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/ 13:. DEV3L0P131 OF A 133-103
303 USE OF A BASIC P333333 TO CHECK 33 SIZE
OF 1.3310133 PMTm-Is/

by

Delores Bonander

//

A PROBLEM
Submitted to the Faculty of the College of Home Economics

of Michigan State University in partial fulfillment of
the requirements for the degree of

1.43st OF 5033303

College of Home Economics

1960

.J

v ...
r7,

Timur“

I"

ACKNOWLEDGEMENTS

The writer wishes to express her sincere
appreciation to Dr. Mary L. Gephart, Clothing,
Textiles and Related Arts Department, for her
guidance and supervision of this problem.

The writer also desires to express her
gratitude to Miss Maloa Ebeling and the

evaluation panel members for their assistance.

ii

II.
III.

IV.

VI.
VII.

VIII.

TABLE OF CONTENTS

INTRODUCTION 0 O O O O O O O O O O O O O O O O O

PRmEDUR-E O C O O O O O O O O O O O O O O O O O

FITTING AND CONSTRUCTION OF BASIC PATTERN

EXPERIMENTAL USE OF BASIC MUSLIN PATTERN AS

A GUIDE IN CHECKING SIZE OF FOUR COMMERCIAL

PAT 'I'ER-NS O O O O O O O O O O O O O C O O O O

GUIDES IN USING THE BASIC PATTERN TO CHECK SIZE.

OF COMMERCIAL PATTERNS . . . . . .
CONCLUSIONS.............
APPENDIX..............

BIBI‘IOGRAPIH O O O O I O C O O O O O 0

iii

Page

18
38
45
#7

CHAPTER I

INTRODUCTION

Home sewing today is one of America's most important fashion
activities. The 52 million women and girls who sew at home are
customers in a billion dollar industry.1 An.Amerigan_Eahzig§
report gives the following figures for 1954-1955, indicating the
scope of the home sewing business: 30,000,000 sewing machines in
the United States, 1,800,000 sewing machines bought each year,
90,000,000 patterns bought every year, 4,500,000 girls study sewing
in schools and colleges and 750,000 women outside of schools take
sewing courses. The report further states that of the women who
sew, 56 per cent are homemakers, 12 per cent are employed, 19 per
cent are employed and keep house, and 13 per cent are students.

.According to the Amaziggn_Eahzigs,report, sewing to save money
is secondary in the mind of the home sewer. She sews first of all
because she likes to. Millions of women sew as a means of expressing
their individuality and sense of style. Sewing is an art in.which a
woman can be creative and receive great personal satisfaction.

The way a garment fits is probably the most important factor in
the degree of satisfaction obtained. 'Wbmen look more attractive and

feel more comfortable in a well—fitted garment.

 

1-3039 Sewing Report.” W, Vol. 31, 1954—1955. p. 77.
1

 

'“'

The five major pattern companies use the same standard measure-
ments for bust, waist, hip and back waist length. These are body,
not garment measurements and are based on averages which will fit the
greatest nwmber of figures. Differences in the patterns may be
observed in the slant and length of the shoulder, location of the bust
point, the shape of the armscye or the curve of the hip. A particular
pattern shape has been developed by a company while adhering to the
standard measurements set up by the National Bureau of Standards of
the United States Department of Commerce. There are differences of
ease each company allows beyond the standard. In addition, fashion
design may allow more or less fullness.

In two recent studies1 the majority of the respondents reported
they were unable to buy a pattern.which could be sewn without making
alterations. Fitting is then a problem.of concern to the home sewer
even though there are available variations in style, type and size of
patternS.

Observations indicate a current interest in and a promotion of
basic patterns by commercial companies. These patterns are of simple
designs which are fitted to the individual, altered, and constructed
in muslin and fitted again. Basic patterns serve as guides in making

further alterations in other commercial patterns.

 

1Harriet Maloa Ebeling. ”Some Aspects of the Personal and Social
Functions of Clothing for the Older woman,“ (unpublished Master's
thesis, Michigan State University, 1960), p. 16.

Joan Williams, Cornell University Home Economics Alumnae

W, Ithaca, April 15’ 1960. p. “’0

fl

 

Macy's department store in New York City has promoted a basic
pattern which a woman could have adjusted to her figure for 89 cents.
If she constructed this pattern in material, she could have it fitted
for $1.09. A foundation pattern based on a woman's actual dimensions
and cut out of heavy paper could be purchased for $8.41.1

‘Women in Cooperative Extension Service groups, speed method work-
shops, adult education and college classes are making basic patterns.
However, many of these women do not seem to have adequate training in
how to efficiently use their basic patterns.

The objectives of this study are:

1. To establish a step—by-step method of checking the size of
commercial patterns against a basic pattern in order to aid the woman
who sews alone at home to obtain a desired fit of garments with few,
if any, further fitting alterations.

2. To determine to what extent a basic pattern could be used in
fitting a commercial pattern, the design lines of which are similar to

the basic pattern.

3. To discover how style variations can be fitted through the

use of the basic pattern.

 

W. p. 83.

CHAPTER II

PROCEDURE

The preliminary preparation for this study was the construction
of a basic pattern for the writer. .A commercial basic pattern was
pin fitted and the necessary alterations were made according to the
pattern alteration method described in Mansfield's book, Clothing
W.

The altered paper pattern was then cut out and constructed in
muslin and was fitted again. Further alterations were made in the
same manner as the paper fitting. The fitted muslin dress was then
taken apart and construction lines trued up. A record of the
alterations was made.

Four commercial patterns from four pattern companies were
selected for use in the study. The patterns contained variations in
bodice, skirt and sleeve styles.

A check of the pattern pieces of the four commercial patterns
was made against the basic muslin pattern to determine what alterations
‘were necessary. These changes were made in the paper patterns, again
using the method described by Mansfield.

Quarter size illustrations of the alterations necessary in the
basic and the four commercial patterns were drawn. These illustrations

are drawn in proportion but not to scale.

Suitable fabrics for the dress styles were selected. The garments
were constructed using a combination of custom and speed methods up to
the first fitting.

Evaluations of the fit of the basic muslin dress and the four other
garments were made by a panel of judges, consisting of the instructor
and the students of an advanced clothing construction class. A.check
sheet was devised for their use.

The success of this method was analyzed, using the compilation of
the results of the evaluation device as one criteria. A.personal
evaluation on general appearance and comfortable fit of each dress was
made by the writer during the first fitting.

A set of instructions was formulated which can be used as guides
in the use of the basic pattern as a measuring device for checking the
size of commercial patterns prior to cutting out garments in home

sewing.

*9

CHAPTER III

FITTING AND CONSTRUCTION OF BASIC PATTERN

Selection of Pattern

MoCalls pattern, 4566, was selected for the fitting and con—
struction of the basic pattern. Circumference measurements of the
'writer agreed with those of the pattern company for body measure-
ments at the waist and hip. The bust measurement was one inch
larger than the pattern size.

The pattern had a basic neckline, a normal waistline, an under-
arm dart, waist darts in both front and back bodice and the skirt, a
dart in the shoulder in the bodice back, and a normal armscye with
set in long sleeves.
Fitting the Paper Pattern

“The paper pattern.must fit perfectly before a garment can be
cut from it successfully; Many 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.

”Fitting a paper pattern directly on the figure and making
adjustments is easier than taking body measurements and checking them
against the flat pattern. Assured that the garment will fit correctly,

you can permanently stitch many lines without basting, and finish

details on small easily-handled pieces of the garment before putting
them together for the first fitting."1

The paper pattern was fitted according to the method described
in ClothinggConstruction, by Evelyn A. Mansfield.
Preparation of Pattern

l. The paper pattern pieces were pressed with a warm iron. Darts
were folded and pinned in on seam lines. Pattern was trimmed to seam
line and clipped at neckline and armscye.

2. The silhouette lines, the shoulder and bodice and skirt side
seams, were pinned with the seams on the outside. Seam allowances

‘

within the silhouette were overlapped.

3. The sleeve dart and seam were pinned together up to two inches
of the top and bottom of the seam. The sleeve was not pinned into the
bodice.

Fittinngrocedure

l. The paper pattern was fitted over a slip and the foundation
garments to be wern during the other fittings in this study.

2. The pattern was anchored to ribbon bands, which had been
placed at the neck, bust, waist and hip lines, matching center front
and center back of figure.

3. The lines of the pattern were observed to check the placement
in relation to the figure and the over-all effect of the dress,

including ease, spacing and the hang of the skirt front, back and sides.

 

l
EVelyn A. Mansfield, Clothing Construction, (New York: Houghton—
Mifflin Company. 1953). p- 53.

’1

f3

4. Overlappings or wedges were used to pin out excess ease.

5. Points considered in judging the fit of the paper pattern
were: (a) the paper pattern should stand slightly away from the body,
(b) the bustline, waistline and hipline should appear parallel to the
floor, (0) the shoulder line should be in a straight line between the
neck and armhole, (d) the side seam and darts should divide the skirt
giving a pleasing preportion and not be conspicuous from front or back
(the front skirt pattern will usually measure one inch.more than the
back at the hipline), (e) the armhole line should appear vertical to
about half way down, at which point it curves under the arm.

6. Point of bust and hip line‘were marked on pattern.
WW

1. After fitting the paper pattern it was taken off and all pin
alterations were marked with a soft pencil.

2. All pins were removed and pattern pieces were pressed so that
they would lay flat.

3. The following horizontal lines were drawn: on bodice front at
bust level, across bodice back at same height (side seam) as front, at
hip line of front and back skirt pattern and at girth line of sleeve.

4. The alterations as noted by pencil lines were then carefully
made as described in Chapter V of Eyelyn Mansfield's book on Clothing
W.

The overlappings and wedges which were used to pin out excess ease
were slashed to point of bulge, seam or dart and overlapped.

Areas where there was inadequate ease were slashed to point of bulge,
dart or seam and spread. These spread areas were reinforced with an

extra piece of tissue.

fl

fl

 

5. The alterations which were made on the full-size pattern were
copied on quarter-size pattern to be used as illustrations in this
paper. The following code was used in the illustrations:

original pattern line

 

........... new pattern line

///7//]7]I]!/////[l/ZZ lapped out fullness

........... area in which a slash was spread

 

3_l alterations made in muslin fitting
C l l' E B . Ni 1' E I!

l. The altered, full-size paper pattern was pinned to muslin
and all seams, notches and darts were traced in colored carbon paper.

2. The pattern pieces were cut out with one inch seams, except
at the neckline and armhole, where five-eighths inch seams were used.

3. These muslin pieces were sewn together with machine basting
stitch on the traced lines. All seams and darts were pressed.

4. The garment was tried on and analyzed to see how successful
the paper fitting had been. Alterations which were needed were made
in the same manner as in the paper pattern fitting. The fit of this
basic pattern.was also observed as a guide to aid in the evaluation
of the fit of the other dresses to be made in this project.

5. Alterations indicated in the muslin fitting were marked.

6. The muslin dress was then taken apart and pressed. All seam
lines, darts, cross and horizontal lines were trued up with red
pencil. All length and width.measurements and the date were recorded
on muslin. This basic was then ready to be used in the completion of

this study.

3.. .-

1.

7. .A panel of judges evaluated the fit of the garments made for
this problem. The panel members were the instructor, four graduate
and two senior students in an advanced clothing construction class.

A check sheet (see appendix) listing points to consider in
fitting a garment was devised to assist the panel in their evaluation
of the fit of the dresses.

8. Descriptions and illustrations of alterations in the paper

and muslin fittings will be found on the following pages.

Alterations Mgdg 13 Page: Eattgrn gag Mpglin Fittingg

W

WA
ExceSS'width in the pattern through the shoulders.

Figure Problem »
Shoulders were narrower than the average.

Correction
Empess width (3/8”) was pinned into a vertical alteration dart
tapering to nothing at the alteration line across the front
and back bodice.

W
Excess length in the pattern, both in front and back between the

shoulders and the scye line.

Figure Problem
Figure has less than average length between the shoulder and
underarm, causing wrinkles across the upper front and back.

Correction
An even fold (t‘) was taken half way between the shoulder line
and the underarm in both the front and back.

W
Excess length in center back between the scye line and the

waistline.

 

 

 

 

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Figure Problem
Figure short between scye line and waistline at center back.
Length of underarm seam correct.

Correction
Excess length (3”) at center back was pinned into a horizontal
alteration dart tapering to nothing at the side seam.

W
A diagonal bulge from armscye to the bust point.

Figure Problem
Bust circumference of the figure is large in relation to
bone structure.

Correction
The bulge at the front armscye was pinned into an alteration
dart (%') tapering to nothing at bust point. The excess of
this dart was released into the waistline dart by slashing
from.the waistline to the bust point. This increased the
amount of darting for the bust.

A diagonal bulge at the lower curve of the back armscye to
the end of waistline dart.

Figure Problem
Figure is full across the back.

Correction
An alteration dart (3/8”) was pinned from the lower armscye
tapering to nothing at the end of the waistline dart to
remove the bulge. Excess from this alteration was released
into the slashed waistline dart.

E]! !’ Hi 1')

Excess width at the front neckline.

Figure Problem
Figure more narrow than average across chest.

Correction
A.small dart (1/8") was folded out from the center front
neckline tapering to nothing.

I]! !' EH: 1')

Diagonal wrinkle from.under arm dart to point of bust.

Figure Problem
Insufficient darting for large high bustline.

Correction
Increase underarm dart by 3 inch.

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W
Excess length in paper pattern between waist and hip.

Figure Problem
Figure is short between waist and hip line at center front.

Correction

Lap out a tuck (3”) from center front tapering to nothing at
the side seam.

mm
Side seam of skirt falls forward.

Figure Problem
Figure is short between.waist and hip at center back.

Correction

Lap out a tuck (3/8") from the center back to nothing at the
side seam.

WW).

Skirt side seams are too sharply curved from waist to hip.

Figure Problem
Hipline is straighter than the average on the side.

Correction

Straighten the side seams to remove the excess hip curve.
W

Figure is shorter than the average for pattern size.

Correction

Shorten skirt by lapping out one and one—half inches some
place between lower hip and knee.

 

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W

Alterationfi
EXCess cap height on front and back of sleeve.

Cause
The alteration darts used to remove bulge at the front and back
armscye of bodice front and back made it necessary to remove

the same amount in the sleeve cap so that it would fit smoothly
into the armscye.

Correction

The excess cap height was removed by pinning two horizontal
alteration darts across the sleeve cap at two points. The size
of these darts was determined by the amount removed in the
alteration at the front and back armscyes.

WW
Excess length between shoulder and elbow.

Cause
Arm shorter than average between the shoulder and the elbow.

Correction

A one-half inch fold was made across sleeve between shoulder
and elbow.

CHAPTER IV
EXPERIMENTAL USE OF BASIC MUSLIN PATTERN AS A GUIDE
IN CHECKING SIZE OF FOUR COMMERCIAL PATTERNS

Four commercial patterns, each from a different pattern company,
were selected for use in this study. The patterns contained style
variations in bodices, skirts and sleeves. The purpose of these
modifications in style and the diversification of pattern selection
was to discover to what extent the basic pattern could be used in
checking size. In some instances, the pattern pieces were very
different in size and shape from the basic pattern.

The pattern pieces of each of the four dresses were checked for
size against the basic pattern. .Problems encountered in working with
the basic pattern with style designs which varied from it were:

(1) making allowance for ease differences, (2) establishment of shoulder
lines, (3) determination of bodice length, (4) checking width across
chest in styles without set—in sleeves.

A detailed description of the method of using the basic pattern
as a guide in checking the size of patterns will be found in Chapter V.

Alterations which were needed in the commercial patterns were
made so that the original lines of the design were preserved. Changes
“were made in the body of the pattern rather than on seam lines.

Cotton material suitable for each design was selected for the con-

struction of these altered patterns. Each garment was cut out with one

18

19

inch silhouette seams; all other seam allowances were out like the
commercial pattern with a five—eighths inch seam.

Construction was done by a combination of the custom.and speed
methods. If collars were a part of the design of the dress, they
were included in the dress for the first fitting. The first dress
was machine bested together for the evaluation of the fit. Since this
first evaluation indicated a good fit could be obtained, the bodices
and skirts of the next three dresses were permanently stitched from
the beginning. The bodice and skirt were machine bested together
for fitting.

As each dress was constructed, it was evaluated by the panel of
judges. Evaluations were made on the assumption that a good fitting
dress has silhouette lines which are in good proportion to the
figure, and the fit is smooth, without wrinkles or evidence of pull
or strain.

A sketch of each dress, details concerning reasons for its
selection, the alterations needed, evaluation of fit and quarter-
size illustrations of the alterations will be found on the following
pages.

W111

Pattern V was selected because it had style lines similar to
those of the basic pattern. The two variations included a lowered
neckline with a collar and additional flare in the skirt.

Alterations were made in the following areas which were similar

to those in the basic pattern:

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a. Shortened between shoulder and underarm in both bodice front
and back.

b. »A_tuck was made at the lower curve of the back armscye, and
released in the waistline dart.

c. A.tuck was made in the front armscye, and released in the
underarm dart.

d. The sleeve cap was shortened by horizontal folds, cap line
was restored.

e. The skirt length was also shortened.

Additional changes needed were:
a. Added width in back bodice at waistline and up to scye line.
b. Added width in waistline of back skirt.

E J I. E 2.! E D

.All panel members agreed on the fit at these points: the
shoulder seam fell at the top of the shoulder, side seams hung
straight, ample ease at hip and sleeve, there was good preportion
of spacing at the shoulder, front and back bodice and skirt.

The majority agreed that the length of the darts in the bodice
was pleasing. One panel member indicated that the left bodice
waistline was high. The need for increasing underarm bust darting
and raising the dart was mentioned by two panel members.
W

Pattern B was selected for its variation in sleeve style. The
raglan sleeve in pattern B had a deeper than normal armhole and a
wider arm girth. A normal set-in sleeve has 1% to 2 inches of ease.
In the raglan sleeve the upper part of the sleeve is cut in one with

the blouse and there is no shoulder seam.where ease may be distributed.

 

 

 

25

A shoulder dart is used in the raglan sleeve to hold in a part of
the ease.

There were no waistline darts in the bodice or skirt front in
pattern B. Fullness was gathered in. A collar on a lowered neckline
was also a feature.

Alterations needed were:

a. Both bodice back and front were long between shoulder and
scye line.

b. The shortening of the bodice front and back at this point
necessitated the reduction of length across the sleeve.

c. The waistline curve in the side back skirt was too high, so
a tuck was made from the side seam, tapering to nothing at the center
back. The hemline was corrected.

d. Too much fullness in the back side seam.was removed by
straightening the hip curve.

e. The waistline curve of the side skirt front was increased.

A new balance point for side seams was established and the hemline
was corrected.

W

The evaluations pointed to good fitting at the waistline seam,
the side seams, ample ease at hip and sleeve and good proportion of
spacing in the bodice and the skirt.

Two members of the panel felt the shoulder seams slanted toward
the back. One specified that the skirt back darts were too long for
the figure with high flat hips. The majority of the members felt
that the underarm dart was low and needed to be increased in size.
The dart was in line with the point of bust when checked with the
master pattern. It may have been that the extra ease allowed in the
raglan sleeve caused the underarm dart to fall in a lower position

when the dress was on the figure.

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29

W

The selected variation in pattern A was the kimono sleeve with a
gusset. Since the kimono sleeves are cut in one with the bodice, the
original curve of the armscye was lost. This presented different
techniques in checking size with the basic pattern (details described
in Chapter V). Three other variations in pattern A were: position of
bust darting in center front seam, lowered neckline with collar and a
circular skirt.
W311

Both bodice front and back were too long over the shoulders.
The excess resulting from the tuck in the bodice back was released
into the waistline dart. In the front the pattern was slashed from
waistline to point of bust. The amount released was the total needed
to increase the size of the front waistline. An additional one-fourth
inch ease added to the side seam of the skirt front to balance this
amount. The skirt length had to be shortened.
E J l' E E'! E D

All panel members were in complete agreement with a rating of
"excellent” for the fit of dress A. The shoulder line fell exactly
on top of the shoulder. The waistline seam was at the natural waista
line. The side seams hung straight. There was ample ease at bustline
and in the sleeve. The majority of the members of the panel indicated
they particularly liked the fit and effect of the bust darting.

Because of the gusset there was no excessive wrinkling under the arm.

 

 

 

 

 

 

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W

Pattern M was selected because it contained more pattern pieces
and those which were quite differently shaped from the basic muslin.
The details included a dropped shoulder line, a French dart line and
a six gore skirt.

WW

Tucks were taken in the front bodice piece at the shoulder and
neckline. The bodice side front was slashed between the side seam and
waist dart to the top of the piece and was Spread to increase the size
of the waistline.

A fold was made in the shoulder line of the bodice back. Two
tucks were made in the bodice back-~one across from center back to
the middle of the armscye and the other from the neckline to near the
tOp of the armscye.

The additional width which was needed across the bodice at the
underarm and waistline was obtained by slashing and Spreading the
pattern.

The sleeve and neck facings have corresponding alterations.

Additional.width in both skirt side front and skirt side back
was needed. These alterations.made it necessary to move the bodice
back dart to correspond to the seams in the skirt back.

The skirt length of the pattern was reduced.

5 J !. E E'I E 2

Panel members all agreed that dress M fit well at the shoulders
and waistline. There was ample ease at the hip and sleeves. The
spacing and prOportion of the French dart line and skirt seamS'were

pleasing on the figure.

Two panel members indicated that the side seams hung slightly
forward. All panel members observed diagonal wrinkles in the side

bodice and indicated a need for additional bust darting.

34

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CHAPTER V
GUIDES IN USING THE BASIC PATTERN TO CHECK SIZE
OF COMMERCIAL PATTERNS
The basic muslin pattern can be used as an aid or device to

determine what alterations are needed in a commercial pattern.

3W

1. Press commercial paper pattern with a warm iron. Do not use
steam in iron.

2. Ektend grain lines on each pattern piece.

3. Draw a scye line on the front bodice. (A line which is
perpendicular to the center front and about one-half inch below arm-
hole.) Draw this same line across bodice back at the same height
as on the bodice side front. In a bodice without a marked arthIe
use the basic pattern to determine where the armhole would be located
in order to draw in the scye line. This line will be used as an aid
in determining amount of ease at bust line and across back.

4. Mark point of bust by extending lines of waist and underarm
darts.

5. Checking the commercial pattern against the muslin pattern
involves more than comparing size. Judgment as to whether a change

or alteration needs to be made enters into checking size. In checking,

38

39

it is important to take an overall look at the pattern pieces as well
as the specific changes which are to be made. The next step is the
actual follow-through in making alterations which are necessary in
the pattern.

6. It is important when comparing the basic pattern with a
commercial pattern to make allowances for differences which are due
to the amount of ease required by design variations.

7. Lay smoothly pressed basic muslin pattern flat on a table.

Place on top of each piece the corresponding paper pattern.

W
W
1. Check length of waist.
a. Match patterns at point of shoulder, at neckline and
down center front. Make allowances for the difference
in depth and width of neckline due to design variation.
b. Note the difference in length from the pit of the neck
to center front at waist. If there is a lowered neckline,
check difference at center of shoulder line down over bust
point to waistline.
c. Check the length and shape of armhole with the master
pattern.
d. Check length of seam from underarm to waistline.
e. Match bust points.
f. If there is a difference in length in bodice, decide
whether the pattern should be lengthened or shortened
between bustline and shoulder or between bustline and

waistline.

2.

3.

40

g. To check length of waist in a bodice with a raglan sleeve,
it is necessary to pin the sleeve onto bodice front from
shoulder to notches. The armhole may be lower in some
types of raglan sleeves, making underarm seam appear shorter
than the basic pattern.

Check the location of the darts. The waist dart should end \

one to one and a half inches below the point of bust. If

there is an underarm dart, the point of the dart should be in
line with the point of bust or slant up in the direction of
bust point.

Check shoulder length. This is easily'done if the pattern has

set-in sleeves. A lowered neckline will make the shoulder

length shorter. Checking the chest width would help in
determining length of shoulder.

a. In a style where there is no definite shoulder length
indicated, the shoulder length should generally be altered
if the basic pattern had been changed in fitting the
shoulder.

Check bust width at scye line from underarm side seam to

center front.

a. If there is more than one piece in the bodice, pin them
together to check width.

b. In a fitted bodice, there will be slightly less than
the normal 3 to 4 inch ease for the bust line. In some

styles, much more ease may be allowed.

5.

41

Check the waistline size. Remember to exclude darts and
tucks.

After taking an overall view of the bodiCe front pattern,

make the specific alterations based on judgment and experience
to make the commercial pattern as much like the basic as

possible.

Wok

1.

3.

Match and check back length from neckline (base bone at

back of neck) to waist.

a. A lowered neckline will make this checking more difficult.

b. BOdice back length can also be checked by matching under-
arm seams. This will indicate if pattern needs alteration
between waist and scye line.

c. Another checking point is the length of the armhole. This
will show if alteration is needed between scye line and
shoulder.

Check the width of the back bodice at the scye line.

a. Remember to take into consideration the amount of ease
allowed for the style variations.

Check the position of dart or darts.

a. Observe position to see if darts are too close or too
far away from the center back to give a pleasing proportion.

Check shoulder length if both patterns have set-in sleeves.

Allowances must be made for design variations in neckline.

5.

a.

b.

42

The ease allowed in the back shoulder length can vary from
none to one-half inch. For most fabrics, three-eighths

to one—half inch is desirable if there is no shoulder
dart. Crease resistant fabrics require less ease.

Pin raglan sleeve into bodice back from shoulder to

notches in order to check shoulder length.

Check waist size. Eknlude darts and tucks.

After taking an overall view of the bodice back pattern,

make the specific alterations based on judgment and experience

to make the commercial pattern as much like the basic as

possible.

g.. l E ! i E 1

Check skirt front and back separately as follows:

1.

2.

If skirt front or back has more than one piece, pin together

to below hip level.

Match skirt patterns with muslin at center front and at

center back.

a.

b.

C.

Check length of skirt.

Check waist width, excluding darts, pleats and tucks.
Note curve of waistline seam. This may vary from one
style to another.

Check hip width. Importance of amount of ease in hip
will depend upon amount of flare in skirt. If hip
width varies on front skirt, check to see if the
difference has not already been added to the back skirt

before making an alteration.

3.

Sleeye

l.

3.

43

Check hip curve.

a. A.slight variation in hip curve may be due to the
difference in size and location of the darts.

After taking an overall view of the pattern pieces, make

the specific alterations based on judgment and experience

to make the commercial pattern as much like the basic as

possible.

Compare girth or width at underarm, elbow and wrist.

a. In a kimono sleeve with a gusset, girth may appear
narrow, but the gusset will add to the width of the
sleeve.

b. In a raglan sleeve which is set in a deepened armhole,
the girth.will be wider to allow arm to be raised
comfortably.

Check length between cap and elbow, and elbow and wrist.

Check the position of dart or darts.

a. The ease provided by darts at the elbow should direct
fullness at the point of elbow.

b. One dart, the middle of three darts, or the Space between
two darts should be in line with point of elbow when arm
is bent slightly.

If alterations were made in armhole of bodice,similar changes

will probably be needed in cap of sleeve.

5.

Check for amount of ease in sleeve cap.

a. Measure armhole (armscye) length of both front and
back bodice pieces and sleeve.

b. The total ease in sleeve should not be more than 1 to 1%
inches for most fabrics on the market today. _Fabrics
with crease resistant finishes require 1 to 1% inches
ease for a smooth fit. 'When using 100 per cent wool
fabrics, as much as 2 to 2% inches extra in sleeve can

be eased into armhole.

Fagjngfi and Calla:

l.

2.

.Any changes in neckline and armhole size will necessitate

alterations in their facings.
If dress has a collar and neckline has been altered, this

change must be made in collar to insure a perfect fit.

CHAPTER VI

CONCLUSIONS

From the evaluation of the results of this study, the following
conclusions may be made.

1. .A basic pattern can be successfully used as a guide to
indicate alterations which are needed in a commercial pattern.

2. A good fitting basic.muslin pattern is a prerequisite to
this method of checking size of commercial patterns.

3. Alterations similar to those made in the basic pattern
usually will need to be made in another pattern of the same company.

4. If a commercial pattern does not vary a great deal from the
basic pattern, i.e., it has the same type of sleeve and the bodice
has similar darting, less difficulty in checking size of pattern will
be encountered by the individual less experienced in pattern alteration.

5. The more the pattern varies from the basic, the more experience
and understanding of pattern alteration principles are needed for
success in using this guide for indicating pattern size.

6. Making a dress using a basic pattern in checking size does
not insure a perfect fit; however, this method can eliminate many of
the problems of pattern fitting, especially for the woman who sews

alone.

45

1+6

7. It is best that dresses have at least one fitting before
completion. More involved dress designs or problem figures may
require additional fittings.

8. Because the basic pattern.was fitted in muslin, it should
be remembered that other fabrics differing in texture and body might
fit differently. The dress may look and feel larger or smaller than
the basic muslin.

9. In this study, fitting evaluations of the panel indicated
that patterns V, B, and M had insufficient underarm bust darting.
This may have been caused by too little bust darting in the basic
muslin or the difference in fit caused by the type of material chosen

for the dresses.

.1”.

APPENDIX

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BIBLIOGRAPHY

Adrosko, Rita Janice. ”Development of a Measurement Method
of Fitting Commercial Patterns and a Comparison of
This Method with Pin Fitting." Unpublished Master's
thesis, Department of Textiles, Clothing and Related
Arts, Michigan State University, 1957.

Bish0p, Edna Bry'te and Marjorie Arch. W
W, New York: J - 13- Iippincott Con
1959.

Ebeling, Harriet Maloa. ”Some Aspects of the Personal and
Social Functions of Clothing for the Older Woman.”
Unpublished Master's thesis, Department of Textiles,
Clgthing and Related Arts, Michigan State University,
19 0.

"Home Sewing Report." W950 V010 31° 1954‘1955'
p. 770

Hillhouse, Marion 3. and Ehrelyn A. Mansfield. W

D ’ . Boston: Houghton—
Mifflin Co., 1948.

Mansfield, Evelyn A. Won. Boston: Houghton—
Mifflin C00, 19530

Williams, Joan. Cornell University Home Economics Alumnae

W. Ithaca: April 15, 1960.

49

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