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Details about  VTG 1948~DRAPING& FLAT PATTERN MAKING~DRESS DESIGN BOOK

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VTG 1948~DRAPING& FLAT PATTERN MAKING~DRESS DESIGN BOOK
VTG-1948-DRAPING-FLAT-PATTERN-MAKING-DRESS-DESIGN-BOOK
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Item specifics

Condition:
Used: An item that has been used previously. See the seller’s listing for full details and description of ... Read moreabout the condition
Type:

VINTAGE

HILLHOUSE:

MANSFIELD

Brand:

1940'S

DRAPING:

DRESSMAKING

DRESS DESIGN:

DRAFTING

PATTERN MAKING:

COLLECTIBLE

 

 

 
Farfalla

Design

Studio

 

 

Vintage 1948

  Classic~ Fashion Design~ Draping & Flat Pattern Best Methods

Expert Techniques, Gorgeous Designs, Beautifully Illustrated

Rare 1st Edition

********

Description

Dress Design, Draping and Flat Pattern Making

By Marion S. Hillhouse and Evelyn A. Mansfield

1st Edition Hard Cover Cloth on Board

Copyright 1948 ~ 326 Pages

 

 

 

 

 

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Simply the BEST

Unbelievable Gorgeous Designs and Exceptional Instruction

If you can add only one fashion design and pattern making book to your design library, I could not think of a better choice than this extremely sought after and extraordinary vintage classic . Filled with over 300 pages of detailed instructions and profusely illustrations with simply stunning timeless designs , that starts with concise instructions in creating the customized dress form, master blocks, (the blouse, skirt, and sleeve) then the focus is on collars and necklines, followed by the principals of fitting, solutions for fitting problems

"The purpose of this book is to explain in detail the principles of draping fabric on the dress form, the principles of flat pattern designing from master pattern blocks, and the dependence of successful flat pattern making on an understanding of draping.  We have devoted the entire book to the presentation of these two systems in order to show that a facility in both frees the designer to carry out any original costume with ease and confidence." (Excerpt from the preface)

After mastering the fundamentals comes the crème de la crème: The Sources of Inspiration in Design –50 pages dazzling design. There are 12 themes of ideas as Developing Line Arrangements by Sketching, Studying the Fabric, Draping with Muslin for Details of Design, Deriving Unusual Effects from Asymmetric Cuts, Designing from a Detail

This book was originally planned for college level design students that have already learned elementary dressmaking techniques and are familiar with the rudiments of handling commercial patterns.  This is a must have for any advanced student and professional dressmaker and fashion designer

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“We believe that the experienced home dressmaker, as well as the professional dressmaker, will find that the detailed directions and the profuse illustrations will be of value not only in making and fitting basic patterns, but in designing costumes that are both individual and original.” (Except)

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TABLE OF CONTENTS

 

CHAPTER ONE

 THE DRESS FORM..................................... pages 1-15

Part 1. The Dress Form Cover

Part 2. Padding the Dress Form

 

CHAPTER TWO

BASIC BLOUSES …………………………… pages 16-59

Part 1. Draping Basic Blouses on the Dress Form

Part 2. The Flat Pattern Method of Designing Blouses on the Master Block Pattern

 

CHAPTER THREE

BASIC SKIRTS ................................................. pages 60-111

Part 1. Draping Skirts on the Dress Form

Part 2. The Flat Pattern Method of Designing Skirts on a Master Pattern

 

CHAPTER FOUR

SLEEVES ................................................... pages 112-192

Part 1. Drafting and Flat Pattern Designing Basic Set In Sleeves

Part 2. Designing Set-In Sleeves from the Master Pattern One-Piece Sleeve Block

Part 3. Sleeves Cut In One with the Bodice or a Part of the Bodice

 

CHAPTER FIVE

FITTING .......................................... pages 193-246

Part 1. General Principles of Fitting

Part 2. Preparation of the Master Pattern for Fitting

Part 3. Fitting Problems of the Blouse

Part 4. Fitting Problems of the Skirt

Part 5. Fitting Problems of the Sleeve

Part 6. Completing the Master Pattern after the Fitting

 

CHAPTER SIX

COLLARS AND NECKLINES ..............................................pages 247-272

Part 1. Drafting and Flat Pattern Design

Part 2. Draping

 

CHAPTER SEVEN

SOURCES OF INSPIRATION IN DESIGN ...pages 273-318

Suggestion 1. Developing Line Arrangements by Stretching

Suggestion 2. Studying the Fabric

Suggestion 3. Draping for General Effect

Suggestion 4. Draping with Muslin for Details of Design

Suggestion 5. Interpreting Silhouettes as Complete Designs

Suggestion 6. Molding the Fabric to the Form by Seams and by Concealed Darts

Suggestion 7. Developing the Design Theme from Variations of Basic Darts

Suggestion 8. Developing Unusual Skirt Cuts from the Basic Two-, Four-, and Six-Gore Patterns

Suggestion 9. Carrying One Piece of Fabric As Far As Possible without Cutting

Suggestion 10. Deriving Unusual Effects from Asymmetric Cuts

Suggestion 11. Designing from a Detail

Suggestion 12. Introducing Original Details into a Standard Commercial Pattern

INDEX

 

 

 

 

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THE DRESS FORM

Part 1. The Dress Form Cover

Part 2. Padding the Dress Form

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BASIC BLOUSES

Part 1. Draping Basic Blouses on the Dress Form

Part 2. The Flat Pattern Method of Designing Blouses on the Master Block Pattern

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BASIC SKIRTS

Part 1. Draping Skirts on the Dress Form

Part 2.  The Flat Pattern Method of Designing Skirts on a Master Pattern

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SLEEVES

Part 1. Drafting and Flat Pattern Designing Basic Set In Sleeves

Part 2. Designing Set-In Sleeves from the Master Pattern One-Piece Sleeve Block

Part 3. Sleeves Cut In One with the Bodice or a Part of the Bodice

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FITTING

Part 1. General Principles of Fitting

Part 2. Preparation of the Master Pattern for Fitting

Part 3. Fitting Problems of the Blouse

Part 4. Fitting Problems of the Skirt

Part 5. Fitting Problems of the Sleeve

Part 6. Completing the Master Pattern after the Fitting

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COLLARS AND NECKLINES

Part 1. Drafting and Flat Pattern Design

Part 2. Draping

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SOURCES OF INSPIRATION IN DESIGN

 1. Developing Line Arrangements by Stretching

 2. Studying the Fabric

3. Draping for General Effect 4. Draping with Muslin for Details of Design

5. Interpreting Silhouettes as Complete Designs

 6. Molding the Fabric to the Form by Seams and by Concealed Darts

 7. Developing the Design Theme from Variations of Basic Darts

 8. Developing Unusual Skirt Cuts from the Basic Two-, Four-, and Six-Gore Patterns

 9. Carrying One Piece of Fabric As Far As Possible without Cutting

 10. Deriving Unusual Effects from Asymmetric Cuts

11. Designing from a Detail

 12. Introducing Original Details into a Standard Commercial Pattern

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INDEX

ABDOMEN, fitting skirt for, 220, skirt cups under, 223-224
ALTERATION: master pattern, blouses, 198-218; collars, 266; skirts, 219-229; sleeves, 229-241; methods of, blocking and draping compared, 196; blocking, general procedure for, 197; of sleeves, cap height, 125-127; cap width, 123-125; see also Fitting
ANALYSIS, master sleeve pattern, 118-119
ANGLE, of seam intersection, 28
ARCS, hemline and waistline, 106-107
ARMHOLE, 7; see also Armscye
ARMSCYE: of blouse, deeper than normal, 128-129; dress form cover, 7; fitting of, 208-214; formation of, 7, 21; correction of gapping at, 208-211; side view illustration of, 26, Fig. 31; causes of too tight, 212; of sleeve, back, fitting of, 235; deep, in kimono, 168-169; deep, in raglan, 151; deep, square dolman, 185-187; dolman cut in one with yoke front, 183-184; effect on, of fitting girth, 237-238; master pattern, 118-119; modifying length of, 241; raglan, 148-149
ARTICULATION POINTS, emphasis of in design, 283-288
ASYMMETRICAL BALANCE, in blouses alike on opposite sides, 55; in blouses unalike on opposite sides, 311-313; in a draped skirt, 109; equalizing of seam lengths, 290
BACKGROUND, for designing, 273-274
BALANCE, in blouse, 213, Fig. 25, 273-274; in skirt, 228; in sleeve pinned into garment, 231-232
BALANCE LINES, horizontal and vertical, 193; marking of, on master pattern, 242-243; of blouse, 193-194; of skirt, 194; of sleeve, 232
BALANCE POINTS, 27; on skirt seams, 69, Fig. 19; see also Crossmarks
BASIC BLOUSES, 16-59
BASIC DARTS, variations of, 301-306
BASIC SET-IN SLEEVES, 113-133
BASIC SKIRTS, 60-111
BELL SLEEVE, blocking of, 123; in kimono blouse, 170-171
BELT, 62
BERTHA COLLAR, blocking of, 252
BIAS: collars and folds at neckline, 260-261; cowl sleeve in kimono blouse, 180; position of, in cowl necklines, 50; position of, in cowl skirts, 308-309; position of, in kimono sleeves, 161
BINDING, of too tight armhole, 212
BISHOP SLEEVE, 120-123: blocking of, from master sloper, 120; blocking of, from "opened" pattern, 122; Mousing exaggerated, 122-123; in kimono blouse, 170-171; measurements for, 120; with raglan armscye line, 152; with simulated cuff, 138
BLOCK, MASTER: quarter size blouse to trace, 46; quarter size skirt to trace, 94; quarter size sleeve to trace, 136
BLOCKING: defined, 45; method of pattern alteration, 197; method of designing blouses, 44-59; method of designing collars, 251-253; method of designing sleeves cut in one with bodice, 148-192; method of designing skirts, 92-111; method of designing set-in sleeves, 134-148
BLOUSES, 16-59; blocking of, 44-59; draping of, 16-44; draping of master blouse, 16-27; fitting problems of, 198-218; measurements for master pattern, 244
BODY, of fabric, discussion of, 277
BODY CURVES, provided for by darts: abdomen, 220; back hips, 68; back of shoulder, 24; bust, 16; elbow, 116; hip bone, side front, 70; hip, side, 70; shoulder blades, 26
BOLERO, draped, 312-314
BOWING, of a seam, 81, Fig. 43
BREAK-LINE, of a collar, defined, 247; of a convertible collar, 267; of a lapel, 269; of a tailored collar, 269
BREAK-POINT, of a gored skirt, defined, 72; of a six-gore back, 75; placed high, 96; placed low, 97, 98
BUILT-UP NECKLINE, draft for, 248-251; draping of, 256
BUOYANCY OF FABRIC, effect on handling, 280
BUST, draft provision for, in master pattern, 16; ease around, in master pattern, 48, Fig. 83
BUST LINE: dress form cover, 8; fitting of area, 215-218; too high in pattern, 217; too low in pattern, 218
BUST POINT, marking of, in pattern, 218
BUTTONHOLES, placement of, 40
CAP, of sleeve, drawing of curves, 115
CAP HEIGHT, of sleeve: alteration of, 233-235; higher-than- normal, 127; in relation to darted top, 140-144; in relation to sleeve width, 124-125; lower-than-normal, 125- 127; normal, 114
CENTER FRONT DART VARIATIONS, 303
CHALK BOARD, 4
CHEST, narrow point of blouse back, 26; narrow point of blouse front, 21
CHINESE COLLAR, draping of, 262
CIRCULAR SKIRTS: blocking of, 105-107; the greater-than- normal, less-than-normal, maximum, and normal, 105- 107; hem line and waistline arcs of, 106-107; principles of, 111; draping of, 81-87; flares, 85; grain placement, 87; the greater-than-normal, less-than-normal, and normal circular, 82-87; principles of, 89; standards for, 86
CLIPPING SEAM ALLOWANCES: for armscye, too tight, 212; for cowl folds, 39; for draped folds, 90; for flare in Franch dart jacket, 36; for low flare in gored skirt, 74; shoulder, 206-207; waistline of blouse, 22; waistline of circular skirt, 85; waistline of draped skirt, 90; waistline of four-gore skirt, 79
COAT SLEEVE, measurements for, 114; two-piece, 130-133
COLLARS: bias, 260-261; blocking of flat, 251-252; blocking of rippled, 252-253; blocking of roll, 253-254; classification of, 247; drafting of built-up neckline, 248-251; drafting of convertible, 255; drafting of high roll, 253- 254; drafting of Peter Pan, 253; draping of convertible, 266-268; draping of, cut in one with bodice front, 263- 266; draping of, high roll in back, flat in front, 259; draping of narrow standing, 262-263; draping of tailored, 269-272; flat, variations of, 258; patterns for, 251, 255; 259, 261-263, 265-266, 271-272; relationship of neck- line to garment neckline, 247; roll or stand, determination of, 247; slopers, narrow flat, 251; slopers, wide flat, 252; terminology for, 247
COMMERCIAL PATTERNS, design changes on, 316-317
CONTROL DART. See Dart, basic
CONVERTIBLE COLLAR, draft for, 255; draping of, 266-268
CORRECTION DART, use of, 196, 198-201, 208-211
COUCHING, 8
COWL FOLDS: blocking of, in necklines, 50; short sleeved kimono blouse, 180-182; shoulder of long sleeve, 147- 148; skirt drapery, 308-309; yoke, 51; convex curve, general principle in designing, 180; draping of, necklines, 37-40
CROSSMARKING, at hip level, 69
CROSSMARKS, meaning of, 4; mismatched on skirt side seam, | 227
CROSSWISE GRAIN. See Grain
CUFFS: bands, 130; cutting of, 130; flared, 130; simulated,I 138; wide, 130
CUPPING OF SKIRT, at the back, 221; under abdomen, 223- 224
CURVES OF BODY, effect on "hang" of skirt, 219
DART: basic, fundamental, or master, 16; concealed under design, 299; division of, 47; general function of, 16; method of making parallel, 31; function of, in sleeves, 112; shift or transfer of, 46; standard positions in blouse front and other possible locations, 16, Fig. 2; use in correction of fitting faults, 199; variations of basic, 301-306; vertical, rule for establishing, 20; in blouse, back, neck, 25, 250; shoulder, 24; waistline, 26; in blouse, front, shoulder, 19; underarm, 29; waistline, 22; in skirt, back, 68, 69; side front, 69, 92, 93; in sleeves, epaulet cap, 155-156; horizontal elbow, 117; parallel at top of cap, 140-143
DARTING: armscye gapping, correction of, 208, 209, 210; correction, 196, 198-201, 208-211; dress form cover, fitting of, 5; excessive in blouse back, 216-217; excessive in blouse front, 215-216; inadequate in blouse back and front, 217
DESIGN, principles, as background, 273; sources, 273-318
DESIGNING: avoiding unnecessary seams, 310; background for, 273-274; basic dart variations, 301-306; on commercial patterns, 316-317; detail used as a source, 315; draping changes on a pattern, 318; draping without cutting, 281-283; fabric study, 277; folding back excess fabric, 292; for patterned fabrics, 277-281; interpretation of silhouette, 294-295; set-in sleeves from master one-piece sleeve, 134, 148; shaping darts to fit the design, 299; sketching, 274-277; through structural seaming, 296-299
DETAILS, of design introduced on commercial patterns, 316- 317; draping of, 283-293; source of design, 315
DIRNDL. See Straight Skirts, gathered
DOLMAN SLEEVE, cut in one with yoke front, 183-184; definition of, 183; deep square armhole, 185-187, Fig. 10a; drafts for, 183-192; style line near normal armscye, 188-192
DRAFTING, collars, 248-250, 253-255; definition of, 112; dolman sleeves, 183-192; basic kimono sleeves, 159-164; master one-piece sleeve, 113-119; master two-piece sleeve, 130-133; raglan sleeves, 148-153; short kimono sleeves, 174-182
DRAPE, of fabric, meaning of, 280
DRAPED SKIRTS, asymmetrically balanced, 109; blocking of, 108-111; blocking, summary of principles, 111; draping of, 89-92
DRAPERY, gathers and folds along slash lines, 288-291; in kimono sleeve with yoke, 174, Fig. 91; in short kimono sleeve with simulated yoke, 177-178, Fig. 96a
DRAPING, combined with blocking, 288; details, 283-293; to introduce design change, 318; without cutting, procedure for, 281-282
DRESS FORM: armhole, cover for, 15; collar draft, 15; design inspiration, use as, 281; kinds of, 1; padding of, 13-14; selection of, 13
DRESS FORM COVER, fabric for, 3; making of, 3-8; pattern selection for, 1-8
DROP SHOULDER SLEEVE, 157-158
EASE: around bust, 27; around hips, 67; at back edge of shoulder, 24; division of, between two seams, 297-298; skirt, front hip seam edge, 70; around armscye of set-in sleeve compared with raglan, 149; around elbow, 116; around girth of sleeve, 113; over top of sleeve, 134; when sleeve is pinned into garment, 230-232; upper arm, over back of, in kimono draft, 161; at waistline of blouse, 27
EDGES OF A PATTERN, danger of altering, 125
ELBOW, ease in sleeve over, 116; measurement of, for sleeve draft, 114; pulling of sleeve from, 235-236; width of sleeve, decreasing and increasing of, 238-239
ELBOW DART, increasing size of, 236; introduction in master sleeve, 117; transferred to vertical placket, 134-135; wrong location or size, 235
EPAULET SLEEVE, drafting of, 153-154; with darts, 155-156
EXCESS FABRIC, use of in designing, 283-293
FABRIC: body, meaning of, 280-281; for cowl drapery, 51; for draping master patterns, 17; for making dress form cover, 3; patterned, designing for, 227-281; study of, before designing, 277; use of, as design inspiration, 274
FABRIC ESTIMATE FOR: dress form cover, 3; master blouse back, 23; master blouse front, 17; skirts: four-gore, 79; pleated, all-around, 63; six-gore, 72; straight gathered, 61; two-gore, 65
FACING, fitted, cutting of, 40-42
FASHION, influence on dart lines, 19-20; trends, study of, 273
FIGURE, as design inspiration, 296-299
FILLING THREADS, 18; see also. Grain, crosswise
FINISH, in relation to fabric, 281
FITTING, adjustment for faulty posture, 194-195; blocking method of, 197; draping method of,. 196; fitter, position of, 196; general principles of, 193-196; preparation of master pattern for, 196-197
FITTING PATTERN: blouses, 198-218; bust line and shoulder blades, 215-218; for abdomen, large, 220; for armscye area, 208-214; hip area, 221-228; neckline area, 198- 203; shoulder area, 203-208; skirts, 219-229; sleeve shoulders, 233-234; sleeves, 229-241; underarm seam of blouse, 212-215
FLARE IN: four-gore skirt, low placed, 97; short kimono sleeve, 176; six-gore skirt, low placed, 74; six-gore skirt, minimum at side seam, 73; two-gore skirt, 67
FLARES, circular, draping of, 85; formed by slashing, 283-288
FLAT-CHESTED FIGURE, pattern alteration for, 201
FLAT COLLAR, drafting of, 251-252; draping of, 257-259
FLAT PATTERN BLOCKING, definition of, 44-45; method of designing: blouses, 44-59; collars, 251-253; cuffs, 130; kimono blouses, 170-192; set-in sleeves, 134-148; skirts, 92-111
FLORAL PATTERNS, designing for, 277-278
FOLDING BACK EXCESS, use in designing, 292
FOLD LINE, of tailored collar, 270
FOLDS, draping of, into a slash line, 289-291; in draped skirts, 90; placing of, in draped skirts, 108; radiating, draping of, 287-288
FORWARD HEAD, 195, Fig. 2h
FOUNDATION: blouse master pattern, 46; skirt master pattern, 94; sleeve master pattern, 136
FOUR-GORE SKIRT, blocking of, 93-97; draping of, 78-81; seams side front and back, 104-105; variation of, 306-307
FRENCH DART, ease over bust, 33; variations in design, 302
FRENCH DART BODICE, blocking of, 53; draping of, 31-36; panel formation, 32-34
FRENCH DART HIP-LENGTH JACKET, blocking of, 57-58; draping of, 36
FRENCH LINING, definition of, 1; drawing pattern, 8-12; measurement chart, 9
FULLNESS, direction control, 49; folds in draped skirt, 90; as gathers, 61; as pleats, 62; gathers in puff sleeves, 144-145; gathers in raglan sleeves, 152; radiation of, 49
GAPPING, of armscye, 208
GATHERS, along a slash line in blouse and skirt, 288-291; along a slash line in sleeve, 134-137; allowance for in skirt, 61; allowance for in sleeve, 137; appropriate use of, 44; radiation of, 306
GATHERED SKIRT, straight, 60-62
GEOMETRIC FABRIC PATTERNS, designing for, 278-280
GIRTH OF SLEEVE, balance line, 232; drawing at back of, 237-238; measurement for draft, 113; to increase for large upper arm, 237-238'
GORED SKIRTS, blocking of four-, six,- multi-gore, 81-105; blocking principles, summary of, 105; comparison with straight, 65; draping of two-, four-, and six-gore, 65-81; draping, general procedure, 68; draping, principles of, 81
GORES, definition of, 65; shape of, 81
GRAIN, adjustment of, at hip level, 67; adjustment of at shoulder blades, 25; crosswise and lengthwise, 3, Fig. 3; cutting in on, in skirt gore, 75, 108; fitting significance of, 219; indicator, 52, 53; lowering, for: circular flares, 85; cowl folds, 39-40; flares in gored skirts, 67; raising, for "draped" skirts, 90
GRAIN POSITION: at girth of sleeve, 232-234; in a blouse, 194; in circular skirts, various possibilities for, 87; in cowl necklines, 37-40; in cowl sleeves, 148; in cowl sleeves in kimono blouses, 180; in gores with equalized flares, 96; in gores with unequal flares, 81; in gored skirts, rule for, 93, 95, Figs. 68, 69; in gussets for kimono | blouses, 166; in a standard sleeve, 230; in straight | skirts, 60
GUSSET, definition of, 162; pattern for, 166; size of, for various kimono drafts, 163; slashing of kimono blouse for, 165-166
HANDLE, of a fabric, 280-281
HANDLING, influence of fabric on, 280-281
HEM, on sleeve lower edge, 129; sweep or width, 80; comparison of sweep in circular and gored skirts, 81-82
HIP LEVEL, adjustment at, in straight skirts, 60; importance of, in fitting, 194; in two-gore skirts, 67; marking of, on dress form cover, 8; marking of, on master pattern, 245
HIPS, fitting problems: when bones are prominent, 225-226; when broad or prominent in back, 221-222; when curve on side is high, 224, 225; when uneven, 228
HISTORIC COSTUME, as source of design, 274
INSET, 165-166; at waistline center back, 284-285; shaped underarm, 168-170; straight underarm, 166-168; see also Gusset
INSPIRATION, for designing, 273-318
JACKET, master hip-length pattern, 57
KIMONO BLOUSE, with bell or bishop sleeve, 170-171; with shaped underarm side section and deep armscye, 168- 170; with short puff sleeve, 179; with short sleeves and simulated yoke, 175-178; with straight underarm inset, 166-168; with yoke, 172-174
KIMONO SLEEVE, definition of, 148-159; dolman variation, 183-192; drafts, comparison of, 164, 165; drafts with gussets, 162-164; draft without a gusset, 159-162; draft for short kimono, 174-182
LANTERN SLEEVE, blocking of, 139
LAP, allowance for buttons and buttonholes, 41, Fig. 69; allowance for buttons and loops, 42, Fig. 70; allowance for, in side front skirt, 99; direction of seams, when draping skirts, 76; vertical seam direction, 37
LAPEL, of convertible collar, 267; of tailored collar, 269
LAPPED SLEEVE, blocking of, 147
LAY FIGURE, 275, Fig. 1
LEG 0' MUTTON SLEEVE, blocking of, 146
LESS-THAN-NORMAL CIRCULAR SKIRT, blocking of, 106- 107; draping of, 84-85
LINE ARRANGEMENTS, 274-277
LINE, continuity of, 276
LOOPS, 41, Fig. 70
L-SQUARE, 14, 50; see also Tailor's square
MACHINE BASTING, 4
MANDARIN COLLAR, 262
MARKING: balance lines, 242; measurements on master pattern, 244; seams, 28, 29; with carbon paper, 6; with chalk board, 4
MASTER BLOCK PATTERN: balance lines, marking of, 242; blouse, draping of, 16-29; completion of, 242-246, fitting, preparation for, 196-197; quarter size blouse, 46; quarter size skirt, 94; quarter size sleeve, 136; reasons for fitting, 193; skirt, draping of, 65-71; sleeve, analysis of, 118-119; sleeve, one-piece, cap height varied, 125- 127; sleeve, one-piece, draft for, 113-119; sleeve, modification of armscye depth, 128-129
MATERNITY SKIRTS, 220
MEASUREMENTS: chart of, for dress form cover, 9; of arm, for bishop sleeve, 120; of arm, for master one-piece sleeve, 113-114; of body with tailor's squares, 14; of body with tape line, 9; of cowl neckline depth, 38; of master pattern skirt, 245; marked on master pattern, 244
MILITARY COLLAR, 262
MOLDING FABRIC, through seaming, 296-299
MULTI-GORE SKIRTS, blocking of, 100
MUSLIN PROOF, 45
NECK BASE, broad, pattern alteration for, 207; back of, 23, 24; front of, 18
NECKLINE, built-up, design variation of, 257, Fig. 22; built- up, draft for, 248-251; built-up, draping of, 256-257; curve, on collars and garments, 247; designing of, 292; fitting of, 198-203
NOTCH, of convertible collar, 267; of tailored collar, 269
NOTCHES, 4; see also Crossmarks
ONE-PIECE SLEEVE, quarter size pattern to trace, 136; see also Sleeves
OVERARM LENGTH, compared with underarm, 164-165; in dolman sleeve, 183; measurement for sleeve draft, 113
OVER-ERECT POSTURE, alteration of blouse for, 195, Fig. 2, 202
OVERLAP, definition of, 40-42; on wrap-around skirt, 64
PANELING, of blouse, 22, 32, 34; of six-gore skirt, 72; of skirt back, 69, Fig. 20; of skirt front, 70, Fig. 21; sketched in designing, 274-277
PATTERNED FABRIC, designing for, 277-281; florals, 277-278; geometries—plaids and stripes, 100, 278-280
PATTERNS, alteration of, by blocking, 197; basic, foundation. or master, 17; for collars, 251-255, 259, 261-263, 265-266, 271-272; in relation to body contour, 196; see also Master block pattern, blouse, skirt, sleeve
PEG-TOP SKIRT, 89; blocking of, 108, 111
PEPLUMS, blocking of, 108; "draped," blocking of, 110-111; draping of, 87-89; girdle draped all-around. 111
PERPENDICULAR TO FLOOR, skirt seam position, 70
PETER PAN COLLAR, blocking of, 253
PINNING: method when draping, 19; of seams, general method, 4, Fig. 4; of sleeve into armscye when fitting, 230-232; of taffeta, 282-283, Fig. 13
PIVOTING, of pattern at point of dart, 96; of pattern pieces, 99; of pattern to introduce elbow dart, 116-117
PLACKET, in skirt side front, 109; vertical, in one-piece sleeve, 134-135
PLAIDS, designing for, 278-279
PLEATED ALL-AROUND STRAIGHT SKIRT, 62
PLEATS, allowance for in gored skirt, 77; allowance for in straight skirt, 63, Fig. 5; inverted box, 78, Fig. 38; side pleat in a gore, 76, Fig. 34&; tapering of into waistline, 63
PLUMB LINE, position of skirt seams, 70
POSTURE, adjustment for, 194-195; correct and incorrect, 195, Fig. 2; effect on balance lines, 194; forward head, over-erect, round shoulders, sway back, 195
PRINCESS, line, 58; pattern, 2, Fig. 1
PROOF, muslin, 45
PUFF SLEEVES, character of, 145; in kimono blouse, 178- 179; set-in, 144-145
RADIATION, of folds in "draped" skirts, 90
RAGLAN SLEEVES, 148-153; characteristics of, 148; general classification, 148
RIPPLES, circular, 283-288; equalized and unequalized in gores, 75; in six-gore skirt, 74; see also Flares
ROHR, M., general method for drafting master one-piece sleeve, 113; method for drafting bishop sleeve, 120
ROLL LINE, of collar, definition of, 247; of collar cut in one with bodice, variations of, 265
ROUND SHOULDERS, alteration of blouse for, 202-203; alteration of sleeve for, 234
SAMPLE MODELS, of dress form covers, 2
SCROLLS, 285, Fig. 19
SCYE LINE, definition of, 193-194; importance of, in fitting, 194; marking of, on master pattern, 244
SEAM ALLOWANCE, on master blouse, 29; on master skirt, 67
SEAMING, decorative, in sleeves, 139; to mold fabric to body, 296-299
SELVAGE, 17, Fig. 4
SET-IN SLEEVES, designed from master block, 134-148
SHAPING, bias folds for collars, 261
SHAWL COLLAR, 260-261
SHORT CAP IN SLEEVE, uses of, 126
SHOULDER BLADE, fitting over, 216-217; marking of, in pattern, 218
SHOULDER DART, variations of, 301
SHOULDER PADS, influence on cap height, 127
SHOULDER SEAM, alteration of, 206; dart in raglan sleeve, 150; length, 21; pinning method, when fitting, 205; placement of, 20, Figs. 15, 16, 17
SHOULDERS, fitting of, 203-208; broad, 207; narrow, 208; sloping, 205; square, 204; squared by sleeve cut, 143
SHRINKING, bias folds for collars, 261
SIDE SEAM OF SKIRT, alteration of, 226-227; position of, 66; seam that curls, 227
SILHOUETTE: interpretation of, 294-295; and relationship to lines within it, 274-277; of skirts, circular, 82, 87, Fig. 55; dirndl, 61; draped, 89; four-gore, 78; narrow four-gore, 95; six-gore, 72; two-gore, 65; wrap-around, 64; of sleeves, 139; barrel, 152-153; dolman, 183; puff, 145; square shouldered, 143-144, Fig. 57
SIMULATED: belt and cuff, 138, 315; cuffs, 138-139; yoke in blouse, 50; yoke, ascending line compared with descending, 291
SIX-GORE SKIRT, blocking of, 97-99; draping of, 72-78; variations of design, 307
SKETCHING, source of design, 274-277
SKIRTS, 60-111; classification of, 60. Fitting of, 219-229; when cut off grain, 228; when cups under hips, 221-222; when cups in on sides, 226; when stands out at center front, 219-220; when stands out at center back, 222-223; when stands out at sides, 224-225; when thighs are large, 229. Measurements for master pattern, 245; variations of basic cuts, 306-309
SLANT, inward compared with outward, 75; see also Slope
SLASHING, to but not through an edge, explained, 287; use of, in designing, 283-288
SLEEVE, fitting problems of, 229-241; armscye too high, 241; cap height alteration, 133-135; pinning of sleeve into blouse on wearer, 230-232; underarm seam edges mismatched, 240; underarm seam twists elbow to wrist, 236-237
SLEEVE, master pattern; analysis of, 118-119; cap height, 124-125, higher and lower than normal, 125-127, measurement for draft, 113; cutting off above and below elbow, 129; decreasing or increasing width, 123, 125; drafting of, 113-119; drafting standard size 16, 114-117; hem, cutting of, 129; measurements, marked on, 246; methods of making compared, 112; quarter size for tracing, 136; with vertical placket dart, 134-135
SLEEVES: classification of, 113. Cut-in-one-wit h-bodice, 112, Fig. 2, 148-188: kimono type, 159-192; block for drafting, 160; cowl in kimono blouse, 180-182; dolman cut with yoke, 183-184; dolman with deep square armhole, 185- 187; dolman with style line near armscye, 188-192; see also Kimono blouse and Kimono sleeve; raglan type, 148-153, cut in one with yoke, 156-157; drop shoulder, 157-158; epaulet, 153-154; raglan with barrel silhouette, 152-153. Set-in, 112, Fig. 1, coat pattern measurements, 114: derived from master one-piece block, 134-148; bell, 123; bishop, 120-123; cowl folds at shoulder, 147-148; deep armhole, 128-129; horizontal gathers below elbow, 134-137; lantern silhouette, 139; lapped across top, 147; leg o' mutton, 146; master block for sleeves loose at lower edge, 119-120; parallel darts at top, 140-143; puff, 144-145; simulated cuff, 138; square shouldered, 143; two-piece draft, 130-133
SLOPE, of shoulder seam, 204; of gored skirt, 67, 68; see also Slant
SLOPER, of master blouse, quarter size, 46; of master skirt, quarter size, 94; of master sleeve, quarter size, 136; of master collar, narrow flat, 251; of master collar, wide flat, 252
SOURCES OF IDEAS, discussion of, 273-274
SPACING, monotonous, 275, Fig. 2; of skirt panels, 72; of yokes, 42; study of, 274-276
SPORTSWEAR, sleeves for, 125-126
SQUARE ERECT SHOULDERS, fitting sleeves for, 234
SQUARE SHOULDERED SLEEVE, 143
STAYING, of a seam, 299, 310
STAND, of collars, definition of, 247; of tailored collar, 269
STIFFNESS, of fabric, effect on handling, 280
STITCHING, of hip to waist curve, 103
STRAIGHT SKIRTS, 60-65; all-around pleated, 62; gathered, 60; wrap-around, 64
STRAP SLEEVE, 153-154; see also Epaulet
STRING COLLARS, from bias folds, 261
STRIPES, designing for, 279-280
STYLE LINE, of a collar, 247
SUMMARY OF: blocking circular skirts, 111; blocking draped skirts, 111; blocking gored skirts, 105; draping circular skirts, 89; draping gored skirts, 81
SWATHE, bias, used as cowl substitute, 308-309
SWAY BACK, alteration of skirt for, 222-223
SWEEP OF HEM, 80-82, 96
TAGBOARD, 45; cutting of, for master blouse, 58
TAILORED COLLAR, narrow, 269-271; wide, 271-272
TAILOR'S SQUARE, 14. See also L-square
TAPERING, pleats into waistline, 63; skirt panels, 72
TAPING, of a seam, 299, 310
TEN-GORE SKIRT, blocking of, 100
TEXTURE, importance of in designing, 277, 282, Figs. 12, 13
THIGHS, large, alteration of skirt for, 228-229
TRACING WHEEL, 4
TRANSFER, of darts in blouses, 54, 56; of darts in skirts, 95; of dart in sleeve, 134-135; of pattern markings, 29, 71
TRENDS, study of, 273
TRUEING OF A PATTERN, for blouse, 28; for skirt, 71
TURTLE NECK, bias, 261
TWILLS, designing for, 277
TWO-GORE SKIRT, draping of, 65-71; variations of, 306-307
TWO-PIECE SLEEVE, draft of, 130-133
TYING, use in designing, 293
UNDERARM, measurement tor sleeve draft, 113
UNDERARM DART, variations of, 303-304
UNDERARM INSET, in kimono blouse, 166-168; shaped as side section, 168-170
UNDERARM SEAMS: of blouse, fitting of, 212-215, for excess width, 211, for sagging of, 214-215; pinning method, 214; taking in of, 213, Fig. 25; of sleeves, length, comparison of in kimonos and in dolman, 163-165, 183; lengthening of, for deep armscye, 128; lengthening in dolman, 187, Fig. lOlc; lengthening or shortening in blouse and sleeve, effect of, 239
UNDER COLLAR, of high roll type, 254; of tailored type, 271
UNDERCREASE OF A PLEAT, 76
UNDERLAP, definition of, 40; for buttons and buttonholes and buttons and loops, 41-42
UPPERARM, large, sleeve alteration for, 237-238
WAISTBAND, 62
WAISTLINE, dart in blouse back, 26; dart in blouse front, 22; dart variations in design, 301-302; position on dress form, 7; shape of in gored skirts, 66
WAX CARBON PAPER, 6
WEIGHT, of fabric in relation to draping, 280
WING COLLAR, variation of standing, 263
WRAP-AROUND SKIRT, draping of, 64-65
WRINKLES: in blouse, diagonal from neckline, 200; diagonal from neck to armscye, 205; general causes of, 195; horizontal across neck base, 201, 202; underarm, 215; in skirt, diagonal toward the side seam, 227; in sleeves, at back of armscye, 235; diagonal from below armpit to elbow, 240; horizontal at underarm, 239
WRIST, correction of size on draft, 116; dart in leg o' mutton sleeve, 146; measurement for sleeve draft, 114; to in- crease or decrease size of, 241
YOKES, blocking of, in blouses, 54, 56; blocking of in skirts, 103-104; cowl, 40; cut in one with dolman sleeve, 183- 184; cut in one with kimono sleeve, 172-174; cut in one with raglan type sleeve, 156-157; designing of, 305; distributing gathers under, 43; draping of and spacing, 42, 43; simulated: in blouses, 50; in kimono blouse, 175-178; use of in designing, 289-291; variation from standard, 304

 

 

 

 

 

 

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Description& Condition

Dress Design, Draping and Flat Pattern Making

By Marion S. Hillhouse and Evelyn A. Mansfield

1st Edition

Copyright 1948 ~ 326 Pages

 

Cloth covered hard back, cover has one inch ding on spine edge that has been repaired so the tear will not expand, corners are slightly bumped, front page has original owners name neatly written in the corner, inner pages are crisp, clean , no writing, no rips, no funky odors, the  inner pages are in beautiful condition, over-all VERY GOOD vintage condition , truly a vintage belle!

 

 

 

 

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*All items listed are carefully inspected and all visible flaws noted. I do not accept returns, all sales are final and items are sold as is. Please be sure to contact me with any questions or concerns before bidding to assure a happy transaction!

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