1942—Modern Pattern Design
by Harriet Pepin

Summary

If my readers have carefully studied these pages, have faithfully rendered the problems which have been diagramed, they have become acutely conscious of the fact that there are but a limited number of basic, underlying principles when using the block system of pattern making. They have become aware that there are only a limited number of ways to introduce drapery; for adding sweep at the hemline of the garment; for maintaining a smart fit through the careful shaping of seams.

Art in any form is governed by but very few rules. But there is one rule which is common to all artists—the rule of accuracy. Careless mistakes will lead to discouraging hours of correction. In this text the writer has attempted to teach methods— the way to produce the pattern for recognized silhouettes. No mention has been made of time-saving "short-cuts." They have little to do with the teaching of fundamental principles and methods. It is to be assumed that each individual will adopt time-saving methods which, when used with intelligence and accuracy, can prove valuable to him personally. But before they can be employed, the worker must first have a clear understanding . of the fundamental principles of his art so that he may be confident of pleasing results in his completed design.

The block system of pattern making is an American method. It has been developed in America by Americans. Fortunately for our American women who buy the designs and the designers who create them, our leadership in fashion is also typically American. No one city can claim leadership. Designers working in California may find inspiration for one silhouette; the designers of the Middle West may be noted for the simple wearable clothes found in the wardrobe of the majority of women; and the Eastern designers may create the clothing of our festive hours—clothes that bring the sparkle of gala evenings. In our broad expanse of country creators are permitted freedom and individuality.

The true creator is a restless soul. He naturally craves constant change. And this restlessness brings forth new ideas. The buyers select models created in various markets and the women who go into the shops to buy find an interesting variety of silhouettes, trimmings and colors from which to choose. This condition is a healthy one. American women demand beautiful clothes at their own price. Fabric manufacturers have magically produced this beauty for our designers. The designers must be prepared to produce the beauty in line and form. In fashion art form is silhouette. And the fashion of the hour is first manifested in the silhouette. Beauty in form is achieved through expert cutting—through a superior knowledge of the art of pattern making!

Almost every large city in America has at least one specialized fashion training center where creative men and women may study. For this reason American creative talent is not dominated. The field of creative fashion design is democratic. The leading fashion designers in America today come from remote villages as well as large cities. If the talent is in the hands, and those hands have been trained to produce the ideas, success is practically assured. The ability to produce a shapely muslin— beautiful in line and form—is sufficient to demonstrate creative talent. Never before in the history of our country has such an opportunity awaited our ambitious American designers.

HARRIET PEPIN