ALBERT R. MANN LIBRARY Cornell University Gift of Thomas Bass From Home Bakings, by Edna Evans San Francisco, 1912, gſø-SęsºWSø-SęsºWS/Z-Sés'WSø-Sęsºs Th: c/Vºw. 3-cyclerºsie •f w/Weser (Sevins Edited by FRANCES BLONDIN Published by WM. H. WISE & CO., INC. NEW YORK 1946 Through special arrangement made with THE NATIONAL NEEDLECRAFT BUREAU, INC. \S^2/\S^2/\S2S2/\sºz/ Copyright, 1943, by THE NATIONAL NEEDLECRAFT BUREAU, INC. Revised Edition Copyright, 1946 WM. H. WISE & CO., INC. ALL RIGHTS Reserved. No PARt of this book MAY BE REPRODUCED IN ANY FORM. BY MIMEOGRAPH OR ANY OTHER MEANs, witHouT PERMIssion IN writing FROM the PUBLISHERS. %/5E books are trademarked º look for the M/5E old bird! PRInted in the UNITED states of AMERICA AMERICAN Book-stratford PREss, IN.c., NLw York woman's ingenuity. A dozen women may choose the same dress pattern, but when they have finished, there will be twelve completely different dresses. Each will have added her own individual touch—created, in a sense, her own original design. One of the major satisfactions of being able to make one's own clothes is having a wardrobe styled to one's own personality. Added to this, is the possibility of having good fit, a distinct advantage when planning to be well dressed. In her children's clothes and in the accessories of her home, the woman who sews has more chance than most to express herself creatively. It is hoped that this book will help many women discover the hidden assets and pleasures in their thimbles. For invaluable assistance in compiling the technical matter in this book, grateful acknowledgement and thanks are given to Jane Chapman, Joan Frye, Mary Harrell and Elizabeth Mathieson, of the Educational Bureau of the Spool Cotton Co.; to American Viscose Corp.; the Butterick Co.; Botany Worsted Mills; Cela- nese Corp.; E. I. du Pont de Nemours & Co., Inc.; Wil- 'liam Skinner and Sons; Arthur Bier Co.: Singer Sewing Machine Co.; and to The American Home: Woman's Home Companion; Simplicity Pattern Co.; J. Wiss & Sons Co. Frances Blondin Čc vºtewººts OFF TO A FLYING START . . . . . . . . . . . . . . . . . . Essential sewing equipment—How to use a sewing machine —How to make a pinafore, a practice piece for fundamental steps in sewing, including finishes and techniques suitable for cotton fabrics. SEW A STRAIGHT SEAM . . . . . . . . . . . . . . . . . . . Directions for making simple and attractive things for the home largely from straight pieces: pot holders, aprons, tablecloths, luncheon sets, table scarves, cocktail napkins, bridge cloths, bedspreads, dressing table covers, dresser covers, closet accessories. WINDOW DRESSING . . . . . . . . . . . . . . . . . . . . . . . How to make glass curtains: straight curtains, sash cur- tains, cottage or Dutch curtains, casement curtains, ruffled curtains — Directions for making draperies and valances: French headings, valance boards. BRIGHT INSIDE STORY . . . . . . . . . . . . . . . . . . . . . Easy-to-follow instructions for making slip covers: measur- ing, estimating yardage, fitting, finishing, trimming. BAG OF TRICKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . Accessories to make: collars, dickeys, bags, hat, evening skirt, scarf, mittens, espadrilles. 10. ... PATTERN FOR SUCCESS . . . . . . . . . . . . . . . . . . . . . 184 Selection of pattern and fabric — Explanation of a com- mercial patterm — Alteration of patterns — Cutting out a pattern. ON THE MAKE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 General procedure in making a garment — Steps in making a skirt, blouse, dress—Sewing details: basting, darts, pleats, gathers, seams, necklines, closings, pockets, plackets, sleeves, belts, hems — Pressing — Fitting. THE TAILOR'S APPRENTICE . . . . . . . . . . . . . . . . . 227 Tailor's tricks in cutting, making and lining tailored clothes. REPEAT PERFORMANCE . . . . . . . . . . . . . . . . . . . . . 237 General recommendations for make-overs—Suggestions for restyling women's clothing—Cutting down adult's clothing to make children's and women's clothing—Making a man's suit into a woman's suit. STORK SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Baby clothes to make – Gifts for the new mother and baby. 11. 12. y alterations: shortening, lengthening and taking in gar- ments, relining a coat. 13. MATERIAL EVIDENCE . . . . . . . . . . . . . . . . . . . . . . Selection of fabrics: textile fibers, terms, weaves — Textile chart of fabrics — Explanation of terms found on labels — Shrinking of fabrics before cutting — Laundering and cleaning — Spot and stain removal. 14. SUPPLY DEPOT . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sewing room accessories: implements used in cutting, meas- uring, marking, fitting, sewing, pressing. INDEX FLOSSY TOUCHES . . . . . . . . . . . . . . . . . . . . . . . . . . Basic embroidery stitches — Simple border designs made from basic stitches—Appliqué—Embroidery and appliqué designs — Monogramming — Smocking. LIFE SAVERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mending made easy: stockings, girdles, fasteners, grooming aids, turning collar and cuffs, tears, patches—Tips on 3. º c/Vºw, nºys •psie •f cº &\"wº (Sevins Striped taffeta evening skirt with a peplum ... the familiar dirndl done in a new version . . . easy to make and fun to wear! See instructions on page 178. 1. C# to sº ºtert tº) If you've been feeling wistful about the pretty clothes in the shops . . . if you've been down in the dumps because your home is turning seedy at the seams, wearing shabby around the edges... if you've been wondering how you're going to juggle the budg- et into keeping your small fry in clothes, your troubles are over. To live better on less, look lovely on next-to- nothing, take to your thimble! To start with, let's puncture a myth. You don’t need any special talent or ability to make a dress or a slip cover. All it requires is the normal amount of fingers and a fair quota of patience. While most books on Sew- ing assume that you're acquainted with the funda- mentals, this one starts out on the premise that you're innocent as a new-born babe about selvages and seams. You begin at the beginning, learn step by step. You learn by doing, and with each step your confi- dence grows. In the very first lesson you make * attractive and wearable pinafore. In other words, you reap as you sew! /14] OFF TO A FLYING START All the important things that you want to know about sewing are described in this book. The construc- tion details are shown in connection with interesting things to make for yourself, your home and your fam- ily. If you have a question about a special technique, consult the index in the back of the book which con- tains a complete list of all the subjects covered. Sewing is not difficult but, like all skills, it requires practice. Practice may be both pleasant and profitable if an attractive, usable article is made while trying out the construction details given. The purpose of the book is to teach the most fundamental operations of OFF TO A FLYING START /15/ sewing in this way. For example, the basic steps in sewing are taught while making a simple pinafore. This begins on page 27. Sewing has some tools and equipment which are indispensable, others which contribute greatly to con- venience and efficiency. In Chapter 1, only the essen- tials are mentioned. In succeeding chapters, additional items appear and are described as they are needed. So as to make it easier to check supplies and to add to them from time to time, the furnishings for the per- fect sewing room—the place where every conceivable help for sewing is assembled—are reviewed on pages 309 to 313. The kind of needle and the size of needle to use de- pend on the weight of the fabric and the type of sew- ing being done. Before beginning to sew, it is advisable to turn to the Thread and Needle Chart on page 315 where there are full particulars as to the proper needle sizes as well as a description of the various types of needles. In buying a package of assorted sewing needles to keep in a work basket, sharps, sizes 3 to 9, is a good general assortment. Seuwing Equipment Needles /16/ OFF TO A FLYING START Sewing Thread Sewing thread, too, should be selected according to the use to be made of it. Too large a thread and needle are very awkward. They make sewing hard work, since more effort is required to push them through the fabric. The results are clumsy and very unsatisfactory. Too fragile a thread defeats its own purpose, and a needle, which is too fine, will break in the hand. White and black thread come in a large number of sizes, in sizes 8 (coarse) to 100 (very fine). For sewing on wool, Thimble rayon, silk, colored cotton and linen fabric, mercer- ized cotton thread comes in both heavy and normal weights, has a high luster and a wide range of colors. Silk thread may be used on silk, rayon or wool fabrics. For basting, there are special cottons also, but many people use white sewing thread, or better still, odds and ends of colored mercerized threads. For complete details on sizes and kinds of thread, see Thread Chart on page 315. A thimble is a must for sewing comfort. All expert sewers use thimbles because the needle may be pressed with more force and no discomfort. OFF TO A FLYING START Thimble is a contraction of the word “thumb bell.” It was invented in Holland and, when introduced into England in the seventeenth century, was worn on the thumb. Tailors for men still wear them in this manner, but for ordinary sewers the correct position is on the middle finger of the right hand. Some people like to have a gold or silver thimble as a permanent possession. These may be purchased at any jewelry store. Chromium plated brass and plastics make very satisfactory thimbles which do not leave a mark on the finger. The average adult takes size 7, 8 or 9. Children take the Smaller sizes. When buying a thimble be very sure that the small round grooves (millings) are deep enough to hold the needle and that they extend well down the sides. The thimble must be smooth on the outer sur- face to prevent it from catching in the fabric. Another requirement for sewing is a scissors or shears. Buy the best possible. It is a good investment. There is one consid- eration that is so important in discussing scissors for sewing that it merits excep- tional attention. Do not use the scissors with which you cut fabrics for any other º 2. %2. (‘ſº º / | | \ § º 2^ | /18/ OFF TO A FLYING START Measuring Helps purpose. Buy a very cheap pair of scissors for paper, cord and the like, as nothing dulls and spoils the edge of a good scissors as quickly as cutting things of this nature. For good “all around” shears use a bent trim- mer – 8" long. Keep the blades clean, for dust and dirt dull them rapidly. Apply a drop of oil at the joint occasionally, to keep them running freely. When they become dulled through use, they should be resharp- ened by a competent grinder. (See page 310 for a good line of scissors and shears.) Careful measurement is one of the requisites for sewing well. An oilcloth tape measure which may be read from both ends is the most practical. A six-inch ruler, with markings up to 16", will serve many pur- poses where a longer one would be cumbersome. The newest ones are transparent, making it possible to see the grain of the fabric. The yardstick is used for meas- uring fabric and hems and for marking long straight lines. Make sure it is a good durable one with well turned, smooth edges and clear markings. Buy good quality brass dressmaker pins, size 4 or 5, by the half pound box. Steel pins are also good, but they are apt to rust. Poor quality pins will mar the fabric in which they are used. A convenient method for using pins is to have them in a small pincushion held at the wrist by an elastic. Another type is the wall pincushion which may be hung near the work. A pin- cushion is sometimes strapped around the arm of the sewing machine. There are many devices for marking on fabric, but OFF TO A FLYING START /19] the beginner will find tailor's chalk most useful. The ºins chalk is just what its name implies—a chalky sub- stance made in a flat or crayon shaped piece—and it may be used on silk, rayon, cotton, limen and wool. It comes in white, red and black for use on all colors of fabric. There is another kind of tailor's chalk, a wax, but this is for wools only. It will leave a mark on other fabrics. For other marking aids, see page 311. #s 2/7ZZzz/ -% ) ***T*T*. It may seem strange to include an iron and an iron- pressing ing board as essential pieces of sewing equipment, but pressing is an important part of good sewing, not merely a finishing touch. Each seam of the garment should be pressed after it has been stitched and the bastings removed. A good ironing board should be well padded. Removable slip covers for the ironing board make it possible to have clean covers at all times and so prevent any possibility of soiling fabric while pressing. A press cloth, that is, a cloth which is placed over the fabric before the iron is applied, should also be on hand. For pressing cottons and linens, which will be worked on at first, a piece of cheesecloth or muslim is best. Remove all sizing first by rinsing sev- eral times in clear water. On page 313, further details are given on pressing. Equipment /20] OFF TO A FLYING START Sewing Machine The first simple problems of sewing may be done entirely by hand. A sewing machine, however, is a great time saver. Its operation is so simple, that, in this day and age, when automobiles and even air- planes are familiar to us, no woman should have to confess ignorance of the sewing machine. For those who have never used a sewing machine. there is usually a local sewing machine shop where at least elementary instruction is available. In any case consult the manual which comes with the ma– chine, checking carefully with the machine. Find out how to set the needle, how to thread the machine, how to wind the bobbin. The simple explanations which follow may help also. Read them before beginning to work. OFF TO A FLYING START /21/ The modern sewing machine has two sets of mech- anisms. One set is located in the upper part, or head, and feeds the thread from the spool down through the needle. The other is located in the lower part, or bed, and regulates the bobbin thread. The two mechanisms are kept in motion by the balance wheel (the large wheel on the right side of the machine). The balance wheel is started by turning the wheel in the proper direction. From then on it is kept in motion by the motor or the foot treadle. The purpose of the machine is to make strong inter- locked stitches. Because two threads are used the stitching is uniform on both sides. The thread for the upper part of the stitch is fed from the spool through the mechanism in the head to the needle. The lower part of the stitch is formed with the bobbin thread, fed by the mechanism in the bed. The two threads meet and are locked together in a stitch as the needle goes down through the needle hole in the throat plate. In order that the stitch be perfectly formed, the first requisite is that the thread from the spool to the needle and the thread from the bobbin be arranged exactly as directed in the manual furnished by the manufacturer. The size of the thread and the size of the machine needle should be chosen in accordance with the fabric used (see Thread and Needle Chart on page 315). The needle, which should be perfectly straight, must be inserted according to instructions (see machine manual). Stitching over a pin will sometimes bend a needle slightly. This slight bend Mechanism Stitch /22/ OFF TO A FLYING START Tension Stitch Regulation may cause irregularity in the stitches. To test a ma- chine needle for straightness, place the flat side of the needle against a perfectly flat solid surface to see that they align. Correct tension is another important factor in get- ting a perfect stitch. The thread coming from the spool is controlled by the tension regulator on the head of the machine (see machine manual). The thread coming from the bobbin is usually controlled by the screw which holds the spring under which the thread passes (see machine manual). Stitches are lengthened or shortened by means of the stitch regulator (see machine manual). The number of stitches to the inch depends on the type of work which is being done. See Thread and Needle Chart on page 315 for correct number of stitches per inch for all kinds of sewing. For a perfectly regulated machine stitch remember that fine materials need a fine needle, a fine thread, a short stitch (more to the inch) and a tight tension. Heavier materials need a coarser needle, a coarser thread, a longer stitch (less to the inch) and a looser tension. . Follow these steps in regulating the stitch: 1. Use the size of machine needle and thread suited to the fabric (see Thread and Needle Chart on page 315). 2. Regulate the machine so that it has the correct number of stitches per inch. (See Thread and Needle Chart on page 315.) 3. Regulate the tension, keeping the presser bar OFF TO A FLYING START /23J down. As a rule, once the bobbin has been properly adjusted, it is seldom necessary to change it. A correct stitch may usually be obtained by varying the tension on the needle thread. 4. Make a sample of stitching on a double thick- mess of the fabric to which the machine is being regu- lated. Figures 1, 2 and 3 show clearly the differences between correct and incorrect regulation of stitches. Fig. 2 Figures 1-3–Correct and Incorrect Tension—Figure 1–The correct ten- sion of thread on the sewing machine means that the threads coming from both the spool and bobbin pull evenly as shown. Figure 2—When the needle thread on the sewing machine is too tight, the needle thread lies flat along the top of the material as shown. Fig- Fig. 3 ure 3—When the needle thread on the 9. sewing machine is too loose, the bobbin thread lies straight along the under side as shown. To sit at the machine correctly and comfortably, use a straight chair of convenient height so that, with- out stooping, the elbows rest comfortably on the ma- chine. The chair should be pulled close and placed directly in front of the machine so that the person using the machine is in line with the presser foot. If you have never sewed on a machine before. you will need a little preliminary practice. Mark a small piece of fabric with parallel lines extending to the edge. Place another piece of fabric underneath (do not sew on a single thickness of fabric). Proceed ac- Position at Machine Practice Stitching /24/ OFF TO A FLYING START cording to the directions given below. The following rules will make sewing easy at any time. Before putting the fabric in the machine— 1. Thread the machine and the machine needle as directed. 2. There should be about 8" of thread beyond the needle. 3. If there is not enough, pull the thread between the head of the machine and the eye of the needle, and then pull it through the needle. (This lessens the possibility of bending the needle. A bent needle may cause your thread to break or your stitches to slip.) 4. Hold end of thread in left hand. 5. With the right hand, move the balance wheel so that the needle goes down through the hole in the throat plate. Continue moving wheel until needle comes backup into position, bringing the under thread through the needle hole. 6. Lay both ends back under the presser foot be- fore starting to sew. To put the fabric under the presser foot— 1. Lay the edge of the practice piece to be stitched just far enough under the presser foot so that the first stitch will go through the fabric (on the marked line). It is important to remember that the first stitch must never be taken beyond the fabric. 2. Lower the presser foot and practice stitching on the marked line. To stop the machine— 1. Just before reaching the end of the line of stitch- OFF TO A FLYING START /25) ing, slow up the motor or the pedaling and stop the machine by placing the hand on the balance wheel. 2. Raise the presser bar. * 3. Raise the needle up as high as it will go by turn- ing the balance wheel. 4. Give the thread above the needle a little pull. (This prevents bending the needle.) 5. Take the fabric away by pulling it straight back. 6. Cut the thread on the thread cutter usually at- tached to back of presser foot. (See machine manual.) Repeat until a straight line is stitched successfully. Then practice stitching squares, triangles and curves to gain perfect control of the machine. Some Do’s and Don'ts 1. Do use needle and thread of good quality and correct size. 2. Do set needle correctly. 3. Do thread machine according to directions. 4. Do regulate stitches to the proper length (if stitch regulator is turned back too far, the machine will not feed). 5. Do test tension on a small piece of the fabric to be sevved. 6. Do oil machine regularly (see machine manual). 7. Don’t wind bobbin too full. 8. Don't sew over pins unless machine has a presser foot designed to stitch over them. 9. Don't pull fabric while sewing. 10. Don't allow fabric to drag over back of machine. Machine Sewing Rules /26/ OFF TO A FLYING START Place a chair there to hold it as it is being sewed. 11. Don't allow machine belt to become too tight (see machine manual). 12. Don't permit mechanism to become dusty or gummed up (see machine manual on oiling). º Proper lighting is mentioned last, but is second to nothing in importance. Whether light comes from a window or an electric light bulb, the best light for working comes from over the left shoulder. When sewing, an adjustable light fixture on the machine is a necessity. If the machine does not have an electric light, a small lighting attachment may be purchased and easily attached to it. Jº, OFF TO A FLYING START /29/ º F- t ~ a far r n Jºa war r § w J.2” JA - w § ſº O it ke § Sarza r J.2" Q zz/rzza 4- 2 Žorzz ºf 4 - Jr. • § zz/rzzz & - rozzz & 3% as a cars i zaroavr warrata ºf 3% or or x terra as 2 Pavarorefrayazºoke – 7tyrre ºf .5% t- zaroa r Baca's or I of Diagram 1b Pyavaroa e Izºzºva roºf Diagram 1 a M - at - Pattern III Pattern II Figure 4–To enlarge to actual size patterns given to scale on small squared sections, follow these direc: tions. Each small square on diagram represents a 1" Square in actual size. To make pattern, use smooth rown paper, pencil and ruler. Note number of inches as marked in length and width of pattern you wish to make. With ruler draw box of length and width needed. Mark off 1" spaces around all sides of box. Use ruler to join corresponding marks with straight lines. Use squares, thus made, as guide and draw lines to correspond with those given in diagram. To use pat- tern, cut it out around outline made. Pin pattern to fabric. When section of pattern is marked “On Fold,” that edge must be laid directly on straight fold of fabric and fold must not be cut. Transfer all marks on pattern pieces to fabric pieces. Jarrºr -2.6* r tº r a ..ºracº Ars' zºpoavr or ox: Diagram 1.c Pattern I Fig. 4 /30/ - . OFF TO A FLYING START Grain of Fabric Cutting Directions "crosswº Figure 5—Selvage is the name given --oº Fi → .. to the woven edges on the length of the ~ –95 ºutwo → -- fabric. “The lengthwise grain” means - t—H+H=\{- - jl the lengthwise threads or warp threads / H HH F LI II and is, of course, parallel to the selvage l, E | U - '#'s edge. “The crosswise grain” means the vº H H;"|3. |-|-Hºjº crosswise or the filling threads, “On the . . OFF TO A FLYING START /31) Back Bib–2 pieces, pattern No. 1 (%" allowed at cen- ter for seam). To cut girl's size pinafore, cut the pieces listed below according to diagram 1b on page 29. Follow the Cut- ting Directions given below. Band and Tie—1 piece, 4" by 72". Skirt–2 pieces, each 22" by remaining width of fabric. Ruffles—3 pieces, each 4" by 32". Front Bib-1 piece, pattern No. II (pattern placed on fold). Back Bib-2 pieces, pattern No. II (%" allowed at cen- ter for seam). To cut child's size pinafore, cut the pieces listed be- low according to diagram 1 c on page 29. Follow the Cutting Directions given below. Band and Tie—1 piece, 4" by 68". Skirt–2 pieces, each 15%" by 26". Ruffles—2 pieces, each 3" by 32". Front Bib–1 piece, pattern No. III (pattern placed on fold). Back Bib-2 pieces, pattern No. III (%" allowed at center for seam). Cutting Directions for Pinafores (Diagrams 1a, 1b and 1c on page 29 serve as guides for cutting adult's, girl's and child's sizes, respectively. The following measurements are for the adult size only. In cutting other sizes merely substitute correct measurements given above.) OFF TO A FLYING START Figure 6–To straighten the end of fabric, pull carefully (until it breaks) the first crosswise thread which extends all across the piece. Cut along the line it makes. Continue to pull and cut in this manner all across width of piece. Figure 7–To tear across to straight- en the end of certain firmly woven cot- ton fabrics, such as percale, clip the sel- vage at a crosswise thread. With the left thumb on the top of the material and the right thumb underneath, tear quickly, straight across. 1. Be sure that the edge of the fabric is straight, that is, that the same crosswise thread marks the entire top edge. If not, straighten the edge as shown in figure 6 or 7. 2. For the band, measure down 80" on the selvage and across 5" on the width and mark. If using percale, clip at the marks. Tear down as far as the 80" mark and tear or cut across. If weave is less firm, it is ad- visable to pull a thread and cut as in figure 6. 3. For the skirt, measure down 28" along selvage, mark. Tear across or pull thread and cut. Repeat. 4. For the ruffles, measure down 5%" along selvage and mark, tear across or pull thread and cut. Repeat this 3 more times. 5. For the back, fold the remaining fabric over about 7%". Be sure that the fold is on the straight of the goods (see figure 5). Place the center edge of the pattern about 2" from fold and parallel to it. Pin pattern to fabric with pins placed at right angles as shown in figure 8. Cut around edge of pattern. Slit the fabric along the fold (the extra allowance will [34] OFF TO A FLYING START Figure 9–Pin edges to be seamed to- gether with pins placed at right angles | to the edge about 2" apart. Fig. 10 Figure 10—The correct length for thread is 18" (or about the distance from forefinger to elbow). A longer thread is apt to knot or tangle, or even break. Thread should be cut, rather than broken; then end will be sharp and will pass more readily through the needle. C > Fig. 14 Figures 11–15–How to make a knot—Figure 11—Grasp the thread about 4% "from end between thumb and fore- finger of left hand. Figure 12—With the right hand, bring the long end of thread around the left forefinger and in between the forefinger and the left thumb (which is hold- ing down the short end). Figure 13—Still holding the long end between the thumb and the forefinger of right hand, roll the short thread end forward between the left thumb and forefinger. Figure 14–Continue rolling end through the loop and off the forefinger. Figure 15—The resulting loop is pulled down into a knot by the thumb and fore- finger of the left hand. 4. Take the marking chalk and the 6" transparent ruler and mark "2" from edge at fairly close intervals. The %" is the seam allowance, and it will be the same wherever there is a seam on the garment. 5. To baste, cut off 18" of thread or basting cotton (figure 10). Thread the needle and make a knot (fig- ures 11–15). OFF TO A FLYING START Figure 19—To remove bastings, clip stitches at short intervals so that fabric will not be drawn. Figure 20–To make a plain seam, pin, baste (see figure 18) and stitch two pieces of fabric right sides together. The distance from the stitch- ing line to the edge of the fabric is known as the seam allowance. Remove bastings (see figure 19) and press open (see figure 26). Figure 21—Hand running stitch is used where there is not much strain on a seam. To begin, fasten thread as in figure 24. Guide the material in the left hand as for basting. Take very small stitches (4 to 6 threads) of equal length, holding the portion worked taut with the right hand. Several stitches are taken on the needle before it is pulled ºugh Fasten off thread as in figure Fig. 22 Figure 22—A back stitch is used where firm hand sewing is needed. The work is held as shown in figure 23. Fasten the thread as directed in figure 24 and take one running stitch. Take the second stitch back over the first one, bringing the needle through to the right side the length of a stitch (4 to 6 threads) ahead of the first stitch. Repeat. Fasten off thread as in figure 25. Figure 23–To hold work for a back stitch, place the fabric over the fore- finger of the left hand and hold it firmly with the middle finger and thumb of the left hand. Fig. 23 Figure 24–To begin a line of hand stitching, put the needle in from the right side and take a short stitch. Draw the thread through until only a very small end shows. Take a stitch or two back over stitch just made. This fastens the thread securely. OFF TO A FLYING START ... [37] Figure 25–To finish off a line of hand stitch- -------- ing, take one or two stitches back over last stitch • ‘W and bring the needle to the wrong side. Hold the thread down close to the fabric with the left y— thumb and pass the needle under the thread. Draw thread up tight to make a knot, still hold- Fig. 25 ing thread close to fabric with thumb. Repeat two or three times for stronger knot and clip. | º Figure 26—To press a seam open on cotton fabric, open seam allowance out by creasing 2--> along seam with thumb nail. Lay press cloth over 2^ - - opened seam and moisten it with a sponge over S-sº seam line. Press over moistened line. Pressing is \s not ironing. The weight of the iron and the steam do the work. Do not push the iron as if to smooth out wrinkles. Fig. 26 2.5 ºn tº Fig. 28 Figures 27-29—How to Turn a Narrow Hem—Figure 27–Hold fabric at the right hand end of the edge to be turned between thumb and forefinger of left hand. With the thumb and forefinger of the left hand, turn in edge 14" and crease with thumb nail for about 2". Figure 28–Make a pleat of the creased portion and hold it between thumb ºf forefinger of right hand. Con- tinue turning hem, creasing with left hand and catching pleats in right hand until there are about three pleats. Give these a hard pinch, release the pleats and go forward repeating the process. Figure 29—The edge is turned again in the same manner for the whole length. Baste through all thicknesses. The hem may be stitched by hand (figure 30) or by machine. gathered into the waistband, clip ends of thread close to fabric. If stitching is done by hand use either plain running stitch (figure 21) or back stitch (figures 22 and 23). Begin and finish off hand stitching as in figures 24 and 25. 8. Clip basting (figure 19) and press seams open (figure 26). With this cotton fabric a press cloth is not necessary, but the seam should be opened out and moistened with a sponge or a cloth thoroughly wet and wrung out. Because the two edges of the seam are /38] . OFF TO A FLYING START Figure 30-–To do blind hand hem- % - minº, hold abric the same as for a back stitch (figure 22). Fasten thread under fold. Take a very small stitch, catching 2 or 3 threads of fabric at edge of fold. Slide point of needle along un- Fig. 30 der fold for about 9%" and bring needle through the edge of fold. Repeat. Stitches should be small, straight and barely visible. Figure 31—To gather by hand or by machine, at least two rows of gathers are made, one on the seam line and an- other 14" nearer edge. Before gather- ing, divide the edge to be gathered and the edge to which it is to be applied into the same number of equal sections. Mark points with pins or with a few running stitches at right angles to edge. To make hand gathers, use a thread at least 6" longer than the distance to which piece is to be gathered. It is not advisable to use a thread more than a yard long. When gathering a longer piece, use a separate thread for each section of gathers. Fasten thread at the beginning (see figure 24). Take short, even, running stitches, then push the fabric back on thread without removing the needle. When the end of the row has been reached, draw fabric up to the desired length and wind excess thread around a pin until gathered edge is fitted exactly to the ungathered edge (see figure 32). To #. gather, adjust machine to six or eight stitches to the inch. Run two rows of stitching along the edge to be gathered, one row on the seam line and one row %" nearer edge. Do not gather more than a yard or so with one continuous thread. Pull stitching up to proper measurement by pull- ing the under (bobbin) threads of both rows of stitching at the same time. Pull top threads through to wrong side. Wind both threads around a pin until the gathered piece is fitted exactly to the ungathered edge (see figure 32). F-5 rººs ||Nº|| | | Figure 32–To apply gathered piece to ungathered edge, match markings on ungathered edge to corresponding markings on gathered edge. Distribute the gathers evenly between markings. Baste edges together along line of gathers on seam line. Fasten off hand gathers as in figure 25. Fasten off machine gathers by knotting two threads together as shown, or thread the ends in a needle and take a few stitches. Stitch along gathering line on seam line. OFF TO A FLYING START /39) ------------------ |Tºm--iſº Fig. 33 Figure 33–To turn a belt, insert the blunt end of a pencil into the seamed end. Work the fabric over the pencil until opposite end opening is reached. Then pull the belt through. (If both ends are open, use a safety pin.) selvages, it is not necessary to finish the edges. 9. On the two short sides turn a narrow (4") hem (figures 27–29). This may be stitched by machine or hemmed by hand (figure 30). 10. Gather (figure 31) the top edge of the skirt to 26” (24" for girl's size, 22" for child's size). 11. The band should be marked at the center and at points 13" to each side (12” for girl's, or 11" for child's). 12. The center seam will serve as a mark on the skirt. Apply band to gathered edge of skirt, edge to edge and right side to right side. Match centers and pin together. Match ends of skirt to marked points on band. Proceed as directed under figure 32. 13. Pin, baste and stitch along gathering line which is on seam line. 14. Fold entire band in half lengthwise, right side inside and raw edges together. Pin and baste all raw edges together except across gathered edge of skirt. 15. Stitch on '6" seam line around ends of band (ties) up to skirt. Trim seam to '4". 16. Turn stitched ends of band (ties) to right side (figure 33). Crease along seam line and baste close .A.!...+\k. |] A. ſ407 OFF TO A FLYING START Fig. 35 Figure 34–To finish a turned belt, work out the corners sharply by using an orangewood stick from the inside, or a pin from the outside. Be careful not to pull threads of fabric. Crease edges exactly on seam line and baste close to crease. Press. Figure 35—A flat fell seam is a strong, tailored seam. Stitch seams on the right side, edge to edge. Trim one edge (the edge towards the back of a gar- ment) 43" or less from stitching. Bring longer edge over, creasing at seam line. Turn under raw edge so that finished seam will be 94" wide. Baste flat to garment. Edge stitch (see figure 38) close to fold. 2:A #S. £º Figure 36–To finish the neckline with a facing cut to fit, take the patterns used for front and back of the garment and pin to fabric. Cut out front and back neck opening. Cut about 2" across the shoulder edges and down center (unless it is a fold). Mark 2" away from cut neck edges (use ruler and tailor's chalk). Cut around this line. Join facings at shoulder seams in a plain seam (see figure 20). Stitch and press open. Turn under outer raw edge 94" and edge stitch (see figure 38). Baste and stitch the entire facing to the neck edge (right sides together). Be sure to take full designated seam allowance. Trim seam to 4" and clip seam in to stitching line at corners and along curved edges to insure a neat turn. Turn to wrong side, crease at seam line, baste close to crease, press. Slip stitch (see figure 39) to garment around outer edge. * – mº- Figure 37–To finish the neckline with a mitered facing, cut a straight strip of fabric 2" wide and long enough to fit around neck edge. Turn under 4" along one edge and edge stitch (see figure 38). Pin raw edge of strip to neck- line, right sides together. Leave a triangular fold at corners. Pin along this fold so that the facing lies perfectly flat. Baste and stitch at corners as shown. Cut away excess fabric to 96" and press seam open. Baste and stitch facing to entire neckline, taking full designated seam allowance. Trim seam to '4" and clip seam in to the stitching line at mitered corner. Turn to wrong side, crease at seam line, baste close to crease, press. Slip stitch (see figure 39) to garment around outer edge. (The facing strip may also be made on the bias. See page 48 for instructions on how to cut and join bias strips.) OFF TO A FLYING START /41) Figure 38–Edge stitching is a line of machine stitching applied on the right side very close to a fold edge (or to one edge of a seam). º Figure 39—Slip stitch is used for a hem in- visible from both sides. Insert needle in fold, slip it along '4" or more and bring it through. Take up 1 to 3 threads of fabric directly under the point where the needle comes through. Draw thread through and begin next stitch. to crease (figure 34). Turn under '4" along raw edge that has been left open and baste. Front and Back of Bib 1. Finish straight opening of back with a narrow (4") hem (see figures 27–29). 2. Join back to front at shoulders with a flat fell seam (figure 35). 3. Face neck edge. This may be done in several ways. Two are given under figures 36 and 37. The neck may also be finished with a bias strip or with prepared bias binding. (See page 49.) 4. Edge stitch on right side (figure 38) and press. Ruffles 1. Take strips for ruffles. Sew ends together with narrow French seams (figure 40). 2. Cut the long strip thus formed in half and shape the ruffles as shown in accompanying diagram. Note that the centers are marked on three sides. cºa/75&ººzava. //v45___ca/v7ar £3Hijºs cºśńſiſſiº: car away CAEAvra Az coºr a way 3. On shaped edges of both ruffles make a narrow (%") hem (see figures 27–29). [42] OFF TO A FLYING START Figure 40—A French seam is a strong seam, especially adapted for long straight seams on garments of sheer fabrics that do not have any particular fitting problems but need frequent launderings, such as lingerie and baby clothes. Stitch seam on the right side, taking $4" less than seam allowance designated. Trim seam to %" from stitching line. Turn to wrong side, crease along seam line and baste close to crease. Hand sew or machine stitch #3" to 44" from fold edge, depending on type of fabric and fine- ness of seam desired. t------------------- Figure 41—An overcast finish can be made on a plain seam without press- ing the seam open. Trim seam edges evenly and finish by sewing the two edges together with slanting overcast stitches taken from right to left. Make stitches firm, short and about 44" apart. Figure 42—To take a hem with a yardstick, decide the height from the floor at which dress is to be worn. Have someone mark this distance • * ~ * *-* *-* - || : - 4:3- from the floor with a yardstick at short intervals around the bottom of the skirt, inserting pins - parallel to the floor. Person upon whom dress hem is being taken should not turn around but should remain in one spot. Baste on pin line. |N ___ ºf º |Fig. 42 Fig. 43 Figure 43—A commercial hem marker, which can be purchased in almost any large department store, may be used to mark a hem. Set marker at desired distance from floor and have someone |\ mark around dress in manner specified in direc- - tions accompanying marker. Baste along marked line. Figure 44–To mark hem when it is impossible to have any assistance, stand close to a table and mark a line (with chalk or pins) around the skirt where it touches the table. This line must come below the hips so that the skirt will hang straight. Measure the height of the table. Subtract from this figure the distance from the floor at which skirt is ordinarily worn. Measure this distance down from the marked line. For instance, if table is 30" high and skirt is normally worn 17" from floor, mark for hem line 13" down from marked line. Baste along marked line. OFF TO A FLYING START /43J 4. Mark center on straight edge of each ruffle and gather (see figures 31 and 32). 5. Place gathered edge of one ruffle against each side edge of bib, raw edge to raw edge, and right sides together. 6. Pin centers of ruffles to shoulder seams and pin edges together at each end. 7. Draw gathers to fit side of bib (see figure 32) and distribute them evenly. 8. Baste, stitch and overcast raw edges of seam to- gether in an overcast seam (figure 41). 9. Press seams so that the seam edges turn in to- ward bib. 10. Edge stitch the side edges of bib on the right side (see figure 38). Attaching Bib to Skirt and Finishing 1. Mark center of lower edge of bib front and cen- ter of skirt band. 2. Insert lower edge of bib front º' under open- ing in skirt band wrong sides together, matching cen- ters, pin and baste. 3. Slip stitch (see figure 39) free edge of band (fold) over the bib, catching stitches through to skirt. 4. In the same manner, insert lower edges of back pieces of bib 9%" under opening in skirt band so that the back edges of the bib are at the ends of the open- ing. Pin, baste and slip stitch. 5. Press bib up and baste top edge of band to bib. 6. Edge stitch (see figure 38) all around band. 7. Fasten at back opening (figure 103, page 177). OFF TO A FLYING START Figure 45–To turn hem, lay garment on table wrong side out and turn hem up on inside of garment along basting line. Place pins at right angles to fold. Baste close to fold. Press on the wrong side and trim to desired width, using a gauge (see figure 46). Figure 46—This hem gauge is an in- valuable aid in marking a hem. It is made available by the publishers of The New Encyclopedia of Modern Sewing as a supplement to this book. - To use, place lower edge of gauge - against fold of hem. Set the handy |: - - movable indicator at the correct meas- . …— urement for a hem, usually about 2". || 1 - Mark the fabric with chalk in line with - • . .” the pointer as shown. Move gauge - along hem, continuing marking. It has | - many other uses, such as keeping an . . . -- T. even distance between buttonholes or - - --T any fastenings such as hooks and eyes - - or snaps. It is also used to measure buttonholes and to ensure evenness of width in tucks, pleats and ruffles. . Figure 47—To finish a plain hem on a straight skirt made of cotton fabric, turn in top of hem 4% ". Edge stitch (see figure 38). Trim raw edge of fabric close to stitching. Pin and baste edge of hem to skirt, easing in any slight fullness. Slip stitch hem to skirt (see figure 39). Hern 1. Put on the pinafore and take the hem (figures 42, 43, or 44). 2. Turn up a 2" hem (figure 45). 3. Mark and finish hem as shown in figures 46 and 47. Press. 2. 22 ev 4× 23rasht 23ear, Well, here you are, ready to go on to bigger and better things. Chapter 1 took care of your elementary education! Now you’re going to put it to work and learn some new tricks as you go along. In this chapter you'll still be sticking pretty much to the straight and narrow — that is, things which are made largely from straight pieces. You'll be surprised at how many gay and attractive things come under this category — brighteners for the kitchen scene — aprons, pot holders; attractive accessories for the dining table — luncheon and bridge sets, scarves, napkins. Even the bedroom can have its face lifted with simple-to- sew, delightful-to-live-with bedspreads, bureau and dressing table covers. What are we waiting for? Let's get going! /46] SEW A STRAIGHT SEAM Pot Holders When the fundamentals of sewing have been mastered, there are many simple and attractive articles which may be made for the home. On the pages following, each important room in the house is considered, and suggestions are given for articles to be made. The important subjects of curtains and slip covers are treated separately in Chapters 3 and 4. USEFUL KITCHEN ACCESSORIES --- - \ Şſ l, \ Pot Holders Pot holders are always a necessity in the kitchen, and they may be made in many shapes and forms. Use bright scraps of washable fabrics such as gingham and percale. Cotton batting or scraps of woolen fabric are used for padding. SEW A STRAIGHT SEAM I47) Round or Square Pot Holders Material (for two): Plain or printed percale or gingham — 4 yd.; percale bias trim (see figure 52) or a bias strip cut from fabric (figures 48–51)–2 yds. of same or contrasting color; cotton batting or scraps of heavy woolen fabric—% yd. Directions for cutting: Round Pot Holder – 2 circles of fabric, each 8" in diameter, and 1 similar circle of cotton batting or of Several thicknesses of woolen fabric. Square Pot Holder — two 8" squares of fabric and 1 similar square of cotton batting or of several thick- nesses of woolen fabric. Directions for making: 1. Place batting or woolen pieces between two fab- ric pieces (right sides out) and baste through all thick- messes close to edge. 2. Bind edges with bias trim or bias strip (figures 53–59). 3. Make two or more rows of machine stitching %" apart toward center, following edge of binding as a guide. /48/ SEW A STRAIGHT SEAM Fig. 48 f Figure 48—The true bias grain is found by folding a lengthwise thread to meet a crosswise thread. The selvage edge of the fabric is always straight, and before trying to find the true bias, the cross- wise edge should be straightened (see figure 6, page 32). Fold one corner of the fabric so that the selvage edge (or a lengthwise thread) lies along a cross- wise thread. A right angle is formed by the selvage. The long side (fold) of the triangle is the true bias. Fabric cut on the true bias can be curved or fitted more easily than pieces cut on the straight thread. For this reason, bias cut strips are frequently used for finishing raw edges. A bias strip may be made from self fabric, or bias may be purchased already cut and folded on cards. In this form it is usually known as bias trim (see figure 52). - I | | T M_1 - Figure 49–To cut bias strips, find the Fig. 49 longest possible true bias (see figure 48). Press along fold and cut i. crease. This edge is a true bias edge, and strips are cut parallel to it. The width of the strip is determined by the width of the trimming or facing de- sired, plus seam allowances. When the Bias Finishes bias strip is to be used for a facing (bias will not show on right side), determine the width of the facing and add 12" for seam allowances. When bias strip is to be applied as binding over a raw edge (bias will show on both sides of edge), the cut width of the bias strip should be twice the width of the finished bind- ing showing on the right side, plus 1/2" for seam allowances. Mark off lines de- sired width away from the true bias edge and parallel to it. Mark with tai- lor's chalk, using a ruler or yardstick. Cut along these lines. Ø Figure 50—A bias gauge to be placed on the pointed edge of a scissors is an attachment which comes with some sewing machines. Once the true bias has been found, any number of strips of equal width may be cut quickly and accurately by using this gauge. SEW A STRAIGHT SEAM Figure 51–To join bias strips, place the straight lengthwise ends of two strips at right angles to each other, right sides together. The points of the angles should extend just enough at each end so that the bias edges meet exactly on the 98" seam line. Baste the strips together and stitch with a 4%" seam on the straight of the goods. Be - careful not to sew the lengthwise grain to the crosswise grain, but always match lengthwise to lengthwise and crosswise to crosswise. Stitch together enough pieces to make the desired length, following the rules given. Snip selvage edges (if there are any) to avoid pulled seams. Press seams open and carefully clip the small triangles extending beyond strip. Fig. 52 Figure 52–Commercial bias trim may be purchased already cut, folded and wound on cards. It is usually made in either percale or lawn. Bias trim is cut 1" wide. “Single fold” bias trim has 14" turned under along each edge. “Double fold” bias trim is folded again through the center so that it is all ready to apply as binding over a raw edge. Figure 53–To apply a bias strip as a binding, cut a strip as long as the edge to be bound plus 2", to allow for a joining. If binding is to be applied to an edge (such as a neck edge) where there is a seam allowance, first trim seam allowance from edge. Place edge of bias strip against edge to be bound, right sides together. Baste to edge, shaping it if the edge is curved. Be careful not to pull the binding as it is applied, because the edges are easily Fig. 53 stretched. To make a joining at the ends, see figure 54. Stitch 14" from edge (along fold on prepared bias trim). Press seam toward raw edge of bias strip. Turn under seam allowance (14") so that raw edge meets raw edges of seam. Baste fold to stitching line and blind hem (see figure 30, page 38) so that stitches do not show through on right side. This is known as hand felled bias binding. -------------""" Figure 54—To join ends when apply- ing bias binding, trim strip diagonally at beginning on the straight grain. In basting the binding to the article, leave this end free for about 3%" and stop just before reaching the end. Smooth out the binding so that it meets the other end and seam the ends diagonally on the straight grain of the fabric (see figure 51). Press the seam open so that the joining is perfectly flat. Bias Finishes SEW A STRAIGHT SEAM Bias Finishes Fig. 55 Figure 55–To finish bias binding by machine instead of hand felling, turn under the seam allowance, fold binding to the wrong side so that the fold comes a little below the stitching line and baste. Stitch on the binding on the right side as close as possible to the seam. This is easy to do with commercial bias trim since the under side is always º a little longer than the upper S1(16. Figure 56—To bind with double fold Fig. 56 commercial bias trim directly over the edge, place the trim over raw edge, making sure that the longer side is on the under side of the fabric. Baste along the center and stitch close to edge on right side. - | | Figure 57—The binder attachment on J% the sewing machine may be used for [ſi +F10 binding long, straight edges. Both bias LQ cut strips and commercial bias trim | Fig. 57 may be used in the binder. When joined - bias strips are used, the seams should be clipped very close and pressed so that º: will pass easily through the binder. It is not necessary to baste when using the binder. The sewing machine manual or a local sewing machine store can furnish full particulars on how to use this attachment. - - - - - - ‘G)—a Fig. 58 Fig. 59 Figures 58 and 59—Hou to Turn a Square Corner with Bias Binding—Figure 58–Baste to within the seam's width of the corner. Fold corner as shown. On the other side of the fold bring the thread through at the point where basting stopped and continue basting seam of the same width around the next side. Stitch. Figure 59–Turn binding to wrong side, fold corners in a miter as shown and fell down binding with blind hemming stitches (see figure 30, page 38). SEW A STRAIGHT SEAM /517 Double Oven Mitt Material: Plain or printed percale or gingham — 16 yd.; percale - bias trim (see figure 52) or a bias strip cut from fabric poſitoid, (see figures 48–51)–2 yds. of same or contrasting color; cotton batting or scraps of heavy woolen fabric – 93 yd. Directions for cutting: Pattern No. IV (see figure 4, page 29, for directions for enlarging pattern from diagram)—4 pieces of fabric, 2 pieces of cotton batting or several thicknesses of woolen fabric. Pattern No. V (enlarge as above)–2 pieces of fabric. D OA D A CAE 7/+/J A. Pattern IV Pattern V I52] SEW A STRAIGHT SEAM Directions for making: 1. Join two No. IV pieces with a plain seam (%") along straight edge and press seam open. Repeat for the other two No. IV pieces. 2. Place batting between these two pieces and baste through all thicknesses close to edge. 3. Pin rounded edges of No. V pieces to rounded edges of No. IV pieces, easing in fullness (figure 61) and baste. Figure 60—A bias strip used for facing is stitched edge to edge as for binding Fig. 60 Z (see figure 53). Take a 14" seam. Turn ,’ strip to other side on the stitching line, baste close to fold, press. Blind hem (see figure 30, page 38), or stitch flat by machine. If there is a corner it is - mitered as shown in figure 59. If the facing is to be on the wrong side of the article, apply the bias strip to the article right sides together. If the facing is to be brought to the right side of the article (to form a trim) apply the right side of bias strip to the wrong side of the article. Figure 61—Easing in fullness means - *I*I*T* N a vº. f * * * that fullness is eased into one edge of a - \ , R Z w $ 7 \ 4 * - - - * * * * * * * * * º - - - seam without gathering the fabric. In | | 1 | | | /- *** pinning, basting and stitching, keep the full side of the joining on top. Pin with - fullness distributed as desired. Baste on Fig. 61 the seam line with small stitches, spaced very closely together to hold the full- ness in evenly. 4. Cut a 4" strip of bias trim, fold in half and stitch fold edges together. Baste at center seam for loop. Ends are caught in binding. 5. Bind all around with bias trim or bias strip (see figures 53–59). SEW A STRAIGHT SEAM - /53] £/ Aprons Aprons are a necessity in the kitchen and they may Aprons be pretty as well as practical. They should be made of fabrics which launder easily and well, such as ging- ham, percale or unbleached muslim. Dainty party aprons may be made of organdie or dotted swiss. Bias trim in various combinations makes an easy and attrac- tive trimming. There are many commercial patterns for aprons. The directions on page 54 for a simple apron made without a pattern may be applied to any of the fabrics mentioned. vºv APROW 56." Diagram 2a 5.2% 2% 43Z2' 34&d | Z% Zºº /2" 3%lgá. /54/ - SEW A STRAIGHT SEAM Organdie Apron Material: Organdie—1% yds. of white; scraps of light weight cotton fabric in a pretty color for appliqué. Directions for cutting (see diagram 2a, page 53): Skirt—1 piece, 32%" by 33" Ties—2 pieces, each 3%" by 36" Bands—2 pieces, each 134" by 18%" Directions for making apron: (%" seams allowed) 1. On the band pieces, turn under and press '4" around all sides. 2. On the ties, make a narrow hem (see figures 27-29, page 37) along two long sides and one short side. 3. On the skirt, make a narrow hem along each long side. SEW A STRAIGHT SEAM /55/ 4. On one short side, fold 144" to wrong side, baste and press. 5. On the same side, make two rows of gathers (through both thicknesses) (see figure 31, page 38), the first row 1" from the fold edge and the second row 1" below. 6. Pleat unfinished ends of ties to measure 1" and baste to skirt on the right side between the lines of gathers, lapping ends of ties '2" over side edges of skirt. 7. Baste band to right side of skirt over the rows of gathers, covering the tie ends. Edge stitch all around (see figure 38, page 41). 8. Baste the other band piece to the wrong side of skirt over the gathers and slip stitch in place (see figure 39, page 41). 9. Make a 2%" hem at lower edge of apron (see figure 47, page 44). (For most adults, a 2%" hem will make the apron the correct length. Pin this amount up and try on apron, adjusting as necessary.) 10. Trim just above hem line with a dainty appliqué (see pages 268 and 270 for design and directions). Potholder Apron Unbleached Muslin Apron with Bias Trim These two aprons are pictured on page 56. They are variations of the same design that is used in the organ- die apron and can be made from the same directions. The potholders button on and have an extra flap added for a pocket. - /56) SEW A STRAIGHT SEAM Pot Holder Apron Unbleached Muslin Apron % | º % º Zzzzzzzzzz % SEW A STRAIGHT SEAM /57) Mother and Daughter Aprons Size 14 and Size 8 Picture and patterns, pages 58 and 59 Materials: Plain fabric (linen like rayon)–(mother) 34 yd.; (daughter) 14 yd. . . . Flowered Chintz—(mother) 3% yd.; (daughter) 38 yd.... Percale bias trim, double fold (see figure 52, page 49) in contrasting color— (mother) 11 yds.; (daughter) 9 yds. Directions for Cutting: (See figure 4, page 29.) Patterns (page 59) Mother Daughter Bodice Front (plain) 1 piece (Pattern VIa) 1 piece (Pattern VIc) Bodice Back (plain) 2 pieces (Pattern VIb) 2 pieces (Pattern VI d) Apron Skirt (chintz) 1 piece (21%" x 36") 1 piece (101%" x 36") Bottom Band (plain) 1 piece (6" x 36") 1 piece (314" x 36") Directions for making either apron: (%" seams are allowed) 1. Baste and stitch the darts on bodice front, right sides together, as shown by X's; graduate to single X at points. Press darts to one side. Stitch darts on back bodice in same way. 2. Baste and stitch side seams of bodice, right sides together. Press open. 3. Press out center fold of bias trim for about 32" (mother), 26" (daughter). Pin in crisscross design down center front of bodice, taking in fullness on inner curved edge by making a small dart. Baste and top stitch close to each edge. 4. Bind edges of back opening and neckline of bodice /58/ SEW A STRAIGHT SEAM Mother and Daughter Aprons Directions for making given on page 57. SEW A STRAIGHT SEAM /59) < A Z-4 -> ºr Zá Q S N. & O X- R Nº w Pattern VIb Pattern VI a - <— 3 4-> <— ?”—- A Tattern VIc /60) SEW A STRAIGHT SEAM with bias trim. Bind armholes in same way. (See figure 56, page 50.) 5. Baste and stitch bottom band to lower edge of apron, wrong sides together. Press seam open. Turn seam allowance on lower edge of band to right side; press. 6. Press out center fold of bias trim for 2 yds. and baste over seam joining apron and bottom band and again across lower edge of bottom band. Top stitch close to each edge of bias trim. 7. Bind side edges of apron with bias trim. 8. Run gathering stitches at upper edge of apron (see figure 31, page 38). 9. Baste and stitch gathered apron to bodice front, wrong side to wrong side, adjusting gathers evenly (see figure 32, page 38). Trim seam to '4". 10. Bind seam joining bodice and apron skirt. 11. For ties, fold a piece of bias trim about 2 yds. long on the length so that the right side is inside and raw edges are even. Sew twice close to raw edges. Turn to right side. 12. From this piece, cut 20" for a bow at center front waistline and divide remainder into four parts for ties at neck and waist. Finish ends by folding under raw edges and slip stitching. Figure 62—Whip stitch is used to catch an edge to another piece of fabric. It is done with small slanted stitches. Catch through only a few threads of the under piece of fabric and then through the edge which is being whipped down. Whip stitch is also used for joining edges (see index). SEW A STRAIGHT SEAM I61] Kitchen Tablecloths Tablecloths for the kitchen should be bright and cheerful. Indian Head, a firmly woven linen-like cot- ton is a good inexpensive fabric to use for these cloths. Linen, sailcloth, percale, or unbleached muslim may ###". also be used. Since these fabrics are usually 36" wide, a small size cloth 36” by 36" may be made from 1 yd. An additional 34 yd. will make 6 napkins, 12" by 12". To insure a straight edge when cutting linens, always measure, draw a thread and cut along it (see figure 6, page 32). Finish in any of the ways under Suggested Finishes for Table Linens, beginning on page 65. A larger luncheon cloth, 72” by 72", may be made from 4 yds. Cut the fabric into yard lengths (see above). Turn a narrow hem (see figures 27–29, page 37) along two adjacent sides of each piece. Stitch by hand. Fagot the four pieces together along the fin- ished edges (figures 63, 64 or 65). Finish the edges with a napery or damask hem (figure 66) or a narrow machine hem (see figures 27–29, page 37). To get more wear from worn linens, cut them into squares, cutting away the worn spots, and piece them together again in this manner. /62/ SEW A STRAIGHT SEAM 2. Fig. 63 Figure 63 — Criss cross fagotting is a method of joining two finished edges. Baste edges to be joined to paper '4" apart (space may vary according to taste). Hold work as shown. Bring thread through to right side of fabric at top of left hand side, close to edge. Take a stitch through the opposite edge from underneath about 14" down from first stitch. Pass the needle under this stitch as shown. Bring thread through and take stitch from underneath on op- posite edge about 4" down. 8 Fagotting Fig. 64 Figure 64–Bar fagotting is prepared and started as in figure 63. Take first stitch straight across opening and bring needle through right edge from underneath. Twist the needle under and over thread. Put needle into the fabric on the left side from top, slide through fold '4" and bring through to start next stitch. Fig. 65 Figure 65 — To use grouped blanket stitches like regular fagotting on ** open-work seam, prepare edges as in figure 63. Work blanket stitches alter- nately on either side of opening. SEW A STRAIGHT SEAM /63) FIVE LINENS FOR THE DINING ROOM TABLE I v (~ º \ 0 & 4 ! :) #7\- 2/- ſº- s2 ) (~ ſ l'U' Damask Linen Cloth and Napkins For special occasions and family gatherings there Damask cloth is nothing to surpass a damask linen tablecloth and napkins. Unhemmed cloths may be purchased in reg- ulation sizes 72” by 72", 72” by 90", 72" by 108", 72" by 126", 72" by 144". The napkins are usually 22" by 22" and are purchased uncut by the dozen. The raw edges are always finished with a napery or damask hem (figure 66). Since it takes quite some time to pre- Figure 66—Napery or damask hem is used for hem- ming linens, especially fine table linens. Turn hem twice as for a narrow hem (see figures 27–29, page 37), making the complete hem iess than 4" wide. - Qrease hem back (to right side) at fold of hem. Catch both creases together with a small overhand stitch made at right angles to the fabric edge, as - shown. Take up only two threads of fabric. Fig. 66 pare this hem for hand sewing, the attachment on the sewing machine known as the foot hemmer (see machine manual) may be used to very good advan- tage. Set the hemmer for the desired narrow width "4"). Remove the thread from the machine needle but do not remove the needle. Run the edges to be /64/ SEW A STRAIGHT SEAM Luncheon Sets turned through the hemmer, and the hem will be evenly turned. The needle softens up the edges of the fabric, making it easy to do the hand sewing. ſº ſº. A- Luncheon Sets \ Luncheon sets are the special joy of the homemaker. They are easy to launder and permit variety in table settings. Fabrics may range from unbleached muslin, percale and heavy linen to fine linen, dotted Swiss and organdie. A luncheon set consists of one runner; place mats, usually four, six or eight; and napkins, the same number as the place mats. The sizes are as |- follows: Runner — 14" x 24" (or 36") Place Mat – 12" x 18" Napkin – 16" x 16" Various finishes for luncheon sets are given next. The cut sizes above allow for fringing a narrow hem, or binding, but if the finish decided upon has a deeper hem, add the necessary number of inches all around. To insure a straight edge when cutting linens, al- ways measure, draw a thread and cut along it (see figure 6, page 32). SEW A STRAIGHT SEAM [65) Suggested Finishes For Table Linens The finishes which follow may be applied to lunch- eon sets or cloths, or to any sort of a doily or runner. Finishes for Where edge finish is plain and further decoration is “ desired, use appliqué, embroidery or embroidered monograms (see index). 1. The edge may be fringed (figure 67). 2. A narrow hem may be hand rolled (figure 68). º ---T-TT-T------------------------- º : 3. The edge may be bound (see figures 49–54). BiR /66/ SEW A STRAIGHT SEAM 4. The edge may be scalloped and bound (figure 69), in the same or contrasting color. 5. The hem may be hand hemstitched (figures 70–79). | º º º B 5 5 º º … º º 6. The edge may be finished with a hand hem- stitched hem and the body of the runner, place mat or napkin divided into sections as shown and double hemstitched by hand (see figures 70–79). After hems have been basted, clip threads as shown and draw threads through body of piece. Turn clipped thread ends under into hem and finish this space in hem as a COI’I1621". - * T * Hmm. E El E. -- º |É unt I E B - E mimim. SEW A STRAIGHT SEAM /67/ 7. A hem 1" to 2" wide may be finished with napery or damask stitch (see figure 66). The corners may either be mitered (see figures 70–73), or the hems may overlap (figure 80). crº-r-z-z-rºrrºrcorrºr) - – 8. A hem 1" or 2" wide may be turned to the right side and edge stitched (figure 81). The corners are mitered. 9. A hem turned to the right side may be piped with a contrasting color (figure 82). /68/ SEW A STRAIGHT SEAM 10. A hem turned to the right side may be scalloped at the edges and piped (figures 83 and 84). | N 11. The edge may be piped and faced at the same time with a contrasting color (figure 85). Figure 67—Fringing may be used best on fabrics which have fairly heavy threads, such as heavy linen, monk’s cloth and Indian Head. Pull threads to make fringe of desired width. The fringe may be strengthened to prevent threads from pulling out by hemstitch- Fig. 67 My Figure 68—A hand rolled hem gives a fine professional finish. First, machine stitch very close to edge of fabric to give it body. Roll edge with thumb and forefinger of left hand and slip stitch (see figure 39, page 41). The finished hem should be less than %" wide. ing (see figures 70–79). SEW A STRAIGHT SEAM Figure 69 — Scallops of any size or depth may be marked on fabric by making a pattern of desired size from cardboard. Mark edge to be scalloped into sections equal to size of scallop and mark a scallop in each section by draw- ing around pattern with chalk. The edges are bound as in figure 53, page 49. Clip points between scallops when turning binding. Scallops look best when they are finished by hand. Figures 70–79—How to Hemstitch—Figure 70 —Hemstitching can be worked only on fabrics from which threads can be easily drawn, such as linen, monk's cloth, etc. Turn under 44" and crease (see figures 27 and 28, page 37) on edge or edges to be hemstitched. Turm under and crease hem of desired width. If piece is to be hemstitched all around, corners must first be mitered. Figure 71—To miter a corner unfold creased hem and cut away corner $4" away from crease. Figure 72—When finishing a miter by hand, turn in 34" along corner edge, turn hem under again all around, bringing mitered cor- ners together and finish corner with a slip stitch (see figure 39, page 41). Stitches should not show through on right side. Figure 73–To finish a miter by machine, fold corner crease in half, cen- ter exactly at point of inside corner and stitch by machine. Press seam open. Turn under hem. Figure 74–Baste hem. Be sure that fold edge of hem follows a straight thread of the fabric. On the wrong side close to fold edges at corners, clip the number of threads to be drawn (enough to make a space /8" to 44" wide). Draw threads. Figure 75—Working from left to right, start hemstitching by bringing needle up through fold of hem and draw thread through. Pick up 4. threads with needle from right to left. Figure 76 — Circle group of threads and insert needle at back of hem, emerging just to right of group of threads. Figure 77—To make corner of hem- stitching secure, use a blanket stitch worked closely to hold edges together. Figure 78—For plain double hemstitching, repeat the operations on other side of drawn threads as in figures 75 and 76. Figure 79—For diagonal hemstitching, divide groups of threads (taking 2 from each) when hemstitching other side of drawn threads. Fig. 69 Fig. 72 Fig. 73 Hemstitching SEW A STRAIGHT SEAM Fig. 76 Fig. 80 Figure 80 — To finish corners when hems overlap, unnecessary fabric is cut away so the corner will not be thick and bulky. Turn up the hems and crease them. Then cut away the sur- plus fabric at corner to within "s" of the overlapping edge, so that when this edge is brought back in place, the cor- ner will be perfectly flat. Baste the edges in place, then whip (see figure 62) so that the stitches at the corner do not show on the right side. Slip stitch (see figure 39, page 41) the edges to- gether at the corner to prevent the nar- row seam from raveling out. SEW A STRAIGHT SEAM /71/ Figure 81—A hem turned to the right side makes a decorative band effect. This may be done only on fabrics which have no right or wrong side. If there is a seam in the fabric that is to be hemmed in this way, clip the seam a little below where the top of the hem is to come and seam the part that is to be inside the hem on the right side. The corners are mitered by machine (see figures 70–73) to make a neat finish on the right side. Figure 82 — A piping is a narrow bias fold of the same or contrasting fabric used to decorate edges and seams. Use a 1" bias strip (see figures 48–52) folded in half. When using commercial bias trim, press flat and fold through center. Baste the bias fold under the fold edge of hem so that only a narrow edge is visible. Machine stitch close to fold edge of hem. Figure 83—Piping may be used to trim a conver scalloped edge, turned to the right side as a hem. Mark and cut scallops in same manner as in figure 69. Clip in 1/8" at each point between the scallops. Turn the scalloped edge under %" and baste close to the turned edge. Prepare piping as in figure 82 and baste the bias fold in place under scalloped edge so that only a narrow edge is visible, clipping it at the point of each scallop. Machine stitch close to fold edge of scallop, lifting the presser foot and pivoting the work on the machine needle at the points between the scallops. /72/ SEW A STRAIGHT SEAM Figure 84—For bias trim piping for concave scallops, mark and cut scallops using a cardboard guide as in figure 69. Clip the edge, as shown, making the slashes not more than %" deep. Turn edge under 48" as shown, being careful to make the points of the scallops sharp and true. Prepare piping as in figure 82 and baste bias fold in place so that only a narrow edge is visible. Fold bias as shown at points. Stitch as in figure 83. Figure 85–To combine piping and fac- ing, cut a bias strip (see figures 48–52) and press the edges under, making the fold on one edge twice as deep as on the other. Turn under 14" along edges to be finished with facing. Place the wide fold of the bias under the folded edge of the fabric, so that it shows about 1/3". Baste and stitch on the right - side of fabric close to fold edge. Slip Fig. 85 stitch (see figure 39, page 41) the op- posite edge to fabric on wrong side. Figure 86–For a piped seam, prepare piping as in figure 82. Baste bias strip to right side of one edge of fabric to be seamed so that the fold is %" inside seam line and raw edges of piping are against raw edge of fabric. Apply the other piece of fabric as for a regular seam. (Where seam allowance is 9%", if bias strip is cut 1%." wide, raw edges of seam and piping will be even.) /74/ SEW A STRAIGHT SEAM Directions for cutting: Cut from linen (see diagram 2e): 9, 182, 2" x 18 “ 9"x /g" | 9 m x 18 ºr /.2” X/2” /2” x/ w /2” x /2* /2” x/2” ºSS. Diagram 2e Place Mats — 4 pieces, each 9" by 18" Center Runner — 1 piece, 12" by 30" Napkins — 4 pieces, each 12" by 12" Cut from organdie: Place Mat Trim — 4 pieces, each 7" by 18” Center Runner Trim — 2 pieces, each 7" by 12" Napkin Trim — 4 pieces, each 3" by 12" Cut from chintz: Flower Motifs – 6 large motifs, 4 small motifs (leave %" around outer edges to turn under). Directions for making: Place Mat 1. Hand roll hem (see figure 68) one long side and two short sides of each place mat piece. 2. Place raw edge against one 18" raw edge of a 7" SEW A STRAIGHT SEAM (75) by 18" piece of organdie, right sides together. Ends of organdie will extend over finished sides of linen piece. They should extend the same amount at each side. Baste. 3. Stitch together with 2 rows of stitching, '4" and %" from edge. 4. Trim seam close to 18" stitching line and press seam toward organdie. 5. Turn under '8" along 18" edge of organdie and baste. 6. Fold organdie to meet seam line, right side in- side. Stitch ends together on a straight line with sides of linen. 7. Turn to right side. 8. Slip stitch fold edge to stitching line (see figure 39, page 41). Make stitches very fine; be sure they do not show on the right side. Center Runner 1. Hand roll hem both 30" edges. 2. Finish ends of runner with 7" by 12" pieces of organdie in same manner as for Place Mat above. Napkin - 1. Hand roll hem all edges. 2. Fold 3" by 12" piece of organdie in half length- wise, right side inside. 3. Stitch 1%" ends together so that this piece when finished is the same length as one side of hemmed napkin. 4. Turn to right side, press. 5. Turn in raw edges '8", baste and press. /76) SEW A STRAIGHT SEAM 6. Place fold of organdie strip edge to edge with one side of napkin. Pin in place all along edge. 7. Baste and slip stitch (see figure 39, page 41) opposite edge and ends to linen. Where To Apply Motifs Apply motifs partly on organdie and partly on linen (see photograph on page 73). Place Mats — Upper left hand corner; Center Runner — Upper left hand corner and lower right hand corner; Napkins — Lower right hand corner. How to Apply Motifs - Turn raw edges to wrong side all around outline of motif and baste. Where indentations in outline occur, clip in to outline to make a sharp corner. Blind stitch (see figure 30, page 38) to fabric. Diagram 2g Diagram 2h 24, a i - --1 — — — — — — — — — H. | I l *||2- Aft//V/va R |*|\! | - - - - - - - - - - - - |-} =|||||Eºs I l—r—T-roº HŠ |TSissº ---------------- : ETET=TETEſ) | | I MAT $ MAT 2-kº | | $ $ Diagram 2f -- - - - - - I.i.p. – F – --Tij. gr ––––––+Pº--4-----Rs 2. | 3 | |..]4, a- (“"I MA 7 | 3 | MAT :*f; | | — — — — — — ił-------- | I 1 … • T t SEW A STRAIGHT SEAM - /77) Monk’s Cloth Luncheon Set with Woven Trim Material (for four settings): - Monk's cloth (36" wide) – 14 yds.; cotton rug yarn — 1 ball each of red, green, yellow, black or any four contrasting colors; Indian Head or linen to match one of contrasting colors — 34yd. (to make 4 napkins, each 12" by 12”). /78) SEW A STRAIGHT SEAM Directions for Making 1. Cut off one selvage edge and pull out two or three strands each made up of 4 threads. (The single threads are used later for hemstitching.) 2. By means of bastings, mark cloth off for a runner and four place mats (see diagram 2f ). 3. Before cutting the pieces apart the contrasting threads are woven in: a. Measure up 2" from lower edge of piece along the side where selvage was cut, and at that point pull one strand (made up of 4 threads). The fabric will pucker slightly, since the other end of the strand is still caught in the opposite selvage edge. b. Make a knot in the end which is pulled out (dia- gram 2g). c. Insert black rug yarn through strand under knot as if through the eye of a needle (diagram 2g). d. Pull out opposite end of strand at selvage, weav- ing the rug yarn through as the strand is pulled out (diagram 2h). Ease the knot through with thumbnail as yarn is pulled through. e. Thread the black rug yarn through in this man- mer 2" to each side of basting lines which mark off mats and runner, as indicated by dotted lines on diagram 2f. f. In the same manner, work the pattern (diagram 2i) in toward center of mats from each of these lines of black rug yarn. g. Work same pattern 2" in from side edges. h. Cut the runner away from group of four mats along basting line. Work same pattern in on either side SEW A STRAIGHT SEAM /79/ of the basting line which marks the ends of the mats. i. Work pattern at other end of runner. 4. Cut out mats and runner along basting lines and hemstitch (diagram 2;) all around each piece, 1%" in from edge, using a single thread from strands of thread pulled out previously (step 1). 5. Fringe edges up to hemstitching. 6. Fringe napkins (see figure 67). Unbleached Muslin Luncheon Set with Bias Trimming Material (for four settings): Unbleached muslin (36" wide)—1 yd.; percale bias trim–5 yds. each of black and aqua, 10 yds. of red (color used to bind outer edges), or any other colors; Indian Head to match one of contrasting colors—% yd. (to make 4 napkins, each 12" by 12"). /80/ SEW A STRAIGHT SEAM Directions for cutting (see diagram 2k): Cut from unbleached muslin: Place Mats—4 pieces, each 12" (selvage) by 18" Center Runner—1 piece, 12" (selvage) by 36" Cut from Indian Head: Napkins—4 pieces, each 12" by 12" Directions for making: 1. On one long and one short edge (lower and right hand edges of place mats), mark a line with tailor's chalk 3" in from edge and another line 2" in from edge. These lines will cross at corners. 2. On 3" line baste aqua bias trim flat so that the edge toward center is directly on marked line. Cross strips at corners as shown in diagram 21. 3. On the 2" line do the same with black bias trim and cross at corners as in diagram. 4. Machine stitch close to both edges of all strips. 5. Apply red bias trim to edge as facing on the right side (see figure 60). 6. Fringe napkins (see figure 67). Jø " = Diagram 2k /2 × 36 Diagram 21 § /.2 x 18 J.2 x 1 & s s N § A.2 x 18 1.2 x 18 § TN S$3. s SEW A STRAIGHT SEAM /81] Table Scarves Scarves which may be used on serving tables are Table scarves made in the following sizes: 16" by 35", 16" by 44" and 16" by 52". Fabrics are the same as those suggested for luncheon sets (see page 64). For finishes, see Sug- gested Finishes for Table Linens, beginning on page 65. Cocktail Napkins The correct size for cocktail napkins is 6" by 9". Fine ones are made of handkerchief linen. A fringed hem that is hemstitched (see figure 67) or a hand rolled hem (see figure 68) is the easiest finish, but many of the finishes under Suggested Finishes for Table Linens, beginning on page 65, are suitable. Napkins can be made amusing and gay with appliqués, or with em- broidery, see index. Cocktail Napkins /82J SEW A STRAIGHT SEAM Bridge Cloths Bridge Cloths A dainty cloth to fit a bridge table should measure 36" by 36". The napkins are 11” by 11". Linen makes a fine cover, but almost any other fabric may be used. Sheer fabrics make dainty, feminine cloths. See Sug- gested Finishes for Table Linens, beginning on page 65, for suitable edge finishes. The napkins may be fin- ished to match the cloth, or they may be finished with a napery hem (see figure 66), or with fringing (see figure 67). Figure 87 — Corded piping makes an attractive trimming. Cover cable cord with a bias strip or bias trim (see figures 48–52), using a cording foot as shown to stitch the covering close against the cord. Figure 88–To combine a corded piping and a facing, cut a fairly wide bias strip (1%") and make corded piping (see figure 87). Cut one edge to within %" of stitching line. Baste piping to right side of fabric with narrow raw edge of piping against raw edge of fab- ric. The long edge extends beyond edge of fabric. Stitch close to cord with cord- ing foot (see figure 87). Bring the long edge to wrong side. Turm under raw edge, baste and blind hem (see figure 30, page 38). SEW A STRAIGHT SEAM /83/ ==/º Ss: ZIZwº NEW COLOR FOR THE BEDROOMS Bedspreads º Bedspreads are the most important item to consider bedspreads in dressing up a bedroom, and it is fun to make them. Measurements for beds vary, but a good standard size is 39" wide by 75" long for a single bed, and 54" wide by 75" long for a double bed. Any measurements given are based on these figures. If the size of the bed differs, it is easy to make the necessary adjustments. Suitable fabrics for bedspreads are chintz, cretonne, organdie, dotted Swiss, gingham, percale, taffeta. See pages 292 to 303 for descriptions of these fabrics. Some of these fabrics come in both 36" and 50" widths. Before com- puting the necessary yardages, it would be well to check with local stores as to what is available. Figure 89— To insert corded piping in a seam, make corded piping as in fig- ure 87. Baste piping to right side of one edge of fabric to be seamed so that the stitching line on the piping is on the seam line, and edges of the piping are against the raw edge of fabric. Apply the other piece of fabric as for a regu- lar seam and stitch close to cord with a cording foot. (847 SEW A STRAIGHT SEAM Plain Bedspread Directions for Making a Plain Bedspread For a single bed, the standard size for a plain bed- spread is 72" by 108". This type of spread may be made from 6 yds. of 36" fabric. Cut it in two sections of 3 yds, each. One section will be the center panel. The other section is divided into two strips, each 18" wide by 108" long. These are stitched to either side of the center panel. For decoration, contrasting piping (fig- ure 86) or corded piping (figures 87, and 89) may be inserted in these seams. When the seams are com- pleted, the seam allowance should be overcast together (see figure 41, page 42). If bedspread is made of a sheer fabric, it must be lined. The lining is made in exactly the same manner as the spread, and the two SEW A STRAIGHT SEAM /85] thicknesses are sewed together when the edge finish is applied. For a double bed, a plain spread measures 90" by 108". To make a spread similar to the one described before, it is necessary to use 6 yds. of 50" fabric. Cut the fabric into two 3-yd. sections. From the selvage edge of one section, remove a strip 9" wide. (If fabric has a pattern which should be centered, take4%" strips from each side.) This makes a center panel of 41". Split the other 3-yd. section into two strips each 25" wide. Stitch these strips to the center panel as for the spread for a single bed. To make this spread of 36" fabric, 9 yds. are needed. The center panel, 36" wide by 3 yds. long, is stitched to two side strips, each 27" wide by 3 yds. long. - Suggested Finishes for Bedspreads 1. The edges of the spread may be finished with a contrasting piping and facing (see figure 85). If a corded piping is used in the seams, this piping should also be corded (see figure 88, page 82). 2. The edges may also be faced (see figure 60) with bias trim or a bias strip. 3. A straight facing of a contrasting fabric may be applied to make a band on the right side. Use a straight strip as wide as desired and long enough to go around edge of spread. Stitch the right side of this strip to the wrong side of the spread. Turn to the right side on seam line. Miter the corners of the facing (see figures 70–73). Turn in the raw edge '4", baste to spread and machine stitch to fabric along fold. Finishes for Bedspreads I86) SEW A STRAIGHT SEAM Dust Ruffle Directions for Making a Dust Ruffle Some beds look very attractive with a short spread used with a dust ruffle attached to the box spring or wire spring. This spread should hang over the side of bed just enough to cover the mattress by a few inches. To make a continuous dust ruffle for a bed with a box spring, without a footboard, remove the mattress and measure the top of the box spring. Cut a piece of strong white fabric to these measurements, allowing %" all around for seams. Unbleached sheeting comes wide enough so that it will not have to be pieced. Sateen and unbleached muslin may be pieced together and used also. The ruffle is usually made of chintz, sateen, percale or a similar fabric with enough body to stand out crisply. The depth of the ruffle will equal the dis- tance from the box spring to the floor plus 2" (%" for seam allowance and 1%" for hem). To determine the length of the ruffle, add together the lengths of two SEW A STRAIGHT SEAM /87/ sides and the end of the bed and multiply this figure by 2. To determine how many yards will be needed, divide the number of inches needed for the ruffle by either 36" or 50", according to the width of fabric used. To make ruffle piece, measure down along selvage the depth of ruffle plus 2". Clip selvage and tear across (see figure 7, page 32), or draw thread and cut along it if fabric will not tear (see figure 6, page 32). Continue tearing length into pieces this size. Join selvage edges of pieces to make one long strip. Make plain seams and press them open. Make a narrow hem at the short ends and a 1%" hem along one long side. Gather the other long side by machine (see figure 31, page 38). Make a 1" hem on one short side of the foundation piece. Ap- ply gathered edge of ruffle to the two long sides and one short side of foundation piece. On beds which have footboards or posts (where ruffle cannot go around in one piece), make ruffle in three parts, one for each side and one for foot of bed. To mount a dustruffle on a wire spring, measure for the ruffle in the same way as before. Make ruffle in three parts, each part twice the measure of the side of bed to which it is to be attached. Gather to fit corre- sponding side of bed. Instead of a foundation piece, make a strip 5" wide and long enough to go around the two sides and the end of bed. Stitch side, end, and side ruffle pieces in this order to one edge of this strip. Turn under the raw edge and stitch to the seam. Sew 8" cotton tapes at 6" intervals all around. Tie these tapes to the wire of the spring, 2" in from edge. /88) SEW A STRAIGHT SEAM Used with a dust ruffle, a plain spread will be smaller. For a single bed, make a center panel 21" by 112". The side strips should each be 18" by 112". For a double bed, make a center panel 36” by 112". The side strips should be 18" by 112". This provides for a 9" overhang on three sides and for a 27" over-the- pillow tuck-in. Join strips as described under Bed- spreads on page 84. Cut a 9” square out of each lower corner (see illustration) and finish as on page 85. Variations of Plain Bedspreads There are many types of spreads that can be made, using the plain spread as a basis. They all use a plain centerpiece made to fit the top of the bed exactly. The length of this center piece varies according to the type of spread made. To make a spread in 36” fabric for a single bed 39" wide, a 26" center strip is stitched to two outer strips each 8" wide. For a double bed 52" wide, 9%" strips are stitched to a 36” center strip. See Directions for Making a Plain Bedspread on page 84. A spread may be made with ruffles on the sides, an over-the-pillow tuck-in at the top and a tuck-in at the foot. The length of the plain centerpiece, which should exactly fit the top of the bed (see above), will be the length of the bed, plus 27" for the over-the-pillow tuck-in and 18" for the tuck-in at the foot. A ruffle is placed on each long side of center piece from the top to within 18" of the bottom edge (18" allowed for tuck-in). The length of each ruffle must, therefore, be 2 times the length of the side measure (minus the 18" tuck-in allowance). The depth of the ruffle is the dis- SEW A STRAIGHT SEAM /89/ tance from the top of the mattress to the floor, plus 2" (1%" for hem, !?" for seam allowance). Make narrow hems on ends and on one long side. Gather the raw edge to fit the allotted space on sides of center piece, baste and stitch. The foregoing spread, when used on a bed that has no footboard, needs a ruffle around the two sides and one end. The length of the ruffle should be twice this measurement. The length of the center piece will equal the length of the bed, if separate pillow cases are used. If a tuck-in for pillows is desired, 27" is added. To make a fitted spread with scalloped edges for use with a dust ruffle, make the spread center piece to fit exactly the top of the bed (see directions on page 88). Make a lining that is the same size as the center panel. From the fabric used for the spread, make a strip 10" wide and 12" longer than the distance around the Spread with Ruffles ll-li-lill lll . /90/ SEW A STRAIGHT SEAM Fitted Spread two long sides and one short side of the center piece. Make a similar strip from the lining fabric. Fold the spread fabric strip in the center on the width. From the center fold, mark off 12" segments along one edge until the entire edge is marked. Cut a paper pattern for a 12" scallop and in each section mark a scallop. If there is some left over at the ends, mark only part of a scallop. Pin the lining strip under this strip wrong sides together and cut the scallops in both fabrics. Baste and stitch the straight edge of the strip of spread fabric to the side and end edges of the center panel, made of spread fabric, matching the center fold of the strip to the center of the panel. Cut off any excess at the ends. Repeat with lining strip and panel. Place the lining and spread wrong sides together and pin scalloped edges together. Bind both together around scallops and across top end of spread with a bias strip of the same or contrasting fabric, or with bias trim (see figure 69, see page 69). SEW A STRAIGHT SEAM /91) Dressing Tables A dressing table may be decorated in many differ- ent ways. Chintz or sateen to match bedspreads or draperies may be used. Sheer fabrics, such as organdie or dotted Swiss, make dainty covers. With these, a petticoat of white muslim or pastel-colored sateen is necessary. General Directions for Covering a Table with Arms For a dressing table which has arms that open out, cover the top with a piece of fabric cut to fit the top, plus 2" around all edges. Cut a bias strip (see figures 48–52, page 48), or use bias trim and bind, or face with bias (figure 53 or 60, page 49 or 51). Tack to the top of the table with thumbtacks placed on the under- side. Make two covers at the same time, so that the cover may be changed frequently for laundering. On this type of dressing table, the skirt is made in two sections and attached to the table so that it may be easily removed. One method of doing this is to cut 2 pieces of buckram each 2%" wide and long enough Dressing Tables Table with Arms /92/ SEW A STRAIGHT SEAM Corded Skirt Diagram 2m to fit each arm. Cover with muslin or sateen, as in dia- gram 2m. When skirt is finished, it is basted firmly to covered buckram, and the buckram is tacked to table arms. To remove skirt, clip basting stitches. The arms may also be covered by winding with a strip of fabric, and the flat half of a strip of snap tape slip stitched (see figure 39, page 41) to front of each arm. The matching half of tape is sewed to each skirtsection. Corded Dressing Table Skirt To make the type of skirt pictured for a table with arms, measure the length of the arm. A strip twice this measurement will allow for ample fullness. To find the width of the strip, measure the distance from the top edge of the arm to the floor. Add to this 1%." SEW A STRAIGHT SEAM ſ23/ for top heading, 2%" for tucks (%" each for 5) and 9%" for lower hem. Make 2 pieces to these measurements, piecing if necessary to make strip long enough. Finish the center edges with a narrow hem. Along the top, turn in the raw edge '4" and then turn a 34" hem. Baste and stitch. On the right side, make a '4" tuckjust below the stitching line for the hem and another '4" tuck 3" below the first tuck (see figure 90). About 20" down make 3 tucks, each 4" wide and 2" apart. Make a narrow hem along the lower edge. Fig. 90 Figure 90 – A cardboard gauge for measuring tucks is made by cutting a notch (A) into a strip of cardboard at the width of the finished tuck and then cutting another notch (B) at the dis- tance between tucks (stitching lines). When making tucks, be sure to start measuring from a straight line where first tuck is to be. Mark the width of the first tuck with notch (A) on the gauge (using tailor's chalk). Fold on marked line and baste tuck in. Place notch (B) on the basting line, as shown. At notch (A) and at the end of gauge, º stitching line and fold of next tuck. The top is gathered to fit the table. Insert 4" cable cord in a safety pin or bodkin (see page 312) and run it through tuck at top of the skirt, pushing the fabric back on the cord (diagram 2n). § "fºº" r’ſ " \ſ 3.” 4… Diagram 2m /94/ SEW A STRAIGHT SEAM Scalloped Cover Cable cord is also inserted in lower tucks, but here the fabric is only slightly gathered. Baste skirt to buck- ram, allowing the hem to stand above it as a heading, and tack to arms. Snap tape may be slip stitched to wrong side of skirt to match Snap tape sewed to arms. To make this type of skirt for a table which does not have arms, make strip in one piece, twice the length of the outer edge of table. Finish and attach in same way. Scalloped Cover for Table without Arms This is an attractive cover for a table top to be used over a plain skirt. Cut a piece of fabric to fit top of table, plus "4" seam allowance all around. Cut a liming the same size. Stitch two pieces together along back. Turn and press. Cut a strip of fabric 6" wide by the length of the outer edge of table. Mark off one edge into 6" sections. Make a pattern for a 6" scallop and SEW A STRAIGHT SEAM /95) mark and cut a scallop in each section. Bind scallops (see figure 60) and ends of strip with 1" wide bias strip of fabric (see figures 48–51). Stitch straight edge of strip to outer edge of the main top piece, right sides together. Turn under outer edge of lining fabric and slip stitch (see figure 39, page 41) to seam on wrong side. Ruffled Skirt Ruffled Skirt for Table without Arms When a dressing table has no arms, the top cover and skirt may be joined. Cut a pattern to fit the shape of the table top. Cut fabric and a lining from this pat- tern, allowing %" all around for seams. Seam these together at back edge, turn right side out and press: Cut a straight strip for the skirt just as long as outer edge of table and wide enough to reach from the table top to the floor plus 234" (1%" for seam allowances, 1%" for lower hem). Make narrow hems at ends and /96) SEW A STRAIGHT SEAM Dresser Covers a 14" hem at lower edge. For ruffles, cut two strips each twice as long as the foundation skirt piece and about 12" deep. Make narrow hems at ends and on one side of each piece. Gather raw edges to fit foundation piece. To insert the lower ruffle, cut foundation piece across 12" up from lower (hemmed) edge. Draw a thread and cut along it to insure a straight line (see figure 6, page 32) or mark, using a yardstick and tai- lor's chalk. Insert ruffle between these cut edges and stitch. Baste other ruffle to the top of the foundation piece. Stitch this edge to the outer edge of the main top piece, right sides together. Top stitch seam on right side of top. Turn under edge of liming and slip stitch (see figure 39, page 41) to seam on wrong side. To hold cover firmly in place on table, tack at intervals with thumbtacks. These should be hidden under folds of ruffle. Dresser Covers Covers for the bureau and vanity may be made in linen, organdie, dotted Swiss, percale, chintz, muslim and similar fabrics. The sizes will vary according to the space to be covered. The same finishes as those suggested for the table limens, beginning on page 65, are suitable. SEW A STRAIGHT SEAM /97/ BRIGHT CLOSET ACCESSORIES There is every reason why a closet should be bright Closet and interesting. There are many articles which can Accessories be made easily that are useful and yet decorative. /98) SEW A STRAIGHT SEAM Shoe Bag Shoe Bag Material: Percale or chintz—1% yds.; percale bias trim in con- trasting color—8 yds.; wooden slat—16" by %" by 14"; metal rings (34" diameter)—3. Directions for cutting: Foundation—1 piece, 17%" by 30” (selvage) Pockets—1 piece, 24" (selvage) by 33", cut in three equal lengths, each 8" by 33" Directions for making: 1. Bind one 33" edge of each pocket piece. 2. Mark off this edge into 4 sections, each 8%". Divide each section into 3 parts, 2", 4%", 2", respec- tively. 3. Each 2" section is made into a pleat 1” deep. Each 4%" section is the face of a pocket. Between the faces of the pocket the pleats are pinned and folded with edges facing, making box pleats (see diagram 20). 4. Baste pleats across bottom (raw) edge. 5. Place wrong side of one pocket at bottom of foundation piece against right side, raw edge to raw edge. 6. Baste around sides, across bottom and between' box pleats. 7. Place lower edge of second pocket piece 34" above first, baste as for first pocket piece. Repeat for third pocket piece. 8. Starting at top edge, stitch pockets in place be- tween pleats, continuing line of stitching from top to bottom (see diagram 2p). SEW A STRAIGHT SEAM [99] w 22. w 24. *> N- 4%. 7 “ Diagram 20 Diagram 2p 9. Cover lower raw edge of top and center pockets with bias trim, stitched flat. 10. Make 1%" hem at top. Slip wooden slat into open hem at top. 11, Bind (see figure 53) sides and lower edge with bias trim. 12. Fasten rings securely to top with loops of bias trim. Hanger Cover Material: Percale or chintz—% yd.; percale bias trim in con- trasting color—2 yds.; wooden coat hanger. Directions for cutting: Paper Pattern–Lay hanger flat on a piece of wrap- Ping paper. Trace around top edge. At sides, draw straight vertical lines, 5" deep. Connect vertical lines by a horizontal line. Cut out pattern, making a slight curve at point where wire hook occurs. Fabric—2 pieces from paper patterm. Allow "4" all Hanger Cover * SEW A STRAIGHT SEAM /101/ Diagram 24 -- : 5. Bind raw edges together all around. 6. To hang, insert hanger in hole left at top edge. Traveling Slippers Material: Percale or chintz, plain and printed—44 yd. of each; {#s denim or drill cloth–14 yd.; cotton batting or scraps of heavy woolen fabric—% yd.; percale bias trim in contrasting color—2 yds.; elastic (%" wide)—% yd. Directions for cutting: Sole—3 pieces, pattern No. VII, 1 denim, 1 plain per- cale, 1 cotton batting (see figure 4, page 29, for direc- tions for enlarging patterns from diagrams). Top–3 pieces, pattern No. VIII, 1 plain percale. 1 /102.7 SEW A STRAIGHT SEAM 7" 4- 1O" c 47 c r s i ; Pattern VIII Pattern VII printed percale, 1 cotton batting (or several thick- nesses of woolen fabric). (Enlarge as above.) Ties—2 pieces, each 2" by 12", printed percale. Directions for making: 1. Place batting (or woolen) between denim and percale pieces of sole (No. VII), and between plain and print pieces of top (No. VIII), right sides of fabric out. 2. Baste layers together and machine quilt. To ma- chine quilt, mark off diamond shapes by marking lines about 34" apart to cover piece. Machine stitch along these lines (see illustration). 3. Bind (fig. 53) edges of both pieces with bias trim. 4. Top stitch another piece of bias trim over bind- ing just applied around rounded edge of top piece on printed side, turning under "2" at each end. 5. Baste top to upper side (percale) of sole, match- ing center fronts. 6. Whip (see figure 62) free edge of bias trim to under (denim) side of sole. 7. Fold 2" by 12” strips in half lengthwise (right side inside). 8. Stitch edges together along 12" side. 9. Turm (see figure 33, page 39), insert 8" of elastic in each and whip ends of elastic to ends of strip. Turn under ends of strip and whip to slipper top at each side of center notch (see illustration, page 101). 3. W-8ew &Orseeins | In the theater, “curtain” means the end — the act is finished, the play is over. But in a home, curtains are the beginning, an invitation to enter and linger if they're sparkling, fresh and crisp. Decoratively speak- ing, half your battle is won if your windows get the treatment they deserve, if the curtains or draperies are suitable, colorful and ample. There are two im- portant rules to observe. The first is to choose a suitable style — formal draperies in a formal room, informal curtains for a more casual setting. The second thing to remember is that yards and yards of the most in- expensive fabric make for a more gracious effect than a more expensive material used skimpily. /104/ WINDOW. DRESSING A. Curtains are usually divided into two types, glass curtains and draperies. Some of the ordinary types of glass curtains are plain straight curtains, sash cur- tains, cottage or Dutch curtains, casement curtains and ruffled curtains. Each type is discussed in this chapter. Draperies vary in fabric, length and top fin- ish, but basically, they are similar. Å; It is very important to have good sewing and press- ing equipment to make professional looking curtains. Sewing and pressing equipment are described in detail on pages 309 to 315. See index for directions for press- ing various types of fabrics. A steel tapeline or an extension ruler is necessary for taking accurate In easurementS. GLASS CURTAINS Glass Curtains Glass curtains are made in lightweight fabrics, mostly sheers, because they are meant to subdue strong light and to give privacy without cutting off the view or the light entirely. However, in certain WINDOW DRESSING /105) cases, when greater privacy is desired, or when cur- tains are pushed aside during the day and drawn only at night, non-transparent fabrics are used. The sheer fabrics generally used are cheesecloth, dimity, dotted Swiss, marquisette, net, minon, organdie, scrim, the- atrical gauze or novelty curtain fabrics. The non- transparent fabrics are batiste, casement cloth, hand- kerchief linen, pongee and shantung. See pages 292. to 303 for descriptions of these fabrics. When buying, it is advisable to inquire whether the fabric is wash- able, and if it is washable, whether it has been pre- shrunk. If it has not been pre-shrunk, it will be neces- sary to leave a 2" shrinkage allowance on the length. This is concealed as a tuck at the top of the curtain. How to Measure for Glass Curtains On a plain curtain the top hem must be made wide enough so that a rod may slide through easily. This is known as a casing. The top hem may, however, be made wider so that it includes enough fabric, not only for the casing, but also for a tuck known as the head- ing (diagram 3a). This tuck is formed by making a line of stitching above the top hem line stitching and parallel to it. The rod is inserted in the lower opening (casing), the tuck on top making an attractive ruffled edge. A heading is always used when there are no draperies. Another method of finishing the top of a curtain when there are no draperies is a French head- ing or “pinch pleats” (diagram 3b). Directions for making a French heading are given on page 119. The finished lower hem is usually 2" wide, and this hem Measuring Curtains /106] WINDOW DRESSING 4-(EE:#3: Diagram 3a Width of Curtain Diagram 3b 22* *A r is made double to give body to the curtain and also to prevent the raw turn-under edge from showing on a sheer curtain. The finished center hems look well when they are of the same width as the lower hem. These are also finished double. The finished side hems are 94". The lower and center hems are sometimes omitted when trimmings are used (see page 115 for making a trimmed curtain). The width of the curtains should be at least one and one half, but preferably twice, the width of the win- dow. For an average size window, 72” high by 34” wide, two lengths of 36" fabric are considered ample. If the window is exceptionally wide, measure hori- zontally from the inside of the frame on one side to the inside of the frame on opposite side and estimate how much more fabric will be needed to give the proper fullness. It is often possible to take one more WINDOW DRESSING /107] . length of curtain fabric, cut it in half and join each half to a full width of fabric to make a curtain of ample width. When any joining is done, narrow French seams are used (see figure 40, page 42). Glass curtains may come to the sill, to the window apron (the lower edge of the window frame), or to the floor. When combined with draperies, the glass curtains usually come to the sill. When there are no draperies, the glass curtains extend to the apron. Long curtains which extend to the floor are used to give a luxurious touch, or to add height to a room. The total length of a curtain is derived from a combination of several measurements. The list of these measurements is given below, and directions on how to find them follow. Always check back against this list, because all subsequent directions for glass curtains will be given with reference to these measurements. The total of all these measurements is the proper cut length of most glass curtains (exceptions will be noted as they occur). 1. Measurement of the window (see below) 2. Allowance for top hem (see page 108) 3. Top hem seam allowance of '4” 4. Allowance for 2" lower hem — doubled 5. Allowance of 2" for shrinkage The measurement of the window should be taken with a steel tape or an extension ruler. Sill-length Curtains are measured from the bottom of the rod to within 1" of the sill. (The casing allows curtains to drop down slightly and curtains stretch somewhat Length of Curtain /108) WINDOW DRESSING after hanging.) This type of curtain is often hung from a round rod set inside the window frame 1" down from top, especially when draperies are used. However, both draperies and glass curtains may be hung from a double rod fastened to the window frame. Apron length curtains are measured from the bottom of the rod to the bottom of the apron. Floor length cur- tains are measured from the bottom of the rod to within 1" of the floor. These last two types are always hung from rods fastened to the window frame. Tie- back curtains are always apron or floor length. See diagram 3c for all measurements. The allowance for top hem depends on the size of the rod and whether there is to be only a casing (dia- gram 3d), or a casing and a heading (diagram 3e). Since the measurements for the window are taker, from the bottom of the rod, the allowance for the fin- ished top hem is doubled. The measurements given below for allowances for the top hem are based on the various widths of rods most likely to be used. They do not include the seam allowance. When rod is %" wide (1" casing): For casing alone, add 2" for top hem. For casing and a 1" heading, add 4" for top hem. When the rod is 1" wide (1%" casing): For casing alone, add 3" for top hem. For casing and a 1" heading, add 5" for top hem. When the rod is round (casing—twice the diameter): For casing alone, add 4 times the diameter of the rod for top hem. WINDOW. DRESSING /1097 YE. - F-ºn-t'in ---- - | | FFEli | || | || | § | | | | | | § | | || ||| 9 | | | Q —Nºſſºſ ſº I I \ſſ. | | S — !!!!!!!!!,' § || | | | || º wo | I I rº-2 | | R. 2 | ||r- | | | R < I | i º S || || i || S | || | | | $ - § | || | | | | } Diagram 3d | | | | | Q to | | | | | || § 1 || || | | | || ū | || 1: I § 1 || | | *ZT. H. : : ; : Tº T; § | | ? < 1 i & u I | S & | | º JM/A 5. J/ ! ! sº I ſº | _l º W i 1” | - Nº. 2 ZEAL O OF. Nz | Diagram 3c Diagram 3e For casing and a 1" heading, add 4 times the diam- eter of rod plus 2", for top hem. Sash curtains, cottage curtains, casement curtains and ruffled curtains are similar to plain glass curtains so that most of the directions already given apply to them as well. The special characteristics of each are taken up in the following paragraphs. /110) WINDOW DRESSING Sash Curtains m | | | | Sash Curtains Cottage Curtains Sash curtains are mounted on a narrow brass rod fastened to the top piece of the lower sash, so that the Cottage Curtains curtains may move up and down with the raising and lowering of the window. A sash curtain is measured like the plain glass curtain, from the bottom of the rod to within 4" of the sill (diagram 3f). The same allowances are made as for plain glass curtains (see page 107). A heading is usually used on a sash curtain. Cottage curtains or Dutch curtains are a combina- tion of sash curtains and of short curtains placed on a rod mounted at the top of the window frame. The top curtains may be made with ruffles or without. These curtains are very practical because the lower section can be drawn together to give complete privacy, while the upper section can be tied back to admit more light. WINDOW DRESSING /111/ I 7°OD ZºoZ) !- {{s | | |S I |S | º V I Zºop | § | !: | 1.5 | 1/ I 4.4% **7 oz) º Diagram 3f Diagram 3g The sash curtains are measured as directed above. The top curtains are measured from the bottom of the rod to about 5" below the top of the lower sash (see dia- gram 3f). The same allowances are made as for plain glass curtains. - Casement curtains are for casement windows which casement open in and out, instead of up and down as regular Curtains windows. For casement windows which open toward the inside, the curtains are often attached directly to the window. Two rods are used, one at the top and one at the bottom of the window. The width of the curtain is, as usual, twice the width of the window. The meas- urement for the length of the curtain is taken from under the top rod to the top of lower rod (diagram 3g). Add to this figure an allowance for a casing and a 1" heading (see page 109), and the same amount for the lower hem, as a casing and heading are used both at the top and the bottom. If it is not desirable to attach the curtains directly to the window, it is possible to /112] WINDOW. DRESSING Ruffled Curtains Casement Curtains Ruffled Curtains make a plain glass curtain and mount it on a swinging rod which moves with the sash. When the casement opens out, the best method is to make a plain glass curtain and mount it on a rod placed on the window frame. These curtains are usually mounted on rings or hooks and opened and closed by means of a pulley and cord. For these latter two kinds of curtains, a French heading (pinch pleats) is preferable (see page 119). Ruffled curtains follow the same rules for width as the other glass curtains (see page 106). For length. they are measured from the bottom of the rod to the apron or to the floor (see diagram 3c, page 109). The allowance for the top hem is the same as for plain glass curtains with a 1" heading. There is no allowance made for a lower hem, only the 12" seam allowance. For cutting the ruffles, see page 116. For applying the ruffles, see page 116. /114) WINDOW DRESSING Finishing Curtains tightly woven and will cause the edges of the curtain to draw when it is hung. Selvages will also shrink more than the rest of the fabric when curtain is washed. 6. Fold curtains in pairs. 7. For ruffled curtains, cut ruffles (see page 116). 8. Before beginning to sew, it is well to mark off width of hems (allowance for hem plus seam allow- ance). Use a hem gauge (see figure 46, page 44) and tailor's chalk for marking. Remember that the hems on each curtain of a pair must be made to face each other. How to Finish Glass Curtains On glass curtains, the hems may be stitched by machine or by hand. When stitched by machine, at the end of each line of stitching turn and stitch back 4 to 6 stitches instead of tying the ends. If hems are done by hand, a slip stitch is used (see figure 39, page 41). On curtains with no trimming, the procedure is as follows: 1. Make a pair of curtains at one time. Measure them against each other for length as hems are made. Make sure that the center hems face each other. 2. Make the narrow outside hems first. Turn the edge twice, '4" each time (see figures 27 and 28, page 37). Baste, stitch and press. 3. On the center hems (which should be the same as the lower hem), the raw edge is turned in the width of the hem, basted and pressed. Then this edge is turned back (diagram 3h). Baste, stitch and press. WINDOW DRESSING /115/ 2: Diagram 3h - Diagram 3i 4. The lower hems are done next in the same way. 5. The top hems are done last. Before putting in the top hem, check both curtains of a pair against each other for length. Turn under "2" and then turn under one half of the amount allowed for top hem. Baste, stitch and press. If there is to be a casing, make a line of stitching above and parallel to the stitching line of the hem. Seepage 108 for width of casings to be used with different rods. 6. To hide the 2" shrinkage allowance, make a 1" tuck on the wrong side close to the stitching line of the top hem, turn it up and catch it to the back of the casing with long stitches (diagram 3i). On French headings, it is awkward to make a tuck at the top. In this case, make an extra turn of the bottom hem to allow for shrinkage, sewing it with long stitches for easy ripping. How to Make Trimmed Glass Curtains The easiest way to trim glass curtains is to use ready-made trims, such as fringe, pleating and ruf- fling. Trims are usually applied to the center and lower edges. Allow only a 12" seam allowance at the lower edge of the curtain when cutting. All other Trimming Curtains /116] WINDOW DRESSING Applying Ruffles measurements are taken in the same way (see page 107). To estimate the necessary amount of trimming needed, measure down the center and around the lower edge of one curtain and multiply by the num- ber of curtains to be trimmed. Curtains are finished in the same way as on page 114. Trim is applied instead of making center and lower hems in steps 3 and 4. Turn the lower and center edges in 92" either to right or wrong side, depending on trim. If the trim has a decorative edge, turn the raw edge to the right side, baste trim over it on the right side. Slip stitch (see figure 39, page 41) or machine stitch both edges of the trim to the curtain (diagram 3i). If the trim edge is to be hidden, turn the raw edge of curtain to the wrong side and slip stitch or machine stitch this edge over the trim edge (diagram 3k). Also slip stitch (or machine stitch) opposite edge of trim to curtain on the wrong side. How to Cut, Finish and Apply Ruffles to Glass Curtains To estimate the amount of fabric needed for ruffles, measure around the center and lower edge of the cur- tain. For ruffles of organdie and chintz, 1% times the measurement of curtain should be allowed. For dotted Swiss, net and voile ruffles, allow twice the measure- ment of the curtain. Multiply the amount needed for one curtain by the number of curtains to be trimmed. Cutting ruffles lengthwise means that fewer join- ings are necessary. To find out the amount of 36." fabric needed for the ruffling, divide the total yards of ruffling needed by 12 for 3" ruffles, by 9 for 4" WINDOW DRESSING /117) <=zº § 3. { } { } { } {..} {{...} Diagram 3k ruffles. Measure piece off into 3" or 4" strips and either draw threads at markings and cut along them (see figure 6, page 32), or mark strips with a yardstick and tailor's chalk and cut. The pieces are joined together by very narrow French seams (see figure 40, page 42). Join strips to make ruffle length for each curtain separately. Hem one long edge and ends of the ruffle pieces with foot hemmer on the sewing machine (see ma- chine manual), with a narrow hem (see figures 27 and 28, page 37) stitched by machine, or with a nar- row hand rolled hem (see figure 68, page 68). These edges may also be machine hemstitched and the hem- stitching clipped through the middle to get a picot edge. Gather raw edges of ruffles by machine or by hand (see figure 31, page 38). Make rows of gathers 14" and '2" from edge. Pin and baste gathered edge of ruffle to curtain, wrong side to wrong side, '4" in from edge (see figure 32, page 38). Be careful not to stretch the fabric. When turning a corner, make sure that the gathers are full enough so that the ruffle will stand out straight. Stitch on '4" gathering line. Press on right side so that edge of curtain lies over top of ruffle. Turn edge of curtain in '8" at edge. Baste and /118) WINDOW DRESSING Tie-backs stitch to ruffle (diagram 31). Finish the top of the curtain like a plain glass curtain (see page 115). Diagram 31 To make an easy valance finish for a ruffled cur- tain, make a strip of fabric twice as long as the entire curtain rod. The width of this strip should equal the width of the ruffle, plus the same allowance as on the curtain for top casing, heading and seam allowance. Finish two short sides and one long side with a narrow hem. Make casing and heading like that on the cur- tain (see step 5, page 115). Using double rods, mount the ruffled curtain on the inner rod and the valance piece on the outside rod. How to Make Tie-backs An attractive tie-back for a ruffled curtain is made by cutting a band of fabric 3" by 12", and a ruffle 2" by 18" or 24", depending on how much fullness was al- lowed in the ruffle of the curtain. Hem the ruffle except on one long side. Gather and stitch this edge to one long side of the band piece, right side to right side and edge to edge. Turn in ends of band. Turn in and baste free edge of band to seam line of ruffle. Stitch all the way around straight strip and press. Sew small rings or loops to the short ends. The simplest kind of tie-back is made by cutting a straight piece of curtain fabric 4" by 12". Seam the WINDOW. DRESSING /119) two long sides together right side inside. Turn to right side, turn in ends and edge stitch all around. Sew small rings or loops to the short ends. Ball fringe, ruffling or plain fringe may be applied to plain tie-backs. How to Make French Headings In order to describe the making of a French heading or “pinch pleats,” it is necessary to use an actual cur- tain as an example. To fit other cases not described here, insert figures to fit individual measurements. The figures are given for a curtain made from fabric 36" wide, from which 9%" has been cut away (when selvages were trimmed) and 4%" has been used for hems (4" for center and 9%" for outside). This leaves 31" available for pleating. Pleats are made from in- side 2" center hem to within 2" of outside edge. 1. When measuring for curtains, make the allow- ance for top hem to include a casing and a 1" heading (see page 109). 2. Insert a strip of crinoline in top hem of curtain and finish without stitching a casing. 3. Measure curtain rod from bracket to bracket (32” in this case) and take half of it, 16". 4. Measure curtain across the width, 31”. 5. Subtract (3) from (4). This gives 15", the amount available for pleats. Since 4 pleats are usually sufficient, divide this amount (15") by 4. Each pleat will be 334”. - 6. There will be three spaces between the pleats. The amount for spaces is 16” (the measurement found in step 3). From this, subtract the width of the center French Headings /120/ WINDOW DRESSING A N 2. 3%. #1. 3%. #- 3%. #1. 3%2. 3 Z" > Diagram 3m º Diagram 3o | Diagram 3n Diagram 3p Diagram 34 hem (2") and an equal amount (2") to be left at outer edge of curtain. This leaves 12". Divide the 12" by 3 to find the amount for each space, 4". - 7. The top of curtain is then divided as shown in diagram 3m. 8. Bring pleat markings together to make a pleat on the right side. Stitch pleat down the width of the hem (diagram 3n). (On draperies, stitch down 3".) 9. Divide pleat evenly into three parts and pass needle through and over the pleat several times and catch down with two or three stitches on the right side (diagram 30). 10. Rings or hooks are stitched to the back of the finished pleat so that the curtain may be moved back and forth on rods (diagram 3p). Or use the type of hooks which stick into top of drapery (diagram 3g). WINDOW DRESSING /121] <\% ſ ſ § | DRAPERIES The fabrics suitable for informal draperies are Draperies chintz, cretonne, percale, gingham, linen, monk's cloth, quilted cottons, sateen. For formal draperies use bengaline, damask, moire, satin, taffeta, velvet and velveteen. (See pages 292 to 303 for descriptions of these fabrics.) Draperies are usually lined. Sateen is a suitable fabric for lining most draperies. For formal draperies, taffeta may be used. When making dra- peries of heavy fabrics, use a heavy duty sewing thread. (See Thread and Needle Chart on page 311). WINDOW DRESSING /123) In such a case, the glass curtain is mounted on a regu- lar rod, and the drapery is placed on a swinging crane arm. If a second rod were used, it would not be en- tirely covered and so would be unsightly. Occasionally a decorative wooden pole is used for draperies. Rings are sewed to the top of the drapery at equal intervals and are strung on the pole. Four to five inches is a good allowance between each ring, depending on the amount of space to be covered. Measurement for this drapery should be taken from under the pole to within 42" of the floor, and no allow- ance is made for a heading. How to Prepare and Cut the Fabric for Draperies 1. Before measuring for cutting, straighten the top edge of the fabric by pulling a thread and cutting along it (see figure 6, page 32). If it is not possible to pull a thread, mark a straight line with a yardstick and marking chalk and cut. 2. Measure the required length along both sel- vages and mark with chalk or a pin. At mark, pull a thread, or mark with chalk and cut. 3. Use the first drapery as a pattern for the others so that no variation in size will occur. Pin to next length of fabric (cut edges and selvages together) and pull thread, or mark before cutting. 4. If the fabric has one of the large floral designs now so popular, or any kind of a repeated design, care- fully match the drapery already cut to the fabric to be cut. The cut drapery piece is not pinned against cut edge of fabric. It must be pinned at exactly the Cutting Draperies /124) WINDOW DRESSING Making Draperies same point in the design. It is quite possible that a small strip will have to be discarded, but this excess fabric may be used for valances or tie-backs. 5. The lining is cut the same width as the drapery and 3" shorter than the measured length of the dra- pery, without allowing for any hems. - 6. Cut a piece of buckram 36" by 5" to go under the top hem of each drapery. 7. Trim off all selvages from both drapery fabric and lining. 8. Fold draperies in pairs. How to Make Draperies 1. Make a pair of draperies at one time, measuring against each other for length. Make sure that center hems face each other. 2. Lay the drapery fabric on a large table, right side down. 3. Turn in and baste 1%" along the outside edge of drapery, making only a single turn, catch stitch (figure 91) and press. 4. Turn in and baste 2" along the center edge of Figure 91 — To catch stitch a hem, work from left to right. Take up a few threads of fabric, being careful not to - have stitches show on the right side. Take a similar stitch in the hem about 1%" to the right. Continue making zig- zag stitches as shown. Fig. 91 WINDOW DRESSING - /125] | A A { Diagram 3r A A { A: -2" 1% : J%." --~~~~ drapery (single turn), catch stitch in place and press. 5. Turn in and baste 3%" for lower hem (single turn). Catch stitch in place and press. 6. For top hem and a 1" heading, turn down 5." over the 5" strip of buckram and baste (diagram 3r). Catch stitch in place and press. 7. On the lining, turn up and baste a 2" hem (single turn). Catch stitch in place and press. 8. Place the sateen lining on top of the drapery with wrong sides facing. 9. Turn the top of the lining in '4" and pin in place %" above lower edge of the top hem of the curtain. 10. If the drapery fabric is heavy it should be tacked to lining. Smooth lining over drapery so that side edges are even. Pin lining to drapery down the center. Unpin /126/ WINDOW DRESSING T ar == .4% +1% t 2- A//V//V G- ~2. ( | | -—r-ºr-Tºr-Pr- ------------4--------- N. SZ- Diagram 3s - Diagram 3t the liming across half the top. Fold the lining back along the center and catch the two fabrics together with a long, loose basting stitch that does not show on the right side of either fabric or lining. Thread is knotted about once every 2' as shown in diagram 3s. 11. Repin across top and fold under side edges and pin to the drapery so as to cover the raw edges of side hems by %". 12. Baste and slip stitch (see figure 39, page 41) the lining to the drapery around sides and top (diagram 3t). Stitches should not show through on the right side of the fabric. 13. The lining should not be attached along the lower edge. So that it does not show, tack it to the WINDOW. DRESSING (127] Figure 92 — To make a French Tack, Fig. 92 make a stitch about 1" long from sev- eral strands of thread, to connect lining and drapery. Buttonhole stitch closely together around these threads. drapery hem about every 6" with French tacks (fig- ure 92). 14. Attach a weight to each lower corner of drapery. 15. Finish the top of the drapery with a French heading (see page 119), or if it is to be used with a val- ance, sew hooks 1" down and 4" apart (see diagram 3p, page 120). How to Apply Trimmings on Draperies Lined draperies are usually untrimmed. However, Trimming fringe, pleating and similar decoration may be easily ‘’” applied. Finish drapery completely. If the trimming has a decorative edge, baste trimming to the edge of the drapery on the right side and slip stitch both edges. These edges may also be stitched by machine (see figure 38, page 41). If the edge of the trimming is to be hidden, press drapery with a warm iron. Slit the Diagram 3u #Arſºnſ SC WINDOW DRESSING /1297 tom. Catch stitch and press. Lay the lining on the fab- ric wrong sides together, turn under and pin edges so 1A ºr as to cover raw edges of hems by %". Baste as shown in diagram 3v. Make two lines of stitching parallel to T 4.” |- & rººm—W r==== - S 1-1/N / wº 4 //v/A/or #2"> T -- | 2. l Diagram 3v. the top edge, one 2" down and one 3%" down. This makes a casing for rod. Slip stitch around except over ends of casing. Mount draperies on lower rod and valance on upper rod. Other valances may be made which can be tacked to a valance board. A valance board can be made by attaching a board (4" wide by 1" thick by the length of the window frame) to the window frame with sev- Scalloped Valance /130/ WINDOW DRESSING Diagram 3vv Diagram 3x eral arm brackets as shown in diagram 3v. These valances are usually cut about 12" wide, not allowing for seams. The simplest type is a scalloped valance. It may be made by cutting a piece of fabric long enough to go across the length of the board and around the corners to the window frame. Make it about 11" wide to allow for seams. Cut the liming the same size, pin and baste the two fabrics right sides together and mark the center on the width. Make a cardboard pat- term for scallop 7" wide and about 2" deep. Working from the center, mark scallops along one edge of val- ance by drawing around the pattern. Stitch around scallop markings and along two short sides. Trim scal- lops close to seam and clip at points. Turn to right side. Crease on seam line, baste close to crease and press. Turn under raw edges at top and slip stitch together (see figure 39, page 41). Pin 1" tape to wrong side with edge even with top edge of valance. Whip lower edge of tape to valance (diagram 3r). Stitches should not show through to right side. Tack valance around board as shown in diagram. WINDOW DRESSING /1317 Ill -U- l |L Another type of valance tacked to a valance board is made on a buckram foundation. One attractive type of this kind is quilted. Cut a piece of fabric (chintz is good) 12" deep and long enough to go around valance board from one side of the window frame to the other. Cut lining sateen, cotton batting and buckram stiffen- ing to the same dimensions. If buckram has to be pieced, overlap the edges and stitch each edge flat by machine. Turn under all edges of buckram 1" and stitch with large stitches, using a coarse needle and a strong thread. Lay batting against wrongside of chintz and lay buckram on top of this. Turn long edges of batting and chintz over buckram and stitch raw edges together with a long catch stitch (see figure 91). Cut out corners to eliminate bulk and catch stitch short ends to buckram. Draw diagonal lines on chintz (see illustration) with marking chalk and quilt with heavy embroidery cotton, using bold running stitcheſ Quilted Valance ſ132/ WINDOW DRESSING Swag Valance through all thicknesses. Sew large fabric-covered but- tons at intersections of quilting lines if desired. Make a lining of sateen cut to fit finished valance. Turn in 1" on all edges and slip stitch (see figure 39, page 41) in place on back of valance. Attach tape as in diagram 32. Tack to valance board (see diagrams 3v and 3r). Tl|| || UL|| Swag valances are also very popular. A ruffled swag for chintz draperies can be made quickly and easily. For an average size window, make a strip of chintz 18" wide and 2 yds. long. Hem one long side. For ruffling, cut a strip 3" wide and 4% yds. long. Gather to 3 yds. and attach it to the two short sides and one longside of strip, rightsides together. Cover seam with a bias strip (see figures 48–51, page 48) applied like a facing (see figure 60, page 52). Drape the swag over arms or rings screwed to window frame as shown in illustration. Next to the windows, the upholstered furniture is the biggest bugaboo in the average woman's decorat- ing budget. Today many decorators, and the alert women who follow their lead, have found slip covers the perfect — and inexpensive — solution to the prob- lem. A glowing chintz, a bold stripe, a fresh color scheme can put a new face on an old room for the cost of a few yards of fabric. Many people have adopted the idea of having two sets of slip covers, one for win- ter and one for summer. A room full of shabby up- holstered furniture is a challenge to your wit and imagination. Try your hand at slip covering that fad- ing wing chair, and you’ll see that there's plenty of life in the old chair yet! /134) BRIGHT INSIDE STORY Fabrics for Slip covers Trimming Slip covers may be made in cotton, linen and rayon fabrics. Some of the cottons commonly used are chintz, cretonne, denim, gabardine, gingham, Indian Head, percale, piqué, quilted cotton, rep, sateen, ticking, twill. See pages 292 to 303 for descriptions of these fabrics. Chintz comes with a glazed and an unglazed finish. An ordinary glaze will wash out. To assure a permanent glaze, the fabric should be labelled “per- manent finish.” Plain and printed linens are durable. Most of the rayons used, such as brocade, damask, moiré and cotton-backed satin, even though mixed with cotton, must be dry cleaned. The cottons and limens are washable. When buying cottons which are intended for washing, however, it is necessary to ascer- tain from the label or to inquire whether they have been pre-shrunk. Otherwise, it will be necessary to wash the fabric, partly dry it in the shade and iron while damp. Chintz, cretonne, sateem, etc., which are purchased as upholstery fabrics, come in a 50" width. This width cuts to best advantage for most slip covers. Regulation 36" or 39" wide fabrics may be used, however. Slip covers are sometimes trimmed with binding tape or bias trim, welting, or fringe, or they may be self-trimmed by means of a seam called a boxed seam. A boxed seam is a narrow French seam with the ridge on the right side. For washable slip covers, only colorfast trimming should be used. If trimming is not pre-shrunk, it must be washed before being used. It is much easier to use BRIGHT INSIDE STORY - /1357 binding tape or bias trim, welting and fringes pur- chased ready-made. However, bias strips for binding and welting may be made of the same or contrasting fabric. Bias strips 1%" wide are cut and joined together as shown in figures 48–51, page 48. For binding, the raw edges are folded to meet at the center. Welting is made by covering cotton cable cord of any size with the bias strip (see figure 87, page 82). Trimming is applied only on the principal seams and never on the seams inside the chair, like those inside the seat or back. See illustrations of chairs of various types on page 137 for approximate amounts of trimming re- quired for various types of chairs. Measure seams of chairs to be trimmed as indicated on sketch to figure exact amount necessary for individual chair. Proper sewing and pressing equipment is necessary for making slip covers. Sewing equipment is discussed on pages 309 to 313. Pressing aids are described on page 313. The ways to press various fabrics are taken up in detail (see index). The proper thread, both for hand sewing and machine sewing, is important also. A special type of heavy duty mercerized thread is ideal for this. See Thread and Needle Chart on page 3.15. How to Measure Fabric for Slip Covers Each slip cover should be measured separately as described in the following pages. In order to provide a guide against which beginners may check their own calculations, general estimates are given with the Necessary Equipment Measuring /136/ BRIGHT INSIDE STORY sketches of various types of chairs on facing page. These estimates are for average type, average-sized chairs in plain, evenly striped or all-over print de- signs. When the fabric has a large central design or grouped stripes, the design must be centered on all the important sections of the chair. Under these cir- cumstances, at least 1 yd. should be added — more, if the design is very large. Before measuring the chair, remove the cushion. It is measured separately. Take the measurements of the length and width of each part of chair (see dia- gram 4a and directions following) and note them down as in table on page 143. All seam allowances are 1". This may seem like too much, but it is better to fit the slip cover with generous seams. They can always Diagram 4a - - - BRIGHT INSIDE STORY /137] 1. OVERSTUFFED CHAIR 6 yds. – 50" fabric -* 9 yds. – 36" fabric 12 yds. – trimming 2. WING CHAIR 8 yds. –50" fabric 11 yds. – 36" fabric 13 yds. – trimming 3. CLUB TYPE CHAIR 7 yds. – 50" fabric Types of Chai 10 yds. – 36" fabric ypes of rs 13 yds. – trimming 4. CLUB TYPE CHAIR 7 yds. – 50" fabric 10 yds. – 36" fabric 12 yds. – trimming | 6. CLUB TYPE SOFA 12 yds. – 50" fabric 20 yds. – 36" fabric 26 yds. – trimming 5. BOUDOIR CHAIR 4% yds. – 50" fabric 6% yds. – 36" fabric 9 yds. – trimming /138/ BRIGHT INSIDE STORY be trimmed after the sewing is completed. Tuck-in allowances are provided around the seat and back sec- tions of the chair (where there are springs) to accom- modate the “give” of the springs. Allow 4" on each edge of the pieces where this tuck-in is to be. Back of Chair The back ends at the highest point on the back of the chair. It may be at a seam, at the top of a wooden rim or under a roll, if the upholstery rolls over the top of the chair. Sometimes a straight piece, known as a boxing strip, is inserted between the back and the front (see sketch of chair 4, page 137). If so, the meas- urement of the back begins at the back of the strip. Length — This measurement is taken from the highest point to the lower edge of the upholstery (if there is to be a valance around the bottom), or to the floor (if the back is to be straight). Add 2" for seam allowances at top and bottom. Width — This measurement is taken at the widest point plus 2" for seam allowances. Front of Chair Length — This measurement is taken from the place where the back ends to the edge of the uphol- stery in front (if there is to be a valance) or to the floor (if the cover is to be straight). Several additions must be made (totaling from 12” to 14" in all): 1" for top seam allowance (3” if there is a boxing strip); 8" for the tuck-in between the seat and the front; 2" to allow for seams if the apron piece is made separate; 1” at the lower edge. BRIGHT INSIDE STORY /139/ Small Home Studios—Barker Bros. /140) BRIGHT INSIDE STORY Width — The measurement of the widest point of the front will usually be the measurement of the seat, because 8" must be added on the sides (4" on each side) for tuck-in allowance. However, on a chair with a T-shaped cushion, the front edge plus 2" for seams may be the widest measurement. Sides These measurements include only the portion of the sides of the chair below the top of the arms. Allow- ance must be made for two of these pieces. The depth of the chair back, whether it is a wing or whether it takes some other form, will be measured and made separately. Length — This measurement is taken from the lower edge of the upholstery at the side (if there is to be a valance) or from the floor (if the cover is to be straight) over the top of the arm down to the seat. The additions will total 7" or 9”: 1" at edge; 2" for seam allowances at joining of outside and inside of arm (4" if there is a boxing strip); 4” for tuck-in at the seat. Width — This measurement should be taken at the widest point according to the chair. Add 2" for seam allowances. Wings Length — This measurement is taken from the point where the wing joins the arm on the inside to where it joins on the outside. There are three seams, one at each joining and one on top (double seam allow- ance), so 4" for seam allowances should be added. BRIGHT INSIDE STORY /141/ Allowance must be made for two of these side pieces. Width — This measurement is taken at the widest point of the wing from the point where it joins the front on the inside of chair to the point where it joins the back of chair on the outside. Allow 7" as there will be three seams: 1" for seam at back corner, 2" for the edge seam (double seam allowance), and 4" fortuck-in between wing and back of seat. Extra Pieces The extra pieces are those which are often placed at the front of the arm and between the back and front above the arm. Often it is possible to cut these from the scraps left over from the other pieces. Take the length at the longest point and width at the widest point. Make a 2" allowance on the length and 2" on the width for seams. Allowance must be made for two of these pieces. Valance Length — Measure all around the bottom of the chair at the point where the valance is to be joined (usually at the bottom of the upholstery) to find the circumference of the chair. The amount of fabric needed will depend on the type of valance used. A shirred valance requires twice the circumference of the chair. A box pleated valance with the pleats placed edge to edge requires three times the circumference. A straight valance with box pleats at each corner requires 42" more than the circumference. This is a popular type of valance which is easy to make. /14.2/ BRIGHT INSIDE STORY Width — Measure the distances from upholstery to floor. Add 3"—1" for seam allowance, 2" for hem. The amount of fabric is estimated as follows: The valance may be made on the length or the width. It is best to wait until the yardage is figured out on a chart (see page 144) before deciding which is the most sat- isfactory way to cut the valance. In 50" fabric it usually works out that the valance is cut on the length. To estimate the amount needed for a valance cut on the width of the fabric, divide the length needed for val- ance by the width of the fabric minus 1", to allow for joining seams. If this comes out with a fraction left over, take the next highest whole number. This gives the number of times the width of the fabric needs to be cut. Multiply this figure (the whole number) by the number of inches in the width of the valance and divide by 36" to estimate the yardage needed. Extra Cushion The length and width of the top are measured. Add 2" to each measurement for seams. Allowance must be made for two of these pieces. The length of the join- ing strip is measured around the entire pillow plus 2” for joining seam. The width is the distance between the top and bottom plus 2" for seams. This piece may be cut on the length or width, depending on how the rest of the pieces come out of the fabric (see chart, page 144). In 50" fabric, it is often best to cut it on the length. To estimate the amount of fabric needed to cut this strip on the width of the fabric, divide the length of the strip by the width of the fabric minus 1" for /144/ BRIGHT INSIDE STORY Jºo.” > > #1%| Zs" ||ZT-zº-Fº Gw Qu - * ~ § || > N § || Back sack R - º .22” -- th 27 rRowr ||S N. | #| | § § 3 Fºowr < - 3 * > H ! S 2 : M. - > § c º R R -- c - n S JI § 3?" th 2 S - ſo § 2 $ I N - ºn * ' > S. S wrvg. &|| www.g U -- 3. -- || ". -Q f º *||s #|$ "||& #| wrvg |} wºvo. I **** 2.7" n r § tº § cal" * cu° "coº >16 2.7" - 2.7" º S 4||'s of & § tot"|6 .25" 25 “ 25" 25" Kw CN º supé sloe & $ - * º S. StdE | S/DE s & YA/ºps & Yards Layout No. 1 Layout No. 2 In order to estimate exactly how much fabric will be needed and where pieces will be cut, it is easiest to make a layout chart. This also will show whether valance pieces should be cut lengthwise or across the width of the fabric. In most cases, main pieces of chair are too wide to enable cutting more than one on the width of the fabric. Follow Layout No. 1 for all fabrics except those with large designs which must be centered, placing all main pieces along one sel- yage of fabric so that excess will be in the largest possible piece. Strip pieces and extra pieces can usually be cut from this excess and where design of fabric permits, the valance can also be cut lengthwise from this excess. On striped fabric, this means that the stripes will go around the valance, but this variation is often desirable on a striped cover. If the design is one which must be centered, Layout No. 1 would be impossible, since all pieces are cut off center. Follow Layout No. 2 for this type of fabric. For 36" fabric the same type of diagram can be made. There will not be enough excess on width to cut any but small pieces. Valance must be cut on the width. See page 142 for instructions for figuring out yardage required to cut fabric on width. To estimate yardage, add up lengthwise meas- urements of pieces and divide by 36". Add an extra yard if fabric has a large pattern which may require some shifting to center the design. BRIGHT INSIDE STORY /145] General Instructions for Making Slip Covers There are many types of chairs and couches, and while they all differ in the problems they present, fundamentally, they are similar. It would be im- possible to anticipate all the problems of making slip covers of every possible type, so a wing chair with a T-shaped cushion, which contains most of the prob- lems which might be encountered, has been selected as an example. In covering another type, follow the directions given, omitting those steps which do not apply to the chair being covered. Plan the pieces to fit as nearly like the upholstery as possible, seaming and piecing wherever the upholstery underneath is seamed. For a couch, the same procedure is followed as for a chair. Before beginning to cover any chair, straighten edge of fabric by pulling a thread and cutting on line made (see figure 6, page 32). If it is not possible to pull a thread, mark a straight line with marking chalk and yardstick before cutting. How to Place the Fabric on the Chair When covering a chair, the fabric is laid on the chair lengthwise. The selvages are at sides always, never at the top and bottom. Always be careful to keep the fabric on the correct grain while pinning and fitting (see figure 5, page 29). Whether the fabric is placed on the chair for pin- ning right side out or wrong side out is determined by the type of finish desired. Place fabric on chair right side out for a bound edge, wrong side out for a boxed General. Instructions Placing the Fabric /146/ BRIGHT INSIDE STORY edge, for a welted edge or for any inserted trimming, such as fringe. Centering a Design Centering Design The directions which are given are for plain, evenly -*- - striped or all-over print fabrics. If a fabric with a large design or grouped stripes is used, the directions will have to be adjusted. The pattern or stripes must be centered by placing the fabric on the chair, so that the center of the design is in the center of the pieces. Then adjust it, following the straight of the goods, and proceed as outlined. How to Fit a Slip Cover for a Wing Chair sº Piece 1 — Front of Chair Back and Seat (with cushion - - -- •- - - - - " -> - - - - -- - - - - * * * - * -- : * ~ * *** * ~ *-º-º-º: t p/A cé l - - - - - - - - - - - - + removed)—This piece extends from the top of the chair to the front of the seat. There should be 1" seam allowances at top and front edges and a 4" allowance for tuck-in at the sides and 8" excess to allow for a 4" tuck-in between back and seat. Follow diagrams 4b, 4c and 4d when fitting this piece. : ‘. - - *- -, -": -- - ---- Diagram 4c \ Diagram 4d BRIGHT INSIDE STORY /147.7 1. Mark a straight line 1" from the straight top edge of fabric. 2. Place fabric on chair so that the line just marked is at the point at which the back upholstery ends (see Back of Chair, page 138). If the back and front chair pieces are joined by a boxing strip with a seam at both edges, the marked line should be at the front edge of the strip. 3. If there is a definite pattern, center the design (page 146). Otherwise take the measure of the widest point across seat (see Front of Chair, page 138), plus allowances for seams and divide this measurement in half. Measure this amount across straight edge of fabric and place this point at center back of chair (diagram 4b). 4. Be sure that the grain line of the fabric (see fig- wre 5, page 29) is straight in relation to the length and width of the chair back. One way to assure this is to adjust the fabric very carefully and pin it to the chair, following a lengthwise thread down the center back. Then pin it on a crosswise thread about halfway down the back (see diagram 4c). 5. Smooth the fabric up to the top edge from the Crosswise pinning and pin it to the upholstery seam. The pins, which are placed with points facing inward, are not put in all the way. If there is excess fabric across the top, pin in corresponding pleats on each side. These pleats should turn toward sides on the fin- ished cover, so if cover is being fitted wrong side out they should be turned toward center (diagram 4d). BRIGHT INSIDE STORY /1497 -º-º-º-º-º- 3 - - - -, * .* - • * * - - - ** •-l. 1 2/A; ca 2 -'. 1 - - - - - - - - - - - - - - - - - - - - -- 1 r ; -- ~" i - F - F - :-} + i - +------ ---. Diagram 4e apron, leaving 1" for a seam. If there is a large pattern in the fabric, center the pattern on this strip as before. 3. Pin strip to the upholstery at sides and across bottom. Extend piece to the floor if there is not to be a valance. 4. Trim 1" beyond the pins. Piece 3 — Pieces for Inside of Arm — These pieces extend along the arms of the chair on the inside from one end of the arm to the other and from the seat over the top of the arm to the seam in the upholstery. (Sometimes this piece is seamed at the roll of the arm just where it meets the wing. See illustration of chair trimmed with fringe on page 137.) These pieces have 1" seam allowances on the front and top edges and 4" tuck-in allowances on the bottom and back edges. BRIGHT INSIDE STORY /151] •l. t T- F -----|--|--|-------iſ arm joins inside of wing. Trim 1" away from pin line. Clip seam allowance if necessary to make it lie flat where the fabric curves around wing. 8. Smooth fabric toward the front and pin to up- holstery around edge of arm. Trim 1" from pin line. If the arm rolls, pin the fullness into tiny pleats. The pleats should turn down on the finished cover, so if cover is being fitted wrong side out, they should be turned up. 9. Smooth fabric up and pin along the line where the upholstery is seamed to the chair at the outside of the arm. This may be at the top of the arm or under the roll of the arm. If the outside and inside of the arm are joined by a boxing strip with two seams, pin this piece to the inner seam. Piece 4 — Pieces for Outside of Arm — These pieces extend on the outside under the arms to the bottom of the upholstery (or to the floor if there is no valance) and from the front edge of the arms to the back of the chair. They have a 1" seam allowance on all sides. Follow diagram 4g above. When fitting each piece: ſ1527 BRIGHT INSIDE STORY 1. Straighten the edge of the fabric (without cutting excess strip). 2. Mark top seam allowance 1" from straight edge. 3. Place piece against side of chair. Center the de- sign if necessary. If there is no design, extend the front of the piece 1" beyond front edge of chair and pin 1" marked line across top on the same upholstery line to which piece 3 was pinned. Extend the piece to back corner of chair. 4. Pin to edge of upholstery at front, back and bot- tom. Extend piece to the floor if there is not to be a valance. Trim seam allowances to 1". Piece 5 — Pieces for Inside of Wing — These pieces have a 1" seam allowance on all sides except the inner edge where there is a 4" seam allowance. Follow diagram 4h. To fit each piece: 1. Pin fabric on inside of wing so that the grain is straight and the pattern is attractively placed. Pin fabric to the chair along a lengthwise thread in the center and then pin on a crosswise thread. Smooth out to the edges. 2. Pin around all outside edges, making pleats along outer curve if necessary to make it fit. Pleats should turn down on the finished cover, so if cover is being fitted wrong side out, they should be turned up. Trim 1" away from pins. 3. Pin the fabric to the crease between wing and back of chair and trim 4" from pin line. Piece 6—Pieces for Outside of Wing—These pieces have a 1" seam allowance all around. Follow diagram BRIGHT INSIDE STORY /153) 4i. To fit each piece: Fit the same way as for inside wing above. Trim seam allowance to 1" all around. Piece 7–Back of Chair—This piece has a 1" seam allowance all around. Follow diagram 4.j. 1. Straighten fabric and mark a line 1" in from straight edge. 2. Place fabric on chair so that marked line is at the /154/ BRIGHT INSIDE STORY highest point at which the back upholstery ends (see Back of Chair, page 138). 3. Follow steps 3 and 4 under Piece 1, page 147. 4. Smooth fabric up to top and pin to top edge of upholstery, making pleats if it is necessary to fit in any extra fullness. Turn pleats same as on Front of Chair Back. 5. Smooth fabric out and pin to sides and bottom of chair. Extend piece to floor if there is not to be a valance. 6. Cut around edges, so that there is a 1" seam allowance on all sides. Piece 8—Pieces for Front of Arm—These pieces have a 1" seam allowance all around. Follow diagram 4k. To fit each piece: 1. Place the fabric over the surface to be covered and pin in place around edges. Be sure that design is well placed and that the grain lines are straight. Cut two matching pieces. 2. Cut around edges, leaving a 1" seam allowance on all sides. Piece 9–Extra Cushion—For each cushion: 1. Cut two pieces, each $3" larger all around than the top of the cushion. Be sure to center the design and keep the grain lines straight. 2. Cut a strip of fabric, 1" wider than the width of the pillow and as long as the distance around the pillow plus 2". (Boxing strip.) Piece if necessary. Piece 10—Valance—Cut enough strips of fabric of the desired width to make the length needed. These may BRIGHT INSIDE STORY /155/ Diagram 4k be cut on the length or the width (see layouts on page 144) by pulling a thread at the proper intervals and cutting along the line made. Miscellaneous Pieces on Other Kinds of Slip Covers On other kinds of slip covers it may be necessary to make a boxing piece or a small piece to cover the depth between the back and front. These are cut in the same way as Piece 8. They are pinned on to fit and cut with a 1" seam allowance. How to Sew Slip Covers Before sewing a slip cover, remember that an open- ing must be left to permit the cover to be removed from the chair. This is usually at one back corner, and it extends from the floor to a point 3" or 4" above the arrrl. To Finish with Bound Edge (Slip cover was pinned to the chair right side out.) 1. Pin all pieces of slip cover together except those edges where 4" seam allowances were left and edges at opening. Mark these seams with chalk at the lines where they are pinned to chair. Make sure that cover is fitted snugly, adjusting if necessary. 2. Remove cover from chair and baste seams to- Sewing Slip Covers Bound Edge /156/ BRIGHT INSIDE STORY - 2 Diagram 41 gether along pinned lines with an uneven basting (see figure 18, page 35). 3. When seams are bound, it is easier to stitch, trim and bind each seam before it is stitched to the next piece. Start with the basted seam between the inside of arm and the inside of the wing—the seam marked No. 1 in diagram 41. Stitch this seam on basting line. Trim seam to '4". Baste and stitch binding tape (%" to %" wide) or prepared bias trim over this seam (see figure 56, page 50). Continue to stitch, trim and bind basted seams in the order indicated in diagram 41. Stitch back seam (7) around to top of opening, trim to '4" but do not bind. 4. Turn slip cover to the wrongside and pin marked lines of 4" seams together. Trim seams evenly 4" away from pin line. It may not be possible to tuck the full 4" into the crease at the upper part of wing. If so, trim seam allowance so that there is only enough excess to tuck in neatly. A full 4" may be too much all the way down this crease. If so, adjust as necessary. BRIGHT INSIDE STORY /157) -* Diagram 4m Diagram 4n 5. Pin edges together allowing %" seam, starting at top of seam between wing and front of chair back. Pin down to corner. Then pin in from corner formed by inside arm piece at front and seat piece. Leave ex- cess on Piece 1 free in a pleat. Stitch edge of pleat together as shown in diagram 4m. Then baste seams out to ends from this corner. Stitch seams twice to resist wear. 6. Press all seams made on slip cover and place it on the chair. Turn up lower edge even with chair upholstery and baste. 7. Apply valance as described on page 160. 8. Finish the closing by using a prepared button tape or a zipper, or by placing a facing on the back piece and an extension on the side and closing with large snaps (diagram 4n). This is done as follows: a. Trim seam allowance of opening to '4". Clip in to stitching line at end of opening. b. Cut two bias strips (see figures 48–51, page /158/ BRIGHT INSIDE STORY - Bored Edge 48) 1%" and 2%" wide respectively and '4" longer than the opening. c. Turn in ends '4" on 2%" strip and place edge to edge (right sides together) against the edge of the opening which comes on the side of chair. Baste and stitch '4" from edge. d. Turn in the raw edge %" and machine stitch or slip stitch it (see figure 39, page 41) to the seam line on the wrong side. - e. For a bound edge, turn under '4" along ends and one side of 1%" strip and stitch by machine. Place the raw edge of this piece against back of opening, wrong sides together. Stitch 4" from edge. Bind entire back seam of chair, binding this edge of opening also (diagram 40). For a bored or welted edge, turn under %" along ends and one side of 1%" strip. Place raw edge of this piece against back of opening, right sides to- gether. Stitch 4" from edge. This will be along stitch- ing line of welting, if edge has been welted. Turn to wrong side, crease along seam line and baste close to crease. For a boxed finish, stitch all around back seam and back of opening as on other seams. f. Sew large snaps at intervals to close. To Finish with Bored Edge (Slip cover was pinned to the chair wrong side out.) 1. Pin all pieces of slip cover together except at opening and where 4" seams are allowed. Mark these seams with chalk at the lines where they were pinned. Be sure that the cover fits snugly. 2. Remove cover from chair and baste all seams BRIGHT INSIDE STORY /159/ Diagram 4o along pinned lines. Pin marked lines of 4" seams to- gether. Continue as described understep 4 under finish for Bound Edge on page 156. 3. On all seams except where 4" were allowed, stitch '8" from bastings (nearer edge) and trim seams to 14”. 4. Pin and stitch seams where 4" were allowed as in step 5 under finish for Bound Edge on page 157. 5. Turn slip cover to right side, crease all '4” seams back on seam line and baste close to crease. To make boxed finish, stitch seams '4" in from crease in the order specified in diagram 41. Do not stitch back Seam (7). 6. Place slip cover on chair. Turm up lower edge even with chair upholstery and baste. 7. Apply valance as described on page 160. 8. Finish the closing as described in step 8 under finish for Bound Edge, page 157. To Finish with Welted Seams (Slip cover was pinned to the chair wrong side out.) - 1. Pin all pieces of slip cover together except at opening and where 4" seams are allowed. Mark these Welted Seams /1607 BRIGHT INSIDE STORY ohirred Valance seams with chalk at the lines where they were pinned. Be sure that the cover fits smugly. 2. Remove cover from chair. Trim all pinned seams to $3". - 3. Unpin the seams following the order specified in diagram 41 on page 156, insert welting (see figure 89, page 83) and baste the seam with all the thicknesses sewed in. At back seam (7), continue welting along back edge of opening on '4" seam line. 4. Stitch welted seams with a cording foot (see fig- ure 87, page 82) in the same order in which they were basted (see diagram 41). 5. Pin marked lines of 4" seams together. Continue as described under steps 4 and 5 under finish for Bound Edge, pages 156 and 157. 6. Turn slip cover to right side. Place on chair and turn up lower edge even with chair upholstery. Put welting under this edge and baste. 7. Apply valance as described below. 8. Finish the closing as described in step 8 under finish for Bound Edge, page 157. How to Make and Attach Valances To Make a Shirred Valance 1. Seam together pieces cut for valance (see page 154) and press seams open. - 2. Turn up and stitch a 2" hem along one edge. 3. Mark off raw edge into spaces, each twice the measurement of side, front, side and back of chair in that order. BRIGHT INSIDE STORY /161) 4. Gather (see figure 31, page 38) raw edge with two rows of stitching, Ø" and 1" from edge. Make separate gathering threads for each section. 5. Adjust gathers of each section to fit side in the usual manner (see figure 32, page 38). Pin gathered edge under lower edge of slip cover on 1" gathering line. Adjust if necessary. 6. Remove slip cover from chair, baste and edge Stitch cover to valance on fold. To Make a Bor Pleated Valance 1. Follow steps 1 and 2 for Shirred Valance above. 2. Along raw edge on right side of fabric, measure Off and mark 1" for seam allowance. 3. Mark off four sections in the following order. Each section should contain three times the length of a side. (Substitute individual measurements.) a. 3 times measurement of Side of Chair b. 3 times measurement of Front of Chair c. 3 times measurement of Side of Chair d. 3 times measurement of Back of Chair 4. Allow 1" for seam allowance on other end. 5. Since the front of the chair is most important, the general width of the box pleats will be determined by the number of pleats it is convenient to fit into the front. On an average chair, from 7 to 11 pleats are used. An average chair which measures 28" across the front will be used as an example. To fit other chairs, substi- tute individual measurements. Work as follows: Since the length of the front of the chair is 28", section b marked off on the valance will be 84". The following Bor Pleated Valance /162/ BRIGHT INSIDE STORY 2 - 4. 4. *—4–4–4–-t—*-*—t-tº-º-º-º-º-º-º: Diagram 4p : 44- 4- A. TT Diagram 4q Diagram 4r measurements for pleating the valance are deter- mined: a. Amount between pleats—28" (length of front of chair) b. Amount for pleats—56" (2 times length of front of chair) c. Number of pleats—7 d. Amount for each pleat—8" (Step b –– by Step c) e. Amount between each pleat—4" (Step a -- by Step c) Divide section b as shown in diagram 4p. The 2" (half of space between pleats) space on each end is for the lap of the pleat on the corner. 6. If the side is the same length as the front or is evenly divisible by 4" (the figure in step 5e above) the side pleats may be measured and marked in the same way. If this is not possible, there will usually not be more than 4" (figure in step 5e) difference between the two measurements. In this case, figure out the amount of fabric for each pleat and amount of fabric /164/ BRIGHT INSIDE STORY Covering Loose Cushion press and stitch pleats together across the raw edge. 8. Pin valance under fold edge of cover and adjust to hang evenly. 9. Remove cover from chair, baste and stitch cover to valance along the fold edge. How to Cover the Loose Cushion 1. Seam pieces cut for boxing strip (see page 154) together to make piece long enough to sew all around the cushion. Press seams open. 2. When welting is being used, baste welting to right side of upper and lower cushion pieces, raw edges together. 3. Begin to pin boxing strip to the middle of one side of upper piece of cushion. If a bound seam is being used, pin piece wrongsides together. If boxed or welted seams are used, right sides are pinned together. 4. Baste a 1" seam for a joining, stitch, press. 5. When joining seam is made, baste pinned edges of strip to cushion, taking a 12" seam. 6. Baste under piece of cushion to boxing strip just one half the distance around the cushion (half way along one side, all around the next side and half way along the next side). 7. Stitch basted seams, using cording foot for welted seams. 8. Finish opening as in step 8 under finish for Bound Edge, page 157. The extension is placed on the under piece of cushion, the facing on the boxing strip (diagram 4s). Fashion has its own brand of magic, and every well- dressed woman could teach Houdini a trick or two. Only instead of taking rabbits out of her sleeve, she reaches into her bureau or closet and comes out with a dazzling new collar, a delightful little hat. And presto-chango! before you can say “needle-and- thread,” a tailored town dress becomes a fluffy in- génue, a workaday suit a vamp. In the twinkling of an eye last year's dud is transformed into this year's darling. Try it and see for yourself how versatile the simplest wardrobe can be made. It's the most inex- pensive magic in the world — a collection of simple- to-sew accessories is all you need. /166/ BAG OF TRICKS º, EASY-TO-MAKE ACCESSORIES Felt Bag (illustration on frontispiece) Materials: Felt—% yd.; lin- ing fabric—"2 yd.; inter- lining (strong, heavy un- bleached muslin or drill cloth)—1% yds. Directions for cutting: see figure 4, page 29, for direc- tions on how to enlarge and use patterns). Button–6 pieces, pattern IXa–2 felt, 4 interlining. Trim off 38" on all edges of one interlining piece and 34" on all edges of three interlining pieces. Back and Flap—3 pieces, pattern IXb–1 felt. 2 inter- lining. Trim off 38" on all edges of one interlining piece and 34" on all edges of other interlining piece. Reinforcement for Top of Bag—2 pieces of interlining, 2%" x 8". Flap Facing—1 piece of felt, pattern IXc. Front—3 pieces, pattern IXd-1 felt, 2 interlining. Trim off 38" on all edges of one interlining piece and %" on all edges of the other. Gusset and Handle Piece—10 pieces, pattern IXe—2 felt, 8 interlining. Trim off 38" on all edges of the two interlining pieces, a 34" on all edges of six interlining pieces. Handle Facing—2 pieces of felt, pattern IXf. BAG OF TRICKS (167) *—44-> . <- ZO t-> Pattern IXa ^ Z.A. Y. O/V 75 oz. D J. Pattern IXf //A/VDAA; 77AC//V6- *zzwºods 1 Z. A y o /V 7-O Z, Zo Z | e—& “—- *—Z & “ Pattern IXb <— 7 ºz-> . : Pattern IXc Pattern IXd A. Aq y O/V 7'OA.D t w | Pattern IXe Lining for Front and Back–2 pieces of liming fabric, Pattern IXd. Lining for Gusset–2 pieces of lining fabric, pattern IXe to dotted line. Directions for Making: (Press each piece of interlining BAG OF TRICKS /169) ing 2" from edge to the wrong side of felt piece. Along top edge make two rows of stitching, one row %" and one row %" from edge. 8. Take the two sets of interlining of Gusset and Handle piece. Lap the wider ends one over the other for "2" and stitch across this lapping once or twice. This makes one continuous piece. 9. Take the two felt pieces of Gusset and Handle sec- tion. Seam them together across the wide ends and press the seam open. Baste the prepared interlining %" from edge to wrong side of fabric. 10. Take two felt pieces for Handle Facing. Baste them to the tops of Gusset and Handle section on the inter- lining side. Around the edge of the facing only, stitch the two sections together with two rows of stitching, one row %" and one row %" from edge. 11. Now the bag is ready to be put together. Matching centers, baste the Gusset first to the Front and then to the Back. Stitch together with two rows of stitching, one row %" and one row %" from edge. Connect stitch- ings at Handle. 12. Make Button by enclosing interlining between 2 fabric pieces and join with two rows of stitching, one row %" and one row %" from edge. Attach to bag to meet buttonhole. - 13. Lap one handle end over the other 3" and sew together invisibly. 14. Sew lining pieces together and insert wrong side to wrong side. Turn in raw edge and hem to bag along upper edge. - /1707 BAG OF TRICKS Collars and Dickeys Since the charm of neckwear is its crisp freshness, the prime requisite for fabrics is that they should launder well. Piqué, handkerchief linen, dress linen, organdie, gingham, broadcloth, dress silks and rayons are suitable. Figure 94 — To whip on lace edging or insertion, place right side of lace against right side of finished edge of garment, edge to edge. Work with lace towards body, easing the lace slightly between the thumb and forefinger, while taking small shallow whip stitches close together. Figure 93 — To make a detachable col- lar, place pieces of collar right side to right side. Pin, baste and stitch around outer edge, making a plain seam /3" wide (see figure 20, page 36). Trim seams to '4", clip corners, if any. Turn to right side. Crease along seam line, baste close to crease and press. Baste a strip of bias 1" wide, cut from fabric (see figures 48–51, page 48), or of bias trim (see figure 52, page 49) to raw edge, right side to right side, turning in ends. Stitch 14" from edge. Turn under free edge and slip stitch (see figure 39, page 41) to seam line. Press. Figure 95 — To make a slashed opening with a convertible collar, mark position of slash for opening and center of facing with basting lines, but do not cut. Baste center of facing to marked slash line, right side to right side. Using a very small stitch, stitch /6" to each side of basting, tapering to a point at bottom. Stitch twice around point where seam is very narrow. Make a narrow machine hem around edges of facing (see figures 27–29, page 37). Slash opening and turn facing to wrong side. Crease along seam line, baste close to crease, press. Cut a straight piece of fabric 5" wide and equal in length to the neckline, allow- ing 1" for seams. Fold through center lengthwise and stitch a 12" seam at both ends. Turn collar to right side and press. Baste and stitch one edge of collar to neckline (and facing) on wrong side, edge to edge (%" seam). Fold in raw edge of collar on right side and slip stitch (see figure 39, page 41) to seam. Press. BAG OF TRICKS (1717 : Short Dickey wº- Pattern X Pattern XI | Pattern XII Material: Fabric—% yd. Directions for Cutting: (see figure 4, page 29). Front— 1 piece, pattern No. X; facing—1 piece, pattern No. X (see cut-off line); back–1 piece, pattern No. XI; collar –2 pieces, pattern No. XII. Directions for Making: 1. Stitch back and fronts together at shoulder seams with a plain seam (see figure 20, page 36). 2. Make a slashed opening with a convertible col- lar (figure 95). 3. Finish all outer edges with a narrow hem (see figures 27–29, page 37). 4. If buttons are desired, make a thread loop about 4" from top on right side and two more at 2" intervals below (see figure 101, page 176). 5. Sew buttons (%" size) to opposite edge. BAG OF TRICKS /173) Material: Fabric — 1 yd. (for each dickey); buttons (%" size)— 4 (View A), 3 (View B); elastic — 9" (View A). Directions for Cutting: (see figure 4, page 29). Note that the different revers, as well as the facing, have special cut-off lines that are clearly marked on the pat- terms. Observe these lines when cutting. View A View B Regulation Dickey Band Bottom Dickey Fronts — 2 pieces - Sarı16 Pattern No. XIII Back – 1 piece Sarı16. Pattern No. XIV Facing — 2 pieces Sa IIle Pattern No. XIII (cut-off at facing line) Collar – 2 pieces 2 pieces Pattern No. XV Pattern No. XVI Waistband 2 pieces, each 7" x 17" View A – Regulation Dickey 1. Mark buttonholes on outside of right front ac- cording to position marked (see figure 98, page 174). 2. Stitch fronts to back along shoulders, making a plain seam (see figure 20, page 36). 3. Make corded or welted buttonholes (figure 99) as far as applying facing. To make worked button- holes (figure 100) do so after facing has been applied. 4. Make notched collar as shown according to either figure 96 or 97. 5. Finish buttonholes as in figure 99, or make worked buttonholes (figure 100). Sew buttons on left /174/ BAG OF TRICKS Notched Collar Fig. 96 Figure 96 — To make a notched collar by attaching under collar to garment and collar to facing, stitch under collar to neckline of garment, right side to right side, edge to edge, center of collar matching center back, and matching any notches. At ends of collar and at shoulder seam, clip garment the width of the seam. Press so that both seam edges are turned toward collar edge in back and opened out flat in front. Make a narrow machine hem on the shoulder and outside edges of facing pieces (see figures 27–29, page 37). Stitch the outer collar to the two front facing pieces of the blouse, matching notches at the front edge of the collar. At ends of collar, clip facing the width of the seam. Press seam open. Fit the facing and collar to the garment, right side to right side. Baste and stitch. Trim seams to 14". Clip away seam at corners. Turn front facing and outer collar to the wrong side, crease along seam line, baste close to crease, press. Turn under the raw edge of the collar and slip stitch to seam line (see figure 39, page 41). Figure 97 — To make a notched collar by making the entire collar separately, finish collar except neckline edge. Match center back of collar to center back of garment on outside and baste to neckline. Make a narrow hem on the shoulder and outside edges of facing pieces. Apply facing to front and neck- line, right sides together, over the col- lar, Baste and stitch. Trim seams to 14" and clip away seam at corners. Baste and stitch a 1%" strip of bias, folded through the center, at the back of the neck on seam line. Turn facing and bias at neck to wrong side. Slipstitch to garment (see figure 39, page 41). Figure 98 — To mark buttonholes, mark on the right side on the thread of the goods with a running stitch in con- trasting thread. Use an H-shaped mark- ing, the center line to mark the direc- ! ! #. . end º . º the º - - - -ić wa The distance from the edge of the gar- r *3% ;7–21 3% —2 ment is one half the diameter of the (8 I button to be used plus the seam allow- ance. The allowance for a buttonhole - is 98" longer than the diameter of the Fig. 98 button. Measure exactly. To measure - the distance between buttonholes, use a Hem Gauge, see figure 46, page 44. BAG OF TRICKS /175/ Fig. 99 ?/G# T S / DE vv R orv G. S / Df $E; E wronwor R/G-H. T. S./DE w R O N G. S foe: Fac wav S/ DE Figure 99 — The bound buttonhole made with a strip of material is a profes- sional finish, sometimes known as a welt buttonhole. Measure and mark as shown in figure 98. Cut a bias strip (see figures 48–49, page 48) of fabric 4" wide and long enough to allow for all the buttonholes. (Each buttonhole requires two strips of fabric, 34" longer than buttonhole marking.) For a corded buttonhole, make a cording by inserting No. 12 cable cord in bias strip (see figure 87, page 82). For a welted buttonhole, fold strip in half lengthwise, right side out and stitch 98" from fold. Trim raw edges of strip (in either case) to within 98" of stitching and cut into strips 34" longer than buttonhole mark- ing. Baste strips on right side of garment with raw edges on marked line of buttonhole. Stitch along stitching line of strips, exactly the length of the buttonhole marking. Start stitching in center, stitch to one end, then back to opposite end and back to center. From wrong side, slash along marking line to within 98" of ends, then clip diagonally to the corners. Bring strips through slashed opening to inside of garment. Be careful not to strain ends. Press. Stitch triangular sections at ends to cording. Make this a double stitching for strength. Press. Place facing over buttonhole, pin and baste carefully around buttonhole. Slash through from right side to get correct position, then continue on wrong side to within /š" of ends, clip diagonally to corners. Turn under slashed edges of facing and slip stitch (see figure 39, page 41) to back of button- hole along stitching line. Figure 100 — To make a worked buttonhole, measure as directed in figure 98. Stitch around marking by machine, using a small stitch to reinforce the button- hole. Slash on marked line with a sharp scissors. Finish with closely worked buttonhole stitches. - To make a buttonhole stitch, thread the needle with a double thread. Hold buttonhole over forefinger and work from right to left, from the inside corner. Take a few running stitches from left to right to anchor thread at starting point. Bring the needle through from the wrong side just below stitching line, but do not draw it all the way through. Hold the thread near the fabric over the forefinger with the middle finger. Draw the thread near the needle to the right and then to the left under the needle. Pull the needle through and draw up the loop thus made. Work around the outside corner (toward edge of gar- ment) in a fan-shaped curve. Finish at end with up-and-down stitches, secured by buttonhole stitches. Buttonholes ſ176/ BAG OF TRICKS front to match buttonholes (see figure 102). 6. Finish sides of dickey with narrow hems (see figures 27–29, page 37). 7. Make 2" machine stitched hem along lower edges. Join back and front by inserting 4%" of elastic at each side in open ends of hem. View B — Band Bottom Dickey 1. Follow steps 1 to 6 under View A, above. 2. Turn under and press %" around all sides of waistband pieces. Fold in half lengthwise and mark centers. On lower edge of fronts, 2" in from side edges, gather 3" sections to 2". Button fronts together and pin at lower edge. Insert front and back in each band, matching centers (see illustration, page 172). Baste all around band. Edge stitch (see figure 38, page 41) through all thicknesses. 3. Fasten front band to back with hooks and eyes (figure 103) or snaps (figure 104). Figure 101 — To make a thread loop, mark off diameter of button on edge of garment where desired. These spaces may be adjacent or separated. Make three stitches, joining one marking to the other, inserting a pencil to keep the loops the same size. Cover these foun- dation stitches with buttonhole stitches (figure 100). Figure 102 — To sew on buttons, mark position with pins. Use a double thread. Hide the knot under the button by pushing the needle through from the right side. Place the button in position. If it has holes, lay a pin across the top to keep the thread loose and sew back and forth across the pin. By winding the º the button and fab- ric, a shank is formed, permitting the -- buttonhole to slip easily. g Fig. 102 BAG OF TRICKS /177/ Figure 103 – To sew on hooks and - eyes, use a double thread and an over- Fig. 103 I and-over stitch through holes. Sew over - hook near top, to hold it down. The - curved eye extends slightly beyond the ſ edge of the opening. The straight metal bar or thread loop (figure 101) is placed 3. on the seamline. - Fig. 104. Figure 104–To sew on snap fasteners, use a double thread and conceal knot under snap. Use an over-and-overstitch. Sew each hole separately and carry thread under snap to next hole. Attach flat side of snap first. Hold the garment closed and put a pin through the hole in snap to mark location of other half. Place snaps not more than 2" apart. Pointed or Round Collar Material: 4 yd. (see page 170 for fabrics) . . . Direc- tions for Cutting: 2 pieces, pattern No. XVII (see figure 4, page 29) . . . Directions for Making: See figure 93, page 170, for making a detachable collar... Suggested finishes: A lace edging (see figure 94, page 170), a plain or corded piping (see figures 86 and 89, pages 72 and 83), a scalloped edge. (Mark edge of round collar with scallops. Make collar in usual way. Slash seam between scallops before turning.) —ö"—” Pattern XVII (Cut along dotted line for round collar.) (178) BAG OF TRICKS Dirndl (illustration, page 12) Materials: Striped taffeta, 39" wide. (Measure from waistline to floor and add 3". Double this measurement to find out how much fabric you need.) Muslin. 's ya. Directions for Cutting: (See diagram 5a opposite for cutting layout for this dirndl and figure 4, page 29, for making and using patterns). Cut fabric into two equal pieces. Cut 14" off the width of one piece. From this piece cut the peplum (pattern No. XVIII) in two pieces as shown in diagram 5a. From this piece, the waist- band 4" wide is also cut. The length of waistband equals your waistband measure plus 3" for seam allow- ance. It is cut in two pieces. There is sufficient fabric if piecing is necessary. Directions for Making: (2" seams are allowed) Press all seams as you make garment. Seam skirt on both sides. One side is left open 7" for placket. Finish placket (see figure 126, page 215). Gather top of skirt (see figure 31, page 38). Seam pieces of the peplum. roll hem bottom edge, and gather top edge to 8%". Baste to back, matching centers. Cut piece of muslim 4" wide and the same length as the waistband. Baste the muslim to the wrong side of one piece of waistband. Seam the two pieces right sides together along one long side and two short ends and turn to right side. Apply belt (see figure 32, page 38; figure 135, page 218), in- cluding peplum. Slip stitch raw side edges of peplum to skirt along stripe. Turn up hem. BAG OF TRICKS /1797 The short drawstring dirndl be- low is made of denim. The length of a regular skirt plus 6" should be doubled for amount of fabric. Turn in 3" top and bottom. Make a 1" casing at top and draw cable cord through (about 2 yds. needed). Pattern XVIII ºf 2- i i /180) BAG OF TRICKS Espadrilles Sizes 6 or 7 Material: Printed cotton—% yd.; grosgrain ribbon— 3% yds.; small pieces of felt, crinoline and toweling (scraps may be used since quantities needed are so small) . . . Directions for Cutting: (see figure 4, page 29) add '2" around pattern edges for seam allowance; 4 pieces, pattern No. XIX—1 fabric, 1 toweling, 1 crin- oline, 1 felt; 2 bias strips (see figures 48 to 51, pages 48 and 49). 1" x 24" for binding: 1%" x 18" for loops. Directions for Making: (1 espadrille) Fold 1%" x 18" bias strip with right side inside and seam long edges. Turn to right side and cut in six equal pieces. Place three sole pieces together, fabric on top, then toweling and crinoline. Baste loops on fabric side as shown (see marks). Apply bias all around (see figure 53, page 49) catching in loops. Sew felt sole to bottom and lace as shown. Pattern XIX BAG OF TRICKS [181/ % % º º 3 § % satº i. | º | º (ſ º | ſ o Pattern XX Sandals, Bag, Kerchief Materials: Denim—1% yds.; heavy cable cord, 2 yds.; 2 small buckles, 2 cork inner soles, 2 pieces of felt, 4” x 10". Directions for Cutting: (see figure 4, page 29). Ker- chief—4 pieces, pattern No. XX—2 fabric (add '2" around pattern edges for seam allowance), 2 crinoline (no seam allowance); 1 triangle (% of 27" square). Bag, 2 pieces, 16%" x 19%" (one piece could be cut of water proof fabric); 2 fabric circles 13" in diameter; 1 cardboard circle, 12" in diameter. Sandals, 4 pieces. 4" x 4" (fronts); 2 bias strips, 2" x 8%" (back strap); 2 straight strips, 1%" x 12%" (ankle straps and 3" for center tab on front piece) ; 2 pieces of felt cut to fit cork inner soles. Directions for Making—Observe the draw- ings closely. There are no special problems in making this set. BAG OF TRICKS /1837 allowance. Hat-Crown, 3 pieces, pattern XXIa, 1 fab- ric, 1 lining, 1 crinoline; Side-Crown, 3 pieces, pattern XXIb, cut from same fabrics . . . Bag, 4 pieces, pattern XXIc, 2 fabric, 2 lining; for tab, 2 pieces (14" x 5%"), 1 fabric, 1 lining for strips . . . Ascot, 2 pieces, pattern XXId, 1 fabric, 1 lining . . . Mittens, 6 pieces, pattern XXIe, 2 fabric (remember that it must be cut so that there is one right and one left), 2 lining, 2 felt (no seam allowance. Directions for Making: These articles involve no par- ticular difficulties. For the hat the crinoline is basted to the fabric and then it is treated as one piece. On the mittens, stitch the fabric and lining right side to right side, except on bottom edge. Turn to right side, press and slip stitch opening. Stitch the elastic about 1%." from lower edge (see pattern) on wrong side of felt. Place fabrić and felt wrong sides together and join with whipping stitches. Pattern XXI 6. (Patter, few ºuccess | Who killed Cock Robin has always been much less of an enigma to the average woman than solving the mysteries of a pattern. For some reason many women shy away from commercial patterns under the impres- sion, apparently, that they’re deep enigmas. Actually, following a pattern presents no more difficulties than learning the multiplication tables, and once you've mastered it, you'll think you've always known how. Needless to say, it's an essential part of any woman's sewing education, especially today when patterns are more attractive than they ever were. The woman who wants the fashionable clothes of the moment is half way to having them if she makes herself pattern-wise. When you've finished the chapter that follows, you should be able to cut any pattern your heart desires. PATTERN FOR SUCCESS /185] SELECTION OF PATTERN AND FABRIC When making clothing, commercial patterns pro- vide fashions in the current trend which have been designed to fit certain definite sizes. Even for those with the ability and the desire to design their own clothing, a commercial pattern makes a fine starting point. For successful dressmaking, the correct size of pat- term is essential. The most important measurements in choosing a pattern are the waist, bust and hip meas- urements. See page 188 for directions for taking these measurements. Check the measurements with the size information given on every pattern envelope. If they do not coincide with any one standard size, it is ad- visable to choose a pattern according to bust measure- ment, as the adjustment of the waist and hip is rela- tively easy. A skirt is always purchased by the waist Imeasurement. - In order to have successful results in sewing, it is not enough to buy a pattern of the correct size. An- other important consideration is the fabric from which the pattern is to be made. It is a mistake to think that any fabric may be used with any pattern. Patterns are designed with definite types of garments in mind, and pattern companies employ experts to give all the nec- essary information to insure success. On the envelope of some commercial patterns is a list of suitable fabrics. It is well to be guided by these suggestions. Chapter 13, beginning on page 287, gives descriptions of various types of fabrics and suitable uses. This chapter also discusses various finishes and descriptive terms used Selection of Pattern /1867 PATTERN FOR SUCCESS Commercial Pattern on labels, to insure more intelligent purchasing of durable fabrics. There is usually more than one view pictured on the pattern envelope. Before buying fabric, first choose the view to be made. On the back of the pattern en- velope there is a chart of yardage requirements for each view in all sizes. - For convenience some patterns also list the neces- sary motions. Use the guide for correct thread and needles for specific fabrics on page 315. The thread should be slightly darker than the fabric, because thread, when worked into fabric, appears lighter. The minimum equipment necessary for sewing is given on page 15. Before beginning to cut, consult page 306 on the preparation of fabric for cutting to see whether shrinking the fabric is necessary. EXPLANATION OF COMMERCIAL PATTERN When beginning to cut, first take out the work- sheet that comes with the pattern. Part of the work- sheet is devoted to pattern layouts showing the sewer how to lay out the pattern on the fabric in the most economical way. Each view of the pattern has its own group of layouts for all sizes in various widths of fab- ric. Pick out the layout of the view and size desired and circle it so that it may be referred to readily when- ever necessary. Following this layout, unfold the pat- tern and check each piece against the layout. If the piece is to be used, mark it plainly in pencil with its correct name. Fold together all the pieces which are not needed and return them to the pattern envelope. PATTERN FOR SUCCESS /187/ Every pattern has certain marks that must be un- derstood. On some patterns, directions are printed, but on most patterns various sized perforations indicate markings. Look for the mark which indicates the seam allowance. This will usually be a line of marks or per- forations from "2" to %" in from edge. Notches are nicks in the edge of the pattern and are most impor- tant because they mark the points at which the various pieces must fit together exactly. Darts are sometimes used to take in fullness at the back of the neck, the front shoulder, the top of the sleeve, the elbow, the underarm and waistline. They are wide at the seam edge and taper to a point in the body of the garment. Darts are clearly marked on the pattern. Tucks, pleats and gathers are also used to take in fullness but they are not stitched to a point as in the case of a dart. Observe how they are indicated. Somewhere on the pattern there will be some sort of a distinctive mark, not used for anything else, which will indicate the straight of the goods. These marks must always fall on a lengthwise thread of the fabric (see figure 5, page 29). There can be no exception to this rule. Never cut a piece with these marks placed otherwise in order to save material. The garment will not hang properly if the pattern is not cut with the straight of the goods properly set. ALTERATION OF PATTERN Before placing the pattern on the fabric it will be necessary to give some thought to the fit of the pat- tern. The pattern was bought by the bust or waist Alteration of Pattern PATTERN FOR SUCCESS /1897 note measurements for ready reference whenever buy- ing or altering a pattern. Have someone assist in taking the measurements as it is impossible to do it alone. Remove dress and mark true waistline by tying a tape or ribbon around it. Take all measurements around body easily except waist, since this is the only part of a garment which is fitted snugly. See diagram 6a for where to take measurements. Front Measurements Individual Measurements 1. Neck – around neck at the level of the hollow of the neck in front and the base of the neck in back. 2. Bust — around fullest part of the bust, about 1" below armhole, and a little higher in back; take measure- ment from back. 3. Waist — around natural waistline. 4. Hip — around body about 7" below waistline at fullest part of hips. 5. Front Waist Length — from center of shoulder to waistline over fullest part of bust. 6. Front Skirt Length — from waistline to desired length. Back Measurements 1. Width of Back — from armhole to armhole, 5" below base of neck. Armhole should come well over shoulder blade in fleshy part between arm bone and shoulder blade. 2. Back Waist Length — from base of neck to waist- line. 3. Back Skirt Length — from waistline to desired length. Arm and Shoulder Measurements 1. Shoulder — from base of neck to top of arm bone in shoulder, a little to the back of center. 2. Armhole — around top of arm over bone in shoulder from 1" below armpit. 3. Outside Arm — from shoulder to wrist, around elbow, with arm bent. 4. Inside Arm — from armpit to wrist with arm straight. 5. Upper Arm — around fullest part. 6. Elbow — around elbow with arm bent. 7. Wrist — around wrist, just above hand. /1907 PATTERN FOR SUCCESS - If alterations are made in the pattern before cut- ting, there will be much less difficulty in fitting after it has been cut. Pattern pieces are pinned together and tried on to see where alterations are necessary but it is usually most satisfactory to make actual adjust- ments on the flat pattern. When preparing pattern to try on, look carefully at the pattern and the work- sheet. Pin in all darts, pleats and tucks. Gathered sec- tions should be folded and pinned into small pleats. Pin together sections of waist, skirt and sleeve sepa- rately, matching notches. Place pins parallel to edges at seam line. To prevent tearing, do not pin too close to armhole at underarm seam of the waist or sleeve. Making Alterations on the Waist Pattern Try on the waist first with dress removed. Directions for the more ordinary adjustments follow. If the Waist Pattern is Too Long or Top Short Measure how much longer or shorter it is than the normal waistline by comparing the Waist Length measurements on page 189 with similar meas- urements taken on pattern. The seam allowance should not be included in measuring pattern. Three inches above the waist, on both back and front of pattern, draw a horizontal line across the pattern. This line should be at right angles to the lengthwise grain, which is plainly marked on the pattern by some special perforation or line. If the waist pattern is too long, measure up from this line and mark at two or three points a distance equal to the amount which the pattern needs to be shortened. Using these marks as a guide, draw another line parallel to the first. Bring first line to meet second, making a tuck, and pin (diagram 6b). When the pattern is placed on the fabric, be sure that the side seam is cut as shown by the dotted line. Check to be sure that the back and front have been short- ened the same amount. If the waist pattern is too short, cut along the horizontal line on both back and front. Pin tissue paper to the edge of the top piece of the pattern. From this edge measure down and mark a distance equal to the amount the pattern needs to be lengthened. Following these marks, draw a horizontal line on the tissue paper. Pin the lower piece to this line (diagram 6c). Cut off excess tissue paper even with side edge. Check to be sure that the back and front have been lengthened the same amount. /1947 PATTERN FOR SUCCESS a piece of tissue paper under neck edge and recut higher. If neckline is changed, adjust collar to match. Take a tuck to make the collar smaller; slash and make an insertion of tissue paper to make the collar the necessary amount larger. Making Alterations on the Skirt Pattern When all the adjustments have been made in the waist, pin the skirt pieces together and pin up the hem allowance. Fit skirt separately and make ad- justments. If a Straight Skirt Pattern Is Too Long or Too Short Measure how much longer or shorter skirt is than normal. If it is only about 1" too long, turn the excess up at the hem. Otherwise, remove the pattern and unpin. Below the hipline make a pleat to shorten the necessary amount (dia- Diagram 6l Diagram 6m gram 6l), or make a slash and insertion to lengthen (diagram 6m) in the same manner as for waist pattern which is too short (see page 190). The dotted line on the side indicates the edge to be followed in cutting. If a Flared Skirt Pattern Is Too Long or Too Short Measure how much longer or shorter skirt is than normal. To make it longer, merely add necessary amount at hemline when cutting. Continue line of flare at sides to new hemline. To make skirt shorter cut off desired amount at lower edge. Slash pattern through center from hem almost to top. Pin cut-off hem section over pattern and spread slash to fit it (diagram 6n). If Pattern is Too Small at Waistline and Hips If the pattern does not come to the center at the waistline and hip, measure how much short of the center they are. The hipline is about 7" down from waistline. Take off pattern and unpin. Draw a line parallel to the grain line from hem to waist about one third of the distance from side to center. Slash on the line and insert tissue paper (diagram 60) in same manner as for waist PATTERN FOR SUCCESS Diagram 60 Diagram 6p pattern which is too short (page 190). If the skirt is joined to a waist, the waist must be slashed to correspond. Slash from the lower edge to about 2" below the armhole and insert paper to hold slash open the same amount that top of skirt was spread. If Hips Are Large and Waistline Normal Try on the pattern. The pattern will not come to the center at the hip. Measure to find out how much allowance is necessary to make pattern reach center. Slash in the same manner as before, stopping slash just short of the waistline. Insert tissue paper to hold slash apart (diagram 6p.). Make sure that the extra measurement at the hipline is correct, and let the rest fall naturally. To allow for this in another way, when cutting skirt add the extra amount from the hipline all the way to the lower edge. From the hipline up, taper off to nothing at the waist. /1967 PATTERN FOR SUCCESS Diagram 6q Diagram 6r If Skirt Pattern Pulls Up in Front Measure the amount by which the dress is short. If this is slight, raise the center back until the side seam hangs straight (diagram 69). If the amount is considerable in a two-piece dress, add one half the amount at waistline (half at lower center front of waist and half at top center front of skirt, tapering off to the regular seam allowance at the side). Add the other half at the lower edge of skirt (diagram 6r). Making Alterations on the Sleeve When trying on pattern do not try to pin all the way into the armhole. Just pin seam line to seam line on the upper half of the sleeve seam. If Sleeve Pattern is Too Long or Too Short Measure sleeve pattern from center at top along lengthwise grain mark- ing to lower edge. Do not include seam allowances. Compare this measure- ment with Outside Arm measurement (page 189). Length is adjusted by a pleat to shorten (diagram 6s), or an insertion above and below the elbow to lengthen (diagram 6t). Handle in the same manher as for the waist pattern (page 190). PATTERN FOR SUCCESS /1977 Diagram 6s Diagram 6t Diagram 6u If Top of Arm is Larger than Normal To find out how much is needed to adjust size of sleeve, compare Armhole and Upper Arm measurements (page 189) with similar pattern measure- ments. Seam allowances should not be measured on pattern. Slash through center the length of the sleeve pattern, stopping just before reaching wrist. Use tissue paper to hold slash apart the required distance (diagram 6w). Diagram 6v Diagram 6w To Adjust Armhole for Both Methods When the sleeve is made larger, the armhole must also be adjusted. Cut the armhole as indicated by taking off half of the amount added on the front and half on the back (diagram 6v). If Arm is Very Thin To make the sleeve smaller, take tucks at the sides of the sleeve parallel to the grain line (diagram 6w) to make sleeve correspond to Upper Arm meas- urement (page 189). Add to the armhole the same amount taken from the sleeve, half to the back and half to the front. /1987 PATTERN FOR SUCCESS Making Alterations on Patterns for Slacks or Shorts If the Pattern is Too Long or Too Short Measure the amount necessary to adjust the length. Make a tuck to shorten (diagram 6+), or slash and make insertions to lengthen at the points marked with a dotted line (diagram 61). Make these in the same manner as for the waist pattern (page 190). CUTTING OUT A PATTERN Pinning the Pattern to the Fabric pinning Use the pattern layout on the worksheet suitable to “" the view chosen, the width of the fabric and the size– the layout circled previously when pattern pieces were removed from envelope (page 186). Follow this chart exactly. A beginner who attempts to shift or rearrange is apt to forget that sleeves cut separately must be made to fit opposite arms. No additional space is needed between pieces when pinning, since the seam allowance is included in the pattern. An exception is made for cutting a coat or a garment of heavy fabric and for fabrics which fray easily. Here a 1" allowance PATTERN FOR SUCCESS /1997 is made on side seams to allow for any alterations. Fabrics with a design, a stripe, a check, a plaid or a map, must have special consideration and require more yardage than plain fabric. When a design points in one direction, the top edges of all the pattern pieces must point in one direction. When stripes, checks and plaids are used, the closings and seams must match, and the sleeves must match the blouse. This is accom- plished by making sure that corresponding notches on pieces which are joined together are laid on the stripes in exactly the same manner in each place where the pattern piece is applied (diagram 6 y). Occasionally, Diagram 6y a stripe or a plaid will have a repeat, that is, certain grouping of stripes or plaids will repeat themselves at regular intervals. In this case even more care must be used in placing corresponding notches on the same stripe in a repeat. When there is an irregular repeat the top edges of all the pattern pieces must all face in one way. On a mapped or pile surface (see pages 290 and 291), there is an up and down. This is determined by brushing a hand over the surface. On both sur- faces, patterns must be placed so that top edges are all in the same direction. On the mapped surface the smooth way must run upward in the garment, but /2007 PATTERN FOR SUCCESS Cutting out Pattern Marking Fabric on a pile surface either way may be used as desired. Press all wrinkles and creases from fabric. Straighten top edge as shown in figures 6 and 7, page 32. Pin every piece in place as indicated on layout before cutting (diagram 62). On each pattern piece, pin the marks Diagram 62 which indicate the straight lengthwise grain on a lengthwise thread. Then smooth the pattern out to- ward the edge. Pins are put in at right angles to edge (figure 8, page 33) closer together along curves than along straight edges. If part of the pattern is laid on a fold, pin the edge that lies along the fold first. Cutting Out the Pattern Use bent trimming shears (dressmaker's shears) (see page 310) for cutting. They will make long clean strokes. Cut notches out rather than in as shown on the pattern. The seam allowance is thus kept intact. Marking the Fabric Do not remove the pattern pieces from the fabric until each piece has been marked for stitching. The pattern is marked as follows: PATTERN FOR SUCCESS /201] 1. Mark all perforations which indicate seams, darts, pleats, pocket, and buttonhole locations. There are several methods of marking perforations: tailor's tacks (figure 105), carbon paper with tracing wheel (figure 106), chalked thread (figure 107) and chalk- ing perforations marked with pins (figure 108). <\s S - Figure 105 — To make tailor's tacks for marking fabric, use a double thread. Make a looped back stitch in each perforation and join perforations with a long stitch. Clip the latter and remove pattern. Separate the two thicknesses of the fabric slightly and cut the threads. Figure 106 — To mark with a tracing wheel, do not trace directly on the table. Be sure it has a protective cov- ering such as a marking board or layers of newspaper. Cottons and linens may be traced directly through pattern. When marking with a tracing wheel - on wool fabrics, use white or yellow Fig. 106 carbon paper. Fasten a piece of this carbon with wax side up to a card table or marking board. Lay the cut-out portion of the garment fabric side down over the carbon. Run the tracing wheel along marking lines on pattern. The lines will appear as a series of tiny white dots. Remove pattern, but keep the two pieces of fabric pinned together. Now turn marked piece uppermost, place unmarked piece against the carbon and run tracing wheel along the white line of dots. This marks second piece of fabric just as the first was marked. Fig. 107 Figure 107 — To mark with chalked \ thread, thread a needle with a short º thread, rub thread over chalk and Zº - draw it through and out of perfora- tions. Renew the chalk each time the thread is drawn through. /202) PATTERN FOR SUCCESS 2. Run a marking basting along all center folds, whether back, front, collar, skirt or yoke (figure 109). Always consult pattern directions to find out what perforations indicate the center front when the gar- ment has a front closing. On the sleeve begin from the marking which indicates the top of the sleeve and run a line of basting on a lengthwise thread down about 8". About 3" under the armhole, make a line of basting on a crosswise thread. Each of these lines will be per- pendicular to the other. 3. Mark armhole and neckline with a running stitch along seam line (figure 109). It is most impor- tant that these lines should not be stretched. Always work on them with great care, especially the neck. It is advisable to machine stitch around these edges if the fabric is particularly sheer. perforations. Mark with chalk over pin and reverse fabric to mark underside over pins. %, Figure 108 — To mark perforations Fig. 108 /º with chalk over pins, pin through the º - \ . ,” * 2’ 2}=- Lor" _c^ 2" _c^_or _or" Yº- _of .* Figure 109 — To mark centers and to mark edges to prevent stretching, use basting (see figure 18, page 35) along \ all center folds, whether back, front; \ ^ collar, skirt or yoke. Armhole and - neckline edges are marked with a run- Fig. 109 ning stitch along seam line. Nothing about you is as eloquent as the way you look. Your clothes reflect your personality, tell the story of your taste. It's in your hands whether they tell an attractive story, one that makes people like to look at you, makes you proud to look at yourself. That doesn’t mean you have to spend a fortune on your clothes, but it does mean that they must be be- coming, fit like the proverbial dream. Nobody knows or cares how much your dress or your blouse cost, but what does matter is the finesse with which it's put together. In this chapter you will get to the bottom of every dressmaker's trick, learn to look-like-a-mil- lion and do it for a song. º: /204] ON THE MAKE General Procedure GENERAL PROCEDURE IN MAKING A GARMENT (For details on steps 1–5, see Chapter 6, page 184.) 1. Select the pattern and fabric, matching find- ings (page 186) at the same time. 2. According to view of pattern chosen, determine pieces of pattern to be used. 3. Alter pattern, if necessary. 4. Follow pat- tern layout in cutting fabric, being careful to check straight of goods. 5. See that all perforations, notches and markings are made. 6. Work on a table. 7. Pin before basting, inserting pins at right angles. On seams match notches, pin ends and then pin in between (see page 207 for details on bastings). 8. Before stitch- ing the seams, test the machine stitch and the tension on a sample piece of the fabric used (see page 22). See chart on page 315 for correct needle and thread sizes to be used with every fabric. Specific instructions on how to make a skirt, a blouse and a dress follow. In studying the steps, it will be observed that there is a certain similar routine in each one. For successful results, this order of procedure should be followed in making any garment. Two words which occur frequently are fitting and pressing. Pressing is discussed on page 221, and fitting on page 223. Without careful attention to these two details, the garment will look “homemade.” - When making any garment, basting, darts, pleats, seams, necklines, plackets, belts, pockets and hems are mentioned. Various finishes for all of these construc- tions are discussed, beginning on page 207. At each ON THE MAKE /205.7 Basic Dress — Suggestions for making given on following page. Basic Skirt and Blouse— Suggestions for making given on following page. /206/ ON THE MAKE Steps in Making Garments stage of the procedure turn to this reference section and choose the construction best suited to the garment. Steps in Making a Skirt For each construction, see reference section, beginning on page 207. 1. Stitch any seams and baste all darts and pleats that are part of the actual construction of the front and back. 2. Pin and baste skirt together along side seam markings, allowing opening at left side for placket. 3. Try on skirt right side out for first fitting (see page 223). 4. Stitch darts and seams and press. 5. Finish placket and press. 6. Finish seams. 7. Apply belt to top of skirt and press. 8. Try on for second fitting (see page 225). 9. Turn up and finish hem. 10. Sew fastenings on skirt. 11. Press skirt. Steps in Making a Blouse For each construction, see reference section, beginning on page 207. 1. Baste all darts, pleats and gathers that are part of the actual construction of the front and back. 2. Pin and baste blouse together along seam markings at underarm and shoulder. 3. Try on blouse right side out for first fitting (see page 224). 4. Stitch darts and seams, press. 5. Finish seams. 6. Make pockets and buttonholes (if they are welted or corded) and press. 7. Apply facing and collar and press. 8. Finish welted buttonholes, or make worked buttonholes. 9. Sew on buttons. 10. Stitch, press and finish sleeve seam. 11. Pin and baste sleeve into blouse. 12. Try on for second fitting (see page 225). 13. Sew in sleeve, finish seam and press. 14. Make and put in shoulder pads. 15. Try on for third fitting (see page 226). 16. Finish lower edge of sleeve. 17. Finish lower edge of blouse. 18. Press blouse. Steps in Making a Dress For each construction, see reference section, beginning on page 207. 1. Stitch any seams and baste all darts, pleats and gathers that are part of the actual construction of the front and back pieces of dress. When there is a special construction on the skirt, such as the pockets on the dress illus- trated, make the skirt front as directed in the pattern. 2. Pin and baste skirt and blouse pieces together separately along seam markings and try on right side out for first fitting (see page 223). 3. Stitch darts, gathers or pleats, underarm and side seams, shoulder seams and press. 4. Make pockets and buttonholes (if they are welted or corded) and press. 5. Apply facing and collar and press. 6. Finish welted buttonholes or make worked buttonholes. 7. Sew on buttons. 8. Stitch and press sleeve seams. Pin and baste sleeve into blouse. 9. Turn top edge of skirt to wrong side along seam line and baste along edge. 10. Pin skirt to waist along waistline, matching center front and back as well as side seams. Between center and side points distribute fullness as indicated. Baste. 11. Try on for second fitting (see page 226). 12. Stitch waistline seam along edge and press. 13. Sew in sleeves, finish seams and press. 14. Make and put in shoulder pads. 15. Finish side placket of dress. 16. Make belt. 17. Try on dress for third fitting (see page 220). 18. Finish lower edge of sleeves. 19. Turn up hem and finish. 20. Make belt loops. 21. Press dress. ON THE MAKE /207/ SEWING DETAILS Basting Basting is used to hold fabric in place for machine stitching, fitting or other finishing. Pin before basting (see figure 9, page 34). Use a single knotted thread. Uneven basting is the basting generally used as a quick guide line where there is no particular strain (see figure 18, page 35). Even basting and slip basting used in fitting are described in figures 110 and 111. To remove bastings, see figure 19, page 36. Z Figure 110 – Even basting is used as a firm basting for fitting or stitch- ing. Make stitches and spaces about $4" long. Fig. 110 Figure 111 — Slip basting is done on the right side of a garment, when making alterations which have been marked on the right side and when -º-wrº-H matching plaids. One marking line is - folded and laid against the other. Pin. Fig. 111 Slip needle along inside fold, push it through and pick up a few threads on the opposite side. Draw thread through and repeat. Darts Basting Darts are used to take in the fullness of a garment at various points, usually Darts at back of neck, shoulder, underarm, waistline, top and elbow of sleeve (diagram 7a). They make a garment fit properly and bring it into the Diagram 7a /208/ ON THE MAKE correct grain. Darts are also used for decoration. Fitting darts are stitched on the wrong side, decorative darts on the right. Figure 112 shows how darts are marked, stitched and finished. Darts at the shoulder, the back of the neck, the top of the sleeve and the waistline are pressed toward the center. Darts in the elbow and underarm are pressed up. Pleats Fig. 112 Figure 112 — To make darts, mark with tailor's tacks or tai- lor's chalk (see page 201). Tai- lor's tacks show on both sides of the fabric, making it easier to work on either side. Baste marks together. Start stitching from the point of the dart, leav- ing long thread ends, and stitch up to wide end. Tie thread ends together at point, or thread them into needle and secure with an over-and-over stitch. On a heavy fabric, slash dart through the center, press open and overcast edges (see figure 41, page 42). pleats . When pleats are indicated in a garment, do not sew the side seams before the pleats are laid. If the section containing the pleats has joining seams, these should be completed before the pleats are made. Side pleats are pleated in one direction (diagram 7b). A box pleat consists of two side pleats folded in opposite directions (diagram 7c). An inverted pleat consists of two side pleats folded to face each other'(diagram 7d). Pleats may be made on the straight of the goods or on the bias. The pattern markings indicating pleats should be followed very closely as they are care- fully placed so that the pleats will not twist when completed. Study the directions to be sure which marking indicates the fold line. Make the mark- -EJesT Diagram 7c . Diagram 7d ON THE MAKE /211] Figure 117 — Pinked seams are used on woolens, Fig. 117 silks, cottons or rayons that do not fray easily. Use pinking shears, sewing machine pinking attachment (see machine manual), or ordinary shears. To pink with ordinary shears, pinch edge of seam between thumb and forefinger, cut notches into seam, edge to edge, being careful not to cut too near the stitching line. : ; : Fig. 118 ; Figure 118 — A turned seam is used on silk or rayon crepes, or other non-transparent light- weight fabrics. Seam should be at least 34" wide. Press seam open. Turn raw edge under 98". Baste, holding seam free from garment. Stitch close to edge. - Fig. 119 Figure 119 — A top-stitched seam is a tailored seam, used on skirts and dresses. Press plain seam open and, on right side of garment, add a row of º t t t t stitching on each side of seam. ; ! t t ! Fig. 120 - * - - - - - - - - - - - - - - - - - - - - - - - - - - - Figure 120 — A double stitched seam is used on sheer fabrics. Press edges together and, holding them free from garment, stitch seams to- gether 3%" from seam. Trim. Over- cast edges if they fray (see figure 41, page 42). Figure 121 — To apply a faced collar to a neckline, baste collar wrong side down to right side of neck edge. Cut a matching bias strip 34" longer than collar and about 1" wide (figures 48– 50, page 48). Bias trim may also be used. Baste the bias strip, right side down and edge to edge with collar, and stitch along top edge of bias through all thicknesses. Turn in ends and opposite edge of strip. Blind hem to seam on in- side of garment (figure 30, page 38). /212) ON THE MAKE Closings Pockets ures 96 and 97, page 174). On a slashed neckline a straight collar is both simple and attract, ve (figure 95, page 170). These necklines may also be finished with bias binding or bias trim. To bind a neck edge or slash, see figure 53, page 49. Stretch binding when turning point of slash. For a V-neck make a true miter at the point. Closings There are several types of closings. Buttons and buttonholes are the most ordinary. Buttonholes may be worked (figure 100, page 175), or they may be corded or vºlted (figure 99, page 175). When using buttonholes, the buttons must be sewed on securely (figure 102, page 176). Worked thread loops (fig- ure 101, page 176) are also used with buttons. Snap fasteners (figure 104, page 177), or hooks and eyes (figure 103, page 177) are used for invisible closings. Zippers are a modern and convenient method of closing. One of the most com- mon uses of the zipper is in the slashed opening at the back or front of the neck (figure 122). | | Figure 122 — To apply a zipper in a slashed neck opening so that it is con- cealed, mark opening with basting thread the length of zipper plus $2" for top finish. Cut a piece of fabric 1% " wide and 1" longer than marking. Apply right side of piece to right side of fabric directly over marking. Baste in place. Machine stitch on wrong side as shown, using a small stitch. Stitch /s" from marking at top and taper to a point at end of marking. Stitch twice around point to prevent pulling out. Slash on marking line to point. Turn facing to inside, baste and press. Baste edges of slash together with a slip basting (see figure 111) as shown. Place center of closed zipper right side down exactly over basted opening on wrong side of garment. Top of pull should come 2" from edge of fabric. Pin and baste zipper in place as shown. Stitch from right side. Make allowance for extra width of zipper slider and continue stitching at that width as shown. Trim facing even with edge of tape and overcast edges together (see figure 41, page 42). Conceal top tape ends in neck finish. Pockets Pockets add interesting detail to all types of garments. The size, shape and placing are important matters in the construction. A patch pocket is the easiest. On a tailored suit the patch pocket is frequently lined (figure 123). The welt pocket (figure 124) is a simple tailored pocket and is suitable for both suits and dresses. The welt may be of contrasting fabric, if desired. a I - t - 1 : * | . t 1 - I - i i I - I - ; * | * * - 1 - I - * I - * . . "--- Fig. 122 /214/ ON THE MAKE Plackets H Figure 125 — To make a zipper closing on dress or skirt placket, cut a facing strip of fabric 1%." wide and 1" longer than opening. On wrong side of garment, ----- - mark seam allowances on both edges with bastings. - Trim front seam allowance to 9% ". Baste facing to front of opening, right sides together, edge to edge. Stitch from one end of opening to the other so that stitching line is continuous with that of side seam. Trim seam. Turn facing in at seam line and press. At back of open- C//P ing, fold seam allowance %" away from marking to- *> wards raw edge, continuing fold 34" above and below opening. Baste and press. Pin and baste back edge of opening to zipper tape, close to metal. On skirt, place zipper 1/2" below top of skirt. Ease fabric to tape so that metal will lie flat. Stitch close to edge with cording foot. Extend stitching beyond opening to ends of tape r- at both ends. At ends of tape, clip back seam allowance | in to seam so that it will lie flat. On right side, pin front | edge of placket to seam line and baste firmly. Stitch 7&O/v7 front of placket to tape on right side, using cording—Cºº" " . foot. Make allowance for the extra width of the zipper slider and continue stitching at that width. On skirt, | conceal tape ends in belt. | Plackets A dress placket should be in the left underarm seam. It must be long enough to slip the garment on easily, usually from 7" to 10” long, 3" to 4" above waistline, 4" to 6" below waistline. The placket should be carefully handled to prevent stretching or bulging. Zippers are comfortable and convenient in dress plackets (figure 125). Since zippers are not always available at the present time, plackets with snap fasteners and even buttons are a necessity (figure 126). A skirt placket is made in the left side seam and is usually 7" long. Skirt plackets are made the same as dress plackets. /216/ ON THE MAKE Figure 129—When stitching the sleeve in, keep the sleeve side up. Start stitch- ing at the underarm seam and let the beginning and end of stitching overlap about 1". See page 222 for directions for pressing sleeves. Fig. 130 Figure 131 — To finish a long tight sleeve with seam binding and snap fasteners, clip back seam allowance in to seam /3" above top of opening, being careful not to cut stitches. On back seam, turn 4/6" to wrong side, baste, press. Turn up hem, baste, press and trim to 36". On front seam, turn regular seam allowance to wrong side. Baste, press, trim to 3%" and clip corners. Starting at clip- ping of back seam. "'ace seam binding on fold edge of back opening. Baste down edge of back opening, around edge of hem, and up front edge of opening, mitering corners. Slip stitch both edges of binding to sleeve (see figure 39, page 41). Press. Sew on snap fasteners (see figure 104, page 177). Figure 128–To set a plain sleeve in an armhole, have sleeve right side out and work from wrong side of garment. Working on sleeve side fit sleeve around the armhole. Match underarm seam to underarm seam, top of sleeve marking to shoulder seam, and match notches. Even the plainest sleeve has slight full- ness at the top which must be eased in (see figure 61, page 52). When easing- in process is difficult on woolens, see diagram 8p, page 234. Figure 130 — To finish a sleeve with a turned-back cuff, first make cuff by stitching together ends of a straight piece the length of edge of sleeve plus 1" and twice desired finished width plus 1". Stitch one edge of cuff to wrong side of sleeve, edge to edge, right sides together. Trim searc. Turn free edge under 92", baste, slip stitch to seam and press. Turn back cuff to conceal seam. Fig. 131 º ON THE MAKE /217 / Figure 132 — To make a zipper closing in a long tight sleeve, baste two sides of opening together as if for finished seam. Press open. Place center of closed zipper, right side down, exactly over basted seam. Top of pull should come 92" from lower edge of sleeve. Pin and baste zipper in place as shown. Stitch from right side. Make allowance for extra width of the zipper slider and continue stitching at that width as shown. Note that stitching extends only as far as top of pull. Trim seam allowance even with edges of tape and overcast together (see figure 41, page 42). Conceal tape ends in edge finish. Turn down tape ends and apply seam binding as shown. Figure 133 — To finish a sleeve with a continuous bound placket with wrist band, make a 4" slash, 3%" from underarm seam on the back of the sleeve. For placket, cut strip on straight of goods, 2" wide and 1" longer than twice the length of opening. Starting at one edge of sleeve, place right side of bind- ing against right side of sleeve, edge to edge. Pin. About 1" from point of slash, slip the sleeve in from the edge of binding /3". Baste (44" seam). tapering basting to 1/8" at point of slash. Stitch. Press the seams toward edge of binding. Turn binding to wrong side. Turn raw edge under 4", baste close to edge and press. Blind hem to sleeve along stitching line (see figure 30, page 38). Front of placket is folded back on seam line and pressed. Back is allowed to extend. Gather edge of sleeve to fit wrist band. Figure 134—Shoulder pads may be made accord- ing to directions furnished with every pattern in .2 S which they are used. These pads will conform to t 2. the current fashion. A good standard shoulder 2% S. pad is made by cutting four triangles according to dimensions given in the figure. Place two tri- <- Fi “ — angles, right sides together. Stitch along long - side only (%" seam). Trim, press seam open. Fig. 134. Fold on stitching line, wrong sides together. Place cotton batting between two triangles, mak- ing padding about 9%" thick at long side and thin- ning the layer gradually until it is reduced to nothing at point of triangle opposite long side. The size of the pad may be varied to suit your own taste by inserting more or less padding. Match and pin raw edges and bind (see figure 56, page 50). <- y_1 * -> ON THE MAKE (219) . Figure 136 — To apply belting, turn under 9%" along raw edge of skirt top and placket and baste. Make 34" hem at one end of belting. Apply belting to turned edge of skirt with the hemmed end of belting, wrong side up, at inside edge of front placket facing. Pin and baste belting all around edge to the end of the facing of placket in back. Cut belting 34" beyond edge of skirt. Turn the extra piece back for a hem. Stitch around the top of the N skirt. Apply hooks and eyes as shown (see figure 103, page 177). FRONT Figure 137 — To make a separate fabric belt, cut a piece of fabric equal in length to waist measurement plus 6" and twice as wide as desired finished width, plus 1" for seams. Cut an interlining of heavy muslin the desired finished width, plus /, "seam allowance. Fold T; belt in half lengthwise right side inside and Fig. 137 pin edges together. On one side of belt, pin -r— edge of interlining even with raw edges of - belt. Baste through all thicknesses 2" from f edge. To make one end pointed, mark as Y shown. Beginning at center fold, stitch around '------------------------------ point and continue stitching the length of the belt on the seam line. Do not stitch straight end. Trim seam. Turn belt to right side (fig- ure 33, page 39). Figure 138 — To cover a buckle, place it right side down on the wrong side of fabric and trace around the inside and outside edge. Allow %" seam on each edge. Clip inside edge at corners. Catch stitch edges together (see figure 91, page 124). Cut and clip back [... in same manner, fold raw edges to wrong side and place on uckle. Whip stitch (see figure 62, page 60). º zº 2 § i : º º Zº % Figure 139 – To attach a prong buckle to a belt, make a hole in-belt 143" from straight end. Use a stiletto (see page 312) and make hole large enough to slip the prong through. Finish as a worked buttonhole (see figure Fig. 139 100, page 175). Place buckle on belt with prong through hole. Turn in raw edges at end and slip stitch straight end to belt (see figure 39, page 41). Slip pointed end through buckle and draw through to fit waistline. At the point where the prong meets the belt, make a hole in belt and finish as before. Figure 140 — To make thread belt loops, use double thread, knot ends and insert needle through side seam half the width of belt below waistline. Re- inforce this point with small buttonhole stitch (see figure 100, page 175). Take another stitch at same point but do not draw the thread ºft to complete the stitch. This leaves a loop at end near work. Place thumb and forefinger in loop. Using forefinger, draw thread through loop, thus making another loop. Draw this loop out and tighten the first one, Continue chain of loops to desired Fig. 140 length. Pass needle through last loop and draw thread tightly to close chain. g Insert needle in seam at same distance above waistline, draw through to wrong side and fasten securely. ºlºrazº ~~~~< ON THE MAKE /221/ PRESSING Since success or failure in sewing often depends on the pressing during the making. See page 313 for descriptions of the pressing equipment mentioned. General Instructions 1. Always test the temperature of the iron on a scrap of fabric before press- ing (belt or inside of hem), even if iron has an automatic regulator. 2. Never rest iron on fabric. Keep it moving constantly to avoid marking, always fol- lowing the straight grain (see figure 5, page 30). 3. While pressing, always smooth garment into correct shape so that fabric is not stretched or creased. Press Cloths For use with a regular iron, have three pressing cloths, one of cheesecloth, one of muslin, and one of drill cloth. Remove all sizing by rinsing fabric before using. A steam iron needs no press cloths. Uses for the different cloths are given with instructions for pressing specific fabrics. Pressing Fabrics 1. Cotton — Press on right side, sponge lightly and press with mod- erately hot iron. If sheen appears on test scrap, use damp muslin pressing cloth. To remove wrinkles on sheer cottons, use cheesecloth, almost dry, iron- ing with a very moderate iron. 2. Linen — Press on wrong side. Sponge lightly and press with mod- erately hot iron. 3. Rayon and Silk — Press on wrong side with moderately warm iron. Special care must be exercised with rayon fabrics because some are com- pletely dissolved by excessive heat. When moisture is necessary, first cover garment with a dry drill cloth. Then place a damp muslin cloth on top. The steam will penetrate drill cloth without leaving a sheen on fabric. 4. Wool — Press on wrong side and cover with a damp muslin pressing cloth. Press with moderate iron until cloth is almost dry. This steams fabric. Replace damp cloth with dry cloth. Continue pressing until almost dry. Press- ing woolen garments until they are completely dry gives a sheen to garment. 5. Velvet or Velveteen — Press on wrong side. Place right side of fabric down on needle board, press on wrong side with moderate iron (diagram 7e). To steam velvet, stand a hot iron on end and cover with a damp press cloth (diagram 7f). After the seams have been opened, the wrong side of the fabric should be passed over the steaming press cloth. Hold fabric loosely so that it will not mark. - $º "tº Pressing /222) ON THE MAKE Pressing Rules 1. Press seams immediately after stitching. Do not wait until garment is completed. 2. Press all seams up from bottom or in towards center of garment, except at waistline. . 3. Straight seams are usually opened out flat and pressed on a regular ironing board. 4. Underarm seams on sleeve, sleeve finishes, and other small seams are more easily pressed on a sleeve board (diagram 78). ſ Diagram 7g 5. Seams at armhole are usually pressed toward the neck except when the fabric is exceptionally heavy, or when a coat is to be lined. Then they are pressed open. These seams may be pressed more easily over a tailor's cushion which is also used for all curved seams (diagram 7h). 6. Press darts on light fabrics to one side, either up or towards center. On heavy fabrics slash darts and press open. - 7. Do not press gathers flat. Lift portion of garment while working point of iron into them. Do a little at a time. 8. The lower edge of the hem should be pressed to give a firm, trºº hemline before marking the width of the hem, and again after the final sewing. Always press a hem from the bottom up, never around the bottom of the skirt. Steam out basting thread marks by pressing them lightly on the wrong side. ON THE MAKE /223) 9. Shrinking out excess fullness at top of sleeves and at the hemline is done with an iron and a press cloth, or with a steam iron. Place the top of the sleeve over a tailor's cushion (diagram 7i). Apply the moisture directly or by means of a dampened press cloth according to the type of fabric, as directed above, then press. The hem is placed flat on a regular ironing board before the seam binding is sewed on and pressed in the same way. FITTING If the pattern has been altered carefully, fitting should not be difficult. To Fitting refit, the seams are repinned with pins placed parallel to the body. The fitting may be done on a form which conforms to the measurement of the person to be fitted (see page 312). Otherwise it is done on the person for whom the gar- ment is being made; in this case it is helpful to have the assistance of another person. When it is not possible to use a form or to have another person's help, the dress is placed on the person to be fitted, and, with the help of a full length mirror, corrections are noted and indicated. The garment is then taken off and adjustments are pinned. The garment is put on again and another check made, and this is repeated until all corrections are complete. First Fitting Skirt (separate, or part of a dress) Pin in corrections according to directions which follow. Then remove skirt and mark new seam lines with tailor's chalk or basting. If alterations are not too great, seams may be rebasted immediately by matching new markings. If alterations are considerable, take out side seam bastings, fold skirt pieces in half and check alterations to make sure that they are evenly made. Rebaste and try on skirt to recheck fitting. Try on skirt right side out with darts, gathers, pleats and seams basted. Pin belt or strip of fabric snugly around waist at natural waistline. To this, pin the skirt at the waistline seam marking. Make sure that markings at center front and back are at center of body and perpendicular to the floor. Pin placket at regular seam allowance. /224/ ON THE MAKE Diagram 7; See if the lengthwise seams appear straight and perpendicular to the floor. If the side seams swing forward, raise back of skirt slightly to bring back into line. If side seam is too far forward or backward, shift seam slightly by taking more from back or front. See if crosswise grain around hips is parallel to the floor. Raise or lower the waist seam line until the grain is correct at the hipline. See if the fit around the hips allows for sitting down comfortably. If the skirt is let out or taken in at the hipline, continue seam at same width from hipline to lower edge. Blouse (separate, or part of a dress) When working on a form, alterations on the blouse are pinned on the right side of the blouse. When pinning on self, it may be easier to work on left side. After alterations are pinned on one side, remove blouse and mark new lines with basting or tailor's chalk. Take blouse apart, fold front at center, wrong sides together, or match two pieces if blouse opens down the front. Pin all edges together at underarm seams, shoulder seams and armhole edges. Mark the other half according to the alterations made, using a tracing wheel or tailor's tacks (see page 201). Repeat on back of blouse. If changes have been numerous, rebaste and try on garment to check fitting again. Try on blouse right side out, with darts, gathers, pleats and seams basted. If the blouse has a front opening, pin together at center. (Do the same if there is a back opening.) Make sure the markings at centerfront and back are at center of body and perpendicular to the floor. ON THE MAKE /225/ See if the shoulder seam is a straight line from the neck to the large bone in the shoulder and if the underarm seam is perpendicular to the floor. If shoulder or underarm seam is too far forward or backward, shift either seam slightly, taking more from back or front as necessary. See if the seam line of the armhole is correctly placed. The armhole seam line should coincide with the top of the shoulder and continue as an almost straight line, following the natural curve of the arm. The shoulder seam may be shortened by deepening the dart in the shoulder, and taking a corresponding dart in the back if necessary. The armhole should be curved to follow the curve of the armpit, making armhole at underarm come up almost to armpit. If the armhole is tight at the place of greatest curve, make small slashes into the seam allowance, being careful not to cut in too far. Diagram 7k Diagram 71 See if crosswise grain at the bust is parallel to the floor. Raise the shoulder on back or front wherever necessary to bring the blouse into correct grain and do not forget to adjust armhole accordingly. See if the shoulder darts and under bust darts appear in a straight line, adjusting accordingly. See if the fit across the bustline is loose enough. Let out or take in the under- arm seam as necessary and remember the armhole adjustment. See if the neckline fits snugly and smoothly. Do not twist the body when fitting the neckline at the back. Learn to judge the amount of alteration by standing in front of a mirror. If the neckline is tight at the place of the great- est curve, make small slashes into the seam allowance, being careful not to cut in too far. This slashed edge is later cut off. Second Fitting Separate Skirt Check position of fastening for belt and mark hem (see page 42). Separate Blouse Try on blouse with sleeves basted in. See if sleeve stands up in the arm- hole. When the arm hangs down at the side, the sleeve hangs straight down from the top of the sleeve cap with the lengthwise grain in the upper sleeve perpendicular to the floor and the crosswise grain. When sleeves seem to twist toward the back, clip bastings at top between notches and shift sleeve slightly in order to straighten it. Diagram 7m Ž /226/ - ON THE MAKE Dress Try on dress with skirt basted to the blouse and sleeves basted in. Pin placket together at marked lines. See if waistline seam follows the natural waistline of the body. Clip bastings if necessary and raise or lower until it is correct. See if waistline is snug and comfortable. If the seams were adjusted prop- erly in the first fitting, there will be no difficulty about this. Check the sleeve in exactly the same way as given for the separate blouse. *=[IT Third Fitting Diagram 7n Separate Blouse Check sleeve length and make a line of pins at correct length. Bend elbow on long sleeve as this requires extra length. After removing garment, even pinned line and mark with a basting. Finish as desired. Dress Check sleeve length as above. Check position of belt and, with belt in place, mark hem (see page 42). 8. T. Tailer's cApprentice Fashionably speaking, this is the Tailored Age. A jacket and skirt are practically the uniform of the well- dressed woman. Morning, moon and might a suit is trim, meat, practical. A suit is versatile, adapts itself readily to any situation, from a day at the office to tea at the committee chairman's house. With a little ac- cessory juggling, a suit can take you around the clock, across the country. It's the leading lady of this chapter in which you are thoroughly coached in the fine art of tailoring. /228/ THE TAILOR'S APPRENTICE Tailor’s Tricks Before Cutting Successful tailoring of a jacket or a coat is the result of accuracy in cutting, fitting, basting and sewing, a thorough job of pressing, and a few tricks of the trade. The tricks of the trade are: 1. The facings of the front opening and of the col- lar must have a stiffening known as an interfacing. The interfacings are made of muslim, percale or light- weight canvas which should be shrunk by washing until all sizing has been removed and pressed while still damp. If, in makeovers, the old interfacing is used, do the same thing in order to renew the “body.” 2. This interfacing is reinforced by means of a spe- cial diagonal basting. 3. Certain seams are taped for extra firmness. BEFORE CUTTING THE GARMENT First alter the pattern as described on pages 186 to 197. Since most tailored garments are made of heavy fabric which is likely to tear the pattern while it is being pinned, many beginners find it advantageous to cut the garment in unbleached muslin first. All the marks of the pattern are transferred to this muslin garment by means of tailor's tacks or tailor's chalk (see figures 105 and 108, page 201). If there is no seam at the center back, mark center back with a basting. Baste all darts and gathers into muslim garment and baste pieces together. Put on muslin garment and fit it (see page 223), making allowances for the fact that a lining is to be inserted. This muslim pattern may be kept and used as a master pattern, making it easy to alter other patterns. THE TAILOR'S APPRENTICE /229/ How the Tailor Does It /230/ THE TAILOR'S APPRENTICE Cutting Directions CUTTING DIRECTIONS Garment and Sleeves Follow instructions for placing pattern on fabric and marking given on pages 198 to 202. Special care should be taken when cutting woolens, because, although they are heavier, they must hang correctly. When cutting the collar, the upper piece should be placed so that the center fold lies on the straight lengthwise grain. The under piece or the facing is placed on the true bias. The pattern marks will show clearly how to do this correctly. When cutting, in- crease seam allowance on side seams to 1" in all cases. When using a muslin pattern, rip it apart, press and cut as if from a paper pattern. When the pattern directions instruct that a piece should be cut on a fold, fold the muslin pattern to correspond with original paper pattern. This is usually done on the back or the collar. Transfer all marks from the muslin to the fabric. If alterations have been made, it is the new marks that are trans- ferred. To do this, place pins on the muslin side through all the marks so that they penetrate all thicknesses to the opposite side. Mark on fabric side with chalk. Remove muslin. Pin through marks just made and chalk on the other side. Diagram 8c Diagram,8a Diagram 8b Interfacings The interfacings for the jacket may be cut from a paper pattern or from the muslin. Diagrams 8a, 8b and 8c indicate interfacings. The two front pieces are cut on the straight of the goods and the back is cut all in one piece on the bias. If desired, interfacing may be cut from facing pattern. The collar interfacing is cut from the under collar pattern and is also cut on the bias. Front of Lining Cut from the regular pattern for the front minus the part covered by the front facing. Consult pattern guide sheet for marks which indicate the cutting line for lining. Pin, mark and cut the lining, allowing 2" excess on all seams to allow for adjustment for padding. When the muslin pattern is used, fold it back along the line where the facing ends and use this portion for a pattern. THE TAILOR'S APPRENTICE /2317 <—S-FA-A-4-6-4T-OF-61AT&KAA-e-> 23AST! ^1%. 4. Zay's-> – 777&////VG Z7 eZazz-a-F-z777-25737- - - * - - - Diagram 8d Back of Lining (with center seam) Place back pattern on folded fabric with center edge of pattern / " from fold (diagram 8d). Pin and mark as for original garment. Mark center back edge of pattern on fabric. At center back, cut 3%" farther out than the mark just made. The extra inch thus given at center back is used for a pleat. Cut around remainder of pattern, 9% " farther out than regular seam allowance. Back of Lining (with fold at center back) Place back pattern on a folded fabric with center edge of pattern /3" in from fold. Pin all around and mark as for original garment. Mark center back edge of pattern on fabric. Leave center fold uncut. Cut around pattern /?" farther out than regular seam allowance. This extra inch at center back is used for a pleat. Sleeves The sleeves are cut exactly as the original garment except for the extra seam allowance. Interlining. See directions on page 236. MAKING THE GARMENT Fitting Sewing When the garment has been cut, baste all darts and seams in body of gar- Directions ment and try on for fitting. Instructions on fitting, basting and stitching begin on page 204. Applying the Interfacing to Body After the body and shoulder seams of the garment have been sewed and pressed open, the interfacing is applied. If there are any darts in the inter- facing, make them on the right side, stitch, slash through center and press open. Place garment wrong side out flat on a table or on a form. Apply inter- facing to corresponding parts of garment wrong sides together; match darts, if any, and tack them together. Pin first down center and then pin all around edges. Baste %" in from seam line on shoulders and underarm and 14" from edge along armhole and front. Cut away seam allowance of interfacing at f234/ THE TAILOR'S APPRENTICE <– 7 O2 -> Diagram 8q 4– / 0 °—e Diagram 8p Diagram 8r Making Hem Turn up hem on jacket, pink raw edge or run machine stitching close to edge and catch stitch (see figure 91, page 124). Baste inner edge of facing to inside of jacket, turning rever out while doing so to make sure it is not too tight. Catch stitch to jacket. Setting a Two-piece Sleeve into Jacket Match and stitch seams of sleeves. Press seams open, using tailor's cushion to shape. At top of sleeve cap, gather along seam line between notches (see figure 31, page 38). Gather a second line '4" nearer edge (diagram 8p). Turn sleeve to right side. Set into armhole. Match the two sets of underarm perfora- tions, the shoulder seam and top sleeve perforations, and corresponding sleeve and armhole notches (see figure 128, page 216). Work from the sleeve side. Pin around underarm from notch to notch. Draw gathers of sleeve cap to fit arm- hole, fasten. Distribute gathers evenly. Pin all around. Try on and check fit of sleeve (see page 225). Remove sleeve from armhole. Turn to wrong side, place the gathered edge over a tailor's cushion and shrink out all fullness of gathers (see page 223). Turn to right side. Place sleeve in armhole, match perfora- tions and notches, as above. Check fit. Baste. Stitch. Turn up hem of sleeve and pink raw edge, or machine stitch close to edge, catch stitch. Pressing the Jacket Before the shoulder pads and lining are put in, the jacket should have a final pressing (see page 221). Armhole seams should be pressed open. It is ad- visable to have this pressing done by a tailor. Making the Shoulder Pads From thin muslin cut 4 triangles, following dimensions given (diagram 8q). Place a layer of cotton batting on one triangle, make padding about 9%." thick at 10" side, and thin the layer gradually until it is reduced to nothing at the point opposite (diagram 8r). Place a second triangle on top, matching long side to long side. Secure 3 layers together with large diagonal stitches. Place pad in shoulder of jacket with 10" side projecting slightly into sleeve cap, adjust to fit, tack at 3 points of triangle. THE TAILOR'S APPRENTICE /235] |3. º 2- | Diagram 8u Diagram 8s Diagram 8t Making Lining On back with fitted center seam, place pieces right sides together and baste along mark of center back edge. Stitch (see diagram 8d). Trim. Clip seam. To make pleat, baste along center back mark for original seam allowance (see diagram 8d). Press basted seam toward right section. Turn to right side and catch stitch pleat 3" down from neck edge (diagram 8s). Do not remove bastings. On back with a fold at center back to make pleat, baste along center back mark. Press basted seam toward right section. Turn to right side, catch stitch pleat 3" from neck edge (diagram 8s). Do not remove bastings. Putting Lining into Jacket Put jacket on form or on table, wrong side out. Place front lining in jacket first, wrong sides together. Match the armhole seam marking of the lining to the armhole seam of the jacket and pin. Do the same at underarm, working from top, easing the fabric. Pin to seam line. Do the same at shoulder. Turn raw front edge under /," and baste. Pin this fold over raw edge of facing. Fold dart allowance under toward center, pin. Try jacket on, lining side out, and check to see that lining fits smoothly, but not tightly. If necessary, re-adjust shoulder and underarm seams to accommodate excess padding. Mark these seam lines with basting. Catch stitch darts (diagram 8t). On back, match and pin center of lining to center of jacket the length of the garment. On shoulder and side seams fold raw edges of lining under on seam line and match folded edge to seam line of front and pin. Clip, turn under raw edges of neck and pin. Try on jacket to check fit. Make adjustments necessary with pins. Remove jacket and slip stitch (see figure 39, page 41) at underarm seams, shoulders, front and neckline seams. Baste around armhole on seam allowance. Turn sleeve wrong side out. Slip lining on, right side out. Match seams, notches and perforations. Pin lining to sleeve along seams. Fold raw edges of armhole under on seam line and match folded edge to seam line of jacket. Check fit. Slip stitch seam. Hemming Lining of Jacket and Sleeve Put jacket on and pin lining to jacket about 3" above hem, all around. Baste lining to jacket around this line. Turn up hem of lining %" shorter than hem of jacket. Baste. Press. Trim to 34". Set lining edge 12" up from jacket edge i. slip stitch to jacket (diagram 8 u). Remove bastings at center back of ining. Dad's striped shirt makes a fetching bathing suit (right) with a sarong skirt and a bra top. Commercial patterns furnish many choices of design. Two of his white shirts make this year's favorite beach coat (left), the cholo. The little ruffle is in the front only. /238] REPEAT PERFORMANCE General Directions for Make-Overs GENERAL RECOMMENDATIONS When It is Worth While to Make Over When making over clothing, the first consideration is whether the fabric is in sufficiently good condition to warrant the time to be spent on it. Woolen fabric may often be turned to the wrong side if outer part is worn. Even when a fabric has a pronounced right and wrong side, it may often be reversed with good results. Small holes and tears may be darned or covered with a decorative detail. Cottons, silks and rayons should be held up to the light to see weak spots around the places where tears or breaks have already occurred. It may still be pos- sible to use remaining fabric. Cleaning It is preferable to have garments washed or dry cleaned before starting to rip. To Rip or Not to Rip Whenever the size of a garment permits, it is ad- visable to cut it apart at the seams. When the garment is to be ripped, two methods are generally used. Method No. 1 — Clip a thread and rip out a few stitches with the head of a needle until there is enough to grasp. Pull the thread until it breaks. Turn the seam over and pull the thread on the other side until it breaks. Continue this method of working from one side to the other until the seam is ripped. This method has the advantage of not leaving any threads in the seams. Method No. 11 — Rip seams with a stiff one-edged razor blade or better still, buy a gadget in which a two-edged razor blade may be screwed. Preparation of Fabric After fabric has been ripped, it should be pressed carefully. It may be desirable to mark the straight of the goods as well as the right and wrong side of each REPEAT PERFORMANCE /239) section. Then the fabric is ready for the pattern. It is laid on and cut as if the fabric were new (page 198). Cutting Follow general cutting directions on page 198. Sewing and Finishing Follow pattern guide and consult index for direc- tions for particular finishes. CUT UPS There's a simple as ABC trick for stretching a slim budget to cover an active family. Don't waste or discard anything. Make clothing do time, twice, thrice, before you let it get away from you. A tired dress can be rejuvenated with a bit from the scrap bag or it can be made into a jumper, a vivacious swimming suit, a gay pinafore. Cutting up isn't just fun, it's smart! 1. When the skirt of a 3. To make dress larger, 5. Make a playsuit from dress is too narrow, add insert contrasting panel a summer dress which is new skirt at waistline or in front. too short. slightly below in con- trasting fabric. 2. Make a jerkin or a 4. When the waist or the 6. If shoulders are out jumper from a dress skirt of a dress is out of of date, add contrasting which is worn out under date, make it over in a yoke and sleeves. the arms. new style in contrasting fabric. For all these restyling suggestions, use commercial patterns chosen to fit in with existing style of garment and type of change desired. . Panty and Slip from a Man's Shirt TALE OF A SHIRT Remember the fairy tale of a thousand and one stories? Well, dad's old shirts aren't quite up to that many, but they can give a good account of themselves. Take the worn shirts off his back and make them into blouses and suits. For making all of these clothes, use commercial patterns chosen to fit in with the limitation of fabric in shirt. The layouts give suggestions as to how pieces can be laid out for cutting. Smocked Dress from Two Shirts Child's Pinafore from a Shirt Boy's Blouse from a Shirt Child's Sun suit and Bonnet from a Shirt a.º. Blouse from Two Shirts Child's Overalls from a Shirt /244] REPEAT PERFORMANCE Here's a useful piece of wardrobe magic. Canny cutting turns a man's top coat into the sort of casual topper every woman loves. Use a commercial pat- tern. Refer to Chapter 8 for tailoring. A two-for-one trick worth trying on a spring reefer that has seen better days is to divide it into a chic bolero and skirtensemble. You can find a suitable design in any pattern book. REPEAT PERFORMANCE /245) MAKING A MAN'S SUIT INTO A WOMAN’S SUIT In addition to the general considerations which pertain to all makeovers, there are certain specific problems involved in making over a man's suit. - Consideration of Size When making a man's suit into a woman's suit, size is an impor- tant consideration. The suit must be larger than the woman for whom the suit is planned. Keeping Any of the Tailoring The tailoring along the front edges and the pockets may be kept. If it is retained, the pattern bought must resemble as nearly as pos- sible the original suit. The jacket will have to be completely ripped: 1. If buttonholes are changed to the right side (men's suits button to the left). 2. If worn fabric is to be turned. 3. If a double-breasted coat is being used. 4. If the existing tailoring is too exaggerated. Clcaning and Ripping - When sending the suit to be cleaned, instruct the tailor not to press the crease in the trousers. See page 238 for methods of ripping and pattern layouts (pages 247 and 249) for specific instructions. Choosing a Pattern Few patterns have been designed for makeovers, so the purpose of the two layouts presented is to show how suit patterns of an ordinary type may be adapted with a few minor alterations. When purchasing a suit pattern for remodelling, remember that men's suits in general have certain characteristics: a seam down the back, two darts at the waist, a side pocket on the left, and frequently flap pockets, so select a pattern with these characteristics. The limitations of fabric in the trousers make it necessary for the skirt to be fairly straight. A kick pleat or a slight flare is the only fullness that can be expected. Lining Usually it is not advisable to use the old lining. Rayon twill is a very serviceable fabric to use, although silk and other rayons may be used. When lining is used, see pages 230 and 231 for cutting directions and page 235 for instructions on finishing. Interfacings The collar and facings must have interfacings. The interfacing already on the suit may be used. If that seems too heavy, a light- Aemaking a Man’s Suit /246/ REPEAT PERFORMANCE When Tailoring Is Retained weight muslin or canvas may be used. The fabric is shrunk before using by washing and pressing while still damp. Do the same with the old interfacing, if it is used, so as to renew the “body.” Cut inter- facing for front facings from same pattern as front facings on the straight grain. Cut the interfacing for the collar from under collar pattern, cutting on the bias (see figure 48, page 48). This makes the collar lie more smoothly. See pages 230 and 231 for directions. General Directions on Cutting 1. Pin together corresponding parts of ripped suit, same sides of fabric together. 2. Take out pattern pieces needed. Note perforations for straight of goods. Mark them with a colored pencil, as it is most important that these perforations be laid on the lengthwise grain (see figure 5, page 30). 3. Where there is a dart on the pattern at front shoulder, pin it up, matching perforations. This permits the pattern to fit into the origi- nal armhole with less overlapping. Notice on pattern layout that this dart is allowed for elsewhere. 4. Using the layout and the instructions given for each layout, depending on type of pattern, cut out pattern. 5. In the instructions which follow, certain words have special meanings: (a) Lay pattern on the fabric means that in doing so you must match the perforations for the straight of the goods to the lengthwise grain (see page 30). (b) Mark means mark darts, seam allowances and other indicated points with tailor's tacks or tailor's chalk (see figures 105 and 108, page 201). (c) Cut means cut around pattern, cutting notches away from pattern. LAYOUT NO. I Jacket On this jacket some of the original tailoring is to be retained, so a pattern is picked which resembles the original as closely as possible (see page 247). The pockets, the two front darts and the front edges from the collar joining just above the lapels are not ripped. The outer edge stitching is ripped down to the tip of the lapel and from the bottom up to the first button. The interfacing is trimmed to the edge of the coat facing. Back of Coat (Jacket Back) Lay pattern on back sections of coat as shown. Mark seam allowances and shoulder darts, but disregard darts at waistline. Cut around pattern and cut off extra piece of pattern. Front of Coat (Jacket Front) Each side will be cut separately, since the tailoring is retained. Lay pattern (dart at shoulder already pinned) on front section as shown, front edges to- gether, and marking for pockets in line with pockets already in coat. The /248/ REPEAT PERFORMANCE Suit Entirely Remade Lay skirt front pattern on back section of trousers as shown. Pin. To allow additional fullness as indicated by dotted portion of diagram, measure down 11" from top edge along fold of pattern and mark. Continue line of lower edge of pattern to edge of fabric with a basting. Connect end of this line with point marked above, as shown. This is cutting line. Mark and cut. After skirt front is cut, take one of remaining pieces and fold on lengthwise grain. Place upper collar pattern with perforations on fold. Mark and cut. Front of Trousers (Skirt Back)—Under Collar is also cut from this section. Lay patterns on front sections of trousers, as shown. If skirt pattern exceeds width of fabric, turn it back at side seam as shown, graduating in to hipline. Pin, mark and cut. Sleeves Lay patterns on sleeve sections as shown. Cut off the pattern piece that ex- tends beyond the fabric of the upper sleeve and pin to under sleeve as indi- cated. When pinning, notice that a small amount of width is added to keep the outer line curved. Mark and cut. Belt Cut belt from any remaining fabric. Piece at side seams if necessary. If fabric is heavy, face with lining material. Lining and Interfacings See instructions for Lining and Interfacings, page 245. Sewing and Finishing Follow pattern guide and see Chapter 8, page 227, for instruction on the special processes used in tailoring. The skirt is seamed at center back, center front and sides, and finished as usual. Hints on how to finish the front and the collar of the jacket of this suit, in which the tailoring has been retained, are as follows: 1. Seam under section of collar to jacket, right side to right side, and press. 2. Turn facing out over the right side of jacket and at lower edge of jacket, stitch facing and front together, continuing original seam. 3. At neck edge, stitch upper section of collar to facings (the collar will be placed under the facings, right side of collar to right side of facings). Press seam Open. 4. Sew upper and under sections of collar together, continuing the stitching down the edge of the rever, and keeping an even line until it merges with old seam. 5. Trim seams, clip corners and turn facing to inside of jacket. 6. Baste around outer edge of collar and rever and lower edge of jacket. Press. Finish edges with stitching the same as original front edge stitching on suit. To hide ends of thread, leave long enough ends when finishing off ma- chine stitching to thread a needle and bring the ends through to the inside of jacket. 7. Turn lower hem and catch stitch to coat (see figure 91, page 124). 8. Baste inner edge of facing to inside of jacket, turning rever out while doing so, to make sure that it is not too tight. Catch stitch to jacket. LAYOUT NO. II Jacket For this jacket in which the coat was entirely ripped and turned, a pattern with patch pockets has been selected so that the pocket slashes might be covered IREPEAT PERFORMANCE /249) *«>2·… NSNS Taoustº_aack % Plear inst ºr �©）żżża N -·№ Z *Romr - * - 24 ſ == // .……•zzzzzzzzºzzzzzz…，-3，… /250/ REPEAT PERFORMANCE by patch pockets. The two front darts have been retained and sewed in on the other side. The dotted lines on the jacket front indicate the pockets and darts on the original suit. The perforations indicate the placing of pockets on re- modelled suit. Back of Coat (Jacket Back) There is no special problem. Pin pattern to back sections of coat, mark and Cut. Front of Coat (Jacket Front) 1. Both sides may be cut at one time. Lay pattern (dart at shoulder already pinned) on front coat sections as shown, so that front edge comes just to the buttonholes. The buttonholes may run a little into the seam allowance, but this is of no consequence. Pocket perforations should come above the pocket slash. Pin pattern in a few places. 2. To make pattern lie flat, a new dart must be cut from the armhole to lower perforation of shoulder dart as indicated. It should come below pocket slash. 3. Smooth pattern out and pin all around. If rever of pattern extends out a little too far, take a small pleat in it, graduating it as shown. Mark seam allow- ances and new dart. Disregard waistline darts on pattern. When fitting coat, it may be necessary to take in existing darts a little. Front Facings Lay pattern on so that front edge is in back of buttonholes. If rever of jacket front was made smaller by a pleat, take the same pleat in the facing as was taken in the front. Pin, mark and cut. It makes no difference if facings are a little narrower than the pattern. Allow the extra amount on the lining. Skirt - Front of Trousers (Skirt Front)—Pockets are also cut from this section. 1. Lay skirt front on front sections of trousers as shown. Be sure it is far enough from the edge to allow for seam at outer edge and far enough down so that pockets may be cut from piece above. Pin, mark and cut. 2. Pin pockets on remaining pieces as indicated. In a herringbone tweed, a nice effect is produced by cutting on the bias as shown. Pockets may also be cut straight. Back of Trousers (Skirt Back)—Collars and Pleat Insert are also cut from this section. 1. Lay skirt back on back sections of trousers so that pleat extension is on lengthwise grain of fabric. Pin, mark and cut. 2. From one of two remaining pieces the collars are cut. Pattern pieces are shown in proper position. From the other piece the pleat insert is cut with the center back on a lengthwise fold. Sleeves — See instructions for Sleeves under Layout No. 1, page 248. Belt — See instructions for Belt under Layout No. 1, page 248. Lining and Interfacings — See instructions for Lining and Interfacings, page 245 Sewing and Finishing — Follow pattern guide and see Chapter 8, page 227, for instruction on the special processes used in tailoring. To close pocket open- ings, cut strips of lining 34" wide and length of opening plus 1%". Baste §2" turn under on all sides. Baste on right side over openings and stitch around edge. These strips will be hidden by pockets. 1O. ºterſ, ºet It's the inalienable right of every baby to look adorable. And it's the privilege of every mother, aunt, grandmother and friend-of-the-family to make sure of this. Whether it's for your own special bundle of bliss or somebody else's blessed event, making things for a baby with your own hands comes under the depart- ment of pure pleasure. Fortunately, there's no limit to what a brand new baby needs to make it comfortable and happy. Everybody can sew to her heart's content; baby will reap the benefits and say thank you with an irresistible gurgle. /252/ STORK SET BABY CLOTHES TO MAKE. Baby's Slip Pattern XXII B Material: Batiste or mainsook—% yd.; pearl buttons clones (%" size)—4. Directions for Cutting: 2 pieces, pattern No. XXII (see figure 4, page 29, for directions for enlarging pattern from diagram). - Directions for Making: 1. Baste front and back wrong sides together and finish sides with French seams (see figure 40, page 42). 2. Cut bias strips 34" wide and join to make a strip 1% yds. long (see figures 48–51, page 48). Face neck and armhole edges as in figure 60, page 52. Take 346" Sea III.S. 3. At shoulder edges make 36" hems. On back shoulder edges, make worked buttonholes (see figure STORK SET /257] Figure 145—At end of back slash and at right angles to it, clip 3%" to each side. On both edges of slash, turn "s" to wrong side, baste. Along each folded edge mark 1/2" at intervals. Fold both sides of opening to . * along marked lines, baste, slip stitch (see fig- º: ure 39, page 41). Lap right edge over *::::::::::::" left with fold edge of right meeting stitching line of left hem. This will Fig. 145 t t %.” * awararaves - canvrear form a pleat. Pin. Stitch placket closed across lower end with tiny back hand stitches (see figure 22, page 36), mak- ing a square of stitches. Make one worked buttonhole (see figure 100, page 175) on upper part of placket, 34" from neck edge. Make a second one 3" down from first. Fig. 146 Figure 146—Trim off one edge of en- tre-deux. Baste entre-deux to neck edge Jºa aavºr with cut edge along seam line (1/2" in *:::::::::5- from raw edge). Whip (see figure 62, ave carzzave (ºrce r sape) page 60) inner edge to garment. Turn to wrong side. Trim seam allowance of garment to 4", hand roll and whip. Trim opposite edge of entre-deux. 3. Mark center front of neck edge '2" from edge. Mark2%" to each side of center. Gather the 5" to meas- ure 2" (see figures 31 and 32, page 38). 4. Attach entre-deux as in figure 146. 5. To apply lace edging, cut piece of lace 1% times the neck edge. To gather lace, pull the strong thread that lies along the straight edge. Gatherto fitneck edge and fasten gathering thread. Place right side of lace against right side of entre-deux, edge to edge, distrib- uting fullness evenly. Whip edges together (see figure 62, page 60). At ends of lace turn back raw edges, roll and whip. /258] STORK SET 6. One-half inch from lower edge of sleeves gather sleeves to measure 7". Apply entre-deux as above and whip on lace. Whip ends of lace together. 7. Turn up 3" hem at lower edge of dress and slip stitch (see figure 39, page 41). GIFTS FOR THE NEW MOTHER AND BABY Bath Towel Apron STORK SET /259/ Material: Plain bath towel, 27"x42"; chintz—% yd. Directions for Cutting: Cut away hems on both ends of towel. Skirt—1 piece, 26" long x width of towel (27"); bib-1 piece, 10"x 13”; pocket—1 piece, 7"x8"; chintz –7 strips, each 2%"x35" or 36". Directions for Making: 1. On one 27" end of skirt, place right side of one chintz strip on wrongside of towel, edge to edge, stitch. Turn to right side on seam line, press, stitch close to edge. Turn free edge '2" to wrong side, edge stitch to towel. 2. On opposite end of towel, mark center of width. Gather this end to measure 22". 3. Piece chintz strips to make 2 strips, each 2%" x 54". 4. Place 1 strip on unfinished end of towel, right sides together, edge to edge, match center of strip to center of towel. In same manner, place right side of other long strip on wrong side of apron, edge to edge. Stitch 2 strips together along top side, including the apron, across ends, and on under side as far as sides of apron. Turn tie ends to right side and press (middle section is open and raw edges are turned in). 5. To make bib, apply strip of chintz to two 10” sides and one 13" side as in step 1. (Pleat corners diag- onally to make strip lie flat.) On untrimmed side, 3” from center front, make '2" pleat on each side of bib. To sew bib to apron, insert bib in opening, matching centers. Baste and stitch all around band close to edge. 6. To make strap forbib, cut a chintz strip 2%"x20". /260/ STORK SET Fold in half lengthwise. Stitch around one end and lengthwise edge, turn. Turn in raw edges at end and slip stitch (see figure 39, page 41). Attach ends to top corners of bib. 7. For pocket, cut a chintz strip 2%"x 7". On one 7" edge of pocket, apply chintz as in step 1. Turn raw edges of pocket 2" to wrong side. Apply pocket to apron in desired position. Stitch around 3 sides, close to edge. Cuddly Pig Material: Gingham or cotton fabric–38 yd.; pink sateen scraps; cotton batting for stuffing; 2 shoe but- tons; heavy duty mercerized sewing thread. Directions for Cutting: (See figure 4, page 29) when cutting, add %" to all edges of pattern for seam allowance): 2 pieces, pattern XXVa, for sides; 1 piece, pattern XXV b for top; 1 piece, pattern XXVc for underbody; 4 pieces. STORK SET (263/ 6% . -- Pattern No. XXVI—See figure 4, page 29 for directions for enlarging pattern. Draw 4%” squares instead of 1” squares. /264/ STORK SET 2. On each arm and leg piece, stitch ends together. Stitch a paw piece into lower edge of each. Turn. Cut 4 circles of cardboard from paw pattern (no seam). Insert in end of each. 3. Stuff to within 38" of top edge. Turn under 3%" and fit to body on marked lines, adjusting stuffing. Whip in place (see figure 62, page 60). 4. Stitch both tail pieces together, leaving straight edge open, turn, stuff, fit and stitch to back between legs as in step 3. 5. Stitch tongue around curved edge, turn, stuff. Stitch head pieces together, leaving opening between X marks, and turn. Stuff and stitch head to neck as in step 3. Turn front under on dotted line and insert tongue, tipping head before whipping down. 6. Stitch one terry ear to one percale ear around curved edge. Turn. Turn in raw edges and whip to back of head along marks. 7. Stitch petal pieces together by two's around curved edge. Turn. Gather raw edges, lap together to make flower. Tack to head and cover raw edges with center piece turned under at edge of pattern. Whip in place. 8. Cut out eye and nose pieces, allowing just enough to turn under, and appliqué in place, or embroider features. Make French knots evenly spaced to cover body. See Chapter 11. 9. Cut a strip of percale 1%"x 13”. Fold lengthwise, stitch along edge, turn, press and tie around neck. 41. Assy Tsushi. By some strange paradox the Machine Age has only served to intensify the value we place on handcrafts. The fine linens, the exquisite French imports that used to be, the children's clothes you “oh” and “ah” at, all have handwork to distinguish them from their mass- made brethren. You can add to your needle-and-thread versatility with a repertoire of the basic embroidery stitches. You'll find no limit to their usefulness, from making a patch ornamental, a handkerchief more per- sonal, a guest towel more inviting, to giving your vvardrobe and your house furnishings, in general, a more precious look. FLOSSY TOUCHES /267/ Borders Made From Basic Stitches SøSøSeSg.NººSºgSp Threaded running stitch, lazy daisy. ſº *** #lſº Grouped blanket stitch, spoke stitch. Zº. ZººZº. Z. Z. & Z ZººZ & ZºZº. Blanket stitch over rug yarn, lazy daisy. ū *] lººd o º * 45 Blanket stitch, spoke stitch, French knots. • * * cºe sº o e e e e Fly stitch, French knots, lazy daisy. Long and short blanket stitch. ºf 3,3,3,3 Blanket stitch, lazy daisy. Border Designs S$2. %55 S$2. -ºš' Lazy daisy, French knots. sº Lazy daisy, French knots, spoke stitch. e&Seeeeeeeeeeese Lazy daisy stitch. S N S S S S S S S S S Hºllillº, Illillºliifºliºſitilitatiſfilliºſtilliºttºliaitliſtiſºlatiºni Couching over rug yarn, lazy daisy. o - o o © o |ºlºl). Wººlºº Woven cross stitch with rug yarn, French knots. €ºx{&#xºxº Chain stitch, spoke stitch. X 2.2.2.2°2& Herringbone stitch, couching. /268/ FLOSSY TOUCHES Appliqué Directions Appliqué Designs APPLIQUE Commercial transfer patterns for appliqué may be used, or flower motifs may be cut from chintz and appliquéd as trimming on plain fabrics. To use the appliqué designs shown, trace off each part to use as a pattern. To appliqué, cut pieces from fabric, allow- ing '4" around all edges to turn under. Turn under %", clipping points if necessary so piece will lie flat. Baste close to turned edge. Press. Baste pieces in place and blind stitch around edges (see figure 30, page 38). For embroidery stitches used to complete designs, see page 266. Embroidery and Appliqué Designs O Hearts and flowers *TN O Z-S — appliqué Dots and stems — O | satin stitch - Leaves — short and long stitch Veins — stem stitch Stems — stem stitch O O FLOSSY TOUCHES /2697 Large pieces — appliqué Dots and stems—satin stitch Scallop line—stem stitch (or ap- pliqué entire scalloped area) Stems — satin stitch Outside edge—spoke stitch Large flowers—spoke stitch, satin centers Medium flowers—satin stitch Small flowers—lazy daisy FLOSSY TOUCHES /271] MONOGRAMMING Cross Stitch Monograms Cross stitch monograms can be made any size, depending upon the size of the X cross stitch. To make letters larger or smaller, redraw in squares of desired X size. The position of the stitches may be - Z marked on the fabric, or, if threads of 2% fabric are pronounced, stitches may be made by following threads without 2.A 2. 2 marking. FLOSSY TOUCHES /2737 SMOCKING Smocking is a decorative method of gathering fab- ric. It is very satisfactory for children's clothes and is also used on yokes of women's dresses. The thread used for smocking should be about the same thickness as a thread of the fabric. Embroidery floss is often used. The width of the fabric required is about 3 times the width of the finished piece. S Diagram 11a Diagram 11b Diagram 11C Foundation Steps 1. With a ruler and a sharp pencil, mark dots on the wrong side of fabric at equal intervals both horizontally and vertically (diagram 11a), allowing 4%" between each dot on heavy fabrics and 3%" to 4" on finer fabric. 2. Thread a needle and make a large knot at one end. Foundation stitches are made from right to left on the wrong side. Make a small straight stitch under each dot horizontally across each row (diagram 11a), leaving a long end of thread at end of row. 3. Draw up the long ends of thread, making even folds on the fabric and having them lie flat (diagram 11b). Tie ends of two rows securely together. Smocking Patterns Smocking is worked from left to right on the right side of fabric. Always start with a knot. Several patterns are given, and these patterns may be com- bined any number of ways. Rope Pattern — Insert needle from wrong side through the center of first fold and in line with foundation stitches of row. Keeping the thread above the needle, make a stem stitch (diagram 11c) at center of each fold across top row. Fasten end securely on wrong side. When two rows of rope pattern are made, work the following row in the same manner but keep the thread below the needle, instead of above the needle (diagram 11c). Smocking /276/ LIFE SAVERS Mending Stockings Mending Girdles MENDING MADE EASY Stockings Mending stockings may be a preventive as well as a corrective measure. When stockings are washed, examine for worn places and repair as follows: 1. Reinforce worn places in foot and heel with small running stitches parallel to weave. 2. Mend split seams with an over-and-over stitch. 3. Bring pulled threads through to wrong side and secure with tiny stitches to prevent runs. 4. Darn holes before they become large (figure 147). Figure 147 — To darn a hole, turn stocking right side out and insert darn- ing egg under hole. Trim ragged edges of hole. Do not use a knot and make lengthwise threads first. Leaving a short end free, take a few running stitches far enough from the hole to take in all the worn part. Turn, leaving a small loop at turning. On each suc- ceeding row increase number of stitches so that when stitches come to the hole, they will cover it and also strengthen the worn part. Arrange stitches so that needle comes out over edges of hole. Decrease length of rows on other side - of hole. Cut thread when finished and Fig. 147 turn darn around. Weave stitches in the same way across the width over and under foundation stitches already made. Girdles Frequent laundering and attention to small details of reconditioning will result in much extra wear. To mend the elastic webbing, catch the end of each rub- ber thread that has pulled out and wrap it securely with strong thread. Darn it down into the seam or fabric where it pulled. Take care not to put needle /280/ LIFE SAVERS Patches Figure 153 — To mend a three-cor- nered tear which is both lengthwise and crosswise, darn in same manner as for straight tear (figure 152). Stitches run at right angles to opening. Begin at one end and darn one side com- pletely. Then begin at other end and darn that side completely. Stitches at corners thus overlap and are strength- ened. Fig. 153 Figure 154 — To mend a diagonal tear in which both lengthwise and crossuise threads are cut, darn with small run- ning stitches parallel to lengthwise thread, but in direction of tear. Over these stitches work another set at right angles to first. Fig. 154 a thread which matches the fabric as closely as pos- sible. For woolens, a thread of fabric drawn from the hem or side makes a meat and inconspicuous darn. Darn on right side. Do not make a knot as there is no strain on fabric. To reinforce a worn place on a garment, cut a piece of fabric the same as garment just a little larger than worn place. Baste to wrong side under worn spot and cover entire area as for darning a straight tear (fig- ure 152), taking stitches through both thicknesses of fabric. On wool fabric, if a similar piece of fabric is not available, baste a piece of met under worn spot and darn as for tear. Patches When hole is large, a darn would be too conspicu- ous and not strong enough. The hole should be patched with fabric the same as garment. Cut a piece from hem LIFE SAVERS /281] or seams to obtain matching patch. If necessary, fade patch to correspond by washing in soap suds and baking soda, rinsing well and drying in the sun. A hemmed patch (figure 155) is the most usual. The least noticeable is an overhand patch (figure 156). Figure 155—To make a hemmed patch, use threads of fabric as guide and cut away worn portion to make either a square or rectangle. Cut patch 1" larger on all sides than hole after edges have been straightened. Pin patch in place under hole, right side showing through. Threads in patch must run same way as those in garment, and any pattern should match exactly. On right side of garment, clip corners of hole diagonally about 44". Turn in raw edges and baste to patch. On wrong side of garment turn in raw edges of patch 14" and baste to garment. Press. Stitch edges down by machine or blind hem (see figure 30, page 38). 2A70/v7r Figure 156—To make an overhand patch, straighten Fig. 156 hole as for hemmed patch (figure 155). Clip corners 1g. I do diagonally for 33". Turn edges under as far as pos- sible. Baste. Press. Measure dimensions of hole with edges turned back. Carefully match grain and pat- tern of patch and cut it 3%" larger than the hole on all sides. Turn in 3%" allowance on one side. Press down. Do same on 3 remaining sides. With patch flat, where creases come to a point, cut off triangle of fabric. Put patch directly under hole. It should fit exactly. Pin in place with pins at right angles to folded edges. Baste with small stitches at these points. On wrong side whip patch to garment with tiny stitches (see figure 62, page 60). Overcast raw edges (see figure 41, page 42). Remove bastings. Press. Aſ *—e f_* i APACK /2827 LIFE SAVERS Alterations ſ &n Maows º: S/de Fig. 157 Figure 157 — To make an underarm patch, cut away worn portion in a square so that each corner comes at a seam line. Straighten edges of hole. Turn dress to wrong side. Rip seams about 1/3". Turn edges of hole back #3" and press. Cut patch #3" larger all around than opening. Place patch over hole right side down. Allowing %" for ar/Gay7. seam, baste edge of patch to edge of sade hole. Stitch on basting line. Press seam open. Overcast raw edges (see figure 41, page 42). However, this is not very strong and should be used only on fine fabrics where there is no great wear. One of the spots where there is most wear in a dress is at the underarm. Directions for a special underarm patch are given in figure 157. Holes may also be cleverly hidden by means of appliqué. Cut out flowers from printed fabric, or use original patterns or commercial transfers. See Chapter 11, page 265, for designs and directions for appliqué. TIPS ON ALTERATIONS Shortening or Lengthening a Dress 1. Take out old hem and remove old seam binding to use again. Press out crease mark from wrong side through a damp cloth (see page 221). LIFE SAVERS /283/ Cº, tº Čeje Diagram 12a Diagram 12b 2. Put on garment, wearing shoes of a suitable heel height. Mark new hemline as shown in figures 42–44, page 42. Finish suitably. See suggestions for hem finishes, page 220. When lengthening the skirt, if, after cleaning and pressing, the line of the former hem persists in showing, choose a mercerized or silk thread of matching color and machine stitch over the mark. Do this before putting in the hem. Shortening a Full Length Dress 1. Hem is marked with chalk or pencil 14" below point where dress touches floor, when it is hanging straight. Cut off on this line. 2. Stitch back 98" by machine. Turn up edge another '/8" and slip stitch (see figure 39, page 41). Or hem may be roll hemmed by hand (see figure 68, page 68). Shortening a Dress from the Waistline (When Lower Edge Cannot Be Altered) 1. Determine how many inches dress is to be shortened. Measure desired number of inches down from waistline all around skirt and mark with pins. Baste around marked line (diagram 12a). 2. Rip skirt from waist and rip placket from skirt. Mark waistline on waist with basting. Mark center back and center front of waist and skirt. Rip side seams of skirt to basting line. 3. Turn under top of skirt at basting line and, matching center points, pin to waist at waistline (diagram 12b). LIFE SAVERS /285/ Diagram 12d 3. Mark new seam lines on back and front with pins placed parallel to seam. Run basting along pin line (diagram 12d). 4. Place two basting lines together and sew right side seam. In same manner, sew left side seam above and below placket opening (length of zipper teeth). 5. Finish placket (see figures 125 and 126, page 214). Taking Out Bagginess at Back of Skirt 1. Take out back waistline seam and side seams of skirt, taking out placket below waistline. Press out folds (see page 221). 2. Raise back of skirt just enough to bring side seams into line (1/2" to 34"), turn under top of skirt at new line, baste. Refit side seams and finish placket as above. Even hemline (see page 42). Altering a Waistline Which is too Low Follow the directions on Shortening a Dress from the Waistline. Altering the Hem of a Coat 1. Rip lining from facing on inside of coat far enough to allow for work- ing comfortably. Free lining from hem of coat and take out both hems. Press (see page 221). Put on coat. 2. Determine new hemline in same manner as for dress (see figures 42–44, page 42). Mark new length on facing also. 3. Turn up hem on coat and facing at new line (see figure 45, page 44). 4. Trim to 1%.", using a gauge (see figure 46, page 44). Shrink out ex- cess fullness (see page 223). Finish raw edges by pinking, running a machine stitching close to edge, and catch stitching in place (see figure 91, page 124). Or machine stitch seam binding on hem edge and blind hem (see figure 30, page 38). MATERIAL EVIDENCE /289) in milk. It is usually used in combination with wool, cottom or rayon and can be treated to re- semble any one of them. Nylon — a synthetic fiber made from derivatives of coal, air and water. It is strong, elastic and non- absorbent. Vinyon — a synthetic fiber made from deriva- tives of coal, air and water. Combinations of two or three fibers are not uncom- mon. It is desirable, therefore, to know the fiber con- tent of a fabric and to treat it according to instructions given for the more delicate of the fibers included. Terms Used in Describing Fabrics Fabrics of the same fiber may differ in construction. The differences in construction cause differences in appearance. In order to understand differences in con- struction, there are certain textile terms that should be understood. WARP — the threads of a fabric that run lengthwise and parallel to the selvage. - Fºvo de threads of a fabric that run crosswise from selvage edge to selvage edge. TWIST – the number of turns in a fiber. Usually a fabric made of tightly twisted yarns has a harder, smoother finish than one made of loosely twisted yarns. THREAD COUNT— the number of warp and filling yarns per square inch of fabric. It is a form of measurement to designate the quality of a fabric, but does not necessarily indicate strength. However a fabric which has approximately the same thread count in warp and filling yarns will usually wear better than one having a difference in the num- ber of warp and filling yarns. YARN DYE — yarns or fibers dyed before they are woven into cloth. FLOATS — the yarns that are carried across the surface of the fabric, for short intervals, and then caught in the weave at intervals. The presence of floats in fabrics affects the durability of the cloth, because they catch and snag easily. SIZING — stiffening or dressing added to cotton or linen to give a Fabric Terrns MATERIAL EVIDENCE (297) Name of Fabric DIMITY –Fine, crisp, lightweight cot- ton fabric, plain weave. Several threads, laid parallel to one another and used as one at intervals in the warp, form cords in fabric. When such “heavier" threads run both lengthwise and cross- wise, a checked effect results. The checked fabric wears better because of more even balance of yarns. DOESKIN–Soft, napped wool fabric resembling wool broadcloth. Plain Weave. DRILL CLOTH-Coarse, firm, heavy, twilled cotton cloth. Will take rough wear. DUCK–Strong, closely woven, heavy cotton fabric in plain weave. Lighter and finer than canvas. Serviceable, somewhat waterproof. EIDERDOWN — Warm, fleecy, light- weight wool or cotton cloth, napped on both surfaces. Double-cloth weave. FAILLE – Silk or rayon and cotton fabric of plain weave with cross ribbing made by heavy filling yarns. FELT—Wool fabric made by rolling and pressing wool fibers or hairs of cer- tain furs into a mat. FILET NET-Cotton or linen net with a square mesh. Hand netted filet has a hand tied knot at each corner of the mesh square. FLANNEL — Soft, lightweight wool fabric in twill or plain weave, slightly napped on one side. Uses Curtains, lingerie, dresses, blouses. Suits, coats, children's Coats. Men's shirts, middies, blouses, suitings, linings, uniforms, press cloths. Uniforms, work clothes, shirts, trousers, coats, middy blouses, awnings, shower curtains. Infants' wear, negligees, bathrobes. Dresses, suits, millinery, jackets. Hats, belts, bags, .table mats. Curtains, tablecloths, run- ners. Men's and women's suits, coats, dresses, children's clothing. Faille Felt MATERIAL EVIDENCE /299/ Name of Fabric *IUCKABACK — Cotton or linen fab- ric with small geometric patterns in figure weave. Prominent filling threads. Softly spun yarn gives fabric absorbent quality. INDIAN HEAD — Trade name for sturdy, medium weight cotton fabric of plain weave. KHAKI – Sturdy, twilled cotton fab- ric in olive drab color. LAMé–Plainly woven or brocaded silk or rayon fabric. Gold or silver threads are mixed with silk or rayon. LAWN–Sheer, fine, soft cotton cloth with a plain weave. Lightly starched or sized. May be printed. LONGCLOTH — Fine, soft, closely woven cotton cloth made in a plain weave. It is bleached and lightly sized. MADRAS — Firm, soft cotton cloth. Usually made from mercerized yarn. Fabric is usually striped or has small figures which are woven into cloth. Plain or figure weave. MALINE – Fine net silk fabric char- acterized by hexagonal open mesh. MARQUISETTE–Silk or cotton fab- ric with gauze weave, having open mesh appearance. MATELASSÉ–Raised woven designs in wool, cotton, silk, or rayon fabric. Gives a blistered effect to cloth. Figure Uses Towels. Work clothes, sport clothes, uniforms, chil- dren's clothes, aprons. Uniforms, work clothes, children's clothes. Dresses, blouses, wraps, neckwear, trimmings. Infants’ wear, dresses, blouses, neckwear, under- Wear. Infants' and children's dresses, underwear. Shirts, dresses, aprons. Veils, neckwear, evening dresses. Glass curtains, dresses. Dresses. amelassé Marquisette Madras /302) MATERIAL EVIDENCE Name of Fabric Uses RATINE – Loosely woven, rather stretchy cotton, silk, rayon or wool fabric made in plain weave. Filling Dresses, coats, suits. threads are looped and are of novelty yarn to produce a rough effect. REP – Firm cotton, wool, rayon, or silk fabric with heavier filling thread than warp thread. Crosswise rib is very distinct. Plain weave. Skirts, suits, men's and boys' wear, draperies, up- holstery. SATEEN-Cotton fabric with a satin weave. A mercerized finish further in- creases luster. Linings, draperies, cos- tumes, slip covers. SATIN–Silk or rayon fabric with a satin weave. This weave produces the sheen that is characteristic of satin. Dresses, linings, lingerie, blouses, neckwear. SCRIM—Light, transparent cottom fab- ric in open mesh, plain weave. Curtains. SEERSUCKER – Lightweight, wash- able cotton fabric in plain weave with crinkly stripes running lengthwise at alternating intervals. Crinkle is caused by slackening tension of warp yarns. Does not need to be ironed. Dresses, children's clothes, men's suits, playclothes, underwear. SERGE–Soft, durable wool, rayon or silk cloth made from worsted yarns. A twill weave with a diagonal effect on both sides of cloth. Men's and women's suits and coats, dresses, skirts, middy blouses, shirts. SHANTUNG – A heavier, rougher texture of pongee. Dresses, suits, coats. SURAH-Soft, lightweight silk fabric in a twill weave. Neckties, dresses, blouses. MATERIAL EVIDENCE /303/ Name of Fabric SWISS (DOTTED)—Fine, transpar- ent, crisp cotton fabric in plain weave. Frequently figured with dots or small figures that are produced by a special process of weaving or by chemical application. TAFFETA—Smooth, lustrous rayon or silk fabric of a plain weave. Iridescent effect of some taffetas is caused by dif- ference in color of filling and warp yarns. TERRY CLOTH – Cotton pile fabric with raised uncut loops on both sides of fabric. TICKING—Firm, durable cotton cloth in twill weave with yarn-dyed blue and white stripes running lengthwise. TROPICAL WORSTED — Light- weight worsted cloth in plain weave. TULLE—Soft silk or rayon net of fine mesh. TWEED–Rough surfaced wool fabric in plain, herringbone or twill weaves Warp thread is usually composed of a two-ply yarn which has two colors, giving a soft tone to the fabric. VELOUR-Soft, strong, closely woven cotton, woolen, silk, rayon fabric with a pile. Somewhat like velvet. VELVET-Silk or rayon fabric with a soft, thick, short pile on face and a plain back. VELVETEEN-Cotton fabric with a soft, thick, short pile on face and a plain or twill back. Resembles velvet. VOILE — Sheer cotton, silk, or rayon fabric in plain weave. - - - § - * … º - - § NN s N º Uses Curtains, dresses, blouses, bedspreads, neckwear. Dresses, blouses, suits, millinery, slips, draperies, upholstery. Bath towels, bath robes, beach robes, wash cloths. Mattress and pillow cov- ering, upholstery, play- clothes. Men's and women's suits. Trimmings, veiling. Men's and women's coats, suits and jackets, slacks, dresses. Coats, suits, upholstery, draperies. Dresses, suits, coats, negli- gees, trimmings, mil- linery. Dresses, coats, suits, chil- dren's dresses, draperies, upholstery. Dresses, blouses, curtains, lingerie. | /304/ MATERIAL EVIDENCE Terms on Labels Fiber Content Explanation of Terms Found on Labels Labels on fabrics often include information on the exact fiber content, on the finishes applied to the fabric during or after the manufacturing process, how it will wash or whetherit must be cleaned, and the colorfast- ness. Fabrics carrying the brand name of a reputable manufacturer and purchased from a reliable dealer are a much safer buy than those which do not carry a label or guarantee. Explanation of Fiber Content Spun Rayon — a term applied to a fabric, the rayon fibers of which have been cut the length of wool, cotton, or linen fibers and spun and woven in the manner in which wool, cotton, or linen is spun and woven. When treated in this manner rayon may be made to resemble any one of these fabrics. Weighted Silk — silk fabric in which the 20–25 per cent of weight lost in the production of the fabric is replaced in whole or part by metallic salts. Pure Silk — the label which may be used only on fabrics whose fiber content is all silk. This does not mean that the fabric does not contain either soluble or permanent weighting. “Pure Dye” used with “Pure Silk” indicates that not more than 10 per cent of weighting has been added. Reprocessed Wool — wool that has never been used or worn at any time, in any way. It has been rewoven from waste clippings of cloth cut away in the wholesale manufacture of garments. Reused Wool — wool that has been rewoven from fibers that have received wear. Virgin Wool — wool made from new fleece obtained from live sheep. It is well to remember that reprocessed wool made from wool clippings of good quality may be very much superior to virgin wool of an inferior quality. MATERIAL EVIDENCE /305/ Weighted Wool — wool in which short woolen fibers called flocks are felted into the cloth after it has been woven to cover up defects in the cloth and to increase weight. These fibers usually wear off, leaving the cloth lighter in weight and more loosely woven in appearance. Erplanation of Finishes Finishes Flame-proofing Processes — Antipyros and Firechief are flame- proofing processes applied to heavy cottons such as draperies and awn- ings. A special finish which may be obtained at retail stores may be easily used on fabrics. It may be renewed after laundering. Dry clean- ing will not remove finish. Moth-proofing Finishes — Kolak, Konate and Lanitex are finishes applied to fabrics to prevent damage caused by moths. When consulting labels on moth-proofing, carefully note whether the finish is a durable one or whether it has to be renewed after each laundering or cleaning. Also note the methods to be followed in laundering or cleaning. Water Repellent Finishes – Aqua-Sec, Aridex, Ban-Dri, Cravanette, Koroseal and Zelan are all water repellent finishes applied to fabrics. When consulting labels on water repellent finishes, note whether the finish is a durable one or whether it has to be renewed after each laun- dering or cleaning. Also note the methods to be followed in laundering or cleaning and the action, if any, of sunlight and perspiration. Basco — a finish applied to cotton table damask to give it a linen-like appearance. Bellmanized — a permanent finish stiffening applied on cottons to give them a crisp appearance. Martinized — a process used on velvet to make it crease resistant. Sanforized — a process used on cotton, linen and rayon which guar- antees that the residual shrinkage will not be more than 1 per cent. Tebilized and Vitalized — crush resistant finishes applied on fabrics to make them crease or crush resistant. Washable and cleanable. Trubenized — a finish applied to cotton fabrics to give them stiffness. Used on collars of men's shirts. /306/ MATERIAL EVIDENCE Shrinking SHRINKING OF FABRICS BEFORE CUTTING Today, cottons, linens and wools are often commer- cially pre-shrunk. If there is no mention of pre-shrink- age on the label, or no guarantee is given by the re- tailer, at least 5 per cent more yardage should be allowed on cottons, limens and wools. Shrinkage may be taken care of at home. Silk or rayon does not re- quire any shrinkage or sponging. Rayons are apt to shrink in washing, but this shrinkage cannot be con- trolled by shrinking before fabric is cut. When pur- chasing rayon inquire as to its washability. White cottons or linens should be folded so they will not wrinkle, then soaked in cold water for several hours. Colored cottons or linens should be rinsed in cold water. Upon removal from water, do not wring fabric; squeeze water from it. Hang on clothes line, and when nearly dry, iron on wrongside, ironing with the grain of the fabric. Fold fabric with the right side inside, selvage edges together, and filling threads straight across from edge to fold. Wools are usually commercially pre-shrunk; how- ever, all wool fabrics should be sponged either at home or by a reliable local tailor. To sponge at home, unfold fabric, clip selvages at intervals of 2" all along edges. Thoroughly wet a sheet in cold water, ring it out and lay fabric smoothly on sheet. Roll sheet and fabric together and let stand over might. Unroll fabric. Press ſ308) MATERIAL EVIDENCE Cleansing Agents Method Powdered form of absorbent is used only on light-colored fabrics. Place stained part of fabric on flat surface and cover stain thickly with powdered absorbent. With circular mo- tion rub finger gently on spot. Brush powder off fabric, repeat application until no more of stain can be absorbed. Cover with new layer of powder and allow to stand for several hours. Brush fabric thoroughly. Blotting paper or brown wrapping paper will remove grease. Place paper under spot and press spot with warm iron for several minutes. Brush thoroughly and repeat if necessary. Place fabric right side down on blotting paper. Barely moisten clean lintless cloth with sol- vent and apply lightly with straight strokes, working from outside of spot toward center. Light, straight strokes prevent rings in fabric. While working, blow on damp area to speed evaporation. Change blotter area and cloth as soon as they are soiled. ABSORBENTS (used to remove grease spots) a. Powdered form Fuller's earth French chalk Starch b. Blotting paper or brown wrapping paper SOLVENTS (used to re- move spots from non- washable fabrics) Carbon tetrachloride— (may be purchased at drug store). This is the basis for most dry clean- ing fluids. BLEACHES (used to re- move stains which will not wash out of cottons) Sodium hypochlorite (Javelle water). It should not be used on silk, rayon or wool. Hydrogen peroxide. Bowl Method Stretch spotted portion over a bowl of water. Hold fabric taut by stretching rubber band around sides of bowl. Using a glass rod, moisten stain with clear water. Apply cleansing agent, using second glass rod. Allow to set for one minute. Follow with a second application of water, using glass rod pre- viously used for water. If necessary, apply cleansing agent with third glass rod. Rinse thoroughly with clear water. Repeat if nec- essary. Blotter Method Place spotted area over a blotter, spot side down. Using a medicine dropper, moisten stain with clear water. Apply cleansing agent, using a second medicine dropper. Follow with second application of water, using dropper formerly used for water. If necessary, apply cleansing agent with third dropper. Rinse thoroughly with clear water. Repeat if nec- essary. 14. 25upply &O pet % N You can’t really be efficient about sewing unless you have the proper equipment. Naturally this is relative —you're the best judge of your own needs. If you do a littlemending or put up an occasional hem, you hardly need the same tools as the woman who thinks nothing of making all her slip covers and a complete wardrobe for her whole family. It's an almost irresistible tempta- tion to collect gadgets, but it's pointless to clutter up your sewing box or your sewing room with anything you don't actually need. Too many things get in your way, defeat your purpose, just as much as too few. So it's up to you to select from the complete list of supplies for your sewing room exactly what you need to func- tion efficiently. A310] SUPPLY DEPOT SEWING ROOM ACCESSORIES It is not necessary for the beginner to assemble all sewing equipment at one time. It is more satisfactory to choose the necessary implements first. See page 15 for a detailed description of the necessary equipment needed to start. These should be collected in a sewing cabinet or a large sewing box so that they will all be at hand when needed. A description of desirable sew- ing equipment is listed below. Many of these articles may be purchased as progress in sewing warrants the use of them. Implements Used in Cutting 8” Bent Trimmer (Dressmaker Shears)—A shears is a cut- ting implement at least 6" long, which has a small ring handle for the thumb, and a larger handle that is large enough for several fingers. The difference in the size of handles allows for greater leverage. A shears with bent handles insures greater accuracy and ease in cutting fabric flat on the table. Pinking Shears — This is a shears with blade edges that are notched. It is used on firmly woven fabrics to produce an evenly notched edge that prevents ravelling. A pinked edge is a quick and easy seam finish. Scissors — A scissors is a cutting implement from 3" to 6" long. It has 2 ring handles, both the same size, for thumb and finger. A 6" size is a convenient scissors for clipping threads, ripping, cutting through buttonholes and general fine sewing. Razor Blade — For ripping, use a single edged blade, or a razor blade holder with a double edged blade. - Dressmaking Board — This board is used when a large flat cutting surface is otherwise unobtainable. It can be folded for storage, or opened out flat on a bed or on the floor to provide a flat surface for cutting. Dressmaker's Pins — Fine quality brass dressmaker's pins (size 5 or 6) with sharp points that will not mar fabrics are best. Purchase by the 44 or % lb. box. Needle Sizes and Correct Threads for Various Fabrics Sewing Needle Type of Fabric Thread size • Machine Needles Machine Stitch Size per inch =F- Coarsest (3) Heavy duck, canvas, 8, 10, 12 Coarsest 8 coating. black and white Coarse (4, 5) Ticking, denim, sewing 16, 20, 24 Coarse 10, 12 buttons on heavy material. black and white Medium Coarse (6) Cretonne, slip covers, wools, 30, 36, 40 Medium coarse 12 sewing buttons on medium- black and white. heavy material. Heavy mercerized thread in colors. Medium (7) Percale, gingham, rayon, 50, 60, 70 Medium 14. linen, lightweight wool. black and white. Mercerized in colors. Medium fine (8) Voile, lawn. 80, black and Medium fine 16, 18 white. Mercerized in colors. Fine (9) Organdie, batiste. 100, black and Fine 20, 22 white. Mercerized - in colors. § INDEX /319/ Lingerie straps, 278 Lining, 230,231,235 Luncheon cloths and sets, 64–80 - Machine sewing, 20–22, stitch regulation, 22, tension, 22, 23 Make-overs: 236-250, dresses, 239, adult's clothes to children's and women's clothes, 240-244, 316, men's suits to women's, 245-250 Marking equipment, 19, 311 Marking fabric, 200–202 Matching plaids, 199 Materials, see Fabrics Measuring aids, 18, 311 Measuring: for draperies, 122, 123, for glass curtains, 105–112, individual, 188, for slip covers, 135–144 Mechanism of sewing machine, 21 Mending, 275–282, darning, 276, fasteners, 277, girdles, 276, grooming aids, 277, patches, 280– 282, stockings, 276, tears, 278–280, turning collars and cuffs, 279 Mitering, 40, 50, 69 Mittens, 182 Monogramming, 271, 272 Napery hem, 63 Napkins, 63 Narrow hem, 37 Neckline facing,40 Necklines, 210–212 Neckwear, 170–177 Needle board, 221, 313 Needles, 15, 314, 315 Notched collar, 174 Overcast finish, 42 Patches, 280–282 Patch pocket, 213 Pattern, commercial: altera- tion, 187–198, cutting out, 198–202, explana- tion, 186, selection, 185 Pattern enlarging, 29 Pinafore, directions for, 27–44 Pinked finish, 211 Pinking shears, 310 Pinning: before stitching, 34 pattern to fabric, 33 Pins, 18, 310 Piped seam, 72 Piping, 71, and facing, 72, corded, 82, scalloped edge, 71, 72 Plackets: baby, 257, continu- ous, 217, dress and skirt, - 214,215 Plain seam, 36 Pleats: hemming, 209, mak- ing, 209, types, 208 Pockets, 212,213 Position at machine, 23 Pot holders, 46–51 Practice stitching, 23–25 Press cloths, 19, 221, 313 Pressing, 37,221–223, equipment, 19, 313 Relining coat, 286