Y i i.___i1__ _




THIRD EDITION
PUBLISHED BY
THE BUTTERICK PUBLISHING COMPANY
BUTTERICK BUILDING, NEW YORK
PARIS LONDON NEW YORK TORONTO
Copyrighl, I921, by The Bullerick Publishing Company


t 01
-4"-‘
C O N T E N T S
PAGE
CHAPTER I—THE NECEssARY EQUIPMENT P0R DREssMAKING. . . . . . . 7
CHAPTER 2—BUT'l‘ERlCKPATTERNs . . . . . . . . . . . . . . . . . . IO
CHAPTER 3—ALTERING THE LENGTH OF PATTERNs. . . . . . . . . . . . I9
CHAPTER 4—AT.TERING WAIsT PATTERNs FOR FIGUREs THAT VARY FROM THE
AvERAGE........................24
CHAPTER 5—ALTER1NG SKIRT, YOKE AND DRAWER PATTERNs FOR FIGUREs
THATVARYFROMTHEAVERAGE. . . . . . . . . . . . . . 28
CHAPTER 6—MATERIALs, SPONGING, CUTTING, ETc . . . . . . . . . . . 32
CHAPTER 7——WA1sTs, BLOUsEs AND SHIRTwAIsTs. PART I—DREss WAIsTs. 37
CHAPTER 8—WAIsTs,BLOUs1':s AND SHIRTwA|sTs. PART II . . . . . . . 42
CHAPTER ()—SKIRTs FOR LADIEs AND MIssEs . . . . . . . . . . . . . . 47
CHAPTER Io—DREssEs FOR LADIEs, MIssEs, GIRLsANDCHILDREN. . . . . 51
CHAPTER I1—SAIL0R 0R NAVAL SUITs . . . . . . . . . . . . . . . . 4 53
CHAPTER 12-C0ATs AND CAPEs FOR LADIEs, MIssEs, GIRLs AND CHILDREN . 58
CHAPTER 13—H0UsE DREssEs, NEGLIGf:Es, KIMONOs, BATHR0BEs, APR0Ns,
BATHING-SUITs AND ROMP}-IRs. . . . . . . . . . . . . . . 65
CHAPTER I4—MAKING AND FINIsHING UNDERGARMENTs. . . . . . . . . . 68
CHAPTER I5—MATERNITYCL0THEs AND THE LAYETTE . . . . . . . . . . 72
CHAPTER T6—SEw1NGST1TcHEs . . . . . . . . . . . . . . . . . . . . 81
CHAPTI'3RI1—SEAMs..........-............... 86
CHAPTERI8—HEMs.........................91
CHAPTERI9--FACINGs........................94
CHAPTER 20—TUCKsANDPLAITs . . . . . . . . . . . . . . , . . . . 97
CIIAPTER2I—PLACKE'I‘s............',.........IOO
CH.-\PTER22-—POCKETs...............,..,.....I04
CHAPTER 23——C0LLARs,CUPEs AND BELTs . , . . 4 . . . . . . . . . . IO()
CHAPTER 24—BUTT0NH0LEs, EYELETs, BUTT0Ns, PATENT FAsTENERs, HOOxs
ANDEYEsANDBLINDL00Ps .,....,........ II2
CHAPTER 25—TR1MMING STITcHEs . 4 . . . . . . . . . . . . . . . . . 118
CHAPTER 26-BIAsTRIMMINGs. . . . . . . . . . . . . . . . . . . . . I29
CHAPTER 27—APPLIED TRIMMINGs, RUFFLEs, EMBROIDERY AND LAcE. Part I I32
CHAPTER 28—APPuEDTRIM1HINGs. PART II . . . . . . . . . . . . . . I37
3


THE NEW DRESSMAKER
PREFACE
HE best-dressed women in the world have their clothes made for them, on lines that
are suited to their type, and in colors and materials that emphasize their good points
and minimize their weak ones.
Women of wealth and fashion go to Paris for their clothes. The woman of moderate
means can not go to Paris nor can she have her clothes made for her. The only way that
she can be really well dressed is to make her clothes herself. She too can exercise her
taste and discrimination in choosing the correct fashion, the new material, the charming
color, the line that will make her look young, slender and elegant. And like the woman
who wears French dresses, she can have clothes that are cut to fit her figure, that are not
too long in the shoulder. too big under the arms, too low in the waist, or too short at the
elbow.
OMEN are so well trained in economics nowadays they will readily understand that
in making their own clothes they pay for the bare materials and nothing else, and so
efiect a tremendous saving which is further increased by the fact that they can buy a
better quality of fabric that will lengthen the life of their clothes.
With the present simple styles dressmaking was never as easy as it is now. Com-
pared to the elaborate trimmings of the “awful Eighties” and even the whalebone and
crinolines of later date, the extreme simplicity of the dresses of to-day has reduced the
work of dressmaking to its lowest possible terms. Trimming is so often in the form of
effective but bold, easily executed embroidery, braiding, etc., for which you get the newest
French designs in NEEDLE-ART, the special Butterick publication on this subject. THI
:
DI-:I.1.\'I:AToR, BUTPERICK FAsHIoNs and the BUTTERICK FAsHIoN SHEET illustrate the
latest French way of using the new trimmings and the little finishing touches that give
a dress a Parisian look.
The object of this book is to enable a woman to make her clothes with the same per-
fection of finish, the same attention to detail that she would receive in the atelier of a
French dressmaker or in the workrooms of a Fifth Avenue establishment.
The success of a dress depends on four things: style, material, construction and finish.
HE first is line or style. This you get from Butterick Patterns, which give you
French fashions adapted to the needs of well-dressed American women. It does not give
you conspicuous, ephemeral extremes. For example, when the French mannikins wore
dresses which reached just below the knees at the same time that certain American
manufacturers of ready-made clothes were making the very long lead-pencil skirt, Butterick
Patterns kept to the smart conservative length of skirt used by the best-dressed Parisians
and New York women. You can absolutely rely on the styles given you in Butterick
Patterns.
An interesting collection of the latest Paris and New York fashions appears each month
in THE DELINEATOR and BUTTERICK FAsHIoN SHEET, and at the beginning of each
season in BUTTERIGK FAsHIoNs. You get every phase of the new fashions including
the Parisian conception of the French modes as sketched from the models of Worth,
5


6 THE NEW DRESSMAKER
Paquin, Poiret, Doucet, etc., to the simple practical versions prepared for American
women.
ECOND, the materials and colors which change every season stamp a. dress with its year
mark. The new materials which are suitable for your dress, blouse, suit, etc., are given
on the Butterick Pattern envelope. This information is also given every month in the
DELINEATOR and every season in BrrrrEI-ucx FASHIONS, where you see the actual colors
and color combinations on the color pages.
[N THE third place, your dress must be cut and put together and finished with profes-
sional skill and precision.
THE DELTOR, the very wonderful complement of the Butterick Pattern, shows you
in pictures how to cut the garment and put it together and tells you how it should be
finished. The Deltor shows you in its Illustrated Layouts exactly how to place each size
of each version of the pattern on material of every suitable width. The Imyouts
show how the pieces of the pattern can be laid out so as to use the least possible amount
of material to give the right style efiect. If it is necessary to fold the material the Lay-
outs show where to fold it so that it will cut without waste. With the Deltor it is
possible to give what is lmown as “trick-lays"—that is, layouts planned by expert cutters,
which save an eighth, a quarter or half a yard of material over the layout that a woman
could plan for herself. With an inexpensive material these “trick-lays" save the price
of a pattern, while with expensive material the saving amounts to two, four, six dollars
or even more. With the saving made possible by the Deltor the pattern itself costs
nothing.
The Layouts give the correct position for each piece of the pattern in relation to the
svlvedge so that it will be cut on the right grain of the fabric. If a garment is cut on the
wrong grain it will have a bad style effect.
The Illustrated Layouts save the woman the work of planning the cutting of her mate-
rial. She simply copies in five minutes a layout that is the result of several hours’ work
on the part of an expert. ‘It saves her time and gives her the benefit of an expert cutter's
knowledge of grains and cutting lines.
The Butterick Illustrated Instructions are a series of pictures which show you how to
cut and put your dress together step by step. For example, in making a skirt the first
picture will show you just how to put the pieces together, match the notches and just where
to haste the seams. Another picture shows you how to make the inside belt down to the
last hook. Still another puts the skirt on the belt for you. There is no possibility of
misunderstanding. You don't have to read directions—you simply follow the pictures.
The Butterick Pattern is the only pattern in the world that has this remarkable picture
guide. It isn't necessary to know anything about dressmaking when you have the
Deltor. A beginner can drape the most elaborate skirt or put together a tailored coat
as expertly as a dressmaker or a tailor, for the simple reason that highly skilled pro-
fessionals show her each step in the illustrations. They show you how to make clothes
by pictures in the same easy, absorbing way that a movie tells you the story of the play.
N THE fourth place, your dress must have the correct finishing touches which are so
characteristic of the French gown. All women dread the “home-made look.” It is al-
ways traceable to one of two things. Either a woman does not know how to finish her
dress smartly or she is unwilling to spend the proper time in doing so. You can not get
something for nothing. You can get the equivalent of a French dress by substituting
your own work for the price that you would pay a French dressmaker if you supply
yourself with the same information possessed by the French dressmaker. The Deltor will
tell you just what kind of finish to use at every point and Tm: NI:w DRESSMAKER will show
you how these finishes are done. This book will give you every possible phase of finishing
every type of garment. It is given in a simple, fully illustrated form that a beginner can
follow without the slightest difiiculty. But nevertheless it represents the methods used
by the great French dressmaking houses, the best English tailors and the fashionable
Fifth Avenue establishments. For that reason it will be invaluable to the madame who is
ambitious for the success of her business and to the home dressmaker who can not afford
to go to the madame.


8 THE NEW DRESSMAKER
dressmaking are known as the “bent” shears. (Ill. 1.) They are 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. 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. (Ill. 1.)
You can get them at the stationer's. 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
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, dif-
ferent colored cottons for marking tailors’ tacks, tailors’ chalk, a yard-stick, emery for
polishing needles, and a tape-measure. Learn to use your tape-measure accurately, for
one of the points of fine dressmaking is the difference between an eighth of an inch and a
quarwr, a quarter of an inch and three-eighths.
The needle must be in proportion to the thread
and to the texture of the material on which it is to be
used. It should be just large enough for the thread
to slip through the eye easily and heavy enough not
to bend when it is put through the material.
Complete information concerning irons and ar-
ticles for pressing will be found in Chapter 32
“Pressing.”
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, gathering,
hemming, binding, etc., can be done on a machine.
THE DRESS-FORM. It is necessary in dress-
making at home 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. (Ill. 2.) If you have a thirty-six-inch
bust, buy a thirty-four-inch dress-form. The
stand should be on casters so that you can move it
around and turn it easily. It is not necessary for
you to have a wire skirt frame. Buy a waist-lining
pattern reaching down to about the hips, buying it
by your bust measure. (Chapter 2, pages 10 and 11.)
Cut the lining from unbleached muslin or natural-
colored linen or duck. The material should be of a
firm, strong quality so that it will not stretch and it
should be thoroughly shrunken before it is used. In
cutting the lining out, cut one sleeve.
Put the lining together according to the Illus-
trated Instructions given with the pattern, making
m‘ 2' B“°"'F°"" the closing at the center front.
The lining should be tried on directly over your cor-
set so as to get as close a duplicate of your figure as possible. ln using the finished dress-
form remember that it represents your figure without lingerie. Dress the form in the
lingerie that you usually wear.
Make the necessary alterations at the outlet seams, fitting the lining very carefully.

" . .1


THE NECESSARY EQUIPMENT FOR DRESSMAKING 9
Be sure to have the neck and armhole exactly right. Stitch the seams through the
bastings. If you can't remove them afterward, it doesn't matter in this case. Press the
seams open. (Chapter 32.) It is not necessary to bind or overcast them. Run a strong
basting around the armholes and neck to keep them from stretching, turning the neck
edges under three-eighths of an inch.
Make up the single sleeve you cut with the rest of the lining, following the directions
given with the pattern. Baste it into the lining and try it on to be sure that it is the right
length and sets comfortably on the arm. Fit the sleeve as close to the arm as possible.
Then rip the sleeve out. Stitch and press open the sleeve seams.
Stitch the fronts of the lining about an eighth of an inch back of each fold edge.
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
between 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. (Ill. 2.) If you have prominent or uneven hips or a
round abdomen, place the wadding where it is needed. VVhen you pad below the waist-
line, pin the wadding to the form so that it will not slip.
\Vhen you have padded the front out to its right propor-
tions. 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.
Place a piece of lining material inside each armhole,
turn in the armhole edges three-eighths of an inch and
fell them to it. (Ill. 2.)
F0 R a figure that varies quite decidedly from the average
it is better to use a special dress-form. Alter your pat-
tern 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 adjust-
able dress-form. Get it a size smaller. adjust it to rep- ..
resent _\-0our figure. cover it with your lining and pad it as |||_ 3_ The 5|eeve_p°rm
(llrvflletl 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. l\'Iark these linings distinctly with the
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.
lt 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. (Ill. 3.)
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. (Ill. 3.) Pad the upper part of the sleeve until it looks as nearly as possible
like the arm. Turn in the upper edge of the pier-e of lining three+>ighths of an inch and
fell it to the upper part of the sleeve. (Ill. 3.)
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 2
BUTTE.RlCK PATTERNS
What They Are, What They Do, How to Buy the Right Size, How to Buy Your Materials,
How to Use Your Pattem Correctly
UTTERICK PATTERNS are always in advance. They are the smartest in style, and
give the prettiest versions of new fashions. They are the easiest to use and are
fully guaranteed in every way. -
They are designed by a stafi whose headquarters are in Paris and New York.
This staff is in constant touch with the work of the most famous French dressmakers
such as Worth, Doucet, Paul Poiret. Madame Paquin, Dtnuillet, Chéruit, Agnes, Jeanne
Lanvin, Jenny, Premet, Beer, Redfern and Martial et Armand. During the Paris season
the Butterick staff attend the French races, the smart restaurants, the opera and the new
plays where the newest fashions are shown, in order to adapt them immediately to Amer-
ican needs in the Butterick Pattern. The Paris social season is in the Spring, the London
season in the early Summer, the Deauville and Biarritz seasons in Midsummer, the New
York season from November until Lent, the Palm Beach season in January and early
February, and the Nice and Monte Carlo season in M arch. It is therefore possible for
the Butterick staff to work directly at the sources of the fashions which would be imprac-
tical if all these seasons occurred at the same time.
More Butterick Patterns are sold in Paris than all other makes of French patterns.
The smart Frenchwoman uses Butterick Patterns because she is in a position to compare
them with the fashions of the Rue de la Paix and knows the Butterick Patterns give her
the latest French styles.
WHAT THEY ARE- The Butterick Pattern gives you the actual shape of every new fashion
and for every type of garment for women, young girls, children, boys and babies. and for
every kind of garment that a woman should undertake to make for the men in her family.
The Butterick Patterns give the professional dressmaker patterns that she can not
afford to make herself. If she is sufiiciently expert to be able to draft a good pattern her
time is worth several hundred times the small amount which she pays for the Butterick
pattern. If she is not expert enough to make a pattern, the Butterick pattern made by
the highest grade of professionals saves her the ruinously expensive mistakes that she
would make if she attempted to cut her own patterns.
HOW TO BUY THE RIGHT SIZE. It is absolutely essential that you buy your pat-
tern by the right size. In no other way can you be sure of securing the perfect lines of
the original design. The right size will save you time because it means that there will
be no unnecessary fitting. It will save your material. A size too large takes more mate-
rial than you require while a size that is too small might make your dress unweaz-able.
Insist on being measured each time you buy a pattern. New corsets or an unsuspected
change of weight may have altered your bust, waist or hip measure. Before buying a
pattern put on your best corsets and lace them properly. Wear a waist or dress that
fits nicely. Never be measured in old corsets, over your coat, or in a clumsy dress or a
negligée.
The bust measure only is used in buying waists, blouses, dresses, coats and underwear
(except petticoats and drawers). Buy them all by the same bust measure. If you buy
a~ thirty-six bust waist buy a thirty-six bust coat or chemise.
Don't buy a larger size for your coat or a smaller size for your underwear. A coat
10


BUTTERICK PATTERNS ll
patter n makes allowance
in the size of the waist or
dress underneath; under-
wear patterns make the
proper provision in size
to allow for the fact that
they are worn under a
waist or dress.
A thirty-six inch bust pat-
tern fits a figure which mea-
sures thirty-six inches in the
bust. The pattern itself does


‘ \ not necessarily measure thir-
7 r~c»=s\, ty-six inches. The proper
_s:|.ow ' .
NOW“ r amount of fulness_1s allou ed
WA,“ I, in a blouse to give it the
"-‘"5’ right softness on the


nonmu.
wmsr
|.| N 5-"


figure. In a waist the
right amount of size is al-
lowed to give the correct
. . . style efiect. A thirty-six
Ills. 4 and 5. Measuring a Woman's Busl. Waist. Hip and Arm inch bust Soft blouse will
be larger than a thirty-six
inch bust close-fitted basque
but both of them will fit correctly a woman who measures thirty-six inches at the bust.
In buying a pattern you can not rely on the size that you buy in ready-made clothes.
With some manufacturers sizes run large and with others they run small, and do not fur-
nish you a reliable guide in buying a pattern. Be measured.
The bust measure should be taken over the fullest part of the bust close up under
the arms and straight across the back, with the tape-measure drawn easily but not
snug. (Ills. 4 and 5.)
The waist measure should be taken at your normal waist-
line with the tape-measure held snug but not tight.
(Ills. 4 and 5.)
Skirt patterns, rlrawers and peflicoals should be bought
by the hip measure taken0 seven inches below the normal
waistline for women, and around the fullest part of the hip
for misses and small women. The tape should be easy and
not snug. (Ills. 4 and 5.)
The sleeve pattern should be bought by the arm measure
taken easily around the arm just below the armhole.
(Ill. 4.) _
At the top of every pattern you will find instructions
as to how to buy that particular pattern, that is, whether
it should be bought by the bust or hip measure, etc. Fol-
low these instructions in buying your pattern.
Skirt patterns should be bought by the hip measure.
(Ills. 4 and 5.) If the waist is small in proportion to the
hips, it is an easy matter to take in the skirt a little at the
top. If the pattern is small for you at the waist—and
this will happen only in rare cases— a slight allowance
can be made for the necessary waist size when you cut
out your material.
A skirt pattern should never be ordered with a hip
measure smaller than that of the figure to be fitted.
If a plaited skirt is too large or too small at the waist,
the plaits should be made either deeper or shallower to
fit the belt. |u.e. The Underarm Measure
If the skirt is gathered at the top, the gathers simply is T°l<@" "°", O"° |"ch 5°'°‘"
. thA ’llthLelhlh
need to be drawn a httle closer or let out as much as 8 |';|';'€',’5'5;5"r°|,:w°',',tf e


I2 THE NEW DRESSMAKER
needed. If the skirt is plain at the top
and gored, each seam should be taken in
so as_to make the alteration as small as
possible in each place, sloping it gradu-
ally to nothing at the hipline. Or the
waist size can be increased as illustrated
and explained in Chapter 5 “Altering
Skirt Patterns." Page 28.
In a circular skirt with one or more darts,
the waist size can be made smaller or larger
by taking in or letting out the darts.
In a circular skirt without darts, if only
a small reduction is required, it may often
be eased into the belt. If the waist needs
to be made very much smaller it may be
necessary to make a small dart at each hip.
If the waistline needs to be made larger
it can be done by raising the skirt a trifle


Ills. 9 and l0. Measuring a Boy's Breast and Waist


Ills. 7 and 8. Measuringa Child's Busl, Waist and Hip
on the belt all the way around. A very
little will increase the waist size a good
deal.
MlSSES' PATTERNS for dresses, blouses.
coats and underwear, except drawers and
petticoats, should be bought by the age
unless the girl is large or small for her age
in which case the pattern should be bought
by her bust measure. Skirt, drawers and
petticoat patterns should also be bought
by the age if the girl is of normal size. It
she is large or small buy her drawers or
petticoat patterns by her hip measure.
SMALL WOMEN'S PATTERNS for
dresses, blouses. coats and underwear, ex-
cept drawers and petticoats, should be
bought by bust measure. Skirt, drawers and
petticoat patterns should be bought by
hip measure.
JUVENILE PATTERNS should be bought by age unless the child is small or large for
its age.
In that case order the girl's dresses, coat and underwear, except drawers, by
the bust measure. The drawers should be ordered by the waist measure.
The proper
way of taking a child's measurements is shown in the Illustrations 6, 7 and 8.
BOYS’ PATTERNS should be ordered by age.
boy is large or small for his age order his blouse, suits
and coat by his breast measure, his shirts by his neck
measure, and his trousers by his waist measure.
Illustrations 9 and 10 show the proper way of taking
The breast measure is taken
boys’ measurements.
Ifa
around the body close under the arm with the tape
drawn close but not tight. The measurement for an
overcoat should be taken over the clothing the coat is to
cover. The waist measure should be taken at the normal
waistline with the tape-measure held close but not tight.
HEAD MEASURE. In ordering hats for children
Order hat patterns by the age unless the head is large


? §
in///4”//4%
Measuring a Child_
Head


BUTTERICK PATTERNS I3
or small. In that case measure the head as shown in Illustration 11.
MEN'S SHIRT PATTERNS should be bought by the neck mea-
sure. You can get his neck measure from his collar, a comfortable
shirt, or his own neck. If you buy his shirt patterns by his
collar size find out whether he prefers his shirts M2 inch or 1/,
of an inch smaller than his collar or the same size. All three sizes
are correct, it is a matter of individual preference.
If you are measuring from a shirt that is comfortable, measure
from the center of the buttonhole of the right end to the center of
the buttonhole of the left end.
If you measure his bare neck, measure it where the neck band
comes. Do it carefully and hold the tape-measure easy. Add %
inch to his actual neck measure for his shirt size.
Butterick shirt patterns allow for all shrinkage of the silk and
cotton materials. Wool materials should be shrunk before cutting.
Buy his nightshirt and pajama patterns by the same neck measure
as you would a regular shirt. Don't buy a larger size; the night-
shirt and pajamas patterns have the necessary allowance for an
easier fit around the neck and through the body.


DOLLS’ PATTERNS, When you measure a doll measure its
."|' |2- A D°" length from the top of its head to the sole of its foot. . (Ill. 12.)
fr
'g*o,*;§;;*',,'S°F§§ HOW TO BUY YOUR MATERIALS. The effect of a dress
depends very largely on choosing the material that is suitable for
it. For example, you would never choose chifion for a circular
skirt on account of the fact that chifion would stretch badly when cut on the bias, and
that it is so soft that it would not give the flare at the bottom which is characteristic
of the circular skirt.
You would not choose a stiff silk that would give the bouffant efiect in a style period
when fashions were soft and clinging. Nor would you use a soft, clinging silk when it is
desirable to have the boufiant effect given by a stiff silk. A material that has had a
great vogue and that has become passé should never be used for a new dress for it will
give the dress an out-of-date appearance.
The same thing is true of colors. For certain staple materials like serge and gabardine,
the accepted colors like black and navy blue are always worn, but for the most part it is
necessary to inform yourself each season as to what is new and correct. This information
is given each month in THE DELINEATOR and every season in BU'I'l‘ERICK FAsmONs.
Materials suitable for the pattern are also given on the back of the pattern envelope.
The quantities on the pattern envelope will tell you what width of material you can
select. Never choose a material narrower than those given on the envelope. The widths
given are the ones in which you can cut the garment without ugly piecings. Narrower
widths are not given because they would be undesirable.
The pattern envelope will tell you exactly how much material you would need for any
size and in every suitable width for the different views on the pattern envelope. For
that reason you must always buy your pattern before you buy your material. If you
buy your material first you will do it by guesswork and you will get either too much or
too little. If it is too much you are wasting material and money. If you get too little,
one of two disagreeable things might happen. You might not be able to get more ma-
terial when you went back for it, or you might find that the amount you bought origi-
nally was a quarter of a yard too little for your sleeves, making it necessary to get three-
quarters of a yard of new material, where a quarter of a yard more material in the first
place would have answered if it had all been cut in one piece. Buy your pattern first
and decide which view you will follow in making it up so that you can find out exactly
what material you will require. It will take less material, for example, if you are going
to make a dress with the short sleeve of one view instead of the long sleeve of another.
The pattern gives the quantity for each view.
In planning the lengt_h of your skirt and before cutting your material, it is necessary
to decide whether the lower edge is to be finished with a hem or facing. Butterick patterns


I4 THE NEW DRESSMAKER
for ladies’ skirts do not allow for a hem and the quantities given on pattern envelope
do not include enough material for a hem. In some cases a facing can be made from
pieces that are left over. As a rule a skirt can be cut from less material if a facing is used
but in some cases a hem is preferable while in other cases a facing is better.
For a sheer material a hem should be used, if possible, as the seam joining a facing to
the lower edge of a skirt will show through a transparent fabric. A hem is the best fin-
ish for the bottom of a plaited skirt as a seam in the lower edge would be bulky in the plaits.
If the lower edge of a skirt has an inward curve as is usually the case when a skirt is
much narrower at the bottom than the top, it is better to use a bias or shaped facing as
a hem would be tight at the upper part when turned up.
If a hem is desired, allowance for it must be made in buying the quantity of material
and in cutting by the pattern, unless the skirt pattern is too long for you. If you are
two or three inches below average height the pattern will be too long for you and the
quantities given will allow you to use a hem.
THE USE OF PATTERNS. After you have bought your pattern take it home, open
it and identify the different pieces by the diagram on the back of the envelope.
If the two sides of the pattern are exactly alike you will find that the pattern is for
just half the garment and that each piece is to be cut double or twice.
A front gore pattern is cut double with its front edge on the fold of the goods.
If one side is difierent from the other a pattern will be given for each part that is differ-
ent as in the case of a skirt which is draped on one side and not on the other.
The two side gores are either cut singly or from a double thickness of the material.
After you have identified each piece of the pattern decide which ones you are going to
use and put the others back in the envelope. A waist, for example, will often have two
sleeves, and you must choose before cutting which sleeve pattern you prefer. You
must also decide whether you will use a body lining, a collar for the high neck, etc. Al-
ways put the pieces that you are not going to use out of the way so that you will not make
the mistake of cutting out things you do not need, and wasting your material.
The Butterick Pattern has a unique service of the greatest value in the DELTOR with its
ILLUSTRATED LAY-OUTS FOR CUTTING. These lay-outs show how to lay out for
cutting every size in which the pattern is cut and on material of every width suitable for the
garment. If there are two or three ways of making a garment from the pattern, the lay-
outs cover each method of making the garment.
The purpose of these lay-outs is twofold. In the first place they are intended to show
a woman the most economical way of cutting this garment correctly with the least pos-
sible waste of material. In the second place they show her how to place each piece of
the pattern on the correct grain of the material. If any piece is cut on the wrong grain
it will look badly when the garment is worn. If a sleeve is cut on the wrong grain it
will crawl around the arm and never stay in the right place. With the new Butterick
Illustrated L a y -
Outs any woman


can cut her gar- SELVEDGE
ment just as an ex- - - _ H 3% =---::.=,-Wig;
tailor would cut it.
Th i s question
of the grain or
thread of the ma-
terial is very im-
portant.
All materials are
finished at the
outside edges with
a woven border
called a selvedge.
(lll. 13.) The
material itself is
woven with length-.
pert dressmaker or -< ' ' ti‘,
cnosis witié r'¢'L5'
. . Ill. I3. Lengthwise and Crosswise of Material, Lengihwise
W156 01' CTOSSWISB and Crosswise Folds


BUTTERICK PATTERNS I5
threads. The lengthwise threads run parallel to the selvedge. (Ill. 13) Crosswise
threads run from selvedge to selvedge. (Ill. 13.) ~
A LENGTHWISE FOLD is a fold made parallel to the selvedge. (Ill. 13.)
A CROSSWISE FOLD is a fold made straight across the material from selvedge to
selvedge. (Ill. 13.)
A TRUE BIAS runs diagonally across the material at right angles to the lengthwise
and crosswise threads. (Ill. 14.)
' True Bias is obtained by spreading the mate-
rial on the table and making a mark seven or
eight inches from one corner on both the selvedge
and the cut end. Lay a yardstick across the
corner, touching both these marks, and draw a
line. (Ill. 14.) 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 in-
stance, be careful to have the cut strips all on
the same bias.
Sometimes, in cutting, if the material is very
pliable, the edges will stretch, and in time the
cutting line will deviate from the original mark.
It is well, in cutting many strips. to test the bias
line occasionally, by laying the yardstick across
the material, and cutting a new edge if the old
one is not even.
Bias 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 rufiles hang gracefully, it is
impossible to use successfully material that is
. _ cut on the straight of the weave. To maintain
"I0 145°, lgi‘;'$kg‘,§i‘:°'°'“' a perfect bias, the strips should be of equal width
throughout their entire length.
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l6 THE NEW DRESSMAKER
0 Large double perforations are used
in cutting. (Ill. 17.) They show
U "l . l7_ Aum you how‘to lay the pattern on the
o“_ar8eDOub|e right grai n of your material. These
peflom-,°ns ;, large double perforations form a .
Always Laid on straight line which is always placed
the Material lengtihwise or crosswise on the ma- m 20 Alflge Sinfle
Lenglhwise and Le;-i3, _ ' ' .
0 Pawllel *° ‘he When they are laid on lengthwise Peflorauon
“ 5°"’°.d9° °’ they are parallel to the selvedge
Crossw|se from d
Selvedge I0 e ges' . .
Selvedge When they are laid on crosswise
they run across the material from
selvedge to selvedge.
O Many women take a ruler and draw
a straight line through these perfo-
U rations for it makes it a little easier to
see that the line is the same distance
from the selvedge from end to end. Q
These large double perforations
must be laid on a straight thread of |||.2|_ A Smal l Single
the material so that the garment will p,,fl0,,,¢;on
set well and have the best efiect when
“ finished. If they are not placed ex-
actly parallel to the selvedge or on a
straight crosswise thread the garment
Q “ill twist and look badly.
The large triple perforations are
0 also used for cutting but they are
always laid on the fold of the material,
either a lengthwise or crosswise fold.
(Ill. 18.)
Some skirts are cut with one bias
"|. 18_ Lame -mple edge on each gore. Others have two
Perlorations bias edges, depending 011 the design
of the skirt. The perforations in
the pattern will show you just how
that particular skirt should be cut.
. After you have pinned your pattern
. on the material it is advisable to take
a ruler or tape and measure the cut- .
|u_ |9. 5ma|| DOub|e . . . . lll. 22. Single and Double
Pelfomfions ting line to be sure that it IS the same Nokhes
distance from the selvedge on each
group of perforations.
Small double perforations are always used to mark the normal waistline in skirts,
blouses, coats, etc. (Ill. 19.) In some cases they are also used to indicate special out-
lines at the neck, etc.
Large single perforations (Ill. 20.) and small single perforations (Ill. 21.) either alone
or together are used for different purposes and their use is always shown in the Illustrated
Instructions.
NOTCHES (Ill. 22.) are used at seam edges to show which edges should come together.
Edges marked with notches are put together with the duplicate notches matching.
Pin the pattern in place with small pins placed as close together as necessary to hold
the pattern firmly. Do not push the pins through the material recklessly, but take
up as few threads as possible so as not to mark the material.
In cutting you must use sharp dressmaking shears and follow the edge of the
pattern exactly. If you cut with small dull scissors you will get a jagged edge that
you can not follow in basting. If you cut beyond the edge of the pattern you will
change the size of the garment.


BUTTERICK PATTERNS I7
ILLUSTRATED INSTRUCTIONS.
In the pattern envelope you will find
THE DELTOR in which are the
BUTTERICK ILLUSTRATED IN-
STRUCTIONS. Look these over and
see how easily your dress will go to-
gether.
THE ILLUSTRATED INSTRUC-
TIONS show you with a series of
pictures how to join every part of
the garment, just where to haste,
tuck, drape, etc. You do not have
t0 l'6&(l l0Ilg, confusing d.ll‘60tIOIJS I01’ |lL 23. Busting Through Oullel Periorations
it' is all told in pictures which, with
a few explanatory words, are impos-
sible to misunderstand. You see at
a glance what you are to do just as
if there were someone at your work-
table putting your garment together
for you.


Ill. 24. Basling a Three-eighth; of an Inch Seam
THE ILLUSTRATED INSTRUCTIONS show
you just how to use every perforation and every notch.
If you have never used a pattern in your life the IL-
LUSTRATED INSTRUCTIONS make it possible for
you to make any type of garment without any knowl-
edge of dressmaking, because the knowledge is supplied
you by an expert who has reduced it to pictures.
OUTLET SEAMS are marked by large single perfora-
tions (Ill. 23.) In basting them the basting line should
run exactly through the center of these perforations.
(IlI. Z3.)
Ordinary seams are not marked by perforations but
"IL 25 “"4 25- Rl.‘1h'.‘.‘"d w'°"3 are basted exactly % inch from the seam edge. (IlI. 24.)
M°'h°4’ °l l°""'"“l'“9 D°"‘ The outlet seam is deeper than the ordinary seams.
It is made so on purpose so that it can be let out if it
is necessary to make any slight alteration to suit the individual figure. They are general-
Iv used at underarm and shoulder seams, and very often in the seams of sleeves. In
so many cases women's shoulders are not exactly even or there are some slight variations
from the average at one point or another of the figure. These outlet scams give you a
chance to alter the garment in an easy, simple way.


ORDINARY SEAMS. A % of an inch seam allowance is made on all edges not cut on
the fold of the goods. or finished with a hem. In basting, the seam lines must be followed
exactly. (Ill. M.) If you make them deeper or narrower you will alter the size of the
garment.
DARTS are marked by V-shaped lines of perforations.
A dart is made by bringing the two lines of a dart perforations together and basting
through the perforations. (Ill. 25.)


20 THE NEW DRESSMAKER
depth of the plait will depend on the amount
of difference between your figure and the length
of the pattern.
If you find that your underarm measure and
that of the pattern are the same, but that you
are shorter-waisted than the pattern, the difference
is in the upper part. Decrease the length of the
upper part of the pattern by laying a plait across
the front and back, half-way between the under
arm and the neck.
(Ill. 27.)
If you are long-waisted instead of short-waisted
the lining pattern can be altered at the same
points, by cutting the pieces of the pattern and
separating them sufficiently to give you the
length you need.
(Ill. 28.)
In laying plaits across the pattern the edge of
the pattern should be evened off after the plaits
are laid.
If an alteration is made in the length of the
lining a corresponding alteration must be made
in the pattern of the outside of the waist or dress,
taking out or putting in the same amount and
' ll . l . .
Ill. 28. To Lengthen the Waist Lining In t e same p aces
LENGTHENING OR SHORTENING THE
TWO-SEAM SLEEVE PATTERl\lS—Your arm may measure
exactly the same as the sleeve pattern, but its length might be
made up of a long upper arm and of a short forearm. In that
case the elbow of the pattern would not come in the right place
on your arm. Or your arm may be perfectly proportioned, but it
may be longer or shorter than the average, in which case an alter-
ation would have to be made in both the upper and lower part of
the sleeve pattern to make it the right length for you.
For a two-seam sleeve pattern measure along the inside of your
arm from the armhole to the bend of the elbow, and from the
bend of the elbow to the wrist. You will need both these mea-
surements, so as to be sure that the sleeve elbow will come in the
right place. Measure your sleeve pat-
tern along the inside seam of the upper
part from % of an inch below the arm-
hole edge to the small double perfora-
tions which indicate the elbow. Mea-
sure from the elbow perforations to
within % of an inch of the wrist edge.
The 1‘/8 of an inch on each edge is the
seam finish._


lll. 29. Shortening the
Sleeve Pattern
Compare your arm measurements with the measurements
of the pattern.
If the pattern is too long for you above the elbow
lay a plait across the pattern a little above the elbow. (Ill. 29.)
If there is an inch difierence in length the plait should be % of
an inch deep. If the lower part of the sleeve is too long for you
lay a plait across the lower part below the elbow. (Ill. 29.)
The same alterations should be made in the under part of the
sleeve pattern, making the plaits the same depth that you made
in the upper part of the pattern.
When the plaits are laid the edge of the pattern will become
uneven. If the arm is very full the space between the elbow and
the greater width of the upper part of the sleeve should be filled
lll. 30. Lenfllheninfi
the Sleeve Pattem
out, giving you an even line. If the arm is not large you can trim
0fi the extra width and get your even outline in that way.


ALTERING THE LENGTH OF PATTERNS 2l
If the sleeve pattern requires lengthening make
the alteration at the same places in the pattern,
cutting across the pattern and separating the
pieces as in Illustration 30. Correct the outline
of the edge in the same way as when the sleeve
is shortened.
LENGTHENING OR SHORTENING A ONE-
SEAM SLEEVE PATTERN 'OR A KIMONO
SLEEVE PATTERN—One-seam sleeves and ki-
mono sleeves fit the figure quite difierently


Ill. 3 l . Measuring the Arm for a Unc-
Seam Sleeve or a Kimono S|ee
from the two-seam sleeve and
so have to be measured in
a different way. ln using
either of these sleeves have
your arm measure taken from
the center of your back
along the outside of your arm
to the wrist with the arm bent.
(Ill. 31.)
In the case of a one-seam
sleeve pin the sleeve pattern
to the back pattern with the
armhole edges lapping % of
an inch. If there is a cuff pin
it to the lower part of the sleeve
lapping them % of an inch.
Turn up the cufi in case the
cull‘ is double. (Ill. 32.) Com-
pare your measurements with
the measurements of the pat- ,
tern, and if the pattern is long
or short for you, alter it as
shown in Illustrations 33 and
34. A sleeve of this kind has
no elbow curve, so that it is
Ill. 33. Shortening a One-Seam ill. 34. Lengthening a One-Seam
Sleeve Pattern Sleeve Paflem


Ill. 32. Measuring a One-Seam Sleeve Pattern


not necessary to alter it above and
below the elbow. It is simply a ques-
tion of adding or subtracting length
at the correct point. If the pattern is
an inch too long for you lay a %-inch
plait across the pattern. (Ill. 33.) If
it is too short slash the pattern and sepa-
rate the pieces. (Ill. 34.) If your arm
is full you can correct the outline by
filling in below the plaits and above the
slash. If it is of average size you can
trim down above the plait and below the
Ill. 35. Measuring a Kimono Sleeve Paltem slash-


22 THE NEW DRESSMAKER
Ill. 36. Increasing the Size of Collars Ill. 37- Decreasing the Size of Collars
and Neckbands and Neckbands
In the kimono sleeve pattern measure from the center of the back below the neck to
within % of an inch of the lower edge of the sleeve. (Ill. 35.) This 4% of an inch is a
seam finish. The alterations for lengthening or shortening a kimono sleeve are exactly
the same as for the one-seam sleeve. (Ills. 33 and 34.)
INCREASING OR DECREASING THE SIZE OF THE NECKBAND AND COLLAR-
If the neckband of a pattern is not the right size for your neck it should be altered at the
center back. If it is too small cut it through the center and separate the pieces sufii-
ciently to make it the right size for you. Illustration 36 shows this alteration for neck-
band and a turndown collar.
If the collar pattern is too large for you lay a plait across the center back. (Ill. 37.)
LENGTHENING AND SHORTENING GORED $KlRT$—Have your measure taken
from the normal waistline at the center-front to the distance from the floor at which
you wear your skirts. This length varies with different fashions. Add an inch to your
measurement for the give
and take of making the
skirt. The front-length
measurement of your skirt
pattern will be given on the
pattern envelope. Com-
pare your measure with the
length of the pattern. lf
the pattern is too long for
you, lay a plait straight
across each gore about six
inches below the hipline.
(Ill. 38.) The hipline is
seven inches below the
normal waistline. (Ill. 38.)
If the gores are cut with
one straight edge, measure
the plait at the straight
edge. If both edges of the
gore are bias, measure the
plait at the line of large
double perforations that
mark the straight thread of
the material.
If the figure is full, the
edge of the gore on the
bias side should be filled out
from the folded plait to the






HAL-
ob (-#1 R uni
/I
I
:
nI‘OI


-_,_..*1II=;_L_a.'1.E._ T
'7 mcuas
FRUI1 NORMAL
WAISTLINE
.-_!L'_’.':'_"_E.---.--
1 wanes
FROM NORHMO




6 mcnss FROM


Ills. 38 and 39. Lenglhening and Shortening Gored Skirt Patlerns


ALTERING THE LENGTH OF PATTERNS 23
hip. (Ill. 38.) If the figure is slight, this extension which comes from the plait can be
trimmed ofl'.
To lengthen a gored skirt pattern, cut across each gore six inches below the hipline and
separate the pieces as much as necessary. (Ill. 39.)
In very rare cases it is sometimes necessary to alter the length of a skirt patter n as
much as four or five inches. In an extreme case of this kind it is better to make half the
alteration six inches below the hip as shown in the Illustrations 38 and 39, and the other
half at the lower edge of the pattern, turning up the lower edge to shorten it and adding
to it to lengthen it.
In a circular skirt the pattern should be altered at the lower edge.
LENGTHENING OR SHORTENING A STRAIGHT SKIRT PATTERN—The length of a
straight skirt can be altered at the bottom, turning up the lower edge if it is too long and
adding more length in cutting if it is short.
DRAPED SKIRT PATTERNS. TUNIC SKIRT PATTERNS, ETC.—If it is necessary to
alter the length of a draped skirt pattern or a tunic skirt pattern, or a pattern with
tucks or marks for trimmings, alter it according to the instructions given on the pattern
envelope. The position for the alteration will vary with the skirt.


CHAPTER 4
ALTERING WAIST PATTERNS FOR FIGURES THAT VARY
FROM THE AVERAGE
Fora Figure Broader at the Back than at the Front, for Square Shoulders, for Sloping Shoulders.
for a Full Bust, for a Small Bust, for Round Shoulders, for an Over Erect Figure
LTERING A PATTERN FOR A FIGURE BROAD
IN BACK IN PROPORTION TO THE FRONT.
Several women may have exactly the
same bust measure but the bust size may be
distributed in different ways. The first type of
figure to be considered in this chapter is the
figure that is broad across the back in proportion
to the chest measure. Usually this type of
woman is hollow-chested. If her back is broader
than the average, she has discovered it in making
her own clothes.
The alteration for this type of figure is very
simple. Slash the back pattern from the shoulder
to the bottom on a line with the back edge and
separate the pieces as much as is necessary to fit


Ill.4I. If a Woman Has Ill. 42. The Alteration
Square Shoulders the Lin‘ is Made at the Shoulder
ing Wfll Wrinkle Across Seam
the Chest


\i\\ . .\
lll. 40. For a Figure Broad
at the Back in Proportion
to the Front
the figure. (IlI.40.) This will make
the shoulder of the back longer than
the shoulder of the front. (Ill. 40.)
Half of this difference in width
should be sloped off the armhole
edge of the back. (Ill. 40.) Half
the difference should be fiIled in at
the armhole edge of the front, letting
the allowance slope to nothing at
the notches. (Ill. 40.) The dotted
line in Illustration 40 shows you
where to fill in and where to slope ofl.
ALTERING WAIST LININGS AND
WAISTS TO FIT SQUARE OR
SLOPING S HOU LD ERS. Illus-
tration 41 shows how a waist lining
will draw across the chest on a
square-shouldered figure. The alter-
ation is so simple that it dot-.=n‘t
have to be made in the pattern but
N
Va


ALTERING WAIST PATTERNS 27
try it on again and if it fits perfectly take
it ofi‘ and rip it apart. The edges of the
side-front seams will be jagged where
the lining was lapped. Even them off,
following the original seam line.
Correct your paper pattern, slashing
the front and side front, lap the edges
as much as in the lining, and paste the
edges together.
Alterations for an unusually large or
small bust may be made on a French lin-
ing; a liningwith one or two darts, or a lin-
ing with a straight or curved front edge.
ALTERING A PATTERN FOR A
ROU ND-SHOULDERED FIGURE.
The lining must be made up in cheap
material, fitted to the figure and the
alterations transferred to the paper pat-
tern itself. Place a strip of the lining
material about 4 inches wide across
Ill. 49. lithe rigine is Ill. so. The Lining Will your Shoulders from one am, to the
Round-shouldered Require More Size Across othen Then put on the trial lining
which will run in wrinkles from the
underarm to the side-back seams and stand out across the back (Ill. 49) because of the
round shoulders.
Have some one cut the lining across the shoulders to the side-back seams (Ill. 501
and from the seams to within % of an inch of the underarm seam. The lining will spread
apart and drop to the right place on your figure. (Ill. 50.) Have some one pin the cut
edges of the lining to the piece beneath it.
Baste the pieces underneath and try it on again.
If it sets satisfactorily, cut it apart and use the
pieces in correcting your tissue pattern. Slash
the pattern just where you slashed the lining,
separate the pieces the same distance and place
the tissue-paper underneath the slash.
If you are only a little round-shouldered, you
will not require as great a separation.
For a very bad case of round shoulders a
second cut should be made across the trial lin-
ing about one-third the distance between the
neck and first slash. Slash across the center-
back and side-back portions nearly to the arm-
hole edge. Separate the slashed pieces as much
as the figure requires, generally 1/8 to 1/Q inch.
In cutting out the side back preserve an
even curve along the back edge. The under-
arm gore seldom needs any change.


lining will wrinkle across the shoulders. (Ill. Y
51.) Make up the lining in cheap muslin and
put it on correctly. Have some one slash it across the center-back portion and down to
side back to within V; of an inch of the underarm seam. (Ill. 52.) The edges of the slash
should be lapped and pinned to remove the fulness in the lining. Don't lap the edges too
much or the shoulders will pull back.
Baste the slash, try the lining on and then rip it apart. “There it has been lapped
the seam edges will be uneven. Trim them off. Alter your paper pattern, using the
trial lining as a guide, slashing it and lapping and basting the edges.


0.u. ll


CHAPTER 5
ALTERING SKIRT, YOKE AND DRAWERS PATTERNS FOR
FIGURES THAT VARY FROM THE AVERAGE
Altering Cored Skirts for Figures with Round or Prominent Abdomen or Prominent Hips-
Altering Circular Skirt Patterns for Figures with Round or Prominent Abdomens or
Prominent Hips—Altering Yoke Patterns for Figures that are Large or Small
in the Waist—Altering Drawers Patterns for figures with Prominent Abdomens
LTERING A GORED SKIRT PATTERN FOR A PROMINENT ABDOMEN. On fig-
ures of this type a skirt pattern unless it is altered will stand out at the front and
at the sides. These women as a rule have fiat backs. A small pad worn under
the corset at the back will fill in the hollow of the figure below the waistline.
For around or prominent abdomen or prominent hips it is advisable to cut half the skirt
in cheap muslin before cutting your good material. In working with the muslin find
out just what changes are necessary to make the skirt fit your figure. Then it will be
safe to cut your material.
Illustration 53 shows the alteration
that is necessary to make a pattern
fit a figure with a prominent abdo-
men. The front of the skirt pattern
must be extended an inch or more at
the top, this extension gradually de-
creasing to nothing at the hip.
In extending the gores the waist-
line becomes smaller, so the side
edges of the gore must be increased
to keep the waistline the original mans mm
size. (Ill. 53.) This extension at
the sides should slope to nothing at mu WMSTUNE
the hipline. (Ill. 53.) Lay your
pattern on a cheap muslin, mark the
allowance at the top and side edges
of the go‘-es. Mark the outline of lll.53. Allerin$oGored Skirt Patternto Fil
the original pattern on the muslin aP'°"""e“tAbd°"‘°"
with colored chalk so that you will have the original shape as a guide in fitting, but cut the
muslin by the new larger outline.
Cut out the muslin, put it together and haste the skirt to an inside belt. Try it on.
If it takes a good line on your figure and does not swing toward the front it is safe to cut
your good material just as you cut the muslin. Do not use the muslin for a cutting
pattern for its edges stretch and become unreliable. Always cut from a paper pattern.


A WOMAN WITH A ROUND ABDOMEN should take the side-front gore of the pattern
and mark the hipline on it seven inches below the normal waistline. (Ill. 54.) At the hip-
line on the back edge of the gore take up M of an inch. (Ill. 54.) This % of an inch
will change the entire balance of the gore, making the pattern hang straight instead of
swinging toward the front.
If it is necessary in a skirt of many gores you could do the same thing to the next side-
gore, but do not carry this alteration back of the hip. You can increase the size of the
dart-shaped plait if necessary until the back edge of the gore above the hip forms a
28


ALTERING SKIRT PATTERNS
3|
abdomen will pull the drawers toward the front. If the drawers are lifted at the back
to correct this tendency, the entire garment will be made shorter.
In cutting drawers for a prominent abdomen allow an extra inch or two at the top,
tapering the allowance away to nothing over the hip. In circular drawers the upper edge
of the drawer pattern must be slashed and spread to give the drawers the original waist-
line, which is made smaller in making this allowance.
This alteration is practieally the
same as altering the top of a circular skirt for this type of figure. (Ills. 56 and 57.)


CHAPTER 6
MATERIALS—SPONGlNG—STEAM ING—CUTTING—ETC.
Right Side of Material—Sponging—Steaming—Nap or Pile—Cutting Stripes. Plaids, Figures and
Diagonals—CuIting a Kimono Sleeve Garment—HandIing Velvets—Silks and Chiffons
HE RIGHT SIDE. Most materials have a right and wrong side. In double-fold
materials the right side is folded inside to protect it from becoming shop-worn.
In materials where it is difiicult to tell the right side from the wrong the selvedge is
usually smoother on the right side than on the wrong side. In serge or diagonal weaves
the twills run downward from left to right on the right side of the material.
SPONGING. Almost all the wool materials should be sponged before they are used.
Sponging shrinks the material and if it were not done before the material was made up the
material would shrink the first damp day and ruin the appearance and possibly the useful-
ness of the garment. Sponging also prevents the ordinary spotting from rain, drops of
water, etc. It is a necessary protection to your material.
There are certain wool materials such as velours, duvetyn, wool plush and materials of
similar character that should not be sponged. Very thin, open-meshed materials should
not be sponged either, but most wool materials should be sponged either at the store where
you buy them or at home. Most large shops will do the sponging for you, but it is easy to
do it yourself. If you are uncertain as to whether your material should be sponged or not
experiment with a small piece of it first. If it shrinks too much or changes its appearance
or color, do not sponge it.
For sponging you will need a large table and ironing blanket and a strip of heavy un-
bleached muslin the width of your material and one-half its length.
Before sponging your material cut ofi the selvedge or clip it at intervals. Lay your
material face down on the table. Wet the muslin with cold water and wring it out.
Spread it out, pulling out all the wrinkles and lay it over half of your material. Fold
the other half of the material over it, roll the material and sponging cloth together ina
tight roll and let it lie overnight, covered with a piece of muslin and some newspapers so
that the moisture will be retained.
In the morning unroll the material, pressing it dry on the wrong side as you unroll it.
In sponging material of double width open it out its full width and sponge it in the same
way, using a double width of muslin for the shrinking process.
The heavier wash materials of the cotton and linen order should be shrunk in the same
way before they are made up.
Voiles, fine mulls, organdies, swisses, etc., are not to be shrunk, for the shrinking changes
them too much and they are not as pretty afterward.
STEAMING. Certain wool materials. such as velours and duvetyn should, be steamed
‘ instead of sponged. Use the same table. ironing blanket and unbleached muslin as for
sponging. Lay the material face down on the blanket as for sponging. Wet the muslin
and lay it over the material as for sponging. Hold an iron so that it just touches the
material enough to let the steam go through the material. Pass it over the muslin, but
do not let it rest on it or it will mark the material. It must just touch the muslin.
NAP OR PILE. Velvet, velveteen, panne velvet, corduroy and plush, and a few wool
materials like broadcloth have a distinct pile or nap. Except in the case of a kimono
sleeve garment the nap or pile must I’l.ln the same way in every part of the garment. In
materials with a pile such as velvet, velveteen, corduroy or plush, the material must he
used with the pile running up so that the nap will fall out and show the full richness and
32


MATERlALS—SPONGlNG—CUTTING—ETC. 33
depth of color. If the pile ran down
it would flatten down and lose its
appearance of thickness and depth.
With pannc velvet in which the
pile is purposely flattened the pile
should run down.
You can tell which is up and which
is down by running your hand across
the material. When the material
feels rough the pile is running up, and
when it feels smooth under your hand
it is running down.
Some velvets have straight pile
with no up or down. They can be
cut either way.
In broadcloth the nap must run
down, otherwise it will roughcn up,
become woolly and wear badly.
In all materials with a nap or pile
the material takes the light one way
with the pile running down, and an-
other way with the pile running up,
so that if all parts of the garment were
not cut with the pile running the
same way the garment would look as
though it were made from two shades
of the same material.
In kimono sleeve garments that
are cut without a seam on the shoul-
der or in one piece it is impossible to
have the nap or pile run the same way . ‘
at the front and back Get the best Ill. 6|. Matching Cross Stripes at Underarm Seam
effect possible at the front, the back is
less noticeable. In the pile fabrics let the pile run up in the front, in broadcloth and panne
velvet have the pile run down in the front.

CUTTING STRIPES AND PLAIDS. Stripes, plaids and figured materials require more
care in cutting than plain materials.
AN IRREGULAR PLAID can rarely be used on the bias, consequently the ways of
making it up are limited. A dress made of irregular plaid requires more material than
one made of regular plaid. The darkest stripes should run across the bottom with the
lighter tones up, as the shading in this direction is better.
It must always be borne in mind throughout the cutting, that all pieces of the pattern
must be placed with the upper part in the same direction on the material. An amateur
had better use an even plaid.
In the beginning decide which stripe, plaid or figure is best for the center of the front and
back.
In making a waist of striped or plaid material the stripes or plaids must match. It is
advisable to cut and fit your waist lining first, if you are using one. Then if alterations
were made you can alter the pattern of the outside waist before cutting your material.
If you altered it afterward the alteration would spoil your arrangement of the stripe or
plaid.
A plaid waist should be cut with as few pieces as possible. It can be made
either on the straight or the bias of the material. Before you cut out your ma-
terial decide which stripe, plaid or figure will look best at the center front and
center back. In considering the position of the lines of the stripes and plaids you
must consider the crosswise as well as the lengthwise lines of the material so that
it will look well on the figure. ln a plaid waist match the heavy lines of
the plaid where the waist is joined at the underarm seam. (Ill. 61.) Arrange the plaids


36 THE NEW DRESSMAKER
CUTTING A KIMONO SLEEVE GARMENT. Often in cutting a garment with kimono
sleeves the material will not be wide enough to cut the pattern without piecing.
This piecing seam can be made to appear part of the design by trimming it to match the
trimming of the garment. The seam can be hemstitched, fancy-stitched, piped, machine-
stitched, and, in the case of thin materials, trimmed with lace insertion, etc., so that the
seam will really add to the effectiveness of the sleeve.
HANDLING VELVETS, SILKS AND CHIFFONS. In using velvets, plushes, corduroy,
or silk be very careful about using pins. Use fine steel pins or needles, so as to mark
the material as little as possible. Ordinary pins make holes in silks and chifions and scar
velvets, plushes, etc.
A fine needle and silk thread should be used in basting velvets, etc., and also in basting
silks, for cotton thread leaves a mark.
When stitching velvets, plushes and corduroy, loosen the tension on the machine and
lighten the pressure of the presser foot by holding the finger under the presser bar lifter.
Clip your bastings every four or five inches or even closer when you are ready to take
them out. Pulling long basting threads from silks, velvets or fine thin materials is likely
to make a bad mark or tear the material.
In stitching sheer materials like chiffon, silk crepe, crepe de Chine. etc., that are likely
to pucker while the stitching is being done place a narrow strip of tissue-paper under the
material where you are going to stitch it. After it is stitched tear the paper away.
_ When using materials that fray easily allow an extra quarter of an inch on all ordinary
three-eighths of an inch seam edges. This extra one-quarter of an inch allowance must
not be overlooked when you baste up your garment. No extra allowance is necessary
on the outlet seams. (Marked by large single perforations.) As soon as you have cut
out the garment overcast the armhole and neck edges.
In silk materials like taffeta, crepe de Chine, charmeuse, satin and materials of similar
character the selvedge edges are often used as a finish. Of course this is only possible
when the edge of the pattern is straight as in the case of a straight-edged tunic, straight-
edged flounce, etc.


40 THE NEW DRESSMAKER
on the inside of the lining with a fold at the line that marks the closing. Turn over both
thicknesses and baste them very carefully. Then stitch with one row of stitching % of
an inch from the edge and another % of an inch inside of that. (Ill. 71.)
Where no hem is allowed at the closing edge of the lining
it is necessary to face it. Cut two pieces of the lining
material the same outline as the front or back where the
opening comes, and about two inches wide. Baste one on
the outside of each front or back with their right sides
together. Stitch the seams and turn the facing over toward
 . the inside. Stitch it just as you would a hemmed edge.
Ill. 72. Hook and Eye on Hooks and eyes are then sewed on. (Chapter 24,
Ends of Bell Tape page 116.) Sew the hooks and eyes right through the lining
allowing the stitches to go through to the right side so as
to make the sewing strong and durable. Be careful in sewing on the hooks and eyes on
the second side to have them exactly correspond in position to those of the opposite side.


INSIDE BELT. An inside belt is sometimes used in fitted linings. Get the regular
silk or cotton belting for this purpose and
make it three inches longer than your
waist measure. Turn back an inch and a
half at each end, sew on a hook on one edge
and the eye on the other (Ill. 72), and
hem the raw edges over their ends. (Ill. 72.)
Mark the center of the belt and sew it to
the center front seam if the lining opens
at the back. If it opens in the front, sew
it to the center back of the lining with the
lower edge of the belt half an inch above
the normal waistline. (Ill. 73.) Sew across
the width of the belt with a long cross-
stitch to the inside of the seam.
FINISHING THE NECK AND ARMHOLE
EDGES OF THE LINING depends on the
lining material and on the waist material.
In silk or cotton linings turn the edges
under; clip them whenever necessary to
make them lie flat. In the silk lining finish
them with ribbon seam-binding sewed on
flat like a facing. In a cotton lining use
lawn binding in the same way. Ill. 73. Reinforcement, Bound Seams, Inside Bell
Narrow lace may be whipped to the
edges. (Ill. 70.) This is always done in a French dress or any good dress.
If the lining is of net or Georgette, narrow lace may trim the neck and armholes. (Ill. 70)
Apply the lace as explained in Illustration 311, page 134, or the edges may be finished
with a narrow bias facing (Chapter 19, page 94) of the lining material and narrow lace
whipped to the edge, or the neck and armhole edges may be piooted. (Chapter 25, page 119.)


THE TOP OF A CAMISOLE LINING used under transparent materials may be
finished with a facing of the lining material. Or an allowance may be made for a hem if
the pattern has none and the hem used to form a casing. The lower edge of the facing
or hem may be machine hemstitched. One or two additional rows of hemstitching may
be put below as a trimming. Lace may be whipped to the top if desired. (Ill. 69.) Work
a buttonhole in the lining at each side of the center, run a ribbon through the casing (Ill. 69)
and tie the ribbon in a bow.
A wide band of lace may be used to trim the top. (Chapter 27, page 134.)
Or the top of the camisole lining may be turned to the outside and covered with lace
beading. Ribbon is run through the beading and tied in a bow.
The shoulder-straps of a camisole lining may be of ribbon or lace. (Ill. 69.)
The finish of the lower edge of the lining depends on the design of the pattern of the


DRESS wmsrs _4|
waist. If it is a fitted lining extending below the waistline and not attached to another
edge, it may be finished according to the instructions for finishing the neck and armhole
edges of silk or cotton linings on the preceding page. Or the edge may be simply bound
with seam-binding.
THE OUTSIDE WAIST should be put together according to the Deltor or Illustrated
Instructions with the pattern.
If any alterations were made in the lining the same alterations should be made in the
outside waist. Try the waist on to be sure that it fits properly.
FINISHING THE OUTSIDE WAIST. The finish depends, on the material and the
design of the pattern. The seams are finished difierently for silk, wool and cotton.
(Chapter 17.)
The underarm seams of a kimono waist made of a non-transparent material should be
clipped to prevent their drawing at the curve. They are then finely overcast or bound with
seam-binding. If the material is transparent, cut away the seam to one-quarter of an inch
width and overcast it finely, or have the seam machine hemstitched. (Chapter 25.)
Piecing in a kimono sleeve where the material is transparent should be machine hem-
stitched. (Chapter 25.) In any other material it may be piped. (Chapter 26.) In
silks or satins the piecing seam may be machine hemstitched or fagoted. (Chapter 25.)
THE COLLAR. Removable and attached collars for the open neck and the high
collar are given in Chapter 23, page I10.
FINISHING A COLLARLESS NECK. In sheer materials the edge of a collarless
neck may be picoted (Chapter 25, page 119) or bound with a bias binding (Chapter 26,
page 131).
In silk, satin, heavier cotton materials and linen the neck edge may be bound.
In wool materials the neck edge may be bound with a lighter weight material like satin,
or with braid.
In any material which is not sheer the neck edge may be picoted.
A soft finish is much used on silk and wool materials and on velvet. For this soft finish
turn under the seam allowance on the neck edge and cover it with seam-binding sewed on
flat like a facing. No sewing should show on the outside. In silk and wool materials if
there are seams or closing edges or embroidery or trimming of any sort. the inner edge of
the seam binding may be tacked to the seam, closing edge, etc. In any other case it should
be left free and simply lie fiat against the edge. Press the neck edge and since there
is no strain on it the seam-binding will lie flat against the neck and stay in place. In
velvet the inner edge of the seam-binding may be blind-stitched, for this can easily be
done invisibly on this material. In heavier cotton and linen materials use seam-binding
as a facing. The inner edge must be hemmed invisibly or stitched in place on wash
materials.
THE SLEEVES are considered by some people as the most difiicult part of a costume.
Great caution is necessary to keep them exactly alike, from the time the sleeves are cut
until they are finished and sewed in the armhole. If not correctly 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 finish of the bottom of a
dress sleeve is handled in Chapter 23, page 111.
In sewing in a set-in sleeve hold the sleeve toward you when basting it or sewing it by
hand, for it is easier to control the ease or fulness in this position.
THE ARMHOLE. Do not bind the armhole. After the sleeve has been sewed in, overcast
the armhole seam unless the material is transparent and is to be machine hemstitched.
In sheer material which is not hemstitched the armhole seam should be cut to about
one-quarter of an inch width before overcasting it.
THE FINISH OF THE WAISTLINE OF THE OUTSIDE WAIST is a matter of style.
Follow the information given with the pattern. The waist may be made separately or
joined to the skirt. In both cases instructions for finishing it are given with the pattern.


BLOUSES AND SHIRT-WAISTS 43
the joining to show through to the outside, or if part of the collar joining rolls to the out-
side and shows, the daintiest effect is given by machine hemstitching the seam or by using
Valenciennes or Cluny lace seaming in the joining. If the collar joining does not roll to the
outside, the joining can be made with a narrow flat fell seam. (Chapter 17, page 87.)
A single or double collar should never be joined to the neck of a transparent blouse
with a facing, for it makes a thick seam which will show on the outside.
The outside of a double collar should be sewed to the neck edge of the blouse. The
edge of the inside collar or collar lining should be turned in and felled over the sewing.
The single collar can be put on with machine hemstitching or seaming.
It is advisable to avoid a seam in the edge of either single or double collars in a trans-
parent material, if possible. In the case of a single collar a hem is the best finish for the
outside edge when it is plain.
THE COLLARLESS NECK- Instructions for finishing the collarless neck are given
in Chapter 7, page 41.
THE CUFFS. When the design is suitable the making and finishing of the cufi may
match the making and finishing of the collar. The joining of the cuff to the sleeve may
match the finishing of the shoulder and armhole seams when the seam finish is suitable.
The same general principles are applied to the cuff as to the collar, and are simply adapted
to suit the design of the cufl‘.
The cuffs may be closed with buttons and buttonholes, or with buttons and loops.
(Chapter 24, page 114.) Or the buttons may be simply ornamental and the closing
made underneath with hooks and eyes or tiny snap fasteners. (Chapter 24. Page 116.)
THE CLOSING OF THE BLOUSE depends on the degree of softness and dressilu-ss
that you want to give to the blouse. The closing of the waistline is always made secure
with a hook and eye, or button and loop. (Chapter 24, page 114.) Above, snap fast-
eners are sometimes used (Chapter 24, page 116), or sometimes a waist is fastened with
buttons and buttonholes, or sometimes buttons and loops. But quite often when the blouse
laps a great deal at the waistline, and is soft and full, the only closing above it is made by
a fancy pin at the open neck.
For the back-closing blouse snap fasteners are not very secure. It is better to use small
buttons and buttonholes.
PLAITINGS OR FRILLS are usually made of a single thickness of the material and
may be finished with a picoted edge, a narrow hem or Valenciennes lace, net or point
d'esprit footing. If a hem is used it should be machine hemstitched, or hand hemstitched
(Chapter 25), or hand hemmed (Chapter 18) or machine stitched.
Plaitings are very pretty in Georgette, crepe de Chine, cotton voile, handkerchief linen
and batiste. Organdy plaitings are very dainty on cotton voile, and net plaitings are often
used on handkerchief linen and crepe de Chine.
WHEN A BLOUSE EXTENDS BELOW THE WAISTLINE and is to be worn inside
the skirt, it is usually finished at the waistline with a casing through which an elastic or
drawstring is run to regulate the size. (Chapter 23, page Ill.) The lower edge is finished
with a narrow hem.
If the blouse is worn outside the skirt the finish of the lower part depends on the style
and material of the blouse.
A BLOUSE THAT COMES JUST TO THE WAISTLINE is usually finished with a belt
casing. (Chapter 23, page 111.)
SHIRT-WAISTS
SHIRT-WAISTS are usually given a more mannish efiect in their making and finishing
than a blouse-waist.
MATERIALS. Tub silks and satins, radium silks, cotton, silk or wool shirtings, the heavier
qualities of crepe de Chine, pongee, dimity, madras and linen are the best materials
to use for shirt-waists.


44 THE NEW DRESSMAKER
THE SEAMS may be finished as French
seams or as fiat stitched seams, or lapped
seams. (Chapter 17, pages 86 and 87.)
THE FRONT CLOSING. Shirt-waists are
finished with a box plait or coat closing. The
making of the box-plait closing on the right
front is shown in Illustration 74 and the


lll. 75. The Finished Box Plait
finished box plait in Illustration 75. A hem
is turned and the raw edge included in the
fold of the hem. (Ill. 74.)
THE COAT CLOSING is made by turning
both hems on the wrong side, basting and
stitching them. (Ill. 76.)
waist is
A BLIND CLOSING. If the


The Blind Closing
Ill. 77.

lll. 76. Finished Effect of Coat Closing
to have a blind closing, a fly must be
applied to the closing edge. The fly
should be made double, folded length-
wise through the center. and a seam
turned in at each edge. The fold edges
are basted together and then sewed in
position. (Ill. 77.)
THE GIBSON TUCK in a waist ne-
eessitates joining the shoulder seam first
before basting in the tuck. This leaves
the tuck free across the shoulder seam
(Ill. 78), and in basting in the sleeves
the tucks can simply be turned toward
the neck out of the way as illustrated.
A BACK YOKE. A back yoke may be
applied to the waist as shown in
Illustration T9.
THE NECKBAND. Shirt-waists are
sometimes made with a band finishing


BLOUSES AND SHIRT-WAISTS 45
the neck of the waist and worn with separate
linen collars.
The neck requires care. It should not be
trimmed out too much and the neckband should
fit the neck closely, though not too tightly, or it




' \< _________’__ .__. ‘A
. I .
134' IIl . 78. Basting in a Gibson Tuck
will be difiicult to adjust the collar.
An interlining should be used in the
neckband. In most cases it should be
of a material about the same weight as
the waist material. The material of the
waist can often be used for an inter-
lining. In wash materials and flannel
a soft cambric makes a good interlining.
Cut two sections by the collar-band
pattern and also one interlining. Baste
the interlining to the wrong side of one
- of the collar sections. Place the two
"l . 79' Method of/applying Yoke collar sections together with the right
sides face to face. Baste an even three-eighth-inch seam at the top and ends, turn the
band right side out and crease and haste the edges flat. Baste the inside section of the
band to the neck of the waist with the seam on the right side. Turn the seam up, turn in
the remaining edge of the band, fully covering the seam and stitch the outside, continu-
ing this stitching all around the band.


. FINISHING THE SLASH IN THE SLEEVE. For the slash in the sleeve sew the
underlap piece to the back edge of the slash with the seam toward the right side. Crease
the seam on the lap, turn the lap; baste down, entirely covering the joining. and stitch.
Join the overlap piece to the front edge of the slash in the same manner. (Ill. 80.) Adjust
the overlap so that it will conceal the underlap and baste it in place. Stitch all around
the overlap, following the shape of the point. At the top of the opening the stitching
should cross the lap and catch through the underlap, securely
holding the opening in correct position, as shown in Illustra-
tions 80 and 82.
A CONTINUOUS LAP is often used to finish the slash
at the cuff opening. This lap is made by sewing a straight
strip of the material continuously along both edges of the
slashed opening, the strip of material being the same width
all its length. (Ill. 81.) The other side is turned over and
hemmed by hand or machine-stitched, to cover the first seam.
This lap is shown in Illustration 81. When the lower edge of
the sleeve is gathered this lap is turned under at the front or
overlapping edge of the opening and extends on the other side
to form an underlap. (Ill. 84.)


MAKING AND FINISHING THE CUFF. There are two sec-
"L 80. Method of ADp|y_ “OHS for eECII Cllfi-
ing Laps 1° 5|eeve5 An interlming may be used in a cuff or not, depending on the


CHAPTER 9
SKIRTS FOR LADIES AND MISSES
Skirl Patterns—Pattern A|terations—Cutting—Foundation or Drop Skirt—lnside Belt-Putting
the Skirt Together—AIterations —Hanging a Gored Skirt—Hanging a Circular Skirt —
Altering the Length of a Gored -Skirt—P|acket—Finish of Seams—Seam
Allowance at Top of Skirt—Finish of Skirt
HE SKIRT PATTERN should be bought by the hip measure. (Chapter 2, page
11, instructions on getting the right-size patterns.)
PATTERN ALTERATIONS. Before cutting your material compare the waist mea-
sure given on the pattern envelope with your own waist measure, and if it is too large or
too small it can be altered according to instructions given in Chapter 2, page ll.
Compare the front length of the pattern below the regulation waistline with the length
you want to make your finished skirt. You will find the front length of the pattern
given on the pattern envelope. The regulation waistline is marked on the pattern. If
the pattern is too long or too short for you, alter the length as explained in Chapter 3,
pages 22 and 23. When you decide on the length of your skirt, you must also decide
Whether you will finish it with a hem or facing. Advice on the use of hems and facings
is given in Chapters 18 and 19. If you are a woman of average height, you will have to
make an allowance for the hem in cutting. Ladies’ patterns do not allow for hems ex-
cept in special instances: If you are shorter than the average, the skirt pattern may be
sufiiciently long to allow for the hem. Misses‘ patterns give a three-inch-hem allowance.
In the case of a tall girl, or of a small woman who is using a misses‘ pattern, it may be neces-
sary to make an additional hem allowance if a hem is used.
If your figure is irregular in any way, if you have prominent hips or a prominent ab-
domen, etc., the skirt pattern should be altered as explained in Chapter 5, pages 28-30.
CUTTING. Before cutting your material read Chapter 6on Materials, Sponging,
Steaming, Cutting. etc.
Lay the pattern on the material according to the Deltor layouts included in the pat-
tern. If the pattern does not contain a Deltor, follow the cutting instructions given
with the pattern. If you are not familiar with perforations and their uses, read Chapter
2, pages 15 to 18. .
Cut out the skirt following 0the advice given in Chapter 6. Mark all the perforations
with tailors’ tacks. (Chapter 16, page 85.)
The notches can either be clipped or marked with two or three stitches in basting-
cotton. If you clip them, cut them so that you can see them distinctly, but do not make
them any deeper than necessary.
For your wash skirt the inside belt should be shrunken before it is used.
FOUNDATION OR DROP' SKIRT. (‘hina silk is the best and most satisfactory
material for the foundation or drop skirt. However, for wearing qualities many women
prefer some of the lining materials which are mixtures of silk and cotton, or the better
grades of percaline.
For the transparent materials such as lace, net, chiffon, Georgette or silk voile, Brus-
sels net is the best material for the foundation or the drop skirt.
If the pattern has a foundation skirt, it should be made before the skirt itself. The
Deltor or Illustrated instructions will show you, with pictures how to make the drop skirt.
Then make the outside skirt, tunic or drapery, following the Deltor or Illustrated
Instructions.
47


50 THE NEW DRESSMAKER
satin. (Chapter 17, page 86.) The thinner silks may have machinehemstitched seams.
(Chapter 25, page 118.)
For velvet it is best to bind the seams. (Chapter 17, page 88.)
For heavy cotton materials and gingham the seams may be pressed open or turned
to one side and bound with lawn seam-binding. Gingham may also be finished with any
of the French seams. ‘
THE SEAM ALLOWANCE AT THE TOP OF THE SKIRT should be turned down on the
inside of the belt and its edge covered with seam-binding. Press the seams. (Chapter
32, page 154.)
FINISH THE BOTTOM OF THE TUNIC OR DRAPERY according to the instructions
given in the Deltor.
FINISH THE BOTTOM OF THE SKIRT WITH A HEM OR FACING. (Chapters 18 and 19.)
SEW ON THE HANGERS.


CHAPTER IO
DRESSES FOR LADIES, MISSES, GIRLS AND CHILDREN
Dress Pattern—Material—Making a Dress—Joining a Waist and Skirt to Make a One-Piece
Dress—An Unlined Dress-Sail0r and Naval Suits—First Short Dresses—Dresses
1 Made With Closing Under a Plait—Dresses Made With Yokes
HE DRESS PATTERN. Always buy the dress pattern for ladies according to the
measures given on the pattern envelope. Directions for taking bust, waist and hip
measures are given in Chapter 2, pages 10 and ll. Sometimes only the bust measure is
given on the pattern, which means that that is the only measure necessary to consider in
buying the pattern, and that the style is such that there is sufiicient ease or fulness to
permit of any reasonable alteration at the waist and hip. If, however, the bust, waist
and hip measures are given on the envelope, all three must be considered in buying the
pattern. Be careful not to buy one that is too small at any of those places.
For an extreme figure it is best to buy waist and skirt patterns separately instead of
buying a complete dress pattern. Buy the waist by the bust measure and the skirt by
the hip measure. (See Chapter 2.) In this way it is possible to get a pattern to meet
the measures of the figure.
Dress patterns for misses should be bought by the age unless the girl is large or small
for her age, in which case the pattern should be bought by the bust measure.
MATERIALS. For directions on the use of material, sponging and cutting read Chapter 6.
MAKING A DRESS. For either a one-piece dress or for a dress with a waist and
skirt joined together, the same general rules apply to the making and finishing that are
given in Chapters 7 and 8 on Waists, and Chapter 9 on Skirts.
The instructions in these chapters cover the making and finishing of every part of the
dress except where a waist, blouse or shirt-waist is joined to the skirt at the waistline.
JOINING A WAIST AND SKIRT TO MAKE A ONE-PIECE DRESS. When a waist
and skirt are to be put together, they are made separately and completely finished
before they are joined. The inside belt of the waist, if there is one, however, should
only be basted to the waist, and the inside belt of the skirt should be basted to the skirt but
not sewed fast. When the waist and skirt are finished, put them on with the skirt over
the waist and pin them together. Take them off and haste them together at the waist-
line. Try them on again to be sure that the waistline is in just the right place. II’ there
was a belt-stay in the waist, take it out and fell the skirt belt to the waist or blouse.
AN UNLINED DRESS should be worn over a slip.
DRESSES FOR GIRLS AND CHILDREN
THE PATTERN. Instructions for buying a pattern for girls and children are given
in Chapter 2, page 12. The same general rules for making and finishing that are given
in the chapters on waists and skirts for ladies (Chapters 7, 8 and 9) apply to making
children‘s garments, though of course girls’ and children's dresses represent a very simple
type, and the work is kept as simple as possible.
SAILOR AND NAVAL SUITS. The making of these dresses is handled in Chapter
11, page 51


52 THE NEW DRESSMAKER
FIRST SHORT DRESSES. The general rules for making infants’ clothes (see Chapter
15, pages 73 and 80) apply to the first short dresses. They are very simple in construction.
DRESSES MADE WITH A CLOS-
ING UNDER A PLAIT. This closing
is often used in a plaited dress. The
closing, cut under a plait and finished
with laps for buttons and button-
holes, is shown in Illustration 87.
The slash for the opening is 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 of join-
ing the laps to the edges of the
opening will be readily understood.
DRESSES MADE WITH YOKES.
A yoke can be joined to a dress as
shown in Illustration 88.
Cut the yoke and turn the
edge under a seam's width, clip-
ping 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 fac-
ing that is basted underneath, and
which covers the seam, making a neat
finish on the inside. This fiDlSh is de-


Ill. 88. Allaching Yoke Io Front


III. 87. The Closing Under a Plait
sirable for a dress made of any material
which is not transparent, as it makes it
unnecessary to line the yoke. If a lining
is used, however, it is cut like the yoke
pattern, and the top of the dress por-
tion is enclosed between the tnrned-un-
der edges of the yoke and its lining.
SMOCKING is a trimming much
used on the better class of children's
clothes here and abroad. It is used for
dresses, rompers, coats and little boys’
suits. It is very pretty in colors on
dresses of fine white batiste, nainsook,
plain lawn, handkerchief linen, cotton
voile, very fine cotton crepe and silk
mull. It is also used on the heavier
cotton materials in white or plain colors,
on chambray, serge, broadcloth, crépe
de Chine, etc. It is very easy to do with the Butterick transfers, which not only give the
design of the smocking but instructions for working it.


THE NEW DRESSMAKER


, Ill. 90. Setting in the Sleeve
to sew the rating badge on the sleeve properly. Close the underarm seams and the
sleeve seams as notched, using fiat felled seams.
(Chapter 17, page 87 .)
A hem is turned at the bottom of the blouse and if the pattern instructions direct,

Ill. 9l.
Basting on Collar
an elastic is inserted to hold the
blouse in place.
THE COLLAR is joined to the
neck with the seam toward the inside.
(Ill. 91.) 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 cor-
responding edge of the 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 of the
facing and collar will come exactly
together and the ends are slipped
under the fronts. (Ill. 92.) Baste
along the roll. The neck edge of the
facing is stretched sufiiciently to
make it lie smoothly when the collar
is rolled back. After pinning the
collar facing around the neck and
down the front, roll the collar and
facing over and roll the fronts back.
Put your hand under the collar and
smooth it outward, so that it does


S6
THE NEW DRESSMAKER


lll. 93. Emblems and Chevrons

may be repeated on the front of the blouse or shield, or a simpler design—a star or
anchor, for instance—may be used if preferred.
The navy regulations state what material shall be used for the rating badge. Its
decoration usually consists of a spread eagle above a specialty mark, and a class chevron.
For blue clothing, the eagle and specialty marks can be embroidered in white, and for
white clothing they can be worked in blue silk. The position of the rating badge worn
lll. 94. Boatswain's Mate
Firs!-Class


by petty ofiicers is governed by
naval uniform regulations.
The chevrons show the class of
the ofiicer, while the specialty
marks indicate his position in the
service.
In using these emblems on a
blouse, one might select the spe-
cialty marks worn by the father
or brother who is enlisted, or even
an insignia indicating the trade or
professional calling followed by a
member of the family, such as
engineer, electrician, etc.
The emblem may be placed on
the shield also, and a five-pointed
star should be embroidered on
both corners of the collar. Excel‘-
lent Butterick transfer patterns
can be purchased for the emblems,
stars, etc., used on sailor suits.


Ill. 95. Rating Badge for
Chief Master-at Arms


SAILOR OR NAVAL SUITS 57
THE NECKERCHIEF OR TIE worn with the blouse is
a square of black silk tied in a square knot, leaving
ends from four to six inches long. It is folded diago-
nally and then rolled up, with the two overlapping
corners folded into the material and held together
by an elastic, as shown in Illustration 96, while
the other
c o r n e r s
a r e t i e d
at the lower
end of the
collar in a
square knot
with a cor-
ner extend-
i n g f r 0 m
each side.
(Ill. 97 .)



Ill. s7. Detail of Tying Knot
THE SKIRT. If front openings in the skirt are de-
sired, both edges of the front gore are underfaced to the
depth of a placket opening, with a straight strip of ma-
terial about one and onehalf inches wide. The front
edge of each side gore should have an underlap to the
same depth, about one inch and a half wide when finished.
Join the gores together with stitched felled seams, continuing the stitching along the
opening. If the skirt is to be plaited, the plaits will give sufiicient material for the under-
lap. (Chapter 21, page 102.)
For a back lacing, the back plait is stitched separately from the skirt and the fold
edges worked with six or eight eyelets (Chapter 24,
page 115) and laced with black silk lacing or silk
tape. (IlI. 99.)
The upper edge of the front gore is finished with


Ill. 96. The Neckerchief Tied



Ill. 98. Front Pladcel of Skirt
a straight belt two inches wide. A continuous belt
of the same width is attached to the side and back - >
gores of the skirt. The belts are cut single and Ill. 99. Regulation Naval Lacing
lined, with an interlining added if it is necessary.
Three buttonholes are made at each side of the front gore, two on the skirt part and one
on the belt. (Ill. 98.)
The sailor blouse may be used with a boy's suit. Instructions for making trousers will
be found in Chapter 36.


COATS AND CAPES 59
CUTTING. When the material is ready, lay the pattern on it following the Deltor
Layout for your size and width of material. If there is a nap, be sure to place the pieces
so that the nap will run the same way in all the pieces. Otherwise if the nap runs up
in some places and down in others, part of the coat will look darker than others and it
will look almost as if it were another color. The Deltor gives layouts for both materials
with a nap and without it when both are suitable for the design. For directions for cut-
ting materials with a nap or pile and for cutting stripes and plaids read Chapter 6,
“Materials, Sponging, Steaming, Cutting, etc.,” pages 32-36. Follow the Deltor layout
carefully in placing the pieces on your material, for if they are cut on the wrong grain of the
material the garment will draw and stretch. Pin the pattern on the material very care-
fully, and with sufiicient pins to hold it firmly, and cut it out with sharp dressmaking
shears following the outline exactly. (Chapter 2, page 16.)
Mark all the perforations, except the ones that mark the grain line, with tailors’ tacks.
(Chapter 16, page 85.) The notches can either be marked with two or three stitches
in basting cotton or they can be clipped. In many materials basting cotton makes a
clearer mark and does not nick the edge of the material.
THE INTERLINING. The coat always requires more or less interlining. The kind
of interlining material and the amount used varies with the type of the coat and with the
current styles. The Deltor or Illustrated Instructions will tell you the right kind of in-
terlining to use, how much to use and where to place it for each individual pattern. This
interlining is not used for warmth, but to give the material sufiicient body so that it will
not break when the coat is on the figure, and make the material look poor and flimsy.
The interlining materials most generally used are soft pliable canvas, cotton serge or
cambric for wool materials. In a linen coat use butchers’ linen, cambric or muslin. For
a silk coat the interlining should be cotton serge, sateen or cambric. All inte1-linings
should be shrunken before they are used.
(Chapter 6. page 32.) If the interlining
is not shrunken beforehand it will shrink
on the first damp day and will draw in and
wrinkle the coat.
The interlining should be cut by the coat - --
pattern following the instructions given in Ill. I00. Stitching on the Stand of the Collar
the Deltor or Illnstrated Instructions.
Baste the intcrlining to the wrong side of the coat following the Deltor or Illustrated
Instructions. Careful basting and plenty of it are essential to successful coat-making.
The importance of basting can not be overestimated in this work. It is one of the vital
points in tailoring.


PUTTING THE COAT TOGETHER. Baste the seams
of the coat with the notches matching.
The Deltor or Illustrated Instructions will show you
exactly how to put the coat together.
Try the coat on an_d if any alterations are necessary
make them before stitching the seams.
Stitch all the seams of the coat. If they are to be
finished with stitched or lapped seams (Chapter 17,
pages 88-90), press them before they are finished.
(Chapter 32, page 154.)
Lap the edges of the interlining flatly over each
other. They should be catch-stitched.


lll . IOI. PaddinQ Stitches
FOR THE STRICTLY TAILORED COLLAR cut an
interlining of tailors’ canvas. Use the collar pattern as a guide, but cut the canvas
three-eighths of an inch smaller at all edges than the pattern. The canvas should be
shrunken before it is used (Chapter 6 page 32). The “stand” of the collar—the part next
the neck that stands up when the coat is worn—is marked by perforations.. It is a
crescenvshaped section which should be covered with parallel rows of machine stitching
about a quarter of an inch apart. (Ill. 100.)
PADDING STITCHES. The canvas and cloth on the turnover part of the collar, and


60
THE NEW DRESSMAKER
lll. I02. Tape and Weights


in the lapel or revers on the front. must be held firmly by
many small stitches called “padding stitches.” (Ill. 101.)
These stitches are about half an inch long on the canvas side
and just barely caught through on the right side. Hold the
collar or lapel firmly over the hand, the canvas side upper-
most, and, in stitching, roll and shape the section in the
direction in which it is to lie. (Ill. 101.) The stitch
should be started at the line of the fold of the lapel or
collar and worked in successive rows to the edge. The
edges should be turned under, caught to the canvas and
pressed.
On a coat which is sometimes worn rolled high there
should be no padding stitches in the revers, as they would
show when the coat is worn with the collar turned up.
Baste the collar, canvas side up, flat on the coat. accord-
ing to the notches in the collar and in the neck. (Ill. 102.)
Stretch the neck edge of the collar between the notches
so that it will set smoothly on the coat. The upper or
turnover part of the collar must lie flat, joining the turned-
over lapels at the top of the fronts, to form the notched
collar.
When the coat has advanced thus far, try it on. Fold
over the lapel corners at the top of the fronts and see that
the collar is the correct size and fits properly. If it does
not, it may be shaped by shrinking, stretching and pressing.
The front edgesof the coat should lie close to the figure at the bust,
and a well-fitted coat should hold itself in shape to the figure at
this point, even when unbuttoned. If the coat is inclined to flare
away at the front line, pin one or two small dart-like tucks about
one-quarter of an inch wide at the coat‘s edge and running out to
nothing about two inches inside the edge, to shape in the edge and
take out the stretched appearance. Mark these tucks with chalk.
remove the pins and slash in the canvas at each chalk mark. Lap
the canvas the same space that the tucks were made, cut away one
edge to meet the other, lay a piece of cambric over the slash and
sew the cambric to hold it to shape. The cloth will still have the
fulness that has been taken out of the canvas and must be gath-
ered on a thread, dampened and shrunk out with the iron.
Cut away the interlining to within % inch of the front edges of
the coat. Cut the hem allowance from the bottom of the inter-
lining, turn the edges of the coat over on the interlining and catch-
stitch them.
TAPING THE EDGES. Narrow linen tape, well shrunken,
should be sewed to the canvas toward the inside of the coat at the
crease of the lapel, drawing it taut to prevent stretching. (Ill.
102.)
The edges of the lapel and the front coat edges should also be
taped (Ill. 102), drawing the tape snug at these edges to give
them a good shape.
Press the fronts carefully. (Chapter 32.)
WEIGHTS. Flat lead weights about the size of a quarter are
tacked in the bottom of the coat to weight it properly. Cover
them with the lining satin so they will not wear through the
lining. ‘(Ill. 102.)
AN ADDITIONAL INTERLINING. if required for warmth, is
made of outing flannel or the regular silk-and-wool interlining
that comes for the purpose. (Ills. 103 and 104.) Cutit with the

Ills. I03 and I04. The
Interlining for Warmth


COATS AND CAPES 61
pattern of the coat as a guide, letting it extend an inch or two below the waistline. (Ills.
103 and 104.) Slash the interlining at intervals along the bottom so that it will not bind
the coat. Do not put the interlining together with ordinary seams, but tack it inside
the coat, letting one seam edge of the interlining overlap the one next to it.
CUT FACINGS for the collar and fronts from the coat
pattern following the instructions in the Deltor or Illustrated
/ _'/ Instructions. The front facings must be cut to the shape of
/ 0 ' the front after the edges have been altered and taped. Lay
',. the cloth on the fronts and over the lapel corners; pin it care-
fully in place, holding the front and lapel in to their proper
shape; then cut it to the required width. It n(-ed extend only
about three inches inside of the line that marks the center of
A , the front. The collar facing, if of cloth, must be cut on the
Q ‘ width or crosswise of the material and must not have a seam
‘i ‘ i‘ / I in the center of the back.
l ‘~ ', Fit the collar facing to the canvas collar and join it to the
1/’ front facings, matching the notches on the collar and the
_l .‘. front facings. Press the seams open and haste to the canvas
collar and to the front of the coat, turning in the edges of the
W facing. (Ill. 105.)
COLLAR FACINGS of velvet are sometimes used, but
instead of being applied directly over the interlining the edges
Ill. I05. The Collar Facing of the velvet are turned under and catch-stitched to the
under side of the cloth collar. If a velvet collar facing is
used it should be made of a seamless bias strip of velvet. One-eighth of a yard of velvet
cut on the bias is usually enough for a collar facing. All pressing and shaping of the collar
must be done before putting on the velvet facing.
The shawl-collar facing is sometimes cut in one with the front facing. The collar
proper is cut and joined as just described, stitched to the body of the coat and pressed.
The two facing sections are joined at the back and the seam pressed open. The facing is
pinned in position. The outer edge of the facing is turned in even with the fold edge of
the coat and basted. Baste the free edges of the facing in place, being careful to allow
sufiicient ease for the roll.
Fell the edges to position on the under side unless the neck is sometimes worn high
in which case the felling stitches would show through. If the coat is to be worn high
slip-stitch the edges.
THE COAT COLLAR WHICH IS NOT TAILORED.
Cut the interlining like the pattern. The Deltor or Il-
lustrated Instructions will tell you what kind of interlining
is to be used. Trim off the seam allow-
ance on the edges of the interlining
which are not to be joined to the neck.
Baste the interlining to the upper section
of the collar. Turn the outer edge and
ends of the collar over on the interlining
and catch-stitch them. (Ill. 106). Turn
under the edges of the under section of the collar one-eighth of an inch
more than you turned under the edges of the upper section and baste to
the upper section one-eighth inch from the edges. (Ill. I06). Catch
the under section to the interlining about three-quarters of an inch
in from the outer edges and also at the line where the collar rolls over.
Fell the edges to position. (Ill. 106). Baste the collar flatly inside the
neck edge of the coat and fell the coat to the collar.
Give the coat a careful pressing. (Chapter 32, page 154.)


ill. I06. The Collar Which Is
Not Tailored


|". |o7. The |me,_ THE SLEEVES. Baste the seams of the sleeves and try them on.
1;,(in; in the 5|eeve If they need any alterat'on in size around the arm, makc it at the seam


62 THE NEW DRESSMAKER
marked by outlet perforations. A bias strip of interlining, or whatever is used in the fronts,
should be basted into the wrist just above the turning line of the hem part, and the
cloth turned over and catch-stitched to it. (Ill. 107.)
If a vent or opening is provided at the outer seam of the sleeve, the extension on the
upper part is turned under for a hem; and the lower part, neatly faced with the lining,
forms an underlap. This opening may be closed by buttons used as a decoration or by
buttons and buttonholes. Finish the edge to match the edges of the coat. If stitching
at cuff depth is desired, it must be made before closing the
outside seam.
THE CUFF. Cut the interlining like the cuff pattern,
of the same interlining material as used in the collar.
Trim off the seam allowance of the upper edge and ends.
Baste the interlining to the upper section of the cufl‘, turn
the cufi edge over the interlining and catch-stitch them.
Ill. I08. MakingaCuff (Ill. 108.) Turn under the outer edge and ends of the un-
der section of the cufi one-eighth of an inch more than
the upper section. Baste the under section to the upper section with its edge onaeighth
of an inch from the edges of the outer section and fell the edges to position. (Ill. 108.)
Put the cuff on the sleeve following the instructions given in the Deltor or Illustrated
Instructions.
Baste the sleeves into the armholes. Try the coat on to see if the sleeve sets nicely.
Then stitch it.


THE BUTTONS. When sewing on the buttons sew them through the coat and canvas
interlining but not through the facing. (Chapter 24, page 115.)
THE LINING is the final step of coat-making; the outside must be entirely finished, the
pockets put in, and all the ornamental stitching done before beginning on the lining. Silk,
satin, crepe de Chine and foulard are unquestionably the only satisfactory linings for
a coat. Only the greatest necessity for economy warrants using a silk substitute as coat
lining. The lining may match coat in color or a fancy '
silk or satin may be used accordingly to the style.
Cut the lining from the same pattern as the coat, allow-
ing for any alterations which have been made in fitting.
Cut the lining of the fronts to extend to the front facings
only, and cut the back pieces each one-half an inch wider
than the pattern to allow for a small plait in the center
back. Leave good seams, as the lining must be quite
easy in width as well as length. (Ill. 109.) If it is tight
it will draw the outside of the coat and make wrinkles.
Baste a small plait at the center back to avoid any
possibility of tightness. With the back piece of the lining
basted in the coat, the two outer edges will be raw. Catch
these raw edges fiat with a loose basting-stitch to the in-
side seams of the coat over which they lie. Now take the
next piece of the lining and baste it through the center
to the corresponding piece of the coat, then turn under the
edge toward the back and baste it down like a hem over the
raw edge of the back piece, notching the edges of both
seams at the waistline and immediately above and below '
it, so they will fit the curves of the coat. |||_ |()9. Lining me (30,;
Repeat this method with each piece of the lining. Turn
it up at the bottom, allowing a little of the cloth to show (Ill. 109) but do not let the
lining draw.
After all the edges are turned under and basted over the preceding pieces and over the
raw edges of the facings in front, and over the edges of the collar at the neck, they are
neatly felled down to the cloth. (Ill. 109.) Be careful not to catch through to the outside.
The lining of the sleeves is cut like the outside and the seams are stitched and pressed
open. If the sleeves are to be interlined, the interlining should be tacked to the sleeve
lining. It is used on the upper part of the sleeve only, and should stop three inches below


COATS AND CAPES 63
the upper edge and three inches above the wrist edge. (Ill.
110.) The lining is slipped inside the sleeve and hemmed
down at the hand and on the small opening at the back of the
wrist if there is an opening allowed in the sleeve pattern. It is
then drawn up in place and basted through the cloth of the sleeve
about five inches from the top. Draw up the sleeve lining, turn
in the raw edge, and baste it to the coat lining all around the arm-
hole and fell it in place.
THE HALF-LINED COAT
THE HALF-LINED COAT. Top coats, storm coats, motor
coats, etc., should only be lined to about twenty-five or twenty-
six inches from the neck. (Ill. 111.) You need a lining in the
upper part to cover the interlining and to make the coat slip on
and off easily. There is no real need for a lining in the lower
part and it wears out so quickly, from rubbing against your skirt,
that it is really better not to use it.
THE SEAM EDGES. When a coat is lined to the waist
only, the seam edges in the lower part of the coat must be finished
neatly. (Chapter 17.) Heavy materials like wool, velvet and
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 ribbon seam-binding, the color
of the coat. Seam-binding comes in difierent widths and you
can get it wide enough for even a heavy coating. Put the seam-binding on by hand with
an easy running stitch, sewing
it neatly and evenly. (Ill. 154,
page 88.)
The seam-binding should
run up well above the line of
the lower edge of the
AN UNLINED COAT
An unlined coat needs inter-
lining to prevcnt its breaking
on the figure. The interlining
for the front of the coat should
be cut and put in according
to the Deltor or Illustrated
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


Ill. I I0. The Sleeve
lnlerlining

lll. l l l. The Hull-Lined Coal


CHAPTER l3
HOUSE DRESSES, NEGLIGEES, KIMONOS, BATHROBES,
APRONS, BATHING-SUITS AND ROMPERS
Patterns—Materia|s—Culting—Putting the Garment Together—Seams—Finish
HE PATTERN. Buy these patterns by the measure given on the envelope.
This is the only measure necessary to consider in buying these patterns. When a
design is cut in fewer sizes than usual it is because the garment is of a type which
is more or less easy in fit, that is, it should not fit as closely as a dress. Never buy a
pattern smaller than your measure.
In buying romper patterns buy them by the bust measure if the child is large or small
for its age. Chapter 2 gives instructions for measuring ladies, misses, girls and children.
Many figures vary in the length of the waist, skirt and arm. Before cutting your
material measure the figure at these places. (Chapter 3. pages 19-23) and compare
your measures with those of the pattern (Chapter 3, pages 19-23.) If the pattern is long
or short for you, alter it as explained in Chapter 3. The proper place to alter each
pattern is given in the Deltor on the pattern envelope.
MATERIALS. Read Chapter 6, page 32 on shrinking materials before cutting your
material.
CUTTING. If you are not thoroughly familiar with Butterick patterns read Chapter
2. Lay your pattern on the material following the layout given in the Deltor for you?
size, width of material and the view of the pattern that you are going to use. If no Delto
is given with the pattern follow the cutting instructions on the pattern envelope.
After cutting out the garment mark all the working perforations with tailors‘ tacks.
(Chapter 16, page 85.) The best way to mark the notches is to take two or three stitches
in basting cotton for each notch, or the notches may be clipped, in which case do not
make them any deeper than is necessary to see them distinctly.
PUTTING THE GARMENT TOGETHER. The Deltor or Illustrated Instructions will
show you with pictures exactly how to put the garment together.
Try the garment on and if any slight alteration is necessary. make it at the place pro-
\1'ded for alterations in the pattern. Baste in the alteration, try the garment on again
and stitch the seams.
The materials suitable for each class of garment in this chapter, and the correct finish
for each garment are given below:
HOUSE DRESSES
MATERIALS- The materials most used for house dresses are gingham, chambray,
cotton poplin, madras, seersucker, linen-finished cotton materials and striped
cottons.
THE FINISH FOR HOUSE DRESSES must be suitable for hard wear and frequent
laundering. The seams may be finished with flat-stitched seams (Chapter 17, page 87)
or with French seams (page 86).
Armholes should be finished with flat-stitched seams (page 87) or overcast (page 82).
The finish of the edges and the trimming of house dresses change from time to time as
new ideas are introduced. The Deltor gives the newest finish for this type of garment.
65


66 THE NEW DRESSMAKER
NEGLIGEES, KIMONOS, ETC.
MATERIALS- Crepe de Chine, Georgette crepe, lace, wash silk, wash satin, silk mull,
silk and cotton crepe de Chine, cotton voile, dotted swiss, wool batiste, wool albatross
and challis, are the materials most used for negligées or kimonos. Corduroy is used for
warm wrappers.
The choice of the materials depends on the dressiness of the negligée, etc., the use it
is to be put to or the need of the woman who is to wear it. Tea gowns in dainty materials
and attractive colors are used by many women for tea, luncheon, and dinner at home
with their intimate friends.
SEAMS. For all materials except corduroy French seams are used (Chapter 17, page
86). For corduroy use flat-stitched seams (Chapter 17, page 87) unless the wrapper, etc.,
is lined. In that case use plain seams and press them open.
The nicest corduroy negligées are lined with a thin silk. China silk makes the best
lining. ,
In a more elegant negligée of crepe de Chine, Georgette crepe or silk mull, the seams
may be machine hemstitched. (Chapter 25, page 118.)
THE EDGE FINISH AND TRIMMING will be found in the Deltor. The styles,
trimmings and finish change constantly and the newest ideas suitable for each design are
given in the Deltor.
BATHROBES
MATERIAL5. The materials most used for bathrobes are blanket robing, blankets,
eider-down, flannel. flannelet and corduroy for warm bathrobes. When warmth
is not essential terry cloth makes a very satisfactory bathrobe.
THE SEAMS. In heavy materials such as blanket cloth, blankets and eider-down,
if the fabric does not fray, the seam edges may be turned to one side and stitched again M
or % of an inch from the seam stitching. The edges are then cut ofl‘ close to this stitch-
ing. If the material does fray trim the seam edges down to % of an inch width and
bind the edges separately with lining material. Turn both edges to one side and stitch
them through the garment along the inner edge of the binding.
In fiannelet French seams (page 86) may be used.
Flat-stitched seams (page 87) may be used in any of the materials mentioned.
The lower edge and armholes are finished like the other seams except where French
seams are used. In that case use a regular hem at the lower edge of the bathrobe.
In joining the collar to the neck if the material is bulky stitch the under section of the
collar to the neck with the seam toward the wrong side of the robe. Clip the seam to
prevent its drawing the neck and turn it up. Cut ofi the seam allowance on the neck
edge at the outside section of the collar and bind it. Baste and stitch it to the neck of the
bathrobe over the first sewing, stitching along the inner edge of the binding.
THE EDGE FINISH AND TRIMMING will be found in the Deltor.
APR ONS
ATERIALS- Gingham, chambray, percale, madras, seersucker, linen-finished
cottons, flowered sateen and cretonnes are the material most used for aprons.
THE FINISH of aprons like the finish of house dresses must be made to stand hard
wear and frequent laundering. In bungalow aprons use flat-stitched seams (page 87).
French seams (page 86) may also be used for bungalow aprons and other aprons.
THE EDGE FINISH OR TRIMMING will be found in the Deltor. Now that mod-
ern conveniences have made it possible for so many women to do their own house-
work there is more interest in aprons and new ideas in trimmings are introduced each
season. The Deltor gives the newest and most attractive finish for each design.


HOUSE DRESSES, NEGLIGEES, arc. 67
BATHING-SUITS
' | 'HE same general principles and rules followed in making waists (Chapter 7) skirts
(Chapter 9) and bloomers (Chapter 14, page 69) are used in making bathing-suits.
MATERlALS- The materials most used for bathing-suits are surf satin, tafieta, surf
cloth, brilliantine, or jersey cloth.
ROMPERS
THE MATE-RIALS most used are gingham, chambray, cotton poplin, galatea, seer-
sucker, linen and linen-finished cottons.
SEAMS for rompers must be finished to stand hard wear and constant laundering. If
the effect of the romper is at all soft use French seams (Chapter 17, page 86). For little
straight rompers or the body of a two-piece romper where a tailored effect is desired use
flat-stitched seams. (Chapter 17, page 87). ’
Another way of giving a tailored effect to rompers is to cut the seams to about % of an
inch width and press them open. Baste lawn seam binding fiat to the inside of the body
to completely cover the seam, stitch along the edges of the seam binding to give the efiect
of a tailored seam from the outside.
Armholes may be finished as flat-stitched seams, (Chapter 17, page 87) overcast (Chapter
16, page 82), or bound with lawn seam binding.


MAKING AND FINISHING UNDERGARMENTS 69
PUTTING THE GARMENT TOGETHER. Put the garment together and baste
it, following the Deltor for putting together or the Illustrated Instructions. Try the
garment on and if necessary make any slight alteration.
Although there is a particular daintiness and charm about hand-made underwear.
much fine and beautiful work may be done on the machine. The saving of time is so
great that when a number of pieces are to be made this method is usually given the
preference. A few of the smaller pieces—a corset cover, chemise or a pair of drawers—
can easily be made by hand, but the amount of work on gowns, petticoats or combination
garments inclines one toward the machine method.
One must understand something of the mechanism of the machine. It mustbe kept
clean and well oiled. The number of the thread, the size of the needle, the length of the
stitch, and the adjustment of the tension must be adapted to the material. No. 80
cotton is the best for white work, except for tucks and hems and all outside stitching on
very sheer and fine materials, when No. 100 or No. 120 may be used. Every make of
machine has a table giving the sizes of needles that should be used with certain number
threads, which it is wise to follow. Remember that a sewing cotton requires a looser
tension than silk.
The hemming and tucking attachments are great time-savers, but many women prefer
to gather rufiles, pufis, etc., by hand and stroke them.
IN MAKING underwear it is important that there should be no raw edges. This not
only makes it neater and daintier, but it makes it stronger and better able to stand
frequent laundering. It is washing that wears out underwear more
than the actual use.
as invisible as possible. French seams are best on this account
(Chapter 17, page 86). In fact, French seams are used on all
underwear, whether it is sheer or not, because they show the
\ least. These seams should be made as narrow as possible. In
" SEAMS. In sheer materials it is necessary to make the seams
materials like batiste, silk muslin, net and Georgette the seams
may be joined with a narrow lace seaming. The method that is
used for this seam is shown in Illustration 307, Chapter 27, page 133.
Ill . I |2. Binding the In all underwear. seams should be as narrow as possible. In mate-
gbome, 595," rials like thin silk, net, Georgette, silk muslin and batiste the
seam edges may be cut very narrow, rolled and whipped together.
The method is the same as in Ill. 152, page 87, only both edges are rolled instead of one.
In all materials that suggest daintiness machine hemstitching may be used for the
seams and for trimming. (Chapter 25, page 118.) In the heavier cottons and silks
where a tailored finish is desired fiat fell seams (Chapter 17, page 87) are used. They
should be made as narrow as the material will permit. Flat-stitched seams (Chapter 17,
page 87) are the strongest seams for underwear and are often used for drawers, especially
for children's drawers and for pajamas. They are always used for the pajamas when a
mannish tailored effect is desired. A fell seam is used to piece the material in cutting
unusually wide garments such as drawers, etc.
The edges may be hemmed (Chapter 18, page 91.) faced (Chapter 19, page 94) or
trimmed in the various ways suggested in this chapter.
For bloomers, both French seams and flat-stitched seams are used. A strong flat seam
is especially good for gymnasium wear. It may be made by stitching the seam and
pressing it open flat. The curved part of the front and back should be slashed half-way
to the stitching every little way, so that the seam will be perfectly flat and will not draw.
Trim ofl’ the corners of the slashes to give a curved edge (Ill. 112) and finish
the edges of the seam with a narrow ribbon binding or with a bias binding of sateen or
percaline the shade of the material. Use flat-stitched seams in piecing.
BINDING THE SEAM. The seams of bloomers may be bound with ribbon binding
sewed on by hand with a running-stitch or stitched on. Or the seams may be bound
with sateen or percaline cut in bias strips an inch wide. Baste the bias binding on the
right side of the seam edges, turn it over the raw seam edge turning in the raw edge, and
baste on the under side, keeping the turned edges even on both sides of the seam. Stitch


70 THE NEW DRESSMA_KER
close to the inner edge of the binding.
This type of binding is more serviceable
than ribbon binding for a garment that is
to receive hard wear.
TAPING SEAMS. If the bloomers are
used for gymnasium the strain on the seams
will be very great. They can be reenforced
with firm black linen or cotton tape about
1% of an inch wide. Baste this tape directly
H... H3 .-.. .1... 1....-, ...- em.-, 5....-. $1; ;;;§f;;' :5 d"1;i§§;“1m<;gu;1f ggglggpgf
seam and garment close to each seam edge.
(Ill. 113.) This will give the effect of a tailored seam from the outside as shown in Illus-
tration 114. Be sure the tape is in one continuous piece from waistline in front to the
waistline in back and from the lower edge of one leg to the lower edge of the other.


TRIMMINGS. The daintiest and at the same time the most effective trimming for
lingerie is hand-embroidery. It is used on all the most beautiful French underwear, and
is very lovely to look at, and yet adds very little to the cost of the garment. It is the
only trimming that does not wear out, and it never requires mending. For every-day
wear the simple scallops and eyelets which can be used in place of beading are very
satisfactory. More elaborate designs can be used on finer lingerie for evening wear,
etc. One can get very beautiful effects by combining hand-embroidery with lace. All
the best designs of difierent kinds of embroideries suitable for underwear are to be had
in Butterick transfers which are illustrated in N eedle-A rt.
Tucking made either by hand or by machine is used on all types of underwear. It
may be either plain or fancy tucking. (Chapter 20, page 97.)
DOUBLE bands of net or Georgette are hemstitched to underwear of silk or batiste to
finish the edges and to form a finish and also a casing for a ribbon. They are
also set in garments below the hems, and have ribbon run through them. Satin bands
are used on garments of Georgette, net, silk muslin, etc.
NOVELTY braids, particularly rickrack, are stitched to the edges of garments. They
form a beading as well as a finish for the edge, since the points are only caught on
one side of the braid.
EDALLIONS of silk, Georgette and net, many of them embroidered, are set in gar-
ments of a contrasting material.
NARROW crocheted edges, often forming a beading, are used on many of the bet-
ter class of undergarments in all materials, even satin. Needle-Art gives these
edges both in crochet and tatting.
CROSS overcasting and double overcasting (Chapter 25, page 124) such as are used as
a trimming in waists and dresses are also used as a trimming on underwear of Geor-
gette, batiste, nainsook and silk muslin.
SHAPED hems and facings are used at the edges of garments of all materials. They
may be made of either the material of the undergarment or of contrasting material,
and are either set in with machine hemstitching (Chapter 25, page 118) or else are feather-
stitched in place (page 126). These hems and facings may be shaped at either the
inner or outer edge. Rows of narrow bias bands of the same material or of contrasting
material are used around necks and at the lower edges of fiounces. They are very pretty
in fine striped or checked material on a plain material and are stitched on by machine
or hemstitched.
RAWN-WORK and hemstitching are very lovely on handkerchief linen, batiste and
voile, and are used a good deal on the better class of French underwear. They are
very dainty.


MAKING AND FINISHING UNDERGARMENTS 7|
ET PLAITINGS are used at the edges of garments of Georgette, silk, silk muslin
and batiste.
IBBON and satin plaitings are used on garments of Georgette, net, thin silk and
batiste.
LITTLE colored flowers usually made of satin, Georgette or ribbon are used on finer
underwear, especially at the top of flounces. Rosettes are also used on fine underwear.
1VIany silk garments are finished with bandings and cordings of the underwear materials.
Edges are often finished with picot and sometimes have several rows of machine-stitching
above the edge, either straight, scalloped or in points.
ACE is used on almost all underwear. It is usually a machine lace, though on the
finer underwear certain real laces are used, such as Valenciennes, Irish, filet and
Binche. The different ways in which you can use lace as a trimming are given in
Chapter 27, pages 134-136.
UFFLES are frequently used for trimming on petticoats and drawers when full
styles are in fashion. (See Chapter 27, pages 132—133.)


CHAPTER I5
MATERNITY CLOTHES AND THE LAYETTE.
Skirts-—-Inside Belts—Waists and Bl0uses—Waist Linings—Coals—Capes—
Suits—Materials—Colors—C0rsets—Shoes-Lingerie and
Underwear—The Layette
ATERNITY clothes have two objects: One is to make your condition unnoticeable.
the other is to give you every physical advantage possible. If your clothes make
you feel conspicuous and awkward you will shrink from going out and will sufi°er
from lack of exercise and legitimate amusement which would keep you in a happy,
contented frame of mind. Under such conditions you would be likely to become morbid.
and your depression might seriously afiect the physical condition of your child and his
character and disposition. If you keep happy and contented yourself you stand a better
chance of having a happy, sunny, normal child.
Your clothes must be the right weight so that they will not tire or strain you. They
must be the right size so that they give your figure proper support without compressing it
or retarding its development. '
Clothes that are designed solely for maternity wear are apt to look the part, and call
attention to a woman's condition. At this time you do not want to be conspicuous in any
way. You want to look as much like other women as possible so that there will be nothing
to draw notice to you. It is much better to choose current styles that can be adapted to
maternity wear and use them in preference to the special maternity clothes. Your things
will be prettier and smarter and of more use to you later. The slight alterations that you
make for maternity use can be changed back to normal lines after the baby is born.
You should avoid anything that is extreme or bizarre or that will enlarge your figure
unnecessarily. Skirts with plaits, long soft tunics, or soft fulness are admirable, for they
give you the size you need at the waist. You should not usea skirt that is extremely
narrow. It might become too small for you before the baby is born. If you select such
a style it is advisable to add sufiicient width to it in cutting.
SKlRTS—A skirt can be adapted to maternity use by allowing extra length at the top
in front. The allowance should be three inches deep at the center front and slope to
nothing to the hip. As your skirt grows shorter across the front you will let out this allow-
ance to keep it even at the bottom. A skirt that is short across the front and pokes out
calls immediate attention to your condition. Until you need this extra allowance it can
be turned under and its inside edge covered with seam binding.
THE INSIDE BELT of skirts and dresses should be of elastic webbing. New belts
should be put in from time to time so that the belt will always be easy. It should never
compress the figure. The point of the elastic webbing is not to allow the belt to stretch
to your new proportions; it is to allow for the transient changes in the figure, the temporary
inflations that come and go during the day.
WAISTS AND BLOUSES—In selecting waists either for separate blouses or as part of
dresses, choose soft styles that do not fit the figure too closely. Long overblouses when in
style are very good, because they have plenty of size at the waistline. Surplice waists,
especially when they are made with sashes, adapt themselves to your changing figure with
the tying of the sash. Waists with soft fulness when they are used as part of a dress made
with a soft skirt should be joined to the skirt before either the waist or the top of the skirt
is gathered. A casing should be placed at the waistline and the fulness of both the waist
and skirt drawn in with the same drawstring. (Chapter 23, page 111.)
72


MATERNITY CLOTHES 73
WAIST LINlNGS—It is better not to make dresses and waists with waist linings which
would have to be altered from time to time. Instead you should wear a brassiere that sup-
ports your figure and keeps it neat and trim. A brassiere should not be worn at all snug,
for it must not compress the figure or prevent its development. Surplice brassieres are ex-
cellent, for they adjust themselves each time they are put on. Or you can use the fitted
brassié-re with under-arm seams laced wi th elastic cord which can be let out when necessary.
COATS. CAPES, SUlTS—For the street a long coat or a cape is usually better than a
suit. For some seasons suit styles are excellent for maternity wear. The coat should not
be close fitting. It should have plenty of width at the waistline, and if necessary it should
be cut with extra width allowed on the front edge of each front so that it will not become
too small.
MATERIALS AND COLORS—It is advisable to choose materials that are as light in
weight as possible especially for coats and street dresses. As far as possible wear the
light-weight silks and satins even in Winter in your dresses. Get the necessary warmth
from your underwear and your wraps. Coats and wraps of course must be warm for
cold weather, but you can choose materials that are warm and light.
Do not choose loud or light colors for maternity use. The quiet colors are less notice-
able and the dark colors make you look small. Avoid anything with large figures or con-
spicuous stripes, checks or plaids. In Summer you will want to wear white and light colors
during hot weather, because they are cooler than dark colors. but in other seasons the
dark colors are more practical for the street. Use light colors for the house.
CORSETS—As soon as you find that you need them get the best maternity corsets that
you can afford. The muscles of the abdomen require additional support at this time and
if you wear poor corsets or go without corsets altogether you run the risk of getting per-
manently out of shape and perhaps losing your figure altogether even after the baby is
born. If you keep well corseted the chances are that your figure will come back to its
original lines.
With your corsets you must wear hose supporters. A round garter is very dangerous.
for it checks the circulation and might induce varicose veins.
SHOES—Your shoes should have fiat, rather low heels so that you will not run the risk
of turning your ankles and getting a fall. In wet or slippery weather be sure to wear rub-
bers. If you fall or wrench yourself you might bring on a miscarriage.
LINGERIE AND UNDERWEAR—For maternity wear you will probably need lin-
gerie at least two sizes larger than the underwear you ordinarily use. Instead of petti-
coats it is advisable to wear princess slips, for the weight rests on the shoulders instead of
at the waistline. If you use combination drawers and corset cover you must allow extra
length in the lower part in cutting them. Slash the pattern just below the hip and sepa-
rate the pieces about three inches before you cut your material. In your envelope che-
mises you will need extra length at the end of the tab. Make a three-inch allowance on
the tab in cutting. Nightgowns should open down the front.
In Winter wear wool or part wool union suits, and many doctors advise long
sleeves and drawers that come to the ankle. It is very important to keep the body an
even warmth. If you take cold at this time it is likely to go to the kidneys and cause
trouble later.
You should place yourself under the care of a good physician as soon as possible and
follow his advice in regard to exercises, diet, etc. Under normal conditions a certain
amount of exercise is very desirable. It keeps you in good general condition.
You ought never to lift heavy things, or reach up for anything that might strain you.
Violent exercises of course are taboo.
THE LAYETTE
LL baby clothes should be white, and as fine and dainty as possible. Pale shades of
baby pink and blue can be used for ribbons on dresses and caps, for linings in lingerie
caps and for the linings of Summer coats of batiste, handkerchief linen and crepe de Chine.


MATERNITY CLOTHES 75
with on the front
and lower edges of
shirts. In s 0 m e
cases the flannel is
turned only once
and a loose button-
hole 0 r crochet-
stitch in soft
Saxony wool or silk
floss is made over
the edge. This
finish is shown in
Ill. 116.
D I A P E R S -
There are three
kinds of diapers-
bird's-eye linen,
cotton diaper cloth
and stockinet.
They are twice as
long as they are wide and are
finished with narrow hems
at each end. You will need
three pieces of the diaper
cloth, eighteen, twenty and
twenty-four inches wide. If
you like, you can buy the
diapers ready made, sterilized
and ready to use.
PETTICOATS —An infants’
petticoat is finished accord-
ing to the material of which it
is made. The princess petti-
coat is the best style for the
baby, for it is the easiest to put
on, the weight hangs from the
shoulders, it keeps the body an
even warmth and it is loose at
the waistline. (I11. 117.) Some
lll. I I9. Pellicoat Joined lo Single Body
Ill. ll7.


F lgmnel Skirt in Princess Style,
Closmg on the Shoulders


Ill. I20. Pellicoal Joined to Double Body
women prefer a
petticoat gathered
to a band or body,
but the princess
style is safer and
is used at the
best baby hospi-
tals.
FLANNEL
should be made of
fine flannel. The
seams should be
stitched and fin-
ished as shown in
Illustrations 138 or
139 on page 83.
The u n d e r a r m
seams are finished
in the regulation
manner with catch-stitching or
feather-stitching.
The bottom of the skirt may
be embroidered, scalloped or
trimmed with feather-stitching,
or the hem can be finished as
shown in Illustrations 173 and
174 on page 92.
The princess petticoat is fast-
ened on one or both shoulders
by ribbons or buttonholes. The
neck and armhole edges may
be bound with ribbon or tape
or finished with a scalloped
edge worked in white embroi-
dery silk. (Ill. 117.) If the
petticoat is to be embroidered
don't cut out the neck and
armhole but mark the outline
of the pattern with a colored


PETTICOATS'


MATERNITY CLOTHES 77
or cambric, and are trimmed with tucks
(Chapter 20), feather-stitching (Chapter
25), French knots, or with ruffles edged
with lace orwith rufiles of embroidery (Chap-
ter 27) or a deep hem (Chapter 18).
SLlPS—Day slips are made of batiste,
nainsook, lawn, fine cambric or cross-barred
dimity trimmed simply with a little narrow
lace at the neck and sleeves. Babies wear
them in place of dresses most of the time,
for under afghans and blankets a dress
shows very little.
Night slips are made like the day slips
but without the lace and are usually of fine
cambric (Ill. 122). Many hospitals use a
flannel nightgown which is worn in place
of the nightslip and flannel petticoat.
A slip should be -
put together with Ill 122- The 5|ip
narrow F r e n c h
seams. In the model shown in Ill. 122, the neck is finished with
a bias binding. A narrow tape is run through the binding so that
the neck can be drawn up to the right size when the slip is worn.
Make an eyelet in the outside of the neck-binding just in front
of the underlapping hem. Pass the ribbon through this opening
so that it will meet the other end that comes from the opening
of the overlapping hem (Ill. 122).
The neck and sleeves, which should be gathered into narrow
bands at the bottom, may be edged with a frill of lace. The
back is cut down through the center to the depth given for the
opening in the pattern instructions. Each edge of the opening is
finished with a tiny he m. A plait is then made deep enough to bring
the opening back one-half inch from the edge (Ill. 123). It is held
in place by a slanting row of stitching at the end of the opening.


DRESSF.S—The baby will need a handsome dress for christen-
ing robe made of lawn, nainsook, batiste or handkerchief linen.
The christening robe is generally made with a yoke and panel in
front and this part of the dress can be of all-over tucking, or very fine embroidery. The
simpler dresses are made of lawn, nainsook, dimity and batiste and are trimmed with
smocking, hemstitching, featherstitching, French knots and tucks. Fine little dresses
are made of batiste, fine nainsook and handkerchief linen usually with a small embroidered
yoke and with an embroidered or lace-trimmed rufile at the bottom.
Ill. I23. Finish of
Closing
A DAINTY YOKE may be made by over-handing together alternating rows of lace
insertion and embroidery insertion.
Fine tucking rolled and whipped to lace insertion also makes a pretty yoke.
Narrow seaming or hemstitched beading may be used to join the yoke to the dress.
The material on each side of the seaming should be rolled and whipped (Ill. 311, page
134), to the yoke on one side and the dress on the other. Or the seaming can be joined to
the dress and yoke with tiny French seams.
The shoulder seams may be joined with the seaming in the same way, and the seaming
may be used as a finish for the neck and sleeves. The material on the lower edge of the
seaming should be joined to the neck and sleeve edges as described above. The material
on the outer edge of the seaming should be cut away close to the seaming and a narrow
French valenciennes lace whipped to the seaming to finish the neck and sleeves. This
makes a dainty finish.
Baby clothes should be made entirely by hand and in the dresses the seams should be
put together with narrow French seams or fine entre-deur. (Chapter 27, Ill. 307.) For


MATERNITY CLOTHES 79
' material are a pretty part of the layette. The piqué or other
silk. The cap-strings are always separate
and are made of hemstitched lawn, ba-
tiste or handkerchief linen. They are
pinned on with baby pins and changed
every day. In Winter a baby will need
a ready-made veil of fine knitted silk or
Brussels net edged with satin ribbon.
THE KIMONO OR WRAPPER is a
very practical garment and may be
made of flannel, cashmere or any light-
weight woolen material. A very pretty
little garment may be made of French
flannel, dotted or plain, with a shaped
band of contrasting silk or flannel.
(Ill. 126.)
The garment is collarless, and the
neck and front edges, as well as the
sleeves, are finished with shaped bands.
' The band is basted to the inside of the
Ill. I26. Applying a Band wrapper, along the neck and front edges.
After it is stitched on, the band is rolled
over on the outside of the wrapper and basted in such a manner that it extends a trifle
beyond the joining seam. The other edge of the band is turned in and basted flat to
the material (Ill. 126) and is held in position bya feather-stitch. When a straight band is
used, one long edge is joined to the wrapper with the seam toward the outside; the
other edge is then turned under and basted over the seam as shown in Illustration 127.
French knots and various fancy stitches, scallops or little trailing vines of embroidery
can be used very efiectively in the trimming of these wrappers. Silk or satin ribbon may
be used for the straight band. Some of these kimono wrappers are lined throughout with
soft India silk. The wrapper design mentioned above is perforated in the correct length
for a house sack. This convenient little garment is made like the wrapper in every par-
ticular, except the length.
A dainty little sack is made of white cashmere lined with pale pink India silk. Both
the outside and lining portions are cut exactly alike, the seams stitched and pressed open.
The sack and lining are then basted together, with seams turned toward the inside. The
sleeve portions are gathered separately at the top. Sew the outside material of the sleeve
in at the armhole. Turn the raw edge of the sleeve lining under. gather it and hem to the
armhole. A tiny turnover collar may be added with the same kind of finish. The edges
of the sack may be turned in and secured with a row of feather-
stitching, or they may be buttonholed together by a scalloped
edge. The feather-stitching is given in Chapter 25, “Trim-
ming Stitches."


LITTLE SHOES AND SLIPPERS made of a washable
material is cut according to a slipper pattern, following the
directions given on the pattern envelope. The sole and upper
part of the shoe may be lined with flannel. The outside mate-
rial and the flannel lining are seamed separately and the seams
pressed open. They are then basted together with their edges
even. The upper and lower edges of the slipper are bound
with a bias seam binding. The upper part and the sole are
overhanded together on the wrong side and the shoe is
turned right side out. The ankle straps are then lined with
cambric.
Work the buttonhole in the right-hand strap of one slipper
and in the left-hand strap of the other. Flat bows run through
tiny buckles, or rosettes of baby ribbon, can be used to trim *
the b00t@eS- u|. I27. Straight Band


80 THE NEW DRESSMAKER
BLANKETS, AFGHANS, ETC.—The blanket should be 45 inches long and the width
of the material. The handsomest blankets are made of double-faced eider-down. the
edges bound with wide satin ribbon with the sewing line covered with French knots or
feather-stitching. Blankets and afghans are always white, pink or blue, or white with
pink or blue, or pink and blue together. The knitted afghans are made of wool. Two
thicknesses of Shetland Wool in pink or blue, or white with pink or blue, put together with
a satin ribbon binding makes a dainty afghan for Summer. There are always new and
charming ideas in afghans and the best ones with directions for making them will be found
in Needle-Art. A very nice blanket can be made with two thicknesses of cheese-cloth
with one thickness of cotton wadding between them. The edges are bound together with
ribbon or scalloping and the three thicknesses are caught together with satin bows or
knots of baby ribbon.
The baby will need little jackets, wrappers, sacks and bootees. You will find an excel-
lent collection of them in the Butterick catalogue and publications and very exquisite
French designs for embroidering them are given in Needle-Art. These things, however,
should be left toward the last, for you are very apt to receive them as presents. They
make interesting work for the last few weeks when you are more or less confined to the
house and do not feel like doing other things.


CHAPTER I6
SEWING STITCHES
Knots‘Bastings—Even Bastings—Uneven Bastings—Combination Bastings—Diagonal Bast-
ings— Running Stitch—Backstitch—The Half Backstitch—The Combination Stitch—Overcast-
ing~—Overhanding—Catch-Stitch4Slant Hemming Stitch—Straight Hemming Stitch—Blind
Hem ming—Slip Stitch-Loose French Tacks—Tailors' Tacks
MAKE A KNOT, hold the threaded needle in the right hand. Take the end of
I 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 are temporary stitches
used to hold two or more pieces of ma-
terial together while putting in the per-
manent stitches. The thread should be
smooth and rather fine. Careful bast.
ing 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 removed. Pass the needle over
and through the material, making the
stitches and spaces the same length.
To fasten the thread, take two stitches
over the last one made. (Ill. 128.)


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. (Ill. 129.)
COMBINATION BASTINGS are used
on seams where extra firmness is de-
sired for close fitting. They are
made by taking alternately, one long
stitch and two short stitches. (Ill. 130.)
DIAGONAL BASTINGS are slant-
ing stitches used in dressmaking and
tailoring to secure the outside material
lll. I3 |. Diagonal Baslings to its lining, particularly where the lining


s1


SEWING STITCHES 83
OVERHANDING, top, or oversewing,
as it is sometimes called, is used to join
folded edges or selvedges. (Ill. 137.) Baste
the pieces with the folds or solvedges ex-
actly even and sew with close stitches over
and over the edges, taking up as few threads
as possible, so that when finished the seam
will be smooth and fiat and not form an
awkward ridge or cord on the wrong side of
the garment.
CATCH-STITCH, sometimes called cat-
stilch, 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
felled seam, takes the place of overcasting
and prevents 1-aveling.
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 Illustration 138.
Make a knot and insert the needle under
the edge at the lower left corner, cross the
edge and take :1. small stitch a few threads
to the right. Cross back again and insert
the needle. taking a similar stitch through
all the thicknesses of the material.
Always point the needle to the left and
make the cross-stitches cncase the raw
edges. The stitch is done from left to
right. If preferred, these seams may be
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 Illustration 139.
A quicker method of catch-stitching is


Seam


and Millinery
shown in Illustration 140. This stitch has not the strength of the first method and is
only used in millinery and in dressmaking where the work is concealed. This style of
catch-stitching is done from right to lcf t.
THE SLANT HEMMING STITCH is used to hold in place hems, facings, fells, etc.






_ -4. J ‘_P .
Each stitch slants on both the right and
wrong side of the material. (Ill. 141.)
Place the hem over the forefinger and
under the middle finger of the lef t hand
and hold it down with the thumb. Be-
gin at the right hand and insert the
needle through the fold leaving a short
end of the thread to be caught under
the stitches.
Pointing the needle toward the left
shoulder take a slanting stitch. taking
up one or two threads of the material
and the fold of the hem. At the end of the hem fasten the thread by taking two or three
lll. l4l. Slant Hemming Slilcii
stitches on top of each other.
lf a new thread is needed start as at the beginning, tucking both the ends of the new
and old threads under the fold of the hem and secure them with the hemming stitches.
In hemming train the eye to keep the stitches even and true. take very small, almost


SEWING STITCHES 85
TAILORS‘ TACKS are used in cutting out garments to mark seams, perforations,
etc. They are used to give a clean exact line for the sewing. When laying out the pat-
tern on the material cut the pieces, and then with a double thzead mark all the perforations
as directed in the pattern instructions. Baste through both thicknesses of the cloth,
alternating one long and one short stitch. Leave the long stitches loose enough to
form a loop under which a finger can be passed. (Ill. 146.) Then cut every long stitch
and separate the two pieces, cutting the threads that still hold them together as you go
along. There will then be enough stitches in each piece to indicate the sewing line plainly
and both pieces will be marked exactly alike. For waists or coats, or for any curved
outline, the tack stitches should be quite short.
In using tailors’ tacks for marking long tucks or plaits in skirts, etc., the loose stitch
may be an inch and a half long and not left in a loop, its length supplying the necessary
thread for pulling through between the two pieces of cloth.


ill. I46. Tailors_ Tacks


CHAPTER I7 _
SEAMS
French Se-am—Tumed-in French Seam—Fell French Seam—Flat Fell Seam——Lapped Fell
Seam—Roll Seam—P|ain Seams Pinked—PIain Seams Bound—Joined Seams—Ordinary
Tailored Seam—B|'oad Seam—Cord or Tucked Seam—'elI Seam—D0uble-Stitched Well
Seam—Open Welt Seam—Slot Seam—Doub|e-Stitch Slot Seam—Strap Seam—Lapped or
Imitation Strap Seam—Raw Edge Lapped Seam
F R E N C H S E A M
is a double seam
used to encase raw
seam edges. Baste the
two edges evenly together
on the right side of the
garment, and sew close
to the edge. (Ill. 147.) - -i.. .
Trim oi‘! the ravelings and .' ‘ 2 ' - - - - - - - - -*
turn the wrong side of the ' ‘ -
garment toward you, creas-
ing at the seam. Make the
second sewing a sufiicient
depth to cover the raw
edges. (Ill. 147.) This seam
is used for thin materials
and for dainty garments
where it is not desirable |||. |47. Fremh 5°.',m


to show stitching on the right side. It
should be used on edges that are easily
turned.
A TURNED-IN FRENCH SEAMisused
when the lines of a garment are such that
this seam is more practical than the regu-
lar French seam. It is used on edges that
are very much curved, and on edges
that have been basted at the finished
sewing line and can be finished more
easily this way. Make the usual plain
seam on the wrong side of the gar-
ment. Turn in both edges of the seam
toward each other, turning each side
the same amount. (Ill. 148.) Baste the
edges together and then stitch them
or finish them by top-stitching. (Chap-
4 ‘ i ter 16, page 83.)


l 0 -' - .'_ ,‘...-<'.'__’,-
'H.. .49, F-.. F,.....h Se..,“ ' A rem. FRENCH SEAM is made with


SEAMS 87
the usual plain seam on the wrong side of the garment. The edge that is toward
you should be trimmed down to % of an inch width. Turn the other edge toward you V3
of an inch and bring it to the seam line. (Ill. 149.) Finish it with a hemming stitch,
Illustration 149, or by machine, or with small
running stitches.
A FLAT FELL OR STITCHED SEAM has one
edge hemmed down covering the other raw
edge. It is used principally for wash garments
such as muslin underwear made in medium- -
weight materials, for flannels, tailored waists
and working aprons.
Baste the seam edges together on the


lll. l50. Hal Fell or Hat Stitched Seam
wrong side ol’ the garment and sew the
seam with combination stitch. If the
edges are bias, sew from the broad
part of the piece to the narrow part to
prevent the material from raveling
and stretching.
Remove the bastings and trim the
edge toward you close to the sewing
““ "- "“* " line. (Ill. 150.) Turn the other edge
flatly over it, pressing hard with the
thumb nail. Make a narrow turn,
baste and hem. (Ill.150.) This seam
can be stitched by machine if preferred.
lll. 15 l . Lapped Fell or Stilched Seam
A LAPPED FELL OR STITCHED
SEAM is used on flannels, tailored waists
or where there is no right or wrong side.
Lap one edge of the seam over the other
with the seam lines exactly over each
other and baste through the seam lines.
Trim off the ravelings from the edges
and turn the edges under so that they meet. (Ill. 151.) The edge on each side may be
sewed with a hemming stitch or by machine. (Ill. 151.)


 1.5g. Rolled Seam
A ROLLED SEAM is used in sheer materials where an unusually narrow joining is required.
and the material is likely to ravel or fray. Hold the seam edges together and trim off all
the ravelings. Begin at the right end and roll the edges tightly between the thumb and
forefinger of the left hand keeping the edges rolled for about 1 %; inch ahead of the sew-
ing. Whip the roll very close together making the stitches come under the roll and not
through it. Draw the thread tight. (Ill. 152.) This seam will form a small roll.
TAILORED SEAMS
N TAILORED garments keep the cloth smooth at the seams‘
and make the stitching as even as possible and press carefully.
PLAIN SEAMS PINKED — In plain seams of very closely
woven material that does not fray or ravel, the edges of the seams
may be simply notched or pinked, and pressed open. (Ill. 153.)


PLAIN SEAMS BOUND—Plain seams of jackets. cloaks and
other garments made of heavy material that will fray should be I .
bound with satin, silk or farmers’ satin. This is cut in bias "‘|5§,l,;,,,,E;‘1,g,§]<'f,£,P'am


90 ' - THE NEW DRESSMAKER
is used it is better to cut them on the
bias. and when the material is cloth
the better result will be obtained if the
straps are cut crosswise or bias of the
goods.
For a finished strap that is five-
eighths of an inch wide, the strips are
cut one and one-fourth inches wide.
Join the two raw edges with loose over-
hand stitches as shown in Illustration
137, page 82; spread out the strap with
the line of joining directly on the center,
and press.
When making strap seams it is desir-
H. I64 5"” Seam able to graduate the thickness at the
seam as much as possible. For this
reason, cut the seams either wide enough
so the edges on the underside will
extend beyond the edges of the strap, or
cut them narrower so the edges of the
strap will extend beyond the seam edges.
Baste the straps carefully over the
seams, with a line of bastings run along
each edge. (Ill. 164.) When it is neces-
sary to piece the straps for long seams,
avoid having the joining seam in ‘a
prominent place on the garment.
,»->- ¢-¢»-


A LAPPED OR IMITATION STRAP
SEAM is the most practical finish for
unlined garments. The edges at the
seams are lapped and the raw edges
turned in with a row of stitches finishing
it alike on the right and wrong sides.
(Ill.165.)
I
_l
I
I
I
ii
I
I
I
|
'
‘
1
1


Ill. I65. l uppcd or Imitation Strapped Seam
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 stitching five-eighths of an
inch from the first gives it a neat and
tailored finish. The seam on the under
side should be trimmed ofi evenly.
(Ill. 166.)
One should be very careful in deciding
on the style of seam used on a tailored
_ - . garment. -Tweeds, homespuns, friezes,
_ T and all other rather loosely woven
“l . 166' Raw Edge Lapped Seam woolen materials should be finished
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 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.


CHAPTER I8
HEMS
Hems—Napery or Damask Hem—French Hem—Square Corners-
Mitered Corners—Circu|ar Hem—Plain Hem
HEM is a finish for the edges of garments,
household linens, etc. It is made by tur-
n-
ing the edge of the material over twice.
(Ill. 167.) The first turning should be narrow
and must of course be perfectly even. The depth
of the second turning depends on where the hem
is used and the effect you want to give. Mark
the depth of the second turning on the mate-
rial with pins, using as a marker a card notched
the desired depth of the hem. Fold the material
on the line with the pins and if the hem is wide
baste it at both the top and bottom. "L 167- Hem


A NAPERY OR DAMASK HEM is used on napkins and table-cloths. Turn under
the edge of the material twice for a narrow hem. Fold the hem back on the right side,
crease the material along the first fold, and overhand the fold and crease together. The
needle is inserted straight, as shown in Illustration 168. Open and flatten stitches with the
thumb-nail. If a square is used, turn
the opposite side in the same manner.
Hem the sides before folding back on
the right side. No basting is needed
for this hem. Take small stitches so
that the work will look well when the
hem is turned down. Directions for
hemstitching will be found on page 120.
SQUARE CORNERS are used in
hemming squares or obl0n.gs. Turn


Ill. 168. Napery or Dammk Hem
under the hem on one edge and then turn under the hem
on the edge at right angles with the first. Crease the
line where the fold of the second hem crosses the first
hem. Open both hems and cut away the first hem to
within a seam's width of the crease and the fold of the
hem. (Ill. 169.) Turn under the hems again and hem
the overlapping edges of the second hem to the under side
of the first hem (Ill. 170) but not through to the right
side. Finish all square corners in this way.
MlTERED 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 ofl’, allowing


Ill. I69. Folding for Square
Corners
91


92 THE NEW DRESSMAKER




Ill. I70. Hemming Square
Comers
Ill. I72. Hemming Mitered
Corners
ii lll. I73. Reversing Seam for
French Hem


a narrow turning (Ill. 171). Fold the hems down
all around, bring the mitered corners together,
and hem the side (Ill. 172). Hem the corners,
but do not catch the stitches through the mate-
rial underneath.
FRENCH HEM The seams must be stitched
to within twice the depth of the finished hem,
as shown in Illustration 173. Clip the seam at


Ill. 171. Folding for Mitered Corners
this point to the stitching, turn the lower edges
toward the right side and stitch the remainder
of the scam. Press open, turn the hem to the
right side, baste and feather-stitch (Ill. 174), or
finish in any desirable way.


French Hem on lannel
Skirt
Ill. I 74.


HEMS 93
A CIRCULAR HEM is often used on a skirt or garment that is not straight at the
lower edge.
If the material is soft in texture, the top of the hem is simply turned under and
a gathering-thread run in close to the turning. (Ill. 175.) Draw the gathering-thread
till the top of the hem is the same size as the part to which it is to be sewed.
(Ill. 175.) Blind-stitch it or machine-stitch it to the garment.
If the material of the garment is of heavy weight the upper edge should be gath-
ered without turning it under (Ill. 176)
and the raw edge should be covered
with a strip of seam-binding. (Ill. 176.)
The lower edge of this seam-binding
should be sewed to the hem but not to
the garment.
Before sewing the top of the hem in
place slip a piece of muslin cut the shape
of the bottom of the garment under the
~ hem and press the hem flat, shrinking
ll|. 175. ACircular Hem with the Edge Out 8-8 much Of the fulness as P0$8ib1@-
T umed Under The piece of muslin will prevent the ful-
ness in the hem from making marks on the
garment during the pressing. The piece of muslin
need not be the full width or size of the gar-
ment or hem. It can be a comparatively short
piece and can be moved as the pressing is done.
After the hem has been pressed in this manner,
hem the upper edge of the seam binding to the
garment with invisible stitches.


A HEM FOR A SLIGHTLY GORED OR
STRAIGHT SKIRT. The hem edge is turned
under in the usual way. If an invisible sewing
is desired. the turned-under edge of the hem is
stitched close to the turning and then blind-stitched neatly and carefully to the garment.


lll. I 76. Covering the Raw Edge of a Circular
Hem with Seam-Binding


CHAPTER 20
TUCKS AND PLAITS
Tucks—Nun's Tucks—Curved Tucks—Cross Tucking—Laying Plaits—Stitching Plaits—
Supporting lnlaid Plaits
TUCKS should be marked with a measure so that they will be of even width.
NUN_S TUCKS are wide tucks usually two inches or more in width.
The method
of making all tucks is the same more or less, but the wider the tucks, the greater the
lll. I84. Tucks


difiiculty in keeping the tucks and the dis-
tance between them even, especially when
the bottom of a skirt is circular. In such a
case the tucks must be marked and basted
before the stitching is done.
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. (Ill. 184.) Make a
second cut as shown in Illustration 184, al-
lowing 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 mea-
sure, as sometimes the eye becomes con-
fused at the small marks on the tape, and
mistakes are made that will prove quite
serious.
CURVED TUCKS—(‘urved tucks are sewed on a curved line which makes the under side
fuller than the upper side. Mark the edge of tuck with tailors’ tacks (page 85) or pins, fold
material on this mark and
baste quite close to the edge
(Ill. 185.) Mark the depth of
the tuck from this edge, using a
gage to keep the tuck an even
width and baste. In sewing
the tuck the extra fulness must
be eased on the under side of
the tuck as you sew. Be care-
ful to distribute this fulness
evenly so that it does not fall
in hunches or draw the edge
of the tuck out of place.
CROSS TUCKING is an
effective trimming for waists,
blouses, dresses, etc. All


Ill. I85. Curved Tucks
97


98 THE NEW DRESSMAKER
tucks running in one direction should
be made first. The cross tucks
should be the same size and should be
placed the same distance apart as the
first tucks, so that when the tucks and
cross tucks are finished they will form
perfect squares. (Ill. 186.) Cross
tucks may be of various sizes, but pin-
tucks placed about an inch apart
(measuring from the sewing of one tuck
to the edge of the next) are particularly
dainty.
PLAITS
IN LAYING PLAITS in a garment
it is advisable if possible to lay the plaits
before the seams are joined.
IN STITCHING PLAITS it is best to
leave at least one seam of the garment
open, and if it is a skirt, remove it from
the belt, for the work can be more
easily handled under the machine if it is
open and flat.
After stitching the plaits as desired,
baste and stitch the seam.
If it is a skirt. put it on the belt, press
the plaits and try the skirt on to get the
correct length.
A hem is the best finish for the bot-
tom of a plaited skirt or dress. (Chap-
ter 18, page 93.)
Be careful to get the plaits even, with-
out any draw, especially where the
edges come bias.
As each plait is flattened, it should
be basted a little distance from the fold
edge, as shown in Illustration 187, to
keep it in shape. This will be found a
great convenience later in Working on
the garment.
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 cutting away the surplus ma-
terial after the plaits are stitched. The
under-lapping material is cut away to
within an inch or so of where the stitch-
ing finishes. (IlI. 188.) From that point
it is cut across the top of the plait.
(Ill. 188.) The raw edges left in this way
are bound with a bias strip of lining or
ribbon seam binding, that will finish
across the top of each plait (Ill. 188,)
except where the seams that join the

Ill. I87. The BOX Plaits Basted in Place


Ill. I88. Plaits Cut Away on Reverse Side of Skirt


AND PLAITS 99
breadths form the inner fold of a plait. In
that ease the binding will continue down the
raw edges of that seam to the bottom of the
skirt.
In cases where the plaits are not stitched the
entire length, the thread-ends on the under
side must be securely tied, as shown in Illus-
tration 189.
Gored skirts that have a side plait or an in-
verted box plait let into the seams some dis-
tance up from the bottom, are sometimes
troublesome because of a tendency of these
plaits to show below the bottom edge of the
skirt since there is nothing to which they may
be attached. This trouble may be avoided
Ill. I89 Tying Threads in the manner shown in Illustration 190.
The seam edge and the edge of each of these
plaits are bound, and after the skirt is finished a
tape or strap of lining is sewed to the top of each plait and is carried from one to the other all
around the skirt. (Ill. 190.) The tape will generally be found sufiicient stay, but in a woolen
skirt of heavy cloth an additional tape or strap may run diagonally from the top of each
plait to the next seam and be securely sewed there to the wrong side of the skirt. This
stay also is in Illustration 190.


nun.‘
_ a
a
I
_, ,1; -0
w1dnwncb


Ill. I90. Supporting lnlaid Plaits


I02
THE NEW DRESSMAKER
edges of the plait with binding ribbon or a binding of thin silk.
A PLACKET-HOLE AT THE UNDER FOLD OF A PIAIT is often used. Cut
through the crease or under fold in the plait to the regular placket depth. Bind both cut
This method allows
the plait to serve as a placket underlap.
The outer fold of the plait may be stitched
(Ill. 196), leaving the under portion of the
plait free. Illustration 196 shows the posi-
tion of the hooks and eyes or the patent
fasteners on the under fold of the plait.
If the plait is in a skirt that fits at the
top so that there is likely to be a strain on
the placket, hooks and eyes are the strong-
est fastenings. But if it is a plaited skirt
where the plaits fall free and there is no
strain on the placket,‘ snap fasteners may
be used.
THE PLACKET- HOLE AT THE CEN-
TER OF A HABIT BACK is practically the
samc as for the skirt with an inverted plait
closed at the center-back seam. (Ill. 197.)
A PLACKET-HOLE UNDER A
STRAPPED SEAM is shown in Illustra-
tion l98. The right-hand fold of the strap
is stitched flat to the skirt. The left-hand
edge of the strap is turned under and
stitched to itself, following the same line of
stitching that holds the rest of the strap to
the skirt. (Ill. 198.)
The hooks are sewed to the left edge of
the strap. Notice that they are set close
together and a trifle back from the edge. A
strap placket must be held firmly to keep
the line of trimming absolutely straight.
For the same reason it is just as well to
add a row of patent fasteners just back of
the hooks. (Ill. 198.)


Ill. 197. Finished Placket on Habit-
Back Skirt


Ill. 198. Placket Finish of Strapped Seam


lll I99.
Reverse Side 0|
Underlap
The underlap should be an inch and a half wide
and an inch longer than the placket-hole. finished.
(Ill. 199.) It should be made of the skirt material
and its edges bound with seam binding or silk.
Blind loops are used instead of eyes and should be
worked on the skirt in corresponding positions to
the eyes. The fasteners are sewed to the lap.
THE PLACKET-HOLE IN A SKIRT SET IN
THE SAME BELT with its foundation skirt is made
by the same methods as an ordinary placket. ln such
an instance, the placket opening of the skirt and
foundation skirt are finished separately.
Whatever kind of placket is used, one should be
particularly careful to see that the hooks and eyes
or fasteners are so arranged that they will keep
the holes 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.


PLACKETS I03
Ill. 20 I . Underlap and Facing Stitched 10
Plocket Slit in Skirt
UNDERWEAR PLACKETS
UNDERWEAR 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 Illustration 200.
Baste the long straight edge of the lap to
both edges of the opening, making a narrow
seam. Run it almost to a point at the
lower edge of the opening. (Ill. 201.) Make
a narrow turning on the three edges of both
the narrow and the wide part of the lap.
Double the wide part back (Ill. 202), 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 underfacing, and hem. The end of the
underlap is turned under, basted and
stitched across. The finished closing is
shown in Illustration 203. This placket has
an outside row of stitching. It is usually
employed for drawers, petticoats, etc.


Ill. 200. Underlap and Facing
Strip for Placket


. __k, . _ - ‘F ‘-
Ill. 203. Finished
Plocket


Ill. 202. Folded to
Position


lll. 204. Feather-stitched Hem
at Placket
A FEATHER-STITCHED HEM ON A PLACKET used on flannel petticoats is shown
in Illustration 204.


POCKETS I05

H {J
.\§ - ._ ._ / I , ‘ _
00_14%/~ vain


S~.i.
.\ - 0‘ \ 4| ' \ .\
Ill. 209. Inside View ol a Slash Pocket Ill. 2 I0. Outside View oi a Slash Pocket


pocket line and about an eighth of an inch from it. (Ill. 205.) 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. (Ill. 206.)
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. Cross-stitch the pocket edges together to hold them in
shape until the garment is finished. Turn down the upper edge of the pocket facing
as close to the stitching as possible, and press flat to wrong side of garment. (Ill. 208.)
(‘ut from strong cotton or drill 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. (Ill. 207.) Baste it in place
from the wrong side. turn the garment portion
over to right side, and stitch through both fac-
ing and pocket close to opening. Turn under
lower edge of pocket facing and stitch it to
pocket (Ill. 207). but not to 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 (Ill. 208). Do it from the right
side. pushing the pocket and facing through
the slit. The sides of the pocket are closed
with a row of machine stitching about three-
eighths of an inch from the edges. (Ill. 209.)
The ends (Ill. 210) are finished with an arrow-
head (page 127).


- A PERFECTLY STRAIGHT OPENING has a
Ill. 2| |. Forafitraighl PO¢k€! Opening facing of material applied as directed above.
{Ills 205 and 206.) Two pocket pieces are


I06 THE NEW DRESSMAKER
cut of pocketing or drill, the lower four and
a half inches long, the upper piece five inches
long. Both pieces should be an inch wider
than the opening.
The pocket pieces are slipped under the
facings, basted and stitched from the right
side. (Ill. 211.) Strengthen the ends of the
opening on the right side with a bar tack or
arrow-head. (Chapter 25, page 127.)
The raw edges of the facings are turned
under and stitched to the pocket pieces (Ill.
211). The upper pocket piece is then turned
down over the lower and basted and stitched
to it around its three open sides. The raw
edges may be hound or overcast.
. 2! E5 .-
l.'.I I8] HI in! I-I
Ii I‘ Tl Y
. 'lrw--.--.-.--.1_1!_-e_.-.~-.-.


lll. 2 I2. The In-and-Out Lap Pocket is Used
a Great Deal for Tailored Garments


9»




This pocket is illustrated on the preced- _ t I» “'. " »>-I ‘~ » - ‘_ -
ing p3,ge_ a ‘Q ‘ii! ‘@-
IN A POCKET WITH AN IN-AND-OUT
LAP the latter is finished completely before
the pocket is begun. Cut the piece for the
lap from the cloth, being careful to have the
grain or stripe of the goods match when the
lap is laid on the jacket in the position it
will have when the pocket is completed.
(Ill. 212.) Turn in and baste a seam on
three sides. Run two rows of even stitch-
ing around the edge from the right side,
the first 1‘ow one_eighLh of an inch from the lll. 2 I 3. In Check. Stripe or Plaid Material the Lines
edge. Then aldd a lining of silk‘ s1ip_ in the Lap Should Match the Lines in the Garment
stitching it on by hand.
Now lay the finished lap face down on the goods with its raw edge down, and even
with the line of bastings that indicate the pocket opening. The rest of the work is
the same as for the pocket described above. In this case, however, the section of the
facing strip which is supplemented by the lap is cut away.
AN OPEN POCKET is made similar to the one having an in-and-out lap. The lap is
made straight or on a slant (Ill. 213), not quite so wide as for a loose lap, and is joined to the
garment at the lower edge of the slit in an upright position and is attached to it at each side.
A BOUND POCKET OPENING should be bound with a bias strip of self or con-
trasting material
about 1% inch wide
and % inch longer
than the pocket open-
ing. Turn under each
end of the strip M of
an inch. (Ill. 214.)
Mark the line of
the pocket through
the pocket perfora-
tions with tailors’
tacks. (Page 85.)
Place the strip on ___ .
the Outside of the |u.214. BastingOn the Bindrng m.2|5. The Bound Pocket Opening


um r rmtgslwum


mwurmrmr ui


lilll "Hi ‘MR
rm


1|() THE NEW DRESSMAKER


IIL 223. Basting the Lining to the Collar
TO FINISH A REMOVABLE COLLAR.
A removable collar for the open neck of a
garment not made of sheer material is usually finished with a bias binding about }/2 an
inch wide finished. Sew one long edge of the binding to the neck edge of the collar (Ill. 224),
turn in the other long edge of the seam allowance and baste it over the first sewing.
(Ill. 224.) Then stitch or hem it by hand as shown in Illustration 224.


Ill. 224. Finishing a Removable Collar
If closed at the left side, the
entire collar, except the small
portion at the back, is sewed
to the neck. The neck of the
lining at the left side, which is
free, is bound with seam-bind-
ing. Fora waist with a front
closing, bind the left side of the
neck with seam-binding, pin the
collar around the right side,
with the center of collar at the
front edge of the right front, and
the right end of collar at the
center-back seam. (Ill. 225.)
When the removable collar is for a waist
of sheer material it is best to finish the neck
edge of the garment and collar with picot
edging (Chapter 25, Page 119) or with a
narrow rolled hem. (Chapter 27, page 133.)
For the rolled hem a thread should be
run in the neck edge of the collar before
rolling it, to keep the size and prevent
stretching while rolling the hem and work-
ing on it, for the edge is bias.
STANDING COLLAR. If the collar is to
be of woolen or silk like the gown, it should
be lined with a piece of soft, light silk.
Turn over all the edges of the collar and
baste. Slip-stitch the lower edge to the
neck.


lll. 225. The Standing Collar


COLLARS, CUFFS AND BELTS Ill
Sew the collar to the neck, being careful not to catch the stitches through the outside
material. Sew three hooks on the left end of the collar on the inner side (Ill. 225) and
one to its lower edge about half-way between the center front and back.
Cut the facing (preferably of silk) the same shape as the collar. Turn in the edges of
the facing and hem it to the collar on the left side, and to the neck of the right side of the
waist. Work three buttonhole loops at the right of the collar, and one in the left side of
the waist at the neck. The collar and facing are shown in Illustration 225.
COLLARS AND CUFFS FOR COATS AND SUITS AND CAPE-LS. Instructions for
making these collars and cufis are handled in the chapter on the making of these gar-
ments. (Chapter 12.)
THE BOTTOM OF A DRESS SLEEVE should be finished with a hem or bias facing
or seam-binding sewed on fiat like a facing, or with a trimming suitable to the garment.
AN UNLINED CUFF is sewed on a dress sleeve in the same way as an unlined collar.
(Ills. 221 and 222.)
A LINED CUFF WHICH TURNS BACK is sewed on in the same way as a lined
collar. (Ill. 223.)
A REMOVABLE CUFF is finished in the same way as a removable collar. (Ill. 224.)
THE CUFFS FOR A MANNISH SHIRT-WAIST. The making and sewing on of a man-
nish shirt-waist cuff will be found in the chapter on Shirt-waists. (Chapter 8.)
A BEILT may be cut double, the edges turned in toward each other, basted and
stitche .
It may be cut in two portions, an outer portion and an under portion or lining, the
edges turned in toward each other, basted and stitched.
It may be cut in two portions, an outer portion and an under portion, which may be
laid with the right sides face to face and stitched together on three sides. It is then
turned right side out and the open edges slip-stitched together.
A CASING is used for a garment that must be comfortable at the waistline, knees,
ankles, etc. In some instances the casing is formed by a hem stitched on both turned
edges.
In other cases a casing is applied on either the right or wrong side of the garment.
An elastic or drawstring is drawn through the casing to adjust the garment as desired.
A casing is a straight piece of material with its edges turned under as shown in Illus-
tration 226. The width of the casing depends on the character of the garment and where
it is used. For example, you would require a wider casing at the waistline of mohair serge
bloomers than at the waistline of a very fine batiste blouse. The casing can be made of
the same material as the garment if it is
suitable. In the case of mohair serge or ~ ‘_ ~" H _.
any other material that would make a ‘Lt ‘ " 2'. - .1
clumsy casing you can use a piece of strong i ' '
silk or lining material for the casing. ‘
The casing is sewed flat to the garment
at both edges either by hemming it (Ill. 226)
or stitching it by machine.


Q ~
v




A BELT CASING is a double belt alittle
larger than the waist size. The ends are
left open and an elastic or tape is run
through the casing to regulate the fulness
around the waist. This belt casing is us-
ually stitched where the belt joins the blouse
and again just above the folded lower edge
of the casing i Ill. 226. Sewing on a Casing


BUTTONHOLES. EYELETS. BUTTONS. PATENT FASTENERS. ETC. I15
make a loop that will slip easily over the but-
ton after the two raw ends of the loop are
tacked together. These ends may be tacked
to the back of a button (Ill. 235), or
sewed between an edge and its facing (Ill.
234), depending on the style efiect re
quired.


— .. * .-
EYELETS are holes made and worked in a
m. 236. Eyelet garment to hold a cord or buttons.
The method of making them is shown in
Illustration 236. Pierce the eyelet-hole with a stiletto.
Make running stitches around the circle, place the hole over the forefinger of the left
hand and buttonhole the edge, covering the running stitches. (Ill. 236.)
Work from right to left, as shown in the first figure of Illustration 236.
METHODS OF SEWING ON BUTTONS are shown in Illustration 237. Always
use a coarse single thread in preference to a fine double one. In placing buttons in posi-
tion, lap the edges of the garment,
and push a pin through at the
outer end of the buttonhole.
This will bring the button exactly
opposite the buttonhole. Make a
knot in the thread, push the needle
through from the right side so
that the knot will be directly
under the button. Place the
button in position. Bring the V .
thread up through a hole in the =-- - » n... button and down through the hole lll. 237. Sewing on Bullons
diagonally opposite as shown in the
second figure of Illustration 237. Place a pin under the thread on top of the button, in order
to keep the thread loose, and make a cross-stitch through the remaining holes. (Ill. 237.)
Repeat the stitches until the button is securely fastened. Remove the pin, draw the
button away from the material as far as possible and wind the working thread tightly
several times around the threads between
the button and the material, thus forming a
thread shank for the button. If a button is
too closely sewed to the garment, it will not
have room to rest easily in the buttonhole and
will crowd the latter out of shape and make
the spacing seem irregular. The loose sewing
and the winding increase the durability
of the work and lessen the strain on the
button.
The first illustration shows another way of
sewing on a button in which the stitches are not
crossed. This method is used in dress and
coat making, as the stitches are considered
more ornamental. The third illustration shows
the method of sewing on a shank button.
Make the stitches parallel with the edge when
sewing on this button so that the strain will
come on the shank.
COVERING BUTTON-MOLDS—Cut a thin
piece of sheet wadding the shape of the
mold but about 3/g of an inch smaller all
around. (Ill. 238.)
lll.238. Covering Bulton-Molds P13,°9 it on LOP of the m0ld- (IlL 238-)


I16 THE NEW DRESSMAKER
Cut another piece of sheet wadding a little larger than the mold and place it over
the mold on the first piece of wadding. Draw it up on the under side of the mold with a
few crosswise stitches to make it lie flat.
If the outside material of the button-mold is heavy the wadding may be omitted.
FOR THE COVERING cut a piece of the outside material the same shape as the mold,
and a little larger than the button but not large enough to quite come together on the
under side. (Ill. 238.)
If it comes together the button will be bunchy and clumsy.
Gather the cover about one-eighth of an inch from the edge with fine running stitches
(llI. 238) and lay it over the padded side of the mold. Draw up the gathering
thread. The gathering must be smooth and tight over the mold without any folds or
wrinkles, especially at the edges.


-<.L‘> I ii '21
IIl. 239. Sewing on Patent Fasteners
A few stitches across the back will hold it (IlI. 238).
If the button is to be used to fasten agarment
the back should be lined with a piece of the covering
material. Cut the lining the size of the mold and
the same shape. Turn the edges in and fell it neatly
to the back of the button. tIll. 238). Put the facing
on the back of the button so that it is slightly full.
This fulness serves as a shank. (Ill. 238.) If
a button-mold is covered with heavy cloth the
lining should be of satin or some other thin ma-
terial in the same color for the cloth would be too
bulky.
If the button is to be used as a trimming, the
lining may be omitted.
For molds which have a hole in the center and
which are covered with material which is not too
heavy, the covering may be just large enough to
cover the mold with only as much material in the
back as can be forced into the hole with one's needle.
SEWING ON PATENT FASTF_NERS—Patent fasteners are used where an especially
flat closing is desired and where there is no strain on the closing. Where there is a strain,
as at the center back of a waistline or at the closing
of a close fitting skirt, patent fasteners don't hold as
securely as hooks and eyes.
The edges of the closing may be finished with a
hem or facing. Place the upper edge over the under
edge in the position they will be in when finished,
and mark the position of the fasteners by running
a pin straight down through both edges about one-
quarter or three-cighths of an inch from the edge.
Separate the edges a little and mark both the upper
and under edges just where the pin passes through
the material. If you use these marks for the center
of the fastenerthe two sides of the fastener will
match exactly. The heaviest part of the fastener
is used for the under part.
Several stitches should be taken through each of
the holes around the edge of the fastener, enough to
hold it securely. (Ill. 239.)
When a fastener is sewed through one thickness
of material as at a trimming line, ribbon binding or
tape should be used underneath the material to
relieve the strain.
. SEWING ON HOOKS AND EYES—Before sew-
mg on hooks and eyes, stitch each edge of the
closing one-eighth of an inch back from the fold
edge and again three-eighths of an inch from the


Ill. 240. Sewing on Hooks and Eyes


CHAPTER 25
TRIMMING STITCHES
Machine Hemstitching—French Hemstitching—Plain Hemstitching—lmilation Hand-Hemstiich-
ing—Double Hemsiitching—Beading and Fagot-Stitches—Drawn-Work—Rolled F.dges—Com-
bination Running and Cross Stitching—Diag0nal Stitch—D0uble Overcasting—Cr0ss Double
Overcasting—Running Stitch used as a Trimming—Blankei-Stitch—Feather-Stitching—Bar
Tacks—Arrow-Head Tacks—Crow's-Foot Tacks
ACHINE HEMSTITCHING is used on blouses, dresses,
lingerie, etc., to put together seams, finish hems
and put on trimmings such as bands, etc. It is
neat, durable and gives a garment a dainty, finished look.
It is also used as a trimming either in straight rows or in
a fancy design. Prices for the work vary, but it is not
expensive. It can not be done at heme, as the machine
required is too costly, but any plaiting establishment or the
salesroom of a sewing-machine company will do it.
The line or seam for machine hemstitching should
always be basted in self-colored thread so that the basting
need not be removed. (Ill. 242.) Removing the basting lll.242. Basie with Self-
cuts the hemstitching. Only one mark is necessary for Colored Thread
French hemstitching.
Seams on which machine hemstitching is used as a trimming or finish should be basted
flat with both edges of the scam turned toward the left side (Ill. 243) and pressed.
An invisible seam for transparent materials can be made by machine hemstitching an
ordinary seam. (Ill. 244.) The seam is basted in the usual way and the hemstitching is
done on the wrong side of the garment just outside the basting. (Ill. 244.) The seam
edges are trimmed ofi. (Ill. 244.)
In machine hemstitching keep the garment as nearly flat as possible. Seams that are
not to be hemstitched should not be basted or sewed until after the hemstitching is done,
for if they are left open it will be possible to keep the garment much flatter. If a cufl‘
is to be hemstitched to a sleeve, leave the sleeve seam open until the hemstitching is done.


. ‘uh-uncuuu-uuuuii


L
Ill. 243. Machine Hemslilching lll. 244. Machine Hemslilching lll. 245. A Foundation ls Used
as a Seam Finish for an Invisible Seam Under Bias Edge0s
113


TRIMMING STITCHES ll9
A FOUNDATION FOR MACHINE HEM-
STITCHING is necessary under bias edges
such as shaped collars (Ill. 245) under thin
materials (Ill. 246) and for French hem-
stitching (Ill. 248) (several rows of hem-
stitching placed close together).
The foundation for such materials as
net, Georgette crepe, chiffon, lace, etc.,
may be mousscline de soie or very thin
lawn.
The foundation for machine hemstitch-
ing done on the bias of the material can be
a straight strip of the same material or of
the foundations mentioned above, about one-
half inch wide basted underneath the line lll.246. AFoundationlorNel,elc.,MayBeMousseline
to he hrimstitehed. (Ill. 247.) If no material 4° -We °' ‘/'="/ Thi" LBW"



~='_
,,. .
I94
.‘ ,.
MM
Ill. 247- Mar-hine-5lilchIl',8 Done ||l.248. French Hemstitching also Ill. 249. Picot Edging ls Machine
On the Bi“ Requires a Foundation Hemslitching Cut Through the
Center


@-


for a foundation is at hand, baste the article to a piece of firm paper and stitch it by mi -hine
along the line for the hemstitching. (Ill. 245.) This stitching keeps the edge from stretch-
ing and gives the operator the correct line for machine hemstitching. The paper
shoiild be torn away before the material is sent to the operator. Paper can also be used
in this way under straight edges of thin material when you do not wish to use a foundation.
FRENCH HEMSTITCHING (several rows of hemstitching placed close together) re-
quires a foundation when it is done on either thick or thin material. (Ill. 248.) The
foundation can be of the same material or of the foundations mentioned above.
The seams or foundations are cut away close to the hemstitching after the hemstitch-
ing is done.
On edges other than seam edges when there is a
single thickness of material leave about three-eighths
of an inch of material outside the line of hemstitching.
PICOT EDGING is simply machine hemstitch-
ing cut through the center. (Ill. 249.) It makes a
very dainty and yet strong finish for edges of col-
lars, sleeves, tunics, ruffles, sashes, etc.
HAND-HEMSTITCHING is a line of openwork made
by drawing out parallel threads and fastening the
cross threads in successive small clusters. Draw
as many threads of the material as desired at the
top of the hem, and baste it on this line. Hold the
hem toward you and work on the side on which it
is turned up.
"|.250. plain Hemsukhing .Illustrati_on shows the position of the hem
with the stitching done from left to right.


TRIMMING STITCHES I21
blotting-paper between the two edges,
loosen the tension of the machine and
stitch a quarter-inch seam through all
the thicknesses. (Ill. 253.) When the
seam is stitched, cut the paper close to
the stitching and pull it out. The
stitches between the two edges of the
material will then look like Illustration
254. The edge toward the hem is turned
down and the hem is stitehed by ma-


lll. 255. Drawing the Threads
chine, close to the
turning. The raw
edge of the garment I , =-= === is turned in and _‘_° 7""
stitched by machine.
DRAWN-WORK
makes an exquisite


trimming for lingerie _. lll. 257. Take
frocks and blouses, a 5“'<h l" ""° 1 |" 258 W koowmhe
and for dresses for |ll.256. Run the hleedle Material and \ O'pp°si'le glide_ Taking
children and young Under Four or Five Through the the same Number 0‘
Threads Loop
girls. It is also used Stitches
on lingerie. Cotton
voile is the best material to use for drmvn-work because the threads pull easily. This
material Pan be used for dresses, blouses and underwear. Batiste and handkerchief linen
can also be used, but it is a bit more difiicult to draw the threads.
For household linens, drawn-work adds to the beauty and value of the linen and can
be used alone or with hand-embroidery.


llls. 259 and 260. For Twisted-Thread Drawn-work Ill. 26!. Fagot Drawn-work‘
.= 5*, 5'". Drawn-work can only be done on
" . the straight line of the goods, for it is
.> -1"’ "" ."" 5 done with the drawn threads. It can
“lg J._ w, '. never be done on a circle or curve.
1" ‘ _ To prepare to draw the threads de-
-_i —.{"._ cide on the length of the drawn-work.
‘~ Measure up the required number of
mg inches and place a. mark. Draw one
’ ‘" thread from this mark, then with the
points of a sharp pair of scissors cut
rwross the desired number of threads.
(Ill. 255.) Pull out a. little of each thread
with a pin and pull the thread. On
voile two or three can be drawn at a
time.
When the threads are drawn. run the
needle under four or five threads (Ill.
256), using number sixty cotton for the
blouses and number sixteen twisted


I22 THE NEW DRESSMAKER
embroidery thread for a dress. Draw it down in front of you. This will form a little
loop. Take a little stitch in the material and through the loop; pull the thread tight
to form a knot. (Ill. 257.) Take up the next four or five threads. (The thread be-
tween the stitches should be loose, but the knots should be tight.) Work all along one
side, overcast the end of the work, and turn, working down the opposite side, taking up
the same stitches. (Ill. 258.) This is plain drawn-work.
For the twisted threads used so efiectively on Illustrations 262 and 263, hemstitch
both edges as directed above, then weave the threads as follows:
Join the thread in one end of the work. *Run the needle under the first three threads,
turn; run the needle over the third and under the second and first thread. turn; run the
needle under the second and fourth threads (Ill. 259), turn; run the needle under the
second. (Ill. 260.) Now pull the thread and repeat from *.
For the fagot drawn-work used as a border in the wide drawn-work and on a
dress, draw the threads as usual and
hemstitch one edge, taking up ten
threads; take a little overcasting stitch
between each knot and bring the thread
out in the center of each thread. When
the row is finished, turn and work back,
taking half of the first group in the first
stitch and the remaining half of the first
group and half of the second in the next
stitch (Ill. 261.)
THE FAGOT-STITCH is a style of
hand-made trimming that is always popular
Ill. 264- Simple Faaotstiuh and attractive. (Ill. 264.) The simple


beading stitch or any of the more elaborate
stitches shown in the illustrations, which
are very effective for trimming dainty
lingerie, may also be used as a beading
through which to run narrow ribbon.
For fagoting, the design of the work
should first be traced on a piece of stiff
paper. Or, as in the case of a yoke or
collar where a fitted shaping is required, a
fitted pattern should be cut of stiff paper,
and the ribbon, braid or folds of the ma-
terial basted evenly in position, following
all the curves. When the fagoting is to
be applied to the garment in fancy design, |Il_255_ 5;,,,,,|e Beading sfikhes
and the material underneath the stitches
cut away afterward, the entire piece of work should be smoothly basted over paper,
and the line of spacing which represents the fagot-stitching outlined with chalk or trac-
ing cotton.


THE SIMPLE FAGOT-STITCH is done by crossing first from left to right. and re-
crossing from side to side between the folds of the material, taking a small stitch in the
edge. The needle in crossing ‘each time passes under the thread of the preceding stitch,
thus giving the threads a slight twist at the edge of the material. (Ill. 264.)
SIMPLE BEADING STITCHES are shown in Illustration 265 on this page.
To make the upper design, a huttonholed bar, take a stitch directly across the space
between the two folds and work the buttonhole-stitch over the thread back to the start-
ing-point. Then stick the needle into the edge of the fold near the hole of the first stitch
to keep the bar from twisting,and on the under side pass on to position for the next bar.
In the lower design the thread is carried across as in the other case, and. returning,
one 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,


TRIMMING STITCHES I23
and again, as before. the two close button-
hole-stitches over this loop. Catch the needle
into the edge of the fold, and pass on to the
next stitch. The link bar is not so difiicult
to make as it appears, and really can be done
more quickly than the plain buttonhole-bar.
MORE ELABORATE BEADING STITCHES
are shown in Illustration 266. The upper
design is a combination of the link bar
(described in the preceding paragraph) 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
Illustration 266, 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 threeaeighths
of an inch from that point, allowing the
thread to form a tiny loop. Insert the needle
again directly opposite 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 “L 266 Elaborate Beading 5mches
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 Illustration 266 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-
quarter 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 op-
posite edge.
Now carry the thread over again to form the next loop, running the needle into the same
hole. Bring it up one-quarter of an inch
below this point, and continue as before.
To make the buttonhole cross-bar stitch
illustrated in the fourth design ot' illustration
266, first make a buttonholed bar as described
in the paragraph 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 pre-
ceding bar at the center buttonhole-stitch,
and then continue to the opposite edge. Make an even number of buttonhole-


stitches on each side on this thread. Allow a small space between the cross-bars.
ROLLED EDGES are used as a trimming on waists and dresses of thin materials and
also on children's clothes. They are worked with twisted embroidery silk on silk ma-
terials and with mercerized cotton on cotton materials. Either self or contrasting colors
may be used. Hold the right side of
the material toward you. Begin at the
right end and roll the edge toward you
between the thumb and forefinger of the
left hand, keeping the edge rolled for
about one and a half inch ahead of the
sewing. Fasten the thread at the right
and take slanting stitches over the roll.
The stitches should be about one-quar- - ._ . . ‘ . _ ,
ter Of an inch aP3I't- D0 not draw the lll. 268. Combination Running and
thread tight. (Ill. 267.) Q05; 5‘,-kt,


I24 THE NEW DRESSMAKER
Where two edges are joined as in a waist with a fancy lining both edges should be
rolled separately. Place the rolled edge of the outer part directly beneath the rolled edge
of the under part. (Ill. 267.) Sew them together with running stitches about one-
quarter of an inch long just below the lower roll.
CROSS-STITCH, FRENCH-KNOT
EMBROIDERY, BRAIDING, BEAD-
ING AND EMBROIDERY are worked
from transfer designs. Designs for
every kind of fashionable hand
trimming will be found in Needle-
Art. Every transfer gives illus-
trated directions for making the
stitches suitable for that design.


Ill. 269. ‘Diagone.lSlilcl, Used-asaTrimmingm COMBINATION RUNNING A.ND
CROSS-STITCH is used as a trim-
ming aiid around the edges of waists,
dresses and children's clothes and to
hold the hems of facings. (Ill. 268.)
Work two rows of running stitches
about three-eighths of an inch apart.
Make the stitches about five-eighths
of an inch long and the space be-
tween the stitches one-half an inch.
Fasten your thread at the extreme
right and bring the needle out at the
lower left-hand corner of the space,
near the running stitch. Insert the
needle at the upper right-hand corner IlL 270. Double overeating
and bring it out at the lower right-
hand corner of the same space near
the running stitch. Insert the needle at the upper left-hand corner near the running
stitch. This completes the first cross-stitch. (Ill. 268.) Take a long slanting stitch at
the under side of the garment, bringing the needle out at the lower left-hand corner of
the next space. Work a cross-stitch
in each space according to the in-
structions just given.


TRI MMING STlTCHF.S such
as double overcasting, cross double
overcasting, diagonal stitch, etc.,
may be worked in rope silk, wool or
fine chenille on garments of silk or
wool. In mercerized embroidery
cotton these stitches may be used
on garments of cotton materials.


*_....__.-.__ " DIAC,ONALSTlTCHisiisedas
a trimming and to hold hems and
facings at the edges of necks. arm-
holes, tunics, etc. As many rows
may be used as desired. Use a
Butterick smocking transfer with the dots three-eighths of an inch apart. Stamp two
rows of dots for every row of diagonal stitches. (Ill. 269.)
Fasten the thread at the right * and bring the needle up through the first dot in the
lower row. Insert the needle one dot to the left in the upper row and take a stitch straight
down bringing the needle straight up through the dot directly beneath in the lower row.
Repeat from * till the end of the row. (Ill. 269.) This trimming works up quickly
and is very effective in contrasting color.
Ill. 2 7 I . Cross Double Oveicasting


I26 THE NEW DRESSMAKER


lll. 274. The Blanket-
Slitch
especially pretty. It can also be used in the same way on thin dresses and in wool on
serge dresses and on crepe de Chine.
The blanket-stitch is also used to protect the edges of heavy woolen materials and to
prevent them from fraying. It is used on silk, serge and voile dresses, instead of over-
casting the edges of the seams.
The plain blanket-stitch is used for overcasting seams, but as a trimming you can use
either the plain blanket-stitch or variations of it shown in Illustration 273, shown on
page 125.
In working a blanket-stitch do not use a knot but secure the thread by running


lll. 275. Feather-stitching
one or two stitches toward the edge,
holding the thread under the left
thumb. Insert the needle the depth
required, bringing it out under the edge,
allowing the thread beneath to form an
edge_ (]11_ 274_) |ll.276. S1mpleDesi$n


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
according to the nature of the material on which it is used.
It makes a most satisfactory trimming. The single, double
and triple combinations are shown in Illustration 275. |||. 277, wwath D95iQn


I30 THE NEW DRESSMAKER
If the material is very sheer, it is a good
plan to have a small strip of paper, not
quite the width of the fold. to slip along
within the fold as the work progresses. If
pressing is necessary, use only a warm iron.
Crepe folds are cut on the straight of the


“I-29“ 5ll"h°d Mi'“"°'5' F°|d goods, so that the crinkles will run diago-
nally. i
TAlLORS' STRAPS are folded bands
used to strap seams, or as an ornamental
trimming on tailored garments. They
may be cut on the bias if of velvet or
taffeta; crosswise if of woolen; length-
wise if of cotton materials. Fold the
strip at the center and catch the raw
edges together with loose whip-stitches
as shown in Illustration 292. Spread
out the fold and press it well. Baste
into position on the garment and stitch
by machine on both edges.


He
. _ . Ill. 292. Making Tailors'5t|'ap
CORDING 1S a very useful trimming
and is made with bias strips and Germantown or eider-down wool. The bias strips should
be about an inch and a quarter wide. Fold the strips lengthwise through the center and
run a seam 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 eider-down 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. (Ill. 293.)


lll. 293. Pushing the Wool Through
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 upper-
most so that the right side of the motif will be next |||.2g4_ Qmd Mom
the paper. They are then sewed together at the points
of intersection and contact. (Ill. 294.)


A CORDED TUCK is shown in
Illustration 295. The illustration
shows the cord being put into the
tuck for trimming. Mark the trim-
ming line for the cord with colored
thread. Hold'the cord underneath
with the left hand and enclose it in
a tuck, sewing it with fine, even run-
ning stitches as close to the cord as
possible. (Ill. 295.)
CORD PIPING is shown in Illus-
tration 296. A bias strip of material
is used for the pipings. The cord is
run in the same way as for tuck
|1l_295_ Coyded TWk cording and the piping is applied to


CHAPTER 27
APPLIED TRIMMINGS, RUFFLES. EMBROIDERY AND LACE—PartI
RuffIes—Embroidery Used As a Facing—Embroidery Joined In a Tuck—
Embroidery Inserted by Mai-_hine—Embroidery Inserted With Rolled
Hems—Embroidery Milered—Whipping on Trimming—Inserting Lace—
Inserting Lace Above a Facing—Mitering Lace-:—Shaped Pieces of Inser-
tion—lnserting Lace Medallions
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, not through it. (Ill 301.) Draw up
the thread, making the ruffle the desired ful-
ness. Divide the rufiie in quarters and mark
them with colored thread. Make correspond-
ing marks on the edge to which the rufile
is to be attached. Roll the edge of the gar-
ment and overhand the ruffle to it, taking a |||. 301. Whipping and Gathering
stitch in every whipped stitch of the rufiie.


TO INSERT A RUFFLE IN A HEM turn the ‘V ‘_,
hem toward the right side of the garment and crease the fold hard. Divide both rutfie . '
and hem in quarters and mark each division
with colored thread. Insert the edge of the I
rufile in the hem close to the fold (Ill. 302) with ;,__ _~
the right side of the ruflie 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. (III. 303.)
ll|.303. finishedRuIIIeon Righl5ide T0 COVER THE JOINING OF A
132


APPLIED TRIMMINGS. RUFFLES. EMBROIDERY AND LACE
I33
RUFFLE, divide both rufiie and gar-
ment in quarters and mark with pins or
colored thread. Gather the rufile 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. (Ill. 304.) 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.


Ill. 305.


III. 306.
Embroidery Facing
Embroidery Joined
In a Tuck
. ‘ Y I _
uaqautafnirrnvlflxlr Ill /_ /nun
{.1 ..» L ' .
' fie 4 I _
LIl. 307.
--we H” II ¢


Inserlion Inset with
Rolled Hem



IIl . 34. Ban overing Joining of Ruffle
EMBROIDERY EDGING USED AS A FACING
is shown in Illustration 305. The plain mate-
rial above the embroidery is applied as the
facing. Crease the edging off at the depth it
is to extend beyond the garment. Baste the ma-
terial 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.
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 be-
tween the tucks, the under part of the tucks, and
the seam. Cut away the superfluous material
and join the edging to the garment. 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 embroidery are
similar, and there are several tucks above and be-
low the seam, the joining is imperceptible (Ill. 306).
EMBROIDERY MAY BE INSERTED by differ-
ent methods. When a straight-edge insertion
is used, the plain material may be cut away
at each side of the embroidery. The material of
the garment is then cut away under the embroi-
dery, leaving a small seam, which is rolled and
whipped to the embroidery as shown in Illus-
tration 307.
A ROLLED HEM may be used as a dainty
finish in joining trimming of any kind to a gar-
ment of sheer wash material. Hold the wrong
side of the material toward you, and, after trim-
ming ofi 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. (Ill. 307.)


CHAPTER 28
APPLIED TRlMMlNG—Part ll
Gathering-—Shirring—Tuck Shirrings-—Cord Shirrings—Scalloped or Snail Shirrings—Simple
Ruche—Three-Tuck Ruche—Box-Plaited or Gathered Ruches—Single Ruche with One Cord
Shining—Double Ruehe with One Cord Shirring—Double Ruche with Two Cord Shirrings—
Puff Ruche—Corded Puff Trimming—Variation of Plain Puffings with Cords—Box Plaiting
with Corded Piping—Quilling or Side-Plaited Trimmings
used.
Plaited trimmings may be made of very soft materials or of materials with
more body.
Any of the materials may be cut double.
Soft ribbons requiring no finish at the edges may be used efiectively for these trimmings.
Most materials for the ruchings and pufiings may be cut bias or straight.
Chiffon should always be cut lengthwise or crosswise, never bias.
Silks and satins lie in softer folds if they are cut bias or crosswise.
If the edges are to be frayed, the materials must be cut lengthwise or crosswise. Cross-
wise is preferable, for the threads are closer and make a thicker fringe.
If net is to be used with raw edges, it should be cut on the line of the straight threads
which run lengthwise, or bias. You can easily determine the direction of these threads
on the piece you are using by stretching the net a little in different directions. Net is
more easily hemmed if cut as above, but for a double ruche it may be cut lengthwise,
crosswise or bias.
Different materials require different amounts of fulness for shirred ruches. A soft
fabric such as chiffon requires three times the length of the finished ruche. Tafieta.
messaline and such materials which have a little more body require only about twice the
finished length.
FOR the shirred trimmings given in these chapters the softest materials should be
THE WIDTH OF RUCHES—On the single ruches you must allow from one-quarter to
one-half inch for each cord, the amount depending on the size of the cord. If the edges
are to be hemmed or rolled, suificient allowance should be made for that finish.
For a doublc ruche calculate the width of a single ruche and double the amount.
CLEAN EVEN EDGES are important, especially if the ruche is to be frayed. The best
way to get a good edge for strips cut crosswise or lengthwise is to pull a thread of the mate-
rial.
THE EDGES OF SINGLE RUCHES may be finished in different ways, depending on
the material. Taffeta may be frayed (Ill. 331), pinked (Ill. 338), picoted (Chapter 25,
page 119) or finished with tiny hems.
Messaline and crepe de Chine can be frayed, picoted or hemmed.
Chiffon may have its edges picoted, or rolled, and whipped tightly with fine stitches in
the same or contrasting color. (Chapter 25. page 123.)
Net may be picoted, hemmed with a same or contrasting color, or if it is a fine mesh,
it can be cut in such a way that the edge needs no finish.
STRIPS should be joined as neatly as possible. Some nets can be seamed with an
137


APPLIED TRIMMINGS
I39


Ill. 325. Simple Shining
evenly: long ones on the right side
and short ones on the under side of
the material. Each successive row
of gathers has its long and short
stitches parallel, respectively, with
those of the preceding row. The
threads are all drawn up evenly,
and fastened at the ends.
SHIRRING is made of successive
rows of gatherings. It is used as a
trimming. There are several dif-
ferent kinds of shirring, the use of
which must be determined somewhat
b_v the character of the material and
the style of the garment. Before be-
ginning. 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
Illustration 325. The top edge is
turned in and the first row shirred in
close to the edge. The thread should
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 ol’ the first row and one-
quarter or three-eighths of an inch below them.
(Ill. 323.) If there is much fulness to be gath-
ered, the spaces between the stitches may be
lengthened.
GAGING OR FRENCH GATHERS is a style of
shirring generally used where a quantity of matc-
rial must be adjusted to a coniparatively small
space. (Ill. 324.) The stitches in this case are made






Ill. 326. Tuck Shirrings
lll. 32 7. Scallop Shinin§
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
lll. 328. Cord Shining


144 THE NEW DRESSMAKER
APPLIQUE EMBROI-
DF.RY—Shaped pieces of con-
trasting color can be appli-
quéd on waists, dresses, etc.,
as a trimming. Usually the
pieces are of the same material
but in different color, but in
some cases you can also use
contrasting materials.
Some of the drr-sses etc.,
which are trimmed with
squares, diamonds and circles 4 .
of a contrasting material *
have a little embroidered
motif in the center of each
applied piece.
Quaint figures of Colonial
ladies, Oriental children, etc.,
are used on dresses and
waists. Some of these are
applied from contrasting mu.-
_
1 "na"




terial. .
Cut the pieces in any shape - . .
and size that you fancy and l——- ' 0 - ‘-~'—-
turn under the edges % of an Ill. 344. Appliguc Embroidery
inch. Be very careful not to
stretch them. Baste them
to the garment. The edges may be blanket-stitched to the garment (Ill. 344-Bl. felled down
(Ill. 344-C) or fastened with small running stitches (Ill. 344-A). Thc blanket-stitching
takes the most time but it is also the most effective.
SEWING ON MARABOU —'I‘he marabou must be sewed to a double strip of ve1'.v thin
material the color of the marabou. You can use (‘hina silk or fine lawn. The width of the
strip should be regulated by the width of the marabou. Three-fourths or Oll&l1a.lf an
inch is about right when folded. Fold the strip of material lengthvn'se with the edges lap-
ping just a little. Lay the niarabou flat
on the table with the least attractive side
upperrnost. There i" always one side
that is a little better than the other. Be
sure the marabou is flat and that there
is no twist to it. Lay the strip over the
stem of the marabou with its raw edges
next the stem. Pin it in place at in-
tervals and then sew it with stitches
"l . 345. Sewing Sm-P10 Mambo“ about _}.-Q an inch long. (Ill. 345). Take
two stitches in each place so that they
will hold firmly. (III. 345).
In sewing the marabou to the garment sew both edges of the strip with running stitches.
The strip eiiablcs you to handle the marabou easily, keep it even, and prevents it from
twisting.


HANDLING FUR—Pelts should always be cut with a knife from the wrong side so
as not to cut the hair.
Joiniugs should be made so that all the hair runs one way.
Fur should be sewed with an ordinary short needle and strong cotton thread. Num-
ber 30 cotton is about the right weight.
Lay the pelts edge to edge and sew the edges together with an overhand stitch. (Chap.
16, page 82). Be careful to sew through the pelts only, without catching the hair in the
sewing. The hair can be pushed through to the right side with the needle and after the
sewing is finished the fur can be brushed gently to make the hair lie smooth. In this


CHAPTER 30
DARNING AND MENDING
Reenforcing—Running Darn—Woven Darn—Broken Stitch—Drop Stilch—Set-in Piece-
Underlaid Piece Darned ln—Sl0ting—Mending Tissue or Tailors’ Tissue—Triangular
Tear—Palches—Flannel Patch—Hem Patch—Overhanded Patch
ARNlNG 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
careful selection of materials most appropriate for the work are the chief require-
ments for successful darning. Whether the material to be darned is cotton, silk or wool
the darning thread should correspond in thickness and color
to the thread in the fabric, and the needle should be neither too
coarse nor too fine.
FOR REENFORCING worn places before the hole has come
through, particular care should be taken to make the work as
inconspicuous 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 n t 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 ngedlegs fine ashthe thread ,7 ____   .
will permit. Darn back and forth wit as ne stitc es as pos- .
sible, following the grain of the goods and keeping the threads |“'347,;,o::,e§|:(;mnga
loose so that they will not draw. (Ill. 347.) The ends of th.e-
threads are not fastened, but are clipped ofi close to the gar-
ment 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 overa few, to the opposite side of the worn place.
(Ill. 348.) Returning, I"lJ.I1 the needle over the threads that were
taken up, and under those over which it passed in the first
row. Continue the process until the whole thin surface has
been given a new body. In Illustration 348, white thread was
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
"'-345- A R"""ins D"! be laid on the wrong side, and While applying the running
darn, this piece is occasionally caught up by the needle to
hold the piece 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 crosswise with the weave of the gar-
ment. (Ill. 349.) 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 ofi the frayed or worn edges.
The unevenness around the edge, which these frayed ends create in the process of darning,
146


DARNING AND MENDING I47
helps to make the darned place less conspicuous. The length-
wise 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. (IlI. 349.) The frayed
edges are caught in the weave as they happen to come, and are
firmly secured between the latticed threads. (Ill. 349.)
§
2
f


STOCKINGS are darned on the right side to keep a smooth 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 can be 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 weaving close the hole.
A DROPPED STITCH is more easily remedied by the
use of a crochet-hook than by darning. Slip a fine c ochet-
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,
-I 9- ‘,. ~'.u._0 . then securely fasten the last loop at the end with a few
Ill. 350- Picking Up e sewing stitches. Illustration 350 shows the position of the
Dwvved 5liI¢h crochet-hook picking up dropped stitches.


TO SET IN A PIECE WITH THE BALL STITCH is a
way of extending the usefulness of the stocking when
the hole is too large to be neatly darned. For this
purpose keep on hand the leg portions of stockings
of which the feet have been worn out.
Baste the part to be mended over a piece of paper
and trim ofi the ragged edge. (‘ut a piece from a
stocking-leg, matching it in color and texture, with
the ribs running like those in the stocking, and con-
forming in shape to the hole, but a trifle smaller.


B a s t e
t, h i 5 pi(1eQ III. 35 I. Selling a Piece.in a slocking
into p 0 S i_ with the Ball Shlch
tion on the paper and join the two edges,
the needle passing in close stitches, alternat-
ing, over one edge and under the opposite,
until the piece has been securely and neatly
worked into position. (Ill.35l.) The stitch in
this method will be seen to form a kind of
lacing, and is called the “ball-stitch". It must be
done evenly and closely, but not tightly enough
to raise the edges. (Ill. 351.)
AN UNDERLAID PIECE DARNED IN
is a better method of closing a hole when
the stocking or garment is very loosely woven


DARNING AND MENDING I49
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 piece
cut the same shape, but a seam's width wider all around. Lay the garment over an
ironing-hoard, 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 sidc, as it will make an ugly mark after being
pressed. Illustration 356 shows a hole neatly mended by this method.
A PATCH is generally used for mending.
flannel or heavy woven underwear, particu-
larly if the garment is too much worn to war-
rant the time and work necessary for a careful
darn.
A FLANNEL PATCH is a piece of the
material hasted on the wrong side of the worn
or torn part and catch-stitched to the gar-
ment with small stitches all around the edge.
The worn place, or the ragged edge of the hole,
is then cut away from the right side, and the
edge can,h-stitched all around in the same
manner. (Ill. 357.)
A HEMMED PATCH is used —unless the
hole is so small that it can be neatly darned-
for mending material that requires frequent
laundering. such as muslin underwear, bedding


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or household linen. If the material is striped or figured. the patch should be cut so that
the lines will match. Pin the patch into position on the underside of the piece to be
mended. (‘rease a seam all around and baste it down. Now cut out the worn part,
allowing a narrow seam at the edge. (‘lip the edge a trifle at each corner, turn in the seam,
and baste it down. Then with fine stitches sew the patch down all around on both sides
of the material. (Ills. 358 and 359.)
AN OVERHANDED PATCH is used on material that is seldom washed, and where
the_raw edge on the wrong side is not objectionable. The sewing in this patch is not so
noticeable as in the hemmed patch, for it has but one line of stitches. In cutting the
patch be sure to match the stripe or. figure. The piece should be large enough to cover
the hole well when it is basted over it with tailors‘ tacks. (Directions for tailors‘ tacks
are given on page 85.) When the patch has been basted and cut apart, it will be seen that


CHAPTER 3|
REMODELING
Materials-Dyeing—Cleaning—Remodeling Waists—Skirts—Coats—Suit.s
Children's Clothes—Boys’ Clothes
T THE beginning of every season when you are planning your clothes, look over
your wardrobe and decide what you have that is worth remaking and will fill some
definite place in your outfit. Do not make over any clothes simply because you
have them. If you are not going to need them for the present brush them thoroughly and
put them away carefully until you want them.
Things that are genuinely worn out should be thrown away or given to the Salvation
Army. Do not try to make them over for they are not worth the time and effort.
MATERlALS—Wo0l materials that are too shabby to be made over can often be used
for interlining Winter coats and jackets.
Wool materials and some silks that are shabby on the outside but comparatively fresh
on the inside can be turned if the wrong side is nice looking. It may not be exactly like
the right side but if it is presentable it can be used. Satin, plush, velvet and silks that
have a design on one side only can not be turned for the wrong side is not wearable.
Plush and velvet can be steamed to freshen them, remove the wr nkles and raise the
nap. Silks and satins can be steamed to remove bad wrinkles. (Fhapter 6, page 32.)
Small pieces of material can often be combined to make hats for children, or if suitable
used for collar and cufi facings.
When combinations of materials are in fashion remaking is a simple matter. Wool
materials can often be combined with satin, taffeta, foulard, or with plaid, stripe or check
silk or wool materials. Silks, satins, plushes and velvets can be used with Georgette crepe,
chifion, silk voile, lace, or tulle. Plush and velvet can also be combined with silk and
satin. Gingham can be used with chambray, and the heavy cotton and linen materials
with batiste, handkerchief linen, etc. In Summer materials one can usually combine
white with a color, or a plain color with plaid, check, stripe or figured material.
If one feels inclined to take a little trouble 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 34.)
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 impossible
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
151.


REMODELING I53
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—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.
(‘oats of fur fabrics that have become shabby can often be cut down into coatees when
they are in fashion, or into children's coats. When they are too badly worn to remake in
that way there are often unworn portions that can be used for neck-pieces and mufis, or
for collar and cuff facings for a coat or suit.
Suits are apt to wear out in the skirt first. In a suit of a plain colored serge, gabardine,
twill, velours, taffeta, satin or linen, a new skirt can often be used, made of the same mate-
rial in a plaid, check or stripe. If the suit material harmonizes with the jacket you will
have a very smart-looking costume. The great French dressmakers frequently make
new suits in combinations of this kind. Sometimes the skirt material is used for collar
and cufi facings on the coat.
REMODELING FOR CHILDREN’S CLOTHES——Quite frequently it is easier to cut
down a coat suit for one of the children 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.
CHILDREN'S CLOTHES—(‘hildren grow so fast that the problem of remaking
generally includes lengthening and enlarging.
One-piece dresses can often be lengthened by dropping them from a yoke which gives
them new width in the shoulders and also gives them new sleeves.
Skirts can be pieced under tucks, folds, bands, fiounces, etc. They can also be dropped
from an Empire waistline to a normal waistline or they can be lengthened by a band at
the bottom. VVhen middy blouses are worn over a skirt, the skirt can be pieced at the
top to lengthen it. The blouse will hide the piecing.
Frequently children's dresses can he made into jumper styles. New blouses will give
new sleeves and new width through the body.
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 re.<tifien it by dampening it
thoroughly and ironing it with a heavy iron thoroughly heated. Full directions for
making boys’ trousers are given in Chapter 36. “Boys” and Men's Clothes," and Chap-
ter 22. “Pot,kets." Chapter 12, on “(‘oats," will give you the additional information
you will want for finishing the jackets or overcoats.


I58 THE NEW DRESSMAKER
chloroform. These solvents are highly inflammable, and must, therefore, never be used
in the same room with an open light or flame.
Lay the material, right side down, on a piece of clean blotting-paper or brown wrapping-
paper. Rub around and around the spot with a piece of the same material which has been
dipped in the cleaning-fluid. Be careful to approach the spot gradually and keep rubbing
around the edge of the spot which is damp with the cleaning-fluid so that no ring forms.
If you do not approach the spot gradually, the grease will spread over a large surface.
Ether and chloroform are less liable to leave a ring than gasoline or naphtha. -
A good mixture for removing grease-spots is made from equal parts of alcohol, benzin
and ether.
Grease can also be removed from silk or woolen materials by spreading French chalk
over the spot and allowing it to stand for some time. This absorbs the grease. Shake
the chalk ofi the garment and if it leaves a mark dissolve the remaining particles with
benzin or ether, being careful to rub around the edge of the spot which is damp with these
fluids until they have completely evaporated, to prevent a ring from forming.
POWDERED FRENCH CHALK OR FULLER’S EARTH may be used by placing the
powder over the stain and holding over a heated iron. The heat will dissolve the
grease, and the powder will absorb it.
Grease can also be removed from most materials by placing the material, right side
down, over a piece of brown wrapping-paper and pressing over the wrong side of the
material with a hot iron. The heat of the iron drives the grease from the material into the
paper, because grease has a tendency to go from a warm spot to a cooler one.
TO REMOVE GREASE FROM WHITE GOODS. wash with soap or alkaline Iyes.
Colored cottons or colored woolens may be washed with lukewarm soap lyes.
MACHINE-OIL STAINS may be removed in the following manner: Moisten borax
and rul) it on the stain from the outside toward the center, taking care not to spread it.
Pour water through the material. Washing with cold water and a pure soap will remove
most stains of machine-oil. '
BLOOD-STAINS may be taken out by washing with soap and tepid water. They
may also be removed by covering the spot with wet laundry starch and allowing it to
stand. Afterward it should be washed.
TO REMOVE FRESH INK. Fresh ink can be removed from almost any material
by stretching it tightly over a bowl or deep vessel and pouring boiling water through the
spot with force from a height. Or, if still moist, rub either salt, meal flour or sugar,
and wash in cold water.
In White Materials lemon-juice may be put over the spot and covered with salt.
Then place the article in the sun for a while, and wash. The process may be repeated, if
necessary, until the ink-spot is entirely removed.
Another method of removing ink-stains from white materials is to let the material soak
in javelle water, made from one-half pound of sal soda, two ounces chlorid of lime and one
quart of water. After soaking a few minutes, wash in clear water.
TO REMOVE COPY OR INDIA INK FROM WHITE MATERIALS. Make a strong
solution of oxalic acid and cold water. Soak the spot for a few moments in the oxalic
acid and then soak it in ammonia. If necessary, repeat until the stain disappears.
Rinse thoroughly in cold water.
TO REMOVE IRON RUST FROM WHITE MATERIALS. Lay the article in the sun
and apply oxalic acid to the spot with your fingers wet with water. When the spot
is removed, rinse the garment thoroughly. Also wash your hands well after using the acid.
It is practieally impossible to remove iron rust from colored fabrics, as the acid used in
removing the spot takes out the color so that the remedy is worse than the rust.


166
THE NEW DRESSMAK ER
INDEX
PAGE
ALTERING Bors’ PATTERNS . 161
ALTERING LENGTH oF PATTERNS 19-23
ALTERING SKIRT, YOKE AND DRA\'ER
PATTERNs Foa FIGURES THAT
VARY FROM T1-IE AvERAGE .
ALTERING WAIsr PATTERNS FOR FIG-
28-31
URES THAT‘ VARY FRom THE
AVERAGE . . . 24-27
APPLIED TRIMMINGS 132-142
APPLIQUE EMBROIDERY . . . . . . 144
APRONS . . . . . . . . . . . . . 66
Aa1\moI.E . . . . . . . . . . . . 41
ARM MEAseRE . . . . . . . . . . 11
ARROWHEAD TACKS 127
BACKSTITCH . . . . . . . . . . . 82
BALL-SrircH . . 147
.BAImED BuTToNHoLEs 112
BAR-TACKS . . . . . . . . . 127
BAS'I‘1NGS............ 81
BATHING-SUITS . . . . . . . . . 67
BATHROBES (LADiEs AND M1ssEs) . 66
BATHROBES (MEN's AND Boys’) 165
BELTS . 111
BIAs BINDINGs . . . . . . . . 131
BIAs Srmrs . . . . . . . . . . . 15
BIAs TRIMMINGB 129-131
BLANKET-STITC11 . 125-126
BLIND Loors. 117
BLooD-STAINs . . 158
BLOUSES . . . . 42-43
BOUND BUTToNHOLES . . . . . . 114
Boys’ PATTERNS . . . . . . . . . 12
Boys’ Surrs . . . . . . . . . 161-165
Box PLAITs . . . . . . . . . . . 98
BRAID . . . . . . . . . . 143
Busr MEAsuRE . 10-11
BU'I"rEBIcK PATTERNS . . 10-18
BUTTONHOLES 112-115
BUTTONS 115-116
CArEs.............64
CARE oF THE CLOTHES . 156
CAsINGs . . . . . . . . . 111
CATCH-STITCH . . . . . . . . . . 83
CHILDREN's DRESSES . . . . . . 51-52
CHILDREN'S CoATs . . . . . . . . 64
CLEANING . 157-159
PAGE
COATS AND CAPES. . 58-64
CoLLARLEss NECK . . . . . . . . 41
COLLARS . . . . . . 109-111
CoI.LARs (DETACHED) . . . . . . . 46
COLLARS (LADIEs’ AND Missi-:s’
C0A'r-s) . . . . . . 59-61
CoLLARs (MEN's AND Bovs’
CLOTHES) . . . . . . . . . 165
CoMBINATIoN STITCH . . . . . . . 82
CoaDED FACING . . . . . . . . . 95
CORDED TucK . 130
CoRnmo 130
CORD PIPING . . . . . . . . . . 131
CoRn SEAM . . . . . . . . . . . _88
CoRn SHIRRING . 139
Caoss TucxING . . 97-98
CROSSWIsE FoLD . . . . . . . . . 15
CROSSWIsE oF MATERIAL . . . . . 14
Caow's-Foo'r TAcx . . 128
CUFes (BLousE). . . . . . . . 43,111
Cm-‘Fs (CoAT) . . . . . . . . . . 62
CUFFS (SHIRTWAIsT) . . . 45-46
CURVED Tucxs . . . . . . . . . 97
CUTTING MATEmALs . 32-36
DARNING 146-148
DARTS . 17-18
DEL'I‘0II. . . . . . . . 6, 14, 18
DETACHED COLLAR (SHIR'.rwAIsT) . 46
DIAGoNALs...........35
DoLL PATT1:RNs . . . . . .' . . . 13
DRA\VN-WORK . 121-122
DRESSES . . . . . . . . . 51-52
DREssEs (INFANTS) . . . . . . . 77
DREss-Fomu . . . . . 8-9
Dm~:ssMAKING EQUIPMENT . 7-9
DYEING . 151
EMBLEMS AND CHEvRoNS . 55-56
EMBROIDERY TRIMMINGS . . 133-134-
EQUIPMENT FOR DREss1uA1<ING . . . 7-9
EYELETS 115
FAcINGs . . . . . . . . . . . . 94
FACINGs (LADIEs’ C-oATs) . . . . . 61
FAC1NGs (MEN's AND BoYs’ CoATs) . 164
FAGor-SrircH 122-123
FEATHER-STITCH . 126


I68 THE NEW DRESSMAKER
PAGE PAGE
SEAMS, SIMPLE . . . . . . . . . 86-87 TAILoRs’ BuTT0NHoLEs . . . . . . 113
SEAMs. TAILORED. . . . . . . . 87-90 TAILoRs’ CUSHION . . . . . . . . 154
sET*IN SLEEVE . . . . . . . . . 41 TAILoRs' STRAP . . . . . . . . . 130
SEWING-ROOM . . . . . . . . . . 7 'I‘AILoRs’ TACKS . . . . . . . . . 85
SEWING STITCHES . . . . . . . . 81-85 TAILoRs’ TIssUE . . . . . . . . . 148
SHIRRING . . . . . . . . . . . . 139 TEARs . . . . . . . . . . . . . 148
SHIRT WAIsTS . . . . . . . . . 43-46 TRIMMING STITCHES . . . . . 118-128
Sxmrs, . . . . . . . . . . . . 47-50 TRovsEas . . . . . . . . . . 162-163
SLEEPING GARMENTs . . . . . . . 165 Tucxs. . . . . . . ‘ . . . . . . 97-98
SLEEVE BOARD . . . . . . . . . 154 Tucx SEAM . . . . . . . . . . . 88
SLEEVE Foam . . . . . . . . . . 9 Tucx SHIRBING . . . . . . . . . 139
SLoT SEAMS . . . . . . . . . . . 89 '
SMALL WoMEN's PATTERNS . . . . 12 UNDERGARMENTS . . . . . . . . 68-71
SMOCKING . . . . . . . . . . . . 52 UsE oF BUTTERICK PATTERNS . . 10-18
S1>oNGING MATERIALS . . . . . . 32
SQUARE CORNERS . . . . . . . . 91 WAIsTs, LINED . . . . . . . . . 37-41
STANDING COLLAR . . . . . . . . 110 WASHING CLoTiIEs . . . . . . . . 160
STAND oF CoAT CoLLAR . . . . . . 59 WEIGHTS . . . . . . . . . . . . 8
STEAMING MATERIALs . . . . . . 32 WEIGHTS IN COATS . . . . . . . . 60
SToTING . . . . . . . . . . . . 148 WELT POCKETS . . . . . . . . 107-108
STRAP SEAMS . . . . . . . . . . 90 WELT SEAMS . . . . . . . . . . 89
STRIPES AND PLA1Ds . . . . . . 33-34 WHIPPING oN TBIMMING . . . . . 134
'I‘A1LoRED C 0 A T (LADIEs, MISSES, YoKE . . . . . . . . . . . . . . 52
ETC). . . . . . . . . . . . . 58-64 YOKE (SAILGR) . . . . . . . . . 53
TA1LoRED CoAT (MEN's AND Bors) 164-165 YoKE (ALTERING YOKE) . . . . . 30
TAILORED SEAMS. . . . . . . . 87-90