Theatre Design & Technology - Spring 1981 - 36

The advantages of this style of Prussian collar is that it can be cut
to fit close into the neck without stretching or shrinking, and is very
useful when making up collon materials such as are worn for waterproof overcoats or khaki service coats. The collar is then made up
very much as an ordinary linen collar. It has all the filling qualities of
the padded collar and the advantages of fit that cannot always be secured in a worked-up collar when made from collon or other stubborn
material.

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The Ulster Collar (Figure 5, [Diagram 70])

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To find point 13 in this case G is made 2 1/2" from C (Dia. 22, Figure 1) and point 4 is at neck point, then rule the break from the front
through points 13, 4 to 2.
Mark 6 from 2, 1/2". Chalk the fall edge to style desired and complete as in Dia. 22 (Figure 1).

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The Prussian Collar (Figure 6, [Diagram 71])

OIA.69

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For motor overcoats or coachmen's box coats this style of collar is
generally adopted, the collar being made according to the style and
purpose for which the overcoat is made. The collar end at 13 and at 1
and 6 can be made any depth from 3" or 4" or even 5".
Find point 13 as usual. Mark 6 from 2 half 4 5. Square by 6 13 to 3
and 1. Add 1/2" spring at 1. Mark the stand from 6 to 3, 1", and
curve to front edge, making the stand 3/8" at that point.

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DIA.72

Figure 5

The Cape Collar (Figure 6 [Diagram 72])
This is produced after the style of the Prussian collar on Dia. 71
(Figure 6). Make 2 to 6 equal to 4 5. This alteration, while providing a
longer fall edge, renders the stand unworkable and necessitates a
separate stand produced on the same lines as Dia. 69 (Figure 5).
As such a collar affords no protection if turned up, the stand and
fall lining are usually seamed together; 1/2" is allowed on the fall
cover at the top, this is turned over the seam and the lining of the
stand is felled 6 up to it.

An Alternative Method (Figure 6 [Diagram 73])

lapel may be cut on or off as may be determined; in either case a similar procedure is observed. The break is made to pass through 13 and
the back of the collar is found by adding the width of the back neck to
the gorge from 13 to the neck-point and then making 13 to 2 that
length as shown in Dia. 66 (Figure 3). Instead of making a step at 0
the fall edge is drawn to a graceful roll joining the lapel near breast
line as indicated by Dia. 67 (Figure 4).
When the undercollar is made grown-on to the forepart a small
fishs is taken out at the gorge near 13. In this case the roll will need
well working up and a strong bridle held on from 13 through the front,
the surplus material being pressed well on to the breast and the fall
edge well manipulated to give the proper shape to the roll.

The Stand Collar (Figure 5 [Diagram 68])
Stand collars, whether military, naval or clerical, are all cut in the
same way. Each has its distinctive style in depth and shape of the collar ends, but the fitling part should be adjusted by the gorge of the
coat the collar is intended for. This can be done as follows:
Rule from opening through 13 to 2, the length of the collar, measuring from the collar end at front. With 13 as a pivot, sweep from 2 to 6.
2 to 6 is half 5 to 4. Chalk sewing-on edge of collar from 6, by 5 and
through 13 to the front. Make 6 to 1 the height of collar desired and
complete the run of top edge and collar end.
The Gatacre Collar (Figure 5 [Diagram 69])
This is usually known as the stand and fall collar, and is composed
of two separate parts. Draft the stand as described for Dia. 68 (Figure
5) and then cut the fall 1/4" deeper, and allow 1 /2" in turn along the
top edge.

Theatre Design & Technology

There are, of course, many methods of culling collars that produce
the required shape, and to a very great extent it is a mailer of individual fancy. One point however is important to bear in mind, and that is
that the collar should always be cut to fit the gorge. To make one collar pallern answer for every kind of collar may be ingenious, and in
the hands of a capable man may produce satisfactory results, but it is
neither desirable nor scientific, and we cannot emphasize the fact too
much that every coat, as far as possible, should have a collar cut to fit
the gorge.
In this diagram point 6 is carried below 2, 1/2". In CUlling collars
for short turns a straight collar is imperative, as it obviates the necessity for stretching the fall of the collar to any considerable extent and
keeps the neck of the coat in its proper shape.
It is only necessary to remark here that if this method is adopted in
the case of an ordinary turn it should be carried out with all the other
diagrams.
Notes
1. Break refers to the joint or seam across the lapel where the collar
meets the facing.
2. The gorge refers to the section of the neck from the gullet to the
point where the shoulder seam is placed; in garments with lapels,
it is from the crease of the lapels to the shoulder seam.
3. Stand and fall: The sfand is the section from the crease edge to
the joining edge where it is sewn to the neck. The fall is that from
the crease to the loose or outer edge, and is sometimes known as
the leaf edge.
4. Melton refers to the thick, smooth twilled woolen fabric, heavier
than broadcloth, and resembling felt; used for undercollar because it has firmness and does not fray.
5. Fish refers to cuts taken out to throw shape; the shape of the cuts
is somewhat similar to that of a fish.
6. Felled is a tailor's term for hemming, usually formed over an
edge.D

USIIT/Spring, 1981

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1981