'The Dressmaker
The Butterick Publishing Company
NEW YORK LONDON PARIS


THE LIBRARY

UNIVERSITY
SITY OF
OF THE
SINA DE
INDON
MINNESOTA
REG
CLASST646.2
B 982
BOOK


THE DRESSMAKER
CHAPTER I
SEWING STITCHES
Tº
are
MAKE A KNOT, hold the threaded needle in the right hand. Take the end of
the thread between the thumb and first finger of the left hand, stretching the
thread tightly. Wind it around the top of the first finger, crossing it over the end
held between the finger and thumb. Roll the first finger down the ball of the
thumb about half an inch, carrying the thread with it, and with the second finger push
the knot thus formed to the end of the
thread. If a larger knot is required, wind
the thread around the finger twice.
BASTINGS temporary stitches
used to hold two or more pieces of ma-
terial together while putting in the perma-
nent stitches. The thread should be
Fig. 1. Even Bastings
smooth and rather fine. Careful bar
sting is essential to successful sewing and
dressmaking. There are four kinds of
bastings.
Even Bastings start with a knot on the
right side so that they may be easily re-
moved. Pass the needle over and through
the material, making the stitches and
Fig. 2. Uneven Bastings
spaces the same length. To fasten the
Fig. 3. Combination Bastings
thread, iake two stitches over the last
one made. (Fig. 1.)
Uneven Bastings are made by the
method just described for even bastings,
except that the stitches and spaces are of
unequal length. The stitches taken upon
the needle are about a third shorter than
the space covered by the thread. (Fig. 2.)
Combination Bastings are
used on
seams where extra firmness is desired
for close fitting. They are made by ta-
king, alternately, one long stitch and two
short stitches. (Fig. 3.)
Diagonal Bastings are slanting stitch-
es used in dressmaking to secure the out-
side material to its lining, particularly
where the lining is eased on to the mate-
rial, as is often the case in waist-making.
The method is shown in Fig. 4.
2. A
Fig. 4. Diagonal Bastings
&


SEWING STITCHES
5
CATCH-STITCH, sometimes called cat stitch, is a cross stitch used to hold down
seam edges. It is the preferred finish for the seams of flannel garments, for it does
away with the clumsiness of a French or feiled
seam, takes the place of overcasting and pre-
vents raveling.
Place the edges together and run a seam,
taking an occasional backstitch. Trim off
one edge close to the line of sewing and press
the other edge flatly over it, holding the work
as shown in Fig. 11.
Make a knot and insert the needle under
the edge at the lower left corner, cross the edge
and take a small stitch a few threads to the
right. Cross back again and insert the needle,
Fig. 11. Catch-Stitch
taking a similar stitch through all the thick-
nesses of the material.
Always point the needle to the left and make the
cross stitches encase the raw edges. The stitch is done
from left to right. If preferred, these seams may be
AVA
pressed open and catch-stitched, working the stitches
over the raw edge at each side of the seam, thus
holding both down as shown in Fig. 12.
A quicker method of catch-stitching is shown in
Fig. 13. This stitch has not the strength of the first
method and is only used in millinery and in dress-
making where the work is concealed. This style of
catch-stitching is done from right to left.
Fig. 12. Catch-Stitch on
Open Seam




Fig. 13. Catch-Stitch Used in
Dressmaking and Millinery
Fig. 14. Flat Fell Seam
A FLAT FELL SEAM has one edge hemmed down to protect the
other raw edge. It is used principally for underwear. Baste the
edges together, and sew with combination stitch. If the edges are
bias, sew from the broad part of the pieces to the narrow, to
prevent raveling and stretching.
Remove bastings, trim the edge toward you close
to the sewing line, and turn the other edge flatly over it,
pressing hard with the thumb
nail. Make a narrow turning,
baste and hem. (Fig. 14.)

A FRENCH SEAM is a
double seam encasing the raw
seam edges. (Fig. 15.) Place
the edges evenly together and
sew close to them on the right
side of the garment. Trim off
Fig. 15. French Seam
all ravelings from the edges.
Turn the wrong side toward you, crease exactly at the seam, and make a second sewing
of sufficient depth to entirely cover the raw edges. This seam is generally used in
making garments of wash materials.


SEWING STITCHES
7
SQUARE CORNERS are made by turning under the edges as for hems. Turn the over-
lapping hem back toward the right side and crease the material along the first fold.
Open the hems and cut away the underlapping hem to within a seam of the second
turning. (Fig. 18.) Hem the overlapping edges to the hem underneath, but not
through to the right side. (Fig. 19.) Overhand
the ends of the hems. Finish all the corners in
the same manner.
MITERED CORNERS are made by joining two bias
edges to form an angle. Turn the edges as for
hems, and crease. Open the material, fold the
corner toward the center, and crease where the
lines cross. Cut the corner off, allowing a narrow
turning (Fig. 20.) Fold the hems down all
around, bring the mitered corners together, and hem
the side. (Fig. 21.) Hem the corners, but do not
catch the stitches through the material underneath.
A GUSSET is a triangular piece of material
set into a garment to strengthen an opening. (Figs.
22 and 23.) Fold diagonally a piece of mate-
rial two and one-quarter inches square and cut it
on the fold. Take one of the triangles and fold
it down a quarter of an inch all around, folding
Fig. 21. Hemming Mitered
the straight edges first. Cut away the projecting
Corners



Fig. 22. Inserted Gusset on
Wrong Side
Fig. 23. Finished Gusset on
Right Side
points at the sides. Hold the wrong side
toward you, with the right angle down and
fold so that the point at the bottom will
meet the fold at the bias edge.
Make a
narrow hem all around the
opening. Pin the corner of the gusset to the
end of the opening, right side to right side.
(Fig. 22.) Beginning at the center, overhand
to the hem as far as the crease in the gusset.
Fold the gusset over at the crease and pin
at the center and each corner, taking care
that the warp and woof threads run parallel
with those of the garment. Baste and hem
all around. (Fig. 23.) The lower edge of
the gusset will have to be stretched to fit
the opening.

TUCKS should be marked with a meas-
ure so that they will be of even width.
Fig. 24. Tucks


8
THE DRESSMAKER
a
row
Cut the gage from a piece of cardboard, and from the end measure down the width
of first tuck, making a slash and a bias cut to meet the slash. (Fig. 24.) Make a second
cut as shown in Fig. 24, allowing for width
of space and second tuck.
It is quicker and more accurate to
make a gage of this sort in measuring short
spaces, such as hems, tucks and the spaces
between them, than to use the tape meas-
ure, as sometimes the eye becomes con-
fused at the small marks on the tape, and
mistakes are made that will prove quite
serious.
Fig. 25. Gathering
FOR GATHERINGS, make
of
small running stitches. The stitches may be
the same length as the spaces, or the spaces
may be twice the length of the stitches.
Always begin by inserting the needle from the
wrong side to conceal the knot. It is better
to slip the stitches along on the needle and
not remove it from the material.
When the gathering is completed remove
the needle and draw the gatherings up tight.
Place a pin vertically, close to the last stitch,
Fig. 26. Position of Needle in
and wind the thread several times around the
Stroking Gathers
pin in the form of an 8. (Fig. 25.) This holds the gathers firmly together and facil.
itates the stroking.
In Stroking or Laying Gathers the work is held between the thumb and fingers of
the left hand, with the thumb below the gath-
ering thread. Put the side of the needle well
above the gathering thread and press the little
plait under the thumb, drawing the needle
down. (Fig. 26.)
Do not use the point of the needle, as it
scratches and weakens the material. Continue
entirely across the gathers, putting the needle
under each stitch and holding the plait firmly
with the thumb. Stroke the material above the
gathering thread as well as below it to make
Fig. 27. Two Rows of Gathers
the gathers firm and even.
Two Rows of Gathers are often used in dressmak-
ing and do not need stroking. A skirt joined to a
band, a sleeve set in a cuff or sewed into the armhole,
should be gathered twice so that the gathers will stay
in the proper place,
The second row is made with the stitches directly
in line with those of the first row and one-quarter or
three-eighths of an inch below them. (Fig. 27.) If
there is much fulness to be gathered, the spaces be-
tween the stitches may be lengthened.




EMBROIDERY EDGING USED AS A FACING is
shown in Fig. 28. The plain material above the em-
broidery is applied as the facing. Crease the edging
off at the depth it is to extend beyond the garment. Fig. 28. Embroidery Facing
Baste the material along the crease so that the seam
will come toward the inside of the garment. Then stitch the seam. Now turn the
edging down, fold in the raw edge at the top, and hem down as a facing. The facing
should be no wider than necessary to make a neat joining.


SEWING STITCHES
9
TO JOIN EMBROIDERY IN A TUCK, make several tucks in the plain material above
the embroidery if it is wide enough. Then measure carefully the amount for the
space between the tucks, the under part of the tucks, and the seam. Cut away the
superfluous material and join the edging to the gar-
ment. Crease the tuck with the seam directly in the
fold so that the raw edges will be encased in the tuck.
When the materials of the garment and the embroid-
ery are similar, and there are several tucks above and
below the seam, the joining is imperceptible. (Fig. 29.)
A ROLLED HEM may be used as a dainty finish
in joining trim-
ming of any kind
to a garment of
sheer wash ma-
terial. Hold the
wrong side of the
material toward
Fig. 29. Embroidery Joined
you, and, after
in a Tuck
trimming off all
ravelings, begin at the right end and roll the
edge toward you tightly between the thumb
and forefinger of the left hand, keeping the edge
rolled for about one and a half inches ahead of
the sewing. (Fig. 30.)
Fig. 30. Insertion Inset with
Rolled Hem
EMBROIDERY MAY BE INSERTED by differ-
ent methods. When a straight-edge insertion
is used, the plain cambric may be cut away
at each side of the embroidery. The material
of the garment is then cut away under the em-
broidery, leav-
ing a
small
seam, which is
rolled and whip-
ped to the em-
broidery
shown in Fig. 30.
Fig. 31. Insertion Inset by Machine
If preferred, a
small seam may be left on the insertion as well as
on the garment and be put together by a tiny
French seam.
This is the finish most commonly
employed.
Embroidery also may be inserted by a machine
fell seam. (Fig. 31.) Baste the insertion to the ma-
Fig. 32. Whipping on Trimming
terial with a narrow seam on the wrong side. Trim
off all ravelings and insert raw edges in the hem-
mer of the machine, and stitch as in hemming.
WHIPPING ON TRIMMING is generally done
on an edge. If lace, it should be either gath-
ered by pulling the heavy thread which is
usually found at the top, or whipped and drawn
as in a ruffle. Roll an inch or two of the gar-
ment material, place the lace with its right
side to the right side of the material, and whip
both together. (Fig. 32.) Lace may be whipped
Fig. 33. Whipping and Gathering
on plain if preferred, but it must be eased in.
Insertion may be inset in the same way.
A Ruffle Used as Trimming may be whipped and gathered. Roll the raw edge and
overcast the material as far as it is rolled, taking care to make the stitch below the roll,



as


10
THE DRESSMAKER
not through it. (Fig. 33.) Draw up the thread, making the ruffle the desired fulness.
Divide the ruffle in quarters and mark them with colored thread. Make corresponding
marks on the edge to which the ruffle is to be attached. Roll the edge of the garment


Fig. 34. Showing Cut for Lace Insertion
and overhand the ruffle to it, taking a stitch
in every whipped stitch of the ruffle.
METHODS OF INSERTING LACE and
insertion, when the material has a straight
edge, are shown in Figs. 34 and 35. Fold the
Fig. 35. Finished Effect of Inserting Lace
material for a hem, creasing the lower fold
hard. Open the hem and baste the lace edge
just below the lower fold, and stitch. (Fig.
34.) Turn back the hem and crease the mate-
rial on a line with the top turning of the hem.
Cut to within a small seam above this crease.
Fold in the raw edge, insert the edge of the
lace insertion, and stitch. Turn a second hem,
following the preceding directions, baste the
other edge of the insertion just below the lower
crease, and stitch as before. As many rows of
insertion may be used in this manner as are
desired.
To Insert Lace Insertion in a garment,
pin the lace in the position desired, and baste
Fig. 36. Lace Insert
down both edges of the insertion.
If the insertion is narrow, the ma-
terial is cut through the center (Fig.
36); but if the insertion is wide, the
material is cut away from under-
neath, simply allowing a seam on
each side. The edge is turned in a
narrow hem covering the line of the
basting. Stitch the insertion close to
the edges from the right side, and at
the same time catching through the
material hemmed down.
Insertion above a Facing is first
basted in position, and the upper
edge is finished as shown in Fig. 37.
The facing is generally used when
the outline of the lower edge is
curved or pointed so that it can-
not be turned up in a straight hem.
Fig. 37. Lace Insert above Facing


SEWING STITCHES
The facing is cut to fit the outline of the lower edge and applied as a false hem, as
shown in Fig. 37. When edging is used, it is basted to the bottom before the facing is
added and all stitched in a seam together. Turn under the facing at the line of sewing,
baste in position and stitch insertion from
the right side.
TO INSERT RUFFLES IN A HEM turn
the hem toward the right side of the gar-
ment and crease the fold hard. Divide
both ruffle and hem in quarters and mark
each division with colored thread. Insert
the edge of the ruffle in the hem close to
the fold (Fig. 38) with the right side of the

Fig. 39. Finished Ruffle on Right Side
Fig. 38. Ruffle Inserted in a Hem
ruffle to the right side of the garment
and the corresponding marks together.
Baste and stitch one-quarter of an inch
from the fold. Turn the hem back to
the wrong side of the garment, fold the
second turning, baste and hem. (Fig.
39.)
TO COVER THE JOINING OF A
RUFFLE, divide both ruffle and garment
in quarters and mark with pins or colored
thread. Gather the ruffle and baste it to the
garment. Turn the raw edges up on the
garment and cover with a narrow bias band
which can be bought by the piece with the
edges turned ready for use. (Fig. 40.) This
finish may be used on either the right or
wrong side of the garment. Frequently
This finish is used on berthas or scalloped
edges that are not lined or faced.

SO
TRIMMINGS MAY BE MITERED
that the joining will scarcely be seen. If
embroidery, fold it over so that the crease
comes exactly in the middle of the corner,
taking care to match the pattern per-
Fig. 40. Band Covering Joining of Ruffle
fectly. Crease firmly, and cut
on the creased line (Fig. 41 )
Place the right sides face to face
and buttonhole the raw edges
together with short, close stitches.
Fig. 42 shows the finished corner.
The method of making the but.
tonhole stitch is shown in Fig. 48.
Fig. 41. Showing Cut for Mitered Corners


CHAPTER II
BUTTONHOLES
A
WELL-MADE GARMENT that is otherwise perfect may be greatly injured in ap-
pearance by badly made buttonholes. They should always be properly spaced and
marked before they are cut. Mark the points for the top and bottom button-
holes, and divide the distance between these two points into the desired number of spaces.
The slit must be cut on the thread of the goods, if possible, and must be large enough
to allow the button to slip through easily, as a buttonhole becomes tighter after it is
worked.
With the buttonhole scissors carefully test the length of the slit and make a clean
cut with one movement of the scissors. One of the most noticeable faults in buttonhol-
ing results from an uneven or ragged slit. This may be caused by dull scissors or by
the slipping of the fabric. To prevent the material from slipping, baste around the
cutting line before using the scissors.
There are three kinds of buttonholes, one with the bar at both ends (Fig. 49), another
with one round and one
barred end (Fig. 50), and a
third called the tailor's but-
tonhole. (Fig. 51.)


BARRED BUTTON.
HOLES as illustrated in Figs.
49 and 50 are used for un-
derwear, waists and shirts.
If the buttonhole is in an up-
right position as in the cen-
ter of a plait, or if the strain
does not come at the ends of
the buttonhole, as at the cen-
ter back of a neck-band, the
Fig. 48. Correct Position in
buttonhole with a bar at both
Making Buttonholes
ends (Fig. 49) is used. If
the strain on the buttonhole comes at one end so that the
button requires a resting-place as in a cuff or belt, use the bute
tonhole with the round end. (Fig. 50.) Buttonholes are
stranded to prevent the edges from stretching. Bring the
needle up at one end of the buttonhole, and, allowing the
thread to lie along the edge of the cut on the right side of the
material, stick down at the opposite end. Do the same on
the other side of the cut and stick down opposite the first
stitch, with a stitch across the end to fasten the thread. If
the material is inclined to fray, the edges may be overcast
before working the buttonholes.
To make the stitch, place the buttonhole over the forefinger
of the left hand, holding it in position with the thumb and
second finger as shown in Fig. 48. Begin to work the button-
hole close to the corner or starting-point. Insert the needle,
and while it is pointing toward you, bring the double thread
Fig. 49. Buttonhole with
Bar at Both Ends
13


16
THE DRESSMAKER
Fig. 54 A. Bound buttonhole
THE BOUND BUTTONHOLE is shown in Figure
54 A. The length and position of the buttonhole
should be marked on the garment with basting cotton.
A bias strip of self or contrasting material about seven-
eighths of an inch wide is used for binding it. Sew the
binding to the right side of the garment with running
stitches an eighth of an inch from the buttonhole
mark (Figure 54 B). Turn in the other three edges an
eighth of an inch and press them flat (Figure 54 B).
The binding should be fully the length of the slash.
When it is sewed on and the edges pressed, cut the
buttonhole in the garment. Be sure to cut a clean,
straight hole.
Push the binding through to the wrong side of the
garment and slip-stitch it to position in the sewing
line of the right side. Slip-stitch the corners of the
binding so that they will not fray. Figure 54 A shows.
the finished bound buttonhole.
The bound buttonhole can be used on wool, silk,
linen or cotton garments. It gives a finished look to a
coat or dress and is particularly effective when the
binding itself is in a contrasting color, though the bind-
ing is frequently of the same material as the garment.

Fig 54 B. The binding


CHAPTER III
DARNING AND MENDING
N°
TOWHERE is the maxim " A stitch in time saves nine” more applicable than in
the household. Here it implies, in a general sense, the immediate repair of any
and all household articles. But the proverb is more particularly associated with the
thought of mending and darning the household linens and the clothing of the fam.
ily. Every one will agree that a patch is better than a hole, but it is still better to postpone,
and, if possible, to prevent, the hole wherever the case will permit it.
DARNING is a simple remedy for many cases of prevention as well as cure. A few
general directions will apply to darning in all its various phases. Neatness and the care-
ful selection of materials most appropriate for the work are the chief requirements for
successful darning. Whether the material to be darned is cotton, silk or wool the darn-
ing thread should correspond in thickness and color to the thread
in the material, and the needle should be neither coarser nor finer
than required.
For Reenforcing worn places before the hole has come through,
particular care should be taken to make the work as inconspic-
uous as possible. A thread or raveling of the material will do
better than one of sewing silk, as the latter, no matter how well
matched in color, will be sure to have a luster that will bring
the stitches into prominence. The drawn thread need not be
long; short ones can be worked in just as well.
Baste the part to be mended over a piece of medium stiff,
glazed paper, or table oilcloth. Use a needle as fine as the
thread will permit. Darn back and forth with as fine stitches as
possible, following the grain of the goods and keeping the threads
Fig. 55.
Reenforcing a
loose so that they will not draw. (Fig. 55.) The ends of the
Worn Place
threads are not fastened, but are clipped off close to the garment
when the work is finished.
A Running Darn is used when the garment is worn too thin
to be mended satisfactorily by reenforcing. Insert the needle
a short distance from the edge of the worn or thin part, and
parallel with the thread of the weave. Run it under a few threads
and over a few, to the opposite side of the worn place. Re-
turning, run the needle over the threads that were taken up,
and under those over which it passed in the first row. Con. 1
tinue the process until the whole thin surface has been given
a new body. In Fig. 56, white thread has been used in order
to show the stitches.
When the part to be mended requires still more body than
can be given by the running darn, a piece of the material may
be laid on the wrong side, and while applying the running
darn, this piece is occasionally caught up by the needle to
Fig. 56. A Running Darn hold it securely in position.
A Woven Darn is necessary when a hole has been worn
through the material. The threads in this case are woven both lengthwise and cross-
wise with the weave of the garment. First baste the part with the hole over a piece
of paper or table oilcloth, taking care not to draw it out of shape nor to let it bag. Do
not trim the frayed or worn edges off. The unevenness around the edge, which these
frayed ends create in the process of darning, helps to make the darned place less con-


17


18
THE DRESSMAKER

OTELES
spicuous. The lengthwise threads are run in first. Starting
well in from the edge of the hole at one side, take up a few
small stitches, cross over to the opposite side and again run a
few stitches into the edge. Keep the threads taut, but not
tight enough to pull. Returning, leave a tiny loop at the
turning-point, to allow for shrinkage of the darning threads.
Continue back and forth till the hole has been covered. Now
begin the crosswise threads in the same way; darn over and
under the lengthwise stitches, alternating with each return
thread. The frayed edges are caught in the weave as they
happen to come, and are firmly secured between the latticed
Fig. 57. Woven Darn
threads. (Fig. 57.)
STOCKINGS are darned on the right side to keep a smooti surface next the foot.
A darning-egg or ball, held in the left hand, is slipped under the hole, with the stocking
stretched smoothly, but not tightly, over it. The darning is done with the right hand.
In a woven darn the darning threads in a stocking usually run up and down with the
rib, and then across, but when the hole is at the knee or heel, where greater elasticity is
desired, the threads are run across diagonally.
A Broken Stitch or two in a stocking, sometimes giving the
appearance of a large hole, can be very easily remedied if
attended to at once. With a silk thread, pick up the broken
stitches and draw the edges together, and by a web-like weav-
ing close the hole.
A Dropped Stitch is an ugly imperfection in a stocking that
is more easily remedied by the use of a crochet-hook than by
darning. Slip a fine crochet-hook through the little loop at
the lower end of the hole; catch up the first thread, and pull
it through the loop. Continue until every dropped thread
has been caught, then securely fasten the last loop at the end
with a few sewing stitches. Fig. 58 shows the position of
Fig. 58. Picking up a
the crochet-hook in the process of picking up dropped stitches.
Dropped Stitch
To Set in a Piece is a very satisfactory way of extending the
term of usefulness of the stocking when the hole
is too large to be neatly darned.
For this pur-
pose it is always well to keep on hand the leg por-
tions of a number of stockings of which the feet have
been worn out and discarded.
Baste the part to be mended over a piece of paper
and trim off the ragged edge. Cut a piece from a
stocking-leg, matching it in color and texture, with the
ribs running like those in the stocking, and conform-
ing in shape to the hole, but a trifle smaller. Baste
this piece into position on the paper, and join the two
edges, the
needle
passing in Fig. 59. Setting a Piece in a Stocking
close stitches, alternating, over one edge and
under the opposite, until the piece has been
securely and neatly worked into position.
The stitch in this method will be seen to form
a kind of lacing, which must be done evenly
and closely, but not tightly enough to raise
the edges. (See Fig. 59.)
An Underlaid Piece Darned In is a still
better method of closing a hole when the
stocking or garment is very loosely woven or
knitted, in which case the use of a darning-egg
Fig. 60. An Underlaid Piece Darned In
would give it a baggy appearance. Do not


20
THE DRESSMAKER

Notch the corners of the hole diagonally to the line
of tacks, and trim off the corners of the patch. Turn
the seam edges of both hole and patch toward
the wrong side on the line of the tacks, and baste
together. Then with small overhand stitches sew
the patch in securely, being careful during the
whole proceeding to keep the warp and woof threads
of the material straight at the joining edges. Figs.
65 and 66 show both sides of the patch after it has
been well pressed.

Fig. 64. Setting in an Overhanded Patch

Fig. 65. Wrong Side of Patch
MENDING TISSUE, or TAILORS' TISSUE, as it
is sometimes called, is a great convenience in cases
of awkward rents or tears where patching would be
undesirable. It is a semi-transparent substance,
resembling the thin rubber used in dress shields.
It melts under a hot iron and acts like a glue,
holding the torn fibers together.
A Triangular Tear should be mended imme-
diately, before the edges have had a chance to
Fig. 66. Completed Patch
fray. The torn part of the garment should be
laid, wrong side up, over an ironing-board. Push the
torn edges together, bringing them as nearly as possi-
ble to their original position. Lay a square piece of
the mending tissue large enough to completely cover it
over the tear and a piece of the cloth over the tissue.
Baste the cloth piece in position, but do not let the
basting threads run through the mending tissue or
they can not be easily
drawn out. Then run
a hot iron over it all
several times until the
two pieces and the
ragged edges are nicely
stuck together. Cut
away all superfluous
material around the
Fig. 67. A Rent Repaired with
edges. Fig. 67 shows
Mending Tissue
a satisfactory result of
this method of mending on the right side of the material.
A Patch may also be set in with mending tissue in cases
where it is undesirable to have any stitches showing.
The hole is trimmed to a square or oblong shape, and a
Fig. 68. A Piece Set In piece cut the same shape, but a seam's width wider all


DARNING AND MENDING
21
around. Lay the garment over an ironing-board, as directed above, and, between the
edges of the hole and the lapped edge of the patch, lay strips of the mending tissue. Be
careful not to have any of the tissue extending beyond the torn edge on the right side,
as it will make an ugly mark after being pressed. Fig. 68 shows a hole neatly mended
by this method.
STOTING is a process of mending much used by tailors, especially on closely woven
or very heavy cloth that does not fray. The first illustration, Fig. 69, shows the cut, and
in Fig. 70 is shown the
position of the needle
and thread in the proc-
ess of stoting. Use
either a thread drawn
from the cloth, or a hair,
to do the stoting.
The part to be mend-
ed is basted smoothly
over a piece of paper.
The needle is inserted
Fig. 69. A Cut in Heavy Cloth
about half an inch from
Fig. 70. Stoting with a Hair
the torn edge, and run
between the threads of the cloth, across the cut, to half an inch on the opposite side,
and drawn through. Reinserting it, run the needle back on a somewhat slanting line
and continue until the cut has been closed. Then repeat the same process, running
the threads in the opposite direction. When pressed, this mending can hardly be noticed,
but stoting can only be done over a clean cut or tear. On material that is not thick
enough for the needle to pass between the weave, it must be done on the wrong side as
lightly as possible.


PRACTICAL AND ORNAMENTAL STITCHES
23
CA (Fig. 76), and take another stitch at point B close under the first one, and down
very close to point C along the line CA. (Fig. 77.) The needle must go in on the chalk
line BC and come up on the chalk line BA, keeping the outline of the triangle. Each
successive stitch below point B will be a little longer than
the previous one. Repeat this stitch until the entire
space is filled. The finished arrowhead is illustrated in
Fig. 74. on the preceding page.
THE CROW'S-FOOT
TACK is the most ornamen-
tal of the fancy tacks ordi-
B
narily used at the ends of
pocket openings and seams.

Fig. 75. Outline of Arrow-
head
A
It is illustrated in Fig. 78,
with the detail of the
stitch in Figs. 79 and 80.
Fig. 76. Second Movement
Outline the tack with
chalk or pencil. The dotted outline seen in Fig. 79 shows
the correct design for the tack. Bring the needle up at
point A, pass it down at B, and up again at B outside of
Fig. 77. Third Movement
and close to the stitch in line AB; then down at C, up at
C outside of and close to the stitch in line BC, and down ot A just outside the stitch in
line AB, as illustrated in Fig. 79. Now bring the needle up on the dotted line AC out-
B
A
с
Fig. 79. Detail of Crow's-Foot
Fig. 78. Crow's-Foot
Fig. 80. Second Movement
side the stitch on line AC close to A; pass it down on dotted line BC outside the stitch
on line BC close to B; up on dotted line AB outside both stitches on line AB close to
B; down on dotted line CA outside the stitch on line CA close to C; up
on dotted line BC outside both stitches on line BC; and down on dotted
line AB outside both stitches on line AB, as illustrated in Fig. 80. Fill
in the entire outline in this way until the completed foot looks like
Fig. 78. It will be noticed ir, making this tack that all the stitches are
taken on the dotted lines and always outside the made stitches, thus
compressing the first stitches so as to curve the sides of the tack
like the outline.
For working these ornamental tacks, coarse buttonhole twist or
twisted embroidery silk is usually employed, and it is generally the
same color as the material. With a little practise these tacks can be
well made, and any of them will add greatly to the finish of the garment.
The crow's-foot is generally worked in scarlet or dark blue silk on
the pockets of serge sailor suits. When it is used to finish the end of
a plait in a skirt it is worked in floss the color of the dress.
A CHAIN-STITCH is, as its name implies, a row of stitches resem-
Fig. 81. Chain-
bling the links of a chain. Bring the needle up from under the material,
Stitch
hold down the thread under the left thumb, and insert the needle in the


24
THE DRESSMAKER
same hole. Bring it up a stitch's distance below, on the upper side of the thread, thus
forming a loop, or link. (Fig. 81, preceding page.)
THE FEATHER-STITCH is one of the most frequently used of all ornamental stitches,
for it can be worked with the coarsest of yarn or the finest of silk or linen thread, accord-
ing to the nature of the material on which it is used. It makes a most satisfactory trim-
ming. The single, double and triple combinations are shown in Fig. 82.
Run a colored thread along the outline to
mark the center line or mark it with a
transfer design. To make the single
stitch, knot the thread and then bring the
needle up through the material. Hold the
thread down over the
line with the left thumb.
Insert the needle a little
to the left of this line,

Fig. 82. Feather-stitching.
Butterick Transfer Design 3561
and take a short, slanting stitch to-
ward the right, drawing the needle out
while the thread is held down smoothly
by the left thumb. Then hold down
the thread on the center line and take
a stitch of equal length on the right Fig. 83. Simple Design
side, and draw it out as before.
For the double combination, take two stitches to the
left, and two to the right each time before crossing the
center line; and for the triple combination, three stitches.
The beauty of feather-stitching depends on its evenness.
Material may be marked for feather-stitching by a trans-
fer pattern. Figs. 83 and 84 show ornamental designs.
Fig. 84. Wreath Design
THE BLANKET-STITCH is used to protect the edges of heavy woolen materials, and
prevent them from fraying. In working, do not use a knot, but secure the thread by
one or two running stitches toward the edge. Then, holding the thread under the left
thumb, insert the needle
to the depth required and
bring it up from under the
edge, allowing the
thread to lie beneath the
needle, forming an edge.
(Fig. 85.) This stitch
Fig. 86. Design used as
Ornamentation
may be worked into var-
Fig. 85. The Blanket-Stitch
ious ornamental designs if
intended for decorative
purposes. (Fig. 86.)


26
THE DRESSMAKER
loose buttonhole stitch is made over the thread. Over this same loop, run two closer
buttonhole stitches. Then make a second loose buttonhole stitch over the first thread,
and again, as before, the two close buttonhole stitches over th s loop. Catch the needle
into the edge of the fold, and pass on to the next
stitch. The link bar is not so difficult to make
as it appears, and eally can be done more
quickly than the plain buttorikole bar.
More Elaborate Beading Stitches are shown
in Fig. 91. The upper design is a combination
of the link bar (described in the preceding par-
agraph) run diagonally across the open space,
and a simple twisted stitch run straight across
from the apex of each of the triangles thus made.
To make the second design from the top in
Fig. 91, bring the thread up from one edge of
the fold over to the opposite edge, take a stitch
from the under side and draw the thread taut.
Then insert the needle three-eighths of an inch
Fig. 90. Simple Beading Stitches
from that point, allowing the thread to form a
tiny loop. Insert the needle again directly op-
posite the last hole, and from this point make
five buttonhole stitches in the loop. Now catch
up the edge of the fold just where the first plain
stitch began, and on the under side bring it over
to the second plain stitch, and draw it up for
the next loop.
In the third design in Fig. 91, the thread is
first carried across from one fold to the other
and left rather loose. Then the thread is brought
up through the same fold one-fourth of an inch
from the point where it was just inserted. Make
five buttonhole stitches in the loop formed of the
thread in crossing, and insert the needle in the
opposite edge. Now carry the thread over
again to form the next loop, running the needle
JJD
into the same hole. Bring it up one-fourth of
an inch below this point, and continue as before.
To make the buttonhole cross-bar stitch
illustrated in the fourth design of Fig. 91, first
make a buttonholed bar as described in the par-
agraph on simple beading stitches, but do not
draw it tight; rather let it curve a trifle. Then
proceed as if for the next bar, but when crossing
catch into the preceding bar at the center but-
tonhole stitch, and then continue to the opposite
Fig. 91. Elaborate Beading Stitches
edge. Make an even number of buttonhole
stitches on each side on this thread. Allow a small space between the cross-bars.
SHIRRING is made of successive rows of gatherings. It is used as a trimming. There
are several different kinds of shirring, the use of which niust be determined somewhat by
the character of the material and the style of garment. Before beginning, it is best to
mark the sewing lines with a colored thread, to be sure to get the rows even. This thread
can be drawn out when the shirring is finished.
A Simple Shirring is shown in Fig. 92 on the next page. The top edge is turned in and
the first row shirred in close to the edge. The thread should be amply strong, with a good
big knot at the end; for if the thread is weak and breaks, or the knot pulls through, the
shirring will progress slowly, and the material will suffer unnecessarily in the working.
Shirring can also be done very successfully on the machine, by using the gathering at-
tachment. In that case it is especially necessary to mark the sewing lines before beginning,
as the machine does the work so rapidly that one is more apt to get an irregular line.


28
THE DRESSMAKER

as
a transfer pattern, use
many rows of dots as the
width of the smocking re-
quires. But it is always a
safe plan to mark a row or
two less, in case a change
should be decided upon before
the work is finished. Then
the material will not be disfig-
ured by the marks. Soft,
loosely twisted embroidery
Fig. 96. Cord Shirring
silk is used on silk or woolen
materials, and the best quality of French embroidery cotton on wash fabrics.
For the Simple Smocking, as illustrated in Fig. 98, take a thread and catch the mate-
rial at the first dots of both the first and second
rows; bring them together and catch the ma-
terial securely at this point with two or three
neatly made over-and-over stitches. Then, pass-
ing the thread under the material, bring the
needle out at the third dot and do the same
there. Continue down the row to the depth
desired for the smocking.
In the second row of stitching, the alternate
dots of the second and the corresponding dots of
the third rows are caught together, always
Fig. 97. Preparing the Material for Smocking
keeping the long thread on the under side taut
but not so it will draw, and making the stitches as even in size as possible.
In Fancy Smocking the material must, of course, be marked with dots following
the pattern decided upon. The needle is first run through each dot as for a gathering,
drawing the material up
in even folds (Fig. 99),
similar to the method of
making French gathers.
The Outline Stitch, as
used in Fig.100 is worked
from left to right along
the line of the gathering
thread. The stitch is
caught through from the
Fig. 98. Method for Making Simple Smocking
under side of each small
fold while the gathered
material is held in the left hand, and brought up and over the edge of the first fold
to the second one. A variety of arrangements can be used effectively in this way.
The Cable Stitch, used single and double, is
illustrated in Fig. 101. Start the thread as for
the outline stitch, taking a stitch from left to
right through a fold from the under or left side;
then through the next fold, from right to left,
and repeat. The second row is begun with the
right-to-left stitch, thus producing a V-shaped
arrangement of the fold.
The double cable stitch is simply two rows
of the cable stitch run close together.
The Diamond Stitch is begun like the cable
stitch. Take one stitch in the first fold, from Fig. 99. Preparing Material for Fancy Smocking
left to right, with the thread below the needle.
In the second fold, a little above the line of the first stitch, take a similar stitch. In the
third fold take a stitch from left to right, but with the thread above the needle. This
stitch forms the apex of the triangle. Descending, take a stitch in each of two folds


PRACTICAL AND ORNAMENTAL STITCHES
29

from left to right, keeping the thread above the
needle. The stitch in the third fold again has
the thread below the needle, and the line of
stitches again begins ascent. Continue in this
way as far as the smocking is desired.
W

Fig. 101. Cable Stitch

Fig. 100. Outline Stitch
The second row of zigzag stitches is put in so
that the two will form a line of diamond-shaped
figures which can be increased to any depth de-
sired by additional rows of smocking. (Fig. 102.)
If a yoke or pointed effect of the smocking is
desired, it can easily be accomplished by omit-
ting as many diamonds as necessary to make the Fig. 102. Diamond Smocking
points, as one proceeds with the work.
Smocking is not in the least difficult once the method has been thoroughly grasped.
For some reason it is much more popular in England than in the United States. Abroad
it is used a great deal for small children on little dresses of the simple smock order.
They are very quaint and picturesque, extremely comfortable and becoming. Smock-
ing done in colors on fine white batiste, silk mull, or nainsook makes pretty guimpes
and dresses for children and very smart blouses for women.


CHAPTER V
BIAS TRIMMINGS
B.
IAS BANDS, folds, ruffles, facings, etc., must be cut on a true bias to give satisfactory
results. For rounding corners or following curved lines, or making folds or ruffles
hang gracefully, it is impossible to use successfully material that is cut on the
straight of the weave. To maintain a perfect bias, the strips should be of equal
width throughout their entire length.
Sometimes, in cutting, if the material is very
7"
pliable, the edges will stretch, and in time the cut-
ting line will deviate from the original mark. It
is well, in cutting many strips, to test the bias
line occasionally, by laying the yard-stick across
the material, and cutting a new edge if the old
one is not even.
True Bias is obtained by spreading the ma-
terial on the table and making a mark seven or
eight inches from one corner on both the selvage
and the cut end. Lay a yard-stick across the
corner, touching both these marks, and draw a
line. (Fig. 103.) Make as many marks on both
edges as there are strips needed, marking them
the required width. Then cut, carefully follow-
ing the line and using sharp scissors.
When the material for the bias bands is alike on
both sides, as in the case of corded silk, for instance,
be careful to have the cut strips all on the same bias.
TO JOIN BIAS STRIPS, lay the two diagonal ends
together as shown in Figure 104 and baste in a seam.
(Fig. 104.) It will then be seen that when the
joined strips are lapped back, the grain of both
pieces runs correctly in the same direction.
(Fig. 104 A.)
Fig. 103. Marking Material
for Bias Strips.
BANDS or FOLDS USED AS TRIMMING are made in a variety of ways. They may be
lined, unlined, double of the material, or piped at the edges. Cut the band the required
width, allowing for a turning at both edges.
The Unlined Fold, illustrated on the following page, has its lower edge basted up in a
hem, and stitched evenly from the right side. The upper edge is turned over, and the band
is then basted into position on the garment. The upper edge is stitched through the
garment, making the one stitching serve two purposes. (Fig. 105.)
ایران اور ان کے
Fig 104.
Joining Bias Strips
Fig. 104 A. The Seam.
The Lined Fold is finished before it is applied to the garment. Cut a strip of canvas
or crinoline, as wide as the band should be when completed. Baste it evenly on the wrong
30


32
THE DRESSMAKER
tuck, stitching with fine even running stitches as close to the cord as is possible.
In Fig. 112 is shown the cord run in a bias strip which is intended to be used as a facing
for an edge. After the cord has been inserted, join the cording to the garment with
the raw edge on the inside. The broad edge is then turned over one-
quarter of an inch and hemmed down.
PIPING is a finish much used in all styles
of dressmaking. It is easy to make and very
effective. Cut bias strips an inch and a quarter

Fig. 111. Inserting Cord
wide, if the material to be used for the
piping is firm, as taffeta, etc. If a loosely
Fig. 112. Cording for Facing
woven material is used, the strips should be a trifle wider. Join all the strips, as described
on page 30, and press the seams open. Then fold the strip over at the center line and
baste it flat, being careful not to let it become twisted.
Next prepare the edge of the material to which the piping is to be applied. If a stiffen-



Fig. 113. Crinoline Basted
to Material
Fig. 114. Under Side Showing
Piping Clipped at Corners
Fig. 115. Right Side of
Completed Piping
ing is desired, cut a lining of crinoline or canvas three-eighths of an inch narrower than
the pattern or the piece to be lined. Baste this lining into position as shown in Fig. 113.
If the edge forms a fancy outline, as illustrated here, turn the edges over evenly all
around, clipping at the corners and folding in at the points where necessary. (Fig. 114.)
Then run a basting thread an even width (about three-eighths of an inch) around the edge
to serve as a guide. Next baste on the piping, following this line closely. Be careful
to avoid any scantness at the points or bulginess at the corners. Fig. 115 shows the right
side of a pointed edge neatly piped.
A ROLLED HEM makes a very pretty
finish for bias or straight trimming-bands.
It can only be used on an edge that is cut on
a straight line. It can not be used on a
curved edge.
An allowance of one and a half inches will
have to be made on the edge for this hem.
Fig. 115 A. The Rolled Hem
Fold the edge over on the right side and
sew one-quarter of an inch from the fold (Fig. 115 A). Then turn under the raw edge
one-quarter of an inch and hem it over the stitches on the wrong side (Fig. 115 A). The
hem must look round like a cord when finished—not flat—(Fig. 115 A).


BIAS TRIMMINGS
33
CORDING is a very useful trimming and is made with bias strips and Germantown or
eiderdown wool. The bias strips should be about an inch and a quarter wide. Fold the
strips lengthwise through the center and run a seam three-eighths or a quarter of an inch
from the fold edge. With the strips still wrong side out, slip the ends of several strands
of Germantown or eiderdown wool far enough into one end of the tube-like covering so
that you can sew them securely to it. Then with the loop end of a wire hairpin push the
wool farther and farther into the covering at the same time turning the covering right side
out.
When cording is used to form a motif, stamp the motif on ordinary wrapping paper.
The cordings are first basted in place on the design with the seam uppermost so that the
right side of the motif will be next the paper. They are then sewed together at the points
of intersection and contact.


CHAPTER VI
PLACKETS
U*
NDERWEAR PLACKETS are made in the following manner. If there is no seam, cut
the opening in the garment the desired length. It should be long enough to slip
easily over the head. Cut for a lap a strip of material lengthwise of the goods.
It should be twice the length of the placket opening and three and three-quarter
inches wide. Fold the ends together and crease through center; open and fold the sides
together and crease. Cut out one section to within a small seam of the
crease as shown in Fig. 116.
Baste the long straight edge of the lap to both edges of the opening,
making a nar-
row seam. Run
it almost to a
point at the
lower end of the
opening. (Fig.
Fig. 116. Underlap and Facing
117.) Make a
Strip for Placket
narrow turning
on the three
edges of both the narrow and the wide part of
the lap. Double the wide part back (Fig. 118),
baste the edge over the line of the sewing, and
hem. This forms the underlap. Turn the
narrow part back on the line of sewing, baste
the free edge to the garment to form an under-
Fig. 117. Underlap and Facing Stitched to facing, and hem. The end of the underlap is
Placket Slit in Skirt
turned under, basted and stitched across.
The
finished closing is shown in Fig. 119. This placket
has an outside row of stitching. It is usually employed for drawers, petticoats, etc.
Plackets such as are made for Unlined Dresses are słown in Figs. 120 and 121, on the
following page. These illustrate the placket
used on skirts of unlined dresses when the
outside sewing would be an objection. Use
a strip twice the length of the opening and
three and three-quarter inches wide, without
cutting away the section as in the first method.
The first sewing is made as in the first
placket, then the free edge is turned under and
hemmed close to the sewing. When this strip
or lap is applied above the back seam of a
skirt, it is set back an eighth of an inch from
the stitching of the seam. One side is ex-
tended out to form the underlap, and the other
side is turned under on an even line with the
stitching of the seam. When the placket is
closed, the entire lap is. hidden as shown in
Fig. 121.
The Plackcts for Cloth Skirts require neat
and tailor-like workmanship. Great care
Fig. 118. Folded to Fig. 119. Finished
must be taken in handling the edges of the Position
Placket



-
34


PLACKETS
35
opening. They are gen-
erally bias, and stretch
easily. If the upper edge
becomes stretched it will
bulge when the skirt is
on the figure—a defect
you probably have often
noticed on other women.
Hooks and eyes or pat-
ent fasteners should be
placed sufficiently close
together to prevent the
skirt from gaping. Any
stitching that shows
through on the outside
should be done evenly
and with a suitable
stitch and tension.
Otherwise the placket-
hole will have a careless
appearance. A placket-
hole should be ten or
Fig. 121. Outside View of Continuous.
Lap Placket
eleven inches deep unless
the figure is unusually large and full,
requiring a still deeper opening.
The design of the skirt regulates the
position and finish of the placket. It
may be at the center or side back,
the front or side front.
A Placket-Hole at the Center of an In-
verted Plait is shown in Fig. 122. The
placket comes under an inverted plait
at the center back of the skirt.
The first step in finishing the placket
of a skirt of this kind is basting a nar-
row strip of canvas or cambric along
each edge of the opening, with the
edge of the canvas three-eighths of an
inch from the edge of the opening.


Fig. 120. Inside View of Con-
tinuous-Lap Placket


Fig. 122.
Placket in Center of Inverted Plait
The skirt edges are then turned back on the canvas and
caught to it with small stitches. (Fig. 123.) Stitch the
edges of the placket-hole and sew on the hooks and eyes
as illustrated. Cover the canvas on the right side with
a facing of silk. Sew an underlap of material an inch
and a half wide, finished, to the left edge, and bind the
raw edge of the lap with binding ribbon. (Fig. 123.)
A Placket-Hole at the Right Side of an Inverted Plait is
used on a skirt of heavy cloth that does not require the
canvas reenforcement. Join the center-back seam to the
top of the skirt and cut through the right-hand crease in
the inverted plait to the regular placket depth. Bind both
cut edges of the inverted plait with binding ribbon or a Fig. 123. Inside View Showing Hooks
binding of thin silk. This method, as you see, allows
and Eyes


PLACKETS
37

positions to the eyes. The patent fasteners are sewed to
the lap. (Fig. 126.)
The Placket-Hole in a Skirt Set in the Same Belt with its
foundation skirt is made by the same methods as ordinary
plackets. In such an instance, the placket opening of the
skirt is finished separately. The edges of the placket open-
ing of the foundation skirt are turned under three-eighths of
an inch. The right-hand edge is hemmed under the bill of
the hooks on the skirt, and the left-hand edge is hemmed
against the edge of the underlap of the skirt placket.
This style of placket is not used as much just at present
as in former years, when almost every skirt was made with
either a lining or a foundation skirt. While we dispense
with the drop skirt in all dresses of heavy materials, it is
still used with all thin evening fabrics and with a good
many light-weight materials such as voiles, etc.
Fig. 127. Reverse Side of
Whatever kind of placket is used, one should be particu-
Underlap
larly careful to see that the hooks and eyes or fasteners are
so arranged that they will keep the hole securely closed. Nothing looks worse than a
gaping placket, and any woman who takes a pride in her personal appearance will pay
special attention to this part of her dressmaking.


MAKING AND FINISHING UNDERGARMENTS
41
un-
The petticoat may be finished at the top with a narrow bias facing which allows
it to drop below the waistline. If fulness is used, it can be gathered or laid in plaits
at the back and the bias facing is basted to the right side of the skirt, turned over to the
wrong side and stitched down by machine. The method for applying a facing is shown
in Fig. 137.
A Yoke which insures a better fit to the outer skirt is often used instead of a
facing on
derskirts and
drawers. The
yoke pattern
should be
bought by the
same measure-
ments as the
skirt. If the
waist and hip
measure a re
disproportion-
ate, order the
pattern by the
Fig. 132. A Circular Yoke Fitted to a Large Waist.
hip measure-
ment nearest your own and alter it at the waistline. The yoke patterns are cut in one
piece, either with or without darts.
The yoke may be fitted by the darts if there are any. In case there is none, cut a
trial yoke from coarse cambric before cutting out the real garment. Mark the center
front with a colored thread and fit the yoke. If the waist is too small, slash the yoke
down from the waist wherever necessary and pin a piece of cambric at each slash to
hold it to the correct size as shown in Fig. 132. Use this fitted yoke as a pattern from
which to cut the real yoke. Do not alter any of the notches in the lower part of the
yoke, as the changes at the waistline do not affect the construction of the rest of the
garment.
If the waist measure is smaller than that of
the pattern, pin little darts into the cambrio
yoke to make it fit. This process will repay
the slight trouble involved by giving a smooth
and comfortably fitted garment. Two pieces
should be cut from muslin by the yoke pattern,
one to be used as a facing or lining.
If the yoke is not provided in the pattern,
measure down from the waist to yoke depth
and cut off the top of the skirt, making the
cutting three-quarters of an inch above the
lower edge of the yoke.
A Silk Petticoat may be finished at the top by
a method which dispenses with a placket. (Fig.
133.) The entire upper edge of the skirt is
finished with a bias facing. Stitch the facing to
the skirt with the seam on the wrong side, turn
Fig. 133. Method of Finishing Skirt without the facing over and stitch directly on the edge;
Placket.
the remaining edge is turned in and stitched
down flat. At the back, where the fulness commences, cut a slit in the skirt at each side.
The slits should be worked like buttonholes. Insert a tape or drawstring through
one buttonhole and draw it over a short distance beyond the buttonhole on the oppo-
site side. Tack it firmly. A second tape is put through the buttonhole near the last
tacking and brought out through the one on the opposite side, where it should be tacked
firmly just beyond the buttonhole. (Fig. 133.)

The Hem is turned up at the bottom, or a narrow ruffle is put on as shown in Figs. 38
and 39 on page 11, making the skirt three-quarters of an inch longer than the desired


44
THE DRESSMAKER
ered. The lap at the front of the opening is turned under at the joining, and the
one at the back extends out to form an underlap. The facing or yokes are attached
in the manner illustrated on page 43. A button and buttonhole is used for fastening the
front of the drawers to the back.
If worn with a waist, buttonholes only are needed in the ends of the bands, and at the
center front and center back.
CORSET COVERS have the widest range of design
and style among undergarments. They should be
carefully planned as to material, trimming and style,
for they often serve as a slip under a thin waist.
For a stout, short-waisted figure a pointed neck both
back and front will be found more becoming than a
round outline. Ruffles extending across the front of
the corset cover will give a good figure to a slight per-
son and serve to hold out the blouse. This style of
cover usually closes at the back. The pattern is perfo-
rated for the position of the ruffles. Corset covers can
very easily be made by hand, and they are extremely
dainty, pleasant handwork.
Hand-made underclothes are steadily gaining pop-
ularity with the general use of French underwear. Its
very simplicity expresses refinement and daintiness.
Very narrow tucks, insets of lace and motifs of hand
Fig. 138. Hand-Embroidered Corset embroidery are used as trimming.
Cover
A dainty corset cover may be made of either nain-
sook or cambric. The under-arm and shoulder seams
are put together with veining or stitched with a French or felled seam. If a peplum is
used, it is fitted like the yoke of drawers. Gather the corset cover at the waist as directed
in the pattern instructions, and sew it to the peplum in a French seam. Or, the seams
may be turned from the inside, and a narrow bias strip basted on and stitched over the
This bias seam is hemmed over as a narrow facing. If preferred, the waist may
be gathered into a strip of beading and sewed on in a French seam. The bottom edge
has a narrow hem.
Finish the neck and armholes with embroi-
dered scallops as shown in Fig. 138. Buttonhole
tiny slashes for the ribbon draw-strings. A few
sprays of flowers scattered over the front or a
monogram in hand embroidery makes a pretty
trimming. Medallions may be purchased and
applied if the hand embroidery seems too labor-
ious. Valenciennes insertion inset in the fronts,
combined with a little embroidery in a fancy
design, makes a dainty trimming. Several
methods for applying laces, etc., are given in
Chapter XV, “Unlined Waists."
If a plainer corset cover is desired, the top is
hemmed and beading and lace overhanded to it
as a finish. A very narrow bias facing is basted
around the right side of the armhole, stitched,
basted over on the wrong side, and stitched again.
Care must be taken in basting on the bias strip Fig. 139. A Chemise Nightgown
to give plenty of ease around the curve of the
armhole so that it will not draw when turned over. The lace edge should be sewed on
the armhole after it is faced.
seam.
SOU
COMBINATION GARMENTS dispose of much of the useless material about the hips
and waist, are excellent for stout figures, and give a better fit to the one-piece dress.
If the corset cover and skirt are cut in one, the garment is basted and carefully fitted
and stitched in French searns. If cut separately, each is fitted and them basted to-


MAKING AND FINISHING UNDERGARMENTS
45
gether with the seam toward the outside, which is afterwards covered with narrow bead-
ing. The skirt is closed directly in line with the closing of the corset cover. The skirt
opening is made the necessary length and finished like the placket for underwear, which
is shown in the process of making on page 34.
NIGHTGOWNS may be made of cambric, nainsook, long cloth, dimity or cross-bar
materials, and trimmed with lace, embroidery, or a touch of handwork. The parts
are joined by French seams and a hem turned up at the bottom.
The Chemise Nightgown slips over the head and may be gathered into a fitted yoke or
finished with an insertion or beading. (Fig. 139.) It may also be gathered into a binding of
sheer lawn, trimmed in any pretty fashion. The binding should be about three-quar-
ters of an inch wide after it is joined. The ribbon is run through it instead of through
a beading. If desired, beading or narrow insertion may be used for attaching this
binding to the gown. Beading is inserted between the turned-in edges of the binding
and all three edges held together with one row of stitching. The beading is then joined
to the garment in a tiny French seam. The ends of the binding are made to meet in
front so as to form openings through which the ribbon is passed.
In a High-Neck Gown the opening is cut as directed in the pattern instructions. The
edges are usually turned under for hems, the right lapping over the left and machine-
stitched across the bottom. Another kind of finish for the neck is a strap, yoke-shaped
to fit the neck of the gown smoothly. It gives a simple method of closing, one side en-
tirely covering the other. The strap may be trimmed with feather-stitching or hand em-
broidery. When the yoke is not lined, the outer edge is turned under in a narrow hem.
A buttoned through closing is better for this style than the fly. The neck decoration is
usually repeated in the sleeve.
The Sleeves are gathered twice at the top. Baste the seam in the armhole with the
seam toward the outside and stitch close to the edge. Now turn the seam and stitch
again, having the finished seam at the inside of the garment. Care must be taken that
the gathers are evenly distributed between the notches of the pattern, and drawn
down straight from the first stitching.


CHAPTER X
CHILDREN'S CLOTHES
C
HILDREN'S CLOTHES should be made very simply. Use a good quality ma-
terial and suitably childish colors. The one-piece dress is an accepted style
for small boys and girls, and can be made of wool, linen or cotton materials.
Directions for finishing dresses made of sheer materials will be found in Chapter
IX, “Infants' Clothes." For instructions on the making of a sailor or naval suit, see
Chapter XI.
THE RUSSIAN DRESS has a side-front closing, and the buttonholes may be made
through the material or in a fly applied underneath the over-
lapping edge. Patterns for this style of garment are to be had
either with or without plaits. A good design for little folks
is a perfectly plain dress confined at the waist with a belt of
leather or of the dress material. An inverted plait is sometimes
allowed at the under-arm seams, which gives extra fulness to
the skirt. The neck and wrists, and sometimes the closing
edges, are usually finished with narrow bands.
A Plaited Design is very becoming to little girls. The front
Fig. 155. Stitching on Box
and back portions of the dress are laid in plaits which are
Plait Finished with
stitched only to the belt line. The closing is arranged under one
Crow's-Foot
of the plaits, either at the front or back. Before cutting out,
place the front and back of pattern on the
material, and if piecing is necessary, plan to
have the joining concealed under a plait.
Mark all perforations and notches plainly ·
on the material. To make the box plaits,
bring the lines of perforations together; oaste
and stitch through them. Bring the cen-
ter of the plait over the line of stitching
and spread it to form a box plait. Baste
the plait in position along both folds and
stitch it down, if desired. A crow's-foot
(Fig. 155) worked at the end of each row
of stitching may be used. The method of
making a crow's-foot is given in Chapter IV,
“Practical and Ornamental Stitches."
The Closing, cut under a plait and fin-
ished with laps for buttons and button-
holes, is shown in Fig. 156. The slash for the
opening was made under the plait a seam's
width from the sewing. The laps are made
double, and when attached should be a little
narrower than the plait which covers them.
By referring to the illustration, the method
Fig. 156. Laps finishing Closing Edges
of joining the laps to the edges of the open-
ing will be readily understood.
A Buttonhole Fly is provided in some patterns by a hem allowed under the plait. The
edge is turned under once, and basted as for a hem, but not stitched. The raw edge
is not turned in a seam, but is inserted in the box plait and secured with the one stitch-

52


CHILDREN'S CLOTHES
53
ing. (Fig. 157.) If the hem is not allowed on the pattern
the edge is brought over to the line of perforations, where
it is basted and stitched. The center of the plait is
brought over to the line of stitching forming the box
plait, and is then basted in position. To the raw edge
under the plait, stitch a lengthwise strip of material cut
to extend to within one-quarter of an inch
of the outer edge of the plait, to form the fly
for the buttonholes. Hem the free edge of
the strip against the line of sewing. In-
structions for the most suitable finish for
each garment will be found on the pattern.
The button side of the garment can be fin-
ished with a hem or an underlap. (Fig. 158.)
A Yoke can be joined to the front of a
dress as shown in Fig. 159 on the following
page. Cut the yoke and turn the edge
under a seam's width, clipping the edge
where necessary to make it lie flat. Baste
the yoke over the top of the front of the
dress. To the wrong side, baste a bias
strip of material with its edges turned under.
Place two rows of stitching across the yoke,
stitching from the outside. They will catch
through the bias facing that is basted un-
derneath, and which covers the seam, ma-
king a neat finish on the inside. This finish
is desirable for a summer dress, as it makes
it unnecessary to line the yoke. If a lining
is used, however, it is cut like the yoke pat-
tern, and the top of the dress portion is en-

Fig. 157. Hem Used as Fly Under Plait
closed between the turned-under edges
of the yoke and its lining.
Sleeves are made in various ways.
They may be gathered at the wrist and
set into a cuff or wristband, or the lower
part of the sleeve may be stitched in
plaits forming its own cuff. After lay-
ing the plaits according to the pattern
instructions, baste them flat to the
sleeve and stitch through both plait and
sleeve. Stitch the seam of the sleeve at
the openings, with the extensions beyond
the edges of the seam. On the front
edge this extension is turned under for
a hem, and on the other extension a tiny
hem is turned in along the upper end and
the long side. This extension is meant
for an underlap. Underface the wrist as
shown in Fig. 161. Close the opening
with buttons and buttonholes. (Fig. 162.)
A Cuff, if one is used, is made of two
pieces of material cut from the cuff pat-
tern. These two pieces are basted to-
gether, with the right sides facing each
other. The stitching is made close to
Fig. 158. A Fly Stitched on Under Plait


CHAPTER XI
SAILOR OR NAVAL SUITS
A
LMOST invariably the small boy and girl, if given any voice in the choosing of their
clothes, will select the suit that looks most like a uniform. Probably this is the
reason why the styles permitting the use of brass buttons, emblems or insignia
meet with such general and long-continued favor.
EMBLEMS and CHEVRONS in the various groups, or sets of anchors, bars, eagles and
stars, finished and ready to sew on, can be bought, but they are never as satisfactory as
the designs that can be stamped on the dress itself. Sometimes the figures are worked
in the center of a piece of broadcloth or linen, which is cut square or oblong, or possibly
in shield shape, and attached to the sleeve with a row of catch-stitching.

W
DIR
8
Fig. 163. Emblems and Chevrons
The mother who makes her children's clothes is sometimes confronted with the problem
of selecting some kind of an embroidered emblem, and for this reason we offer the differ-
ent combinations illustrated above. The chevrons or stripes are not padded but
should be made of strips of scarlet three-eighths of an inch wide, separated one-fourth
inch and sewed on flat with an overlock stitch of scarlet silk on the edges.
In working the specialty marks and eagles, an easier plan than the one of cutting the
figures out of pasteboard and working over them, is to baste a piece of canvas or crino-
line on the wrong side of the material, and work right through it, cutting the edges of the
canvas away after the figure has been completed.
55


SAILOR OR NAVAL SUITS
57
The lower edge of the yoke is turned under a
seam's width. If the yoke has a curved lower
outline, the turned-under portion at the fullest
part of the curves must be slightly eased, while
at the sharp points it must be slashed as shown
in Fig. 166. Lay the blouse flat on the table,
spread out its entire length. Place the yoke on
the blouse so that the shoulder seams come ex-
actly together and the yoke lies smoothly on
the blouse. Pin the yoke to hold it in place,
then baste and stitch it to the blouse.
Plaits are made in the regulation sleeve by
Fig. 166. Turning Edge of Yoke
creasing fron. the perforations at the bottom to
the corresponding perforations at cuff depth. These creases are brought over to the
position marked by perforations and the plaits are stitched along the fold edge before
the seam is closed.
The illustration below shows how the blouse may be laid out on the table for conven-
ience in joining the sleeve. Baste the sleeve to the yoke with the usual three-
eighths-of-an-inch seam and then stitch it. Turn
under the armhole of the blouse three-eighths of
an inch, baste it over the seam, and fell it down. Make
a second stitching on the body of the blouse one-quar-
ter of an inch from the seam. The under-arm and
sleeve seams have been left open until now, making
the work easier to handle and also making it possible
to sew the rating badge on the sleeve properly.
Close the under-arm seams and the sleeve seams as
notched, using flat felled seams. A placket is some-
times made in the sleeve at the wrist, which is closed
with buttons and buttonholes. The method for ma-
king this style of sleeve, with and
without a cuff, is given in Chap-
ter X, “Children's Clothes."
A hem is turned at the bot-
tom of the blouse, and, if the
pattern instructions direct, an
elastic is inserted to hold the
blouse in place.
THE COLLAR is joined to the
neck with the seam toward thein-
side. (Fig. 168.) The collar is
marked with notches showing
where it joins the blouse, and, in
basting it on, the edge should be
stretched between the notches to
fit the corresponding edge of the
Fig. 167. Setting in Sleeve
blouse thus causing the collar to
roll closely about the neck. The outer edges are
turned under three-eighths of an inch and basted
down. At the end of the slash in front, the turned-
under portion tapers away to a point.
The outer facing is placed on the collar so carefully
that the roll perforations will come exactly together
and the ends are slipped under the fronts. (Fig. 169.)
Baste along the roll perforations. The neck edge
of the facing is stretched sufficiently to make it lie
smoothly when the collar is rolled back. After pin-
ning the collar facing around the neck and down the


58
THE DRESSMAKER
front, roll the collar and facing over at
the perforations, and roll the fronts back
to the single perforations near the front
edge. Put your hand under the collar
and smooth it outward, so that it does
not wrinkle on the collar facing.
Turn the edge of the collar facing un-
der, even with the collar. Baste the
collar and the facing together across the
bottom and sides, up to the seam join-
ing the collar and blouse. From that
point down, take out the pins that
hold the collar facing to the blouse.
The collar facing is trimmed with three
rows of linen tape, set its own width
apart and stitched on both edges. If
you sew the tape on the collar facing
after the latter is on the blouse, the
stitching will show on the front of your
yoke. Across the back of the collar it
makes no difference, for the facing is on
top, and the stitching underneath. Baste

Fig. 168. Pasting on Collar
the linen tape carefully to the collar fa-
cing and stitch it on both edges.
After it has been stitched, the collar
facing can be basted in place under the
front. A row of stitching as close to the
edge as possible should run around the
entire outer edge. The inner edge cf
the collar facing must be turned under
three-eighths of an inch. Wherever it
is necessary, it must be clipped, or
eased, like the edge of the yoke. After
the edge is turned under, it is basted to
the blouse. Across the back of the
neck it is felled to the blouse, covering
the seam, but down the fronts it is
stitched with two rows of machine
stitching, which makes a pretty decora-
tion on the front of the blouse. Another
method of attaching a sailor collar is
given in Chapter XXII, under "The
Russian Blouse Jacket.”
Fig. 169. Adjusting the Collar Facing
The shield is cut in one piece and
may be simply hemmed, or, if preferred, lined throughout with lawn or cambric. It is
trimmed with an emblem or star.
After both blouse and shield are finished, it is practical to make a few buttonholes
along the neck line of the body part, under the collar, sewing buttons in corresponding posi-
tions on the shield to prevent it from shifting around out of place. A crow's-foot may be
made at the lower end of the neck opening in front.
THE NECKERCHIEF or TIE worn with the blouse by a sailor of the navy is made of a


AN EFFICIENT EQUIPMENT FOR DRESSMAKING 61
bent in this way so as to raise the material as little as possible in cutting and so prevent
the under layer from slipping in cutting two thicknesses of material. A good pair of bent
shears can be had for a dollar and a quarter. Do not buy a cheap, poor pair. Good steel
will last for many years. Do not use your shears for cutting threads, etc. You will
need a pair of scissors and also a pair of buttonhole scissors.
WEIGHTS. When your material is laid out smoothly on the table for cutting it should
be held in place by four round iron weights
weighing one or two pounds. (Fig. 174.)
You can get them at the stationer's and
they cost about fifteen cents apiece. Or
you can use the same sort of weights you
use for your kitchen scales.
PINS, NEEDLES, ET CETERA. Clean,
unbent pins are important. Small pins
Fig. 1744. The Sleeve-board
are better than large, and fine steel pins
should be used on silk or any material that will mark. Never push a pin through a fabric.
Use the points only and take up as little of the material as possible.
You will need a thimble that fits correctly, needles of all sizes, basting cotton, different
colored cottons for marking tailor's tacks, chalk, a yard-stick and a tape-measure. Learn
to use your tape-measure accurately, for one of the points of fine dressmaking is the differ-
ence between an eighth of an inch and a quarter, a quarter of an inch and three-eighths.
IRONS. You should have either an electric iron and two ordinary irons, or else three
ordinary irons. The two extra irons are used to hold the third in an inverted position in
steaming velvet. An eight-pound smoothing-iron is the most satisfactory type for pressing.
IROYING-BOARD. Skirts and coats can be pressed on your long laundry ironing-
board or on your sewing-table. Seams should be pressed over the curved edge of an iron-
ing-board so that the seam edges will not be marked on the garment.
A SLEEVE-BOARD which can be used for sleeves and short seams can be made from
a board two or three feet long, and tapering from five or six inches in width at one end to
three inches at the other. (Fig. 174A.) The ends and edges should be rounded and the
board should have an inner covering of flannel or a similar wool material, and an outer
cover of smooth cotton cloth. (Fig. 174A.)
A TAILOR'S CUSHION is used for pressing darts and curved seams. (Fig. 174B.)
It is ham shaped and is stuffed tightly with cotton rags. Cut two pieces, eighteen
by fourteen inches, making them narrower at one end. (Fig. 174B.) Round off all the
edges. Stitch the seam with a close stitch.
THE SEWING-MACHINE should be of a good, reliable make. You will get full
directions with it, and in using it be careful to observe the correct tension, length of stitch,
etc. Tucking and gathering, etc., can be
done on a machine.
THE DRESS-FORM. It is necessary in
dressmaking to have a perfect duplicate of
your own figure on which you can try your
clothes as you make them.
Buy a dress-form one size smaller than
your bust measure. If you have a thirty-
six-inch bust, buy a thirty-four-inch dress-
form. It should have an extension stand
that can be lowered to your skirt length.
The stand should be on casters so that you
can move it around and turn it easily. It is
Fig. 174B. The Tailor's Cushion


AN EFFICIENT EQUIPMENT FOR DRESSMAKING 63
the lining. (See Chapter XXI, Skirts.) Take the lining off and face it with a bias
facing three inches wide, stitching the upper edge of the facing flat to the lining.
Mark the waistline by a line of colored thread through the waistline perforations.
Place the lining on the dress-form, leaving the front edges open temporarily. Pad be-
tween the lining and the form with tissue-paper, cotton rags or wadding until it fits per-
fectly. Be careful in padding not to stretch or draw the lining or to let the padding get in
bunches. Pack it until the front edges just meet and then pin them together. Then sew
them with an overhand stitch. (Fig. 175.) If you have prominent or uneven hips or a
round abdomen, place the wadding where it is needed. When you pad below the waist-
line, pin the wadding to the form so that it will not slip. When you have padded the front
out to its right proportions, turn up the lining and cover the padding at the hips with a
thin piece of lining material, tacking the covering to the dress-form.
Fell the left side of the collar in place and overhand its back edges together.
Place a piece of lining material inside each armhole, turn in the armhole edges three-
eighths of an inch and fell them to it. (Fig. 175.)
For a figure that varies quite decidedly from the average it is better to use a special
dress-form. Alter your pattern and make up the lining as described in the earlier part of
this chapter. Send your finished lining to a firm that makes dress-forms and have a
special form made from it, but a size smaller than your lining. When you get the form,
put the lining on it and pad it as already described.
Or a woman of this type of figure can get an adjustable dress-form. Get it a size smaller,
adjust it to represent your figure, cover it with your lining and pad it as directed here.
A woman who sews for a number of people will have to use an adjustable form with a
fitted lining for each person she sews for. Mark these linings distinctly with name of the
person for whom it was made. The form will have to be adjusted and padded each time a
lining is used.
In using a dress-form, the skirt can be put on the form and the form placed on the
table. It is easier to work with in this position.
In fitting a coat the form should be dressed with the waist and skirt over which the
coat will be worn.
THE SLEEVE-FORM. Take the finished sleeve of the lining and pad it firmly and
evenly. Place a piece of lining material over the padding at the wrist, turn in the wrist
edges three-eighths of an inch, and fell them to the piece of material. (Fig. 176.)
Slip a piece of lining material in the armhole of the sleeve. Turn in the edge of the
under portion of the sleeve three-eighths of an inch and fell the fold edge to the lining
material. (Fig. 176.) Pad the upper part of the sleeve until it looks as nearly as
possible like the arm. Turn in the upper edge of the piece of lining three-eighths of an
inch and fell it to the upper part of the sleeve. (Fig. 176.)
You can use the sleeve-form for either the right or left arm and you will find it very
useful for trimming or draping sleeves.


CHAPTER XIII
CUTTING MATERIALS, SPONGING, ETC.
T"
FOLD OF FRONT GORE
: FIRST
SIDE GORE
FOLD OF FRONT GORE
FIRST
SECOND
HE NAP or PILE in all woolen cloths should invariably run toward the bottom of
the garment. (Fig. 177.) The cutting line of perforations in the patterns, and
the directions for their use must be carefully followed. In waists and skirts that
are to be cut bias, special instructions for placing the cutting perforations are
given with the pattern. Fig. 178 shows a pattern laid on material that has no nap.
When Velvet or Plush or any velvet material except panne velvet is used, the pile
should run upward, just as the pile of the fur does in a garment of sealskin. When in
these fabrics the pile runs upward its tendency is to fall outward, thus bringing out and
enhancing its depth of color; while when the pile runs downward it is more liable to
flatten, just as fur will when stroked, and its richness and intensity of color are ren-
dered less apparent, and therefore less effective.
Panne velvet, the one exception to the above rule, should be cut with its pile
running downward.
In Adjoining Sections, great care
should be taken to have the nap
or pile run in the same direction.
Otherwise the different reflections
of light caused by the varying
directions of the nap will make the
garment appear as if made of two
SIDE GORE
shades of goods.
FIRST
An Irregular Plaid can rarely be
SIDE GORE
used on the bias, consequently the
ways of making it up are limited.
SIDE GORE
A dress made of irregular plaid
SECOND
requires more material than one
SIDE GORE
made of regular plaid. The
darkest stripes should run across
the bottom with the lighter tones
up, as the shading in this direction
BACK GORE
is better.
It must always be borne in mind
throughout the cutting, that all
SECOND
pieces of the pattern, or lining,
must be placed with the upper
SIDE GORE
part in the direction for the top
of the material. An amateur
BACK GORE
had better use an even plaid.
The most satisfactory results
are obtained by folding the mate-
SECOND
SIDE GORE
rial and pinning through both
thicknesses as for a seam, then
Fig. 178. How Pattern May Be
BACK GORE turning over on the right side and
Laid When Material Has
No Nap
noting the effect.
In this way it
may be easily ascertained which stripe, plaid or figure it will
be best to use for the center of the front and back, respec-
Fig. 177. Laying Pattern on
tively. Be careful, in replacing the goods, not to lose the
Material Having a Nap
original position.


SELVEDGE
SELVEDGE
BACK GORE
SELVEDGE
SELVEDGE
FIRST
SIDE GORE
64


CUTTING MATERIALS, SPONGING, ETC.
65
new
THE PLAID WAIST should be cut in as few
pieces as possible and can be made either on
the straight or the bias of the material. Match
the heavy lines wherever the waist is joined,
either at the under-arm or shoulder.
With the present style of stretching the
back of the draped waist, little difficulty is ex-
perienced in the making. Having chosen the
stripe that is most suitable for the center of
the back, select also, for the crosswise stripe, a
position which will leave the best effect on
the figure. For the front, arrange the plaid
so that when the waist is closed the center
will form a succession of perfect blocks. Other
ideas may be considered for the front closing;
this is simply a matter of choice, since the lines
across the front must match. In any event,
the crosswise plaids of the front must be on a
line with those of the back, so that when the
under-arm seam is joined the crosswise stripe
of both will match perfectly. (Fig. 180.)
The chief difficulty in the making of a
striped or plaid waist lies in the accurate
matching of the stripes. In using a
Fig. 179. Marking Pattern for Matching
pattern, cut and fit the lining first. Then if
Stripes on Shoulder
any alterations are necessary they can be re
peated in the pattern of the outside waist
before cutting the material.
When making a waist of striped mate-
rial the only place where the stripes must
match is at the shoulder seams—unless,
of course, the stripes in the material run
bias or the waist itself is cut on the bias.
In the latter case the general principles
given in the preceding paragraphs on cut-
ting materials can be followed.
In a plaid waist the vertical lines at
the shoulder seams and the crosslines at
the under-arm seams must match. (See
Fig. 180.) If the waist closes in front,
the back should be cut out first. Pin
the back to the pattern of the front at
the shoulder edge. Mark the stripes with
a pencil on the pattern of the front where
they intersect the shoulder seams. (Fig.
179.) Lay the pattern of the front on the
goods so that the stripes of the material
correspond to the stripes marked on the
pattern. Then cut out the fronts. In
Fig. 179 the seam edge of the pattern is
folded under to show the way the stripes
should match when the shoulder seam is
closed.
IN CUTTING THE SKIRT of plaid,
place the chosen line or plaid exactly in
the center of the front gore, or, if the
skirt is circular, directly down the center
Fig. 180. Matching Cross Stripes at
of the front. After the front is cut, the
Under-Arm Seam


THE USE OF BUTTERICK PATTERNS
69
A
Large double perforations invariably mark the cutting line. (Fig. 187C.) They are
always used in a series that form a straight line. (Fig. 187C.) When
you have your material laid out, ready for cutting, these large double
perforations are always laid lengthwise of the material. (Fig. 187C.)
Fig. 187C. Every piece of material has two dimensions: Crosswise—which is
Line of Large from selvage to selvage; and lengthwise—which is the length of
Double Perfora the selvage. The large double perforations are laid on the material
tions is Always parallel to the selvage, so that each one of these large double perfor-
Laid on the Ma-
ations is the same distance from the selvage as all the other large
terial Length-
double perforations.
wise and Parallel
to the Selvage.
It is extremely important to get these large double perforations
straight, and not bias, on the material. If they are laid on straight,
the garment will be easy to make, and will wear nicely. If you put
these perforations on carelessly, so that instead of being parallel to
the selvage they run bias, the garment will pull and twist and
stretch. It will be found an aid in cutting correctly if a ruler or
yardstick is laid on each piece of the pattern, its edge touching each
of the perforations that indicate the way the pattern should lie on
the goods, and a heavy pencil mark made along the line formed by the
ruler. This question of the grain or thread of the goods is a very
important one. Some skirts are cut with one straight and one bias
edge on each gore; others have two bias edges, for it all depends on
the design of the skirt. The only safe plan to follow is the line of
perforations marking the grain of the pattern. Measure from each
end of the line to the selvage of the goods, and move the pattern until
both ends of the line are the same number of inches from the edge.
Large triple perforations are also always used in cutting.
(Fig. 187D.) They are always laid on a lengthwise fold of the ma-
terial. In some cases they can also be laid on a crosswise fold. The
pattern instructions tell you whether you are to lay the large
triple perforations on a lengthwise or crosswise fold.
Small double perforations are always used to mark the normal
Fig. 187D. Large Triple waistline in skirts, blouses, coats, etc. (Fig. 187E.)
Perforations.
Large single perforations (Fig. 187F) and small single perforations
(Fig. 187G), either alone or together, are used for different purposes,
which are explained in the instructions.
Notches (Fig. 187H) are used to mark seam edges and to
show which edges come together. Edges marked with corresponding
notches are put together in a seam, with the notches matching.
Fig. 187E. Small Double
Perforations.
Fig. 187F. A Large
Single Perforation
USING A PATTERN FOR CUTTING is explained fully on the
pattern envelope. In most cases, when the two sides of a garment
are exactly alike, the pattern is given for one-half the garment. Each
piece of the pattern is cut twice or double to make the complete
garment. In cases where the two halves of a garment are not alike,
for example, when a skirt is draped on the left side and not on the
right, the pattern is given for the entire garment. In every case
the pattern explains which pieces should be cut twice or double,
and which should be cut once and singly. A front-gore pattern is
usually laid on the folded material with its front edge on the fold,
thus cutting it double. Two side gores can be cut either singly,
making two cuttings, or once with the material doubled so that the
two are cut at once. In a skirt with an irregular front closing, each
half of the front is cut separately. Before cutting your material, be
sure that the pattern is the right length and proportion for you. If
you are shorter or taller than the average figure, the length of the
pattern can be altered as directed on the pattern envelope.
If your figure is out of proportion in any way, large or small in the
bust, etc., the pattern should be altered according to the directions
Fig. 187G. A Small
Single Perforation.


72
DRESSMAKER
THE
figure to the underarm seams. Fig. 189. If the Bust is Too
Place it over your bust and pin it
Full it Pulls Up the Lining
smoothly to your lingerie slip.
Put the lining on, pinning the fronts
together with the fold edges just
meeting and placing the pins about
an inch and a half apart. The
lining will draw in wrinkles that run
from the bust downward toward
the underarm seam. (Fig. 189.)
Get some one to cut the lining
straight across the figure to the
side-front seam (Fig. 189A.), and
from the side-front seam upward
to three-quarters of an inch below
the notches in the armhole edge.
(Fig. 189A.)
As soon as the lining is cut it
will separate as much as the figure
requires (Fig. 189A.) and will drop
in place on the abdomen. (Fig.
Fig. 189A. The Remedy is
189A.) Pin the edges of the slash
to Give the Lining More Size
Across the Bust
carefully to the piece of lining
material underneath. (Fig. 189A.)
Take the lining off and taste the edges of the slash to the piece under it. Be sure to
baste very carefully.
Try the lining on once more to be sure that it fits perfectly. Then take it off and rip it
apart, cutting through the material underneath on a line with the seams.
These lining pieces are not to be used for a pattern or for a lining. Take each piece of this
altered lining and the corresponding piece of the pattern and make the same alterations in
the pattern, using the lining piece as a guide. Slash the pattern fronts like the lining, sep-
arating the pieces of the pattern in the same way and to the same extent, and paste a piece
of tissue-paper under the slash.
Never use the altered lining to cut your
real lining. The lining material would
stretch in handling and would not make
an accurate, reliable pattern. Keep the
corrected tissue pattern and use it for any
waist or dress that calls for a French lining.
The change here suggested and illustrated
is for a figure of extreme fulness at the bust.
It will not, of course, be necessary to make
so great an alteration for figures more
nearly the normal shape.
FOR A SMALL BUST—Figure 190A shows
the same French lining pattern, slashed and
adjusted to fit a figure with an extra small
bust. This represents an extreme case,
where the bust is very small, although the
measure taken about the bust is the same
as for a figure of average shape. Where the
bust is not so small—that is to say, but
slightly undersized-such extreme altera-
tions are unnecessary.
Here again you make up your waist lining
in unbleached muslin, just as the woman
with the large bust would do.
The experimental lining is put on
Fig. 190. Here the Bust is
Small in Proportion to the
Rest of the Figure
Fig. 190 A. Some of the
Size Must be Taken
Out


THE USE OF BUTTERICK PATTERNS
73
carefully, but it is not necessary to pin a
piece of material under it. When the lining
is on the figure, the size that is not taken up
by the bust will drop in wrinkles below the
full part of the figure. (Fig. 190.) The
alteration is made at the same point as the
alteration for the overfull bust. The lin-
ing is again slashed straight across the
front to the side-front seams and from the
seams upward to within three-quarters of
an inch of the notches in the front of the
armhole. (Fig. 190 A.) Lap the slashed
edges until the lining sets smoothly and
comfortably on the figure. Do not try to
make it snug or tight. There should be
plenty of room so that the lining does not
cramp or confine the figure, and so that you
can breathe comfortably.
Pin the edges of the slash (Fig. 190 A), re-
move the lining, baste in the alteration, and
Fig. 191. If the figure is Fig. 192. The Lining Will
try the lining on again. If it fits perfectly,
Round-shouldered Require More Size Across take it off ard rip it apart. You will find
the Shoulders
that the edges of the side-front seams are
jagged from the lap laid across the lining.
Even them off, following the original seam-line. Correct your paper pattern in the
same way.
Slash the pieces and lap them as you did in the lining, pasting the edges
together.
These alterations for a large or small bust may be made on this kind of a lining—usually
called a “French lining”—or on a lining with one or two darts or with a straight or curved
edge.
FOR A ROUND-SHOULDERED FIGURE—The lining must again be made up of
cheap material so that it can be fitted to the figure and the corrections transferred to the
paper pattern.
When your lining is made, have some one pin a strip of the lining material, about four
inches wide, smoothly across your back from one arm to the other. Then put your lining
on and you'll find that it looks like Figure l'i.
Wrinkles will run up from under the arm to the
side-back seam (Fig. 191), and the lining will stand
out across the back at the bottom. (Fig. 191.)
The lining draws in this way because the
shoulders pull the lining upward. (Fig. 191.)
Have some one cut the lining across the shoulders
between the side-back seams (Fig. 192) and from
the seams down to within three-eightlis of an inch
of the underarm seam. (Fig. 192.) The lining
will spread apart, separating as much as your
figure requires. (Fig. 192.) Have some
pin the cut edges of the lining to the piece
beneath it, take off the lining, baste it, and
try it on again. Now rip and cut it apart so
that you can use the altered pieces to fix the tissue
pattern. Slash the pattern just where the lining
is slashed, separate the pieces a similar amount,
and paste tissue-paper underneath the slash.
If you are not very round-shouldered it will
not be necessary to slash the lining as much or Fig. 193. If a Woman Fig. 194. The Extra
Stands too Frectly. Her Size Should be
separate the pieces as much as shown in Figure
Lining Will Wrinkle Removed
192. It is only for very round-shoulders that Across the Shoulders

one


74
THE DRESSMAKER
such an extensive alteration is necessary.
If a person stoops very much, a second
cut should be made nearly all the way across
the back and side back, commencing at a
point about one-third the distance from
the neck edge to the broken line, and ter-
minating near the armhole edge just below
the outlet perforations, separating the edges
made by the slash more or less as the figure
requires generally from an eighth to a half
inch. In cutting out the side back, preserve
an even curve all along the edge. The un-
derarm gore very seldom needs any change
for this type of badly proportioned figure.


FOR AN OVER-ERECT FIGURE-On a
figure overerect in carriage, the lining will
wrinkle across the shoulders. (Fig. 193.)
The lining must be made up carefully
and put on the figure. It is also slashed
Fig. 195. If a Woman Has Fig. 196. The Alteration
across the shoulders from side seam to side
Square Shoulders the Lin is Made at the Shoulder
ing Will Wrinkle Across
seam and downward to within three-eighths
Seam
of an inch of the underarm seam.
the Chest
(Fig.
194.) The edges of the slash are lapped
and pinned. (Fig. 194.) Don't lap them too much or you'll be drawn back more than
ever. Baste the slash, try the lining on and then rip it apart. Where it has been
lapped there will be slight unevenness at the seam edges that must be trimmed off.
Using the lining as a guide, alter the pattern, slashing it, lapping the edges and pasting
them securely.
ADAPTING PATTERNS TO SQUARE OR SLOPING SHOULDERS—We have shown
how a waist will act and how it should be altered under such conditions. An instance
of square shoulders causing crosswise wrinkles at the front is shown in Figure 195.
For a case of this kind it is not necessary to make up a lining first in order to alter the paper
pattern. The alteration is very slight and can be made on the actual lining.
Cut your lining by the pattern, follow-
ing the pattern instructions carefully,
and baste it together in the usual way.
Try it on, pinning the fronts evenly
together. You will find that it draws
across the chest. (Fig. 195.) It should
be taken up at the shoulder seam, taking
up as much as necessary near the neck to
remove the wrinkles, and gradually slop-
ing off the alteration toward the shoulder.
(Fig. 196.) This alteration will make
the lining too high around the neck, for
the lining has been lifted to the level of
the highest part of the shoulder. So the
neck edge must be slashed at intervals
until it feels comfortable. (Fig. 196.)
After you take off the lining, rebaste the
shoulder seam and trim off the neck on a
line with the slashes. Try the lining
on again to be sure the alteration is
right, before stitching the shoulder seams.
If there are crosswise wrinkles across
Fig. 197. Sloping Shoulders Fig. 198. The Lining Must
the back, the lining can be altered in the
Make the Lining Wrinkle from be Lifted on the Shoulder
same way at the back.
Shoulder to Armhole


THE USE OF BUTTERICK PATTERNS
75
Shoulders that are more sloping than the
average will cause a diagonal wrinkle from
the neck to the armhole. (Fig. 197.) This
alteration, too, can be made in the actual
lining without changing the pattern.
Make up your lining in the usual way
and put it on, pinning it carefully. You'll
find that it looks like Figure 197, though if
your shoulders only slope a little it will not
wrinkle as much as it does in the picture.
The trouble in your case is that your
shoulders droop too much to take up the full
size of the lining, so the extra size must be
taken out at the shoulder seam.
as little as possible near the neck and as
much as is necessary out on the shoulder.
(Fig. 198.) Lifting the lining at the
shoulder will raise the armhole and make it
Fig. 199. Shortening the bind. You'll have to slash it a little until
Sleeve Pattern
it feels just right. Don't slash it too much
or your armhole will be too large. (Fig. 198.)
Fig. 200. Lengthening
the Sleeve Pattern
Take off your lining, baste the shoulder
seams, and cut out the armholes on a line
with the slashes. Try it on again to make sure that it is comfortable, and your lining is
ready to be stitched.
If there are diagonal wrinkles at the back, they may be handled in the same way as the
diagonal wrinkles at the front.
HD
Take up
TO LENGTHEN OR SHORTEN SLEEVE PATTERNS, measure along the inside of
the arm from the armhole to the bend, and from the bend to the wrist. These two meas-
urements are necessary so that the elbow of the sleeve may be in correct position on the
arm, since the upper and lower arm may vary in proportionate length. If all the altera-
ations are made in the upper or lower part of the sleeve, the elbow will be drawn out of
place.
If the measure from the armhole to the bend is one inch less than the corresponding part
of the pattern, fold a half-inch plait straight across the pattern a little above the elbow.
If it is necessary to shorten the lower-arm portion, make
a plait half as wide as the amount to be taken out,
laying it across the lower part of the sleeve pattern,
about three inches below the elbow and parallel with the
wrist edge of the sleeve. The plaits across the under-
sleeve piece should be made to correspond in size and
position with those on the upper piece. The upper-
sleeve portion with the plaits pinned in is shown in
Figure 199.
Fig, 200A. Increasing the Waist Size
When the plaits are folded over, the perforations and
of the Yoke Pattern
the edges of the pattern become uneven. To correct
them, lay the altered pattern on a large piece of paper
and mark a new outline, running across the edge of the
folded part. If the arm is very full, the space between
the elbow and the greater width at the top of the sleeve
should be filled out, making the edge an even line.
But if the arm is not large, the surplus width may be
trimmed off to make an even outline from the elbow
to the top of the sleeve. Whatever alteration is made
at the edges of the seam must be repeated in regard
to the large perforations.
Fig. 200B. Decreasing the Waist Size
If the sleeve needs lengthening, make the alteration
ot the Yoke Pattern
at the same places by cutting across the pattern,
IT
(111


76
THE DRESSMAKER
instead of making the plaits. Lay the pattern upon another piece of paper and separate
the pieces far enough to make it the required length. Correct the outlines in the same
way as when the sleeve is shortened. (Fig. 200.) Alter the outside sleeve to correspond
to the lining.
ALTERING A YOKE PATTERN-If, in buying a pattern with a circular yoke, you
had to take a pattern that was too large or too small for you at the waist, the yoke pattern
can be altered very easily. (Figs. 200 A and 200 B on preceding page.)
If the pattern is too small for you, slash the yoke pattern from its upper edge to about
the hip line. Make three slashes. (Fig. 200 A.) In pinning the yoke pattern on the
material, spread the upper edge until it is the right size for your waist. (Fig. 200 A.)
If the pattern is too large for you at the waist, make three dart-shaped plaits in the
yoke pattern, letting the plaits begin at the upper edge and taper to nothing about the hip
line. (Fig. 200 B.) The dept of the plaits depends on the amount of the alteration required.
V
FOR ALTERING A GORED SKIRT PATTERN, it is of greatest importance that one
should know the hip measure as well as the waist measure of both the pattern and the
figure to be fitted. In taking
the waist measure the tape
should be drawn quite snug-
ly. The hip measure should
be taken seven inches below
the waistline, holding the
tape easily around the figure.
......
The table of measurements
on the envelope should be
referred to in order to ascer-
tain if the figure's measures
correspond to those of the
HIP LINE
pattern.
Order the pattern accord-
7 INGHES
ing to the directions given
FROM WAISTLINE
on the pattern envelope.
In some styles a skirt pat-
tern should be ordered by
Fig. 201. Increasing the Waist Size in a Gored Skirt Pattern
the waist measure, in others
by the hip; but in each case the pattern instructions will specify whether it should be
bought by the waist or hip.
If a gored skirt is of the correct hip measure, but is too large at the waist, the alteration
is quite simple. It can be made in fitting the skirt after the gores are basted together, by
making each seam a little deeper from the hip toward the waist.
If the waist is the correct size and the hip is too large in a gored skirt, make each seam a
little deeper from the waist toward the hip, continuing to take in each seam from the hip
to the lower edge of the skirt the same amount taken in at the hip. As a rule this is the
best plan, because it is easier to take in material than to add it, and one is sure not to
have a pattern that is too small.
However, if one is proficient in making garments, a gored skirt pattern may be bought
by the hip measure, even if too small at the waist, and the waist size may be increased in
the following way: The increase must be calculated and planned for before the skirt is
cut. We may find, for instance, a figure with 34 inches waist measure, and hips that
measure 44. Referring to the “table" we find that the waist measure of the pattern of
this hip size is 30 inches-four inches less than the waist we are to fit.
The first consideration is the number of gores in which the skirt is cut, as this governs
the number of seams at which allowance may be provided in cutting, and the amount that
may be added at each seam. Another and very important consideration is the shape of
the figure to be fitted. The same number of inches may result from the measurement of
figures that differ entirely in shape. The hip measure of the nicely rounded figure with
perfectly proportioned hips and abdomen may be the same as that of another that is flat
at the front and back, with abnormal development at the sides; or of still another that has
unusual abdominal prominence with extreme flatness at the back.


THE USE OF BUTTERICK PATTERNS
77
on
It will be readily seen that the allowance at the seams must be so distributed that the
greater amount will come where the figure has the fullest development. Under ordinary
circumstances, it is preferable to make no alteration on either the front or back gores, but
this rule can not be followed when the figure is unusually full at the front. In the meas-
urements cited (34 inches waist and 44 inches hip) it is neces-
sary to add 4 inches to the skirt pattern at the waistline, 2
inches on each side.
Figure 201 shows how this amount may be added to a nine-
gored skirt pattern. It is a good plan to mark the outline of
the pattern
the
goods, leaving ample
material at each seam
HIP LINE
which may be let out
7 INCHES
where the figure re-
FROM WAIST-
quires it, tapering this
LINE
amount off to nothing
at the hipline which is
HIP LINE
GINCHES FROM
seven and three-eighths
TINCHES
inches below the upper
FROM WAISTLINE
HIP LINE
edge. A skirt pattern
should never be ordered
with a hip measure
6INCHES
smaller than that of the
FROM HIP LINE
figure to be fitted.
If a plaited skirt is
too large or too small
at the waist or hip, the
plaits should be made
either deeper or shal-
lower to fit the figure.
Fig. 202. Shortening a Plain
Gored-Skirt Pattern
HIP LINE
7 INCHES
FROM WAIST-
LINE
6INCHESI FROM
HIP LINE
LENGTHENINGAND
SHORTENING GORED
SKIRTS-Measure the
length of the skirt at the
center front from the
natural waistline to the
floor and compare it
with the corresponding
measure of the pattern.
To Shorten a gored
skirt pattern, lay a plait
straight across each gore
Fig. 203. Shortening a Plaited Gored-
of the pattern about six
Skirt Pattern
inchos below the bipline
(seven and three-eighth inches below the waistline, the three-
eighths of an inch being the seam-allowance at the upper edge).
(Fig. 202.) If the gores are cut with one straight edge, measure
at the straight edge, or, if both sides of the gores are bias,
measure along the line of perforations that indicate a length-
wise thread of the goods. If the figure is full, the slope of the
gores at the bias side should be filled out from the folded plait
to the hip; but if the figure is slight, this little extension
may be taken off.
To Lengthen a gored skirt pattern, cut each gore straight
across, six inches below the hipline, and separate the pieces
as much as necessary. (Fig. 204.)
Fig. 204. Lengthening a
Gored-Skirt Pattern


THE USE OF BUTTERICK PATTERNS
79
7 INCHES FROM
as the alterations may easily be made at the waist when the hip measure is correct. A
well-cut circular skirt pattern without darts allows from one to two inches extra size, more
than the waist measure, on each half of the pattern. This fulness should be eased into
the belt over the hips, and the fulness shrunk away after the skirt is finished. When
fitting the skirt, mark on the waistline where the fulness should be distributed, and
gather this portion to the required size with fine stitches on a strong thread. Dampen
the material, or place the wet sponge cloth over it and press it over a tailor's cushion
until the
cloth has
shrunk to
the correct
size. (Fig.
208.) This
must be
done very
carefully in
order not to
leave any
"bubbles'in
the cloth.
If the
waist needs
to be made
very much
smaller than
Fig. 207. Increasing Waist Size, With Extension for Prominent Abdomen
the pattern,
it may be necessary to make one or two small darts, but if only a small reduction is re-
quired, it may often be shrunk in. If the waist size is to be increased, no alteration is
necessary. There will simply be less material to ease into the belt. In a circular skirt
with darts, the waist size can be made smaller or larger. It can be done by taking in or
letting out the darts. If the waist size is to be increased, the darts may be let out. In a
circular skirt pattern of the correct hip measure it should not be necessary to make an al-
teration of more than one inch at the hips on the whole skirt. This alteration may be
made at the center back.
To Alter the Length of a circular skirt, it is best to make the change at the lower edge.
For a woman having a slightly rounded or decidedly prominent abdomen, an alteration is
required to provide for extra length at the top. (Fig. 209.) If this provision is not made
in cutting, the skirt will draw up in front and stand out in a very ugly manner.
TA
HIP LINE
WAISTLINE
FRONT
Fig. 208. Shrinking Out Fulness in Circular Skirt
It will be found, in making the alteration,
that according to the prominence of the abdo Fig. 209. Extra Length at Top of Circular
men, from one-half to one and one-half inches
Skirt
will have to be added to the top of the pattern
in front, gradually decreasing to nothing at a point over the hips, to make the skirt drop in


82
THE DRESSMAKER

seams are again closed, stitched by machine
and finished in the usual manner.
The Collar, which is preferably attached to
the waist, may be made of alternate rows of
the fine and heavy lace. Cut a fitted collar
pattern of stiff paper, turning under a seam
at the top and bottom. On this paper col-
lar baste the insertion in place, right side
down, drawing the pull-thread sufficiently to
give it the proper curve. Overhand the edges
together and then remove the collar from the
paper.
A narrow seam beading is used to join the
collar to the waist. Trim the material away
from the upper edge of the beading, and over-
hand this edge carefully to the lower edge of
the collar. Baste the lower edge of the bead-
ing to the neck edge of the waist and stitch in
Fig. 214. Finishing the Underside of
a French seam.
Medallion Inset
To keep the collar from becoming crushed,
a suitable number of collar supports should
be placed at each side of the center front,
as shown in Fig. 216. The supports are
placed two and one-half inches from the
end on each side, and a third support at
each end.
A SHIRT-WAIST is a type of waist model-
ed on the style of a man's shirt. Shirt-waists
are usually made of linen, madras or flannel.
A good pattern for the beginner is a perfectly
plain design having slight fulness at the
waistline. Though a shirt-waist needs care-
ful fitting, not so much skill is required in
making it, and it is quite possible to fit
oneself.
Always open the pattern, identify each
piece and get a clear idea of the construction
by reading the instructions carefully before
beginning to cut into your material. This
Fig. 215. Medallion and Insertion Set in
care at the beginning will make the work
by Machine
easier and save mistakes and consequent
waste of material. In cutting out the shirt-
waist, mark all notches and perforations.
In Tucked Shirt-Waist Patterns, it often
happens that the fronts are too wide to be
cut from one width of the goods. In this
case it is necessary to piece the material.
Fig. 216. Showing Position of Collar Supports
Take care that the seam comes where it will
not show. In Fig. 217 the right front of a
shirt-waist is shown pieced in this way. The method of piecing is easily understood.
The pattern should be laid on the material, and the best place to make the joining con-
sidered carefully. It will depend on the width of the goods and the style of the shirt-waist.
In some cases it may be made at the stitching of the last tuck, but in others this tuck is not
stitched to the waist line but terminates at yoke depth; consequently this seam would
not be hidden.
In the model illustrated the best place proved to be at the stitching of the first turn-
back tuck on the right front. Accor ing to the pattern instructions, one inch back
of the fold edge of the tuck is the stitching line, as the tucks are one inch wide. Mark


UNLINED WAISTS
85

This band is an inch deep, when finished,
and is cut a trifle bias in front. Fig. 224.
Be careful not to draw the line of the
seam joining the front and back out of
place. The material, which is slightly bias
under the arm, should be drawn smoothly
toward the front as far as it will reach,
and pinned at the waistline. The tucks
may then be lapped over each other unless
the fulness is gathered or laid in overlapping
plaits and the waist drawn down or bloused,
as preferred.
The tape should be pinned carefully, fol-
lowing the waistline. When the waist is
taken off, baste the tape in place. Then
take either a strong twill tape or a narrow
strip of the material with the ends turned in,
and baste to the inside of the waist, follow-
ing the line of the upper edge of the tape on
the outside. Then remove the outside tape
and stitch the upper edge of the inside tape
to the waist, after disposing of the fulness
Fig. 223. Method of Applying Yoke
at the back by making two rows of gathers
as far apart as the width of the tape. This
method is shown in Fig. 227, on the next page.
Another method of finishing the fronts is
to cut across the fronts just above the lower
edge of the strip stitched to the inside.
(Fig. 225.) The cut must extend only as far
as necessary to take out the extra fulness.
The uneven upper edge of this piece may be
trimmed and turned in and hemmed down
to the part from which it was cut, providing
sufficient length to hold the waist down.
(Fig. 226.) A row of stitching should be
placed at the lower edge of the inside band.
The band will cover the raw edges of the cut
portion at the front. This finish does away
with the bulky material below the waistline,
which is apt to spoil the set of a close-fit-
ting skirt. The bottom of the waist is fin-
ished with a narrow hem.
The extension below the waist at the Fig. 224. Fulness below Waistline Dispensed
sides may have to be slashed to prevent its
With in Band
drawing over the hips. If preferred, a
circular peplum such as is given in a corset
cover pattern, may be used. The pepluni



Fig. 225. Tucks Cut Away below Waist
Fig. 226. Extension Joined to Waist


LINED WAISTS
89
sufficient ease to the armhole, pare the edges off a little and snip the seams a trifle deeper.
The same caution applies to the neck.
Pin the alterations, and mark carefully along the line of pins with tailors' chalk. With-
out removing the pins baste through the corrections, keeping a well-shaped line for the
seams. Try the lining on again to be sure that the alterations are right. Transfer the
alterations to the other side of the waist by using the corrected side as a pattern. Baste
the seams again, this time with the seams toward the inside. Stitch the seams just out-
side the bastings so as not to make the waist any smaller, bearing in mind that the sewing
of the seams will tend to tighten them. It also allows the bastings to be drawn easily,
for if the seam is stitched directly on top of the bastings, both rows will be so interwoven
that it will be almost impossible to pull them out.
In stitching side-back seams always have the
back next the feed of the machine and the side-
back next the presser-foot, and hold the parts
well up at each end of the presser-foot. Other-
wise the side-back seams are liable to pucker or
pull when being sewed.
In making seams in which one portion is fulled
on to another, place the full portion next the
feed, or downward, because if it is placed next
the presser-foot, the latter is liable to shove the
fulness out of place. Notch the seams at the
waistline and two or three times above and
below it, enough to allow them to lie flat when
pressed Bind the seams neatly with ribbon
seam-binding run on loosely, and press them
open. Some dressmakers prefer to overcast the
seams, and most of the imported French dresses
are finished in that way, but it does not present
as neat a finish and takes a great deal of time,
as the overcasting must be done closely and
carefully.
Many linings, especially those of taffeta, are
simply pinked. Fig. 234 shows a seam edge
bound, another overcast, and a third notched and
ready to bind. It also shows the notching neces-
sary to make the side seam lie flat when it is
pressed open.
When no hem is allowed at the closing edge of
the lining, it is necessary to face it. Cut two
Fig. 234. Notched Seams Before and after
pieces of the lining material in the same outline
Binding
as the front or back--wherever the opening
comes--and two inches wide. Baste one on the
outside of each front or back, stitch a seamed edge, and turn the facing over toward the
inside. Place a row of stitching one-eighth of an inch inside the edge and another far
enough inside the first to allow a whalebone or featherbone to be slipped in.
If a hem is allowed at the closing edge, turn it over toward the inside of the lining and
make the two rows of machine-stitching form a casing for the bone. If the waist has a
back closing, the hem or closing line is usually indicated by a notch at the neck and an-
other at the bottom of the pattern. Fold a line from one of these notches to the other,
keeping the hem an equal width, and with a thread of different color from the lining run á
basting along the edge of the fold. Later this will be turned over for the closing.
Make a stay for the hooks and eyes from an extra strip of taffeta or thin lining, two
inches wide. Fold lengthwise through the center and place it on the inside of the lining,
with its fold at the basting-thread which marks the closing. Turn over both thicknesses
and baste very carefully. Then stitch with one row of stitching an eighth of an inch back
from the edge, and another row about three-eighths of an inch inside of that. The method
is shown in Fig. 234. Pin the fronts together with the waistlines even.
Place a tape-
measure along the front edge, and with pins mark carefully the position for the hooks and
eyes at every inch point, beginning one inch below the neck.


LINED WAISTS
95
cut until they are finished and sewed in the armhole. If not cor-
rectly cut and basted, one sleeve may be larger than the other.
If they are not stitched in the armhole exactly alike, one may
twist while the other hangs without a wrinkle.
The first step before cutting the sleeves is to study the pat-
tern instructions. Measure the sleeve and arm and make altera-
tions in the pattern, if necessary, as instructed in Chapter XIV,
"The Use of Butterick Patterns.” Be sure that the elbow of
the sleeve comes in the right place.
Next, the sleeve must be cut accurately and carefully basted.
The seams should be pinned even at both top and bottom, and
the extra fulness of the upper back edge gathered in at the
elbow. (Fig. 244).
To be very accurate, the pattern should have the outlet
seam marked with tailor's tacks.
Baste the front seam three-eighths of
an inch from the seam edge. The
back seam is basted through the line
of perforations. A one-seam sleeve
should be basted with the upper and
lower edges even.
In joining waist and sleeve seams,
short basting stitches are used,
as shown in Fig. 244. Never place
machine stitching directly on top of a
basting. If the seam is stitched just
Fig. 244. Fulness at Elbow
outside the basting there will be no
of Sleeve Lining
difficulty in removing the latter.
Enough emphasis can not be laid on
careful basting, for next to cutting, it is the groundwork of
dressmaking. If it is poorly done, it is the source of many
future difficulties.


Iſ a Fancy Sleeve is to be made, the lining must be fitted
first and the material draped or arranged later. In basting
the lining, place the under piece of the sleeve upon the upper
with the notches of the front seam together, and pin in posi-
tion. Then baste this seam with small running stitches. Pin
the back seam through the outlet per-
forations from the top to the upper
notch, and again from the lower notch
to the bottom. The extra material Fig. 245. Correct Location of
of the upper sleeve portion is gath-
Front Seam
ered into the space between the
notches to give room for the elbow. The seam is then basted. The
sleeve should always be basted as the pattern directs, and the
same width seam will be taken off both upper and under sleeve por-
tion. The outlet seam should be basted on the line of perfora-
tions.
Fig. 246. Wrist of Sleeve
Adjust the sleeve in the proper position, draw it up well on the
Prepared for Facing
arm, so that the elbow is in the correct position, and pin the
sleeve in the armhole with notches matched, as directed in the pattern instructions.
Distribute the fulness fairly evenly. More of it should come on the top of the arm than
at the back or front.
In a sleeve which sets correctly after basting, it will be noticed that the front seam, in-
stead of lying perfectly straight when laid flat on the table, will roll somewhat toward the
under side of the sleeve from the center of the seam to the wrist, as shown in Fig. 245. This
is quite important, as many workers imagine that the sleeve should set perfectly flat the
length of this seam.
Drape the material on the sleeve lining, remove the bastings and press the seams flat.


CHAPTER XVIII
MATERNITY DRESSES
G
ARMENTS for maternity wear are so designed that they may be adjusted com-
fortably to the changing figure and yet keep the trim appearance of a fitted gown.
The clothing should be so skilfully planned and made that no undue pressure
will rest upon any part of the body. If corsets are worn they must be very
loose, and be laced with rubber lacings at the back and over the abdomen. Dresses
and negligees may be made of attractive materials, prefer-
ably of soft wool or silk, and in plain, solid colors rather
than figured effects. They may be prettily trimmed with
lace, embroidery and ribbon.
The great trouble has always been with linings, for
when they were once made and fitted there was no way of
gradually enlarging them. This difficulty has been overcome
by lacing the front seams or the darts. (Fig. 248.)
Other necessary changes may be made by moving a few
hooks and tapes. The waist lining should be basted and
fitted in the usual way, making it fit neatly but not too
snugly. Turn back the hem at the front of the lining and
stitch it with the usual two rows of stitching, making the
first row three-eighths of an inch, and the second three-
quarters of an inch, from the edge. Work eyelets near the
edge the entire length of the front of both sides, and
run a very soft and pliable bone in the casing formed by
the two rows of the stitching. Or, place the bone near the
edge, as in an ordinary lining, and sew eyes, but not the
hooks, along both edges, and lace through them. It would
be well to sew a fly or underlap about two inches wide
underneath each front, and sew hooks and eyes on their
front edges.
Lace with a round elastic cord, such as is used Fig. 248. French Lining with Plait
and Lacings
for corset lacing.
After the lining has been fitted, the under-arm seams should be pressed open and
bound. The correct basting line in the side-front and side-back seams should be marked
with tailors' tacks or chalk.
Cut four strips of lining on the bias, making each strip three and a half inches wide
and a bit longer than the side seams of the front and back. Baste a strip to the under
side of the side-front seam with the raw edges together. Baste and stitch them three
eighths of an inch back of the edge. This forms a small plait under each seam. (Fig.
248.) In sewing on the bias strip, one must be particularly careful to ease it over the
bust on the outer edges of the side seam. In sewing the strip to the second edge of
the side seam--the edge nearer the center front-the bias band should be stretched at
the bust to make it easy over the curve of the figure. Baste the second bias strip to
the second side seam in the same way as the first. Take out the basting threads in
the side seams and sew back three-eighths of an inch from the edges. This gives you a
small fold on which to work the eyelets for the lacing of the fronts.
The other two bias strips are used to finish the side-back seams of the lining. They
are handled just like the side-front seams and are also laced together instead of being
stitched. The edges of the center-back seam are closed in an ordinary seam.
The eyelets should be placed an inch and a quarter apart and a quarter of an inch in
from the edge of the fold. (Fig. 248.) They are made with a stiletto and worked with
the ordinary buttonhole stitch,
98


TAILORED SLAMS
103
A Raw-Edge Lapped Seam is used in making
garments of heavy, closely woven material
that will not fray or ravel. The seam edges
must be cut very accurately and smoothly.
Baste the edges evenly, lapping them the full
allowance, and stitch as near the edge of the
upper lap as possible. A second row of stitch-
ing five-eighths of an inch from the first gives it a
neat and tailored finish. The seam on the under
side should be trimmed off evenly. (Fig. 265.)
One should be very careful in deciding on
the style of seam used on a tailored garment.
Tweeds, homespuns, friezes, and all other rather
loosely woven woolen materials should be fin-
ished with bound seams. In linens, pongees
and crashes one should use the cord, bound or
lapped seam. “Broadcloth, meltons, kerseys,
covert, and other heavy driving cloths can be Fig. 265. Raw-Edge Lapped Seam
pinked, as they are so closely woven that they
will not ravel. To have a good tailored look the machine-stitchings on any seam must
not be too fine. The thread and needle should be of medium thickness and the stitch
should correspond in size.


POCKETS
105


US
NUN
WA
JU
IN
SA
13
NOUS
NA
Fig. 270. Inside View of a Slash Pocket
Fig. 271. Outside View of a Slash Pocket
inch from it. (Fig. 266.) Tie the ends of the threads firmly so that the stitching can not
pull out, and then cut through the pocket line with a sharp knife, cutting through both
the facing and the garment material. Push the facing through the slit. (Fig. 267.)
Rebaste the facing from the outside, letting it form a head or cording an eighth of an
inch deep at the edges of the pocket. It should be stitched on the upper edge of the
pocket hole from the right side. The pocket edges should be cross-stitched together to
hold them in shape until the rest of the work on the garment is finished. Turn down
the upper edge of the pocket facing as close to the stitching as possible, and press it
flat to the wrong side of the garment. (Fig. 269.)
Cut from strong cotton or light-weight canvas a pocket piece about twelve and a half
inches long and two inches wider than the
pocket opening. Shape one end of the pocket
like the curved pocket opening and insert it
between the lower pocket facing and the
garment, close to the opening. (Fig. 268.)
Baste it in place from the wrong side, turn
the garment portion over to the right side,
and stitch through both facing and pocket.
This row of stitching should be set close to
the pocket opening. Turn under the lower
edge of the pocket facing and stitch it to the
pocket (Fig. 268), but be careful not to stitch
through the garment.
Now turn up the pocket about four and a
half inches from the opening and baste it in
place with its upper edge toward the top of the
garment. From the right side, stitch through
the garment and the pocket along the upper
edge of the pocket opening. Turn under
the edge of the upper part of the facing
and hem it to the pocket. The easiest
way to do it is from the right side, pushing
the pocket and facing through the slit so that
you can get at it easily.
The sides of the pocket are closed with a
Fig. 272. When the Pocket Opening is
single row of machine stitching about three-
Perfectly Straight
eighths of an inch from the edges. (Fig. 269.)


CHAPTER XXI
SKIRTS
T
HE PRESENT STYLE of making skirts without linings has considerably siin-
plified the work of the dressmaker. These unlined skirts, however, unless made
of very heavy material, call for well-fitting underskirts as a foundation, and on
them largely depends the fit of the overskirt.
THE FOUNDATION SKIRT may or may not be joined in the same belt with the over-
skirt, as preferred. In either case, both the overskirt and the foundation are made and
finished separately, with the exception of the inside belt. The foundation skirt is made
first. China silk, India silk, taffeta, and satin are good materials for this purpose, though
for wearing qualities some of the lining materials, mixtures of silk and cotton, or the
better grades of percalines, sateens, etc., are pre-
ferred.
Get a good pattern, and make a careful study of
the figure which is to be fitted. Many women have
a slight hollow below the waistline in the back-an
ugly defect, but one which can easily be overcome.
It is frequently found in connection with a round
or prominent abdomen.

Entren
A Small Light Bustle that will not interfere with
the wearer's comfort adds much to the set of the
skirt on such a figure. It can be made of the same
material as the foundation skirt. Cut a piece of
the lining material the size and shape desired for
a foundation, and hem or pink the edges. Make
ruffles four inches wide, and treat their edges in the
same way. Sew several rows of these ruffles across
Fig. 276. A Ruffle Bustle
the foundation piece, and one all around the edge
except at the top. (Fig. 276.). The completed bustle may be attached inside the skirt, or
it may be hung around the waist under the corset by means of a narrow tape sewed at
each side.
If the figure to be fitted is abnormally
short or tall, stout or thin, or out of pro-
portion in any way, instructions for ad-
justing the pattern to the figure will be
found in Chapter XIV, "The Use of
Butterick Patterns." Separate patterns
are used for the foundation and skirt ex-
cept in the case of tunics, overskirts, etc.
Cut the gores for the foundation skirt;
baste them together according to the pat-
tern instructions and try it on. If the
skirt is to end in a full plaiting at the lower
edge, measure the width of the finished
plaiting and deduct this width from each
gore in cutting, allowing, of course, three-
eighths of an inch on each for a seam.

Fig. 277. Plaiting Stitched on Foundation Skirt
For the Plaiting, cut strips crosswise of
107


SKIRTS
109

chiffon double the width of the
ruffle desired, plus the two inches
required for the heading at the
top.
Fold the chiffon double,
bringing the two raw edges to-
gether on a line one inch below
the edge that will be the upper
edge of the ruffle. Turn under the
upper raw edge and run in the
gathering thread, using small
Fig. 281. Three-Tuck Ruche
stitches. Baste and then sew the
puff ruffle to the skirt above the silk flounce. (Fig. 282.)
A Circular Flounce may be used as a finish at the bottom of the foundation skirt if
desired. This may be cut from any good circular pattern. The lower edge is turned
up in an inch hem, and the upper edge joined to the skirt in a French seam. The flounce
may be trimmed with tiny ruchings or ruffles, as may be preferred.

A Dust Ruffle is sometimes sewed on the in-
side of an outside skirt when it is desired to give
it a graceful flare at the lower edge without ma-
king it necessary to wear additional under-
skirts. The dust ruffle is also used on founda-
tion skirts when one is desired. It is usually
four inches wide, pinked at both edges, and
sewed to the skirt by hand with invisible
stitches. The ruffle is held down at intervals by
French tacks. They are made by taking a
small stitch in the skirt and one in the ruffle,
leaving a half-inch or more of thread between.
Fig. 282. Puff Ruffle
Pass the needle back and forth once more, put-
ting it into the same place, and then work several loose buttonhole-stitches back over the
three strands of the silk thread. (Fig. 283.)
Foundation skirts vary in style and shape according to the prevailing fashions in out-
side skirts. These instructions are intended, therefore, to be of general use in making
either drop skirts, petticoats or foundation skirts for evening dresses, etc.
R
THE DRESS SKIRT is, of
course, made and finished ac-
cording to the material used and
the style of pattern chosen. Di-
rections for putting the skirt
together will be found in the pat-
tern instructions. If the figure
to be fitted is out of proportion
in any particular, read Chapter
XIV, "The Use of Butterick
Patterns,” before cutting out
the skirt. The first step is to
Fig. 283. Method of Making French Tack
lay out the pattern on the ma-
terial, following, of course, the perforations indicating the right grain of the material, and
being careful to keep the nap or figure running the proper direction. (Read Chapter XIII,
“Cutting Materials, Sponging, etc.")
Before basting, lay the gores together, with the more bias edge on top (Fig. 284), and
smooth the two gores out by running the hand lightly down and across with the weave
of the fabric, being careful neither to pull nor stretch the bias edges. Beginning at the
top, pin the edges together at intervals, and then baste along the sewing line with small
even stitches until well over the hips, where the strain will come in fitting. Below this
point the basting stitches may be longer.


SKIRTS
111
A False Hem or Facing is sometimes pre-
ferred for the finish of the lower edge, espe-
cially if there is a wide sweep at the bottom.
The facing is cut in bias strips, or shaped to fit
the lower edge of the skirt. The strips are
pieced together and the seams pressed open.
Then baste and stitch the facing with a narrow
seam, to the lower edge of the skirt on the right
side. Turn over to the wrong side and baste
down flatly along the edge. Then baste again
along the upper edge of the facing, turning in
a narrow seam. (Fig. 287.)
Velveteen or Skirt Braid may be added
to protect the lower edge of the skirt, if de-
sired. The velveteen strip is first stitched by
hand, on the inner side of the skirt very near
the edge, then turned up, leaving a narrow
Fig. 287. Facing Hemmed to Bottom of Skirt
fold extending below the edge, and again
sewed to the inner hem or facing, as shown in Fig. 288. The skirt braid should be shrunken
-wet thoroughly and pressed dry-before it is used. It is sewed flat to the under side
of the skirt, its lower edge one-eighth of an inch below the bottom of the skirt. Sew it
with a running stitch, just above the lower edge of the skirt. The upper edge of the
braid is hemmed down. In other words it is
sewed with two rows of stitching-running
stitches near its lower edge and hemming
stitching at its upper edge.
An Interlining may be used in the hem or
facing if it is desirable to add weight at the
lower edge of the skirt. The material used for
the purpose may be strips of lining, or, ac-
cording to the texture of the skirt material,
any substantial material such as heavy flan-
nel or broadcloth. These materials are used
where body is required in the garment. Since
it is simply a question of giving weight to the
skirt edge, especially in the case of soft silks,
etc., the interlining for the hem may be made
of light-weight cotton flannel.
The interlining is cut in strips as wide as
the hem or facing, omitting the seam edges
Fig. 288. Veiveteen Finish on Bottom of Skirt
at both sides. Baste it to the skirt along
its lower edge, if the skirt is to have a fa-
cing. For a hem that is to have an inter-
lining, mark the skirt all around a distance
above the lower edge to equal the width of
the hem. Then the strip for the interlining
is basted along this line. The hem is then
turned up, and with the narrow seam
turned in at the top, one row of stitching
catches through both the hem edge and the
upper edge of the interlining.
When it is not desirable to finish a hem
with machine stitching, and it must be done
by hand, do it with blind or slip stitches.
When this is the case, the interlining must
first be securely stitched on the inner side
of the facing, or the turned-up portion
of the hem, with the seam edge turned
Fig. 289. Braid Finish
over the upper edge of the interlining.


SKIRTS
113
The first step, of course, is to read the pattern instructions carefully, and to get a
clear idea of the particular style of the skirt that is being made.
In cases where the skirts are composed of seven, nine or more gores it is not so difficult
to handle them successfully, since alterations may be made at the seams. But in skirts
where few gores are employed, particular attention must be paid to the correct position
of the lines, in order to keep the plaits perfectly even. Furthermore, the skirt must be
joined to the belt and the material between the plaits properly disposed, so that the plaits
themselves will have a uniform appearance.
Before cutting the material read the pattern instructions, examine the pattern and iden-
tify the pieces, observing the notch-
es and perforations according to
the directions. No fixed rule can
be given for laying out material for
cutting. It is frequently necessary
to open out double-width material,
cutting each part separately. Be
careful in this case to observe the
right and left side of the garment.
In cutting a skirt, make a length-
wise fold in the material for the
center of the front gore. Never
start cutting with the widest part
of your pattern toward the solid
part of your material. Lay out
your pattern carefully and place it
on the material economically before
starting to cut. If the material is
narrow, it will be necessary to piece
the lower part of this gore at each
side; but this need not be done until
after the rest of the skirt is cut, as
some of the pieces cut from the side
gores will probably be large enough
Fig. 292. A Gore Marked for the Plaits
for this purpose.
Single-width material should be laid out straight for all breadths except the front. It
may be folded across at half its length, or cut in two and reversed (if it has a nap) and
cut double. After all the breadths are cut, and
before removing the pattern, mark all perfora-
tions except the ones that indicate the cutting or
grain line, with tailors' tacks. (See Chapter IV,
Fig. 71.) In a plaited skirt remove the pattern
and place a yard-stick on the cloth with its edge
even with the tailors' tacks, and draw a con-
tinuous line with chalk. Mark this line with
tailors' tacks. (Fig. 292.)
The long threads should be cut, the pieces
separated, and the breadths joined at the seams.
In sewing a bias edge be careful not to stretch it.
Basting the seams is shown in Fig. 284 on page 110.
For a Box-Plaited Skirt, after all the seams are
joined (except the back seam, which is not basted
until the plaits are all laid), begin at the front
breadth and bring the two lines of markings at
each side of the center front together and baste.
This forms a large tuck. (Fig. 293.) The next two
rows of markings are then basted together to form
a second tuck. Continue in this way around
each side of the skirt. Each seam corresponds
Fig. 293. Basting the Plaits in Tucks to a row of markings, and is to be basted to the line


SKIRTS
115

under Plait
careful pressing be unnoticeable, a larger quantity
would be too bulky, and had best be treated differently,
When the plaits are laid the full length of the skirt.
and the skirt is being fitted, side plaits or darts should
be used to adjust the extra material to a small waist.
Fig. 296 shows the method of placing the darts. If a
dart is used it is sewed in a position that will come well
under the plait so that there will be no likelihood of its
being seen. Even if folded over, the upper edges of the
box plait should not be disturbed, for this would disar-
range the size and width on the outside. The material
near the stitching is folded over one-eighth or one-
quarter of an inch to form a dart-like tuck, and these
new lines are joined or folded in such a way that they
taper gradually into the line of the original plait just
Fig. 296. Arrangement of Dart
above the full part of the hips, as seen in the illustration.
It should then be pressed flat, and the extra fold will
not be objectionable. Treat the extra fulness in this manner where it is necessary, and
keep the spaces an equal width.
A Skirt Made with Side Plaits or Kilts is shown in Fig. 297. The manner of prepar-
ing the skirt and marking the perforations that indicate the plaits is the same as that
already described. At each line of markings that represents the fold of a plait, the plait
should be folded with the markings as an edge, and the doubled goods should be basted
one-quarter of an inch back of the edge. This will hold all the plaits in the correct line,
no matter what alteration may be neces-
sary in fitting. Many plaited models have
one row of stitching placed just back of
the fold edge, and through the two thick-
nesses only, in the same way as the basting
just described. This row of stitching an-
swers a double purpose. It is ornamental
and at the same time holds the edge of the
plait in shape, and is especially desirable
for wash goods or a thin woolen mate-
rial that is likely to twist on a bias edge.
The second row of stitching is placed a
little distance back of the first and is
taken through both plait and skirt.
Stitch it to the desired depth and leave
the ends of the thread two or three inches
long at the end of the stitching, so that
they may be drawn through to the wrong
side and tied securely. (See Fig. 295 ca
Fig. 297. Side Plaits with Two Rows of Stitching
page 114).
When a plaited skirt is made of heavy
material or is lapped very much at the waist in fitting, it may be made less bulky by cut-
ting away the surplus material after the plaits are stitched. The under-lapping goods
is cut away to within an inch or so of where the stitching finishes. From that point it
is cut across the top of the plait. The raw edges left in this way are bound with a bias
strip of lining, that will finish across the top of each plait except where the seams that join
the breadths form the inner fold of a plait, when the binding will continue down the raw
edges of that seam to the bottom of the skirt. (Fig. 298 on the next page.)
As each figure has some trifling peculiarity. careful study should be given the instruc-
tions on the pattern and judgment used as to the best means of alteration or adjust-
ment. It must always be remembered, however, that the tucks or plaits must be evenly
arranged and that the space between them must be the same, as this is quite an im-
portant point in making a plaited skirt.
When a plaited skirt is made of washable material, the laundering is not difficult if
one goes about it in the right way. The lower part of the skirt should not be pressed


118
THE DRESSMAKER
LLLLLL
Fig. 301 B. Getting an Even Line at the
Bottom of the Skirt
and chalk tap your skirt against the rim of the pan. You can easily mark an even line
in this way.
Take the skirt off, turn it up at the chalk marks and baste it. Try it on
again to be sure that it is even at the bottom. This is an easy method for the woman
who has no one to help her with her dressmaking.


COATS AND JACKETS
125
army cloth are really self-finished,
for they are so closely woven that
they will not fray and can be left
raw quite satisfactorily.
Tweed, cheviot, mixtures, etc.,
will fray and must be bound. The
seams should be bound with rib-
bon seam-binding, the color of
the coat. Seam-binding comes in
ainierent widths and you can get it
wide enough for even a heavy coat-
ing. Put the seam-binding on by
hand with an easy running stitch,
sewing it neatly and evenly. (Fig.
252, chapter XIX.)
The seam-
binding should run up well above
the line of the lower edge of the
lining.
The Lining. The coat lining
should be cut with the coat pat-
tern as a guide, following the direc-
tions given in the Illustrated In-
structions. The lining must be cut
slightly wider than the pattern. A
lining must be loose and very easy.
If it draws at all, it will wear out
almost at once.
In a half-lined
coat the lining comes only to about
twenty-six inches from the neck.
Put the lining in according to the
directions given in the Illustrated
Fig. 316A The half-lined coat
Instructions in the pattern.

AN UNLINED COAT. An unlined coat needs interlining. The interlining for the
front of the coat should be cut and put in according to the pattern instructions. The
interlining in the front of the coat should be covered with a facing of the coat material.
The part of the interlining left exposed back of the facing should be covered neatly
with a lining.
In cloth or linen the raw edges of the interlining and facing of the side fronts should be
bound together. In silk they may both be turned under three-eighths of an inch, facing
each other, and stitched. In either case, these edges should be left loose from the coat;
they should lie against it, but should not be caught or stitched to it.
A yoke-shaped piece of lining material must be used in the back of the coat. It should
be six inches deep at the center, and run straight across the shoulders. Turn under its
lower edge three-eighths of an inch, and stitch it in a narrow hem. Then baste it to the
back of the coat at the shoulders and neck, leaving its lower edge free.
The shoulder edges of the back yoke should be turned under, and then basted and
felled carefully over the shoulder edges of the front lining.
In silk the coat should be finished with French seams. In a coat of cloth the seams
may be pressed open and the edges bound separately with silk seam-binding or they may
be bound together, turned to one side, and stitched down flat to the coat. If they are
pressed open, they need not be stitched again unless you prefer to stitch them on both
sides of the seam. In heavy wash materials the seams can be handled in the same way,
using a cotton seam-binding instead of silk. Be sure the binding is shrunken. It should
be the same color as the coat. Or, on a linen, cotton rep, etc., you can use the flat stitched
Seam.
The lower edge of the coat should be turned under according to the instructions on the
pattern, weighted with lead weights at the seams, and its raw edge either hemmed
or bound.


COATS AND JACKETS
127
the front of the jacket. Cut a facing for the collar and a front facing like the front,
extending back an inch beyond the turned-over corner at the top.
Lay the front facing face down on the outside of the jacket fronts and stitch a seam
around the corner and down the front of the jacket; turn it over and baste near the
edge. Baste the collar-facing to the collar, turn under the edges and slip-stitch to the
collar and to the front facing where joins it at the top. Stitch one or two rows around
the edge of the collar and down the fronts. Turn up the bottom of the jacket according
to the pattern directions.
Cut the back lining like the cloth back, but allow a half-inch plait down the center
of the lining. Cut the lining of the front and side pieces in one, laying a dart-like plait
from the shoulders, running out to nothing about five inches down. Full directions for
lining a coat will be found on pages 123 and 124.


BOYS' SUITS
129
Small trousers buttons are sewed on in position corresponding to the buttonholes on
the opposite fly.
For the Smaller Boys, when buttons and buttonholes are impracticable, the small
facing provided for in the pattern is attached to the right side of both of the fronts,
turned in and stitched down. (Fig. 317, page 128.) The front seam is then closed from
the notch above to the waistline.
The Side Pockets should be put in
next. Complete instructions for ma-
king them will be found on page 106,
Chapter XX, “Pockets.”
Trousers Having no Fly Closing have
the waistband divided into a front and
back waistband, leaving an opening at
each side of the trousers. In this
case the extension on the side of
the back pieces of the trousers is
faced, thus forming the under-
lap for the opening. The loose
edge of the pocket piece is then
faced on both sides with the
cloth, and two rows of stitching,
a quarter of an inch apart close
to the edge, give it a firm finish.
Now the upper edges of the
pocket are basted to the upper
edge of the trouser's front. (Fig. Fig. 318. Inside View of Pocket with Buttonhole Fly
317, page 128.)
Make a bar, overcast or buttonholed, between the two rows of stitching, catching through
the cloth, and both sides of the pocket at the top and at the bottom of the opening.
The pocket may now be closed. Round off one or both of the corners, and, turning in
the seam with the raw edges toward
the inside of the pocket, stitch securely.
The Outside Seam of the trousers is
closed next. In knickerbockers, it is
stitched in a seam all the way down.
The lower edge of the legis gathered in a
casing with an elastic. In trousers fin-
ished with a band the extension allowed
at the lower part for an opening at the
side is turned under for a facing
on the upper side, and faced and
used as an extension on the
under side. The band can be
fastened with a buckle or with
a button and buttonhole. After
stitching the seam, turn the
raw edges toward the front.
From the outside, run a line of
stitching one-eighth of an inch
from the seam.
Now stitch and press open
Fig. 319. Outside View of Fly and Pocket
the inside seam of each leg.
The two leg portions may then be joined, beginning the seam down the back at the
waist, and extending it to the notches in the lower edge of the fly pieces, including in
the seam the seams of the fly pieces below the notches. Press this seam open and
baste over it, flat on the inside, a piece of tape or a bias strip. Stitch from the outside
a row on each side of the seam. Turn the end of the tape over and hem neatly down
at the end of the fly stitching. On the outside, at the end of the fly opening, make a
strong stay-stitch or bar, to keep it from tearing out.


132
THE DRESSMAKER
curve, run several rows of stitching across it, parallel to the tracing. The other part
of the collar is covered with "padding stitches." (Fig. 324.) Now baste the top collar
piece over this foundation; turn the edges under and baste.
The collar is then basted to the jacket on the outside of the neck edge. Baste it on
carefully, avoiding any possible stretching out of shape. At the points where the collar
meets the lapels of the jacket, the canvas must
be cut away to make a neat joining.
The Sleeves are cut, the seams stitched and
pressed open. Turn the wrist edge up as far as
the pattern allows, and baste it flat. Then run
a line of stitching around it, as directed in the
pattern instructions. Following the notches,
baste the sleeves into position and try on the
garment. If they set properly, they may then
be stitched in by machine.
If cuffs are provided for, they are made sep-
arately, and slip-stitched to the sleeve over the
wrist edge after the lining has been put in. (See
page 54, Chapter X, “Children's Clothes.")
The Belt has an interlining of canvas, stitched
in at the same time with the row of machine-
stitching that finishes it three-eighths of an inch
around the edge. The lining is then added by
hand. Two buttonholes are made, two inches
apart, at the round end of the belt, and two
corresponding buttons are sewed on the straight
end. An opening through which the belt is run
is allowed under each box plait in the jacket.
The Buttonholes are made with eyelets as
described and illustrated in Chapter II.
The Lining for the jacket is the next con-
sideration. Cut the back by the pattern for
the jacket, allowing a half-inch plait down the
center, which keeps the lining from drawing
the outside cloth out of shape. Baste this little
Fig. 323. Inside View of Jacket Front,
Before Lining is Added
plait down. Now secure the lining back into
position on the inside of the jacket. Baste the
raw edges at the side seams over the corresponding seams of the cloth, but do not
have the bastings show through to the right side of the jacket. Do the same at the
shoulder seams. At the neck edge clip the curve enough to make the lining lie smoothly;
slip the raw edge under the
collar and baste the latter
down over it.
Each lining front is cut
in one piece, with a dart-
like plait allowed at the
shoulder which graduates to
nothing five inches below it.
Fig. 324. Showing Padding Stitch and Machine Stitching
Baste each piece into posi-
on the Collar
tion in the jacket. The raw
edge at the side seam is turned in and hemmed down by hand, covering the raw edge of
the back piece. It may be necessary to clip the edges slightly to prevent any possible
drawing at the seams.
The raw edges down the front are, likewise, turned in and stitched down over the
cloth facing by hand. At the shoulder, the seam of the back lining laps over the raw
edge of the front piece. The top collar piece is then stitched down by hand.
The sleeve lining is cut by the sleeve pattern, the seams stitched and pressed open.
Slip it into the jacket sleeve with corresponding seams together. At the wrist edge

I
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CHAPTER XXIV
REMODELING
O
NE ought, at the very beginning of each season, to set to work to take a critical
survey of last year's wardrobe. It is the easiest way to find out exactly what new
clothes are needed and exactly how far one can go with the old ones. Coats, suits
and dresses that are still in sound physical condition, but which have grown out
of style, should be remade. The remodeling of a pair of sleeves, the recutting of a
skirt, will almost always give a new lease of life to a suit, while there are dozens of clever
little ways by which one can completely obliterate the date of vintage of a gown.
Decide first what clothes are worth remaking. When the materials are badly worn
it is hardly worth while going to any amount of trouble in the way of renovations. But
when the material is sound and whole it is little short of criminal not to take advantage
of its possibilities.
If one feels inclined to take a little trouble--and with a good dye there is practically no
trouble at all-one can completely disguise a last year's suit or dress by changing it
to another color.
DYEING is a very simple thing, but there are certain hard and fast rules in regard to
it that must not be disregarded. In the first place you can not dye a silk or wool material
with a dye intended for cotton and linen. Neither can you dye cotton and linen with a
silk and wool dye. In the second place, you can't change dark colors into lighter ones.
In the third place, the material must be prepared carefully for the dyeing. If there are any
grease spots or stains they should be removed as thoroughly as possible. (Chapter XXV.)
Afterward the material should be washed for two reasons. The first is, that if the
material is put into the dye soiled, the dirt will mingle with the dye and the result will
be muddy instead of bright and clear. The second is that as much of the old dye should
be taken out or “discharged," as it is called, as possible. Otherwise it will be impos-
sible to predict how the mixture of the two dyes will turn out.
Cottons and silks can be washed in soap and boiling water, but it is not safe to use
soap to any great extent on wool materials, as it softens the wool. Boil the materials
about half an hour, changing the water as it becomes discolored. Keep up the washing
until the water remains clear-a sure sign that all the dye has been discharged that is
likely to do any harm.
It is best to dye the material while it is still wet from the washing as it absorbs the
dye more readily and more evenly in that condition. Be sure to follow the directions
given with the dye you use. A good reliable dye compound will be accompanied by
explicit directions, which you must take care to follow. You must be especially careful
in picking out a dye that will suit your material. White, of course, can be dyed any
color. Pale shades can be dyed darker or changed into other slightly deeper colors.
A material of one color dyed with a dye of a second color will emerge from the fray an
entirely different shade from either. For instance, if you dye a yellow material with a
light blue dye, you will get green; while the same light blue over light red makes purple,
and over light green makes peacock. A dark blue dye over brown makes navy blue, and
over yellow, bottle green.
A brown over blue makes dark brown; over green makes
olive brown; over red makes seal brown. There are dozens and dozens of combinations
and variations of colors that one can bring out by a clever combination of dye and
material. One should go back to the old safeguard of experimenting first and doing the
actual business afterward.
After you've dyed your material, take it out of the dyeing fluid and hang it up until
it is nearly dry. Then rinse it out in clear water to prevent its crocking. If a material
-
134


REMODELING
135
has been dyed black, do not rinse until it has dried thoroughly. It will leave it a better
color. If you do not dye your material, clean it carefully. Directions for removing spots,
stains, etc., are given in Chapter XXV, “Care of the Clothes."
sors.
IN MAKING OVER A WAIST it is sometimes necessary to use new material; but
when chemisettes, yokes and half-sleeves are in fashion, you can use net, lace, chiffon, etc.
In remodeling a waist or dress, put it on a bust form and stuff out the sleeves with
tissue-paper. Look it over to see where it requires alteration. Sleeves and skirts fre-
quently need to be recut. If piecing is necessary, make the seams fall in places where
they will not show or where they can be covered with trimming.
If the dress is to be entirely remodeled, rip it apart with a sharp knife or pointed scis-
Do not stretch the material, especially at the neck and armholes. Brush the seams
carefully, and remove all clipped threads. If the material has changed color, use it on
the reverse side if possible, even if the weave is slightly different.
After the material has been thoroughly freshened—washed, pressed or dyed-lay it
out on the new pattern and see if it requires piecing. If necessary, piece the lining so
that it will set comfortably. It should be easy across the bust and shoulders, and snug,
but not tight, over the waist and hips. In piecing, cut the patches on the same grain of
the material as the original garment. Never piece at the neck or armhole with a bias
or straight piece of material. Lay the new fabric on the old, following the grain of the
latter. Hem the piece down neatly, and cut the garment over by the new pattern.
Put the Lining on, and then drape the outside over it after you have cut it according
to your pattern. By using fancy trimming-pieces, collars, yokes, plastrons, etc., you
can almost always remodel a waist so that the piecing will never show. Lace or net for
yokes, chemisettes, etc., can be dyed the color of the dress either at home or at a regular
dyeing establishment. Lace can be dipped in tea to give it a rich cream color that can
be made lighter or darker according to the strength of the tea.
REMODELING A SKIRT is an easy matter if the new pattern is narrower than the
old skirt. In that case it is only a question of recutting; but if the pattern calls for
more material than you have in the skirt itself, you will have to do some piecing. Braided
bands covering the skirt seams are an excellent way of increasing the width of a skirt.
Or you can raise the skirt at the waistline, refit it, and add to it at the bottom by a band
or a fold. Or it may be pieced at the bottom and the line of piecing covered by wide
braid, bias bands, etc.
Linen or Piqué Skirts can often be lengthened by bands of embroidery insertion or by
bias bands of the material. These skirts are very apt to shrink around the hips. They
should be ripped from their belts, raised and refitted. They will have to be lengthened.
Coats should be remodeled by an up-to-date pattern. If they require piecing, try to
let it come at a seam and cover it with a stitched or braided band. Quite frequently it
is easier to cut a coat suit down for one of the daughters of the house than to remodel
it for the mother. But do not use a material that is old and somber for a child, without
relieving it by a trimming that is bright and youthful-looking. A black-and-white pin-
checked wool or a dark serge is apt to make a dull frock for a little girl, but if it is trimmed
with bands of contrasting material in a suitable color it becomes childish-looking and
pretty.
In making over half-worn garments into presentable and at the same time durable
clothes for boys, such as suits, reefers, and overcoats, a tailored finish is the first require-
ment. It means neat work, even stitching and careful pressing. For the pressing you
will need heavy irons, evenly heated, and a piece of unbleached muslin that can be
dampened and laid over your work.
In ripping apart the old coat or suit that is to be remodeled for your little son, notice
carefully all the small devices of interlining, canvas and stitching that the tailor used
in making the garment. You can repeat many of them in your own work. If you use
the old canvas and find that it has grown limp, you can restiffen it by dampening it
thoroughly and ironing it with a heavy iron thoroughly heated. Full directions for
making boys' trousers are given in Chapter XXIII, "Boys' Suits,” and Chapter XX,
"Pockets." Chapter XXII, on "Coats and Jackets," will give you all the necessary
information you will want for finishing the jackets or overcoats.









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The dressmaker: a complete book on all
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