had a raglan typeawhich is illustrated in
the pattern construction (E). The broken line on the sleeve
indicates where the sleeve was spread for fullness. The
cuff was cut on each sleeve section.

The back of the jacket patternwrs slashed similarly to
the front with fullness added.

The skirt was a repeat of the one used for the standard

SUito

-51-

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

-52-
MEIUMH W i
( "LA
( Q 2} l‘
O. //
k e 1’

/
a fl 0'5 A A

 

 

 

 

 

 

 

 

-55-
MEDIUM HEPVY

The first standerd lines were drawn on the medium

heavy lay figure to see their effect. However, for purposes

of constrast the set-in sleeve was changed to a kimono type

sleeve with the other details remaining constant. This figure

appears too heavy in the hip area and the problem is to change

the lines to decrease hips and increase shoulders.

The following changes were made:

1. The collar line was shifted downward to lengthen the
short stout neckline. This vertical line follows through
the skirt to the hem which slenderizes the entire figure.
The long collar line givese.diagonal curve from waist to
shoulder and avoids the tight pinched appearance across
the chest shown in Fig. II. It also directs the eye out
toward the shoulders.

2. Set-in sleeves are best for this figure because the
continuous line from shoulder to hem further decreases
the width of the figure. Raglan sleeves tend to 810p
andifiddxu bulkiness to the shoulder line.

5. The cuffs were removed to decrease hip width and the
elbow dart was tranSferred down to sleeve width to hang
as a loose column over the large arm.

4.The two-gore skirt was changed to an eight-gore to introduce

easiness around the hip and hem line. The three vertical seams
give an illusion of slenderness to the hips and thighs.
5. The French dart line was str'ightened to run smoothly to the top

of the armhole to carry the eye upwards to the shoulder to better

brlance heavy hips.

4:11..
/

PATTERN CONSTRUCTION FOR THE MEDIUM HEAVY

Figure D illustrates the construction of the jacket

1

for the medium heavy figure. Basically the construction

of the pattern was quite similar to the standard'suit.

A2 shows where the angle was removed from the french dart

line which was done to maintain a continuous line through-

out the silhouette for a slenderizing effect. (C indicates

the collar change which increased'neck length. ” ' a v.4.
B indicates the hauline change after the muslin jacket

was placed on the form. Hempstead mentions that for this

figure, the jacket should stop above the largest part or

below the largest part of the hip to slenderize this line.

A loose fitting jacket is also very good for this figure,

but to keep the experiment constant, the fitted jacket was

used and changed to produce effective lines.

 

\\

\\ 6/41“?
w 1712-» F

 

 

 

 

 

 

[)1

— ---—_. w

 

 

56-

Figure E1 illustrates the eight-gore skirt. Flare
was introduced in the center front and brck seams also
the side front and back seams hrd added flare with the
actual side seams remaining the usual % inch {flare from
hip to hem. El shows the front only; however, the back
was constructed in the same way with the grrin through
the middle of etch center section. This fUIIness in the

skirt slenderizes the hip line of the medium heavy figure.

T]

-58-

Figure F1 illustrates the sleeve construction
for the medium heavy suit. The elbow dart was
transferred to the bottom to widen the sleeve.
The sleeve was spread as indicated by (A) for

a loose sleeve.

-5 9-

 

 

 

 

 

 

 

 

 

~60-

THIN LONG WAISTED

 

 

 

 

 

luv

 

 

 

 

 

 

 

441-

THIN LONG WAISTFD FIGURE

The besic suit when drrwn over the 19y figure

emphssised the long waist line so the following line

treatment wss used to correct this:

1.

2.

The set-in sleeves were changed to the raglan

type to breek the long line of the upper bodice.

A peplum was introduced at the waistline with

fullness edfied to conceal the long torso.

A rather wide contour belt was added after the

muslin was pched on the form. This further

helped to break the vertical effect and shorten the
waistline.

The line wss slightly lowered in the jrcket center back
to bre k the long line from neck to weist, this is

illustrpted in the beck figure (a).

~62-

LONG WAISTED lHIN

Figure (I) illustr:tes the side front with

fullness introduced by sprefiding the side front.

Figure (II) shows the brck which hes a possibility
of being cut on the fold or if matched with the front
grsin as wes done for the sctusl pettern making will be
slightly off grsin which is edvisrble since there would

be a seam.

-55-

 

 

 

 

 

 

 

 

 

 

-6h-

Figure (J) illustrates the method used for construct-
ing the reglsn sleeve. (A) indicates where the sleeve
should be cut. (Bl) shows the grsin in the sleeve
which correSponds to the center front jacket. (82) is
the grain from the center back jacket, this grain was
not used. The front grain was mrtched to the back and

this corrected grain was used as shown in (Bi).

The cuff wss cut on with grsin the same as the

sleeve.

:

.
5
4

 

 

 

 

 

9;)

 

-66-

SKIRT DESIGNS ON THE HALF SIZE LDDEL

Becruse there was little vsrietion in the skirts
for the suit experiment, skirts were done on the half
size model end analyzed to see for which figure each
wss suited. Photographs were taken of chh vsristion
and mounted beside the analysis. The heels for construct-
ing these skirts was the textbook by Hillhcuse rnd Msns-

field, Dress Design Pnd Flnt Pattern Msking. Ehch skirt

 

wss discussed according to figure types.

I. Pleated Cicuirr- Fig. (1) illustrates t‘is skirt

 

which csn be worn effectively by the trll thin
sngulrr and the thin long waisted figures. The
fullness snd plests round the sngulsrity of these
two figure types. This skirt csn be worn by any
figure with small busts,shoulders end waist-conceals
large hips.

II. Peg Top- Fig. (2) shows a skirt which crn be worn by
the tall thin engulsr and the thin long waisted be-
esuse the folds at the top broaden the smell hipline
and give sn illusion of width. This skirt is becoming
to msnyrsmsll women with nest weistlines and small upper

but is .
fi'gue8,5 no i. recommended if the bust or wsist 215- lsrge.

;§7&

FIGURE I

PLEATED CIRCULAR

59

MAY

IV, )I:

 

x—\, \_ ‘< —\ ‘ _ ‘7 , ‘\

i

.1 \ u. .).\l4\\ll '.\\./|l )‘I \‘. ’l){!\|’,\l)i");l)\

FIGURE II

PEG TOP

59

MAY

\I.t\\l\\l\1\l\\ll\lzl\’u\.\‘\.\\

 

\K.‘y\u\ltl\r.\\lnl\l\r\72

~68-

III. The Six Gore with Flsred Bsck - as illustrated in

 

fig. (5) is becoming to the medium hsevy figure
becsuse the fullness centered st the brck reduces
the width of the hips. This skirt crn be worn

successfully by almost any figure.

IV. The Gored Skirt with Full Loose Beck Plest— is an

 

excellent suit skirt for all types,. The short
stout and medium heavy should have the plerts
stitched down to below the hipline. This Skirt

is shown in figure (4).

-69-

III. Six-Gore with Flared Beck
Fig. (5)

MAY - $9

 

IV. Gored Skirt with Full Loose Back Pleat

MAY ' 59

-J/J—I‘._/_4_/./‘_r

e/
‘ /

 

{J lJ/‘J'l /" ’

mepw‘W

S

-70-

 

SKIRT CHART

 

I. Pleated Circular

II. Peg Top

III. Six-Gore Flared Back

IV. Gored skirt with Loose

Back Pleat

1.

2.

1.

2.

5.

Becoming Unbecoming
Tall thin 1. Short heavy
angular

2. Medium heavy

Long waisted

thin

Tall thin 1. Medium heavy

Long wsisted 2. Short heavy

Tall thin

Medium heavy

Short heavy

Short small.
boned

Tall thin 1. Short heavy

(for suit) 2. Medium heavy

Long waisted ( must have
thin

some flare)
Short—small

boned

 

 

-71-
EXPLANATION OF THE CCSTUTE PLATES

Three dresses were sketched on tracing paper over the
lay figures for the tall thin angular, long waisted thin,
and radium heavy types. After final changes they were
tr:nsferred to illustr tion board. Horizontal and vertical
lines are predomin"nt in each design, however, etch one is
different and is planned for a specific type.

I. Tall thin angular

 

Explanation for the points of interest in the design chosen
1. The high rolling collar- shortens the long thin neck
2. Shirring introduced across the front bodice and the
kimono sleeves add fullness to the flat chest end to
the too thin bony shoulders.
5. The Shirred waistline band breaks the height of the tall
figure and fills in the thin rib section.
4. The full skirt with shirring on the sides adds width
to the figure and unifies the design since the theme
throughout is shirring. The fUIl skirt 1% graceful
on a tall figure.

II. Medium heavyg

 

Explanation for the points of interest in the design chosen
1. The long perpendiculfr lines have s slenderizing effect
2. The p rtial belt makes the wsistline apperr smaller.
5. The pleats in the slightly flared skirt add fullness

over the hipline concealing heaviness.

-72-

4. The three quarter length sleeves with vertical slash it
the lower edge m:ke the errra appear smaller.

5. The long roll ccllrr line lengthens the neck as well
as the entire body.

III. Long waisted thin

 

Explanation for the points of interest in.the design chosen
1. The wrap {round effect at the bodice has been introduced
to create fullness around the bustline which conceals
the vertical line of the chest.
2. The kimono sleeves with draped folds from the deepened
srmholes add some fbllnessaround the bustline making a

nice constrast in width between bust and waist.

-75-

CONCLUSIONS

The conclusions for each pFrt of this study have

been clsssified into different sections.

I.

II.

Generalizations on the effects of line

 

1.

Horizontal lines used in moderation with verticals
predominating are excellent in decreasing the height
of the too tall thin figure.

Fullness over the bust conceals flat chests.
Perpendicular lines are slenderizing when Spaced
properly but also too sedate and dignified if
uninterrupted.

The french dirt line is better for fitting jackets
than a prir of short darts

Kimono sleeves give an illusion of width and break
the continuous line, they rlso emphrsize shoulder
slope or droop and reduce height more than set-in

sleeves.

Standard Suit Varietions

 

Variations:

l.

Sleeves

a. Three elbow darts are better then one for fitting.

b. The sleeve can be slashed and Spread for fullness
to conceal a lrrge arm.

Blousing introduced above the waistline conceals the

thin lines of the too thin figure

-7h-

5. Belts are excellent in breaking the height of the
too tall figure. Also they are good for all figures
when adjusted to the size of the individual-very narrrow
for very small,delic:te-wide for tall,slender.
4. Skirts
a. An eight-gore skirt conceals the IFrge hips of the
heavy figure and is better than a two gore.
5. Peplum lengths
Feplums should be adjusted to the size of the
figure. Tall thin figures- moderately long
Short-normal . . .peplum should be shorter

III. COSTUFE FLfiTE DFSIGNING

 

Three designs were crerted to have style, apreal and
beauty and then adapted to suit the lines of the individual
types chosen. Understanding how to emphasize the best
qualities of a figure rnd drew attention from the rreas
that are out of proportion is essential in creating beauti-
ful designs. The real problem is to create the illusion
of good proportion and still retain style and smzrtness of
design. It is difficult to design if one considers corrections
and ignores feeling for fashion and style which must come

firSt o

SUMMARY'

A study of design in relation to figure proportion
was begun by studying six figure types, tall, thin angular, _
normal, short heavy, short small boned, long,-waisted, thin,
and medium heavy. The figures were studied first to gain
experience in the use of line to concerl figure irregularites

and enphrsize the best qualities. Dress Design and Flat

 

Frttern Drnpigg by Hillhouse and Nhnsfield, as a source of

 

pattern cutting, Color and Line in Dress by Hempstead, and

 

The Arts of Costume and Personal Appearance as a source of

 

line study in relation to figures were used extensively
throughout this study.

Lay figures were drawn for e-ch of the six figure
types with side views showing the posture of three. These
figures were analyzed and after study of source material
a summary of suggestions for figure improvement was compiled
for each type. It was found that following rules alone
does not produce good results. Every figure presents a Slightly
different problem and has to be dealt with individually.
Although lines should be chosen to conceal irregularites,
they must always reflect fashion and have style or they
will appear stiff and ordinary.

Four figure types were chosen and one suit with hip
length fitted jacket was decided upon as the most basic.
form. This w:s varied for each figure. The grain in each

piece was placed perpendicular to the waistline in the suit

.76-

jecket. The verictions in suit skirts were primerily a
nmtter of shifting grein since the silhouette had to be
n narrow tubular shope'to go with the jacket. Beccuse

‘ little experience was geined, skirt verietions were done
on the half size 14 model.

Although sketches were made before the patterns
were made into muslin, the sketches end muslins were
chenged in sose instances after the muslins were draped
on the form and enelyzed.

Presses were designed for three of the figures
StUdiLJ. the medium hervy, long thin engulsr and long,
wsisted thin. This was done to grin experience in de-
signing dresscs that were not as strnderd es the suits.

This study has proven interesting and inspiring to
the writer end has laid e foundation for further study
in this area. This knowledge will also aid the writer
in her future clothing classes in helping students choose
patterns and those in advanced classes to design garments

that will be becoming to their figures.

5.

6.

7.

LITERATURE CITED

Chambers, Bernice: Color and Design in Apparel,
New York, Prentice Hall, Inc. 1932.

 

Goldstein, Harriet and Vetta: Art in Everyday Life,
New York, Macmillan Co. 1940.

 

Herdy, Key; Costume Design, New York, McGraw Hill
BOOk CO e 9 19480

 

Hillhouse, Marion 8., Mansfield, Evelyn A.: Dress
Design Drsping and Flat Pattern Making, New York,
Houghton Mifflin Co. 1948.

Hopkins, Marguerite Stoots, DresgDesign and Selection,
New York, The Macmillan Co., 1957.

Lapick, Gaeten J., figientific Designing of Women's
Clothes, New York, The Hobson Bock Press, 1538.

Morton, Grace M.: The Arts of Costume and Personal
Appearance, New York, John Wiley and Sons, Inc. 1555.

 

 

Pepin, Harriet, Fundamentals of Apparel Design,
New York, Funk and Wagnalls Company, 19h8.

 

-‘

 

 

 

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