THE CUTTERS' PRACTICAL GUIDE for the Cutting Board. ARTICLE 21.- DRESS COATS. DIAGRAMS 74 & 75, PLATE 4. At this season, when evening parties, dinners, and balls are so very frequent, the demand for Dress coats is naturally greater than at any other period of the year; and as we have had several requests for an article dealing with these garments, we will diverge from the plan originally laid out for these articles, and devote the present one to Dress coats. It is not our intention to go through the system point by point, as that has already been fully explained in Article 5, and to do so again would be useless repetition. We refer those of our readers who wish to acquire the system to Article 5, in No. 1,147 and having mastered it, they will be able to follow us in treating of The Special Features Of this class of garment, all of which we have endeavoured to embody in diagram 74, which illustrates the roll collar style, that being the one now almost universally patronized by the better classes of society. To arrange the run or shape of the roll requires very great care, and readily shows the good or bad taste of the operator. There are many ways of arranging the forepart, lapel, and collar, but the one illustrated is the same as is adopted by those cutters who are cutting these garments every day, and they assure us that having tried other methods, they find this to produce the most artistic results. It allows full scope for that variation in outline which a trained eye and good taste would dictate. It will at once be seen that the front is cut away, in the style generally adopted for roll collar vests, the lapel being very short, whilst the collar is necessarily that much longer, and so governs the shape of the roll. As far as the cutting of the body part is concerned, there is really very little variation to the method adopted for the Frock coat as fully described in Article 5. The variations introduced are made on account of style, taste, and material. They may be briefly summarised as, first, a lighter, smrter outline to the garment generally. As an illustration of this, we would point out that the back is made a trifle narrower, being only 1 wide at natural waist, and cut bare to the width of back. Second, in the style of front and skirt. The details of the former we have just explained, as far as the roll is concerned, so that the only further point we need call attention to is that the waist is cut to the nett size, i.e. the combined widths of back, sidebody, and forepart agrees with the half waist, allowing nothing for seams. Dealing with the skirt, these are generally cut much longer than any other kind of under coat, a very good guide being to make the entire length of the coat an inch or two less than twice the fashion length of back. In our diagram it will be noticed we have turned back the end of skirt, as the Plate was not long enough to allow of its being drawn to the full length to this inch scale, which scale we think conveys the general outline of these special garments much better than the smaller one. It will be observed the front of skirt is dropped 1 inch from forepart above A, which is done to counteract any tendency to looseness at B; the width of the strap is generally 1 inches at A. and the slightest bit wider at B. From A to B of the strap is made one-third of the distance from A to E, whilst from C to D at bottom is made 1 inch less than half A E; the front edge of skirt from C F to B is slightly rounded, and bottom part made to run up in front, which feature is shown in the diagram; and our readers will understand that part of the diagram from F to C and C to D is turned up from the bottom. Turning our attention to the third point of variation; on account of the material, it will be noticed we have only allowed 2 inches over the breast measure, from 9 to 20, instead of 2 as in most of our draughts. The material from which Dress coats are invariably made are very thin, much more so than the average cloths used for Frocks, Morning coats, or Lounges; hence this variation, which is done, not because it is a Dress coat, but because it is made from a thin material. We should do exactly the same were we cutting the same material in either of the styles mentioned. Thinking many of our readers would be able to understand the features we have introduced in this diagram better if they saw the variations marked on a Frock coat body, we have prepared Diagram 75, Which also shows the ordinary style of lapel. The back is narrowed a inch as per dotted lines from F to G, care being used at N that the balance remains unaltered; to ensure this, it would be as well to draw a horizontal line as shown at N. A of an inch is taken off the under arm seam from H to I, and the front shoulder is narrowed inch at H to make it harmonize with the back. The front is cut away at K, so that the combined width of back, sidebody, and forepart measures the nett waist measure, from J to K being arranged entirely to taste as it governs the width of the lapel; and as present taste goes, the lapel should be rather light, hence it is customary to cut away or of an inch from the front of breast for a proportionate figure; but as this is entirely a matter of style, it would be advisable to draw the crease edge line, and then turn the pattern over to see whether it meets your views of what the turn of a Dress coat should be. The gorge is lowered at J, from 1 to 2 inches, and in order to get a straight drawing seam to your collar, the distance from the hollow of gorge to the front at J should be made straight or nearly so. The lowering at this part is done so that the step or part where the collar end and top of lapels come should be arranged in harmony with the style of front generally, and although only a trifle, is.still a point on which much taste may be displayed, and has a great effect on the finished garment. The lapel for this style of front may be either cut with a straight sewing to edge, or hollowed to of an inch as described by us in the article on lapels, which our readers should refer to, as the lapel of a Dress coat is a very important feature, and we described the principles on which they are cut very fully therein. Considerable difference of opinion exists amongst high-class cutters of the present day as to the correct alterations to be made for a Dress coat from a Frock body, some saying the shoulder should be straightened, others contending it should be crookened; some lengthen the front and others shorten it, and as they all have had considerable experience in this branch presumably with success, it seems strange that such apparently opposite methods should both produce successful results. But when, as in many other apparent contradictions, the various methods propounded are analysed, as they recently were at one of our leading societies, it is found, that although working in such different directions, the patterns at the finish produced such a striking resemblance as to astonish the members. This may appear strange to many of our readers, but those of the thinking, investigating class know how subtle are the laws of cause and effect, and how an alteration made at one part will counterbalance an alteration made at another part and reduce it to a nullity. This is a feature present-day cutters would do well to develop, for it would do much to sweep away the narrow-minded bigotry that condemns every method as wrong beside the one he uses. This, to a certain extent, is the outcome of success in daily practice; and, after all, that is what we all aim at ; but we should always be willing to show a charitable feeling to the methods of others, who, although working in exactly opposite directions, are equally successful. We all know, from the history of wars, that some generals have achieved success by a brilliant charge, whilst other have been equally successful by patient strategy. Man's ability, temperament, and judgment all vary as much as their surroundings, consequently their plans of achieving success are equally varied, and to those of us who are striving after knowledge in every direction, we must listen patiently to all the various schools of thought, and select the wheat from the chaff no matter how they are mixed. This will of course require patient investigation, but that alone will enable us to get at the true principles of cutting. It has been urged that because a Dress coat is worn unbuttoned it should be cut with special features on this account, but to this it is replied that as most Morning coats, Lounges, &c., of the present day are more generally worn unbuttoned than buttoned, they should be cut to fit in the former way equally well with the Dress coat, the buttoning being merely lapping the fronts and buttoning it. This we fully endorse. As an illustration, a Clerical Frock coat was prepared, tried on, and found to be an excellent fit. It then had the fronts altered as shown in diagram 75, and the skirts cut away, re-baisted with lapels on the front, and the result was as good a fitting Dress coat as in had been previously a Clerical Frock. This, we feel sure, will interest many of our readers, who only have these garments to cut very occasionally, and when they do come are rather frightened of them. To such we say: If you can cut a good fitting Morning coat, you can do ditto for a Dress coat; the variations in skirt and front are only in style, and we have given as many hints as possible on these points, so there should be no difficulty. We will now conclude these remarks by giving a few Hints on Materials, Making, &c. The materials mostly used are a very fine diagonal, known as a Dress twill, much finer than a corkscrew, a soft wool or vicuna, and, but very occasionally, black superfine, which latter is now fast dying out, and is left for the patronage of livery servants, waiters, &c. The Dress twill is undoubtedly the most popular, and the edges are either left bluff or corded and stitched behind. Silk facings are universally adopted for both styles. Moiré or watered silk obtains much favour in the roll collar style. The skirt is generally lined with cloth, the only exception being when it is lined silk, but when faced through with the same material it makes a nice firm skirt. The pockets are generally put in the plait, and often made of white so as not to soil the hankerchief, gloves, &c. An inside breast pocket is either put in one or both sides, which is often kept very forward, low down, and small, so as to make it convenient as a card pocket. The facing of forepart is continued to the bottom of straps in one piece, the skirt facing joining it just behind B. One very important feature in Dress coats is to get the length of forepart and strap to agree with the length of vest, and should receive careful attention. LECTURE ON LADIES' GARMENTS BY TOM H. SAWYERS, At the Cardiff & District Amalgamated Provident MR. CHAIRMAN AND GENTLEMEN,-In appearing before you to-night to dilate a little upon my ideas and experiences on Ladies' Garments, I trust none of you will imagine that I have any desire to set myself as a teacher among you; but if any of you are fortunate enough in picking up a few wrinkles, I hope, when each of your turns come, to be able to learn a few from you in return. The text of my subject, Ladies' Garments, lays such a wide field open to me, that I am afraid I have but to dip my hand in the bag and deal with that which comes out first. Dr. Humphreys, in an article in the Tailor and Cutter, Jan. 17th, 1889, says: "Those who are supposed to possess practical ideas have been, during the last thirty years, the greatest obstacles to progress in systematical and practical cutting. The advancement made in artistic tailoring is not due to extended knowledge of scientific cutting so much as to taste and judgment." I am pleased that the worthy Dr. pays one tribute at least to the refinement and better judgment of the present school, but if the Doctor or any of us look forward to the elite of our profession as the source from whence the advancement will come, I am afraid we shall hang our hopes upon a very tender thread, in fact, so tender that I am afraid we shall find we have hung it upon baisting cotton in mistake. But this is so in nearly all arts and professions. Take singing, for instance; look to the top of the tree there: Madame A. Patti. Although the greatest female singer we have, she is no help to the advancement of musical art; she rarely ever takes up a new song, but year after year ding-dongs at the same old ditties which she knows how well to sing. They are like the blue paper patterns of immortal origin, they always give satisfaction. And then, as regards the younger members of our profession, I think myself they dabble with far too many systems for their own welfare. It is, I remember, some years ago a friend who cut for a few months in the same town came to me. 66 Sawyers," says he, "do you know I can never get my coats right; I don't know how it is somehow." "Which how ?" says I, " blame the system." "Well," he says "I don't know, I went to London and had a course of lessons two years ago, and since then I have had a go at nearly every system that has appeared in the Tailor and Cutter. Can you put me on to a good system?" "Yes," I said "go back to the one you first learnt, because having had tuition in that one you must know naturally more about it than all the others put together. I know the system quite well enough to cut a normal block from it, and you do the same to this measure, and then we will compare notes." We did; something was wrong. "How do you account for it?" "Easily," I replied, " because I always endeavour to get my ideal of what a pattern of a given shape and size should be infused into my draught, and if I do not get that individuality into it, I tear it up and cut another. Mind, I do not say for a moment that my style and cut are anything superior to the ordinary run of cutters, but that having been all my life in the trade, it is that style, cut, and individuality that have carried me through a so far successful cutting career. Therefore, I do not think that I or any cutter of experience would แ be justified in renouncing the modus operandi that was part of our second nature, for every new-fangled notion that is flouted before the trade. I take Dr. Humphreys as a fair example of this, for has he not stuck to the " Angulator" and "Polytechnic " lines himself for many years past; this he has done, to my own knowledge, through thick and thin; therefore, I think, that when (in the same article to which I have referred before) he makes use of the following sentence: "Almost every idea held by men who claim to possess practical ideas in cutting is wrong in principle and applied at random," he does both himself and the hundreds of students that have passed through his hands during the last twenty years, a gross injustice; and depend upon it, if we are to have new principles in cutting that will abolish judgment, experience, and tries-on, they must be sought for, in the main, by those of our trade who can obtain a good brown paper and padding experience, and not those who have to study and economise their employer's cloth. But to the man who would pose as A High-class Ladies' Cutter, The matter of whose systems does he use, is perhaps the least important of any of his other qualifications providing he is endowed with that taste and quick perception to grasp the whims and crotchets of his numerous clients, an assiduous determination to supply their every wish, and the ability to do so. Although, indeed, the same might be said with regard to every other garment a cutter is called upon to cut, which clearly proves that a cutter (to be worthy of the name) must also be an artist; and this leads me to think that the true cutter is not made, but created. Not that I would wish you to suppose that all good cutters are ancient gods dug up, for if they were they would require the sculptor's mallet and chisel to mould them into form and fashion, and I know you will all readily admit that chiseling is quite foreign to the tailoring profession, although unscrupulous people are very fond of putting forward the word “cabbage" and other harsh terms, as a discount to the tailor's economy. To put all this into a few word, it is the man that makes the cutter, not the systems he uses. To further eluci ate my lecture this evening, I have brought for your inspection and criticism a few draughts. The first that I shall call your attention to, tern of the draught before you was cut for a lady to the following measures: 7 depth of scye on the back seam; 13 natural waist; 21 long; sleeve 5, 16, 26; front of scye 10; shoulder, from nape to nape, 24; side depth, from the bottom of scye to the indent at waist, 7; length of collar 15; from nape to prominence of bust 12; to hollow of waist in front 19; to full length in front 25; breast 33; waist 23; hips 45. Now gentlemen, having the measures of this draught before you, I cannot do better than run over the points of the system; but before commencing, let me just say that I do not claim anything superior for my system over any of the systems that are published, unless it is its being one of the simplest arrangements of shoulder and front of scye measures working in conjunction I have ever seen. At the same time, it can be worked just as easy by breast measure as by shoulder. Commencing at the top of the back, I go down 2 for shoulder level for all sizes, continuing my back depths, bottom of scye line 7, natural waist and full lengths to measures taken, for back neck 2 across and an inch up; for shoulder slope go across to one-fourth of the shoulder measure (in this case 6), and draw shoulder seam; hollow the back as shown an inch inside construction line, and outside of it: at the bottom make across back to measure and inch, 6 inches, and finish back by shaping it either to fancy or to measures shown; continuing across on bottom of scye line, mark off the sidebody and side gore at equal distances, and then on to front of scye line A, 1 inch more than measure taken, 11, and to front of breast B 2 inches more than half the breast measure; C is equal distance between A and B, and finds neck point at D by squaring up a fourth of the shoulder measure and an inch, 8; find front shoulder seam by a line drawn from an inch below D to on back shoulder seam; shape shoulder and scye, then neck to measure, 15. coming inside breast line Ban inch at the top; then proceed to make up the waist, which you will see I divide into three sections. Section one is of course the natural waist measure, taken on the back; for section two, hook in waist 1 inches; sweep across the waist from E to F, making a pivot of G; then measure down from the bottom of the scye to H the side depth measure taken, 7 inches, and square across from F to H. Section three, measure across back top and down the forepart, from neckpoint to front waist seam at K the measure taken, 19; then square across from H to K, and make all your indentations on these lines, taking out between each seam as indicated or as the figure may require; then measure across from seam to seam right out to the front of waist to measure and 1 inch; make up the bottom to measure and 3 inches over; find the full length by the measure taken; nip in a of an inch at M, and finish bare draught, taking care to bring the underarm seam of forepart well forward to prevent the sides from creasing, and shape the widths of the different parts in harmony with the contour of the figure you are called upon to cut for. This, I need scareely say, produces the garment edge and edge; of an inch must be allowed for button-hole side, and 14 or to fancy for the button stand. Have a row of marking threads placed in the bare edge line of the front; then let the workman work the heads of the button-holes exactly on this line on the right side, and the buttons exactly on the marking thread line on the left side; then, when the garment is finished, the buttons will stand exactly in the centre and the front cuts running at equal distances on either sides, not-I am sorry to say as I often see them-with the front cut about 3 inches away from the buttons on one side, and about 1 or 2 inches on the other. I know this may sound very simple, but still it is one of those important items that go far to make ladies' tailoring a success. The top of front darts are found at 2 inches below the bust measure taken from the nape, which will allow the workman to consume another inch to seam them off to nothing without their being too high. We will now turn to Diagram 2, Which you will see is a ladies' bodice. I have drawn this diagram with a view to show you what I consider the working difference should be between a tight-fitting jacket and a ladies' bodice for the same figure. Diagram 2 shows the working of the system. Since finishing these diagrams I have thought that perhaps you could better see the changes if I placed the bodice block upon the jacket pattern, which I have done in another draught. The only difference in the measures of this from the jacket are, the full length of bodice a little shorter, and the width across the back, which in the jacket has 5, in this case is only 5 inches; the back is made a little narrower at the waist, and only 1 taken out between back and sidebody. One gentleman asked me the question, why I only took 14 out here in the bodice pattern, while I took 1 out in the jacket. Well, gentlemen, I think this is easily explained. You will observe that the back of the bodice is of an inch narrower than the jacket for the same figure, that of course necessitates clearing the back scye round a considerable portion, which brings the seam so much nearer the back seam, and consequently more on to the flat of the back, because it cuts away a portion of that part of the top of the sidebody and back that required hooking in, added to which I always find, from my own experience, that bodices always require cutting a shade flatter in the back than most ladies' overgarments; the fronts at waist are advanced of an inch, to make provision for the non-elasticity of dress stuffs generally the extra on the waist taken out between the front cuts; the cuts brought nearer the fronts and closer together. a seam taken off the top of the breast, or taken out between forepart and side gore; readjust the seams, make up bottom, and finish draught as shown. A little linen or thin French canvas should be sewn in with seams at the waist; a little bit of wadding placed at the top of front cuts, both to help their finish and to prevent the heads of the bones showing through. When putting in the whalebones, the seams should be kept well strained down, and the bones held full on, especially the two front ones, or their intention will be lost, that of holding the waist section firm down in its place, preventing it from creeping up and to prevent the waist from miniature creases and wrinkles during the movements of the body, and in the course of wear. Diagram 8 Shows a collar suitable to either jacket or bodice, made up to width and length taken, and which should be held full on to the gorge when being put on. Diagram 4 Represents two styles of sleeves; by marking out as indicated, and shaping the ordinary hindarm seam produces the style of sleeve most suitable for an Ulster or easy fitting jacket; but for a tight-fitting sleeve, there is perhaps no shape that finds so much favour as the blocked sleeve, as per outside lines of diagram 4. There should be a small V taken out of the hind arm seam as shown, and the elbow fulled on slightly to the under hindarm, which will enable the wearer to move her arms with perfect freedom, no matter how tight (in reason) the sleeve may be; while if you find you are called upon to cut a dress from a very large stripe, check or plaid, which are now getting so fashionable, then you will find 24 inches, I shape my back seam 2 inches out from the back construction line, to assist the back pleats in sitting clean over the drapery of the under skirt, and to go well into the waist; then measure across the measure taken on the figure at that part, 56, and allow 3 inches for seams and ease; continue the front cuts well down to prevent the cloth from bulging over the stomach, and finish as before directed, allowing for organs or box pleats or back tack as required. We will now proceed to view Diagram 7.-A Russian Cloak. With the aid of a good Ulster block this becomes a most simple garment to cut. The great essentials in this garment are plenty of fulness over the shoulder to allow ease for the movements of the arms under the wing, and plenty of width must be infnsed into the wing across at the elbows and bottom. A good average is to make the width of wing at the bottom 2 inches less than the entire width of Ulster at the same place; form the head of wing as per diagram, touching at point A 3 inches from back seam on the level of shoulder line, and at B at the bottom of scye line, and continue down to the width at bottom as before explained. Clear away the scye to fancy or as indicated, and finish draught. If sleeves are desired to be worn, cut the body portion by the Ulster pattern, diagram 6, and the wing as before. When making up leave a slit in the facing on the wing (and line it) about 10 inches, to pass the arms through. Diagrams 8, 9, 10, 11, and 12, Show how to cut a Lady's Directoire dress from a bodice pattern. This style of costume is worn in conjunction with a foundation skirt of the ordinary shape, draped with the same material in front, and to come well beneath the folds of the outer drapery which hang continuous from the side gore or sidebody, as fashion and fancy desire, and fastened to the skirt with safety hooks. As the widths for the pleating are all marked on the diagrams they will all speak for themselves. The under vest on diagram 12 is the forepart of the bodice pattern exactly; the outer jacket on the same diagram is cut 2 inches longer than under bodice; they are both sewn in together at the shoulder gorge round the front scye and sideseams. This diagram is represented with the outside jacket hanging loose from the waist; if it is desired to fit in at that part, take a cross cut out as per Diagram 13, Which is the same style of front with the revers turned back; or, if desired, the style of front may be made as per Diagrams 14 and 15, By cutting the outside jacket by the diagram preferred. With diagrams 13 and 15 it is desirable to put a little thin canvas through the outer jackets to help to set nicely on the figure. The ways of trimming, altering, and elaborating these styles are so numerous, that I will leave them in your hands, to use your judgment when called upon. And now, gentlemen, In Conclusion, Allow me to say I shall be very pleased to answer any questions that are put to me, as far as I am able; also allow me to thank you, both for conferring the honour upon me of giving the inaugural cutting lecture of your new society, and also for listening so patiently and attentively; and if my remarks have at all interested you, I shall be more than satisfied. J. Smith writes: "I see 'W. R. G.' is in a difficulty regarding his left skirt winging. I know something of this matter, and the only remedy is to cut the back straight down; instead of going in the usual 1 inches at waist, let the back be 1 inches at top as well as at waist for back tack, from the edge of the cloth. Let 'W. R. G.' try this, and he will find a perfect cure. I see from the measures and description of his customer that this is just what he requires. Glad to know the result." "A Welshman writes: "As you asked your readers their views about W. R. G.'s' difficulty, I send you mine. He mentions that his customer is full in front of waist and hollow under the arms. The best alteration would be to rip open the pleats up through the seam as far as the blades, and take it in to the extent required. That extra material ought to be in front and not behind." เ H. P. writes: "" Having received many valuable hints from your Table' I herewith send my solution for the benefit of 'W. R. G.' This week I have had a customer the exact counterpart of 'W. R. G.'s' with the exception of 1 inch less chest. I altered back, sidebody, and forepart as per dotted lines on accompanying diagrams, making a pivot Also a little off top of skirt, about inch¡in front to nothing half way across. When fitted, it was a trifle full between blades, and required right shoulder seam taking up about an inch; otherwise it was all that could be desired. Query: Do both back skirts hang out of the perpendicular the same amount, or is it the right goes under the left? If the former, it seems both skirts require taking in down pleats, or else back balance lengthened as diagram 1; if the latter, it appears as you suggest: 'pattern requires adjusting to each side.'" "Crook J." writes: "W. R. G." is at a loss about making his coat fit at skirts. I will guarantee if he takes my advice all will disappear. He says the person stcops, and having no excess of bone or flesh on blades, and having tried the different ways he mentioned without success, let him try this, and I shall be glad if he will make known the result through your valuable trade journal. Supposing the dotted line to be edge of material, let the top of back be of an inch from edges, but remain the same at waist. You will find No. 2 is cure for your case."-See diagrams. The Prize Coat. The Competition in New Styles, Plate I, II, and III, in December Monthly. DEAR SIR,-During the past week I have made a departure from the ordinary run of styles of coats, and produced one in the style of the Prize Coat, and which, to my thinking, is quite a stylish looking garment. The coat was for a gentleman 39 breast and 36 waist. It was made from black worsted coating; edges bound. The coat, which was cut by the shoulder measure, gave perfect satisfaction both in style and fit, the customer being highly pleased with it. The method of producing the coat, which I found most expeditious, and at the same time reliable, was to cut a Morning coat pure and simple, then lay the sidebody across the skirt from hip buttons, being careful to drop the sidebody the amount that would be taken up for seams. This can be done on the cloth, and so have the sidebody growing on to the skirt. My opinion is, that the style only requires to be introduced to become popular. The Plate you issued being so good a representation of the coat, no customer could fail to comprehend what the coat would be when finished. Wishing you continued success, I am, very truly yours A. G. PARDOE, (ALONZO.) [This testimony may induce others to persuade some of their customers to have a coat in the style of the Prize. A good idea would be for the head of the firm to have one made for himself, and show it to customers. In this way the coat might become popular.] SIR,-While acknowledging the Tailor and Cutter has to a very large degree extended the knowledge of practical cutters, during the last fifteen years, I regret nevertheless to say, that |