xt7f1v5bdt6r https://exploreuk.uky.edu/dips/xt7f1v5bdt6r/data/mets.xml   Kentucky Agricultural Experiment Station. 1926 journals kaes_circulars_201 English Lexington : The Service, 1913-1958. Contact the Special Collections Research Center for information regarding rights and use of this collection. Kentucky Agricultural Experiment Station Circular (Kentucky Agricultural Experiment Station) n. 201 text Circular (Kentucky Agricultural Experiment Station) n. 201 1926 2014 true xt7f1v5bdt6r section xt7f1v5bdt6r ~— i/* w! ji/is Q d
COLLEGE OF AGRICULTURE
Extension Division
THOMAS P. COOPER, Dean and Director
CIRCULAR NO. 201.
SELECTION AND USE OF COMMERCIAL
PAI IERNS
¥— A  
Lexington, Ky.
September, 1926
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CIRCULAR NO. 201.
Selection and Use of Commercial Patterns
By ISABELLE M. STORY
  h Not very many years ago when all women, regardless- of size
and proportions, wore closely fitted waists and gored skirts, they
were interested in learning to draft patterns to individual meas-
ures. In this way each could make the pattern which fitted her
figure perfectly, and by it cut and make a dress which fitted
according to prevailing standards. Materials were cheaper in
those pre—war days, and a woman did not consider the loss great
if, in her experimenting, she spoiled a garment now and then.
The situation is different in many respects today. Materials
are expensive, activitiesoutside the home are demanding more
of the housewife ’s time, while ideas as to what constitutes a cor-
rectly fitted garment vary more or less from season to season, so
that few outside the circle of designers who create the mode can
estimate the amount of fullness necessary at one point or another
to give the desired effect. A guess by the inexperienced or home
dressmaker 1nay result in a dress which "fits" according to her
ideas, but which she realizes "doesn’t look right." For these
reasons commercial patterns have steadily grown in favor until
they now are the accepted guide of those doing home sewing.
Many women, however, fail to achieve satisfactory results in
their use because they do not understand how to select the right
patterns, or how to make necessary adaptations to individual
needs.
MAKES OF PATTERNS
There are a number of standard makes of patterns on the
market. Artists and designers of skill and experience are em-
ployed in their production. They are cut to standard measures

 4 Kentucky Extension Circular N 0. 201
and have accurate instruction and guide charts for cutting and
assembling their parts. Unreliable makes of patterns also are to
be had, but the wise woman will not experiment on good ma-
terial with such patterns, since results are more apt than not to
be unsatisfactory.
THE DESlGNER’S AIM
A pattern is simply a guide to the best way of translating
the artist’s design into a wearable garment. The artist, or de-
signer, always has in mind the use to which the garment is to be
put, the material of which it is to be made, and the particular
type of individual for which it is suitable. In selecting a pat-
tern, a woman also should keep these things in mind. A dress
for practical wear needs to be simple, easily adjusted and easily
cleaned; while the one intended for occasional wear may be more
elaborate. Stiff materials like taffeta, and soft, drapy materials
like crepe de chine and voile each require designs suited to their
especial qualities. The design of a garment selected should be
suitable for the size, age and personality of the wearer, and
should make the figure appear as nearly as possible of normal
proportions. .
I CHANGES IN WOMEN’S FIGURES
The proportions of the body of the woman of today differ
greatly from those of a few years ago. The return to the waist
line of normal size allows internal organs to take their proper
place within the body and, as a result, chest and shoulders as-
sume natural postures. Pattern companies have taken care of
these changes in women ’s figures by increasing waist measures,
changing relative lengths of chest and width of back lines, and
making other modifications.
STANDARD OR NORMAL FIGURES
Patterns are made for figures of standard or average pro-
portions, each pattern company using a definite set of measures
for a figure of a given type and size. Below are shown some of

 Ueleetzorii mul Use of Uommermal Paftewzts 5
the measures of model figures of 38-ineh bust measure used by
different pattern companies. On comparing them it is seen
that no two sets are exactly alike, yet an approximate average
figure for all is indieatedft
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1 Misses 1 | 1 |
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“C" 1 Ladies 1 14% 38 30 1 41 | 4% 1 14% 1 15
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_ "D" 1 Ladies 1 15 1 38 1 31 42 1 5% 1 15 1 15
· I 1 I I I
I "E’ 1 Ladies 1 15 1 38 32 41 1 514 1 13%, 1 14%
I I I I ' I
"F" 1 Ladies | 14 | 38 1 32 41 | 4% 1 14 1 14
. _* x1H_;J?__I_11.I__rxI.._YI,
. Figure I shows outlines of upper portions of one-piece
dresses traced from patterns of 36-inch bust measures, made by
four different pattern companies. Figure ll shows outlines
of sleeve patterns accompanying these. They serve to illustrate
. the differences in pattern outlines due to measures used. Since
1 w0men’s figures vary as do the designers’ models, one readily
, understands why one woman will find her best pattern in one
_ make and another in another.
§ In Figure Ill are shown three forms, all of which are
1 "perfeet 36’s." "A" is a developed woman ’s figure of normal
1 height. "B" is a misses figure. It is straighter than a woman ’s,
more slender through hip and shorter waisted. "C" is a little
woman’s 36. This iigure is shorter everywhere, has compara-
tively wider hip and larger arm and armseye than "A."
. *l’atterns provide rust- or fullness over these actual hotly measures to
allow for style et`I‘ects autl tlic comfort ot` the wearer, the exact amount
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Figure V.——I11ust1·ating JSE of dress form in testing and altering pgtfefus. C?
\

 Selection cmd Use of Commercial. Patterns 15
as described below. Patterns should not be tested by comparing
their measures with the measures of individuals, except in case
of lengths, or of foundation patterns. Ease of fullness over
actual body measures is allowed at various points in patterns,
the amount depending upon the type of garment and the effects
desired. For example, in the snugly fitted hip, which is a dis-
tinetive feature of this season ’s dresses having fullness intro-
duced in some way in the skirt, sufficient ease only is allowed
to permit the garment to hang in an unbroken line from bust to
hem; while in the belted straight-line dresses of last season, six
or more inches were allowed at the hip.
If the correct size and type of pattern of reliable make is
selected, only slight alterations will be necessary except for the
occasional woman whose figure varies greatly from the average.
For the abnormal figure it is safest to try out the pattern in
muslin beforepcutting into expensive material. After fitting
theamuslin garment and making needed changes, it, rather than
the pattern, should be used in cutting the dress. A few pat-
tern companies draft patterns to special measures for the un-
usual type of figure.
_ In testing a pattern as well as in fitting a garment cut by
it, it is essential that one wear correct undergarments and shoes
with heels of the height that will be worn with the garment when
completed. The posture of the body and the hang of a dress
differ with the height of heels worn.
The homemade paper dress form can be used with entire
satisfaction in testing patterns (See Fig. V), and in Htting
garments, thereby making the woman who does her own sewing
independent of help. To be absolutely reliable it must be an
exact duplicate in size, shape and posture of the body of
the one for whom made; be smoothly covered with strong,
lightweight material on which are marked essential guide lines
for fitting; and be mounted on a standard adjusted to the exact
height of the individual. A sleeve form made on the right arm
can be used with equal success in testing and titting sleeves.

 16 Kentucky Extension Circular N0. 201
HOW TO TEST AND ALTER PATTERN
W'ith few exceptions, alterations in a pattern are best made
within the pattern by folding plaits to make it smaller, or by
slashing and spreading to make it larger. Altering by chang-
ing the outline of a pattern makes it difficult to get its parts to-
gether satisfactorily, and also may destroy desired effects. Wheii
a pattern is slashed and spread to increase size, a piece of paper
should be pinned or pasted underneath to hold the edges in posi-
tion.
1. Pin pattern together as directed on instruction sheet accom-
panying it, being careful to take up in the seams the amount
allowed.
2. Remove dress and pin tape around body at normal waist
line.
3. Slip the pattern on and adjust correctly, noting particu-
larly the position of center front, center back and shoulder
lines, and pin to underwear in a few places to hold it firmly.
4. Stand well away from Hgure being fitted and observe the
general effect, and whether or not the proportions are good.
Occasionally a pattern is found which does not correspond
in size with the size given on the pattern envelope.
5. Fit where needed and mark the amount of change to be '
made.
(a) A high chest or full bust will cause dress to kick out in
front. To correct, lengthen front along chest line, as
shown in Fig. VI, A or B, depending upon the need ; or
shorten the back, as shown in VI C. If one ’s chest is
very high or full and their back is unusually straight, it
may be necessary to make alterations in both front and
back. (Dotted lines indicate new outline of pattern.)
(b) Round or stooped shoulders will cause the dress to kick
out in the back. 'l`o correct, slash pattern across back
to within a short distance of the armhole line and
spread. See Fig. VI D, or, across entire width and

 Selection and Use of Commercial Patterns 17
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Figure VI.—A, B and C, illustrating h0w t0 alter pattern for high chest
I or full bust; D, E and F, how to alter for round or stooped shoulders.

 18 Kentucky Eaxtension Circular N0. 201
separate, Fig VI, E, and fold a plait in front section, as
I shown in Fig. VI, F.
(c) Fig. VII, A and B, show how to increase bust meas-
ure of pattern without changing length of shoulder.
This alteration may be made in either front or back,
or in both, if needed.
(d) If the pattern is too wide from side to side of neck it
will stand away from sides of neck, or be too full over
chest. To correct, build in both back and front along
dotted lines shown in Fig. VII, C and D, or fold off
the extra width at center back and front, tapering to
nothing at chest line.
(e) If the shoulder is too long, lay a plait in both front and
back sections of pattern, from __middle of shoulder
straight down, tapering to nothing above the chest
line. See Fig. VII, E and F. Be careful to allow for
three-eighths inch seams at both neck and armhole. Ill
this way trimming of the armliole which is often done
in fitting and which makes setting in the sleeve difficult,
is avoided. If the shoulder is too short, slash pattern
at this point and spread.
(f) The normal shoulder line follows the line of the top of
the shoulder, lying back of it about one-fourth of an
inch. If this line is poor, correct by adding to or sub-
tracting from the back or front the amount necessary
to make it correspond with the normal line.
(g) The normal waist line is indicated in some way on all
patterns. If this falls below the normal waist line of
the one being fitted, a plait should he laid straight
across the pattern, as shown in Fig. VIII A and B, rais—
ing it u11til the two lines are together. This will raise
the various style features of the garment to the correct
position. If the normal waist line of the pattern comes
above one’s waist line, the pattern should be cut and
separated until it is dropped to normal.
(h) The length of the pattern is taken after the waist line
is adjusted. Usually about four inches difference in  

 Selection and Use: 0f C0·nmterciaZ. Patterns 19
Figure VII.—A and B, illustrating how to increase bust measure with-
out clmngim; length of shoulder; C and D, to correct an ovcrwide neck;
E and F, to decrease length of shoulder.

 20 Kentucky Extension Circular N0. 201
Wmsi une Nourmwnnsr UNE
Noumxt
7
the zu
the p»
thc sl
a1l0w·
Figure VlIl.—A and B, illustrating lmw t0 shorten waist of (11*6552
C, to 5ll01‘¥€¤ mtéd Sleeve; D, to alter sleeve t0 fit fleshy upper arm; E, to at yl
decrease size of sleeve at armhole. I °

 Selection and Use of Commercial. Patterns 21
length can be made at bottom of dress without destroy-
ing proportions, but if an added amount is needed it
should be made below the hip line. Adjust length
of panels or tlounees to correspond with new dress
length.
(i) Don’t forget that any change made in the“ size of one
4 section of a pattern must be accompanied by a corre-
sponding change in the section to be joined to it. For
example, the size of a collar must be changed to eorre·
spend withithe size of neck of garment, the sleeve to
armhole, and the cuff to lower edge of sleeve.
The sleeve also should be pinned together and slipped on
the arm to be sure that it is the correct size and length, and that
the position of the elbow is right. Overlap the upper edge of
the sleeve and the armhole twice the width of the armhole seam
allowed, and pin.
(a) If the elbow curve or elbow fullness in the sleeve comes
too low on the arm, raise to the correct position by _
laying a plait around the pattern a little above the
elbow. Fig. VIII, C. To shorten from elbow to wrist,
lay a plait below the elbow, allowing for any length
that may be intended to form a drapery, and also the
amount needed for finish at the lower edge.
If it is necessary to lengthen the sleeve either above or
below the elbow, cut at tl1c points mentioned and separ-
ate the sections.
(bi) A one-seam loose sleeve which has no elbow may be
shortened or lengthened at one point only, that is at
the elbow line.
(c) A pattern may be altered to Gt a fleshy upper arm with-
out interfering with the size at hand, by slashing and
separating as shown in Fig. VIII D.
ALTERING A PATTERN SYMMETRICALLY
It sometimes is necessary to increase or decrease the size of
a pattern regularly, as for example to increase a size thirty-six

 22 Kcmfucicy E'xtc¢zs·£0n Circular N0. 201
to forty
diiferen
of doing
Wt
needed
For exa
tern, af
and bac
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Sh
tions ai
. which c
A B G identify
Op
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on it.
No
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. allowar
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various
its patt
Se
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° s
O
{ curr
•
W r , Q1
widths
on the
D · E F when ]
Figure IX.——ll1ustrating how to alter patterns symmetrically: A MJ be got
B, to increase bust measure and length of waist; C and D, to decrC¤5¤ Iuatche
these measures; E and F, to increase or decrease size of sleeve.

 Selectton and Use of Commercial Patterns 23
to forty, or the reverse; or to alter patterns to suit children of
different ages. Illustrations in Fig. IX show the correct way
of doing this.
When a pattern is to be increased in size, one-fourth of the
needed width must be added to both front and back sections.
For example, if four inches are to be added, the edges of the pat-
tern, after it is slashed, must be separated one inch in both front
and back. If the pattern is to be decreased four inches in width,
a plait one-half inch wide must be taken in each.
USE OF THE PATTERN
Stncly—Before opening pattern study carefully the instruc-
tions and guide charts given on the pattern envelope. Decide
which of the possible variations in the design you will use, and
identify the pieces you will need for that purpose.
Open the pattern and study each section as it is taken from
the pattern envelope, reading carefully the explanation given
on it.
Note the. marks or perforations indicating correct placing of
pattern, such as thread direction and fold of material, the seam
allowance, and the marks for placing trimming or for laying
plaits or tucks. This is especially important, since each of the
various pattern companies employs its own method of marking
its patterns.
Select the pieces you will use and fold and replace the others
in the envelope.
Study instruction sheet found inside of pattern envelope.
CUTTING, FlTT~|·NG AND MAKING GARMENT-—THE MATERIAL
Quallty—A table showing quantities of material for various
Widths needed to make the garment in diiferent sizes is shown
on the pattern envelope. This can safely be used as a guide
when purchasing plain material, but an added amount should
M be gotten if the material has a large design which must be
“ matched at seams.

 24 Ifcntucky Exteizsion Circular N0. 201
Prcpamtrion—lVoolen material which will shrink or spot I
should be sponged and pressed carefully before cutting garment mom
Wash material which will shrink or fade when laundered should “'h°1`(
be shrunk and have color set. seams
Straighten the ends of the material along the filling thread,
and if it has been twisted in pressing, stretch and pull diagonally
until cut ends lie exactly together when the cloth is folded (
lengthwise for cutting. cuttii
Look for imperfections in weave by holding up to light, or unevc
for irregularities in design, and if any are found lay pattern on possil
so as to avoid them, or so that they will come at inconspicuous be sp
places in garment, or where there will be little strain. (
Fold the material in the way that will allow most economical sors,
cutting and pin the selvages together at intervals, matching hand
cross lines in plaids or checks, and keeping both thicknesses of not li
the material free from wrinkles. undei
If the mate1·ial has designs in it, be careful to see that the ]
center of a definite design is used for centers of front, back and llllcs
collar; and if the designs are large, they should match when the Also
material is folded for cutting sleeves, so that the two sides of the of po
Hnished garment will be alike.
PLACING THE PATTERN
Smooth pattern out with hands before placing on material. I 1]
but avoid rubbing hands over it while placing and pinning to JQ Cl
cloth, since this is apt to twist it out of shape and spoil the out- Or.h'
line of the pieces cut, resulting in a poorly fitted garment. qmfk
lf the width of the material and its design will permit, use   ui
the guide chart for placing which accompanies the pattern. lt  
not only shows an economical arrangement of the pieces, but l a ul
gives the position in which each must be laid on the material to  
make the grain of the fabric right in the finished garment. Con- l Samui
sider the up and down of the nap in pile fabrics, and of the   l
design in printed ones.   bc? pi
See that the markings which indicate the straight of the    
material are directly over lengthwise threads, and that all edgeS , ”lf
intended to be placed on lengthwise folds are so arranged. V fglglf
A .

 Selection and Use 0f Canznzcrcicd. Patterns 25
bot Lay all pieces of pattern before pinning. Place pins not
nt more than {ive inches apart around neck, shoulder and armhole
dd where careful fittilig is 11GCGSSH1‘y, farther apart on long, straight
seams.
ad,
H CUTTING AND MARKING
 
[Bd Good sewing depends upon accurate cutting. Accurate
cutting cannot be done if material is spread on a bed or any other
or uneven or cloth-covered surface. The cutting table should, if
on possible, be large enough to allow the full length of material to
vus be spread at one time.
Cut with a long, clean stroke, keeping eye on point of seis-
2al sors, Zllld progress from right to left around pattern, resting left
ng hand on pattern and material to keep them from slipping. D0
of not lift material while cutting, but allow scissors to slide along
under it on the table.
he Before removing pattern, trace or mark all seams along
Wl lines indicated on attern and mark notches denoting `oinings.
7 D J O
119 Also mark with tailor tacks, or with small pencil dots, position
he of pockets. panels, tucks or other trimming features.
PINN·ING AND BASTING
Learn to use a sewing table—one of the low ones which can
al. . . . . .
t be drawn over the lap to hold materials while pinning, bastmg
0 .
t or hand sewing them. Scams can be gotten togethe