In the first place, we must clear our minds of the indefinite cloud of detail in which they have been so long submerged; or, to change the metaphor, whereas hitherto we have too often not been able to see the wood for the trees, we must now learn clearly to distinguish between “principles” and “methods,” which in practice are over frequently confused: then, quite easily and naturally, the teacher will derive resulting details from the few definite principles which are the “basis alike of the simplest garment and the most artistic handicraft,” and “the principles once understood, in one instance, the pupils will be able to make wider applications for themselves.”
It is important here to emphasise that some elementary knowledge of hygiene, physiology, and anatomy is necessary for the intelligent appreciation of the requirements of the body as to clothing, and of its alterations in shape when muscles are tense or relaxed. By a reliable system of drafting from direct measurement, such as one of those in use in the Ecoles Professionelles of Paris, a shaped bodice can be produced fitting the arms and figure easily and gracefully, and from this pattern can be deduced further patterns of other garments, whether tight, loose, or semi-fitting, which hang from the shoulder or the waist.
When the theory of drafting has been learned, and the shapes and proportions of a pattern and its derivatives are understood, “moulage” or 304 modelling on the figure in muslin, should be attempted; though, be it remembered, “moulage” should not be regarded as a substitute for drafting, but as its necessary accompaniment, for it affords opportunity for eye training, and for learning how and where at certain points the material should be stretched or held easily on the figure. The pupil is thus prepared to handle the pattern intelligently when cut out in material.
I have seen it objected that only awkward and wooden lines can be obtained from drafting on paper because of its rigidity, and because the pattern is built up upon a framework of straight lines at right angles to each other. The objector cannot have understood that the rectangular construction lines have no connection with the outlines of the pattern, except as affording points d’appui, which are found by direct measurement. These construction lines stand for the warp and woof, or “thread” of the material to be used for the garment. Stress must be also laid on the fact that the grace or angularity of the pattern outline actually depend upon the eye training and perception of curves derived from drawing lessons, which must, for this as well as other reasons, form a part of the scheme of instruction.
CONCLUSION
Limits of time and space have only allowed me to touch the fringe of a fascinating and useful subject; but the frequent conferences of teachers now being held in different centres, and the new 305 suggestions of the Board of Education are stimulating so much interest and discussion that I feel that the educational teaching of needlework in its broad sense in England has a cheerful future. There is already much excellent teaching and work done in some of the trade schools in London as well as in a few of its elementary schools, and others elsewhere, which leaves little to be desired from many points of view.
Apart from the modern educational treatment of needlecraft and dressmaking, though arising directly from it, are the unquestioned advantages which may result to any woman of whatever rank or social position who is willing to devote, in the first instance, a little time and intelligence to mastering a few elementary principles introductory to their practical application, either by herself or by any one in her employment, to the cutting and making of her own garments from direct measurement, modified by measurements of individual carriage or conformation.
When these modifications are clearly understood, the proving of the flat pattern on the table after drafting should produce a well-shaped and correct lining, without the misery of standing for hours in the ordinary way to be “fitted on.” If finer touches are needed, they are of the nature of “moulage,” or modelling; the different parts of the pattern retain their balance and relative proportions, and the length of the operation is much shortened.
The majority of women, especially when past 306 youth, are not so happy as to possess the theoretically perfectly balanced and well-proportioned figure which has been so successfully adopted by the best business houses as the basis for cutting high-class ready-made garments. Happy indeed is the woman who can “walk straight into them” without the offered “slight alteration” which so often spoils the cut and brings bitter disappointment to the wearer. There are few women who have not groaned under the waste of time and fatigue entailed by being “fitted on” under the hands of the “little dressmaker,” or for that matter under hands of much greater pretension, with no idea of principles in cutting, who pinch and drag and smooth down by rule-of-thumb, producing garments without balance or ease, whose faults may be disguised by trimming or drapery, but whose discomfort is always present to the wearer.
Women have in fact so long submitted to this tyranny of rule-of-thumb in dress-cutting, as inseparate from it, that, as is their nature, they continue to endure what they think cannot be cured. Nevertheless, the discomforts and uncertainties of this rule-of-thumb misery may be entirely eliminated, and it is for the modern woman to demand and insist upon its elimination.