DOWNLOAD PDF THE AMERICAN METRICAL SYSTEM FOR CUTTING LADIES AND CHILDRENS DRESSES AND ALL CLOSE FITTING GARMENTS

Transcription

1 Chapter 1 : Browse subject: Dressmaking -- Pattern design The Online Books Page The American metrical system for cutting ladies' and children's dresses and all close fitting garments [Steubenville O. [from Carman & Blaney] on blog.quintoapp.com *FREE* shipping on qualifying offers. This is a reproduction of a book published before Savile Row Early Tailoring Manuals Because tailoring was taught by traditional apprentice-ships, skills were passed on from master to apprentice without the need for written manuals. The most skilled aspect of the trade was cutting out garments from the bolt of cloth. These markings would probably have been based on a master pattern. The earliest tailors used cloth patterns because paper and parchment were too expensive at this period. Paper patterns became widespread and commercially available in the nineteenth century. The earliest known tailoring manuals are Spanish. These books illustrate ways of drawing patterns to use fabric in the most economical manner, but have no information on technique. The typical workshop had a master tailor, who dealt directly with the client and cut out garments. There might be several cutters in a large establishment and they were at the top of the tailoring hierarchy, for cutting out was the most skilled part of the trade. Under them other journeymen tailors were responsible for a variety of activities, including padding and sewing in interlinings, pockets, and the difficult task of assembling the sleeve and turning the collar, as well as manipulating the heavy shaping iron called a goose. Apprentices were usually responsible for running errands and sweeping up scraps of fabric before being taught basic sewing skills. When sewing machines were introduced, machinists, who might be women, were also added to the workshop floor. The tailors who sewed the garment together sat on a workbench near natural light with legs crossed, hunched over their work. A spirit of competition and enterprise marked the first half of the nineteenth century, when tailors patented a multitude of inventions, manuals, systems of measurement, and fashion journals aimed at the man-about-town and his tailor. The finest tailoring combined the principles of science and art to produce clothing that was both engineered and sculptural. Measurement Systems of measurement changed radically during the history of tailoring. Tailors have always had the difficult task of creating three-dimensional garments for asymmetrical and highly varied body shapes. Unlike static sculpture, garments also had to allow the wearer to move freely and gracefully during their daily pursuits. Early tailors developed complex systems for measuring the bodies of their clients. In his tailoring manual of, de Garsault illustrated the strip of paper he used for taking measure. His system involved cutting notches in the strip to measure the breadth of the back and the length of the arm to the elbow. The modern tape measure was introduced in about In Britain, cloth had been accurately measured in ells short for elbows, but the body was not quantified in units. In post-revolutionary France the metric system was used to measure the body, whereas British tailors favored inches. The tape measure was soon joined by a compass, ruler, and tracing paper to produce elaborate geometric systems used throughout the nineteenth century. These mathematical patterns could be produced in scaled sizes and were designed around the more abstract idea of a bodily norm or average. Entrepreneurs who used them to produce ready-made clothing in standardized sizes gratefully appropriated systems designed to ensure a more accurate fit. One is no longer a client, one is a size eighty! A hundred vestimentary factories are leading us toward the absolute and indifferent uniform. The basic requirements of the trade included shelving for the display of cloth bales, a counter where swatches could be consulted, a space where the client could be measured, a fitting room with mirrors, a sturdy table for cutting out, and possibly blocks for saddles to fit riding clothes properly. Fashion prints were also hung as decoration or shown to clients as models. The shop might or might not include a space for workshops. More prestigious firms made garments on the premises while "jobbing" tailors sent bundles of pieces to outworkers, often women, who would assemble the garments at home or in sweatshops. In the twentieth century many tailors kept traditional interiors, though some, like Simpsons of Piccadilly and Page 1

2 Austin Reed innovated with modern, Art Deco, or Bauhaus styles and included amenities such as barbershops. In the middle of the nineteenth century, the tailor was joined by hosiers, who specialized in high-end accessories and outfitters, whose trade was based on made-to-measure shirts, but who also sold suits, coats, hats, boots, and all manner of accessories. Their shop window displays tended to emphasize orderliness and neatness to appeal to the male customer. However, tailoring spanned the whole class spectrum, from tailors with royal warrants to immigrants working in the warehouses of the East End. One of the most important shifts in Savile Row tailoring was the transition from a more traditional client base of British gentry and aristocracy to a more international, clientele including American financiers and eventually Hollywood celebrities. Though Savile Row rose to prominence in the late eighteenth century, dressing such figures as the Prince Regent and dandy Beau Brummel, in the twentieth it created the movie wardrobes of Fred Astaire, Cary Grant, and Roger Moore. Though many American stars sought the cachet of Savile Row, there were very talented tailors in the United States. In Harlem, the exaggerated shapes and bright colors of the zoot suit were launched by stylish young black men in the mids. When the War Production Board tried to curtail this "antipatriotic" tailoring because of wool rationing in, race riots ensued. In Britain, there was a brief revival in elegant Edwardian tailoring after World War II, when so-called Teddy Boys-working-class men who spent large sums on their wardrobes-adopted it. One of the most important figures in the rejuvenation of menswear was the celebrity tailor Tommy Nutter. He created unique suits for both men and women, including suits for the Beatles, Mick and Bianca Jagger, and Twiggy. In the s, Italian tailoring began to receive more attention on the international fashion scene. With their "unstructured" suits, designers such as Giorgio Armani catered to a desire for more informal, lighter weight garments for both men and women. At the turn of the millennium, the Italian tailoring firm Brioni dressed the British movie icon James Bond, played by the actor Pierce Brosnan. In Britain, a new generation of designers combine the flawless cut and construction of traditional tailoring with the flair of haute couture. Ozwald Boateng is an Anglo-Ghanian whose work displays a dazzling sense of color and who prefers to describe his work as "bespoke couture. Though it represents a very small part of the contemporary menswear market, custom tailoring still has pride of place in the wardrobe of the sharply dressed man. Whether it applies to computer software or kitchens, the expression "tailor-made" still carries positive connotations of individualized, customized service. In the clothing trade, as long as the suit remains the classic form of formal attire, tailors will elegantly dress their clients. These may include men whose bodies may not fit the norms of the ready-made clothing industry, as well as royalty, businesspeople, or celebrities who turn to the tailor for a classic or innovative suit of clothing made to their precise measure. Page 2

3 Chapter 2 : Tailoring LoveToKnow The American Metrical System for Cutting Ladies' and Children's Dresses and All Close Fitting Garments [Steubenville O Carman & Blaney] on blog.quintoapp.com *FREE* shipping on qualifying offers. Ancient Egypt Modern knowledge of ancient Egyptian dress derives from the ample evidence to be seen in the wealth of wall and sarcophagus paintings, in sculpture, and in ceramics; few actual garments have survived. Such illustrative material is depicted clearly and colourfully, but care must be taken in interpreting the designs too literally, partly because the art is frequently stylized but also because the artists were bound by tradition and their representation of dress often lagged far behind the actual changes of fashion. The chief textile to have been preserved is linen, which has been found in graves from the Neolithic Period. The growing of flax, from which linen is made, dates from very early times; the Egyptians believed that the gods were clothed in linen before they came to earth. Wool was more rarely employed, and sericulture, the raising of silkworms, had not yet extended as far west as Egypt. The technique of using mordants, any of several chemicals used to bind dyes to cloth, was slow to come to Egypt, so most garments were white. Instead, colour was provided by jewelry, in which semiprecious stones were widely incorporated. Among the most common types, the characteristic deep, decorative collar, worn by both sexes, was introduced early. These brightly hued bands were made of embroidered and beaded materials and set around the neck and shoulders either on bare skin or on top of a white cape or gown. In some depictions the collar is clearly the major, if not the only, item of apparel worn. Egyptian statuette with angular harp, painted wood, Late Period â bce ; in the British Museum, London. Courtesy of the trustees of the British Museum, London; photograph, J. During the most distant era, dress for both sexes was confined to loincloths, a vest or shirt, capes, and robes. Skins of various animals were utilized. These were sometimes simply raw hides, which have survived only rarely, but the Egyptians became skilled at curing the skins to become leather by the tawing methodâ that is, by the use of alum or salt. Tawing yields a white, stiff leather that may be dyed various colours. Later they adopted the tanning method, employing oak galls for the purpose. Leather was used widely in dress for footwear, belts, and straps. During the 3, years of the ancient Egyptian culture, costume changed comparatively little and very slowly. It generally emphasized a draped style of dress, the garments consisting of pieces of material held in place around the body by knots tied in the fabric and by belts, sashes, and collars. Little sewing was needed, being confined generally to side seams and, in later years, to armholes. This draped type of dress conformed to that of other civilizations in the Mediterranean and Middle Eastern region, such as Greece, Rome, and Mesopotamia, but differed from the styles of Persia, northern India, and China, where people wore more fitted, sewn garments based upon coats, tunics, and trousers. Over the years the style of these garments slowly evolved and became more complex; a greater number were worn either in combination with or on top of one another. During the Old Kingdom its capital at Memphis, which lasted until about bce, dress was simple. Men wore a short skirt tied at the waist or held there by a belt. As time passed, the skirt became pleated or gathered. Important people wore in addition a decorative coloured pendant hanging in front from the waist belt and a shoulder cape or corselet partly covering their bare torso. A sheathlike gown was typical of feminine attire. This encased the body from the ankles to just below the breasts and was held up by decorative shoulder straps. Woolen cloaks were worn for warmth by men and women. Woman wearing sheathlike gown held up by shoulder straps, typical of Egyptian dress of the Old and Middle Kingdoms. In the Egyptian Museum, Cairo. More material was now used, making the garment fuller, such fullness being concentrated in the centre front; and the pendants became more elaborate and ornamental. A cape might be draped around the shoulders and knotted on the chest. Late in the period a double skirt was introduced; alternatively, a triangular loincloth might be worn under a skirt. Egyptian dress of the New Kingdom, 18th Page 3

4 dynasty. King Tutankhamen wearing a double skirt, long and full, with the upper one doubled and gathered in front; Queen Ankhesenamen in a draped robe tied at the breast and leaving the right arm free. Detail from the back of the throne of Tutankhamen reigned â 23 bce ; in the Egyptian Museum, Cairo. Hirmer Fotoarchiv, Munich The most elaborate dress for both sexes was to be seen under the New Kingdom from about bce until the Egyptians were conquered by the Assyrians bce, the Persians bce, Alexander the Great bce, and finally Rome 30 bce. During these later years Egyptian dress was strongly influenced by that of the conquerors. New Kingdom dress was more complex than theretofore. The garments were of similar type but were composed of larger pieces of material; draping became more complicated and ornamentation richer. A robe or gown was now worn by important persons of both sexes. It consisted of a piece of fabric measuring 5 by 4 feet 1. There were many ways of draping the material, but with most methods all the pleats and folds seemed to be gathered around a single point at the waist. The cape, decorative collar, skirt, and pendant girdle also continued to be worn. Foci of bright colour were provided by the deep collar and pendant apron. Embroidered and carved ornamental motifs included especially the lotus flower, the papyrus bundle, birds in flight, and many geometric forms. Sacred emblems such as the scarab beetle and the asp were worn by priests and royalty. Children were dressed, as in most of the history of costume everywhere, as miniature versions of their parents, although they are often depicted wearing little at allâ not surprising considering the climate of Egypt. Servants also were almost naked, as were labourers in the fields, who are depicted clad only in a loincloth. Heavy wigs or a padding of false hair, worn by men and women alike, are known from an early period. Semicircular kerchiefs, tied by the corners at the nape of the neck under the hair, were sometimes worn to protect the wig on a dusty day. Wigs were dressed in many different ways, each characteristic of a given period; generally speaking, the hair became longer and the arrangement of curls and braidsâ set with beeswax â more complicated as time went on. The earliest records indicate that Egyptian men grew hair on their chins. They might frizz, dye, or use henna on this beard, and sometimes they plaited it with interwoven gold thread. Later, a metal false beard, or postiche, which was a sign of sovereignty, was worn by royalty. This was held in place by a ribbon tied over the head and attached to a gold chin strap, a fashion existing from about to bce. Many people went barefoot, especially indoors, but people of rank are depicted outdoors in sandals made from palm leaves, papyrus, or leather. Cosmetics were extensively applied by both sexes, and considerable knowledge of their use is available because of the Egyptian custom of burying comforts and luxuries with the dead. Examples of the cosmetics used and of the means of making, applying, and keeping them may be seen in museums, especially in Cairo and London. The Egyptians applied rouge to their cheeks, red ointment to their lips, and henna to their nails and feet, and ladies traced the veins on their temples and breasts with blue paint, tipping their nipples with gold. The chief focus of makeup was the eye, where a green eye shadow made from powdered malachite and a black or gray eyeliner was applied; the latter substance, called kohl, was manufactured from, among other materials, powdered antimony, carbon, and oxide of copper. Mesopotamia Ancient Mesopotamia was situated in the area of land that is defined by the great Tigris and Euphrates river system and that is contained within modern Iraq. Several important cultures arose there, their empires waxing and waning successively as well as overlapping in time. Among the most prominent were the empires of Sumer, Akkad, Assyria, and Babylonia. Alabaster head of a man wearing a turban, from Adab, Akkadian period, c. In early times both sexes wore sheepskin skirts with the skin turned inside and the wool combed into decorative tufts. These wraparound skirts were pinned in place and extended from the waist to the knees or, for more important persons, to the ankles. The upper part of the torso was bare or clothed by another sheepskin cloaking the shoulders. From about bce a woven woolen fabric replaced the sheepskin, but the tufted effect was retained, either by sewing tufts onto the garment or by weaving loops into the fabric. Named kaunakes by the Greeks, this tufted fabric is shown in all the sculptures and mosaics of the period, as, for example, in the art from the excavations at Ur exhibited in the British Museum in London. At this time, Page 4

5 also, long cloaks were worn, and materials for garments and head coverings included felted wool and leather. Metalworking was of a high standard, as may be seen in the elaborate golden jewelry, which was encrusted with semiprecious stones and worn by both sexes. Brooches, earrings, hair ornaments, and neck chains have all been found. A different style of dress is evident in Mesopotamian sculptures dating after about bce. Both men and women were clothed in a large piece of materialâ most commonly of wool, though later also of linenâ draped around the body over a skirt. This garment, similar to a shawl, was characteristically edged with tassels or fringe. The draping varied, but, for men at least, the fabric was arranged so that the fullness was at the rear, leaving the right, or sword, arm free. This newer form of dress had originated from farther north and east and was adopted by the Semitic people of Akkad under Sargon the dynasty founded by Sargon lasted from c. The dress worn in Mesopotamia by the Babylonians â bce and the Assyrians â bce evolved into a more sophisticated version of Sumerian and Akkadian styles. Ample evidence of this more elaborate draped costume can be seen in the large relief sculptures of the age. There were two basic garments for both sexes: The knee- or ankle-length tunic had short sleeves and a round neckline. Over it were draped one or more shawls of differing proportions and sizes but all generally fringed or tasseled. Broad belts held the shawls in position. Wool was the most frequently used material, in bright or strong colours. Decoration was rich, in allover patterns or in borders, carried out in embroidery or by printing. Motifs were chiefly geometric. Women wore a short skirt as underwear, men a loincloth. Footwear for both sexes was made from fabric or soft leather in the form of sandals or boots. Care of the coiffure was very important for men and women among both the Assyrians and the Babylonians. The hair was grown long and carefully curled and ringleted, with false hair added if needed. Perfumes, oils, and black dye were used on the hair. Men grew long, carefully tended curled beards. A band of metal or fabric encircled the brow, or a woolen, felt, or leather cap shaped like a fez was worn. The royal headdress resembled a pleated crown or a mitre and had dependent lappets at the rear. Jeweled ornamentation to the costume was rich and heavy and of high quality. Minoan and Mycenaean dress The Aegean regionâ and in particular the island of Crete, which was inhabited from about bceâ can be considered the cradle of western European culture. Page 5

6 Chapter 3 : Please title this page. (Page 1) The American metrical system for cutting ladies' and children's dresses and all close fitting garments Item Preview. Shoes Overview People in most cultures wear clothes and have been wearing them for the past, years, according to many researchers. Some clothes are designed exclusively for men or only for women, but some are unisex â they could be worn by both sexes. The former have flowing soft lines, bright colors, and cascading fabrics. The latter have sharper straight lines and angles, to put greater emphasis on masculine features of the human figure such as the shoulders or even the crotch area. For example, between the fourteenth and the sixteenth centuries, it was fashionable to wear a codpiece pictured â a special pouch originally meant to protect but later â to emphasize the genital area. It was usually a special element of the design of pants. It is still worn in some subcultures, for example by rock musicians or as part of leather fashion or fetish fashion. Similar items exist in other cultures, for example, kotekas or nambas â genital sheaths worn by men in ethnic communities in New Guinea and Vanuatu respectively. Dance belts worn by ballet dancers under tights for support and protection during vigorous exercise also emphasize the genital area. However, unlike the codpieces, they are meant to conceal the shape. Men wearing kilts at a wedding. Thorold, Ontario Some articles of clothes, like skirts and dresses, are generally associated with women but can be worn by men in some cultures. Scottish kilts pictured, Greek fustanellas, Middle Eastern kaftans, and sarongs in South East Asia are some examples of such clothes. Earlier clothes were often loose and could be made more form-fitting by using special folds of the fabric, ties, and belts, such as the togas in Ancient Rome. Clothes during the Middle Ages, especially those of the less wealthy men, often consisted of wide pants, usually held on the waist with a cord, and a robe, similar to a short dress, tied with a belt. While sizes mattered for women of lower classes, they were not a great concern for the men until recently. Cravat For the upper classes, much of the clothes were initially made based on individual measurements, either at home or by a tailor. Even the military uniforms were made this way until the s. Before the Industrial Revolution, it was not easy to mass-produce clothes, and there was no need for having a standardized size system. During the American Civil War, there was a great demand for making uniforms. It was not logistically feasible to produce custom-made uniforms fast, therefore manufacturers began standardizing the sizes. The chest circumference was taken as a base measure. Tailors found that for most men the measures for the thighs, hips, neck, and waist were proportional to the chest measurements. Uniforms in standard sizes that did not fit the soldiers were altered. The standardization of sizes was not the only thing affected by the military influence. A notable example of this includes the popularity of cravats pictured, borrowed from the Croatian mercenaries, who were enlisted to serve in the French army. Civilian trench coats were also modeled after a similar garment with the same name, worn in the British Army and later adopted by the armies across Europe during the Second World War. Osaka, Japan Throughout history, great investment of men in their looks and in being fashionable gained and lost popularity numerous times. Some of the fashion movements were not accepted by the majority of the population and were ridiculed, for example, the tastes of the macaroni. Macaroni were young men in the seventeenth century, who have recently returned from their travels, usually from the Grand Tour of Europe, a symbolic trip undertaken as part of their education. They adopted some of the European fashion trends and wore accessories and dress, judged to be excessive and extravagant by English standards at the time. They completed their look with high wigs and small hats on top of the wig, earning many jokes. Macaroni were followed by dandies in the eighteenth and nineteenth centuries, who were also initially ridiculed, but eventually accepted. Dandies were concerned not only with fashion but with a lifestyle of luxury. From the seventeenth century onwards the word fop also refers to men considered with fashion; some men can still earn this title in modern days. Metrosexuals are men concerned with fashion more so than the general public. They Page 6

7 usually live in or near a metropolis, wear well-fitting and fashionable clothes, and follow skin and hair care routines. Often these men, from macaroni to metrosexuals are considered by many to be effeminate. Some associate high regard for fashion with homosexuality, although often the men themselves who like following fashion trends may or may not be homosexual and do not consider fashion and sexual orientation to be related. Manhattan, New York These days some men choose to make fashion statements in a variety of ways, from adding unusual items to their outfit to wearing clothes of fashion-oriented subcultures, like Goth or steampunk. Often this fashion can be seen in special areas of the city, the subculture "hangout" places, such as Queen Street in Toronto, or at conventions. Sometimes, people wear these clothes outside of such areas, like the steampunk gentleman in Manhattan on the photograph. Therefore women put far greater emphasis on choosing clothes than do men. This is similar to the plus size for women. It is especially problematic with sizes for pants where the waist circumference in inches used to correspond to the size number, but in the past years, larger waist sizes correspond to smaller size numbers. These sizes are sometimes different across retailers, and not all manufacturers use vanity sizing. Suits consist of two or three pieces made from the same material, but the earlier formal clothes for men often had the jacket and the pants or breeches made from different materials. Until recently waistcoats were also a mandatory article, and hats were commonly worn outside. The length of the jackets gradually shortened. Until the early nineteenth century men wore colorful clothes with many adornments, but since then the style became more subdued. Often the clothes that are now considered formal wear, such as tuxedos, started as informal clothes only acceptable for small gatherings. Suit sizes are based on the chest measurement. The calculations below are for the US and Australian sizes, measured in inches. To measure the chest, a tape measure is placed under the armpits, parallel to the floor, covering the widest part of the chest. Adding half an inch and rounding up this value to the nearest even integer will provide some breathing and moving space. This measure generally corresponds to the suit size number. Alternatively, for large or muscular men it may be more accurate to measure the chest not under the arms but over them, also at the fullest part. To take this measurement one would hold the arms down close to the torso, and measure the largest circumference as if the arms were part of the torso. Rounding the value up and subtracting 6 or 7 inches would give the jacket size. Italian, French, and Japanese suit sizes are the chest measurement in centimeters, divided in half. This is close to the sizes but this method should be used for rough calculations before going into the store, not for online shopping. Sources differ and vanity sizing affects the size calculations for different manufacturers, but generally, the method above is not accurate for online shopping. For buying online it is paramount to take your measurements accurately and compare them to the charts provided by the seller, to ensure the correct size. If such a chart is unavailable, it is a good idea to ask the seller to provide measurements for the garment they are selling. Suit jackets can also be bought by length, in addition to chest size: When trying on a suit it is important to check whether it fits well. Below are the signs that it fits. The shoulder pads should end at the actual shoulder, not before or after. When the suit is buttoned it should be loose enough to allow a hand to be inserted comfortably under the fabric, in the chest area. If more than a hand fits there, then the suit is too big. When the arms are relaxed in a natural position, the sleeves should reach the base of the thumb, at the joint, connecting the thumb to the wrist. The shirt should not be completely covered by the jacket sleeves; one or two centimeters should be in sight. Shirts and Tops In many countries, tops such as T-shirts and active wear are often sold in S to XL sizes, which are based on the chest measurement. For the US sizes chest circumference measurements vary by brand, but are approximately as follows: XS â 32 inches 81 cm ; S â for 34â 37 inches 86â 94 cm ; M â for 38â 40 inches 97â cm ; L â for 41â 44 inches â cm, this often varies by brand ; XL â for 45â 48 inches â cm, this often varies by brand ; 2XL â for 49â 52 inches â cm, this often varies by brand. Dress shirts are measured more precisely. Below are the calculations in inches for the US and Australian sizes. Dress shirts are sized according to the neck and sleeve measurements combination. To find the neck size one measures the Page 7

8 neck circumference, adding half an inch, and then rounding the number up to the nearest full or half size. For example, if the measurement is Rounding up is done instead of rounding to make sure that the collar is not too tight. Measuring the sleeve may be difficult to do accurately alone, so it is often recommended to ask a friend for help. The sleeve is measured from the nape to the wrist, with the tape measure traveling through the top of the shoulder. The arm is usually bent at the elbow, it may be comfortable to place the hand on the waist or hip for this. To give some extra room for comfort, one inch is usually added, and the value is then rounded up to the closest even number. For example, if the number is While American sizes are in inches, Italian, French, and Japanese sizes are their approximated equivalent in centimeters. A man and a woman wearing hakama pants. In early history, there was little need for pants so men wore robes and skirts. Once people started riding horses, they needed a garment that protected them from the elements but at the same time was comfortable to wear while riding, so pants were invented. They took different forms, from very wide pleated skirt-like hakama pants worn in Japan pictured to the tight leather pants worn by members of the leather subculture. Some forgo pants altogether pictured. The size for pants, also called trousers is based on two measurements: If the legs are bent during measurement, the results may not be accurate, so it is a good idea to ask a friend for help. Both of these measurements are rounded up to the nearest integer. Alternatively one can measure a pair of pants that fits comfortably. Generally, these values would be shown on the size tag, but due to vanity sizing, some brands show a lower number for the waist circumference than the actual measurements. Country-Specific Sizes The range of sizes for pants, jackets, and shirts often varies in different countries. For example, while pants are measured by waist and length, expatriate men from North America and Europe may have difficulty in finding well-fitting pants because of the larger thigh circumference. Page 8

9 Chapter 4 : Download & Streaming : dason Favorites : Internet Archive The American metrical system for cutting ladies' and children's dresses and all close fitting garments. An adjustable instrument and perfected method for draughting, cutting, and fitting dresses and all inside and outside garments Instruction book Instruction book for the standard tailor system.. Brown system," simplified and improved; directions for its use The scientific system of dress cutting Simplified directions for using L. YES, you can print a single page or the entire book. Can I adjust the page size? YES, the page size can be increased many times larger or smaller to fit your reading style, or to examine illustrations in more detail. YES, you can copy images from the e-book for use in other programs. Do I need an Internet connection to use the ebook? NO, the e-book is self -contained and does not require an Internet connection. Does the ebook every "expire"? MOST modern computers already have this software installed but for those who do not it is available FREE from the official website or our website. Ad and DVD copyright Seller assumes all responsibility for this listing. Shipping and handling The seller has not specified a shipping method to Germany. Contact the seller- opens in a new window or tab and request shipping to your location. Shipping cost cannot be calculated. Please enter a valid ZIP Code. Clarkston, Georgia, United States Shipping to: This item will be shipped through the Global Shipping Program and includes international tracking. Learn moreopens in a new window or tab Quantity: There are 19 items available. Please enter a number less than or equal to Select a valid country. Please enter 5 or 9 numbers for the ZIP Code. This item does not ship to Germany Handling time Will usually ship within 1 business day of receiving cleared payment - opens in a new window or tab. Return policy After receiving the item, contact seller within Refund will be given as Return shipping Money back Buyer pays for return shipping Refer to ebay Return policy for more details. You are covered by the ebay Money Back Guarantee if you receive an item that is not as described in the listing. Page 9

10 Chapter 5 : Sewing & Fashion Design - Online Videos blog.quintoapp.com The American metrical system for cutting ladies' and children's dresses and all close fitting garments. (Steubenville, Ohio, Carman & Blaney, ), by Steubenville Carman & Blaney (page images at HathiTrust). I say so with nearly 20 years of experience. There are no errors that I am aware of, and it is extremely consistent. For that I will give it 5 stars. However, I have to take one star away to keep things fair. Current editions do not address its age or changes in fashion trends. It has taken me nearly four years of using this book to write this review. Today I came to a profound realization. It was originally published in After careful study and numerous suits, jackets and shirts made by it, I only now realize that I am drafting a silhouette. So, although I highly recommend this book to anyone without access to a lifetime of experience, one should keep in mind that patterns made from it will produce finished garments that are somewhat loose fitting. If you decide to work from this book, and wish to make something more up to date, consider reducing the real chest measure by 1"-2" before drawing your pattern. That is to say, if you measure a cm chest, draft the pattern at 98cm or 96cm to achieve a slim fitting and more fashionable garment. My only suggestion to the editors and author for future editions of this wonderful book is to include something on silhouette. The silhouette it currently produces is over 30 years old. Nowhere inside does it mention this. Perhaps some photographs of finished garments on models, or the addition of an image appendix, would close the gap visually. Great mens basic patterns fashion design book.. Wess on Dec 04, This is a great mens basic patterns fashion design book for amateurs designers, who wanted not only to explore new ways to create his own clothes but also a start point for study the basics mens patterns to develop a fashion collection.. By E Khalifeh on Feb 20, I received this book a few weeks ago wanting to draft a bomber jacket for my husband. I was disappointed that drafting a sloper from measurements, custom or otherwise, was NOT part of our flat pattern learning in the college I attended. And it fit perfectly on the first try! If you can take measurements, follow instructions, you can do this! Highly recommended By A S M on Mar 25, Properly reviewing a pattern making book is difficult and in my opinion requires that you have made all or most of the patterns in the book. Counting previous editions, I can safely say I have made most of the patterns in this book. I have used it at collage and professionally. I have come to consider this book a valuable resource. Compared to previous editions, this one is excellent. The structure of the book has changed extensively to reflect the emphasis of athletic and street wear in modern menswear. T-shirts and jeans up at the front of the book with the more traditional tailored jacket hiding nearer the back. This edition also has fewer different collar styles, but the core shapes are here. The patterns are rather basic, but the idea is that you can modify them to get any kind of styling you want. The book only teaches pattern drafting, no sewing or design, you will need a complete repertoire of design skills to go from concept to a finished garment. Tips get added in one edition only to be gone the next. A useful pattern or collar draft will disappear, only to be replaced by extensive instructions dealing with kimono sleeves not something I would consider generally relevant to menswear. I get a sense that this is an attempt at keeping up with fashion trends. I feel with this edition the Author has taken an important step and accepting that the book needs to focus on communicating the basics and let the end user be the arbiter of fashion and style. Now, having gone digital, page count became less of a factor. I would have liked to see all the information from previous editions made available not everyone has the privilege of owning several editions like I do. The users of books like this can only benefit from comprehensive perspective even if some information is less than relevant. Also for true beginners an introduction to drafting might be beneficial. Every so often I read reviews for metric pattern making books with unhelpful complaints regarding use of the metric system. Many people in the English speaking world use either the Imperial or Metric systems to measure, both systems are good. For pattern making I personally feel metric is better. I was raised on imperial, still have trouble with Page 10

11 converting temperatures to Celsius from time to time, but when I make a patten I flip my measuring tape over to the metric side. If your thinking of switching to metric for pattern making, I would suggest tracking down all the metric drafting supplies first, as they can be difficult to find in the US availability on amazon can be sporadic at best. I buy mine from Japan as they usually have the best tools of this sort. Prices with shipping can be tough, but finding them at a local craft shop is probably impossible. You will definitely want to track down a metric grading ruler clear with red grid pattern get one that is at least 50cm long, so you can tackle most of the layout without switching rulers. Although you can find them with both Metric and Imperial, I prefer to have mine only Metric. From time to time I see reviews where this is viewed as a waste of space. When this section first appeared in one of the previous editions, it was probably the only place students could find such itroductory information. It is only an introduction, as most programs like Gerber would need an entire class devoted to them if you wanted to learn anything really useful. Wow, that is a massive review. I hope this is helpful for some people unsure about taking the plunge into metric pattern making, if you gather the tools ahead of time, you will find the transition easier and rewarding. By Joanne Harrison on Apr 21, Excellent resource for drafting and designing your own sewing patterns. A must have for all sewers that design their own clothing and make patterns. Also makes converting patterns to pdf format easier. Fantastic reference and go-to books that I am so very glad a teacher teaching how to make pdf patterns recommended but does not have the text book pricing! There are a few more books I need to complete my library! Very good for intermediate sewers By Omar on Oct 07, A good book for tracing your personalized patterns. Taking measurements chapter could use some real people photos instead of drawings; but still, very good and easy to follow. So far, so good! The instructions are pretty clear and the book shows little schematics of the patterns to be made. Which is a big help! Great, it may not be easy for a beiginner By Eive Levi on Dec 18, Great, it may not be easy for a beiginner but it is perfect fofr me. I highly recommend it to you if you want to learn how to design patterns. It is very professional. Add a Book Review Book Summary: This particular edition is in a Hardcover format. It was published by Wiley-Blackwell and has a total of pages in the book. To buy this book at the lowest price, Click Here. Chapter 6 : Catalog Record: The American metrical system for cutting Hathi Trust Digital Library The American metrical system for cutting ladies' and children's dresses and all close fitting garments () The American system of dressmaking () Art in dress (). Chapter 7 : RARE OLD BOOKS ON DRESSMAKING TAILORING MEASUREMENTS CUTTING & SEWIN Buy The American metrical system for cutting ladies' and children's dresses and all close fitting garments by Steubenville O. [from Carman & Blaney (ISBN: ) from Amazon's Book Store. Chapter 8 : DRESSMAKING 88 old books dresses PATTERNS making costumes make antique DVD eba The American metrical system for cutting ladies' and children's dresses and all close fitting garments, by Carman & Blaney, Steubenville () The American system of dressmaking, by Merwin, Pearl (). Chapter 9 : Dress clothing blog.quintoapp.com This will be useful for women who make clothes for themselves, in order to create and develop their own individual style, or women who ï nd mass produced clothes an uneasy ï t. Some garment patterns, particularly in couture design, are Page 11

12 constructed by draping on the dress stand. Page 12