1942—Modern Pattern Design
by Harriet Pepin
Foreword
THIS BOOK is confined to the single subject—pattern making through the use of the modern block system.
Description of pattern-making equipment has been included for the benefit of readers not familiar with workrooms of apparel manufacturing plants or the properly equipped custom studio. These articles of equipment are available in any tailor supply house in any average-size city or, in the case of small localities, can be ordered from supply-house catalogs. They are the instruments of the profession.
The modern block system of pattern making involves careful drafting of the basic blocks only. Once these foundation patterns have been made, they become the basis for making countless variations in design. Some professionals sketch their ideas first. Others prefer to work out the design directly in the pattern. Both test their results in muslin upon a model form or upon the customer. They check proportion, silhouette, perfection of fit, and the "hang" of the garment, dependent upon the position of the grain of the fabric. Corrections and improvements are then put into the final pattern. Modern designers are no longer the "pen and ink" designers of yesterday. They may be likened to sculptors and architects, working directly in form and line.
This text gives minute, detailed instructions for making a construction pattern; also for the final pattern with seam allowances and symbols; also for the muslin test-proof, which must reveal the perfection of the pattern. For the benefit of readers not familiar with the modern block system, a page bearing the outline of a model-size block pattern has been supplied opposite page 8. The reader can, if he wishes, gain a first-hand working knowledge of the procedure by actually rendering the problems and observing the results.
Pages which then follow demonstrate the use of the basic principles of the block system when shaping the fabric to one body curve only. These basic principles for shaping fabric to a curve in the feminine figure do not change. There are only a limited number of principles and a few accepted rules. But the possibility of employing them in variation is unlimited, once they have been mastered. The more elaborate designs only reveal the superior talent and originality of the individual designer. Instructions for drafting basic blocks to full-size, standard measurements are given. Then the original basic principles are demonstrated again in patterns for sleeves, bodice backs, collars, skirts, and, finally, for a wide variety of garments such as capes, slacks, culottes, et cetera.
For many years, foundation patterns have been used as a guide when adjusting standard-size commercial patterns to individual measurements. They were not used as a means to originating new designs as they are today.
The modern block system is a development of recent years. It made its first appearance in the industry at about the time of the first world war when mass production was just getting under way and our European source of original designs and patterns had been curtailed abruptly. The prevailing silhouette of that day—the straight, unfitted garment with belt resting on hip—conveniently and clearly suggested the use of a foundation patterns with a single underarm dart, as a means to making patterns quickly and accurately. When original designs were created in muslin by draping upon the model dress form, there proved to be a slight variation in size. Naturally, this was caused by the "human touch" in handling the muslin from which final pattern "markers" were made. But, by using this improvised foundation pattern, all size 16 garments could be made uniform in the shoulder armscye, and chest measurements. And this uniformity in sizing was vitally important to the ever-growing mass-production system.
When the smoke of battle cleared, many manufacturers once more returned to France for new and original ideas. These were either secured by purchasing finished garments at a high price or muslin replicas of these garments. Drapers were employed to "take the patterns" of these completed garments by reproducing them upon a model form via the draping process. But mass production had gained a toe-hold during the war and some manufacturers could not afford to go to Europe for original models. The improvised block system had proved practical in accurately sizing the garments, and those who had been using it were loath to abandon it for more costly methods. These manufacturers bought sketches and made their own patterns.
However, by 1925, the astute French designers suddenly realized that their great American market was slipping away, so they changed the straight, boxy silhouette into one which closely followed the contour of the feminine figure. The American improvised straight-pattern block no longer served its purpose. Then the struggle started. A struggle to develop a foundation pattern which in itself was closely fitted to the figure, yet which would serve as the basis for reproducing finished garments or producing original designs—new designs which not only conformed to the contour of the figure but which would include complication of cut and drapery. First attempts were obviously disappointing. Manufacturers who needed this "block" system produced their own patterns, yes—but these patterns were badly shaped. They fitted poorly; they hung badly.
But quietly, steadily, a handful of determined pattern makers continued to work on this block system, each in his own way. They hoped for improvements. Many varying methods were devised and put into use. As mass-production methods improved, the patterns continued to improve. Each individual pattern maker jealously guarded his knowledge. His tenacity and effort placed him in a position to command a high salary in this technical field.
Thus, finally, during the last decade, manufacturers of higher-priced garments began to see the possibility for such a method, if it were perfected. In the hands of a designer, as well as the technician, they saw that the block system could be used to reproduce original imported models or to originate patterns directly from the sketch of an idea. They used their influence. They prevailed upon the specialized school to adopt it, and as a result pattern making under the block system was added to the school curriculum. Today, this modern system is steadily replacing the slower, complicated, and more tedious method of draping. Block patterns have been adapted to all types of garments, and the system has become an important factor in making American clothing what it is today in perfection of cut and fit.
Because it is still in the process of perfection and development, there has been little printed material made available on the subject. People engaged in using the method have been too busy to write about it. People engaged in teaching the subject have been busily improving the method and have had little time or inclination to compile a printed text in book form.
During the past several years, as director of a specialized fashion school, the writer has, with the interest and cooperation of instructors and students, enthusiastically worked to improve methods for the use of the block pattern system. Methods have been tested and compared. Each year new improvements have developed. Each year older methods are being discarded. This volume contains not only our findings during these years but also much supplementary material which we feel should be of vital interest to the up-to-date designer.
The fulfillment of requirements for the defense of the United States has established a shortage in the supply of wool, silk, rayon, cotton and linen fabrics which are used for military uniforms, parachutes, hospital supplies and other articles essential to our armed forces.
General Limitation Order L-85 has been enacted which, as this book goes to press, brings a challenge to the ingenuity of our American designers, and to the thousands of home sewers who are busily engaged in the creating family wardrobes.
In general, the specific limitations are based upon the need for curtailment of yardage to be used in each garment. The order is, in no sense, a law intended to regulate or standardize fashion or style in clothing for our American women and children. In fact, alert designers feel that it will actually act as a stimulus to their creative talents to originate appealing designs which will continue, to satisfy the American woman's exacting demands for smart, interesting apparel within the conservative silhouette. From this limitation order undoubtedly will emerge more evidence of ingenious cutting, a painstaking application of the fundamentals of art as a means to creating beauty and glamour with the fewest possible yards of fabric, with the least possible number of operations.
Like all other typical Americans, in this emergency, designers and manufacturers have accepted this restriction order cheerfully and courageously.
