Page:The cutters' practical guide to the cutting of ladies' garments.djvu/61

Rh Draw the line from L to K in the trne perpendicular; from G which is at the front of scye to H, from I to J, from K to M, and from I to N, and

The same variation in the length of the waist to be made as was done with the back. For a sleeve, draw a line as from A through B to 0, and vary ½ an inch for every 2 inches in the total breast; vary the width at the elbow about ⅜ and at the cuff ¼ inch for every 2 in. total breast, whilst the length may be shortened say ½ an inch for the small ones at the cuff in addition to the variation in the length produced by the grading at the top, which latter will be found quite sufficient for the large sizes. The collar only requires varying ⅜ at the back at X, Diagram 123, the front at N N being left the same, a trifle narrower at W being perhaps needed for the small sizes. This then constitutes the method of grading, and where it is desirable to reproduce a given style of pattern with special characteristics, it will be found a very effective method, and is specially suitable for manufacturing trades rather than the artist tailor who caters for the wants of every customer on separate lines, so as to obtain the highest results, rather than to produce a set of patterns with the same characteristic running throughout the whole set.

There are, of course, many other features and details associated with ladies' tailoring, but which the scope of this work, large as it is, will not permit of being treated here. These will be found, from time to time, in our monthly journal, the Ladies' Tailor'.

Before concluding, we feel it imperative to lay a few claims for art before oar readers, as the subject is of such vast importance. There is so much that might be written upon it, that the difficulty presents itself, in deciding what to leave out. and what to give; but after a little consideration, we think this will be met so far by a brief treatment of the subject under the three headings of

Form, Colour, and Ornamentation, Which may suffice to awaken an interest in our readers' minds, and so induce them to study it more deeply from those works specially devoted to it. Form and colour have been called the vowels and consonants of the silent language of creation. It is by their aid that nature discloses all that is beautiful, lovely, or sublime. Sometimes she employs them separately, sometimes together, but however used, there is always one more dominant than the other, the secondary element merely adding beauty to the primary, and in this way forms ornamentation, and consequently ornamentation may consist of either form or colour, or both, We will take each of these features in turn, and make a brief survey of it in its various phases from a tailor's standpoint. Let us take first

First of all there is the form of fit, embracing not only the shape in which the garment is cut, but also the form that is infused by the tailor's manipulation—stretching, shrinking, building up, or toning down, in all its various phases; all of which go to make up a garment of beauty. Then there is the form of style, the fashion phase of the subject, and this involves a study, not only the styles of the period, but also the habits of life, the social position, the age, and the form of the body in order to arrive at a suitable style of out-line for the garment. Let us take a brief glance at

A study of our earlier pages, where we treat of anatomy somewhat fully, will show the cutter where the prominence and depressions of the body are to be found, and if he is in any doubt, let him study his own body, and he will soon realise the importance of making provision for these; this may either be done by cut or manipulation. Of the matter of cut we have treated in our section dealing with "The Principles of Fit: " and