Fashion Design Drawing

according to the need of correction, the narrow dark line in Fig. 5 counteracting any extra breadth caused by the wide shoulder pleats.

Bony shoulders would require veiling as in Fig. 7, or the darker line of the lace could correct too great a breadth, suggesting the lighter portion as the true width. The draped shoulders of Fig. 10 would be useful to correct high or square shoulders, the drooping line continued along the arm, giving a sloping effect.

Arm Draperies (Plate 72).

In arranging the " line " of the arm draperies, consideration should be first given to the shape and proportion of the arm. There will be plump, thin, muscular, and well-proportioned arms. The shape of the wrist must also be considered. The dotted lines in this plate indicate the space between the flesh and drapery.

The well-proportioned arm would be suitably clothed as Fig. 1. Being close-fitted, the general outline would show to advantage (Fig. 11), and could also be used on suitable occasions, its transparent nature allowing the arm to be seen in full outline.

A thick arm would require a loose arrangement, the object being to conceal the outline (see Figs. 4 and 5). A light texture of material should be used to avoid increase in the bulk.

A thin arm could be treated in a similar manner, but the texture of material could assist the bulk (see Fig. 7) by being of a heavier quality.

When the wrist is thick, a light, concealing arrangement as in Fig. 2 or Fig. 9, should be adopted. In the latter case an illusion is given of a smaller wrist circumference by turning the cuff outline obliquely out. The lower end of the cuff, being wider than the wrist-line, reduces the latter by its contrast.

Fashion Design Drawing - Figure Proportion 6.jpg

These principles and methods of working are given as a guide for designing arm draperies. The approximate dates of the modes of these sleeve designs are as follows

Fig. i . . . 1926 Fig. 7 . . . 1924

2 . . . 1887 8 . . . 1775

3 1837 .. 9 1810