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Early 1940's—Ladies' Garment Cutting and Making
by F. R. Morris

Chapter VIII—The Construction of Patterns for Raglans

IN recent years the raglan coat style has found great favour with designers and the public generally. No longer does the mention of a "raglan" bring to mind a garment of rain-proof style and stereotyped design cut on loose-fitting lines; instead, to-day an entirely different outlook is held.

Raglans are now made with line and style; the sleeve is inserted for its value in design rather than for utility. Another innovation is the use of raglan sleeves with other than loose-fitting styles, for looked upon as having design value they may be adapted to either close- or loose-fitting garments.

There seems to be an atmosphere of difficulty surrounding the cutting of raglan sleeves. Admittedly, the variations of these sleeves, which are required without a seam over the shoulder, present difficulties which can be met only by a compromise. The material used also must be considered; a close weave gives less to the shoulder than a looser texture, and adjustment in the sleeve must be made accordingly.

The principal point to keep in mind is the position of the shoulder seam. For raglans and all garments of this character, including split-sleeve and drop-shoulder designs, the seam must be exactly on the top of the shoulder. Loose-fitting garments are intended to hang from the shoulders as an essential feature of their design, and the effect of the design is ruined if the shoulder seam slopes back over the shoulder to give an impression of falling-away from the figure. With raglan sleeves the location of the shoulder seam right in the centre of the shoulder enables the raglan seam runs to be balanced equally each side. Too often we see raglan coats with creases from the back to the front shoulder caused by the retention of a similar back neck width to a chesterfield style with the result that all the seams are placed too far back from the front. Another point to note is the necessity of easing-in the back shoulder seam to the forepart seam. While this operation may be faithfully carried out when making set-in sleeve shoulders, it is often neglected in the making of raglans. Obviously, what is correct and necessary for one style applies with equal force to the other. A lot of the trouble experienced with raglan sleeves and shoulders is caused by this small factor. Failure to ease the shoulder to the front does not help in the need for spring over the shoulder point in front, over which, in raglans, there always seems to be tightness.

The draft basis as described hitherto provides for the shoulder seam on the top of the shoulder at the scye; it is therefore necessary to adjust this seam at the neck further towards the front. The adjustment required is ½ inch, and, in this book, drafts embodying raglan, drop-shoulder or split-sleeves will be described with the necessary adjustment made.

Figure 54Variation of the Shoulder Seam Position (Fig. 54)

For the purpose of clarity the system will be described for the shoulder construction in full as usually drafted, and then the variation superimposed thereon.

The draft is based upon the normal 34-inch bust standard, scale 17 inches.

To draft—

Commence by drawing line X to 2, the length to the natural waist.

The variation from the normal draft is as follows—

Figure 55The Raglan Seam Positions (Fig. 55)

There are many positions for the raglan seams on the shoulder, all of which are a matter of style and do not interfere with the basic constructional method as presented herewith. From the point of view of style, it is always advisable to keep the seam runs fairly high on the shoulders to obviate the tendency of this style to give a sloping-shoulder appearance. Quite often, however, fashion decrees a sloping-shoulder silhouette at one season and a square effect the next, and it is up to the designer to keep au fait with the current mode.

From the making point of view, it is essential that the raglan seams at the neck do not converge to practically nothing. It does not give either the cutter or the tailor much chance of success if there is not sufficient distance between the two horns of the sleeve to permit ease of sewing-out. The author believes in allowing for the horns of the sleeve to be each ½ inch wide at the collar seam; in addition to ease of making, an improved appearance is thereby gained. It has also been found from experience that a raglan coat does not require a back width in proportion to the normal apart from any variation of seam placement.

To make the variation for the raglan seam runs proceed as follows—

This completes the shaping of the raglan seams on the shoulders.

Figure 56The Shoulder Sections (Fig. 56)

Fig. 56 indicates the shoulder sections cut away from the pattern and ready to be superimposed upon the normal sleeve draft. In the author's opinion, the most accurate method of cutting raglan sleeves is to cut the shoulder sections away and lay them upon the sleeve draft to obtain the shape of the horns. Many cutters use this method in practice in preference to the principle of obtaining the factors of construction by measuring the lengths of the raglan seams and transposing them upon the sleeve draft by sweeps and pivoting. The latter method may be quicker in practice, so it is advisable first to understand thoroughly the method of superimposing the shoulder sections on the sleeve, and then evolve a system to give equal results without the necessity of always cutting away the shoulder parts.

Fig. 56 also shows how the two sections of the front shoulder appear when the dart has been closed.

Now with regard to the seams to be allowed and accounted for, the back shoulder seam run is now the shape of the raglan seam run 31 to 32 and C, and has a seam allowed for in the construction of the system. Therefore, no seams are allowed round the shoulder section at 26 to 18 and 31 to 32 and C.

Similarly, at the front shoulder a seam is allowed from 38 to 35 and 34 to the front pitch A and all round the scye. Seams are required from 19 to 28 and from 38 to 35 and A on the shoulder section.

The two lower diagrams indicate how the seams are added to the cut-away shoulder sections.

Figure 57Preliminary Sleeve Construction (Fig. 57 (a))

Fig. 57 (a) illustrates the method adopted of superimposing the shoulder sections upon a normal sleeve draft. For raglan sleeves, it is advisable to cut them slightly wider than set-in sleeves from the point of view of ease in wear.

For the purpose of the draft, the necessary scye measures are derived from the shoulder section of Fig. 55.

To draft—

Square from X.

Raglan Sleeve Standard Basis (Fig. 57 (b) )

The sleeve system described is identical in shape and construction with the sleeve systematized by Fig. 57 (a), and is obtained by a method of direct measurements of the scye and shoulder sections. In order to give an explanation of the method, reference will be made to Fig. 55 in the constructional matter.

Scye measures are as enumerated for Fig. 57 (a).

To draft—

Square from X.

To draft the raglan shoulder sections now proceed as follows—

Figure 58Single-Breasted Raglan (Fig. 58)

A smart loose-fitting raglan is shown in Fig. 58. Loose-fitting designs have had a new lease of popularity and are very suited to the modern woman. A full skirt is usually cut when the coat is worn without a belt, and a variation of style may be introduced by the "swing" or "box" back effect.

The author always endeavours, when cutting loose-fitting styles, to have the front sideseam running backwards from under the arm; in other words, to allow more "spring" on the front sideseam than on the back. The effect so obtained is much more stylish than the reverse and contributes to the loose, swinging appearance desired.

The fronts are fastened with three buttons, and a "Prussian" collar finishes the neck. Novel pockets are indicated, consisting of a sewn-on patch with a jeatted pocket inset.

Full-length coats do not look fashionable in loose-fitting styles; the latter should be worn either seven-eighths or three-quarter length.

Full measures for the draft are as follows—

Square from X.

The pocket is placed 9 inches below the front of the scye and is made 8 inches in length by 2 ½ inches in width.

Figure 59Provision for Increase of Width in the Skirt (Fig. 59)

Fig. 59 shows how to infuse extra width or "drapery" in the skirt of a loose-fitting garment. The "swing" or "box" back is achieved by splitting up the pattern from a point vertically below the back pitch C and opening out approximately 2 to 4 inches at the bottom edge. If the extra width is not required at the sideseams under the arms the author reduces at this part half the amount let in for the "box" effect.

Care must be taken that the back sideseam does not run forward after the adjustment has been made. The author checks this up by laying the pattern in the "square" after recutting and, if necessary, reduces the back seam and adds this quantity to the front sideseam.

For style the author has often added front drape when cutting this type of "swagger" coat. In fact, these days loose-fitting garments possess a chic of their own that to the older generation is inexplicable. To them a raglan is just another loose coat and easy to cut, yet therein lies the snag. What is apparently easy to cut must have "line" of some sort infused therein to give style to such a straightforward design, and style features, like "swing" backs and draped fronts, are a boon to the cutter of intuition. The fronts are opened up from a point 3 inches up from the front pitch vertically to the bottom edge, and approximately the same amount is inserted as at the back.

Figure 60Raglan Sleeve with Dart Shoulder (Fig. 60)

Many raglan sleeves for ladies' coats are cut without a seam over the forearm, but instead have a dart only from the neck to the shoulder end.

For the purpose of the sleeve draft, measurements are derived from Fig. 55.

To draft—

Square from X.

Figure 61Double-Breasted Ulster Coat (Fig. 61)

A typical belted ulster travelling coat is illustrated by Fig. 61. The fronts are double-breasted with a storm collar and heavy lapels, slanting or patch pockets and a two-button fastening. An all-round belt confines the garment to the figure, and, to ensure that there is not too much material under the belt, the sideseam overlap is reduced from the allowance made for the loose-fitting raglan. A gorge-cut is placed under the lapel for bust-shape provision.

Full measures are as follows—

To draft—

Commence by drawing line X to X, the full length of the coat, 45 inches.

The slant pocket is placed 9 inches below the front of the scye to complete the draft.

Figure 62Two-piece Sleeve Basis Draft (Fig. 62)

Fig. 62 illustrates the draft of a two-piece sleeve with a seam over the shoulder and under the arm. This draft is based on the standard formula for the construction of one-piece sleeves, with the alteration for the raglan shoulders superimposed.

Scye measurements used are derived from Fig. 61.

To draft—

Square lines from X.

When shaping the shoulder seams down the centre of the sleeve, make sure that the width of the sleeve is not reduced below point 4 by overlapping the sleeve seams too low, for with a raglan sleeve the fullness that is usually infused into the sleeve for a set-in style is necessarily eliminated, but there is still the need for the same width of sleeve over the muscle.

Figure 63One-piece Sleeve Basis Draft (Fig. 63)

Fig. 63 illustrates the draft of a one-piece raglan sleeve with a dart shoulder and a plain hindarm without a wrist dart. This type of sleeve is generally utilized for weatherproof coats and is preferable to the sleeve which is absolutely plain in construction without either a shoulder dart or overshoulder seams. It is impossible to cut a satisfactory raglan sleeve without provision for the shape of the shoulder by means of a dart or overshoulder seams; the plain-shoulder sleeve type always has a tendency to drag on the shoulder point in wear.

Scye measurements for the sleeve draft are identical with those given previously for Fig. 62.

To draft—

Square from X.

Figure 64A Close-fitting Raglan Coat (Fig. 64)

A close-fitting raglan coat is illustrated by Fig. 64. The fronts have a lancer-front effect and an overwrap fastening with one button at the shoulder and three at the waist. A sidebody seam is inserted to gain waist shape, the seam runs harmonizing with the shoulder seams, and the neck may be either collarless or finished with a scarf or stand-and-fall collar.

For fitting raglans, the scye should not be cut too deep, otherwise the balance of the garment will be disturbed and free movement of the arms restricted.

The draft is arranged in accordance with the measurements of a woman of 36-inch bust girth.

Full measurements are as follows—

To draft—

Commence by drawing line X to X, the full length of the coat, 46 inches.

The slanting pocket is located at 11 inches below the front of the scye to complete the draft.

The Deep-scye Raglan Sleeve

At the moment designers are featuring to a great extent the deep-scye sleeve in either raglan or magyar form. In addition to its use in conjunction with loose-fitting styles, it is also extensively used in close-fitting garments as a means of providing width and fullness about the shoulders in comparison with a slender waist and hip line.

From the point of view of style, this type of sleeve is being recognized as a decided asset to the "sporty" type of coat worn by the younger generation and is entirely divorced from its original purpose, that of a sleeve only suitable for sacque slip-on rain-proofs.

The draped effects of "dressy" coats also lend themselves to harmonizing with this type of sleeve, for a certain amount of fullness is always met with in construction owing to the need for allowing for freedom of movement. If the sleeve were cut to present an absolutely clean appearance at the front and back scye when the arm is down, it would be impossible to lift the arm without discomfort being felt; so that when this sleeve is being drafted provision must be made for freedom of movement, and to attain this end the sleeve is so constructed that what amounts to a "gusset" is added to the under-sleeve.

Figure 65Alteration of the Scye for a Deep-scye Raglan (Fig. 65)

Fig. 65 shows the alteration made to the basis draft for a deep-scye raglan style. It is necessary to say that the scye should not be deepened too extremely in view of the impaired freedom of movement to the sleeve; at the most an increase in depth of 3½ inches from the breast line is allowable. The basis draft illustrated by Fig. 65 shows the sideseam construction of a loose-fitting garment and to this end is extended to the hip level. For the purpose of the system, the basis draft is arranged upon a 36-inch bust girth, a half-back width of 6¾ inches, and hip girth of 40 inches, while the working scale equals one-third of the bust girth plus 6 inches.

To construct the draft, commence by drawing the construction line from X to 1, the back depth, which is one-third of the scale plus 1¾ inches.

Figure 66Two-piece Raglan Sleeve Construction (Fig. 66)

The shape of the scye of deep-scye raglans does not permit a sleeve to be cut on three-piece lines as a top- and under-sleeve with an overshoulder seam, except in the case of a pivot sleeve. Instead, all deep-scye sleeves are constructed from the standard one-piece sleeve basis to permit the shape of the under-scye seams of the body part to be incorporated with the sleeve draft in similar seam runs.

If the sleeve is drafted as deep as the scye of the coat, the freedom of movement in the sleeve will be seriously curtailed. To overcome this and to provide a maximum of ease commensurate with the style of garment, the sleeve base construction is lowered from the breast line by only half the actual deepening of the scye.

The scye measures for the construction of the basis deep-scye sleeve draft are ascertained from Fig. 65.

To draft—

Square from X.

Figure 67Comparison between Sleeve Depths in Relation to the Scye Depth (Fig. 67)

Fig. 67 illustrates clearly the comparative relationship between the depth of the coat scye and the sleeve.

The deep-scye sleeve as drafted in Fig. 66 is superimposed upon the raglan basis draft in the position where the shoulder seams sew together at the pitches. Square each way from 45 and 46 to 8A and 7A. Measure the distance from the front pitch A to the sideseam at 46 and sweep from 46 to 7A. Mark from 7A to the front pitch A. Measure from the back pitch at 42 round the under-scye to 45 and sweep this quantity to locate point 8A. Shape from 42 to 8A. This sleeve draft shows the depth of the sleeve base corresponding with the scye base. No provision for freedom of movement is made.

The sleeve as drafted in Fig. 66 is indicated by the solid lines to 7 and 8, showing an addition of 1 ¾ inches in length of the under-sleeve seam for ease of movement. The base of the sleeve is now located at half the total depth of the scye from the front pitch.

For additional length the base of the sleeve may be raised to run through the level of the pitch A; 7B is pivoted from A and 46 as indicated; 8B is pivoted from 45 and 42. An increase of length in the under-sleeve seam equivalent to the actual quantity the scye has been deepened is now apparent. We could continue practically indefinitely with the raising of the sleeve base line until we had a pivot sleeve with unlimited freedom of movement and unlimited creases and folds of surplus material too!

Therefore, when drafting sleeves for deep-scye coats the first essential is provision for movement, and, secondly, a sleeve that is reasonably free from unsightly folds of material under the arm. The sleeve base at half the total depth the scye has been previously lowered gives a reasonable amount of satisfaction to both of the two requirements. For a coat with a close fit at the waist, freedom in the sleeve is imperative, otherwise the coat will be dragged out of position from the waist with every movement of the arms, and the sleeve base may be judiciously raised to one-fourth of the amount the scye has been lowered.

Figure 68Single-Breasted Deep-scye Raglan (Fig. 68)

A single-breasted deep-scye raglan is shown in Fig. 68. The fronts button up to the neck, and the dart for the bust shape is transferred from the shoulder to the gorge and runs from approximately 1 inch back from the centre front to a distance of 5 inches towards the bust point. The collar is a stand-and-fall type as will be described in the chapter on Collar Cutting.

Full measures for the draft are as follows—

To draft—

Commence by drawing line X to X, the full length of the coat, 40 inches.

Figure 69Deep-scye One-piece Raglan Sleeve (Fig. 69)

The one-piece sleeve with a dart from the neck to the shoulder point may be substituted for the two-piece type illustrated in Fig. 66.

Measures for the draft are taken from Fig. 68.

To draft—

Square from X.

Figure 70A Loose-fitting Raglan (Fig. 70)

The following system is useful as a means of showing the raglan system in practice, and also as an example of raglan shoulder design that does not follow the stereotyped lines and seams. The design selected for the purpose of the draft has fronts that just meet, a scarf collar at the neck and a "swing" back influence in the skirt.

Instead of the raglan shoulder seams running to their usual positions, at the front the seam runs horizontally across the shoulder from just above the neck opening to curve with a sharp angle into the scye. The back raglan seam forms a yoke across the back shoulder instead of terminating at the neck. A slightly deeper scye is included in the design, and the sleeve is a two-piece type with over-shoulder seams terminating in a strapping fastened with three buttons.

Full measures for the draft are as follows—

To draft—

Commence by drawing line X to X, the full length of the coat, 40 inches.

Figure 71THE SLEEVE DRAFT

Fig. 71 shows the drafting of the sleeve to agree with the scye and shoulders illustrated in Fig. 70. For the purpose of simplicity the shoulder sections are superimposed upon the sleeve draft to show the constructional methods adopted. Seams have to be allowed round the shoulders where the seams cut across; the original shoulder seams retain their seam allowances as in a set-in shoulder coat. Seams are also allowed on the body part from 43 to 44 and 45 to A, and from 41 to 42 and C in Fig. 70.

Scye measures as follows—

To draft—

Square from X.

When cutting this sleeve from the material, it will be seen that, if the back yoke is cut on the fold of the material, the sleeve will be running across the grain. In some fabrics this would look very smart and effective. An alternative method is to cut the sleeve down the "straight" of the grain and have the back running across. Either way is correct; the governing factor is, of course, the design of the material, whether pronounced or plain in pattern.

Construction of a Raglan Sleeve to Eliminate the Shoulder Seam Construction

The only raglan sleeve remaining to be dealt with is the one- or two-piece type in which there is neither over-shoulder seams nor a dart to provide the necessary shoulder form. In the construction of this sleeve, cutters are faced with perhaps the greatest difficulty of all in the cutting of raglans, for this sleeve from the designing point of view is comparable with attempting adequately to achieve and cover the shape of the bust prominence with a piece of perfectly flat material without darts of any description.

We have to do this same thing, i.e. cover a prominence with a flat piece of material possessing no contour shape to agree with the prominence to be covered and provide for freedom and movement in addition. Look at any of the one-piece raglan sleeves in wear; they all appear to be tight over the shoulder bone and have an excess of material under the arm because, as the shoulder point endeavours to take up material for covering, the whole sleeve is dragged up with it. A compromise of fit is all that can be hoped for as the design of sleeve is fundamentally impracticable and opposed to all logical cutting principles. Some degree of fit is approachable if the material is of pliable texture and amenable to manipulation, but, more often than not, the sleeve is required in a rain-proofed coating and manipulation is impossible.

The fundamental principle to keep in mind is that there must be no reduction of length over the shoulder as defined by the over-shoulder seam sleeve construction, and the width of the sleeve over the biceps must remain constant.

Figure 72Preliminary Sleeve Construction (Fig. 72)

Illustrated in Fig. 72 are the sections of a normal shoulder laid in position on the sleeve head constructed upon standard basis lines. The front shoulder section is lettered from A to D and overlaps the sleeve head one seam at 1 and two seams at 6. The back shoulder section is lettered from E to J and overlaps the sleeve crown two seams from 2 to H and E to 7.

Second Stage in Sleeve Construction (Fig. 73)

Fig. 73 Figure 73shows the effect of endeavouring to eliminate the shoulder seam to achieve a plain shoulder. Assuming that A to C is the correct length of the front raglan shoulder seam, the seam of the sleeve must agree with this distance, and similarly the back shoulder seam from 2 to G should remain equal to the length of the two-piece shoulder when a plain shoulder construction is required. Now, seemingly, if we pivot from a seam below D with the point of radius 1, and from a seam behind F, pivoting from 2, where these two arcs intersect will give the shape of the shoulder section without a dart or over-shoulder seam. Two seams are eliminated in the plain shoulder construction at D and F, and if the two shoulder sections are pivoted to agree with the movement of the arc radii it is seen that two seams are lost through the overlapping of the shoulders. At the shoulder end, the overlapping is greater in extent, and in consequence of the elimination of the centre seam from D to B and E to F there is a shortness of length of 1½ inches from B to D and E to F. A loss of 1 inch of width over the crown is noted from M to M1 after reckoning has been made of the two seams eliminated in the centre of the shoulder. Here we have the cause of trouble with this sleeve, the failure to retain an identical quantity of length over the shoulder as definitely decided by the standard normal sleeve basis construction. In addition, there is a loss of width through the sleeve over the muscle.

Obviously length needed in one type of sleeve construction cannot be taken away without affecting the balance, and the problem is to retain this same length in the construction of the plain raglan shoulder.

The only solution of the problem is indicated by Fig. 74, and even this is dependent on the suitability of the material for purposes of manipulation.

Figure 74Third Stage in Sleeve Construction (Fig. 74)

The sleeve head is first drafted in the usual way and the raglan shoulder sections superimposed thereupon as indicated in the basis draft.

Join F to D and locate the exact centre of the connecting line.

Draw a line from point 3 through the centre point 6, and then, pivoting from 2, sweep an arc from 6 to 7 equal to the distance F to G on the sleeve horn. Mark from 6 to 8 equal to the quantity D to C; 9 from 8 equals the seam of the sleeve as added on from C. Point M remains in the same location as for the two-piece shoulder construction. Join M to 9 and add ¼ inch of curve to the seam between these points. Sweep the distance from 1 to C to intersect the construction line from M to 9 at point 10. From 10 to 9 indicates the quantity that is required to be drawn-in by a thread pressed towards the centre of the shoulder; this drawing-in takes place from point M upwards for a distance of 3 to 4 inches. Join 7 to B and hollow the seam ¼ inch. Take the distance from 2 to G and sweep an arc to intersect the construction line from B to 7 at 11. The distance from 7 to 11 indicates the amount to be drawn-in and pressed towards the centre of the shoulder. This drawing-in takes place for a matter of 3 inches from 1½ inches above B. It is impossible to achieve a measure of success with this type of sleeve unless the manipulation as described is infused, and so, if the material used lacks pliability and manipulative quality, the author does not believe in using a sleeve of this design.

Figure 75Two-piece Sleeve with a Whole Shoulder (Fig. 75)

The constructional points of the two-piece sleeve are identical with the basis draft for two-piece raglan sleeves with a shoulder dart, so they need not be enumerated again. Refer to Fig. 60 for the details of construction.

Join 22 to 18 and locate the centre of this line at 31. Line from point 3 through 31. Pivoting from 2, sweep from 31 to 32 the width of the back sleeve horn from 22 to 23. Join 32 to 25 and hollow the seam ¼ inch in between the points. On the line joining 22 and 18, mark down from 31 to 33 the width of the front sleeve horn, ½ inch. The distance of 34 from 33 is a ¼ inch seam. Shape the front shoulder sleeve seam from 1 to 34, passing ¼ inch, or the width of one seam, inside point 35, to complete the draft of the sleeve.

Figure 76One-piece Sleeve with a Whole Shoulder (Fig. 76)

Scye measures for the deep-scye one-piece sleeve are derived from Fig. 65.

To draft—

Square from X.

To construct the shoulder section—

Constructional Basis for Split-sleeve Designs

When constructing patterns for split-sleeve designs, the shoulder construction remains identical with the raglan construction. For this reason split-sleeve designs may be classed as of raglan character and systematized in conjunction.

Cutting systems often make the error of endeavouring to eliminate the fullness that is eased into the scye with a set-in sleeve by using the centre seam of the split-sleeve as a means of reducing sleeve head fullness. To the author's mind this is incorrect, for easing the sleeve into the scye gives a good-hanging sleeve and also provides the required extra width over the shoulder prominence. If this fullness is eliminated, a flat-looking appearance to the sleeve results, with discomfort and restriction of the movements of the arm. Another point is the risk of the shoulder and sleeve seams failing to run in one continuous line if there is not sufficient fullness in the sleeve head to permit of adjustment.

The split-sleeve shares with the raglan a wide measure of popularity at the present time, and may be adapted either to close-fitting "dressy" styles or to loose-fitting garments.

The sleeve is drafted in the same way as the standard basis system for a set-in sleeve, and the alteration for the centre seam is superimposed upon the construction as a style seam.

Figure 77Double-Breasted Close-fitting Coat with Split-sleeves (Fig. 77)

As a practical example of a coat with a split-sleeve Fig. 77 shows a Double-breasted coat with wide lapels, fastening at the front with four buttons. The back has panel seams for accentuating the fitting qualities, and a waist dart is shown at the fronts under the bust.

Measures are as follows—

To draft—

Commence by drawing line X to X, the full length of the coat, 46 inches.

Figure 78The Split-sleeve (Fig. 78)

Fig. 78 illustrates the basis system for sleeves adapted to a split-sleeve design.

The scye measures are derived from Fig. 77.

To draft—

Square from X.

Figure 79Loose-fitting Coat Draft showing Normal and Deep-scye Effects (Fig. 79)

Fig. 79 shows a loose-fitting coat with normal and deep-scye effects for the purpose of illustrating the application of the basis sleeve system for drafting split-sleeve designs.

Measures for the draft are as follows—

Commence by drawing line X to X, the full length of the coat, 42 inches.

Two-piece Figure 80(a)Split-sleeves for Normal and Deep Scyes (Figs. 80 (a) and (b))

Measures for the following sleeve drafts are derived from the scye in Fig. 79.

To draft (Fig. 80 (a))—

Square from X.

Figure 80(b)Fig. 80 (b)

Fig. 80 (b) illustrates the sleeve drafted in conjunction with the deepening of the scye shown in Fig. 79.

Scye measures are as above.

To draft—

Square from X.

Additional variation of design in the sleeve does not affect the basis method of drafting the sleeve, for all variations are supplementary to the system and, as such, are derived from a common basis.

The Drop-shoulder Line Designs

Yet another fashion that may be classed with raglan styles is the new "drop-shoulder line" design. As the name implies, the shoulder seam is lowered from the normal position on the shoulder to down over the arm, and the additional shoulder is taken from the sleeve. Sloping-shoulder effects for style purposes are derived from this type of shoulder seam placement, as the shoulder seam where the sleeve is sewn may be diverted at will on the sleeve to give either square or sloping lines.

When designing patterns for this style of coat the first act is to determine the position of the shoulder seam on the shoulder of the coat. By "shoulder seam" in this instance is not meant the normal shoulder seam placed in the centre of the shoulder, but the additional seams across the shoulder sections of the coat, back and front, that carry the drop-shoulder line over the sleeve and form the shoulder and sleeve in one whole piece.

After the position of the seamings on the back and front shoulders have been decided, the next operation is to draft a normal basis sleeve to the design. Then lay the shoulders of the coat in position on the sleeve as previously described for a raglan, overlapping the two seams that are eliminated by cutting the shoulder and sleeve whole and marking the drop-shoulder design on the sleeve.

Much can be learnt in the cutting of these designs by studying actual examples.

Figure 81Loose-fitting Coat with a Drop-shoulder Effect (Fig. 81)

Illustrated by Fig. 81 is a typical example of a loose coat with "drop-shoulder" influence. At the front shoulder, a yoke runs from the centre front to the scye, and continues over the sleeve and across the back to form a back-shoulder yoke. The yoke forms a tab with a hole-and-button fastening at the neck, with either a scarf or stand collar.

This is a very simple design and will show clearly the evolution of the "drop-shoulder line" in practice. For all designs of this character, the shoulder seam is placed in the same centre shoulder position as for raglans and split-sleeve coat.

Full measures for the draft are as follows—

Commence by drawing line X to X, the full length of the coat, 40 inches.

The back yoke may now be cut away from the body part in preparation for drafting the continuation of the shoulder line upon the sleeve.

The front yoke is not cut away from the body part at present until the position of the shoulder in relation to the sleeve is decided.

Where the yoke runs across the back and front shoulders, a seam has to be allowed on each side of the division.

Figure 82Varying the Shoulder Line (Fig. 82)

Fig. 82 shows the sleeve head of a two-piece standard sleeve for the purpose of illustrating the principles adapted for varying the shoulder line.

The sleeve head is drafted in the usual manner with the hindarm seam lowered 1½ inches, though in this instance it would be quite correct to retain the seam in the standard two-piece sleeve position, in alignment with the back pitch.

Take the forepart of the coat first and lay it into position on the sleeve head. The front pitch A overlaps the diagonal line from 1 to 2 to the extent of two seams or ½ inch, while at the shoulder end 20 overlaps the sleeve crown at 4 by the same quantity; 47 is also overlapping the sleeve head ½ inch, so that from 47 to A there are allowed two seams necessary for the sewing together of the remaining sleeve and scye sections.

Next place the back yoke into position on the sleeve crown, overlapping two seams from 2 to B and two seams from 19 at the back shoulder end from the crown at 4.

Mark the lowered shoulder line on the sleeve head by joining 47 to B and 2 as shown by the dash line. Here we have a drop-shoulder line that runs horizontally over the arm from front to back. Complete the shape of the shoulder seams by drafting from the front shoulder point at 20 to the centre of the sleeve at C and from the back shoulder end 19 to the same point.

Figure 83Addition of Seams to the Shoulders and Sleeves (Fig. 83)

Fig. 83 depicts the addition of seams to the shoulder sections and the sleeve head where the yoke has been taken across.

This diagram is self-explanatory, but, in addition, it is necessary to remember to add seams to the body part of the shoulders from 42 to 46 and 47 and from B to 48 (Fig. 81).

Supplementary Examples of Drop-shoulder Design (Fig. 84)

Figs. 84 (a) Figure 84and 84 (b) show two additional examples of prevalent drop-shoulder design. The first diagram, Fig. 84 (a), illustrates a design with seams running from the scye at back and front in pointed motifs, which is repeated on the sleeve in a deep point to the elbow. With the position of the seaming on the front shoulder, the bust dart may be closed out and the shoulder section cut whole. The second diagram, Fig. 84 (b), illustrates a lowered shoulder line emanating from panel seams at back and front. The bust dart may be closed out as marked by the shading line, while from 13 to 14 the front panel takes the bust dart continuation.

Fig. 85

Fig. 85Figure 85 illustrates the adapting of the shoulder sections of the first of the above two examples to produce the design of the drop shoulder on a standard sleeve basis.

Place the front shoulder section upon the sleeve draft so that the front pitch A overlaps the diagonal line from 1 to 2 by a quantity of two seams, i.e. ½ inch. The shoulder end at 20 overlaps the sleeve head two seams at the front pitch.

The back shoulder section is placed into position on the sleeve head in a similar manner to the front section, B from 2, and 19 from the sleeve crown, being overlapped by two seams. Mark down from 4 to E the required length of the pointed drop-shoulder line on the sleeve. In this instance, the author has made this distance 10 inches from 4, and the actual length is of minor importance apart from illustrating the system. Join D and C to E as shown. Mark the shoulder dart from 11 and 20 and from 5 and 19 to 3. If a seam is required from the shoulder to continue down the sleeve to E, two seams would need to be allowed by overlapping the centre seam as for a raglan sleeve draft. Allow a seam all round the shoulder section from the front yoke to D, continuing to E, C and round the back yoke as depicted by the shading. Allow a seam on the sleeve from G to E and F as shown to complete the construction.

Figure 86Fig. 86

Fig. 86 shows how the second example is treated in construction on the sleeve.

Place the front section upon the sleeve head, overlapping two seams from the front pitch A to 1 and at the shoulder end from 20 to the sleeve crown.

Place the back upon the sleeve head in a similar manner, overlapping B from 2 by two seams and 19 from the sleeve crown by the same quantity. Extend the shoulder lines from 14 and D to intersect the extension of 15 and B at point E. Shape from 19 and 20 to E. Cut away the drop-shoulder sections from the sleeve and add seams to the sleeve and shoulder sections as indicated by the shaded lines.

There are many designs incorporating specimens of the drop-shoulder line that could be described, but in all instances the method adopted of cutting them is identical with the system as previously described, and, consequently, no difficulty should be experienced in the interpretation of intricate designs if the fundamental principles of adapting the shoulder sections to the sleeve head and recutting are adhered to.

With the many difficult designs cutters are called upon to produce these days, hard-and-fast rules of cutting are inadequate to meet all the demands of changing style, and for a successful career a large amount of courage, ingenuity and visualizing power is needed. We cannot always reduce everything to a scientific basis; if we could a lot of the interest in our job would be lost, there would be a superfluity of expert cutters and difficulties would be met and overcome with machine-like accuracy! But that time is not yet, and, personally, the author has manipulated and cut about patterns in a most unscientific manner if he is to be judged by textbook standards. However, the finished result is what he is more concerned with, not the copybook correctness or otherwise of the methods adopted to achieve it.

It would be a well-nigh impossible task to attempt to illustrate every variation of fashion in systematic form, and, since every whim and fancy is derived or evolved from another source with something in common, the author is endeavouring to show a systematic method of approaching design with sufficient adaptability of constructional processes to cope with all demands of current and future fashion. To attempt a forecast of future fashion changes is not practical, but, whatever they are, cutters will always find a relationship with creations of the past.

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