|Mar 1554 Library Bureau Cat. No. 1137 Cornell University Library TT 518.B9 1934 milli ruction... |||||| ng C 596 800 mann CLOTHING CONSTRUCTION Revised Edition By CLARA. M. BROWN Associate Professor of Home Economics, The University of Minnesota ETHEL. R. GORHAM Instructor in Home Economics, The University of Minnesota and AURA. I. KEEVER Supervisor of Home Economics Education, State of Minnesota ABCD EFGH IJKL MN & º º ºw. 3 THENZeus: GINN AND COMPANY BOSTON - NEw York • chicago • LoNDoN - ATLANTA - DAllAs . columbus SAN FRANCISCO COPYRIGHT, 1934, BY CLARA. M. BROWN, ETHEL. R. GORHAM AND AURA. I. KEEVER ALL RIGHTS RESERVED PRINTED IN THE UNITED STATEs of AMERICA 334.8 w --> - - ** - wº COPYRIGHT, 1927, BY GINN AND COMPANY QI be 2, the n at um 33 regg GINN AND COMPANY . PRO- PRIETORS - BOSTON U.S.A. Preface THE USE OF THIS BOOK in both high-school and college classes for a period of six years indicated that certain portions needed to be modified or amplified. The book as a whole has been thoroughly revised; some new topics have been included, such as children's clothes, draping and modification of pat- terns, and remodeling; many sections have been greatly amplified, such as those dealing with the alteration of pat- terns, fasteners, fitting, and sleeves. Considerable material on tailoring has been added. The illustrations used in the first edition proved so valu- able that in the revision the number of diagrammatic draw- ings has been greatly increased. Photographs have been used sparingly, but they have been included when needed to illustrate points which did not lend themselves to dia- grammatic representation. - The book provides a source of accurate information on the various aspects of clothing construction and should be of value to students in Secondary schools and colleges and to home-makers. The organization of the book in terms of processes rather than in terms of directions for constructing different gar- ments has proved satisfactory; hence it has not been altered in the revision. Content so organized does not go out of date rapidly, since construction processes are fundamental and are used year after year, although their application varies with changing fashions. In the construction of clothing one must make frequent decisions involving the choice of possible methods; in this revision special attention has been given to the relative iv Clothing Construction desirability and limitations of the different methods of han- dling various construction processes in specific situations. No attempt has been made to organize the content for teaching. The selection and organization of the subject mat- ter is the responsibility of the teacher, and will be deter- mined by the age, experience, and interests of the students. The alphabetic sequence and the encyclopedic treatment of the content have been planned to facilitate the use of the book and should not be interpreted as being a suggested Order for class work. Originally the book grew out of a seminar which was or- ganized in the Division of Home Economics at the Univer- sity of Minnesota in an effort to obtain agreement between the clothing instructors and the members of the teacher- training staff on the techniques of construction. Adella Eppel Ginter, Muriel G. McFarland, and Iva I. Sell, who were at that time on the staff of the University of Minnesota, col- laborated with the present authors in the first edition. The composite experience of the authors included teaching in junior and senior high Schools, in colleges, and in adult classes, as well as some trade experience, city and state supervision of home economics, and the training of home- economics teachers. . B. G. K. ; . M . R. . I. Comtentſ PAGE 1. Order of the Construction Processes for a Garment . . 3 Steps Used in Making a Dress 2. Bands . . . . . . . . . . . . . . . . . . . . 4 Noncontinuous Bands • Continuous Bands 3. Belling . . . . . . . . . . . . . . . . . ... 7 When Garment Has no Placket . When Garment Has a Placket. Attaching Belting to Skirts 4. Belts and Sashes . . . . . - - 10 Double Belt or Sash . Single Belt or Sash . Holding Belt or Sash in Place 5. Bias . . . . . . . . . . . . . . . . . . . 12 Marking Bias Strips • Cutting and Joining Bias Strips • Fold- ing Bias Strips 6. Bindings . . . . . . . . . . . . . . . . . . . 16 Bias Binding Methods of Attaching a Single Bias Binding . Attaching a Double Bias Binding (French Bias). Straight Binding 7. Blocking Simple Garments . . . . . . . . . . . . 22 Blocking Kimono Garments • Measurements Needed . Amount of Fabric Required Blocking a Nightgown from 1; Widths of 40-Inch Fabric • Blocking a Slip . Measurements Needed . Two- Piece Gored Slip 8. Collars . . . . . . - - - - . 28 Blocking Collar Patterns • Convertible Collars • Making Convert- ible Collars • Attaching Convertible Collars • Detachable Collars • Nonconvertible Collars • Checking Collar Patterns • Making Col- lars • Attaching Nonconvertible Collars • Making and Attaching Nonconvertible Coat Collars V V1 Clothing Construction PAGE 9. Commercial Trimmings and Braids . . . . . . 43 Bias Tape - Used as Bindings or Facings . Used as Bands and Folds • Rickrack - Applied to the Wrong Side • Applied to the Right Side • Military Braid . Used as a Binding . Stitched Flat . Soutache Braid . Applied Flat . Applied on Edge - Stickerei - Ap- plied with One Row of Stitching on the Right Side • Applied with Two Rows of Stitching on the Right Side 10. Darts . . . . . . . . . . . . . . . . . . . . 50 Placing of Darts - Making Stitched Darts . Finishing Darts on the Wrong Side 11. Decorative Stitches . . . . . 52 Arrowheads • Bar Tack • Cable Stitch . Single Cable • Double Cable • Chain Stitch - Blanket Stitch . Lazy Daisy - Ladder . Magic Chain • Open Chain - Zigzag Chain • Couching Plain Couching . Puffy Couching Brick Couching - Interlacing Stitch . Machine Couching Crewel, or Outline, Stitch - Cross-Stitch . Method A • Method B . Crow’s Foot - Darning - Fagoting . Ber- muda Fagoting : Variation of Bermuda Fagoting . Diagonal Fagoting Straight Fagoting - Featherstitch - Fishbone Stitches • Catstitch (Catch Stitch) . Herringbone Stitch . Oriental Stitch . French Knots - Method A • Method B . Hemstitching. Plain Hem- stitching . Diagonal Hemstitching . Double Hemstitching . Italian Hemstitching Salin Stitch . Seed Stitch . Shell Edge • Smocking - Plain Smocking (Honeycomb) . Variations of Plain Smocking 12. Draping . . . . . . - . 81 Preparation of Dress Form for Draping - Making the Tight- Fitting Lining Fitting the Lining . Padding the Dress Form . Preparation of Sleeve Forms for Draping - Long Fitted and Padded Sleeve • Short Upper-arm Sleeve Form of Paper - General Directions for Draping . Specific Directions for Draping - Draping a Kimono Dress - Draping a One-Piece Dress - Draping Circular Skirts - Draping Collars • Draping Sleeves • Draping Coats 13. Facings . . . . . . . . . . . . . . . . . . 95 Bias Facing - Fitted Facing . Fitted Facing for a Coat Front • Straight Facing Contents vii 14. Fasteners . . . . . . . . . . . . . . . . . . 15 16. 17. 18. 19. 20. Buckles • Buttons • Marking the Location for Buttons • Sewing Buttons to the Garment. Linking Buttons Together. Covering Buttons • Bound Buttonholes • Marking the Location for the Buttonhole • Making Bound Buttonholes • Finishing a Slash - Strip Buttonholes • Worked Buttonholes • Marking Location - Making Worked Buttonholes • Eyelets - Hooks and Eyes • Metal Hooks and Eyes • Thread Eyes and Loops • Lingerie Guards • Loops • Making . Attaching . Snaps • Marking Location • Sew- ing on Snaps - Zippers • Attaching Fitting - - - - - - - - - - - - - - Preparation for Fitting - Standards for Properly Fitted Gar- ments • Specific Fitting Problems • One-Piece Dress or Blouse - Skirt • Kimono Garments Gathering and Shirring Gathering - Hand Gathering - Machine Gathering without the Attachment • Machine Gathering with the Attachment • Shirring. Hand Shirring. Machine Shirring. Tucked Shirring . Corded shirring - Rečnforcing Shirring Godets Hems . Plain Hem • Plain Hem on a Straight Edge - Narrow Hems on Curved Edges. Wide Hems on Curved Edges. Damask Hem • French Hem - Rolled Hem • Hems on Skirts, Dresses, or Coats - Establishing the Hem Line . Putting in the Hem • Caring for Fullness in a Hem • Finishing the Hem at the Upper Edge Lace and Embroidery - - - - - - - - Attaching Lace to an Edge - Inserting Lace . Attaching Em- broidery • Joining Lace and Embroidery Linings Dress Linings - Design of Lining . Edge Finishes for Linings • Methods of Attaching Skirts to Linings • Coat Interlinings • Cutting - Making and Attaching - Coat Linings • Cutting - Making and Attaching PAGE 100 124 138 142 143 152 155 viii Clothing Construction 21. 22. 23. 24. 25. 26. 27. Machine Hemstitching and Picoting . . . Machine Hemstitching Preparation for Machine Hemstitch- ing - Picoting . Preparation for Picoting Markings Matching Plaids, Stripes, and Figures . Measurements Mending Darning . Darning by hand on Woven Fabrics • Darning by Machine on Woven Fabrics • Darning on Knitted Fabrics - Mending Leather Gloves • Patching Hemmed Patch - Varia- tions of the Hemmed Patch . Glued Patch Mitering Patterns . Selection of Patterns - Use of Patterns • Testing Patterns . . Methods . Alterations in Size of Patterns • Modification of the 28. 29. Design of Patterns • Collars • Skirts - Sleeves • Foundation Pat- tern - Making - Preparation of Fabric for Cutting . Placing Pat- tern on Fabric • Cutting the Garment • Marking Piping . . . . . . . . . . . . . . . . . . . Plain Piping Combination Piping and Facing . Piping Set between Two Thicknesses of Fabric Plackets Uses for Different Types of Plackets. Continuous-Bound Plackets. Continuous-Bound Placket Made in a Slash with a Lengthwise Strip of Fabric • Continuous-Bound Placket Made in a Slash with a Bias Strip of Fabric • Continuous-Bound Placket in a Seam - Bound and Faced Placket - Bound-Buttonhole Plackets . Bound-Buttonhole Placket without a Fly . Bound-Buttonhole Placket with a Fly . Extension Placket . Fly Placket . Hemmed Plackets Hemmed Placket in a Slash - Hemmed Placket in a Seam • Lap Placket . Picoted Placket - Rolled Placket - Shirt- Front Placket - Tailored Placket - Two-Piece Tailored Placket - Tuck Placket - Welt Placket PAGE 162 164 166 167 169 177 178 195 198 Contents 30. 31. 32. 34. 35. 36. Plaits . - - - - - - - - - - - - - - - Plaited Sections • Plaited Section Cut as a Part of the Gar- ment • Sections Inserted in either a Slash or a Seam . Plaited Skirts - Side Plaits - Box Plaits Inverted Plaits. Plaited Trim- ming . Preparation of Fabric for Commercial Plaiting - Making Plaiting at Home • Cartridge Plaits - Plaits for Draperies Pockets - - - - - - - - - - - - - - Patch Pockets - Making a Pocket with a Hem • Set-in, or Slash, Pockets - Bound Pocket . Lap Pocket . Welt Pocket . Flap Pocket Pocket Set in Lengthwise Seams or under Tucks • Pocket Combined with Placket Opening Pressing . . . . . . . . . . . . . . . . . . Pressing and Shrinking Cotton and Linen - Pressing Silk • To Steam-Press Silk • To Steam Silk before Cutting . Pressing Rayon - Pressing Wool. To Press Wool . To Shrink Wool before Cutting . Suggestions for Handling Specific Problems. Wool • Silk . Rečnforcements . . . . . . Gussets Rečnforcing a Corner . Fitted Facing Corner Stay . Re- enforcing Ends of Machine Stitching Square Knot - Retracing Machine Stitching Rečnforcing Tailored Garments - Interfac- ings • Taping Remodeling Seams. - - - - - - - - - - - - - - - - Plain Seams • Seam Finishes • Cord Seam . Single Cord Seam • Double Cord Seam • Corded Seam • Fell Seams - Flat Fell Seam • Standing Fell Seam • French Seam . Imitation French Seam . Lap Seam . Narrow Lap Seam - Wide Lap, or Tuck, Seam . Rolled Seam • Slot Seam . Welt Seam Sleeves • - - - - - - - - - - - - - - - Set-in Sleeves • Establishing the Normal Armseye Line • Sleeves without Visible Fullness throughout the Cap . Sleeves without Visible Fullness at the Armseye - Sleeves with Fullness at the Armseye Dolman Sleeves • Epaulet Sleeves • Testing the Pat- tern . Altering the Pattern - Cutting the Sleeve • Setting in the Sleeve. Fitting the Sleeve. Kimono Sleeves • Raglan Sleeves • Testing the Pattern . Setting in the Sleeve . Bottom Finishes for Sleeves • Cuffs for Blouses and Dresses • Cuffs for Coats PAGE 215 225 234 243 250 251 263 X Clothing Construction 37. Stitches . e - - - - - - - - - Basting - Backstitch - Combination Stitch - Darning Hemming . Overcasting . Overhand Stitch . Running Stitch - Slip Stitch 38. Supplies and Equipment for Sewing . Sewing Machine . Additional Supplies and Equipment 39. Swing Tacks . 40. Tucks 41. Weights . INDEX . PAGE 285 295 300 300 301 303 List of Illustrations FIGURE PAGE 1. Gathered fabric pinned to band . . . . . . . . . . . . . . . 5 2. Band stitched to gathered fabric so that ends can be “locked” . 6 3. Methods of finishing ends of belting and attaching to garment .. 8 4. Marking bias on an irregularly shaped piece of fabric . . . . . 12 5. Marking bias strips . . . . . . . . . . . . . . . . . . . . 13 6. Joining bias strips . . . . . . . . . . . . . . . . . . . . . 14 7. Bias gauge . . . . . . . . . . . . . . . . . . . . . . . . 15 8. Bias joined so that it may be cut in a continuous strip . . . . . 15 9. Attaching bias binding . . . . . . . . . . . . . . . . . . . 17 10. Attaching bias facing . . . . . . . . . . . . . . . . . . . 17 11. Single bias binding attached so that nostitching shows on right side 18 12. Finishing armseye with bias binding . . . . . . . . . . . . . 19 13. Single bias binding attached so that stitching shows on right side 20 14. Kimono garment without shoulder seam . . . . . . . . . . . 23 15. Kimono garment with shoulder seam . . . . . . . . . ‘. . . 23 16. Sleeveless gown cut from 1% widths of fabric . . . . . . . . . 25 17. Slip with gored underarm seam . . . . . . . . . . . . . . . 27 18. Blocking a flat collar . . . . . . . . . . . . . . . . . . . 29 19. Blocking a rolling collar . . . . . . . . . . . . . . . . . . 29 20. Convertible collars differing in shape . . . . . . . . . . . . 30 21, 22. Attaching convertible collar (Method A) . . . . . . . 31, 32 23. Ways of stitching around the end of a slash . . . . . . . . . 32 24. Attaching a notched collar to a coat . . . . . . . . . . . . . 33 25, 26. Attaching convertible collar (Method B) . . . . . . . 34, 35 27. Attaching convertible collar (Method C) . . . . . . . . . . . 36 28. Method of clipping curved edge and corner of double collar . . 38 29. Attaching nonconvertible collar with bias facing . . . . . . . 39 30. Method of attaching collar to blouse, in which closing is finished with wide hem or facing . . . . . . . . . . . . . . . . . 40 31. Collar and facing cut separately from garment . . . . . . . . 42 32. Collar cut as part of front facing or front of garment . . . . . 42 33. Front section of collar cut as part of garment and back section cut separately . . . . . . . . . . . . . . . . . . . . . 43 34. Commercial trimmings . . . . . . . . . . . . . . . . . . . 44 35. Bias tape fagoted together to form a design . . . . . . . . . 45 36, 37. Attaching rickrack . . . . . . . . . . . . . . . . . . . 46 38. Soutache braid stitched to the garment by machine . . . . . . 48 39, 40. Stitched darts . . . . . . . . . . . . . . . . . . . . 50, 51 X11 Clothing Construction FIGURE 41, 42. Arrowhead . . . . . . . . . . . . . . . . . . . . . 52, 53 43. Cable stitch . . . . . . . . . . . . . . . . . . . . . . . 44. Cable stitching combined with smocking . . . . . . . . . . 45. Chain stitch . . . . . . . . . . . . . . . . . . . . . . . 46. Blanket stitch . . . . . . . . . . . . . . . . . . . . . . 47. Lazy-daisy stitch . . . . . . . . . . . . . . . . . . . . 48. Ladder Stitch . . . . . . . . . . . . . . . . . . . . . . 49. Magic-chain stitch . . . . . . . . . . . . . . . . . . . . 50. Zigzag chain stitch . . . . . . . . . . . . . . . . . . . . 51. Couching . . . . . . . . . . . . . . . . . . . . . . . . 52. Crewel, or outline, stitch . . . . . . . . . . . . . . . . . 53, 54. Cross-stitch . . . . . . . . . . . . . . . . . . . . 61, 62 55. Crow's foot . . . . . . . . . . . . . . . . . . . . . . . 56, 57. Bermuda fagoting . . . . . . . . . . . . . . . . . . . 58. Variation of Bermuda fagoting . . . . . . . . . . . . . . . 59. Diagonal fagoting . . . . . . . . . . . . . . . . . . . . 60. Variation of diagonal fagoting . . . . . . . . . . . . . . . 61. Straight fagoting . . . . . . . . . . . . . . . . . . . . . 62. Featherstitch . . . . . . . . . . . . . . . . . . . . . . 63. Catstitch . . . . . . . . . . . . . . . . . . . . . . . . 64. Herringbone stitch . . . . . . . . . . . . . . . . . . . . 65. Oriental stitch . . . . . . . . . . . . . . . . . . . . . . 66. French knot . . . . . . . . . . . . . . . . . . . . . . . 67. Plain hemstitching . . . . . . . . . . . . . . . . . . . . 68. Italian hemstitching . . . . . . . . . . . . . . . . . . . 69. Satin Stitch . . . . . . . . . . . . . . . . . . . . . . . 70. Seed stitch . . . . . . . . . . . . . . . . . . . . . . . 71. Shell edge . . . . . . . . . . . . . . . . . . . . . . . . 72. Plain smocking . . . . . . . . . . . . . . . . . . . . . 73. Smocking which holds little fullness in place . . . . . . . . . 74. Gathering for smocking . . . . . . . . . . . . . . . . . . 75. Method of making smocking stitches . . . . . . . . . . . . 76. Smocking with thread floating between units . . . . . . . . 77. Variations of plain smocking . . . . . . . . . . . . . . . 78. Draping . . . . . . . . . . . . . . . . . . . . . . . 79. Draping collars and sleeves . . . . . . . . . . . . . . . . 80. Facings . . . . . . . . . . . . . . . . . . . . . . . . . 81. Applying a facing . . . . . . . . . . . . . . . . . . . . 82. Attaching facings . . . . . . . . . . . . . . . . . . . . 83. Methods of attaching buckles to belts . . . . . . . . . . . 84, 85. Sewing on buttons . . . . . . . . . . . . . . . . 103, 104 86. Bound buttonhole . . . . . . . . . . . . . . . . . . . . 87, 88. Strip buttonholes . . . . . . . . . . . . . . . . . . . 89. Worked buttonholes . . . . . . . . . . . . . . . . . . . List of Illustrations xiii FIGURe PAGE 90. Marking location of buttonholes with pins . . . . . . . . . 111 91. Magnified buttonhole stitches . . . . . . . . . . . . . . 113 92. Location of button and buttonhole on ends of a band . . . . 113 93. Sewing on hooks and eyes . . . . . . . . . . . . . . . . 115 94. Lingerie guard . . . . . . . . . . . . . . . . . . . . . 117 95. Making cord for loops . . . . . . . . . . . . . . . . . . 118 96. Series of loops stitched together by machine . . . . . . . . 118 97. Methods of attaching loops . . . . . . . . . . . . . . . . 119 98. Attaching loops to a front opening finished with a binding . . 120 99. Sewing on snaps . . . . . . . . . . . . . . . . . . . . 121 100. Usual position of warp and filling yarns in a properly fitted plain garment . . . . . . . . . . . . . . . . . . . . . 125 101. Blouse that draws across the back at the bottom of the armseye 127 102. Gussets for kimono garments . . . . . . . . . . . . . . . 128 103. Sloping shoulders . . . . . . . . . . . . . . . . . . . . 129 104. Square shoulders . . . . . . . . . . . . . . . . . . . . 129 105. Too small a neck line . . . . . . . . . . . . . . . . . . 130 106. Fitting garment that is too full at the neck line . . . . . . . 131 107. Stretched neck line . . . . . . . . . . . . . . . . . . . 131 108. One-piece dress that sags at the underarm . . . . . . . . . 132 109. One-piece dress that pokes out in front . . . . . . . . . . 133 110. Round shoulders . . . . . . . . . . . . . . . . . . . . 134 111. Underarm seam slants toward the front at the waistline . . . 135 112. Skirt that swings to the front . . . . . . . . . . . . . . . 136 113. Skirt with bisymmetric flare showing fullness unequally dis- , tributed on the two sides . . . . . . . . . . . . . . . . 137 114. Machine shirring . . . . . . . . . . . . . . . . . . . . 140 115. Corded shirring . . . . . . . . . . . . . . . . . . . . . 141 116. Gauge for marking a hem . . . . . . . . . . . . . . . . 145 117. Damask hem . . . . . . . . . . . . . . . . . . . . . . 146 118. French hem with lace overhanded on as the hem is made . . 147 119. Rolled hem held in place with whipping . . . . . . . . . . 147 120. Using gauge to mark a hem . . . . . . . . . . . . . . . 149 121. Hem finished with an applied facing tape; fullness cared for by darts . . . . . . . . . . . . . . . . . . . . . . . 151 122. Hem with bias strip inserted and held in place with catstitching 151 123. Entre deux set into a seam . . . . . . . . . . . . . . . . 154 124. Lining, showing location of darts . . . . . . . . . . . . . 156 125. Lining set in a coat . . . . . . . . . . . . . . . . . . . 159 126. Lining pinned to coat . . . . . . . . . . . . . . . . . . 160 127. Tailor's tacks . . . . . . . . . . . . : . . . . . . . . . 165 128. Location on figure of measurements for misses' and women's garments . . . . . . . . . . . . . . . . . . . . . . . 167 129. Location on figure of measurements for children's garments . 168 xiv Clothing Construction FIGURE PAGE 130. Darning a straight tear . . . . . . . . . . . . . . . . . 170 131. Darning a three-cornered tear . . . . . . . . . . . . . . 170 132. Darning a diagonal tear . . . . . . . . . . . . . . . . . 171 133. Darning a hole . . . . . . . . . . . . . . . . . . . . . 172 134. Hemmed patch . . . . . . . . . . . . . . . . . . . . . 174 135. Catstitched patch . . . . . . . . . . . . . . . . . . . . 175 136. Darned patch . . . . . . . . . . . . . . . . . . . . . 175 137. Mitered corner in a hem . . . . . . . . . . . . . . . . . 177 138. Increasing bust measure and width of shoulder . . . . . . . 182 139. Decreasing bust measure and width of shoulder . . . . . . . 182 140. Increasing bust measure without increasing width of shoulder 183 141. Increasing width of shoulder . . . . . . . . . . . . . . . 184 142. Altering for narrow chest . . . . . . . . . . . . . . . . 184 143. Altering for round shoulders . . . . . . . . . . . . . . . 185 144. Increasing hip measure . . . . . . . . . . . . . . . . . 186 145. Changing length of a dress pattern . . . . . . . . . . . . 187 146. Changing length of a skirt with a yoke . . . . . . . . . . 188 147. Changing length or width of collar pattern . . . . . . . . . 189 148. Changing amount of roll in a nonconvertible-collar pattern 189 149. Modifying skirt patterns . . . . . . . . . . . . . . . . 191 150. Modifying sleeve patterns . . . . . . . . . . . . . . . . 192 151. Cutting notches so that they will not interfere with seam. . . 194 152, 153. Applying piping . . . . . . . . . . . . . . . . . . 196 154, 155. Continuous-bound placket in a slash . . . . . . . 201, 202 156. Continuous-bound placket in a seam . . . . . . . . . . . 202 157. Bound and faced placket . . . . . . . . . . . . . . . . . 203 158. Bound-buttonhole placket . . . . . . . . . . . . . . . . 204 159. Extension placket . . . . . . . . . . . . . . . . . . . . 205 160. Fly placket . . . . . . . . . . . . . . . . . . . . . . . 206 161. Hemmed placket in a slash . . . . . . . . . . . . . . . . 208 162. Hemmed placket in an open stitched fell seam . . . . . . . 208 163. Lap placket . . . . . . . . . . . . . . . . . . . . . . 209 164. Shirt-front plackets . . . . . . . . . . . . . . . . . . . 211 165. Tailored placket . . . . . . . . . . . . . . . . . . . . 212 166. Tuck placket . . . . . . . . . . . . . . . . . . . . . . 213 167. Welt placket . . . . . . . . . . . . . . . . . . . . . . 214 168. Inverted plait inserted in a seam . . . . . . . . . . . . . 217 169. Laying side plaits in a skirt . . . . . . . . . . . . . . . 220 170. Cartridge plaits . . . . . . . . . . . . . . . . . . . . . 224 171. Pinch plaits . . . . . . . . . . . . . . . . . . . . . . 225 172, 173, 174. Patch pockets . . . . . . . . . . . . . . . 226, 227 175. Bound pocket . . . . . . . . . . . . . . . . . . . . . 229 176, 177. Lap pocket . . . . . . . . . . . . . . . . . . 229, 230 178. Welt pocket . . . . . . . . . . . . . . . . . . . . . . 231 List of Illustrations XV FIGURE PAGE 179. Pocket set in a lengthwise seam . . . . . . . . . . . . . . 232 180. Pocket combined with placket opening . . . . . . . . . . . 233 181. Pressing a sleeve seam on a padded roll . . . . . . . . . . 240 182. Shrinking out fullness at the top of a hem . . . . . . . . . 242 183. Double triangular gusset . . . . . . . . . . . . . . . . . 244 184. Rečnforcing a corner with a fitted facing . . . . . . . . . . 246 185. Rečnforcing a corner with a stay . . . . . . . . . . . . . 246 186. Square knot . . . . . . . . . . . . . . . . . . . . . . 247 187. Interfacings for coats . . . . . . . . . . . . . . . . . . 248 188. Taping interfaced coat front . . . . . . . . . . . . . . . 249 189. Intersecting seams, with leg seam turned toward the front and crotch seam turned toward the left . . . . . . . . . . . 252 190, 191. Plain seam . . . . . . . . . . . . . . . ‘. . . . 253,254 192. Cord seam . . . . . . . . . . . . . . . . . . . . . . . 255 193. Corded seam . . . . . . . . . . . . . . . . . . . . . . 256 194. Hemmed fell seam . . . . . . . . . . . . . . . . . . 257 195. Stitched fell seam . . . . . . . . . . . . . . . . . . . . 258 196. Standing fell seam . . . . . . . . . . . . . . . . . . . 259 197. French seam . . . . . . . . . . . . . . . . . . . . . . 259 198. Imitation French seam . . . . . . . . . . . . . . . . . 260 199. Lap seams . . . . . . . . . . . . . . . . . . . . . . . 261 200. Slot seam . . . . . . . . . . . . . . . . . . . . . . . 262 201. Welt seam . . . . . . . . . . . . . . . . . . . . . . . 262 202. One-piece set-in sleeve without visible fullness in upper half . 265 203. Two-piece sleeve . . . . . . . . . . . . . . . . . . . . 266 204. Measurements of sleeve length and width . . . . . . . . . 267 205. Measurements of width and depth of cap . . . . . . . . . 267 206. Changing the sleeve length . . . . . . . . . . . . . . . . 268 207. Changing the sleeve width . . . . . . . . . . . . . . . . 269 208. Altering the cap . . . . . . . . . . . . . . . . . . . . 270 209. Two-piece sleeve basted together, showing fullness at elbow . 271 210. Armseye divided into quarters . . . . . . . . . . . . . . 272 211. Sleeve pinned into armseye . . . . . . . . . . . . . . . . 273 212. Shirt sleeve . . . . . . . . . . . . . . . . . . . . . . 276 213, 214. Epaulet sleeve . . . . . . . . . . . . . . . . . 278, 279 215, 216. Raglan sleeve . . . . . . . . . . . . . . . . . 281, 282 217. Basting stitches . . . . . . . . . . . . . . . . . . . . . 286 218. Seam stitches . . . . . . . . . . . . . . . . . . . . . . 288 219. Hemming stitches . . . . . . . . . . . . . . . . . . . . 290 220. Overcasting . . . . . . . . . . . . . . . . . . . . . . 292 221. Overhand stitch . . . . . . . . . . . . . . . . . . . . 293 222. Running stitch, showing position of fabric, hands, needle, and thimble . . . . . . . . . . . . . . . . . . . . . . . 294 223. Covering for lead weight . . . . . . . . . . . . . . . . . 301 CLOTHING CONSTRUCTION I. Order of the Construction Processes for a Garment The following list includes the steps ordinarily needed in making a dress, but certain variations will be necessary for a given garment. If one is making a blouse or a skirt, One can select the processes that are applicable to that garment. In any case, especially for the amateur, time will be Saved and the final product will probably be more satis- factory if a definite working plan is made before the con- Struction of the garment is begun. Such a plan should include types as well as sequence of processes to be used. Pressing should follow each stitching operation and should be used at any time when it will aid in construction. Fasteners must be attached at the proper time; for example, bound buttonholes must be made before the edge is finished, while snaps are sewed on as one of the final Steps. Throughout the rest of the book the various construction processes will be found in alphabetic order, and one should consult the index for the page location of any desired process. In most cases several methods for handling a problem are suggested, and that one should be selected which seems best suited to the particular situation. Steps Used in Making a Dress 1. Study pattern and accompanying instructions. 2. Fit and alter pattern. 3. Plan layout of entire pattern and cut garment. 3 4 Clothing Construction 4. Baste or pin garment together, including any darts, tucks, or plaits. 5. Fit garment the first time and alter as needed. 6. Stitch darts, tucks, or plaits. 7. Rebaste altered parts. 8. Refit garment. 9. Stitch and finish shoulder and lengthwise seams. 10. Finish neck line. 11. Establish armseye and test sleeve pattern. 12. Cut and seam sleeves. 13. Set in sleeves, fit, pin, and stitch. 14. Make sleeve plackets and finish lower edge of sleeve. 15. Join waist and skirt, making placket if needed. 16. Make and attach belt. 17. Hang dress and put in hem. 18. Press entire garment. 2. Bands Bands are used as cuffs, as belts which join garments together at the waistline, and for other similar purposes. Gather, plait, or dart the material which is to be finished with a band. In case gathering is used, there should be two or more rows of gathers # inch apart. Gathering may be done by machine, after lengthening the stitch slightly, or by hand. The method used will depend upon the material and the garment. The band should be cut lengthwise of the fabric, and it should be the desired length and twice the desired width, with allowance for seams on all four sides. Sometimes it is desirable to distribute the fullness evenly when attaching the band to the garment, but often it is not; for example, in the case of cuffs on sleeves or bloomer legs little, if any, fullness is located for a short distance on each side of the sleeve seam or the crotch seam. Bands 5 Noncontinuous Bands Noncontinuous bands are used on skirts and bloomers and may or may not have machine stitching visible on the right side, depending upon the effect desired and whether the garment warrants the handwork. The band is stitched in place by machine when the gar- ment is likely to have hard wear and frequent laundering. This method is generally used on under- wear and children's play clothes. Place the wrong side of the garment to the right side of the band, being sure that the center of the band is at the center of the garment. At both ends the band should extend the width of the Seam allowance (or more if reënforcement is desired) beyond the edge of the gathered or plaited section (Fig. 1). If the fabric is gathered, pin it to the band at the center and at the ends; pull up the gathering threads to fit the band and wrap them around one of the pins. Distribute gathers along the band and pin them in place. Use Small basting stitches to hold the gathers in place, being careful not to bunch them. Baste along either the top or the second row of gathers, depending upon the effect desired. If the fabric is plaited, pin it to the band at the center and at each end, and arrange the plaits evenly. Stitch the gathered or plaited section to the band and then remove the bastings. Turn under the ends of the band on the seam allowance, and then turn under the other edge. Fold the band through the center and “lock” the ends by slipping the folded seam allowance at a over that at b (Fig. 2). See that the ma- chine stitching is entirely covered by the band. Pin and baste it in place, and stitch close to the edge. The stitching FIG. I. Gathered fab- ric pinned to band 6 Clothing Construction may be around the entire band or only along the one edge; in the latter case the ends are finished by overhanding or slip Stitching. - The band is held in place with hand hemming when it is desired to have no machine stitching show on the garment. Attach the band in the same way as when it is to be stitched in place by machine, except that the right side of the band is placed to the right side of the garment, and after the band is stitched to the garment and turned to the wrong side, it is hemmed in place instead of being stitched by machine. FIG. 2. Band stitched In either of the foregoing methods to gathered fabric with it may be desirable to make the band raw edges of ends and before it is attached. Fold the band º: lengthwise through the center, right can be “locked” sides together, and stitch across the ends before attaching it to the gar- ment. Crease the seams open, attach the garment to one edge of the band, and then turn the band right side out and hem or stitch the other edge in place. Continuous Bands A continuous band is used on the bottom of bloomers and of children's rompers and on the cuffs of sleeves which have no placket. Join the ends of the band and press the seam open before attaching the band to the garment. Attach as in either of the methods described, depending upon whether or not it is desired to have machine Stitching show on the right side. Belting 7 3. Belting It is usually necessary to use belting when the garment is fitted at the waistline. The type of belting will depend upon the weight of the fabric, the design of the garment, the placing of the waistline, and the degree of Snugness with which the garment fits at the waistline. Belting may be a double lengthwise strip of fabric (unless Selvage is used), a grosgrain ribbon, or commercial belting which may be boned or starched. The boned or stiff belting is used only in garments in which the belting fits snugly. There are occasionally fashions requiring the use of shaped belting, which may be purchased shaped or may be darted to conform to the desired shape. Darts on each side of the center back are usually necessary if the garment is heavy or the person is sway-backed. Shaping is almost essential when wide belting is used. When Garment Has no Placket In a slip-over garment without a placket, a soft belting is ordinarily used. Cut the belting the desired length plus seam allowances. Join the ends of the belting, press the seam open, and insert the belting in the dress, with the joining seam next the dress and near the underarm Seam. Adjust the fullness when the garment is on the person. Pin, baste, refit, and stitch or tack at intervals, either near the upper edge or along the center of the belting. If a double thickness of material is used for the belting, join the ends, then fold, Stitch the edges together, and attach to the dress as already described. It is seldom satisfactory to use the garment fabric for the belting unless it is very firm and light-weight. Wool should not be used for this purpose. 8 Clothing Construction =-9– T -º- C .* re------g Mº- 2 \ A ; - > N. / I (i) E ### $ (.) | `Y - ‘. Ž \ I k- K / \ | $4. > z N |- +. § . . . Z-------->|-Jerſ.here A Af i FIG. 3. Methods of finishing ends of belting and attaching to garment A, end finishes for stiff belting: (1) blanket stitching, (2) catstitching, (3) overhanding; B, end finish for soft belting, showing reënforcement, with arrows indicating direction of stitching; C, belting attached to skirt, with stitching showing on the outside of the garment; D, belting attached to skirt, with no stitching showing on the outside of the garment; E, belting attached to dress, with no stitching showing on the outside of the garment When Garment Has a Placket When stiff belting is used, the ends should meet and a hem of about 1 inch should be turned back at each end. Finish the raw edge by blanket stitching or hold it in place with catstitching (Fig. 3, A); then overhand along the top Belting 9 and bottom edges of the belting. Make a stay-belt before the garment is fitted. Use at least two hooks and round eyes, but do not sew on the top hook and eye until after the belting is attached to the garment. When soft belting is used, the ends may either meet or lap. If they meet, handle like stiff belting, except that the hems are stitched by machine to form a reënforcement (Fig. 3, B). If the ends lap, make the belt long enough to allow for the lap, and finish as described. Sew on hooks and straight eyes after the belting is attached to the garment. When the belting meets, the eye end extends beyond the edge of the under side of the placket and the hook end ter- minates a distance from the upper side of the placket that is equal to the amount that the eye extends (see Fig. 3, A). Attaching Belting to Skirts * - Belting may be attached with or without outside stitch- ing or with a binding or facing, depending upon the weight of the fabric and the effect desired. If outside stitching is used, turn under the seam allowance at the upper edge of the skirt and extend the skirt about # of an inch beyond the upper edge of the belting. Finish the lap on the upper side of the placket with a facing of a light-weight fabric, cut enough longer than the width of the placket to allow it to extend under the end of the belting (Fig. 3, C). Stitch close to the edge of the belting. When outside stitching is used, the raw edges of the Seam are between the garment and the belting. If the garment is a dress, join waist and skirt with a plain Seam So that the placket opening may be finished as one continuous placket. Adjust the garment to the belting, with the seam joining waist and skirt coming at the middle or near the top of the belting. Pin, baste, fit, and stitch as a cord Seam (see page 255). 10 Clothing Construction If no outside stitching is used, bring the seam allowance of the skirt over the upper edge of the belting. Cover the raw edge of the skirt with a facing of tape or light-weight fabric and stitch through the belting along both edges of the facing. Continue the facing to the end of the lap on the upper side of the closing, but hem by hand to the placket (Fig. 3, D). Sometimes it is desirable, especially on remodeled garments, to use catstitching over the raw edge instead of using a facing. In a dress join the waist and skirt (usually with a plain seam) and then stitch the belting to the seam from the inside (Fig. 3, E). Place the belting so that the raw edges of the seam come between the garment and the belting. Adjust as already described. Then stitch the belt- ing to the seam allowance through the two thicknesses, as close as possible to the seam line. When the top of the skirt will never be visible, it may be stitched flat to the belting at the desired distance from the upper edge. Cover the raw edge with a binding if the skirt comes to the upper edge of the belting; otherwise use a facing. This method is especially desirable in the case of plaited or full-gathered skirts. It is frequently desirable to use this method in remodeling problems, since it permits one to add as much as 1% inches to the length of a skirt. 4. Belts and Sashes Belts and sashes may be made single or double, and they may vary in width. They are usually cut on the straight of the fabric, but are sometimes cut on the bias for decoration or when a wide crushed sash is desired. The ends may be fastened together by means of buckles, buttons, hooks and eyes, or snaps, or they may be tied in some type of knot. Belts and Sashes 11 Double Belt or Sash Cut a piece of fabric the desired length and twice the width of the finished belt, plus seam allowances. Fold the belt lengthwise, right sides together. Baste and stitch with the raw edges together, leaving open either one end of the belt or a short distance along one side, depending upon the design of the belt or the method of fastening to be used (Fig. 83). However, if the fabric is heavy and each end is to be attached to the buckle, both ends of the belt should be left open. Before turning the belt right side out press the seam open, being careful not to crease the belt. If the belt is wide enough, turn it right side out over a ruler; otherwise turn by means of a bodkin or safety pin or by means of cord or tape inserted inside the belt and tacked at the end before the belt is made (see “Fasteners,” pp. 117– 118, and Fig. 95, A). When the opening has been left along the side of the belt, slip-stitch the edges of the opening to: gether and press the seam edge carefully. The belt should usually be attached so that the seam comes at the upper edge. This is especially desirable if the garment has a normal waistline and the belt fits snugly. NOTE. If the belt is to be faced with a lighter-weight or contrasting fabric, cut two pieces of the desired length and width, plus seam allowances, and make a seam entirely around the belt (except for the short opening). Single Belt or Sash Cut a piece of fabric the desired length and width. Finish with any suitable edge finish. Holding Belt or Sash in Place Use inconspicuous overhand stitches, slip-stitching, or Swing tacks to hold the belt in place; or slip it through 12 Clothing Construction loops of thread, braid, or self fabric. In the case of garments that are to be laundered or cleaned frequently, it may be desirable to use snaps to fasten the belt to the garment; but care should be taken in locating and in attaching the snaps so that the belt will not have a drawn appearance. The folds of the sash may be tacked to the garment at intervals by means of several tiny backstitches or by swing tacks. Ordinarily belts are tacked in place at the underarm seams and in addition at one or more other points, depend- ing upon the effect desired. 5. Bias Fabric cut on the bias may be used for bindings, facings, pipings, and folds. Cuffs and tight-fitting sleeves, as well as gores in slips or dresses, may be cut on the biastoproduce a comfortable, close- fitting garment with- out visible fullness. Marking Bias Strips Fold the fabric SO that the warp yarns lie parallel to the fill- ing yarns. If pieces of irregular shape are to be used, decide how the fabric should be folded to obtain the FIG. 4. Marking bias on an irregularly - - shaped piece of fabric, using pins to form longest strips possible guide lines and turning back the cut edge (Fig. 4). Crease this as an added guide Bias 13 fold, being careful not to stretch the cloth out of shape. Open the fold and mark along it, on the wrong side of the fabric, with pencil or tailor's chalk. Decide upon the width of the strips. Rule other lines parallel to the first one, to make strips of the desired width (Fig. 5). Ruling is not nec- essary if the bias cutting gauge is to be used (Fig. 7). When ruling, hold the yard- stick firmly, so that the cloth is not stretched and pushed out of line when it is being marked. Rule as many lines as are needed to give the required length of bias. When cutting twill fabrics, be sure to cut SO that the twill runs per- pendicular to the bias edge instead of parallel to it. In soft or flimsy fabrics FIG. 5. Marking bias strips which cannot be ruled, place dots or insert pins at frequent intervals and cut for a short distance along the line thus marked; then fold back the cut bias as an added guide (Fig. 4). A////a2 \ Cutting and Joining Bias Strips When only a few strips are needed, cut on lines indicated. Cut ends of bias strips, following either a warp or filling yarn, depending upon which is the heavier or more con- spicuous. All seams should run in the same direction. Lay the right sides of the strips together, with the ends meeting, 14 Clothing Construction so as to make the sides of the bias lie at right angles to each other. Slip the point of one end beyond the other end a seam's width (about # inch). (If the fabric has a pattern, make sure that it matches where the strips are joined. Sometimes it is necessary to plan for the matching before the strips are cut; sometimes it is merely a case of taking a deeper seam off the end of one strip than off the other.) Stitch from the point where the edges cross on one side to the opposite side (Fig. 6, A). When the seam is Æ pressed open, the edge line of the bias will be continuous, with no jog at the joining point (Fig. 6, B). Several strips may be pinned or basted so that the seams may be stitched at one time, with thread lengths of about 1 inch left between each two seams. FIG. 6. Joining bias strips NOTE. An adjustable gauge for cutting bias from # inch to 1% inches wide is one of the very useful attachments which comes with most sewing machines. This gauge is slipped on the end of the narrower blade of the scissors and set for the desired width (Fig. 7). Then the cut bias edge is slipped into the slot in the gauge and the strip is cut (Fig. 7). To use this gauge successfully, the fabric must be quite firm. When many strips are needed, mark as many as neces- sary. Instead of cutting each strip separately, cut only on the lines that mark the first strip and the last strip (Fig. 5). Join the ends of the bias by matching 2 to 1’, 3 to 2', etc. (Fig. 8). Stitch and press the seam open. Cut, beginning on the line between 3 and 4, and continue to the end. This makes one continuous bias strip. This method Bias 15 is applicable only when bias is being cut from a square or rectangular piece, eachedge of which is cut along a yarn. Folding Bias Strips Sometimes it is unde- sirable to use commer- cial bias because of the cost or because commer- cial bias cannot be ob- tained in the desired fabric or width. When it is necessary to prepare a considerable length of bias, the following sug- gestion for folding may FIG. 7. Above: Bias gauge fastened to end of shears. Below: Use of gauge in cutting bias strips be helpful. On the ironing-board cover make a row of cat- \º stitching as wide as the desired width of the finished fold and use this as a guide in folding the bias. Cutthe bias strip slightly less than twice the width of the guide, and allow each edge of the strip to fold almost to the center as it passes through the guide. Crease the strip for an inch or two and then pull it slowly under the catstitching from right to left, pressing Fic.8, Bias joined so that it may with the iron the part that is be cut in a continuous strip included by the catstitching. 16 Clothing Construction When bias bands are to be applied to a garment, it is often difficult to get them of a uniform width unless the following method is used: Pin the bias strip of fabric to the ironing board and, exactly in the center, lay a strip of thin card- board as wide as the band is to be made. With the iron, press each edge of the fabric over the cardboard; slide the cardboard along and continue pressing. If the strips are made of wool, the fabric will have to be dampened to make the creases stay in place (see pages 238–239). 6. Bindings Bindings are used to finish raw edges and may often serve as decoration. They usually show about an equal amount on both the right and the wrong side of the article. Bias Binding Cut a true bias twice the finished width of the binding, plus two seam allowances; or, if the binding is to be double, cut the strip four times the finished width of the binding plus two seam allowances (see “Marking Bias Strips” and “Cutting and Joining Bias Strips,” pp. 12–15). The seam joining the ends of a continuous binding should be placed inconspicuously—for example, at the underarm seam on an armseye or at a shoulder seam on a neck line. In attaching bias binding to a straight edge hold the binding slightly taut; when attaching to an edge with an outward curve ease slightly (Fig. 9, B); when attaching to an edge with an inward curve hold taut (Fig. 9, C). In the case of an outside corner the binding should be eased or mitered so that when finished it will lie flat (Figs. 9, A-1, and 155). Around an inside corner or at the end of a slash, Bindings 17 FIG. 9. Attaching bias binding A-1, around an outside corner; A-2, around an inside corner; B, on an outward curve; C, on an inward curve FIG. Io. Attaching bias facing A–I, around an outside corner; A–2, around an inside corner; B, on an outward curve; C, on an inward curve stretch the binding so that it will lie flat (Figs. 9, A–2, and 155). Unless the binding is very narrow and of a soft fabric, it may be necessary to get rid of fullness at the end of the slash by means of one or two tiny darts taken on the wrong side. 18 Clothing Construction Methods of Attaching a Single Bias Binding When nostitching is to show on the right side. If the binding is not to be continuous, baste with the right side of the bias to the right side of the article to be bound (Fig. 11, A). Stitch, turn the binding to the wrong side, and turn under the raw edge about # to # inch, or on the crease if Com- mercial bias is used. Pin and baste so that the folded edge FIG. II. Single bias binding (wrong side) attached so that no stitching shows on right side A, bias stitched to edge of article; B, bias turned to wrong side and hemmed in place of the binding comes almost to the line of the first stitching. Hem by hand to the machine stitching, using either slant or slip-stitch hemming, the latter being preferable if the wrong side of the binding is likely to show (Fig. 11, B). If the binding is to be continuous, locate the seam by folding back the seam allowance along either the warp or the filling yarn, whichever was followed in joining the strips, so that when finished the center of the seam of the bias will be at the seam line of the garment. Baste the right side of the bias to the right side of the garment, beginning about 2 inches from the end of the strip (Fig. 12, A) and continuing to a point about 2 inches from the place where the ends are to be joined. Pin Seamends together, stitch, and press seam open. Baste the rest of the way and stitch the seam joining the bias to the garment. Press along the stitching Bindings 19 8 § A : o V. S s § ~$ § Š § ! º ZO-' º § s º C 5 - § º Qw - § - FIG. I2. Finishing armseye with bias binding 4, appearance on right side of garment when bias is basted in place; B, ap- Pearance on wrong side of garment when binding is hemmed in place; C, appearance on right side of garment, showing location of joining seam in bias binding line and finish as described in the preceding paragraph. For appearance on the wrong and right sides, see Fig. 12, B, C. NOTE. When the fabric is so heavy that the usual method of binding would be too bulky, as in the case of velvet or heavy wool, stitch the bias strip on in the usual way, fold it over the edge of the garment, and let the raw edge extend a little beyond the stitching line on the wrong side (instead of turning it under). Hold the right side of the garment toward you, and sew the binding in place with running stitches taken as close as possible to the binding. This method is suitable only when the raw edge of the binding is covered with a lin- ing or when the wrong side of the binding will not show. 20 Clothing Construction When stitching is to show inconspicuously on the right side, proceed as when no stitching shows on the right side, ex- cept that the folded edge is brought just beyond the first stitching. Baste and stitch from the right side so that the line of Stitching comes just off the binding on the right side and catches the edge T2.273/2. TTT | side (Fig. 13). Since bind- ings may be attached this so that stitching shows (inconspicu- the former method, and ously) on right side since the stitching is quite very close to the edge of the binding, this method is fre- quently used even on silk garments. of the binding on the wrong in less time than b FIG. I.3. Single bias binding attached way in less t y inconspicuous if it is made NoTE. A variation of the foregoing method is excellent to use in binding seams in a coat which is unlined or lined only to the waist, especially if the bias is to be made of a lining fabric. In this case fold the binding over the edge of the seam, but do not turn it a second time. The raw edge of the binding should, of course, be between the seam and the garment. When stitching is to show plainly on the right side, as is the case when commercial bias is applied in one operation, use the binder attachment, if possible, as it gives a better- looking binding and is a great timesaver. This method is not satisfactory if corners or sharp curves are to be bound. A bias strip of fabric may be used in the same way as the commercial bias if it is cut exactly £ inch wide. If one does not wish to use the binder attachment, crease the bias a little to one side of the middle, and slip the edge to be bound into the fold so that the wider side of the bias comes on the wrong side of the garment. Then, when it is stitched, the Bindings 21 lower edge will be sure to be caught. Baste and stitch by machine from the right side. Attaching a Double Bias Binding (French Bias) A double bias is used when the fabric is soft and likely to stretch and fray badly, as in light-weight satin or crêpe; or when the fabric is transparent, as in organdie, voile, or georgette. To attach a double bias binding, fold the strip (which has been cut four times the finished width plus two seam allowances) lengthwise through the center with wrong sides together, and baste with long stitches to keep it from slipping. Place it on the right side of the article to be bound, with the raw edges of the binding even with the edge to be bound. Baste, stitch, remove bastings, and turn the binding to the wrong side of the article. Bring the folded edge just to the line of stitching, baste, and sew in place with vertical or slip-stitch hemming. Straight Binding Edges may be bound with ribbon or straight seam binding. Crease the binding strip slightly to one side of the center and attach by slipping the edge to be bound into the fold with the wider side of the binding on the bottom, that is, on the wrong side of the garment; then baste and stitch from the right side. When narrow silk binding ribbon is used to finish seams, it is often held in place with run- ning stitches and an occasional backstitch, instead of machine stitching. In this case no preliminary basting is needed. Care must be taken, however, not to “full” either the binding or the seam. To prevent this, lay the gar- ment on a table, slip the edge of the seam into the folded binding, and pin at intervals, making sure that the binding and the edge of the seam are held with equal tension. 22 Clothing Construction In a continuous binding the ends of the binding should be stitched and pressed open, and the seam should coincide with the seam line of the garment. 7. Blocking Simple Garments It is often unnecessary to buy commercial patterns for simple garments. The pieces of the garment may be blocked according to individual measurements, either on paper (to save a pattern for future use) or directly on the wrong side of the fabric. Approximately # inch is allowed for seams. Blocking Kimono Garments Measurements Needed Bust measure (see Fig. 128). Garment length (see Fig. 128, “Shoulder to floor”). Shoulder to bust (see Fig. 128). Sleeve length is taken from the center bone at the back of the neck over the shoulder, down the desired length o the arm. - Sleeve width is measured around the largest part of the arm, and 2 to 4 inches are added. Width at bottom is determined by the type of garment, the fabric used, and the current fashions. Amount of Fabric Required Allow twice the garment length, including the hem, adding 3 to 4 inches extra for straightening the fabric and for shrinkage. Kimono garment without a shoulder seam (Fig. 14). Fold the fabric lengthwise, then crosswise, with the front length Blocking Simple Garments 23 1 or 2 inches longer than the back. Measure ba along the cut end of the fabric, equal to # the width at the bottom. Measure ae along the crosswise fold, equal to the sleeve length. Measure down from point e a distance ej, equal to ... Crosswise fo/d e c d Crosswise fo/d C. LZ. // / /, / S NS S Sº *\ Qu Qo - 2 ve * - R > SS SS On Qo c c Qu Qo ~J *~J A d b d FIG. I.4. Kimono garment FIG. I5. Kimono garment without shoulder seam with shoulder seam # the sleeve width. Measure down from points a and c the distances ah and ci, equal to the shoulder-to-bust length. Connect h and i. From h measure over a distance hf, equal to # the bust measure plus 1% to 2 inches. Now connect points e, j, f, and d, curving the line from j to f. 24 Clothing Construction The neck line of the garment is usually higher in the back than in the front. Slash along ae and ah according to the shape of the neck line desired. Dotted lines indicate other possibilities for neck and sleeve lines. NOTE. A kimono garment will fit better if one or more of the following adjustments are made : 1. The front is cut about 1 inch wider than the back of the garment. 2. Some of the surplus bulk over the shoulder is taken out by a shoulder seam (Fig. 15). 3. Two or three darts are made in the front side of the underarm seam at the bust line (Fig. 15). 4. A dart is made in the front side of the underarm seam at the belt line (Fig. 15). 5. The neck line is cut wide (Fig. 15). Kimono garment with a shoulder seam (Fig. 15). This method is preferable when blocking a dress. Proceed as for blocking a kimono garment without a shoulder Seam, but with the following changes: measure over on ac a distance ag, equal to 2 inches; locate e at a point about 2 or 3 inches down from the crosswise fold and so that ega equals the length from the center of the back to the bottom of the sleeve; make the underarm seam of the sleeve approxi- mately parallel to the shoulder seam. The closer the gar- ment fits up under the arm, the less will be the tendency to tear at this point, because of the increased length this gives to the underarm and sleeve seam. Blocking a Nightgown from 1; Widths of 40-Inch Fabric (Fig. 16) Two gowns can be cut from three lengths of fabric by this method, provided they are sleeveless. The lengthwise Seams come farther back than do normal underarm seams. Blocking Simple Garments 25 Front. Measure off a length of 40–inch fabric equal to the front-length measurement of the garment. Fold length- wise through the center. Measure down from a the dis- c —º & § | : § R : Q: N : N & : N. Qu : § 3 is U § § .8 §, : § * N : N § o : 8 § N :S § :S :S q/ 4, - *— 20"— *— /o"— A/-o/77° Aac/r FIG. 16. Sleeveless gown cut from 14 widths of fabric tance ae, equal to the shoulder-to-bust length. Measure eh, a distance of 14 to 16 inches. Draw dh and extend it 3 or 4 inches to l. From a measure over af, a distance of 3 to 5 inches. From a measure down ag, a distance of 5 to 8 inches. Connect f and g with a curved line. From f draw 26 Clothing Construction a slanting shoulder line fj, 3 to 4 inches long. Connect points j and l with a curved line. Back. Measure off a second length of fabric and cut in the center lengthwise. Make a lengthwise fold through the center of this 20-inch width. Using the front as a pattern, lay it on top of the back with the center-front fold extend- ing # to 1 inch beyond the center-back fold. Cut the neck line, shoulder, and back of the armseye. Blocking a Slip Measurements Needed Bust measure (see Fig. 128). Garment length (see Fig. 128, “Armpit to floor”). Hip measure (see Fig. 128). Width at the bottom will be determined by personal prefer- ence and current fashions. Two—Piece Gored Slip (Fig. 17) Front. Fold the cloth lengthwise, at a distance from the selvage equal to ; the desired width for the bottom of the slip. NOTE. Sometimes it is more economical to cut the slip crosswise of the fabric. If so, fold the cloth crosswise instead of lengthwise. Measure down on the fold a distance ab, equal to the garment length plus the hem allowance. Draw a line from b to d. Measure ac, equal to # of the bust measure plus 1 inch. Locate e at a point the depth of the hem above d and draw line dec (Fig. 17). Sometimes e is located where the top of the hem will come, especially when the garment has a very deep hem. Check the hip measure and mark the location for a dart at the bust line. 28 Clothing Construction 8. Collars Collars may be classified in many ways, such as double and single, rolling and flat, attached and detachable. The classification of convertible and nonconvertible, however, seems the most satisfactory one, since the methods of mak- ing and attaching are entirely different for these two types. Convertible collars are those which maybe worn fastened close up around the neck or open in a V-shape in front, whereas nonconvertible collars can be worn only in one position. Methods of altering and blocking collar patterns are described because it is often necessary to alter the design of patterns; it is also often necessary to make changes in the collar pattern because of the alterations made in fitting the garment. Collars range from those that lie perfectly flat to those that roll decidedly, or even stand straight up around the neck line. To model or block collars successfully, two principles must be understood: 1. The more nearly the neck line of the collar corre- sponds to the neck line of the garment, the flatter the collar will lie; or, conversely, the straighter the neck line of the collar, the greater will be the roll. In fact, sometimes in a convertible collar the neck line has even a slightly COn Vex Curve. 2. No attached collar will fit well if the neck line is exactly like the neck line of the garment; it must roll enough to cover the seam by which it is joined to the garment. Blocking Collar Patterns To establish the neck line of a collar, pin the waist pat- tern together at the shoulder seam and lay it flat on a piece Collars 29 of paper with the center back on the straight of the paper; or, if changes have been made in the fitting, use the garment instead of the pattern to de- termine the neck line of the collar. If the garment is used, fold the waist on the center-front and center-back lines, matching the shoulder - seams, and pin it to a piece FIG. 18. Method of blocking a of paper. flat collar To block a flat collar. Trace or mark the neck line of the garment on the paper and remove the pattern or garment. Cut on the marked line, making the neck line of the collar pattern like the neck line of the garment, except that inch is added at the center back of the collar — continuing the neck- line curve — and at the center front # inch or more is taken off, depending upon the length of the collar (Fig. 18). Then when the collar is attached, the inside edge will be stretched to fit the neck line of the dress. Shape the outside edge of the collar as desired. To block a rolling collar. Straighten the traced neck line as needed for the type of collar desired (Fig. 19). For further suggestions see “Modification of Patterns—Collars,” pp. 188–189, and Figs. 147 and 148. i FIG. I9. Method of blocking a rolling collar 30 Clothing Construction Convertible Collars Convertible collars may roll a great deal or slightly. They may be cut straight at the neck line or slightly curved, de- pending upon the roll desired (Fig. 20), and they may be worn with or without a vestee. When they are made double, the portion of the front of the garment that turns back with the collar is usually finished with a facing; occasionally such a collar is | – used when the opening of the garment A is finished with a binding. Making Convertible Collars T- -T Several methods are used for at- taching these collars. If Method A C (Fig. 21) is to be used, the collar is made as it is attached; in methods B C and C it is made before it is attached. Fig. 20. Convertible In the latter cases the lining and the collars * differ in upper side of the collar are stitched together, as in any double collar; or if the collar is made of one piece of fabric, this is folded lengthwise through the center and stitched across the ends (Fig. 25, B). Attaching Convertible Collars Method A. This method is best to use if the ends of the collar or lapel are notched or shaped, or if there is a possi- bility that the line made by the collar may need to be changed after the collar is joined to the garment. It insures a more perfect joining than one is likely to get with other meth- ods, and it is especially well adapted to semitailored coats. Cut the front facing of the garment the desired size and shape. It is usually advisable to cut this facing with the center front on a lengthwise fold if the front opening does Collars 31 not extend to the bottom of the garment. Finish the sides and bottom of the facing by overcasting, hemming, or turning the edge under and stitching it. The collar should be cut double or in two pieces (the upper and under sides of the collar) as long as the neck line of the garment, and as wide as the finished collar plus Seam allowances. A A FIG. 21. Attaching convertible collar (Method A) A, collar and garment ready for joining; B, collar stitched to neck line of garment Join the under side of the collar to the neck line of the garment with the right sides together and with neck lines matching. Have the ends of the collar even with the front opening of the garment. Baste and stitch the collar to the garment (Fig. 21). Press the seams open from the center front to each shoulder seam. Join the facing to the upper side of the collar with right sides together and with the ends of the collar even with the edges of the front open- ing, and with the neck lines of the collar and the facing matching. Baste and stitch to within about ; inch of the ends of the facing at the shoulders. Press the seam open. 32 Clothing Construction Apply the right side of the facing to the right side of the garment, with the two sections \ of the collar coinciding (Fig. 22). Be sure that the Q seams exactly meet where % the collar is attached to the neck line of the garment and the neck line of the facing; also that the front openings in the facing and / the garment are the same length. Baste together the FIG.22. Attaching convertible collar raw edges, that is, the top (Method A) and ends of the collar and This shows collar joined to both gar- the front opening. Stitch ment and facing, and seam stitched in a continuous stitching around center-front slash across one end of the collar, down one side of the opening, up the other, and across the other end and top of the collar. For methods of stitching at the bottom of the opening see Fig. 23. Turn the collar right side out, thus bringing the front facing to the under side of the garment. Usually the edge of the collar is turned under at the back of the neck line and hemmed to the first stitching, and the ends of the facing at the shoulder are turned under and hemmed to the shoul- der seam of the garment. If the garment is an unlined coat, a fitted facing for the back neck - r I I I | I I | | I I I I I I I I w - v I ºf - - - - wº * * * A B C FIG. 23. Ways of stitching around the end of a slash; also ways of clipping to per- mit neat turning A, square; B, pointed; C, round line should be cut and Seamed to the front facings at the shoulders; then the Collars - 33 upper side of the collar should be joined to the front and back facings. The seams joining the under side of the collar to the garment and the upper side of the collar to the facings should be pressed open (Fig. 24, A) and tacked FIG. 24. Attaching a notched collar to a coat A, back facing joined to collar in an unlined coat; B, front facing joined to front of coat that is to be lined; C, notched collar attached to coat, showing how to clip seam that joins collar to front of coat that is to be lined together at intervals. If the garment is a lined coat, the entire seam joining the under side of the collar to the garment should be pressed open, as well as the seam joining the facing to the upper side of the collar. Clip the upper side of the collar diagonally to the shoulder seam line to permit the seam allowance of the collar to extend down on the garment across the back of the neck (Fig. 24, B). This ‘raw edge is covered by the lining. 34 Clothing Construction The notched collar is made according to the same general directions, except for the following changes: The collar neck line is shorter than that of the garment; hence the ends of the collar do not extend to the edge of the front opening of the garment and facing. When joining the collar to the garment make sure that the ends of the collar are at equal distances from the front opening. After join- ing the under side of the collar to the garment and the *— ſo/a/—- Co//a/r A FIG. 25. Attaching convertible collar (Method B) A, front facing stitched in place; B, collar folded and stitched across the ends upper side of the collar to the front facing, slash the gar- ment and facing seams to the stitching line (about ; inch from each end of the collar), and press the front sections of the seams up (Fig. 24, C). Then stitch a continuous line around the collar and front facing, being careful to keep the seam of uniform width. Method B. In this method the front facing is cut the desired size and shape, and the sides and bottom are finished (unless the facing is to be stitched to the gar- ment with the stitching showing on the right side, as in a middy blouse). Join the facing to the front of the garment, stitching around the marking for the center-front opening (Figs. 23 and 25, A). Cut the front opening down to within Collars 35 a short distance of the stitching, clip if necessary, and turn the facing to the wrong side of the garment. Stitch the ends of the collar together (Fig. 25, B). Place the under side of the collar to the right side of the garment, with the seams in the ends of the collar exactly meeting the seamsatthecenter-frontopening of the garment; then pinthe seams together. Place - the upperside of the col- lar and the right side of the facingtogetheratthe neck line (both opened out). Baste the seam and Stitch it. This will make one continuous seam from the shoulder seam line of the facing around the entire neck line of the garment to a corresponding point on the opposite side - - (Fig. 26). Press this FIG. 26. Attaching convertible collar (Method B) seam open, except acrosstheback between This shows how collar is joined to garment and front facing with a continuous seam the shoulder seams. Turn the raw edge of the collar under across the back of the neck line. Pin, baste, and hem to the first stitching. When making a middy collar, it may be desirable to stitch from the point where the end of the collar and the center front of the garment join, around the neck line to the opposite side. Method C. Attach the front facing to the garment, as in Method B; then baste the neck line of the facing to the neck line of the garment. Make the collar and attach in 36 Clothing Construction either of the following ways: If no stitching is to show, attach the upper side of the collar to the garment and fac- ing; then turn in the raw edge on the under side of the collar and hem by hand to the machine stitching. If the machine stitching is to show, join the under side of the collar to the garment and facing; then stitch the upper side of the collar in place (Fig. 27). Detachable Collars If a detachable collar is de- sired, such as a washable collar on a silk or wool garment or a light-colored collar on a dark FIG. 27. Attaching convertible dress, finish the neck line Of collar (Method c), with stitch- the garment with a facing or ing showing on collar facing a bias binding. Make as a nonconvertible collar; if it rolls, finish the neck line with a binding of a light-weight fabric; if it lies flat, finish the neck line with a suitable edge finish and attach collar at One or two points. When a double bias collar is used and it is to be laundered, it may be desirable to machine-picot or bind the neck-line edges separately rather than to finish them together. This makes it possible to iron the collar with the yarns of the fabric, so that it will not be stretched out of shape. The collar may be attached to the garment by basting or with snaps. If several collars are to be worn with one dress, snaps will be saved if they are sewed on the collars so that the ball and socket parts of the snaps alternate. Snaps are then sewed on the neck of the garment so that they will match those on the collars. Collars 37 Nonconvertible Collars Under this heading are classed all collars that can be worn Only in one position. Checking Collar Patterns Measure the neck line of the collar and the neck line of the garment, and compare measurements. The entire length of the neck line of the collar should usually be about # inch shorter than that of the garment, so that when the collar is attached it will roll slightly and cover the joining Seam. If the collar extends to the waist, as in a surplice type, it should be about 1 inch shorter than the neck line of the garment. Before trying on the collar pattern, clip the paper a seam's depth or cut a pattern from cheap muslin. The latter is more satisfactory, since, when pinned to the garment, it gives more nearly the effect of the finished collar than does the paper pattern. With a few pins, placed parallel to the neck line, pin the collar pattern to the garment. Put on the garment and check the collar for size and fit. If changes need to be made, see “Blocking Collar Patterns,” pp. 28–29, and “Modification of Patterns,” pp. 188–189. Making Collars The outside edge of the collar should always be finished before the collar is attached to the garment. Single collars may have the outer edges finished by bind- ing, picoting, facing to the right or to the wrong side, with plain hems of various widths, with rolled hems, or with lace; the lace may be whipped on a rolled edge, or sewed on a raw edge which is afterwards rolled or closely over- cast. Various decorative stitches (such as blanket stitch) may be used to hold the hem in place. 38 Clothing Construction Double collars may have the outer edges finished with a plain seam or any form of edge finish. If a plain seam is used, place the right sides together, pin, baste, and stitch. Trim the seam. If the collar is curved, clip the edge at intervals almost to the stitching; if the collar is square or pointed, trim off the corners (Fig. 28). Turn the collar right side out, and crease and press on the stitching line. If braid or lines of decorative stitches are to be used, these are usually applied to the upper part of the collar before the two parts are stitched together. Some- times the braid is attached to middy collars after the outer edge of the collar is finished. When a wool collar is lined with silk, it may be desirable to Fig. 28. Method of clipping use the following method: Turn curved edge of double collar under the edge of the wool col- and trimming off the corner lar on the seam line, baste, and press; pin and baste the silk lin- ing in place at the edge line or about # inch in from the edge, depending upon the effect desired. The latter method is usually desirable in large collars. Press lightly with a warm iron and without moisture and slip-stitch the lining to the collar. This method permits the necessary pressing of the wool without marring the silk. Attaching Nonconvertible Collars Place the under side of the collar next to the right side of the garment, matching the center back of the collar with the center back of the neck line of the garment, and with the ends of the collar in place. Pin together, with the pins parallel to the neck line, stretching the collar slightly Collars 39 from shoulder Seamtocenterfront. Try the garmenton, make any needed adjustment, and baste the collar to the garment. The following methods are used to finish the joining of the collar to the dress or blouse. With a bias facing (Figs. 29, 30). This is generally the most satisfactory method, since it is strong and aids in keeping the collar and garment in place. Use a bias strip of self fabric (unless it is too heavy) from # to 1 inch wide. Place the right side of the facing next to the upper side of the collar, keeping the edges even; baste through the facing and the gar- ment and stitch. Trim the seam edges to the desired width for the fabric; clip the seam if nec- essary. Turn the facing to the wrong side and baste flat to the garment close to the stitching - - - - - FIG. 29. Attaching nonconvert- line. It is necessary to bring the ible collar to neck line with a facing far enough to the inside bias facing so that it will not show when the garment is worn. Turn the raw edge under, baste, and hem the facing to the garment. This should be done by hand; otherwise it is likely to draw. If there is no neck- line opening, it is well to begin basting the facing strip at the shoulder seams; join the two ends of the bias before stitching the facing and the collar to the garment. If there is a neck-line opening which has a narrow finish like a bind- ing, let the facing extend about ; inch beyond the edge of the opening when beginning to baste and also when ending (Fig. 29). After the collar is stitched to the garment, crease i 40 Clothing Construction along the stitching line with the seam toward the facing; then turn the end of the facing back in line with the edge of the opening. Turn under the raw edge of the facing, baste, and hem in place. If the neck-line opening is to be finished with a wide hem or facing on the wrong side, baste the collar in place, turn the hem or facing on the fold line to the right side of the garment, and pin in place (Fig. 30). Then apply the bias facing, begin- ning and ending it # inch beyond the inside edge of the hem or facing. Baste and stitch entirely around the neck line of the garment. Turn both the hem (or facing) and the applied bias strip to the wrong side and finish in the usual manner. With a flat fell seam. The flat fell Seam may be used when the col- FIG. 30. Method of attach- lar is on the straight of the fabric ing collar to blouse, in and is made of a single thickness, which closing is finished as in the tuxedo type. Join the col- with wide hem or facing lar to the garment with the under side of the collar next to the right side of the garment, and stitch with the edge of the collar extending # inch or more beyond the edge of the garment. Turn in the edge of the collar and hem by hand or stitch flat. As a binding. This method may be used in attaching double collars of a sheer or soft fabric, but it is satisfactory only where the neck line of the collar is straight and there is a neck-line opening in the garment. Attach either the upper or the under side of the collar to the neck line of the garment in the usual way. Turn in the other side of the collar the width of the seam; pin, baste, and hem to the first stitching. Collars 41 Making and Attaching Nonconvertible Coat Collars The method of attaching a nonconvertible collar to a semitailored coat depends upon the cut. Certain parts of the garment, including the under side of the collar, should be interfaced (see “Interfacings,” p. 247). If the garment is to be unlined, a fitted facing for the back neck line should be cut and joined to the front facings at the shoulder seams (Fig. 24, A). All neck-line seams should be pressed open. If the garment is to be lined, the upper side of the collar should be clipped diagonally to the shoulder-seam line (after it is attached) to permit the seam allowance at the collar to extend down on the garment (Fig. 24, B). The raw edge of the collar is covered by the lining. When the upper and under sides of the collar are cut sepa- rately from the front facing and front of the coat (Fig. 31, A, B, C), they may be cut with or without seams in the center back. If there is a center-back seam, stitch it and press it open. Join the upper side of the collar to the front facings and the under side of the collar to the garment, with plain seams pressed open. Place the right side of the facing and the upper side of the collar to the right side of the garment and under side of the collar. Pin, baste, and stitch around the outside edge. To finish, see the directions for fitted facing for a coat front, p. 98, and finish the back of the collar between the shoulder seams in one of the ways de- scribed in the preceding paragraph. When the upper side of the collar is cut in one with the front facing (Fig. 32, A), make a plain seam in the center back of the collar and press it open. Then handle the under side of the collar in one of three ways: if the collar is cut in one with the front of the coat (Fig. 32, B), make a seam in the center back, press it open, join the collar to the back of the garment with a plain seam, and press it open across FIG. 31. Collar and facing cut separately from garment A, collar; B, front facing; C, front of coat Cenſer Aack of º Jhouſa'er 3 earn Aro////ae Aront fac/o 9 A A FIG. 32. Collar cut as part of (A) front facing or (B) front of garment 44 Clothing Construction ******************************** FIG. 34. Commercial trimmings A, fagoting; B, bias tape; C, D, ruffled ruching; E, box-plaited ruching; F, G, H, shaped trimming bands (Fig. 34, A, H). Very decorative trimming bands may be obtained which can be used for neck and sleeve finishes (Fig. 34, F, G, H). Bias Tape Bias tape is used as a trimming as well as an edge finish, and it may be applied as a binding or facing or to form folds or bias bands on the surface of the fabric. Used as Bindings or Facings Dresses, aprons, underwear, and children's clothes are frequently trimmed by binding or facing with bias tape in contrasting or harmonizing color. This is applied to such edges as those of the neck, sleeves, belt, and pockets, as well as to certain seams (see “Bindings” and “Facings,” Commercial Trimmings and Braids 45 pp. 16–21 and 96). Bias tape is also attached with various decorative stitches, such as blanket stitch, chain stitch, darning stitch, or French knots (see “Decorative Stitches,” pp. 55–58, 64, 70–71). Used as Bands and Folds Several rows of bias folds may be used to trim collars, cuffs, and pockets, and as trimming bands on other parts of garments. Variations -– indesign maybe obtained by using more than one color or different widths of bias, or by differences in spacing. Bias tape || which has been folded. || – lengthwise through the center may be fagoted together to form a defi- FIG. 35. Bias tape folded lengthwise nite pattern (Fig. 35) (See and fagoted together to form a design “Decorative Stitches,” pp. 65–67). It may also be applied as a fold, either by using the machine attachment or by basting and stitching it in place along the open edge of the fold after it has been creased through the center lengthwise; or it may be stitched flat to form a single band or group of bands. º Rickrack Rickrack of various colors and widths is used to trim dresses, aprons, underwear, and children's clothes. It is generally stitched twice, so that it will launder well. Applied to the Wrong Side With two rows of stitching showing (Fig. 36). Turn the edge of the fabric under once, or twice, as desired. Baste 46 Clothing Construction the rickrack to the under side so that half of it extends be- yond the turned edge and the other half covers the hem. This gives the effect of scallops on the right side. Stitch from the right side with two rows of stitching, one close to the turned edge of the garment, the other just far enough in to catch the inner edge of the rickrack. To join the ends, match the scallops and make a hemmed fell seam. With only one row of stitching showing on the right side (Fig. 37). Baste the rickrack to the right side of the garment so that the scallops extend slightly beyond the edge of the gar- ment (Fig. 37, A). Stitch through the center of the rick- rack and turn the edge to the wrong side on the line of FIG. 36. Rickrack with two rows of stitching showing FIG. 37. Method of applying rickrack so that only one row of stitching shows stitching so that the rickrack covers the raw edge. Stitch along the inner edge of the rickrack (Fig. 37, B). NOTE. Do not use very narrow rickrack for either of these finishes, since it is too narrow to cover the turned edge. Applied to the Right Side After a narrow hem has been turned and basted, baste the rickrack on the right side of the garment so that half Commercial Trimmings and Braids 47 of it extends beyond the edge. Stitch by machine, or fasten each Scallop of the rickrack to the material with some deco- rative stitch, such as the seed stitch or French knots. The hem may be stitched before the rickrack is applied, or it may be stitched in place at the same time as the rickrack. One or more rows of rickrack may be applied on the surface of the garment. Rickrack is sometimes applied with alter- nating scallops showing on the right side. It may also be set under the edges of hems, facings, or bindings. Military Braid Military braid is used to trim garments which are semi- tailored. It can be obtained in various colors and widths. This braid is usually made of rayon and frays badly; so allowance for waste should be made when purchasing. Used as a Binding Crease and press the braid lengthwise a little to one side of the center (about I's inch) so that the under side projects. Apply as a binding, stitching from the right side so that the one row of stitching fastens both edges of the braid to the garment. This may be done by hand, by machine, or by using the machine attachment. Great care must be taken in applying this braid, because it stretches easily and is likely to ream, that is, pull on the bias. When this braid is sewed around a corner, it must be fulled by pulling up the edge thread or by running a fine gathering thread close to the edge. Stitched Flat Baste and stitch one edge of the braid to the garment, leaving the other edge free. Military braid may be applied so that it just covers the finished edge of the garment, or it may be set back from the edge. Several parallel rows are often applied, using the same or different widths. In the 48 Clothing Construction latter case the widest braid is usually applied to the outer or lower edge. Military braid is rarely stitched on both edges, since it is likely to pucker. Soutache Braid Soutache braid is of two kinds — the filled, which shows the filling when it becomes worn, and the unfilled, which is FIG. 38. Soutache braid stitched to the garment by machine the same throughout. This braid is used as loops for fasten- ing buttons or for attaching belts, and to trim middies, dresses, coats, and children's suits. In tailored garments Soutache braid is often applied in parallel rows, which may Or may not be grouped. It is also used to form designs on garments (Fig. 38). Applied Flat It is generally stitched to the fabric with the braider attachment, but it may be stitched through the center without an attachment. Care must be taken to fasten the Commercial Trimmings and Braids 49 ends of the braid securely. These may be turned under and closely overhanded, or in the case of braided designs the end is sometimes drawn through to the wrong side of the fabric and overhanded to the cloth. A single row of Soutache is sometimes stitched into a seam or on an edge of the gar- ment so that half of it shows on the right side, giving the effect of a corded edge. Applied on Edge When the braid is to be applied on edge instead of flat, bring the needle up through the cloth, just catching the lower edge of the braid, and insert it again close to the place where the thread came out, taking a stitch about ; inch long on the under side. Stickerei Stickerei is a narrow braid with embroidered scallops on one edge and a Selvage on the other. It is used as an edge finish on house dresses, aprons, underwear, and chil- dren's clothes. Applied with One Row of Stitching on the Right Side Baste the braid to the raw edge of the garment, with the right sides together and with the scallops away from the edge. Stitch so that the line of stitching comes just to the inner edge of the scallops. Turn at the stitching line so that the scallops of the braid extend beyond the gar- ment on the right side and the braid incloses the raw edge of the garment on the wrong side. Stitch or hem the Selvage edge of the braid flat to the garment. Applied with Two Rows of Stitching on the Right Side Turn under the raw edge of the garment, baste and stitch the folded edge to the right side of the stickerei at 50 Clothing Construction the inside edge of the Scallops, and make a second row of Stitching on the Selvage edge of the braid. Match the scallops and join the ends of the stickerei with a hemmed fell seam. Io. Darts Darts are used to remove fullness and to give decora- tive lines to simple garments. Darts are wide at one end (Fig. 39, A) or in the middle (Fig. 39, B); they may taper at One end or both, depending upon their location in the garment and the effect desired. They may be left unstitched, be stitched to the end, or be Stitched only part way to the end, as in a tuck dart. They are located at such Æ places as under the arm, at the back of the neck, at the hip or shoulder, and at the top of a wide hem in a gored skirt. They are generally made on the wrong side of the garment and may be located horizontally, vertically, or diagonally. A FIG. 39. Stitched darts A, tapering at one end; B, tapering at both ends Placing of Darts Commercial patterns indicate the size and location of darts; but in the fitting of garments these may need to be changed, or others added. It is usually more satis- Darts 51 factory to use several small darts rather than one large one, since the deeper the dart the longer it needs to be. Making Stitched Darts Baste the dart in the desired place, and stitch (after fitting the garment), for about $ inch beyond the end of the dart, the distance of one yarn from the folded edge (Fig. 40). |- This allows the dart to taper so gradually that no bulge is visible. Fasten the stitching by pulling the threads to the wrong side and tying the ends with a square knot (see “Square Knot,” p. 247). Darts may also be stitched again on the right side, giving the ap- pearance of lap seams. Finishing Darts on the Wrong Side vertical dartsshould be pressed º 4°. A * * trimmed, pressed open, and toward the center of the garment overcast (in the case of a hem this means that the inside fold of the dart is toward the center). Stitched horizontal darts should be pressed up. Wide darts may be trimmed to a seam's width and then finished as any plain seam. Darts may also be cut along the fold line and Opened, pressing back each side. The edges may be finished with any desirable seam finish (Fig. 40). Darts are usually trimmed and opened only in thick fabrics. 52 Clothing Construction II. Decorative Stitches A knowledge of how to make a few decorative stitches is well worth acquiring. Most of these stitches are very simple and may be made quickly. One needs to use good judgment, however, in Selecting a suitable design and floss or yarn of proper texture and color, and also must possess a reasonable degree of skill if the decoration is to be effec- tive. Care should be taken not to overdecorate any gar- ment or household article. Arrowheads Arrowheads are used for decoration, and for staying such places as the ends of pocket openings and the ends FIG. 41. Arrowhead, showing steps in construction A, outline marked and thread fastened; B, first stitch; C, second stitch; D, partly worked Decorative Stitches 53 of plaits. Mercerized or silk embroidery thread is generally used, depending upon the fabric of the garment. Mark the shape and position of the arrowhead with chalk, thread, or pencil, depending upon the color and kind of fabric used. Starting at the center of the arrowhead, make a few running stitches (to fasten the thread), bringing the needle out at point 1 (Fig. 41, A). Insert the needle at the right of 2 and take a very small stitch at the top of the arrowhead (Fig. 41, B). Insert the needle at 3, bringing it out to the right of and close to the first stitch taken at 1 (Fig. 41, C). Continue in this way until the arrowhead is completed, taking FIG. 42. Com- - - pleted arrow- each succeeding stitch at the top of the head arrowhead just outside and a little below the previous stitch, and taking the stitches on line 1 to 3 just inside of each preceding stitch (Fig. 41, D). When the arrowhead is completed, it appears as in Fig. 42. NOTE. Many variations of the arrowhead may be worked out, such as placing four of them together to form a block. (See also “Crow’s Foot,” p. 63.) Bar Tack A bar tack is used as a decoration where it is desirable to reënforce the garment from both the outside and the inside, as at the ends of pockets. It resembles the bar at the end of a buttonhole. To make it, use either sewing thread or embroidery thread, depending upon the effect desired. Take several long stitches, one on top of the other, at right angles to the end of the opening that is to be re- enforced. Then bring the needle up at the left of one end of the bar and insert it at the right of the bar; continue taking stitches over the bar and through the cloth until the Decorative Stitches 55 Chain Stitch Chain stitching is a series of interlocking loops resem- bling the links of a chain. It is used for outlining designs and for simple borders. Work toward you or - from right to left. Fasten the thread by taking a few running stitches, which may be covered by the first chain stitches. Bring the needle through to the right side of the cloth and hold the thread with the left thumb. Insert the needle where the thread was brought out and take a stitch, drawing the nee- FIG. 44. Cable stitching combined with smocking dle out over the thread held down by the thumb to form a loop (Fig. 45). Continue in this way, always insert- ing the needle inside the last loop. Pass the needle to the wrong side, outside the last loop, to hold the loop in place, and fasten the thread securely. The chain stitch is a basic stitch which has many variations. These include the blanket stitch, lazy daisy, ladder, magic chain, open chain, and zigzag chain. Blanket Stitch The blanket stitch is used for decoration along an edge, to hold appliquéd designs in place, to finish seams, or instead of a Fig. 45. Chain hem as a finish for raw edges of blankets. stitch . 56 Clothing Construction Work from left to right, with the edge to be finished needlethrough, leav- ing a very short end - of thread on the wrongside. Holding B the thread under the º FIG. 46. Blanket stitch and over the thread held toward you. To fasten the thread, place the needle in the edge of the fabric, taking a few running stitches along thumb, place the point of the needle in the cloth the de- sired distance from the edge and bring it out from under the A, plain; B, C, and D, variations which is held under the thumb (Fig. 46, A). Continue in this manner, inserting the needle at the right of the stitch just made. Fasten the thread by bring- ing it to the wrong side and taking a few running stitches. Interesting arrangements of blanket stitches may be the edge. Draw the A C edge of the fabric made by varying the length, the grouping, the distance apart, and the angles at which © they are made (Fig. 46, B, C, D). () Lazy Daisy - - - FIG. 47. Lazy-dais The lazy-daisy stitch is used to form º y flowers and leaves. Instead of a series of loops, one following another (as in chain stitching), the loops are made separately and are so arranged that they form the leaves or petals of a flower. Decorative Stitches 57 Begin by bringing the needle through to the right side of the fabric at the inner end of the leaf (or petal). Make a chain stitch the length of the leaf (Fig. 47). Fasten the loop in place by passing the needle down through the fabric, outside the end of the loop. Repeat for each leaf. Ladder This stitch is sometimes called the wide, or square, chain stitch. The loops are square instead of oval, and are made in a series so that they resemble a ladder (Fig. 48). Bring the needle through to the right side of the cloth, as for the plain chain, but in- stead of putting it back into the same hole, insert it on a line with that hole and to the right of it. Bring the needle out directly in line with, but below, the point at which it was drawn out in the preceding Stitch, thus forming aloose loop. Square this loop, when be- ginning the next stitch, by inserting the needle inside the loop (Fig. 48). FIG. 48. Ladder Stitch Magic Chain This is made like the chainstitch, but two or more threads of con- trasting color are used instead of a single thread (Fig. 49). Thread both threads through FIG.49. Magic-chain stitch, the same needle. To bring out the showing use of two colors alternation of color, hold down with the thumb only one thread at a time. As the loop is formed by the one thread, the other thread (the one not held down) 58 Clothing Construction is carried to the wrong side so that it does not show on the right side of the fabric. It is necessary to tighten the two threads separately. NOTE. More than two threads may be used, but they are difficult to work with, and the stitching is apt to be heavy. A more attractive design is made if, instead of having colors alternate, – one loop of each, – several loops are made of one color and then a lesser number of the other. This gives the appearance of blocks of color rather than specks. Open Chain This stitch is made like the chain stitch, except that the needle is inserted to the right and below where the thread was brought out. Zigzag Chain In this stitch, chain stitches are made in a zigzag line. It is especially effective when heavy floss or yarn is used. Slant the needle alternately to the left and to the right of the line of decora- tion (Fig. 50). Couching Couching is made by using a heavy thread or group of threads held in place by a finer thread. Silk floss (twisted or untwisted), yarn, chenille, ribbon, or gold and silver threads may be used, depend- ing on the fabric and the design. Couching is used to outline designs, to form borders, and to cover seams. FIG. 50. Zigzag chain stitch Plain Couching Fasten the coarser thread on the wrong side of the fab- ric, after pushing the end through from the right side with Decorative Stitches 59 scissors or a stiletto. Hold this coarse thread tight with the left hand and fasten it in place with single stitches made with a finer thread at regular intervals (Fig. 51, A). These stitches must never be so far apart as to allow the cord to spring out of line; on a curve they must be quite close together. To finish push the end of the coarse thread to the wrong side and fasten it. Puffy Couching Make a row of plain stitches either on the Sewing machine or by using running stitches. If the machine Stitch is used, it should be lengthened. Weave a decorative thread in and out under the stitching to form the loops (Fig. 51, B). Brick Couching Proceed as for plain couching, ex- cept that several rows of the plain couching are used, and the stitches attaching the thread are placed so that they alternate with those in the preceding row. One row is made at a time (Fig. 51, C). Interlacing Stitch Make several parallel rows of darn- ing stitches (Fig. 51, D), using a fine FIG. 51. Couching A, plain couching; B, puffy couching, made by weav- ing a heavier thread in and out under a line of stitching; C, brick couch- ing; D and E, interlacing stitch thread. Use a heavy thread (such as silk floss) and couch together rows a and b and rows b and c alternately, tak- ing a stitch over abc between alternations to bind together the adjoining rows (Fig. 51, E). 60 Clothing Construction Machine Couching This is couching done on the sewing machine. It can, however, be done better on a sewing machine with a rotary bobbin than on one of a vibrator type. Wind the bobbin tightly (usually by hand) with heavy thread such as silk floss or tinsel thread, but do not put the thread through the under tension, since it should pull freely from the bob- bin. Thread the top thread as for ordinary machine stitch- ing, using either silk or cotton. Loosen the upper tension and lengthen the stitch to about ten stitches to the inch. Stitch as for ordinary sewing, but remember that as the couching is done by the bobbin thread, the design that is to be followed should be marked on the wrong side, and the right side of the fabric should be next to the feed when stitching. Crewel, or Outline, Stitch These stitches are generally used to outline designs or to hold a hem in place. Proceed away from you or from left to right. Fasten the thread by taking a few running Stitches along the line of the design. Take consecu- tive stitches of even length, with the needle pointed toward you and slanted very slightly either to the left or A to the right of the line. FIG. 52. Crewel, or outline, stitch Make each stitch so that A, ordinary stitch; B, wider stitch it goes back about half- way on the preceding stitch. Be sure that the thread always falls to the same side of the needle (Fig. 52, A). Decorative Stitches 61 When a wider line is desired, the needle should be slanted farther to the right or left of the line (Fig. 52, B). The effect obtained when the thread falls to the right is different from the effect when it is thrown to the left. Some experimenting will show which effectis desired. When outlin- ing on a curve, make shorter stitches than on a straight line. The backstitch (see “Stitches,” p. 288) or the seed Stitch is often used for the same purpose as the outline stitch. Cross-stitch This is made by crossing one stitch over another to make the diagonals of a perfect square (Fig. 53). It is used for decoration and for marking initials on undergarments, bed lin- ens, and towels. It may be worked by follow- ing a stamped design, or according to the lines formed by the warp and filling yarns of the fab- ric. If the fabric is very fine and the yarns are hard to follow, or if a diagonal design is de- sired, cross-stitch canvas may be basted upon the fabric and the stitches worked over and through FIG. 53. Cross-stitch designs both canvas and fabric; afterwards the yarns of the canvas should be drawn out. The stitches must always be crossed in the same way and worked in the same direction, in order to make an 62 Clothing Construction even surface. This may be done in two ways. Method A is used when making a small design, and Method B when making long lines of cross-stitching. Method. A Where each cross is completed before the next is started. Fasten the thread by leaving a rather long end on the 6 eas? FIG. 54. Method of making cross-stitch A and B, one-cross-at-a-time method—right side; C, one-cross-at-a-time method—wrong side; D and E, series of Stitches (one half at a time)—right side; F, series of stitches (one half at a time)—wrong side wrong side, which will later be held in place by the cross- stitches. Bring the needle out at 1, insert at 2, bring out at 3, insert at 4, thus completing the first cross. To start the second cross bring the needle out at 5, insert at 3, bring out at 6, insert at 1 (Fig. 54, A); to start the third cross bring out at 7, insert at 6, bring out at 8 (Fig. 54, B). Fig. 54, C, shows the appearance on the wrong side. Decorative Stitches 63 Method B Where half of each cross in the series is made, and then each cross is completed by working back in the opposite direction. Bring the needle out at 1, insert at 2, bring out at 3, insert at 4, bring out at 5, insert at 6 (Fig. 54, D). To complete the crosses, bring the needle out at 7, insert at 4, bring out at 5, insert at 2 (Fig. 54, E). The appearance on the wrong side is shown in Fig. 54, F. Crow’s Foot A crow's foot is used for decoration and for staying such places as the ends of pocket openings and the ends of plaits. FIG. 55. Crow's foot A, thread fastened and first stitch made; B, second stitch; C, partially worked It somewhat resembles an arrowhead. With the needle brought through the fabric at 1, take a very small straight Stitch across the crow's foot at 2 (Fig. 55, A). Turn the work around to the left until 3 is in the top position, and take a small stitch at 3 (Fig. 55, B). Again turn the work until 1 is in the top position and take a small straight stitch at 1 (Fig. 55, C). Continue taking stitches at each point in rotation until the crow's foot is finished, taking each succeeding stitch a little below the preceding stitch. 64 Clothing Construction Darning Darning is made by several rows of running stitches. It is used for filling spaces in designs and for simple borders. (See “Stitches,” pp. 293–294.) Fagoting The ordinary fagoting (either diagonal or straight) is used to join two finished edges, as in the seams of a garment, or to join folds, as for edge finishes. Seams may thus be made more decorative, and similar or contrast- ing fabrics may be joined to form a trimming. Bermuda fagoting is a form of openwork which is easily made on sheer fabrics without draw- ing yarns (Fig. 56). e FIG. 56. Ber- Bermuda Fagoting muda fagot- Bermuda fagoting is used to outline initials, ing monograms, or other designs; to finish hems in organdie and other thin fabrics; and to insert lace. This fag- oting requires a coarse darning needle and fine, firmly twisted thread (No.90 cotton or No. A silk). When finished, the right | 29 FIG. 57. A, B, and C, steps in making Bermuda fagoting c. *S side of the work shows a series of squares. At the back of each square a cross has been formed by the slanting stitches. Tie one end of the thread into the eye of the needle. Work toward you, taking stitches ; inch long to bind Decorative Stitches 65 together points 1 and 2, drawing the stitches tight enough to make holes (Fig. 57, A). Insert the needle at 1 and bring out at 3 (Fig. 57, B); bind 3 and 4 with two stitches drawn tightly. Insert the needle at 4 and bring out at 2; bind 2 and 3 together. Insert the needle at 3 and bring out at 5 (Fig. 57, C); bind 2 and 5 together. Continue in this manner to obtain the effect shown in Fig. 56. Variation of Bermuda Fagoting This stitch is simpler than the regular Bermuda fagoting. It may be used to finish hems or facings in transparent or FIG. 58. Variation of Bermuda fagoting, wrong side A, first step in stitch; B, second step in stitch semitransparent fabrics. Use a yarn needle, size 14 to 18, and embroidery silk or twist. Work from left to right on the wrong side; bring the needle out through the edge of the basted hem or facing. Take two stitches ; inch long (just outside the hem), one on top of the other, and draw the thread very tightly (Fig. 58, A). Insert the needle be- tween the hem and the garment and bring it out through the hem edge (Fig. 58, B). Continue in this manner. Diagonal Fagoting Diagonal fagoting is done with a rather heavy, firmly twisted silk or cotton thread. Before the fagoting can be done, the fabric must be prepared in the following manner: 66 Clothing Construction When trimming bands are to be fagoted together, the fabric is generally folded so that the raw edges are turned in to form a seam along one edge. When a seam is to be 5 /* FIG. 59. Diagonal fagoting A and B showing two steps in the stitch joined with fagoting, the raw edges on each side of the Seam must first be finished (a French hem may be a good finish to use if the fabric is light weight and washable), and then they are held in place by the fagoting. Baste the fabric to stiff paper (right side on top), with a space left between the FIG. 60. Variation of diagonal fagoting two edges equal to the desired width of the fagoting. Work from left to right. Bring the needle out on the lower edge; then, holding it per- pendicularly, with the thread thrown to the right and under the - needle, take a small stitch in the upper edge to the right of where the thread came out (Fig. 59, A). Take the next stitch in the lower edge, placing the needle perpendicularly, but pointing up instead of down (Fig. 59, B). Continue in this way, taking stitches alternately in the upper and the lower 68 Clothing Construction of the cloth. Insert the needle at 4 and bring it out at 5. Continue taking stitches alternately to the right and to the left of the center. Double or treble featherstitching (brier stitch) is made by taking two or three parallel stitches on one side before crossing to the other side. Special care needs to be taken to keep the stitches of uniform size and slant. NOTE. For beginners it may be helpful to mark alter- nating dots in two parallel lines or to use checked fabric. Also, it is easier to get featherstitching straight if a colored basting marks the line of stitching. Fishbone Stitches Fishbone stitches (catstitch, herringbone stitch, and Oriental stitch) give somewhat the same effect as feather- stitches, and are easier to make. Catstitch (Catch Stitch) A stitch used for trimming and to hold the edge of a hem, or the raw edges of a seam in flannel fabrics. Work from left to right (away from you), on imaginary parallel lines. Take a small stitch on one line, then take a Stitch on the other line (at the right dis- 2s_* T tance for the desired slant) with the thread thrown to the right of the needle, and the needle held horizon- tally, pointing toward the left. Pick up a few yarns of the fabric and do not draw the thread too tightly. On the first line and to the right at a similar distance, make another stitch. Make the stitches of uniform length and equally spaced. FIG. 63. Catstitch Decorative Stitches 69 Herringbone Stitch This stitch makes a wide decorative line and is most effective when stitches are taken very close together and when they cross near the lower end instead of the center. Šá Sež Šº → sº __” A Af FIG. 64. Herringbone stitch A and B showing the two steps in the stitch Fasten the thread at the left of the design and take a short stitch in the middle of the design and somewhat lower down (Fig. 64, A). Insert the needle on the right Šá S&2 Šá SO2 . Sy? S$2 Tes A A FIG. 65. Oriental stitch A and B showing the two steps in the stitch side of the design, opposite where it came out for the first stitch, and bring it out on the left side just below the first stitch (Fig. 64, B). Continue taking stitches in this man116ſ. 70 Clothing Construction Oriental Stitch This stitch is used as a wide line decoration, for holding Selvages together, or for covering a seam. It is most effective when stitches are taken very close together. Fasten the thread at the left side of the design and insert the needle just opposite on the right side, bringing it out in the middle of the design and slightly lower down, and over the loop of the thread (Fig. 65, A). Insert the needle just below where it was brought out, in the center of the line, so as to hold down the loop of thread, and bring it out at the left side of the line just below where the first stitch began (Fig. 65, B). NOTE. When two selvage edges are joined, lap about # inch and bring the needle out and insert again through both thicknesses of the fabric. French Knots French knots are used for a variety of purposes, such as for holding fine rickrack in place, for line decoration, and as the centers of flowers. They may be made in either of two ways, depending largely upon the size of the yarn or floss used. Method A is easier and quicker than Method B. Method. A Fasten the thread by taking two small backstitches where the first knot is to be made. Twist the thread once over the needle (Fig. 66, A). Insert the needle again in the cloth very close to where it came out, and bring it out again at the point where the next knot is to be made (Fig. 66, B). Draw the loop of thread down with the left thumb until it wraps tightly around the needle just where it enters the cloth; then pull the needle through the loop. Decorative Stitches 71 Method B - This is done like Method A, except that the thread is Wrapped around the needle two or more times; the needle FIG. 66. French knot (Method A) A, thread twisted around the needle; B, needle inserted in cloth ready to complete the stitch is then inserted close to where it emerged, and a small stitch is taken to hold the knot in place before the next knot is begun. Hemstitching Plain Hemstitching Plain hemstitching is used for decoration on dresses and blouses and to hold hems in place on handkerchiefs and household linens. Its use is limited to the direction of the yarns in the cloth. It may be applied to any fabric from which the yarns can easily be drawn. It may be done with Cotton, linen, or silk thread, depending on the fabric to be hemstitched. Draw the first yarn for the hemstitching at the line where the inner side of the hem is to be. Usually from three to five yarns are drawn, depending on the fabric used and the width of hemstitching desired. Draw all the other yarns inside the yarn which marked the inner side of the hem. When the yarns have been drawn, turn a hem and baste it in place, being careful that the edge of the hem Comes just to the place where the first yarn was drawn. 72 Clothing Construction Hold the cloth with the hem toward you and the bulk of the cloth away from you. Proceed from left to right, working on the wrong side of the fabric. Fasten the thread with a tiny knot placed well under the hem, or with two stitches through the fold of the hem, leaving the end of the thread tucked into it. Insert the needle, right to left, under three to five yarns and allow the loop of thread to fall below the needle (Fig. 67, A). Draw the needle through and then A A FIG. 67. Plain hemstitching A, separating the groups of threads; B, completing the stitch take a small stitch through the upper edge of the hem, with the needle at right angles to the hem and the thread thrown to the left of the needle (Fig. 67, B). Draw up the thread. Insert the needle under the next group of yarns and con- tinue as before. There are other methods of hemstitching, but the one described requires fewer motions and is equally attractive. Diagonal Hemstitching Diagonal hemstitching is made by repeating the hem- stitching on the opposite side of the open space, using half the yarns of each of two groups and hemstitching these together to form a new series of groups. The new grouping makes diagonal bars alternating to the right and to the left across the open space of drawn yarns. Decorative Stitches 73 Double Hemstitching Double hemstitching is made by repeating the hem- Stitching on the opposite side of the open space, inclos- ing the same groups of yarns. This makes parallel bars across the open space of drawn yarns. Italian Hemstitching Italian hemstitching is used as decoration on table run- ners, on luncheon sets, and on garments. It is best to use round-thread linen, with the same number of yarns per inch FIG. 68. Italian hemstitching A, separating the first group of threads; B, C, D, completing the stitch in both warp and filling. A blunt needle and linen thread (No. 50) may be used for art linen; but when a finer fabric is used, the thread must be selected accordingly. This hemstitching, when finished, should show diagonal threads Connecting the two rows of hemstitching. Pull out two 74 Clothing Construction groups of yarns, leaving four yarns between the groups. If the article is to have Italian hemstitching near the edge, turn the hem back to the line where the first group of yarns has been drawn, and hem or hemstitch in place. To make the Italian hemstitching, work from right to left, hold the fabric right side up, with the smaller amount of fabric falling over the hand and the bulk toward you. Do |- not be confused by the fact that the fabric is held in the opposite way from that of the posi- tion used in plain hem- stitching. Fasten the thread by taking a few running stitches in the fabric between the two spaces where the yarns have been drawn. In- sert the needle, right to left, under the first four warp (or filling) yarns in the lower space where the filling (or warp) yarns have been drawn (Fig. 68, A). Bind these four yarns together by taking a stitch back over them, bringing the needle out in the upper space at the left of the same four yarns (Fig. 68, B). Then bind them together in the upper space by taking a stitch back over them, and bring the needle out again at the left of the same four yarns in the upper space (Fig. 68, C). Repeat the process, insert- ing the needle from right to left under the next four yarns of the lower space, and proceed as before (Fig. 68, D). The thread in Italian hemstitching may match the fabric, but the use of bright-colored thread, such as that used in peasant embroidery, gives an interesting variation. FIG. 69. Satin stitch Decorative Stitches 75 Satin Stitch This stitch is used to give the effect of solid embroidery Fasten the fabric in an embroidery hoop and begin with a few running stitches. It is often desirable to pad the design with chain stitching before making the satin stitch. Work from right to left, keeping the stitches approximately parallel and very close together (Fig. 69). Fasten the thread on the wrong side. Seed Stitch This stitch is commonly used as a background stitch. It is made by taking two backstitches side by side, and then bringing the needle out to the left # inch or more away from the first, and taking two more back- stitches (Fig. 70). If the thread is quite heavy, a single backstitch is sufficient S’ to give the desired effect. & CŞ Shell Edge A shell edge is used as a decorative Fig. 70. Seed stitch finish for the edges of narrow hems, tucks, and bindings on lingerie, children's clothing, linings, collars, and cuffs. It is best adapted to light-weight fabrics, such as nainsook, lawn, organdie, and crêpe de Chine, and is more attractive when made on a bias or curved rather than on a straight edge. Silk or cotton thread or fine em- broidery floss may be used in making this stitch. When it is used as a hem finish, baste a narrow hem (from to # inch). With the wrong side held toward you, take three or four running or hemming stitches to hold the hem in place, then two stitches over the edge of the hem, drawing the edge down to form a scallop. Repeat until the edge is finished (Fig. 71). 76 Clothing Construction When it is used for a tuck, baste the tuck and proceed as before, using small running Stitches to make the tuck. When it is used on a binding, apply the binding by stitching it first to the right side of the fabric; then turn under the raw edge of the binding and bastetothestitching line. Proceed as in making a shell edge on a hem. Smocking Smocking is a decorative method of holding fullness in place to form FIG. 71. Shell edge yokes, cuffs, and belts. Cable stitch- ing is frequently combined with it. Much of the beauty of smocking depends upon the care with which the fabric is prepared. If the edge of each fold is made to lie straight for its full length before smocking is begun, it is easy to get the stitches even. Variety can be obtained by alternating rows of color *- |{{}}| § | in working the design. º Plain Smocking (Honeycomb) . - º In plain smocking, the stitches which f li hold the fullness are so taken as to form || h diamond-shaped designs on the right side == - - - FIG. 72. Plain of the fabric. In this type of smocking Smocking the embroidery thread shows very little on the right side of the fabric, as may be seen in Fig. 72. Marking. Unless the fabric is checked or has a small allover design, it is necessary to mark rows of dots as a guide for the smocking. This is done either by using a transfer pattern or by measuring with a ruler and marking dots with chalk or pencil. If no transfer pattern is used, mark off the space to be smocked into squares or rectangles, Decorative Stitches 77 making all the same size. The right and left sides of the garment may be marked at the same time by using carbon paper. Place the right and left sides of the garment, with the wrong sides together, on top of the paper which has been laid on a table, carbon side up. Mark dots with a pencil. The space between the dots will be governed by the weight of the fabric, the amount of fullness to be cared for, and . . - - - - - - the effect desired. The space be- - - - - - - tween the dots on a horizontal line Fic.; 3. Marking for smock- will usually be from # to # inch. ing which holds little full- The spaces between dots on a ness in place vertical line may be the same as or somewhat more than this. Ordinarily one should allow twice the width desired in the finished garment. NOTE. When the smocking is to serve primarily as a decorative border, rather than as a means of caring for full- ness, the dots are grouped in pairs with the spaces between the pairs greater than the space between the dots within the pairs (Fig. 73). The smocking may then be done by any one of the methods suggested or by a combination of these methods (see Fig. 44). Gathering (Fig. 74). This step is not necessary if plain smocking is to be done on a fabric that may be marked on the right side or that has a pattern which will serve as marking; neither is it necessary if the fabric holds creases well. Otherwise the fabric should be gathered to place the folds. Gathering may be done by machine (with a length- ened stitch) if a fine Smocking is desired or when little full- ness is to be held in place. If gathering is done by hand, use a strong thread. Working from the wrong side, place rows of gathering along the dotted lines, taking a small 78 Clothing Construction running stitch at each dot. Pull up the gathering threads until the fabric is the desired size, and fasten Securely. From the right side pull the gathers into place So that the fullness lies in even, straight, plaitlike folds. Smocking (Fig. 75). Bring - nº sº. _ the needle out at 1; then take ſ a short stitch at 2 and another - - - - - - at 1, and draw these two folds _/ together. Insert the needle at - - c. c-> -- 2 and bring it out at 3. Take a short stitch at 4and anotherat FIG. 74. Gathering for 3, and draw these two foldsto- smocking gether. Insert the needle at 4 and bring it out at 5. Con- tinue binding together alternately two folds on the top row and two on the row below. The thread between the units should be drawn just tightly enough to lie flat on the cloth. NOTE. In thin fabrics where a short stitch is likely to pull out, take one stitch from 2 to 1 (Fig. 75) on the wrong side, instead of taking a small stitch at 2 and one at 1 and then drawing them together. Work the third and fourth rows like the first and Second ones. Continue in this way, except when there is an uneven number of rows in the design. In this case the last row is made sepa- . e rately, the thread being 1 a carried across between ; : : « . . . units instead of diago Fig. 75. Method of making smocking nally. When smocking is stitches completed, remove the gathering threads. Press lightly from the wrong side with a soft pad between the garment and the ironing board. Decorative Stitches 79 Variations of Plain Smocking Plain smocking may be varied by outlining the design with long stitches or with overcasting stitches (Figs. 44, 76, 77). Numbers in the following paragraph refer to Fig. 75. Outlining with the thread floating between units. Take stitches at 2 and 1, as in plain smocking; take another Stitch at 2, bringing the thread out to the right side of the FIG. 76. Smocking with thread floating between units A, thread brought out between the two folds in the upper row; B, needle in position to bind the two folds together; C, thread brought out between the two folds in the lower row fabric between the two folds (Fig. 76, A). Take a short Stitch at 3, then a stitch at 4, and another at 3 (Fig. 76, B), and draw the two folds together. Take another stitch at 4, bringing the thread out to the right side between the two folds (Fig. 76, C). Take a short stitch at 5, then a stitch at 6, and another at 5. Continue across the design in this manner, alternating between the first and Second rows. Bring the needle out at 1", take a stitch at 2', and another at 1'; take another stitch at 2', bringing the needle out between the two folds. Take a stitch at 3 and another at 4, bringing the needle out between the two folds. (The thread from 3 to 4 lies on top of or just below that of the 80 Clothing Construction stitches taken previously in the second row.) If the thread used in the second and third rows is of a different color from that in the first and second rows, it may be desirable to take the stitch at 3, then a stitch at 4 and 3, and another at 4, in order that there may be equal amounts of the two colors. Take a short stitch at 5', then a stitch at 6', and another at 5', and draw the two folds together. Take another stitch at 6' and continue across in this manner. FIG. 77. Variations of plain smocking Outlining with overcasting stitches. Outline each fold with a series of overcasting stitches (Fig. 44). This is done as in Fig. 76, except that the thread is carried from one unit to the next by overcasting instead of being allowed to float on the surface of the cloth. Imitation smocking. In imitation smocking the gathering is often done by machine (with a lengthened stitch) instead of by hand. Use line stitches, such as outline, chain, or catstitch, to hold the fullness in place and to give the effect of smocking. The design may be carried out by means of line Stitches, either alone or in combination with smocking. This method holds fullness more securely than does smock- ing and may therefore be better for the top of yokes and the bottom of cuffs. Draping 81 12. Draping Draping is the modeling or arranging of fabric on a dress form or human figure. No patterns are used, but the knowl- edge acquired from working with patterns is utilized. One should consider the placing and direction of construction lines, the direction of the grain of the fabric, the shape and size of the various pieces of the garment, and the effect of texture on the lines produced. The amateur will find it advisable to drape the garment in paper or preferably in an inexpensive fabric with a texture somewhat similar to that of the fabric to be used in the garment. This is then used as a pattern for cutting the actual garment. Preparation of Dress Form for Draping To simplify fitting, the dress form should be exactly the same shape as the individual; however, any well-shaped form may be used to try out the effects of different lines, textures, or grain of the fabric. The padded dress form is one of the most satisfactory types because it is firm, can be pinned to easily, and can be padded to the desired shape and size. Making the Tight-Fitting Lining The tight-fitting lining for the dress form should be made long enough to extend below the fullest part of the hips. It is usually cut of firm unbleached muslin, with three pieces in front and four in the back, because of the opening in the center back. If fashion does not decree a fitted waist or hip line, the lining may be cut in three pieces, and darts may be used to fit out some of the fullness. 82 Clothing Construction Fitting the Lining Few persons have figures that are absolutely alike on the right and left sides; and while the differences are usually not great enough to complicate the fitting of most garments, they do show in one that is tightly fitted. Therefore it is advisable to fit the lining right side out, even if this makes alterations somewhat more difficult. Another advantage of fitting the lining right side out is that this makes it easier to check the direction of the seam lines. Fit the side seams, then the center-back seam, and then the underarm seams, if necessary. The center-front line and the center-back and underarm seams should be perpendicular to the floor. Mark the bust line where the measurement is taken and mark the waist and hip lines parallel to the floor. Locate a good armseye and neck line (at the base of the neck), allowing for a #-inch Seam. Place the collar, fitting it closely at the base of the neck. Stitch the seams, trim to 1 inch, clip as necessary, and press open. Turn under on the Seam line and edge-stitch the collar, armseye, and center back on the right half and along the lower edge, attaching to the lower edge at the same time the muslin straps which are to be fastened under the form to hold the lining in place. Padding the Dress Form Check the size of the form at the bust, waist, and hip with body measurements taken at the same places, to make sure that the form is no larger than the person. Then place the lining on the form with the center front in place. If the underarm seams are out of line, this means that the form is too large and a smaller-sized form is necessary. Cotton batting, tissue paper, or newspaper may be used for padding. Use tissue paper where small amounts of padding are needed and to cover other padding material; Draping 83 use cotton or newspaper where larger amounts are needed. However, if newspaper is used, care must be taken to fold single sheets lengthwise until they are about 3 inches wide. To see where padding is needed, examine the lining which has been pinned on the unpadded form. Remove the lining. Pad shoulder blades, back, and shoulders to conform with the figure by placing the padding, a little at a time, across the back and over the shoulders. Check padding frequently for amount and location by placing the lining over the partially padded form. If the form is too narrow across the shoulders, let the flat layers of padding extend beyond the form the desired amount and pad underneath this ex- tended shoulder to make it firm. Next pad the front and then the hips. Pin or baste the lining together in the center back and tack the straps to the under side of the form. The padded form should be smooth and firm. The waist and hip lines should be parallel to the floor, and the center lines and underarm seams should be perpendicular to the floor. The standard of the form should be adjusted so that the shoulders of the form are at the same height as those of the person. Preparation of Sleeve Forms for Draping Long Fitted and Padded Sleeve This form should be the same size and shape as the slightly bent arm of the individual. Use a close-fitting, two-piece sleeve pattern; cut the sleeve from a firm quality of unbleached muslin. Fit the sleeve wrong side out to the right arm, unless the individual is left-handed. Care should be taken to fit snugly and to keep the filling yarns parallel to the floor and the warp yarns perpendicular to the floor above the elbow (Fig. 100, B) in order to obtain good 84 Clothing Construction armseye and wrist lines and to retain the bend of the elbow. Stitch the seams, trim to 1 inch, clip as necessary, and press open. Mark with basting the lengthwise yarn at the center and a crosswise yarn at the base of the cap. Fit and stitch an oval piece of muslin to the bottom of the sleeve to close it at the wrist. Pad the sleeve with cotton batting, tissue paper, or thoroughly dried sawdust, which is easy to handle and gives a firm and flexible padding. Turn under the arms- eye seam and edge-stitch by hand. Place an oval piece of muslin in the armseye opening and hem the sleeve to it. Short Upper-arm Sleeve Form of Paper This paper form is pinned to the padded dress form to facilitate the draping of a garment with a short kimono sleeve or a drop shoulder. Crush enough tissue paper to form padding the size of the upper arm and cover it by wrapping tissue paper around it; then shape and pin it firmly in place so that it continues the line of the shoulder. General Directions for Draping Select or sketch the design of the garment to be copied and pin it to the form, usually to the front of the collar. Use Small pins with good points for holding the fabric to the form, or needles if the fabric retains the imprint of a pin. In draping, the normal shoulder and underarm seams and the bust, waist, hip, and armseye lines will be approxi- mately where these lines fall on the dress form; but their location may be modified according to the prevailing fashion. Note the differences in effect gained by various placings of the warp and filling yarns on the form and decide on the direction of these yarns which is desired for individual parts or for the entire garment. Straighten both ends of the fabric before beginning to work with it. Place the fabric on Draping 85 the form with one end down and with the other extending over the shoulder of the form and onto a table or chair on the opposite side, being sure that, if there is a design with an up and down, you start with the down end. The warp yarns serve as a guide, the cut end usually gives the worker a good opportunity to check on line, and this placing is frequently the most economical. - Drape larger pieces first and work from both ends of the fabric toward the center if there is no up and down. When the design of the garment is bisymmetric and it is cut with the center front or back on a fold, drape the right and left sides simultaneously; when the design is not bisymmetric, it may be desirable to drape the parts of the garment that are not influenced by the one-sided effect, and then to open out the fabric and drape the right and left sides separately. The front of the garment is usually draped first, unless the design is such that it would seem desirable to drape the back first. Drape on the right side of the form unless the left side of the form is larger. Locate each seam by folding the fabric to the outside along the Seam line; insert pins at the seam line and at right angles to the Seam edge, having the heads out (Fig. 78, C), allowing a minimum of 1 inch for any seam allowance; then cut. To allow for ease of fit, pin sufficient fullness in lengthwise folds on the form (Fig. 78, C). Fullness across the bust may be held in place at the neck line and shoulder seams by darts, tucks, or gathers and at the underarm seam by darts or gathers; fullness may be located at one or more of the places indicated, depending on the figure, the fabric, and the garment (Fig. 78, B, C). The suggestions for draping which are given on the fol- lowing pages may be modified in accordance with current fashions. 86 Clothing Construction Specific Directions for Draping Draping a Kimono Dress Pin the short upper-arm sleeve form to the dress form. Decide upon the width of the widest part of the front, and FIG. 78. Draping A, back of kimono dress, showing underarm fullness cared for by dart; B, front of one-piece dress, showing placing of pins and distribution of fullness; C, side view of one-piece dress, showing location of shoulder and underarm seams; D, circular section of skirt partially draped fold the fabric lengthwise, half that distance from one edge. Mark the center fold with basting. Then pin it on the form the desired distance from the floor minus the hem allowance. Fasten a tapeline around the form at the belt line; adjust the fullness so that the center front and sides of the skirt Draping 87 will hang straight down from the hip line. Smooth the fabric across the chest and up toward the shoulder. Cut the neck line a seam's distance above the base of the neck, clipping as necessary to the seam line (Fig. 78, A, B, C), So that you can fit the fabric over the shoulder and bring the lengthwise fold into position at the center back. Smooth the fabric across the back of the shoulder and pin the center fold to the center back of the form. Locate the underarm Seam line of the front, then the underarm seam line of the back, allowing at least 2% inches for fullness from the center front to the center back; cut up from the bottom of the dress to within about an inch above the waistline. Fit the sleeve with the warp yarns forming a continuous line around the arm. Smoothness in the back may be gained by pinning a dart (Fig. 78, A) from the underarm curve and extending it toward the neck. (This dart is later unpinned, and the fullness thus provided is gathered along the underarm seam before the seam is basted.) Pin darts in the front at right angles to the underarm seam at the bust or belt line. Locate the sleeve seam and finish cutting. Remove a few pins at a time; pin front and back together on the seam line and remove from the form. Mark the seam lines, baste the garment together, and fit. The surplus length at the bottom on each side can be cared for when the garment is hung. To eliminate bulkiness and improve the fit of the garment use one or more of these suggestions: cut the neck line broad at the shoulders, thus permitting the garment to rest lower on the shoulder near the armseye instead of near the neck (Fig. 15); drape with a bias shoulder seam which is placed directly on top of the shoulder and arm, and cut the front and back, following the slope of the shoulder; or drape to make a bias center-back or center-front Seam. 88 Clothing Construction Draping a One-Piece Dress Place the fabric on the form without attaching the sleeve, adjust the fullness, and cut the neck line, following the directions for the kimono dress. Check the grain over the hip and bust, smooth the fabric over the shoulder, and place darts, tucks, or gathers as needed (Figs. 78, B, C). Locate the shoulder seam and cut. Allow the desired full- ness at the bust and hips, locate the underarm seam line, and cut (Fig. 78, B). Drape the back in a similar manner; smooth the fabric across the figure at the hip and shoulder, keeping the grain straight, and cut the neck line as described. Bring the seam line of the back at the shoulder and under- arm to the seam line of the front and pin (Fig. 78, C); then cut. Mark the armseye line with pins, cut a seam's distance beyond the pin line, and clip toward the seam line as neces- sary (Figs. 78, B, C). Remove the surplus length at the bot- tom on each side when the garment is hung. Draping Circular Skirts If the skirt is only slightly circular, the fabric is fitted smoothly over the form from the waist to the hips, and the lower part of the skirt hangs straight down with slight fullness at the bottom; but if considerable fullness is de- sired at the bottom of the skirt, it will be necessary to have the circular section terminate at approximately the hip line so that the skirt may be fitted smoothly from the waist to the hips. Bisymmetric flares may have the fullness distrib- uted evenly; or more fullness may be placed at the sides than toward the center, which tends to give width to the figure, or at the center than at the sides, which tends to give height to the figure. Before beginning to drape place paper on the floor around the form to protect the fabric from soil. A skirt front or back Draping 89 which is slightly circular may be cut lengthwise from a 40-inch fabric without piecing; but if more fullness is needed, it will be necessary to cut the skirt crosswise, to plan for inconspicuous placing of the piecing seams, or to cut the circular front or back in more than one section. When the upper edge of a circular section is parallel to the floor, mark this line on the form with pins and cut the part of the skirt above this line in one with the waist or as a yoke. When the center front or back of the skirt is not to be cut on the bias, pin the warp (or filling) yarn of the fabric at the center of the form, with the cut end the desired dis- tance from the floor. The amount of fullness at the bottom of any circular skirt depends upon the depth of the curve at the joining line and the shape of that line. The deeper the curve at the top of the circular section, the greater the amount of fullness there will be at the bottom. If the curve at the top is even, the fullness will be distributed evenly; if it is deeper at any place, more fullness will fall from that point. Allowing for a seam at the upper edge of the circular Section, cut from the center with an upward curve for about 2 inches; clip to the seam line and pin the cut edge in place; drop the fabric toward the hip line, throwing fullness into the skirt as desired (Fig. 78, D). Continue cutting, clipping, pinning, and dropping until the side seam is reached. Lo- cate the side seam. Unless the skirt is only slightly circular, it will be desirable to even it at the bottom before it is re- moved from the form. When the line made by the upper edge of a circular skirt or section slants upward from the center front, the curve at the upper edge will have to be cut deeper at the sides to provide the additional length needed. Otherwise the fullness at the bottom will be reduced. 90 Clothing Construction When the line made by the upper edge of a circular section slants downward from the center front, the curve at the upper edge will have to be shallower at the sides if the width of the skirt at the bottom is to remain the same. Draping Collars The neck line to which a collar is attached may be con- tinuous, or the neck-line opening may meet or lap. The amount that the collar rolls will be governed by the length and shape of the garment neck line and the shape of the collar neck line, the width of the collar, and whether it is cut on the straight or the bias. In draping convertible collars one should realize that the more convex the outside and neck-line edges of the collar, the higher it will roll and the wider it will be in the center back. To drape the collar, place the garment on the form, cut the neck-line opening the desired length, and recut the garment neck line if necessary. Take a piece of fabric a little longer and wider than is desired for the collar, crease crosswise through the center, and pin with the creased line at the center back of the garment, making the neck-line seam to the outside. Continue pinning the collar to the garment on the right and left sides of the garment, shaping the neck-line edge of the collar as desired. Then shape the outside edge by turning under and pinning (Figs. 79, A, B). Allow for seams and cut. The neck line of the collar may be concave, straight, or convex; the outside edge may be straight or convex (see Fig. 20). In draping bisymmetric nonconvertible collars, one should realize that the more nearly the neck line of the collar ap- proaches the neck line of the garment, the flatter the collar will lie; conversely, the straighter the neck line of the collar, the more the collar will roll. In determining the Draping 91 amount of roll desired, one should consider certain points in the physical appearance of the person, such as the length of the neck and the slope and width of the shoulders. ; Aack of * neck/ae FIG. 79. Draping collars and sleeves A, B, convertible collars; C, first step in draping a nonconvertible collar; D, back of a nonconvertible collar after being draped; E, front of a non- convertible collar in process of being draped; F, upper side of a tight-fitting sleeve; G, under side of a tight-fitting sleeve, with darts at elbow; H, under side of a tight-fitting sleeve, with lengthwise dart Starting at the cut end of the fabric, with the fabric folded lengthwise through the center, mark a point on the folded edge a distance from the cut end equal to the width of the collar, the roll at the neck line, and the seam al- lowance. Pin the fabric in place on the form, with the fold in the center back of the garment and with the point just located at the neck line and the cut end of the fabric ex- 92 Clothing Construction tending up (Fig. 79, C). From this point cut and pin for about an inch, as shown in Fig. 79, C; continue cutting and pinning for about two more inches. Turn the collar down into place and pin at the center back; then cut the outside edge of the collar from the center back to a point about 1 inch beyond the shoulder seam (Fig. 79, D). For a round neck line continue cutting and pinning the entire distance in the same way. For a W-shaped or a square neck line, fold under at the Seam line, allowing the extra fabric to turn back under the collar Section. Pin the end of the collar to the garment and then raise the collar and cut a Seam's distance from the neck line. Mark the desired out- side edge line with pins and cut (Fig. 79, E). Draping Sleeves Sleeves may be draped with the straight or true bias of the fabric following the lengthwise yarn marked on the fitted sleeve form. The shape of the sleeve is governed to a large extent by fashion. - To drape a one-piece sleeve without visible fullness at the armseye, mark with pins on the sleeve form the location desired for the sleeve seam. Pin the straight (or bias) of the fabric to the lengthwise line marked on the form as far down as the elbow. Lay the fabric in small folds on each side of this line to allow for ease of fit (Fig. 79, F). Then bring it around the form and locate the underarm seam. Drape one sleeve and use it as a pattern in cutting the second. If the sleeve is to be fitted snugly in the lower half, smooth- ness may be obtained by gathers or by small darts in the under side of the sleeve located at the elbow at right angles to the seam, or by a dart from the wrist to the elbow in line with the little finger. To drape the sleeve with darts Draping 93 or gathers at the elbow, locate the seam line of the upper side of the sleeve from the elbow to the wrist, being careful to keep the warp and filling yarns in position; then bring the fabric around the sleeve form at the wrist and locate near the elbow the surplus fullness (Fig. 79, G), which may be held in place with gathers or with two or three darts, depending upon the fabric and the effect desired. To drape the sleeve with the lengthwise dart, pin the Seam in the lower half of the sleeve, keeping the underarm line Smooth. Lay a dart along the outside of the sleeve form from 1 inch below the elbow to the wrist (Fig. 79, H). Allow for seams and cut at the underarm, wrist, and armseye. Use the armseye of the form as a guide in cutting the sleeve armseye. If the sleeve is to be fitted loosely below the armseye, there may be varying amounts of fullness, and the lower edge of the sleeve may be left loose, or the fullness may be held in place by some type of band or cuff. When a small amount of fullness is desired, drape like the sleeve with the length- wise dart, except that the lower edge is located by placing an elastic band at the wrist to hold the fullness in place. If more fullness is desired below the elbow, relocate the underarm seam from that point, throwing more fullness into both the upper and the under side of the sleeve; place an elastic band at the wrist and check the amount and location of fullness. If more fullness is desired below the cap, begin at the armseye and relocate the entire underarm seam, adding fullness from that point. In general this sleeve will not ap- pear to fit as well as either of the foregoing, unless the fabric is very soft or the sleeve is shorter than wrist length. If a still fuller sleeve is desired, pin the fabric to the length- wise line marked on the sleeve form, and, allowing for a 94 Clothing Construction very shallow cap, bring the fabric around the form so that it lies smooth at the armseye line and extra fullness falls in folds below the armseye line. Locate seams and cut. This sleeve will be similar in shape to that shown in Fig. 150, B. To drape a one-piece sleeve with visible fullness at the armseye, mark with pins on the sleeve form the location desired for the sleeve seam. Pin the straight (or bias) of the fabric to the lengthwise line marked on the form. Lay folds on each side of this line across the top of the arm. The depth of the folds at the armseye and at the base of the cap will be governed by the amount of fullness desired at the armseye line and in the upper half of the sleeve. The full- ness in the lower part of the sleeve may be entirely fitted out or may be left in, depending upon the design. Locate seams and cut. To drape a raglan sleeve, drape as for a one-piece sleeve without visible fullness at the armseye, allowing for the additional length needed at the top of the sleeve to bring it to the neck line. Drape the lower part of the sleeve on the sleeve form and mark the highest point; then remove the sleeve and place it on the dress form, with the highest point of the sleeve coinciding with the corresponding point on the form. Shape the upper part of the sleeve over the shoulder, using darts if necessary. Allow for seams and cut. NOTE. If armseye fullness is to be held in place over the shoulder with tucks, smocking, or shirring, then follow the directions for the sleeve with visible fullness at the armseye. To drape a two-piece sleeve, pin the lengthwise yarn of the fabric to the lengthwise line marked on the form. Lay the fabric in small folds on either side of this line to allow for ease of fit. In general the direction of the yarns is the same Facings 95 on the sleeve as on the form, and seams are located at ap- proximately the same places. Draping Coats Coats may be draped by following the suggestions given for draping dresses, except that darts in Semitailored coats are generally placed at the shoulder rather than at the underarm seam. Sufficient fullness must be allowed to make the coat fit comfortably over a dress and for the lining and interlining to be inserted. 13. Facings Facings are edge finishes which often serve as decoration. A facing may show on the right or on the wrong side, but it shows only on one side of the article. If the facing is on the right side, it may be desirable to reverse the seams on the garment for almost the depth of the facing to give a neat appearance (see “Seams,” pp. 252–253). A facing is frequently used on a remodeled garment when there is not sufficient fabric to turn a wide hem, or when the edge is quite curved and the effect of a wide hem is desired. There are three types of facings: bias, straight, and fitted. Any of these may be a uniform width throughout, or the width may vary; in the latter case it may be necessary to clip the inner edge of the facing the depth of the seam in order to turn under the raw edge (Fig. 80). The type of facing to be used is determined by the shape and location of the edge to be faced and the effect desired. To insure a flat finish it is necessary to cut the facing so that the warp yarns coincide with the warp yarns in the garment 96 Clothing Construction C S \ ^_^- A /) |→ l— Æ A /* FIG. 80. Facings that vary in width A, for a V neck line; B, for a square neck line; C, for the bottom of a sleeve; D, E, F, for straight edges (except in the case of a bias facing on a curved or straight edge), and it is particularly important to do this in wash garments or in any fabric in which either the warp or the filling yarns are coarser or more tightly twisted than the other. Bias Facing Bias facings are widely used, especially on curved edges, as bias may be eased or stretched. The greater the curve on the edge, the narrower the bias needs to be to fit smoothly. Prepare a bias strip of the desired width and length (see “Cutting and Joining Bias Strips,” pp. 13–14). If the fac- Facings 97 ing is to be turned to the wrong side of the article, place the bias on the edge to be finished, with the right sides to- gether; if the facing is to be turned to the right side, place the right side of the facing to the wrong side of the article. When attaching a bias facing to a straight edge, hold the facing and the garment with equal tension; when applying it on an outward curve, hold the facing slightly taut (Fig. 10, B); when applying it on an inward curve, hold the facing slightly full (Fig. 10, C); when applying it around an outside corner, hold the facing without fullness at the seam line (Fig. 10, A–1); when applying it around an inside cor- ner, it is necessary to Fig. 81. Method of applying a facing make a dart wide enough to permit the facing to lie Smooth when finished (Fig. 10, A–2). This dart may be either folded in, or stitched and the excess fabric trimmed off (see “Mitering,” p. 177). Pin, baste, and stitch the facing on the seam line. Trim the seam and clip it if it is curved ; then turn the facing to the other side, turning on the seam line or a little to the wrong side of the garment, and press or baste it in place. Because of easing or stretching, the bias facing may need to be trimmed to make it a uniform width. Turn under the raw edges and stitch by machine or by hand (Fig. 81). Decorative stitches may also be used to hold this edge in place. In case the facing is on the wrong side and is too heavy to be turned under, the raw edges may be finished in a variety of ways (see “Hems,” pp. 151–152). Sometimes 98 Clothing Construction when the facing is turned to the wrong side around the neck line or armseye of a nonwashable garment, it is simply tacked in place at intervals. Fitted Facing A fitted facing may be used on edges which have pro- nounced curves or sharp corners, such as those at the bottom of circular skirts and at neck lines, especially if a wide facing is needed. Using the edge to be faced as a pattern, cut the facing exactly the same shape and of the desired width. Cut so that the warp yarns in the facing coincide with those in the garment, except in the case of a fitted facing cut on the bias. Seams in fitted facings should be located so that they coincide with those on the garment (Fig. 82, C). The facing seams should be stitched and pressed open before the facing is stitched to the garment. Apply in the same way as a bias facing on a straight edge; then trim and clip. Fitted Facing for a Coat Front Such a facing is usually cut so that it extends beyond the neck line about 2 inches along the finished shoulder seam, but the width at the bottom is only 4 to 6inches (Fig. 82, A). Place the right side of the facing to the right side of the garment (to which the interfacing has been basted—see “Interfacing,” p. 247). After stitching, press the seam open, and trim the seam of the front a little narrower than that of the facing (Fig. 82, B). Press the seam toward the inter- facing and catstitch to it. Turn the facing to the wrong side of the garment. Instead of having the seam line come ex- actly on the edge, baste and press so that the facing extends slightly beyond the coat front as far down as the neck line opens, and the coat extends slightly beyond the facing the rest of the way down. §S) * * W J/P sºfch A C FIG. 82. Methods of attaching facings A, fitted facing on a coat front; B, attaching a fitted facing to a coat front and interfacing; C, fitted facing as a neck-line finish—wrong side of garment 100 Clothing Construction Straight Facing A straight facing may be used on any straight edge, such as center-back and center-front closings, belts, and tops of pockets. It may be cut either lengthwise or crosswise of the cloth, but the garment can be laundered more successfully if the facing matches the grain of the edge to be faced. To make it, prepare a straight strip of cloth of the desired width and length and apply it in the same way as a bias facing. 14. Fasteners There are many kinds of fasteners used on garments; but the most common are buckles, buttons and button- holes or loops, hooks and eyes, Snaps, and zippers. If two edges meet, choose one of the following types of fasteners: buckles (which meet as in Fig. 83, C), buttons and loops, hooks and round or thread eyes, zippers; if two edges lap, choose any fastener except buckles which meet or hooks and round eyes. In the following pages each type is described. If the garment is not double at the point where a fastener is to be made or attached, a reënforcement of tape or fabric should be placed at that point on the wrong side. When planning the location of fasteners one should remember that it is customary for women's garments to lap right over left and for men's garments to lap left over right. In Selecting the fasteners for children's garments one should consider the age of the child and choose those fasteners that are easily handled and will facilitate self- care; for example, use large rather than small buttons; use only as many as are necessary; have them located at points where the child can reach them easily (for example, Fasteners 101 in a child's garment with a drop seat, avoid having a button in the center back); use zippers only on firm fabrics, such as play garments; on clothes for pre-school children avoid the use of Snaps, hooks, eyes, Small loops, or tapes that tie. Buckles Buckles are made in one or two parts. The buckle bar may be the same width as or narrower than the belt, but it should never be wider. In selecting a buckle be sure that //em FIG. 83. Methods of attaching buckles to belts A, one-piece buckle with prong; B, one-piece buckle attached to belt of heavy fabric; C, two-piece buckle attached to belt that is wider than buckle bar it is not too heavy for the fabric used in the belt, since a heavy buckle may pull the belt down. The method of at- taching depends upon the width of the belt, the texture of the fabric, and the type of belt. If the belt is wider than the buckle bar, lay a tuck in the end of the belt (Fig. 83, C), fold the end over the buckle bar, and fasten securely. In light-weight fabrics fold the end of the belt over the buckle bar, turn under the raw edge, hem to the under side of the belt (Fig. 83, C), and overhand across the ends of the hem (Fig. 83, A). In heavy-weight fabrics attach in the same way, except that the raw edge at the end of the hem is not turned under but is held in place by blanket stitching or catstitch- ing (Fig. 83, A); or, if the buckle opening is small and the fabric bulky, attach the finished belt end to the buckle bar 102 Clothing Construction by means of groups of overhand stitches that hold the belt flat against the under side of the bar (Fig. 83, B). If the buckle is in two parts, attach both ends of the belt by means of one of the described methods. If the one-piece buckle has a prong, it is necessary, when attaching the end of the belt to the buckle bar, to punch a hole with a stiletto for the prong to go through. It may be desirable to over- hand around this eyelet, but often this is not necessary. To make the length of the belt adjustable, on the free end of the belt make several eyelets, 1 inch to 1% inches apart, and finish with overhand stitches. Buttons Buttons are of two types: those with shanks and those with two or more holes. Both types are available in a variety of materials. They may be used with buttonholes or loops as a means of fastening and of decoration also, or they may be used only as decoration. Marking the Location for Buttons If buttons are used as fasteners, they should be sewed on after the buttonholes are made, so that the exact location can be determined. Lap the edges of the garment as planned, and insert a pin through each buttonhole at the place where the center of the button is to rest, namely, at the outer end of the buttonhole placed perpendicular to the edge or in the center of the buttonhole placed parallel to the edge; the location of the button may be more permanently marked by chalk or by taking a small stitch in the material with the point of the pin. If buttons are used only as decoration, the location of each should be determined and marked by chalk or pins in the same way. Mark the position of all buttons before sewing on any of them. Fasteners 103 Sewing Buttons to the Garment The method used for sewing on a button depends upon the type of button used and upon whether the button is to serve as a fastener or only as decoration. Flat buttons. If a flat button with holes through it is to be used as a fastener, a shank must be made with the thread as it is sewed on, so that the buttonhole will lie flat beneath the button. Use double thread with a knot. Take a small stitch on the right side of the garment, so that the knot will be covered by the button. Bring the needle up through the hole in the button and down through the opposite,hole. When sewing a button on a light-weight fabric, place a pin under the thread on top of the button, and continue sewing until the button is securely attached (Fig. 84). In thick fabrics it will be necessary to insert - FIG.84. Use of Something larger (such as a match) to pro- apin in sewing vide a long enough shank to permit the onaflat button buttonhole to lie flat under the button. The threads which pass from hole to hole should run par- allel to the buttonhole if a two-hole button is used; if a four-hole button is used, the threads should form two parallel lines (Fig. 85, A), or, if a decorative effect only is desired, three lines may be made to radiate from one hole in the shape of a fan (Fig. 85, B). After the button is securely attached, remove the pin, draw the button as far from the garment as possible, and bring the needle up between the button and the garment; wind the thread around the threads that hold the button in place, so as to form a shank; pass the needle to the wrong side and fasten the thread securely. If a flat button is used as decoration only, the pin need not be inserted, because a Shank is not necessary. 104 Clothing Construction Buttons with a shank may be sewed on in the same way as flat buttons that are used for decoration, except that the needle is passed through the hole on the under side of the but- ton, and no thread shows on the top (::) side (Fig. 85, C). Even in the case of Q-9 shank buttons, if they are used for A A fasteners, it is necessary to insure that <> they are not sewed too close to the ===== garment, and a thread shank is often D needed here also. When many but- ..sº tons are to be attached (especially if —Es— they are to be removed when the gar- E ment is laundered), use the following Fic. 85. Methods of method: make tiny eyelets wherever attaching buttons buttons are to be placed; slip the A-B, flatbuttons; C,shank shanks of the buttons through the buttoni, P, button with holes and fasten with rings or small a metal shank; E, coat button with reënforcing safety pins (Fig. 85, D). button A small button is used as a reënforce- ment if there is considerable strain, as on a coat. The Stitches which attach the button go through both the large button and the reënforcing button (Fig. 85, E). Linking Buttons Together Two buttons linked together may be used when the edges to be joined do not overlap. A button is sewed at each end of a commercial cord or a cord made of the fabric (see “Loops,” p. 117), or the buttons are joined by means of a swing tack (see “Swing Tacks,” p. 300). Covering Buttons Buttons may be covered with fabric to match or to contrast with the garment. Almost any shop that does Fasteners 105 plaiting will cover buttons of a wide variety of shapes and sizes, but the simpler molds can be covered very easily at home; however, such buttons are more satisfactory for trimming than for fasteners. Cut a circle of fabric a little more than twice the diameter of the button mold. Overcast or run a very fine gathering around the outer edge, either before or after turning under the raw edge. Place the button in the exact center of the circle. Draw up the gathering thread, to which the needle is still attached, and fasten firmly with several stitches crossing one another on the back of the button. Bound Buttonholes Bound buttonholes may be used as a means of fastening and of decoration also, or as decoration only. Many varia- tions of the bound buttonhole are used. Slashes in garments, through which belts or ties are run, may be finished on the right side like bound buttonholes. The bound-buttonhole closings used in blouses and dresses are variations of the bound buttonhole, as are all types of slash or set-in pockets. Marking the Location for the Buttonhole Mark with a basting line the position and size of the buttonhole. Make the buttonhole as long as the diameter of the button plus its thickness plus any additional length desired for decoration. The total width (across the two bound edges) should usually be as narrow as possible, con- sidering the texture of the fabric — from # to # inch. If several buttonholes are to be made in a row, time will be saved and more accurate marking done if a row of basting is placed parallel to the edge of the garment and as far from the edge as the outside ends of the buttonholes should come; 108 Clothing Construction equal distance beyond the marking at each end. Open out the crease and pin and baste in place (Fig. 86, A-3). If several buttonholes are to be made in a row, the binding should be cut in a continuous strip as long as the space to be covered by the buttonholes plus approximately 2 inches. Stitching. Stitch from the right side around the marked line in the form of a rectangle (Fig. 86, A-3, B–3) exactly as long as the marked line and usually from # to its inch wide, depending upon the desired width for the finished buttonhole. Be sure to stitch a perfect rectangle; turn square corners — with the needle in the cloth — and take the same number of stitches across each end of the button hole. Begin stitching in the middle of one side and end by retracing the stitching to the end of the buttonhole. Cutting. Cut through the binding, garment, and re- enforcement (if used) along the line marking the center of the buttonhole, to within a distance from the ends equal to the width of the buttonhole (usually about ; inch). Then cut diagonally to each corner of the rectangle, being careful not to cut the stitching (Fig. 86, A-4, B–4). If a continuous strip has been used in making the row of button- holes, cut it halfway between each two buttonholes. Turning and finishing with a facing. Turn the binding through the opening thus formed, and on the seam line at each end of the buttonhole crease back the binding so that none of it shows on the right side. Baste in place and press at the ends. Then fold the binding on the sides over the seams so that the edges meet in the center and inverted plaits are formed on the wrong side at the ends (Figs. 86, A–5, B-5). From the right side take tiny running stitches in the groove to aid in keeping the bindings on both edges even, or baste along the seam line. Catch the edges of the binding together at the ends of the buttonhole with a few Fasteners 109 overhand stitches (Fig. 86, B–5). Baste the edges of the binding together at the center of the buttonhole with di- agonal basting, and press. If the fabric is heavy, the seams on the sides of the rectangle may be trimmed slightly; they may be opened instead of having both edges extend into the binding; or both thicknesses may be turned away from the opening and pressed and finished, thus forming a piping rather than a binding. Catstitch the edge of the binding to the reënforcement (Fig. 86, B–5). The wrong side of the buttonhole is finished with a facing. The facing should be cut on the buttonhole line in the same way that the buttonhole was cut, and the raw edges turned in and hemmed by hand to the buttonhole binding (Fig. 86, B–6); or, when a very heavy fabric is used and the wrong side will not show, instead of turning under the facing, trim it a seam's depth and hold in place with close blanket stitches taken over the raw edge and through the binding. Finishing a Slash for a Tie or Belt If the slash is located near an edge which is finished with a facing, it may not be necessary to use a reënforcement; in this case follow the foregoing directions, except that the re- enforcement is omitted. If there is no facing, follow the directions for making bound buttonholes except that you should substitute the following directions for those given in the preceding paragraph: From the wrong side backstitch the binding along the seam, trim the raw edge to the desired width, and finish the edge as the fabric demands (see “Seam Finishes,” p. 253); or trim the raw edge to the desired width, turn under, and hem by hand to the stitch- ing line. Overcast the ends to prevent them from fraying. 110 Clothing Construction Strip Buttonholes A satisfactory substitute for buttonholes is made by tacking a strip of ribbon or braid or a finished strip of fabric (made like a narrow belt) at even intervals to the edge of the closing. This method is especially adapted to side-front closings, but it may be used almost anywhere that a row of buttons is used in fastening a closing. If large buttons are to be used, make the tacks far enough apart to allow room for the buttons (Fig. 87). If one wishes to use buttons spaced some distance FIG. 87. Strip buttonholes with - - y buttons set close together apart (as in a little boy's blouse), the strip may be over- handed to the garment between the openings left for the buttons, or decorative stitches may be used to hold the strip in place (Fig. 88). Worked Buttonholes Buttons and worked buttonholes make one of the most satisfactory methods of fastening garments. There are two types of worked buttonholes: those with a fan FIG. 88. Strip but- at one end and a bar at the other, and those tonholes with but- with a bar at each end (Fig. 89, A, B). tons set far apart When there is strain on a buttonhole, as on trousers which button to a blouse, the fan-and-bar type should be used, with the fan placed at the outside end, since Fasteners 111 it provides room for the button to rest, and the bar holds the sides of the hole together to keep it from gaping (Fig. 92). It is never satisfactory to make worked buttonholes through a single I I l * . : thickness of fabric. If the design : : il of the garment does not provide . § : for a double thickness of fabric : : | where the buttonhole is to be — : I made, reënforce with an extra ' A & " piece of fabric on the under side FIG. 89. Worked buttonholes of the garment. A, fan and bar; B, double bar In such garments as men's shirts and women's blouses, when the front is finished as shown in Fig. 89, B, the double-barred buttonhole is used because of its more tailored appearance. Marking Location Buttonholes are made on the upper side of the closing, and at right angles to the edge of the closing if there is likely to be strain on it, and so placed that the outer end of the buttonhole is never less than } to $ inch from the edge T. " of the garment. In places where there is little or no strain, as in the front of men's shirts, they are made parallel to the edge of the closing and are placed in the center of the hem or box plait. The distance - - FIG. 9o. Marking between the buttons depends upon their location of but- size, the amount of strain, and the effect tonholeswith pins desired. ' To mark the location of the buttonholes, place a tapeline along the edge of the garment and insert pins at the points where the ends of the buttonholes should come. The length § 112 Clothing Construction of the buttonhole should be a trifle greater than the di- ameter of the button plus its thickness, so that the button may slip through easily. Where a series of buttonholes is to be made, mark the location of each by inserting a pin at one end and bringing it out at the other end of the place where the buttonhole will be made (Fig. 90). Making Worked Buttonholes Cutting. Do not cut the buttonhole until ready to work, lest it fray and stretch. It may be cut with buttonhole scissors or with ordinary scissors which are small and have sharp points. If ordinary Scissors are used, insert the point at one pinhole and cut to the other one. If button- hole Scissors are used, they should be set the correct size and tested on a scrap of the fabric. If the buttonhole runs parallel to the straight grain, cut along a yarn of the fabric. If the fabric frays and pulls easily, the buttonhole should be reënforced, before it is cut, by machine stitches or by running stitches. Shorten the machine stitch and stitch around the place where the buttonhole is to be cut, begin- ning at the center of One side and making a narrow rectangle. Retrace the stitching at the joining to prevent ripping. Buttonholing. Use thread that is coarser than that used in stitching the garment; that is, if No. 70 thread has been used for stitching, No. 50 should be used for buttonholing. Special buttonhole thread which is very tightly twisted may be used on cotton or linen garments; on wool and on silk, silk thread or twist should be used. Always use a single thread. , - f : \ } , , , , - Hold the garment with the outside end of the buttonhole toward the left and with the slit lying along the forefinger of the left hand. Begin at the inside end of the buttonhole, using a knot which is placed to the side of the slit and is cut Fasteners 113 off after the buttonhole is finished (Fig. 91). Working on the side of the buttonhole that is toward you, put the needle through the slit and bring it out toward you through the cloth. The depth of the stitch will depend on the fabric and the size of the buttonhole, but it should be taken deep enough So that it will not pull out. While the needle is still in the cloth, bring the double thread, from the needle eye, under the point of the needle from right to left, that is, in the direction in which you are working (Fig. 91). Draw the needle through FIG.91. Magnifiedbutton- the loop thus formed and pull the hole stitches thread tight, allowing the purl (knot formed by the loop) to come on the edge of the slit. Continue in this way, taking Stitches about the width of the thread apart, until the opposite end of the slit is reached. Making the fan. From five to seven buttonhole stitches are made at the end of the slit, Slanted like the spokes of a fan or wheel, with the stitches at the end slightly Gº longer than the others (Fig. (~) 92). The second side of the slit should be finished like the first side. Making the bar. Take two or three Stitches across the end of the slit, inserting the needle each time in the hole where the first stitch came out, and bringing it out of the hole where the last stitch came out. Turn the work with the bar away from you and cover the bar with a series of blanket stitches, occasionally catching into the fabric under FIG. 92. Location of button and buttonhole on ends of a band Fasteners 115 better-looking the finished opening will be. However, hooks and eyes on belting are an exception. Two kinds of metal eyes are used: a straight eye where the edges are to lap, and a round eye where the edges are just to meet. A thread eye, or loop, may be used instead of the metal eye if a very flat and inconspicuous closing is desired. Metal Hooks and Eyes Marking location. Place the hook on the wrong side of the upper edge of the closing and usually inch from the A #; a • * FIG. 93. Method of sewing on hooks and eyes A, round eye—wrong side of garment; B, hook—wrong side of garment; C, straight eye—-right side of garment edge. If a straight eye is used, it is placed directly under the Outer end of the hook on the right side of the under edge of the closing. If a round eye is used, it should extend beyond the edge ; inch, so that the edges of the closing will just meet, as on belting; it is usually attached to the wrong side of the under edge of the closing. Sewing on hooks and eyes. Begin sewing at the end of one ring of the hook, using buttonhole stitches or over- hand stitches. Continue around the ring, placing Stitches very close together. Carry the thread between the two thicknesses of the cloth to the end of the hook and fasten firmly with several overhand stitches; then go to the other ring, sew it on, and fasten the thread securely to the under side of the garment. The ends of the straight eye are Sewed on like the rings of the hook. The round eyes are Sewed in the same way, except that the sides of the eyes are fastened 116 Clothing Construction securely at the edge of the garment, so that the eyes will stay in place (Fig. 93). If hooks and eyes are being sewed to a stiff belting, use stab stitches, which resemble overhand stitches but are made in two operations instead of one. Thread Eyes and Loops When thread eyes are used instead of straight metal eyes, they should be made the same size as the metal eye and placed in the same position. When a thread loop is used with a button, it is placed on the edge of the garment, and should be large enough to admit the button easily and yet hold it firmly. When the loop is used to hold a belt in place, the width of the belt determines the length of the loop; it should be a little longer than the belt is wide, so that the belt will lie flat and smooth. To make thread eyes and loops use a coarse single thread. Make a loop of the desired length on the right side of the garment by taking three or more stitches, one on top of the other. Bring the needle through to the right side and cover the loop with blanket stitches placed very close together and with the first and last stitches caught into the fabric. Fasten the thread well on the wrong side. Small loops may be made more evenly if they are worked over the end of a pencil, or they may be made more quickly by crocheting a chain of the desired length, fastening it to the garment with a crochet stitch taken into the edge of the garment, and then covering the chain with single crochet stitches. Lingerie Guards Lingerie guards at the shoulder seams in dresses are a means of keeping the shoulder straps together and of pre- venting the straps from slipping off the shoulders. The Fasteners 117 material used for the guard will depend upon the garment; but tape, a strip of fabric with raw edges inclosed, a cro- cheted chain, or swing tack may be used. Fasten one end of the guard to the wrong side of the dress at the desired place on the seam line and sew the Socket part of the snap to the other end. The end of the strap nearest the armseye should be attached to the garment, and the end nearest the neck left open. Sew the ball part of the snap to the seam edges at a point op- posite the socket at the free end of the guard (Fig. 94). ~11–1–1–1–1. —ll Lll- J/rap —- Jº) vºted/77 Loops Loops of cloth may be used in place of buttonholes when decora- tive fasteners are desired. Loops may be pointed at the end (Fig. 97, C), but they are usually more decorative and much easier to button if they are rounded (Fig. 97, D, E). It is frequently desirable to use commercial cord or braid, especially on remodeled garments. FIG. 94. Lingerie guard attached to shoulder seam Making Loops may be cut lengthwise of the cloth if they are to be pointed at the end; otherwise they are cut on the bias. Round loops should be made as narrow as the fabric will permit. t Cut strips of fabric twice the width of the finished loop, plus two seam allowances. Narrow loops are more decora- tive than wide ones, especially on light-weight fabrics. Fold the strip lengthwise, right sides together, and crease lightly. Stitch by machine the desired distance from the folded edge, except when starting (Fig. 95, A). Trim close 118 Clothing Construction to stitching, the closeness depending upon the weight of the fabric and its tendency to fray. Turn the strip by turning A A WQTL C FIG. 95. Making cord for loops A, bias material stitched to inclose a cord, which is used to turn strip right side out; B, casing with cable cord attached at one end; C, casing partly turned over cable cord it inside out over a cord which is firmly attached at one end (Fig. 95, B). The cord may either be slipped in before the fold is stitched or run in later with the bod- kin or darning needle, blunt end first. Round loops are left unpressed or are pressed with a warm iron and no moisture. Cable cord or yarn may be inserted in the loop by sewing firmly to the end of the strip where the cord inside the cas- ing is attached, overlapping the ends of the two cords and stitching them together beforestitching the bias strip. Then, as the strip is turned right side out, it reverses, inclosing the cable cord (Fig. 95, C). Cut the strips into the desired length for loops and fold each one with the seam to the inside of the loop. If pointed loops are de- sired, press the strip with the seam on the inside edge of the fold. If loops are to be placed as shown in Fig. 97, C or D, stitch by E2 H (\ 77'ssve Aoper FIG. 96. Series of loops Stitched by machine to tissue paper machine to tissue paper (Fig. 96), not breaking the thread until the entire series is stitched. This helps to make them Fasteners 119 lie flat and hold their shape while being attached to the gar- ment. Tear off the tissue paper and clip the loops apart, unless they are to be attached close together. Attaching Loops are often used as a means of fastening for the front or back opening of a garment which meets instead of lapping. ; _T T- A A C Z2 FIG. 97. Methods of attaching loops A–D, types of loops; E, attached to a front opening finished with a facing If loops are to be attached to a soft, thin fabric, it is often desirable to baste it to tissue paper before placing the loops. When the opening is finished with a facing, place the loops flat on the right side of the garment closing, with the raw ends even with the opening, and with the body of the loop extending back on the garment. Baste the raw ends of the loops in place so that when the facing is applied and stitched to the garment, the loops also will be stitched in place (Fig. 97, E). Apply the facing, baste, stitch, and turn to 120 Clothing Construction the wrong side of the garment; crease and press the facing seam and let the loops extend beyond the edge of the opening. Loops may be attached to the garment in many different ways, as is shown in Fig. 97, A, B, C, D. When the opening is finished with a bias binding, baste the loops in place on the wrong side of the garment, with the cut ends of the loops on the edge of the opening (Fig. 98, A). FIG. 98. Steps in attaching loops to a front opening finished with a binding A, loops basted to wrong side of garment; B, binding strip stitched to right side of garment; C, binding finished; D, loops turned toward edge of open- ing and tacked in place Place the edge of the bias binding strip along the edge of the opening on the right side and baste. Stitch on the machine, making sure to catch the ends of each loop (Fig. 98, B). Remove the basting and turn the bias binding to the wrong side, turning under the raw edge of the binding about ; inch and bringing this folded edge just over the line of stitching. Baste and hem in place (Fig. 98, C). Turn the loops back under the bias binding so that they extend beyond the edge, and tack them in place (Fig. 98, D). When loops are attached to the body of the garment, they serve, when buttoned, as a means of holding fullness in place, as at the bottom of a sleeve which has no placket. The loop is placed at the location desired, with the raw ends of the loop toward the button. Fasten the loop to the gar- Fasteners 121 ment by stitching about ; inch from the raw edge of the loop, through the loop and the garment, with a row of back- stitches. The raw ends can be fastened to the garment with close blanket stitches, or inclosed by a small tuck made on the wrong side of the fabric, if it is light weight. After the raw ends are finished, the loop is turned back toward the button and pressed into position. If the loop is to be used to hold a belt or tie in place, turn the raw edges at the ends of the loop to the inside and slip-stitch each loop end to the garment. Snaps Snaps may be used in places where there is little strain, and where a flat and inconspicuous closing is desired. Very small snaps should be used for thin fabrics; ordinarily it is not well to use large snaps even on relatively heavy fabrics. Marking Location The position of the snaps is determined by the kind and location of the opening. In general they should be nearenough to the edge toprevent it from º turning back, near enough —- —--— together to prevent gaping, A Æ C easily accessible, and entirely FIG. 99. Sewing on snaps invisible. Place the ball part A, ball part of snap; B, socket part of of the snap (Fig. 99, A) on snap; C, method of sewing on a snap the wrong side of the upper edge of the closing, marking its position with a pin. In certain varieties there is a hole in the center of the snap through which a pin may be in- serted to hold it in place. After the ball parts of snaps are all sewed on, chalk the balls, and carefully lap the edges and press them together so that the chalk marks will be visible on the under side. If a stiff fabric, like organdie, is used, 122 Clothing Construction mark the location of the lower side of the snap by making the imprint of the ball on the under side of the closing. Place the center of the socket side of the snap at the point located. Sewing on Snaps Use a single thread with a knot. Fasten the thread with a small stitch taken through the place to be covered with the snap. Sew with several overhand stitches or button- hole stitches in each hole (Fig. 99, C). Pass the needle under the Snap to carry the thread from one hole to another. Fasten the thread by taking two or three small stitches on the wrong side, close to the edge of the snap, but not show- ing on the right side. When snaps must be sewed where there is only one thickness of material, reënforce by placing a piece of tape or material on the under side, and hold it in place with the Stitches which sew on the snap. Zippers Zippers may be purchased in various lengths and colors. They serve as an excellent type of fastener, especially on children's play clothes, since the child can learn to handle them at an early age if they are used on firm and rather heavy fabrics and are so located that he can get a firm hold at the end of the opening as well as on the zipper slide. Zippers from discarded articles may be removed, cleaned, and used on garments that are being constructed. Attaching - When the opening is in a seam, stitch the seam # inch beyond the end of the placket opening; when the opening is in a slash, cut the slash # inch shorter than the length of the zipper strip. If the fabric is not bulky, turn the raw 124 Clothing Construction 15. Fitting Preparation for Fitting Tucks, plaits, darts, and gathers should usually be cared for before the pieces of the garment are basted together. In a garment with a normal shoulder line (if there are no gathers in the front), the front shoulder is cut narrower than the back; hence, in joining the shoulder seam, the worker should hold the back toward her, easing it in and at the same time slightly stretching the front. Match the notches, pin the back and the front of the garment together, with the pins at rightangles to the edge, and baste along the Seam line. It is not always necessary to baste a garment together before it is fitted. Sometimes it may merely be pinned to- gether, with the pins placed on the seam line and parallel to the edge of the garment, instead of at right angles as is ordinarily done when pinning is to be followed by basting. Strangely enough this method may be employed in very different circumstances; for example, it is permissible to use it in a simple garment made of firm fabric and to omit the basting step entirely, or it may be used in a rather com- plicated garment which is likely to require considerable ad- justment. In the latter case the pinning is followed by basting. For the first fitting put the garment on wrong side out, unless the first stitching of the seam is to be on the right side, as in French seams, or unless there is considerable dif- ference between the right and left sides of the figure, or unless there is the problem of matching the design in the fabric. The final fitting is always done with the garment right side out. Fitting 125 Adjust the garment to the figure, being sure that the center front and the center back are in place. If the garment has a belt, distribute the fullness properly, pinning a tape- line or strip of fabric where the belt is to be worn. Look the garment over, and note the general appearance, the amount of fullness, the loca- tion and the direction of the seams, and the direction of the yarns of the fabric. Standards for Properly Fitted Garments It is impossible to set up any one standard for the proper fitting of a particular garment, because so many factors enter into the situa- tion: the type of figure, the age of the person, the type of garment, and the prevailing fashion. In general, fashion dictates whether garments are to be fitted loosely or snugly. However, if the fabric is rough or bulky in texture, it will require little additional f | A FIG. Ioo. Usual position of the warp and filling yarns in a prop- erly fitted plain garment A, in blouse and skirt; B, in sleeve ease; but if it is sheer and soft, it will need to be fairly loose. Nevertheless there are certain characteristics which a properly fitted garment possesses: generally speaking, warp yarns should be perpendicular to the floor, and filling yarns should be parallel to the floor (Fig. 100); the normal 126 Clothing Construction shoulder seam should come slightly back of the top of the shoulder and should follow the line of the shoulder; the normal underarm seam should fall straight down from the center of the armpit to the floor; the garment should never be fitted so tightly that it draws or hampers freedom of movement. Children's garments should be large enough to permit freedom of movement, yet not so loose as to cause dis- comfort or expose the body unduly. The garment should fit quite closely across the shoulders, so that it will not slip off; the neck line should be trimmed sufficiently so that there will be no pull to cause chafing or poor posture; there should be sufficient length and width through the body of the garment, for which extra fullness may be provided and held in place by darts, gathers, or plaits. The short sleeve should escape the bend of the elbow, the long sleeve should afford ample elbow room, and there should be no tight bands or armseyes. The shorter garments permit greater freedom of the legs and more exposure to the sun. If the garment does not have these general character- istics, it will be necessary to make alterations to correct the defects. As far as possible, the alterations should be confined to the shoulder and underarm seams and to any darts, tucks, or gathers which adjust fullness at these Sean].S. Specific Fitting Problems When both sides of the figure are the same, it is sometimes possible to fit only one side of the garment, altering the other side by the one which has been fitted; but it may be advisable to fit both sides of the garment to see the effect of the alterations. If the two sides of the figure are different, each side of the garment should be fitted. In fitting the Fitting 127 abnormal figure, care must be taken not to fit the garment So closely as to emphasize the defects. If changes in the seam lines are necessary, the shoulder seams should be altered first, then the underarm seams. It is desirable to test the fit of a garment when the person sits and when she walks, as well as when she stands, and when the arms are moved forward, as well as when they hang at the sides (Fig. 101). FIG. IoI. Blouse that draws across the back at the bottom of the armseye A, before fitting; B, after fitting To check the direction of the underarm seam, fasten a pair of Scissors or some other weight to one end of a tapeline, fasten the other end over a pencil, and hold the pencil under the armpit. The tapeline will hang perpendicular to the floor just as the seam should hang. In fitting a garment with the seams on the outside make the changes in the seam lines by ripping the basting and re- pinning the seams. In fitting a garment with the seams on the inside rip the basting; then turn under one edge of the garment on the desired seam line, lap it over the other, and pin it in place. After removing the garment, baste along the new seam lines, using the alteration basting stitch (see “Stitches,” p. 287). 128 Clothing Construction If the garment does not fit satisfactorily, the unsatis- factory condition usually is due to one or more of the following causes, and may be remedied by utilizing the Sug- gestions given. If it has horizontal wrinkles, as shown in Fig. 101, the gar- ment is too tight. To remedy, rip the underarm seams and repin, making narrower seams. If this difficulty occurs in a ki- mono garment, it may be nec- essary to insert an additional piece of cloth in the underarm seam. This piece will be shaped according to the additional width required and where it is needed (see Fig. 102, A to E). For setting in an extra piece See “Gussets,” p. 245. One-Piece Dress or Blouse Vertical wrinkles in the front, along the shoulder line, are usu- ally caused by incorrect basting of the shoulder seam. To rem- edy, rip the shoulder seam; then stretch the front and ease the A |99 FIG. Io.2. Gussets of various sizes and shapes for kimono garments A, pointed at one end and in- serted in sleeve; B, rectangular, to be inserted in both sleeve and body of the blouse; C, pointed at one end, to be inserted in sleeve or body of the blouse; D, oval, with widest part to be located at center of underarm curve; E, diamond-shaped, with right and left points at center of underarm curve and other points in line with underarm seam back as it is rebasted. If any of the front armseye extends beyond the back at the shoulder seam, it may be trimmed off after the sleeve is set in. This alteration should not be necessary in the case of a normal figure if the shoulder seams have been basted together properly. Fitting 129 Wrinkles running diagonally from the neck to the armseye are caused by sloping shoulders. To remedy, make the shoulder seam deeper at the armhole, tapering it toward the neck; trim the armseye if necessary after the sleeve is set in (Fig. 103). Wrinkles running diagonally from the outer end of the shoulder toward the center front are caused by square shoul- ders. To remedy, make the shoulder seam narrower at the H T T A A A A FIG. Io9. Sloping shoulders FIG. Ioa. Square shoulders A, before fitting; B, after fitting A, before fitting; B, after fitting outer end of the shoulder (Fig. 104) or make it deeper at the neck line. In the latter case the front of the garment will be raised, and it will be necessary to make a new neck line. If the garment wrinkles and draws around the neck, the neck line is too small (Fig. 105, A). To remedy, it will be necessary to clip the fabric around the neck and mark a new neck line, as is shown in Fig. 105, B. If the garment is too wide across the back of the neck, several small tucks or darts radiating from the neck line will usually care for the excess fullness. This adjustment gives a snugly fitting neck line, and yet the garment has 130 Clothing Construction sufficient width through the shoulders to be comfortable, and it is not likely to pull out at the back of the armseye seam. If the garment is too low in the neck in both the front and the back, make the shoulder seam deeper. If it is too low in either the front or the back, rip the shoulder and under- arm seams and raise the front or the back of the garment as needed. Either of these alterations will necessitate relocating the armseye line, and the armseye may need to be clipped. A FIG. IoS. Too small a neck line A, before fitting; B, after fitting B Excessfullness in the front at the neck line may result from a flat chest in the person being fitted or (in the case of a garment being remodeled) from the fact that the original neck line was of the cowl type (Fig. 106, A, B). To remedy, rip the shoulder seam, smooth out the front, and let it extend beyond the back at the armseye. Make a new armseye line. If such an alteration is made, it will be neces- sary to widen the neck line at the shoulders (Fig. 106, A–2) or to insert a piece of the fabric in order to extend the front of the shoulder at the neck line. Such a piecing must be covered by the collar or other trimming. This alteration is not necessary if the pattern has been checked and altered carefully. Sometimes the extra width can be taken out by darts or tucks terminating at the shoulder. With a neck Fitting 131 line which was formerly a cowl type, some or all of the fullness may be handled according to the foregoing suggestions, or darts radiating from the neckline may be used (Fig. 106, B–2). FIG. Ioff. Methods of handling front of garment that is too full at the neck line A, when there is little excess fullness (A–I), use alteration shown in A-2; B, when there is considerable excess fullness (B-I), use alteration shown in B-2 A stretched neck line is the result of careless handling of the garment (Fig. 107, A). To remedy, rip off the neck-line finish (if this has been put on before the difficulty was discovered), lay the garment flat on the ironing board, and press care- º fully, first with the warp and then with A ſ A the filling yarns, until the stretched edge is back to its original shape. Then run a very fine running stitch just outside the seam line, draw up the thread until it is the right length, and tie a knot in the end so that it will not slip out (Fig. 107, B). Since this difficulty is most likely to arise in the case of V neck lines and surplice closings, it is well to put in this FIG. Io'7. Stretched neck line A, before correction; B, after correction 132 Clothing Construction running stitch as soon as the garment is cut; as a matter of fact this may be a desirable practice with fabrics that stretch easily, especially for the amateur. \ § B FIG. Io9. One-piece dress that sags at the underarm A, before fitting; B, after fitting If the garment is too low at the armseye, raise it by making the shoulder seam deeper. Make a new neck line. - If the underarm seams sag (Fig. 108, A), the condition may be due to the incorrect placing of the pattern on the fabric or to too wide a garment or to both. Raise the garment by making the shoulder seams deeper at the arms- eye, or by making one or more darts at the underarm seams Fitting 133 at the bust line or the belt line, or both (Fig. 108, B); or re- move the excess width at the underarm seams. If the garment pokes out in front below the waistline (Fig. 109), this condition may be due to any one of several A A C FIG. Io9. One-piece dress that pokes out in front A, before fitting; B, after fitting, when skirt is made of a bordered fabric; C, after fitting, when skirt is not made of a bordered fabric causes: a large bust, a protruding abdomen, stretching the front of the garment when it was joined to the back in the underarm seam, or failure to make corresponding adjust- ments in the length of the front and the back if the pattern was altered. To remedy, rip the underarm seam and then make one or more of the following alterations: straighten 134 Clothing Construction the crosswise grain by taking darts in the front at the bust line or belt line or both, by deepening the dart or taking an additional dart if there is one there already, or by making the front narrower at the bottom. If, after these alterations are made in the front, there is excess length in the back, remove it at the shoulder seam. If the garment is made of a bordered fabric with the design at the bottom of the skirt, it is necessary to make alterations at or above the hip line. // º wº s [– A 1 A 2 £3 1 E3 2 FIG. I. Io. Round shoulders A 1-B I, before fitting; A 2–B2, after fitting If the garment pokes out in the back below the waistline, this condition is usually due to protruding shoulder blades. To remedy, rip the underarm seam, slip the back of the garment higher than the front until the crosswise yarns in the back of the garment are parallel to the floor from the hip line to the shoulders, and repin the underarm seam. Then rip the shoulder seam and make it deeper in the back at the armseye, easing in the surplus fullness along the shoulder seam or taking it out with radiating darts from the neck line; then correct the armseye line. This alteration will Fitting 135 make the back of the garment shorter than the front, but this can be remedied when the bottom is finished. Diagonal wrinkles from the shoulder blades toward the under- arm seams are caused by round shoulders (Fig. 110, A1, B1). The person is also likely to have a flat chest, which will require modification of the front of the pattern (see Fig. 106, A). Likewise the person may be sway-backed; SO ſ} A A FIG. III. Underarm seam slants toward the front at the waistline A, before fitting; B, after fitting care should be taken not to fit the garment tightly at the waistline, since this accentuates both the round shoulders and the sway-back. To remedy, rip the shoulder Seam and make it deeper in the back at the armseye (Fig. 110, A2, B2). If this does not remedy the difficulty, rip the underarm seam and raise the back. Relocate the armseye on the back of the garment. Often it is desirable to have the garment blouse. This alteration should not be necessary if the pat- tern was checked and altered properly. If the underarm seam of the waist is too near the front or slants toward the front at the waistline (Fig. 111, A), the 136 Clothing Construction front of the garment is too narrow or the back is too wide. If the seam allowance is wide enough, locate a new seam; if not, add a piece of fabric, making the piecing Seam parallel the warp yarns on both the frontand the piece; then locate a new underarm seam (Fig. 111, B). Diagonal wrinkles on only one side of the garment, run- ning from the shoulder toward the center front and the center back, are caused by a differ- ence in the height of the shoulders. To remedy, rip the shoulder seam on the side that wrinkles and make the necessary adjustment. For establishing the arms- eye and fitting the sleeves see “Sleeves,” pp. 264 and 274; for checking collar pat- terms see “Nonconvertible Collars,” p. 37; for hanging skirts see “Hems,” p. 148. Skirt If the side seams swing toward the front (Fig. 112, A), it may be that the skirt is too full at the lower edge A ) a Z) FIG. I.1.2. Skirt that swings to the front A–B, full skirt before and after fit- ting; C–D, narrow skirt before and after fitting in the backin proportion to the front, or that the center front of the skirt was cut too short at the waistline. To remedy, Fitting 137 make one or more of the following changes: make the back narrower at the bottom; raise the skirt at the waist- line, as shown in Fig. 112, B; raise the front above the back at the side seams. If the skirt is tight-fitting and cups under in the back (Fig. 112, C), it will be necessary to raise the garment enough to provide sufficient fullness through the hips and to swing the º side seams back into position (Fig. 112, D). If the fullness hangs unevenly on the right and left sides of a garment with a bisym- metric flare, raise or lower the flared sec- tion along the joining line until the fullness hangs alike on the two sides and the effect produced is becoming to the individual (Fig. 113). Fullness as shown on the left side of Fig. 113 will tend to give height; | while fullness as shown on the right side M \, will tend to give width. FIG. I. 13. A skirt - • - e - . II.3 SK1 A plaited skirt or one with plaited sections with bijmmetri. may be too large at the waistline because the flare where full- person's waist is small in proportion to her ness is unequally hips. Do not alter the outside edge line of **** - - - two sides the plaits; instead make adjustments at the inside edge of the plaits. If the entire skirt is plaited, divide the excess fullness at the waist by the number of plaits to determine the amount of fabric that needs to be cared for at each plait. However, somewhat more than this amount should be taken out at the hips and somewhat less near the center front and back. If there are only a few plaits, take out the surplus width at the lengthwise seams above the hip line, or slip each plait over the necessary amount, or make both adjustments, depending upon the design of the skirt and the proportions of the individual. 138 Clothing Construction Kimono Garments The alterations listed for a one-piece dress or a blouse apply also to kimono garments with shoulder seams. This type of garment does not require as much fitting as one with a set-in sleeve. The width of the sleeves may be adjusted by letting out or taking up the underarm seams as needed. If the garment wrinkles in the back at the underarm curve, rip the seam and ease in the back around the curve (see Figs. 14, 15, f to j). 16. Gathering and Shirring Both gathering and shirring are used to hold fullness in place, but the shirring serves also as a decoration. Shirring may consist merely of several rows of gathers or of gathered tucks, or the fabric may be shirred on a cord. Gathering Gathering is done either by hand or by machine, with or without the use of the gathering attachment. Hand Gathering Make two or three rows of running stitches, using a strong single thread of matching color (see “Stitches,” p. 293). When the length to be gathered is great, as at the top of a full skirt, it is desirable to divide the top of the skirt into halves or quarters and gather each section sepa- rately. After the gathering threads have been run in, pull them up to the desired length. Then adjust the gathers, holding the top of the gathers with one hand and pulling downward with the other. Gathering and Shirring 139 Machine Gathering without the Attachment Put in one or more parallel rows of stitching, with the right side of the garment up, using a lengthened stitch (and sometimes a slightly loosened upper tension). It may be desirable to use silk thread, even on some cotton garments, because it makes it easier to pull up the gathers. Fasten the threads of each row firmly at one end; then pull up the thread of the machine stitching on the wrong side of the fabric to make the gathered section the desired length. Machine Gathering with the Attachment The attachment may be adjusted so that the gathers will be scant or full; consequently it is necessary to try it out on a scrap of fabric to be sure that the proper adjust- ment of fullness has been made. In making this test it is well to use a scrap of the fabric which is to be gathered, since different fabrics give different results. Gathers put in by the machine attachment are held in place rather firmly, which is an advantage if one is sure that the fabric will be of the desired length when it is gathered. Shirring Shirring is composed of several rows of gathers which may be spaced from # inch to 1 inch apart, but they must be parallel. When the rows of shirring are to be straight, the design of some fabrics may be used as a guide, a yarn may be pulled, or the quilter attachment may be used to insure a uniform distance between the rows of Shirring. Commercial patterns frequently have perforations for plac- ing the shirring; these may be marked on the fabric by tailor's tacks, or on the wrong side with a pencil or tailor's chalk. 140 Clothing Construction Hand Shirring Put in the desired number of rows of gathering, being Sure that each Stitch of the second row is exactly under the - - corresponding stitch of the first row, and so on. This pre- caution is necessary so that when the gathers are sewed in place the small folds will con- tinue in unbroken lines from the top to the lower edge of the shirring. The shirring thread should be of the same color as the fabric, and of as nearly the same texture as possible. It is not advisable º to use double thread for shir- FIG. I 14. Machine shirring ring, neither should it be too coarse. Each thread should be several inches longer than the finished length of the shirring, to allow for fastening. When the rows of stitches are all in place, draw up the gathering threads to the desired size and arrange the gathers evenly. It is essential that the gathering threads be firmly fastened at both ends of the shirring. Machine Shirring The rows of stitching may be put in like those of regular machine gathering by using a long stitch and sometimes a slightly loosened upper tension. It will be necessary to draw up and arrange the gathers just as when gathering by hand (Fig.114). All the rows of stitching should be put in before any of them are drawn up to form the gathers; otherwise it is impossible to keep the rows of stitching a uniform distance apart. Gathering and Shirring 141 Tucked Shirring Baste the tucks the desired width, and then gather through the two thicknesses by hand or by machine. Corded Shirring Corded shirring may be made by stitching tucks (by hand or by machine) where the cords are to be placed. These tucks should be just wide enough so that the cord of the desired size can be run in, a small bodkin being used with the cord sewed to the eye. Each tuck forms a casing for the cord, and if the tuck is much larger than the cord, the line of shirring will be ir- regular. Corded shirrings are then drawn up by means of the cords (Fig. 115). Rečnforcing Shirring Machine shirring frequently FIG. I.15. Corded shirring needs to be stayed, and hand shirring should always be stayed. This may be done in the following ways: stitching over the gathering threads by machine is satisfactory if there is to be little strain on the gathers; machine hemstitching will serve to hold gathers in place; in transparent material a strand of em- broidery floss may be placed under each row of shirring, and the gathers sewed to this with running or combination stitches; decorative stitches such as cable, catstitch, chain, couching, crewel, and feather stitch may be worked over the gathers to hold them in place. The strongest method 142 Clothing Construction of staying shirring is to place a piece of the garment fabric or a lighter-weight fabric under the rows of shirring and sew the gathers invisibly to this. Since tucked and corded shirrings are rather heavy, it is advisable to stay them firmly. 17. Godets One way of introducing fullness in a skirt or sleeve is the use of godets. A godet is usually a triangular-shaped section of fabric that tapers toward the top and has a cir- cular lower edge. It may be set into a slash or opening in the garment with plain seams, lap seams, or by machine hemstitching. Care must be taken to have the seams as flat as possible — a difficult problem at the top of the insert. Godets are also set onto the garment, if stitching shows elsewhere on it. Turn under the seam allowance at the top of the godet and along the sides; baste and press. Apply flat to the garment and stitch in place. Godets may be attached with machine hemstitching. Sometimes the raw edges are not turned under but are bound before the godet is applied to the garment, or the godet is stitched on, and then a bias fold of the fabric is stitched flat to cover the seam. The fabric is generally cut out under the godets after they are set onto the garment. Since the lower edge of a godet is quite circular, some edge finish other than a wide hem should be used. 144 Clothing Construction remodeled garment it is permissible to use a hem as narrow as # inch, if it is made so that the depth is not apparent from the right side; hems at the bottom of coats should usually be from 1% to 2% inches deep; the hem at the bot- tom of a coat sleeve may range from 1 to 2 inches in depth. As a matter of fact the width of the hem is largely de- termined from the standpoint of what is good design, and should be such that it will give the effect of the weight needed to produce a pleasing appearance. Before turning a hem, finish and press all the seams that the hem will cross. If the fabric is bulky, it is usually de- sirable to trim one or both edges of the seam narrower within the hem than outside it; and if the seam finish is bulky, it may be omitted for the same distance. At the inside edge of a plait, clip the seam at the top of the hem almost to the line of Stitching, and press the seam open in the hem. If the hem is to be put around a corner, it is neces- sary to miter the corner, since the excess fullness must be eliminated if the hem is to look well (see page 177). Plain Hem Plain Hem on a Straight Edge This hem is used on household linens and at such places as the front and back closings of garments and the bottom of straight skirts. For a narrow hem hold the article with the edge to be hemmed away from you, and fold the raw edge toward you from ſº to # inch, turning it to the wrong side of the fabric. The width of the fold depends upon the weight and firm- ness of the fabric. Baste the fold in place if the material does not hold a crease. Make a second fold in the same direction as far from the first fold as the desired width Hems 145 of the hem. The use of a gauge will facilitate the work (Fig. 116). Pin the hem in place at the inside edge, putting pins in at right angles to the edge. Baste the hem in place, if necessary, and remove D the pins. Hem by hand or stitch by machine c as near the edge as possible. For a wide hem turn under the raw edge as for a narrow hem. Then spread the fabric out on the table, with the hem - toward you, and make the second fold of FIG. I.16. Gauge the hem. Continue as in making a narrow for marking a hem. hem When the hem is to be used decora- a to b represents tively on a fabric that is alike on both * of sides or when the opposite side of the fabric is used as trimming, make a reversed hem by turning the hem to the right side. It will be necessary to reverse the seams within the hem (see pages 252–253). Narrow Hems on Curved Edges A hem on an inward curve is made like a straight hem, but it must be narrow — not over # inch wide — and it must be stretched slightly to make the first turning lie flat. A hem on an outward curve also is made like a hem on a straight edge, but one must be careful not to stretch the edge. It is usually desirable to stitch by machine on the line of the first turning of the hem or to turn the first crease of the hem and then to stitch by machine or hold in place with running stitches. This permits one to ease in the fullness at the inside edge of the hem. Slip-stitch hemming is the most satisfactory hemming stitch to use, because it holds the fullness flat; it is usually desirable to use this stitch if the first turning has not been stitched. 146 Clothing Construction Wide Hems on Curved Edges Such hems can be used only on outward curves. For the method of making see “Hems on Skirts, Dresses, or Coats,” pp. 148–152. Damask Hem This hem is especially suitable for household linens. The minimum width for such a hem is about # inch; it may, FIG. II.7. Damask hem A, wrong side; B, right side however, be much wider. Turn as you would a plain hem on a straight edge (see page 144); crease the hem back against the right side of the article so that the two folded edges coincide, and overhand them together (Fig. 117). Then press the hem flat. If the fabric does not hold a crease easily, it may be necessary to baste the hem in place before creasing it back to the right side. French Hem The French hem is a narrow hem which is used when lace is sewed on at the same time that the hem is made (Fig. 118). Very short vertical stitches are visible on the right side, holding the lace to the cloth, and the hem has the 148 Clothing Construction Hems on Skirts, Dresses, or Coats Establishing the Hem Line Gored or circular skirt or dress. Put on the garment and adjust it, fastening the closing, and putting on the belt, if one is to be worn. Stand on a table or fitting stool to bring the hem line near the level of the eye of the fitter. Have the fitter measure up from the table the number of inches that the garment is to be from the floor when finished, using a yardstick, tailor's square, or a commercial skirt marker. If a rubber band is placed around the measuring stick at the desired height, it will facilitate marking and checking the hem line. The fitter should move around the one whose hem line is being established, rather than have her move. Mark the turning line of the hem by a line of pins or chalk marks (if a commercial marker is used) parallel to the floor and three or more inches apart. Remove the garment and fold on center front and center back, matching the side seams. Examine the marked line to see that it forms an even curve, and make any necessary changes. If there is any irregularity in the hem line as it is marked, allow the hem to turn as it “wants to,” rather than force it to turn where it apparently should. Straight skirt or dress. Put on the garment and adjust it. Have the fitter mark the desired length at one point, usually the center front. Remove the garment; turn the hem on a yarn of the fabric. Baste the hem in place and try on the garment to check the length. If the length is uneven, make any needed adjustment at the top of the skirt or at the waist, hip, or shoulder of the dress, depending upon the design of the garment. NOTE. If the garment is to be hung in this way, special care must be taken in cutting it so that the bottom edge Hems 149 comes on a yarn of the fabric. Special care is also necessary in joining the parts — begin at the bottom and work toward the top, trimming off any unevenness at the top. Garments made from plaid fabrics or those having other conspicuous designs should usually be hung in this way, and if possible the darker part of the design should come at the lower edge of the skirt. Putting in the Hem After the bottom line of the garment has been estab- lished, turn the hem allowance to the wrong side on the marked line, hold- ing it in place with pins put in at right angles to the edge. Turn the hem on a crosswise yarn at the center front and center back (unless the skirt has been cut Crosswise or Fig. 12o. Method of using gauge to mark bias) and match the hem of uniform width lengthwise seams in hem and garment. Baste the hem in place. Try on the garment and recheck the length. Remove the garment and lay it flat on the table with the outside next the table. Locate the narrowest point in the hem; if this will provide for a hem of the desired width, mark an even hem line of this width with a pencil, tailor's chalk, or pins, and then trim (see Fig. 120 for method of using a gauge); if this allows for a wider hem than is desired, mark the hem width as described, trimming off the excess width; if this will make a hem that is somewhat too narrow, the hem must be made uniform, but the width may be slightly increased by certain Ádge of 34/r/ — Cha/{ //ne --" Aosfºny //ne 150 Clothing Construction methods of finishing (see “Catstitching,” p. 151, and “Applied facing tape,” p. 152); if this is insufficient to permit the garment to be hemmed, it will have to be faced, in which case trim at a seam's allowance below the line that is already marked at the bottom of the skirt and apply either a bias or a fitted facing (see pages 96–98). NoTE. When a skirt is narrow or has a deep hem, it will be much easier to pin and baste the hem in place if a maga- zine or smooth, light-weight board is slipped between the two layers of the garment; or the skirt may be slipped over the end of the machine or the ironing board. Caring for Fullness in a Hem - If there is fullness at the top of the hem, it may be cared for by means of darts or gathers. Darts are generally used when there is considerable full- ness to be cared for or when the fabric is stiff. Make small darts at right angles to the edge of the hem, placing them where the fullness naturally falls. In a bisymmetric garment the darts on the right and left sides should be balanced in size and spacing. Darts should be turned away from the center front and center back so that the straighter grain will lie on the top side, or all darts may be turned toward the left to facilitate stitching. Pin or baste darts in place. Recheck the width of the hem and trim again if necessary. Gathers are used when the excess fullness can be shrunk out (see “To shrink out fullness in the top of a hem,” p. 241, and Fig. 182). This method is usually superior to the use of darts in the case of coat hems. Finishing the Hem at the Upper Edge If the hem is to be stitched by machine, turn under the raw edge, after any fullness is properly distributed; pin, baste, and stitch very close to the edge. Hems 151 If the hem is to be sewed by hand, any one of several methods may be used, depending upon the weight and tex- ture of the fabric. On light-weight fabrics turn in the raw edge of the hem about 4 inch and stitch by machine or with running stitches, near the edge and only through the folded edge of the hem; this method prevents fraying and tends to insure a firm, flatedge, and also makes it easy to alter the hem length. On heavy cottons and on most medium and heavy non- FIG. I.21. Hem finished with an FIG. I.22. Hem with bias applied facing tape ; fullness cared strip inserted and held in for by darts place with catstitching washable fabrics, the hem is less conspicuous if the top edge is not turned under but is held in place by one of the follow- ing methods: running hemming (see “Stitches,” p.289), cat- stitching (see page 68), or an applied facing tape (Fig. 121). Catstitching is used on such fabrics as satin, crêpe, or flan- nel when any fullness in the hem has been laid in darts or has been shrunk out. The raw edge may have been pinked or stitched near the edge by machine; in the latter case the stitching serves as a guide for placing the catstitching. In a lined coat of a heavy fabricit may be desirable to insert in the hem a bias strip of muslin # inch wider than the hem depth, which is catstitched to the garment along the upper edge, and to which the hem is then catstitched (Fig. 122). Lace and Embroidery 153 be used (see pages 64–65). If the inside edge of the lace is shaped, then it should be sewed on as an appliqué, in which case the lace is basted to the right side of the fabric and is held in place with machine stitching, hemming, overhand- ing, blanket stitching, or Bermuda fagoting; the cloth underneath is usually cut away either close to the stitching line or with enough left so that the raw edge may be hemmed or whipped to the seam on the under side (see page 147). If a handmade appearance is not important, the lace may be stitched to the edge in one of the following ways: Stitched by machine before the hem is turned. This is a very quick and easy method, and no machine stitching is visible on the right side. Mark the fold line of the hem and apply the lace, right sides together, so that the straight edge of the lace extends about I's inch beyond this line and the scallops turn away from the edge. Baste or pin, and stitch. When the hem is turned back, the lace auto- matically falls into position. Stitched by machine to a finished edge. Apply the lace flat to the garment with the straight edge of the lace just inside the edge of the garment, either on the right or the wrong side, depending upon the effect desired. Pin or baste, and stitch. Stitched with a machine attachment. Most sewing ma- chines have attachments which enable one to sew lace on at the same time that a narrow hem is made or a binding is stitched onto the garment. Inserting Lace Apply as an appliqué. Attaching Embroidery Embroidery is attached to a raw edge with any of the following seams: plain seam (overcast), French seam, flat 154 Clothing Construction fell seam, standing fell seam, or rolled seam. Sometimes the fabric is cut away along the edges of the embroidered section, and the embroidery is then attached with over- hand stitches in the same way as lace. Entre deux is a fine, narrow insertion that is often set into the seams of dainty lingerie garments. If the gar- ment requires fitting, baste the parts together as for a plain seam and fit the garment. Mark the Seam lines; then rip the seam apart and insert the entre deux. If the garment doesnot require fit- ting, the insertion is applied before the parts are basted together. If one side of the seam is more bias than the other, or FIG. 123. Entre deux set into a seam if one side is to be gathered, join the insertion first to the straighter or shorter side. Pin and baste it to one seam edge, right sides together, so that the lines of the seam al- lowance on the garment coincide with the center of the entre deux (Fig. 123). Then pin and baste it to the other Seam edge in a similar way. If the second edge is to be gathered, this should be done before joining. Care must be taken to have both sides exactly the same length. Use a rolled seam, a standing fell seam, or a narrow French seam (see “Seams,” pp. 258–262). Joining Lace and Embroidery Both lace and embroidery should be joined with the designs matching. A French seam may be used for lace or very fine embroidery, but it is usually easier to match a design by making a plain seam. This may then be fin- Linings 155 ished as a hemmed fell or a standing fell seam or as an imitation French seam, or the edges may be trimmed close and finished with buttonhole, overhand, or blanket stitches. When there is a conspicuous design, lap the ends of the lace or embroidery so that the design matches. The ends need not be cut straight, especially for lace, because an irregular line following the design will be less conspicu- ous. Overhand, buttonhole, or blanket-stitch through the two thicknesses, always following the edge of the design of the lace or embroidery. 20. Linings Dress Linings A dress lining serves as a protection to the dress and sometimes as a foundation for it. When fashion demands loose-fitting garments (and al- most always in the case of children's clothes), skirts may be hung on linings instead of being attached to belts. This lining may be made detachable, so that it can be easily laundered. - Linings may be made of many different fabrics, depend- ing upon the design of the garment and the fabric of which it is made. Pongee, China silk, crêpe de Chine, radium, A B C silk, lawn, net, or nainsook may be used as de- sired. For dresses made of a transparent fabric it may be desirable to have the lining of the same color as the garment or a flesh color so that it is nearly invisible; if a dark fabric is used, it is necessary to select one that will not crock. 156 Clothing Construction Design of Lining The neck line of the lining should approximate the neck line of the garment. The two neck lines may be of the same size if they are fastened together all Ú \ the way around the neck, or the inner may | be slightly lower if tacked in place. If linings are to fit closely, the fullness should be taken out by means of darts. The num- ber and location of the darts will depend upon the figure and upon the design of the - - garment (Fig. 124). If protection is needed FIG. 124. Lining, just across the shoulders, only the upper showing possible - location for darts half of the back of the waist needs to be lined. The lining is sewed to the garment at the neck, the shoulder, and the underarm seams, so that the strain across the shoulders comes on the lining instead of on the dress. Edge Finishes for Linings The neck, armseyes, and bottom of the lining may be finished with a shell edge, a narrow hem, a narrow lace- finished hem, a facing, or picoting. Methods of Attaching Skirts to Linings Method A. When a nonwashable skirt is to be joined to a washable lining, finish the bottom of the lining and finish the top of the skirt (usually with a band). Place the skirt on the lining at the desired waist line, matching center fronts, center backs and ends, and stitch with long machine stitches near the top of the band. Such a joining is sufficiently firm and yet it can be ripped easily when one wishes to launder the lining. For children's garments it is often ad- visable to button the skirt to the lining. Linings 157 Method B. This method is used when it is not necessary to launder the lining separately. Finish the lining at the bottom. If the skirt is made of a light-weight fabric, turn under the top edge before the skirt is attached; otherwise, finish the raw edge by covering with a tape or strip of fabric which is stitched flat over the joining seam. If there is full- ness at the top of the skirt, put in the needed gathers, plaits, or darts. Then place the skirt on the lining at the desired waistline, pin, adjust fullness, baste, fit, and stitch flat to the lining. Method C. If there is no probability that the garment will have to be lengthened, neither skirt nor lining need be finished before joining. Place the right sides of skirt and lining together; adjust any fullness, pin in place, baste the seam, and fit. Finish the seam by covering it with a strip of fabric (from # to # inch wide when finished) which is stitched along the lower edge at the same time that the skirt and lining are stitched together; then turn this strip up on the lining and stitch flat. Method D. Join the skirt and the lining, wrong sides to- gether, with a plain Seam, allowing the lining to extend about # inch beyond the edge of the skirt. Finish with a flat fell seam (p. 257). Coat Interlinings Interlinings are used chiefly to increase the warmth of garments. Such fabrics as outing flannel, wool flannel, or chamois skin may be used. Sometimes two thicknesses of a light-weightinterlining are used instead of a single heavy one. Cutting Cut like the lining in grain, size, and shape, as you would for a full-length lining; or cut shorter (to the waist, Linings 159 mately 4 to 6 inches. Even though the front facing is wider at the top than at the bottom, instead of shaping the lining A a FIG. I.25. Lining set in a coat A, front, showing fullness laid in a dart and held with cross-stitches; B, back, showing fullness laid in a tuck and held with catstitches like the facing it is usually desirable to fit out the extra lining width when the lining is set in the coat (Fig. 125, A). NOTE. In a fur coat the front facing is usually narrower than in a cloth coat and therefore requires a wider front lining. The lining in a fur coat will wear much better if the coat is interlined with a fabric such as light-weight outing flannel than if the lining is next to the pelt. Making and Attaching Finish the entire outside of the coat, including the hem and sleeves, and press open all plain seams, including the armseye seams, before setting the lining in the coat. In the higher-priced garment with set-in sleeves, linings are only partially made before they are attached, while in a less expensive garment the entire lining may be made before it is attached to the garment. - Lining with set-in sleeves. Baste and steam-press the plait in the center back and do not remove this basting until 160 Clothing Construction the lining has been hemmed to the garment. Stitch and press open the underarm seam, sleeve seam, and any other lengthwise seams. Place the garment wrong side out on a dress form or table. Put the wrong side of the lining to the wrong side of the coat, with underarm seams matching. Fold back the fronts of the lining toward the center back. Pin the underarm seams of the lining and the coat together, easing the lining, and tack at in- tervals or baste the seam edges together about ; inch from the stitching line. (If there are other lengthwise seams, begin with those nearest the center back and work toward the front.) The lining and the front facing may be joined in one of three ways. The most common method is to pin the front of the lining to the front facing, turning in the edge of the lining and hemming it to the facing. Sometimes the edge of the front facing is turned under and stitched by ma- chine and then hemmed to the lining; sometimes a decora- tive treatment is given by cording the edge of the lining and hemming it to the front facing. In any case the full- ness in the lining should be eased when it is attached to the facing. Some of the fullness in the lining above the bust line may be turned back where the lining joins the front facing, and the rest cared for by a dart which is laid at right angles to the shoulder seam as the lining is being fitted. Pin the lining to the garment (with pins at right angles to the edge) at the front, the shoulder, and around the armseye (Fig. 126). FIG. I.26. Lining pinned to COat Linings 161 Turn under the seam allowance of the back across the neck and shoulders. Lap and pin the back onto the front at the shoulders and pin across the back of the neck. Turn under the lining a seam's width at the bottom. Pin in place, from # to 2 inches up from the lower edge of the coat. Baste the lining in place if desired. Turn the garment right side out, try on, and check the fit of the lining. Hem the pinned or basted edges of the lining to a single thickness of the gar- ment, using the slip-stitch method, except that the stitches must be no longer than about ; inch in the upper part of the garment or where there is much strain. Catstitch the front facings to the hem (Fig. 82, A) and remove the bast- ings. Tack the armseye seam of the lining to the pressed- open armseye seam of the garment with a combination stitch. Attach lining at the bottom near the top of the coat hem; let it extend # inch below the hemming line to allow for ease. NOTE. If desired, after the hem is made in the lower edge of the garment, the lining may be hemmed and allowed to hang free at the bottom. With the sleeves of the coat and the lining wrong side Out, tack the lengthwise seams together, easing the lining. Turn the lining right side out over the coat sleeve. Turn under, pin, and sew with a running stitch the Seam allow- ance at the armseye of the lining. Pin and baste the lining in place around the armseye of the garment. Turn under and baste the lower edge of the sleeve lining in the same way as the lower edge of the coat lining, except that it is never left loose. Check the fit of the sleeve lining and then hem. Tack shoulder darts and the back plait through the three thicknesses of the lining at the shoulder, hip, and above the hem, using catstitches or cross-stitches (Fig. 125, A, B). Machine Hemstitching and Picoting 163 Hems. Baste as for hand or machine hemming. Seams. Baste as for a plain seam; then baste flat, turn- ing the seam to either side, but never opening it. Tucks. Baste in the usual way; then baste the tuck flat to the article, turning the tuck in the desired direction. Picoting Picoting is made by cutting away the outer edge of machine hemstitching. It is used for an edge finish, such as the edges of ruffles and seams. It is sometimes used to finish the neck or the bottom of a garment; however, it is not a firm finish, and so it is not satisfactory for these pur- poses on garments where there is strain on the edge. Preparation for Picoting In general the fabric is prepared for picoting in the same way as for ordinary machine hemstitching. It is well to allow at least # inch for fraying beyond where the hem- stitching is to be placed. If the entire length of the hem- stitching is to be done an equal distance from the edge all the way, no guide line is necessary. NOTE. When a large amount of cloth is needed, as for bands or ruffles, it is an economy to have the hemstitching placed in such a way that each half of it, when it is cut, will form the finish of one edge; thus one line of hemstitching will do for the edges of two strips. (This will not be possible, however, if the fabric has a design with an up and down.) This may be done in a series when both edges of a strip are to be finished. Cutting. Press carefully; then cut as near to the out- side edge of the hemstitching as possible. This makes the edge somewhat more firm than if the cutting were done in 164 Clothing Construction the center of the hemstitching. When making banding or ruffling by the method just described, it will be necessary to cut through the exact center, but there is usually little strain on the edges of such trimmings, so that the method is quite satisfactory. - 22. Markings Various means are used for marking material when a garment is in process of construction: pins, needles, pencil, tailor's chalk; uneven basting, guide basting, or tailor's tacks; or a tracing wheel. Pins are used to mark a line, such as that of an armseye or the fold line of a plait or tuck; two crossed pins are used to mark the location of Snaps or buttons, and a single pin to mark the location of a buttonhole. At each point in- dicating darts, tucks, and the like, insert one pin through the paper pattern and two thicknesses of the fabric and then turn over and insert another pin from the opposite side at each point marked; remove the pattern and bring the pin heads close to the fabric as the two pieces are pulled apart. Needles are often used for similar purposes, and are preferable to pins if the fabric mars easily, as does taffeta. A pencil may be used to mark lines which indicate where an edge is to be trimmed off, as in evening the top of a hem, and to mark the location of fasteners, or the notches on a seam edge, on a light-colored nontransparent fabric. Tailor's chalk can be obtained in different colors, and has an advantage over a pencil, in that it makes a temporary mark which can later be brushed off. It may be used in any of the places where either pins or a pencil are used. 166 Clothing Construction 23. Matching Plaids, Stripes, and Figures Plaids, stripes, and figures may be symmetrical in design, or they may have an up and down, a right and left, or both. When the plaid design is symmetrical, it is usually possible to match the warp yarns almost perfectly at the shoulder, and the filling yarns at the underarm seams, and to have crosswise stripes in sleeve and garment match at the notches in the armseye. This holds true also for the shoulder seam in a symmetrically striped fabric. When the design is not symmetrical, the problem is more difficult, and perfect matching at seam lines is often impossible. If the following suggestions are adhered to, however, the finished garment will present a pleasing effect. When a plaid or other design has a right and left, the same direction of the plaid should be kept around the entire garment; for example, as you look at a person, if the wide stripe of the plaid is at the left in the front of a garment, it should be at the left in the back and sleeves. When one section of a plaid is very con- spicuous in color or size, it may be advisable to balance the garment by locating the center of this section at the center front, back, and sleeve of the garment. To insure having the design properly matched, baste the seam from the right side with an alteration basting stitch (see “Stitches,” p. 287). After the seam is stitched, it may be finished like any seam which is first stitched on the wrong side. French seams are not satisfactory when one has to match a design, as it is difficult to match a design at the second stitching. Measurements 167 24. Measurements Certain measurements are needed in selecting and using patterns and in estimating the amount of fabric required Jhow/der /eng// -Chesſ 3 —lvo/r/, of back 2-4 ov/s/dearm /en.9% 2-3 Show/der fo eſbow J-4 fºow fowr/s/ ** Cenfer back of neck fowrºsiº Inside arm —wers? Garf h of /ower. " arrn A/2– Ceofer back waist fo /ength f/oor Armorf fo f/oor Jhoulder fo Avs/ Walsh Hºo F/oor A A FIG. I.28. Location on figure of measurements for misses' and women's garments The length of the garment is determined by deducting from the length meas- urements the number of inches that the lower edge of the garment is to be from the floor, and adding whatever hem allowance is desired for garments. The type of garment to be made will deter- mine the measurements needed. For the location of meas- urements see Figs. 128 and 129. Special care is needed in taking the following measurements. 168 Clothing Construction Bust. An easy measure over the fullest part of the bustand straight across or slightly raised in the back, with the person doing the measuring standing behind the one being measured. Hip. An easy measure taken around the fullest part of the hip with the tapeline parallel to the floor. /Veck — - Jhow/aer lvo/*h of ches? areas:-- Hº- arry wars? wrist Aroof ſenzh neck foºnee | *Yneck fobend of knee ſ: ack /ength TIll A A FIG. I.29. Location on figure of measurements for children's garments The length of the garment is determined by deducting from the length meas- urements the number of inches that the lower edge of the garment is to be from the knee, and adding whatever hem allowance is desired Shoulder length. From the base of the neck to the end of the shoulder bone, with the tapeline a little back of the top of the shoulder. Waist. A snug measure around the body at the normal or the desired waistline. Waist to crotch. From the waistline at the center front to the center of the crotch. Mending 169 25. Mending Mending should be done at the first sign of wear, in Order to save work, to make the article last longer, and to keep the mended place as inconspicuous as possible. It is usually desirable to mend the article before it is laundered. Mending may consist merely of restitching ripped seams, Sewing on fasteners, or replacing worn parts, such as collars and cuffs, or it may require darning or patching. In darning, the worn and broken yarns are replaced and reënforced by weaving in new yarns or threads; in patching, the hole or worn place is mended by adding another piece of cloth. Darning Darning by Hand on Woven Fabrics Most darning is done by hand with crewel needles or sharps as fine as the thread will permit. The thread used should usually match the yarns of the fabric. In wool fabrics wool yarn or cotton thread is preferable to silk be- cause it shows less. It is often desirable to use ravelings of the cloth; if there is no extra fabric from which to secure them, they may be obtained from the seams or the top of the hem. Tears may be classified as straight, diagonal, and three- cornered. The methods used in darning will vary somewhat with the kind of tear. Straight tears are the easiest to mend. The darning is usually done from the right side, but in very heavy ma- terials it may be done from the wrong side, the stitches being caught only part way through the cloth. Match the 170 Clothing Construction torn edges as carefully as possible, use no knot, and, begin- ning a little beyond the end of the tear, draw the edges together with rows of fine running stitches. If the tear has frayed, darn by weaving over and under the loose yarns. These stitches should extend far enough beyond the sides of the tear to hold the edges together firmly and to reënforce any yarns weakened by the tear (Fig. 130). Do not draw stitches tightly enough to pucker the cloth. Make the rows of stitches irregular in length, and stitch back and forth only enough times to hold FIG. I.30. Darn- ing a straight the edges together firmly. Extend the rows tear of stitches beyond the tear, and cut off the thread without fastening it. A three-cornered tear is mended like a straight tear, except that at the corner the rows of Stitches should be slanted, as in the fan of a buttonhole (Fig. 131). In a diagonal tear both the warp and filling yarns are broken at the same place. To mend, first fill in the warp yarns, as in Fig. 132. Then turn the cloth at right angles and put in rows of filling yarns, weaving under and over the length- wise yarns, alternating as in FIG. 131. Darning a three-cornered plain weaving (Fig. 132). tear Darning worn places. Worn places may be strengthened, or reënforced, on the wrong side by darning in extra warp or filling yarns or both, depending upon how much the places are WOrn. 172 Clothing Construction as the toes of stockings and sleeves of sweaters. Any of the methods that have been suggested for darning woven fabrics may be used for knitted fabrics, but hand darning is prefer- able to machine darning because it is more elastic. The darn will be still more elastic if a small loop of the thread is left at each end of every row of stitches. Darning holes. Sometimes it may be desirable to trim the edge of the hole so that there are no ravelings. Put in lengthwise rows of running stitches, beginning far enough away from the hole so that the worn places are reënforced. When the hole is reached, carry the thread across it - and continue with run- FIG. I.33. Darning a hole ning stitches, being sure to catch on the edge of the hole each loop of the knitting. Put in enough rows to cover the hole and worn places. These rows should be about the width of the thread apart, and should be of uneven lengths. Turn the article and put in crosswise rows of stitches, weaving under and over the lengthwise threads, as in plain weaving (Fig. 133). Runs in hose may be mended with running stitches, but the following methods are more satisfactory: Mending runs with a crochet hook or latch needle. Pull the first dropped stitch through the loop at the end of the run with the hook or needle. Then pull the next dropped stitch through the loop thus formed, and continue in this manner throughout the length of the run. Fasten the last loop to Mending 173 the loop at the other end of the run with several overhand Stitches. This method is comparatively easy if the garment has rather coarse yarns; it can be done on silk hose, but it is a very laborious process. Mending runs with overhand stitches. This is a quick method of mending runs and rips in seams. Working from the right side, begin beyond the end of the run and draw the edges together with overhand stitches, making sure to catch the loop of the last dropped stitch. Continue to the end of the run and extend beyond the end as in the begin- ning. Care should be taken not to draw the stitches too tight. Mending Leather Gloves To repair rips in seams, use overhand stitches or back- stitches, depending upon the effect desired and the kind of seam used. Use cotton rather than silk thread, because it is not so likely to cut the leather. To repair tears, blanket-stitch each edge of the tear; then draw the two edges together by catching the purls on each edge with overhand stitches. Patching The fabric for the patch should match the article to be mended as closely as possible. New fabric to be used on a faded or shrunken article should be faded and shrunk to match. When no extra cloth is available, a pocket or a piece from the under side of a hem or some other incon- spicuous place in the garment may be used. There are several methods of patching. The method used will depend upon a number of factors, such as the kind of cloth, the type of garment, and the location of the hole. 174 Clothing Construction Hemmed Patch This patch is used on light and medium-weight fabrics when strength is very important, as in wash garments. It may be stitched by hand or by machine. Since saving of time is an important factor in mending, hand hem- ming should be used only when machine Stitching is too conspicuous, and in | places difficult to * | Stitch by machine, | Such as the knees of pajamas or overalls. | Preparation of the | article to be mended. Trim away the worn | or torn parts. Square | or rectangular patches | generally show less - - - - - - — — — than round or irregu- FIG. 134. Hemmed patch lar ones, and since - they are more easily made, it is usually better to trim along the yarn of the fabric. Preparation of the patch. Place the patch to the wrong side of the article, making sure that the patch laps beyond the edge of the hole the same amount on all sides, and that the design and yarns of the fabrics match. Pin in place and baste if necessary. Clip the corners of the hole diagonally to the desired seam line. Turn in the raw edges, pin in place, and baste if necessary (Fig. 134). Stitch by machine close to the edge on both the right and wrong sides, or hem by hand. It may be more convenient, if the hole is quite large, to pin in place the fabric from which the patch is to be cut, before trimming out the hole. Finish the right side; then cut away any extra fabric on the wrong side and finish the edge. | | | | | | | Mending 175 Variations of the Hemmed Patch The raw edges may be held in place in one of the follow- ing ways when the fabrics used are too heavy to be turned under (as blankets), or when the material does not fray or ravel (as Some knitted underwear and stockings). Catstitch is used on either woven or knitted fabrics and is desirable for the latter because of its elasticity (Fig. 135), FIG. I.35. Catstitched patch FIG. I.36. Darned patch but it is more conspicuous than the other stitches. For the method of making see “Decorative Stitches,” p. 68. Darning may be used on either woven or knitted fabrics. Since it requires considerable time to make a good-looking darned patch, darning is used only where neither cat- stitching nor hemming is satisfactory, as on men's trousers or the elbows of coats and dresses (Fig. 136). For the method of darning see “Tears,” pp. 169–172. Hemming stitch is used in knitted materials where the catstitch would be too conspicuous, as in stocking legs (see “Stitches,” p. 290). This is a good method for some lace fabrics. The torn place should be trimmed in an irregular line following the design in the lace. The design in the patch and the garment should match exactly. Hem around the raw edges on the right side; then trim the patch, fol- 176. Clothing Construction lowing the design, and hem the patch on the wrong side; or trim quite close and finish with overhand, buttonhole, or blanket stitches taken through the two thicknesses. Glued Patch A quick and practically invisible method of patching woolen and silk fabrics is the use of mending tissue, mending cement, or glue. These are generally used on a tear or a split and to reënforce worn places; they are seldom satis- factory when the edges of the tear are frayed or when there is a hole. Neither are they satisfactory on thin fabrics or on garments which are to be dry-cleaned frequently or laundered. With mending tissue. Working from the wrong side, match and draw together the torn edges as carefully as possible. Then place over them a piece of mending tissue just large enough to extend a little beyond the edges of the tear. Cover the mending tissue with a piece of the fabric, matching the lengthwise and crosswise yarns of the article and the patch. Press with a warm iron to make the tissue and the cloth hold together. If too hot an iron is used, the tissue will become hard and rubbery, and a stain may appear on the right side of the article. Let the tissue dry thoroughly before handling or wearing the article. With mending cement or glue. Working from the wrong side, carefully match and draw together the torn edges. Brush over this space a light coating of glue or cement. Cover with a piece of the fabric, matching the lengthwise and crosswise yarns. Place a cold iron or any heavy object Over the patch until the glue or cement sets. If too much glue or cement is used, a stain will appear on the right side of the garment, and the patch will be stiff. Mitering 177 26. Mitering When a hem is turned, it is usually desirable to miter it at the corner to avoid bulkiness. The method described below may be used whether the corner is square or pointed. When lace is sewed around a corner, in order to have the outer edge lie flat it is necessary either to full the inner edge of the lace or to miter it, depending upon the width of the lace. B FIG. I37. Mitered corner in a hem A, showing diagonal seam stitched; B, showing appearance after seam is trimmed and pressed open and edges of hem are creased back Mitering a corner in a hem. Turn the hem to the right or wrong side as desired, being careful to crease well at each side of the corner to be mitered. It may be necessary to substitute a basting line for this crease on some fabrics. Then open the hem and turn it to the opposite side, and recrease it along the original line so that the extra fabric, instead of being turned inside the hem, comes out at the corner (Fig. 137, A). Crease along the diagonal line from the corner to the inner edge of the hem to mark one side of the seam line. Fold the corner in the opposite direction to Patterns 179 women’s, by bust, hip, or waist measure; of misses', by age or by the same measurements as women's patterns; and of men's, by neck, breast, or waist measure. Since patterns are made for average-sized people, measurements should be checked (see page 167); and when selecting misses' and children's patterns it is not advisable to rely wholly on the age. The bust measure is used in selecting patterns for dresses and similar garments; the hip measure is usually a more satisfactory guide than the waist measure in selecting patterns for skirts and knickers. Some difficulties in fitting may be prevented if patterns are carefully chosen; so it is advisable to experiment with different makes, to find those best suited to the figure. Two patterns of the same bust measure may vary in the width of back and front or the slant of the shoulder seam. Most patterns are made for the average figure, but some are best suited to a certain type — as for a tall, slender figure. Some manufacturers make special patterns for abnormal figures — figures with large hips, for instance. The selection of patterns and the construction of chil- dren's clothes present many rather difficult problems. If the garment is made to fit the child, he is likely to outgrow it before it is worn out; but if it is made very large origi- nally, it is likely to be so much oversize that it is awkward and the child is made uncomfortable. Part of this difficulty may be obviated if pre-shrunk fabrics are used and if designs are selected which can be adjusted as the child grows; for example, provide for wide hems at the bottom of dresses or place tucks so that they serve as decoration but may be let out easily later; make two-piece garments for boys and make the blouse long enough so that the waistline may be lowered; choose raglan rather than set-in sleeves; avoid patterns that have snug-fitting yokes or bands. 180 Clothing Construction The importance of having clothing that permits access of sun and air to the body is becoming generally recognized; hence shorts, and garments without sleeves, or with very short ones, and with low-cut backs, represent something more permanent than a whim of fashion. Of course, the season of the year, the climate, and the temperature of the rooms in the home and the school are all factors that in- fluence the design of children's garments, as, for example, the length of sleeves. It is desirable that patterns for children's garments should be simple in design, so that the garments may be constructed and laundered easily and so that they will be comfortable. All openings should be sufficiently long to make it easy for the child to get in and out of the garments and should be placed conveniently to teach the child to be self-reliant. Before the garment is cut, decide whether the placket suggested in the pattern is desirable, and if not, make necessary changes when cutting. Certain suggestions are here offered regarding the choice of designs for children's garments. Rompers are likely to be most satisfactory when they fit at the shoulder, are roomy through the body, and have a shaped back extension which laps over the front and buttons up fairly high instead of opening along the crotch seam, since this arrangement stays closed better, is more comfortable, and allows for adjustment as the child grows. Rompers, very short trousers, and panties should have sufficient width across the crotch; and in trousers and bloomers it is essential that the crotch be deep enough so that the garment will not bind. Neck lines are more comfortable and more easily laundered when finished with facings than with collars. Patterns 181 Use of Patterns The information that is given on a pattern pertains to the cutting out and making of the garment, and should be studied and understood before the pattern is used. This information is indicated in different ways, and varies with the make of the pattern. In some patterns the directions are printed directly on the pattern, while others have per- forations, notches, and numbers, with a key to explain their meaning. Diagrams usually accompany the pattern, showing how to place it on cloth of different widths. Per- forations and notches or printed directions indicate when the pattern should be placed on a fold of the fabric, as well as show how it should be placed relative to the straight of the fabric; they also indicate joinings, seam lines, and trimming lines. Testing Patterns Methods Since patterns are usually made for the average figure, they should be checked carefully before the garment is cut out. There are several methods of testing, and the method or methods used will be determined by the type of gar- ment, the fabric used, and whether or not the figure is normal. Checking the pattern with the individual's measurements. This method will be adequate only when the design of the garment does not need to be checked in relation to the individual. Using the individual's measurements (see “Measurements,” p. 167), check the corresponding places on the pattern, measuring from seam line to seam line. It is usually unnecessary to check the measurement by which the pattern has been selected, that is, bust, waist, or hip ImeaSure. | || FIG. 138. To increase the bust measure and the width of the shoulder Slash from the center of the shoulder line, straight down to the lower edge, on both the front and back pieces of the pattern. Separate each piece to add one fourth of the additional width needed. Correct the shoulder line Æ FIG. 139. To decrease the bust measure and the width of the shoulder Lay a fold in both the front and the back piece, taking out one fourth of the extra width in each fold. Correct the shoulder line Patterns 183 Pinning the pattern together and trying it on. This method is generally used because it is possible to check size and also to determine whether any changes in line and design are advisable. Pin the pattern to- gether along the seam lines and try it on. Be sure that the pattern is well adjusted to the figure, with the center front and center back properly lo- cated and pinned in place. If a dress pattern is being fit- ted, the dress should be re- moved before the pattern is slipped on. Cutting a test garment from muslim or any other inexpen- sive fabric and fitting it. This method is used as an additional check for the pattern when a person has an abnormal figure, or when one is using an ex- pensive fabric. The pattern should be carefully tested by checking its measurements or by trying it on. Make all necessary alterations on the pattern, and then cut out the test garment. Pin and baste the garment together and fit it y- — FIG. I.40. To increase the bust measure without increasing the width of the shoulder If only a small amount is to be added, make a slash in line with the center of the shoulder, begin- ning at the lower edge of the pat- tern and cutting to within 4 inch of the shoulder. Spread the pat- tern to give the additional width needed. If the bust is very full, extra length will be needed also. To give this length, slash at the fullest part of the bust, straight across from the center of the front to the first slash, and then diag- onally to within 4 inch of the armseye. Spread the pattern to give the additional length needed (see “Fitting” and “Foundation Pattern,” pp. 124–138, 193). After making all the necessary alterations, rip apart and use the pieces of the test garment as a pattern for the 184 Clothing Construction garment to be made. If the figure is normal and the test garment is made merely as a safeguard in the use of the expensive fabric, the test garment may be of fabric suitable for a dress (such as percale or gingham), and after it has served as a pattern it may be made up. FIG. I.41. To increase the shoulder width Add one half the extra width needed, at the end of the shoulder, on both the front and the back of the pattern, keeping a good armseye line. Only a small amount should be added in this way. It is often necessary to in- crease the width of the back also (see Fig. 138, B) FIG. I.42. To alter for a narrow chest This is an alteration that often accompanies the one for round shoulders. On the dotted line, turn back the edge of the pattern at the center front, taking off one half the extra amount at the neck line and tapering to the edge of the pattern Checking the pattern by means of a foundation pattern. This method is especially helpful when it is difficult to have assistance in fitting. To test the new pattern, place the foundation pattern (see “Foundation Pattern,” p. 193) on the commercial pattern, matching the center-front and the center-back line. Note any necessary changes in the new pattern. Patterns 185 Alterations in Size of Patterns Patterns may need to be altered to change the size, to fit figures that vary from the average, and to change the design. Sometimes it is unnecessary to change the pattern A A C FIG. I.43. To alter for round shoulders A, when extra length is needed all the way across the back, slash straight across the back of the pattern from the middle of the armseye, and separate the pieces to give the needed length, correcting the armseye line as indicated. It is usually advisable to add some extra length at the neck line also. B or C, when more length is needed only in the center back, use either method. B, make a slash in line with the center of the shoulder, beginning at the lower edge of the pattern and cutting to within 4 inch of the shoulder. Make another slash at the fullest part of the back, straight across from the center of the back to the first slash, and then diagonally to within 4 inch of the armseye. Spread the pattern to give additional width and length across the shoulder. C, slash across the back of the pattern to within 4 inch of the armseye, and spread the pattern to give the needed length. Correct the center- back line from the slash down to the bottom in making simple alterations, since such alterations can be made by laying the pattern over a little way from the edge or the fold of the fabric, or by cutting partly around the pat- tern and slipping it over the desired distance before cutting the rest of the way around. The latter method is often used when increasing the bust measure and the width of the shoul- 186 Clothing Construction ders. If the changes are made on the pattern (see page 182), the edges of the pattern may need to be corrected. When the pattern must be altered a great deal, it is advisable to cut a new pattern and retest it before cutting out the garment. JS – |- -" A A C FIG. I.44. To increase the hip measure A, slash both front and back of the pattern from the lower edge to within 4 inch of the armseye. Spread the pattern to give one fourth of the additional hip width needed. B, to increase the bust and shoulder as well as the hip, slash from the center of the shoulder line straight down to the lower edge of both front and back pattern pieces. Separate each piece to add one fourth of the additional hip width needed. C, to increase the bust as well as the hip, make a slash in line with the center of the shoulder, beginning at the lower edge of the front and back pattern pieces and cutting to within 4 inch of the shoulder. Spread the pattern to give one fourth of the additional hip width needed For alterations of waist, skirt, and dress patterns see diagrams (Figs. 138–146) and explanations on pages 182– 188. For the preliminary testing and alteration of sleeve and cuff patterns see “Sleeves,” pp. 265–268, 283. Patterns 187 Modification of the Design of Patterns It is possible to modify simple patterns to make the design more becoming or to introduce new lines (see Figs. 147–150). Thus one may use the same pattern for several garments A AP FIG. I.45. To change the length of a dress pattern A, to lengthen, slash both front and back pieces a little above the waistline and just below the hip. Separate the pieces enough to give the extra length needed. B, to shorten, lay folds at the same places where the slashes were made in A, to take up the extra length and have no two alike. If one desires to retain the original pattern, one should cut a duplicate and make the modifica- tions on it. When alterations such as those shown in Figs. 148, 149, C, D, G, and 150 are desired, slash or dart the pattern only to within about $ inch of the edge in order that the edge of the pattern may not be changed in length when it is changed in shape and that the modified pattern may be flat. Patterns 189 too narrow (throughout or in part), lay the original pattern On a piece of paper and mark around it (Fig. 147, D). Then draw a new edge line the desired width and shape. If the new collar rolls too much, see the following paragraph. FIG. I.47. Changing the length or width of a collar pattern A, to lengthen; B, to shorten; C, to make narrower; D, to make wider Changing the amount of roll in a nonconvertible collar. The collar may roll too little or too much to be becoming. If it is too flat, take darts which taper to the neck line (Fig. 148, B). These may be taken only across the back of the collar, or other darts may be made farther toward the front & of the collar. If much fullness is to be removed, it is better to use several A Af C small darts than a few large ones. In some cases it may be easier to slash and lap the pattern in- stead of laying darts. If the collar rolls too much, slash and separate as shown in Fig. 148, C. However, the collar neck line must be made a little straighter than the garment neck line so that the collar may roll enough to cover the joining seam. The more nearly the collar conforms to the neck line of the garment, the flatter the collar will be. FIG. I.48. Changing the amount of roll in a nonconvertible-collar pattern A, original; B, roll increased; C, roll decreased 190 Clothing Construction Skirts To make a plain skirt flare. Begin at the hip line and add extra width gradually from that point to the bottom of the garment (Fig. 149, A, 1). If the fabric will hang in Soft folds, it is possible to preserve a narrow silhouette in the upper part of the skirt and to provide considerable fullness from the knees down by making this line an inward'curve (Fig. 149, A, 2). One should keep in mind that this modi- fication permits the addition of only a limited amount at any one Seam. To make a plain skirt circular. This method necessitates the use of a yoke or a design in which the skirt is joined to the garment below the normal waistline. If a yoke is to be used, sketch the desired shape on the skirt pattern and cut along this line. Slash the skirt section several times to within # inch of the top; separate the pattern at the slashes, as indicated (Fig. 149, C, D); and add a seam allowance at the upper edge of the circular section and at the lower edge of the yoke (Fig. 149, B, C, D). To make a section of a plain skirt circular. Draw on the skirt pattern a line indicating where the circular section is to be inserted and cut along this line. Slash the section which was cut out, separate as described for a circular skirt, and allow for seams. To make a circular skirt less full. Lay darts or slash and lap the pattern from the bottom, tapering to nothing at the top of the circular section, so that the darts or laps form radiating lines from the top of the section (Fig. 149, G). All darts or laps may be of equal depth, or those may be deeper which fall where the most fullness is to be removed. To introduce plaits into a plain skirt. If plaits are to be arranged on each side of a center panel, make the panel slightly wider at the bottom than at the top; otherwise Patterns 193 Foundation Pattern If a person has an abnormal figure, it may be advisable to make a foundation pattern out of muslin or other inex- pensive fabric rather than to alter the paper pattern. This foundation pattern, after it has been fitted and altered, should be ripped apart and may then be used for testing commercial patterns, or it may be used in place of a com- mercial pattern for such garments as simple blouses, dresses, undergarments, and aprons. The design may be varied in many ways (see “Modification of Patterns,” pp. 187–192). Making Use as a basis a commercial blouse or dress pattern which is simple in design and has a normal shoulder line. Test the pattern by checking measurements or by trying it on, and alter it as needed (see “Alterations of Patterns,” pp. 185– 186). Use the altered commercial pattern as a guide, and cut the foundation pattern from the cheap fabric. Pin and baste the foundation pattern together and fit it, utilizing the suggestions given under “Fitting,” pp. 124–138). In making changes in the fitting, since this is a pattern rather than a garment, extra pieces of cloth can be pinned on the edges where needed, or the cloth can be cut and extra pieces in- Serted. After the foundation pattern has been fitted, make any other changes needed; then rip apart, and use the pieces to cut a new paper pattern. Preparation of Fabric for Cutting Sometimes it is desirable to shrink the fabric before it is made up (see “Pressing,” pp. 234–239). If the fabric has not been cut along the yarn of the cloth, Straighten it by pulling a yarn and trimming or by cutting along a yarn. If 194 Clothing Construction the fabric has been stretched out of shape in the finishing process, straighten it by stretching it diagonally, or by dampening and ironing or pressing. If there is a decided crease in the fabric, owing to folding, which will interfere with the cutting of the garment, it should be removed before the pattern is placed on the fabric. For the method of removing fold line see “Pressing,” p.239. Placing Pattern on Fabric Place the pieces of the pattern so as to use the cloth to the best advantage. For this purpose the fabric is generally folded lengthwise, although some- times it is folded crosswise. Care must be taken to match any design, and to see that all pieces run in the same direction when the fabric has an up and down. For matching de- signs see “Matching Plaids, Stripes, and Figures,” p. 166. In using twilled fabrics the pat- Fig.151. Method of ºut tern should be placed so that the ting notches so that they twill runs from the upper right to the will not interfere with making a Seam lower left as one faces the garment. This applies to all pieces of the gar- ment and may serve as a means of distinguishing between the right and wrong sides of the fabric. In wool fabrics with a pressed nap (such as broadcloth) the pieces of the pattern should be placed so that the nap runs toward the lower edge of the garment; but in the case of pile fabrics the garment may be made with the pile running up or down, the former producing the richer-appearing texture. After the pattern has been placed satisfactorily, pin it carefully to the fabric. Piping 197 Combination Piping and Facing This is the only piping that finishes the edge. Make the piping strip wide enough to allow for the piping plus the amount needed for the facing. Crease lengthwise, from # to # inch from one edge of the strip, and apply so that the narrower edge is next to the garment and the wider side of the strip forms a facing on the wrong side of the garment. Apply in the same manner as a plain piping, with or without the stitching showing on the right side. In wash fabrics finish the facing by turning under the raw edge and stitching it to the garment by hand or machine. In wool or silk garments the facing may be finished by overcasting or self- stitching (see “Seam Finishes,” p. 253), and left loose or tacked occasionally, or it may be catstitched, or hemmed in place with slip-stitch hemming. NOTE. A corded edge may be made in the same way as a combination piping and facing, except that yarn or cord is stitched into the folded edge before it is applied (see “Corded Seam,” p. 256, and Fig. 193). Piping Set between Two Thicknesses of Fabric A piping is often set into the edges of hems or facings, in seams or in slashes; it may also be set into the seamed edge of double collars, cuffs, and pockets. If no stitching is desired on the right side, make it as a corded seam. If stitching is to show on the right side, make it as a lap seam, inserting the piping along the Seam edge. 198 Clothing Construction 29. Plackets A placket is a finished opening in a garment. On Outer garments it is essential that the placket be as inconspicu- ous as possible, unless it serves as a decorative feature; therefore it is usually only long enough to permit one to put on or remove the garment easily. On women's clothes plackets in the front or the back Sec- tions of a garment usually lap right over left, and on men's clothes left over right. On sleeves the upper side always laps over the under side of the sleeve when the placket is in line with the little finger; when the placket is located in a seam, it is usually desirable to lap in the same way. For children's garments plackets should be selected that will promote self-help by their location, type, size, and number of fasteners required; and plackets on outer and on under garments should be located in approximately the same places. On girls' bloomers plackets lap back over front; but on boys' trousers they may lap in different ways, depending upon the age of the boy and the type, location, and number of plackets. If the trousers are made with a partial drop-front, this laps over the rest of the front on both sides of the center, and the drop-back laps over the front at the side seams; if the blouse is cut long enough to serve as a fly, trousers for young boys may be made with an en- tire drop-front which meets the drop-back at the side seams. In general the position of the placket is determined by the location of the seams or by the design of the garment. When a placket terminates at the neck line or at the bottom of the sleeve, it should be made before the neck or the bot- tom of the sleeve is finished, unless the placket and edge Plackets 199 finish are cut as one piece. In the case of a placket in the underarm seam of a dress, the waist and skirt should be joined before the placket is made. Since many different types of plackets are used on gar- ments, it may be well to refer to the following list to dis- cover which plackets are suggested for specific uses. Of course not all the types listed are applicable in a given garment. Uses for Different Types of Plackets Boys’ trousers (center front) Fly Boys’ trousers (side front) Welt Boys’ trousers (side seam) Bound-buttonhole Extension Hemmed — in a seam Dresses or skirts (underarm or side seam) Continuous-bound, made with a lengthwise strip Lap Dresses or skirts (center or side front) Lap Tuck Welt Girls’ bloomers Bound and faced Continuous-bound in a slash, made of a lengthwise strip Continuous-bound in a seam Extension Neck openings in slip-over garments Bound-buttonhole Continuous-bound in a slash, made of a bias strip Hemmed — in a slash Rolled Tailored 200 Clothing Construction Petticoats Bound and faced Continuous-bound in a slash, made of a lengthwise strip Continuous-bound in a Seam Hemmed — in a slash Lap Sleeves Bound-buttonhole Continuous-bound in a slash, made of a lengthwise or bias strip Hemmed — in a slash Lap Picoted Rolled Substitute (see page 283, under “Cuffs”) Tailored Continuous-Bound Plackets This type of placket is easy to make and serves as the basis for a number of variations. It is a one-piece placket that is widely used on bloomers and children's dresses when the garment is made of a light-weight fabric. Continuous-Bound Placket Made in a Slash with a Length- wise Strip of Fabric Cut the opening the desired length along a yarn of the fabric. Cut a lengthwise strip twice the width of the finished placket binding (which is usually # to # inch wide) plus two seam allowances, and twice the length of the placket open- ing plus 1 inch. If it is to be finished by hand hemming, place the right side of the binding to the right side of the garment with edges even; if it is to be finished by machine stitching, place the right side of the binding to the wrong side of the garment. Holding the garment toward you, pin Plackets 203 Bound and Faced Placket This is a one-piece placket used on undergarments and chil- dren's clothes. It is less bulky than the continuous-bound placket and is much stronger. A bound and faced placket is made as a continuous-bound placket, except that the bind- ing strip on the upper side of the placket is cut out to within about $ inch of the bottom of the placket and within about # inch of the folded edge of the strip (Fig. 157). Stitch or hem FIG. I57. Bound and faced the binding in place on the placket under side of the placket. Then fold back on the upper side the part of the strip that is to form the facing and baste it flat on the garment. Stitch it in place, or hem by hand down the side of the placket and across the end. Bound-Buttonhole Plackets These plackets may be used where the two edges of the placket meet, as in front or back openings in blouses, in side openings of little boys' trousers, and sometimes in slashed openings in sleeves. If the placket is long, a vestee or fly may be desirable. Bound-Buttonhole Placket without a Fly Mark the location of the placket opening with a line of basting. If possible, avoid cutting the slash until after the binding piece is applied. Cut the binding strip on the straight or bias of the fabric, depending upon the effect 204 Clothing Construction desired. Cut the strip at least 1% inches wide and 1 inch longer than the length of the finished placket. Baste the binding strip in place with the right side against the right side of the garment. Proceed as in “Finishing a Slash for a Tie or Belt” (p. 109), without a reënforcement or a facing. A variation of this placket is made with the binding strip cut wide enough to form a facing on the wrong side. After the placket is made, overhand together on the wrong side the two edges of the inverted box plait at the end of the placket. Bound-Buttonhole Placket with a Fly Cut the binding strip at least 4 inches wide, and place it on the garment, right sides together, with one edge of the strip from 13 to 1% inches to the left or right of the placket line. Make the same as for a short slash, except that the extra width is turned back to form a fly on the wrong side of the garment (Fig. 158). If the garment is made of a wool fabric, such as flannel, the fly is left single, with the edges finished, but it is re- enforced under the fasten- ers; otherwise the fly is again folded back to make it double. The raw edge on the narrow side of the binding is turned under and stitched in place, if stitching is used around the placket opening, or is allowed to extend and is then finished as desired. FIG. I58. Bound-buttonhole placket with an attached fly 206 Clothing Construction Fly Placket This placket is used for the center-front opening in trou- sers for the older boy (Fig. 160, A). Cut five fly pieces—two of cloth like the garment and three of some firm lining fabric. Upper side of opening. Face the upper (left) edge of the front open- ing with one of the fly pieces made of the lining fabric (see “Fitted Fac- ing,” p. 98). Fly. Join two fly pieces — one of cloth and one of lining — with a plain seam along the outer edge, joining them so that the lining side will come uppermost when it is stitched to the gar- - ment. Turn right side tº out, baste, and press so opening that the seam is just in- side the edge on the lin- ing side of the fly. This keeps the lining from showing on the right side. Make buttonholes in the fly strip at this time rather than after it is attached to the trousers. Pin and baste the fly in position, with the front edge about $ inch back from the edge of the left front of the trouserS. Stitch the fly in place from the waistline to the bottom of the opening. The stitching should be about # inch in- FIG. I.60. Fly placket Plackets 207 side the buttonholes and parallel with the front edge, except for the last 2 inches, where it curves in to the center front. Overcast the raw edges of the fly, and tack it firmly to the facing between each two buttonholes. Under side of opening. This is an extension which is joined to the right front of the trouser opening. Face and possibly reënforce the under lap of the fly (extension) with the lining fabric and join the cloth side of the fly to the edge of the right front of the trousers with a plain seam. Stitch the seam and press it open, clipping the edge to make it lie flat. Turn under the raw edge of the lining and baste it flat so that it covers the seam (Fig. 160, B). Stitch from the right side from the waistline to the bottom of the opening (Fig. 160, A). Stay the bottom of the opening, and sew the buttons on the under lap of the fly to match the buttonholes. Hemmed Plackets Hemmed Placket in a Slash This placket is used on dainty handmade blouses and children's clothes. Cut the placket opening the desired length along a yarn of the fabric. On the under side turn a narrow hem (from # to # inch wide) and clip at the bottom of the placket enough to permit turning the hem. Baste and hem in place. On the upper side turn a wider hem (from # to # inch wide) and clip as before, baste, and hem. The line of hem- ming may be covered with a decorative stitch. Lap the upper side over the under side, forming one plait on the right side of the garment and another on the wrong side. To stay the placket and to hold the plaits in place, stitch 208 Clothing Construction across the end of the placket or backstitch from the wrong side without bringing the stitches to the outside of the hem (Fig. 161, B). Hemmed Placket in a Seam This is the most quickly made placket for the side Seam of a young boy's trousers and can be handled easily by the T-T— T- —r—hr—r— T | | | | | | | | | | | | | l h | | | | ! F-----, him. F- | : ! I I } | . | | | : | | | | | | A A A A FIG. I.61. Hemmed placket in a FIG. 162. Hemmed placket in slash an open stitched fell seam A, right side; B, wrong side A, wrong side, reënforced at the end with a tape; B, right side, re- enforced at the end with a bar tack child. It does not lap and so requires that the blouse be long enough to serve as a fly. Make the first stitching of an open stitched fell seam (see page 258) up to the placket opening and fasten the ends of the threads by tying or Stitching back about 1 inch. Complete the hemmed seam, and continue the basting and stitching of the hems to the waistline. The end of the placket should be reënforced with a stay of fabric or tape on the wrong side, or by making a bar tack on the right side (Fig. 162, A, B, and “Bar Tack” pp. 53–54). Plackets 209 Lap Placket This is a two-piece placket, which is generally preferable to a continuous-bound placket in a dress, because it is flat and strong. Mark the seam allowance on each side of the placket with a line of basting. If the seam is on a Selvage or the fabric does not fray, reënforce only for fasteners, FIG. I63. Lap placket A, wrong side; B, right side except in the case of wool, when it is necessary to reënforce the entire placket. If the seam has raw edges, use straight strips of a firm light-weight fabric 1 inch longer than the placket opening and wide enough to bind the edge and serve as a reënforcement. After the placket strips have been attached, the inside edges may be hemmed to the garment or finished and left free except as they are held by the fasteners. Turn back the upper side of the placket on the seam line, edge-stitch from the right side if desired, and allow the under side to extend (Fig. 163, B). Rečnforce the end of the placket with stitching and press (Fig. 163, A). If the seam is narrow, make the binding strip on the under side of the placket wide enough to form an extension. 210 Clothing Construction Picoted Placket Plackets on full sleeves in sheer fabrics, such as chiffon, may be made by machine hemstitching which is later cut through the center to form a picoted slash. To reënforce the end of the opening, take a few buttonhole stitches or make a small thread bar, as on the end of a worked buttonhole. Rolled Placket A rolled hem is often used to finish the edges of a placket in a light-weight fabric, especially the sleeve placket in handmade blouses or dresses where no fasteners are needed on the placket. Cut a slash the desired length and make a very narrow rolled hem along each edge of the slash. The end of the opening may be reënforced by a few buttonhole stitches or by a small thread bar. Shirt-Front Placket This type of placket is used as the center-front finish on boys' or men's shirts and on women's tailored blouses. The under side of the opening is finished with a hem from # to # inch wide; the upper side is finished so that it gives the effect of a box plait that is about 1 inch wide. When the fabric is alike on both sides, turn a plain hem to the right instead of the wrong side of the fabric. Make the first turning about $ inch wide and the second turning about 1 inch wide. Baste and stitch flat to the garment # inch from each edge of the plait thus formed. When the fabric has a wrong side, turn a hem to the wrong side the desired width of the plait. Crease again on the inside edge of the hem, just as if you were turning the hem an equal distance a second time. Then stitch # inch from Plackets 211 Af FIG. 164. Shirt-front plackets A, box-plait effect, made as a part of garment; B, box-plait effect, applied to garment as a separate piece this second fold to form a tuck. Crease the tuck flat on the garment and stitch again # inch from the Outer edge (Fig. 164, A). NOTE. On tailored shirts the upper side of the placket is often finished on the wrong side by applying a strip of cotton cloth or tape, which is held in place when the stitch- ings are made # inch from each edge of the plait. In this case the plait is usually made of a separate strip of cloth (with the raw edges turned under on both sides about $ inch) applied flat on the right side of the garment (Fig. 164, B). Tailored Placket This placket is used chiefly as a sleeve placket in boys' and men's shirts and in women's tailored blouses. It may also serve as a finish for a slashed opening in the center front and occasionally in the center back of a dress. 212 Clothing Construction Such a placket may be made of either one or two pieces. With the former method no raw edges are left on the wrong side of the garment; but since the two-piece placket is sim- pler to construct it is explained here. Two—Piece Tailored Placket Cut a slash the desired length (usually 4 or more inches in length) along a yarn of the fabric. Finish the under side of the opening with a straight binding about $ inch wide e- - N- when finished, apply- . . . . . . ,-N ing it as on the under side of a continuous- bound placket in a slash (pp. 200–201). For the upper side cut a strip at least 1 G. Car-l. . . ** inch longer than the slash and twice the width desired for the finished placket plus two seam allow- A A ances (usually about 2 inches wide for a sleeve placket, and wider for One used in a front opening of a dress). Turn under the raw edge along the sides of the strip and crease lengthwise through the center. Open and cut to a point at the end of the upper side and cut off the lower side, as indicated by the dotted line in Fig. 165, A. Clip as indicated in the figure, turn under the raw edges at the top of the strip, and recrease. Slip the edge of the slash between the edges of the placket strip and pin and baste flat to the garment. Stitch the FIG. I.65. Tailored placket A, placket strip; B, placket stitched to garment 214 Clothing Construction joining the tuck Seam, or in heavier fabrics (as in tailored suits) by placing a small hook and eye very close to the bot- tom of the placket and then flattening the hook so that it cannot come unfastened. Sew fasteners on the seam line, and take particular care not to let any of the stitches show on the right side of the garment. Welt Placket This may be used on the partial drop-front of boys' trousers. Slash each side of the front the depth desired for the placket opening; at the end of the slash, clip diag- onally a Seam's depth, slanting toward the center front (Fig. 167, A). For the upper side of the placket, cut the welt strip twice the finished width, plus seam al- lowances, and 1 inch longer than the slash; then fold through the center lengthwise, with the right FIG. 167. Welt placket sides together, and stitch across A, slash cut for placket; one end. Turn right side out and B, finished placket press flat. If the fabric is heavy, place the welt next the right side of the garment, with the raw edges coinciding and the finished end of the welt at the end of the slash; stitch through the three thicknesses of the welt and the garment, press the seam edges toward the front, and finish with overcasting or blanket stitching (Fig. 167, B). Finish the under side of the placket like the under side of a lap placket (p. 209), using a strip of firm, light-weight fabric. If the fabric is of medium weight, place the welt strip in the same position as for a heavy fabric, but attach like a i B Plaits 215 noncontinuous band, which is made before it is attached (See page 6). Finish the under side of the placket as de- Scribed for heavy fabrics, except that the garment fabric may be used. Slip-stitch the finished end of the welt to the gar- ment with very short stitches and reënforce the end of the placket from the wrong side with a row of back- Stitches, being careful not to bring them through to the right side of the welt. 3o. Plaits The general types of plaits are side plaits and box plaits. Inverted plaits and pinch plaits are variations of the latter type. In side plaiting the plaits all turn in the same direc- tion; a box plait is formed by two side plaits turning in opposite directions from a center line; an inverted plait is formed by two side plaits turning in opposite directions toward a center line. In other words, an inverted plait is the wrong side of a box plait. Side plaits, box plaits, and inverted plaits are explained in detail under “Plaited Skirts,” pp. 218–222. For a description of pinch plaits see “Plaits for Draperies,” pp. 224–225. Plaits may be made at home, or the fabric may be taken to some commercial establishment for plaiting. It is ad- visable to have plaits made commercially when a large amount of plaiting is to be used, or when many small plaits are desired. Much time will be saved in the laundering of wash gar- ments with plaited sections if the plaits are edge-stitched, especially if the edges of the plaits are not on the straight Plaits 217 Sections Inserted in Either a Slash or a Seam An extra piece of fabric may be inserted (before or after plaiting) in either a seam or a slash, to form one or more plaits. This piece may be cut on the lengthwise, crosswise, or bias of the fabric. If the plaits are to be made commer- cially, the hem should be put in before the plaits are laid. An inverted plait in a slash. Slash the garment at the desired place. Cut the fabric which is to form the plait about 2 inches longer than the slash. Fold this piece lengthwise with the right sides together, stitch down from the top about 1% inches, and press the seam open. Cut off the seam allow- ance the rest of the way down. Pin the right side of the section to the right side Fig.168. Invertedplait of the garment, placing the lower end of inserted in a seam the seam just made to the top of the (wrong side) slash. Baste and stitch (see Fig. 23). Clip to the stitching; then lay an inverted plait. If the effect of a bound plait is desired, let the fabric of the inserted sec- tion extend beyond the stitched edge to form a binding, as in a bound-buttonhole opening (see “Plackets,” pp. 203–204). Stitch this binding after hemming the garment. The top of the slash may be reënforced (see “Fitted Facing,” p. 245). A series of plaits inserted in a slash. Slash the garment at the place where the plaits are to be inserted. Then at the top of this slash cut the shape that is desired, for a dis- tance on each side of the slash that will be required to insert the section of plaits. Cut the fabric for the plaits 1% inches longer than the slash for finishing. Either lay the plaits and then make the lengthwise seams, or make the seams and then lay the plaits. Join the top of the plaited Section 218 Clothing Construction to the garment with a plain or a lap seam. Finish with binding or overcasting (see “Seam Finishes,” pp. 253, 255). This joining may be reënforced (see “Fitted Facing,” p. 245). A series of plaits inserted in a seam. Proceed as for in- serting a section of plaits in a slash, except that it is not necessary to make the perpendicular slash. Plaited Skirts Plaited skirts are usually plaited all the way around. Side plaits, box plaits, or inverted plaits may be used; or the three types may be combined in the same skirt. The necessary measurements for a plaited skirt are waist measure, hip measure, and length of skirt plus hem allowance. Each plait requires three thicknesses of cloth. Consequently, when the skirt is to be made with no spacing between plaits, it must be three times the hip measure in width; when there is spacing between the plaits, propor- tionally less fabric is used. The number of lengths of fabric required depends upon the width of the fabric and the depth and the number of the plaits. NOTE. When the fabric has a heavy crosswise yarn it may be advisable to make the skirt crosswise instead of lengthwise of the fabric. The seams of the skirt are usually completed and the hem made before the plaits are put into the garment. (When it is to be plaited commercially, it is prepared in the same way, except that one seam is left open.) While laying the plaits it is convenient to place the skirt over an ironing board. Determining the number of plaits. Add about 2 inches to the hip measure so that the plaits will stay in place when Plaits 219 the garment is worn. Divide this enlarged hip measure by the desired width of the plaits to determine the number of plaits in the entire skirt. (The width of the plaits must be chosen so that this amount will be contained in the hip measure an even number of times.) For example, if the enlarged hip measure is 36 inches and 3-inch plaits are to be used, there will be 12 plaits in the skirt. If there is to be no spacing between plaits, this 3 inches represents the depth of the plait; if there is to be spacing between plaits, this 3 inches represents both the depth of the plait and the space between two plaits. Side Plaits Side plaits may be used singly or in a series. They may vary both in depth and in the distance between them; they may lap in the same direction around the entire skirt; or they may start at the center front with a box plait and all turn toward the back, forming an inverted plait at the centerback. Laying side plaits with no spacing between plaits. Fold the cloth in halves on the center-front and center-back lines. Begin at the center front and, working with the cloth double, divide it into as many equal sections as there are to be plaits in half the skirt. At the hem edge mark each thick- ness at these points with pins. All seams should be placed under the plaits in as inconspicuous a manner as possible; sometimes this requires a shifting of the center-front and center-back lines. Check the location of seams and division lines between sections; then mark the center-front and center-back lines of the skirt with guide basting (see “Stitches — Guide Basting,” p. 287). Each section is to form one plait. Begin at the center front and measure off from each section line the width of the plait. This represents the fold line of each plait. Mark accurately both the sec- 220 Clothing Construction tion line and the fold line of each plait with pins, needles, tailor's tacks, or tailor's chalk, depending upon the ma- terial used in the garment (see “Markings,” pp. 164–165). *A-sºº, 7.7°-7 ſ *-caa/, /ae –7 | | * Cºzzº TVºzre- FIG. I.69. Laying side plaits in a skirt Section lines marked with guide basting, and fold lines with tailor's chalk. First plait basted in place If the fabric creases easily, press on each line that marks the edge of a fold; if the fabric does not hold a crease (as in wool), baste through the two thicknesses about # inch from each fold line. Lap each pressed or basted fold line Over the Section line, and pin; then baste in place (Fig. 169). Press the plaits (see “Pressing,” p. 234). Laying side plaits with uniform spacing between plaits. Locate and mark the center- front and center-back lines in the same way as when there is no spacing between plaits. Then beginning at the center front, measure off distances equal to the width of the sections, and mark each section line. Beginning again at the center front, measure off and mark a distance equal to the width of the plait plus the space between the plaits; this repre- sents the fold line. The other fold lines are located by measuring this same distance from each section line. 222 Clothing Construction Laying box plaits with spacing between plaits. Mark the section lines and the fold lines according to the design of the skirt. Lay the plaits in the same way as when there is no spacing between box plaits. Inverted Plaits Inverted plaits may be used singly, in a series, or in combination with side plaits. A skirt of inverted plaits is constructed exactly like one of box plaits. The effect is differ- ent, because the two folds come together at the center front of the garment. Plaited Trimming Plaiting used as trimming is usually made commercially unless only a small amount is needed. The plaits can be of various types, such as accordion, knife, sunburst, side, box, inverted, or a combination of two or more of these types. The amount of material needed varies according to whether or not there is a space between the plaits. It is advisable to have three times the desired finished length of the trimming band, since deep plaits are more satisfactory than shallow ones. Preparation of Fabric for Commercial Plaiting The plaiting may be made of a single or a double thickness. A single fabric for plaiting may have any desired edge finish, such as a hem, binding, facing, picoting, or hem- stitching. Finish the edges which are not to be concealed when the plaiting is attached, or finish both edges of a strip twice the desired width, and then cut through the center after the plaiting is done. However, if side plaiting is used, the plaits on the two strips will turn in opposite directions. A double fabric is used when the plaiting is to be narrow or when the under side is to be of different material from Plaits 223 that of the upper side. When different fabrics are used, put the two right sides together and stitch at the outer edge with a plain seam. Then turn to the right side, folding exactly on the seam line; or allow the under piece to pro- ject slightly, if that is desired, for decorative purposes. Press; then baste together the unfinished edges. The plait- ing may be made double by cutting the fabric twice the desired width and folding lengthwise through the center. Press and baste together the unfinished edges. Double plaiting may also be made by picoting two different fabrics together, right sides out. Making Plaiting at Home Prepare the fabric just as for commercial plaiting. Work- ing on an ironing board or a pad, lay the desired type of plaits. These may be pinned and then pressed in place, or they may be pinned, basted, and pressed in place. The marks from the pins show less if the pins are perpendicular instead of parallel to the fold of the plaits. Attaching plaiting. Plaiting may be attached by inserting it in seams, under the inner edge of reversed hems, in bind- ings, or under plaits. It may be attached to an edge by stitch- ing in place, if both edges are finished; otherwise finish with a facing, a binding, a plain Seam, or a lap Seam. Cartridge Plaits Cartridge plaits afford a decorative means of providing for fullness on a nonwashable garment. The amount of fullness that can be cared for satisfactorily in the plaited section will vary with the texture of the fabric and the size of the plaits. It is well to experiment on a double thickness of the fabric before planning the plaits in the garment. Turn back the edge far enough to provide two thicknesses 224 Clothing Construction for gathering and tacking to the garment, or face the edge with another color if contrast is desired. Gather as for Smocking (see pages 77–78), spacing the rows as close to- gether as the fabric requires. Apply the gathered fabric to the garment, lapping the depth of the gathered section (Fig. 170). Working from the right side, fasten the inside fold of each plait to the garment at the top of the plaited section. This tacking should be in- visible on the right side and can usually be done best with a slip-stitch. Then, working from the wrong side of the garment, tack the inside fold of each plait to the garment at the bottom edge of the lapped section. Another method is to hold the plaited section to the gar- ment with a row of tiny running stitches along the inside fold of each plait for the depth of the lap. FIG. I70. Cartridge plaits Plaits for Draperies Box plaits are used as a means of holding fullness in place at the tops of curtains and draperies. When they are used for this purpose, they are placed several inches apart and are usually tacked in place only at the top of the curtain. Pinch plaits, a variation of box plaits, are more frequently used and give a more decorative effect. Make a hem about 2 to 3 inches deep across the top of the curtain; or the drapery may be lined. The hem should be made with two. turnings of equal width, so that there are three thicknesses 226 Clothing Construction Patch Pockets The size and shape of the pocket are determined by its location and by the design and fabric of the garment. The top of the pocket may be finished with a hem, a facing, or some other edge finish which may extend around the entire pocket. Cut a piece of cloth of the desired shape and size, allowing for seams on the sides and bottom, and for a hem at the top, unless the pocket is to be faced or some edge finish other than a hem is to be used. FIG. 172. Wrong Making a Pocket with a Hem side of patch Finish the top of the pocket, turn in the . * raw edges, and press or baste; then pin under in position, baste, and stitch close to the edge. This method of making and attaching the pocket may be used if care is taken to turn under the corners at the top (Fig. 172) and if two rows of stitching are used; but it does not give as pleasing an appearance as the following method, since it is difficult to keep the corner *~|_|_ _ _ _ _ _ _ #14– \, . \–’ 2:=º A FIG. I73. Method of making a patch pocket so as to prevent corners of hem from showing from showing and it is likely to be bulky. Baste and stitch a hem across the top of the pocket. Slash in from each end for about 1 inch on the under side of the hem, about 4 inch above | Pockets 227 the stitching and parallel to it (Fig. 173, A-1 and 2). Turn under the raw edges of the pocket, having both thicknesses of the hem turned in to give a finished edge (Fig. 173, B–3), and being careful to turn the ends of the hem on ; | the under side slightly F---- F---- deeper than on the out- || side (Fig. 173, B–4). A || pocket that is faced at Fig. 174. Methods of stitching the corners the top should be han- of patch pockets dled in the same way. In stitching pockets it is necessary to reënforce the cor- ners where there is most strain; this may be done in several ways (Fig. 174). On wool garments the entire pocket is sometimes lined with silk, so that the edges are finished before applying. The pocket is then stitched or slip-stitched to the garment. Set-in, or Slash, Pockets A set-in pocket is a variation of the bound buttonhole. The opening may be crosswise, lengthwise, bias, or curved, according to the design and location desired. Mark the line of the pocket opening with basting. A reënforcement is generally advisable, especially if the pocket opening is bias or curved. For the method of applying the reënforcement, see “Bound Buttonholes,” p. 106. The pocket strip may be of the same or contrasting fabric and is usually cut crosswise or lengthwise, although for decorative purposes it may be cut on the bias. Bound Pocket Cut the pocket strip 2 inches wider than the desired opening, and twice as long as the finished pocket plus from 228 Clothing Construction 1 to 2 inches for seam allowances and for the binding of the opening. Crease the pocket strip crosswise through the center. Place the right side of the strip on the right side of the garment, with the crease on the marked line. Pin and baste in place. Stitching and cutting. Stitch around the marked line in the form of a rectangle, making the seams from # to # inch wide, turning square corners, and retracing the stitching exactly as in a bound buttonhole (Fig. 86, A-3), with the stitching running parallel to the marking line and from # to # inch on either side of it. Cut through the pocket strip and garment (and reënforcement if used) along the line of marking, to within # inch of each end. From here clip diagonally to the corners of the rectangle, being care- ful not to cut the stitching (Fig. 86, A-4). Turning and finishing. When turning the pocket strip through the opening you must be very careful to crease the fabric back at the ends of the pocket exactly on the seam line. Baste in place and press at the ends. Then fold the pocket strip so that it forms a binding over the seams, with the edges meeting in the center and with an inverted plait at each end on the wrong side (Fig. 86, A-5, B-5). Baste firmly in place along the edge of the binding slit. Tack the edges of the inverted plaits together at each end of the pocket, baste the edges of the pocket opening together with diagonal basting, and press. If the fabric is heavy, one may open the seams on the sides of the rectangle, instead of having both edges extend into the binding. Stitch in the groove inconspicuously by hand or machine along the upper and lower edges of the pocket binding (Fig. 175, A). Place the two parts of the pocket strip together, with the sides even, and baste and stitch around the raw edges (Fig. 175, B). If machine stitching was used on the right side of the pocket, Pockets 231 Place the welt next to the right side of the garment, with unfinished edges on the line of marking and the finished edge extending down (Fig. 178). Place the pocket strip over this and stitch as in a slash pocket, so that the stitching comes exactly to the ends of the welt. When the pocket is Right side of drawn through to the wrong garment side, the welt turns up into place on the right side. Crease | ºff \"" or press the fabric back at the ends of the pocket exactly on the seam line. Slip-stitch the ends of the welt to the garment. Press open the seam along the top side of the pocket, stitch the edges of the pocket to- gether, and finish the raw edges. FIG. 178. Welt pocket, show- The welt pocket differs from ing the weſt basted in place; the bound pocket in that the the dotted line indicates where pocket strip, instead of serving machine stitching will be done as a binding, serves as a facing on the lower edge and ends of the slit, and at the upper edge it extends directly down to fill the opening and to form the back of the pocket. Pocket strip Flap Pocket The pocket with a flap is made in almost the same way as the welt pocket, except that the piece that forms the flap is attached to the upper side of the slash, and the flap is left loose, not stitched flat to the garment at the ends, as is the welt. Make the flap, shaping it as desired, and usually Stitching around the three sides. Apply it to the garment with the raw edges coinciding with the line that marks where 232 Clothing Construction the pocket opening is to be cut, and with the flap turned up. Apply the strip which is to make the pocket; stitch, cut, and finish like a welt pocket, except that the pocket strip usually binds the lower edge of the slit as in a bound pocket. Pocket Set in Lengthwise Seams or under Tucks Pockets may be set in Seams or in a special opening cut along the inside edge of a tuck or (in coats) between the front facing and the edge of the lining. Leave the seam open, or (in a case where the pocket is placed under a tuck) cut an opening the length of the pocket opening. Cut two pieces of fabric the desired A size for the pocket, having FIG. I79. Pocket set in a length- the pocket pieces several wise seam A, type used between the lining and the front facing of a coat; B, type set in the side seam of boys' trousers inches longer than the seam opening (Fig. 179, A), to give depth below the opening. The pocket may be made of the same fabric as the garment or of one lighter in weight, or the fabric of the garment may be used for the under side of the pocket, which comes next to the body, and a lighter- weight fabric for the other side of the pocket. Stitch the straight edge of one pocket piece (Fig. 179, A-a) to one seam edge of the opening, and the corresponding edge of the other pocket piece to the other Seam edge, using plain seams with the wrong side of the seams on the wrong side of the garment — the one between the pocket and the garment and the other inside the garment. Turn both pieces of the Pockets 233 pocket to the inside of the garment, so that one is exactly over the other. To make the pocket pieces lie flat, a second stitching may be made on the right side of the seams at the opening, as in a cord Seam. Baste and Stitch the edges of the two pocket pieces together to form the pocket. NOTE. When a pocket is set in between the front facing and the edge of a coat lining, the pocket pieces are stitched together first, and one side of the pocket opening is stitched to the edge of the lining. The pocket is then set in place, and the other edge is turned under and slip-stitched to the front facing of the coat (Fig. 179, A). Pocket Combined with Placket Opening This pocket is used in trousers for boys under eight years of age, and it is found in many variations. Since in many ways it is not satisfactory to have the line of the pocket open- ing coincide with the placket opening, the method of making here described has certain dis- tinct advantages. Cut the back of the trousers, allowing a sufficient extension for the length of the placket to form a hem, or finish the under side of the placket as the under side of a lap placket. Face back the edge of the pocket opening with a piece of the garment fabric FIG. I80. Pocket combined with placket opening; dotted line shows the inside edge of which is large enough to form the pocket the upper side of the pocket, and stitch along the curved edge of the pocket opening. Cut the lower side of the pocket, which is also the upper Pressing 235 ease as fine cottons, and with little more care. Most wash silks should be pressed while they are still damp, but pongee is most successfully pressed when it is dry. It does not then acquire an undesirable shine and stiffness, and it is much easier to iron than when it is wet. Silks require careful pressing, especially crêpe fabrics, since hard pressing may remove the crêpe. When no moisture is used, press with a warm iron; but when the fabric is being steamed, a hot iron may be used. Steam pressing is usually necessary to remove center folds and to press seams, hems, plaits, and facings so that they will lie flat with knifelike edges. It makes possible the use of moisture without causing water- spotting. It is frequently more satisfactory to press first without moisture and then with moisture. Always press from the wrong side, unless a cotton cloth or a sheet of un- glazed paper is placed between the iron and the silk. A limited amount of fullness may be shrunk out of silk if the fabric is loosely woven or the yarns are tightly twisted. To Steam-Press Silk 1. Place the fabric or the garment as flat as possible (to prevent pressing in wrinkles) on the ironing board, either right or wrong side up, depending upon which is the more convenient. 2. Place tissue paper on top of the fabric to prevent water- spotting. 3. Place a dry cotton pressing cloth on top of the tissue paper to help to distribute the moisture. 4. Place a damp cotton pressing cloth on top of the dry cloth, being sure that no part of the damp cloth comes in con- tact with the garment. 5. Use a dry cotton pressing cloth between the damp cloth and the iron to prevent the iron from sticking. 6. Press until the cloths are nearly dry. Then remove them and continue pressing on the tissue paper until the fabric is dry. 236 Clothing Construction To Steam Silk before Cutting It may be desirable to steam some silk fabrics before cutting, such as those that have very tightly twisted yarns, as georgette, and are therefore likely to shrink, and those that have a high luster and are likely to water-spot. This steaming is usually more satisfactory if done at the store, but it can be done at home if much care is exercised. Open out the lengthwise fold and lay the fabric over the shower curtain rod (or a broomstick), which is longer than the fabric is wide; try to have as few crosswise folds as possible. Run hot water into the bathtub until the room is filled with steam. Keep the door shut and let the fabric hang for about an hour. Press if necessary with a warm iron, being careful not to press the fabric out of shape or to allow it to crease. Pressing Rayon Rayons are likely to be injured if pressed with too hot an iron; this is especially true of cellulose acetate rayons, which will stick to the iron and fuse, or melt, at a lower tem- perature than will regenerated cellulose rayons. In general, follow the directions for pressing silk. Pressing Wool Probably the chief reason why wool garments often have a homemade look is that they are not properly pressed. In order to understand the procedure that is used in pressing wool, it is desirable that one know certain facts about the behavior of wool under different conditions. The wool fiber is both elastic and plastic. Its elasticity permits the fiber to extend when subjected to a force, such as stretching, and to regain its original form when the force is removed. This explains why a wrinkled suit, if made of Pressing 237 good-quality wool, will be refreshed after it has hung in the closet for a period of time. The damper the air the more quickly will the wrinkles disappear, because moisture tends to release the latent strains in the fibers and permit the stretched fibers to recover their original length. Increasing the moisture content and the temperature (beyond room temperature) increases the plasticity of the fiber until, at the boiling temperature and with the moisture content approaching the saturation point, it is perfectly plastic and can be extended to the maximum amount with- out injury. When pressure is applied, the plastic fibers can be given a more or less permanent “set”; that is, when the fabric is saturated with steam developed by a hot iron and a wet pressing cloth, the fabric can be molded into the desired shape. If steam and pressure are applied for only a short time, or if the pressure is too light, the shaping may be rather temporary; for example, plaiting done at home may be less permanent than that done commercially because less steam may be used and the pressure possible with the ordinary iron may not be sufficient. Pressing should always cease while the fabric is still steaming, because when the moisture content decreases and the temperature goes much above 100° C. the wool fibers start to decompose, and the fabric tends to become harsh and inelastic. Since the fabric will be slightly damp when the pressing is finished, especial care must be used in drying it (see “To Press Wool,” paragraph 6, p. 239). The “set” may be removed more or less completely by exposing the fibers to the same humidity and temperature conditions as those to which they were originally subjected, but without the pressure; for example, if in remodeling a wool garment, you wish to lengthen it, steam the hem crease. To develop steam without exerting pressure on the fabric, 238 Clothing Construction hold the iron just above the pressing cloth; by this method it is possible to obliterate the crease line unless the garment was pressed at too high a temperature in the original press- ing or was pressed until it was dry. In other words, the fibers in a fabric must be rendered plastic by steam before it can be pressed into the desired shape; and if you wish to have it regain its original shape, it must once more be made plastic in a similar manner. The technique of pressing heavy tailored garments, such as suits and coats, is not easy to acquire, and may involve the use of a heavier iron than the average home affords. But anyone can easily learn to press the wool garments that are ordinarily made at home if she follows certain simple rules and provides herself with a small amount of additional equipment. Desirable equipment for pressing wool consists of the following: a smooth, well-padded ironing board; a heavy- napped woolen cloth, about 12 by 18 inches; cotton cloths — cheesecloth and rather heavy muslin; a sponge and a basin of water. In addition it is often desirable to have a padded roll and a tailor's cushion, but these may be im- provised very easily. To make a padded roll, wrap a heavy towel around a tightly rolled magazine or a broomstick. A tailor's cushion may be made by stuffing a bag made of heavy cotton cloth with scraps of wool cloth or with an old cotton blanket. This bag should be shaped at the corners to fit into curved parts of the garment, such as shoulder and armseye seams. The padded sleeve form may be used as part of the equipment for pressing, as well as for draping. To Press Wool 1. Place the fabric or the garment as flat as possible on the ironing board. 2. Place a dry woolen pressing cloth next to the right side of the garment. 240 Clothing Construction cloth; then cover this with a dry cotton cloth and press until nearly dry. To avoid having the imprint of the basting show after press- ing. If the fabric is easily marred, it is wise to use silk in- stead of cotton thread for basting. Press lightly with the FIG. 181. Method of pressing a sleeve seam on a padded roll bastings still in place; then remove them and finish the pressing. If an imprint is left in spite of the precautions taken, proceed as in removing shine. To press seams. Use a padded roll to avoid having the imprint of the extra thickness of cloth show on the right side. This is especially desirable when pressing sleeve seams (Fig. 181). To remove shine. Place the garment right side up on the ironing board; cover with the woolen cloth and then with the damp and the dry cotton cloths and steam by holding the iron close to the pressing cloth. Press lightly. Brush 242 Clothing Construction without turning under, stitch with a lengthened machine stitch, quite close to the edge. If the top of the hem is to be finished by turning under the raw edge, turn this edge and baste the turn; then stitch by machine. In either case draw up the thread on the wrong side until the hem lies flat, and pin in place so that the fullness is properly distributed and falls at right angles to the hem (Fig. 182). Then shrink out the fullness in the follow- ing manner: Remove a few pins and slip a piece of wrapping * Jº.4, paper into the hem ſhot ava (Fig. 182). Turn the ° 9” Wool cloth back over J - * the hem, cover this - with a damp cotton FIG. I82. Shrinking out fullness at the top cloth and then with of a hem a dry cloth, steam, and press from the bottom toward the top of the hem. Re- move the paper and replace the pins. Continue in this manner until the entire hem is pressed. To press darts at the top of a hem. Place the hem wrong side up on the ironing board. Slip paper between the hem and the garment in order not to mar the right side. To press pile fabrics. To prevent marring a pile fabric, pressing may be done in one of three ways: use a wire pressing board which is especially constructed for the pur- pose, placing the fabric pile down on the board and steam- ing; use a piece of the same fabric as a substitute for the board, but take care not to press too hard with the iron; or turn the iron on its side, place a damp cotton cloth and then a dry one over it, and steam by holding the fabric, Rečnforcements 245 gusset about 2 inches square and fold diagonally through the center with the two wrong sides together (Fig. 183, A). Place the raw edges of one side of the folded triangular piece to the wrong side of the shirt front, with point 1 in line with and about $ inch in from the edge. Baste and stitch in place about # inch from the edge of the gusset (Fig. 183, B). Crease the gusset back along the stitching line and finish as a flat fell seam to the end of the gusset; then turn and stitch in to the first stitching line, turn again, and continue as a hem at the lower edge of the garment (Fig. 183, C). Stitch the back of the garment to the front and the gusset; then make the second stitching of the fell seam in the same way as the second stitching on the front (Fig. 183, D). Single gussels of various shapes are frequently used in kimono garments to add strength and width to the gar- ments (Fig. 102, A, B, C, D, E). Stitch one side of the gus- set to the front of the garment; then stitch the back to the gusset and the front; however, if the gusset is cut rectangu- lar and the length of the underarm seam (Fig. 102, B), baste and stitch the front of the garment to one side of the gusset, and the back of the garment to the other side. Care must be taken to keep all seams of uniform width. Rečnforcing a Corner Fitted Facing This method not only adds strength but makes it easier to finish a corner or the end of a slash, especially on bulky or loosely woven fabrics. Place a fitted facing (see “Facings,” p. 98) on the fabric, with the right sides together. Baste and stitch on the seam line. Clip diagonally to the corner, being careful not to cut the stitching (Fig. 184). Turn the facing to the wrong side and finish in the way desired. 248 Clothing Construction fashions. Whatever fabric is used, it should always be shrunk before the facing is cut. Cutting. The size and shape of the interfacing in a lined or partially lined coat depend upon the extent to which the garment is to be lined and the effect desired, but the grain is the same as in the garment. Cut the interfacing to coin- cide with the front to a point about 2 inches below the arms- C Z) Aſ A AP FIG. 187. Interfacings for coats A, full front interfacing; B, full back interfacing; C, partial front interfacing; D, armseye interfacing on back; E, collar interfacing, with “stand” quilted eye and then curve the line over to the front facing and follow that line to the lower edge (Fig. 187, A); extend the back interfacing an equal distance below the armseye at the underarm seam and curve the line up across the center of the back (Fig. 187, B); cut the collar interfacing by the collar pattern. Another method is to cut the front inter- facing as shown in Fig. 187, C; let it extend beyond the neck line about 2 inches along the shoulder seam, and narrow it to- ward the bottom to the width of the front facing of the coat; Rečnforcements 249 cut the back interfacing for the armseye about 2 inches wide (Fig. 187, D); cut the collar interfacing like the collar. NOTE. In an unlined coat cut the front interfacing as described for Fig. 187, C; cut the back interfacing (if used) the size and shape of the back neck-line facing (Fig. 24, A) and cut the collar interfacing like the collar. Attaching. Baste interfacings to the wrong side of the corresponding parts of the garment. Make darts as if a single thickness were being handled. Mark the line where the collar rolls. Quilt the “stand” of the collar (between roll and neck line) with several rows of hand or machine stitching (Fig. 187, E). If tape is desired, apply as de- scribed below; baste the front facing to the garment (see “Fitted Facing for a Coat Front,” p. 98) and stitch just out- side the edge of the stay-tape, with the interfacing side uppermost. Trim the in- terfacing seams to within § inch of the stitching lines to reduce bulk. Taping A stay-tape aids in maintaining the good appearance of the tailored garment through- Fig. 188. Tap: out its period of wear. Use previously "# lº shrunk cotton twilled tape about to $ inch “” wide along the front edges of the coat and the turning line of the lapel (Fig. 188). Place the tape so that one edge comes to the Seam line of the front; hem the outside edge to the interfacing, using stitches spaced about ; inch apart, and then hem the inside edge in the same way. Tape the lapel by placing the tape so that it will be on the inside of the coat when the lapel is turned back, and by applying it with a slight tension to improve the roll of the lapel. 250 Clothing Construction 34. Remodeling When planning to remodel a garment decide whether the satisfaction derived from making the contemplated changes will warrant the cost in time, energy, and money. If the re- modeled garment will be more becoming, more harmonious with the rest of the wardrobe, more up to date, or better adapted to one's needs, and if it can be expected to give reasonable service, then remodeling will probably be worth while. Consideration should be given to the present state of the garment; to the possibilities it offers for recutting; to whether it should be made over for its original owner or for another person, such as a child; and to whether it can be used as the same type of garment as before. It will probably be unwise to remodel a garment unless the resulting product will have cost appreciably less than one would spend for a new article that would serve the purpose. In any event one should reduce to a minimum con- sistent with the value of the product the time spent on the reconstruction of the garment. Strive to attain quality through the use of ingenuity and doing the simple thing well, rather than through complicated design or decoration. * Before one attempts to remake the garment, it should be cleaned either by washing or by dry-cleaning. Usually it is desirable to rip all Stitching and remove threads, unless one can use certain parts of the garment unaltered or can cut away the seams, as when remaking an adult's garment for a child. If the fabric is to be dyed, this should be done either after all seams have been ripped or after the garment has been reconstructed. Sometimes it is desirable to use the fabric wrong side out if it is faded or if the nap is worn. Seams 251 35. Seams Seams are used as a means of joining two parts of a gar- ment. There are only a few fundamental seams, but by using a wide variety of finishes it is possible to adapt seams to fabrics of different weights and textures, to the different locations, and to the design of the garment. In Selecting the type of seam and seam finish, one must decide which of the following characteristics are most im- portant, since no one seam combines all of them. Ideally seams should be flat, inconspicuous or decorative, non- fraying, strong, and easily constructed. In making the decision one must keep in mind such points as the location on the garment, whether the wrong as well as the right side may show, the transparency of the fabric, and the texture and weight of the fabric. Seams should be of uniform width throughout their length, but the width may vary according to the type of seam and the location on the garment. In general, when the raw edges are inclosed, as in French and fell seams, the maximum width should not exceed # inch; when the raw edges are not inclosed, the width will vary from # to § inch from the stitching line. In the case of seams that turn in one direction only, as a French seam or a plain seam pressed with the two edges together, one should be careful to see that the seam turns in the same direction throughout its length. Turn such seams toward the front at the underarm ; turn them toward the side with the lesser amount of fullness (as at the waistline) and toward either front or back at the shoulder, depending upon the effect desired. Care must be taken in bloomers and 252 Clothing Construction trousers (Fig. 189) to turn the crotch seam of the front and back of the garment in the same direction (either to the right or to the left) and the leg seam in both legs in the same direction (either to the front or to the back). Seams are usually made on the wrong side of the garment throughout their length, but when a hem or facing is turned Zoffeo///nes represen? /ocofºon of Seom edge on wºong s, de FIG. 189. Intersecting seams, as seen from the right side, with leg seam turned toward the front and crotch seam turned toward the left A, stitched fell seams; B, French seams to the right side of the garment, it may be desirable to reverse part of the seam, the reversed section always being made as a plain seam and usually left unfinished. Plain Seams The plain seam is used for an inconspicuous joining, and is pressed open if maximum flatness is desired. Place the two right sides of the fabric together, baste along the seam line, and stitch close to the basting but not on it. Then remove the basting and press the seam with the two edges together, or press it open. When the seam is to be reversed, as in a hem or facing turned to the right side, stitch the seam to about # inch Seams 253 beyond the top of the hem or the inside edge of the facing (Fig. 190, A); clip the seam to the line of the stitching, turn the seam for the rest of the distance to the right side of the garment, and complete it on the right side (Fig. 190, B). Seam Finishes (Fig. 191) No seam finish is necessary if the fabric | | | | -*. - does not fray along the ------------- cut edge or if the seam edge will not be visible when the garment is worn. In the case of re- modeled garments, for example, it is desirable to reduce to a minimum the time spent on seam A A finishes. In general, FIG. 190. Plain seam, showing part of it seams in lined coats need reversed no finish; however, if A, wrong side; B, right side the garment or lining frays badly and the lining is to be left loose at the lower edge, it will be necessary to finish the seam edges in the lower half of the garment. Seam edges are usually finished by one of the methods described below. Bound. This finish need be used only on heavy fabrics that fray very easily, and in certain places where the wrong side is likely to show, as in the armseye of an unlined coat. Bind- ing is neat and durable, but it tends to make a bulky finish and adds to the cost of the garment (see “Bindings,” p. 16). Seams 255 Overcast. This is used on fabrics that fray easily, and where a flat finish is essential. For the method of making, see “Stitches,” pp. 291, 292. Picoted. Sometimes this method is used to finish the edges of seams on sheer fabrics, since it gives a neat and very inconspicuous finish, but in deciding to use it one needs to take into consideration the cost of the hemstitching. The edges should be hemstitched together about $ to # inch from the stitching (see “Picoting,” p. 163). Pinked. This gives a neat finish and is easily done, but its use is limited to edges that do not fray badly or that will not show from the right side (Fig. 191, E, F). It may be used on any firm, closely woven, non- • - - - FIG. 192. Cord transparent fabric. Pinking may be done seam, right and with pinking Scissors, a pinking machine, or wrong sides with ordinary scissors. If the last method is used, it is easier to obtain an even edge if one half of each notch is clipped throughout the length of the seam, and then the other half is clipped. Cord Seam A cord seam is used in tailored garments where a corded effect is desired and where stitching is used as a decorative feature of the garment. Single Cord Seam (Fig. 192) This looks like a lap seam on the right side, but it is easier to handle, except on angular or very much curved edges. Make a plain seam; press on the wrong side, turning both edges of the seam in one direction. Baste through the three thicknesses of the fabric, close to the seam line. Then 256 Clothing Construction stitch from the right side of the garment, from ſº to $ inch from the seam line. Trim the edges of the seam to between # and ; inch, depending on the fabric. (If the material is very heavy, it is usually desirable to trim more closely the Seam edge that lies next to the garment.) Finish the raw edges of the seam as in a plain seam with the two edges pressed together. Double Cord Seam Proceed as for a single cord seam, except that the seam is pressed open instead of with edges together, and two rows of machine stitching are made, one on each side of the seam line. Corded Seam The corded seam is used for decoration where a seam line is to be emphasized, for example, in — joining a skirt to a closely fitted (bodice) waist. Cover a cord with Æ a strip of fabric — preferably bias Fig. 103. Corded seam — and insert it in a plain Seam (Fig. 193, A, B). Use a corder foot A, cord covered; B, cord in- - - serted in seam or an ordinary presser foot which has had one side filed off, when Stitching cording. Unless such a foot is used, the cord must be stitched into the seam by hand. NOTE. A corded effect may be obtained by running yarn or dressmaker's cord through the casing formed by the two Stitchings of a cord seam (Fig. 192). Seams 257 Fell Seams To fell means literally “to hem a seam.” Most fell Seams are hemmed flat to the garment, either by hand or by machine; but in standing fell seams the wider edge is hemmed Over the narrower one, so that the seam stands up like a French seam. Fell seams have both edges turned to the same direction, except in the case of the open stitched fell. Flat Fell Seam Flat fell seams are used where it is desirable to have strong flat seams with finished edges. They should be about # inch wide when finished. A hemmed fell is gen- erally used on underwear, and on dresses for small children. Place the two right sides of the fabric together; baste and stitch on the seam line and re- move the bastings. Trim - - - - - FIG. 194. Hemmed fell seam one edge to within § inch - - of the stitching, leaving * * º B, seam the edge that is to form the fell about twice as wide (Fig. 194, A). Turn under the wider edge so that it incloses the narrower edge, and crease both edges flat in the direction in which the seam is to be turned. Baste the seam flat, through the three thick- nesses of the cloth. Hold the edge in place with Slant hem- ming stitches (Fig. 194). A stitched fell is more quickly made than the hemmed fell, and is used on tailored garments, such as middies and men's A A 258 Clothing Construction shirts. Place the two wrong sides of the fabric together. Then proceed as for the hemmed fell, except that machine Stitching is used in place of hand hemming (Fig. 195). If the seam is to have only one stitching on the right side of the garment, place the two right sides together, as you did for the hemmed fell, and make the seam on the wrong side. When the seam has two stitchings on the right side, turn as follows: at shoulder and underarm, turn toward the front; at the armseye, turn toward the sleeve; on a yoke, turn down. When the seam has only one stitch- ing showing on the right side, turn the seam in the opposite direction - in each case described. FIG. 195. Stitched fell An open-stitched fell seam may be Seam used on light and medium-weight wash fabrics. It is a good seam for the side seams of little boys' trousers, because it is tailored and simplifies the placket finish. Make a plain seam on the wrong side, press open, trim the seam edges to about ; inch from the Stitching, turn under each seam edge about # inch from the stitching line, and baste flat to the garment. Stitch the hem on each side of the joining line through the three thicknesses (see Fig. 162, showing a hemmed placket in an open Stitched fell seam, p. 208). Standing Fell Seam This seam may be used where a French Seam would be desirable from the standpoint of appearance but cannot be handled satisfactorily. Join the two edges as for a plain seam. Trim one seam edge to about $ inch of the stitching line; for example, trim the gathered edge in attaching a Seams 259 single cuff to a gathered sleeve; trim the garment edge in an armseye seam; trim either edge in a seam where two plain edges are joined. Turn the wider edge of the seam over the narrower edge and baste just outside the stitching line. Fin- ish either by hemming or stitching the folded edge close to but outside the line of machine stitching (Fig. 196). French Seam . The French seam is used on trans- parent fabrics, such as organdie, and Fig. 106. Standing fell on light-weight or medium-weight Seam fabrics that require frequent laun- dering and where a flat finish is not needed, such as the fabrics used for slips, nightgowns, and petticoats. It is not desirable to make this seam much more than ; inch wide. If the fabric is too heavy to permit so narrow a Seam, Some other type of seam will be found more satisfactory. --~~~~~~~ FIG. 197. French seam Baste as for a plain seam, except that the two wrong sides are put together. Stitch a little more than ; inch outside the seam line; remove bastings. Trim the seam to within ; inch of the machine stitching. Press or crease on 260 Clothing Construction the line of stitching. Turn so that the raw edges are inside and the seam line comes exactly on the turn. Crease and press. Baste just deep enough to inclose the seam; stitch a little deeper than the basting line to insure having no raw edges showing on the right side (Fig. 197). Imitation French Seam The imitation French Seam is used where the effect of a French seam is desired, but where it would be difficult to make the second stitching at the desired place, as in match- ing plaids. Make a plain seam and finish it by turning the two raw edges together toward the inside (Fig. 198). Press or crease the folds, baste, and stitch with running stitches, over- handing, or machine stitching, close to the outer edge. Lap Seam FIG. IOS. Imitation French - - Q Seam A lap seam is used when stitch- ing is desired as decoration, and when the two edges are angular or very much curved. A lap seam is not stitched like a plain seam; instead one seam edge laps over the other and is stitched flat. Narrow Lap Seam Turn under one edge on the seam line and crease or baste. If this edge is curved or angular, clip at several places part way to the seam line, at right angles to the edge, before basting the turned edge. Mark the seam line on the other edge and lap the turned edge over it until the seam lines coincide. Pin, baste flat, and stitch from the right side very close to the folded edge (Fig. 199, A). Finish the wrong side like a plain seam, with the two edges pressed together. Seams 261 Wide Lap, or Tuck, Seam This seam is used where a tucked effect is desired. It may be made with one or two stitchings. When there is to be no placket opening, only one stitching need be used, and the seam is made like a narrow lap seam, except that it is stitched farther from the turned edge. Turn and A A FIG. Igg. Lap seams A, narrow lap seam; B, wide lap, or tuck, seam baste the tuck the depth allowed, and lap the under side of the seam over the tuck, with the seam edges coinciding. Baste and stitch from the right side through the three thick- nesses of the fabric the desired width of the tuck, using the presser foot or quilter as a guide. When there is a placket opening under the tuck, the placket reënforcement should be made first (see “Tuck Placket,” pp. 213–214). Baste the tuck the depth allowed and stitch on the seam line for the entire length of the tuck. Place the tuck edge over the under side, with the seam lines matching. Baste from the right side through the three thicknesses of the fabric, having the basting come between the stitching line and the folded Sleeves 263 Welt Seam The welt seam is used on heavy fabrics where a strong tailored finish is desired and where the flat fell seam is too bulky. Make a plain seam. Then trim one side of the seam to within # inch of the stitching. From the wrong side press and baste the seam flat, with the wider edge on top. Stitch from the right side, from # to # inch from the seam line. This is the only row of stitching that shows on the right side (Fig. 201). Finish the raw edge of the seam as desired; if the fabric does not fray, no finish is necessary. 36. Sleeves Although sleeves may cause considerable trouble, it is quite possible to set sleeves into a garment with little dif- ficulty if the following directions are carried out. To insure good results, one must use care in checking and altering the pattern before cutting out the sleeves and must follow ex- plicitly the directions for making and setting in sleeves. There are several types of sleeves: Set-in, dolman, epaulet, kimono, and raglan. These vary considerably in the method of making, and will therefore be described separately. Set-in Sleeves In general the set-in sleeves should not be cut until the garment has been fitted and any necessary alterations made, and they should not be set into the garment until after the neck is finished. Set-in sleeves differ in many ways: they may be cut in one, two, or more pieces, depending upon the design; they may or may not have visible fullness at the Sleeves 265 underarm seams matching, and mark the seam line with pins, using the first armseye as a guide. Clip the armseye to keep it from drawing, but do not trim until the sleeve has been stitched in. Replace the pins with a guide basting. For a loose-fitting armseye. Establish the upper half as for the close-fitting armseye. The lower half must be determined by the eye. Then proceed as for a close-fitting armseye. Sleeves without Visible Fullness throughout the Cap In a one-piece sleeve the front of the sleeve cap has a little deeper curve than the back, in order to allow the sleeve to fit smoothly over the muscle that joins the arm to the body at the front of the armpit; and, since the arm naturally swings to the front, more length is needed at the back of the sleeve. At the bottom the longest part comes a little to the back of the center of the sleeve (Fig. 202, B). The sleeve seam should be approximately in line with the underarm seam of the garment. In a two-piece sleeve the inner seam is located at the place where the in- side measurement of the arm is taken B FIG. 202. One-piece set- - - in sleeve without visible (Fig. 128, A). The Outer Seam lies fullness in the upper along the outside of the arm from the half of the sleeve center of the back of the armhole, A, sleeve which is fitted at the bottom; B, sleeve down over the elbow to the Wrist, in which is full at the bottom line with the little finger. Testing the sleeve pattern. Before cutting the sleeve it is necessary to test the sleeve pattern to see whether it will fit. This is done either by trying on the pattern or by checking the measurements of the sleeve with the arm measurements. 266 Clothing Construction Pin the sleeve seam of the pattern together. Put on the dress, with the armseye marked. Try on the sleeve pattern, pulling it up well under the arm and pinning the seam line, being sure that the cap comes in the proper place. Check the length and width of the sleeve and the length and width of the cap (Figs. 204–205). If the sleeve is to be long, bend the arm to make an allow- ance for the elbow. Check care- fully at the largest part of the d & arm. Be sure the cap is wide enough to fit rather loosely across the arm and to allow for seams. The cap should be long enough to come up to the highest point on the armseye. When checking arm and sleeve measurements, one length meas- urement only is needed for a one-piece sleeve, namely, the FIG. 203. Two-piece sleeve outside arm length that is taken from the highest point on the armseye, over the elbow to the wrist, with the arm bent (Fig. 128, B). An additional measurement is needed for a two-piece sleeve, namely, that taken along the inside of the arm, from the muscle which joins the arm to the body, down to the base of the thumb, with the arm held straight out from the body (Fig. 128, A). Check these measurements with corresponding measurements on the sleeve pattern (Fig. 204, e to f, and Fig. 203, a to b). The width of the upper part of the sleeve needs to be checked at one place only, that is, around the largest part of the arm, with the arm bent (Fig. 128, B). This measurement should be taken quite loosely. If the sleeve fits closely, it is A 45 Sleeves 267 necessary to check also the girth of the lower arm and, for a Coat or a child's garment which has no placket, the hand meas- urement, or, if the sleevehasaplacket, the wristmeasurement. The depth of the cap on a sleeve pattern is very important. Measure it on the pattern from e to f (Fig. 205). To ascer- e e c af c a/ FIG. 204. Measurements of FIG. 205. Measurements of sleeve length (e to f) and width of cap (c to d) and sleeve width (c to d) depth of cap (e to f) tain the required depth of the cap, fasten the tapeline hori- zontally around the arm just under the armpit. Measure from this line to the highest point on the armseye. This is ordinarily about 5% to 6% inches. The width of the cap is also important. Measure this on the pattern from c to d (Fig. 205) and check with the similar measurement taken on the person. (The garment should be on when this measurement is taken.) The circumference of the cap is measured with a tapeline held on edge, the measurement being taken around the top of the sleeve pattern on the seam line, after the needed alter- 268 Clothing Construction ations for depth and width have been made. This measure- ment should be from # inch to 1% inches longer than the circumference of the armseye at the seam line, if there is no visible fullness in the sleeve. The amount of fullness that should be eased into the arms- eye of a given garment will be governed by the use of the garment, the texture of the fabric, and the shape of the arm. FIG. 206. Changing the sleeve length A, to shorten, lay folds above and below the elbow and correct the edge of the pattern; B, to lengthen, draw lines straight across the sleeve above and below the elbow. Cut along these lines, and separate the pieces to give the necessary length. Straighten the edge of the pattern at the seam lines Altering the sleeve pattern. Since sleeve patterns often re- quire a number of alterations to insure correct fitting, it is wise to keep on hand a sleeve pattern that has been altered until it fits properly. Although styles of sleeves change from season to season, the armseye line varies, on the whole, but little. Hence it is often desirable to combine the top of a pattern having the desired armseye measurement with the bottom of the new pattern. For methods of altering sleeve patterns, see Figs. 206–208. Sleeves 269 Cutting the set-in sleeve. It is usually best not to cut the sleeves until the dress has been fitted and the armseye es- tablished. When making garments that do not require much A FIG. 207. Changing the sleeve width A, increasing the width of the sleeve. For a plump arm: draw a line straight down through the center of the cap. Cut along this line and separate the pieces to give the necessary width (about 1% inches is the maximum that can be added). Correct the curve of the cap and the bottom edge to preserve the original shape. If the cap is too wide after this alteration has been made, correct by the reverse of the alteration shown in Fig. 208, B. For a loose armseye: add equal amounts (not more than 1 inch at each side), gradually tapering off to the edge of the pattern (see the dotted-line extension on each side of the sleeve). B, decreasing the width of the sleeve. If the sleeve is too wide all the way down, lay a lengthwise fold through the center of the cap to take out the extra width. Correct the top and the bottom of the sleeve as indicated. If the cap is too narrow after this alteration has been made, correct it as in Fig. 208, B. If the sleeve is all right at the top and too wide at the bottom, narrow as indicated by the dotted lines a to b and c to d; do not narrow the sleeve too abruptly fitting, such as men's shirts and children's clothes, one may cut the sleeves at the same time as the rest of the garment. Care must be taken to cut the sleeves on the straight of the fabric, unless it is desired to cut them on the true bias, 270 Clothing Construction as sometimes when the person has a very plump arm. If the fabric has a right and a wrong side, fold it and cut both sleeves at once, or place both right sides or both wrong sides of the fabric together when the sleeves are cut, to avoid cutting both sleeves for the same arm. If a A A FIG. 208. To alter the cap and add fullness at the elbow A, to lengthen cap, add the necessary length at the center of the cap, a to a', curving the line down on each side to the edge of the pattern, to make a normal-shaped cap; B, to widen the cap, add an equal amount to each side of the cap from a to a' and from b to b', to make a normal-shaped cap; to give added fullness at the elbow, slash sleeve at x to y and spread the parts to give additional fullness fabric.having a distinct pattern is used, additional care must be taken to see that the design of the two sleeves matches, and that the design in the sleeves matches the design in the garment at the notches on the armseye seam. Seaming the sleeves. In seaming the sleeves, as well as in cutting them, care must be taken to avoid having both for the same arm. The seam should not be stitched by machine until after the sleeve has been fitted on the person. Sleeves 271 The basting of a one-piece sleeve which is full at the bot- tom presents no special problem. Match the notches, pin, and baste along the seam line. The one-piece tight sleeve must be very carefully basted if it is to fit well. When the under side of the sleeve is to have fullness in the seam at the elbow, fold the sleeve through the center, laying it flat on the table with the - back side up. Beginning at the top, pin the /* two edges together (matching the notches) to within about 2 inches of the elbow; then ease in Some fullness on the back side for about 4 inches. This may be cared for by means of gathers or darts. Then stretch the back of the sleeve from this point on, until the two edges of the seam are even at the bottom. This fulling at the elbow allows it to bend comfortably; the stretch- ing from the elbow to the bottom prevents the sleeve from twisting on the arm. Baste Fic, zoo, seams along the Seam line. Test the sleeve, and of a two-piece stitch. When the lower part of the sleeve sleevebasted to- has a lengthwise dart, proceed as described, º "4 fullness eased in but any fullness at the elbow may usually at the grºw be eased in. In basting the two-piece sleeve, pin and baste the inside seam as in the one-piece full sleeve. In joining the outside seam, pin at the elbow; then match the notches and care for the fullness at the elbow. Pin at the top, next at the bottom, and then, working toward the elbow, pin the entire Seam. Baste along the seam line (Fig. 209). Test the width of the tight-fitting sleeve, before the seam is stitched, by slipping the sleeve on the arm. If alterations are necessary, most of the change should be made at the Sleeves 273 together the highest and lowest points of the sleeve and the armhole respectively. Holding the garment so that you look into the sleeve, place the pins with heads out and at right angles to the seam, taking up just a few yarns of the cloth exactly at the seam line (Fig. 211). Pin in the sleeve with no fullness in the lower half and all the fullness dis- tributed evenly in the upper half. Beginning at the lowest FIG. 211. Sleeve pinned into armseye point, pin to the quarter points first; then pin halfway (in the upper half) between the top and quarter points; then halfway between these pins; and so on, placing the pin each time in the middle of the space. In the lower half the pins may be from # inch to 1 inch apart, but in the upper half they should be placed much closer together. Usually sleeves are set in as described above; that is, Some fullness (not more than 1% inches) is eased into the upper half of the armseye. For a very plump arm, how- ever, where sleeves cut on the bias are not desirable and where extra fullness is needed, the sleeve can be slightly 274 Clothing Construction eased into the lower half of the armseye or extra fullness can be cared for by a very small plait or dart under the arm. If the pins have been placed carefully, the garment may be tried on right side out and the sleeve tested and fitted without basting. NOTE. Sometimes it is desirable to set the sleeves into a lining instead of into the garment. When this is done, the armseye of the garment should be finished with an ap- propriate edge finish. If there is a possibility that the lining may show, the armseye may be faced with the garment fabric before the sleeve is, set in (see “Fitted Facing,” p. 98). Fitting the sleeve. A sleeve should look well and feel com- fortable; that is, it should not bind or twist, it should have no visible fullness at the top, the lengthwise yarns should be perpendicular to the floor from the shoulder to the elbow, and the crosswise yarns in the cap should be parallel to the floor. If the sleeve does not fit satisfactorily, the difficulty is usually due to one or more of the following errors, and it may be remedied if one utilizes the suggestions given: 1. The sleeve “puffs up” at the top when the cap is too long. To remedy, remove the pins or basting across the top of the armseye and slip the excess length up into the arms- eye and repin. 2. Diagonal wrinkles run from the top of the shoulder to the underarm, and the crosswise yarns slant downward on each side of the center of the sleeve, when the cap is too short. To remedy, remove the entire sleeve and lengthen the cap by trimming out under the arm. 3. The lengthwise yarns are not perpendicular to the floor when the highest points of the sleeve and armseye have not been matched properly, or when the sleeve has been cut incorrectly. If the difficulty is caused by the former error, remove the sleeve and repin, being sure to match Sleeves 275 the highest points; if it is due to the latter error, it may be possible to recut the sleeve correctly by piecing it, or it may be necessary to cut a new sleeve, depending upon the extent of the error. 4. Fullness is visible at the top of the sleeve when the sleeve is too large for the armseye, when the fullness is unevenly distributed, or when too few pins were used when the sleeve was pinned into the armseye. 5. The sleeve draws across the top of the arm (especially when the arm is raised) when the cap is too narrow or the girth of the upper part of the sleeve is too small. If the dif- ficulty is caused by the former error (unless the sleeve is long and tight-fitting), it is possible to make adjustment by trimming off the top of the cap somewhat and then recutting the entire cap. The result is a shorter sleeve, but widening the cuff may compensate for this; other- wise it will be necessary to cut a new sleeve. If the trouble is due to the latter error, the girth of the sleeve may be enlarged by setting in an extra piece under the arm. This difficulty should not occur if the pattern was checked and altered properly. After the sleeve has been fitted satisfactorily, stitch and finish the seam. The armseye seam of a dress is usually pressed toward the garment and tacked in place to the shoulder seam, because it tends to show less, and sleeve and garment fit better; the armseye seam of a lined coat is fre- quently pressed open to equalize the bulk. In either the dress or the coat, clip the armseye seam of the garment (not the sleeve) at intervals to permit the seam to lie smooth on the wrong side. Sleeves without Visible Fullness at the Armseye Such sleeves may be cut in one or more pieces, depending upon the design of the lower part of the sleeve; they may have varying amounts of fullness below the armseye line. 280 Clothing Construction ment. In heavy coats the stitching is sometimes done on the garment both across the shoulders and around the armseye. - In any case, set in, fit, and stitch the sleeve as for a plain seam. Then turn the seam in the desired way, baste, press, and stitch. Make a continuous underarm-and-sleeve Seaml. When a lap seam is used. The final stitching is done in any of the ways suggested for the cord seam. The sleeve is set into the garment according to the way it is to be Stitched, but in each case the seam allowance must be care- fully marked on both sleeve and garment. To obtain the effect shown in Fig. 213, turn back and baste the seam allowance on the epaulet and the armseye of the sleeve. Working from the right side, lap the epaulet to the seam line on the shoulder at the front and the back, and pin and baste in place. Match the notches, and pin and baste the armseye in the same way. Pin and baste the underarm-and-sleeve seam, and fit the garment. Stitch along the epaulet and around the armseye, and then make the continuous underarm-and-sleeve seam. Often the seam is made to lap in one direction on the epaulet and in the other around the armseye, in which case proceed as described, except that the seam allowance is turned under on the armseye of the garment instead of on the sleeve, the Seam is lapped accordingly, and special care must be taken when stitching around the corner. Fitting the Sleeve An epaulet sleeve, if it fits properly, must meet all the requirements of a set-in sleeve. If it does not fit satisfac- torily, one or more of the following errors is responsible and may be remedied if these suggestions are utilized: 282 Clothing Construction Testing the Pattern Pin the front of the sleeve pattern to the front of the garment pattern, matching notches. Pin together at the back in the same manner. Match the notches, and pin a continuous underarm-and-sleeve Seam. Try on the pat- tern, being sure that the center front and center back are in place. It is usually necessary to check the length and the fit through the shoulders. For methods of altering this type of sleeve, see Fig. 206. Setting in the Sleeve Baste any darts; then pin and baste the sleeve to the front and back of the garment, as in joining the correspond- ing parts of the pattern. If the sleeve is loose, the fitting and alterations are the same as for kimono sleeves. If the sleeve is close-fitting, there may be a tendency for it to puff at the end of the shoulder ~ where the sleeve joins the garment. The extra fullness may be taken out in the Fic. 216. A fitted Seam or by Shrinking or making darts, raglan sleeve depending upon the fabric and the effect desired. After the necessary alterations are made, stitch in the sleeves, and clip the seams at inter- vals, if it is necessary to do so in order to prevent drawing. Make a continuous underarm-and-sleeve seam. Bottom Finishes for Sleeves It is usually desirable to finish the bottom of a sleeve after it is set in, since it is easier to adjust the length at the bottom than at the top. - If the long sleeve is tight or attached to a close-fitting 286 Clothing Construction the method of holding cloth and needle and of using the thimble, see “Running Stitch,” pp. 293–294, and Fig. 222. Begin with a knot. Place the needle in the fabric, parallel to the edge of the cloth; work from right to left _^ A y — — — — . y --> FIG. 217. Basting stitches A, even basting; B, uneven basting; C, dressmaker's basting; D, diagonal basting; E, guide basting; F, right side of alteration basting; G, wrong side of alteration basting and draw the thread just tight enough so that it will lie flat on the fabric. The stitches and floats should ordinarily bear a definite relation to the strain placed upon them; as the strain decreases, the floats may be larger. When the line of basting is finished, fasten the thread with two or three small stitches taken parallel to each other. When remov- ing the basting, clip at inter- vals; do not try to pull out the whole length at once, since this may cut a fine fabric. In even basting the thread shows an equal amount on both sides of the article (Fig.217, A). This is used wherever there is great strain, or accuracy is re- quired, as in holding gathers in place at the shoulder seam. In uneven basting the thread floats for the longer distance on the side toward the worker (Fig. 217, B). Diagonal basting is made at right angles to the line of stitching, so that on the under side there is a series of ver- tical lines, and on the upper side a series of diagonal lines, of thread (Fig. 217, D). This stitch is not used in basting Stitches 287 seams but for holding two surfaces together, as in lining collars and panels. It is also used to catch two edges to- gether, as in the opening of a slash pocket. Dressmaker's basting consists of groups of small, even basting stitches, with long floats between the groups. It is particularly useful in basting long seams, since it is quickly made and is accurate enough for ordinary purposes (Fig. 217, C). Alteration basting is used on seam lines which have been established upon the right side of a garment by fitting and pinning, as for a lap Seam or in basting a seam in a figured fabric which requires matching (see page 166). It also serves as a guide line upon the wrong side for the Stitching, so that the seam will be stitched exactly as fitted. Work with the garment right side out; use a knot, and baste from right to left. Hold the seam across your left forefinger, with the folded edge toward the right; bring the needle up from the wrong side through the under piece of fabric and catch one or two yarns on the folded edge. Insert the needle opposite this point and take a stitch parallel to the seam line — from # to # inch long—catching the folded edge as the needle is brought out (Fig. 217, F). Continue to the end of the seam and fasten the thread well. Small stitches show on the right side, perpendicular to the seam, and on the wrong side the basting line appears as a series of slightly slanting stitches, forming a guide line for the machine stitching. Guide basting is made with short stitches and very long floats alternating (Fig. 217, E). It is used only for marking such places as the center front and center back of garments. 288 Clothing Construction Backstitch The backstitch resembles machine stitching on the right side (Fig. 218, B) and the outline stitch on the wrong side (Fig. 218, C). It is used where - a strong stitch is required and A where it is inconvenient to use machine stitching, as in § -- - - -g------- resewing a rip in a seam and in reënforcing the end of a *~-c-cº-º-º-º-º-º-º- placket. C Place the needle in the cloth a few yarns from the - - - - - - - - - - right-hand end and take a f Z2 stitch; then insert the needle FIG. 218. Seam Stitches a second time in the hole at ::::::::::"...º.º.º. the beginning of the first stitch; d, combination stitch stitch, bringing it out of the fabric a short distance in advance of the first stitch. Continue by putting the needle back each time so that the line of stitching is continuous. Combination Stitch The combination stitch consists of running stitches with an occasional backstitch (Fig. 218, D). It is used where more strength is required than that afforded by the ordinary running stitch, and should be substituted for the back- stitch whenever possible, in order to gain speed. Darning Darning usually consists of parallel rows of running Stitches, so placed that stitches and floats alternate in suc- ceeding rows, as in weaving. Stitches 289 Hemming Various kinds of hemming stitches are used to hold in place folded edges, such as hems and facings. Hold the fabric, with the hem basted in place, across the forefinger of the left hand, with the hem toward the left. Put a knot in the thread, and conceal it under the edge to be hemmed. In a very transparent fabric fasten the thread by slipping the needle into the fold of the hem, drawing the thread through, and tucking the end under the hem. Take a stitch or two to secure the thread; then continue with the hemming. Always work from right to left. Note. It is frequently desirable, when hemming silks, to untwist the sewing silk and separate it into three parts. By using one strand at a time the hemming stitches can be made to appear as a part of the weave of the fabric and are therefore invisible. Catstitch hemming (Fig. 219, A) is used to hold in place a hem which is not turned a second time, and is especially useful in the case of fabrics that tend to fray (see “Cat- stitching,” p. 68). Damask hemming is used for hems on table linen (see page 146). Running hemming (Fig. 219, B) is used to hold in place a hem which is not turned a second time, and is used only with fabrics that do not fray. It is flat and quickly made, and shows very little on the right side. If there is a selvage on the edge to be hemmed, clip at intervals to prevent drawing; if there is a raw edge, this is usually pinked or overcast. The stitch is a variation of the combination stitch, with very short stitches on the right side of the garment, and floats from # to # inch long on the wrong side, with very short backstitches taken at intervals through the hem only. 290 Clothing Construction Slant hemming is used to hold in place a hem that is turned a second time when the appearance on the right side is a minor consideration (Fig. 219, E, F). Take slanting stitches equal distances apart, catching a few yarns of the G. FIG. 219. Hemming stitches A, catstitch hemming; B, running hemming with an occasional backstitch; C, slip-stitch hemming (wrong side); D, right side of either slip-stitch or vertical hemming; E, slant hemming (wrong side); F, slant hemming (right side); G, vertical hemming (wrong side) garment and then a few yarns of the fold in each stitch. The needle should point toward the thumb of the left hand as it comes through. Fasten the thread by making two or three small stitches one over the other. Slip-stitch hemming is used on a hem that is turned a Second time when an inconspicuous effect is desired on both Stitches 291 the right and the wrong sides (Fig. 219, C, D), and it will wear well because the floats of the hemming thread lie in the fold of the hem and are not exposed. Bring the needle out of the fold of the hem. Then in one operation insert the needle in the garment directly opposite, taking up one or two yarns, and slip the needle through the fold of the hem, bringing it out about # to # inch farther on. Continue taking stitches in the garment and the hem, occasionally taking an overhand stitch as a reënforcing stitch in the hem edge. Vertical hemming, or straight hemming, is very similar to slip-stitch hemming and may be more quickly done (Fig. 219, D, G). It is used when the appearance on the wrong side is not important. It is made like slip-stitch hemming, ex- cept that the thread floats on the wrong side between stitches instead of being concealed in the fold of the hem. Overcasting Overcasting is a slanting stitch used to prevent the fraying of raw edges, as on a plain Seam. The stitches should look alike on both sides of the cloth. Trim off the frayed edges. Begin with two short stitches or a concealed knot, and work from right to left. It is best not to attempt to work from left to right, because, al- though the same effect is produced, only one stitch at a time can be taken. The depth of the stitch and the space between stitches should vary according to the texture of the fabric. The space between the stitches should be ap- proximately twice the depth of the stitches. In a gored seam, work with the bias, not against it. For instance, begin at the bottom of the skirt instead of at the top. Care should be taken that the thread is not drawn so tightly as to curl the edge, especially in running overcasting. 292 Clothing Construction Overcasting, one stitch at a time. Hold the fabric between the thumb and forefinger of the left hand, with the edge or edges to be overcast up. Point the needle through the fabric from the under side toward the thumb of the left hand. Draw the loop of the thread down until it lies smoothly but loosely over the edge of the fabric. Take the next stitch to the left of the point where the needle was brought up, leaving sufficient space for the thread to lie at an angle \ - 2- FIG. 220. Overcasting A, overcasting, one stitch at a time; B, running overcasting to the edge. Continue this process, keeping the spaces even and the slant of the thread the same (Fig. 220, A). End the overcasting with two small stitches. Running overcasting. Time may be saved if several stitches are taken on the needle at one time, especially if the fabric is fairly firm (Fig. 220, B). Leave a loop when drawing the thread through so as to have sufficient slack to prevent the stitches from curling the edge of the seam. Overhand Stitch This stitch is ordinarily used to join two folded or fin- ished edges, as in sewing lace to a hem. When it is used in hemming damask it is called damask hemming. On the wrong side the stitches slant across the fold; on the right 294 Clothing Construction This resembles even basting, except that the stitches are shorter. It is the most quickly made permanent stitch when it is done correctly; but unless it is done in the proper way, the line of Stitches will be uneven and an excessive amount of time and energy will be required. Its extensive use war- rants the time and patience required to become proficient in making it. Study Fig. 222 carefully, noting especially the position of the thumb and fore- finger of each hand and of the thimble finger. Fasten the thread with a knot or with two or three stitches, and place the needle in the fabric parallel Fig. 222. Running stitch, showing position to the edge. Hold the of fabric, hands, needle, and thimble cloth taut between the thumb and fore- finger of each hand, with the forefingers about # inch apart; and with the thimble against the end of the needle held in the right hand, run the needle in and out of the cloth with a slight up-and-down motion of the right wrist and hand. When as much cloth as possible has been gathered upon the needle, release by pushing the fabric onto the thread. Con- tinue in this way without removing the needle from the cloth, except when you wish to take a back stitch, as when sewing a long seam in a fine fabric. Fasten the thread with two or three Stitches, except when gathering; in that case use a knot. Supplies and Equipment for Sewing 295 Slip Stitch Slip-stitching is used to fasten two folded edges together with stitches which do not show from either side of the gar- ment. It is used where overhanding would be too con- spicuous, as in joining the front facing of a coat to the hem at the lower edge or in closing the opening left in a belt for turning. Baste or pin the folded edges together. Bring the needle out of one fold and insert it directly opposite in the other fold, taking a stitch to 3 inch long. Continue taking stitches of even length alternately in the two folds. The terms “slip stitch” and “slip-stitch hemming” are fre- quently confused. Learn to distinguish between them. 38. Supplies and Equipment for Sewing Clothing may be made much more easily and quickly if one uses well-chosen sewing equipment. Of course a sewing machine is essential. Sewing Machine Information is given in the instruction book accom- panying a sewing machine regarding such matters of opera- tion and care as threading, changing the tension or size of the stitch, using attachments, and cleaning and oiling. Care should be taken to insure the proper length of stitch for the fabric to be stitched; in general, coarse or thick fabrics require a long stitch, about eight to twelve stitches to an inch, and fine or thin fabrics require a shorter stitch, about fourteen to eighteen stitches to an inch. Too short a stitch is unattractive, since it may tend to pucker the cloth and to cut silk fabrics at the stitching line; too long a stitch is 296 Clothing Construction equally unattractive and in many cases will not be suf- ficiently strong. Use the same size of thread on the bobbin and the spool. Adjust the tension to the fabric and thread so as to produce stitches which have the same appearance on the right and wrong sides and so that the cloth is smooth and not puckered. Test the length of the stitch and the tension on a double thickness of fabric. One should acquire skill in the use of machine attach- ments, because, if an attachment will produce a satisfactory appearance and if any great amount of the particular finish or process is to be needed, considerable time will be saved. Keep the machine and motor clean and well oiled. Additional Supplies and Equipment The other supplies needed are few and quite inexpensive. Emery. Useful for sharpening needles that have become slightly blunt. Iron. Medium weight, with a pointed end. Ironing board. Well padded, firm; so arranged that garments may be slipped over the end; tapering toward one end and not too wide; supplied with covers that may easily be re- moved for frequent laundering. Needles. Assorted sizes and kinds (see Table III). For size of needle suitable for a specific situation consult Table II. In general, you should use fine needles for hand sewing. Pinking machine or scissors. A great timesaver if one is doing much sewing on silk or wool. Pins. Small, sharp-pointed dressmaker's pins, purchased by the box, are most economical and satisfactory. Scissors. Both large and small; also buttonhole scissors, if one is making children’s clothes. Tailor’s chalk. White and colored. Tapeline. Made of two thicknesses of cloth, with metal ends; preferably numbered from both ends. N 298 Clothing Construction TABLE III. TYPES OF NEEDLES Kind Description Uses Bodkins Chenille needles Crewel needles (darning) Ground-downs, or shorts - Large eye, bluntend, three sizes — not numbered Long eye, very pointed end, thick in the mid- dle; Nos. 17–26 Long eye, pointed end, rathershort; Nos. 1–12; assorted sizes: 3–9, 4–8, 5–10 Very short, oval eye; Nos. 1–12; assorted sizes: 5–10 For drawing tape through a casing and for some kinds of embroidery For chenille yarns For darning and embroid- ery. A fine crewel nee- dle is frequently used for general sewing For very fine sewing, such as that on handmade lingerie Millinery needles Rug, or tapestry, needles Self-threading nee- dles Sharps Yarn needles Very long and strong, round eye; Nos. 1–10 Blunt end, long eye, thick in the middle; Nos. 17–26 Notch in top of needle that allows thread to be put into eye without usual process of threading; not satisfactory for silk thread; Nos. 1–12; as- sorted sizes: 5–9 Round eye, medium length; Nos. 1–12; as- sorted sizes: 3–9, 4–8, 5–10 Very large, long needle with long eye; Nos. 5– 101; assorted sizes: 1–5, 14–18 For all sewing on hats; also for basting For ordinary sewing by those who have poor eyesight For ordinary sewing For yarn embroidery and Bermuda fagoting 1 Only type of needle in which low numbers indicate fine needles; in all other cases the larger the number, the finer the needle. Tucks 301 Commercial patterns usually indicate the size and loca- tion of tucks. When making a garment from a pattern with no allowance for tucks, it is advisable to make the tucks or at least to baste them in place before cutting the garment. For the amount of extra fabric required for the tucks, allow twice the width of each tuck times the number of tucks. Tucks may be sewed with machine stitching, hemstitching (hand or machine), running stitches, or decorative stitches. Take care that the threads at the ends of the machine- stitched tucks are securely fastened by pulling them to the wrong side and tying the ends (see “Square Knot,” p. 247). A tucker attachment is included in the equipment of most sewing machines. Such an attachment is adjustable, and does very satisfactory work when the directions given for the particular machine are carefully followed. 41. Weights Additional weight may be added to give the desired lines to such garments or articles as some cowl neck lines, wrap- //ec/ º) FIG. 223. Covering for lead weight ore 35 A, stitched ready to turn; B, completed—location of weight shown by dotted line 302 Clothing Construction around skirts, or long over-draperies. Heavy spherical buttons, lead weights of different sizes, or leaded tape may serve as weights. Care must be taken to add enough weight, but not so much that a pulled effect results. The spherical button may be preferable on a garment made of trans- parent fabric or where little weight is needed; it may be fastened directly to the garment or to one end of a swing tack. Cover lead weights and attach like the spherical button, or insert weights or leaded tape in the hem or be- tween the outside of the article and the lining. If a lead weight is to be used, cut the covering of a medium-weight or light-weight fabric the same color as the garment and of the desired size and shape; stitch, leaving one side open, clip corners (Fig. 223, A), and then turn right side out and press; insert the lead and overhand or slip-stitch the open edges together, and overhand the upper end to the edge of the garment (Fig. 223, B). 304 Clothing Construction used in appliqué, 153 used as seam finish, 254 Blocking kimono garments, 22–24 nightgown, 24–26 slip, 26–27 collars, 28–29 Bloomers bands on, 4, 6 selection of patterns for, 180 plackets in, 198, 199 Blouse, fitting of, 128–136 Bodkins, 298 Bound-buttonhole placket, 203– 204 Bound buttonholes. See Button- holes, bound Braid attaching to middy-blouse collar, 38 military, 47–48 Soutache, 48–49 Brick couching, 59 Brier stitch, 68 Buckles types, 101 methods of attaching, 101–102 Bulkiness, to eliminate, 87 Bust measure, 168 alteration of pattern to change, 182, 183 Buttonholes bound marking location for, 105–106, 164 making, 106–109 finishing slash for tie or belt, 109 strip, 110 worked types of, 110–111 marking location for, 111–112, 164 making, 112–114 thread suitable for, 297 Buttons marking location for, 102, 164 sewing to garment, 103–104 linking together, 104 covering, 104–105 Cable stitch, 54 Cap of sleeve, 265, 266, 267–268, 269,270 Catstitch used to finish raw edge of skirt attached to belting, 10 how to make, 68 used in hemming skirts, 150, 151 used in mending, 175 Catstitch hemming, 289 Chain stitch and variations, 55–58 blanket, 55–56 lazy daisy, 56–57 ladder, 57 magic chain, 57–58 open chain, 58 zigzag chain, 58 Chalk, tailor's, 164, 296 Chest, narrow, alteration of pattern to fit, 184 Children's garments bands on, 5 fasteners for, 100–101 fitting of, 126 selection of patterns for, 179– 180 plackets in, 198, 199 made over from adults' clothing, 250 Circular skirts, draping, 88–90 Coats binding seams of, 20 collar of, 30–34, 41–43 draping of, 95 fitted facing for front, 98–99 width of hem on sleeve, 144 hem on, 144, 148–152 interlining, 157–158 lining, 158—162 interfacing, 247–249 Collars cutting, making, and attaching different types flat, 29 Index 305 rolling, 29 convertible, 30–36 with shaped ends, 30–34 joined with continuous seam, 34–35 middy-blouse, 35–36 detachable, 36 double bias, 36 nonconvertible, 37–43 single, 37 double, 38 wool lined with silk, 38 attached with bias facing, 39–40 coat collars, 41–43 draping of, 90–92 modification of patterns, 188– 189 Combination stitch, 288 Commercial trimmings and braids, 43–50 Construction processes, orderof,3–4 Convertible collars. See Collars, convertible Cord seam, 255–256 Corded seam, 256 Corded shirring, 141 Corner, mitering of hem at, 177–178 Corner stay, 246 Cotton and linen, pressing and shrinking, 234 Couching plain, 58–59 puffy, 59 brick, 59 interlacing stitch, 59 machine, 60 Crewel stitch, 60–61 Cross-stitch, 61–63 Crotch seam, 252 Crow's foot, 63 Cuffs bands used as, 4–6 bias, 12 smocking on, 76, 80 for blouses and dresses, 283–284 for coats, 284–285 Curtains. See Draperies Cutting garment, 195 Damask hemming, 146, 289 Darned patch, 175 Darning used as decorative stitch, 64 by hand on woven fabrics, 169– 171 by machine on woven fabrics, 171 on knitted fabrics, 171–173 description of stitch, 288 Darts, 50–51 in hems, 150 Decorative stitches arrowheads, 52–53 bar tack, 53–54 cable stitch, 54 chain stitch and variations, 55– 58 blanket, 55–56 lazy daisy, 56–57 ladder, 57 magic chain, 57–58 open chain, 58 zigzag chain, 58 couching, 58–60 plain, 58–59 puffy, 59 brick, 59 interlacing stitch, 59 machine, 60 Crewel, or outline, 60–61 cross-stitch, 61–63 crow's foot, 63 darning, 64 fagoting, 64–67 Bermuda, 64–65 variation of Bermuda, 65 diagonal, 65–67 straight, 67 featherstitch, 67–68 fishbone stitches, 68–70 catstitch, 68 herringbone, 69 Oriental, 69, 70 French knots, 70–71 306 Clothing Construction hemstitching, 71–74 plain, 71–72 diagonal, 72 double, 73 Italian, 73–74 satin, 75 Seed, 75 shell edge, 75–76 smocking, 76–80 plain (honeycomb), 76–78 varieties of plain, 79–80 used to hold collar hem in place, 37 used as collar trimming, 38 used to attach bias tape, 45 used with rickrack, 47 used with bias facing, 97 Dolman sleeve, 278 Draperies, plaits for, 224–225 Draping, 81–95 preparation of dress form, 81–83 preparation of sleeve forms, 83– 84 general directions, 84–85 kimono dress, 86–87 one-piece dress, 88 circular skirts, 88–89 collars, 90–92 sleeves, 91, 92–95 coats, 95 Dress form, preparation for drap- ing, 81–83 Dress linings. See Linings, dress Dresses draping of kimono, 86–87 one-piece, 88 fitting of, 128–136 hems on, 148–152 alteration of pattern to increase hip measure, 186 to change length, 187 plackets in, 199 Edge finishes bias tape, 44–45 rickrack, 45–47 military braid, 47–48 - soutache braid, 48–49 stickerei, 49–50 lace, 152–153 for linings, 156 machine hemstitching, 162 picoting, 163 piping, 195—197 See also Hems, Facings, and Shell edge Embroidery attaching, 153–154 joining, 154–155 mitering a corner, 178 Emery, 296 Entre deux, 154 Epaulet sleeves, 278–281 lining, 162 Equipment for sewing, 295–299 Eyelets, 114 Facings bias tape used for, 44–45, 151, 152 uses and types of, 95–96 bias, 96–98 fitted, 98–99, 245 straight, 100 on skirts, 150 combination piping and facing, 197 Fagoting used with bias tape, 45 Bermuda, 64–65 used in appliquéing lace, 153 variation of Bermuda, 65 diagonal, 65–67 straight, 67 Fasteners types and selection of, 100, 101 buckles, 101–102 buttons, 102–105 bound buttonholes, 105–109 strip buttonholes, 110 worked buttonholes, 110–114 eyelets, 114 hooks and eyes, 114–116 Index 307 lingerie guards, 116–117 loops, 117–121 snaps, 121–122 zippers, 122–123 method of marking location of, 164 Featherstitch, 67–68 Fell seams flat, 40, 257–258 hemmed, 257 Stitched, 257–258 open-stitched, 258 standing, 258–259 Figures, matching, 166 Fishbone Stitches, 68–70 Fitting lining for dress form, 82 preparation for, 124–125 standards for properly fitted gar- ments, 125–126 general directions, 126–128 one-piece dress or blouse, 128–136 skirt, 136–137 kimono garments, 138 sleeves, 274–275, 280–281 See also Draping Flap pocket, 231–232 Foundation pattern, 193 French bias, 21 French hem used with fagoting, 66 how to make, 146–147 French knots used in attaching bias tape, 45 used in attaching rickrack, 47 how to make, 70–71 French seam, 259–260 imitation, 260 Fur coat, lining, 159 Gathering and shirring, 138–142 Gathers, 293 in hems, 150 Gauge, for cutting bias strips, 14, 15 for marking hem, 145 method of using, 149 Gloves, leather, mending, 173 Glue used in mending, 176 Godets, 142 Gussets, 128, 244–245 Handkerchiefs hemstitching on, 71 rolled hem on, 147 Hem mitering a corner in, 177–178 shrinking out fullness at top of, 241–242 pressing darts at top of, 242 Hemming catstitch, 289 damask, 289 running, 289 slant, 290 slip-stitch, 290–291 vertical or straight, 291 Hemming stitch used in appliquéing lace, 153 used in mending, 175—176 Hems, 143–152 plain, on straight edge, 144–145 reversed, 145 narrow, on curved edges, 145 wide, on curved edges, 146 damask, 146 French, 146–147 rolled, 147 on skirts, dresses, or coats, 148– 152 Hemstitching plain, 71–72 diagonal, 72 double, 73 Italian, 73–74 machine, 162–164 Herringbone stitch, 69 Hip measure, 167, 168 alteration of pattern to change, 186 Hooks and eyes, 114–116 metal, 115–116 thread eyes, 116 Hose, mending, 171–173 Index 309 Patching, 173–176 hemmed patch, 174–176 glued patch, 176 Patterns blocking of kimono garments, 22–24 nightgown, 24–26 slip, 26–27 collars, 28–29 convertible collars, 30 nonconvertible collars, 37 selection of, 178–180 use of, 181 testing, 181, 183–184 alteration of bust measure, 182, 183 shoulder width, 182, 184 for round shoulders, 185 hip measure, 186 skirt length, 188 sleeve, 268, 269, 270 modification of, 187–192 foundation, 193 placing on fabric, 194 cutting garment, 195 marking, 195 sleeve testing, 265–268 altering, 268, 269,270 Petticoats, plackets in, 200 Picoting, 163–164 as seam finish, 255 Pile fabrics direction of pile in garment, 194 pressing, 242–243 Pinking, 255 Tinking machine or scissors, 296 Pins used for marking, 164 suitable for dressmaking, 296 Piping plain, 196 combination piping and facing, 197 set-in, 197 Plackets, 198–215 in dress with belting, 8–9 uses for different types, 199–200 continuous-bound, 200–202 bound and faced, 203 bound-buttonhole, 203–204 extension, 205 fly, 206–207 hemmed, 207–208 lap, 209 picoted, 210 rolled, 210 shirt-front, 210–211 tailored, 211–213 tuck, 213–214 welt, 214–215 combined with pocket, 233—234 pressing of, 241 Plaid skirts, hemming, 149 Plaids, matching, 166 Plaited skirts, 218–222 attaching to belting, 10 fitting, 137 hemming, 144 Plaited trimming, 222 preparation of fabric for com- mercial plaiting, 222–223 making plaiting at home, 223 Plaits staying ends with arrowheads, 52–53 staying ends with crow's feet, 63 to introduce into plain skirts, 190, 191, 192 types, 215 commercially made, 215 edge-stitched, 215–216 cut as part of garment, 216 inserted in slash or seam, 217–218 side, 219–221 box, 221–222 inverted, 222 cartridge, 223–224 for draperies, 224–225 pressing of, 241 reénforcing ends with square knots, 247 reënforcing ends by retracing machine stitching, 247 Index 311 French, 259–260 imitation French, 260 lap, 260–262 narrow, 260 wide or tuck, 261–262 rolled, 262 slot, 262 welt, 263 Seed stitch, 61, 75 Set-in sleeves, 263–277 Sewing machine, use of, 295–296 See also Attachments Shell edge, 75–76 use of, on linings, 156 Shine, to remove, 240–241 Shirring, 139–142 hand, 140 machine, 140 tucked, 141 corded, 141 reénforced, 141–142 Shirt-front placket, 210–211 Shirt sleeve, 276 Shoulder length, measurement, 168 Shoulder seam, 251 Shoulder width, alteration of pat- tern to change, 182, 184 Shoulders fitting garment to, 128–129, 132, 134–135, 136 round, alteration of pattern to fit, 185 Shrinking fabric before cutting, 193–194 cotton and linen, 234 silk, 236 wool, 239 Silk pressing, 234–236, 243 steaming, 236 pressing bias binding on, 243 Skirts bands on, 5 attaching belting to, 8, 9–10 lengthening, 10 plaited, 10, 137, 144, 218–222 draping circular, 88–90 fitting, 136–137 width of hems on, 143–144 making hems on, 148–152 altering length of pattern, 188 flared, 190, 191 modification of patterns, 190–192 plackets in, 199 Slant hemming, 290 Slash for belt or tie, 109 Sleeve forms, preparation for drap- ing, 83–84 Sleeves draping, 92–95 modifying patterns, 192 plackets in, 198, 200 set-in, 263–277 establishing normal armseye line, 264—265 without visible fullness through- out the cap, 265–275 without visible fullness at the armseye, 275-277 with fullness at the armseye, 277 dolman, 278 epaulet, 278–281 kimono, 281 raglan, 281–282 bottom finishes for, 282–285 Slip, blocking, 26–27 Slip-over garments belting used in, 7 neck openings in, 199 Slip stitch, 295 Slip-stitch hemming, 290–291 Slot seam, 262 Smocking, 76–80 plain (honeycomb), 76–78 variations, 79–80 Snaps marking location, 121–122, 164 sewing on, 122 Soutache braid, 48–49 Standards for properly fitted garments, 125–126 for seams, 251–252 312 Clothing Construction Stay belt, 9 Steam pressing of silk, 235 Stickerei, 49–50 Stitches, 285–295 basting, 285–287 backstitch, 288 combination, 288 darning, 288 hemming, 289–291 overcasting, 291–292 Overhand, 292–293 running, 293–294 slip, 295 See also Decorative stitches Stripes, matching, 166 Supplies and equipment for sewing, 295–299 Swing tacks , thread suitable for, 297 how to make, 300 Tailored garments, 247–249 Tailor's chalk, 164, 296 Tailor's square, 297 Tailor's tacks, 165 Tape applied facing, on bulky fabrics, 152 bias, 44–45, 152 Prussian, 152 Taping tailored garments, 249 Test garment, 81, 183–184 Thread eyes and loops, 116 suitable for different uses, 297 varieties of, 299 Tie, slash for, 109 reénforcing, Tracing wheel, 165, 297 Trimmings and braids, 43–50 Trousers, 180 plackets in, 198, 199 Tuck, shell edge on, 76 Tuck dart, 50 Tucked shirring, 141 Tucker attachment, 301 Tucks, 300–301 Twilled fabric, placing pattern on, 194 Underarm seam, 251 correction of sagging, 132–133 correction of slanting, 135–136 Underwear, bands on, 5 Velvet binding on, 19 direction of pile in garment, 194 pressing, 242-243 Vertical hemming, 291 Waist measure, 168 Weights, 301–302 Welt placket, 214–215 Welt pocket, 230–231 Welt seam, 263 Whipping, 147 Wool, pressing and shrinking, 236– 243 Yokes smocking on, 76, 80 - altering length of skirt with, 188 Zigzag chain stitch, 58 Zippers, 122–123