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LIBRARY^f^ONGRESsTll

ap.--- enpt;ri3t :^cr

UNITED STATES OF AMERICA

 TABLE OK PROPORTIONS.
Breast
and
Seat.
 KEY LINE SYSTEA
or

Garment Cuttlngr
BY

rPANK A. VAN AARLE.

M 20 18
>^e /
i^^Oj^

Act of Congress in the year 1892, by Frank A. Van Aarle, in the office of the
E.itere<l accordiug to
Librarian of Congress at Washington. Ai.L Rights Reserved.

>
.,1.
 1

AA'
 PRETACE.
[HIS book is free from any intentional plagiarism, but as the subject

<^j treated on is one that has engaged the attention of many minds, it is not
at all improbable that some ideas ma)' coincide with those of others, who think

themselves the originators of them. For such, whether they have seen the light

of the world or not, I would respectfully beg pardon on behalf of the muses that
inspired me with them.

Firmly believing this work to be entirely different from any ever published
pertaining to this subject, to assure success to my patrons, I most respectfully
demand an unalloyed obedience of the rules laid down, hoping hereby to fulfill

its mission, that of raising the standard of the profession.

THE AUTHOR,
 TABLE OK F'ROF'ORTIONS.
Breast
and
Seat.
PART I.
 Part I.

TTTT

THE KOUNI3ATION.

fO complete
dation is
an)- work
indispensable.
of art, science or mechanism successfully, a solid foun-

Facts derived from close observation and successful experience, compose the
most solid foundation.

The art of garment cutting has for its foundation the; thorough knowledge of
the measurements and proportions of the human form.
The first principle of the measurement of man is found in Hoi)- Scripture, in
the Book of Revelations of St. John, as follows :

And there came one of the angels and spoke with me and he
'

' that spoke with

me had a measure, a golden reed to measure the city and the gates thereof and the
wall, and he measured the wall thereof a hundred and forty-four cubits the measure
of man,"
A cubit, in the anatomical sense of the word, is the length of the arm from
elbow to wrist,

Enclosing man within the walls mentioned, that is drawing lines about him at
his furthest projecting points, we find that we get a parallellopiped one-half wider
from side to side than front to back.
Taking the arm comprising the cubit and enclosuig that also within walls, making
a cube thereof of four equal sides, and extending them the full length from elbow
to wrist, we find that six will fill the parallellopiped from side to side ; three from
front to back, and eight constitute the exact length, making a total of one hundred
 KFA' JANE SYSTEM OF GAJIMENT CVrTINC

and forty-four cubits, the measurement of man, be he dwarf or gfant, and estabhsh-
ing the fact that all widths are divided by sixths, and all lengths or heights bj- eighths

to obtain the proper proportions. (See fig. 1.)

These proportions have been the subject of much thought and writing, but facts

derived from observation and experiment dictate rules which are to the cutter of
Garments of the greatest importance, some of them in fact being indispensable, and
are as follows :

Neck is 3 g of breast. Calf is 3/s of breast.

" "
Waist ''
.5-6 " Ankle " %
Hip " same as " Elbow " 14: "

Thigh of waist, Wrist " 1/6 "

Knee 3"8 breast. Arm at shoulder is l^ of waist.

Eio-ht cubits make the total lenoth of man, and are divided as follows:

1 from top of head to nec'c o from seat to centre of thigh.

2 " neck to armpit, G " centre of thigh to knee.
" armpit to waist. 7 " knee to bottom of calf.
3
8 " bottom of calf to sole of foot.
4 " waist to seat.
Fin. 1
10 KEY LINE SYSTEM OF GARMENT CUTTING.

Placing the forementioned proportions in their proper positions in widths and

heights within the parallellopiped, tracing them from point to point, in graceful

curves, we get the outlines of the proportionate man (see figs. 2 and 3), which con
stitutes the foundation to garment cutting and from which we proceed to establish

the several laws and principles necessary to the completion of any work of art or

science.

THE LAW OF BALANCE.

The first law to be established is the law of balance.

The balance or equilibrium is the just place of a figure so that it may appear to

stand firmly, and for this purpose must be a point equally distant from its opposite

sides, which compels us to construct for all irregular bodies a rectangular cube with

their furthest projecting points as their dimensions of width and thickness, when the

following rule will be found to be correct and of the greatest value in garment
cutting.

One-sixth of its circumference added to itself will be the measurement of the

cube, of which one quarter will constitute the balance line, thus : 30 circumference
with one-sixth added to it gives us 42, one quarter of which is lOj^ inches, being
the balance line for a garment of 36 inches breast measure, and whereas this holds
good for any size, we derive from it the following rule :

One-third of breast measure less one twenty-fourth is balance line of garment.

When applying this in drafting by the ordinary division square, it may be better

understood as follows : Two-thirds less one-twelfth of breast measure is balance

line.

The laws established by the balance line are five, viz :

1. The neck point. 4. Waist suppression,

2. Front of scye. 5. Spring of seat.

3 Back " "

There are commonly speaking six different types of the human form, viz ;

1. The normal form. 4. The higrh-shouldered form.

2. " stooping " o. low-

" erect " 6. " corpulent
3.
V

Fig 2 Fig. 3.
12 KEY LINE SYSTEM OF GARMENT CUTTING.

The last five of these forms are sometimes found in a decidedly positive degree
and are the great stumbling blocks of the trade, yet these five types are merely a
deviation from the proportionate or normal type, the foundation of garment cutting
and are governed by the same laws as the normal form.

THE NORMAL FORM.

A well-proportioned man, when stretching out his arms, will be of the same
length from tip to tip of his fingers that he is from the crown of his head to the
soles of his feet. Dividing this into eight parts, the same as we do the height, we
find that from tip of fingers to wrist we have one part, from wrist to elbow two parts,
elbow to end of shoulder blades three parts, and from this point to centre of body
we have four parts.
The distance from centre of body to arm-socket, on each side, gives us the
widths of the parallellopiped jnan is enclosed in, which is exactly half of his breast
measure (see fig. 4), from which we obtain the following table of proportions of
hcioht to breast measure:

Height.
Feel and
Inches.
 KEY LINE SYSTEM OF GARMENT CUTTING.

It will be readily seen that proportionate forms are rare, especially above 38
breast size, and although the deficiency in size, according to breast measures, may
be at different parts of the body, the distance from armpit to natural waist and even
seat line, is so generally correct that it is absolutely necessary in drafting.

THE KE^" LINE OE GARMENT CUTTING.

An accepted theory in garment cutting is that in the proportionate or normal
form the waist should be four inches less than the breast.

The error of this theory has been fully explained in the proportions of the

human form, giving the size of waist one-sixth less than breast,
Its general acceptance, however, proved its having a purpose, which either is

not rightly understood or otherwise not deemed of sufficient importance to produce

better fitting gatments, and accordingly discarded, and with it the Key Line of Gar-

ment Cutting.
Claims to this tide of Key Stone or Key Line, have been theoretically laid by
the shoulder or neck point and the waist suppression. I say theoretically, because

practically they proved a failure, and to the actual difference between breast and

waist which is established by the

RUN OF KEV LINE

alone belongs this title, which it will not alone bear out theoretically ; but the
severest test in practice will fully establish its superior rights to this claim.
To prove the error of the theory that four inches should be the difference
between breast and waist, for the purposes which it brings about, I shall take the
human form proper, as described in the first part of this work (see fig. 5.)
Fui. 5.
16 TCEY LINE SYSTEM OF GARMENT CUTTING.

Drawing a line from front of neck A through the point of breast line B down
to natural waist line, the difference between C, the size of normal waist and D will

be one-twelfth of the circumference of the breast, which added to the size of the

normal waist, as given in the illustration of Frock Coat (see iig. 8), from dotted
line to 4 will give the size of waist necessary to complete the Key Line of Garment
cutting, and for the different sizes of breast is as follows :
 KEY LtNE Srs'TEM OF GARMENT CUTTlXG. 17

Fig'. <> illustrates the change necessar)' for a form measuring more than the size

of waist formed by Run of Key Line Point G is Run of Key Line, and K is one-
half of amount what waist measures more than that formed by run of Key Line.
Draw a line ivom K through L at breast.
From 3 to E is the same as 1 to F (j4 of breast.).
Form shoulder scye and gorge.
Now fasten pattern at A, B, C and I), draw E to F, where it will b:; when gar-
ment is on the man and we find that 3-4 will fall tlirectly over line 1-2, forming a
pocket commencing directly under breast line, and extending downward, increasing
between C and G and I) and H, locating the e.vtra cloth in the proper place to

receive the corpulency.

1 .1 F
 KEY LINE SYSTEM OF GARMENT CUTTING.

Fig. 7 is just the reverse.

Where the placing together of points E and F, locating lines 1 and 2 and 3 and
4 directly over each other, produces fulness of cloth between points C-G and D-H
to receive the corpulency in Fig. 6 here it is necessary to cut the pattern to reach
those points, making a funnel-like receptacle for the stomach.
The accuracy of the measurement as given here and in the table of proportions
for trousersmay be cause for comment, but as one-twelfth of an inch either way was
thought to make it more acceptable, a table of proportions is hereby furnished in
forepart of book, based upon this idea.

The extra copy included in each book is intended to be hung or pasted in a

convenient place about the cutting board, for reference to insure accuracy. It is

customary in Frock Coats to make a fish in forepart, to produce a good form ; when
so applied it is equivalent to the waist measure bf^ing that much less than amount
given in table of proportions, and whereas this is a general rule and an advisable one,
a basis of 1^ inches less than Sack has been given for Frock, allowing the fish to
be 34 inch, with seams included.
SI K F -N^
 KEY LINE SYSTEM OF GARMENT CUTTING. 21

PROPORTIONATE DRAKTS.
FROCK COAT.

(See Fig. S.)

To produce a correct draft for an_\- form, whether proportionate or dispropor-

tionate, two things are absolutely necessary a perfect balance and accurate cor-

respondence of proportions on draft with those of form. The jirinciple of balance

having been explained, we proceed to obtain the accurate correspondence of pro-
portions on draft with those of form, as follows :

To obtain the length measures use skin measure, from the fact that although
taking a man's measure with his clothes on materially enlarges his breast size over
that of the skin measure, this does not lengthen his proportions, and considering
2 inches a fair average allowance for clothing, we draft the lengths on a scale 2 inches
less than breast.
Example: For a 36 breast use 34 in. lengths; 36 in. widths. For 40 breast,

use 38 in. lengths, and 40 in. widths.

Square lines AAA.

A to C is ^ natural waist (skin measure.)
C to D is 5 natural waist (skin measure.)
D to F is j'2 of breast for fashionable waist.

D to E is ^ natural waist (skin measure.)

A to 10 is full length.

C to 1 is 1\ inches always.
Square across from CDF and E.
Square halfway across from I.

C to Y is 3 of breast less ,0.

Square up and down from Y.

[This constitutes the balance line.]

Y to H is li inches.
Square up from H and down to line I.

Y to K on line C, \ of breast.

Square up from K.
22 KKY LINE SYSTEM OF GARMENT CUTTING.

K to N is i of proportionate waist on 3rds.

[See table of proportionate waist]
N to L is I'g
of breast.
N to M is
I
D to S is i,

DtoTisi
Balance line to O is j of breast.
O to P is ^ of breast.
R to R is .},

Balance line to 7 is ,1 of breast.

7 to 8 is ^ of breast.
Square up from P.

A to U is ^ of breast.

U to V is 2\

Drav a line from A to S,

Shape bac : as represented.

B is halfway between V and N.
Shape side seam, reducing a laro-e seam at scye, touching back line at C, then
gracefully through O through 8.

Balance line to W is .1^ of breast.

W to X is J of breast.

To obtain the proper location of the so-called shoulder point and height of
shoulder, measure from A to point of intersection of balance and natural waist lines,

and apply less width of back, less ^ inch from A to U on line X for location of
shoulder point, and from B to same point without deduction, and apply same measure
on line W. Draw slope of shoulder through these two points.

Width of shoulder of forepart is same as back I

of breast as to *.

Square down ^^ of breast as to 13.

Shape shoulder as from 13,

" scye " 13.
" under arm seam through R R.
Square down from X.
Shoulder point from 14 is A of breast.

Square out from 14.

C to 1 is 5 of full breast.
 KEY LTXE SYSTEM OF nARMENT CVTTING. 23

Advance square /j of breast with sliort arm down and mark on natural waist

line, as at 4.

Draw line through these two points forming the Key Line, which on line A
must be exactly \ of breast from X.
4 to 2 is ,o of breast.
2 to 3 is 1\ inches or allowance for seams.
End of gorge 9 is of breast from X. }

Key Line to Z on line 14 is of breast and ]., 1^ inches.

Draw a line from Z to 3.

Make lapel desired width.
Finish as represented.
In e.xplanation of the second requisite, an accurate correspondence of propor-

tions on draft with those of form, see fig. 8.

We commence with the base line from which we build and proceed to the line
which is exacdy half of the size for which we wish to draft the pattern (see dotted

line). We next obtain the perpendicular balance line, \ less ij of the rectangular
cube the body is contained in, which, in drafting b)- the ordinary division square, is

I less ,1 of the breast size we want.

The length measures are fully explained at beginning of draft.
The proportion of the neck is | of breast. Measuring from A to U and X to
dotted line, which is amount covering the neck, we find this to be exacdy I of the
breast size, the amount required.
The breast line is, of course, the full width.
The proportion of the waist is \ less than breast.

Measuring from S to T, O to R, and R to dotted line, gives the exact propor-

tion of the proportionate waist, which is I
less than breast ; the fish taken out to give
 KEY LINE SYSTEM OF GARME.XT CI TTING.

shape to the forepart is not to be taken in consideration here, as due allowance is

made for that in drafting^.

The seat line is again the full width, without an)- deduction, as it is the same
size as breast. The proportion of the scye is | of waist size, and is oblong- in shape.

To obtain the accurate size of scye, corresponding with the breast measure, we
take the cube containing waist reduced to | and place in oblong shape.
This is done by marking the distance from line K h of proportionate waist, on
fourths back of Y up to line N, i of proportionate waist, on thirds of ordinary
division square, and concludes the explanation of accurate correspondence of pro-
portions on draft with those of form.
 KEY LINE SYSTEM OF (lARMEXT CUTTING.

SACK COAX.
(SeeFig.il.)

Obtain measures for lengths and widths same as in Frock Coat.

Square lines AAA.
A to C is i natural waist (skin measure.)
C to D is ^ "

D to E is 1 "

A to A is full length.

C to I is 1] inch always.

Square across from C D E A.

Square halfway across from I.

C to Y is 3 of breast less /,.

Square up and down from Y.

[This constitutes the balance line.]

Y to H is Ih inches.
Square up from H and down to line I.

Y to K is J
of breast.

Square up from K.
K to N is ^ of proportionate waist on 3rds.

N to L is / of breast.

N to M is I

Balance line to 8 is .J, of breast.

8 to O is I of breast.

Balance line to 7 is .j, of breast.

7 to 9 is \ of breast.

D to S is .},

DtoTis'
Balance line to W is ,', of breast.

W to X is i
of breast.

A to U is J

U to V is .j,
28 KEY LINE SYSTEM OF GARMENT CUTTING.

Shape back as represented.

B is halfway between V and N.
Shape side seam, reducing a seam at scye. touching back line at C, then through
!) 1o bottom.

I'"or location of shoulder point and height of shoulder, measure from A to

intersection of balance and natural waist lines, and ajjply less width of back, less
h inch on line X and from B to same point, and appl)' same measure without deduc-
tion on line \V.

Uraw slope of shoulder through these two points.

Width of shoulder of forepart is same as from V to N, J
of breast.

Square down j^ as to 13.

Shape shoulder as from 13.
" scye " " 13.
" under arm seam.
Square down from X
X to 14 is J ot breast.

Square out from 14.

C to 1 is
I of full breast.
Advance square .}^ of breast, with short arm down, and mark on natural waist,
as at 4.

Draw line through these two points, forming the Key Line.
End of gorge 10 is J of hreast from X.
Key Line to 2 is ,3 of breast and inches. 1']

4 to 2 is 1 inch for seams.

2 to 6 is 1^ of breast.
Draw a line from Z to 6.

Bottom of line to o on Key Line is g\ of breast.

Draw a line from 11 to 5.
Make lapel desired width.

Finish as represented.
 KEY LINE SYSTEM OF GARMENT CUTTING.

THE SLEEVE.

To properl)- join two articlfs and preserve the harmony of dimensions, it is

necessary that they be of the same size and curvature, and which curves must fall

in their proper places, or otherwise the harmony of outlines will certainly be

destro)ed. The coat and sleeve are two articles to which the above rule is to a

certain extent applicable, because the purpose of the sleeve being to hold a solid

body, hanging perpendicular with coat, necessitates a surfdus or fulness which must
be forced into a curve of the same dimensions as that to which it is joined, so as

not to destroy the necessarj- harmon)-, and yet furnish the space required for the
body it is intended to contain.

TO DR.\FT SLEEVE.

(8ee Fig. 10.)

The most convenient way to draft sleeve is before cutting pattern and tracing it

afterwards with tracing-wheel. This assures a sleeve to correspond with the shape
of scye.

A to H is .l^ of breast.

L to D IS J
" less aV

L to E is Ij

L to J is J

F to G is ij

Shape from D through i inch below point of back seam touching point J to A.

Shape from E through G touching I inch above line Y to A.

Extend line A.
B on line A to C is Jj of breast.

Draw a line from A through C.

Square by line C and point Y to P for inside length.

P to R is 1 inch.

P to S is desired width of bottom and ^ inch, with seams added,

P to T is desired width of bottom less | inch, with seams added.
Square down from D to natural waist line, K.
Square down from E to natural waist line, M.
Draw a line from K to S and M to T.

Finish as represented.
These drafts of the Frock Coat, Sack Coat and Sleeve, constitute the funda-
 KEY LINE SYSTEM OF GARMENT CUTTING.

mental drafts essential in garment cutting, and must be thoroughly mastered, for no
matter what kind of garment may be desired they must emanate from the funda-
mental principles contained in these drafts.
/fc^
zt-=.
42 KEY LINE SYSTEM OF GARMENT CUTTING.

THE ERIlCT form.

The erect form is but the reverse of the stooping form just described, causing
a shorter scye front from base hne, a smaller indentation at waist and larger spring
of seat. The waist indentation and spring of seat are, as in the stooping form, the

same distance from balance line as in the normal type. (See figures I") and 16.)
 ''*''" "--' ~\^AX

Fig.
44 KEY LINE SYSTEM OF GARMENT CVTTING.

Fio-, 17 represents a pattern for an erect form, with dotted lines showing
where

balance line would be in normal form.

46 ji^EV LINE SYSTEM OF GARMENT CUTTING.

Fig. 18 represents this pattern laid with balance and base lines on a propor-
tionate pattern.

This produces a narrower blade and larger breast as required by figures 15 and
16 describinq; the erect form.
Zt:^
48 KEY LINE SYSTEM OF GARMENT CUTTING.

THE HIGH-SHOULDERED FORM.

(See Fig. 19.)

The deviation of the high-shouldered form from the normal type is merely in

the distance from the crown of head to the armpit, or more distinctly a shorter

neck.
PART II.
 Part II.

TTTT

DISF>ROFORXIONATB KORMS.
THE KEY I.IXE IN DISPROPORTIONATE FORMS.

Whereas the Run of Key Line forms a basis of size of waist on a normal
pattern, it follows that with the changes caused in the pattern bj' the disproportion a
change in this part of the pattern ensues also, but the perfectly natural manner in

which this change is brought about makes it very easy to understand.

In the stooping form where the enlarging of the blade gives us a larger waist
suppression, we llnd that the exact amount which the blade is larger than in the
normal blade is taken from the size of waist, for instance, where the size of waist in

a 36 breast is 33, in the stooping form where the blade is A inch larger, which
increases the normal waist suppression, the amount covered is h inch less than in
normal pattern making the waist 32 inches.
In the erect form where the blade is ^ inch smaller, which lessens the normal
waist suppression, the amount covered is k inch larger than normal pattern making
the waist 34 inches.
The easiest way to obtain this is when marking the breast size advance ,1 for

hVock, .;', for Sack, and mark this point at natural waist line, when this and point of
width of breast will form the Run of Key Line, which is enlarged or decreased from
the table of proportions, according to the enlargement or decrease of blade, and in

which the following rules, wlicn committed to memory, will be of great assistance.

When balance line advances from normal balance line, the waist size on draft,
according to table of proportions, geh smaller.
 KEY LfNE SYSTEM OF GARMENT CUTTING:

When balance line recedes from normal balance line, the waist size on draft,
according- to table of proportions, -e^s larger.

When waist size actually required is larger than that obtained as above on
draft, the shoulder point recedes and Key Line advances \ the amount that waist

is larger.

IV.

When waist size actually required is smaller than that obtained as above on
draft, the shoulder point advances and Key Line recedes -j the amount that waist is

smaller.

By the Key Line we also prove the draft, and in disproportionate drafts it must
differ from the \ of breast to X as much as the difference from normal to actual

balance line.

THE STOOPING FORM.

A disproportionate form is but a deviation from the proportionate or normal

type, and must be governed by the same laws as the normal type.
The solid lines of Fig. 11 represents the normal type or foundation of garment
cutting ; the broken lines represent a stooping form.
The deviation in the stooping form is the enlargement of the shoulder blade at

expense of the chest, leaving all other points proportionate and stationary, which
produces further scye front from base line, a larger indentation at waist and smaller
spring of seat (see fig. 12, which represents broken lines of fig. 11.)

Although front of scye is further from base line than in normal form, the
indentation at waist and spring of seat is exacdy the same distance from balance
line, which it is in the normal form, showing that this part of garment is entirely

independent from the upper part (neck to bottom of scye), and governed by laws
intended only for that part of garment, from which we deri\'e the following rules:

1st. Waist indentation exactly alike for all forms.

2nd. Spring of seat exactly alike for all forms.

38 key line system of garment clttihg.

Figure 13.

Figure 13 represents a pattern for a stooping form. The dotted line sliows the
position of the balance line, where it would be in a normal form. All points are

obtained the same as in the draft for the normal type, from the balance line formed
by the disproportion of the blade.

The balance of all disproportionate drafts is obtained from the normal balance
point 3 less ,1 of breast from base line on natural waist line (see B, fig. 13), regard-

less of where the actual balance line formed b)' measures ma)" come.
40 KEY LINE SYSTEM OF GARMENT CUTTING.

Fig. 14 represents the same pattern laid with balance and base lines on that of

a normal pattern.
The dotted lines showing the normal, the solid lines the stooping form.
This gives us a wider blade, narrower breast, a proportionate waist indentation
and spring of seat, as illustrated by Figs. 11 and 12.
60 KEY LINE SYSTEM OF GARMENT CUTTING.

Fig. 20 shows a normal pattern, changed for a high-shouldered form, the length
of back and shoulder being reduced the desired quantity ; all other points as in the
normal draft.
62 KEY LINE SYSTEM OF GARMENT CUTTING.

THE LOW-SIIOULDEREP FORM.

(See Fig. 21.)

When the deviation in the high-shouldered form i.s the shortness of the neck in

the low-shouldered form, it is the superfluous length that causes the deviation.
54 KEY LINE SYSTEM OF GARMENT CUTTING.

Fig. 22 represents the changes necessary

for a low-shouldered form; the
lengthening of back and shoulder as indicated by the
solid lir
lines.
56 KEY LINE SYSTEM OF GARMENT CUTTING.

THE CORPULENT FORM.

There is probably no other form more apt to liave ill-fitting garments than the
corpulent form. A common excuse amongst cutters is a big man wants a big
coat.

Nothing more absurd could be invented, as all forms are governed by the same
laws as the normal form ; the corpulent form is no exception.
Corpulency proceeds from an unnatural growth of the adipose tissues, which
are located about the heart and abdomen ; while the body is. naturally developing in
all other parts, about the breast and abdomen the body is developing more rapidly,
which makes the disproportion.
In fig. 23 the development of the body, in the back, is on a par with line A,
which would be the regular breast line ; the breast having developed unnaturally,
however, stands out as indicated by line B.

The breast line B being called into requisition to govern other points of the
garment, is the cause of the ill-fit.
58 AT^K ^>/-V SYSTEM OF GARMENT CUTTING.

The dotted lines in figure 24 show a pattern of a corpulent form, with breast
line B of fig. 23 called into requisition, and is a true illustration of the coat as it

would be before it is altered and re-altered, when even then it does not fit.

The solid lines of fig. 24 represent the pattern of the same form. With breast
line A called into requisition it is proceeded with the same as in the normal type,
until we come to the size of the breast, when the full size, as per breast line in

fig. 23, is given.

This will in all instances produce a nice fitting garment.
The question now is how to ascertain the width of breast, as per line A
figure 23.

There are many ways, but one of the best is to take your client's measure

around the arm at shoulder, which will measure one-half of normal w^aist, which is

one-sixth less than breast, viz.: Suppose your client measures 45 inches around
breast ; this is to all appearances very large ; measure his arm at shoulder and you
will in all probability ha\'e 18 inches close measure ; this would make waist 36 and
breast 43 full ;
proceed to draft by 43 breast measure, and allow full 4o at breast.

You will have a garment satisfactor)- all around, which it would be impossible to

obtain by calling his actual 4o breast measure in requisition.

0O KEY LINE SYSTEM OF GARMEM CI TTIKG.

the normal, tlie erect and corpulent

Ficr. 2o represents the different forms, viz. ;

form, within one cube.

62 KEY LINE SYSTEM OF GARMENT ClTTJi\G.

The following principles and rules are illustrated here as well as in figure 26^

which contains drafts for the normal, the stooping, the erect and corpulent forms, viz. ;

That shoulder point is exactly alike for all forms.

That waist suppression and spring of seat is alike for all forms.
It will be well to state here also, that the part of body least deformed in height
is from armpit to seat, and consequently the distance from these places are to be

used according to the table of proportions, as given in this work ; for instance,

where the distance on a 36 breast, from line C to line D, and from line D to line E
(see fig. 5), is 85 inches, so it must be 8^ inches for all forms of 30 breast, short or
tall, as the case may be, making- the fashionable waist line to suit the size of man.
64 KEY LINE SYSTEM OF GARMENT CbTJlNG.

BALANCE OK DISPROPORTIONATE DRAKTS.

It has been asserted in the beginning of Part II. that the balance of all dispro-
portionate drafts is obtained from the normal balance point less | of breast from
base line on natural waist line, regardless of where the actual balance line, formed
by measure, may come.
hi proof of this see fig. 27.
The solid lines indicate normal form and cube ; the dotted lines the stooping
form and cube ; the balance line by changing the form has beccwne advanced.
Measuring from point A to actual balance line and applying same measure to point

C we find it goes above the line of the cube, making this point too long. By
marking the balance point its normal distance from D to E, | less ,3 of breast, and
measuring again from point A to this point, E, and applying this measure to C, it

comes to exactly on the line of cube, and consequently balances perfectly.

Fig. 28, describing the erect form, is just the reverse. The balance line has
receded, and measuring from A to B, and applying to C, causes the measure to fall

short. By marking the balance point its normal distance from D to E, and applying
the measure A to E, from E to C, this shortage is gained and a perfect balance
obtained.
PART III.
 Part HI.

TTTT

ACXUAL MEASUREIVIENXS.
The various degrees of the different types of tlie human form as described in
Part II., necessitates the actual measurement of the form to produce a o-ood fittino-

garment.
These measures to produce the desired results must be correct, for unless they
are so they are of no avail, and not onl)- must the)- be correct, but a thorough
knowledge of the application and result of each and every measure is necessarj-.

Which is mode of measuring is an open and unsettled question, con-

the best
sidering, howe\-er, that we hfi\e to reproduce measures taken over an irregular form

on a smooth surface, we hold that the shorter and fewer the measures consistent
with producing good fitting drafts, the more practicable they are for drafting as well
as for illustrating the trifling or glaring deviations from the normal type.
To obtain the aforegoing requirements I use a pliable square, with hook at end
to fasten on shoulder while taking blade measure, and marking depth of scye.
(This square may be obtained of the author, and will be sent to any address on
receipt of $1.50.)

THE ME.A.SURES.

The measures to be taken are :

1st. The inside sleeve length.

Jnd. Width of blade.

3rd. Depth of scye.

4th. Fashionable waist.

)di. Full length.

<)th. Brea.st.

7 th. Waist.
8th. Seat.
In sack coats measure No. 4 is omitted.
70 k'EY TANK SIYSTEM OF OARMENT CVTTING.

now Ti) TAKE THE MEASURES.

Before jour client takes off liis coat, place square under his arm and note
length of sleeve as desired, then request him to take off his coat.
Now raise his arm and place square as close as possible under the armpit,
takino- care to press the shirt well up under arm and fasten with hook on shoulder
(see fig. 29); bend square over blade, holding as level as possible and make cross
mark as A at middle of back, on top of square, for depth of scye, and note the
figure on square giving the middle of bick, which gives the width of blade.
72 A'A'V IJNR SYSTEM OF GARMENT CUTTING.

Take off the scjuare and make a mark one inch below desired height of collar,

from here measure to mark made on back for depth of scye ; then to fashionable
waist; then full length. Next take breast (see fig. 30), waist and seat measures, in

usual manner, which should be placed in measure book as follows :

17_1( )^_8i 181333(3 3U_3(3.

TO DRAFT FROM ACTUAL .MF:ASUREMENT.

The first thing to be done in drafting from actual measurement is to use

judgment. The controlling power of the mind over the body renders this an
absolute necessity. All disproportionate forms being but a deviation from the
normal t)pe, all patterns for these forms must be only a deviation from the normal
pattern, therefore any unreasonable deviation from the balance line of a normal
pattern will easily convey the sometimes exultant spirit of the mind in obtaining a
new suit, compelling the body to brace up most unnaturally, or again convey the
unwillingness to please some reasonable request showing the utter contempt with
which the request is granted.
In either of these cases, or any other where the deviation seems unreasonable
from some cause or other, it is well to draft a proportionate pattern, and trust to

good luck and the customary outlets on the goods, to produce a good fitting

garment.
74 KEY LINE SYSTEM OF GARMENT CUTTING.

TO DRAFT FROM ACTUAL MEASUREMENT FOR FRUCK COAT.

From following measures :

10^_8i 1813336 3U 36.

(Sleeve measure is omitted.)
Proceed with drawing lines, OOO (see fig. 3L.)

Mark depth of scye Sg on line O, as at C, and square out from this. Lay lOg
on line O and mark on line C; this produces point Y, which square up and down
for balance line.

According to the size of blade this line will advance or recede from the normal
balance point (3 less /, of breast), and before going further it is well to ascertain
whether there is any unreasonable deviation here.
By an unreasonable deviation may be understood any advance or recedence
from normal balance line over ,a of breast measure.
Having done this, mark natural waist line, same as in normal draft fashionable
waist, seat, same as in normal draft, and full length, and square out from each.
 I
I
I
I
I
I
I
M I
I
I
I
I
I I
I
I
I
' M M IMI
I I
I
I
I

Fi(j. 31

Orotindwork; of Draft.
ie KEY LINE SYSTEM OF fiARMENf CVTTING.

Fig. 31 represents the foregoing, which is the groundwork of draft, on which

proceed as follows: (See fig. 32.)

C to I is Ij inch.
Square halfway across from I.

Y to H is li inches.
Square up from H and down to line I.

Y to K on line C is \ of breast.

Square up from K.
K to N is i proportionate waist on thirds. (See table of Proportionate Waist.)

N to L is ,8 of breast.

N to M is J

D to S is i,

D to T is J

Balance line to P is ,0 of breast.

" to O is J

R to R is II

Balance line to 7 is ,1 of breast.

7 to 8 is 3 of breast.

Square up from P.

A to U is J of breast.

U to V is
3I,

Draw a line from A to S.

Shape back as represented.

B is halfway between V and N.
Shape side seam reducing a large seam at scye, touching back line at C, then
gracefull)- through O through 8.

Balance line to VV is o\ of breast, and is advanced or receded according to the

size of waist.

W to X is J of breast.

To obtain the proper location of the so-called shoulder point and heiglit of
shoulder, mark on natural waist line the .proportionate balance point \ less ,'.,
0/ breast,

and in all cases and for all forms nieasure from O to this point, and appl)- less width

of back, less i inch, from A to U on line X, for location of shoulder point, and from
B to same point, and apply same measure, without deduction, on a line the same
distance from X that B is from V on back shoulder.
78 KEY LTNE SYSTEM OF GAliMENT CUTTING.

Draw slope of shoulder through these two points.

Get width of shoulder of fore part as to * * b)- width of shoulder seam of back,
and square down /g of breast as to 13.

Shape shoulder as from 13.

" scye " " 13.

" under arm seam through R R.

Square down from X.
X to 14 is I of breast.

Square out from 14.

C to 1 is i of full breast.

Advance square i*^

of breast, with short arm down, and mark on natural waist
line as at 4; advance or recede this point as case may be.

Draw a line through these two points, forming the Key Line.
4 to 2 is 1^ inches, or allowance for seams.
2 to 3 is ,2 of breast.

End of gorge is jg of breast, from Key Line on line 14.

End of gorge to Z is 1| inches.

Draw a line from Z to 3.
Make lapel desired width.
Finish as represented.

TO PROVE VOUR DRAFT.

On natural waist line mark i] inch back from Key Line this is for fish taken
out; measure your waist, which must be exact to this point if this is correct the
point of Key Line must, on a proportionattf height on line X, be exactly J
of breast
measure from X, allowing for the advancing or receding of balance line from normal,
as explained in foregoing chapters,

SACK COAT.

To draft from actual measurement for Sack Coat, from the following measures:
l()i _8i_29 36 33 3B.
(Sleeve measure is omitted.)
It will be presumed that the ground work of drafting from actual measurement,
which is alike for all forms and styles, is fully understood, and will therefore

proceed from there on. (See fig. 33.)

 KEY LINE SYSTEM OF GARMENT CUTTING.

C to I is 1| inch.
Square halfway across from I.

Y to H is li inches.
Square up from H and down to hne I.

Y to K is 6 of breast.

Square up from K.
K to N is 4 of proportionate tvaist on thirds-

N to L is ,' of breast.

N to M is J "

Balance hne to 8 is g", of breast.

8 to O is J of breast.

Balance line to 7 is 34 of breast.

7 to 9 is I of breast.
D to S is 24 of breast.

D to T is
^
A to U is ;,

U to V is J^

B is halfway between V and N.

Shape back as represented.

Shape side seam reducing a large seam at scye, touching back line at C, then
through O through 9 to bottom.
Balance line to X is J and ^ of breast, and is advanced or receded according to

the size or waist.

W is same distance from X that B is from V.
To obtain the proper location of the shoulder point and height of shoulder, in
all cases and for all forms, mark on natural waist line the proportionate balance point

l less ,2 of breast, and measure from A to this point, and apply less width of back,
less i inch from A to U on line X for location of shoulder point, and from B to

same point, and apply same measure without deduction on line W.

Draw slope of shoulders through these two points. Get width of shoulder of fore

part as to * * by widdi of shoulder seam of back and square down /g of breast as to 13.

Shape shoulder as from 13.

" scye " 13,
" under arm seam.
Square down from X.
X to 14 is i of breast.
 KEY LINE SYSTEM OF GARMENT CUTTING. 81

Square out from 14.

C to 1 is ^ of full breast.

Advance square .^4 of breast with short arm down and mark down on natural

waist, as at 4; advance or recede this point as case may be.

Draw a line through these two points, forming the Key Line.

End of gorge to 10 is | of breast from X on line 14.

Eng of gorge to Z is If inches.
4 to 2 is 1 inch for seams.

2 to 6 is 12 of breast.

Draw a line from Z to 6.

Bottoin of line to 5 on Key Line is .j, of breast.

Draw a line from 11 to o.

Make lapel desired width.

Finish as represented.
TO PROVE VOUR DRAFT.

On natural waist line mark ^ of breast back from Key Line ; this is for under
arm seam; measure your waist, which must be e.xact to this point; when the point

of Key Line must on a proportionate height on line X be exacdy of breast

measure from X, allowing for the advancing or receding of balance line from normal,
according to the form.
It will be noticed that with the exception of the measures produced with the
square, everything else is obtained in the same manner as in the proportionate
pattern. This holds good for the fitting proportions of any garment and makes the
thorough knowledge of how to draft a proportionate pattern absolutely necessary.

THE SLEEVE.

But little more need be said about the sleeve. For any garment made up with
only the usual allowance of wadding on the shoulder, the rules as laid down in

illustrating figure 10 must be closely adhered to. Should the distance from point H
around top of scye to L be greater than A to D of sleeve head, with necessary

allowance, point D on line L must be extended the requisite amount; if shorter,

point D must be shortened; but in no case must the round of sleeve head go below
or above point ^ inch below point of back seam, unless the shoulder is padded
extra; in such cases only judgment can be used as to the exact amount necessary.

lu cutting garments be particular to notch as marked on drafcs, and

see to it that the jour puts notch on notch as intended.
 KEY LINE SYSTEM OF GARMENT CUTTING.

The various styles of the roll of front in s^arments, demand various shapes of
collars. Too little attention, and generall)- to the detrim -nt of the garment, is paid
to this part, and in the following illustrations will be found collars for every style of
roll of front, which if carefully observed will greatly add to the beauty of roll as

well as the perfect fit around the neck.

The first four illustrations are intended for soft and stationary rolls, while the
latter four are for stationary rolls only,

In making up the collar for free roll, it is but natural that the softest and most
pliable canvas be used, and crease line e.xtended only a short distance on either side
of middle of collar, and shaped as little as possible; for the stationary roll a heavier

canvas is desirable, with crease line creased its whole length, and as marked and
shaped according to style of roll required, which means, more for a stationary roll

to waist seam, and less for a coat to roll to first button, as the necessary length from
A to B is produced by drafting for the special style required.

Fig. 34 represents a collar for a coat to roll stationary to waist seam. Mark J, of

breast from shoulder point as C, draw a line through this poin^ and touching at
rounding of gorge; measure length of collar and allow 1| for collar stand; draw
crease line to within h inch from Key Line; make width of collar as desired and
finish as represented.

Fig. So represents a collar intended to roll a litde higher than the former; point

C is here placed ! from shoulder point and balance is proceeded with as in fig. 34.

Collar illustrated by fig. 36 is intended to roll still higher, and we recede from
shoulder point g of breast, and finish as before to obtain the desired result.
Fig. 37 is a collar intended to button a coat at first button, and if free roll will

button to neck, or roll where the fancy of wearer desires. Point C in this case is

6 of breast from shoulder point, and collar needs less shaping than any of the former
on account of the great length from A to B
84 KEY II.XE SYSTEM OF GARMENT CUTTING.

Fio-. 38 represents the turn do vn or so called Prussian collar, intended for

clerical, military and several other styles, where a buttoning to neck is necessary.

Fio-. 39 represents the collar for a full stationary roll to bottom of coat, and is

seldom used except for light weight overcoats, and then only by special demand of
Dame Fashion or the wearer himself.
Fig. 4() is an illustration of shawl collar, the different degrees marked from
shoulder point being intended for the different lengths of roll desired, as described

before.
Fig. 41 gives the correct shape for the stand up collar used in military and
clerical garments. Point C is here I of breast from shoulder point; a straight line

reaching the curve of gorge is drawn; measure length of collar desired, and make
width as required, 1 or Ij inches, without seam, being generally right.

The misplacement of pockets not only makes a garment unsighd)- and inartistic,

but isas well many times a discomfiture to the wearer.

To properl)' locate the pocket for an under coat, lay square, long arm downward,
on line C, even with front of scye, and mark pocket, according to length of coat,

4 to o inches shorter than length of sleeve; advance 1 inch for centre of pocket and
make pocket width consistent with style and size of hand.
To properl)- locate pocket for an over coat proceed as above, making from 3 to 4

inches shorter than length of sleeve.

86 KEY LINE SYSTEM OF GARMENT CUTTING.

PROBABLE ERRORS AND THEIR ALTERATIONS.

The influence of circumstances upon man's mind causes errors to be probable in

anything dealing with animate subjects, still, when the cause and effect of an error
are understood it is no serious matter to correct them.
Except with the greatest carelessness, it is almost impossible, when instructions
are strictly followed on the part of the cutter, to produce an ill-balanced garment,
yet they will sometimes occur, but the reason thereof will appear very plain on
examination of the garment, that either the cutter has forgotten to notch the different
parts or notched them in wrong places, or the jour has not paid attention to them.

If neither of these reasons is the cause, an examination of draft will reveal a wrong
application of balance, which may be righted by altering the draft and re-cutting
part affected.
The ordinary faults of too long back, indicated by a close hugging of the
waist; or the too short back, indicated by a swinging avva)' from the waist, should
they occur through carelessness, can be remedied as follows:
For too long back raise the notch of back ^ inch, or as much as is necessary,
above notch on side-body.
For too short waist drop notch of back j inch, or as much as is necessary,
below notch on side-body.
Both of these errors will make themselves apparent onl)' as described, the coat
at shoulders, in these cases, being all that could be desired.

To remedy these faults b)- lengthening or shortening the shoulder point, as is

too often dono, would mean ruination to the garment, while the simple remedies as
given will insure perfect satisfaction.
 KEY USE SYSTEM OF GARMENT CTTTIXG. 87

CLASSIKICAXION OK KORMS.
Although, commonly speaking, there are but six different types of the human
form, viz.: The normal, the stooping, the erect, the high- shouldered, the low-
shouldered, and corpulent types, their various shapes and degrees of disproportions
form five distinct classes, which may be described as follows:
I. The form with normal waist.
II. " " " small "

III. " " " abnormally small waist.

IV. " " '' large waist.
V. " " " abnormally large waist.
Each type of the human form, except the corpulent type, is subject to these five
distinct classes, and by virtue of the Key Line, which is obtained by the breast and
waist size, we are enabled to give complete and accurate descriptions of each draft
for the five classes of forms, which again forms five classes of drafts, containing in

each class drafts for each form of each type, and are divided as follows:

CLASSES OF DRAFTS.

The draft in which the waist is of such size that shoulder or neck point is

normal.

n.

The draft in which the waist is of such size that waist suppression is enlarged.

The draft in which the waist is of such size that shoulder or neck point is

receded.
 KEY LINE SYSTE}f OF GARMENT CUTTING.

IV.

The draft in which the waist is of such size that shoulder or neck point is

advanced and waist suppression enlarged.

The draft in which the waist is of such size that shoulder or neck point is

receded and waist suppression decreased.

In illustrating the foregoing explanations, we will omit the high and low
shouldered types, as their deviation has nothing to do with the waist size.

The classes of drafts will follow in their regular order, with explanations of
type, and class of form they belong to.

By normal type, in this case, will be understood any form having its balance
line corresponding with the normal or fundamental draft of garment cutting, viz :

of breast less jl, from base line.

By normal waist. Form Class I., will be meant any form with waist corresponding
with table of waist proportions formed by Run of Key Line.
The degrees causing the change of classes are based upon jg of the whole
breast measure, or .J4 as used in drafting.

CLASS I.

Drafts in which waist is of such size that shoulder or neck point is normal.
Fig. 42 represents the normal type, Form Class I., and is simply the normal or
fundamental draft of garment cutting.
 DRAFT CLASS I.

Normal Type, Form Class I.

 KEY LLVE SYSTEM OF GARMENT CUTTING.

Fig. 43 represents the stooping t) pe, Form Class II. The size of the waist of

this form is as much smaller as the distance from balance line, obtained by actual
measurement, is from the balance line of normal form, as indicated by heavy lines

at A.
 DRAFT Ct,AS8 1.

Stooping Type, Form Class II.

&^ KP.Y LWR SYSTEM OF GARMENT CVTTMG.

Fig. 44 represents the erect t)pe, Form Class I\'. The waist is as much larger
as difference between actual and normal balance line, and is very general among
erect forms.
 DRAFT CLASS I.

E^rect Type, Form Class IV.

94 KEY LINK SYSTE^r OF flAIiMENT (IVTTimi.

Drafts in which waist is of such size that waist suppression is enlarg-ed.

Fig-. 45 represents the normal type, Form Class II.

The waist of this form is smaller than the normal form, and is frequentl)' met
with.
 MKAFT CLASS II.

Normal Type, Form Class III.

 KEY LINE SYSTEM OF GARMENT CUTTING.

Fig. 46 represents stooping type, Form Class III., and owing to the great
decrease in size of waist is but seldom met with.
11/
98 KEY LINE SYSTEM OF OMIMEST CUTTING.

Fig. 47 represents erect type, Form Class I. It is a form quite frequently met
with, and owing to its owner generally being well aware of its gracefulness, a cutter

is apt, from eagerness to please his customer, to overdo himself and take out the
extra waist suppression at the wrong place, making an ill-looking as well as ill-fitting

garment.
cl.Jlss hi.

Drafts, in which the waist is of such si/e that shoulder or neck point is receded.
Forms demanding drafts of this class are probably met with more than an)-

other, and as often ill-fitted as any other, owing to the wrong application of the size

of waist.

Until the increase of waist does not e.xceed the allotted .J4
(on draft), do not
attempt to enlarge the waist measure by decreasing the waist suppression at under
arm seam or side body seam, for as sure as this is done, will garment be too large at

breast, if it is buttoned to waist seam, and hang away from waist if unbuttoned.
 DRAFT, CLASS II.

Krect Type, Form Class I.

 KEY LINE SYSTEM OF GARMENT CUTTING.

Fig. 48 represents the normal type, Form Class IV. The size of waist may be
from Ij to If inches larger than normal waist, according to size of breast, and only
added on to front, causing the shoulder or neck point to recede correspondingly.
 DRAFT, CLASS III.

Normal Type, Class IV.

 KEY LIXE SYSTEM OF GARMENT CUTTINO.

Fig. 49 represents the stooping type, Form Class I.

 DKAFT CLASS III.

Stooping Type, Korm Clas^ I.

 KEY LINE SYSTEM OF GARMENT CVTriNC.

Fig'. 50 represents the erect type, Form Class IV. This form is quite frequently
met with, and perhaps more liable to the error described at head of this class than
any other, and consequently deserves careful observation.
ff f.
 KEY LWE SYSTEM OF (JAIl.MEXT CVVriNG.

CLASS IV.

Drafts, in which waist is of such size that shoulder or neck point is advanced
and waist suppression enlarged.
But little need be said in explanation of these forms, as they are but seldom

met with, yet most every cutter can recall a form coming under this class, and the
trouble they caused him.
Fio-. 51 represents the normal type, Form Class III., and is for a form almost

feminine in appearance, or more properly termed the French form.

 DRAFT CLASS IV.
Normal Type, Korni Classs III.
 KEY LINE SYSTEM OF GARMENT CUTTING.

Fig. 52 represents the stooping type, Form Class III, Tliis is rarely if^ever

met with.
 DRAFT CLASJS IV.
Stooping Type, Form Class III.
 KEY LINE SYSTEM OF GARMENT CUTTING.

Fio-. 53 represents the erect type, Form Class III., and maybe termed the high-
breasted or pigeon-breasted form, whose owner will never fail to call }our attention

to it.
'ft /:
 KEY LINE SYSTEM OF OARMENT CVTTINO

Drafts, in which wnist is of such size that shoulder or neck point is 1-eceded and
waist suppression decreased.
Forms requiring drafts of this class are those bordering on corpulency and are
very frequently required. The increase of waist size here is distributed around the

body, 04 being added to the front and balance equally di-vided on each side of side
body; they are generally short, thick-set bodies requiring but little spring over hips.
Fig. 54 represents normal type, Form Class V., is generally a solid man and
knows it.
 DRAFT CLALS V.
Normal Type, Class V.
 KEY LINE .SYSTEM OF GARMENT CUTTING.

Fig. f55 represents the stooping type, Form Class \'. The size of blade
measure in this form is at first sight puzzling, owing to his apparent normal build,

which is explained afterwards by the increase of waist size at back seam of side
body, giving the draft a normal appearance, to correspond with the normal appear-
ance of form.
 DRAFT CLASS V.

Stooping Xype, Form Class V.

 KEY LINE SYSTEAf OF GARMENT CUTTING.

Fig. 56 represents the erect type. Form Class V. When built in or nearly

proportionate height, this form is imposing in appearance, which can be greatly

heightened by a good-fitting garment.
A thorough understanding and familiarity with the different classes of drafts
for their respective classes of form, cannot fail to be of great aid to the cutter; the

reproduction of the form in his mind, from the formation of draft, gives him an
assurance of his work, worth the consideration required to gain the understanding
and familiarity.
 UKAFT CI.AS8 V.
Ereot Type, Korm Class V.
PART IV.
 Part IV.

DIKKERENT STYLES.
For convenience sake but two styles of drafts have been used for illustrating

purposes, as fitting proportions were only taken in consideration.

In the following illustrations of different garments usually worn, these same
proportions up to the seams added to Key Line of garment are given, for although

we may and must change the lines of form according to the dictates of Dame
Fashion to preserve the fit, the proportions must be preserved. Line AB therefore
in the following illustrations will represent seams added to Key Line of draft.
 KEY LINE SYSTEM OF GARMENT (JUTTING.

Solid lines of Fig. 57 represents a sack coat to be buttoned to bottom. From

point 1 on seam line is to be added l^ of breast to 2, and the same from 3 to 6
lapel is 1^ inches.
The inside dotted lines show the cutaway sack, which maybe varied according to
fancy, and for which line to button to bottom may be taken as a guide.
The outside dotted lines give the proper amount for a double breasted under
sack. From point 1 on seam line to 3, add /o of breast and Ij inches; 3 to 7 is the
same; lapel is 2j inches; take out a V at lapel.

These widths may be made w'ider or narrower to suit the fancy of the wearer
or the demand of fashion.
^-^
124 KEY LINE fiY.STEM OF GARMENT CUTTING.

Fig. 58 represents the double-breasted Frock Coat, a garment much in vogue

and handsome in appearance. .}^ of breast is added to seams, which is sHghtly
rounded at top and bottom to almost reach seam line, to enable the wearer to button
without producing wrinkles caused by tightness ; lapel varies in size, and no definite

width can be given.

The skirt is drafted same as the ordinary frock and is squared down from line

C; ;i
of breast is added from E to D, to give proper spring.
126 KEY LINE SYSTEM OF GARMENT CUTTING.

Fig. 59 gives the proper amount for tlie Military Coat.

Square down from C, add ,^e
of breast from seam line, and round slighdy to B;
for front of skirt draw line from B to D.
 Fig. 59

^
128 KEY LINE SYSTEM OF GAHMENT CUTTING.

Fig. 60 illustrates the Full Dress Coat. One seam is added to seam line A B
and gracefully rounded off so that at point B it is reduced ^ inch; lapel is made as
much longer than forepart as the desired width of strap of skirt.

From C to D is ^ of breast.
E to F is ^

Draw a line from D to F and gracefully round the corners.

These variations as given here are not lazvs. Fashion dictates changes to be
observed, and close intimacy with trade journals and a never lagging desire to keep
up with the spirit of the times is the surest way of obtaining a thorough knowledge
of a most important factor in connection with the " Art and Science of Garment
Cutting, that of pleasing vour customer.
Z5s^
ISO KEi LIl^E SYSTEM OF GARMENT CLUING.

OVERCOATS.
S. B. SACK OVERCOAT.

(See Fig. 61.)

The measures for overcoats are the same as for undercoats, but taken over
same.
Obtain the groundwork of draft, as for any other, and proceed as follows:
C to I is 1^ inches.
Square half way across from 1.

Y to H is lA inches.
Square up from H and down to line I.

Y to K^on line C is J of breast.

Square up from K.
K to N is ^ proportionate waist on 3rds and \ inch.
N to L is 16 of breast.

N to M is J
of breast.

Balance line to 8 is ,\ of breast.

Balance line to 9 is ,o of breast.

8 to O is ;i of breast.

9 to 7 is i
D to S is ^
D to T is 1
A to U is J

U to V is .],

B is half way between V and N.

Shape side seam, through O to 7 to bottom.
Balance line to X is i of breast, and is subject to changes according to size of

waist.

To obtain the proper location of the shoulder point and height of shoulder for
overcoats mark on natural waist line the proportionate balance point less ,'3 of
zi-=.
 KEY LINE SYSTEM OF GARMEST CUTTING.

breast, and measure from A to this point and apply less width of back, less i inch

from A to U on line X, for location of shoulder point, and from B to same point,

and apply same measure, without deduction, on line W,

Get width of shoulder of fore part as to * * by width of shoulder seam of back
and square down /g of breast as to 13.

Shape shoulder as froni 13.

" scye " *
13.
" under arm seam.
Square down from X.
X to 14 is \ breast and j inch.
Square out from 14.

C to 1 is ^ of full breast.

Advance square 21 of breast, with short arm down, and mark on natural waist,

as at 4.
Draw line through these two points, forming the Key Line.

End of gorge to A is j of breast and 1 seam.

End of gorge to Z is 3j inches.
5 to 6 on line D is 3 inches.
Draw a line froni Z through (j.

Shape lapel and finish as represented.

For D. B. Sack Overcoat add 1 inch to front all the way down and f inch to
lapel.
D. B. FROCK OVERCOAT.

(Sw Fig. (iL>.)

Take the measures the same as for Frock undercoat, but over same.
Obtain the groundwork of draft as for any other, and proceed as follows:
C to I is li inches.
Square halfway across from I.

Y to H is \h inches
Square up from H and down to line I.

Y to K is e of breast.

Square up' from K.

K to N is 5 of proportionate waist on 3rds and \ inch.

N to L is ig
of breast.

N to M is i
" '
 KEY LINE SYSTEM OF GARMENT CUTTING.

Balance line to 9 is Jj of breast.

" to 10 is ^3

D to S is o'j of breast.

DtoTisJ
9 to O is
^
O to P is
I
R to R is i,

10 to 7 is
^
7 to 8 is ,',

Square up from P.

A to U is J
of breast.

U to V is I
Draw a line from A to S.

Shape back as represented. .

B is halfway between. \' and N.

Shape side seam, touching back line at C, then gracefully through O through <S.

Balance line to X is | of breast and is subject to changes, according to size of

waist.

X to W is same distance as B to V.

To obtain the proper location of the shoulder point and height of shoulder for
overcoats, mark on natural waist line the proportionate balance point, less ,2 of

breast, and measure from A to this point, and apply less width of back, less ^ inch,
from A to U on line X, for location of shoulder point, and from B to same point,
and apply same measure, without deduction, on line W.
Draw slope of shoulder through these two points.
Get width of shoulder of fore part as to * * by width of shoulder seam of
back, and square down /^ of breast as to 13.

Shape shoulder as from 13.

" scye " " 13.
" under arm seam through R R.
Square down from X.
X to 14 is ^ of breast and ] inch.

Square out from 14.

C to 1 is ^ of full breast.
Advance square i^ of breast, with short arm down, and mark on natural waist
line as at 4; draw a line through these two points for Key Line.
 KEY LINE SYSTEM OF GARMENT (JUTTING.

End of gorge to A is ', of breast from X and 1 seam.

1 to 2 is allowance for seams.
4 to 3 is same.
Add a'l
of breast and curve in very slightly at bottom.
Make lapel to fancy or st)le.

Draft skirt same as for double-breasted frock and shape as represented.

The closing lines of article on Different Styles should always be carefully con-
sidered in drafting' overcoats, and it is not to be supposed that the dimensions given
from line A B are definite, an)- more than anything else subject to changes in style

and finish.
PART V.
 Part V.
TTTT

THE VEST.
The measures necessary for vest are

Depth of scye. Waist.

Width of blade. Length of opening, and
Breast. Full lenirth.

In determining size of waist, by Key Line, use Sack Coat measure.

 KEY LINE SYSTEM OF GARMENT CUTTING.

TO DRAFT PROPORTIONATE ^EST.

(See Fig. 63.)

Square lines AAA.

A to C i ^ of natural waist (skin measure.)
A to D is 1

Square across from C D.

C to I is Ij inch.
C to Y is 3 of breast less ,o.

Square up and down from Y.

This constitutes the balance line.

Square out halfway from I.

Y to H is li inches.
Square up from H and down to line I.

Y to K is B of breast.

Square up from K.
K to N is
I of proportionate waist on 3rds.
A to U is J of breast.
U to V is I
Draw a line from V to N. B is halfway between these points.
Balance line to X is j of breast.
X to W is same as B to V.
Obtain shoulder point and height of shoulder same as for coat.
X to 13 is ^ of breast less ', or any desired width.
Y to M is same as X to 13.

.Shape scye as from 13 to F.

" " " M to G, ^ inch below point F.
D to S is ^ of breast.
Draw a line from A to S.

S to T is 24 of breast.

Shape from C on line A S to T,

S to R is J of breast.
R to P is I'e

C to 1 is i of full breast.

Advance square, with short arm down, ^ of breast and mark as at 4 on natural
waist line.
 KEY LINE SYSTEM OF GARMEXT CUTTING.

Draw a line through 1 and 4, for Key Line.

1 to 2 is 1 inch and /g of breast for button stand.
3 to 4 is 2^ inch less than 1 to 2.

Add J inch for collar stand.

Get length of opening and full length on Key Line and finish as represented.

TO DRAFT VEST FROM COAT PATTERN.

Most cutters are aware that a good many bad-fitting vests are worn, or else had
to undergo alterations before customers would wear them.
This arises from the fact that a great many vests are cut from a bloc < and the
necessary changes guessed at, with bad results.
This can be prevented by drafting vest directly from coat pattern and afterwards
tracing it out. This must produce a fit like the coat and requires no more time than
looking for a block of the size, guessing at its changes and afterwards making the
alterations.

TO DRAFT VEST FROM SACK COAT PATTERN.

(See Fig. 64.)

S to T is 24 of breast.

S to R is i
R to P is same amount as that taken out in coat between back and side seams.
A to 1 is 1 inch for seams and /g of breast.

B to 2 is ^ inch less than A to 1.

Add f inch for collar stand.

Get length of opening and full length on Key Line of coat

Reduce width of shoulders, front and back, as desired.

Shape scye, making back scye | inch lower than front scye, to give necessary
length over blade.
Finish as represented.
 KEY LINE SYSTEM OF GARMENT CUTTING.

TO DRAFT VEST FROM FROCK COAT PATTERN.

(See Fig. 65.)

Advance shoulder point f inch and recede Key Line at natural waist f inch;
this is done to offset the V taken out at waist in Frock Coats.
Draw through points 1 and 2 for Key Line of vest.

S to T is 2A of breast.

S to R is i
R to P is amount taken out between back and side body.

1 to A is l.inch for seams and /^ of breast.

2 to B is
I inch less than 1 to A.
Reduce shouldersfront and back to desired width.

Shape scye making back scye ^ inch lower than front scye, to give necessary

length over blade.

Get length of opening and full length on Key Line of vest, add | inch for
collar stand, and finish as represented.
146 KEY LINE SYSTEM OF GARMENT CUTTING.

VEST COLLARS.

There are two ways of putting on vest collars and both being in vogue, we
deem it but proper to explain both as there is a slight variation between them.
To draft vest collar as in fig. 66, the gorge of vest must be hollowed a little

more than in draft of proportionate vest, as crease line of collar forms the shape of
opening.
The stand of collar should be 4 inches, including seam; turn of collar may be
made to suit the artistic fancy of cutter. An examination of draft makes any
explanation further unnecessary.
The shape of collar notched or round is entirely optional with wearer or
dictated by Dame Fashion.
In fig. 67 the stand of collar is added to shoulder point, and from this point the

desired curve of opening is given, as the collar is cut so as to be laid on flat to

correspond with this opening, and, as in the former, the shape is dependent on
circumstances.
PART VI.
 Part VL

TROUSERS.
The measures for trousers consist of-

Inside seam. Bottom.

Outside seam to knee. Waist.
Knee width. Seat.

To take these measures properly, ask your customer to draw his trousers well
up; place end of tape close in crotch and measure to heel of shoe. For the outside
seam, place measure exactly over hip, measure to knee-cap and to bottom, same as
for inside seam. Next measure width of knee and bottom as desired, and then
waist right above hips, and seat over the most prominent part.
The balance line for trousers is ^ less 24 of proportionate thigh measure at
bottom, and 3 less .J,
of seat measure on seat line; and front line of waist is added
or receded from the proportionate waist to seat, as per following table.

SEAT.
152 KEY LINE SYSTEM OF GARMEXT CUTTING.

TO DRAFT FOREPART.

(See Fig. 68.)

Draw lines A. A A.
A to C is length to knee and 4 inch.
"
A to D is outside length " \

"
B to D is inside " \
"

Square out from BCD.

D to E is 3 less 04 of proportionate thigh.

B to F is 3 less g, of proportionate seat.

Draw a line from E to F.

Square up from F.
B to G is ^ seat.
G to H is I seat.

H to I is 8 inch.

J to K is desired width of forepart equally divided on each side of line E.

Draw a line from I to K.
Draw a line from B to J.

A to L is 12 of seat.

Square up from G; this gives 4 of proportionate waist from L to M.

If waist size desired is larger than proportionate waist add 5 of this amount to

M, but not to exceed ^ of seat; if more is required add from L, and if not yet

sufficient add to back part, as will be explained.

If extended from M, draw a line from M to G and form to I; add \ inch for

dress from M and form to H, which finishes forepart.

TO DRAFT HACK PART.

(See Fig. 68.)

Extend lines ABC and D.

1 to 2 is ]2 of seat.

Square up from 2,

2 to 3 is 6 of seat.

Draw a line from 3 to G.

X to 4 is of seat less J.

4 to 5 is 1 inch.
 154 KEY LINE SYSTEM OF GARMENT CUTTING.

B to 6 is 1| inch.
7 to 8 is ^ knee and ^ inch.
9 to 10 is
I knee and | inch.
J to 12 I of bottom and ^ inch.
is

K to 13 is h " " i "

I to N is 8 of seat.
G to P is 8 of seat.
Curve Hne from P to N, as
seat represented.
Draw a line from 3 to 5.
Make V /, of seat less ^ inch.
Shape from o through 6, through 10 to bottom.
Shape from N through 8 to bottom, curving in from knee to give desired spring
to bottom, according to style.

TIGHT TROUSERS.

The only change necessary for tight trousers is at knee.

Should width of forepart at knee, when drafted as per foregoing, exceed the
desired width, mark half of size required on either side of balance line and proceed
as usual.

CORPULENT TROUSERS

(See Fig. 09.)

Corpulency in trousers has reference only to an abnormally developed waist, all

other points being undisturbed, and we therefore consider it only necessary to explain
the part affected.
Draft trousers as in usual drafts; ascertain the difference between proportionate
waist size and size required; use one-half of this.

Add 2*4 of seat from M, .j^ of seat from L. i^ of seat on back part at o, and all

required above this add to the J^ from M.

Raise forepart from L to 2^4 for moderate corpulency ^ of seat; for extreme, 13 of
seat add enough to 6 to make a graceful line from ^ added to 5, and finish as in

proportionate trousers.
 KEY LINE SYSTEM OF GARMENT CUTTING.

KNOCK-KNEED TROUSERS.

(See Fig. 70.)

To correctly draft trousers for a knock-kneed form, we follow 1 1 1 i ini iiiuijjjjji^

from the normal form, by causing the balance line to bend inward to as much as ^ of

seat, and making lines on either side correspond with them, same as in normal draft
(see fig. 70) ; tbe dotted lines represent the normal draft, the solid lines the change
necessary for a knock-kneed form.

BOW-LEGGED TROUSERS.

(See Fig. 71.)

This form is just the reverse from that just described and must consequently be
treated just the reverse; where in the former the balance line is changed inward, in

this case it is changed outward and further proceeded with as in normal draft. In

fig. 71, illustrating bow-legged trousers, dotted lines are for normal form; solid lines,

the changes required.

 INDEX.

PAGE
I'eekace 3 The Sleeve 81
Collars 82
TART I.
Pockets 84
Tahle of Phoportions 4 Probable Errors and their Alteration 86
The Foundation 7 Classification of Forms 87
The Law of Balance 10

The Normal Form 12

PART IV.

The Key Line op Gakmext Ci'tting 14 DIFFERENT styles-

Proportioxvte Drafts Frock Coats 21 Sack Coats 122
Proportionate Drafts Sack Coats 26 Double-Breasted Frock 124
The Sleeve 1.'9
Military Coat 126
Full Dre.ss Coat 128
PART IL
Sack Overcoat 130
DISPROPORTIONATE FORMS Frock Overcoat 132
The Key Line in Dispropurtioxatk Forms 35
The Sroop.-Nti Form 36
PART V.

The Erect Form 42 THE VEST.

The High-Shouldered Form 48 The Measure , . . . 139
The Low-Shoildered Form 52 Proportionate Vest 140
The Corpulent Form 56 To Draft Vest from Sack Coat Pattern 142
Balance of Disproportionate Drafts 04 To Draft Vest from Fuock Coat Pattern.... 144
Vest Collars 146
PART III-

ACTUAL MEASUREMENT. PART VI.

The Measures 6!) TROUSERS

To Draft from Actual Measurement Frock The Measures ] 61
Coat 74 PpopoRTioNATE Trousers 151
To Prove Draft 78 Tight Trousers 154
To Draft from Actual Measurement Sack Corpulent Trousers 164
Coat 78 Knock-Knebd Trousers 1.56

To Prove Draft 81 Bow-Legged Trousers 1 56