New pattern: Standard Misses Size 8 Fitting Shell

Introduction

I began work on a new standard size 8 sloper in June 2023. The goal was to achieve a sloper with a more shapely fit that the one I developed for making 1940s style clothing. The technique I used for the 1940s inspired sloper was based on Precision Draping by Nellie Weymouth Link. It resulted in a well fitting sloper that had a bodice adaptable to the shoulder pads and boxy cuts of the 1940s. The skirt has a slight swing in keeping with the slightly A-line shape of 1940s skirts.

I used draping to create a highly structured bodice more suitable for 1950s styles along with a pencil/sheath style skirt. The only thing I did not like about the 1950s style bodice was that it was too, too structured for me. I created a bodice with a vertical dart above and below the bust. The fit was balanced but I did not care for how pointy and emphasized the apex was.

Some disadvantages to draping a style or a sloper

It can be tricky to add style ease to a design made using a sloper. In draping, too, adding a pinch here and a tuck there will change the fit of the garment once the toile is made and fitted on the person or form.

I have seen videos on YouTube where those demonstrating how to drape a sloper on a Misses 8 recommend that the finished garment be labelled a Misses size 6. I didn’t want to go in that direction so I decided to go back to the flat pattern making method I learned at the French Fashion Academy.

Draping still has many advantages. It is a wonderful learning process. Flat patternmaking offers many advantages, too.

Spending three months practicing draping made me very aware of the kind of silhouette I wanted the new size 8 patterns to have. There would be a basic pattern with fitting details but overall a softer effect. For this reason, I created a fitted bodice with only one vertical dart below the bust. The shoulder dart in the back bodice was eliminated. And the fitted sleeve was drafted and adjusted so that there is much less ease to work into the armhole. For the fitting shell, there is less than 7/8″

Fitting Shell vs. Sloper

A professional dressmakers form has some style ease added into it. A sloper for a Size 8 will result in fashions for that size 8 but it may not have ENOUGH style ease to accommodate a range of body types within that Size 8. This is why I decided to go back to the French Fashion Pattern Drafting System.

In the French Fashion system a Fitting Shell is created after taking body measurements. No ease is added. The flat pattern is drafted and the fitting shell tested. It has to fit the form or person like a second skin. When all is corrected, the fitting shell pattern is a blueprint of the form;s or person’s body.

When a pattern is created for a particular style, design ease is added to some of the body measurements. I have found that adding 3″ each to Chest, Bust, and Hips; 3″ to upper arm circumference; 1-2″ to wrist circumference; and 1-1 1/2 inches to waist circumference produces comfortable garments with a good fit. Other garments like coats and suit jackets may need more ease.

This means every style has to have the basic patterns drafted with the style ease added in. It is more work but the results are much more accurate for me. In 2024 I begin drafting and making designs using the patterns based on the measurements used to create the fitting shell.

I offer these photos of the fitting shell for copying. You may reproduce and grade the pattern for your own use. Please test each time making a muslin toile.

Notes about using the Fitting Shell

This fitting shell was created using the Standard Measurements for Misses Size 8,

–There is no style ease added.
–You need to add 1/2″ to 1″ seam allowances. Wider seam allowances make it easier to make adjustments if have to let out the seams.
–Match points are marked with a “+”.
–To sew the sleeve: Use a double row of machine stitches all around the cap. When basting the cap to the armhole, match the “+” marks and the dot on the cap to the shoulder seam. Draw up the stitches and distribute ease around the cap then baste to the armhole.
–The skirt length is 25-27″ for typical 1950s fashions. Add a two inch hem for the fitting shell.

Photos of the Misses Size 8 Fitting Shell

Please Note: a few adjustments were made after these photos were taken. i did not make another fitting shell because the adjustments are minor. This was a working version, of the fitting shell which is why you see the pen marks on it.

Misses Size 8 Fitting Shell

I release these photos into the commons. They may be copied, sized in your graphics program, graded and used for whatever purpose you choose.

Late 1950s Cocktail Dress: style and garment construction analysis

Introduction

I purchased this dress during the Covid-19 Lockdown of Spring 2020. At the time I was teaching myself Precision Draping, a vintage draping technique created by Nellie Weymouth Link. Through that self-learning I was becoming very aware of the effects dart manipulation had on creating vintage looks. I bought this dress as a study piece.

No specific decade was assigned to the dress. After studying the construction I estimate it was made late 1950s-early 1960s. I say that because of the lapped zipper application at center back. Many of the early 1950s dresses I have as study pieces, have lapped zippers in the side seam. Another indicator of time period is the skirt length. At the height of the 1950s skirt lengths were to mid-calf. As the 1960s began hemlines rose to an inch or a few inches right below the knee. This skirt comes to about 1 1/2″ below the knee when I am wearing it. I am 5′ 5″ tall.

The dress is shown here on my 2019 Wolf Misses Size 8 dress form. This dress may have been custom made. The waist is situated an inch above the dress form waistline. The bust apex is also slightly higher than the apex on the form.

I want to share the inside details with you because they offer a wealth of information about how dressmakers and home sewistas constructed their clothing during the late 1950s-early 1960s.

Bodice Front: Bustline Darts and Apex Point

There are 2 darts shaping the bodice front. The darts meet very closely at an apex point slightly above where the apex point is on the dress form. On the form the length from neck to apex point is 10 inches. On the dress the apex is about 1/2-5/8 inch above that. I can only think that the dress was designed based on the bullet bras or balconette bras of the time period. These were highly boned and made to uplift the bust very high, so that it would be visible against a low cut neckline. The neckline on this dress is not so low, so I think the point created by the two darts is intended to draw the eye further upward. It creates interest at the bust and lessens the ability of the eye to see that the wearer is short waisted.

As you can see in this closeup, the two darts converge at the apex point of the bust. There is a horizontal dart beginning at the front side seam. The vertical dart originates at the waistline, and goes up to the apex. From the apex it angles upwards. I think this bodice might have been adjusted for a customized fit. The angled portion above the apex could have been created during a fitting. The only other explanation I have for this unusual vertical dart is that another dart may have existed at the neckline. It was closed and transferred to the vertical dart. The neckline might have required contouring so that it fit better. Both on the dress form and myself the effect of the vertical, angled dart does not look flattering up close. Not even my underwire push-up bra makes the bodice look good! That is how high up the apex is!

Sleeve: Short Mounted Sleeve with Gusset

Short mounted sleeves with a gusset were used for the dress. The point of the gusset begins a little above the waistline. The point and corners of the gusset are very neatly sewn. You can get a better idea of how neat the sewing is by looking at the lining.

This type of sleeve gives a very close fit under the arm. It may have been chosen because the upper part of the sleeve is cut in one with the bodice at front and back. In wearing this dress, I loved the look but not the restriction on my movement. If I raised my arms very high or very often, the entire dress moved up with them. There is not enough room to move very freely or with a great scope of movement.

The darts of front and back skirt are not as long as darts on modern skirts. They are also positioned more to the side seams than close or on the princess lines. The front darts are about 2 1/2″ each, the back darts 4 1/2″ each. The effect is very rounded. Again, this indicates to me that the dress was custom fitted.

For flat patternmaking I use the French Fashion Academy Method by John Klamar. In that system the dart placement for the first dart is center of each skirt panel. This means half distance from Center Back and half distance from Center Front.skirt. The second dart is 1 1/2″ from the center of the first dart. Dart lengths are longer, too. The entire effect is more elongated and, I think, more flattering when the basic skirt is made up.

Closure: Center Back Lapped Zipper

The zipper closure at center back is beautifully finished. The addition of two bows at the waistline and top of the zipper adds yet another unique touch to this dress. The folded band over the waisline is hand sewn into place. It creates the look of a belt. The zipper even has a fabric loop and hook at top.

Finishings: Seam finishes, hems, bra strap holders

The dress is completely lined. The skirt lining hangs freely away from the bodice and is machine hemmed. The rest of the dress was hemmed by hand at skirt hem, sleeves and where the lining is attached to the neckline facing. Seams were pinked. The bra strap holder was made with the lining fabric.

What is the story with the darts?

I wondered why so many darts were used at the bustline, and why the darts at the hipline created a more rounded effect than I am used to seeing, even in vintage clothing.

I recently bought a reprint of a late 1950s sewing book entitled Sew The French Way by Line Jaque. I do not have any information about the author except that the book was originally written in French. In this book Line Jaque provides fitting instructions that are outside the norms of commercial patterns. The emphasis is on using as many darts as needed to achieve a good fit.

There are illustrations showing the kinds of dart placement found on the skirt of my cocktail dress. The lengths recommended in the book are the same as the dart lenghts for the skirt of my dress. I found this very interesting, too, because Line Jaque states it’s not necessary to have skirt darts align with bodice darts. Everything must be placed for the best fit possible.

Here is another illustration from the book showing the bodice of a dress with long mounted sleeves that have a gusset. Note the skirt darts. I hope this analysis has helped further your understanding of vintage garment sewing construction and design details.

Draped Princess Bodice and Flared Skirt Jumper 1950s Style

Introduction

I always wanted a princess seamed dress or overblouse. Now that I have fulfilled the realization of my idea I have to say that it did not fulfill all my expectations. It did turn into a good learning experience about fit, style lines and individual body shapes.

Photos of the Jumper

Background of the pattern

The pattern was based on the Misses Size 8 sloper developed using the Precision Draping technique created by Nellie Weymouth Link. The technique is detailed in a reprint of the 1947 book through Amazon and other booksellers online.

I altered the pattern after fitting the toile on myself and making adjustments.

Expectations vs. Reality

Originally I envisioned the princess seam over my bustline to be very flattering. Once it was finished I did not care for the look on myself.

I have sloping shoulders. This causes the apex of my bustline to be lower than a standard size. The result is that the princess seam curves a bit lower, emphasizing both my bustline and narrow, sloping shoulders. I straightened the curve on the pattern, but that did not make much difference.

I offer this experience as a way for others to learn what makes the most flattering fit for their own body type.

I love the flared skirt of the jumper, the neckline and the armholes. If I were to make this again I would use a vertical dart below the bust or perhaps two French darts in the side seam of the bodice front.

Sewing Techniques

The jumper is made from 100% cotton chambray I ordered from Mood Fabrics. The underlining is cotton batiste.

I underlined the bodice. The skirt was underlined from waist to a few inches below the waistline. I wanted the fabric to have less transparency. The underlining also served as an anchor to the zipper.

Hidden Zipper: A 1960s Couture Technique

I used the instructions for the hidden zipper sewing technique detailed in Couture Sewing by Claire Shaeffer.

The zipper must be sewn to garment pieces that are underlined. This is because the finished seam is anchored to the underlining with catch stitches or fell stitches.

The resulting zipper is a little like an invisible zipper but less rigid.

Seam Finishes

I cut the seams wider than usual because the fabric frayed. Edges were pinked and zig-zagged for durability.

Other Finishes

The all-in-one facing and hemline were finished with Wright’s Flexi-Lace. I used the Flexi-Lace for the waistline stay, too.

Sheath Skirt Half-toile created from pattern drafting instruction sheet circa 1960s

Introduction

Close-up of the vintage pattern drafting instructions circa 1960s.

On 6th January 2022, I posted screen shots of an original 1960s pattern drafting instruction sheet. Since the original is faded, I typed up the instructions along with my comments. The instructions are the simplest flat pattern drafting instructions I’ve used so far. In this posting I evaluation the half-toile created using the measurements for a Misses Size 4. Please click this link for the pattern drafting instructions

Evaluating the Results

Front (l) and back (r) views of the sheath skirt half-toile.

The instructions about dart placement referred to a basic bodice with a vertical dart under the bust. The position of the first dart for skirt front and back had to align with that dart on the bodice. I used the measurement from Center Front to Princess Line and the waist. For the back skirt I measured from Center Back to the Princess Line at the back waist. The second dart was located in the center between the princess line and side seam .

I am very pleased with the fit of the skirt. The drafting instructions state that 2 inches is added to the hip measurement for ease. However, no ease is factored in for the waistline. Considering that I will use a waistband and perhaps a lining I knew ease at the waist was essential. I also know the blouse I envision for the outfit will be tucked in. I added 1″ to the waistline and then drafted the skirt.

Views of the half-toile to show how hip curve looks.

The only correction I have to make is mid-way along the hip curve. Once the curve has a more even line the pattern will be ready for cutting the fashion fabric.

How to refine a Denim Sheath Skirt look

Introduction

In this posting I share some of the fitting and sewing techniques I used to refine my favorite denim sheath skirt. The skirt is made with a bottom weight 100% cotton denim by Kauffman. The fabric was laundered and dried prior to marking, cutting and sewing.

The pattern was developed entirely through draping in cotton muslin.

The skirt had several parts of the construction done by hand. The blouse was purchased online.

Fit is Everything!

To give the skirt more style ease I had to add extra width at waist, hip and hemline. Some sewing books say extra width can be added at the side seam. I found that it is better to open the pattern between the second dart and the side seam. You measure the mid-way point between the dart and the side seam. Draw a vertical line from waist to hem. Then open 1/4 of the total amount of style ease needed. This alteration is the same for front and back of the basic sheath skirt pattern.

In the photo of the back pattern piece for the skirt you can see the place where the cut was made and extra paper added to the pattern between the second dart and the side seam.

Note: The pattern for the skirt was made using Precision Draping by Nellie Weymouth Link. I gained weight since the time the original drape and pattern was made. This necessitated the need for the alteration.

Dressmaker Finishes for a Refined Look

A slot zipper application was used. I followed the hand sewing technique detailed in Couture Sewing by Claire Schaeffer. Instead of using a prick stitch or back stitch, the zipper is sewed into the seam using tiny running stitches. To further secure the zipper in place, the zipper tape is fell stitched only to the side seams, at the edges. The zipper stop is covered by a lightweight piece of lining fabric. I used a small piece of lace hem tape instead.

A kick pleat with insert was made in.center back seam. It provides ease of movement as well as a finishing touch. The top of the kick pleat is stitched into place using a triangular shape. A kick pleat is more refined than a high slit at center back of the skirt. That is why this skirt works well for casual dress days at work or an outside meeting with business associates.

All seams were pinked and then edge stitched. Wrights Flexi-Lace tape provided a finish for the hem and kickpleat.

New Dress “Alice”: Progress Photos 2-6-21

Introduction

In this posting I share progress photos of a new dress developed through a combo of flat patternmaking and draping. The photos featured are of the half-toile to test the fit.

Combination Technique: Draping and flat patternmaking

95% of this toile was made using a flat pattern. I used the Misses Size 8 sloper to create the fitted bodice, semi-fitted skirt and basic unfitted sleeve.

The flat pattern for the bodice front had the horizontal side dart closed and vertical dart opened. The construction of the bodice shoulder, back yoke, back tuck and side seams were completed. After steam pressing the bodice was pinned to the form. The excess dart intake below the bust was draped into two vertical tucks each 3 1/8″ high and about 1 1/2″ wide. I like the softer look of the tucks over the dressmaker dart under the bust.

I am very pleased so far with the 6 gore skirt. It was created by closing the darts of the basic semi-fitted skirt. The skirt front and back were cut along the lines of the dart and below the dart. Each piece then had extra width added at the hemline along front and back princess lines and side seams. I find the fit of this kind of gored skirt even more flattering than that of the 6 or 8 gore skirt created through flat patternmaking.

The collar was simple, easy flat patternmaking as was the sleeve. The next posting will be published once the fitting toile is complete.

Giving a Name to the Dress

As I work on a new project and gather the notions and fabric, I develop an image of who the dress will be for. I choose a name to create a sense of space between my self and what is coming to expression. This permits me to think whether or not improvements are needed. When I am too close personally and emotionally to a project become too attached. That is not good because it prevents perception of where the fit or creative result is lacking. This dress is called Alice. I will add a middle name once I feel more of the character of the dress emerging.

How to Take Measurements

When taking measurements, hold the tape measure with one hand inside, against the body. This will allow a slight amount of ease. The fitting sloper is very close to the body in order to achieve the best assessment of the fit. It also shows if the measurements are accurate or need adjusting. Style ease is added to key measurements once a pattern for a particular style is created. The basic fitting sloper is the mother of all creations. From the basic all your creations will be derived. Some patterns like a half circle or gored skirt do not require so many measurements. These styles are a good start for a pattern drafting.

CHEST CIRCUMFERENCE: photo 1A
Place the tape around the back, under the arm and above the bust.
BUST CIRCUMFERENCE: photo 1B
Around the fullest part of the bust.
RIB CAGE CIRCUMFERENCE: photo 1C
About 3-4″ below the bust.
WAIST CIRCUMFERENCE: photo 1D
Around the waist.
ABDOMEN CIRCUMFERENCE: photo 1E
Around the fullest part of the abdomen, approximately 4: below the waist.
WAIST TO ABDOMEN: photo 1F
From the waist to the circumference of the abdomen, usually 4″ to 5″.
HIP CIRCUMFERENCE: photo 1G
Please note a correction: 1G should be same level as 1H. I made a mistake in labelling the photo.
Around the fullest part of the hip. Note: I have found it varies with figure type. It can be 7 to 9″ below the waistline.
WAIST TO HIP: photo 1H
Measure the distance from waist to hip.

SHOULDER WIDTH: photo 2A-D
From the side of the neck to the tip of the shoulder.
NECK TO BUST LENGTH: photo 2A-B
On the side of the neck from a point where the shoulder begins, to the bust point.
FRONT BODICE LENGTH: photo 2A-C
From the same point as used in the previous measurement, continue with the tape over the bust, adjusting it to the figure down to the waist.

NECKLINE: photo 3A-B
From the first vertebra following the shape of the neck to the place the seam shoulder begins and then to center front.

CROSS CHEST WIDTH: photo 4A-B
From the point where the arm begins to the same point on the other arm in the front.
BUST SEPARATION: photo 4C-D
Take the distance between the two breast points.

BACK BODICE LENGTH: photo 5A-F
From the first vertebra down, along the back, to the waistline.
CROSS BACK WIDTH: photo 5G-H
In the back, from the point where the arm begins, to the same point on the other arm.

FRONT BODICE LENGTH: 6A-C is the side view of measurement given in 2A-C.
FRONT SHOULDER TO WAIST: 6D-E
From the front edge of the shoulder pull the tape tightly down to the waistline.
BACK SHOULDER TO WAIST: 6D-F
From the back edge of the shoulder pull the tape tightly down to the waistline.

Please note that in real life the measurements in this section must be taken with the arm bent so that the hand rests on the hip. This way of measuring the arm provides room for movement.
ARM LENGTH: photo 7C-d-E
From the tip of the shoulder to the wrist.
UPPER ARM WIDTH: photo 7A
Take measurement at widest point of arm. Also called Biceps Level.
ELBOW WIDTH: photo 7B
Around the elbow with arm bent.
WRIST WIDTH: photo 7E
Around the wrist.

FRONT SKIRT LENGTH: photo 8A-B
Length from waist to floor at Center Front when wearing the kinds of shoes the outfit will be worn with.

SIDE SKIRT LENGTH: photo 9C-D
Length from waist to floor at point where side seam of skirt will be when wearing the kinds of shoes the outfit will be worn with.

BACKSKIRT LENGTH: photo 10E-F
Length from waist to floor at Center Back when wearing the kinds of shoes the outfit will be worn with.

Draping: Pin fitting the First Pattern

Introduction

Pin fitting as illustrated in the 1931 Butterick book, “Paris Frocks at Home”. Published in New York.

I use the modern draping system created by Hilda Jaffe and Nurie Relis in their book “Draping for Fashion Design”. It is one of the better books on the subject for me. I am always satisfied with the fit that results from their technique. I also add in some vintage fitting and sewing techniques to my design and sewing repetoire when they enhance efficiency. Pin fitting is one of these techniques.

Pin fitting is not presented in the modern sewing and design books in my Dressmaker’s Library. It is, however, commonly featured in the vintage sewing and pattern drafting books that are also in my library at home.

Pin fitting from “Weldons Encyclopedia of Needlework”, published in London. No date given.

While it is not a substitute for sewing and fitting a completed muslin toile, it is a quick and efficient way to test the accuracy of darts, seam placements and other pattern details. I find the pin fitting process a great way to spot check the development of a completed drape and subsequent transfer to a first paper pattern.

The Initial Drape

The photos used in this section are those of the basic fitting toile after the dots and Xs of each draped piece have been connected using pencils and rulers.

Update 10-4-20: Please see my posting Draping: Placement and Length of Darts concerning corrections made to the darts shown in the photos of the first toile you see here.

Initial drape of the basic fitted front and back bodice.

A half toile of the basic muslin fitting toile is draped on the dress form. Markings are made lightly in pencil. Once all pieces have been pinned and marked the drape is removed and pressed. Draping is not always precise in the way flat patternmaking is. Th vertical dart on the front bodice needed straightening and redrawing.

The basic fitted sleeve is first drafted as a flat pattern to save time as draping a sleeve is only for those with advanced skills and experience. The resulting sleeve is cut in muslin and the dart or darts are draped in place on an arm fitted to the dress form.

The dots and X’s used to mark the drape are then connected using French Curve, L-Square and straight rulers. An Armhole/Hip Curve ruler is also used. Pattern pieces are measured to ensure back and front side seams are the same length. Armhole curves and hip curves are also checked for a smooth flowing line in each piece.

Basic fitting toile skirt, front and back. Hips lines and hemlines are matched to check placement.

Each piece of the muslin drape is now pinned to the pattern paper. A special tracing wheel is used to transfer the markings to pattern paper. The tracing wheel is very sharp and leaves a discernible outline after the muslin is removed. Rulers and pencils are used again to connect and make the markings more easy to see.

Pin Fitting the First Pattern

The photos used here are those of the paper pattern created by transferring the muslin pattern to pattern paper.

Initial pin fitting of the basic fitting toile front bodice and skirt. The dart lines and seams are checked.

This is the point where I use pin fitting to do a quick spot check for darts and side seams. Each pattern piece is pinned along the darts and then pinned to the form. I check to make sure the darts line up and end where they are supposed to.

Pin fitting of the basic fitting toile bodice back and skirt back.

Sometimes even a quick check through pin fitting will show that there is a need to add a fraction of an inch (or slightly more) to side seams. At other times, an adjustment to the dart apex line might be needed. This happens because sometimes during draping the muslin may have been pinned a little too tightly. At other times it may have had too much ease added. In which case the paper pattern may go beyond the side seam or place it is supposed to be.

It is good to check the pin fitted pattern from a distance to make sure the chest, bust, and hip lines are even.

I make the needed adjustments to the first paper pattern. Then each piece is measured again at side seams, bust dart, back darts and other check points.

The pin fitting of the paper pattern at this stage has saved me the time that would have been spent making corrections to the first muslin had the needed minor adjustments been overlooked.

The pattern is now ready to be cut as a full muslin and tested for fitting on the form.