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Stand and Fall Collar. Diagram 105.
This is illustrated on many of the Figures, perhaps Figures 19 and 20 are as good specimens as any. Figure 19 illustrates the S. B. turn, and Figure 20 the D. B. style. This collar is perhaps the most difficult of all to the novice; but as it is a very important one, we will endeavour to describe all about it in detail, and begin with the system. Begin by taking the forepart of the garment it is intended to go on, decide where you wish it to turn, as at A, Diagram 105; mark up from B to C a trifle less than the depth of stand desired: having previously decided that the depth of the stand or the upcome on the neck above the collar seam should be 1¼ inches, and the fall 1¾ inches: the fall is that part which turns over from the crease. Both these quantities are fair average quantities. For such a collar come up from B to C 1 inch, and draw a line from A through C to D. Get the length of the collar by measuring from G to F the width of the back neck, as from 1 to 2 of Diagram 110, allowing about ½inch extra length. Now come down from D to E the difference between the stand 1¼ and the fall 1¾ viz., ½ an inch. The object of this is to give more relative length from H to I as the fall gets deeper, a very necessary arrangement. Draw line from E to C slightly curved—this is the crease edge on the part where the collar folds over; from E to F measure down the depth of stand desired, in this case 1¼ inches, and connect F to B, and continue on to J, heating the collar overlap at J about ¼ inch. E to H is the fall behind, and J to I the same in front; and as this is to a large extent a matter of taste, no more definite rules than we have laid down can be given. "With regard to back of collar from F E to H, it maybe as well to illustrate, as a want of proper attention at that part frequently results in a collar standing away behind.
Diagram 106, Plate 42,
Illustrates how this should be arranged. Place the collar on the back neck, as shown at F G, when F to E should form a continuation of the back seam, and above this it should be sprung out, so that when it is turned over at the crease row E it will have sufficient spring to go over F. This completes the cutting as far as the system is concerned, and what we now give is more of
A practical explanation.
We will assume the pattern of the collar has been cut out in paper, and we now proceed to cut out the inside collar, as that is really the collar that produces all the fit and style. This is sometimes made from different material to the garment, especially when the cloth is very thick, in such cases a thin Melton of as nearly the same colour as possible is used, the advantage being that it is thinner, and more easily worked up; but we do not advise this except when the cloth used for the garment is very thick and unyielding. In cutting the inside collar from the material, cut it on the bias; and on no account cut it from the lengthways of the material; it is far preferable to join it in order to get it on the bias, as the joins are out of sight. It is well understood that cloth on the bias is very easily stretched or shrunk, and consequently is more easily manipulated. If there is any face or way of the wool to the material, it should run from H E to F, Diagram 106. Now join the collar at the back, either by taking a small seam or, if the material will stand it, by stoating; this done, the next step is to arrange the collar canvas.
Diagram 107, Plate 42,
Shows how it should be put in: the cross marks representing the threads of the canvas. The canvas should be shrunk by being well wetted and dried without the use of the iron before cutting, and in cutting it out sufficient should be left for working in. It should always be cut in two halves, otherwise it is impossible to get both ends alike; the one end having the threads running in an altogether different direction to the other when cut whole, and consequently the effects are seen in the collar when made up. If cut as illustrated on Diagram 107, the straight thread will run from 1 to 2. Join it by letting the two ends slightly overlap each other, and we next baste the collar lining and canvas together. The fall of the collar should lie flat on the canvas, and then a row of basting put along the crease row, and then the stand part of the canvas being on the bias, can be easily stretched to fit the stand of the collar lining. The first step in the stitching and padding of a collar is to stitch along the crease as from 1 to 2.
Diagram 108, Plate 42,
And in doing this the hand should be pulled fairly tight, so as to draw in that part in accordance with your customer's requirements; a stooping figure with head forward requires it drawn in more than the normal, whilst the erect or head backward type require less. The stitching of the stand comes next, and the object of this is to make that part of the collar firm and stiff, to stand up; this is usually done about four rows to the inch, and may be either done by hand or machine. If by hand, it should be a short fore stitch, so that the collar lining would represent the appearance of Diagram 108, as from 1, 2, 3. For the fall padding stitch is required: the object of padding the
