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 INSTRUCTION BOOK 
 
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 LIBRARY OF CONGRESS, 
 
 COPYRIGHT OFFICE. 
 
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 Forwarded to Order Division 
 
 MAY. 29 1903 
 
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PREFACE. 
 
 HE system disclosed in this book is not a product of new thoughts 
 4^ and ideas, but the result of eighteen years of study and practice, 
 
 by experienced teachers along this line. The system is very simple. 
 
 It has been our aim to couch the language in this book in such 
 simple terms that a mere child could comprehend and understand. In the 
 arrangements of drafts, too, we have aimed to make everything as easy and 
 plain as possible, beginning with the most simple of drafts, that of a cuff or 
 a collar, and advancing step by step to the more complex drafts as the work 
 progresses. You will find this book contains nothing but drafts of different 
 kinds of linings, which in all cases forms the bases of your work. 
 
 Volumes two and three will take up the work at a more advanced stage, 
 and will contain rules for taking measurements, how to change your drafts 
 to coincide with the different measurements of differently formed people, 
 how to adjust patterns for out-of-proportioned people. Rules for the proper 
 adjusting of skirts, sleeves, etc., etc., will properly be set forth so that all 
 can readilv understand. 
 
 Copyright, 1903. 
 
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 The above illustration represents the complete outfit, known as the Dia- 
 mond Garment Cuttino; System. 
 
 IT CONSISTS OF 
 
 Artkte 1. A Square. — The square is used for all straight lines, and is 
 the first article of the outfit which you must learn to use, as you will find in 
 the following pages. (See Article 8, and Diagrams 1 and 2.) 
 
 Art. 2. A Scroll. — The scroll is used in making all curved lines, and 
 is used as illustrated. (See Article 17 and Diagram 5.) 
 
 Art. 3. A Set of Scales.— These scales fourteen (14) in number, are 
 divided into spaces instead of inches, and are used to represent the different 
 bust and waist measurements. The scale is used in connection with the square, 
 and is shown placed in position. (See Diagrams 1 and 2.) 
 
 Art. 4. A Tape Measure. — The tape measure is used for taking all 
 necessary measurements before and after drafting patterns, to secure correct 
 proportions. 
 
 Art. 5. A Trncivg Wheel. — The tracing wheel is simply used for outline 
 work, to convey impressions from the pattern used to the cloth to be cut. 
 (See Article 25.) 
 
 Art. 6. The base line is the basis of all patterns, and is formed by the 
 use of the longest portion of the square. (See Diagram 2.) 
 
 Art. 7. The cross line is a line intersecting the base line at right angles, 
 and the intersecting point is always designated by the letter A, and is the 
 starting point of all patterns. (See Diagram 2.) 
 
 Art. 8. We now come to the use of Article 1, the square. Open your 
 square to its fullest extent, fastening same in position by sliding the small 
 catch at hinge to the left as far as it will go. You will also notice two slides 
 or catches, one on each arm of the square. These slides are for the purpose 
 of holding the scales in position when in use. Fasten or loosen these slides 
 b}" moving them either to right or left, as the case may be. 
 
 Art. 9 The scales are di^'ided into spaces, and fractions of space, and 
 are distinguished one from another by number- f.t "n? ^'W. These numbers 
 correspond to the different waist or bust measurements taken, as you Avill see 
 as the lessons progress. ,,^ , , ,,, 
 
It:: 
 
 Art. 10. We will assume that all patterns in this book are 
 drafted by the scale marked bust measure No. 34. Select this 
 scale, and since the base line (see Article 6) should be drawn 
 first, place this scale on the long arm of your square and fasten 
 in position with the catch (see Article 8), r.lways placing Ihst end 
 of the scale, beginning with space No. 1, toward the hinge of the 
 square, and the end of scale even with the cross section of the 
 square. (See Diagram 1.) 
 
 R:.3::,.^~r.^^..^^:.K::.pm^-'^^ 
 
 Diagram No. 1. 
 
 Art. 11. Place your square in position on your drafting 
 paper, placing the long portion of the square^ parallel and just 
 back from the front edge of yoin- paper, and draw your base line. 
 While your square is still in this position, draw your cross line 
 (see Article 7), following the short arm of the square. If correctly 
 drawn, this line will intersect your base line at right angles at A. 
 (See Diagram 2.) 
 
 ij^gi;?^,.,:iJi.;.^a,:^-/^:.i,!^;,.,;-!^.,73.H,?[,,,,,!^ 
 
 L . . BASE LIXE 
 
 \ <' ' I L I ^ ■• 1 1 "■'■'■ ' i)iagiam Nb.j ^. ' ; i 
 
ccoss line 
 
 f-^ 
 
 Intersecting line. 
 
 Diagram 3 c 
 
 V 
 
 cS 
 
 In leiseccing_ line _ 
 
 ■Int er secting fine 
 
 Art. 12. Beside the base and cross 
 lines already shown, we have what are called 
 intersecting lines. These are of different 
 lengths, their distance being regulated by 
 the requirements of the pattern sought. 
 The termination of these intersecting lines 
 are always connected with a straight or curved 
 line, whichever the case may be. (See 
 Diagram 3.) These lines may have one or 
 many points upon them, as you ^^dll see 
 later on. 
 
 Art. 13. You will notice as you progress that all diagrams are con- 
 structed from points of distance, and that each point is designated by a number. 
 Also notice that these numbers are not only on the base line, but on the inter- 
 secting lines as well. Furthermore, each figure or fraction thereof on the 
 diagram has a corresponding figure or fraction thereof on the scale. (See 
 Diagram 4.) 
 
 Art. 14. Designate by a small dot all points in any and every diagram, 
 on base line first, and when this is done, transfer your scale to the short arm 
 of your square, as shown in Diagram 2, and fasten with catch as before, 
 and then designate all points on cross lines and intersecting lines. 
 
 Art. 15. When all points have been designated on base, cross lines 
 and intersecting lines, connect them with straight or curved lines, whichever 
 the case may be, and the result will be the pattern sought, as you will notice 
 in the following lessons. 
 
 Art. 16. We now come to our first drafting lesson, and the pattern 
 we are going to make is the most simple that can be made, that of a cuff. 
 (See Diagram 4.) 
 
 Since all patterns are to be drafted from this 
 book by Scale No. 34 (see Article 10), select 
 this scale, open your square and place scale in position, 
 and fasten (see Article 10), and draw your base and 
 cross line. While your square is in this position, 
 mark the points indicated in Diagram No. 4, on your 
 base line first. You will notice that the first point 
 is indicated by the figure 1, which means you are to 
 go down your base line from point A, one space, as 
 indicated by the scale you have on your square. 
 Indicate this point on your base line by a small dot, 
 so you \^ill recognize it when next you see it. The 
 next point on the base line in Diagram No. 4 is in- 
 dicated by the figure five (5), which means j^ou are 
 to make a point at space No. 5, as indicated b}^ the 
 scale on your square. 
 Having now designated all points on the base line, we must next get all 
 points on the cross line. Place your Scale No. 34 on the short end of your, 
 square (see Diagram 2), and proceed to get your points the same as on base 
 line. We notice the first and only point on this cross line is indicated by the 
 figure three (3), which means that you are to make a point at space No. 3 
 indicated by the scale you use. Now, we notice from the diagram that directly 
 opposite the five (5) on the base line, and at right angles with it, is another 
 
 5 
 
Diagram 5 
 
 point marked by the figure tliree (3), Avhich we must make. Slide your square 
 just as it stands down the base line, so that the extreme corner of the square 
 will come at point five (5) on the base line, being sure to always keep the long 
 arm of the square parallel with the base line. Now, with your square -in thig. 
 position, make a point at space No. 3 as indicated by the figure in the 
 diagram, connect this point with the point marked five (5) on the base 
 line, by drawing a straight line, and you have your first intersecting line. 
 Also connect with a straight line this new point No. 3 with point No. 3 on 
 the cross line. Connect, also, point No. 3 on the cross line with point No. 1 
 on the base line. The result will be the pattern sought. 
 
 Art. 17. In Diagram five (5) 
 it is our aim to show the use of 
 Article 2; the scroll. You will 
 notice on examination that there is 
 a small arrow on this scroll. Also 
 all those portions of the diagrams 
 on which the scroll is to be used are 
 indicated by these same little ar- 
 rows. (See Diagram 5.) These 
 arrows are to show in which direc- 
 tion the scroll is to be placed to get 
 the desired curve. The arrow on the 
 scroll should point in the same 
 direction as the arrow indicated in 
 the diagram. The concave or curved 
 side of the scroll is> never used. 
 _ Mark your points in Diagram 5 
 
 '' ______ "~" -> the same as in Diagram 4 (see 
 
 / . ^ "~-^-^ Article 15), but instead of connect- 
 
 * ing point No. 3 on the cross line 
 
 ^ >. _. with point No. 3 on the intersecting 
 
 line, with a straight line, as in 
 Diagram 4, connect these points with a curved line, and use your scroll 
 for this purpose. (See Diagram 5.) Also connect point No. 3 on the inter- 
 secting line with point No. 5 on the base line with a curved line, using your 
 scroll as illustrated. 
 
 Art. 18. In Diagram 5 we 
 aimed to partially show the use of 
 the scroll, but there are so many 
 different positions in which it is 
 used that further illustrations of its 
 use is quite necessary. (See Dia- 
 gram 6.) 
 
 In Diagram 5 you will notice that 
 
 hoth curved lines are concave. In 
 
 Diagram 6 you will further notice 
 
 that one curved line is concave and 
 
 the other convex. This convex 
 
 effect being obtained by simply 
 
 tm-ning the scroll over, as illustrated 
 
 in Diagram 6, the scrolling being 
 
 __ done in the same direction as in 
 
 7 Diagram 5, as indicated by the 
 
 - ^ arrows. You will notice as j'ou 
 
 progress that in some instances 
 
 the cur\-c in some lines is so slight 
 
 that it is difficult to distinguish 
 
 D.ae 
 
 / 
 
Art. 19. Heretofore 
 
 iv^ 
 
 Diagram 
 
 - T 
 
 froin'the'shape^of the diagrams whether the}' are concave or convex. When- 
 ever in^doubt on this point, notice the position of the arrows, as the arrow 
 should always be on the outside of the draft on a convex scrolling and on 
 the inside of the draft for a concave scrolling. In other words, when your scroll 
 is in its correct position, j'our arrow will always be in sight. 
 
 we have simply illustrated the position of the 
 scroll, as to its direction as indicated 
 by the arrow, and its relative position 
 as to kind of curve, whether concave 
 or convex. You will notice that it is 
 possible to get, with the scroll, 
 curved lines of many different degrees, 
 both in concave and convex scrolling. 
 We therefore have deep and shallow 
 scrolling. This being the case, we 
 must have a third point to designate 
 how deep or how shallow the scrolling 
 should be. (See Diagram 7.) 
 
 The new points introduced in 
 this diagram are 3 and 4f, on the 
 base line, and the termination of 
 the lines made from these points, 
 namely, 1^ and 2\; these two last 
 named points determine how deep 
 "" ' ^^ yo^^ should scroll your curved lines. 
 
 You will further notice that 
 we have so far only used in our diagrams whole numbers, but now that 
 we wish you to use whole numbers, and their fractions as well, please examine 
 your scale very closely and establish clearly in your mind the fractional por- 
 tions thereon, namely, \, \, f , \, etc., etc. You will notice in Diagram 7 
 that we have three intersecting lines to contend with. Please get your points 
 very accurately, and be sure that all C7'oss ajid intersecting lines are drawn, parallel 
 with each other, for upon this depends the whole success of your work. Devia- 
 tion from your point, either to right or left, let it be ever so slight, on a scale 
 graduated as closely as this, will in the end spoil good results, if not cause 
 complete disaster. From the preceding lessons you have learned how to 
 secure your points, and know that 2^, which appears on the first intersecting 
 line, means that you are to mark off 2^ spaces, and draw j^our line to base 
 line, and so on until all intersecting lines are drawn. 
 
 Now, in scrolling, we have three points, namely, 3, 2^ and 3, to cover; 
 and placing your scroll in position you must place it in such a position that 
 your cur\'ed line, when drawn, ^\^ll exactly intersect all these three points. 
 The same is true of the other curved line. Place your scroll in such a 
 position that when your line is drawn it will interesct points 3, 1^ and 5. 
 (See Diagram 7.) Thus you have the position of your scroll established, as 
 to its direction, w^hether concave or convex, and its relative position as re- 
 gards depth of scrolling as well. 
 
Art. 20. In Diagram 8 we show how two or more 
 numbers may occur on the same cross or intersecting 
 line, as well as on the base line. For example, we have 
 1 and 3 on the cross line, and | and 2f on the first inter- 
 secting line. We now remove the illustration of the use 
 of the scroll, and request that you follow all pre"\dous 
 instructions, and do your scrolling. (See Article 19.) 
 
 Your arrows show in which direction 3'our scroll 
 is to be placed; the curve of the diagram, together with 
 position of arrows, shows whether concave or convex, 
 and the figures, f and 2f , on the first intersecting line, 
 indicates the depth of your scrolling, and the conse- 
 quent position of your scroll. Do not use the concave 
 side of vour scroll for any scrolling. 
 
 Art. 21. Diagram 9 shows double scrolling, both 
 concave and convex, and these curves are obtained by 
 two scrollings, made in opposite directions. (See Dia- 
 gram 9.) Ill 
 Make the first concave scroll between the figures 
 1 on cross line and f on the second intersecting line, 
 the point 1 on the first intersecting line indicating 
 the depth of your scrolling. (See Article 19.) Having 
 made this scroll, do not lift your scroll ofT the paper, 
 but slide it around until in the opposite direction, as 
 indicated by the second arrow, and gently turn it over 
 in position. Now you have no point between 5^ and f 
 to indicate the depth of your second scrolling. The 
 correct dei^th, however, will be obtained in this instance, 
 as well as in all similar instances, by alloAving your 
 g<^ scroll to exactly coincide and overlap, at least one inch, 
 the line of the last scrolling made. Then intersect 
 1. J 6 your only remaining point, and the desired results 
 ~ ~ will be obtained. Apply these same instructions in 
 getting your convex scrolling, yoiu* first scroll to be made bet^veen the points 
 3 on the cross line and 2} on the second intersecting line. The point 2| 
 indicates the depth of your scrolling. The second scrolling, to be obtained in 
 the same maimer, as the second concave scrolling, the figure 2 on the third 
 intersecting line being the intersecting point. 
 
Art. 22. Heretofore we have il- 
 lustrated each consecutive scrolling, 
 either as convex or concave. Diagram 10 
 shows a convex scrolling against a con- 
 cave scrolling, and vice versa. The con- 
 necting point of such scrolHng is more 
 difficult to get than any other, as they 
 cannot always overlap (see Article 21), 
 and in exceptional cases it is impossible 
 to mark the depth of scrolling. In cases 
 of this kind, carefully note the outline of 
 your diagram and position of arrows, and 
 this, together with the knowledge of 
 drafting gained, and good sound judg- 
 ment, will render all things plain. Ten 
 spaces are all that are given on a scale. 
 ' You will notice in this diagram that we 
 have the point lOf , which is f of a space 
 more than given on scale. In cases of 
 this kind, you mark an X on your paper, 
 at the point 10 indicated on your scale, 
 then move your square down your base Une until the corner of square inter- 
 sects or falls' at the point you marked for 10; then go on and mark off s ot a 
 pace more, and you will have lOf, and then proceed with your draftn.g. 
 Act in this same way at points over 10, 20 and 30, etc. as the case may be. 
 When drafted, cut out your pattern, cutting only on the Imes connectmg your 
 points, cutting on base, cross and intersecting Imes only when they form a 
 part of your connecting lines. 
 
 Remember not to use the concave side of scroll for any scroUmg. 
 
 Art. 23. Since everything tobe 
 constructed must have a foundation 
 or basis, and as we are now ready 
 to construct a waist, we must ha^■e 
 for our basis a waist lining, which 
 must be so constructed as to con- 
 form to every curve and outline of 
 that portion of the body upon which 
 it is to be worn. There are different 
 kinds of waist lining, as you will 
 see, and the one we will now 
 practice upon is drafted in three 
 pieces, namely, back, side back, and 
 front. Only one-half of a lining or 
 pattern is drafted unless absoluteh' 
 necessary. 
 
 The back is that portion of the 
 lining which extends down back, 
 from neck to waist line, and joins 
 the front at the shoulder. (See 
 Diagram 11.) You will notice 
 that the words "f space seam and ^ 
 inch seam" appear on this draft. 
 A seam is the joining, by sewing, 
 of two edges of cloth, the line or 
 indenture caused by the sewing 
 being the seam line. The words 
 f space and ^ inch means the 
 
distance from edge of cloth that seam line should be made. All seam 
 lines are indicated by dotted lines. The width of the shoulder seam (see 
 Diagram 11) is always f of a space in depth. To get this seam line mark 
 off I of a space, by your scale, inside the edge of your pattern, and 
 then place your scroll in its original position, and while so placed move 
 it gently toward the center of your pattern, until the points | space 
 in, are intersected and draw your curved line. This line will be your seam line. 
 
 Follow these instructions in getting all your seam lines, being very care- 
 ful to notice just how deep the seam is marked. When your seam is marked 
 one-half inch, mark off one-half inch by the use of your tape measure; and 
 when the seam line follows a straight line, draw it parallel with the straight 
 line the required depth. 
 
 You will notice that in Diagram 11 we have one curved line (the 
 arms eye) that is not marked for scrolling. The reason of this is that the convex 
 side of the small end of the scroll is ahcays used for the scrolling of this curve 
 and it is the only time that this portion of the scroll is ever used. You will 
 notice that in this diagram the depth of thescrolling is not indicated. So closely 
 follow the out line of your diagram, the straighter portions of the scroll being 
 used most. Overlap your scrolling (see Article 21). The scrolling at the 
 shoulder seam is always in the same direction toward the neck, excepting in 
 ^•ery stout forms, as will be shown later. 
 
 Art. 24. The next piece to be drafted is 
 a side back. (See Diagram 12.) 
 
 The side back is the piece that joins the 
 back at the seams marked by two XX, and 
 joins the front at the under arm seams marked 
 by one X. Be very careful in scrolhng this piece 
 to get perfect curves. Get your seam line as 
 before. (See Article 23.) 
 
 The under arm-seam is always marked f space. 
 
Art. 25. The next piece to be given consideration is the front. (See 
 Diagram 13.) The front is the remaining portion of this waist lining, and joins 
 back at shoulder seam, and side back at under arm seam. (See Article 24.) 
 You will notice the word "dart" used in this diagram. A dart is a graduated 
 seam, beginning at any given point, and graduating to any width specified. 
 Their use is to leave the original amount of fullness or space at their starting 
 point, and to diminish it above or below, as the case may be. Scroll pattern as 
 in previous diagrams, marking all seam lines. When all drafting is done, 
 
 0/8 5^8 4?t S 
 
 cut out your pattern, cutting only on connecting lines (see Article 22), but 
 do not cut out your darts. The impression of these darts being transferred 
 to your cloth by the use of Article 5 (the tracing wheel), the lines bovmding the 
 darts being their seam lines. Now, when all of these pieces have been united 
 at their respective seams, you will have a perfect waist body. The side back 
 joins the back at the seams indicated by the two XX's, the depth of seam 
 beings-inch, as indicated ; and the front joins the side back at the under arm, 
 seam marked b}^ one X, f space being always allowed for this seam. Join 
 shoulder seam on front to shoulder seam on back the depth 
 of three-quarter space seam. Take up your darts on the lines traced, and 
 when sewed, if the seam is greater than desired, cut out to any width seam 
 desired. Since only one-half of pattern is drafted, make a duplicate of each 
 piece, and after having joined back and side, back and front, as directed, join 
 the two backs together at the center, one-half inch seam being allowed at 
 this point, and your lining will be complete. 
 
 11 
 
Art. 26. The waist lining 
 we are now going to il- 
 lustrate is only drafted in 
 two pieces, namely, front 
 and back, and is used mostly 
 for slender forms. 
 
 The back, which is 
 marked C, No. 4, occupies 
 the same position to the 
 form as do Diagrams No. 11 
 and No. 12, when joined 
 together. You will notice 
 that this back has no 
 straight line down center of 
 back, as Diagram No. 11 has, 
 but is curved to fit the form, 
 these curves being obtained 
 by scrolhng. (See Arro\A''s.) 
 Also notice that curve of 
 the arms eye is obtained by 
 a scroll, according to the 
 arrow. 
 
 12 
 
Art. 27. The front in this diagram, which is marked 720-48, is very 
 similar to Diagram 13, excepting that it has but one dart. Proceed as before 
 in getting your points and in scrolling. When joining pattern, the only seams 
 to be considered are those at center of back, shoulder and under arm seams, 
 the depth of these seams being indicated, as you ^vill see. 
 
 13 
 
Art. 28. We have now had a Hning of 
 three pieces and one of two, and we will 
 further illustrate by drafting one in four 
 pieces, namely, the back, side back, under- 
 arm gore, and front. You will notice in 
 this pattern that the words "waist line" 
 appear on each and every diagram. 
 
 The waist line is the smallest point or 
 portion of the body between the thorax 
 and hips, or, in other words, the line where 
 the skirt and waist meet. The linings here- 
 tofore illustrated have simply extended 
 to the waist line, but you will notice that 
 the patterns illustrated in Diagrams 603-41 
 extend some distance below this point. 
 Back 603-41 does not differ much from 
 the back illustrated in Diagram 11, except- 
 ing that it is narrower and more tapering 
 toward the waist line, the waist line being 
 the narrowest portion of the draft. The 
 {%)i draft also extends below the waist line. 
 
 1555 
 
 Art. 29. The next piece we come to is the 
 side back, which does not extend as far toward 
 the front as the other diagram of a side back. 
 (See Diagram 12.) It is drafted in a very similar 
 manner, and its convex side joins the concave 
 or curved portion of the back. (See Article 24.) 
 Scroll carefully, and remember not to use the 
 concave side of your scroll. 
 
 14 
 
Art. 30. We now come to the new piece 
 introduced, which is called the under-arm gore, 
 so called because it covers that portion _ of the 
 body directly beneath the arm and joins the 
 front at the under-arm seam. Draft as in all 
 other pieces, getting your seam lines as directed. 
 The longest and most rounding portion of this 
 draft joins the side back, and the other side 
 joins the front, at what is always known as the 
 under-arm seam. 
 
 Art. 31. This diagram is very similar to the one illustrated in Diagram 
 13, and should be drafted in similar manner. You will notice the word "hem" 
 on this diagram. A hem is the border or edge of a garment folded over a certam 
 depth to strengthen the edge and keep it from raveling. The depth of the 
 hem in this instance being .,,^ 
 
 designated by the dotted ^^ 
 
 line. (See JDiagram.) This 
 means that the front edge 
 of the draft is to be turned 
 back on the dotted line, 
 and Avhen stitched in place 
 forms a hem. 
 
 4.M 2*^^---f^-J m 
 
 15 
 
Art. 32. All linings so far have fastened 
 at the front. The one below fastens in 
 the bade. The back differs from the others, 
 therefore, by fastening at center back. A 
 hem (see Diagram No. A * 1) being alloAved 
 for this purpose. 
 
 3i 
 
 21 
 
 
 1. r^-^^ A 1 
 
 t 
 
 P.' ^ ii 
 
 
 3| 
 
 1 1 
 1 ' 
 
 
 fi 1 Nil 
 
 8 1 S *3)iS 
 
 ^ ' ^ la 
 
 
 1 1 Waistline *^ 4 
 / / ^ 
 
 I 
 
 21 
 
 84 
 
 3^ 
 
 8 
 
 H 
 
 Art. 33. There is little or nothing to be 
 said about this side back and under-arm 
 gore, as they are very similar to all others. 
 
 16 
 
You will notice in the front, however, the words "cut double." This means 
 that when you place your pattern on your cloth to be cut, that you should 
 place this edge on a double fold of the goods, thereby making the otherwise 
 two fronts all in one piece. You will notice that only one-half of the front dart is 
 shown, but when traced upon a double fold of goods will form a whole dart, 
 which,' when taken vip.will fall exactly at center of front. Join pieces in the 
 usual way, and open waist at back. 
 
 9k 
 
 17 
 
H,V/i 
 
 Art. 34. For very stout forms an extra 
 under arm gore is added to the lining. (See 
 Diagram 740-49.) The longer under arm gore 
 being the one that joins side back — as marked 
 by X's (see diagram) — join all parts according 
 to X's. This lining should not be used for a 
 person of less than forty bust measure. Draft 
 as in all other patterns. This lining is sub- 
 mitted for practice work, as well as to illustrate 
 the different forms necessary for differently 
 formed people. 
 
 18 
 
^J l9^± _6i 
 
 Art. 35. Diagram 596-41 represents a draft 
 of a collar. This draft is very simple, and re- 
 presents a plain standing collar, the words 
 "cut double" meaning that this edge of pattern 
 should be placed on a double fold of the cloth 
 when cutting for use. 
 
 19 
 
Art. 36. The next diagram is that of a sleeve. 
 
 A sleeve is that portion of a bodice or waist which covers the arm. It 
 may be drafted in one or more pieces. Diagram 578-39 is drafted in two pieces. 
 These pieces are called the upper and under sleeve. The upper portion is the 
 larger portion, and is rounding at the tojD to fit the arm at the shoulder, while 
 the under sleeve or smaller piece is curved out at the top, to fit the under 
 part of the arm. Get your points, curves and seams as in all other drafts. 
 
 In joining the two sleeve portions, place the concave edge of the under 
 sleeve against the concave side of the upper sleeve, and join the depth of seam 
 indicated. Then place the two remaining seams together and join in the 
 same way. This is for a person of medium size. 
 
 
 2%^^ '^' 
 
 53^\-<^ \ 
 
 20 
 
Art. 37. Diagram X72X is very similar to Diagram 578-39, excepting, 
 as you will notice, on the upper part of sleeve, two notches, and the word 
 "gather" at the elbow point, which is the most convex point on the diagrams. 
 
 A gather is a plait or fold in cloth, caused by drawing a thread through it. 
 In this case, then, you are to gather the cloth on the upper sleeve between the 
 notches marked by the figures 9| and 9f into such space so that these notches, 
 when the sleeve is joined, will coincide with the corresponding notches on 
 the under sleeve, marked by the figures 5 and 5. This causes a little fullness 
 on the upper sleeve portion at the bend of the arm, known as the elbow. 
 
 5'/* 4k 
 
 21 
 
STOUT FORM SLEEVE. 
 
 4% 4'/4 
 
 Above drafts should be used only with a stout form waist lining. Should 
 not be used for a party of less than 40-inch bust measure. 
 
 22 
 
Art. 38. Diagram X52X represents a draft of a sleeve entirely different 
 from the ones already illustrated. It is drafted all in one piece, and is known 
 as a Bishop sleeve. 
 
 8h 7^ 
 
 
 Join both concave edges the depth of the seam indicated. The word 
 gather at the top of the sbeve meaning that you should gather your cloth 
 between the points 3i, on the second intersecting line, and the star at point 12, 
 on the same line, into such space as will fit the arms-eye of the waist. Draft 
 the same as any other pattern. 
 
 23 
 
MEDIUM STOUT LINING. 
 
 IIXU '^^'' 
 
 2k 
 
 
 
 
 
 2% 
 
 2h 
 
 
 \H 
 
 4% 
 
 
 /// : / 
 
 I^ 
 
 6y. 
 
 
 / s / 
 
 3k. 
 
 7% 
 
 
 
 
 9% 
 
 9% 
 
 
 / ' i 
 
 6 
 
 
 
 
 
 
 
 3^ 
 
 ^ / / \v»i<«t linr^/^ 
 
 % 
 
 9m. 
 
 
 
 
 9'4 
 
 
 i 
 
 Z-r^r:;?^?' 
 
 .J 
 
 10?8, 
 
 13>« 
 
 14% 
 
 1534 
 
MEDIUM STOUT LINING.— Continued. 
 
 3'A 
 
MEDIUM WAIST LINING. 
 
 26 
 
SLENDER FORM. 
 
 
 27 
 
MEDIUM FORM. 
 4^ 
 
MEDIUM FORM. 
 
 3 '4 
 
 
 yA 2H 
 
 
 /;v 
 
 Vh v% 
 
 
 1 . 
 
 1 ! 
 
 V " 
 
 « 
 
 3 
 
 
 iH 
 
 1 i 
 
 — -s - 
 
 5 72 3 
 
 1 -^ 
 
 
 ll 4S 
 
 1 d 
 
 1 Sr 
 
 Z^ 
 
 -I 
 
 I'i 
 
 \ 
 
 1 
 
 ' \ 
 
 3/^ 
 
 _a-^— 
 
 -^ — 
 
 9 
 
 \yfH 
 
 29 
 
BELL SLEEVE. 
 5 4 
 
BELL SLEEVE. 
 
 5. 4^8 
 
 31 
 
BELL SLEEVE. 
 
 10^ ^^ 
 
 19 , 
 
 COLLARS. 
 
 32 
 
LADIES WRAPPER. 
 
LADIES WRAPPER —Continued. 
 
 618 
 42 
 
 15 J^ 
 
 53% 
 :J53K 
 
 34 
 
Front waist lining to lady's wrapper. (See pages 38 and 39.) 
 
 5 
 
 CHILD'S TWO-PIECE SLEEVE. 
 
 O-i 
 
 5yJj . L/- 
 
 1 ' Sleeve ^4/1 
 T t ,2 
 
 hi 
 14^ 
 
CHILD'S TWO-PIECE LINING. 
 
 CHILD'S TWO-PIECE LINING. 
 
 36 
 
CHILD'S BISHOP SLEEVE. 
 
 U% 13v^-<^ 
 
 CHILD'S ONE-PIECE SLEEVE. 
 
 37 
 
GENERAL REMARKS. 
 
 1^_J AVING carefully followed the preceding lessons and instructions, 
 we feel sure you will realize the benefits to be derived from a still 
 further study of the system. Especially should this appeal to mothers, 
 not only as a branch of education for their daughters, but as a means of econ- 
 omy to themselves. Every mother that is able to make her children's clothes 
 knows, then, from actual experience, that they are not only properly made, but 
 that their children can appear among their ])laymates without embarassment 
 to themselves or others. 
 
 It not only teaches system, but accuracy of thought and construction 
 as well, and is an opening for wider thoughts and views. 
 
 In using the system, then, to prepare yourself for this wider field, it be- 
 comes beneficial not only as an educator, but as a medium to industrial art, 
 whereby the most artistic thoughts and ideas of women are appealed to. 
 
 Remember, that this is an age of hand-work, and that very few desire to 
 wear apparel lacking in individuality as well as in fit and finish. When we 
 say "hand-made," we do not mean that each and every stitch must be taken 
 by hand entirely, to the exclusion of the sewing-machine, but we do mean that 
 your gown is designed and made according to j'our own in(li\'idual tastes and 
 ideas, and for you exclusively. It is not turned out from the factory, like 
 thousands before it, to be altered and adjusted to fit any indiscriminate 
 buyer. Acquire, then, for yourself, this knowledge of building, beginning 
 with the fundamental rules and principles governing the same, and finally 
 acquire that artistic knowledge of arrangement of materials, known as the 
 "art of dressmaking," and place yourself independent of the factories and of 
 the unskilled artist as well. 
 
 In this issue you ha^'e fundamental rules, principles go^'erning the basis 
 of your work alone. The more artistic and fascinating part of the work will 
 come, in the books to follow. 
 
 The following fashion plates illustrate what may be expected in the 
 coming issues, accompanied, in addition, by thorough instructions and diagrams 
 for the construction of waists, skirts, sleeves, and entire gowns of any descrip- 
 tion, designed for any function, and in fact wearing apparel of any and every 
 kind may be made b}^ following the principles set forth. 
 
 38 
 
LITTLE BOYS' SUIT. 
 
LITTLE GIRLS' COAT. 
 
LITTLE GIRLS' SUIT— SLOT SEAM EFFECT. 
 
 43 
 
MISSES' SUIT— FIVE GORED SKIRT WITH FLOUNCE. 
 
MISSES' SUIT. 
 
 47 
 
LADIES' SHIRT WAIST. 
 
LADIES' SHIRT WAIST. 
 
 JI2S. 
 46 
 
 51 
 
LADIES' EMPIRE GOWN. 
 
LADIES TEA GOWN. 
 
 
 -• ^'..%t ^ 
 
 :C^' 
 
LADIES' JACKET SUIT— THREE-PIECE SKIRT WITH EXTRA 
 
 PLEATS. 
 
 726 
 4a 
 
AFTERNOON GOWN— NINE GORE SKIRT. 
 
 ' V 
 
calling;costume^three-piece skirt with flounce. 
 
 61 
 
ETON SUIT— FIVE GORE SKIRT. 
 
 sx 
 
 63 
 
LADIES' TOILET— ONE-PIECE SKIRT WITH PLEATED FLOUNCE. 
 
 65 
 
LADIES' TOILET— YOKE SKIRT WITH NINE GORE LOWER 
 PORTION IN SLOT SEAM EFFECT. 
 
STREET COSTUME-FIVE GORE SKIRT WITH FLOUNCE. 
 
 ,#* 
 
 722 
 48 
 
 69 
 
TAILOR MADE SUIT— FIVE GORE SKIRT. 
 
LADIES' THREE-QUARTER COAT. 
 
BATHING SUIT. 
 
 '^'-^.T 
 
MISCELLANEOUS. 
 
 BOYS' JUMPERS. 
 
 KITCHEN APRON. 
 
 CHILD'S APRON. 
 
MISCELLANEOUS. 
 
 LADIES' CHEMISE. 
 
 LADIES' CORSET COVER. 
 
 LADIES' SKIRT. 
 
LITTLE GIRL'S OUTFIT. 
 
 80 
 
NIAT 4 1903 
 


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