LIBRARY OF CONGRESS. 
 
 TT 5^0 
 
 •'liiip, Copyrinlil X+i. 
 
 UNITED STATES OF AMERICA. 
 
(* 
 
... X jrTL x_j . . . 
 
 MODERN - DESIGNER. 
 
 A WORK SHOWING THE NATURAL WAY OF 
 
 PRODUCING GARMENTS THAT ARE 
 
 PERFECTLY BALANCED, 
 
 STYLISH AND 
 
 GRACEFUL. 
 
 
 L. N. BISHOP. 
 
2070 
 
 I » .A, ClIPlES RECEIVtD 
 
 1 JAN 5 1901 
 
 , O. 3 o ? 5'S', 
 str.oNO COPY 
 
 I)eiivan4 to 
 
 ORO£R DIVISION 
 
 JAN 10 1901 
 
 ENTERED ACCORDING TO ACT OF CONGRESS, IN THE 
 OFFICE OF THE LIBRARIAN OF CONGRESS, AT WASH- 
 INGTON, D. C, BY 
 
 LOUIS N. BISHOP, 
 IN THE YEAR NINETEEN HUNDRED. 
 
INTRODUCTION. 
 
 |A VING a iiiimbcr of years of jn-aeti- 
 cal cxpei'iuiK'e and meeting witli 
 great success in my inetliocis of 
 designing garments, I liave con- 
 cluded logive tlie [uiblic a work on 
 this subject, that will till a long felt want, as I 
 think the contents of tliis book will [ilniniy show. 
 
 Cutters and practical men in the tailoring and 
 clothing business will agree with me that the large 
 number of publications on this subject are incom- 
 plete, in as much as their teacliings to a great extent 
 are impractical. 
 
 Tlie authors of these works write principally 
 upon theory. They either witlihold tiieir knowl- 
 edge from tlie trade intentionally, hoping to gain 
 your jiatronage in anotlier way, or they are writing 
 things of which they are entirely incapable of 
 disi'ussing. 
 
 My object will be to give you a work witii all my 
 practical experience, a work which will enalde you 
 to produce })erfect fitting garments, giving all tlie 
 [loints necessary for cutting garments for differ- 
 ently shaped individuals, and for altering garments 
 that do not tit or hang pro[ierly. 
 
 One of the faults of many systems now in use is 
 their complication. A young cutter after being 
 tauglit one of tiiese systems will tiiid that it re- 
 quires all his faculties to retain the ()oints taught 
 him, and will be unable to use iiis better judgment 
 in making a well fitting garment for a figure out of 
 the ordinary, simply because he is taught to adhere 
 so closely to his system. This all cutters of ex- 
 perience know is impossible. A cutter must use 
 judgment in cutting garments for oddly shaped 
 figures. 
 
 I have endeavored to explain my methods in as 
 simple a manner as possible, showing how the 
 measures are taken and how applied wlien drafting, 
 giving the "wliys and wlierefores"' of same, and I 
 am satisfied that if you will study this system care- 
 fully, you will see that all my changes for different 
 measures are consistent. 
 
 'Inhere is a great deal saiil and published on gar- 
 ment rutting at the present <hiy, by persons who 
 have never had any practical experience, and their 
 theories, etc., seem very plausible on paper. l>ut, 
 when put to practical tests their shortcomings are 
 vei-y much in evidence, 
 
 I have no desire to detract from any one's credit 
 in the above, and will not use any personal remarks 
 in this work. While 1 fully appreciate that too 
 much criticism is not relished by the public, I am 
 nevertheless compelled to draw a few comparisons, 
 in oi-derto better illustrate the consistency of my 
 methods and show the ditierence between the right 
 and wrong way of producing garments. 
 
 You often see a draft of a garment published, 
 purporting to be first-class, but which falls short of 
 the merit attributed to it. Follow the directions 
 closely and make a pattern by this same draft, and 
 see what you will have. The large percentage of 
 cutters will immediately see that the thing is im- 
 practical and pay no further attention to it ; while 
 tlu're are others who will use the draft, and when 
 the suit is tried on, they will be dismayed, and well 
 they niay be, because it may have so many faults 
 that it will make your brain whirl in trying to 
 devise some alterations whereby you may make it 
 lit. l?iit you will devise in vain, as the thing is 
 hopelessly "killed", and then this cutter will 
 wonder why he cannot make a "tit", and will in all 
 jM-ohability try something else with the same result. 
 
 Of course, he will eventually become discouraged, 
 and his occu[iation will have no further attraction 
 for him. lie will lose interest and ambition, and 
 remaid in a small position with a small salarv, 
 thinking he is worth no more, while if he had one 
 good system (and 1 have no liesitancy in recom- 
 mending the one in this book), one that he could 
 understand and apply his own good judgment 
 thereto, he would soon derive enough satisfaction 
 for himself and his customers to show that he was 
 on the right track. 
 
 A cutter cannot afford to deny himself a work of 
 value in his occuiiation, because what would cost 
 
THK MODERN DESIGNER. 
 
 liim a few dollars now would bring him many 
 times the amount in return in the future, providing 
 lie invested his money judiciously : invested it in a 
 work that is superior, not in old systems that have 
 always caused a cutter more or less trouble — but in 
 a system that will explain its points clearly to the 
 cutter, leaving no doubt in his mind as to its 
 superiority. 
 
 Have you over taken time to think that the 
 cutters of to-day have the same troubles with ill- 
 fitting shoulders and poorly balanced garments that 
 cutters had fifty years ago? Tliis should not be, 
 since all scientific studies have advanc'ed wonder- 
 fully in the last fifty years. Garment cutting 
 should keep pace with the times, and any cutter 
 that continues to cut ill-fitting garmentB. when 
 there are publications with tbe advanced methods 
 ot producing garments in circulation, certainly 
 denies himself benefits that are the result of the 
 general law of natural advancement. 
 
 It is easy U> say that this or that system is 
 l)crfect, but not so easily proven, as a great many 
 cutters have found out, when the motives for 
 locating different points on a draft cannot be ex- 
 plained consistently even by the ones teaching 
 these systems — when I sa^' that the system I 
 publish estalilishes all these points e(jrreetly, I 
 know whereof I speak. I would call your careful 
 attention to tlie first draft in this book, which 
 shows where the shoulder point should be. All 
 intelligent cutters will notice how consistently this 
 point is established, leaving no chance for argu- 
 ment. You cannot possibly deviate from this 
 method, if you want to locate this point correctly. 
 Read the article in connection with this draft, 
 which I explain thoroughly. 
 
 Being aware of the large number of writings on 
 this subject, and the convincing arguments put 
 forth to sustain these writings, I fully realize what 
 is required of me to publish a book on cutting that 
 will meet the approval of all cutters, and designers. 
 It would be folly on my part to compile a work on 
 this subject, were I not convinced that it would be 
 appreciated, and be found thoroughly practical by 
 all cutters. What I mean by "practical" is that it 
 will produce garments, that should and will be 
 worn by all persons desiring stylish, jierfect fitting 
 and pleasing garments. The word "practical" is 
 so often misapplied in tiiis connection that 1 think 
 it best to define my meaning in the matter. 
 
 What are the points required for stylish, perfect- 
 fitting and pleasing garments? I will define them. 
 
 A coat should set neatly to a man's neck, close up 
 in the center, and gradually sloping downward to 
 the first button. A coat should be jierfectly 
 smooth in the shoulders, and in front of the arm. 
 A sleeve should always fit the scye, because an ill- 
 fitting sleeve destroys the beauty and ease of the 
 garment, as we all well know. A coat should fit 
 well and neatly in the body, and at the same time 
 feel comfortable. You will find it pretty hard to 
 convince a good dres.ser that his coat fits, if it feels 
 uncomfortable to him. 
 
 A vest should fit just as well as a coat, and 
 should be drafted in the same way, as you will 
 notice I do. 
 
 Trousers require considerable care and judgment 
 in drafting, owing to the many difierently shaped 
 subjects you will have to please. A careful perusal 
 of my article on trousers will show you that they 
 are not only thoroughly perfect in their construc- 
 tion, but are also far superior to any trouser system 
 yet published A glance at my draft on trousers 
 will convince you of their superiority. This is the 
 first time this draft has ever been published, and is 
 alone worth many times the price of this entire 
 book. It is the only draft producing trousers that 
 actually conform to the legs. I am somewhat 
 partial to these trousers, knowing their merits, and 
 know'ing they have never before been given to the 
 j)ublic. Read the exiilanations accompanying these 
 trousers. 
 
 I would call your attention to the sleeve draft in 
 this volume. That this sleeve is perfect, no one 
 with experience can deny. It is simply cut to fit 
 the scye, as all sleeves should do. How many 
 garments that have fit perfectly without the sleeves 
 at the "tr}' on", have been ruined by putting in an 
 ill-fitting sleeve. The customer ma}' be satisfied 
 with the garment, and some cutters think that is 
 ail that is necessary. But let this same customer 
 come in contact with a man who has a well cut 
 coat with a perfect-fitting sleeve, and you will have 
 little trouble in distinguishing the stylish and 
 graceful garment. 
 
 After all is said these small items ai-e what 
 constitute a stylish garment. Because a garment 
 fits does not signify thut is all that is required. A 
 garment must be a combination of fit, style, ease 
 and grace, and all these requisites can only be 
 acquired by a properly balanced garment, a well 
 shaped gorge, a perfect-fitting sleeve, a smooth 
 fitting shoulder, and last, but not least, the shaping 
 
TIIH xMODKHN DESK^NKH. 
 
 of the scye, are factors that cannot be overlooked. 
 T speak of all these points and show the proper 
 method to be adopted in brino^ini;- them to perfec- 
 tion, in tlie article connected with the coat dral'tn 
 in tliis work. 
 
 A cutter's education is not complete unless he is 
 efficient in grading. Grading is invaluable to all 
 cutters, especiall}- those who cut for the road trade, 
 because it enables them to produce their own l)lock 
 patterns, wiiich they will tind far superior to any 
 they can buy. [ explain this subject thoroughly in 
 the irradintr methods found in this book. These 
 
 methods will produce your blocks true to your 
 model, liead tlie article on grading, and you will 
 see how important it is you should be well versed 
 in this particular bi-ancli of designing garments. 
 
 One glance through this work will convince you 
 that it is the most complete book ever published in 
 the interest of garment cutting, treating more 
 subjects, (and in a way that cannot fail to bring 
 success to the close student thereof), than any 
 publication of its kind ever issued. 
 
 I respectfully submit the contents of this book to 
 your most critical observation. 
 
THEIMODERN DESIGNER. 
 
 4-BUTTON SACK.— Sbowiug Shoulder Poiut in its prope'' plaee. 
 
TIIK MODEIJN DKSIGNEU. 
 
 TO DRAFT 4.BUTTOW SACK 
 
 OM ufposite: paoe. 
 
 RST fold your paiier, luakiiii;- a 
 crease as aliowii in cut from A to D, 
 tlie light lines of draft are folded 
 under shaded part. 
 S([uare line from crease to .1. 
 From A to B is dejith of scye ; to C, natural waist, 
 and to D is full length. F is lialf way between 
 
 A and B. 
 E is I inch below B. 
 Square lines F, B. E, C^ and D. 
 From B to 4 is blade measure. 
 4 to L is i of blade on stjuare. 
 yijuare up and down from L. To get points and 
 
 P, add 1 inch to half of breast, which in this case 
 
 makes 1!», then go out J of I'J on square from J 
 
 to Q. 
 From ii to V is i of same amount (19). 
 O is J inch out, | inch up from Q. Square down 
 
 from (I and P. Draw line from to ? inch 
 
 above F. 
 (i is 1-16 breast from line P. 
 T is up i of distance between B and F. 
 T to U is 1-16 lu-east. Square down from U to ^'. 
 Shape back as represented, coming in .\ inch at M. 
 Shape from half way between J and K to 0, then 
 
 on to G, on to T and tinish side seam as repre- 
 sented. 
 Measure from B to L ; apply this at B and continue 
 
 to V for blade measure." V to W is 1] inch. 
 
 From K to O and W to Q is first over, and i inch. 
 This measure should terminate on line running 
 
 down from Q. 
 From L to S and V to R is second over, with 1 iucii 
 
 deducted. 
 Draw small line half way between O and (J, as 
 
 shown in cut. 
 Square up to O from this line and down to C^), which 
 
 establishes shoulder point. 
 Shape front shoulder seam from 
 
 to Q. 
 From Q to H is same length as () to (1. 
 Shape scye from II touching line \V and going 
 
 down to line E. 
 From Q to X is ^ breast. 
 
 Square out from X, shape gorge as represented. 
 Measure from B to L: apply this at P>, and meas- 
 ure to 3, which is ^ of full breast, and -ii inches. 
 Square down from 3. 
 
 Now use a tracer, and trace through tiie outlines 
 of back, and side seam of forepart, as illustrated by 
 light lines. Then unfold the paper, which will give 
 you a draft like the cut. Measure side seam of 
 back and make side seam of forepart same length. 
 Then sweep from 5 by Q to 1, which is two inches 
 from line K and N. Finish front and bottom, as 
 illustrated. 
 
 Give this cut your close attiuition, and stuily the 
 shuulder point carefully, and you will see that it 
 will be inqiossible to misplace the shoulder point. 
 
 II through li on 
 
 It shows the coat in the same position, as when 
 worn, and when the shoulder point is directly in 
 front of the part it joins on the l)ack, it will be im- 
 possible for a shouliKu' to draw wrinkles. In 
 making a draft, you will notice by lapping the 
 point over by the small line between O and t^, that 
 point O will always meet point <^> exactly. This, 
 of course, is plain to be seen 
 
 Now, the point vvliicb proves that this shoulder 
 point is right is the line where the coat turns a 
 man's body. This is shown on cut where the 
 shading discontinues. Well, if this is the turning 
 point of the coat, — that is, its extreme point on the 
 sides, neither front nor back, then you may be sure 
 that the shoulder is perfecct, since all that is re- 
 quired is that the shoulder point should meet the 
 point on the back over the slioulder. preventing 
 any drawing. 
 
 Now, you will see this turning point is correctly 
 established, by noticing that tbeblade measure con- 
 trols this point. If a man's back or blades be large, it 
 will, of course, give him more width from B to L, 
 and if blades be small, it will give him less, always 
 controlling the shoulder point; or we might say 
 that the shoulder point must always be even with 
 the jioiut on the back, at neck, your dimensions 
 being gotten from this point, constructing the coat 
 in front and back evenly to conform to the breast 
 and blade measures. 
 
 You can illustrate this yourself by taking a 
 iinished coat and laying it flat upon your table in 
 the same shape as this draft, with the crease 
 running down under the arm; then smooth your 
 shoulder until the front and back are perfectly Hat, 
 and the whole side of the coat is also smooth and 
 Hat front and back. This will then show you 
 where the turning point of the garment you have 
 is. Then move this same crease under the arm 
 back about h inch ; that is, crease the coat ^ inch 
 further back, and you will notice that the shoulder 
 will not he smooth. This will plainly show that 
 the shoulder point is entirely regulated by the 
 turning point of the coat, and that this turning 
 point is regulated by the blade measure. Therefore, 
 if you get a true blade measure, you cannot possibly 
 make any error in establishing your shoulder point 
 by this method. 
 
 liead this article carefully, and if you do not 
 understand it the lirst time, go over it again, and 
 you will be well repaid for so doing, because it will 
 give you a clear knowledge of the location of the 
 shoulder point. 
 
10 
 
 THE MODERN DESIGNER. 
 
 3-BUTTON CUTAWAY FROCK. 
 
THE MODKRX l)KS[(;NKR. 
 
 11 
 
 FOB DKAFTI]V« TIIRBK-BUTTON 
 FKOCK. 
 
 |(,tUAKK lines A I! and A C. 
 A to I) is (leiith of seye 
 A to E to F and to B are natural, 
 fashionable waist, and full lent;'th. 
 II is half way l)etween A and i>. 
 Square lines H, D, E, V aiul B. 
 A to (J is i full breast. 
 
 To locate points I, L, M, and N, add 1 incli on 
 half breast measure, making 19 inches ; tliengo out. 
 From A to I is J of 10 I to L is {. C to N is i, 
 and from N to M is j . 
 Square down lines L, M, N and C. 
 U is i of HI ( or 1 inch moretiian iiall breast ), from 
 line L. 
 
 From I to .1 is J incji. 
 
 J to K is I inches. 
 
 Draw line from K to U. 
 
 From line L to T is l-lti breast. 
 
 V is J of distance between line li and !>. 
 F to G is J inch. 
 
 G to Z is ^ breast. Square up from Z. 
 Shape back as represented, making l)ottOTn of back 
 skirt same width as fi'om F ti» Z. 
 
 Y to I is 2 inches. 
 
 This is for normal figures only. 
 
 (Read notes in connection with "waist suppression") 
 
 Shape back seam of side body. 
 
 From D to Q, less the amount between back and 
 side bod_y on breast line is blade measure. 
 
 From Q to 1\ is I'l inclies. 
 
 Whatever distance Q is forward of line M, place O 
 i tliis distance from N. 
 
 From A to K and M to O is 1st over measure and 
 i inch. 
 
 From 1) to S and Q to X is second over measure, 
 and i inch deducted. 
 
 Shape shoulder seam of forepart as illustrated 
 
 O to W is same distance as K to T. 
 
 Draw line f inch below bi-east line. Shape seye from 
 W touching line R going down to | inch line on 
 to back, coming -| inch forward fi'om back as 
 illustrated. 
 
 (:io down '; breast from O and square out for gorge. 
 Shape Gorge. From I) to 7 less the amount be- 
 tween back and side body is ^ of full l)reast. 
 
 7 to 6 is 3^ inches. 
 From back seam on natural waist line to \ and 
 
 from 1 to 2 and ti-oni 3 to 4 is ^ of full waist. 
 4 to 5 is '6h inches. 
 Shape tront as represented : 
 Measure back from forward of V to Z and make 
 
 side body same length and | inch from same 
 
 point to 1 1 . 
 Sweep from 11 by n. 15 to 13 is 3 inches. 
 Draw line from seye for side body seam as illus- 
 trated taking out A inch at. waist. 
 
 The widtli of si(U' body sliould be made by the 
 cutter's judgment to harmonize with the size of 
 coat. 
 
 Shai^e bottom of side body from 11 to fashiona- 
 ble waist line, and Ijottom of front from 12, which is 
 I inch below si(h' body on to 14, making a gradual 
 curve as illustrated 
 
 FOR DRAFTIIVO »iKIRT. 
 
 I>raw straight line from il to 14, s(piare down by 
 this line to I'.t. 11 to Iti is 6 inches. From 10 
 to 17 is 1 inch, and 19 to 18 is 1 inch. 
 
 Shape back of skirt from 11 tiirough 17 on to 18. 
 
 Tlie distance from 11 to 18 is ] in. more than from 
 Z to 20. 
 
 Square across from 19 at full length of skirt by line 
 11 and 19. 
 
 12 to 21 is i inch. 
 
 Shape to|i of skii't from 11 through 21 on to | incli 
 below 14 as illustrated. 
 
 Shape front and bottom as represented. 
 
 THF COLLAR. 
 
 Draw straight line ojiposite top button to O. 
 
 Crease the lapel at this line and lay back as illus. 
 trated. Then lay your j)aper underneath. 
 
 Draw a curved line from break at gorge througli 
 P \ incli in front of •) on to 9. 
 
 9 to 10 is 1;^ inches. 
 
 C'Urve line from 10 on lo the gorge as illustrated. 
 
 9 to 8 is 2 inclies, or whatever width of collar de- 
 sired. 
 
 Draw line from 8 and linisli, making ste]) in collar 
 same as lapel, unless style dictates otlierwise. 
 
12 
 
 TlIK MODERN DESIGNER. 
 
 VEST DRAFT. 
 
THK MODERN DESKiNKR. 
 
 13 
 
 FOR DKAFTlMf,} VEST. 
 
 IQUARK litieH A 1'. aiHl A C. 
 
 A to 1) is depth of scye, and to 1*' is 
 natural waist. 
 
 F is halt' w ay between A and D. 
 
 8qnare lines F, 1) and K. 
 
 A to C is ^ of full Ijreast nieasui'e. 
 
 'I'o ii'et points I, .1, K and L, do same as in the coat 
 draft. 
 
 Fi'oni 1) to "2 inches IVoiu 1' on shoulder seam, ami 
 S to same place on front slioulder is -Jnd over. 
 and ] inch is deducted. 
 
 Shape front shoulder. 
 
 M to <l is same distance as 1 to 1'. 
 Shape scye as illustrated, goin^ 1 inch helow breast 
 line. 
 
 From center of back at D to F is ^ of full breast. 
 
 U to \' is 2^ inches. 
 
 S(|Uare (h)Wn from \^ 
 
 Add 1 inch to half of breast measure, which in this v to 1 ami M to W is opening and i imdi and on 
 case makes it 11* inches 
 
 A to G is i of 19. G to .1 is J. 
 
 (J to L is I and L to K' is ]. 
 
 Square lines J, Iv and L. 
 
 Q to II is ^ inch. H to I is i inches. 
 
 is i of lit or of half breast with 1 inch added, 
 from lir)e .1. Draw line from I to O 
 
 E to N is 1 inch. 
 
 Shape center, top and shoulder of back. 
 
 J) to R is blade measure. R to S is 2 imdies. 
 
 M is half the distance forward of rj,as R is forward 
 of line K. From A to 1 and S to M is tirst over 
 measure ; uo addition since S is | inch further 
 forward, than same point in coat draft. 
 
 to .\ is full length and 1 inch. M to N is y inch. 
 
 Shape opening and front curving out ^ iueli tVom 
 line as illustrated. 
 
 S(juare o\er from .\. 
 
 T is half way between |) and V, s(piare down 
 from 'r. 
 
 Y to Z is 2t inclies. 
 
 Square across from Z. Measure from N to front of 
 vest with tape and whatever aniount you liave 
 over i full waist measure, and 2^ inches, take out 
 between 2 and 3, divided e(iually from line in 
 center. Shape under arm seam and bottom of 
 front and back as illustrated; draft collar as 
 illustrated, to be sewed on tlat as per illustration. 
 
 ^*^>2_S ^^^wJi) ^^^N2JD ^^Nw5 ^^^,2J? ^\SJ*J 
 
 "fe'Co o)o <Q o)o <o o)° <o o)o <S o>oyS 
 
14 
 
 THE MODERN DESIGNER. 
 
 •^ 4B N 
 TROUSERS-DRAFT. 
 
THE MODERN DESIGNER. 
 
 15 
 
 DIREC'TIOIV!^ FOR DRAFTIWO 
 TR<»II!!iERS. 
 
 UK measures arc as follows: 
 
 Outsoain, 42 ; Seat, 37 ; Knee, IS : 
 
 Iiiseam, 32 ; Koes, 27 : 
 
 Waist, .32; Ankles, 26 ; TSottoni. 17. 
 
 Draw line troni A to B near tlie center ot paper. 
 From A to C is ,', seat ; from C to B is outseam : 
 from B to 1' is inseani ; E is 2 inclies above, half 
 way between B and 1'. 
 Sfjuare lines from A to V, C to L and 1', E B 
 
 across both ways. 
 
 From K to () is 1^ inches : from K to I is U inches. 
 
 From B to N is 2 inches, and H to 5 is 2 inches. 
 
 The amount t:dcen out between knee and bottom 
 
 are for this draft only. The amount taken out 
 
 between and I, and N and h are regulated by 
 
 measures around the knees and ankles. 
 
 (Read notes in connection with trousers.) 
 
 From P to G is ^ seat : from U to H is i seat. 
 
 Square up and down, from G ; from L to Q is i 
 
 waist ; O to I is A knee. N to K is 1 inch less 
 
 than t'rom O to I, shajie forepart as re}iresented. 
 
 I to 2 is ^ knee and 1 inch, 5 to B is 1 inch less 
 
 tlian from 1 to 2. Measure with tape from 1\ 
 
 to N ; apply at 5 and measure to tj, which on 
 
 this draft is 16 inches. The bottom being 17 
 
 inches, or IS inches, witli seams, 2 inches more 
 
 than 16 inches, which should be divided 
 
 equally 1 inch on eacii side from 5 to 4, and 6 to 
 
 7. Draw straight line from I to f), from (2 to 1\ 
 
 is 4 inch. Shajie side seam of bat'k [lart from R 
 
 through D, about 1 inch from 1', then through 
 
 1 to 4. 
 
 From L to ^» and R to V is ^ of full waist, and 2i 
 
 inches. 
 D to X is i seat. X to Y is i seat. Y to Z is ^ 
 
 seat, and Z to 3 is !{ inches. 
 Draw line from Z to 2, and 2 to 6. 
 From M to F on to W is i of full seat, an<l U 
 inclies. This measure is applied al>out 4 inches 
 above (i and measured as per dotted lines. 
 U is J inches from V. Draw line from U to ^ inch 
 back of Y. T is half way between U and R. T to 
 S is J inch. 
 Finish back part as represented. Bring line at 
 crotcli i inch below 3. 
 
 Sii.MK F.\('TS AnOUT TltdUSERS. 
 
 Where is the man who does not like nice fitting 
 trousers, and how seldom does he get them unless 
 
 he has a well proportioned form and well shaped 
 leo-s V What is the cause ? First let me tell where 
 the faults of ill-titting trousers are, and then 
 explain the causes. 
 
 One of the faults often found in trousers is this : 
 When, after you have used great care in getting 
 the waist and seat measure correctly, the trousers 
 pull up in the center of the back, laying a fold up 
 and (h)wn, and the customer says they are too tight 
 in the seat, while you say tliey cannot possibly l>e 
 tight, as there is surplus goods at this point. He 
 will also say they are too tight in the waist, button- 
 ing too close in the front You say it is impossible, 
 as there is also surplus goods at the waist in the 
 baik. 
 
 ^■()U will notice that this fault oc<-urs mostly on 
 people who have a very snndl seat measure. The 
 fault is simply this : 
 
 Notice the top of back part at jioint J\ on tlie 
 trouser draft. Whenever this fault occurs, this 
 point is thrown forward too much. This point 
 should be thrown forwanl only on trousers with 
 large seat measure and backward for those with 
 small seat measures. 
 
 Look at your |iresent system, and see if it docs 
 not teach you that the larger the seat, the farther 
 vou go back to get point V, which will necessarily 
 throw point R farther back; and those with small 
 seatmeasure8,just vice versa, ^'our system may not 
 teach you this, lint I must say that T have seen a 
 great number teach this very tiling. Well to show 
 how wrong this is, just take a pant pattern, laying 
 the back part on your table, place a weight l»elow 
 point 3; lay one hand at the knee, and move iioint 
 R backward with the other until you have a 
 straight line from knee notch to point R; sec how 
 much length and fullness you have over the seat; 
 then you might cut off about 1 inch at point R, 
 running it in to nothing at first notch, and a(kl this 
 amount in the back ; then use the same jirocess, 
 moving point R back until you have a straight line ; 
 see how much shorter the length, and less fullness 
 you will have over the seat. 
 
 Now where do we require the length and fullness 
 for a man with a prominent seat, or one with a 
 less prominent seat ? 
 
 The man with a prominent seat will require of 
 course, more length and fullness over the seat than 
 a man with a less prominent seat, just as sure as he 
 will require more depth of scye if he has a full 
 rouiul back. You always give a man more length 
 for the rise on the back of trousers if he has a large 
 
16 
 
 THE MODERN DESIGNER. 
 
 seat, and aleo less if he has a snialler seat, which is 
 correct. Hiit you iiave tiie back part swuug either 
 too far forward or Itackward. Tiie consequence is, 
 if it is swnng too far forward for a man with a 
 aniall seat measure, wiion the trousers are pulled up 
 making the outscaui straight, 3'ou will have too 
 much fnilness over the seat. You have not allowed 
 the seat of tlie trousers to rest where yon took tlie 
 seat measure with your tajie line, because the back 
 of the pants will be pulled up by the man's suspen- 
 ders and [inlliug this surplus length up, and conse- 
 quently throws folds up and down, making the pants 
 decidedly uncomfortable The crooked ontseam 
 will either do this, or leave a surplus just below the 
 seat, giving the trousers a very bad appearance. 
 
 If the reverse is the case, and this point "Jv" is 
 jdaced too far back, making the outside seam too 
 straight for a man with a large seat, you will Hnd, 
 when he sits down, that he will have entirely too 
 much goods in the front. So you will see the 
 longer a man's scat is in proportion to his waist, 
 the more curved should be his ontseam on the back 
 part of his trousers ; and the smaller his seat 
 compared with his waist, the straighter should this 
 seam be. This is a jioint which you wi'l see my 
 trousers give. 
 
 Among other I'aults occurring in jioorly cut 
 trousers are these: 
 
 When the inseam is swung either too far in or 
 too far outward, wrinkles will be drawn, which 
 spoil the beauty of the pants. In the former case 
 the trousers will iiivarialjly <lraw from the center 
 seam at the knee toward the center to the crotch 
 in tlie back. In the latter case, they will throw 
 wi-inkles from the inseam at knee toward the nut- 
 seam at seat, and also wrinkle in the crotch in front. 
 You will notice that the closer a nuui juits his legs 
 together, the more they will wrinkle in the ei'otch, 
 showing conclusively that the seam is swung too 
 far outwaid. Since you cannot guess at how far to 
 swing the inseam in, you will have to take tlie 
 measure I show around both knees, as I e.xjilain it 
 in my lueasuring directions. This will give you 
 the exact shajie of the man's legs. 
 
 These same wrinkles are sometimes produced by 
 hollowing out the crotch too much in front, which 
 should always be avoided in cutting trousers. 
 
 Where the trousers draw wrinkles from tlie out- 
 seam at knee across the back upward, it is plainly 
 evident tliere is not eiu)ugh goods at the outseam 
 at knee, making the jiants touch this point. To 
 illustrate this, you have (jnly to notice that the 
 
 farther a man's legs are apart, the more this point 
 will be in evidence, because the trousers hang at 
 the knee, and pull inward and upward. 
 
 A great many cutters see these wrinkles in their 
 trousers, but pay no attention to them, knowing 
 that trousers wrinkle anyway because a man moves 
 his legs into so many different positions. But, 
 trousers should be balanced properly, just the same 
 as a coat, and you will see with liow much more 
 ease and grace they hang when such is the case, 
 than if they are improperly balanced. 
 
 For .\ Co.Mi'AKisoN. 
 
 Tut a coat that is not properly balanced on a 
 man. Suppose that the coat is too short in the 
 front shoulder, making it rest on his seat, ^'ou 
 will notice the unsightly wrinkles it draws when 
 the man walks, ^'ou will find tlie same fault with 
 trousers where a certain i>art of them rest on bis 
 knee, either inside or outside, and they will have 
 these same unsightly wrinkles. 
 
 For Bow LE(is. 
 
 In looking over a reputable journal a lew days 
 ago, I noticed pant draft for bow legs. Here is 
 what the article teaches: 
 
 The writer uses the same draft as for regular 
 pants, and says, "1 go in 1 iiu-li at bottom and 
 nothing at knee, the same as for a normal figure". 
 Now if you will go to the trouble to measure a bow- 
 legged man around both knees, a measure I illus- 
 trate in this book, and also a man with normal legs, 
 you will tihd that the bow legged man's knees turn 
 out any distanct' from one to si.x inches more than 
 the straight man. Tlien how can a jiant that is 
 cut the same to the knee as a regular i)ant, tit a 
 bow legged man, who may require from one to six 
 inches more goods out at this point? And further- 
 more is one inch going to be enough to swing the 
 bottom in for all bow legged men when their legs 
 vary in the amount bowed from one to si.K inches ? 
 
 This is only one instance iii many of these im- 
 practical teachings, which instead of being instruc- 
 tive are misleading to the cutter who tries them. 
 
 For cutting bow legged trousers, you should 
 bring the outseam out as far at the knee as the 
 man's knee really extends and throw them in at the 
 bottom, as far as the measure indicates. This in 
 extreme bow legs will give you a tolerable crooked 
 outseam, but the inseam should be tilled in at the 
 knee. You should always avoid cutting small 
 knees for a man with bow legs. 
 
THE MODEKN DESIGNER. 
 
 17 
 
 A FEW NECESSARY POISITS IN THE 
 CONSTRICTION i*V A OARWENT. 
 
 VllCiAKMENT is r(>l)licd of a great deal 
 of its style ami beauty by being- 
 put togetlier iiuiiroperly A cutter 
 sliould always see that his gar- 
 ments are not oidy sewed and 
 
 pressed well, but should see that the different parts 
 
 are put together in the right manner. 
 
 TiiK Proper Way to itt in a 8i.ki;ve. 
 
 In sewing in a sleeve the under sleeve should 
 always have fullness held in, enough fullness to 
 make the curve of the under sleeve conform to the 
 curve of the scye. 
 
 A great many cutters and tailors adhere to the 
 old way of holding the under sleeve tight, which 
 makes the sleeve break under the back of the arm. 
 To illustrate this, lay your under sleeve pattern on 
 the coat where it should be put in. Yon will see 
 the curve on the sleeve is more nearly straight than 
 the curve of the scye Theu how is it possible for 
 the sleeve to hang nicely in the back when the 
 different curves are sewed together smoothly '! 
 Whereas, if you draw the under sleeve in with a 
 thread, it will assume the shape of the back scye, 
 and will consequently hang smooth, at the same 
 time leaving enough goods in the reai to allow you 
 to move your arm freely. 
 
 llou TO Pit a Collar on a Coat. 
 
 The first thing to be avoided is too much shrink- 
 ing and stretching of tlie collar, which is not only 
 entirely unnecessary, but is ruinous as well. A 
 great many of the old school will be averse to this 
 method at first, but after they have tried it a time 
 or two, they will see it is the only possible way of 
 imparting grace to the collar ot the coat. 
 
 The collar should not be pressed into the shape 
 of a "horseshoe", which some tailors insist upon 
 doing, as it prevents a collar from standing up 
 beside the neck. A collar is cut to lit the neck, 
 and after the coat is cut to tit close to the neck, 
 theu the collar should begin at the gorge and stand 
 up along side the neck, and not lay upon the 
 
 shoulders, which will be the case when too murh 
 shrinking is resorted to. 
 
 I have seen a great many cutters examine gar- 
 ments when finished. They take the coat with 
 both hands inside of the arniholes, and sight over 
 the collar along the shoulders, and when the collar 
 is not as Hat as the shoulder, they send it back to 
 the tailor with the instructions to "press it in 
 better". That this is entirely wrong, there can be 
 no ((uestion, because the break of the collar is 
 made so much smaller than where the seam is, that 
 it will be impossible for the collar to stand up as it 
 s[iould. The result will be that the break will 
 press against your neck, forcing the shoulders out 
 of their position, and making the coat feel as if it 
 would slide off your shoulders. How can it be 
 otherwise when you have cut the coat itself to come 
 up to the neck, and then have the collar pres.seil in 
 such a manner that the break will be where the 
 seam of the collar should be, and the seam will be 
 forward one inch (the width of the stand after made 
 uji) from the neck. 
 
 The seam of a collar is cut with enough curve to 
 throw the break toward the neck with .scarcely any 
 shrinking whatever. All that is recpiired is a 
 proper amount of [u-essing and slight shrinking in 
 tlie center of the back. 
 
 For examj)le, we will take a staiuling collar such 
 as are used for clerical coats, uniform coats, etc. 
 No tailor will shrink a collar of this kind in the 
 same manner that he would shrink the regular 
 turn-over collar, and why? 1 am sure I cantiot tell, 
 since they both should fit in the same manner. 
 Therefore, you will see liow absurd it is to shrink 
 the one and not the other. Now there are cases 
 when a little shrinking can be resorted to, but only 
 where you have a figure with a short fat neck, or 
 one with the neck pitched forward. 
 
 The matter of putting in a sleeve properly and 
 putting on a collar are two very important points 
 in the construction of a coat, and cannot he treated 
 lightly. Close attention by a cutter in having his 
 collars and sleeves treated in this manner will amply 
 repay him for his trouble, and impart a certain 
 distinctiveness to his garments that will be notice- 
 able to all good dressers. 
 
18 
 
 THE MODERN DESKiNEK. 
 
 4-BUTTON SACK DRArT. 
 
THE MUDEHX J)E!Sl(i^'EK. 
 
 lit 
 
 TO URAFT FOIIR-BITTOJV SACK. 
 
 |(^UA.RE liuc'8 A B and A C. 
 
 First take half of breast wliich is 
 
 18, add 1 in always. Making 19. 
 
 From A toll is J of 19. II to I is i. 
 
 I to J is ^. J to K is i. 1\ to L 
 
 18 1. L to C is i. 
 
 A to |) is dejith of scye 8^ inches. 
 
 A to E, F and I> are natural waist, fashionable waist 
 
 and fnll length. 
 G is lialf way between A and I). 
 Square across from G, T>, E, F and B. 
 <jO out h in. and up g in. from 11 to get point M. 
 Square down 1, •!, K, L and C 
 Draw line from M to N, is 1-16 breast from 
 
 line 1. 
 Shape centre back curving in J in. at E. 
 Shape from half way between line A and \1 to M 
 
 and from M to O and from to P. 
 P is 5 distance between D and G. 
 From P to R is 1-16 brea.^t. 
 Square down from R to S. 
 
 Finish back as represetited, leaving seam at P. 
 From (,i to T is li in. 
 
 5 to U is 1 in. 
 
 Draw line from h in. inside of T to U. 
 Square across from P to 5. 
 I) to V is blade measure and 1 in. 
 V to W is If in. 
 
 6 is I as much forward from L, as V is forwar<l 
 from line K. 
 
 A to M and W to (3 is Ist over measure and 4 in. 
 I) to Z and V to Y is 2nd over measure with ^ in. 
 
 deducted. 
 Shape shoulder seams through Y to (5. 
 From 6 to X is same distance as M to (). 
 Square up and across from W f in. below breast 
 
 line. 
 
 Shape side seams from 5 through T to U as repre- 
 sented. 
 
 Shape seye from \ touching line W, on to 5 as 
 
 illustrated. 
 6 to 1 is ^ breast. 
 
 Square across from 1, shape gorge as represented. 
 From D to Q and T to 2 is h of full breast & 3^ in. 
 Square down from 2. 
 
 Measure from P to S and make from 5 to U same 
 lengtli. 
 
 Sweep from U by L to establish 4 which is 2 inches 
 
 from line G on swee]). 
 First button is 5 in. from top and the otbers are 4] 
 
 in. apart. 
 Sluipe front and bottom as represented. 
 
 AOTES. 
 
 In shaping back of a scye come forward from line 
 I just I as much as V is forward of line K. 
 
 6 is also 5 this distance from line Q. 
 
 If Blade measure brings V back to line K, indi- 
 cating an erect figure, so also must point 6 be 
 brought back to (J, and Itack of seye shaped to 
 meet line I. 
 
 Line K conti-ols lines I and L, lor whatever dis- 
 tance the blade measure comes forward, or back- 
 ward, on line K,just half of this distance sliould 
 shoulder point be located forward or backward of 
 line L and back scye shaped forward or backward 
 of line I. 
 
 This will always insure t\]v siiouliler point being 
 ill the proper place. 
 
 In making coat close fitting in the waist, take 
 out between liack and forejiart, and take out gore 
 under the arm, tlie amount necessary to rethice tlie 
 actual waist measure to half of full waist and 3J in. 
 In large waist, stout, etc., add to the front the 
 amount to make actual waist measure and 3^ in. 
 without taking out gore or between back and fore- 
 part. 
 
 ^^\2l^ ^*^>^i.SJ f'^s2_^ ^^\^±.5D ^"^SJD ^^s^J5 
 
 ^*NS-Q ^-^sSLiD ^^^>9_S ^NSJD '^SJD ^\SJD 
 
•20 
 
 THE MODERN DESIGNER. 
 
 SLEEVE DRAFT. 
 
TlIK M(»1»KRN DKSIGXEU. 
 
 21 
 
 DRAFTIIVG SL,KETK A€COKDI]«<J TO 
 .SHAPft: «F S€YK. 
 
 lyJlHlS sleeve is drafted liy an is iiieli 
 scye. Take tVirejiai't of ]iattt'ni and 
 di-a\v outlines on j'Oiir paper as illus- 
 trated by dotted lines, ti'aeinuf 
 breast line and line / of an ineb 
 'oelow. After having traced tliesc^ lines reiuose 
 your forejiart frf)ni the [)aiier and s(j[Uare np and 
 down from front of seye'',by breast line. 
 
 Measure <listanee from II to (J o\\ thirds, then go 
 
 up on fourths satiie distance from (' to locate 
 
 point i). 
 Then down on 1) same amount on sixteenths to 
 
 locate point E. 
 Scpiare across from D and E ; L is always same 
 
 distance from E as K is from E. 
 From F to O is i scye. 
 M is half way between L and < ). 
 N is directly above M. 
 
 Sha])e over sleeve from F tlirougli Tj, N, on to O. 
 Sijuare down from O. 
 T and .1 are each 1-12 scye from C. 
 P is 1^ inclies from O. 
 Z is full length of sleeve. 
 
 H is I inch below, halfway between U and Z. 
 <i is (1) inch from 11. 
 
 tSquare down from .1 and I and across from R to V. 
 Sweep from line opposite Z at full length of sleeve 
 
 by N across to \V. 
 X to Z is ^ of cnft'and -^ inch. 
 From V to U is 4 inch and from T to S is i inch. 
 Finish sleeve as representeil. 
 
 Note. — This sleeve is for a coat witli cut under 
 arm of coat. A\'hen coat has no gore under arm 
 vou should add 1 seam to over and under-sleeves. 
 
 To get a sleeve that will tit the scye and always 
 be perfect, ilraft your sleeve according to the arm- 
 hole. Notice the draft in this volume, and you will 
 see tiiat where the shoulder Increases in width so 
 the sleeve decreases, wliich always insuri's a smooth 
 sleeve. 
 
 Quite a number of systems teach the draitiiig of 
 all sleeves the same l>y the scye measure regardless 
 of the heiglit or widtli of shoulder, which cannot 
 ]iOssibly he correct. The scye niay be wide from 
 front to back and narrow from top to liottom, or 
 narrow from front to back and wide from top to 
 l)ottom, making the total measui-e of the scye the 
 same. ^ ou would consequently draft the same 
 sleeve for the ditlerent scyes, with bad results, of 
 course, because a narrow deep scye recpiirea a 
 narrow high sleeve, just as sure as a wide shallow 
 scye re(piires a wide low sleeve. 
 
 Tlie height of the ball of the sleeve must be 
 regulated entirely by the length from the bottom 
 of the scye to point (O) as in the sleeve draft in 
 this volume. So also must the width be regulated 
 entirely l)y the distance from front to back of scye. 
 
 By using this sleeve you will never have folds 
 running from the front to the back at top of sleeve. 
 \i>u will never have a fullness under the arm in 
 the sleeve caused by the ball of the. sleeve being too 
 short. You will never have a wrinkle at top of 
 ball of sleeve, running from front to back, caused 
 by too much length at top. In fact you will have 
 a sleeve that tits the coat, and for all time insures 
 you against any annoyance caused by ill-fitting 
 sleeves. 
 
-2-2 
 
 THE MODERN DESIGNER. 
 
 -/^ ^- 
 
 4-BUTTON SACK COAT CHART. 
 
 With Sizes .'-Ui to 42. 
 
 L«fC. 
 
TllK MODKRX DKSKiNKK. 
 
 23 
 
 SYKTEin OF OBADIIVO. 
 
 IN THIS rtj'steiij I use two models. 
 Tlie cut shows sizes 36 and 42, 
 which are used for men's reguiiir 
 -ize coats. While the single model 
 system is simpler than this one, it 
 is also unreliable, and produces large and small 
 .sizes that are entirely out of proportion. This can- 
 not happen when two models drafteil by my pro- 
 portion measures are used. 
 
 First you make your model 36, being careful to 
 get it accurate. Take the proportionate measures 
 in this book, and use them the same as actual 
 measures. This will give you a perfectly balanced 
 proportionate garment. After jtiuishing the 36, 
 make your 42 size shaping the ditierent lines by the 
 36 model. Then place the 42 forepart on the paper 
 you intend usuing for your chart, and mark the 
 outlines on said paper. Also, mark pockets, 
 buttons and all the iniportnnt jioints as shown in 
 the cut. After you have the 42 size finished on 
 your chart, then lay the 36 model on as shown in 
 the cut, having the side seam ot tlie 36 about one 
 inch in the rear of the 42. Mark your 36 the same 
 as you previously marked the 42. After this is 
 done draw lines from all points on the 36 to connect 
 with corresponding points on the 42, as per illus- 
 tration. You will notice the most vital points are 
 lettered, as G, which is the breast line or depth of 
 scye ; B, C and D are at natural waist ; E at sleeve 
 notch, and F on breast line. The other lines for 
 your division of sizes should be placed at all 
 corners and curves, as illustrated, to retain the 
 shape of your patterns. 
 
 After all parts are connecti'd by these lines, 
 divide the space equally between the 36 and 42 on 
 these lines into the number of sizes between them. 
 To better explain this, there are 6 sizes between 36 
 and 42. You will therefore divide this sjiace into 
 6 parts equally, which ffives yon sizes 36, 37, 38, 39, 
 4(1. 41 and 42. Then to find sizes 33, 34 and 3.5, 
 space the 33 the same distance from the 36 as the 
 3ft, and divide equally into three parts ; Tiamely, 33, 
 34, 3.5. All parts should be treated in this numner, 
 as shown in the cut. After your chart is com- 
 pleted, an\- size is easily taken ott' by simply punch- 
 ing through all the points of the size desired. 
 
 In making a full set of patterns, first take otf 
 your 36 size and complete the ]iattern : tlien take 
 
 ofl:"your 37, and use the 36 to shape tlie lines, and 
 the 37 for the 38 and so on. For the 35 shape witli 
 the 36, ami the 34 with the 35, etc. 
 
 For M.VKI.N'd S.\rK Co.\T ('h.\uts. 
 
 Make all the parts sepai'ate, as the forepart, 
 back, upper sleeve, under sleeve and collar. In ail 
 charts, each part should Ite made separately, which 
 will make it easier to handle. 
 
 After studying the cut in connection with this art- 
 icle, you will be enabled to make charts for all gar- 
 ments. The position of the patterns on the chart is 
 of no vital importance. All that is required is that 
 you get your points connected properly, and divided 
 equally. Y^ou will, after practicing this for a time, 
 find a convenient way to place your patterns in 
 making a chart. The two sizes should always be 
 pilaced a certain distance apart, sufficient to enable 
 you to get your division of sizes between con- 
 venient I}'. 
 
 ORADIIVQ TRUVJ^ERS. 
 
 KOUSFRS are graded slightly difler- 
 ently from the other garments for 
 the reason that j'ou have two sizes 
 to contend with, the waist and 
 length. For grading ti'ousers use 
 the following method : 
 
 After making your two model sizes, mark the 
 large size on your chart, marking all points as in 
 the coat ; then place your small size, making the 
 knee notches for corresponding lengths meeton the 
 same line. We will say that you make your two 
 models, one a 32.\32, the other a 38x32. Then 
 nuirk these two sizes on 3'our chart, with the same 
 line answering for the knee of both drafts. To get 
 the ilifterent lengths, go down from the bottom, 
 one inch for each e.xtra inch in length, and up one 
 inch for each inch less length, making the shape of 
 the bottom the same at each one ot these inch 
 lengths. The sizes should be also divided the same 
 as in the coat chart for the sizes of the bottoms. 
 The knee should be raised one-half (i) inch for 
 each inch less length, and lowered one-half ( i) inch 
 for each additional inch in length. 
 
 After your chart for trousers is made, it will 
 have a straight line across the knee for one length ; 
 for each inch difl'erent length, there will be another 
 line ^ inch distant, and each one of lliese lines has 
 
THE MODERN DESIGNER . 
 
 the division ot vviiist sizes tVom 3"2 to 38 at tlje oiit- 
 seam and inseani of leg. Each of these lines should 
 be marked in the center with the length as 31, 32, 
 33, 34, etc. Then when taking the trousers from 
 the chart, jou will have to find the line indicating 
 the length of leg, and go out on this line for the 
 size indicating the waist; for instance, suppose you 
 want to take up a 3(3x32, you will necessarily punch 
 through the size 36 waist on the 32 length line. 
 This api'lies both to the knee and bott(mi. The 
 difference is that the length lines at bottom are one 
 inch apart and at knee, ^ inch apart. 
 
 A chart for trousers made by the above method 
 will produce all your trousers true to your model. 
 In fact, the only way of making any set ot block 
 patterns is by grading, all argument to the contrary 
 notwithstanding, because it gives them uniformity 
 and correctness. 
 
 You might make a set of patterns by drafting 
 each one separately, and some would be right, 
 while others would be wrong. 1 have seen block 
 patterns made by drafting, one at a time, and some 
 parts of the smaller sizes were larger than the same 
 part-^ ot the larger sizes. In gra<ling, this is im- 
 possible, for each size has the same uniform increase 
 or decrease as the case may be. 
 
 A set of block patterns made by the above 
 method will possess certain valuable features, little 
 dreamed of by the ordinary cutter. For instance 
 a mail measuring 3H breast can easily wear a 35, 
 3G or 37 size, and either will tit him nicely. These 
 things are facts, which e.\i)erience will prove. 
 
 meii'js Proportionate measures. 
 
 Boys' I'roportiouate JMeasiires 
 From 38 to 34. 
 
 
 IiKPTll 
 
 
 
 
 BREAST. 
 
 OF SCVR. 
 
 IU,AliK. 
 
 1st over. 
 
 2nd over. 
 
 33 
 
 7i 
 
 10] 
 
 10| 
 
 15J 
 
 34 
 
 8 
 
 1<4 
 
 11 
 
 16 
 
 35 
 
 8i 
 
 lOJ 
 
 lU 
 
 16i 
 
 36 
 
 8J 
 
 m 
 
 111 
 
 17 
 
 37 
 
 8| 
 
 115 
 
 12 
 
 17i 
 
 38 
 
 Hi 
 
 12 
 
 12i 
 
 m 
 
 39 
 
 y 
 
 12i 
 
 12i 
 
 17i 
 
 40 
 
 H 
 
 12 J 
 
 121 
 
 181: 
 
 41 
 
 n 
 
 T2.; 
 
 13 
 
 18* 
 
 42 
 
 n 
 
 13i 
 
 13i 
 
 181 
 
 43 
 
 Uf 
 
 13{ 
 
 lU 
 
 19 
 
 44 
 
 10 
 
 13:' 
 
 131 
 
 19i 
 
 45 
 
 lOi 
 
 13f 
 
 14 
 
 19i 
 
 46 
 
 101 
 
 13J 
 
 14i 
 
 19J 
 
 47 
 
 lOi 
 
 13' 
 
 14i 
 
 20 
 
 48 
 
 lOf 
 
 14 
 
 m 
 
 20i 
 
 50 
 
 lOf 
 
 14] 
 
 154 
 
 201 
 
 
 DEPTH 
 
 
 
 
 RRE.'VST. 
 
 OF SCYE. 
 
 BLADE. 
 
 1st over. 
 
 2nd over. 
 
 28 
 
 H 
 
 81 
 
 9i 
 
 13 
 
 29 
 
 m 
 
 8i 
 
 91 
 
 13i 
 
 30 
 
 7 
 
 9] 
 
 10 
 
 14 
 
 31 
 
 7i 
 
 n 
 
 m 
 
 14* 
 
 32 
 
 7* 
 
 10 
 
 10* 
 
 15 
 
 33 
 
 71 
 
 10] 
 
 10| 
 
 15i 
 
 34 
 
 8 
 
 lOi 
 
 11 
 
 16 
 
 Children's Proportionate measures 
 From a to 13 Years. 
 
 
 
 DEPTH 
 
 
 1st 
 
 2nd 
 
 AiiE. 
 
 BREAST. 
 
 OF SCVE. 
 
 BLADE. 
 
 over. 
 
 OVER. 
 
 3 
 
 21 
 
 4] 
 
 51 
 
 7 
 
 8* 
 
 4 
 
 21 f 
 
 4* 
 
 6 
 
 71 
 
 ' 8 
 
 9 
 
 5 
 
 22| 
 
 4f 
 
 6i 
 
 71 
 
 9* 
 
 6 
 
 23]: 
 
 5 
 
 6§ 
 
 71 
 
 10 
 
 7 
 
 24 
 
 5i 
 
 7 
 
 8 
 
 10* 
 
 8 
 
 241 
 
 5J 
 
 7i 
 
 8i 
 
 11 
 
 it 
 
 25* 
 
 51 
 
 7i 
 
 8* 
 
 11* 
 
 10 
 
 26i 
 
 6 
 
 71 
 
 8i 
 
 12 
 
 11 
 
 27 
 
 6i 
 
 H 
 
 9i 
 
 12* 
 
 12 
 
 28 
 
 6* 
 
 84 
 
 9* 
 
 13 
 
 Sileeve r.eugtlis From S to 12 Years. 
 
 Ao'e 
 
 3 
 
 4 
 16i 
 
 5 
 171 
 
 6 
 
 184 
 
 7 
 19* 
 
 8 
 201 
 
 9 
 
 21* 
 
 10 
 22i 
 
 n 
 
 23i 
 
 T> 
 
 
 
 Sleeve Length 
 
 25 
 
 liengths for Fasiiionabie Waist, 
 Sleeves and Tests. 
 
 Sizes 
 
 33 
 
 34 
 
 35 
 
 36 
 
 37 
 
 38 
 
 39 
 
 40 
 
 41 
 
 42 
 
 Fashionable 
 
 
 
 
 
 
 
 
 
 
 
 
 — 
 
 
 Waist 
 
 17i 
 
 17* 
 
 171 
 
 18 
 
 m 
 
 18* 
 
 181 
 
 19 
 
 m 
 
 19^ 
 
 Lengths 
 
 
 
 
 
 
 
 
 
 
 
 Sleeve 
 Lengths 
 
 30 
 
 304 
 
 31 
 
 314 
 
 32 
 
 32i 
 
 33 
 
 33i 
 
 33* 
 
 33| 
 
 Vest 
 Lengths 
 
 24* 
 
 241 
 
 25i 
 
 25 f 
 
 26 
 
 261 
 
 261 
 
 274 
 
 274 
 
 27i 
 
TIIK MODERN DESK; NEK. 
 
 2:-. 
 
 Sleeve aud Vest LeiigtliK lor BoyN 
 From 38 to 31. 
 
 Sizes 
 
 28 
 
 25 
 21 
 
 211 
 
 SO 
 
 31 
 
 32 
 
 33 
 
 34 
 
 
 
 
 Sleeve Leiii^jtli... 
 Vest Length 
 
 26 
 
 21 J 
 
 27 
 
 22i 
 
 28 
 23i 
 
 29 
 24 
 
 30 
 
 24.f 
 
 31 
 
 25i 
 
 measure For Kuee Pautw 
 From 3 to 13 Years. 
 
 I2i 
 
 H 
 
 23i 
 
 241 
 
 5 
 
 II 
 
 7 
 
 8 
 
 13^ 
 
 14i 
 
 15 
 
 15f 
 
 7 
 
 ''i 
 
 8 
 
 ^^ 
 
 24 
 
 m 
 
 25 
 
 25^ 
 
 254 
 
 m 
 
 27 
 
 27.^ 
 
 10 
 
 m 
 
 10^ 
 
 11 
 
 m 
 
 9 
 26 
 
 28^ 
 
 174 18|: 
 
 10 
 
 m 
 
 29i 
 12 
 
 11 
 27 
 30 
 
 12^; 
 
 12 
 
 13 
 
 14 
 
 20 
 
 21i 
 
 23 
 
 12 
 
 13 
 
 14 
 
 m 
 
 28 
 
 28^ 
 
 30| 
 
 31^ 
 
 32i 
 
 13 
 
 13^ 
 
 14 
 
 2U 
 
 15 
 
 2!t 
 
 33 
 
 14^ 
 
 Tliese tables of lengths will be t'oiind valuable to 
 any cutter desiring a set of block patterns They 
 are not only reliable, but are the standard lengths 
 of to-day. All garments that have any pretentions 
 of being first class must have these lengths. A 
 slight variation from these lengths for proportion 
 garments will make the garments defective, because 
 experience has proven that there can be but one 
 
 length for difierent parts of different sizes that are 
 recognized the country over as giving the greatest 
 satisfaction, and fitting the most people, and the 
 tables r jiublish contain these lengths. 
 
 You will also find the table of proportion 
 measures equally as true as the table of lengths. 
 They will produce a garment that will fit the 
 largest percentage of people. You will find them 
 of great value by comparing them with measures 
 you take every day, anil \ou will also be able to 
 tell if you have a true measure. For instance, if 
 you measure a man who is very erect, then by 
 comparing your measures with these, you will 
 notice that ^our blade measure will be smaller, aud 
 your first over will be longer, providing you have 
 taken a correct measure. This will show that your 
 measure is right. You will rind that these com- 
 parisons will be of great advantage to you in your 
 business. 15ut the greatest value of these propor- 
 tion measures to you is in your being able to make 
 block })atterns tliat will be right, sucli patterns as 
 will meet the general demand. There is a largo 
 field in this country for cutters who are expert in 
 producing first-class proportionate patterns, aud I 
 know that by following the methods and using the 
 measures in this book, you will become expert in 
 this business, providing you have any natural 
 ability. 
 
 I shall ask that you give these measures yuiir 
 closest attention and endeavor to find a fiaw in 
 them. Compare the lengtiis I give with those of 
 any first-class proportionate garment, and be con- 
 vinced of their correctness. Kemember that it is 
 the correctness of tilings which distinguishes the 
 superior from the inferior article. 
 
 ^}^'(q^)^'Co^)'^ 'to^}2i\0 ^JS^wO °}^\^ 
 
 °jS'C^ v.SCo v^'C^ °)^'(° v.St'C^ v.St'Co 
 
THE MODERN DESIGNER. 
 
 riGURE N9 2 
 
 MEASURES ILLUSTRATED. 
 
THE MODKIUV DKSIGNEK. 
 
 DIKECTIO^VN F<»K MEASURIKG. 
 
 llRST hiive the custointr remove his 
 coat ; then see that there is no sur 
 phis goods around his hody. It' tlie 
 vest is too large and has surplus 
 cloth in it, you will be unable to 
 take an accurate measure. You shoidd therefore 
 pull the l)uckle strap close, making the vest sinootli 
 around the waist, and pin any surplus, tiiat may bi; 
 around the breast, under the arms. Tiiese small 
 items are easily and (piickly attendcil to, and will 
 insure you an accurate measure. Atter this is 
 done place your scjuare under the arm as illustrated 
 in Figure 1, having the long arm of tlie square hor- 
 izontal : then mark in the corner of square at H 
 and above square iti the rear ot arm at J. Remove 
 your square place it horizontally across the back 
 on a line with your mark -T ; this will give you 
 point B shown in figure 2 ( the depth of scye ): 
 then find the point H on opposite side of customer 
 with square, using tlie same process as at first ; then 
 throw both ends of the tape line over client's shdtil- 
 ders, letting the center rest at back ot neck. After 
 gently pulling the tape back and forth a time or 
 two, it will rest in its proper place, giving you point 
 A, which should be marked. 
 
 Point C is the most hollow part of the waist, 
 directly above the hip bone. This point should also 
 be marked ; then commence measuring as follows, 
 from A to J> ( depth of scye) on to C (natural 
 waist ) continue for full length. Then again from 
 A cross neck doun in front ot slioulder to point 11 
 (first over); tlien begin at 11 going across iiack 
 tlirough B to ])oiiit H on the other side of customer. 
 This gives you the blade measure when divided in 
 half. ^ ou should always measure across the back 
 to get a true measure, because it is next to impos- 
 sible to locate the centre, if you should want to take 
 half of the blade. By taking this measure across 
 
 both blades and then dividing in two, you will 
 always have an accurate blade nicasure, which is 
 very important in locating not only the tVont of 
 scye, but also in locating the entire front shoulder. 
 Nowplace end ot tape ;it 1! and lucasuiH^ over the 
 shoulder to II ( second over ) : take sleeve measure 
 from center of back to elbow and on to wrist bone, 
 having the arm in a horizontal position, and the 
 elbow bending in the shape of the Icttci' L, 
 
 BREAMT AMI* WAI«<iT ItlEAKdKKM. 
 
 The breast measiii'e should he taken with the 
 tape horizontal and close up under the arms, draw- 
 ing moderately tight. 
 
 TO IVIEAt'iCRK FOa TKOU.SERH. 
 
 First the outseani from hip bone. Then the in- 
 seam froni close uj) in crotch. Then have customer 
 stand with his heels about 3 inches apart; take 
 measures, |) waist ; K seat ; F around both knees ; 
 (1 around both ankles. Measures F and G give 
 you the exact slope of the customers legs. If the 
 customer is bowlegged, measure F will be large in 
 pro[iortion to the seat, and if tlie knees are inclined 
 inward, this measure will be small. You will con- 
 secpiently kiiow exactly how niucb goods to leave 
 at the outseani at knee, which will always insure 
 you perfectly balanced trousers 
 
 I explain these measures more ininiitely in my 
 " remarks on trousers '". A great many cutters are 
 acquainted with some of the above measures, but I 
 deem it best to give them all, and explain just how 
 they should be taken, for the lienefit of those who 
 have a poor measurement system. An accurate 
 measure is invaluable in cutting garments, and by 
 following the above instructions carefully, you will 
 be enabled to get as true a measure as possible, 
 which will certainly insure success when applied 
 to a perfect sj'stem of drafting. 
 
28 
 
 thp: modern designer. 
 
 WAIST 81JPPRESSIO.W. 
 
 |HE aniount taken out between Y and 
 1 on the frock coat draft cannot be 
 arrived at by any set rule in cutting 
 garments to actual measure, be- 
 cause of the various shapes you will 
 have to contend witli in this branch of cutting. 
 
 For instance, you take two measures both being 
 the same — we will say 36 breast, 33 waist, and ll] 
 inch blade. One might have a hollow waist in the 
 back, and full in the front while the other may 
 have a full waist in the back, with hollow waist in 
 the front. Some will say that when a man's waist 
 is full in the back, he is a stooping figure, and when 
 he is hollow he is always erect. This is not the 
 case, because two men may have the same posture, 
 and still have the varying waists, of which I speak. 
 Therefore, you will see that it is impossible to have 
 any set rules for governing this point. 
 
 The way to determine what quantity is to be 
 taken out in cutting garments to actual measure, 
 is to observe at what angle his back runs from his 
 blades to his waist. There are various ways in 
 which this can be determined by measuring, but 
 they cannot be relied upon, for the reason that the 
 slightest movement of the client's body, will change 
 the position of his waist, throwing it more hollow 
 or more full in the back. 
 
 You might tell a man to stand in his natural posi- 
 tion, and nine often would stand more erect than 
 their natural position really is. Yon will there- 
 fore see the impossibility in having a set rule for 
 this point. Just notice when measuring how much 
 further your client's blades project then the waist, 
 and your eye will soon become experienced, and you 
 will be able to tell by a glance when a man requires 
 more or less suppression than the average. 
 
 It will be necessary for a cutter to have a mark 
 of some kind, that he should always put with the 
 measure of individuals directly after measuring to 
 remind him of suppression re(iuired, or tlie shape 
 of the individual's waist. 
 
 There is a lot of discussion on this particular 
 point, in garment cutting. Some take out a cer- 
 tain proportion of the breast : others the difterence 
 between breast and waist, and still others compare 
 
 the blade measure with the waist measure. These 
 methods will all do in some cases, and in others they 
 will none of them be correct. The quantity I take 
 out in my draft will be right for the majority of 
 people. 
 
 Some figures have the breast and waist measures 
 equal, and still require as much taken out between 
 the back and side body as others with a breast 
 measure four inches larger than the waist, requir- 
 ing the extra amount of goods in the front. Of 
 course, where the figure is erect, and the coat bal- 
 anced properly the goods will be thrown forward 
 where it belongs, as is the case with a great many 
 corpulent figures, they being erect. 
 
 The quantity taken out should seldom be less 
 than one inch or more tlian 2^ inches, and this quan- 
 tity is not to be regulated by the position of your 
 client, whether he be erect or stooping, but by the 
 slant of his back, from the shoulder blades to his 
 waist, for when a figure is erect or stooping the 
 shoulder measurements and balance of the garment 
 will regulate this. 
 
 One tiling on this subject, which is very impor- 
 tant, is the quantity taken out between 2 and 3. 
 This can in most cases be regulated by the differ- 
 ence between chest and waist, by taking out ^ of 
 the difi'erence between chest and waist where the 
 chest is the larger, and by lapping side body over 
 front the same amount, where waist is larger than 
 chest. 
 
 Notice, when measuring a man with a large chest 
 and very small waist, that the slope of his body 
 under his arms to liis waist will be inward, while 
 in the opposite case, with a small chest and large 
 waist, the slope will be just the opposite. For this 
 reason, it is plain that the smaller the waist in pro- 
 portion, the more it will be necessary to take out 
 at this point, and vice versa. 
 
 This holds good in nearly all cases. Strict atten- 
 tion to this method will prevent many wrinkles in 
 the waist of a frock coat, especially in cloth that is 
 not pliable, for then you must take out the goods 
 in the proper place, or the coat will never fit 
 smoothly in the waist 
 
 In pliable goods these defects are not so notice- 
 able, but tliey will never-the-less prevent your 
 garment from being graceful. 
 
THE MODERN DESIGNER. 
 
 29 
 
 FAUiiTS l.iki:lt to be fouko ijv 
 
 COATS AIVU HOW TO AL,TEK SAITIE. 
 
 A C!oAT Swinging Away at Waist 
 
 AND 8eAT. 
 
 Ills may 1)e caused in several differ- 
 ent ways, wliirli are, by having tlie 
 front shoulder too long ; the dentil 
 of scye too sliort, (.)r tlie coat may 
 have been cut too full in tlie waist 
 and seat. Tlie fault is easily discerned by the 
 followiug observations: 
 
 The short depth of scye, and long front shoulder 
 give the same effect. To determine which is at 
 fault, just notice the back, immediately under the 
 arm, and if there are small wrinkles pressing against 
 the arm pit, then the depth is too short, which can 
 easily be remedied by raising the back at the side 
 seam, letting the side seam of the forepart go down, 
 and the side seam of the back go up. 
 
 When the front shoulder is too long, the coat 
 will throw long folds running from the iilades down 
 under the arm to the hips on both sides. This 
 fault must be remedied by taking some otV the top 
 of the front shoulder until it swings the coat around 
 to a proper balance. 
 
 In both these cases, you will notice the bottom of 
 the coat will not button, jiroviding the coat is cut 
 to the waist measure. Therefore, you will have to 
 use the above alterations to swing the coat forward 
 and cover this deficiency. 
 
 These alterations, if used properly, and with 
 care, will always bring the coat to a proper balanc'e 
 which is in fact the most essential point to be 
 considered in a coat. These alterations are simple, 
 and well known, and always used by experienced 
 cutters. I give them tor the benefit of the less 
 experienced ones. 
 
 A Coat that is too Close at the Seat. 
 
 Now we will take a coat that has Just the 
 opposite faults, swinging against the seat and 
 tlirowing a puffy fullness in the w^aist. This is 
 caused either by the front shoulder being' too short, 
 or the depth of scye being too long. It is easy to 
 distinguish which is at fault in this way : If the 
 front shoulder is short, the coat will not only be 
 tight at the seat, but will also draw wrinkles from 
 the arm hole to the shoulder point, wliich should 
 be remedied by letting out the shoulder of forepart; 
 while if the coat is too tight at the seat and does 
 not draw on the front of shoulder, it is an indica- 
 tion that the depth of scye is too long in the back, 
 and should be altered by taking off the required 
 amount at the top of back, leaving the top of 
 back in the same shape as before, but shorter. 
 
 A Coat that Draws Wuinkle,s 
 
 IN Tin: SllOlJl.liKU. 
 
 This is a point that gives young cnttcirs more 
 trouble than any other fault of the giirinent, and it 
 lias several ditiereiit causes, which are easily dis- 
 tinguished by the following rules : 
 
 If a coat draws wrinklew from the shoulder point 
 to the froni bottom of scye, the fault will be in 
 having the first over measure too slioi't, which 
 should of course be made longer. Hut if the coat 
 draws wrinkles fi-om the shoulder point to the bone 
 at tlie top of shoulder, this shows that the shouhler 
 is too crooked, the shoulder point being too far 
 back. When this point is drawn forward to its 
 place at a man's neck, where it belongs, it will draw 
 wrinkles and become too tight on this bone, which 
 you can easily prove to yourself by taking a jiattern 
 and by laying your left hand at the breast lim> of 
 coat and pulling the shoulder point forward, this 
 will ]iroduce the same wrinkles that- will be found 
 on the finished garment. To take these wrinkles 
 away, and make the shoulder perfectly smootli, you 
 will have to add on the front of this point, that is, 
 go out further in the gorge and take off tlie same 
 amount at the shoulder at scye, making the width 
 corresjiond with the shoulder seam of back. 
 
 Coats that Break in Fhont of the Arm. 
 
 This fault has several causes, if a shoulder be 
 too straight, that is, if the shoulder point be too far 
 forward, it is just the reverse of the fault I spoke 
 of in a coat drawing wrinkles in the shoulder. 
 Where this is the case, the break will run hori- 
 zontally from the front toward the back, which 
 should be altered by moving the shoulder point 
 backward and adding this same amount at scye to 
 the shoulder seam. 
 
 Breaks different from the ones above described, 
 are caused by the scye being improperly shaped. 
 A great many scyes are cut perfectly round, which 
 is a mistake, and will never produce a clean fitting 
 garment, except for a very erect figure. The more 
 a figure is stooped, the more should the stye be 
 oval shaped, the front bottom being the most hollow 
 part. 
 
 A Coat that Stands Away kro.m the Neck. 
 
 The dift'erent causes of a coat standing away at 
 the neck are the following: 
 
 The depth of scye being too short will make a 
 coat stand away at the back of the neck, which can 
 easily be remedied by lengthening this depth, not 
 by cutting out of l)oltom of scye, which would do 
 no good whatever, but by moving the back up at 
 side seam, and letting the side seam of forepart 
 down. This will throw the coat to the neck neatly 
 When a coat stands away at the neck opposite to 
 and in front of shoulder seams, the cause is either 
 in the first over measure being too long, or the 
 second over measure too short. Or, sometimes by 
 the gorge being hollowed out too much. 
 
30 
 
 THE MODKRN l)KStUNKK. 
 
 Tf tlie coat is tight ou tiie slioulder bone, tlien it 
 should be let out to allow the coat to settle down, 
 and the collar will fall in its proper place. It it is 
 too loose at the shoulder point, it should be taken 
 in there, and the outer part of shoulder not molested, 
 which would have a bad result, if let out when not 
 too tiglit. 
 
 When it is caused \>y the gorge being too hollow, 
 you will notice that the seam (when the collar is 
 sewed on) does not come close enough to the neck, 
 which will necessarily liave to be let out, in order 
 to brine the collar to the neck. In other words, 
 you will have to till your gorge in 
 
 A Coat that Sacs and Biieaks at Back 
 
 llNHERNEATn THV. ArM. 
 
 This is a fault that presents itselt very often to 
 cutters. The garment will draw ugly wrinkles 
 from beneath the arm running at difi'erent angles. 
 It also throws long folds from the back of blades 
 towards the hijis, giving you the impression that 
 there is too much goods over the blades Vou will 
 never be able to remedy this by taking in at the 
 side seams. The only way to remedy tliis is by 
 taking in at the second over measure making the 
 coat shorter at the outside of shoulder. Sometimes 
 it will be necessary to "pare" out a little at the 
 back of scye when making this alteration. 
 
 There are times when the tailor is to blame for 
 different faults occurring in garments, and some- 
 times the cutter gives the tailor wrong instructions 
 in making a coat. For instance, some cutters when 
 they see that a coat does not tit smoothly on tiie 
 shoulder, will have the scye stretchetl and ^■-s cut 
 in canvas in order that the coat may settle over the 
 bone of the client's shoulder, and after the scye is 
 unmercifully stretched and the coat settles down 
 some better, they wonder what makes it sag under 
 the arm. 
 
 It is nothing more or less than this. In stretch- 
 ing the scye you have made the second over 
 measure too long, and the coat will consequently 
 sag under the arm. A well cut coat requires very 
 little stretching Whenever a coat is tight on the 
 shoulder bone and wrinkles as the result, it is an 
 indication that the shoulder is too crooked, and 
 should be straightened by the alteration of which I 
 have previously spoken. 
 
 Some Facts Aisout the Snori.DER Point. 
 
 A misplaced shoulder point does more damage to 
 a garment than any other mistake 3'ou could make, 
 with the possible exception of an ill-balanced 
 garment. 
 
 And since the balance is so simple a matter, and 
 can be altered so easily by changing the length of 
 the front or back of shoulder, just as the garment 
 needs, I think it safe to say tliat the shoulder 
 point is the vital point. I will also say that when 
 a cutter has mastere(i this point, he is ou the road 
 
 to success. Who can gainsay tiiis ? No one, I am 
 sure, because a misplaced shoulder point will show 
 up more faults than any other illy-constructed part 
 of tlie garment. 
 
 Here are some of the symptoms of a shoulder 
 point that is not in its proper place : It will make 
 the coat draw unsightly wrinkles ou the shoulder, 
 and will make the lapel bulge out, away from the 
 shirt. It will make the coat press down on the 
 outer edge of the shoulders, feeling very un- 
 comfortable, and will make the coat l)reak in front 
 of tlie arm. 
 
 All these faults can easily be avoided by any 
 cutter, if he will always get his shoulder point in 
 the right place. This can be done by following 
 the instructions that I will give, and by making a 
 close study of the first draft in this book. 
 
 The proper place of the shoulder point : 
 
 A shoulder point should and can only be in one 
 jilace, and that is directly in front of the point of 
 back, where it joins in seaming. If it is one-half 
 inch in front of or back of this point, it will draw 
 wrinkles, (as anyone can see,) since it must be 
 joined to this point. How can we get the shoulder 
 point to this place V 
 
 Notice the draft, see points and (^t. You will 
 notice that by lapping over point 0, it will meet 
 point Q. The same with points H and G. By 
 lapping over II, you will meet (1. No one can 
 deny that this will give you a smooth slioulder, 
 ju'oviding the draft is lapped over in the proi)er 
 place wlien drafting, as in the shaded jiart of draft. 
 Now the point to locate is where the draft is to be 
 lapped over. This should be exactly where the 
 coat turns around a man's body, the exact line on 
 his side which divides his back from his front. To 
 illustrate this better, I would say to take a piece of 
 cardboard and lap your paper over it, and where 
 the crease comes over the edge, there is where the 
 turning point is. Of course, a man's sides beiug 
 thicker than cardboard, you will have a little more 
 difficulty in locating this point. But, in using the 
 blade measure, ami finding out how large a man's 
 back is and liow large his front is, you can get 
 this turning pt)int just as accurately as if you folded 
 the paper over a piece of cardboard. (Read my 
 measurements for locating this dividing point.) 
 
 And, since the coat turns over at this place, it is 
 necessary that the point at neck in front should 
 meet the point at back. You can easily see this is 
 the only accurate way of locating the shoulder 
 point. You can also see this is no pet theory, and 
 I cau assure you that it is the only possible way I 
 have ever found of locating the shoulder point 
 accurately. 
 
 It is impossible to make a mistake on this point 
 by this Tuethod, if you have a true blade measure, 
 which measure can be accurately taken by follow- 
 ing my directions in measuring. 
 
LIBRARY OF CONGRESS 
 
 014 082 760 5