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FABRICS AND NOTl0N S
Jacket Fabric
There are many exciting fabrics available for menswear today.
Woven fabrics which are traditionally popular for men include gab-
ardines and flannels. Woolen and worsted fabrics are found in
such pattern designs as checks, plaids and tweeds. More casual
fabrics, such as denims and chinos, made in cotton or
cotton-synthetic blends, are popular for men’s suits, too.
Knits, available in polyester, wool or blends, are now being made
in designs, textures, and weights for men's suits and jackets. These
knits look different from the ones used in women’s clothes—the
yarns are smaller and the fabric is more tightly constructed, result-
ing in a firm knit suitable for tailoring. Knits for men are designed
to have especially good stability and wrinkle recovery.
Before cutting the fabric, pre-shrink wool and other non-washable
fabrics, by having them steam-pressed by a reliable dry cleaner or
by doing it yourself using the London-shrunk method. Pre-shrink
washable fabrics in the same way you plan to launder the finished
garment. This will eliminate shrinkage and remove any excess fin-
ishing solution which may cause skipped stitches.
Under-collar Fabric
For the undercollar, choose fabric which will be in keeping with
the color and care requirements of the jacket.
' For a knit jacket, use a self-fabric undercollar.
' For a lightweight washable woven jacket, use a self-fabric
undercollar.
0 For a medium to heavy-weight washable woven jacket,
use a polyester double knit undercollar.
0 For a dry-cleanable woven jacket, use a tightly-woven
wool flannel undercollar or special undercollar fabric.
Lining Fabrics
Choose linings that are compatible with the fashion fabric in qual-
ity, weight and care requirements. The fiber content should pro-
vide strength and durability. Even though the cost may be greater,
polyester and nylon will wear much better than acetate. Also, make
certain the lining fabric is opaque so that the inner construction
will not be visible.
0 For jacket lining, use a medium weight synthetic or blend
in a solid color or print with a smooth texture to coordinate
with the jacket fabric. Due to similar stretch and comfort


properties, tricot makes a compatible lining fabric with a
double knit.
0 For pocket lining, use a firmly woven, lightweight
polyester-cotton blend or a special stabilized nylon warp
knit.
Interfacings
For smooth, crisp shaping, interfacings must be used in a well-tail-
ored jacket. Fusible interfacings, developed originally to duplicate
the look of hand-tailoring for the men's ready-to-wear industry, are
available by the yard for home-sewers. These interfacings have a
fusible agent on one side which secures the interfacing to the
jacket fabric when steam and heat from the iron are applied. You
will find fusibles are easy to use and a real time-saver because they
eliminate the need for pad-stitching.
Pre-shrinking is recommended for all fabrics and notions before
using them. The method selected depends on how you plan to care
for the finished garment. The only exception is fusible interfacings.
They should not be laundered or dry cleaned before use. They are
damaged if washed before application, but are safely washable
after they are in place.
The fusible interfacings used in menswear tailoring may be woven
or non-woven. There are two woven types: fusible hair canvas,
very resilient and good for shaping, and fusible interfacing ( with-
out goat's hair), softer but providing body and stability. Of non-
woven types, the only one we recommend for menswear is the fus-
ible interfacing with one-way stretch.
0 For jacket front, chest pieces, and undercollar, the best
shaping is achieved with a fusible hair canvas which pro-
vides resiliency as well as firmness.
However, if fusible hair canvas is unavailable, or if jacket
fabric is a lightweight washable woven, use the fusible inter-
facing witho'ut goat's hair or non-woven with one-way
stretch, as used for detail areas below. Since it doesn’t have
the body or weight of hair canvas, it is fused to the jacket
front facing and the upper collar in addition to the jacket
front, chest pieces and undercollar.
' For detail areas, such as cuffs, lapel tips, pocket flaps,
vents and hems, use a fusible interfacing without goat's
hair or a non-woven with one-way stretch. This softer inter-
facing provides the right amount of body to stabilize these
areas.
0 For pocket welts and underlays, use a fusible web to sta-
bilize the area.


' Machine needles should be the correct size for the fabric
you are using. For most menswear fabrics, either knit or
woven, a size 11 needle is suitable. The universal type nee-
dle is designed for both knits and wovens. A blunt or
burred needle can damage your fabric and thread, so be
sure to change your machine needle often. If topstitching
with buttonhole twist, you may want to use a size 14 or
larger needle.
Hand sewing needles are available in a wide range of
types and sizes. We recommend Sharps or Embroidery
needles. For easier threading, you may prefer Embroidery
needles, which have longer eyes but are otherwise like
Sharps.
l0


measurements and to jot down the figures. The person being meas-
ured should stand with normal posture, rather than assuming a
straight, military stance with pulled-in stomach and thrown-out
chest. For this reason, the measuring should not be done in front
of a mirror.
\Vhere t0 )leasure
Take the following measurements and record them. You will use
only the chest measurement to determine the size jacket pattern to
buy. However, you must have all the other measurements for alter-
ing the pattern. Tie a string around the man’s waistline before you
begin to measure. Allowance for seams, hems or ease should not be
considered when taking these measurements (6):
1. HEIGHT: Measure when standing with normal posture
without shoes, against a wall. Figure type is partially deter-
mined by height.
2. SHOULDER SEAM LENGTH: Measure from base of neck at
side of head (place a pencil behind the ear and bend
head to the side to locate this point) to top of bone where
arm connects to shoulder.
3. BACK WIDTH: Measure across the shoulder from armhole to
armhole, below the base of the neck as follows: 6" (15 cm)
for Men, 4%” (11.5 cm) for Teen Boys, 4" (10 cm) for
Boys.
4. CHEST: Measure around the fullest part of chest. Tape
measure should pass under armpits.
5. BACK WAIST LENGTH: Measure from the base of
neck (prominent bone) to string at waistline.
6. FRONT WAIST LENGTH: Measure in the front from the base
of neck at side of head (place a pencil behind the ear and
bend head to the side to locate this point) to waistline.
7. ARM LENGTH: Bend arm at a right angle, measure from the
bone at top of the arm, around the elbow to just below wrist-
bone.
8. UPPER ARM GIRGUMFEEENGE: Measure around fullest part
of upper arm with muscle flexed.
9. WRIST: Measure the circumference over the wristbone.
10. FULL HIP (SEAT): Measure around the fullest part of the
seat. Generally this falls 8" (20.5 cm) below the waist for
Men, 7" (18 cm) for Teen Boys, and 6" (15 cm) for Boys.




12




adjustment at each alteration line. Otherwise, a decrease of 1"
(2.5 cm) or less is made at the lower shortening line. For a
two-piece sleeve, be sure to make the same alteration on both
sections. Cut and spread the pattern where needed; tape or
pin edges to paper insert. Redraw the cutting lines (12).

II. Width Adjustments
The most common width adjustments are in the waist and hip
area.
A. To WIDEN OR NARROW THE WAISTLINE AND HIPLINEZ Refer
to waistline and hip (seat) measurements. Consider the total
amount needed to be increased or decreased. Alter each pat-
tern piece accordingly. Simply redraw the cutting and stitch-
ing lines the amount needed, beginning at the bottom of
jacket and tapering to 3"- 4"(7.5-10 cm) above the jacket
waistline (13).
III. Special Fitting Problems
The following adjustments are easier to make on your jacket mus-
lin first. Then transfer them to your pattern.
A. SQUARE SHOULDERS: just below the collar, wrinkles appear
and pull toward the shoulder ( 14a). To correct this problem
in the muslin, remove collar and open shoulder seams. Lower
collar about 1%" (1 cm). Taper shoulder line seam. Some
shoulder padding may need to be removed ( 14b). Transfer
this alteration from the muslin to the back pattern piece; re-
draw the neckline and shoulder seam (14c).


increase
width
14b


E. BROAD SHOULDERS: Horizontal wrinkles form across back
and top of sleeves. The jacket may also pull across the chest
area (18a). To correct this problem, refer to shoulder length
measurement. This alteration is best done in the pattern be-
fore the muslin is cut. However, to correct the muslin, re-
move upper part of sleeve and refit toward edge of shoulder
(18b). To transfer this alteration to the pattern, draw a line
perpendicular from the middle of the shoulder seam, about
7" ( 18 cm) long. Connect the end of this line with a horizon-
tal line extending to armhole. Cut the pattern along this line,
to, but not through, the cutting line of the armhole. At the
shoulder line, spread the edges the necessary amount. Re-
draw the shoulder line (180).
F. NARROW SHOULDERS: Armhole seams fall too low on the
shoulders. Wrinkles appear around armholes (19a). To cor-
rect this problem, refer to shoulder length measurement. This
alteration is best done in the pattern before the muslin is cut.
However, to correct muslin, remove upper part of sleeve and
refit, moving sleeve toward neckline (19b). To transfer this
alteration to the pattern, draw a line perpendicular from the
middle of the shoulder seam, about 7” ( 18 cm) long. Con-
nect the end of this line with a horizontal line extending to
armhole. Cut the pattern along this line, to, but not through,
the cutting line of the armhole. At the shoulder line, lap the
edges to take out the extra width. Redraw the shoulder line
(190).



18c


INNER CONSTRUCTION
Fusing Interfacing
Cut interfacing for each section, following grainline on each pat-
tern piece in addition to the directions given below. To avoid bulk,
trim %" (1.3 cm) off the interfacing seam allowance; then, when
the seams are stitched, V8” (3 mm) of interfacing will be secured
in the seams. Fuse interfacing to your jacket fabric, following the
manufacturer’s recommendations. As you press, be sure to overlap
each pressed area slightly with the iron so interfacing fuses com-
pletely. Allow fused section to dry before working with it.
Stabilization for Detail Areas
Interfacing is fused to the detail areas first. Extra support is
needed here to prevent edges and points from curling. Then, the
entire garment section is fused with interfacing. For the following
detail areas, use fusible interfacing without goat’s hair or non-
woven with one-way stretch.
0 LAPEL TIP—Cut interfacing about 2" (5 cm) deep and 3A."
(2 cm) in from roll line and lapel edges (20). This will
prevent lapel tip from losing shape or curling up.
0 UNDERARM—TO stabilize the underarm, cut interfacing
and trim ‘é" (1.3 cm) off seam allowances (21a).
' POCKET—TO stabilize the area of a welt pocket which may
extend into the side section, cut interfacing as shown; trim
17%" (1.3 cm) off seam allowance (21b). For a patch
pocket, cut interfacing 1k" ( 1.3 cm) larger than the length
and width of the pocket. After fusing, transfer pocket
marking (22a).
0 SIDE HEM, SLEEVE HEM, BACK HEM—TO stabilize hem areas,
cut interfacing so that it extends from hem fold line to 17/4"
(6 mm) from bottom edge. Trim 17%" (1.3 cm) off seam al-
lowances (22b, 23, 24).
0 VENT FACING (24 )—On the left back only (the part of the
vent that forms the Overlap), cut interfacing as shown, the
width of the space from vent fold line to raw edges. Trim
%” (2 cm) Off one long edge; at bottom, trim interfacing
even with hem fold line as shown.
0 POCKET FLAPs—FOr sharp edges with no bulk, cut interfac-
ing and trim 3,44" (2 cm) Off seam allowance edges (25a).
' PATCH POCKETS-—-TO add support without bulk, cut interfac-
E welt pocket


v4 " (2 cm)


a - out -'
2" (5 cm)


front
21a


' patch pocket
hem told line


23
vunder sleeve‘
i
|
\ g l
hem told
line
\ upper sleeve
hem told
line
.fiil
20


trim oft V " 2cm
4 ( ‘p ) lettback 24
ing just to the fold line at the top of pocket and trim %"
(2 cm) off seam allowance edges (25b). vent
g: told line
Overall Interfacing for Jacket 3
Front and Collar 7;?
For the following areas, use fusible hair canvas. hem ‘old line




' Jacket Front—For shaping and Support, cut hair canvas from 5 ‘ _;
the jacket front pattem, as shown. If your jacket does not have 25a
a side front seam, end the hair canvas at the underarm marking. Y . I mm o" %,,
Eliminate hair canvas in hem area and trim 17%" (1.3 cm) off @273? (2 cm)
seam allowances. To reduce bulk, trim 1/I" (6 mm) off lapel tip ‘
(26). Interfacing is fused in place, covering the interfacing in I
the lapel area. 25b
For accuracy, transfer all markings such as roll line, pocket,
dart and buttonholes, to the hair canvas after fusing. For chest
piece placement, mark an additional line toward the armhole
side of the roll line—-1/4" (6 mm) away at top and %" (1.5 cm)
at bottom (26).
told line
If using fusible interfacing without goat's hair in the place of
fusible hair canvas for jacket front, it is also necessary to interface
the front facing. Cut interfacing from the front facing pattern,
as shown. Eliminate interfacing in hem area and trim 9%" (1.3 cm)
off seam allowances. To reduce bulk, trim 1/4" (6 mm) off lapel
tip (27).


trim off 1A" (6 mm)


' Undercollar-For recommended undercollar fabric, see page 7.
For less bulk, it is necessary to eliminate some seam allowances
from your undercollar pattern. (See complete undercollar direc-
tions, p. 37.) Follow specific directions below; however, be sure
to leave the center back seam allowance for joining a two-piece
undercollar.
For lightweight washable wouens only, trim off seam allowances
on short unnotched ends of pattern (28). To insure a better roll,
the undercollar should be slightly smaller than the upper collar;
if not, mark and trim 1/a " (3 mm) off the two long edges. Using
the adjusted pattern, cut out undercollar and fusible interfacing
without goat’s hair. On this interfacing, trim 3/i" (2 cm) off
long seam allowances (29). After fusing, transfer roll line to
interfacing.



{Y {T - I’PV'm-I
>4 ndercollar

I undercollar pattern
- intertacin
roll line i _,





‘2s
21


For all other fabrics, trim off all outer seam allowances (not
center back) of pattern. To insure a better roll, the undercollar
should be slightly smaller than the upper collar; if not, mark
and trim an additional 1/5" (3 mm) off the two long edges.
Using the same pattern, cut out undercollar from undercollar
fabric and fusible hair canvas (30). After fusing, transfer roll k 30


line to fusible hair canvas. K b )

If using fusible interfacing without goat's hair in the place of
fusible hair canvas for undercollar, it is also necessary to inter-
face the upper collar. Cut interfacing from upper collar pattern.
On this interfacing, trim 1h" (1.3 cm) off long seam allowance
which attaches to neck edge (1/3" (3 mm) of interfacing will
be secured in the seam); trim %" (2 cm) off long edge on
opposite side; trim seam allowance off the ends. Before cutting
out jacket fabric, extend ends of upper collar pattern, following
directions for Upper Collar, page 36. Fuse interfacing in V4" (2 cm) 31
place (31). l
upper collar
interlacing
two-piece
undercollar

I!
(4 cm)


Chest Pieces


Either a fused or a floating chest piece may be used in your jacket. neck edge (1 3 cm)
A fused chest piece is cut from a remaining piece of hair canvas '
and fused in place over the interfaced jacket front. It can be cut to
fit any size jacket. A floating chest piece is available pre-made in a
kit which can be purchased or ordered through a fabric store. It is
attached so that it will “float" over the interfaced jacket front after
darts and upper pockets have been completed. The appearance
and construction of this pre-made chest piece (non-fusible) is very
similar to the type found in ready-to-wear garments. It comes in a
range of sizes. When deciding which chest piece to use, availability
and price may affect your choice. ‘111" 1 cu‘
Fused Chest Piece Cut a piece of fusible hair canvas with the . ‘ mound
grainline parallel to the shoulder line of your jacket front pattern. ,
Cut chest pieces %" (2 cm) from shoulder and armhole edges and
along previously marked chest piece placement line. End the chest

piece 1%’ (3.8 cm) above the bottom of the roll line. Curve the A
chest piece as shown to meet front seamline, cutting out area over "
dart. Mark position of upper welt pocket, if any. To eliminate (r3
bulk, mark and cut away hair canvas in pocket area, 1/4" (6 mm) cm _
Outside pocket marking. Fuse chest piece in place over previously . front
fused hair canvas ( 32). Join jacket front to side section, if any.
IQ
IQ


8. To stitch bottom welt in place, fold jacket so bottom seam
allowance of opening is exposed. Using stitching line of open-
ing as a guide, baste through seam allowances of jacket,
pocket and welt. If welt is straight and even, stitch exactly
over basting with regular machine stitches; back-tack (55).
9. To stitch top welt permanently in place, fold jacket so top
seam allowance of opening is exposed. Stitch as for bottom
welt.
10. To stitch sides of welts, fold jacket to expose base of
triangles. Carefully stitch back and forth several times at base
of triangles through pocket and welt. This secures the trian-
gles and sides of welts (56).
11. Grade bottom layer of welt to reduce bulk. Zigzag over
raw edges of welts, catching them to pocket only (57). To
avoid shine from iron when pressing, steam welt with a press
cloth, using a pounding block to flatten welts.
12. Flap: For the flap to roll slightly to the underside, trim
Va" (3 mm) off sides and bottom of under flap. Make sure
interfacing has been fused securely to upper flap. With raw
edges matching, stitch upper and under flaps, leaving top
edge open. Grade seam allowance; turn to right side; press.
Baste top edges of flap together, %" (1.5 cm) from raw
edge.
13. Slip flap under top welt, lining up basting stitches on flap
with upper part of top welt; pin. If flap does not fit the open-
ing perfectly, adjust side seams of flap accordingly. Stitch in
the ditch through all thicknesses to hold flap in place (58).
14. Fokming the pocket: Fold pocket up, right sides to-
gether, raw edges even; stitch side seams, rounding off bot-
tom corners. (This prevents corners from becoming lint
traps.) Stitch again Vs" (3mm) away (59).
15. To hold top seam allowance of pocket in upward posi-
tion, fold jacket to expose top edge of pocket. Stitch across
top of pocket, through all layers, Vs" (3 mm) away from pre-
vious stitching (60).
jacket opening
interfacing seam allowance
pocket
wrong side


LIN [NB
This method for attaching the lining coordinates with the collar
method that follows. The jacket facings are joined to the lining and
then this facing-lining unit is stitched to the jacket by machine.
When the collar is attached, the neck edges of both the jacket and
lining will be enclosed. Quality jackets, even in summer weight
suits, almost always have full linings. However, if you prefer a half
lining, follow directions below for altering the lining pattern. For a
half lining, be sure the jacket fabric is opaque. In either full or
half lining, the inside welt pocket and arm shields are optional.
(‘lilting aml Joining Lining‘
1. ALTERINC PATTERN ron FaoN'r PLEAT: To help eliminate strain
from the contents of the inside welt pocket in a woven lining, a
pleat can be provided for ease. (A pleat is not necessary for a knit
lining.) If your pattern doesn’t have a pleat, the front lining pat-
tern can be altered. Slash front lining pattern 3" (7.5 cm) above
bottom of armhole. Add V2" (1.3 cm) to pattern (69). The entire
full lining can now be cut out.
2. ALTERING PATTERN FOR HALE uNrNc: For a half lining only, cut
off back pattern 2" (5 cm) below armhole (70). Eliminate center
back pleat.
Cut out front lining as follows: For a jacket pattern without a side
section, add 3A" (2 cm) to front side seam allowance. For jacket
pattern with a side section, add 3A" (2 cm) to side back seam al-
lowance (71). This is done so that lining fabric will cover the
jacket seam allowances.
3. FORMING FRONT PLEATI Mark the area added for pleat in seam
allowances. Fold top marks to meet bottom marks, forming a 1/4 "
(6 mm) pleat in lining. Stitch pleat in place, 116" (1.3 cm) from
raw edges (72).
4. jorNrNc FACINGS TO FRONT LININC: Join
jacket facings to front lining. For ease in
handling, make the inside welt pocket
next, before the lining is completely
assembled.
tront lining


back lining
pattern




out here for
half lining
1 2!!
(5 cm)
I!
/%
(2 cm)

31