Pattern (clothing)

“ The size of the design should be regulated by the material—small patterns being used for close, thick fabrics and larger designs, with more delicate colors, for thin material of open texture. Thick, heavy fabrics require rich, warm colors and the pattern likewise should be rich and decorative. Velvets, velveteens, and heavy cloths for dresses are beautiful in themselves and should not be marred by patterns or trimmings. ”

“ Afternoon dress consists of a double-breasted frock coat of soft cheviot, vicuña, or diagonal worsted with either waistcoat to match—single-breasted or double-breasted—of fancy cloth, Marseilles duck or piqué; trousers of different material, usually cashmere, quiet in tone, with a striped pattern on a dark gray, drab, or blue background; boots of patent leather, buttoned, not tied; a white or colored shirt with straight standing white collar; a four-in-hand, puffed Ascot, or small club tie; silk hat and undressed gray, tan, or brown kid gloves. ”

“ In the system of under-clothing which I advocate, and which is illustrated by the above figure, combinations should be worn next to the skin; or, if the objection to these, which I spoke of on p. 131, is raised, a vest of woven wool, coming well down over the hips, may be worn next the skin, and drawers, either of the same material or of flannel, can be buttoned on to the bodice. The thickness of the material of which this and all the other garments are made can, of course, be varied to suit the temperature of the air. ”

“ Pleated Insets: Strips of narrow pleating inset in skirts and tunics is a favorite trimming for taffetas and satins. (See Fig. 3.) Stitch the edges of the garment to the strip of pleating, as described in making tucked insets.
Fig. (3) Try pleated insets on your new serge or silk frock
Lattice Work Trimming: One of the new trimmings for silk and cotton dresses is lattice work. It is just what the name implies—a sort of lattice work design set into the goods. You can use almost any braiding design as a foundation for your lattice work. The easiest way is working right over the pattern. ”

“ The ordinary dress of men of the middle classes comprises a short shirt cut low at the throat, drawers, socks of material made with a single seam up the back, a long embroidered coat, and a shorter jacket of some plain fabric, held by a broad waist-belt, embroidered in colours and fastened by a jade ornament. ”

“ Down the middle, before and behind, as far as the apparels, is let in a narrow piece of crochet-work like that upon the shoulders, but uninscribed. The two apparels at the feet—one before, the other behind—vary in their dimensions, one measuring 1 foot 1 inch by 1 foot 13⁄4 inches, the other, which is made up of fragments, 1 foot by 113⁄4 inches. Very elaborate and freely designed is the heraldic pattern on the rich stuff which forms the apparels. The ground is of silk, now faded, but once a bright crimson ”

“ To explain the difference in the position of the buttons is not by any means easy. In the correspondence which has arisen out of lectures which the writer has given on the evolution of dress, it has, in the first place, been suggested that the arrangement of his clothing permitted a man to thrust his right and fighting arm into his jacket in order to keep it warm. ”

“ For an extreme figure it is best to buy waist and skirt patterns separately instead of buying a complete dress pattern. Buy the waist by the bust measure and the skirt by the hip measure. (See Chapter 2.) In this way it is possible to get a pattern to meet the measures of the figure.
Dress patterns for misses should be bought by the age unless the girl is large or small for her age, in which case the pattern should be bought by the bust measure. ”

“ The pattern for the waist is in seven parts: they are the front, side front, back, side back, sleeve, collar, and cuff. The skirt is only one piece.
Three quarters of a yard of material will be sufficient to make a dress for a doll from eighteen to twenty inches in height.
In all patterns that are bought only one half is given; sometimes all the seams—which are a very important part of a dress—are given and sometimes [66] they are omitted. Any pattern that is published by a reliable firm tells on the envelope whether you should allow for the seams or not. ”

“ It takes very little time to trace the markings for darts, seams, and buttonholes from the pattern on the fabric if dressmakers’ carbon and a tracing wheel are used. Trace the markings while the pattern is still pinned to the fabric. Place the carbon waxed side to wrong side of fabric. Both sides may be marked at the same time. Use white or light-colored paper wherever possible. Dark colors have a tendency to work through to the right side. Trace all pattern markings that are essential to making the dress—darts, notches, pleats, openings, and buttonholes. ”

“ The men adopt longer tunics, made after the same pattern as before—split up either side and loose in the sleeve—but in many cases the skirts reach to the ground in heavy folds, and the sleeves hang over the hands by quite a yard. ”

“ The next lesson that you take up is skirts. Here you will have more practice in working with a block pattern and copying different styles. You will find, too, that you can apply some of the blouse information to skirt, or in in fact, any garment. The adding of tucks and pleats is the same whether it is blouses, skirts or dresses on which you are working.
The principle of adding fullness, too, applies to all patterns.
If you have studied BLOUSES carefully and understand each step in the lesson you will find the lessons to come easy to understand and apply. ”

“ Dark woollen cloth is the standard material of dress, formed into a wide frock, trousers, and leggings, the last replaced in the wealthy by boots of Russia, or other costly leather. Over all is worn a capacious mantle of cloth, sometimes lined with fur. ”

“ WOOLEN CLOTHES. Dresses, suits, coats, skirts, etc., should be brushed regularly and watched closely for such small matters as loose buttons, frayed skirt edges, missing hooks and eyes, and soiled collars or necks.
HANGERS. Dresses and waists should be kept on hangers. Coats should never be left lying carelessly over chairs, and should never be hung up by the collar or armhole. They should be kept on hangers when they are not in use so that their necks and shoulders will not lose their shape. ”

“ The every-day dress of both sexes was cotton cloth, a short kilt reaching from the shoulder to the knee, and over this, when not actively at work, a loose gown covering the person from neck to ankle, and confined at the waist with a girdle or sash of bright-colored cloth. ”

“ You will find an arrow on each piece of the pattern that tells you how the pattern is to be placed on your cloth. This mark is called the “grain line.” Learn to recognize marks for fold, seamline, darts, tucks, hems, center front and center back, buttons, and buttonholes.
When you can recognize all the marks on your pattern, trim off the edges and pin it together. Have your leader check it for fit. She will help you make any alterations that are necessary.
Straighten your fabric
Study your fabric. ”

“ Lay a piece of paper underneath the front diagram and trace around the outer edges of the chemise pattern.
In cutting out the pattern, allow seams at the neck, armhole, shoulder, underarm and lower edges. The center-front is laid on the fold when the garment is cut out, so does not
Fig. (53) A smooth run at the lower edge. require a seam. Trace the back pattern in the same way. The center-back is also laid on a fold.
Test the run of the line at the lower edge by bringing the underarm seams of the pattern together. Fig. 53 shows a pattern that has a perfect run at the lower edge. ”

“ Their clothing is a piece or two of quilted cloth, about six feet by four, or a mat. One piece wrapped round their loins, and another over their shoulders, make a complete dress. But the men, for the most part, are in a manner naked, wearing nothing but a slip of cloth betwixt their legs, each end of which is fastened to a cord or belt they wear round the waist. ”

“ We must, therefore, do away with the ordinary cotton or linen shirt, which only covers the middle part of the body, and substitute for it a garment with long sleeves, fitting closely round the throat and reaching to the feet, or a little below them. ”

“ The crofters content themselves without dyestuffs. The industry [Pg 90] is maintained by nobility to help the islanders and the fabrics are fashionable and high priced.
Covert cloth is a twilled woven cloth of great beauty and durability. It is rather heavy, of hard finish and is used for jackets and winter suits. To this list of woolen goods may be added the crape cloth with crinkled, rough surface, nun's veiling, flannel which is woven in a variety of ways, broadcloth, wool canvas, and poplins. ”

“ He himself is half dressed in an unfastened shirt and an immense dressing-gown, once gorgeous, now food-splashed and dirty, as it serves him for towel, handkerchief, duster, and every other use to which a textile fabric can be put by a slovenly man. ”

“ The dress of the men consists usually of a blue or brown jacket of coarse woollen cloth, of breeches or trousers of the same, with a waistcoat frequently of scarlet, grey worsted stockings, and wooden shoes. ”

“ The garments worn by high personages in the embroidery, and meant to imitate a golden textile, were done in gold passing sometimes by itself, sometimes with coloured silk thread laid down alternately aside it, so as to lend a tinge of green, crimson, pink, or blue, to the imagined tissue of the robe, as if it were made of a golden stuff shot with the adopted tint. ”

“ The size and shape of the pieces which compose the finished garment are determined by changes in style which vary from the minor modifications occurring yearly in men's clothing to the radical changes in the style of women's clothing. A wide variety of fabrics is employed, ranging from thick to thin, smooth to rough, closely woven to loosely woven and from plain weave to fancy weave. In one season a single establishment will make garments from as many as 200 different fabrics, and each operator is likely to work upon 60 or more different kinds of cloth. ”

“ But we think that the reverse is true, and that the description in 396 is more of a special enumeration than that in 392. Clothing and articles of wearing apparel are more specific than cloths and knit fabrics. Out of cloths and knit fabrics clothing and wearing apparel are made. ”

“ The peculiar garment, or rather, this garment peculiar to a certain time, runs through its various degrees of cut. It is, at first, a loose body garment with skirts; the skirts become arranged in precise folds, the folds on the skirt are shortened, the shorter they become the tighter becomes the coat; then we run through with this coat in its periods of puffings, slashings, this, that, and the other sleeve, all coats retaining the small piece of skirt or basque, and so to the straight, severe Cromwellian jerkin with the piece of skirt cut into tabs, until the volume ends, and hey presto! ”

“ To us of a practical era, a mysterious charm attaches to the long-pointed shoes worn at this period.
In the fifteenth century, the marked division of costume into waist and skirt begins, the waist line more and more pinched in, the skirt more and more full, the sleeves and neck more elaborately trimmed, the head-dresses multiplied in size, elaborateness and variety. Textiles developed with wealth and ostentation. ”

“ In the thicker fabrics like men's suitings and overcoatings, there may be a double series of warp threads, only one series appearing on the face of the goods, and in the still thicker fabrics, there may be a double set of both warp and filling threads, making double cloth, the two sides of which may be entirely different in color and design. ”

“ You will find, if you look into the lady’s wardrobe, that she has other fashions than the close sleeve: she has a close sleeve as an under sleeve, with a long hanging sleeve falling from the elbow; she has ruffs at her wrist of pointed lace, more cuffs than ruffs, indeed. She does not always follow the fashion of the short Dutch waist as she has, we [Pg 336] can see, a dress with a long waist and a tapering front to the bodice. Some dresses of hers are divided in the skirts to show a barred petticoat, or a petticoat with a broad border of embroidery. ”

“ All these people wore garments of exceedingly fine material, mostly white, richly trimmed with elaborate embroidery in colours or gold, the women’s dress being a long, sleeveless garment reaching from the throat to the feet and confined at the waist by an ornamental belt, handsome sandals, much jewellery, and the head bare, the heavy masses of dark hair being wound upon the head very becomingly, and intertwined with ribbon or strings of coloured beads. ”

“ The dress of high-born ladies was very similar to that of the men, for it, too, consisted of rucked trousers, of brilliantly-coloured silk, decorated with embroidery and confined at the feet with plain gold bangles or jewelled anklets. ”

“ A gored outside garment should be finished with a true bias or a fitted facing, carefully stitched on. It is possible to finish the bottom of a simple house dress or thin skirt with a hem if the fullness made by turning is disposed of in gathers or fine pleats. A bias facing, however, is always preferable. If of heavy or lined goods the finish should be velveteen or braid the same color as the skirt. ”

“ ARMENIAN WOMAN. In the country they wear shoes with toes turning upwards, full silk trousers, white under-dress, open at neck, made of thin muslin; a silk scarf round waist; full white sleeves; velvet embroidered sleeveless coat, opening wide in front; round cap of velvet; hair in plaits, and a yachmush out of doors. For a fancy ball, handsome silver clasps are added to the belt; a silk brocaded jacket and tunic often replace the over-dress. Long gauze veil and plenty of ornaments admissible. ”