Instructions in Spirella Corsetry/Chapter 9

Chapter 9: How to Study the Spirella Catalogue
1. The catalogue contains specific and technical information concerning Spirella corsets. Since they are the medium through which you have the opportunity to render service, you should ac- quire this information with as little loss of time and effort as possible. To do this its study should be systematized. A prominent educator once said, "It matters not so much where you study, or what you study, as HOW you study." With this thought firmly and definitely fixed in your mind, consider HOW TO STUDY the catalogue.

2.	The title page shows that this catalogue is the twelfth edition. This indicates the years of Spirella's growth. During this time Spi- rella offices and factories have been established in various parts of the world, as shown by the addresses given. There are three factories in the United States alone, located to facilitate service to the cor- setieres. The location of the city offices indicates that Spirella is situated in the fashionable centers of the important cities of the world.

3. Turn to page 2, "Foreword." Read carefully the first para- graph. What points of value to you did you fix in your mind as you read? Re-read that paragraph; as you do so draw a line under the wards "twelfth annual catalogue." This is the first statement. Now draw a line under the words "a text book of Spirella products." That is the second statement. Next, "every garment catalogued is treated under the following headings." Underline those words in your catalogue. What is the next point? "Description." Of what does the description treat? Underline the words, "points out con- struction and features." Of what? "Spirella products." What next? "Measurements." What do they do? "Determine the various heights and lengths of the standard pattern." Now underline those words. The next is "Adaptability." Underline that also. Why should you study and know all about the adaptability of each corset? Read what is said after the word "Adaptability", and you will know, "sets forth the specific use or purpose of each corset." What is the next specific statement? "From no other source can so accurate and comprehensive a knowledge of Spirella garments be obtained." What is the conclusion of this paragraph? "This catalogue, then, should be studied, mastered and used ONLY BY THE CORSETIERE."

4.	The first paragraph under "Foreword" has been analyzed sen- tence by sentence. Read and study the remainder of pages 2, 3, 4 and 5 the same way, underlining each definite and complete state ment made. It will be time well spent. The first eight paragraphs under "Foreword" can be made the basis of a SALES TALK that will be well nigh irresistible.

5. In studying the information given under "Foreword," see haw many points you can remember that will be helpful to you in presenting Spirella corsets to new clients. By thoroughly familiar izing yourself with the subject contained in each paragraph, you will acquire a fund of knowledge which you can use in your daily work.

6.	"The International Honours and Awards" prove that Spirella is considered the most healthful corset by the best authorities. It is worthy of note that this is the first time that any corset has received the Palme d'Or of Paris, France. The many fashion awards attest the superiority of Spirella from the standpoint of style.

7.	Before beginning a study of the corsets, turn to the "Explana- tion of the Abbreviations and Terms", on pages 86 to 89. Read these pages carefully, as this knowledge will make it easier for you to understand the information given and is necessary to read the printed matter intelligently.

8.	For instance: on page 86 you are told that the series or style number indicates the type of figure for which the corset is designed and. in the last paragraph on this page you are told how to read the style number and why.

9.	With this knowledge, turn to page 6. The illustrations in the catalogue show one style of each series and give some idea of the construction. Corsets cannot be selected from the illustrations, but from the careful consideration of all information given. Pages 7 to 11 comprise eight corsets for 20-type; five of these are back- laced and three front-laced.

10.	To show you how to analyze the text and study the corsets, take style 222 from your demonstration models. You will find the style number on the inner side of a half of the clasp. On the oppo- site side you will find the size written thus, 302. Read the number backwards, paying no attention to the cipher in the middle. The, cipher simply makes what we term a blind number. This method of disguising the size has been adopted to remove any difficulty you may have with the client who habitually wears too small a corset and who might object to a garment larger than she had previously worn, simply because of the size marked. Since you know how to read the size, you will have no difficulty.

11.	Turn to page 9, "The 221 Series." On page 86 we learn that the numeral 20 in the style number indicates this series is a group of corsets designed for 20-type. To impress on your mind this con- nection of style number and type, take a pencil and mark a circle around the 21 in the series number and in the beginning of the sec- ond line under "Adaptability", another circle around 20-type.

12. Under "Description" are listed the various features of con- struction. The first three statements made are, "Back-laced," "Boned with Spirella," "Straight clasp." Notice these details in the corset. The function of each of these is defined on page 87. "Tape re-inforcement," "Soft extension," "Skirt cut straight," "Hose supporters," "Waist tape," "Draw-tape," "Trimmed according to material," "Unboned hip space," "Standard pattern" are explained on page 88. Study these details in the corsets, so that you will be able to recognize them and understand the construction of this series.

13. The varying heights, lengths and development of the stand- ard patterns make it possible for you to use standard measurements without changing them, to corset clients of the 20-type who vary in body length and development. Because this series is designed for 20-type, its sizes do not range above 26 in the standard pattern. It is better not to use this series in sizes larger than 26. Larger sizes might take it into another type and it would not perform the func- tions for which it was designed. A smaller size than 18 would not be practical.

14. "Measurements" and the abbreviations used in connection with them, are explained an pages 88 and 89. In the 221 series there are three corsets, the measurements of which vary. There are four measurements which, if memorized, give you a mental pic- ture of each corset. These are DEVELOPMENT, CENTER BUST, CLASP BELOW AND BACK BELOW.

15.	To fix these in your mind mark a circle around each of these important measurements. You have style 222 which is one of this series; by knowing the four measurements of the other two styles in the series, you will understand the points of difference between them and so get a clear idea of each one.

16. "Adaptability" is defined in the last paragraph on page 89. To make this meaning perfectly clear, adaptability means the ability of the corset to conform to a certain type and adapt itself to the correction of conditions. A corset designed for the normal figure acts as a mould to bring back to normal any irregularities of that type. With this thought in mind let us consider the text under "Adaptability."

17.	The 221 series is designed for the normal, small, slender figure&mdash;20-type. The location of the lacing adjustment affords compression in the back and, because of this, the standard patterns of this series are adapted to the correction of kangaroo poise and cut-in waist.

18. The unboned hip space is a feature in the design of all 20- type corsets. This unboned space avoids pressure of stays on promi- nent hip bones and so is adapted to this condition.

19.	Style 221 adapts to the flat, bony figure with waist small in proportion, because its larger hip development gives more width across the pelvic girdle. This bony structure cannot be moulded by compression; hence the necessity for the greater hip development in style 221. Style 221 also has the greater bust development. The rib structure of a thin person is as large as though there were normal flesh development. For this reason there must be suffcient bust development in the corset. The height of style 221 furnishes bust form for the figure with scant breast development. Because this style is the highest of the series, and therefore covers more of the rib structure, it is designed with the greatest bust development of this series.

20.	Style 222 conforms to the medium developments of 20-type; therefore it is adapted to figures conforming closely to normal. Be- cause it is designed for the medium proportions, of the 20-type it has a wider range of adaptability to correct irregularities and mould them to normal proportions.

21. Because style 223 is the shortest of the series above waist line, it is adapted to the short-waisted figure or where a low bust corset is desired. The smaller hip development requires the selec- tion of a larger waist size. While style 223 has wide adaptability to normal 20-type, it is especially adapted to the correction of kangaroo poise and cut-in waist when found in this type. The com- pression afforded by the lacing over the back of the hips combined with the small hip development of the corset and the length of clasp below results in a correction of the slant of the pelvic girdle,

tilting it downward in the back and upward in the front. This combined action corrects kangaroo poise and brings it to normal.

22.	The price list to which you are referred for materials, fur- nishes you the prices of all garments manufactured by The Spirella Company. It will be helpful to memorize the prices of the various models in two materials.

23.	We have shown you how to study one series for the 20-type; now turn to page 17 an which is a series designed far the 60-type. Style 463 of this series is included in your demonstration models. Follow the same plan and mark a circle around the numeral 60 in the series number and around 60-type under adaptability. This will impress itself on your mind so you will remember that the series is designed for the normal medium figure.

24. Study the description carefully, comparing each statement with the details of construction of style 463. Observe that the standard pattern is graded in larger sizes than the 20-type series. This pattern is designed for the normal medium figure; therefore it is necessary to have larger sizes. Study the measurements of the three corsets in the series and mark a circle around the four im- portant measurements to be memorized.

25. In the first paragraph under "Adaptability" you will find the statement that this pattern is adapted to the correction of flesh out of proportion over side hips. The skirt of this series is long over the hip and hugs the side hip closely. The upward curve from the hip toward the front and back allows far the necessary spread of flesh in the sitting position. This makes a short soft extension necessary.

26.	Notice the angle at which the hose supporters are attached. Fastening the supporters to the hose at the inside of the leg con- trols the skirt of the corset and holds it snugly and smoothly over side hip in the standing or sitting position.

27. Style 463, which you have, has smaller developments than style 462, and is adapted to moulding the flesh to slightly straighter lines.

28.	Turn to page 35. Style 35 of this series is included in your demonstration models. You will note this series is designed for the normal stout figure with curved outlines, 30-type. Follow the sug- gestions concerning the marking of the two series previously studied.

29.	From the four important measurements, you know that this series is of medium height above and of medium length below waist. The developments indicate to you that it has only medium curves for 30-type. Because this series is of simple construction and medium dimensions, such as height, length and development, it is a practical series far general use on 30-type. For a client of this type who always has two corsets in her wardrobe, this would be suitable for comfortable, every-day wear.

30.	In the second paragraph under "Adaptability" you will find this series is adapted to the correction of flesh developed out of proportion over abdomen as well as side hips. This design controls abdominal flesh, when not excessive, by re-distributing it and so corrects the condition of prominent abdomen.

31. The skirt, being short and shaped straight around, allows room for a slight amount of thigh flesh. It is not designed to con- trol or correct thigh flesh.

32. Turn to page 43. Select the front-laced corset, style 596, from your demonstration models. The numeral 90 in the series number, as explained an page 86, indicates that it is front-laced. Mark a circle around the numeral 90 in the series number and around 30-type under "Adaptability." This will remind you that the series is front-laced and is designed for 30-type.

33. Read the description and notice the points of difference. The first is "Front-laced." The function of "Front-laced" is defined on page 87. The other points of difference are "Skirt cut out in front" and "One and one-half sets of hose supporters." The addi- tional half set of supporters serves to keep the skirt of the corset smooth a s well as to perform its regular function.

34.	Follow the former suggestions as to marking the page so as to help you memorize the four important measurements. Read care- fully all of the text under "Adaptability." Consider each statement thoughtfully as all points therein differ from those of the back-laced corsets previously studied. In the first paragraph you are told that this series conforms to a C back curve. This is the back curve normal to 30-type.

35.	The lacing adjustment located in the front of the corset fur. nishes compression over the front of the body. Because of this, the standard pattern is adapted to the correction of gorilla poise. This compression in the front changes the slant of the pelvic girdle, tilt- ing it downward in the front and upward in the back, thus bringing gorilla poise to normal.

36. The condition of prominent and pendulous abdomen is cor- rected by the re-distribution of flesh upward and toward the sides and is brought about through the compression over the front of the body.

37.	Prolapsed abdominal organs are replaced through abdominal control and uplift furnished by the compression. Following ab- dominal operations, all front-laced corsets, through the location of their lacing, adapt to adjustment in reclining position.

38. A deficient back curve may be brought to normal through the change of the slant of the pelvic girdle and the re-distribution of flesh.

39.	Turn to page 29 where you will find the 243 series. Follow- ing the same method in studying this page, marking it as you did the other series, will give you specific information concerning a series for the 40-type.

40. You have now studied back-laced corsets for the four types and a front-laced corset for one type. This shows you the differ- ences in construction, design and adaptability of back and front- laced corsets. Study all of the information concerning the garments in the catalogue in the same manner, one page at a time, gradually acquiring a mastery of all of it.

41.	Page 90, "Spacing Deductions," gives you the rules for mak- ing deductions for lacing space. Pages 91 and 92 give information and illustrations of the lacing space when the corset is adjusted on the fig-tire. The information on pages 93, 94 and 95 will be of great assistance to you in your daily selection of corsets for types and conditions. The last page is a complete index of the catalogue. It enables you to refer quickly to any subject desired.

42.	As a result of the study of this catalogue you must realize that it is a working text book and as such it should not be displayed to your client. It is not only your working text book, but it con- tains full information concerning the garments through which you give service and build a permanent business. For that reason, it is worthy of your earnest and constant, study.

43.	"Hard work accomplishes more, in the long run, than genius. But hard work alone will not bring success.	The foundation of all success is preparation. There must be the 'know how' behind the effort to bring results. Salesmen and saleswomen are developed, not born. You can be as expert as you teach yourself to be."