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University of Wisconsin
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14.7









The Color Cycle
Yellow, blue, and red are primary colors (1). Pairs of them, when combined,
make green, violet, and orange, which are secondary or binary colors (2). All
three combined make gray. Each color has a complementary color, which is
opposite it on this chart. Thus a binary has a primary for its complement, and
vice versa. By combining a primary and a binary, we get a tertiary (3).
The elements of color are: hue, the quality that distinguishes one color from
another; value, the quality of lightness or darkness; and chroma, the quality of
brightness or dullness.
White, black, and gray are called neutrals.
Colors of red or yellow tone are called warm; those of blue or purple tone, cold.
Shades of a color are darker than normal; tints are lighter.


FROM THIMBLE TO GOWN
A MANUAL OF SEWING
BY
ETHEL VAN GILDER
HIGH SCHOOL, SPRINGFIELD, ILLINOIS
ALLYN AND BACON
BOSTON NEW YORK CHICAGO
ATLANTA SAN FRANCISCO DALLAS


COPYRIGHT, 1932
BY ALLYN AND BACON
ΝΤΑ
Norwood Press
J. S. Cushing Co. – Berwick & Smith Co.
Norwood, Mass., U.S.A.


v396966
* JUL - 1 1933
2
REYP
V29
FOREWORD
FROM THIMBLE TO Gown, with its copious illustrations and
practical suggestions, is intended to instruct the pupil in simple,
accurate methods of sewing. Its purpose is to explain in plain
words the best ways to do the sewing that falls to the lot of the
average girl, wife, or mother. The lessons which it offers pro-
vide a foundation of professional needlecraft for the few who
choose that calling; and for the many who will do all or part
of their home needlework, it gives directions and suggestions of
inestimable value.
It is based on the author's training in this country's most
advanced schools of Home Economics, and on experience gained
by teaching. The author attributes in no small degree the con-
structive value of this book to the students who have exchanged
experiences with her in High School and College Home Economics
courses. Their problems have been her problems, and, having
shared in their solution, she desires to share with others the infor-
mation thus acquired.
The first unit of the book includes a full and explicit description
of the basic stitches used in sewing, both plain and decorative;
how to use the sewing machine; and certain general construction
problems, such as bindings, facings, pockets, plackets, sleeves,
collars, cuffs, and the like.
Following this very definite descriptive material is a unit which
discusses color and design in relation to their proper use in gar-
ments for people of various types. This unit includes, also, a
study of fabrics, particularly cotton, linen, rayon, silk, and wool.
iii


iv
FOREWORD
Then come a few chapters of information on taking measure-
ments, cutting garments, making adjustments in patterns for
various figures, and drafting patterns.
The third unit concerns itself with the finished garment and
how to care for it — cleaning, pressing, shrinking, removing
stains, and so on. The chapter on “Origins" gives the pupil
a general idea of the historical significance of many of our dress
accessories of today.
The projects in the appendix have been prepared as activities
for applying the subject matter of the book. Besides proving of
value to the teacher who has no special course of study of her own,
they may present new and additional ideas to those teachers who
already have a course of study.
The book has about three hundred diagrams, clearly and
accurately drawn to illustrate each process and to help make it
intelligible to the pupil. The text and diagrams are so corre-
lated as to make the actual working out of the processes clear
and simple. In addition to the purely diagrammatic illustrations,
there are full-page illustrations introducing the units and, at the
beginnings of the chapters, smaller cuts which lend an imaginative
touch to so technical a manual. The frontispiece is a color chart,
with an explanation of the relation of the colors in the wheel.
A complete and practical guide cannot help but make pro-
ficiency in sewing an interesting and pleasurable goal.
E. V. G.


TABLE OF CONTENTS
UNIT I. THE STITCH
CHAPTER
PAGES
1-38
·
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.
.
I CONSTRUCTION STITCHES. . .
THIMBLE, NEEDLE, AND THREAD .
Basic STITCHES · · · ·
DECORATIVE STITCHES. . .
USE OF THE SEWING MACHINE
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1, 2
3-9
9–35
35-38
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II CONSTRUCTION PROCESSES
Seams . . . .
Tailor's Tacks . .
DARTS . . . .
GATHERING; SHIRRING .
TUCKS . . . .
PLAITS; GODETS, .
BIAS . . . .
BINDINGS; PIPINGS
FacingS.
CORDINGS
MITERING
HEMS . . . .
39-70
39-45
45, 46
46, 47
47–50
50, 51
51, 56
56
56-59
59, 60
60
61-63
63–70
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III CONSTRUCTION PROBLEMS .
YOKES .
PLACKETS . . . .
NECKLINE FINISHES, COLLARS
SLEEVES . . . . .
POCKETS . . . .
Belts, GIRDLES, SASHES, TIES.
71-144
71-73
73–81
81-89
89-104
104-114
114-116
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TABLE OF CONTENTS
CHAPTER
PAGES
LININGS . . . . . . . . . . 116–123
LACES . . . . . . . . . . 123–128
FASTENERS : BUTTONS, BUTTONHOLES, HOOKS AND
EYES, SNAPS, LOOPS . . . . . . . 128–141
MENDING : PATCHES, DARNS . . . . . 141-144.
UNIT II. THE PATTERN
IV
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COLOR . . . . . . .
THE INTERPRETATION OF COLOR . .
THE LAW OF THE DRESSING SCHEME.
CHOOSING THE COLOR SCHEME . .
147-156
148–152
152, 153
153–156
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V
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DESIGN . . . . . . .
ELEMENTS OF DESIGN . . .
FIGURE AND POSTURE . . . . .
DRESSING THE INDIVIDUAL TYPES . . .
FABRICS: COTTON, LINEN, RAYON, SILK, Wool .
WEAVES AND KNITS . . . . . .
. 157–194
. 158–160
. 161-163
. 163–165
165–188
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VI MEASUREMENTS
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195–198
VII CUTTING . . . . . . . . .
KNOWLEDGE REQUIRED IN CUTTING GARMENTS.
ORDER OF CUTTING AND CONSTRUCTING . .
VIII THE Whys oF CLOTHES . . . . . .
CLOTHES AND CHARACTER . . . . .
STYLE . . . . . . . . .
BEAUTY . . . . . . . . .
CLOTHING BUDGET . . . . . .
. 199–205
. 199–202
. 203-205
. 206-218
. 206–209
. 210–213
. 213-216
. 216–218
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IX PATTERNS AND ADJUSTMENTS FOR VARIOUS FIGURES
How to SOLVE YOUR FITTING PROBLEMS . .
HOW TO ALTER PATTERNS . . . . .
DRAFTING PATTERNS . . . . . .
. 219–254
. 219–225
. 225–245
. 245–254


TABLE OF CONTENTS
vii
CHAPTER
PAGES
X
UNDERGARMENTS . . . . . .
GENERAL DIRECTIONS . . . . .
NIGHTGOWNS, SLIPS, BLOOMERS, PAJAMAS.
CHILDREN'S CLOTHES . . . . .
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. 255–261
255, 256
. 256–261
. 261
UNIT III. THE GARMENT
XI THE FINISHED GARMENT . . . . .
How to MAKE A DRESS FOR ANY OCCASION
How to MAKE A COAT . . . .
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. 265–273
. 266-268
. 268,273
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XII CLEANING, PRESSING, AND SHRINKING
THE CLEANING OF GARMENTS .
DIRECTIONS FOR WASHING FABRICS
BLEACHING AND TINTING ..
PRESSING . . . . .
SHRINKING . . . .
REMOVAL OF STAINS
CARE OF CLOTHES CLOSETS . .
274–296
274–281
275–279
279-281
· 281–284
· 284-286
286–295
295–296
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XIII ORIGINS . . . . . . .
ORIGIN OF Tools OF SEWING . .
ORIGIN OF ACCESSORIES OF COSTUME .
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. 297–324
. 297–303
. 303–324
APPENDIX
PROJECTS AND EXERCISES . . . . . . . 327–339
Topics for Class REPORTS, Class COMMITTEE ACTIVITIES . 340
SCORE CARDS.
· 341-344
INDEX . . . . . . . . . . . . 1





LIST OF FIGURES
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Frontispiece
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1. Thimble Position . . . .
2. Knot Stitch for Beginning Thread
3. Plain Knot ; . . .
4. Weaving Stitch . .
5. Square Knot ..
6. Even Basting .
7. Uneven Basting . .
8. Dressmaker's Basting.
9. Diagonal Basting. ..
10. Guide Basting . ..
11. Running Stitch . . .
12. Overcast Stitch . .
13. Whipping or Overhand Stitch
14. Back Stitch . . .
15. Combination Stitch ...
16. Darning Stitch .. .
17. Buttonhole Stitch .
18. Catch Hemming Stitch
19. Blind Slip Stitch . .
20. Warp Stitch . .
21. Outline, Crewel, or Kensington Stitch
22. Stem Stitch . .
23. Chain Stitch . . . . .
24. Ladder Stitch .
25. Magic Chain Stitch
26. Zigzag Chain Stitch
27. Lazy Daisy Stitch
28. Long and Short Stitch.
29. Seed Stitch . . .
30. Catch or Herringbone Stitch
31. Feather Stitch . .
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EEEEEE55 Ecococo co co vuurooner er er er A A A Coco no
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ix


LIST OF FIGURES
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36. Bullion, Wheat, or Rolled Rose Stitch .
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33. Bow or Deerfield Stitch
32. Briar Stitch .
34. Cross Stitch .
35. French Knots
37. Buttonholed Eyelets
49. Diagonal or Rickrack Hemstitching
38. Appenzell Stitch.
39. Rambler Rose Stitch
40. Blanket Stitch
41. Satin Stitch .
42. Embroidery Blanket Stitch.
43. Diagonal Fagoting
44. Straight Fagoting .
45. Net Fagoting
46. Bermuda Fagoting
47. Single Hemstitching
48. Double Hemstitching .
50. Italian Hemstitching
51. Couching Stitch.
52. Cable Stitch.
53. Arrowhead '.
54. Crowfoot
55. Bar Tack
56. Smocking
57. Punch Work.
61. Foundation Stitch for Tatting
58. Shadow Stitch
59. Appliqué
60. Needlepoint .
62. Single Rings .
63. Double Rings
64. Clover Leaf .
65. Chain Crocheting .
66. Single Crocheting .
67. Double Crocheting
68. Yarn Flowers
69. Knitting
70. Plain Knit
FIGURE


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71. Purl Knit . . . . .
72. Treadling the Machine
73. Threading the Machine
74. Winding the Bobbin.
75. Plain Seam . . .
76. French Seam . .
77. Flat Fell Seam . . .
78. Standing Fell Seam . ..
79. Stitched Edge or Commercial Seam
80. Welt Seam . · · ·
81. Flannel Seam . .
82. Picoted Seams. .
83. Corded Seams. .
84. Overcasting Seams
85. Pinking
86. Binding . .
87. Turned . .
88. Picoting . .
89. Tailor's Tacks ..
90. Darts . . .
91. Gathering . .
92. Garment Bands.
93. Shirring : :
94. Ruffles . .
95. Tucks . . .
96. Knife Plaits .
97. Box Plait. .
98. Inverted Plait .
99. Kick Plait. ..
100. Godets and Flares .
101. Tailored Godets and Flares
102. Inconspicuous Godets and Flares
103. Gussets · · · · ·
104. True Bias . . . .
105. Bindings . . .
106. Inconspicuous Binding
107. Conspicuous Binding . .
108. Pipings . . . .
109. Inconspicuous Piping . .
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xii
LIST OF FIGURES
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110. Conspicuous Piping . . .
111. Straight Facing . .
112. Fitted Facing . .
113. Shaped Facing . .
114. Cord Tuck. .
115. Cord Piping . .
116. Miter for Firm Fabric
117. Miter for Bias Tape . .
118. Finished Miter. . .
119. Mitering Straight Bands .
120. Mitering Lace and Embroidery.
121. Establishing Hemline . .
122. Method of Sewing in a Hem
123. Plain Hem . ·
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124. Bound Hem . . .
125. Faced Hem . . . . .
126. Curved Hem .
127. Scalloped, Pointed, or Squared Hem
128. French Hem .
129. Rolled Hem . . . .
130. Damask or Napery Hem .
131. Single Yoke . . .
132. Double Yoke . . .
133. Continuous Placket . .
134. Cut-Out Continuous Placket
135. Two-Piece Placket
136. Tucked Placket . . .
137. Lap Placket .
138. Fly Placket .
139. Tailored Placket. ..
140. Neck Binding . . .
141. Convertible Collar Facing.
142. Attaching Convertible Collar
143. Straight Band Collar . .
144. Middy Collar . .
145. Tailored Collar. .
146. Attached Collar.
147. Detached Collar .
148. Stand-Up Collar . .
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Xill
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149. Peter Pan Collar . .
150. Rolled Collar
151. Shawl Collar .
152. Shirt Sleeve .
153. Set-In Sleeve . .
154. Setting in a Sleeve .
155. Kimono Sleeve . .
156. Making the Kimono Sleeve
157. Making the Raglan Sleeve .
158. Making the Epaulet Sleeve
159. Single Cuffs
160. Double Cuffs . .
161. Tailored Cuffs .
162. Attached Cuffs.
163. Detached Cuffs.
164. Patch Pocket
165. Set-In Pocket .
166. Bound Pocket
167. Lap Pocket
168. Welt Pocket
169. Flap Pocket
170. Single Belts
171. Double Belts
172. Ties . .
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173. Waist Lining
174. Coat Lining
175. Joining Lace ..
176. Attaching Lace to Edge
177. Lace Fagoted to Fabrics
178. Medallions . . ..
179. Insertion . . .
180. Worked Buttonhole . .
181. Bound Buttonhole . .
182. Looped Buttonhole, Worked
183. Looped Buttonhole, Fabric
184. Elastic and Cord Buttonholes
185. Frogs . . . . .
186. Sewing on Buttons . .
187. Sewing on Snaps . . .
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xiv
LIST OF FIGURES
FIGURE
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188. Sewing on Hooks and Eyes
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189. Set-In or Hemmed Patch.
190. Catch-Stitch Patch . .
191. Darned-In Patch
192. Overhand Patch . .'
193. Straight Tears. .
194. Diagonal Tears . .
195. Three-Cornered Tears
196. Darning Holes . .
197 and 198. Design in Dress
199. Table of Textiles
200. Plain Weave
201. Twill Weave .
202. Satin Weave .
203. Figure Weave . .
204. Knitted Fabric. .
205. Method of Taking Measurements :
206. Periods of Dress : Ancient to 16th Century
207. Periods of Dress : 17th Century to 19th Century
208. Periods of Dress : 19th and 20th Centuries
209. Periods of Dress : 20th Century . .
210. Location of Shoulder Seam . . .
211. Establishing Shoulder Seam
212. Location of Underarm Seam
213. Location of Darts and Lifts
214. Location of Neckline . .
215. Location of Bust Line .
216. Armseye Curve . . .
217. Location of Waistline . .
218. Location of Hipline . .
219. Waist That Is Too Wide.
220. Waist That Is Too Narrow .
221. Waist That Is Too Long. .
222. Waist That Is Too Short . .
223. Waist Patterns That Wrinkle under the Arm
224. Flat-Busted Figure . . . . . .
225. Full-Busted Figure . . . . . .
226. Wide Shoulders and Flat Bust. .
227. Wide Shoulders and Full Bust. . . .
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LIST OF FIGURES
XV
PAGE
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FIGURE
228. Narrow Shoulders
229. Round Shoulders
230. Square Shoulders
231. Sloping Shoulders
232. Over-Erect Figure
233. Sway-Back Figure .
234. Flat Back and Large Bust.
235. Large Abdomen . . .
236. Flat Chest .
237. Large Neck . .
238. Small Neck . .
239. Low Neck . . . . . .
240. High Neck . . .
241. Neckline That Bulges at Back or Front .
242. Shoulder Seam That Slides toward Back.
243. Fleshy Neck and Shoulders
244. Slender, Flat Back · · · ·
245. Too-Large Collar
246. Too-Small Collar
247. Too-Long Collar
248. Too-Short Collar
249. Too-Wide Collar .
250. Too-Narrow Collar . .
251. Wrinkles from Top of Sleeve to Elbow
252. Wrinkles at Armpit . .
253. Too-Long Sleeve
254. Too-Short Sleeve . .
255. Too-Wide Sleeve . .
256. Too-Narrow Sleeve . . . . . . .
257. Sleeve That Puffs at Top . . . .
258. Sleeve That Puffs at Front or Back . .
259. Sleeve That Wrinkles from Armpit to Elbow
260. Sleeve That Wrinkles around Upper Arm . .
261. Sleeve That Is Too Small around Armseye . . . .
262. Too-Small Armseye and Top of Sleeve
263. Amount Trimmed Off on Armseye Allowed at Top .
264. Amount Trimmed Off on Armseye Allowed in Front . .
265. Amount Trimmed Off on Armseye Allowed at Back
266. Top of Sleeve Enlarged When Shoulder Seam Is Let Out .
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xvi
LIST OF FIGURES
FIGURE
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267. Top of Sleeve Made Smaller When Shoulder Seam Is Taken Up 240
268. Sleeve That Draws at Top and Twists Around . . . . 241
269. Medium Upper Arm.
270. Large Upper Arm .
271. Large Arm . . .
272. Sleeve That Twists around Arm
273. Too-Large Waistline.
274. Too-Small Waistline.
. . 243
275. Too-Large Hip Line.
. . 243
276. Too-Small Hip Line
277. Too-Short Skirt . ..
278. Too-Long Skirt . . . .
244
279. To Allow Fullness in Skirt . .
244
280. Natural Dip at Waistline. ..
• 245
281. Garment That Cups In at Bottom
: 245
282. Garment That Cups Out at Bottom.
• 245
283. Draped Patterns . . . .
· 246
284. Drafting a Fitted Waist . .
285. Drafting a Fitted Sleeve . ..
286 and 287. Foundation Collars .
288. Drafting a Two-Piece Fitted Skirt
252
289. Cutting the Slip . . . .
290. Shaping the Neckline . . .
291. Cutting and Finishing the Teddy
258
292. Pajamas . . . . .
260
293. Assembling the Muslin Coat . . . . . . . 270
294. Assembling the Coat . . . . . . . . . 272
295. Bottom of Coat Facing . . . . . . . 273
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FROM THIMBLE TO GOWN
UNIT I
THE STITCH



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LIBRARY
COLLEGE OF AGRICULTUR:
UNIVERSITY OF WISCONSI
MADISON
CHAPTER I
CONSTRUCTION STITCHES
As you sew so shall you rip.
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MULLUM
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O
MAN you remember how, on rainy days
when you were a small girl, your mother
went to her scrapbasket and brought you a
bit of silk and lace and ribbon to make a new
dress for your doll? In her workbasket you
found the scissors, not very large scissors, to
cut out the dress; a needle with a big eye,
easy to thread; a spool from which to snip
a long piece of thread, long enough to use
double so that it wouldn't keep coming out of the needle as you
pulled it through. But there was no thimble little enough for
your middle finger. Oh, well, it didn't matter; you could sew
quite as well without a thimble.
Now that you are older, the first thing you must learn about
· sewing is how to use the tools properly, especially that thimble
which was always too big.
1. THIMBLE, NEEDLE, AND THREAD
1. How to Use the Thimble. — Great emphasis must be placed
on the proper use of the thimble. First, it should be worn on the
middle finger of the right hand; second, it should be well fitted,
thin, and of light weight. It should be large enough to cover the
finger nearly to the first joint, but not so large as to have it
press against the tip of the finger. This size gives perfect free-


FROM THIMBLE TO GOWN
dom to the joint and leaves an air space which'serves as a cushion
for the end of the finger.
Exercises should be given for practice in using the thimble,
employing first the unthreaded needle; next, the threaded nee-
dle; and last, the threaded needle with the thread knotted.
Thimble Position (Figure 1). — Place the thimble on the middle
finger of the right hand. Hold the unthreaded needle in the cen-
ter between the first finger and
thumb of the right hand so that
the eye points toward the palm.
The end or upper part of the thimble
is held firmly against the eye of the
needle. Hold the hand at a dis-
tance, directly in front of you, with
FIGURE 1
the thimble finger bent at each joint.
Practice pushing the needle forward with the thimble. Push
the needle back in position with the first finger and thumb of
the left hand. Continue to practice pushing the needle for-
ward until it may be done with ease. Then take the thimble
position, and, with a piece of medium-weight material held
in the left hand, practice making even stitches through the
cloth. Two movements are necessary: one, to push the needle
through the cloth with the thimble, and the second, to pull the
needle out.
2. Sizes of Needle and Thread. — To work smoothly, the
size of the needle and the size of the thread should be propor-
tionate. Thread the needle with the thread as it comes from the
spool. Unroll the thread to a medium length and make a knot
at the end where it was broken from the spool. (Machine
stitching requires a relatively finer thread because it uses
two threads instead of one.) The following table will prove
of help to you in choosing the correct sizes of the needle and the
thread :


CONSTRUCTION STITCHES
NEEDLE
SILK
COTTON
LINEN
8-10
20
24
36
40-50
Ecoco voer A CON
60
100
88 to se
70
120
80
150
170
90-100
120
150
200
000
180
200
250
0
2. Basic STITCHES
3. Stitch Fastenings. Knot Stitch for Beginning Thread
(Figure 2). — Draw the thread through to the right side of the
material; then take several even stitches
as you did in your practice work in Sec-
tion 1. Hold the thread under the left
thumb and, with the needle pointed toward
FIGURE 2
you, take a tiny stitch, drawing
the needle up through the last hole
and through the loop of the thread
held down by the thumb, and pull
the thread tight. This makes a
secure fastening without a big knot.
Plain Knot (Figure 3). — Wrap
the thread once around the first
finger of the left hand (I). Roll or
FIGURE 3
twist the threads tightly between
the thumb and first finger (II). Slip the loop over the end of
the finger and make a tiny knot by drawing the thread tightly
while holding it between the thumb and first finger (III and IV).
0
V
nu


FROM THIMBLE TO GOWN
LEA
WS
4. Ending Threads in Machine Stitching. Weaving Stitch
(Figure 4). — Fasten the two threads at the end of the machine
stitching separately and by hand. Weave the upper thread in
and out along the line of the machine
stitching on the wrong side of material.
Weave the under thread in and out along
the machine stitching in the opposite
direction from the weaving of the upper
FIGURE 4
thread.
Square Knot (Figure 5). — Holding the end of the upper thread
in one hand and the end of the under thread in the other
hand, lap the thread held in the right hand over that which is
held in the left hand and draw it around and under the thread in
the left hand. Draw the two threads firmly
together. Bring the thread in the left hand
over that in the right hand and draw it around
and under the thread held in the right hand.
Draw the threads together firmly as before.
FIGURE 5
This makes a secure knot to use in fastening
ends of machine stitching. A surgeon's knot is made in the same
manner, but has two laps instead of one for the first tie.
5. Basting Stitches. — It is essential to use basting when join-
ing two or more thicknesses of material before permanently
stitching them. Basting is also used as a guide for stitching or
when there is a strain in fitting.
Even Basting (Figure 6). — Insert the needle into the material,
taking even stitches about 3 inch long. Make the line of basting
straight, about a half inch from the edge of the material, though
this width will vary with the kind of
material used. A material which frays
FIGURE 6
must be basted deeper.
Uneven Basting (Figure 7). — This is a running stitch (see
Figure 11) that is temporarily used to hold two edges of material
DO


CONSTRUCTION STITCHES
together before being machine stitched. Insert the needle into
the material, taking a small stitch about tinch long. Skip
the distance of about 1 inch
and take the next 3-inch
FIGURE 7
stitch.
Dressmaker's Basting (Figure 8). — Insert the needle into the
material, taking two j-inch stitches. Skip a 4-inch space and
take the next two L-inch
o stitches.
FIGURE 8
Diagonal Basting (Figure
9). — This is a vertical stitch used to hold two surfaces together.
Working from right to left, insert the needle in the upper
right-hand corner of a space be-
tween imaginary parallel lines ;
draw it out on the lower line
directly below where it was in-
serted. Take a diagonal stitch
(A) to the upper parallel line
and draw it out directly below
FIGURE 9
where it was inserted, proceeding as before. The thread on the
wrong side forms a series of vertical threads while on the right
side the threads are diagonal. A stronger basting is made by
double diagonal basting (B); that is, by going back and revers-
ing the diagonal basting so that crosses are made on the right side.
Guide Basting (Figure 10). — Insert the needle into the mate-
rial, making a j-inch stitch. Skip the distance of about 1} inches
and make the second 4-inch stitch, proceeding as before. As
you can see, this makes a very
loose stitch.
FIGURE 10
6. Plain Stitches. Running
Stitch (Figure 11). — Hold the material firmly in the left hand,
between the thumb and first finger of each hand with the first
fingers almost touching. With the needle in the right hand
ah


FROM THIMBLE TO GOWN
between thumb and first finger (keeping the point of the needle
close to the end of the nails), carefully weave a number of very
small stitches on the needle with a
short up-and-down motion of the
right wrist and hand. Pull the
thread through. Then repeat.
These stitches are commonly
used for gathering and for join-
FIGURE 11
ing two or more pieces of material.
Overcast Stitch (Figure 12). — This is a loose diagonal stitch
worked on raw edges of material to prevent raveling. Start at
the right side of the raw seam with a
slant stitch, working toward the left
side. Make a stitch deep enough to
prevent raveling. This stitch is
used most frequently on raw seams.
The depth and width of the stitches
FIGURE 12
should vary according to the width of the seam and the weight
of the material. The space between the stitches should be about
twice the depth of the stitches.
Whipping Stitch or Overhand (Figure 13). — This is an over and
Cover close stitch used on selvedges
(sěl'věj — the edge of a woven
fabric so formed as to prevent ravel-
ing) and folds. It is also used in
joining laces and for rolled edges.
Hold the material in the left hand
FIGURE 13
and conceal the knot under the hem.
Work from right to left. Make the stitches very tiny and very
close together.
Back Stitch (Figure 14). — Makeone short stitch on the right side
of the material with the same length of stitch on the wrong side.
Insert the needle in the first hole of the first stitch on the right side


CONSTRUCTION STITCHES
o
co
and make a stitch twice the length of the stitch on the wrong side.
Then insert needle in the last hole of the stitch on the right side
and take up twice the length of the
stitch on the wrong side. This makes
one of the strongest stitches we
have because each time it overlaps
FIGURE 14
the preceding stitch on the under
side of the material. It may be used in place of machine stitching.
Combination Stitch (Figure 15).
– Working on the right side of
the material, take three plain
running stitches, then sew over
FIGURE 15
the last stitch, making a double
stitching. Repeat. These stitches are generally used when
making handmade garments.
Darning Stitch (Figure 16). — Fasten the thread with the knot
stitch (Figures 2, 3) and make a series of tiny running stitches.
Turn the material in the op- oooooooo
posite direction and again ooooooo
take the tiny running stitches, o Óooooo
alternating them with the row oooooooo
above.
FIGURE 16
Buttonhole Stitch (Figure 17). — Fasten the thread with the
knot stitch (Figures 2, 3) and draw the needle
through the material to the right side. In-
sert the needle the desired width of the
stitch and, taking hold of the double thread
a short distance from the eye of the needle,
bring the thread under the point of the
needle from right to left. Draw the needle
through the material over the thread, and
pull the thread up tight. Care should be taken to keep the
stitches even. Work from right to left.
FIGURE 17


s
FROM THIMBLE TO GOWN
Catch Hemming Stitch (Figure 18). — This stitch is ideal
for use in sewing bias binding (see Section 26) in place after
it has been stitched to the garment. Fold the raw edge
under and baste directly through
the sewing machine stitch. Fasten
the thread with the plain knot.
Conceal the knot under the fold
and, working from right to left,
draw the needle through an upper
loop of the machine stitching and
FIGURE 18
through the fold. Insert the needle
in the next loop of the machine stitching and again draw it
through the fold. Proceed in this manner until the entire bind-
ing is held in place.
Blind Slip Stitch (Figure 19). — This stitch may be used for
blind stitching two folded edges together as in belts, ties, pocket
flaps, etc. This stitch is very practical because of the continuous
thread which is alternated from one folded edge to the other.
Working from right to left, insert the needle on the folded edge
toward you and then draw the
needle through, bringing the knot
between the folded edges. Insert
the needle in the other folded edge
directly opposite the first stitch.
FIGURE 19
Slip the needle between the fold
and draw it out 1 inch from where it was inserted. Again insert
the needle on the folded edge toward you, and bring it out inch
from where it was inserted. Continue in this way until the
edges are securely fastened. The stitching remains hidden in the
folds when the seam is finished. Care should be taken that the
stitches do not come through the outer surfaces of the material
Warp Stitch (Figure 20). — This stitch is the hemming stitch
taken parallel with the warp thread. Start by drawing the


CONSTRUCTION STITCHES
needle through the material at the seam, concealing the knot
under the hem. Take a small stitch parallel with the warp
threads, catching two or three
woof threads, and draw out needle
a few threads' depth of the turned
hem (I). Take a 1-inch stitch
by concealing the needle under 1
the turned edges of the hem (II).
to 9
Repeat until finished, working
from left to right.
FIGURE 20
ye
3. DECORATIVE STITCHES
7. Embroidery Stitches. Outline, Crewel, or Kensington Stitch
(Figure 21). — Fasten the thread with the knot stitch (Figures 2,3)
or a few running stitches along the line of design, and
with the needle pointed toward you, take stitches of
even length and slant them toward the right or left of
the line. The first stitch will be the gage for those
following. The needle is drawn through the material
midway of the preceding stitch, which is the entering
point of the first stitch. The stitches can be varied by
UPE 21 placing the needle further to the right or left of the line.
This stitch is used to outline designs and for padding.
Stem Stitch (Figure 22). — Make a series of running stitches
along the line of the stem. Work from
left to right. Insert the needle, catching
a few threads, and work over the running
stitch. An attractive design is obtained
by keeping the stitches even and close
together. This stitch is used also for
initials and monograms.
FIGURE 22
Chain Stitch (Figure 23). — The chain stitch is a series of loops
that interlock. Fasten the thread with the knot stitch and insert
1000
mm
ab00008308


10
FROM THIMBLE TO GOWN
the needle where the thread was brought out. Take the distance
of the stitch desired. Holding the material in the left hand,
throw the thread under the needle and hold it down
with the left thumb. Pull the needle through and insert
it for the next stitch at the point where it comes out.
There are many variations of the chain stitch. Two
colors of thread may be used.
Ladder Stitch (Figure 24). — Make parallel lines of
dots about į inch apart. Letter the dots on the left-
hand line a-c-e etc. and those on the right b-d-f etc.
FIGURE 23
Bring the needle through the material
at dot a, hold the thread under the left thumb,
insert the needle at dot b and bring out at dot c,
over the thread held down by the thumb. Draw
the thread smooth, and holding the thread under
the thumb again, take a stitch between d and e,
inserting the needle at d over the thread which
FIGURE 24
came out at b. Continue.
Magic Chain Stitch (Figure 25). — Thread the needle with two
or more threads of contrasting color, alternating
the chain by holding down, with the thumb, one
thread at a time. The thread not used in making
the loop is carried to the wrong side and does
not show when the other thread is drawn up to
form the loop. The chain is more attractive
when only two colors are used
in this manner and a variation
of the number of colored loops made.
Zigzag Chain Stitch (Figure 26). — Instead of -
following the straight line, slant the needle al-
ternately to the left and to the right of im-
aginary parallel lines. Otherwise work like the
regular chain stitch.
FIGURE 26
CON
FIGU
E 25


CONSTRUCTION STITCHES
11
Lazy Daisy Stitch (Figure 27). — Bring the thread out on the
right side of the material at the inner end of the leaf or petal and
insert the needle where the thread was brought out. in
Take the distance of the loop desired. (Hold the
material with the left hand, using the thumb to
hold down the thread.) Draw the needle through,
making a loop. To hold the loop in place, insert
the needle into the material outside of the end of
the loop. Draw the needle through
to the back of the material and pro- FIGURE 27
ceed to the next stitch. This is a variation of the
chain stitch (Figure 23).
Long and Short Stitch (Figure 28). — This stitch
is very effective when making flowers and leaves.
Fasten the thread with a few running stitches
FIGURE 28
o close to the edge of the design nearest you and
insert the needle the desired length of the long stitch; then in-
sert the needle the desired length of the
short stitch and repeat until the entire
design is finished.
Seed Stitch (Figure 29). — Fasten the
FIGURE 29
thread with the knot stitch. Make a row
of even back stitches the desired length. Make the
second row of stitches alternate with the row above.
Repeat until the design is finished. If the thread
is very fine, two back stitches side by side are neces-
sary to give the desired effect.
Catch or Herringbone Stitch (Figure 30). — Take a
small stitch on one imaginary vertical line, then a small
stitch on another imaginary line parallel to the first one,
at the desired distance from the first stitch. Always
work from left to right, and always away from you,
FIGURE 30 with each stitch a little above the preceding one.
C


12
FROM THIMBLE TO GOWN
FIGU
Feather Stitch (Figure 31). — Bring the needle through the
material at the top. Holding the thread down with the left
thumb, take a small slant stitch and pull the
needle through. Turn the thread in a loop
to the left, hold it down again with the
thumb, and take a small slant stitch in the
opposite direction to and below the preceding
stitch. Continue, making stitches always
FIGURE 31
toward the worker. This is the most com-
mon and effective stitch used in fancy stitching because of its
adaptable use for design on garments, but care must be taken in
working it for its beauty depends on its evenness.
Briar Stitch (Figure 32). — The briar stitch is a
variation of the feather stitch. Care must be taken
that the diagonal stitches are kept uniform as to
slant and size.
Bow Stitch or Deerfield (Figure 33). — Starting at
the left of the design with the thread held under the
left thumb, insert the needle on the right side of the fie
first stitch and bring it through the cloth halfway back toward
the place where the thread came out on the left, and a little below
w that point (that is, not on a line
parallel with it) (I). Pull the
needle and thread out over the
thread held down by the thumb
and insert the needle again directly
FIGURE 33
below this held-down thread (II).
This last little stitch will hold the loop in place. The needle then
comes out at a point on the left where the next stitch is to start.
Cross Stitch (Figure 34). — The design is stamped directly on
the material or is worked on a coarse-weave canvas where the
squares are counted to make the design. (In the latter case,
after the design is completed, the threads of the canvas are
FIGU


CONSTRUCTION STITCHES
ing the needle up at the lower
carefully removed.) In heavy material the stitches may be
made by following the warp and woof threads. The stitch
consists of one thread crossed
over the other, the two occupying
a perfect square, crossing diag-
onally from corner to corner (A).
To make this stitch, fasten the
thread with the knot stitch.
Bring the needle up at the lower
left-hand corner (a) of the first
square and draw it through to
the wrong side at the upper
right-hand corner (b). Draw the
needle to the right side of the
material at the upper left-hand
corner (c) and insert it at the
FIGURE 34
lower right-hand corner (d); then draw it to the wrong side
and go to the next lower left corner (e) and continue making
crosses as before. Another method of making the cross stitch
is bringing the needle through the material to the right side
and making a series of diagonal stitches from left to right on
points along parallel lines (a-b, c-d, e-f in BI). Care must
be taken to keep the stitches an even distance apart. After
completing the first series of diagonal stitches, work back in
the opposite direction, completing
R
the crosses (BII).
French Knots (Figure 35). —
Fasten the thread with the knot
stitch, bringing the needle to the
FIGURE 35
right side of the material. Wrap
the thread around the needle the desired number of times, de-
pending upon the size of the thread, design, and material (I).
Insert the needle very near to the place where it was drawn out


14
FROM THIMBLE TO GOWN
before. Draw the coil of threads tightly as close to the material
as possible (II). Finish drawing the needle through to the wrong
side while holding the coiled threads tightly between the thumb
and first finger of the left hand (III). French knots are used
to form flowers and their centers,
designs, and solid backgrounds.
Bullion, Wheat, or Rolled Rose
Stitch (Figure 36). — This stitch
forms flowers, petals, and loops on
fine lingerie. It is the same as
FIGURE 36
the French knot with the exception
that the thread is wrapped many times around the needle and
the needle is then inserted a short distance from where it was
drawn out so that the stitch may lie perfectly flat.
Buttonholed Eyelets (Figure 37). — There are two kinds of eye-
lets, buttonholed and overhanded, and they may be either
round or oval in shape.
Make the eyelet hole with a stiletto, using a twisting motion
as it is pushed through the material, and sew a tiny circle
of running stitches close around
the hole (AI). Work the eyelet
hole with the buttonhole (BI) or
overhand stitch (AI) (see Figure
13), using the circle of running
stitches as a page for the depth
of the eyelet stitches. The hole
for an oval eyelet is made by
FIGURE 37
cutting a gash the desired length
and proceeding as for the round eyelet. Large eyelets are used
purely for ornamentation. If they are very large the surplus
material in the center is cut out.
Appenzell Stitch (Figure 38). — Thread an embroidery needle
with several threads, which may be of varied shades. Knot the


CONSTRUCTION STITCHES
threads and draw the needle through the material at the base of
the petal (the point nearest the center of the flower). Insert
the needle at the opposite end of the petal and
draw it through the material at the base of the
next petal and repeat until the flower is fin-
ished. Be sure to pull the threads through so
that they cover the petal evenly.
Rambler Rose Stitch (Figure 39). — Make a
Figure 38
large French knot in the center of the rose. With an outline
stitch (I), work around the French knot until the rose is the
desired size (II). The rose may be
made to look more natural if darker
shades of threads are used in the
center and then shaded to lighter
FIGURE 39
tones at the outside.
Blanket Stitch (Figure 40). — This stitch is used to decorate
and protect the edges of materials, especially of woolens. After
concealing the knot stitch on the wrong side of the material,
draw the needle to the edge of the material, holding the thread
with the left thumb and the left index
finger. Work from left to right. Insert
the needle from the edge to the desired
length of the stitch. The width may be
varied in keeping with the article. Many
interesting designs may be worked out by
varying the grouping of the length and
FIGURE 40
width of the stitches.
Satin Stitch (Figure 41). — Fasten the material in an embroid-
ery hoop 1 and take a few running stitches through the figure of
the design. (This is called padding.) Make a series of parallel
stitches over them, working from right to left. These should be
1 Embroidery hoops are necessary in doing fine embroidery as they help
to keep the material tight and the work smooth.


16
FROM THIMBLE TO GOWN
close enough together to fill up the figure (leaf, petal, or other
design) and to give the effect of solid embroidery. Since the
stitches are laid exactly parallel and close
together, it is sometimes called “ laid work."
Embroidery Blanket Stitch (Figure 42). —
This stitch is used as a hem, usually in scallops
of varying size. The scallops must be defi-
nitely outlined and the material placed in em-
broidery hoops. The scallops must be evenly
. FIGURE 41
padded with long and short or chain stitches.
Then take a few running stitches toward the point of the scal-
lop (to catch the thread), and with the needle pointed toward
you, take a stitch over the padded
scallop. Hold the thread under the left
thumb, drawing the thread as tightly as
possible without pulling up the material
and destroying the outline. Work from
left to right. To obtain a smooth, solid
surface, the stitches must be placed as
close together as possible.
FIGURE 42
This will
give a firm ridge of drawn loops along the edge of the material.
8. Fagoting. Diagonal Fagoting (Figure 43). — After the raw
edges of the material have been finished with a hem, baste the
material to a piece of stiff paper
or cloth, right side on top, leaving
the desired width of the fagoting
between the two edges. Working
from left to right, insert needle
and thread through upper surface
of material and draw the needle
FIGURE 43
out on the lower edge. Hold the
needle vertically and with the thread thrown to the right, draw
the needle out over the thread on the upper edge and a little to


CONSTRUCTION STITCHES
17
the right of the lower stitch (I). Then insert the needle over
the thread in the lower edge, keeping the needle vertical and
away from the worker (II). Alternate
the stitches in the upper and lower
edge until the design is finished.
Straight Fagoting (Figure 44). —
Finish the edges of the material with
a hem and baste the material on stiff
-R obot
paper or cloth as for the diagonal
FIGURE 44
fagoting. Working from right to left,
draw the needle out at the lower right-hand corner and insert the
needle directly above the lower stitch, keeping it vertical. With
the thread drawn firmly, hold it with the left thumb and twist the
needle around the bar the desired number of times. After draw-
ing the thread to make the twisted bar, take a tiny stitch to hold
it securely, then take a stitch to the base of the next bar, and
continue in this way until the
design is completed.
Net Fagoting (Figure 45). —
Finish the edges with a hem and
baste the material on stiff paper
or cloth as for diagonal fagoting.
Fasten the thread on the lower
right-hand corner of the pattern
(I). Insert the needle on the
opposite edge, directly above the
first stitch, keeping the needle
vertical, and draw the needle
out at the stitch below. With
the thread drawn firmly, insert
FIGURE 45
the needle under the bar at the
middle. Wrap the thread once over and around the needle to
form the knot (II). Hold the knot firmly between the thumb


18
FROM THIMBLE TO GOWN
new wread securely. The distance betworn
and first finger and draw the needle through, taking care to
draw the thread securely. The distance between the bars is
equal to the distance from the knot to the base of the first bar,
which gives a net effect. After the width between the bars has
been determined, insert the needle at the base of the second
bar, leaving a small loop. Insert the needle directly above the
lower stitch, bringing it under the loop (III). Draw the thread
firmly, taking care that the loop is in the center of the bar.
Insert the needle under the threads, drawing it out at the
center of the loop (IV). Wrap the thread over and around the
needle once to form the knot. Hold the knot firmly between the
thumb and first finger, taking care that the thread is drawn
securely. Then take a stitch to the base of the next bar and con-
tinue in this way until the design is completed.
Bermuda Fagoting (Figure 46). — Bermuda fagoting may be
worked along any designs of stems, as initials, or monograms,
or used in attaching laces. A
blunt three-sided needle is used,
bi
and fine firmly twisted thread.
Tie one end of the thread into the
eye of the needle. The fagoting
is made by working toward the
worker. When finished, the
stitches form a cross on the back
side of the material and a series
of squares on the right side of the
work. Draw the two stitches
tight enough on each side of the
FIGURE 46
square to make holes in the cor-
ners. Fasten the thread on the wrong side at the beginning
of the design. Draw the needle to the right side of the material
at a and insert the needle in the right side at b, an eighth of an
inch above where it was drawn out (I). Repeat, making two


CONSTRUCTION STITCHES
19
stitches (II). Bind a and b together. Slant the needle to the
left at b, bringing it out an eighth of an inch to the left of a
at c. Repeat as above. Insert the needle a few threads above
at d, making the stitch as before, and bring it out at a; bind
a and c together. Insert the needle at c and bring out at e.
Bind a and e together. Continue in this manner until design
is completed. When laces are to be attached, baste the lace
firmly to the edge of material and make one row of fagoting on
the edge of the lace and the other on the material.
9. Hemstitching. Single Hemstitching (Figure 47). — Start-
ing at the line where the inner side of the hem is to be, draw from
5 to 7 threads, depending upon
the width of the hemstitching
and the material used. If a
hem is used, baste the hem to
the edge of the drawn threads.
Fasten the thread with the knot
stitch near the edge of the drawn
threads and on the wrong side of
the material. Proceed to work
from left to right. Bring the
needle through to the right side
and take up the suitable number
FIGURE 47
of threads. The thread is held
under the thumb of the left hand; the needle is drawn to the left
side of the material, catching the threads in the loop (I). Take
a small stitch through the edge of the hem to the right parallel
with the drawn threads and as closely as possible to the loop
(II). Take up the next group of threads and continue as before.
Machine hemstitching is made by turning the fold of the hem
to the middle of the drawn threads and stitching on the edge of
the fold with a long stitch. Then pull the hem down so that
the machine stitching is at the bottom of the drawn threads.


MACHINE HEMSTITCHING
er


20
FROM THIMBLE TO GOWN
RE
Double Hemstitching (Figure 48). — Double hemstitching is a
repetition of plain hemstitching on the opposite side of the drawn
threads. Parallel bars are made. Take
care to take up the same group of threads
in the second row as in the first in order to
give a parallel effect.
FIGURE 48
Diagonal or Rickrack Hemstitching (Fig-
ure 49). — Diagonal hemstitching is a variation of plain hem-
stitching. It starts with plain hemstitching
on one side, care being taken to catch an
even number of threads, as four, six, eight,
etc. The diagonals are made by taking an
even number of threads on the opposite side,
FIGURE 49
midway between the groups of threads al-
ready caught. The stitches holding the groups of threads in
place are made as for plain hemstitching.
Italian Hemstitching (Figure 50). — Work on the right side of
the material from right to left, with the
bulk of the material toward you and the
smaller amount falling over your hand.
A blunt needle and round linen thread are
desirable to use. Two rows of threads
are drawn, leaving a few threads between
the drawn rows. The number of threads
drawn and the number left in between
depend upon the material and design to
be used. A few running stitches are taken
between the two rows of drawn threads to
fasten the thread. Insert the needle from
right to left at the top of the lower drawn
FIGURE 50
threads under the first group of threads
(I). Then draw the needle through, taking a stitch back over
the same group of threads (II). Draw the needle through and


HAVE
!


II


FROM THIMBLE TO GOWN
running stitches, drawing the needle through the material on the
right side at 1. Insert the needle at the right side of 3 and make
a tiny stitch toward the left
at the top of the arrowhead.
Draw the needle through and
insert the needle at 2, bringing
it out close to the first stitch
taken at 1. Insert the needle
again at 3 a little below the first
insertion so that the threads lie
parallel (II). Take a little
FIGURE 53
stitch to the left at 3, as before,
but a little deeper, and insert the
needle again at 2 so that the threads from 3 to 2 will lie parallel.
Continue the stitches until the arrowhead is completed (III).
Crowfoot (Figure 54). — This serves the same purpose as an
arrowhead but is more ornamental.
Outline the shape of the crowfoot in the material. Insert the
needle in the center of the crowfoot and make a few running
stitches, drawing the needle
through the material on the right
side at 1. Insert the needle at
the right of 2 and make a tiny (
stitch toward the left at the top 1
of the crowfoot (I). Turn the
material to the left until 3 is at
the top position and insert the
needle at the right of 3 and make
a tiny stitch toward the left (II).
FIGURE 54
Again turn the material to the
left, until 1 is at the top position, and make a tiny stitch toward
the left. Continue the rotation of the material and stitches until
the crowfoot is completed (III).
MI


CONSTRUCTION STITCHES
23
Bar Tack (Figure 55). — The bar tack is used to finish ends of
seams, tucks, and set-in pockets. Make a long stitch at the end
of the pocket opening, perpendicular to it. The stitch is made
long enough to extend just be-
yond the machine stitching at the
end of the pocket. Continue
making this stitch until the desired
number of stitches are made;
that is, until the bar is as thick
FIGURE 55
or heavy as' is necessary. Care must be taken to make the
stitch through the same holes each time and to draw the threads
evenly. Working from right to left, make tiny satin stitches
(Figure 41) over the long stitches. Continue until the bars are
covered with satin stitches. The ends of this tack are finished
with a stitch that extends a
► little beyond each side of the
+6+ +7+1 +8+ .+9+. -*10* satin stitch. The stitch is
· · · · · · •+12+ •+11+. repeated through the holes
until a secure fastening is
made.
Smocking (Figure 56). — This
AVAVA
.
is used for decorative borders
to hold fullness in place and is
made of ornamental stitches.
The careful gathering of the
material, which is the first
canada
step, gives the evenness and
beauty to smocking. It takes
about four times as much
DECORATIVE SMOCKING
material as the width desired
FIGURE 56
when smocking is completed.
If the material used is not one with a small, all-over or
checked design, it should be carefully marked on the wrong
WWW.


24
FROM THIMBLE TO GOWN
side with a series of evenly spaced dots. The design, weight
of material, and amount of fullness desired will govern the
space between the dots. They may be made one fourth, one
half, or three fourths of an inch apart. Make the rows of
dots one below the other, and the desired distance apart. The
odd rows, as 1–3–5, etc., should have one less dot at the right
end of the material, and the even rows, as 2-4-6, etc., should
have one less dot at the left end.
Remember always that the careful gathering of the material
gives evenness and beauty to smocking. Gathering threads are
not necessary when the material holds a crease well, or has a design
which will serve as markings, or on material that may be marked
on the right side. If gathering is desired, mark the material
on the wrong side. Then, with a strong thread, make a small
running stitch at each dot. Start the gathering at each row
at alternate ends. When it is finished, pull up the gathers the
desired fullness, and fasten the ends securely. Turn the mate-
rial to the right side, and even the gathers into straight, par-
allel, plait-like folds.
Using a rather heavy thread, start sewing at the top right-
hand dot (I). Catch the first two dots together (marked 1 in
diagram), taking only a few threads of the material for each
stitch. Join the dots with two over and over stitches, then
slip the needle on the underside and bring it out at the next
dot (at the right of 2 in the diagram). Catch this dot and the
next one together, as you did with the first two dots, and again
slip the needle on the underside and bring it out at the next
dot (at the right of 3 in diagram). Continue this process until
the first row of dots is finished. For the second row, turn work
upside down so as to work from right to left. The first and
second dots (at 6 in the diagram) are caught together, joined
with two stitches, and the needle slipped under the material to
come out at the next dot (a little to the right of 7 in the dia-


CONSTRUCTION STITCHES
25
echº 0 0 0 oder
gram). The row is completed exactly like the first row, but
because the even rows have one less dot at the left end, and
the odd rows have one less dot at the right end, the stitches
appear not under one another, but alternately. Upon finishing
row 2, the work is again turned right side around, and row 3
is worked exactly like row 1. The diamond design of the
stitches is now clearly defined (II).
By skipping spaces, various designs may be worked out, and
combinations of fancy stitches, such as outline, single and double
cable, and zigzag chain (see pages
ogo
9, 10, section 7), may be used (III). O
Threads of two or more colors o l a
may also be used to vary the effect. o
Punch Work (Figure 57). —
Punch work is the joining of circles
or squares so as to form a back-
ground of open work. A blunt
needle is used. Make a plain knot
and draw the blunt needle through
the material at 1. Insert the
Figure 57
needle at X and draw the needle
out at 2. Again insert the needle at X and draw it through
the work at 3. Continue in this way until the circle or square
is finished. The second circle or square is made so that one
side of the first forms one side of the second, thus giving
the open-work effect (II).
Shadow Stitch (Figure 58). — Work
from left to right on the wrong side
of the material after fastening the
thread with a plain knot. Insert the
needle to the left on the lower of
FRONT
two imaginary parallel lines, catching
FIGURE 58
several threads. Draw the needle
VVVV
BACK


26
FROM THIMBLE TO GOWN
on
the right side så
pops
through the material and insert it on the upper line, drawing
it through just above where it was formerly inserted. Again
insert the needle on the lower line
and continue working until the de-
sign is finished; then press it on
the right side so that the stitches
y may be more clearly seen.
Appliqué (Figure 59). — Cut the
pieces of material, allowing for seams,
FIGURE 59
the desired shape and size and turn
under the edges to the wrong side
1 inch, being careful not to stretch them. Baste the pieces to
the garment and finish with the blanket stitch (Figures 40, 42).
Needlepoint (Figure 60). — Needlepoint canvas is required
in order to give a smooth, even effect. The work may, however,
be done on a heavy piece of
Hott
cross-stitch canvas. It is
necessary to place the canvas
in a frame or hoop with the
double threads running verti-
cally. Use a foundation
thread of yarn as the back-
ground and over this, with a
# 4
large blunt needle, weave a
few running stitches toward
the upper left-hand corner of
the pattern. All threads are
fastened by weaving them
into the canvas. With the
FIGURE 60
needle pointed toward you,
work from left to right, making diagonal stitches from square
to square and carrying the yarn over the double vertical
threads. Using the first row as a guide, begin at the same end


CONSTRUCTION STITCHES
of the pattern and continue to work until the pattern is
finished. Different colors, hefts of yarn (see section 13), and
slants of stitches add to the
variety of design.
11. Tatting. Foundation
Stitches (Figure 61). — Take
the thread between the first
finger and thumb of the left
hand and with the thread over
the back of the fingers and
around again to the thumb
and first finger, make a loop.
The fourth and little fingers
hold the thread in place and
rest against the palm of the
hand. The third finger holds
the thread taut. The shuttle
is held in the right hand be-
tween the thumb and first
finger with the hook of the
shuttle toward the back of the
hand, and the thread of the
shuttle toward the fingers.
The third finger of the right
hand holds the right-hand
thread up and taut.
There are two steps to the
tatting stitch: first, the shuttle
is placed under and over the
loop in the left hand between
the first and second fingers.
After making a stitch the
thumb and first finger are held
FIGURE 61
VIII
OS
0


28
FROM THIMBLE TO GOWN
rigid, and the shuttle is pulled back until the thread is taut.
The third finger of the left hand then is raised to pull the stitch
firmly in place; second, the
stitch proceeds as before ex-
cept that the shuttle is placed
over and under the loop.
These stitches form the founda-
tion for all tatting stitches.
Single Rings (Figure 62). —
Take tatting position. Tat
four stitches. The first part of
the fifth stitch is drawn up
within 1 inch from the fourth
stitch. The second part of the
stitch is made and then is
drawn tightly, forming a loop.
I
Then make four more stitches
FIGURE 62
and the fifth a loop, four more
stitches and the fifth a loop, and four more stitches. Next,
draw the ring up while holding it firmly between the thumb and
first finger of the left hand. Skip the diameter of the ring and
make the first stitch of the second ring. Tat four more stitches,
then draw the thread around
the hand through the last loop of
he thread around
an

d
the
loop up large enough to pass the
shuttle through. Draw the
thread of the loop around the
hand, back into place. Continue
FIGURE 63
making the ring as before.
Double Rings (Figure 63). — Take the tatting position. Tat
one single ring and skip the distance of the diameter of one ring
and make four stitches. Attach to the last loop of the first ring


CONSTRUCTION STITCHES
29
Tat four stitches and join to
as for single rings. Finish tatting the ring. Skip the diameter
of the ring, tat four stitches and attach to the last loop of the
second ring. Finish tatting the ring. Continue making the
rings as before.
Clover Leaf (Figure 64). — Take tatting position. Tat a ring.
Do not skip any distance but start tatting the second ring at the
base of the first. Tat four stitches and join to the last loop of
the first ring. Continue tat-
ting until ring is finished. A
Make the third ring from the
base of the second and first.
Tat four stitches and join to me
the last loop of the second
ring. Continue until ring is
FIGURE 64
finished. The three attached
rings form the clover leaf. For the second clover leaf skip the
distance of the diameter of the clover leaf. Tat four stitches
and a loop. Tat four more stitches and join to the middle
loop of the last ring. Continue making the ring and the rest
of the clover leaf.
Many variations and patterns may be worked out and fancy
braids may be worked in with the tatting design. The simple
patterns done in fine thread make a dainty edge.
The short loops launder better than the longer ones. Yard
tatting may be laundered satisfactorily by winding it around a
bottle and washing it with a small brush and soap.
12. Crocheting. Chains (Figure 65). — In all crocheting a
hook in proportion to the thread is used. In many patterns the
correct sizes are given. If they are not, it may be necessary to
experiment until right results are obtained. The thread may be
of cotton, silk, or wool; the hook of metal or bone. Make a slip
loop at the end of the thread and slip the crochet hook through
it. The thread is held in position by starting at the palm of the


30
FROM THIMBLE TO GOWN
hand and wrapping the thread around the little finger of the left
hand. Then bring the thread to the back of the hand and over
the back of the other fingers. The
loop is held between the thumb
and second finger of the left hand,
and the first finger and thumb
hold the thread tightly at the
end of the hook; while the tip of
the little finger is pressed to the
palm of the hand, the third
finger keeping the thread taut as
the stitches are made.
Bring the hook to the left and
under the thread. Draw the
thread that is around the needle
FIGURE 65
through the loop and continue
in this way, always drawing the
thread through the last loop to form a chain of the desired length.
Single Crochet (Figure 66). — Make a chain of stitches the
desired length. Skip two chains,*
insert hook in next chain (count-
ing backward along line of chain
DA
stitches), thread over hook and
pull through chain. There are
FIGURE 66
now two loops on the hook. Put
the thread over and pull through both loops. Keep repeating
from * until row is finished, turn, and
repeat. Turn, chain two, and repeat.
Double Crochet (Figure 67). — Make
a chain of stitches the desired length.
Skip three chains,* thread over hook
and insert in next chain, thread over
FIGURE 67 hook and pull through chain, thread
2


CONSTRUCTION STITCHES
over hook (5) and pull through two loops (4, 2) thread over
and pull through two loops (5, 1). Repeat from * until row
is finished. Turn, chain three, and repeat.
Yarn Flowers (Figure 68). — Use a medium-size bone crochet
hook. Chain nine stitches and join the two ends with a stitch.
Chain five more stitches, skip two stitches on the ring, and make a
stitch into the third. Chain five more stitches, skip two stitches
on the ring, and make a double chain. Stitch into the third.
Again chain five more stitches, skip two on the ring, and make a
double chain, and stitch into the third. This will make a ring
of stitches with three loops of stitches around it. Single crochet
around the three loops and draw the thread through at the last
stitch, leaving nine inches of thread so that the end of the thread
can be drawn through the center-back of the flower (II). Two
different shades of one color may be combined into one flower,
using the darker shade for the center. Larger flowers may be
made by making the center ring larger and the loops in pro-
portion. It is always necessary to have an uneven number of
stitches. Buds may be made by double crocheting around the
single ring of stitches.
Crocheted flowers and buds may be joined and used as
decorations for hats, bags, and sport garments. A handy in-
expensive and attractive pin may be made by grouping flowers
and buds on a yarn-covered safety pin (VI). Sets may be
made for cuffs and collars of sport garments by using small safety
pins for the cuffs and a larger one for the collar.
A two-inch safety pin with openings at both ends, large enough
to allow a bone crochet needle to enter, should be used as a base
for the pin. The leaves are made by chain stitching seven stitches
and then by going back and double crocheting (Figure 67) into
each of the seven stitches. Without cutting the thread, make an-
other leaf in the same manner. Draw the last stitch through the
hole at the end of the closed safety pin. Make as many stitches


и
FIGURE 68
32


CONSTRUCTION STITCHES
33
through the hole as the heft (see section 13) of the thread will
permit. With the crochet hook, make a close tight buttonhole
stitch along the top of the safety pin until the top of the pin is
covered. Fill the hole at the point of the pin with as many
stitches as possible. Make another leaf in the same way as the
others were made. When completed, fasten the leaf by making
a crochet stitch through the buttonhole stitch at the base of the
leaf. Double crochet along the top of the buttonhole stitch and
fasten the yarn securely at the base of the two leaves.
The flowers are attached by sewing them to the closely covered
safety pin, using the yarn that was left at the back of each flower
to stitch it in place. Arrange the flowers on the pin by first sew-
ing one at each end of the pin and then carelessly filling in the
other flowers.
Yellow or orange single yarn or double silk rope floss wrapped
once around a darning needle may be used to make the flower
centers (Figure 35). The thread need not be cut after making
each center but may be woven through the back of the flower
to the next flower center.
13. Knitting (Figure 69). — “Knitting is supposed to have
been invented in Scotland. As the knit garments became more
and more popular their use was adopted throughout England
and gradually found their way across the channel to France
and to other parts of Europe. Yesterday girls were taught to
knit almost as soon as they could hold the needles, and this is
the condition in many countries today.”
Knitting necessitates the use of two or four needles (made of
metal or bone) and of wool yarn of various hefts. The word
heft means weight; and we do not talk about the size of a
thread of yarn, but the weight of the skein of yarn. The coarser
or heavier yarns are made of more twisted strands than the
finer or lighter yarns. The size of the needle chosen depends
upon the heft of the yarn; and the knitting can be measured


34
FROM THIMBLE TO GOWN
mo
=
by so many stitches to the inch. When knitting with two
needles, one is held in the right hand and one in the left.
The first step in knitting is to cast the proper number of
stitches on one needle. This
may be done in two ways.
(A-I) Make a slip stitch
in the end of the yarn and
slip the loop over the right-
hand needle. Hold the yarn
in the palm of the left hand,
and wrap it around the
left thumb. Insert knitting
needle under yarn on top
of thumb and transfer this
loop to the needle. Wrap
yarn held in palm around
thumb again, and pick up
the loop with the needle as
before.
The second way of casting
on (B-I) is as follows: make
a loop in the yarn and slip it
on the left-hand needle. Slip
the right-hand needle through
the loop, * put the yarn over
the needle and draw it
through the loop, slip this
I
loop on the left-hand needle,
FIGURE 69
slip the right-hand needle
through the loop just made
and repeat from * until the desired number of stitches are on
the needle.
When the knitting is finished, the binding or casting off is
B-I


CONSTRUCTION STITCHES
35
done as follows: (II) Knit the first two stitches as always.
Insert the needle into first stitch and pass this stitch over the
second stitch on the needle (right-hand needle), * knit the next
stitch on the left-hand needle onto the right-hand needle, pass
the stitch already on the right-hand needle over the second
stitch, and repeat from * until row is
bound off. Break the yarn, slip the
last stitch off, and pull the thread up
tight through this stitch.
Plain Knit (Figure 70). — After the
required number of stitches are on the
needle, slip the right-hand needle into
. Figure 70
the last stitch made. Place the yarn over the right-hand needle
and draw through the stitch. Slip the stitch from the left-hand
needle, leaving it on the right. Continue in this way until all
the stitches are on the right-hand needle. Change the right-
hand needle to the left hand and continue as before.
Purl (Figure 71). — To purl, bring the yarn in front of the right-
hand needle. Slip the right-hand needle into the front of the
stitch on the left-hand needle. Place the
yarn around the back of the needle as it
passes in the stitch, catch it in and take
off. Always place the yarn back of the
needle after a purled stitch before knitting
a plain stitch. In any kind of knitting,
FIGURE 71
the first stitch is slipped, not knitted.
4. USE OF THE SEWING MACHINE
14. Treadling the Machine (Figure 72). — Before beginning
to stitch, place the chair close enough to the machine so that it
is possible to sit comfortably and squarely on the chair, in an up-
right position (C). Place the left foot on the upper left-hand
corner of the treadle, and the right foot on the lower right-hand


36
FROM THIMBLE TO GOWN
corner (A). Remove belt from balance wheel. To treadle
smoothly at a moderate speed, press evenly on the treadle first
with the ball of the left foot and
then with the heel of the right
foot. Practice treadling, start-
ing and stopping the machine
until it can be done easily and
smoothly. Then place the belt
on the balance wheel and con-
tinue practicing until you can
run the machine with ease.
Electric machines are equipped
with either a foot-control lever
(B) or a knee-control lever. In
using the latter, the right knee
is pressed against the end of
the lever (C) to start the motor
and regulate the speed.
15. Stitching by Machine. —
When you think you have mas-
tered correct treadling, prove it
by doing the practical stitching
exercises on page 327 and by
winding the bobbin. The stitch-
ing exercises may be performed
on paper. They teach the va-
rious uses of stitches and help
one in learning to guide the
material. Care must be taken
never to pull on the paper or
the cloth while stitching, be-
cause such strain will break
FIGURE 72
the needle.


CONSTRUCTION STITCHES
37
16. Threading the Machine (Figure 73). — The balance wheel
is turned so that the needle is at the highest point. The spool
of thread is placed on a spool
pin, and the thread goes over
the thread guide hook above
the tension disc and around the
tension disc from right to left
and over the small wire spring ;
then under the thread regulator
hook at the left of the tension
disc, from right to left, so that
FIGURE 73
the wire guide will move up and
down when the thread is drawn tightly, through the take-up lever
that moves up and down; then down around the small eyelet on
the side of the face plate into the lower wire guide above the
needle. Thread the needle and draw the thread under and be-
hind the presser foot. The stitch is formed by looping the
upper thread around the lower thread and pulling both threads
tightly and evenly.
Winding the Bobbin (Figure 74). — In sewing on the machine,
two threads are used, one of which is on the bobbin and the other
is used in threading the needle. There are two types of bobbins,
the round (A) and the long (B). When
winding bobbins release the balance wheel
and place the bobbin on the bobbin winder.
Place a spool of thread on the spool pin
and fasten the thread securely to the bob-
bin. Attach the bobbin winder and treadle
until the bobbin is wound tightly and evenly
Figure 74 with thread of suitable size for the material
to be sewn. It should not be wound so
full, however, that it is tight in the bobbin case on the shuttle.
Decorative stitches may be made by using a contrasting color,


38
FROM THIMBLE TO GOWN
.
heavier thread, or a combination of the two on the bobbin.
Place the bobbin in the bobbin case, or shuttle, taking care to
draw the thread through the slot and the tension spring in the
case, or shuttle. Draw the thread above the table of the
machine by turning the balance wheel over toward you until
the needle moves down and up again to its highest point, thus
catching the under thread. Draw up the threaded needle and
the under thread will come up with it through the hole in the
throat place. Lay both threads back under the presser foot to
avoid tangling of the thread when beginning to stitch.
Placing and Removing Fabric. — Place work in position,
lower the presser foot, and stitch. Be careful not to pull on the
material. The presser foot holds the cloth in place. The feed
is under the presser foot and consists of small teeth which
catch hold of the under side of the cloth and move it along. In
removing fabric from the machine, place the needle and take-up
lever at the highest point, raise the presser foot, and draw the
fabric toward the back. Cut the threads, taking care to leave
them long enough to fasten.
17. Governing Principles of Machine Stitching. — Although
sewing machines vary as to makes, there are definite standards
to be followed. The thread and material should always be kept
equal in fineness. The needle should be only large enough to
carry the thread. The length of the stitch should always be in
harmony with the thread and material. The weight and weave
of material determines the tension to be used.
Tension. — The tension is influenced by the size of the needle
and thread and is adjusted so that both threads are drawn into
the cloth equally, making the stitch look alike and even on both
sides.


40
FROM THIMBLE TO GOWN
thread to be used. Heavy material requires a longer stitch than
sheer material. Weaves and weights of materials determine
the stitch to be used.
The following are a few general rules to follow in making
seams :
1. Never let the weight of the material pull on the presser foot. Always
hold the material toward you in stitching.
2. Stitch curves, thin material, and laces after they have been tacked on
paper. Notches are necessary on the outer curve of a curved seam,
and slashes on the inner curve.
3. Stitch seams from the large bias to the narrow, as from the neckline
to the arm in a shoulder seam. In joining a bias piece to a straight
piece of material, the bias side should invariably be held toward the
worker. If so held, the goods will not stretch.
4. Seams should be elastic, but never tight.
5. In seaming pressed nap material, stitch the way the nap is pressea.
6. In basting seams that have fullness, hold the fullness toward you.
7. If one seam crosses another, the first one to be stitched must always be
opened and pressed before joining the crossed seam. One half the
secret in good sewing is pressing as you go, because it blends the
seams together.
Plain Seam (Figure 75). — This seam has two raw edges
stitched together by machine or hand.
Place the two right sides of the material together and baste
from the raw edge the desired width of the finished seam allowing
for edge finish. Stitch as near the
basting as possible, without sewing
on it. Remove basting and press
the seam open. It may be neces-
FIGURE 75
sary to dampen the seam before
pressing.
French Seam (Figure 76). — This seam is made by sewing two
plain seams so that the raw edges are concealed within.
Place the two wrong sides of the material together and baste
1 inch from the raw edge. Stitch as near the basting as pos-
sible (I). Remove the basting and trim inch from the stitch-
ing (II). Press the plain seam flat, turning the raw edges in


CONSTRUCTION PROCESSES
the same direction. Turn the material to the wrong side and
with a warm iron press the seam in place, taking care that the
line of stitching in the plain seam comes directly on the fold (III).
Stitch į inch from the folded edge (IV). Press the finished
seam so that it will turn toward the front of the garment.
ooooooooooo
oooooooooo
I
cocos
III
I
FIGURE 76
Flat Fell (Figure 77). — This is a seam finished with a lap
and two lines of stitching on the right side. It is used where
durability is desired.
Place the wrong sides of the material together and baste 4 inch
from the raw edge. Stitch as near the basting as possible with-
out sewing on it. Remove the bastings and trim one side of
the seam į inch from the stitching (I). Fold the wide side so
that the raw edge will touch the machine stitching and overlap
the trimmed edge. Press the folded side flat with the raw edges
concealed (II). Baste the fold flat and stitch on the machine,
as near the folded edge as possible (III). If a hemmed fell is
desired, the seam is held in place with hemming stitches. Re-


42
FROM THIMBLE TO GOWN
move the bastings and press. The lap seam is finished with a
lap on both right and wrong edges of the garment basted to-
OOOOOOO
boooo
LAP SEAM
FIGURE 77
*
gether so that the folds are į inch apart and stitched as for a
flat fell seam.
Standing Fell Seam (Figure 78). — This seam is used to join a
gathered edge to a plain edge.
Place the two right sides together.
Baste and stitch as for a plain seam.
Trim the gathered edge { inch
from the stitching. Turn the wide
FIGURE 78
edge under ] inch and press. Fold


CONSTRUCTION PROCESSES
43
GOOOOOOOOOOOOOOOOOOOOOOOOOOLA
DORDOGLOSVODOOOOOOOOOOOOO
the wide edge to the line of the stitching and baste. The
folded edge is held in place with the catch hemming stitch
(Figure 18) and resembles a binding when finished.
Stitched Edge or Commercial Seam
(Figure 79). — Place the two right
sides of the material together and
stitch as for a plain seam. Press
the plain seam open and with a
FIGURE 79
warm iron press the raw edges
under the fold toward the seam. Stitch evenly with the
machine along the folded edges, but not to the material.
Welt Seam (Figure 80). — Place the two right sides of the
material together and stitch 1 inch from the edge. Press the
seam in the desired direction and cut
the under edge to within / inch of the
stitching. On the wrong side, press the
seam flat and baste with the wider edge
on top. Stitch on the right side of the
FIGURE 80
material } inch from the seam line.
This line of stitching will be the only
one to show on the right side. Finish the raw edge as desired.
Flannel Seam (Figure 81). — Place the two right sides of the
material together and stitch 1 inch from the edge. Press the
seam in the desired direction and
cut the under edge to within { inch
of the stitching. Trim the upper
edge so that it is even and stitch it
down with the catch stitch. (Figure
30.)
FIGURE 81
Picoted Seams (Figure 82). — Place
the two right sides of the material together and baste inch
from the edge. If the basting is done in the same color as the
hemstitching it need not be removed. Stitch with the machine
TOOOOOOOOOOOOOOOOOOOOOOOO


FROM THIMBLE TO GOWN
OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
WRONG SIDE
on the basted line. Press the seam with a warm iron. The
seam is then machine hemstitched twice, directly on the line
of stitching, to give a firm seam
that will not pull out. Picoting is
machine hemstitching cut through
the middle. Press the hemstitched
FIGURE 82
seam carefully on the wrong side of
the hemstitching and stitch the
inside edge of the hemstitching on the machine. To make the
picoted finish, cut the hemstitching in two, close to the outer
edge, as this makes a more secure
finish. Where dainty, decorative
seams are desired the picoted seam
proves very satisfactory and may
be made on the right as well as
FIGURE 83
the wrong side of the garment.
Corded Seams (Figure 83). — A cord is covered with a bias
strip (Figure 104) and placed between the two edges of a plain
seam. Because of the cording
the seam must be stitched by
hand or with a one-sided presser
foot in order that the cording
may be firmly held in the seam.
FIGURE 84
19. Finishes for Plain Seams.
Overcasting (Figure 84). — Press the seam together or open and
finish the raw edges with the overcasting stitch (Figure 12).
Pinking (Figure 85). — Press the seam
and pink (notch) the two raw edges with
a pinking machine or by hand. If the
pinking is done by hand, care must be
taken to keep the notches uniform. Press
the seam open, after pinking is completed.
This method of seam finishing is one of FIGURE 85
booooooooooooo


CONSTRUCTION PROCESSES
45
the most satisfactory because it saves time and allows the seam
to give.
Binding (Figure 86). — Press the seam open or together and
stitch the right side of a 4-inch bind-
ing to the right side of the seam to
be bound. The binding is turned to sooooooooo o o
the wrong side and the raw edge
pressed under inch. Place the
FIGURE 86
folded edge to the line of stitching
where it is held in place by the hemming stitch. (Figure 18).
Turned (Figure 87). — Press the seam
open and press the raw edges under the
fold toward the seam. Stitch evenly
with the machine along the folded
edges.
Picoting (Figure 88). — Press the seam
FIGURE 87
together or open; then machine hem-
stitch the edges of the seam together; next press on the wrong
side; and finally cut close to the outer
edge to make the picoting more firm.
20. Tailor's Tacks (Figure 89). —
Tailor's tacks are used to mark seams
FIGURE 88
and perforations. They are made before
removing the pattern from the material. Insert the needle,
threaded with a double thread, into the material at the marking
on the pattern and take a tiny
stitch. Take another stitch on
top of the first, allowing the
second stitch to form a 4-inch
loop, and cut the thread. If
the markings are close together,
the thread need not be cut after
each tack is made but may
FIGURE 89


46
FROM THIMBLE TO GOWN
PAPER
-ino
CUT
PAPER
MATERIAL
form a continuous row of long stitches which need not be cut
until the pattern is to be removed. Clip each long stitch,
separate the material, and cut the threads in the center, leaving
half in each section. Twist the ends of the thread, making the
tailor's tack secure.
21. Darts (Figure 90). — Before making the dart, establish
the placement of all the darts (pages 222, 223) and pin the two
right sides of the material to-
gether along the established
dart line. Press the dart along
the folded edge. Make a dart
pattern out of stiff paper by
folding the paper, measuring
down from the top, and marking
on the fold the length of the
dart (I). Mark at the top
away from the fold, the width of
half of the dart and connect the
two points with a straight line.
Start at the top of the dart and
taper it gradually inward to
the point. The point of the
dart should be gently tapered
FIGURE 90
off at the end to form a pleas-
ing curve. This prevents puckering. The excess fullness at the
end of the dart is removed when it is steamed and pressed on
the wrong side over a curved surface. Cut the paper dart along
the inward established line, then cut along the fold. This gives
two dart patterns to be used on opposite sides of the garment.
By using dart patterns an accurate dart may be made with
little effort. Place the cut fold of the paper pattern on the fold
of material and baste along the fold to the point and around
the paper pattern, taking care to keep the top of the dart pat-
H.A
HEAVY
MATERIAL


CONSTRUCTION PROCESSES
47
-
coul
>
co
-
0-0-
tern even with the folded edge of the material (II). Starting
at the point, stitch with the machine as near the paper pattern
as possible without touching it.
Remove paper pattern (III-A).
After the dart has been steamed
and pressed on the wrong side
of the material, tie the threads
at the end of the darts with the
square knot (Figure 5). Darts
may be stitched on the right
side to give the effect of tucks
(see page 50). If heavy mate-
rial is used, the dart is cut on
the fold and steamed and
pressed open instead of close
against the fabric. Press toward
tapering end of the dart. The
raw edges may be finished by
overcasting or binding (III-B).
Always avoid a sharp angle at
the end of a dart.
22. Gathering (Figure 91). —
A long fine needle and a coarser
thread than would otherwise be
used are required for gathering.
The thread should be longer
than the length to be gathered.
Fasten the thread with a plain
knot or a secure backstitch, and
Figure 91 .
make several rows of tiny run-
ning stitches (Figure 11). The running stitches are made
entirely with the right hand holding the needle and material
between the thumb and first finger while the left hand holds
50-07
2002
0-0
007
220-0-
-0-02
-
MACHINE
GATHERING


48
FROM THIMBLE TO GOWN
the material in position to work (I). The gathers should be
evened as work progresses (II). The second row of gathering
stitches is made inch below the first, care being taken to
keep each stitch exactly under the one above (III). The
two rows of gathering hold the fullness in a secure position.
After the gathering threads have been put in, draw them up
to the desired length of fullness, and even the gathers by
stroking. To stroke the gathers, the material must be drawn
very tightly upon the gathering thread. Tack this surplus
amount of thread to the material so that the gathers will not
slip. Hold the material in the left hand between the thumb
and fingers and draw it over the first finger of the left hand
with the right hand, creasing the gathers as they are being drawn
over the finger, so that they will be flat. After this process of
stroking has been finished, release the thread and space the
gathers to fit the article to which it is to be attached. Scant
gathers require more than the desired measurement; medium
gathers 1 more, and full gathers twice the desired measurement.
Gathering may be done by machine, and the spacing is more
accurate than when done by hand, but not so effective. The
advantage of machine gathering is that the thread may be
broken without destroying the gathers already made. Machine
gathering is far more quickly done, and should always be used
when possible. Slightly loosen the upper tension and make one
or more parallel rows of stitching. Fasten the threads firmly at
the end of each row. Pull up the under thread of the machine
stitching the desired length of the gathered section.
Garment Bands (Figure 92). — Bands are usually cut length-
wise of the material. Cut the band about 21 inches longer
than the desired length to allow for placket lapping, and twice
the width plus seam allowances (I). Turn back the end 1 inch
to the wrong side and press with a warm iron. Mark this band
into four equal parts. Bands may be placed to the right or


CONSTRUCTION PROCESSES
wrong side of the garment, depend-
ing upon the stitching to be used.
If the last stitching is to be done by
hand, place the band to the right
side of the garment, first matching
the marked halves and quarters (II).
If both stitchings are to be done by
machine, apply the band to the
wrong side, matching marked halves
and quarters. Space the garment
so that the gathers lie even and
baste it to the band. Stitch a
FIGURE 92
1-inch seam. Turn the seam up-
ward and turn in the ends of the other edge of the band.
Bring the folded edge over the first stitching and either finish
by hemming the fold by hand or by machine stitching (III).
Stitch the ends of the band
together and press with a warm
ooo
Shirring (Figure 93). — Fasten
the thread securely with a knot
and make several rows of
gathers (Figure 91), being sure
to keep the rows of gathers
equal distances apart and each
stitch directly under the one
above (A-I). A cardboard
gage is convenient to use to
keep the rows equal distances
apart. One side of the card-
board is notched, one edge of
each notch at a right angle to
FIGURE 93
the edge. Stitches may be long

Ooo
Oo oo
iron.
AKSIDA


50
FROM THIMBLE TO GOWN
18.
O
on the inside and short on the outside. The shirring thread
should be long enough to fit the space without fastening.
Machine shirring may be done by loosening the tension and
using the gage attachment which comes with the machine (B).
Creased rows for shirring may be made by folding and pressing
the material in the desired width for shirring.
Ruffles (Figure 94). — These are used to give fullness to a gar-
ment and for trimming. The kind of ruffle used depends upon
design, material, and use of the gar-
ment. It may be cut straight, bias,
or circular. A straight ruffle requires
more fullness than a bias ruffle, but
the circular ruffle requires no full-
ness whatever. Divide and tack the
straight or bias ruffle on garment in
equal proportion as for gathering
(Figure 91) and, with a thread long
enough to eliminate fastening, make
Noooo
a single row of gathering stitches (I).
Even the gathers by jerking instead
of stroking (II). Finish with bind-
ing, bias tape, or French seam (III).
FIGURE 94
All seams should be as flat as possi-
ble. Ruffle fullness averages one and one half the ruffle space.
Ruffling should be done by machine when suitable, as the gathers
are thus laid more evenly than when done by hand.
23. Tucks (Figure 95). — Tucks serve for decoration, or to
give fullness, and they must be stitched through both thicknesses
of the fold. Tucks may be made on the straight or bias and a
combination of cross-tucking is effective. They may be on either
the right or wrong side, and width and spacing should be carefully
considered. Fine thread should be used. The tucks are pressed
in with a warm iron on the side where they are to appear
O


52
FROM THIMBLE TO GOWN
It is often desirable to have small plaits done at a shop.
Before removing the paper from shop plaiting, the top of the
plaits should be stitched on the machine to hold them in place.
The paper may then be removed. Position, width, and spacing
of plaits should be carefully determined before the creasing is
begun. If stitching is de-
sired, the plaits should be
evenly stitched through three
thicknesses of the fabric.
Knife Plaits (Figure 96). —
Place the material on the
ironing board with the ma-
terial toward you. Then
fold one end of the material
so that the two wrong sides
are together, and mark the
distance where the first crease
is to come in the first plait.
Press. With a gage, take
one and a half times width
of folded plait; mark and
FIGURE 96
make the second crease (I).
After pressing each crease,
move the creased material, which is lying on top, toward you
and continue in this way until all the creases are pressed for
the plaits. Place the material so that the wrong side comes
next to the ironing board. Match the first crease to the
second and baste the creases firmly together. Match the
third and fourth creases and baste. Continue until the
plaits are basted in place (II). Press the plaits with a
damp cloth and hot iron. A strip of cloth or paper may be
laid between plaits so that the imprints of the lapping plait
will not show. Knife plaits turn all one way, and the edge


CONSTRUCTION PROCESSES
53
000000
of the plait looks like the side of a knife. The plaits are not
stitched.
Box Plait (Figure 97). — Press the material as for knife plaits.
When the creases are folded, match
creases 2 and 3, 4 and 3, 5 and 6,
and 7 and 6, being sure to baste as
you go along. Continue in this
manner until all plaits are matched.
FIGURE 97
Inverted Plait (Figure 98). — Press
the material as for knife plaiting except that the material is
folded with the two right sides together instead of the two
wrong sides. Match creases 1 and 2, 3 and 2, 4 and 5, and 6
and 5. Continue until all the plaits
are laid in place, being sure to baste
as the creases are matched.
Kick Plait (Figure 99). — Baste a
FIGURE 98
piece of stiff paper on the wrong side
under the position of the plait. Mark
the location of the plait on the paper and stitch once along each
side of the line of marking. The material which is to be set in,
to form the plait, is cut 2 inches longer than the length of the
plait and 5 inches wide. Crease and press this piece directly in
the center with the two wrong sides together. Place the right
side of the set-in-piece to the right side of the garment and baste
from the bottom of the plait up, taking care to keep the creased
fold and plait-marking even. Stitch on the stitched line. Cut
the material at the position of the plait on the line of marking
between the stitchings (I). At the top of the plait, clip the
corners the desired width of the seam so that it forms a V.
Turn this added piece through the slashed opening to the
wrong side and baste so that the plain seam can not be seen
from either side (II). Cut another piece of material the same
size as the first and baste and stitch the two pieces together


54
FROM THIMBLE TO GOWN
with a plain seam (III). Press the plait. Turn the garment
to the right side and make a triangular stitching at the top of
the plait (IV), and on the
wrong side finish the top by
over-casting. Remove the
paper from the plait and
pink the raw edges of the
seams. Press the plait and
remove the bastings. Slash
the seam above the hem or
facing at the bottom of the
garment so that the plait will
hang perfectly straight.
25. Godets (go'dāy') and
Flares (Figure 100). — Godets
and flares are used to add
fullness to garments. They
are usually inserted in seams,
though slashes may be made
for this purpose. The shape
of godets and flares is usually
a triangle that has a tapering
point or very narrow width at
the top and a wide circular
bottom. The sides may be
S m e
straight or curved in toward
the center as illustrated.
у
щ
The
FIGURE 99
shape depends on the design
of the garment. As a rule,
flares extend from the hip or waist line, while godets are
inserted below the hipline. There are two methods for sew-
ing in godets and flares. If a tailored finish is desired, stitch
on the right side. If an inconspicuous finish is desired, stitch
cocoa


CONSTRUCTION PROCESSES
55
Doe
8
the seam on the wrong side. The seams in both methods
will be finished according to kind of material and style of
garment. Pinking is the quickest
and most satisfactory, as the
plain seam gives a smoother
seam on curved edges. The
bottom of the godet or flare will
be finished like the rest of the
3 TYPES
hem. Since the bottoms of
FIGURE 100
godets and flares are curved,
picoting, bias bindings, and facings are the best finishes to use.
Tailored Godets and Flares (Figure 101). — Baste a 4-inch seam
to the wrong side around edges to be stitched. Carefully pin.
and baste to the right side of
the garment, taking care to
match all markings and to lap
the flare or godet enough to
allow for a serviceable seam.
Press along the seamline. Stitch
FIGURE 101
close to the creased fold (II).
Several rows of stitching may be used if desired. Remove the
bastings and press.
Inconspicuous Godets and Flares (Figure 102). — Place and pin
the right side of the godet or flare
to the right side of the garment,
taking care to match all markings
(I). Baste and stitch 1 inch
from the raw edge. Remove the
bastings and press the plain seam
FIGURE 102
open (II).
Gussets (Figure 103). — Gussets are double triangular pieces
that are set in to prevent ripping where two seams meet. Cut a
square of material the desired size and baste a L-inch hem around


56
FROM THIMBLE TO GOWN
E-- Foto
PATTERN
the square. Press and fold to form a triangle. Baste the open
sides of the triangle, taking care to match the creased edges.
Place the point of the triangle
opposite the fold under the seam
of the gusset opening. Baste
the sides of triangle under the
gusset. Stitch close to the edge
FIGURE 103
along the sides of the gusset open-
ing. Remove bastings and press.
26. Bias. — There are two kinds of bias — true and garment.
True bias is cut diagonally across the material, and garment
bias is cut at any diagonal.
True Bias (Figure 104). — To mark a true bias, fold the material
diagonally so that the warp thread lies parallel to the woof or filling
thread (I). With a warm iron
crease the folded line of bias and
mark on the wrong side of ma-
terial from the crease and paral-
lel to it, the desired width of
the bias strips (II). Cut on the
marked lines and join the strips
by placing them together so that
the ends meet, forming right
angles; baste 1 inch from the
edge (III). If the material has
a design, care must be taken to
have the designs match. Stitch
the strips by hand or machine
1 inch from the edge, remove
the bastings, and, with a warm
FIGURE 104
iron, press the seam open (IV).
27. Bindings. In General (Figure 105). — Bindings are used
for decoration and to finish raw edges. They should be cut twice
ITAL
VIINITIALLY


CONSTRUCTION PROCESSES
57
Yooo
boodscode
A-1
RB
B-I
the finished width of the binding, plus two seam allowances.
Double bindings are cut four times the width (B-I, II). Double
the strip with the raw edges
together and press with a
warm iron (A-I). If a bind-
ing is to be applied to a curved
edge, it should be shaped with
the iron before it is attached
and handled as little as
possible.
Inconspicuous Binding (Fig-
FIGURE 105
ure 106). — Place the right
side of the bias or straight binding to the right side of the fabric
so that the edges are even. Baste 4 inch from the edge and stitch
on the bastings. Remove the bast-
ings and turn under the raw edges of
the binding 1 inch. Pin and baste the
folded edge of the binding to the line
of stitching. The binding is held in
place by slant stitches that are caught
under the thread of the stitching and
FIGURE 106
through the edge of the binding.
Conspicuous Binding (Figure 107). — The conspicuous binding
is made the same as the inconspicuous binding except that the
folded edge is brought just beyond the
first stitching. Baste the edge in place
and press with a warm iron. Stitch close
to the binding on the right side, taking
care to catch the edge of the binding on
the wrong side.
FIGURE 107
28. Pipings. General Directions (Figure
108). — Pipings of the same or contrasting material or color
are used on the edges and in the seams of garments for


58
FROM THIMBLE TO GOWN
decoration. They appear as narrow folds on the right side of
garment.
To finish the open end of the piping, turn the two right sides
together, stitch į inch from the raw edge, and clip the corner next
to the fold in order to secure
a square corner when turned.
When joining two edges for pip-
ing, care must be taken that the
FIGURE 108
length of the piping is the same
as the length to be piped, plus
1 inch for seam allowance. To match the strips, follow the di-
rections for true bias (Figure 104).
Inconspicuous Piping (Figure
109). — Cut a bias strip that is
the desired width and length,
plus seam allowance, and, with a
WRONG SIDE
warm iron, crease the center of
the bias so that the raw edges are
even. Place the bias on the right
FIGURE 109
side of the article to be piped
with the raw edges of the bias even with the edges of the
article. Baste and stitch 1 inch from the edge. Overcast the
raw edges and, with a warm iron,
press the edges to the wrong side
of the article.
1oooo
Conspicuous Piping (Figure
110). — Cut and crease the bias
strip as for inconspicuous piping.
FIGURE 110
Fold under the edge of the article
to be piped į inch and baste in
place. Press the edge with a warm iron and baste the bias strip
under the folded edge, taking care to keep the bias always the
same width from the folded edge. Stitch on the right side the


60
FROM THIMBLE TO GOWN
scalloped hem (Figure 127), taking care to keep the corner
designs accurate. Measure the facing the exact length of the
part to be faced plus seam allowance. The width of the facing
will depend upon its use and the material, but the facing
should be cut inch wider than the finished width. The
facing is sewed together and the plain seam is pressed open.
Place the right side of the facing to the wrong side of the
garment, taking care that the corners and edges match. Pin
and baste the facing to the garment. Stitch 4 inch from the
raw edge. If the outer edge is cut in a design, it is necessary
to clip between the scallops ( inch from the seam. Remove
bastings and turn the facing to the right side of the gar-
ment and baste the plain seam so it comes directly on the fold.
Turn under a 4-inch hem around the outer edge of the facing and
baste. Press with a warm iron. Pin the outer edge of the facing
to the garment and baste around the design. Stitch as close to
edge of design as possible. Re-
move bastings and press on
wrong side of the garment.
30. Cordings. Cord Tuck
(Figure 114). — Mark with a
FIGURE 114
colored thread the desired line
for the cording. With the left hand, hold the cord underneath
on the line of basting and inclose it in a tight backstitch tuck,
taking care to sew the stitches as tightly and as closely as
possible so that the cording stands up. Remove bastings and
press on the wrong side with a
warm iron.
_ --- sooooh
Cord Piping (Figure 115). —
Cut bias strips of fabric in
FIGURE 115
which to insert cord and pro-
ceed the same as for cord tuck, using the running stitch instead
of the backstitch.


CONSTRUCTION PROCESSES
61
31. Mitering. Miter for Firm Fabric (Figure 116). — Cut a
square of paper that is twice the desired width of the hem. Fold
the paper diagonally and pin together. Carefully match the
corner opposite the fold to the corner of the fabric and pin (I).
Cut along the folded edge of the
paper. Bring the two right sides
of the cut material together and
pin, baste, and sew together with
the backstitch (II). Remove
bastings and paper, clip the
corner, press plain seam open
FIGURE 116
and turn the hem right side out.
Turn a narrow fold to the wrong side and stitch in place, either
by the hemming stitch or by machine stitching.
Miter for Bias Tape (Figure 117). — Mitering is a method of
eliminating material at a corner or point. Fold together the two
right sides of the bias, keeping the sides even (I). Baste on a piece
of paper. Starting at the out-
side edge of the miter, weave
in a pin diagonally along the
line on which the corner is to
be cut. Baste along the pin,
remove pin, and stitch along
the basted line. Cut off the
triangular corner, remove the
FIGURE 117
paper, and press the plain
seam open.
Finish Miter (Figure 118). — Clip the corner diagonally the
width of the desired hem. Fold the hem allowance to the wrong
side and press it in place. Match the right side of a triangular
piece to the weave and right side of the diagonal cut, and baste
before making the plain seam. Turn the triangular piece over
and press it flat to the material. Turn under a narrow hem on
PAPER


FROM THIMBLE TO GOWN
200
the outside edge, baste the hem
in place and stitch on the folded
edge. If an inconspicuous stitch
is desired, use the warp stitch
(Figure 20). Remove all bast-
ings and press.
Mitering Straight Bands (Fig-
ure 119). — Place the right side
of the band and the right side
of the fabric together and baste
them į inch from the edge. Pin
the inside edge of the band to
the fabric to establish the be-
ginning of the miter. Fold
back the surplus corners and
press with a warm iron to estab-
lish the mitering line. Remove
the pins and baste along the
creased line (I), taking care to
match the design, if any. Cut
away the excess material one-
quarter inch from the basting.
Stitch along the line of basting
and press open the plain seam.
Clip the corners of the seam
before turning the band to the
right side. With the band on
the right side, baste the outer
edge so that the plain seam comes
directly on the fold. Press the
edge of the band with a warm
iron. Turn under a narrow hem
on the inner edge of the band and
II
FIGURE 118


CONSTRUCTION PROCESSES

baste to the material (II).
Press the basted hem and stitch
directly on the fold.
Mitering Lace and Embroidery
(Figure 120). — Designs in em-
broideries and laces should be
matched as nearly as possible.
A plain seam is the most satis-
FIGURE 119
factory method of joining and
Rrsos
may be finished with the button-
hole stitch or a close overcast
stitch (Figures 17, 12). A flat
fell seam may also be used for
joining (Figure 77). Establish
the mitered corner of the lace
by folding the corners at right
ROOS
angles, taking care that the
PAPER
design and edge of the finish
match (I). Pin the folded
corner and press with a warm
iron along the fold. Remove
the pins and baste along the
creased lines. Baste the seam
to be mitered on a piece of
paper and stitch with the ma-
FIGURE 120
chine on the creased line (II). Remove the bastings and paper
and press. Cut off the excess lace or embroidery close to the
plain seam and finish with the buttonhole or the overcast
stitch (III).
32. Hems. — Hems are made by twice folding over the edge
of the fabric. The raw edge is concealed by the first fold, which is
very narrow, and the second fold can be made any desired
width.


64
FROM THIMBLE TO GOWN
The belt should be placed on a garment before the hemline
is established, as the belt has a tendency to shorten the skirt.
Hemlines should always be of becoming length regardless of
fashion. Sit down in the garment before determining the skirt
length, for in sitting the skirt length is taken up, and this must be
allowed for in establishing the hemline. The finished length
will be determined by the style, height, weight, occasion, and
figure of the individual.
All wide hems, regardless of the kind of fabric, should be made
as inconspicuous as possible unless they are decorated hemlines as
a part of the decoration of the garment, and for this reason should
be put in by hand. In sewing in hems always work from right
to left. The criticism of most blind hems is that the stitches
which are used give a circle effect around the hem instead of the
blind effect that carries the eye up and down with the warp thread.
Accentuated hemlines make the figure look shorter, therefore
use the warp stitch (Figure 20). Different methods are required
for various garments and fabrics — soft bias edges should be
sewed on paper to prevent them from stretching. Time-saving
devices should be used for hemming articles such as towels, etc.
Hems that are very small are put in with a hemmer without being
basted.
Establishing Hemline (Figure 121). – Have the model stand
erect “like a soldier” on a table, with the garment adjusted as
it is to be worn. The model must be directly in front of the fitter,
who is seated. The hemline and the eye of the fitter should be
at the same level. With a gage or yardstick (with a rubber band
placed securely at the desired hemline length), let the fitter weave
in pins several inches apart around the hemline parallel with the
table-top at the desired length (I). The model should not
move during the establishing of the hemline. Remove the
garment, press in the pinned hemline (II), then put up the hem
by pinning seams together first, then the centers between seams


CONSTRUCTION PROCESSES
65
so that the hem of the garment may be checked as to evenness
before making the hem. If the hemline hangs evenly when
tried on, the garment is removed and the bottom placed over
the ironing board and pressed along the woven-in pinline. A
FIGURE 121
gage is used to mark the desired width of the hem, plus į
inch (III). The average width of a hem is three inches and
hems over this width, unless used for decoration, give a weighted
effect, while those narrower than this give a skimped effect.
The pins being removed around the skirt, the excess material on


66
FROM THIMBLE TO GOWN
the hem is cut off following the marking (IV). After the
allowed į inch is pressed to the wrong side of the garment (V),
fold the hem back into place and press it in its entirety.
Pin the hem by pinning seams together first, then the centers
between seams. The hem is then ready to baste into place. Use
the hemming stitch which is most desirable.
Hems should be pressed by placing the right side of the hem
against the ironing board. Slip one end of the dampened press-
ing cloth under the hem and fold the other end back over the
hem (page 210). Press accord-
ing to the nature of the fabric
(pages 216–217).
Method of Sewing in a Hem
(Figure 122). — In putting in
any kind of a hem, always
begin at a seam, sewing from
FIGURE 122
right to left, holding the work
over the index finger of the left
hand so that the hem is exactly perpendicular to you, and
working on the wrong side of the garment. Many different
kinds of stitches are used for putting in hems, the most
serviceable and excellent stitch being the inconspicuous warp
stitch (Figure 20).
Plain Hem (Figure 123). — A
plain hem is the folding back of
the fabric on the wrong side the
desired width of the hem when
finished, plus seam allowances.
This is the most common hem
FIGURE 123
used in garments.
Bound Hem (Figure 124). — Cut the binding and place the
right side of the binding to the right side of the hem. Pin and
baste in place. Stitch (inch from the raw edge before turning.


CONSTRUCTION PROCESSES
67
DOSSOODUS
Press the plain seam toward the binding. Turn under a 4-inch
seam and press. Baste the folded edge to the line of stitching (if
hem is to be put in by hand) so as to catch the fold and the
machine stitching. If it is to
be put in by machine, baste
oooo
the folded edge just over the
machine stitching and stitch on
right side in groove of plain
FIGURE 124
seam.
Faced Hem (Figure 125). — Faced hems are generally used
when the skirt lengths are too short to make an ordinary hem.
Cut facing 31 inches wide and the
length required to go around the
hem, plus seam allowances. Sew in
seams and press them open, and
place the right side of facing to the
right side of the skirt. Stitch 4 inch
from the raw edge. Press plain
FIGURE 125
seam open. It may be necessary to
dampen the seam before pressing. Turn the facing to the
wrong side of the garment and baste the seam so that the line
of stitching comes directly on the fold. Finish as for plain hem.
Curved Hem (Figure 126). —
Curved hems are found on
circular or gored skirts. Cir-
cular skirts should hang for
some time before the hemline
is established because the bias
A-I
fabrics have a tendency to
relax and drop. In establish-
ing the hem the pins should
be woven in closely. Tiny
gathers are used (A-I). If
FIGURE 126
ود
A-
.


68
FROM THIMBLE TO GOWN
curved hems are used in very heavy fabrics, a faced hem should
be applied (A-II). The curved
hemline is used as a pattern for
cutting this facing. Cut the
desired width and length. Pin
and baste the facing on the
garment, and stitch į inch from
the raw edge. Turn the hem
at the seamline to the wrong
PATTERN side of the garment. Baste
and press. Finish as for plain
hem (B).
Scalloped, Pointed, or Squared
Hems (Figure 127). — The bot-
tom of the garment having no
decorative pattern may be
shaped in scallops, points, or
squares. For this kind of a
hem, a longer skirt length is
required. A safe amount to
add to the skirt length is the
width of the design, as a cut-up
design has a tendency to shorten
the appearance of the skirt.
Establish the hemline and, be-
fore removing the pins, run a
close basting along the hemline.
Locate a center front and back
in the garment and pin evenly
together. Run a basting along
the pinline and remove the pins.
Y
Fold the center front and back
FIGURE 127
together and crease on the


CONSTRUCTION PROCESSES
69
fold (I). Continue dividing, pinning, and pressing the gar-
ment until the desired width of the scallops, points, or
squares is obtained (II). Remove the pins and unfold the
garment. On stiff paper make a pattern the desired width of
the design. Fold the paper equally in the center and mark
on the fold the length of the scallop, point, or square. Draw
the shape of the design and cut. Place the bottom of the gar-
ment over the ironing board or several thicknesses of paper.
Pin the pattern to the hem so that the sides of the pattern are
even with the creases. With a tracing foot trace around the
pattern shape (III). Continue placing the pattern between the
creased lines until the entire design has been completed. This
will give faint dotted lines on each side of the hem. Remove the
bastings and cut along the line of tracing (IV). A shaped hem re-
quires a fitted facing and may be straight or bias, depending upon
the fabric (V). The pattern for the design of the bottom of the
garment is used to cut the paper pattern for the facing. Cut a
strip of paper the desired width of the hem, plus 1 inch for seams,
and half the length of the distance around the hem plus seam
allowance. The paper pattern is pinned carefully to the bottom
of the skirt and cut to match the skirt design. Remove the paper
pattern, then cut the facings, taking care to place the two right
or two wrong sides together. Sew the seams and press them open.
Place the right side of the hem facing to the right side of the skirt,
matching seams and designs. Pin and baste the facing to the
bottom of the garment. Stitch 1 inch from the raw edge and clip
between the designs to inch of the machine stitching, being
careful not to cut the stitching. This will enable the curves to lie
perfectly flat when turned. Remove bastings and turn the hem to
the wrong side of the garment. Baste the plain seam so that the
line of stitching comes exactly on the fold. Press carefully around
the shaped design. Finish as for plain hem. Designs on all
straight edges may be established, cut, and made in this manner.


70
FROM THIMBLE TO GOWN
French Hem (Figure 128). — This hem is made just like the
plain hem except that it is turned to the right side instead of to
the wrong side of the garment.
The seams, therefore, which come
og at the hemline will have to be
made on the right side of the
garment. When a wide French
hem is desired, the hem is basted
in and held in place by some
decorative stitch. If lace is
FIGURE 128
used, it is held on with a suit-
able decorative stitch and ap-
plied when sewing in the hem. This style of hem is commonly
used for children's dresses.
Rolled Hem (Figure 129). —
The rolled hem gives daintiness
and should be rolled very tight
and small. Make the knot
stitch close to the edge under
the rolled hem. Hold the edge
FIGURE 129
of the fabric tightly between
the thumb and forefinger of the left hand and roll edge toward
you, working from right to left. Roll į inch at a time and make
several stitches before rolling
more. Hold hem in place by
00000001
whipping, slant hemming, or
RIGHT SIDE overcasting.
Damask or Napery Hem (Fig-
ure 130). — Turn a narrow hem
FIGURE 130
twice to wrong side of material.
Fold back to right side and
crease. Overhand both folds. When hem is completed, press
on right side and then on wrong side.


72
FROM THIMBLE TO GOWN
PAPER
00
Laddu
finished seam. Press with a warm iron. Remove the paper and
baste the folded edge. Baste a piece of paper under the top of the
garment to which the yoke is to
be attached. Baste the yoke to
the garment with small bastings.
Press the yoke carefully with a
warm iron, on the right side,
and stitch on the machine the
desired width from the fold (II).
Several rows of stitching give a
more decorative effect. Remove
paper and press with a warm
iron. The raw edges then may
be overcast (Figure 84), pinked
(Figure 85), or a bias strip
FIGURE 131
(Figure 86) may be applied.
Double Yoke (Figure 132). —
The double yoke is cut double instead of single and contrasting
material may be used if desired.
In applying the double yoke care
must be taken to keep the seams
flat and even. The seams are
concealed between the two thick-
nesses of the yoke. Place the
right side of the front of the yoke
to the right side of the garment to
which it is to be attached, and
baste the two securely together.
In like manner, place the right
side of the back of the yoke to
the wrong side of the garment so
that the two yokes may be held
in place by the same stitching.
FIGURE 132
B


CONSTRUCTION PROBLEMS
73
Baste and stitch along the creased line (A). Remove bastings and
press with a warm iron. Turn the yoke up and baste front and
back together just above the seams on the right side (B). Attach
the back and front yokes at the shoulder seam with plain seams
concealing the seams within the yokes. The sleeves may be
sewed at armseye to outer yoke and the under yoke folded under
to the line of stitching and whipped down to conceal the plain
seam. The top of the skirt yoke is seamed before it is attached
to the skirt except when finished by a band. In this case, the
lower part of the yoke is hand-hemmed in place, along the
machine stitching.
34. Plackets. — A placket is an inconspicuous opening for
convenience in putting on and removing the garment, and may
be made in any part of the garment. The kind of placket used
will depend upon the material, design, and use of the garment.
Placket openings are made to open from right to left for women,
and from left to right for men. Plackets are best when made
deep enough to permit freedom in the use of the garment. The
three parts of the placket are the
overlap, underlap, and fasteners. All –
plackets should be neat and as in-
conspicuous as possible.
Continuous Placket (Figure 133). —
If the placket is to be made in a
seam, measure on the seam line the
desired length of the placket; other-
wise cut the opening following a
FIGURE 133
thread of the material. The con-
tinuous strip which is used to finish the placket opening
should be cut twice the desired width of the placket, plus
two seam allowances and twice the length of the placket
opening, plus 1 inch. Place the right side of the placket strip
to the right side of the garment and baste 1 inch from the raw
8010
90B


74
FROM THIMBLE TO GOWN
Food
edge. Stitch with the machine as near the basting as possible.
With a warm iron, press the plain seam toward the placket so that
it will be concealed in the placket. Fold under a 4-inch hem
on the outer edge of strip and press
it in place. Baste the creased
edge to the line of stitching and
finish with the catch hemming
stitch (Figure 18).
Cut-Out Continuous Placket (Fig-
ure 134). — When heavy fabric is
used, it is advisable to use the cut-
out placket in order to avoid too
many thicknesses of material.
Follow directions for the contin-
uous placket, but, after basting
the creased edge to the line of
stitching, press and cut the fabric
on the right-hand side on the
back of the placket (I). Cut 1
inch from the middle crease and
1 inch from the bottom crease.
Remove bastings holding the cut
piece, and fasten the cut end of
I
the placket to the garment. Turn
FIGURE 134
the cut facing flat to the garment
and baste it in place. Sew the placket in place with close warp
stitches (Figure 20). Remove bastings and press.
Two-Piece Placket (Figure 135). — Two-piece plackets are
advisable to use when contrasts of color or fabric are desired.
Cut the placket strips the desired length, plus 1 inch more in
length than the placket openings. The binding that is to be used
on the left side is cut twice the width of the placket, plus 1 inch
for the seams. The facing to be used on the right side is cut the
>os


CONSTRUCTION PROBLEMS
75
Dagoe
TO009
desired width of the placket, plus 1 inch for seams. Apply the
strips as for binding (Figure 86) and facing, and join the pieces
together at the bottom with a
buttonhole stitch (Figure 17).
Fasten the binding with the hem-
ming stitch, which is caught in the
threads of the machine stitching.
The facing is held in place with a
close warp stitch.
Tucked Placket (Figure 136). —
This placket is used when an open-
ing comes in a tuck seam, and it is
FIGURE 135
put in when the garment is being
made instead of after the seams are finished. Take a length-
wise strip of fabric a little longer
than the placket opening. This
is slipped inside the tuck and
basted as near the creased edge
as possible so that it will be
held in place when the tuck is
stitched. This serves as a re-
inforcement for fasteners (Fig-
ures 187, 188). The underside
of the placket may be finished
with a straight strip. Place the
right side of the strip that is 21
inches wide and 1 inch longer
than the placket to the right
side of the placket and stitch
FIGURE 136
with a plain seam. Press open
the plain seam on the wrong side
with a warm iron. Fold under the edge of the strip so that only
1 inch extends beyond the seam line and 1 inch comes under-
DONDO
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76
FROM THIMBLE TO GOWN
ooooooooooooooo
neath. Turn under a 4-inch hem on the edge of the strip under-
neath and stitch this in place. The fasteners are buttonholed
on the seamline, taking care that the buttonhole stitches do
not show on the right side.
Lap Placket (Figure 137). — The two-piece inconspicuous
placket is used in the plain seam. Establish the desired length
of the placket by opening the plain seam. Cut two straight
strips 1 inch longer than the
u placket allowance. One strip is
1 inch wide and the other 2 inches.
Place and baste the right side of
the 2-inch strip to the right side
RIGHT
of the under part of the placket.
SIDE
Stitch 1 inch from the raw edge.
Press the plain seam open and fold
back the strip so that 1 inch ex-
tends beyond the seamline and
two inches come underneath it.
Turn under a 4-inch hem on the
edge of the strip underneath and
stitch this in place with a close
warp stitch. Place the two right
Hal WRONG SIDE sides together and baste the 1-inch
FIGURE 137
strip to the right sides of the top
placket and stitch į inch from
the edge. Press the plain seam open and fold underneath the
strip so that 1 inch extends beyond the plain seam. Sew the
strip to the material with a close warp stitch (Figure 20).
Baste the end of the placket strips together and finish with a
buttonhole stitch.
Fly Placket (Figure 138). — The fly placket is used for the front
opening of trousers and requires five pieces. Cut, following the
pattern. The three lining pieces should be of some firm fabric
TTT
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CONSTRUCTION PROBLEMS
77
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0
and the two outside pieces like the garment. In men's clothes,
openings should always lap from left to right. The right side of
the placket will be finished with two pieces, one of lining and one
of the fabric. Baste the two right sides of the fabric together
along the outer edge and stitch
4 inch from the edge. Turn to
the right side and baste close to
epoooo
the seamline. Press with a warm
iron. Place and baste the right
side of the extension to the right
side of the placket and stitch
1 inch from the seamline. Press
the seam away from the exten-
sion and baste the inner lining
along the seamline. Press the
extension on the wrong side.
Stitch from the top on the right
side | inch from the seamline.
The left side of the placket is
finished with one piece of fabric
and two of lining. Place and
baste on the outer edge one piece
of the lining to the right side of
the placket. Stitch į inch from
edge. Press the plain seam open
and turn the lining to the wrong
side of the placket. Crease and
baste so that the fabric will ex-
FIGURE 138
tend į inch on the lining side of
the placket. Press with a warm iron. The fly strip is made by
placing the right side of the lining to the right side of the fabric.
Stitch 1 inch from the outer edge, turn to the right side, and
press on seamline. Baste around the fly strip. Mark and work
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78
FROM THIMBLE TO GOWN
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buttonholes. Pin and baste around the fly strip on the under
side so that the outer edge will come even with the plain seam
in the lining. Stitch on the wrong side 1 inch from the raw
edge of the fly strip. Finish with a close overcast stitch.
The fly strip should be securely
blind-tacked to the placket
between the buttonholes.
Tailored Placket (Figure
139). — The tailored placket is
used for neck and shirt sleeve
openings. Neck openings for
men open from the left to the
WRONG SIDE
right, and for women, from the
right to the left. Sleeve open-
ings always lap from front to
the back. Cut the opening the
desired length and, if used on
the sleeve, it must be kept in
line with the little finger. Cut
two strips of fabric, one 11
inches wide and the length of
RIGHT
the opening plus 1 inch for
SIDE
seam, the other 2 inches wide
and 14 inches longer than the
opening. The strips may be
FIGURE 139
made narrower or wider, de-
pending upon the desired width
of the placket. The end of the placket may be finished
square, pointed, or round. The 14-inch strip is used for the
under side of the placket.
Place the right side of this strip to the wrong side of the placket
opening, taking care that the ends are even at the cuff or neck-
line (I). Baste and stitch į inch from the edge of the opening.
o


CONSTRUCTION PROBLEMS
Baste (-inch hem along the side and top of the strip. The 2-inch
strip is used for the upper side of the placket. Place the right side
of this strip to the wrong side of the placket opening, taking care
that the ends are even at the cuff or neckline. Baste and stitch
the length of the placket opening į inch from the edge. Baste
a 1-inch hem along the side of the strip and press with a warm
iron. Measure over on the wrong side 1 inch from the creased
edge and press along the 3-inch line, keeping the two wrong sides
together. At the end of the placket opening, establish a line at
right angles with the placket opening and mark į inch above it.
Shape the end of the placket by starting at the creased fold and
cutting to the 4-inch line. Cut along the 4-inch line and clip the
corner to the folded hem. Turn a 1-inch hem around the shaped
end of the strip and baste. Turn the two strips to the right side
of the garment. Baste the creased edge of the under side of the
placket to the line of stitching and stitch along the basting (II).
Press open the plain seam of the upper strip of the placket and
baste the creased line directly on the line of stitching Press
with a warm iron. Stitch the shaped end and side opposite the
fold accurately and securely to the garment with one or two rows
of stitching as desired.
Neck Binding (Figure 140). — The neck opening may be
finished by bands, bindings, or facings, depending upon the
garment and collar. Binding is the most satisfactory finish
used. After the neckline has been established, mark the open-
ing the desired length by putting in a basting. Use a binding
which is two inches wide and 1 inch longer than the length of
the opening. Place the two wrong sides of the binding together
and crease the center of the binding with a warm iron. Place
the right side of the binding and the right side of the marked
opening together, taking care that the binding is even with the
neckline. Baste the center of the binding to ihe basted line of
opening, taking care not to go beyond the basted line. Baste a


80
FROM THIMBLE TO GOWN
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strip of paper under the neck opening on the side opposite the
binding to insure a square corner when stitching (I-A). Stitch
around the neck opening į inch from the basted line. The bottom
of the opening may be shaped in a V, U, or square (I-B). Press
the binding and cut on the line
of basting, cutting the neck
opening to within 1 inch of the
bottom of the facing. Then
clip the corners in a V-shape,
taking care to keep them alike
and not to cut through the
machine stitching (II). Turn
the facing inward, and with a
warm iron press along the line
of the stitching. Baste a line
on the facing 1 inch on each
side of the machine stitching
(III). Carefully remove the
paper and turn the facing to
the wrong side, beginning at
the bottom. Fold the two
edges of the binding together
and crease. Baste along the
creased line, taking care to keep
the edges together. Fold the
sides of the binding outward and
press with a warm iron. Turn
under the binding so that the
edges come even with the lines
of machine stitching. Sew in
place with the catch hemming
IY
stitch (Figure 18) or the close
FIGURE 140
warp stitch (Figure 20). If
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CONSTRUCTION PROBLEMS
81
visible stitching is desired, machine stitching may be used (IV).
Trim the end of the binding to within 1 inch of the stitching
and overcast. Press the entire binding and remove the bastings.
35. Neckline Finishes. — Necklines require skillful treatment.
The natural neckline forms a good curve from the prominent bone
at the base of the neck to just above the collar bone in front. The
neckline is a little lower in the front than in back. The inside
curves are usually faced to give greater strength and to prevent
stretching. It is advisable to work out with stiff paper the most
pleasing neckline and make the collar accordingly. The neckline
without an opening should be two inches larger than the headsize.
The six different styles of neckline are the U-, V-, and heart-
shaped, round, tapering bateau (bå-to'), and square. Collars
should be designed in keeping with
the chin, neck, and shoulders (page
234). They should look as if they
really belonged to the garment.
Collars should be of a color and fab-
ric that is becoming and in harmony
with the garment. Firm, heavy
fabric requires smaller collars than
more sheer fabric. The shape of
the neckline of the collar deter-
mines the lay or roll of the collar.
There are two styles of collars.
They are the convertible and non-
convertible. They may be made
either double or single and the
non-convertible may be made either
attached or detached.
Convertible Collar Facing (Figure
141). — Cut the facing the desired
shape and size and turn a 4-inch
FIGURE 141
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82
FROM THIMBLE TO GOWN
locacceso9
hem to the wrong side around the facing except around the
neckline. Stitch with the machine inch from the folded edge
unless the facing is to be held in place with the warp stitch
(Figure 20). Establish the
center of the facing and center
front of the waist and crease
the established line with a
warm iron. Place the two
right sides together, matching
the creased center lines, taking
care to keep them even at the
neckline. Baste along the es-
tablished line the desired length
of the neck opening (I). If the
fabric lacks body, a strip of
paper may be basted along the
back of the opening. Meas-
ure / inch on both sides of
the established line at the top
of the opening and mark.
Measure į inch on both sides
of the established line at the
end of the opening and mark.
With a ruler draw a line from
I
point to point, shaping the
FIGURE 142
lower end in a V, U, or square.
Stitch along the marked line
and cut { inch from the stitching, clipping around the curve
to within a few threads of the machine stitching. This pre-
vents the facing from puckering when it is turned to the
wrong side. Press the plain seam open and turn. Turn the
facing to the wrong side and baste so that the plain seam
comes directly on the fold (II). The sides and end of the facing


CONSTRUCTION PROBLEMS
83
are not sewed in place until the collar is entirely made and on the
garment.
Attaching the Convertible Collar (Figure 142). – Establish the
center back of the collar and neckline and place the underside of
the collar to the right side of the garment. Pin the front of the
collar to the neckline of the facing, taking care that the side
seams of the collar exactly match the side seam of the facing (I).
Pin the underside of the collar to the neckline of the garment and
baste around the entire neckline. Stitch 1 inch from the edge.
Press the plain seam away from the neckline. Baste the two
front seams of the collar together. Turn under a narrow hem
from facing to facing, and baste down just to the machine stitch-
ing. Sew into place with the hemming stitch that catches the
machine stitching, working with the fold towards you (II). The
sides and bottom of the facing may be held in place by blind tack-
ing at intervals or by finishing with the warp stitch (Figure 20).
Straight Band Collar (Figure
143). — This collar has a varia-
tion in the shape at the neckline,
for it may be cut straight or
slightly curved. Place the two
right sides of the fabric together. fooooooooooooooooo
The one-piece collar is cut with
the top on the lengthwise fold (A)
while the two-piece collar is not
FIGURE 143
cut on the fold. Allow inch on
all edges to be seamed. Stitch the collar, taking care that the
two right sides are together (B). Clip the corners and turn the
collar to the right side. Baste and press the seam so that the
fold comes exactly to the line of stitching. To attach this collar,
follow directions for attaching the convertible collar.
Middy Collar (Figure 144). — Make facing (Figure 113).
Place the two right sides of the fabric together and cut the collar
FOLD
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84
FROM THIMBLE TO GOWN
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allowing a 4-inch seam. Stitch (inch from the raw edge, leaving
the neckline open. Clip the corners and turn the collar to the
right side. Baste and press the seam
so that the fold comes exactly to the
line of stitching. Follow directions
for attaching the convertible collar
(Figure 142).
Tailored Collar (Figure 145). — Fold
the material crosswise, pin the muslin
pattern, and cut (except in cases
where contrasting colors or materials
are used for one side of the collar).
FIGURE 144
The muslin pattern is placed on the
wrong side of the back of the collar and is used for an inner
lining. Pin and baste the collar lining { inch from the edge
of the entire collar, then trim the inner lining 1 inch from the
edge of the collar (I). This is held in place with close rows
of machine stitching stitched in a half-moon shape. The
width of the moon, as a rule, is a little less than half the
width of the center part of the collar. The length of the moon
at the neckline should extend one inch to the front of the shoulder
seam. Fill in the rest of the collar, beginning at the stand with
rows of stitching like the diagonal basting stitches (Figure 9),
which are invisible on the back of the collar (II). Make the
stitches about i inch long. The joining of the coat collar to the
lapels of the coat is very conspicuous and must be done accurately
and neatly. In stitching the ends of the collar, allow | inch
from the edge of the collar line. Hold the collar firmly over the
hand with the tip of the collar toward you and, with diagonal
basting stitches (I), roll and shape the collar.
Place the two right sides of the collar together and baste ( inch
from the edge along the top and two ends of the collar and then
stitch along the basting line. Clip the corners, dampen, and


CONSTRUCTION PROBLEMS
85
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press the plain seam open. Turn the collar to the right side,
turning the plain seam to
the back of the collar, and
baste under enough so that
the seam cannot be seen on
the right side. Open the
collar and, working on the
wrong side, place the ends of
the collar on the notches,
matching the seams (III).
Pin and baste securely in
place. Place the center back
of the collar to the center
back of the coat and baste in
place. Baste the back of
the collar to the neckline of
the coat.
Baste the front of the
collar by working on the
wrong side; then, beginning
at the notch, baste the front
of the collar to the neckline
of the facing and stitch inch
from the edge around the
collar, following the bastings
(IV). Dampen and press the
plain seam open. The dis-
tance between the facings is
basted securely to the coat
so that the raw edge may be
seamed. Press the entire
collar on both sides with a
LY
damp cloth.
FIGURE 145
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FROM THIMBLE TO GOWN
36. Non-Convertible Collar. Attached Collar (Figure 146). —
Establish the center back of the collar and neckline. Place the
underside of the collar to the right side of the garment and pin
in place. Regardless of where the ends of the collar come on
the front of the neckline, the ends should exactly meet. Baste
around the entire neckline. The collar may be joined to the neck-
line by bias facing, flat fell seam, or a plain seam (A). The bias
facing is the most suitable
(Figure 104). Place the right
side of the bias to the right side
of the collar and begin to baste
at the center front regardless of
where the ends of the collar
meet. At the end of the bias
turn back į inch and place the
folded end of the bias exactly
at the end of the collar. The
reason that the 1 inch is left at
the end of the facing is so that
the bottom of the facing may be
let out in order to taper it out-
ward from the neckline, instead
of leaving the end a straight
FIGURE 146
line (B). Pin and baste the
bias strip around the collar along the line of basting. At the
other end of the collar fold back the facing 1 inch, taking
care that the folded end of the facing comes exactly at
the end of the collar. Stitch the collar and bias to the gar-
ment 1 inch from the edge. Remove the basting. Press the
facing downward and turn the bias under 1 inch, taking
care to keep it of uniform width. Baste the bias to the
neckline and stitch in place with the close warp stitch (Fig-
ure 20).
NECK LINE
Ki BIAS TAPE


CONSTRUCTION PROBLEMS
87
Detached Collar (Figure 147). — It is said that detached
collars were invented in Troy, New York. The collar industry
is believed to have been originated in that city by Hannah
Lord Montague, who, in 1819,
had the idea of making sepa-
rate collars for her husband's
shirts.
aeos.
A detached collar is made
separate from the neck open-
ing. The neck opening is
neatly finished with a bias fac-
ing or binding. The bias bind-
FIGURE 147
ing is more desirable (Figure
105 A II). The collar is finished with a bias strip. Cut the
collar facing 1 inch wide and 1 inch longer than the length of the
collar neckline. Fold the facing through the center and press.
The ends of the facing are turned in į inch at each end and the
raw edge of the collar is slipped between the folded edges of the
bias strip. Baste securely in
place, taking care not to stretch
the bias, then stitch. Remove
the bastings and press. Sew to
the collar line of the garment
with the collar facing on the
inside of the collar line. The
detachable collars are especially
desirable when the garment is to
serve for more than one purpose.
Such collars, moreover, are easily
FIGURE 148
laundered.
Stand-Up Collar (Figure 148). —
The narrow stand-up collar is made straight with the fold
at the top of the collar. The tiered collar is made by using
6. Ooo
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88
FROM THIMBLE TO GOWN
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different widths of fabric in the stand-up collar. The high
stand-up collar is cut on a curve, following the contour of
the neckline so that it will fit snugly at the neck. It is not
cut on the fold. Place the two
right sides of the fabric together
and cut, allowing a -inch margin
on all sides to be seamed. Stitch
1 inch from the raw edge, clip
corners, and turn to the right side.
Baste and press the seam so that
the fold comes exactly to the line
of stitching. Follow directions for
attaching non-convertible collars
(Figure 146).
Peter Pan Collar (Figure 149). —
This collar may be made either
single or double, although the
double is more desirable. For the
double collar, place the two right
sides of the fabric together and
FIGURE 149
cut, allowing i inch on all edges
to be seamed. Baste and stitch , inch from the raw edge (A).
Clip the seam in about five places and turn to the right side.
Baste and press so that the plain seam comes exactly on the fold.
If the single collar is used, the outer edge may be finished by
picoting, binding, or hemming
(B). Decorative stitches, lace,
or trimming may be applied.
Follow the method of attaching
non-convertible collars (Figure
FIGURE 150
146).
Rolled Collar (Figure 150). — The rolled collar is made in
exactly the same way as the Peter Pan collar except that the


CONSTRUCTION PROBLEMS
89
rolled collar is cut with more of a curve at the neckline to insure
the desired roll. Follow directions for attaching the non-convert-
ible collar (Figure 146).
Shawl Collar (Figure 151). — The shawl collar has almost a
straight line at the neckline, which makes it roll high and fit snugly
at the back of the neck. Place the center back of the collar on
the fold of the fabric. If the shawl collar is made double, place
the two right sides of the fabric to-
gether. Cut and stitch around the
outside of the collar į inch from edge.
If the fabric does not have body, the
collar should be basted to a piece of
stiff paper before being stitched. Re-
move bastings and paper, turn to the
right side, and press so that the plain
seam is exactly on the fold. To at-
tach, follow the directions given for
attaching the non-convertible collar
(Figure 146).
37. Sleeves. — The home-made
garment is branded by its sleeves.
The foundation of a good sleeve is a
well-established armseye and shoulder
I
seam. The sleeve must be cut accu-
FIGURE 151
rately, made well, and carefully ad-
justed to fit the arm. The types of sleeves must be suited
to the wearer. The length of the sleeve is determined by
bending the arm and touching the lobe of the ear. The fitted
sleeve should fit closely from the elbow to the wrist to give
style. Sleeves should be made in keeping with the Greek law
of proportion. (See page 158.)
There are four types of sleeves and their variations: set-in,
kimono, raglan, and epaulet.


90
FROM THIMBLE TO GOWN
Shirt Sleeve (Figure 152). — The simplest style and the one
that gives the least trouble is the shirt sleeve. This sleeve is
sewed to the waist before the underarm seam is sewed up and
does not require such close
fitting as the more snugly fitted
set-in sleeve, but the looseness
of this sleeve is desirable for
some garments.
Set-in Sleeve (Figure 153). —
This sleeve is the most com-
monly used and is cut in one
or two pieces. It breaks the
shoulder-line of a garinent and
allows the waist to follow more
closely the lines of the figure.
The set-in sleeve should fit
smoothly in the armseye and,
for comfort, should measure
from one to four inches larger
than the upper arm, depend-
ing upon the size. The top
of the average sleeve measures
FIGURE 152
one inch larger than the arms-
eye and the excess fullness
gives ease to the sleeve. The top half of the finished sleeve
should have a soft roll toward the shoulder. This set-in sleeve
is the most difficult of all to fit.
The set-in sleeve fits best when sewed in with the plain seam.
Sleeves should be adjusted and pinned in place while the garment
is on the model. The sleeve measurements should correspond
to those of the arm. A correctly fitted sleeve will not bind when
the arms are crossed and the fingertips touch the shoulders.
There must be freedom at the elbow in all styles of sleeves.
01
od
pocas


CONSTRUCTION PROBLEMS
91
When the arm hangs naturally at the side, the inside seam should
be in line with the thumb and the sleeve opening in line with the
little finger. Sleeves of thin and loosely woven material should
be constructed larger not only
to prevent pulling out but to
give ease.
Three points will distin-
guish between the right and
left sleeves of a garment :
I-B
(1) If the top curve around
the armseye is the same when
I-A
the seams are placed together,
the sleeve may go into either
armhole unless the bottom of
the sleeve has a right and I-A
left finish. An example of
this is the shirt sleeve in which
sleeve and underarm seam are
continuous (II-A).
(2) If the top curve around
the armseye is uneven and one
side extends slightly above
the other, both having the PAPER 1
t WIDTH
same general shape, but one
higher than the other, the
highest part of the sleeve goes
in the back (II–B).
(3) If the top curve around
III
the armseye differs in shape,
FIGURE 153
or one of the two sides ex-
tends higher than the other, the large part of the sleeve goes to
the front. The seam of the sleeve generally comes 1inches in
front of the underarm seam (II-C).
LENGTH
OF CAP
FOLDS OF /
I OF CAP
JEI
lo---


92
FROM THIMBLE TO GOWN
One reason for a set-in sleeve not fitting may be that the cap
of the sleeve is not the right size for the arm. Before cutting
out a sleeve, the cap on the sleeve pattern should be checked
with the cap of the arm, to see if the pattern is of correct
measurement (III).
To Take Measurements. — Care must be taken to get the cor-
rect width and depth of the armseye. It is therefore advisable,
because of the importance of this measurement, to take the width
and depth of the armseye and draw it full size before taking
the circumference of it. To take this measurement, place the
center of a fold of stiff paper so that the edge of the paper will
come on the shoulder bone. Place the center of another piece
of stiff paper under the arm far enough away from the pit of the
arm so that the armseye, when finished, will not bind the arm.
Keeping the ruler perpendicular, take the depth. The width of
the armseye (which is the cap of the sleeve) is measured midway
between the shoulder and underarm seam, and across the top or
cap of the arm, allowing enough for arm movement. If fullness
is desired, more allowance will have to be made.
Making the Sleeve (Figure 153 continued). — Mark the sleeve
vertically and horizontally with a basting on the upper third of
the sleeve along the warp and woof threads (IV). Make two
rows of tiny gathering threads around the entire top of the
sleeve. The first should come į inch from the raw edge and the
second tinch below the first (IV). Place the two wrong sides
of the sleeve together regardless of the kind of seam used to finish
the sleeve. This is done for convenience in fitting the sleeve in
the armhole. The seam can easily be tightened or made larger
on the model. This part of the sleeve is somewhat bias and must
be carefully handled. If extra fullness is needed at the elbow,
gathers, folds, or several small darts should be made between the
notches (V-VI). The extra fullness is allowed for when cutting
the sleeve. If there is fullness at the elbow, baste the sleeve from


CONSTRUCTION PROBLEMS
93
00
00
the bottom 1 inch from the raw edge to the notches indicated
for gathers and baste from
the top of the sleeve 1 inch
from the raw edge to the
notch indicated for gathers,
and tack. Make two rows
of tiny gathering threads be-
tween the notches (VII). The
raw edges are pinned together
at the top and bottom of the
sleeve. Baste the even
gathers, folds, or darts in
place. Place the sleeve on
the model to see if the sleeve
is too large or too small for
the arm and adjust the under-
arm seam accordingly. Divide
and mark the top of the sleeve
and armseye (VIII, IX) into
fourths, keeping the under-
arm seam as one point. Very
carefully draw up the gather-
ing threads 2 inches at the
top of the sleeve, at the seam.
Twist the threads to prevent
them from slipping, and even
the gathers around the top
half of the sleeve. Place the
right side of the top of the
sleeve over the tailor's pad
and with a damp cloth shrink
out the excess fullness (X).
x
Wool will shrink more than
FIGURE 153 (continued)
WT
Bo888


94
FROM THIMBLE TO GOWN
any other fabric. Silks that have not been shrunk cannot be
dampened as they will spot. Sleeves should never be stitched
on the machine until they have been fitted and basted into the
armseye.
If the sleeves do not then fit, they can be easily adjusted.
The 1-inch sleeve allowance, if not needed when fitting the sleeve,
can be cut off, the desired width depending upon the kind of seam
made.
Setting in a Sleeve (Figure 154). — Place the garment and the
sleeve right side out on the model (I). Fold under and pin
the center of the sleeve to the armhole at the shoulder so that
the vertical line in the sleeve hangs vertically with the arm (II).
The reason the matching of notches in sleeves does not always
give a perfectly fitted sleeve is because of the many variations in
shoulders and upper arms. Fold under the raw edge at the two
markings and pin the sleeve to the armseye, taking care that the
horizontal lines run straight. If the vertical and horizontal lines
are straight, subdivide the top of the sleeve; if there is a fullness
that has not been shrunken out, turn the edges under and pin
evenly around the top of the sleeve.
Place pins at right angles to the armseye edge, pointing toward
the sleeve. Be careful not to stretch the top of the sleeve. The
fullness that is not shrunken out should be eased in so that it
does not show. This fullness prevents any strain at the top of
the sleeve. There should be no fullness on the lower half of
the sleeve unless extra room is needed for fleshy arms.
Remove garment from the model and, with the wrong side of
the garment held toward you, carefully remove pins one at a
time and pin to the wrong side of the sleeve. Match the lower
gathering thread of the sleeve to the established armseye line.
With the thumb and first finger, even the fullness and baste with
small bastings (III). The gathered edge at the top of the sleeve
does not indicate gathers on the right side of the sleeve. Again


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FIGURE 154
95


96
FROM THIMBLE TO GOWN
try the sleeve on the model to be sure that the sleeve fits. If the
sleeve still does not fit properly, remove the garment and baste
the lower half of the sleeve around the established armseye line.
Again fit the sleeve. If the sleeve fits and hangs perfectly, remove
the garment and trim off excess material on sleeve seam, depend-
ing upon the kind of seam to be made. The plain seam and
pinking are advisable because they allow the fabric to give and
are quickly and easily made. Make the desired seam. Stitch
in the sleeve around the armhole, keeping the sleeve next to
the presser foot. Remove bastings, place the right side of the
sleeve over the tailor's pad, and with a damp pressing cloth press
the armseye seam toward the sleeve (VI). Trim off the edge of the
seam, depending upon finish desired (V). Clip į inch from
the seam around the sleeve at the armseye to prevent the sleeve
from drawing or puckering (VII). Finish the seam around the
armhole according to the material
and garment. Overcasting and
bias binding are most often used.
Kimono Sleeve (Figure 155). —
The kimono sleeve may be made
with one or two seams. One is
on top of the shoulder, extending
2 TYPES
from the neckline to the bottom
FIGURE 155
of the sleeve, and the other is
underneath the arm, extending
from the waist to the bottom of the sleeve. The sleeve with
one seam is more common but does not fit so well as the two-
seamed sleeve. This style of sleeve fits smoothly over the top
of the shoulder and falls in folds from the front and back of the
shoulder to the waist. This sleeve should be made in a garment
of soft fabric which has enough body to hang well.
Making the Kimono Sleeve (Figure 156). — The kimono sleeve
is cut with the body of the garment in one or two pieces. The
Swao
co


CONSTRUCTION PROBLEMS
97
Artery
sleeve may be finished with a plain or French seam, depending
upon the material and garment. The sleeve seams are sewed
with the underarm and shoulder seams. Plain seams that have
been pinked are advisable to use because
they do not restrict the give of the
fabric.
Raglan Sleeve. — The raglan sleeve is
similar to the kimono sleeve in that it
has two seams. One seam is in the front
and the other in the back of the estab-
FIGURE 156
lished shoulder line. This sleeve is easy
to make but has a tendency to make one appear round shouldered.
Making the Raglan Sleeve (Figure 157). — The raglan sleeve is
cut separately from the waist. The seam of the sleeve and under-
arm seam of the waist are continuous and the sleeves are set in
before the underarm seams are stitched. Match the notches of
the sleeve and waist and pin and
baste in place. Stitch the seam
1 inch from the raw edge.
The plain seam is advisable to use
because it does not cause the sleeve
to draw. Clip the seam at regular
intervals to within } inch of the
machine stitching. This will pre-
FIGURE 157
vent drawing and insure a smooth-
fitting sleeve. Press the plain seam
open with a warm iron. Place the two right sides of the sleeve
together, matching the underarm seams and notches in the
sleeve and waist. Baste and stitch 1 inch from the edge. Clip
the seam at the armpit to within inch of the stitching, to pre-
vent drawing. Finish the raw edges of the seams according to
material and use of garment. Pinking is the quickest method
and allows the edge to give.


FROM THIMBLE TO GOWN
Epaulet Sleeve. — The epaulet (ěp’ô-lět) sleeve is similar to the
raglan sleeve except that at the top it gives the effect of a yoke
because it has a shoulder extension which resembles a yoke. The
epaulet sleeve may be set in with the plain tuck or cord, although
the plain seam is most often used. The sleeve is usually set in
before it is seamed but it may be seamed and set in if desired.
Making the Epaulet Sleeve (Figure 158). — Holding the gar-
ment toward you, match the notches and pin the epaulet to
the garment. Then, working with the sleeve held toward you,
pin and baste the armseye seam. Stitch 1 inch from the edge,
remove the bastings, and press open if
the plain seam is used. Clip the plain
seam almost to the machine stitching
around curves to keep the seams from
drawing. Deeper and more curved
seams will remedy any puff in the gar-
ment and sleeve. Bagging of the
sleeves is easily adjusted by making
deeper underarm and sleeve seams. To
FIGURE 158
finish seaming the sleeve, place the two
right sides of the sleeve together, matching the underarm seams,
bottom of sleeves, and waist. Pin and baste. Stitch 1 inch
from the edge and press the seam open with a warm iron. Clip
the seams at the armpit almost to the machine stitching to
prevent the seam from drawing. Finish the raw edges of the
seams according to the material and use of the garment. Pink-
ing is the most advisable because it does not bind the edges.
38. Finishes for the Bottoms of Sleeves. — A well-fitted sleeve
is made more attractive by the finishing touches which are used.
The bottoms of sleeves are usually finished in some decorative
manner which may be either cuffs, bands, bindings, or similar
trimmings. Cuffs are usually more desirable and should match
the collar in design. They may be made single or double,


CONSTRUCTION PROBLEMS
99
attached or detached, and straight or shaped. Cuffs may also be
made open or closed, depending upon the style of sleeve. If the
cuff opens, the opening should be in line with the little finger and
lap toward the back.
Cuffs add much to the daintiness of a frock. The bottom of
the sleeve should be finished after the sleeve has been set in and
stitched. The line for the bottom of the sleeve may then be
correctly established. If the sleeve is too short, a designed
attached piece may be added or a wider cuff made to give extra
length. If the sleeve is plain at the wrist and is to be gathered
into a band, measure the band the same as the wrist measurement
plus 1 inch fore seams and 1 inch for the lap. The full sleeve
is gathered with several rows of tiny running stitches before it
is attached to the cuff.
Long tight-fitting sleeves and close-fitting cuffs require a cuff
opening for convenience in putting on and removing the garment.
Cuff openings should be inconspicuous and as small as possible.
The correct location for these sleeve openings is in line with the
little finger. The sleeve seam may be left open for a small dis-
tance at the cuff of the sleeve, thus making the cuff opening, but
it is seldom as neat as the placket opening that is made in line
with the little finger. The sleeve opening may be finished with
a rolled hem, picoting, bias, facing, binding, or a narrow placket.
The cuff opening is always finished before the bottom of the sleeve
is made.
Cuffless Sleeves. — The cuffless sleeve may be either fitted or
loose and the bottom of the sleeve may be finished with bias, lace,
or any hem that will serve appropriately as an edge finish.
Single Cuffs (Figure 159). — Cuffs should always be made
before they are attached to the sleeve. They may be cut length-
wise, crosswise, or bias, but the cuff that is cut lengthwise will
fit tighter than the others. Cuffs have a variation in shape at
the cuff line of the sleeve. The line may be straight or curved,


100
FROM THIMBLE TO GOWN
000011
depending upon the amount of flare desired.
The top and ends of cuffs may be cut any
desired shape, but the design must cor-
respond to that of the collar. The ends of
the cuffs may be made open or closed.
Cuffs, as a general rule, turn back from
the wrist, but they may turn down. Flare
cuffs or ruffles that turn down should not
extend below the center of the hand from
the wrist to fingers.
Single cuffs are cut the desired length
and width plus į inch for seam allowance
and are cut from one thickness of fabric.
The top and sides of the cuff may be
finished with a rolled or narrow plain hem,
lace, bias, or any appropriate edge finish.
To attach single cuffs follow directions for
FIGURE 159 Figure 162.
Double Cuffs (Figure 160). — These are
cut the desired length and width,
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plus į inch for seam allowance,
from two thicknesses of fabric. In
double cuffs there may be a con-
trast of material as well as color.
Place the two right sides of the
fabric together and cut the cuff.
Straight band cuffs may be cut
with the top on the lengthwise
fold. Place the two right sides
of the cuff together, and pin and
baste į inch from the edge. Stitch
on the line of basting. Clip the
corners, remove the bastings, and
FIGURE 160
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CONSTRUCTION PROBLEMS
101
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turn the cuff to the right side (A). Baste and press the seam so
that the line of stitching comes exactly on the fold. To attach
double cuffs follow directions for attaching cuffs (Figure 162).
Tailored Cuffs (Figure 161). — The tailored cuff is used on
coats and suits and it is therefore necessary that it have an inner
lining of muslin to give it body. Measure the distance around
the bottom of the sleeve, plus į inch for seam allowance. Fold
two thicknesses of muslin together (I) and with a ruler or tape
establish the distance for the
length around the cuff and
the desired width. Shape the
top of the cuff to correspond
to the collar in design and cut
the muslin. Fold the fabric
with corresponding sides to-
gether and place the muslin
pattern that has been adjusted
to the sleeve upon the fabric.
Cut the backs of the cuffs like
the muslin pattern, but cut the
tops two inches longer at the
bottom. Place the muslin
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FIGURE 161
lining on the wrong side of
the back cuff (II). Pin and tack with the diagonal basting stitch,
which is invisible on the back of the cuff. Trim the muslin lining
1 inch from the raw edge. Place the two right sides of the cuff
together, pin and baste 4 inch from the edge along the top of the
cuff. Stitch along the basting line, dampen, and press the plain
seam open. Turn the two right sides of the cuff together and pin
the ends together so that the seams match. Stitch į inch from
the edge, dampen, and press the plain seam open. Turn the
two wrong sides of the cuff together and baste the plain seam
which has been folded inch to the wrong side around the top


102
FROM THIMBLE TO GOWN
B-I
of the cuff so that the plain seam does not show on the right side.
Now press the entire cuff with a dampened cloth. Hold the cuff
over the hand with the top
toward you, and then run a
basting midway around the
cuff. Cuffs that are shaped at
the end should be placed on the
sleeve so that the ends are in
line with the little finger.
In joining the cuff to the
garment, be very careful that
the outside portion of the cuff
does not draw when the cuff is
rolled into position. Band
cuffs are placed so that the
seam matches that of the
sleeve. Place the back of
the cuff to the right side of
the sleeve, leaving the top of
B-IV
the cuff free. Pin in place,
baste, and stitch 1 inch from
the edge (III). Baste the loose
part of the cuff along the line
of stitching. Turn the edge of
the outside piece of the cuff to
the inside of the sleeve. The
edge of the cuff should extend
up into the sleeve from 11 to 2
inches so that the lining that
extends over the raw edge will
not show (IV). Fold up until
D-I
it touches the raw edges of the
FIGURE 162
bottom of the sleeve. Baste
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b
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extends over the raw edge will


CONSTRUCTION PROBLEMS
103
the edge in place and stitch to the sleeve with the catch stitch
(V) (Figure 30).
Attached Cuffs (Figure 162). — Attached cuffs may be made to
turn up or down (C, D). The extension cuff may be attached
by a French or flat fell seam, bias binding, or facing. Bias facing
is the most desirable. If bias facing is used, place the right side
of the cuff to the right side of the sleeve, matching the seams.
When the ends of the cuff are open, place the ends of the cuff in
line with the little finger. Pin the cuff to the cuff line and baste
in place. If the bottom of the sleeve is to be gathered, it should
be done before the cuff is put on. Cut the bias strip (Figure
104) for the sleeve and place the right side of the bias to the right
side of the cuff. Turn back one end of the bias į inch and place
the folded end exactly at the end of the cuff (B-I). Pin the bias
around the cuff along the line of basting. Lap the opposite end of
the bias į inch, taking care that the end of the bias comes exactly
at the end of the cuff. Stitch the cuff and bias to the sleeve { inch
from the edge. Baste the bias in place along the seamline around
the bottom of the sleeve so that the plain seam comes directly on
the fold. Turn the raw edge of the bias under 1 inch, taking
care to keep the bias facing of
uniform width (B-II). Baste the
bias to the sleeve and stitch in
place with a close warp stitch
(Figure 20).
Detached Cuffs (Figure 163). —
The detached cuff is made separate
from the sleeve and is made to
FIGURE 163
turn away from the bottom of the
sleeve. The bottom of the sleeve is finished with a hem, bias
binding, or facing, bias binding being the most desirable.
The bias binding for the cuff is cut 14 inches wide and 1 inch
longer than the length of the cuff line. Fold the binding through
으으느
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104
FROM THIMBLE TO GOWN
the center and press. Turn in both edges and both ends 4 inch
and press. Slip the cuff line of the cuff between the folded edges
of the binding and baste. Stitch in place with the machine,
remove the bastings, and press. Sew the cuff to the sleeve with
the cuff binding on the inside of the cuff line.
The detachable cuff is especially desirable when the garment
is to serve for more than one purpose.
39. Pockets. — Pockets are of two types — patch and set-in.
Patch pockets are shaped pieces of fabric stitched on the out-
side of a garment while a set-in pocket is one which is set into
slits or cuts in the garment. Pockets are used for both service
and decoration. Pockets are best placed on a slant so that the
hand may slide in with ease. The sham pocket is, of course,
used only for decoration.
The style, shape, and size of the pocket in relation to the gar-
ment depends largely upon two things: first, the kind of material
of which the pocket is made, and second, the location of the
pocket on the garment.
Pockets at the hip line make the hips look smaller if placed
close together, and larger if placed far apart. The skirt length
and style of garment will dictate the kind of pocket needed,
and the size and placement should be in keeping with the
figure.
Set-in pockets may take a straight or a diagonal position in
the garment. Although the shape may be modified the principle
of making is always the same. The width of the pocket slit will
depend upon its position on the garment and its use. Seams on
set-in pockets must be neatly finished as they will reveal clum-
siness or daintiness in accordance with their seam finish. Paper
should be basted on the wrong side of fabric where patch pockets
are to be placed, and cambric for set-in pockets. The paper aids
in stitching and the cambric aids in making parallel lines in the
pocket pattern and also gives shape to the pocket opening.


CONSTRUCTION PROBLEMS
105
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Patch (Figure 164). — The size of a patch pocket is governed
by its location on the garment. The pocket may be square or
any desired shape and may be cut on the bias if a unique shape
is desired.
There are various ways of finishing the pocket. Patch pockets
are generally plain-stitched on the garment, but if a more decora-
tive finish is desired, cording, piping, or binding may be used.
Lining the patch pocket with
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a contrasting color or material
affords an unusual touch.
Establish and mark the
placement of the pocket on
the garment. Determine and
cut the pocket pattern the
desired shape and size. Cut
a piece of paper that is two
inches larger than the pocket
pattern and baste to the
wrong side of the garment
around the established line
I
of the pocket, taking care to
FIGURE 164
keep the fabric smooth (I).
Cut the pocket according to the pattern, allowing 1 inch for
seams and the desired amount for the hem at the top. Finish
the top of the pocket with a hem before it is stitched to the gar-
ment (II). After the hem has been stitched in place, make a
slash of about į inch on the wrong side of the pocket hem at both
ends, parallel to the stitching and just above it. Turn under and
baste the raw edge to the wrong side on the sides of the pocket
and fold in the cut portions of the hem (III). This keeps the
corners of the hem from slipping out and showing. The under-
side of the hem should be turned under slightly deeper at the
cut edge than on the outside. Baste the pocket in place on the
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106
FROM THIMBLE TO GOWN
garment and, with the top of the pocket toward the worker, begin
stitching at the hem line inch from the side of the pocket.
Stitch 1 inch and on an oblique line to the corner. Turn and
stitch to inch from the edge around the sides of the pocket and
finish the corner on the opposite side in the same way (IV). Re-
move paper and press carefully.
Set-In Pocket (Figure 165). — Determine the location and width
of the pocket, mark the line of the pocket opening, and baste.
Cut a piece of cambric that will extend two inches on all sides
of the marked line. Fold the cambric lengthwise through the
center and pin the cambric to the wrong side of the garment so
that the fold comes exactly on the marked line of the pocket
opening. Baste on this line and around the outer edge, taking
care to keep the cambric and fabric smooth (A-I). Mark and
stitch on the cambric on the wrong side of the garment { inch
from the basted line of opening, forming a rectangle. Take care
to make square corners, as the secret of a well-tailored pocket
is parallel lines in the rectangle. The stitched rectangle should
be the desired width of the pocket.
Cut the pocket strip two inches wider than the width of the
pocket opening and twice as long as the pocket when finished.
One or two inches should be allowed for seams. Crease the
pocket strip in the center and place the right side of the pocket to
the right side of the garment, matching the crease of the right
side of the strip to the marked line of the pocket. Baste the
strip to the garment along the marked line. Stitch on the wrong
side of the garment around the rectangle (A-II).
Cut the pocket strip, garment, and cambric along the marked
line in the center of the rectangle forming a “V” at each end,
taking care when clipping not to cut through the stitching. Turn
the pocket strip through the cut opening (A-III). Baste and
press the seams at both ends and sides carefully. Turn down the
top piece of the pocket strip to make the pocket. Baste and



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FACING
FIGURE 165
107


108
FROM THIMBLE TO GOWN
stitch around the three sides of the pocket and finish the raw
edges with overcasting or pinking (A-VI).
Pockets may be set in seams, or in coats between the facing and
edge of the lining. Cut the pocket the desired shape and size
(B-I) and stitch the two right sides together (B-II). Place the
pocket between the lining and the coat on the right-hand side
of the coat and pin in place. After the pocket placement has been
adjusted pin the edge of the pocket to the lining. Draw the
pocket out from between the lining and the coat and re-pin so that
the right side of the pocket and the lining come together. Make
a plain seam and place the pocket in its former position between
the lining and the coat. Turn under a narrow hem on the other
side of the pocket and baste to the facing. Stitch the edge to the
facing with a close warp stitch. Press carefully. If a trimming
is desired along the pocket opening, a narrow folded strip of
plaiting may be basted along the pocket opening on the coat
lining before the pocket is basted on. Place the raw edge of the
plaiting to the raw edge of the lining and stitch when the pocket
is stitched to the lining.
Bound Pocket (Figure 166). — Determine the location and
width of the pocket and mark the line of the pocket opening with
a basting.
Cut a piece of cambric that will extend two inches on all
sides of the marked line. Fold lengthwise through the center and
pin the cambric to the wrong side of the garment so that the fold
comes exactly on the marked line of the pocket opening. Baste
on this line and around the outer edge, taking care to keep the
fabric smooth (I). Mark and stitch on the cambric on the wrong
side of the garment 2 inch from the basted line of opening, form-
ing a rectangle the desired width of pocket and twice the desired
width of the finished biased edges. Take care to make square
corners.
The pocket strip is cut two inches wider than the width of the



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FIGURE 166
109


110
FROM THIMBLE TO GOWN
pocket opening, twice as long as the pocket when finished plus
the amount needed for the two folds, one to two inches being
usually allowed for seams (II).
Crease the pocket strip crosswise so that one side is about one
inch longer than the other. Place both the right side of the
pocket strip and the right side of the garment together, carefully
matching the crease with the marked line, allowing the longer
end to extend below the marked line. Pin and baste the strip
in place. Stitch on the wrong side of the garment on the cam-
bric around the rectangle. The two stitchings help to make the
rectangle more secure. Cut the pocket strip, garment, and cam-
bric along the marked line in the center of the rectangle, forming
a “V” at both ends. Take care in clipping not to cut through
the stitching (III).
Turn the pocket strip through the cut opening to the wrong
side and crease the fabric on the seam line. Fold the strip so
that a binding is formed over the seams and the edge of the bind-
ings meet at the center and form an inverted plait on the wrong
side at each end of the pocket opening (IV). Stitch along the
lower pocket edge below the binding. Stitch through the pocket
and garment on the upper edge of the binding and on the ends (V).
Even the bottom of the pocket (VI). Stitch the pocket edges
together and finish the raw edges with overcasting or pinking.
Lap Pocket (Figure 167). — Determine the location of the
pocket and mark the line of the pocket opening with basting.
Cut a piece of cambric that will extend two inches on all sides
of the marked line. Fold lengthwise through the center and pin
the cambric to the wrong side of the garment so that the fold
comes exactly on the marked line of the pocket opening. Baste
on this line and around the outer edge, taking care to keep the
fabric smooth (I). For an inch lap, mark 4 inch from the basted
line at the top and ends and finch below the basted line. Cut
the pocket strip two inches wider than the width of the pocket


CONSTRUCTION PROBLEMS
111
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opening, and twice as long as the pocket when finished. One to
two inches is usually allowed for seams (II).
Crease the pocket strip in the center and place the right side
of the pocket strip to the right side of the garment, matching the
crease to the marked line of
the pocket. Baste firmly
together on the marked line.
1000:
Around the stitched rectangle
on the wrong side of the gar-
o
ment make the stitching.
Cut the pocket strip, gar-
ment, and cambric along the
marked line, forming a “V”
at each end. Take care
when clipping not to cut
wo
through the stitching (II).
Turn the pocket strip como
through the cut opening.
Fold back the material along
the seam lines at the ends and
N
press the seam at upper edge
of the slit (III). Fold the
strip from the lower edge of
the opening so that it fills the
opening and touches the
upper edge. This forms the
Y
lap (IV). Baste the lap in
FIGURE 167
place and stitch across the
ends and bottom of the opening just outside the seam line on
the right side (V). Turn the top of the pocket strip down to make
the pocket. Even the bottom of the pocket (VI). Baste and
stitch the edges of the pocket together and finish the raw edges
with overcasting.
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112
FROM THIMBLE TO GOWN
818
Welt Pocket (Figure 168). — The welt
pocket resembles the lap pocket in ap-
pearance but is sometimes preferred
when the pocket takes a diagonal slant
on the garment or when a wide lap is
desired.
Determine the location and width of
the pocket and mark the pocket opening
line with a basting.
Cut a piece of cambric that will extend
two inches on all sides of the marked
line. Fold lengthwise through the center
and pin the cambric to the wrong side
of the garment so that the fold comes
exactly on the marked line of the open-
ing. Baste on this line and around the
outer edge, taking care to keep the fabric
smooth. Then stitch 1 inch on each side
parallel to center basting and across the
ends of the stitchings forming a com-
plete rectangle (I). For a k-inch welt
mark 1 inch below the basted line. Cut
the strip for the welt one inch longer than
the pocket opening and two inches wide.
Fold the strip through the center with
the right sides together. Baste and
stitch across the ends so that the finished
length is exactly the same as the length
of the marking line. Clip the corners
carefully. Turn the right side out and
press the seams. Place the welt to the
right side of the garment with the un-
finished edge of an inch below the line

boc
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I
FIGURE 168


CONSTRUCTION PROBLEMS
113
ARBRTOT
1
of marking and the finished edge extend-
ing downward on the garment (II). Crease
the pocket strip through the center. Place
the right side of the pocket strip to the
right side of the garment so that the crease
comes on the line of basting. Baste firmly
together on the marked line. Stitch on
the wrong side of the garment around the
stitched rectangle.
Cut the pocket strip, garment, and cam-
bric along the marked line to within 4 inch
of each end. Clip diagonally to the corners
of the pocket opening, forming a “V” at
each end, but do not cut through the
stitching. Turn the pocket strip through
the cut opening and the welt will turn up
into place on the right side. Press the
lower seam downward. Baste the ends
of the welt to the garment (III). Even
the bottom of the pocket and baste and
stitch the edges of the pocket together (IV).
Finish the raw edges with overcasting or
pinking.
Flap Pocket (Figure 169). – Determine
the placement of the pocket and mark the
line of pocket opening with basting. Cut
the pocket strip two inches wider than
the width of the pocket opening and twice
as long as the pocket when finished. Allow
one or two inches for seams.
Cut a piece of cambric that will extend
two inches on all sides of the marked line
of the pocket opening. Fold through the

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FIGURE 169


114
FROM THIMBLE TO GOWN
center lengthwise and pin the cambric to the wrong side of the
garment so that the fold comes exactly on the marked line of
the pocket opening. Baste on this line and around the outer
edge, keeping the fabric smooth (I).
For a one-inch flap, cut a piece of fabric one inch longer than
the line of the pocket opening and 21 inches wide. Fold length-
wise through the center with the two right sides together and
seam the ends so that the flap will be exactly as long as the line
of the pocket opening. Clip the corners, turn to the right side,
and press carefully. Place the flap on the right side of the gar-
ment so that the raw edge comes exactly on the line of the pocket
opening and the finished edge extends upward on the garment.
Baste firmly in place (II).
Crease the pocket strip exactly in the center and place the right
side of the pocket strip to the right side of the garment so that
the crease comes on the line of the pocket opening. Baste the
pocket strip to the garment.
Stitch on the wrong side of the garment exactly on the stitched
rectangle. Cut through the cambric, garment, and pocket strip
on the line of the pocket opening to within 1 inch of each end (II).
Cut diagonally to the corners, forming a “V,” but do not cut
through the stitching.
Turn pocket strip to the wrong side (III) and pocket flap will
come over the pocket opening (V). Press the seams. Baste and
stitch the edges of the pocket together and finish the raw edges
with overcasting or pinking (IV).
40. Belts, Girdles, Sashes, and Ties. — Waist trimmings and
ties add a note of chic (shēk) to the individual garment. Fashion
usually dictates the placement of the waistline; but the belt,
girdle, or sash should never be placed permanently on the gar-
ment until the figure has been carefully studied. Placing the
belt line to suit the individual's figure is a problem which needs
particular attention if the garment is to be a success.


CONSTRUCTION PROBLEMS
115
There are two kinds of belts, the straight band and the designed.
They may be cut straight or bias, although those cut on the
straight of the fabric are more satisfactory. Belts may be
fastened by snaps, buttons, buckles, hooks and eyes, or by tack-
ing to the garment or stitching into the seams.
Belts may be made double or single. If they are double, care
should be taken as to the correct placement of the seams. They
come directly on the edge where they are least conspicuous. If
there is only one lengthwise seam in the belt, the seam is placed
to the bottom of the belt when it is fastened to the garment. If
belts, sashes, or girdles must be pieced across the width, the seams
should be so placed that they will
follow the side seams of the gar-
ment. Sashes and girdles may be
shirred at intervals, tucked, laid in
folds, or designed in some other
interesting manner.
Single Belts (Figure 170). — Cut
the belt the length of the estab taaaaaaaaaa
lished belt line plus 1 inch for
FIGURE 170
seams and as wide as desired plus
{ inch. The belt may be finished by hand or machine hemming,
tiny rolled hemming, picoting, or binding. Fasten the ends
together with snaps, hooks and eyes, buttons (Figures 187, 188),
or a suitable buckle. The
single belt is seldom used on
garments because it lacks the
body to hold it in place.
Double Belts (Figure 171). —
Cut the belt the length of the
established belt line plus į inch
for seams and double the
FIGURE 171
desired width plus } inch for
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B


116
FROM THIMBLE TO GOWN
seams. The belt may be cut in one piece with only one side
seam, or in two pieces. If the belt is made of two pieces, they
may be of contrasting colors or fabric, thus carrying out the
trimming on the garment.
Fold the material lengthwise or place the two strips together
with the right sides together. Pin, baste, and stitch į inch from
the edge (A). Leave one end of the belt open and if the belt has
been made too long, this end may be cut off before the belt is
finished. Clip the corners, remove the bastings, and turn the
belt to the right side by means of a safety pin fastened to the
stitched end of the belt, or turn with a pencil (B). Press the
plain seam so that the crease will come directly in the center of
the fold. Fold in the open end and stitch securely together, using
the slip stitch (Figure 19).
Girdles and Sashes. — The single or double girdle is made by
the same process as the single or double belt except that there
is extra allowance in width if there is to be shirring, tucks, or folds.
These decorations are made before
the girdle or sash is seamed and
extra length is allowed for lap,
loops, or ties.
Ties (Figure 172). — Ties may
be cut single or double and on the
straight or bias of the fabric.
DO
They should be designed in keep-
FIGURE 172
ing with the belt. Ties may vary
in width, but they should never be
too wide. A tie is made in the same manner as the double or
single belt or sash, the choice depending upon the garment with
which it is to be used.
41. Linings. — There are two kinds of linings, namely, dress
and coat linings. They may serve as a part of the garment, as a
protection, or as both. They may be made out of many different


CONSTRUCTION PROBLEMS
117
kinds of fabric, depending upon the type of garment and its
use. Thin garments require linings as near the same shade as
possible unless contrasting shades are desired. If this is the case,
they should be worked out carefully so that the shades will blend
with the garment.
Cream and flesh tints are very satisfactory for the average
lining because they blend with the other colors and are fast.
Many times colors are used that are not fast and they fade from
perspiration and discolor the garment.
Linings should be cut in keeping with the lines of the garment.
Dress linings may be attached or detached, fitted or semi-fitted.
They should be designed so that the dress will fit smoothly over
them. It is advisable to cut the lining a little smaller than the
dress, and the tighter the dress, the more essential is the lining.
The neck line should be cut the same design as that of the dress,
but shaped lower. The armseye should be cut į inch larger than
the armseye of the dress. The fullness for a fitted lining may be
taken out by darts (Figure 90). Removable linings should be
tacked securely along the shoulder and underarm seams. If the
neck line is cut the same size as that of the dress, the neck lines
should be placed evenly together and tacked securely. The
wrong side of the lining should be placed to the wrong side of the
dress.
The seams may be plain, French, or fell. Hooks and eyes
should come together at the opening rather than overlap. Snaps,
and buttons and buttonholes are used for the loose lining.
The kind of finish for the neck and armseye will depend upon
the fabric and use of the lining. Picoting, hemstitching, fac-
ings, bindings, and hems are dainty finishes.
Waist Lining (Figure 173). — The bottom of the lining may
come to the waistline or extend below it. It may be finished with
a belt of self-material, boneless cotton, or silk web belting. The
bottom of the extension below the waist may be finished like the


118
FROM THIMBLE TO GOWN
o
neck and armseye. The semi-fitted lining, when finished at the
waistline, may be laid in plaits or gathered to fit the belt. Cut
the belting the same length as the waist measure, plus į inch.
Turn under the ends of the belting & inch and stitch in place with
the feather stitch (Figure 31). Place the right side of the belting
on the right side of the lining and pin the lining evenly onto the
belting, lapping the lining and belting 1 inch. Baste them to-
gether. The front opening of the lining should extend 1 inch
beyond the ends of the belting. The belting just meets and is
fastened with hooks and eyes
sewed to the right side of it
(Figure 188). The front of the
lining laps from left to right
and is held in place with snaps
(Figure 187). Cut a piece of
bias the length of the belting
and twice the extended width
of the lining, plus 1 inch for
FIGURE 173
seams. Turn under the ends
of the facing 4 inch. Pin and
baste the bias, starting on the right side at the belting, along
the extension, and then to the wrong side, along the extension,
over the raw edge of the lining. Keep the top of the bias even
with the top of the belting. The right side is the inside of
the lining. Stitch along the edge of the bias with the machine.
Remove basting, press, and sew on hooks and eyes (Figure 188)
and snappers (Figure 187).
If a band of self-material is used instead of web belting, the
semi-fitted lining that extends below the waistline is gathered
inch on each side of the waistline. A cotton or linen tape 11
inches wide is used on the right side (inside) of the lining.
To establish the waistline, place the lining on the model and
pin a tapeline around the waist. Mark the length of the waist-
O


CONSTRUCTION PROBLEMS
119
line with a pencil. Remove the lining and mark inch on each
side of the waistline. Run a gathering thread along the marked
line. Measure the tape the length of the waist measure, plus
1 inch. Turn under the ends and press. Place the tape on the
right side 1 inch from the edge of the lining opening, and pin and
baste the tape between the even gathers on each side of the waist-
line. Stitch on the machine close to the edge of the tape.
Remove bastings and press carefully. Sew on hooks and eyes,
and snaps (Figures 187, 188).
Coat Lining (Figure 174). — The coat must be completely
finished and thoroughly pressed before the lining is put in. The
lining that is completely made before it is stitched in place proves
the most satisfactory.
Cut the lining by the muslin-fitted pattern (page 206). In
cutting the lining for the back of the coat, allow one inch on the
center back fold of the lining for a plait. The plait prevents
the lining from drawing and adds a neat, tailored effect. Pin,
baste, and press the plait in the back of the lining the full
length of the lining. A small box plait may be used instead of a
plait if desired. Construct the lining as the tailored coat is con-
structed (page 209), except that the darts are basted and feather-
stitched in place on the right side, instead of being machine-
stitched.
The plain seams in the lining must be stitched, dampened
slightly, and pressed open. It is necessary to clip the seams at
intervals to within 1 inch of the stitching to insure the "give ”
required in all well-tailored garments.
After the lining is constructed and the seams have been pressed
open and carefully clipped, the plain seams of the lining are
matched to the plain well-pressed seams of the coat, matching
the wrong sides of coat and lining. Sewing seams to seams
insures a durable lining. First match and pin the shoulder seams
of the coat and lining together exactly where the shoulder seams


FIGURE 174
120


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FIGURE 174 (continued)
121


122
FROM THIMBLE TO GOWN
join the sleeve. Then pin from the armseye to the neck line (I).
Beginning on the wrong side at the armseye, backstitch (Figure 14)
the two seams together to within two inches of the neck line. In
stitching the seams together be very careful not to draw the
stitches tight as this will cause both seams to draw and ruin the
finish of the coat.
Pin the underarm seams together where the underarm seam
joins the armseye. Pin from that point toward the bottom of
the coat. Stitch the two seams together on the wrong side of the
lining, using the backstitch. Be sure to begin at the top and
stitch to within twelve inches of the bottom of the coat.
Working on the wrong side of the lining, pin the seam of the
sleeve lining to the coat seam at the elbow (II). Turn the bottom
of the sleeve lining up to the right side and tack the bottom of the
seam of the lining to the seam of the coat sleeve. Match the
center front of the coat and lining of the sleeve midway between
the shoulder and underarm seam. Tack securely together.
Repeat the same process for the back of the sleeve.
Pin the front lining at the shoulder seam, beginning two inches
from the neck line, and pin the lining down the front to the
facing (III). Pin the back of the lining to the center of the collar.
Beginning at the bottom of the coat, trim the lining so that it
extends one inch beyond the raw edge of the facing. Beginning
at the waistline of the coat, turn under the lining and pin so that
it just covers the raw edge of the facing. Care must be taken to
ease the lining over the bust line so that it will not draw.
The lining at the shoulder seam should come within two inches
of the neck line in front and extend just to the neck line in the
back. The lining around the neck line in the back is turned under
and pinned over the raw edge of the collar. Care must be taken
to keep the plait in position in center back when the lining is
pinned (IV). Baste the lining along the facings and around the
back of the neck line. Put the coat on wrong side out and have


CONSTRUCTION PROBLEMS
123
the fitter weave in pins three inches from the bottom of the coat
hem line through the lining and coat (V). Straighten the sleeve
lining even with the coat seam and weave in pins three inches
from the bottom of the sleeve line through the bottom of the
sleeve. Cut the lining exactly even with the edges of the bottom
of the sleeve and coat. Turn under a narrow hem at the edge of
the lining and push the lining up and pin 14 inches from the
edges of the bottom of the coat and sleeve. Pin and baste in
place, taking care to match seams. Care must be taken to place
the plait at the bottom of the coat in the back so that it corre-
sponds with the one at the top. Where the facing and hem meet,
fold several small plaits in the lining to take up the extra full-
ness (V). Baste in place and sew the lining in place with the
warp stitch (Figure 20). Easing the lining in this manner gives
ample room and prevents the coat from drawing. The feather
stitch (Figure 31) is used to hold the darts and plaits in place (VI,
VII). For the darts, allow one inch from the shoulder seam line
before making three inches of feather stitching. For the plait
in center back, allow two inches from the center neck line before
making five inches of feather stitching down the back.
Coats are sometimes lined with “half” linings (VIII). The
linings are made and attached exactly like a long lining, except
the bottom is hemmed and left loose.
42. Laces. — “ Lace” is derived from the Latin word “la-
queus,” which means to snare as with a noose. Lace dates back
to old Egypt, but it is not until the early first century that we
have any material like lace as we know it.
There are many kinds of laces, but the four distinct types are
German Val, French Val, Cluny, and Torchon.
Laces are used for trimming and decoration. The color,
design, material, and use of the article will determine the kind
of lace needed.
All laces are made of some definite design. Therefore, great


124
FROM THIMBLE TO GOWN
11
care should be taken in choosing laces as to quality, daintiness,
design, and use.
Joining Lace (Figure 175). — Before cutting the lace, the
design should be carefully examined and matched. The cut ends
may be joined by a plain seam, flat fell seam, by buttonholing,
whipping, or blanket stitch-
ing. The seam should follow
the outline of the design in
laces of heavy design. The
lapped seam is used when
joining very fine laces, and
PLAIN SEAM
the flat fell seam is used to
join laces that ravel easily.
Laces that do not have a
distinct design, or laces that
are cut for placket openings
FLAT FELL SEAM
may be basted on a piece of
paper and stitched several
times where they are to be
cut. This helps to keep the
design of the lace in place.
BUTTONHOLED SEA
Corners. — When mitering
corners on lace (Figure 120),
plan the exact location of
the seam, and plan so that
the design in the lace will
match. Begin at the outer
edge of the lace and baste a
seam, allowing a V-shaped
piece large enough to make
the lace lie flat. Stitch by
CUT HERE
hand with backstitches and
MACHINE STITCHED SEAM
FIGURE 175
trim off the excess fabric,

PAPER


126
FROM THIMBLE TO GOWN
the hem is put in, the fold-line of the hem is marked with a crease
or basting (E). Place the right side of the fabric together so
that the edge of the lace extends about to inch beyond the
marked edge of the hem. Baste in place and stitch. The lace
will readily fall into position when the hem
is turned back, and the machine stitching is
not so apparent (F).
Lace may be applied after the edge has been
finished. Place the right side of the lace to
the right side of the edge of the hem, so that
the edge of the lace laps over the edge of the
hem just enough for stitching. The decorative
edge will extend beyond the edge of the fabric
FIGURE 177
and is stitched in place with the machine (G).
Lace Fagoted to Fabrics (Figure 177). — This
method gives a dainty finish for fine undergarments and
children's clothes. The lace is basted securely 1 inch from the
raw edge. The thread used
should be as nearly as possible
the same weight as that of the
lace. The lace is attached
FRONT
with a three-sided needle,
and a stitch is used much
like Bermuda fagoting (Fig-
ure 46).
Medallions (Figure 178). —
Medallions are forms of in-
serted lace and make a very
attractive decoration. Place
BACK
the medallion on the right
side of the material and baste
0000
in place. The outer edge of
the medallion may be stitched
FIGURE 178

0000
0000.
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0000
og
.


CONSTRUCTION PROBLEMS
127
by machine, hemmed, buttonholed, overcast, or fagoted. When
the medallion is firmly fastened to the fabric, cut the fabric from
beneath it, being careful not to cut the stitches. Tuck under
the raw edge and finish with tiny overcasting so that it re-
sembles a rolled hem.
Insertion (Figure 179). — One of the most common and
simplest methods of applying insertions is the use of a small hem
with the insertion overhanded
to the edge of the hem (A).
This is used only on very sheer .0000000000000000
fabric because almost all of the
ADRIAALMAtta260
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work is done by hand. Mark
Qorodotto dotto
on the garment the position of 000 00000000000000
the insertion, pin the insertion
in place, and baste the edges to
the material. Turn to the
wrong side, and with a pencil
draw a line through the center.
Using a sharp pair of scissors,
cut the material following the
marked line. Be very careful
not to cut the insertion. Turn
both edges back over the line
FIGURE 179
of basting and baste in place.
Turn the material to the right side, and overhand both edges of
the insertion firmly to the fabric. Again turn to the wrong
side, and cut away the surplus fabric, close to the lines of
stitching. Finish with a tiny hand hem.
Another method of applying insertion is often used on
heavier fabrics. Baste the insertion into position and stitch
along the edges with the machine (B). Turn to the wrong
side, cut the material through the center of the insertion, and
trim to within 1 inch or 1 inch of the insertion. Fold the

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128
FROM THIMBLE TO GOWN
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raw edge twice and baste.
Stitch on the machine and press.
43. Fasteners. — There are
four styles of fasteners, namely,
buttons and button holes, hooks
and eyes, snaps, and glide fas-
teners. The style of garment,
the use, and the material de-
termine the kind of fasteners
to use.
Buttons and Buttonholes. —
This style of fastener is generally
used on washable fabrics. The
buttonholes should be made be-
fore the buttons are sewed on
so that the placement of the
buttons is correct.
Worked Buttonhole (Figure
180). — The worked buttonhole
is the one commonly used and
it may be made with a bar at
each end, or with fans. The
buttonhole may also be varied
by using a bar at one end and a
fan at the other, especially if
there is to be a strain on the
buttonhole. Buttonholes should
be made on the upper side of the
closing except in the case of the
fly placket (Figure 138), where
they are made underneath.
To mark the location of the
buttonhole, measure with a tape
I-A
Y-B
V
-A
Y-B
FIGURE 180


CONSTRUCTION PROBLEMS
129
the length of the buttonhole strip. With this measurement, the
distance between the buttonholes can be equally proportioned.
With a gage, mark the established distance of each buttonhole
and weave in pins parallel to the way the buttonhole is to be made.
Be sure to keep the heads of the pins the same distance from the
folded edge.
When the buttonholes have been marked carefully (I), pin
the length of the desired buttonholes (II). Mark each end of
the buttonhole with a tiny knot stitch (Figure 2) and remove
pins. Measure a button on the established buttonhole to be
sure that the buttonhole is large enough. The buttonhole should
be slightly larger than the button as it becomes tighter after it is
worked. To prevent the material from slipping, stitch two rows
of machine stitching on either side of the buttonhole line the
length of the buttonhole and remove the knot stitches (III).
Make the rows of stitching as close together as possible. The
machine is the most satisfactory to use, but tiny hand stitches
may be used. Starched linen tape may be used between the fold
to reinforce buttonholes.
Do not cut the buttonholes until ready to work as they will
fray and make sewing difficult. Insert the point of a small, sharp
pair of scissors at one end and cut from one line of stitching to the
other, so that there are two rows of machine stitching on either
side of the buttonhole. Cut as near as possible along a thread
of the fabric. This prevents ragged slits and the buttonhole is
more attractive when finished. Thread a needle with thread
about two sizes coarser than is used for stitching the garment.
Always use a single thread in working buttonholes. Weave in
the end of the thread and overcast around the buttonhole slit
(IV), if there are any ragged edges. (V-A) Place the button-
hole over the forefinger of the left hand with the folded edge of
the buttonhole strip toward the palm. Hold the buttonhole slit.
firm with the thumb and second finger. Begin to work the but-


130
FROM THIMBLE TO GOWN
tonhole at the lower right-hand corner of the slit. Put the needle
through the slit, and back from the edge the distance the button-
hole stitch is to be. (V-B) Before drawing the needle through
the material bring the thread from the needle's eye under the
point of the needle from right to left. Draw the needle through
the loop and pull the needle away from the worker, drawing the
thread tight and allowing the purl (V-B) to come exactly on the
edge of the slit. Continue these stitches to the opposite end, being
careful to make them all the same depth and close together.
(VI-A) In making a double bar tack (bars at each end)
buttonhole, when one side is worked, pass the needle up and down
through the material at the end of the slit until three stitches
are made. Be sure to insert the needle each time into the same
hole where the first stitch was made. Turn the work around so
that the bar end is held toward you. Work the buttonhole
stitch over the bar and through the fabric until the bar is covered,
keeping the purls toward the buttonhole. Work the other side
of the buttonhole slit and the second bar just as the first was
made.
(VI-B) To make the buttonhole with the fan end, work one
side of the buttonhole slit and take the stitches on a slant at the
end of the slit, inserting the needle each time at a little different
angle until the end is rounded. This gives the effect of spokes
of a wheel. Work the other side of the buttonhole slit and fan
as the first was worked. When the buttonholes are finished,
dampen on the wrong side and press thoroughly.
Bound Buttonhole (Figure 181). — Bound buttonholes are used
to give a tailored effect. The strips for binding may either be
bias, crosswise, or lengthwise, the lengthwise strips being prefer-
able. Ribbons, braids, contrasting weaves, colors, and different
fabrics may be used for decoration. Regardless of the way the
strip is cut, the same method is used in making. The slash may
be either on the straight or diagonal of the fabric.


CONSTRUCTION PROBLEMS
131
wood
There are two methods that may be used for binding slashes.
The first method (A) is the easiest to make and insures a
smooth fold. Determine the location of the buttonhole and
mark the line of the buttonhole
opening with a basting. Cut a
piece of cambric to extend two
inches on all sides of the marked
line. Fold lengthwise through the
center and pin the cambric to the
wrong side of the garment so that
the fold comes exactly on the
marked line of the buttonhole
opening. Baste on this line and
around the outer edge, taking care
to keep the fabric smooth. Baste
and stitch on the cambric on the
wrong side of the garment ſ inch
from the basted line of opening,
forming a rectangle (I). Take
care to make square corners. The
buttonhole strip is cut one inch
wider than the width of the
finished buttonhole opening, and
three inches longer. Crease the
buttonhole strip in the center and
place together the right sides of
the buttonhole strip and garment,
carefully matching the crease with
N
the marked line, allowing 1 inch to
A
extend beyond each end of the
FIGURE 181
buttonhole. Pin and baste the
strip in place, and stitch on the wrong side of the garment on
the cambric around the rectangle, taking care to follow the first
ad
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132
FROM THIMBLE TO GOWN
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booooo
stitching. Cut the buttonhole strip, garment, and cambric
along the marked line in the
center of the rectangle to within
1 inch of each end. Clip diago-
nally to the corners of the button-
hole, forming a “V” at each
end, but do not cut through
the stitching. Remove bast-
ings (II).
Turn the buttonhole strip
through the cut opening to the
wrong side. Fold the strip so
that a binding is formed over the
seams; and the ends should
meet at the center, forming a
box plait on the wrong side at
each end of the buttonhole open-
ing (III). Fasten the plait with
a few backstitches (Figure 14)
and sew the binding in position
along the stitched line. Do not
turn the edges under; but they
may be overcast (Figure 12).
Dampen and press on the wrong
side (IV).
In the second method (B), the
buttonhole strip is cut į inch
wider and 14 inches longer than
the finished buttonhole. Turn
in the outer edge of the strip to
V
the wrong side 1 inch. Baste and
press. Crease the strip through
FIGURE 181 (continued) the center. Use the same steps
oda


CONSTRUCTION PROBLEMS
133
for applying the strip as in the first method as far as to cutting
the opening for the buttonhole. Cut the buttonhole along the
line marked by the basting, cutting through cambric, garment,
and buttonhole strip to stitching at the end, but not through.
Clip diagonally to the corners (A-1). Remove bastings (I, II).
Turn buttonhole strip through cut opening to the wrong side.
Fold strip so that a binding is formed over the seams, with the
edges of the binding meeting at
center opening. Slip stitch (Fig-
ure 19) the folded outer edge to
the garment along the machine
line of stitching. Stitch the ends
so they will not fray. Dampen
and press on the wrong side
(III, IV).
Looped Buttonhole, Worked
(Figure 182). — Worked button-
hole loops are made of silk, cot-
ton, or wool; silk buttonhole
twist having the widest usage.
Work with a single thread and
fasten the thread on the wrong
side of the material. Bring the
needle through to the right side.
FIGURE 182
Leave the desired length of the
loop and insert the needle (A-I). The size of the loop will
depend upon its use and the size of the button. A small pencil
may be used in making the loops so as to keep them of uniform
size. Bring the needle to the right side of the fabric, close to
where it was inserted. This makes a tiny stitch at each end.
Continue making loops from side to side until the desired number
is made. Make a small backstitch after the last loop is made
to prevent the loop from slipping. Remove the pencil. Cover
1
в


134
FROM THIMBLE TO GOWN
G
rand
hold belts, girdles, collars, cafts,
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the loops with close, even, buttonhole stitches (Figure 17) and
fasten the thread on the wrong side (A-II). French tacks are
made in exactly the same way except that they lie flat on the
garmėnt instead of being looped (B-I, II). They are used to
hold belts, girdles, collars, cuffs,
etc., in place, that should not
be fastened firmly on a gar-
ment.
Looped Buttonhole, Fabric
(Figure 183). — Buttonhole
loops are decorative and at-
tractive fasteners, and are
made of bias strips of fabric.
II-A
Cut the strip twice the width
of the finished loop plus a
Hapoopood
seam allowance that is a little
II-B
smaller than the finished loop
and long enough to make the
number of loops desired. Place
the two right sides together
lengthwise and crease. Stitch
twice exactly through the cen-
ter of the strip and trim off the
raw edge to inch. If the fabric
Y-A
I-B
is of loose weave, stitch several
FIGURE 183
times as this will prevent the
fabric from raveling when the lengths of the loop are measured
and cut off. Run the eye end of a darning needle that has
been threaded with a cord twice the length of the bias strip,
through the center of the strip (I). Cut the needle from the
cord and very carefully baste one end of the cord at the seam
and the other at the fold of the strip. Make several rows of
machine stitching along the end of the strip to hold the cord


CONSTRUCTION PROBLEMS
135
Jogo
firmly in place while it is being pulled through the strip (II).
Pull the cord a little at a time and push the fullness toward the
end. With the thumb and finger, hold the cord tightly above
the fullness, and with the right hand stroke the fullness out,
turning the strip gradually inward (III-A). Again pull the cord
slightly and continue as before. Work in this manner until the
strip has been completely turned to the right side. A strong
hairpin may also be used in turning the strip (III-B). The ends
of the hairpin are inserted in the strip and the head of the pin
is firmly tacked to the end of the strip. Turn as for the cord.
Cut the cord close to the stitching. Press carefully so that the
seam comes directly on the fold.
With a gage, measure off on the
strip the desired length of the loop
and mark with the knot stitch.
Stitch on the machine twice at
marking and cut between stitching.
This prevents the cord from slip-
ping out and stitches the fold of
the fabric flat. Padding the loop
with self-material is much better
A-I
than using cord as it makes a more
pliable loop.
Always sew the loops in place
by turning the seams inward (IV-
A). The spread of the loop will
depend upon use as well as the
kind of garment it is used on.
The size of the button will gage
the length of the loop. Looped
buttonholes are generally placed
between folds of fabric. When
A-III
the buttonhole loops are not in-
FIGURE 184
DO
o
o
o
o
m


136
FROM THIMBLE TO GOWN
serted in seams, they are sewed on with the ends of the loop -
rolled (IV-B).
Elastic and Cord Buttonholes (Figure 184). — Elastic and cord
are satisfactory for making some buttonhole loops (A-I, II).
The elastic loop should be made a little smaller than desired
because it“ gives” when put over the button. The cord is made
the exact size (A-III) but the loops may be spread apart (B).
These two kinds of loops are
attached in the same way as
A-I
fabric looped buttonholes.
Frogs (Figure 185). — Frogs
are decorative, designed fasteners
A-T
made in two parts. The two
parts are made alike with the
B-I
exception that one part of the
frog ends in a loop and the other
ends in a knot to fit the loop.
Cut the two lengths of cord, one
B-I
FIGURE 185
ten inches long and the other
fourteen inches long. Take the
longest strip, and fold back on the double about five inches
from one end (A-I). On this double end tie a loose knot,
keeping the cords parallel (A-II). Leave enough space on
this looped end to slip the short end through. Pull very tight,
bringing the shortest end to the under side of the knot, and
fasten in place. Form a third loop designed with the other
end of the cord, making the center loop the larger as it is to
be used as a fastener. Using the shorter piece of cord, make a
14-inch loop without twisting the cord. In the place where the
loops join the cord, sew on the under side about i inch with very
fine stitches. Make a third loop design with the remainder of
the cord and fasten securely on the under side. The parts of
the frog and the loop end must be the same size when finished.


CONSTRUCTION PROBLEMS
137
Buttons. — The three materials used in the making of buttons
are pearl, metal, and cloth.
Pearl Buttons. — Pearl has long been the favorite material
for button manufacture. The inside of the oyster shell was
found to be easily made into buttons, and the industry grew
rapidly. The buttons are first cut to the desired size; holes
are bored; the buttons are polished and bleached. The finished
buttons are then fastened to cards, a certain number of the
same size to each card, and sold.
Metal Buttons. — Except in their use on uniforms, metal
buttons are used where strength rather than decoration is to be
considered, although with changes in style metal buttons flourish
now and then as ornaments. The industry in the United States
dates back to 1802, with the making of gilt buttons in Water-
bury, Connecticut. Later, brass was used. Now, disks or
blanks are cut from sheet metal of various kinds, gold, silver, iron,
copper, brass, or aluminum, and molded or pressed into any
desired shape. The designs or letters are stamped on with dies.
Cloth-covered Buttons. — The manufacture of cloth-covered
buttons in America began in the Easthampton parsonage of the
Willistons, and Mrs. Emily Graves Williston was the maker. It
soon spread to other houses in the village, and beyond, until a
warehouse was needed. Material was brought from New York
by boat to Hartford; then by train to Easthampton where the
buttons were cut and finished. This hand manufacture grew
until it employed over 1,000 families of Easthampton and its
neighboring towns. Then Mr. Williston met a Creole, Francis
Sidney, who told him how the machinery in a button factory was
made and operated. With the aid of the plans and diagrams
drawn by Sidney, Mr. Williston's friend Joel Hayden, an expert
mechanic and successful inventor, made a successful machine.
A partnership between Williston and Hayden was formed and
the manufacture of cloth-covered buttons began in Haydenville.


138
FROM THIMBLE TO GOWN
Buttons are used for service or decoration and are made either
with a shank or with holes for fastening. Service buttons are
sewed to the garment, leaving a space between the button and
garment for the buttonhole. Decorative buttons are sewed flat
to the garment. Fashion dictates the size and shape of buttons.
Sewing on Buttons (Figure
186). — Pin the finished button-
hole strip to the strip where the
buttons are to be sewed. Mark
a dot with a pencil in the center
of each buttonhole where the
buttons are to go. To sew on
a two-hole service button,
use double thread. Fasten the
thread on the right side by
taking a small backstitch (Fig-
ure 14) on the pencil dot.
Bring the needle up through one
hole in the button and down
through the opposite hole to
the wrong side of the fabric.
The width of the stitch should
FIGURE 186
be the same as the distance
between the holes in the button,
and the stitch should be made parallel to the edge of the gar-
ment. Sewing the button in this manner makes the strain on the
button come in two places instead of one and makes it wear better.
Again bring the needle to the right side through the first hole.
Place pins on the right side of the button under the thread
between the two holes and continue sewing as before (I A-B).
The number of pins required depends upon the thickness of the
fabric. When the button is sewed on, it should extend high
enough so that the fabric will be smooth when buttoned. When
N


CONSTRUCTION PROBLEMS
139
the button is securely fastened, remove the pins and bring the
needle through to the back of the button and wrap the thread
firmly around the threads at the back of the button (II).
Bring the needle through to the wrong side of the fabric and
fasten with a knot. In sewing buttons on men's suits the
thread should be doubled and waxed. When sewing buttons
on children's sleeping garments, use double yarn as they cannot
be so easily pulled off.
Decorative buttons are sewed on in the same manner as serv-
ice buttons, except that the pins are omitted and the thread
is not wrapped around the back of the button.
Snaps (Figure 187). — Snaps are used on flat surfaces and
where there is no strain. The snap is a ball and socket fastener.
It should be sewed on the garment
inconspicuously. Determine the
location of the snaps by the kind
of openings. Snaps should be
near enough to the edge to pre-
vent any turning back of the
opening. The ball part of the
SOCKET
snap is placed on the wrong side of
FIGURE 187
the upper edge of the opening and
the socket part is placed on the right side of the under edge
of the opening. Sew on all ball parts first, then close and pin
the opening and press them together to determine the exact
location of the socket part.
Always use a single thread to sew on snaps, and work from right
to left. Fasten the thread by means of a knot stitch in the center
where the snap will cover it. Snaps should be buttonholed to
the fabric (Figure 17), working in the direction indicated by the
arrows. Pass the needle under the snap to carry the thread from
one hole to another. Fasten the thread with the knot stitch
(Figure 2) on the wrong side close to the edge of the snap so that


140
FROM THIMBLE TO GOWN
it will not show. If snaps are sewed on where there is but one
thickness of fabric, tape should be used on the wrong side or
between the seams to reënforce
them.
Hooks and Eyes (Figure 188). —
Hooks and eyes should be used
on openings where there is any
strain. Tape hooks and eyes
may be used on long openings.
There are two kinds of hooks
WITH HUMP and eyes. The hooks are made
with and without a hump (A).
The two kinds of eyes are the
WITHOUT
straight (C), in which the edges
are to lap; and the round (B),
where the edges are to meet.
Blind loops are sometimes used
on garments to take the place of
eyes (D-III). The hooks should
always be placed on the wrong
side of the lap. If the straight
eye is used, it is placed directly
under the outer end of the hook
on the right side of the under
edge of the lap. If the round
D-II
D-I
eye is used, it should extend
FIGURE 188
beyond the edge a fraction of an
inch so that the edges of the
opening will just meet. With a gage, mark the location of
the hooks with pins. Spread the hooks apart about 1 inch
as in (A). This makes the strain on the hook come in two
places instead of one. Working in the direction as indicated
by arrows, slip the needle between the two thicknesses of cloth
D-I


CONSTRUCTION PROBLEMS
141
and buttonhole the ring on to the garment. The end of the
hook should be tacked securely to prevent slipping. This may be
done when fastening the threads. Care must be taken to keep
the rings of the hooks even. Sew on all hooks first, and then
lap the edges of the closing. Locate and pin the position of the
eyes. The eyes are sewed in place in the same way as the hooks,
with the exception that if the round eye is used, it is fastened at
the sides to prevent slipping (B). Work from right to left. Good
slide fasteners are very satisfactory and are made on a tape which
is sewed to the garment. Care must be taken in ironing garments
with these fasteners and they should not be run through the
mangle as it crushes them.
44. Mending. — A patch is a piece of cloth used where darning
or weaving cannot be applied. It is used to make the mending
strong and unnoticeable. Except for contrast, the patch is
always of the same material as that of the worn article. New
fabric to be used on a faded
or shrunken article should be
treated to look like the garment
fabric.
Set-In or Hemmed Patch (Fig-
ure 189). — The hemmed patch
is very satisfactorily used on
articles which are in constant
use. Cut the patch to match
the design of the article. Turn
the raw edges of the patch to
the right side and pin in place
FIGURE 189
to the wrong side of the article,
carefully matching the design. Baste and hem the patch to
the article with small hemming stitches (Figure 18) or machine
stitching. Turn to the right side and cut away the surplus
material, allowing 4 inch for a small turn. Cut the corners on
bodoc
.
OLUTT
SIND


142
FROM THIMBLE TO GOWN
a diagonal line and turn the raw edge under. Baste in place
and stitch carefully with tiny hemming stitches. Remove the
bastings and press the patch,
using a damp cloth so that the
seams will be flat.
Catch-Stitch Patch (Figure
190). — This patch may be used
on an article where careful match-
ing is required. Cut the patch
large enough to extend beyond
the worn parts, matching all
designs before cutting. Place
the patch on the wrong side of
FIGURE 190
the article, matching the design,
and baste the patch to the gar-
ment. Using the catch stitch (Figure 30), begin on the right
side of the garment at any side of the patch and catch stitch
completely around it. Be careful to sew all the corners securely.
Remove the bastings and press.
Darned-In Patch (Figure 191). — Clip around the hole to be
patched, so that the worn threads will be removed. Cut the
patch a little larger than the hole, match-
ing the threads and figures in the fabric. og
Baste the patch in place with diagonal
stitches that catch the patch and the fabric.
Sew the patch firmly in place with the
darning stitch. Work on the wrong side
of the fabric and make the stitches veryone tool to bolo
tiny.
FIGURE 191
Overhand Patch (Figure 192). — Cut the
patch large enough to extend one inch beyond the worn parts.
Designs should be carefully matched. Pin and baste the patch
on the right side of the article. Place the article on an ironing

Vo
00 00


CONSTRUCTION PROBLEMS
143
board and mark with a tracing foot along the line for stitching.
Remove the patch, clip the corners, and baste a 4-inch hem
around the patch. Cut out worn parts, leaving about 1 inch
inside of the tracing line. Match, pin, and baste the patch to
the wrong side of the garment. Whip neatly in place and press.
Darning. - Darning is a simple means
of preventing tears as well as repairing
worn garments. A needle in keeping
with the size of thread should be used.
To make an inconspicuous darn it is
often desirable to use ravelings of the
fabric being mended. If a raveling
thread cannot be secured, the thread of
the fabric should be matched as nearly
as possible as to weight and color.
FIGURE 192
Mercerized thread is preferable to silk. :
The darning stitch is used for reënforcing thin and worn
places in the garments. Thin fabric may be basted under the
worn part before the darning is done. A piece of paper may be
tacked on the wrong side of the garment to keep the darned
- material together. This cannot be done, how-
o ever, if the darning thread is to be turned on the
wrong side of the work at the end of each line of
stitches. In such a case, it is convenient to use
an embroidery loop. It is easy to make an even,
smooth darn when it is made over a form.
The three main kinds of darning are straight,
diagonal, and three-cornered but there are others
oooo
which have no classification. A straight tear is
ooo
the easiest to darn if the edges have not been
FIGURE 193
frayed. Darning should be very fine and incon-
spicuous. It should be made across the tear at right angles
to the warp thread.


144
FROM THIMBLE TO GOWN
Straight Tears (Figure 193). — Match the torn edges and draw
the edges together with rows of fine running stitches (Figure 11).
The stitches should extend far enough beyond the
edges of the tear to reënforce the worn parts. Make
rows of stitches of irregular lengths, and darn back
and forth enough times to hold the edges of the
tear securely together. When finished, cut the
thread without fastening it, as a fastening would not
be smooth.
Diagonal Tears (Figure 194). — Diagonal tears are
more difficult to mend than the straight tear. The
edges should be drawn together, and the warp threads
should be filled in first. The tear should then be
FIGURE 194
turned at an angle and rows of filling stitches
should be put in.
Three-Cornered Tears (Figure . 195). — Three-cornered tears
are mended in the same way as straight
tears with the exception that at the corner o&o
the rows of stitches are slanted in fan
fashion.
OpenO008!
Darning Holes (Figure 196). — Trim the groun d
edges of the hole so that there are no ravel- en OVO
ings. Put in lengthwise rows of running
Figure 195
stitches and begin far enough from the
edge so that the worn places are reënforced. Carry the threads
across the hole and make the running
stitches on the other side. Make the
rows about the width of a thread
apart and make enough rows to cover
the hole. Turn the garment and put
0000 0 0 0 0 0 0 0 0
in crosswise rows of stitches, weaving
VOO 00009
alternately over and under the rows
FIGURE 196
just made.

VO


UNIT II
THE PATTERN



W WO
MUMU
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On
AWWII mimi
**"'!INDIJINI
SISTS COLOR AND DESIGN KKK


CHAPTER IV
COLOR
NO
SPOGOS
On
Without a mysterious rainbow, no pot of gold.
TRIS was the daughter of the sky, who
1 pacified the Storm King, her father,
when he grew too wild. Then he, sorry for
his part in disturbing the earth people, would
send Iris down to earth on a rainbow bridge
to tell the frightened earth folk that all was
well. On the end of the rainbow the Storm
King tied a pot of gold to hold the bridge in
place. And when the rainbow returned to
the sky, the pot of gold was left behind. The iris flower was
named after the rainbow Iris, because the flower is found in every
color and is so sparkling and beautiful, like a gleaming wet rain-
bow.
Colors, forms, and sounds compose Nature's alphabet. The
study of color is one of the most fascinating and inexhaustible
of the many sciences and arts. In color, as in music, the first
essential is to find the key.
What is color? Color is Light. Light contains within itself
all the sun rays and, when Light is broken into individual rays,
or wave lengths of light, a sensation is produced upon the retina
of the eye which is called color. The eye responds to color as
the ear responds to music.
Man is just realizing the fact that color is a powerful element
in our daily lives. It has energy, vibration, and light, and
147


COLOR
149
will accentuate the color of her hair and eyes. Blue adds warmth
and expression to brown eyes. Navy blue enhances the good
points in the wearer's figure and complexion. ..
Brown. — Brown is a lifeless color and requires the aid of a
bright color, such as red, yellow, or orange, to make it expressive.
It is a much used color and is very lovely in the golden brown
shades for warm brunettes as it enriches the appearance of the
hair and eyes. The monochromatic use of brown expresses an
individual refinement not secured by the same use of any other
color, for brown has an affinity for its own shades.
Green. — Nature clothes herself in green for rest and peace.
(“The earth's green livery.") Green is a relaxing color and
satisfying to the eye. It signifies the realization of hopes and
ideals, denotes generosity, and is referred to as the money color.
Green is a combination of yellow, meaning happiness and gayety,
and blue, meaning poise and coolness. It lends brilliancy to
the complexion. Blue greens are more flattering than yellow
greens for they force color in the cheeks, but they are difficult
to combine with other colors.
Orange. — Orange is a combination of red and yellow, the warm
primary colors, and is allied to the metal gold. It denotes
magnificence, grandeur, pomp, and regal ceremony. It is a
creative color, denoting ambition and pride, but it is a very
aggressive color which is the reason it is often used in advertis-
ing. A feeling of kindliness and expansiveness is created by
this color, so much so that it is called the spending color. Little
of this color should be used in dress, as an over-use produces
restlessness and mental irritation. Orange in the pastel shades
is becoming to the blonde, while the dull orange and red-orange
are preferable for brunettes (page 155). These shades blend
with the yellowness of the skin and reflect a reddish tint.
Purple. — This color expresses dignity and formality and
because of its high vibratory power fades from sight more quickly


150
FROM THIMBLE TO GOWN
than any other color. Its rich hue suggests royalty and state-
liness. The Roman term, “ born to the purple,” is distinctive of
royalty. The lighter shades of purple (as violet) are very pli-
able in combinations and represent indolence and luxury. It is
a color expressive of truth. The deep blue-purple shades are
symbolic of mourning and sadness.
Red. — The red rays move more slowly than those of any
other color and, therefore, have a powerful reaction upon the
nervous system. The softer shades of red, such as pink, combine
the innocence of white and the energy of red to express love and
daintiness. Red is an energetic and aggressive color and exer-
cises a great hold on the passions. It is the symbol of the blood
and of the sword. The precious stone, ruby, gets its name from
its red color. Regardless of its bold appearance, red, of all the
primary colors, gives the most pleasing effect to the complexion.
Values of red, except intense shades, add color to the skin. Red
lends a rosy glow to the skin that gives the appearance of health
and vitality. There is no notable effect upon the eyes and hair,
except that it adds sparkle to brown eyes and warmth to the
hair. Too much red, however, is annoying because it irritates
the senses. Therefore, red should be worn sparingly. The
bluish reds are worn most effectively by blondes, while brunettes
should restrict themselves to the more yellow-reds (page 155).
Yellow. — The yellow rays move more rapidly than those of
any other color and express rest and peace, or sunshine and
gayety. Yellow is a powerful mental stimulant and makes sun-
less places bright and healthy. Yellow casts its hue over the
complexion, hair, and eyes. The person who has a clear, fresh-
tinted complexion may, therefore, wear yellow to advantage.
Orange-yellow is more becoming than the green-yellow and may
be worn by the warm blonde but must be avoided by the cold
blonde (page 154). Yellow adds beauty to the hair of the warm
blonde and changes hazel eyes to a soft brown. Those having


COLOR
151
a sallow skin may wear a yellow-pink, as the pink tone decreases
the yellow in the complexion.
b. Neutrals
Black and white are not considered colors. They are called
neutrals. Gray is a combination of black and white and so is
also considered a neutral. Black, in pigments, is a mixture of
the primary colors, — red, blue, and yellow; white, on the
other hand, is a combination of all the rays of color in perfect
proportion.
Black. — Because black is not a color but rather the privation
of color, it suggests somberness, coldness, and mystery. That
is probably why black is used so extensively to express mourn-
ing. Because of its dignity and practicability, however, it has
always been very popular. When combined with rich textures
and an original touch of some color, it becomes most effective.
Black has a tendency to take away color. It tends to decrease
the size of the wearer because it absorbs light and calls less atten-
tion to the figure. Black emphasizes age, but is especially chic
(shek — artistic cleverness) for those having plenty of color in
skin, hair, and eyes; black in itself, however, is lifeless.
White. — White is the symbol of innocence and purity. It
readily throws off the light rays, thus producing a cooling effect.
Most people can wear white, as it enhances the tone of the
complexion, hair, and eyes, especially in the off-white shades of
ivory, cream, and flesh tints. White is much used because of its
daintiness and cleanliness of appearance. In spite of its good
qualities, however, white increases apparent size and must there-
fore be used sparingly for the stout figure. It is well to remember
that although white subtracts age it increases size.
Gray. — Gray is distinctive, quiet, and very retiring. It
denotes refinement and modesty. Too much gray may become
monotonous and inexpressive, but if worn sparingly, tends to neu-


152
FROM THIMBLE TO GOWN
tralize the natural coloring of the wearer. Gray-blue is best for
blonds while yellow-gray may be worn effectively by brunettes.
Like black, gray has a tendency to decrease the apparent size of
the figure.
2. THE LAW OF THE DRESSING SCHEME
The light that lies in a woman's eyes. ....
Because the color you wear may be the greatest single aid or
hindrance to your beauty, color in dress should be considered
from two points of view: first, the harmonious combination of
colors in the costume; second, the becomingness of the colors
of the costume in intensifying the vivid charm of the eyes, hair,
and flesh tints. Each is as important as the other. Ignorance
of the first viewpoint always results in a painful and harsh effect
to the sensitive public while disregard of the second means a
loss to the personal beauty of the wearer.
The person who possesses style never violates the law of color
as dictated by her eyes no matter how Fashion shrieks her pref-
erence for certain shades. Fashion is fickle, but the eyes are con-
stant. Two laws prove this: first, one sees people through the
eyes; second, the eyes are unchanging while the hair and skin,
the next determining factors, may be altered. Cosmetics vary
the skin coloring, and bleaches and dyes change woman's “crown-
ing glory.” But who can change the eyes ? Time may change
their color slightly but the cosmetic art is powerless, so the eyes
are the starting point in personalizing color.
The foundation color in the dressing scheme is determined by
the pigment which the Great Painter has laid in a woman's eyes,
supplemented by the skin and hair coloring that harmonizes and
completes the picture. The color may be varied, blended, and
shaded as long as the three laws are observed. Almost everyone
has a strong instinctive love of color and only needs to learn how


COLOR
153
to apply it understandingly. Color harmony lends distinction to
the simplest costume, but too much intense color is always to be
avoided as it leaves the face colorless. Light values, weak in
intensity, have the opposite effect of adding color to the face.
Therefore, tints should be used as the background color.
In dress the most pleasing color arrangements are those which
combine harmony with a note of contrast. This may be a change
of hue, value, or chroma. No colors are wrong, rather the com-
bination of colors.
3. CHOOSE THE COLOR SCHEME THAT BLENDS WITH YOUR EYES
Sound the correct color notes and observe the effect of the
vibration. Colors should never be chosen to drown out the per-
sonality of the wearer, but should blend in harmony with the
wearer's attractiveness. Much care should be taken to select
colors appropriate to the occasion, and the light under which
they are to be worn should be carefully considered. Colors that
are mysteriously soft should be worn next to the face. Strength
is obtained by use of mass and repetition of color. Quiet reced-
ing shades are appropriate to elderly women, while youth has
almost an unlimited choice.
Neutral and bright colors emphasize age, size, features, and
complexion, and should be selected accordingly. Light colors
express gayety and daintiness, while dark ones give dignity and
force. It must, however, be remembered that intense colors
reflect their complement upon the complexion. When comple-
mentary colors are placed together, they intensify each other
in a startling manner. Imagine, then, the great possibilities of
intensifying either the right or the wrong colors in the eyes, hair,
and skin by bringing into action the complementary colors in
clothes !
The mystery of the becomingness of colors is explained by
applying this simple law of complements, for when complemen-


154
FROM THIMBLE TO GOWN
tary colors intensify a girl's coloring, she is particularly brilliant
and has an arresting charm. Everyone is an individual type and
must study carefully her own color scheme. A word to the wise
is sufficient.
The types may be generally classified as blonde, brunette, Titian,
and gray.
Demi-Blonde or Medium Blonde. — Pastel shades are correct
for the demi-blonde and her best color is green.
Black: Good in transparent fabrics, and when combined with
white.
Blue: Blue is good in all shades except a brilliant blue, and
dull blue is most effective.
Brown: Ecru, sand, and faint dull browns bring out the tints in
the hair.
Gray: Light grays may be worn.
Green: All shades of green may be worn, but blue-green is the
best.
Pink: Rose-pink and flesh are very good.
Purple: Darkest shades are best. Very clear complexions may
wear lavender.
Red: Good in rose, red, and dull shades.
White: Blue-white and ivory are best.
Yellow: Pinkish-yellow is good.
Pure Blonde. — Colors of medium value may be worn by the
pure blonde, and dark blues and greens are her best colors.
Black: Good in all fabrics, but especially striking in fabrics with
a glossy surface.
Blue: Blues of all shades are good.
Brown: Soft golden browns enhance the color of the hair.
Gray: Neutral shades and blue-grays are good.
Green: Only dull greens may be worn.
Pink: Rose-pink is appropriate.
Purple: Heliotrope, wisteria, and blue-violet are very good.
Red: Dark reds are good.
White: Ivory whites are best.
Yellow: Dull orange-yellow may be worn.


COLOR
155
Pale Brunette. — The light or dark colors may be worn by the
pale brunette. Those harmonizing with her hair and eyes are
the best.
Black: May be worn in transparent fabrics and velvet.
Blue: Green-blues are best.
Brown: Dull browns are very good.
Gray: All shades are good, especially pearl and blue-gray.
Green: Good in light tones.
Pink: Yellow-pinks are becoming.
Purple: Orchid is the best shade of purple.
Red: Orange-reds and henna are especially good.
White: Ivory whites are good.
Yellow: May be used in grayed tones.
Pure Brunette. — Pure colors may be worn by the pure bru.
nette. Red is her best color.
Black: Good in velvet or sheen fabrics when touched with a
bright color.
Blue: Those having green or violet tones are becoming.
Brown: Good in all shades, especially golden shades.
Gray: Only good in dark gray shadow.
Green: Medium or dark tones of brown and yellow green are
good.
Pink: Only yellow-pink may be worn.
Purple: A color to avoid.
Red: Deep rich yellow-red, russet, or maroon are very effective.
Yellow: Orange tints and deep cream are good.
Titian. — This type is named from Titian, the great painter,
who loved to paint red-haired women. Shades of brown match-
ing the hair are the Titian beauty's safest color, and green in dull
shades is good. Only neutral tones should be worn.
Black: Good if relieved with a touch of color.
Blue: Good in all warm shades.
Brown: Good in all tones, especially orange and golden brown.
Gray: Only brown-grays may be effectively worn.


156
FROM THIMBLE TO GOWN
Green: Good in all shades having a predominance of blue.
Pink: Shell and flesh are good.
Purple: With a clear complexion, lavender or violet is good.
Red: To be avoided.
Yellow: In transparent fabric, dull orange-yellow is good for
evening wear, and deep cream is very good.
Gray. — The gray-haired type looks best in pale shades and
the hair must be the key color.
Black: Good in all fabrics, especially when relieved with a
touch of some soft pastel shade.
Blue: Navy and powder blues are especially good.
Brown: All right, if used sparingly.
Gray: Warm grays in the darker shades are good.
Green : Very dark or very light shades and yellow greens may be
worn.
Orange: May be worn in delicate shades of light red-orange.
Pink: Old rose, wild rose, and pale tones are good.
Purple: Darkest shades are good.
Red: May be worn in maroon and wine shades.
White: Especially good in off shades.


CHAPTER V
DESIGN
Art needs no spur besides itself.
– VICTOR HUGO
WITH BETRI
be
GOOD design is, primarily, pleasing to
the eye, and has one main center of
interest. There are sometimes lesser centers
of interest, and the farther apart these are
the looser the construction of the design
appears and, therefore, the larger the whole
effect may be. In order to be well-dressed,
we must know the whys and wherefores of
design, learning how we can make or spoil
the effect of the figure by clothes. Good designs do not just
happen. They demand careful study.
Decorative designs should follow the structural lines of the
figure. Give emphasis where it is required and let the design or
trimming move upward toward the left shoulder. Decorations
often constitute a pitfall for the untrained girl, who must remem-
ber that ornaments should have a definite need or the art quality
is lost, for art begins in need.' Simplicity is the keynote of
beauty because of the omission of the unnecessary. It is better
to use an uneven number of any decoration, because the eye
resents evenness. All decorations must belong to the garment
and seem a part of it. The costume, therefore, should be so
designed as to produce a well-organized and uniform effect with-
out over-emphasizing any part of the figure. The face should
157


DESIGN
159
especially true in the illusion of lines. For example, unbroken
vertical lines suggest height and slenderness (2). Trimming
which flares or drops itself at
the top or bottom makes the
individual seem taller. Trim-
ming which cuts the top or
bottom such as yokes, bands,
and accented hems makes the
individual appear broader and
shorter.
When the eye is carried up by
a long rolling collar, the waist
appears to be longer.
When the eye is carried toward
the center of a line, as in pointed
collars at the neck, the waist
appears to be shorter.
A narrow curved belt adds
to the effect of height and makes
FIGURE 197
the width appear less (3).
The wider the horizontal belt,
tucks, bands, or flounces are, the
shorter and broader the person
appears (3)
A broken line always appears
shorter than an unbroken line.
The more prominent the break,
as in the case of a wide belt, the
shorter the line seems.
Emphasizing the outline
makes the figure seem broader
FIGURE 198
and shorter; emphasizing the center makes it appear taller and
more slender (Figure 198, 1).


160
FROM THIMBLE TO GOWN
Width decreases apparent height.
In design, squares and triangles add thickness; round outlines
broaden the thin figure; oblong outlines slenderize and add
dignity, although they overshadow personality; lines that follow
the contour of the figure produce feminineness. The silhouette
outline gives the first impression which may be either good or poor.
In design there should be repetition. A repetition of a form
equals rhythm and emphasizes that form, which is good; but if
there is an over-emphasis, it decreases the value of the original
form and its benefit is lost (2). The most common fault in
designing garments is that emphasis is placed on many things
instead of one or two. Suitable straight lines are attractive and
add strength, while flattering curves add grace and beauty. The
effect of lines may be emphasized by a repetition of the same
kind of lines, or by a complete contrast.
Design has two aims in the selection and arrangement of fabric,
these being harmony and beauty. Designs are classed as struc-
tural and decorative. The structural deals only with the basic
construction, while the decorative adds ornamentation and makes
the structural pleasing to the eye. The purpose of the former is
to create and add strength, so that the latter will have a right to
existence. By tracing a silhouette from a six-inch kodak pic-
ture taken of an individual in a bathing suit, it is simple to work
out pleasing lines for different designs.
Obedience to the following five simple rules of appraising a
design will serve to guard against awkwardness; the head length
should never be repeated in yokes or waist trimming; sleeves
should never be trimmed above or just below the elbow; the
length and width of belts and girdles should be given careful con-
sideration; the Greek law of proportion avoiding the halfway
line must be applied in yokes, ruffles, tunics, and flares; the gar-
ment should be suited to the wearer and occasion. Flounces,
ruffles, and flares should be added below the hipline


DESIGN
161
2. FIGURE AND POSTURE
Grace was in all her steps.
- MILTON
And ne'er did Grecian chisel trace
A Nymph, a Naiad, or a Grace,
Of finer form, or lovelier face!
- Scott, The Lady of the Lake
To stand correctly is the first essential of a graceful figure, and
nothing is more necessary to good health and good looks than
good posture. The feet are the solid foundation for the whole
anatomy. They should therefore be given the best of care, with
special attention paid to wearing properly fitting shoes and
stockings, which are large enough not to restrict the circulation.
Uncomfortable feet make unhappy people and cause them to feel
old and to look old. Watching one's feet is just as important as
watching one's step.
The shoe should be long enough and wide enough to permit the
foot to lie in a perfectly natural position. Round-toed shoes
follow the lines of the foot and should be worn for comfort. The
shoe should be a little longer than the foot, so that when standing
or walking, the toes will not be pushed against the end of the
shoe. It is important to have the bend of the foot come at the
bend of the shoe. Extremely high heels throw the figure out of
its normal line and the result is an ugly forced walk and poor
carriage. Heels of medium height do not affect the normal body
position and aid in acquiring a graceful walk. A foot of comfort
means miles of happiness. Great care should be taken to keep the
heels of your shoes in good condition, for you do not wish to have
it said that you are literally “run down at the heels.”
Hose that are too short in the feet will cause as much foot
trouble as shoes that are too short. Hose should be fitted so that
they extend 1 inch beyond the toes.


DESIGN
163
by keeping one foot slightly in front of the other. The hands
should rest perfectly relaxed with palms up in the lap. In rising,
let the foot nearest the seat take the weight of the body. This
gives you a graceful appearance as you rise from the seat. In
stooping and reaching to the floor, extend one foot slightly in
front of the other, bend both knees and with the hand opposite
the extended foot, pick up the article.
No matter how complete and well suited the individual's ward-
robe may be, the effect is lost if she does not possess a graceful
figure blooming with health to add charm and distinction to her
personality. Since health and beauty are inseparable, practice
daily to improve yourself. If you are overweight and wish to
reduce, do so gradually so that your system becomes accustomed
to the change. Follow a balanced diet composed of the right
amount and kind of food plus regular exercises, and reducing will
follow as a matter of course.
3. DRESSING THE INDIVIDUAL TYPES
Chins. — Pointed chins most often require the heart or U-
shaped neck line with a touch of horizontal decoration on the
waist.
Oval chins generally require the pointed or heart-shaped neck
line with the neck line cut high. Soft bows or ties are very effec-
tive.
Round chins generally require the slanting, square, tapering,
or V-shaped neck lines. Long, medium-width collars are good.
Square chins as a general rule require the V- or the U-shaped
neck line. Use small collars and long ties.
Necks. — Long necks need rolling collars, round neck lines,
fluffy collars or fichus. Collars should fit high in the back. A
shallow neck line should always be used on this type.
Short necks require flat collars, especially collars that carry
the line of the neck opening down the dress front in a long, slender


164
FROM THIMBLE TO GOWN
14ng.
line. Collars that are cut long and narrow slenderize the neck
line and collarless dresses and V-necks are becoming to this type
because they are the most slenderizing.
Shoulders. — Broad shoulders require raglan sleeves, set-in
sleeves high on the shoulder, dropped shoulder yokes, lengthwise
plaits, folds, or tucks from the shoulders to the waist which tend
to slenderize the shoulders. These effects must be close to the
neck and narrow in width.
Round shoulders most often require set-in sleeves. Shoulder
seams should be 1 inch back of the normal shoulder line. Collars
which appear to straighten the back, and waists which are full
and loose, are best, as a general rule.
Narrow shoulders most often require capes, broad collars,
ruffles, berthas, fichus, and scarfs, all of which have a tendency
to broaden the shoulders. Groups of tucks, bands, or ruffles
placed horizontally give the appearance of width as do also
square designs. Long shoulder seams, yokes, and collars that
carry the eye to the waist should be worn by this type. The
peasant sleeve shirred at the armseye adds width.
Sloping shoulders require round yokes, fluffy collars, and capes
to correct the sloping shoulders. Long, circular capes are quite
good for this type.
Arms. — Long arms require sleeves that are almost straight,
but a well-proportioned, two-piece decorated sleeve may be worn.
Short arms require set-in sleeves of continuous line and simple
design. The short and fat arm requires soft clinging fabric with
set-in sleeves that break the shoulder seams.
Fleshy arms require set-in sleeves, curved on the underarm
seam, with allowance if the upper arm is large.
Hands. — Large hands require a frill at the wrist; tight cuffs
must be avoided.
Bust. — Flat-busted figures require ruffles, fichus, jabots, full,
short collars, or fullness over the chest by means of tucking or


DESIGN
165
shirring the fabric into the shoulder seams or natural waist-
Jine.
The full-busted figure requires long, narrow collars and indefi-
nite waistlines. Trimmings in the center front and center back
may be worn. Waists cut in several pieces, panels, or vests break
the line. Building out at the waist or hips, or yokes extending
below the waistline will make the bust appear smaller.
Waists. — If large, V-neck openings should extend to the waist.
If small, wide and narrow girdles, or belts, and other waist
decorations may be used. Contrasting colors used around the
waist are good.
Swaybacks. — Jackets, capebacks, boleros, or judicious blous-
ing will off-set this defect.
Hips. — If hips are large, narrow belts and neck trimming help
slenderize, as does also the one-piece dress. Blousing at the
waistline or a medium amount of fullness at the bottom of the
skirt will tend to make the hips appear smaller. Long skirts,
as well as vertical lines, are sure to give a slenderizing effect.
The V-neck opening should extend to the hip line.
Tightly wrapped skirts should be avoided. Straight up and
down lines always give a false impression of slimness. Flounces
and ruffles are good for slender figures and tall figures can wear
fuller, shorter skirts than can the shorter figure. Many gores
have a tendency to slenderize large hips, while the two piece
skirt gives a broad effect to the smaller hips.
4. FABRICS
Weave the warp, and weave the woof.
Fabric designs reveal much of the history and atmosphere of
each century, and seem always to have drawn their inspiration
from the East.
Ornamental fabrics were first produced in Europe in 500 A.D.


166
FROM THIMBLE TO GOWN
The designs consisted at first of circles or squares. Later on,
these circles or squares were sometimes filled with Persian or
Syrian floral designs. For centuries these circles and squares
were used in stained glass designs.
About 400 to 600 A.D. broken circles came into the designs,
the upper and lower segments spreading out to form bands.
Circles continued until the 12th century. The Saracenic Hex-
agon, geometrically arranged, was also used and up until the
13th century a formal arrangement was often followed consist-
ing of balanced groupings of birds, beasts, or men, placed face to
face or back to back.
In the 16th and 17th centuries three distinct types of designs
were seen. The Renaissance gave way to the Egyptian, Roman,
and Greek motifs. The second, or Oriental Renaissance, was
really Portuguese, Persian design or the spirit of the Renais-
sance influencing the East through commercialism. The third,
or European, flora was developed about 1650 during the reign
of Louis XIV. It was then that the ferns and flora of the
royal gardens came into use as motifs and artists held high
positions.
Much less symmetry of balance was found in the decorative
motifs of fabrics during the reign of Louis XV.
Under Louis XVI the designers followed innumerable paths,
under the impulse of capricious fashions.
Queen Marie Antoinette's reign introduced entwined ribbons,
garlands and ornaments, but the Revolution brought in simpler
fabrics and designs.
Today, “All wool and a yard wide” has lost its appeal. Weight
and length of wear are no longer buying criterions. Beauty is
now the acid test and all else is secondary. Is not this the true
mark of culture ? And is it not just as practical, if culture
attains its ends, as when materialism accomplishes its clumsier
forms?


168
FROM THIMBLE TO GOWN
grace in the soft folds of a plain fabric that cannot be equaled
by the most beautiful Italian brocades.
Lace is one of the most beautiful fabrics and capable of the
greatest number of uses.
Since texture is the effect of the weave upon the appearance
of the fabric, color has a great deal to do with texture of fabric.
Soft silks and silk crêpes or thin fabrics which fall in gentle
curves and folds seemingly make colors appear softer. Hard,
brilliant colors make wiry fabrics seem more harsh. Equal
amounts of light and dark values should be avoided because they
are monotonous.
The choice of fabric and the use of contrasting fabrics depend
upon age, figure, complexion, climate, occasion, and cost. It is
always well to remember that whatever its use, a fabric of con-
spicuous pattern is unbecoming and tiresome. Durable fabric
will have a firm, strong weave, a good tensile strength, and the
threads will be well balanced, the filling threads in proportion to
the warp threads. Buy the kind of fabric which will fill the
need and of a quality which will fit your purse.
a. Classification of Fabrics
Heavy. — A massive and masculine appearance characterizes
these fabrics, and their roughness makes the skin of the wearer
look finer. They blend colors because they reflect light and
throw shadows and are therefore a good choice for slender people.
Gathers, drapes, or other such fullness should not be used with
these materials.
Lustrous and Dull. — Every fabric has a surface which is
either lustrous or dull. The lustrous fabric emphasizes and
exaggerates the lines, ages the wearer, and increases the appar-
ent size because of its glaring appearance. It does not combine
well with other colors and is difficult to wear. Dull fabrics are
widely used since they are becoming to most types. They show


DESIGN
169
true color, bring out the curves of the figure, and do not emphasize
size.
Medium. — These fabrics are most economical and satisfac-
tory. They easily follow the line of the design although they
need more intricate design to make them look important. Off
shades should be used, as the primary colors become monoto-
nous.
Pile and Brocades. — These fabrics absorb or reflect light,
thus making the surface darker or lighter. They are associated
with deep rich colors and have a heavy appearance. They em-
phasize lines; therefore, they should be used for gowns with simple
lines and little decoration, and should only be worn by slender
types because of their tendency to emphasize facial shadows.
Soft. — These fabrics are soft and pliable and are suitable
for stout people.
Stiff. — These fabrics do not follow the contour of the body
and often lend unbecoming lines to the design. They wrinkle
easily. Because the fabrics are harsh, they are best in the soft
pastel shades designed for tailored lines. Slender people can
safely use these fabrics.
Thin or Transparent. — These fabrics look lighter because
of their transparency. They make a graceful silhouette and
soften angular lines by giving indistinct boundaries to the figure.
Flowing lines add height. The more sheer the fabric the more
fullness is necessary to give a pleasing effect. Good qualities
of clinging fabrics are appropriate for elderly or stout people.
b. Explanation of Terms
Bast Fiber. — The long, strong fibers lying under the outer bark
of certain plants, such as jute, flax, and hemp.
Batik. — A Javanese process, in which the pattern is painted on
with wax before it is dyed. The portions waxed resist the
color, and the wax is removed later.


170
FROM THIMBLE TO GOWN
Battening. — A method used in weaving to beat the filling threads
close together.
Beetling. — Hammering the surface of cloth to increase the lus-
ter, especially used on cottons and linens.
Bias. — Diagonally across the material is called true bias, and at
any diagonal is called garment bias.
Bleaching. — The five fibers are in the form of tubes and bleach-
ing is the process of taking out the coloring within the tubes.
The color may be partly or entirely removed.
Bleeding. — Occurs when the colors in dyed fabrics run.
Blinding. — The combining of different kinds of fibers and colors
to produce a desired yarn.
Block Printing. — The stamping of designs by hand, one color
at a time, with carved wooden blocks.
Boiled-Off Silk. — Silk which has been boiled to remove the
natural gum or sericin.
Breaking. — The separation and crushing to loosen the bast fiber
from the outer bark and woody tissue of the plant, such as flax,
jute, and hemp.
Burling. — In the finishing process, the removal of burs, knots,
etc., from the surface of cloth.
Burnt-Out Process. — Chemicals are used to burn out the fabric,
in the process of making imitation Venetian needle-point lace.
Calendering. — A polish given to cloth by pressing with heavy
rollers during the finishing process.
Carbonizing. — Acids used to remove vegetable matter in wool
or woolen fabrics.
Carding. — The untangling and straightening of textile fibers.
Chemical Bath. — A chemical solution bath used to change fibers
or cloth to give them a different permanent appearance.
Chemical bleaches are likely to injure the fiber. There are
four kinds used: full bleached, three-quarter bleached, silver
or half bleached, quarter bleached.


DESIGN
171
Cloth. — A pliable fabric made by weaving, knitting, or felting.
Combing. — Used to straighten worsteds and cottons after the
carding process to secure long fibers.
Count of Cloth. — The weight and fineness of cloth is determined
by the number of warp and filling yarns in a square inch of
fabric.
Count of Yarn. — The number of yards of yarn which can be
spun from one pound of fiber.
Cravenetting. — The treating of fibers or fabrics with chemicals
to make them waterproof. Such fabrics are used for raincoats.
Crofting. – A method of bleaching on grass by the rays of the
sun.
Cross Dyeing. — The dyeing of two kinds of fibers, such as wool
and cotton, using a dye which will color but one fiber.
Cross, Gauze, and Leno Weaving. — Where extra warp and filling
threads are used in plain weaves. Example: curtains.
Crosswise. — Meaning from selvedge to selvedge or against the
grain.
Direct Printing. — The process of stamping the color on the sur-
face of the fabric.
Discharge Process. — The use of chemicals in the printing of a
pattern on the surface of a dyed fabric, treating the color so
that it is discharged or removed from the printed parts.
Down Hair. — The soft undergrowth of hair on animals.
Drawing. — The large, soft rope of fibers as it leaves the card or
comb is pulled out into the desired size of yarn.
Dressing. — Substances used in the finishing of cloth to give
stiffness, weight, or polish.
Duplex Printing. — The printing of a design on front and back
of a fabric.
Duplicate Printing. — Printing done accurately on both sides of
the fabric, imitating warp-dye fabric.
Dyeing. — The coloring of different fibers and fabrics by im-


172
FROM THIMBLE TO GOWN
mersing in a dye bath, so that the tubes of the fiber are filled
with color. To attain a high color, the dye is made so strong
that it adheres around the tubes as well as in them. Each
fiber requires different methods and dyes.
Dynamiting, Weighting, or Loading. — The dipping of silk into a
mineral solution to give it weight. When gum is boiled off,
silk loses į of its weight. Sugar of lead does not injure the
fiber. Tin and iron which are used to-day weaken the fiber
and make it crack or split, whether the silk is used or not.
Moisture and sun affect weighted silk. Wool is weighted by
adding flocks.
Fabric. — Cloth woven, knitted, or felted from fibers.
Felted, Filled, Shrunk, or Milled. — The treating of wool fabric
to reduce it in width and length.
Felting. — Matted wool or a combination of fibers that has no
warp or filling thread, compacted by rolling and pressing.
Fiber. — Any tough thread-like substance capable of being spun
and woven, as cotton, linen, rayon, silk, and wool.
Filling or Woof. — The yarn that is carried across the warp in the
weaving process.
Filling. — Substances such as powder, starch, or clay used in
cheap cotton, linen, and silk to increase their weight and stiff-
ness.
Fleece. — Loose wool, after being shorn from the sheep.
Floats. — The warp or filling threads that come on the surface in
weaving.
Flocks. — The short fiber ends that are clipped off in the finish-
ing process of wool fabrics.
Full-Fashioned. — Shaped pieces are knitted and then sewed to
form a garment which holds its shape, such as better grades of
knitted underwear and hosiery.
Gassing or Singeing. — The burning of the short fiber ends on
yarn or cloth.


DESIGN
173
Ginning. — Separating cotton fibers from the seed.
Grass Bleaching. — This is the Irish process of bleaching the
finest linens. After the linen has been scoured with soap and
boiled in lime, it is spread on the grass for six or eight weeks
to whiten.
Hackling. – A method used in the cleaning of flax after the
breaking process.
In the Gray. — Cloth before it is bleached or colored.
Knitting. — The using of one thread, attaching one loop into
the other. The yarn used is soft and has few twists in it.
The two kinds of knitting are plain and ribbed.
Lappet Weave. — Small designs embroidered on the surface of
a fabric.
Lengthwise. — Meaning with the warp thread and selvedge, or
with the grain.
Line. — The long, straight flax fibers.
Lint. — Cotton fibers after ginning.
Linters. — Short hairs which adhere to the cotton seeds after
the first ginning.
Mangling. — Ironing cloth or clothes between rollers.
Mercerizing. — Cotton treated with caustic acid causing it to
be more lustrous and take dye better. Done correctly, it
strengthens the fiber.
Mill Waste. — The by-products after the first milling.
Mingo. — The lowest class of manufactured wool.
Mordant. — A chemical used to cause dye to adhere better to the
fiber.
Napping or Teaseling. — Where the surface is roughed-up by
raising the ends of the fiber.
Neps. — Small knots in cotton caused by irregular growth or
poor ginning.
Noils. — The short and broken fibers of spun silk and wool.
Pelt. — The skin of sheep before wool is removed.


DESIGN
175
Selvedge. — The finished edge of the cloth formed by the filling
threads turning back through the warp.
Setting of Colors. — Making colors fast or permanent.
Sized. — A substance put into fabrics to make them more beau-
tiful and stronger, and to conceal defects. Some treatments
will make one material resemble another. Irish moss gives
stiffness to wool, oil and glycerine gives softness and elasticity.
Mucilage and gum give stiffness and gloss. Waxed paraffins
give high luster. Starch gives weight and stiffness. China
clay gives weight and firmness. Antiseptics are used to pre-
vent starch and fat from moulding.
Silk Bleaching. — This is done with hydrogen peroxide
or sulphur, after the gum has been washed off with an
alkali.
Sliver. — Yarn in the manufacturing process when drawn into a
rope-like stage.
Sorts. — Division of the pelt into different grades of wool.
Souple Silk. — Silk from which a part of the gum has been re-
moved.
Spinnerets. — Two small holes in the head of the silkworm
through which the silk fiber is ejected.
Spun or Waste Silk. — Waste silk which cannot be reeled, but
must be spun into yarn.
Staple. — A term pertaining to weaving.
Throwing. — Reeled silk doubled and twisted into yarn.
Tie Dyeing. — Strings tied around parts of the fabric to keep
the cloth from taking the dye.
Tops. — Combed wool in large soft balls.
Trom. — Coarse silk thread used for filling.
Two-Ply. — Two strands of yarn twisted together.
Virgin Wool. — Wool sheared from live sheep and which has
never been manufactured.
Warp. — Threads running lengthwise of the piece.


176
FROM THIMBLE TO GOWN
Weaves. — Two sets of parallel threads called warp and woof or
filling threads running at right angles and interlacing.
Woof, Weft, Peeks, or Filling. — Threads that are carried across
the warp in weaving, and are generally inferior and lighter than
the warp threads.
Wool Bleaching. — Is generally done by sulphurous acid or sul-
phur dioxide gas. This does not remove the clothing sub-
stances in the fiber but changes the color to white. When
soaps are used, the natural color returns.
Woolens. — Fabrics made from wool fibers which are short,
large, and uneven and which are twisted into threads and
have not been combed.
Worsteds. — Fabrics made from long, fine, even, harsh wool
fibers which have been combed parallel and twisted into yarn.
C. Cotton
'Way down South in the land of cotton.
Cotton is a vegetable fiber which grows around the seeds of
the cotton plant. The plants are annual shrubs which grow
from the seed, and range from three to four feet in height, with
picturesque flowers somewhat similar to hollyhock blossoms.
The first day the flower opens it is a creamy white color, and
the second day it turns to a bright pink, then dries up. Then
the pod, called a boll, develops. This boll has five separate
divisions which contain the fiber and seed. A few days before
the boll bursts open it becomes speckled with small purple dots.
The plant begins to bloom when it is ten to twelve inches in
height, and a single cotton plant will contain open bolls near
the bottom and blooms at the top. This necessitates picking
over the field several times during the season. The average
field is small, due to the intense cultivation required. The clean,
fluffy, cotton fiber, or staple, as it is called is white in color with a


SOURCE
MICROSCOPIC WHERE FOUND
Southern US.
Egypt
India
Russia
South Americal
China
NO
g. Vi
.
.
4
h
- OX
Jokodo
Belgium
Ireland
Russia
| Asia
Poland
France
Netherlands
United States
England
Germany
Italy
France
Belgium
Switzerland
Japan
China
Italy
France
India
AL
-03 - JD
Tūrics
ago - T
D300 -
Australia
New Zealand
South America
United States
Europe
Africa
Uruguay
Table of Textiles
FIGURE 199
177


178
FROM THIMBLE TO GOWN
cream tint and varies from one to one and one half inches in
length.
India is thought to have been the first country to produce cot-
ton cloth. In 445 B.C. Herodotus spoke of the “cotton tree”
of India, which, instead of fruit, bore a fine quality of wool. In
old engravings the “cotton tree” is represented as having
sheep's heads on the ends of its branches. The word “cotton”
is derived from the Arabic “ qutun.”
With the invention of the cotton gin by Eli Whitney, in 1792,
the cotton industry became tremendously important to the
United States. The best cotton, which is grown on islands off
the coast of Georgia and Florida, is known as the sea island cot-
ton. This is used to make high grades of the fabric. Uses are
found for all parts of the cotton. It is called “the fiber of every-
day life” because of its wide range in clothing and household
uses. Cotton may be woven into strong as well as sheer fabrics,
according to the twist of the fiber. The finer qualities are made
from the long stable.
Cotton may be treated to resemble linen, wool, or silk.
Starches, clays, and gums are used in twisting cotton to give it
an attractive appearance, while sizings are used to cover up a
flimsy weave. Mercerized cotton is made by treating cotton a
few minutes under tension, with a strong alkali. This causes the
fiber to swell to a rounded form and removes most of the twist,
giving the cotton a luster. Mercerized cotton has many of the
properties of linen and unites more readily with dyes than com-
mon cotton. The plain cotton fiber does not dye to advantage
because the colors fade in the light and in laundering. High-
grade cotton materials that retain their color are somewhat expen-
sive because of the necessity of careful and expensive processes
of dyeing.
Cotton absorbs and gives up moisture slowly and this is an
objection against its use for undergarments. Because of the


DESIGN
179
short ends that protrude beyond the surface of the fabric, it
collects dirt more readily than any other cloth. Since cotton is
the cheapest fiber, it is not adulterated by other fibers. Sizing
is used to make poor grades of cotton appear as better grades.
Manufacturing Processes. — The process of cotton manufac-
turing includes ginning, baling, drawing, twisting, winding, weav-
ing, singeing, bleaching, dyeing, printing, mercerizing, and dress-
ing (pages 169–176). All these are necessary to the finished
product which the housewife buys across the counter.
Tests for Cotton:
Breaking. — The cotton thread breaks quickly and the end curls
up and looks dull, short, and fuzzy.
Burning. — Cotton burns quickly with a flash; lingers, smolders,
and all but goes out and gives off an odor like that of burnt
wood or paper. It leaves a small amount of gray ash.
Color. — A drop of nitric acid will not change the color of cotton.
Feel. — When rubbed between the fingers, it feels somewhat
warm and shows the weave clearly.
Ink. — A drop of ink remains on the surface awhile and spreads
unevenly when it is absorbed.
Lye Test. — Make a solution of one tablespoon of lye plus one
pint of water boiled for ten minutes in a granite utensil. Cot-
ton will remain on top of the solution, and is unaffected by the
lye.
Microscopic. — The fiber appears like spirally-twisted bands with
thickened edges (page 177).
Tearing. — Cotton tears easily and the sound will be dull.
Distinguishing Cotton from Other Fibers:
Lye Test. — Cotton from Wool — Use the lye test; wool dis-
solves and cotton is unaffected.
Lye Test. — Cotton from Silk — Use the lye test; silk dissolves
and cotton is unaffected.


180
FROM THIMBLE TO GOWN
Oil Test. — Cotton from Linen — Pour a drop of oil on the sur-
face of a boiled-out sample; linen looks transparent and cot-
ton is unchanged as to transparency.
d. Linen
Dressed in linen white as milk.
– ROBERT OF BRUNNE
Linen is the oldest fabric in history, for the culture of flax goes
back beyond Biblical times, being known in 2600 B.C. The name
of linen is derived from the Latin word “linum," the name given
to the flax plant. The oldest linen ever found was discovered
in the ruins of the homes of the ancient Swiss lake dwellers, who
lived in the Stone Age many thousands of years ago. The
ancient Egyptians, the Chaldeans, and Babylonians all used
linen, of almost the same quality as the modern linen.
In the Old Testament Pharaoh is said to have arrayed Joseph
“in vestures of fine linen,” and in Exodus there is this allusion -
“for the barley was in the ear and the flax was belled.”
Linen is a vegetable fiber obtained from the inside stem of the
flax plant. The plants are raised in large fields very much as
wheat is grown and have a bright blue or pink flower. The flax
stalk is pulled up by the roots by hand in order to avoid breaking
the fibers. The linen fiber averages around eighteen inches in
length and may be made into fine or heavy fabrics. The fiber
is heavy, strong, non-elastic, and is a natural gray or brown in
color. It is expensive because of the long process necessary to
produce the fiber and weave it into cloth.
Linen does not bleach readily but retains its snowy whiteness
after it is bleached. This process determines the grade of linen,
the unbleached linens being the stronger. Bluing is used to
whiten linens because blue tends to neutralize its complement,
orange, and produce the effect of whiteness. Linen is very dur-


DESIGN
181
able because of its tough fiber and the ease with which it is laun-
dered although the fiber may be weakened by hot, strong alkalies,
and mildews easily. Linen made from the round, twisted thread
is better than that made from the flat threads. Linen does not
absorb or hold stains as other fibers do and is therefore in demand
for table use. It is valuable for surgical use because of steriliza-
tion. Linen is hard to dye and is easily faded. It absorbs and
gives up moisture readily and is coolest of all fabrics. It requires
less finishing after weaving than any other fiber.
Ireland is the heart of the linen manufacturing industry, but
Belgium produces the highest quality. The United States does
not raise much flax because of the necessity of hand labor.
Manufacturing Processes. — The manufacture of linen is a
lengthy and diversified process which includes cleaning, sorting,
drawing, twisting, winding, weaving, bleaching, dyeing, dressing,
and beetling (pages 169–176).
Tests for Linen:
Breaking. — The thread snaps and the straight ends are notice-
ably uneven and hard.
Burning. — Linen burns quickly with a yellow flame that is hard
to put out. There is an odor like that of burning paper and
a light, feathery ash is left.
Color. — Several drops of nitric acid on linen has no effect upon
the coloring
Feel. — Linen feels cool, smooth, and crisp.
Ink. — Ink will pass into the surrounding fibers very rapidly and
will leave a round spot with a regular outline.
Lye Test. — Make a solution of one tablespoon of lye plus one
pint of water boiled ten minutes in a granite utensil. Linen
floats on the liquid.
Microscopic. — The linen filament is straight, cylindrical, and has
nodes or joints at irregular intervals (page 177).


182
FROM THIMBLE TO GOWN
Moisture. — Most linen contains considerable dressing; therefore,
if the moistened-finger test is used, a boiled-out sample should
be used. It has the power of absorbing moisture.
Oil. — Oil on linen makes it transparent.
Tearing. — When tearing linen, the sound is dull.
e. Rayon
Miss Cellulose Cottonwood is making her fashion debut.
Rayon is the infant of the textile industry but has already.
caught up with its predecessors.
It is a chemically-made fiber which is produced from the fibers
of cotton linters, spruce pulp, cornstalks, and peanut hulls.
Most rayon is made from cotton linters and spruce. Cotton
linters, or down, are the parts of inferior cotton remaining around
the seed after the first ginning. “Spruce” means the fibrous
pulp of any of the evergreens, comprising the pines, spruce, firs,
hemlocks, tamaracks, and cypress.
Rayon was first made by the French scientist, Chardonnet, in
1884. He gave the fiber the name of “artificial silk.” In 1924,
the United States Government authorities and a number of manu-
facturers renamed it “rayon,” as the fiber differed from silk both
chemically and physically. The name “rayon” was chosen
because it expressed a fabric which the sun rays could not
change in color, and because the name is easy to say and
remember.
There are two types of rayon: the regenerated cellulose, which
has the same chemical properties in rayon as in the original form,
and the acetate cellulose, which has entirely different properties
from the original form. The latter is used more often, because of
its superior luster and beauty.
The regenerated cellulose rayon is made by one of three chemi-
cal processes: First, the nitro-cellulose process, which was the


DESIGN
183
first method wherein cotton linters formed the basic foundation.
It was given the trade name of “tubize." Second, the cupram-
monium process, which also uses cotton linters and assumes the
trade name of “bemberg.” Third, the viscose process, which
uses northern spruce wood pulp as the base. Rayon made by
this process is called "viscose.” Most of the rayon in the
United States is made by this latter method.
In making rayon the cellulose is cooked in large steam vats.
After it is cooked, the brown substance is washed and bleached.
It is then run between heavy rollers and pressed into sheets simi-
lar, in appearance, to blotting paper. The sheets are soaked in
caustic soda, which is also used in mercerizing cotton. The
sheets are cut to bits and thoroughly mixed with carbon disul-
phide in a large mixer. The mixture becomes an orange-colored
dough, which is thinned with more caustic soda. It is allowed
to age and is then filtered. The sirupy mixture is forced through
minute holes in a large plate which is kept in an acid bath. When
the rayon mixture comes in contact with the acid, it immediately
hardens into a thick jelly. The jelly-like filaments are drawn
away before they have a chance to run together. The filaments
are made into threads which are completely hardened. The
hardened threads are not twisted but lie parallel as they are
woven into fabrics.
The acetate cellulose rayon in the chemical process changes
many times, so that the cellulose is entirely different from the
regenerated cellulose rayons.
Rayon is a smooth fabric, which is comfortable to wear. It
does not cling, perspiration does not injure it, and it does not
turn yellow. It absorbs moisture readily and releases it slowly.
It is a cool fabric, not soiling easily, and launders well if it is
treated carefully, as it does not shrink. It should not be
pressed with a hot iron, however, as the fiber melts easily. The
fiber weakens when it is put in water, but regains its strength


184
FROM THIMBLE TO GOWN
when dry. Rayon is a clean fiber, because bacteria will not grow
on it. Electricity does not pass through it.
Rayon rivals silk in beauty because of its luster and sheen, but
it is harder to use in sewing, as it ravels badly. The strength
of the fibers varies from { to that of silk.
The rayon fiber usually takes the same dyes as cotton and
retains its color throughout the life of the fiber.
Rayon has become a modern necessity for personal and house-
hold uses because of its gorgeous patterns, fast colors, high lus-
ter, and its effectiveness when woven with other fibers, as the
threads of rayon are coarser than those of other fibers.
Manufacturing Process. — Purifying, cooking, washing, bleach-
ing, twisting, winding, weaving, dyeing, and dressing are the proc-
esses necessary before rayon is ready for market (pages 169–176).
Tests for Rayon :
Breaking. — Thread breaks apart and the ends look like a bundle
of very fine wires.
Burning. — It burns with a flash and leaves a very faint gray
ash (except Celanese), and it melts as it burns and leaves a
hard black bead.
Feel. — When rubbed together, it feels slippery and wiry.
Lye Test. — One tablespoon of lye plus one pint of water boiled
ten minutes in a granite utensil. Rayon will float.
Microscopic. — Rayon has a longitudinal marking and sometimes
air bubbles except the rayon made by the cuprammonium proc-
ess, which has no markings and is smooth, fine, and cylindrical.
It is difficult to distinguish this latter from real silk (page 177).
f. Silk
The Goddess of the Silkworm, “ Si-Ling-Chi.”
Silk is an animal fiber that was first cultivated in China. The
actual date of its beginning is unknown as the Chinese jealously


DESIGN
185
guarded their arts; but, according to the old legends, a child
Empress of China, Si-Ling-Chi, discovered the use of silk in
2500 B.C. Si-Ling-Chi was but fourteen years of age and was
the wife of the Emperor W’Hang. One day she saw some cater-
pillars spinning threads around themselves to make their cocoons.
Si-Ling-Chi watched, and when the cocoons were completed, she
tried to unravel one, being delighted with the long strand of
thread that she unwound so easily. It was a golden yellow color
and for this reason yellow is the royal color of China. It was to
Si-Ling-Chi's curiosity and her skill in beginning the first of the
silk industry, that China was indebted for the great wealth it
gained by the manufacture of silk; and for this reason Si-Ling-
Chi, the little Chinese Empress, was made the “Goddess of
the silkworm.” The Chinese legends also credit the invention
of the loom to Si-Ling-Chi. China kept the secret of silk
until 55 A.D., when two priests smuggled silkworm eggs to
Europe.
The silk fiber is one of the finest of all fibers and is spun by the
silkworm as it makes its cocoon. The word “silk” is derived
from the Anglo-Saxon word "seolc,” which, if pronounced prop-
erly, sounds very much like our pronunciation of “silk.” The
filaments, which are held together by a gummy substance, are
separated in manufacturing. Silk in the raw state is sold by the
pound and one filament may be four thousand feet in length.
Due to the extreme fineness of the filaments, five double filaments
must be used to make up the thickness of one strand of raw silk.
It takes approximately two pounds of silk to make a dress and
we can easily see why silk is so expensive when it takes three
thousand silkworms to spin a pound of it. If the silkworm is
allowed to hatch, the silk filament is broken and only a second-
grade product may be made from it. The product is called spun
silk because of the broken fibers and lack of luster. There is
also the silk spun by the uncultivated silkworm, the filaments of


DESIGN
187
Tearing. — Tears easily with a shrill sound. Frays at torn
edges. If the thread is held taut, it makes a resonant sound
similar to a violin tone.
g. Wool
Baa, baa, black sheep,
Have you any wool ?
Wool is an animal fiber taken from a great variety of sheep.
The quality of the fiber depends upon the kind of sheep and upon
the place in which they live. The better qualities of wool come
from the temperate zones, though sheep are raised in almost every
country in the world. Wool fiber is curly and scaly in structure
and though only fairly strong, its elastic nature makes it very
durable. The interlocking of scaly edges makes the fabric warm
and does not allow rapid evaporation. The rough surface, how-
ever, collects dirt and impurities, making it the least hygienic fiber.
Virgin or pure wool is wool as it comes from the sheep, and
there are many grades. Before weaving, the wool is sorted
according to the length of the fiber. That which is used for
textile purposes is creamy white. Pulled wool is wool removed
from the pelts of dead sheep by treatment with chemicals.
Worsteds are made from long, straight, fine, even, and harsh
fibers with few scales, that have been carded, or combed to lie
parallel, and then twisted into threads. Worsteds are hard to
adulterate because the weaves are distinct and the fabric is
firm. Their beauty depends upon the weave.
Woolens are made from short, large, uneven fibers, thickly cov-
ered with scales that have been carded and spun into yarn with
the threads lying in all directions. It is easy to adulterate wool-
ens because the weaves are indistinct, and the material is soft
and elastic. Their beauty lies in the finish. Cotton and shoddy
are often substituted for wool. Shoddy wool is worked only in


DESIGN
189
been handed down to us. It came into being when man's brain
had developed enough for him to use his hands constructively.
It was then that he made his first fish net, which was the first
specimen of weaving. The next step was the making of rough
clothing, and since that time weaving has been one of the most
important of all industries. The Egyptians wove wonderful
wrappings for their mummies as early as 3000 B.C., the fabric
being equal to modern fabrics. Mechanical weaving was done
in Egypt in 2000 B.C., but the more complex use of the shuttle
by which figures were produced without embroidering was not
known until 200 A.D. This was the method used by the Syrian
weavers in the Eastern Roman Empire. The development of
weaving was slow and the repeat patterns were of the simplest
kinds, but the skill in weaving finally became an art. Fine
French tapestries, especially the Gobelin, are the best examples
of modern weaving. From the Anglo-Saxon “wefan,” came the
word we use for "weave.”
The Greeks have a myth about Minerva and her weaving con-
test, which ended so disastrously for one competitor, the young
maiden Arachne (A-rak'ne), who wove“ not wisely but too well.”
Minerva, that austere Goddess, was angry (and perhaps secretly
alarmed) at the marvelous skill of Arachne, and changed her to
a spider. Since that time the spider tribe have always spun and
woven. Their Latin name, “Arachnida," was taken directly
from “Arachne.”
Modern weaving was greatly advanced when Joseph Marie
Jacquard (1752-1834) invented a new loom which bore his name,
and created great excitement among the workers in the silk fac-
tories, who thought that this labor-saving loom would hurt their
work. Jacquard invented it in 1801 and by 1812 there were
11,000 Jacquard looms in use in France. Today this master loom
is used all over the world and has vastly improved the weaving
industry.


190
FROM THIMBLE TO GOWN
Cloth is made in three ways: weaving, knitting, and felting.
Weaving is the process of interlocking two sets of parallel
threads at right angles to each other, to make cloth.
The Plain Weave (Figure 200). — This weave is the simplest
one and is used more often than any other weave. The woof
or filling thread passes horizontally and in regular order through
the warp thread of the fabric. It turns at the selvedge and
repeats by going over the warp thread which it passed under in
moramoman the previous pick. This weave
gives a plain and even effect to
fabric. It has a great number of
variations, as the basket weave,
rib weave, and so on. Since the
threads do not lie close together,
plain weave fabric is not con-
sidered a strong fabric.

200
Plain Weaves :
Cotton. — Batiste, bunting,
FIGURE 200
burlap, calico, cambric, cham-
bray, cheesecloth, chintz, crêpe, cretonne, duck, flaxon, ging-
ham, Indian head, lawn, longcloth, linene, mull, muslin, nainsook,
organdie, outing flannel, percale, percaline, sheeting, voile.
Linen. — Art linen, butcher's linene, cambric, canvas, crash,
dress linen, glass toweling, grass cloth, handkerchief linen, trac-
ing cloth, toweling.
Rayon. — Crêpe revere and ecstasy.
Silk. — Chiffon, chiffon cloth, chiffon taffeta, chiffon poplin,
china silk, crêpe de chine, crêpe, habutai, India silk, khaki kool,
peau de soie, pongee, Persian, pussy willow, rajah, taffeta, tub silk.
Wool. — Albatross, batiste (wool), broadcloth, challie, cheviot,
flannel, homespun, melton, nun's veiling, panama, shepherd's
plaid, tweed.


DESIGN
191
The Twill Weave (Figure 201). — This is the most satisfactory
of all the weaves and is a firm, compact cloth, known as the serge
weave. It is used to make a large
per cent of worsted cloth. The mar r
woof or filling thread passes over
one and under two warp threads
in a regular variation. In the
process of weaving, the filling
thread moves forward one thread
after each pick, intersecting so
that a diagonal line is produced
across the surface of the material.
It has many variations such as
variations such as I -II
the break, the skip, and the cork-
FIGURE 201
screw weave.

d one thread - TITI
Twill Weaves :
Cotton. — Drill, denim, gabardine, galatea, jean, khaki, can-
ton flannel, crash, cretonne, silesia, ticking.
Linen. — Crash, ticking.
Rayon. — Durando serge.
Silk. — Foulard, messaline, peau de cygne, silk serge,
surah.
Wool. — Broadcloth, cashmere, cheviot, covert cloth, craven-
ette, diagonal, drill, flannel, gabardine, henrietta, khaki, prunella,
serge, shepherd's check, shepherd's plaid, tweed, tricotine, whip-
cord, zibeline.
The Satin Weave (Figure 202). — This resembles the twill
weave but does not have the diagonal effect. It gives a lustrous
appearance. When the woof or filling thread passes under one
and over from 4 to 12 warp threads it is called the sateen weave
(A), but if the woof or filling thread passes over one and under
from 4 to 12 warp threads it is called the satin weave (B). The


DESIGN
193
and damask. Brocades are not reversible, while damasks
are; example: tablecloths. Tapestry is another form of
figured weave.
I
c, upholstate, VII
Figure Weaves :
Cotton. — Bird's-eye, brocades, cotton damask, diaper cloth,
huck toweling, huckaback, ma-
dras, piqué.
Linen. — Bird's-eye toweling,
damask, diaper, granite, hucka-
back.
Rayon. — Brocades, broché.
Silk. — Brocade satin, brocade
silk, broché, heavy brocades,
Jacquard.
Wool. — Coat fabrics, granite,
novelty dress fabric, upholstery
FIGURE 203
fabrics.
The Knitted Fabric (Figure 204). — This is made with one
thread instead of two and catches one loop into the other. Two
kinds of knitting are used. If the thread runs horizontally, the
material is known as weft knit-
ting, and if the thread runs
vertically, it is known as warp
knitting. Weft knitting has a
variety of patterns. The varia-
tions of this knit are the plain,
purl, and rib knits. Warp knit-
ting does not run or ravel and
does not stretch but tends to
shrink in length. Warp knitted
fabric is the more expensive of
FIGURE 204
the two.


194
FROM THIMBLE TO GOWN
Weft Knitting :
Cotton
Linen
Rayon Hosiery, underwear.
Silk
Wool
Warp Knitting :
Cotton. — Chemisette, eider down, stockinet.
Linen.
Rayon. — Coats, dresses, gloves, milanese, neckties, scarfs,
sweaters, tricot silk, underwear.
Silk. — Same as rayon.
Wool. — Sweaters, wool jersey.
Up, up, and up the steady road we climbed,
And left the weak old-fashioned things behind,
From hand-loom to the Jacquard loom -
A humming clatter in the room;
Once grandma's fingers wove and knit,
But now steel fingers manage it.


CHAPTER VI
MEASUREMENTS
A perfect thirty-six ?
TN order to get accurate measurements,
1 the individual to be measured must
stand erect "like a soldier” and perfectly
still, and have someone do the measuring
carefully. Here's a chance to “stand up
straight and grow tall.” Measurements
should be taken with the tape held easy
along that portion of the figure to be meas-
ured. Patterns are made to follow certain
measurements, and therefore the fit of the garment will depend
upon the accuracy of the measurements taken. Bust and waist
measurements and age determine the size of the pattern
needed. The measurements that need to be taken will depend
upon the type of the garment. On the back of each pattern is
found a chart giving the amount of fabric (of various widths)
required to make the garment.
METHOD OF TAKING MEASUREMENTS
Neck. — Place the measuring tape around the base of the
neck, but not tight.
Length of Shoulder. — This measurement should be taken from
the base of the neck to the shoulder bone, on a line which cannot
be seen in front or back at eye level.
195


196
FROM THIMBLE TO GOWN
Center Front of Neck Line to Waist. — Measure from the center
front of the neck line to the center front of the waistline.
Center Back of Neck Line to Waist. — Measure from the center
back of neck line to the center of waistline.
Underarm. — Measure from the center of armpit to the waist-
line a little toward the back. This measurement should be made
on an imaginary line which cannot be seen at front and back
when on a level with the eye. The imaginary line should be a
continuation of the imaginary shoulder line. When the meas-
ure is taken, the arms should be crossed so that the finger tips
touch the shoulder bone.
Width of Back. — Measure across the broadest part of the back
at shoulders, between the armseyes. Five inches below the base
of neck weave in a pin. Measure from armseye to armseye,
keeping parallel with the pin line.
Width of Chest. — Weave in a pin four inches down from the
hollow of the neck (for the average figure) and measure from
armseye to armseye, following exactly the woven pin line.
Bust. — Standing behind the model, measure the bust by plac-
ing tape around largest part of bust, keeping tape straight across
back at bust line level.
Armseye. — Place the tape around the armseye (but not tight)
so that it comes over the top of the shoulder bone and follows the
natural line of the armseye.
Front Arm. — With the arm straight at the side, measure from
the shoulder bone to the wrist.
Back Arm. — With the fingers touching the lobe of the ear,
measure from the shoulder bone to the bone at the wrist.
Upper Arm. — Place the tape around the arm, midway
between the shoulder and elbow. This is usually the largest
part of the upper arm.
Elbow. — With the elbow slightly bent, measure closely around



WRIST
#ARMSEYE
WIDTH OF BACK
L WIDTH OF CHEST
voorto Izme H2020
woorn OIt92m mom
OCUK JW ROEI FOLLOON
SAW DWZURI HOLLOON
- NECK
NECK
- SHOULDER SEAM
BUST
SHARM WIDTH
OR GIRTH
. UNDERARM
SEAM
- ELBOW
+ WAIST
HIP DEPTH
OR DART
SLEEVE LENGTH
*HIP
D
FIGURE 205
197


198
FROM THIMBLE TO GOWN
Lower Arm. — Place the tape around the arm midway between
the elbow and wrist.
Wrist. — Place the tape around the wrist just above the wrist
bone, for a fitted sleeve; and for a loose sleeve, measure around
the largest part of the fist.
Waist. — Place the tape closely around the smallest part of
the waist. This is usually the normal waistline.
Hip. — Place the tape around the hips (but not tight) at
the largest part, keeping the tape line parallel with the floor.
Waistline to Floor. — Measure from the right and left under-
arm seam at waistline, to floor. Then measure from the center
front and center back of the waistline to the floor.
Center Front from Neck Line to Floor. — Measure from center
front of neck to the floor.
Center Back from Neck Line to Floor. — Measure from center
back of neck to the floor.


CHAPTER VII
CUTTING
Here's snip and nip and cut and slish and slash.
ESPEARE
WUM
M HE success of a garment depends not
I only on the choice of fabric and pat-
tern, and the care exercised in the fitting,
but also on the manner in which the gar-
ment is cut out. Just as a good workman
must have a proper place in which to
work and good tools to work with, so
must a good dressmaker. It is important
to know what aids there are to the proper
cutting of any garment.
1. KNOWLEDGE REQUIRED IN CUTTING GARMENTS
Shears and Scissors. — First, keen, true shears are required
for successful cutting of garments. Shears measure over six
inches in length and may have the one handle larger than the
other. The small one is for the thumb and the large one for
the four fingers. Scissors measure less than six inches in length
and have sharp points. The handles may be of the same size
or one larger than the other, but they are never as large as the
handles of shears. Always cut with an even motion, using the
middle of the blades. It is necessary to use short strokes on
curves and long strokes on straight lines.
199


200
FROM THIMBLE TO GOWN
Cutting Table. — The cutting table should be smooth and large
enough to lay the pieces of the pattern on the fabric conven-
iently while arranging the pattern economically on the fabric.
Cutting Fabric Straight. — All fabric is woven straight in the
looms, but sometimes printing or rolling causes it to have a
crooked finish. One of two methods may be used for straighten-
ing the ends of the fabric. Tearing is the quickest method, but
cannot be used on all fabrics. Drawing a thread and cutting on
the drawn line is more satisfactory.
Fabrics have a warp and a woof, or filling thread. In cutting,
always cut so that the threads will run vertically and horizon-
tally, as it makes the garment appear and wear better. The warp
thread runs up and down with the selvedge, and is called the
foundation thread in weaving. The woof thread runs crosswise
of the fabric and is called the filling thread. In strength and
quality it is inferior to the warp thread. Garments should always
be cut with the warp thread going vertically with the pattern. The
word “grain” used in connection with a fabric means the direc-
tion in which the threads run, as lengthwise grain or warp, and
crosswise grain or weft or woof thread. The grain is the start-
ing point for all designing and cutting and should be followed
throughout.
Cutting Fabrics with Weaves or Pile. — Straighten the end
of the fabric that comes at the top of the design, join the sel-
vedges together and pin. Twill, tricotine, cheviot, and other
fabrics that have diagonal weaves are cut so that the diagonal
weave runs downward from the left to the right in the front and
sleeves. The back will naturally follow from right to left.
When the garment is finished this gives a diagonal circle effect
around the body. Nap fabric is cut with the nap going up, so
that the nap will stand out and show the full richness and depth
of color. The pile of panne velvet, and woolens and broadcloth
in which the pile is purposely flattened, should run downward.


202
FROM THIMBLE TO GOWN
straight lines ( ), two large perforations (00), or dotted
lines (---) indicate shirring and can easily be marked on the
fabric by placing the pattern and fabric on the ironing board,
and using a tracing foot along the shirring line. Mark all parts
of the pattern carefully before removing it from the fabric.
Remove pattern and baste along the perforated shirring line
with any color of thread except red. Red thread is avoided
because of the danger of marring the fabric. Simple plaits and
tucks may be pressed in place while the pattern is on the fabric,
by folding the pattern and creasing the plait with a warm iron.
Each pattern is an individual problem, and the direction sheet
or guide or deltor accompanying each one gives in detail the
steps to be followed. It should be studied thoroughly before
anything is done to the pattern.
Seam Allowance. — In cutting garments, extra seam allowance
should be kept in mind for fitting and adjusting correct seam-
lines. This should always be observed unless the pattern has
been previously used and adjusted, or a “cut-to-measure” cloth
pattern is being used. The article, or garment, should be con-
structed as it is cut, in order that the fabric may be cut to fit
established lines, thus assuring the fitting of all parts. The extra
fabric at the seamlines may then be cut away, leaving the neces-
sary width for the seam.
Placing the Pattern. — Place the essential pieces of the pattern
onto the fabric. Begin at the top of the design, at the straight-
ened end. Arrange the pattern economically and pin to the
fabric, which, with the pattern pinned firmly to it, may be
rolled up to avoid creasing while the garment is in the process of
making. All pins, except those used in marking the line at
which a fold is to be made, should be placed at right angles to
the edge or fold that is being pinned. When a pattern piece is
laid on a fold, pin the edge which lies along the fold first. Do
not lift the fabric from the cutting table as it is cut.


CUTTİNG
203
2. ORDER OF CUTTING AND CONSTRUCTING GARMENTS
Pattern:
a. Study pattern direction sheet, guide, or deltor carefully.
b. Identify all pieces and eliminate all those not needed.
C. Study markings carefully (pages 201–202).
d. Compare pattern with individual measurements (which have
been taken without drawing the tape too tight) (pages 195–198).
e. Test pattern by pinning pieces together and fitting to figure
(pages 219–225).
f. Alter pattern to fit the individual figure (pages 225–245).
g. Press pattern and fabric so that they will lie smooth
(pages 281–284).
h. Place pattern and cut (pages 199–202).
Front and Back of Garment :
a. The back shoulder seam should be cut 1 inch wider than
the front.
b. Allow one inch on shoulder and underarm seams.
c. Allow { inch around the neck line and armseye.
d. Cut front and back of garment. Before removing the front
and back pieces of the pattern, crease a line down the center front
and back, using a warm iron. If the fabric does not crease
well, it is wise to baste with a thread along the faint line.
e. Make darts (pages 46–47; 222–223), tucks (pages 50–51),
shirring (pages 49–50), gathers (pages 47-48), and plaits (pages
51-54) that come in the foundation seams.
f. Establish seam lines (pages 219–225), make seams (pages
40-43), and finish seams (pages 43-45).
Collar and Facing:
a. Establish the neck line and neck opening (pages 79–81;
163; 164; 195; 223).
b. Cut the facing to fit the neck opening (pages 81-82).


204
FROM THIMBLE TO GOWN
c. Make facing (pages 81-82).
d. Cut the collar to fit the established neck line, allowing for
the desired collar finish.
e. Make the collar (pages 83-89).
f. Attach the collar (pages 82–83, 86–87).
Sleeves :
a. Establish the armseye (pages 91–92; 196; 223–224).
b. Place the pattern on the fabric so that the woof threads
are exactly vertical at the bottom of the armseye at the seam
lines.
C. Cut sleeves to fit established armseye (pages 89; 196; 198).
d. Make sleeves (pages 89–99).
e. Set in sleeves (pages 94–96).
f. Establish sleeve length and opening (pages 90–91; 196).
Cuffs:
a. Finish the bottom of the sleeve (pages 98–99).
b. Cut cuffs to fit outline of sleeve.
C. Make cuffs (pages 99–103).
d. Attach cuffs (pages 103–104).
Skirt:
a. Establish waistline (pages 198; 225).
b. Take skirt length plus hem and seam allowance (pages 63–
64; 198).
c. Cut skirt and allow one inch on vertical and one half inch
on horizontal curves and seams.
d. Establish skirt seams (pages 221–222). Make skirt seams
(pages 40-43).
e. Make plackets (pages 73–79), shirring (pages 49–50), gathers
(pages 47-48), smocking (pages 23–24), plaits (pages 51-54),
godets or flares (pages 54–55).
f. Join the skirt and waist. (Standing fell seam, pages 42–43;
true bias, pages 56–57.)


CUTTING
205
Belt:
a. Establish belt line and desired length and width of belt
(pages 114; 198; 225).
b. Bust, waist, and hip (pages 196–198; 225).
C. Cut belt, make belt (pages 115–116), attach belt.
Hem:
a. Establish hem line (pages 64–66).
b. Make hem (pages 66-71).
Pockets:
a. Establish placement of pockets (page 104).
b. Cut pockets.
C. Make pockets (pages 105–114).
d. Sew on or in garment.
Finishing:
a. Sew on trimmings, snaps, hooks and eyes, or buttons
(pages 125–141).
b. Press garment well (pages 281–284).


CHAPTER VIII
THE WHYS OF CLOTHES
The body is the shell of the soul and the clothes the husks of that shell;
but the husks often tell what the kernel is.
THE costume of an age cannot but be
I characteristic of the point of view and
of the manners and customs of the men
and women who planned it and wore it.
Dress began as a decoration. No attempt
was made to fit these garments; all skins or
furs were flat, and fabrics were woven flat.
The garments were draped or held around
the body by a girdle and some substitute
for a pin. As a greater technical skill was acquired and the
number of garments increased, it was found satisfactory to have
the shape of the garment conform somewhat to that of the
figure. Once this fashion was established, more fitted garments
followed and with them the question of convenience arose.
Flexible fabrics were chosen to permit freedom of action, and
they were shaped and sewed at home. As fabrics increased
in number and patterns became more fitted, the making became
more difficult and demanded the special attention of trained
workers. Thus we have the simple beginning of dressmaking
as an occupation.

1. CLOTHES AND CHARACTER
The history of clothing makes plain that clothes have served
through the centuries as a protection, but clothes should be more
206


THE WHYS OF CLOTHES
207
than a covering and an ornament. They should express char-
acter. Since woman is one of the most decorative of all created
things, she should understand the principles that govern the
selection of clothes. To know how to dress well is satisfying
not only to a woman herself but to all those with whom she
comes in contact.
Throughout the history of mankind clothes have constantly
changed from one year to the next, for man's attire has been
modified to suit his needs at a particular time. These changes are
closely related to the various phases of the history of man himself.
Another reason that clothes are such an important link in our
social chain lies in the fact that they are an index to character and
individuality.
Thus the style and the change of fashions of yesterday and to-
day have only come about by demand, and through the years we
have had a constant evolution of dress design because of advancing
civilization. To-day, frocks are designed for perfect freedom of
movement. In this respect they bear some relation to the ancient
robes of Greece, when women were models of grace and beauty.
In the days of absolute style decrees, a woman was excused
for looking unattractive because she was a slave to the caste laws
of dress. In this day of style discrimination and freedom, the
unbecomingly dressed person is left with no excuse. Especially
is this true, since the cost of dressing becomingly and stylishly is
not prohibitive to anyone.
Dressing to-day, for the modern woman, ought to be an
aesthetic pleasure. Every attire should be made the expression
of an ideal. A dress carelessly or inappropriately worn, indicates
to just what extent the wearer is sensitive to the refinements of
her immediate environment.
Everyone should discover her good features and dress to them.
The keynote to distinguished dress is to know oneself, and dress
appropriately. Study and know your“ type” (page 265).


208
FROM THIMBLE TO GOWN
Use your knowledge so that every garment, every accessory,
expresses your individuality.
Upon determining your type, select the best lines suited to
you and endeavor to apply them in dress. Remember that to
be well dressed, it is essential to have unity in every costume,
and that the costume should express both utility and beauty.

HUNI
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REAL
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EGYPTIAN
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FIGURE 206
It is everyone's right to be healthy. Being beautiful is one's
duty, and everyone should make the most of her personal appear-
ance. Because a girl's clothes are likely to give "that all-
important first impression," a well-dressed girl should never
dress conspicuously.
Clothes should be thought of in terms of simplicity, physical
comfort, and health. Harmonious lines in dress require correct
carriage of the body to express them; and clean, appropriate,
neat clothing cultivates self-respect and has a tonic effect on


THE WHYS OF CLOTHES
209
mental attitudes in the consciousness of being well groomed.
Discomfort is never beautiful. Beauty in clothes is not difficult
if thought of in terms of suitability and becomingness. The well-
dressed girl will study, admire, or criticize according to her taste
and her knowledge of what clothes express.
Remember that clothes fitted to one's needs are the kind of
clothes to wear. They may be made or bought, but in either

SATA
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FIGURE 207
case, they should express the individuality of the wearer. If
you are going to make a garment, choose your pattern and fabric
carefully; if you are going to buy a garment already made,
choose a good conservative model. In either case, take care of
your clothes, and wear them more than one season if necessary.
The buying of cheap clothes is false economy. “ Play up” to
your good features and look the whole world in the face. To look
well is a duty, first to yourself, then to your family, and last to
your friends.


210
FROM THIMBLE TO GOWN
2. STYLE
Styles that are now called new
Have been worn by more than you ;
Other times have worn the same,
Tho' the new ones get the name.
Every fashion and every detail of fashion of the present day
may be traced to that of some former period. “Originality”
means the power to adopt and adapt suitably the fashions of
the past to the demands of the present.
It is to the French that all the fashion world looks for inspira-
tion and guidance in style, design, and costume. Because of the
great amount of available historical data in libraries, churches,
and museums, the French have been clever enough to “originate”
with great skill new modes based on the fashions of the ages.
The trend of fashion swings like a mighty pendulum, slowly
from one extreme to the other. As Dame Fashion is creating
new styles she is by degrees killing others. Her work is related
and connected because styles overlap in their struggle for exist-
ence. The style creator may create a style, but if the buyer
doesn't buy, it never passes into vogue. Style and fashion are
synonymous terms; but not so vogue, for vogue is an accepted
style.
It is not to be expected that any one style of garment will suit
all types. Color and cut are always a matter of adaptation to
type. Also, no matter how exquisite the garment, how perfect in
coloring or design, if it is not appropriate to the occasion, it is
either outlandish or bizarre. There is one kind of costume which
is always pleasing and strikes a note of refinement in dress. This
costume is one in which one color predominates. In selecting
stylish garments it is invaluable to know that the figure controls
the lines and design; that the complexion and mental tempera-
ment control the color; and that the occupation and age control


THE WHYS OF CLOTHES
211
the fabric. Age consciousness is old fashioned. The sensible
thing to do about age is to dress becomingly to it, find a color
or a line that seems to be made for you, and then not be afraid
to repeat this line or color. Remember always that garments
have the power of magnifying physical imperfections and of
emphasizing good points.
It is the secret ambition of every woman to be regarded as
an exponent of good taste and judgment in the matter of dress.

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FIGURE 208
Next to being referred to as “ the most beautiful woman present,"
she would choose to be called “the best-dressed woman present."
It will be interesting to note that this decision is based upon four
facts: she is wearing a color most in harmony with her eyes, hair,
and complexion; a fabric that is of superior quality; a cut de-
signed to reveal the best lines of her figure; and a selection of
accessories that are correct for both her garment and for her own


212
FROM THIMBLE TO GOWN
person. The prime essential of achieving style is to select the
right clothes and to know how, when, and where to wear
them.
To appear at one's very best and look distinctive requires
clear sight and discrimination. The full-length mirror and a
strong light will reveal not only shortcomings but also the most
becoming lines. Therefore, make it a habit to look all around
you in the mirror — front view, side view, and back view. Let
your mirror answer that well-known plea:
Oh wad some power the giftie gie us
To see oursel's as others see us!
The girl who wishes to be well-dressed will observe this caution:
“Do not buy anything, no matter how pretty and tempting,
that would attract attention more than your personality, for
then the you that is ‘you' will be lost.” It is not what you
spend for clothes, but how you spend it. Remember the advice
to buy a few clothes of good quality and wear them. With each
season come new styles, so select only the clothes that you will
absolutely need for the season. If this advice is followed, there
will be no need of discarding or remodeling clothes that have
spent more time on the hanger than on the avenues.
Style with a dash is demanded and the violator is mentally
“taken to court.” Weave into your wardrobe an artistic splash
of color, style, and individuality, and you will have solved the
problem admirably. To be attractive and appropriately dressed
is a serious undertaking, but one can succeed if “ persistency”
becomes the watchword.
Our feelings are expressed toward styles in four ways. We —
glance at them, because they are so uninteresting
that they do not hold our attention.


214
FROM THIMBLE TO GOWN
BEAUTY Is As BEAUTY DOES
Beauty is Nature's coin, and must not be hoarded,
But must be current, and the good thereof
Consists in mutually partaken bliss,
Unsavoury in the enjoyment of itself :
If you let slip time, like a neglected rose,
It withers on the stalk with languished head.
— MILTON
A girl of beauty can be compared to the perfume of a rose —
a quality given by Nature for the purpose of attracting, winning,
and holding the love of others. Unhappily, time will take away
youth and outward beauty will fade. Physical beauty, Nature's
first gift, is the first she takes away. Happily, beauty of spirit
endures.
Since physical beauty, then, is not enduring, is it not wise to
make much of it while it lasts? Let's consider that five-pointed
star of beauty once more and discover, if we can, how each
atom may become a part of your own beauty development.
First: Check health, vigor, and grooming. Be glad you are
alive and you will have gained a certain charm which cannot be
erased. You can add to that the charm of sparkling cleanliness.
Give yourself the daily care that will accomplish it. Good looks,
however, are more than skin deep. Note the clothes to see if
they are expressions of your own individual and developed charm.
Do they express the law of color harmony? One can wear
almost any color and look well, but not beautiful, if there is
the least dissonance. Perhaps, we shall say, the accessories “are
out of tune.” Do these accessories express your individuality ?
Observe closely to see if hat, purse, gloves, hose, and slippers


216
FROM THIMBLE TO GOWN
Fourth : Does your voice possess a soft silvery tone ? Few
realize the value of a low, modulated, refined voice. Someone
has said that the voice is the most potent factor in the develop-
ment of personality; that refinement of speech is more indica-
tive of character than refinement of dress or gesture. The voice
is indeed an index of character and the tones are mightier than
strings or than cymbals of brass. Longfellow has called the
voice “the organ of the soul.” It is the suggestion of a tender
heart. And when, besides, the eyes reveal the brightness of
attention and interest and reflect approval of the person to whom
one is speaking, one has accomplished a great thing.
Fifth: Do you realize that deeds leave their indelible impres-
sions? Each good deed gives strength to perform another.
True beauty, the charm of an admirable character, mirrors in-
ward goodness which is the constant replenished source of good
deeds. Everyone may develop charming beauty equal to the
essence of the perfume of a flower. Would that all might give
this perfume, which comes from their hearts, to the whole world
that its fragrance might benefit mankind.
KESPEARE
4. CLOTHING BUDGET
Costly thy habit as thy purse can buy,
But not expressed in fancy; rich, not gaudy:
For the apparel oft proclaims the man.
— SHAKESPEARE
In this world of constantly changing styles, lovely new fabrics,
alluring advertisements, and the lavish display of “ clothes " by
many of our neighbors, is it any wonder that many of us forget
about common sense and spend more than we can afford in “try-
ing to keep up with the Joneses”? Competition in dress is an
immortal tempter and exists because our instinctive love for
beauty and our childish desire to be the “ center of the stage”
must be satisfied. Extravagance and luxury pursue their way,


THE WHYS OF CLOTHES
217
and to hold the scepter of taste and excite admiration and envy
is a costly privilege. Yet in this “ go-getter" age, it is smart to
be economical. Economy is the younger sister of Wealth and
travels over the Road of Budgets.
A budget is a workable plan for economically spending an
income. Earning and spending of money go hand in hand.
There are two ways of buying. One may buy on the impulse
of the moment, without a knowledge of her needs, but the result
is sure to be wastefulness and dissatisfaction; or one may follow
a clothing budget, which enables one to dress smartly on a limited
amount, and results in a balanced wardrobe. It is not difficult
to see which plan would be the more satisfactory, since an individ-
ual owes it to herself, her family, and her friends, to appear as
well dressed as her income will permit.
A budget affords much in addition to a good appearance. It
enables one to use her money in such a way as to acquire what
she needs and can afford. She has the satisfaction of knowing
how her money is being spent and this gives her knowledge to be
used in preventing future wastefulness. Thinking of the little
things in dress soon brings the realization that it means laying
the foundation for thrift in a large way.
The two principles of every budget are: definite organization
and accurate usage. If observed, the two principles will greatly
eliminate financial worry.
Every branch of expenditure should have a budget, for a family
budget develops sense of honor, understanding, and coöperation
among the members of the family. The total yearly income is
divided into portions that will meet the needs of the year if wisely
distributed. Ten to twenty per cent is devoted to clothing and
this per cent is set aside to be subdivided to meet the needs of the
individual members of the family, the division being somewhat
governed by age and demand. This amount is apportioned for
outer and under clothes, and for accessories ; on the average,


218
FROM THIMBLE TO GOWN
seventy per cent for outer clothes, twenty per cent for under-
clothes, five per cent for accessories, and five per cent for sundries.
If the clothing allowance is small, good quality rather than
quantity should have first consideration. In fact, regardless of
the income, the rapid change of styles makes this a wise sugges-
tion to follow. A good garment insures a feeling of satisfaction,
always looks well, and outwears several cheap, conspicuously
shabby ones.
An individual color scheme, and clothes carefully worked out
to meet the needs of the wardrobe, will not only save money, but
will lend distinction and beauty to the wearer. When people
become aware of the fact that all waste, regardless of its nature,
is morally wrong, it will be unnecessary for stern necessity to force
them to practice economy. There is no bigger field in which to
practice economy than in the matter of clothes. Follow Shake-
speare's advice and “put money in thy purse," therefore, if you
would make a clothes budget and then keep within it.


CHAPTER IX
PATTERNS AND ADJUSTMENTS FOR
VARIOUS FIGURES
de
DITTING deals with the accurate estab-
T lishing of the body lines which are used
as measurements for the alteration of pat-
terns, and for the cutting and making of the
garment. You have solved your fitting
problem when you have the knowledge of
the correct placement of these lines, making
the garment in keeping with them.
There are two reasons why we fit gar-
ments. First, to fit the form of the individual; and second, to
keep the threads of the fabric horizontal and vertical. A well-
fitted garment will allow freedom of movement without being
too large. Move the body normally when you are fitting gar-
ments so as to be certain that it will be graceful in motion.
Tight clothes emphasize bulk, so beware that you do not get
garments too tight above or below the hip line. Different
girdles and underwear will change the fit of garments surprisingly.
The style and use of the garment dictates how it should fit.
1. How to Solve Your FITTING PROBLEMS
45. Seams. Location of Shoulder Seam (Figure 210). — The
location of the shoulder seam should be most carefully placed
because it serves as the foundation of a well-fitted garment. The
normal shoulder seam begins at the highest point at the base of
219


220
FROM THIMBLE TO GOWN
the neck and terminates į inch back of the highest point of the
tip of the shoulder. The seam should
be in a straight line and should not be
seen from the front or back, when the
eye is on the level with the shoulder.
This rule should be changed only for
the round shoulder, in which case the
shoulder seam is moved a little toward
the back. The back shoulder seam of a
garment should be į inch longer than
Figure 210
the front for the average person, and the
fullness may be held in evenly along
the shoulder seam to fit the
shoulder blades more easily.
The amount of fullness de-
pends on the length of the
shoulder and the material that
is used. Shoulder seams
should be fitted by starting at
the neck line and working
toward the armseye, keeping
the threads of the fabric verti-
cal and horizontal.
Establishing Shoulder Seam
(Figure 211). — To establish Y
the shoulder seam, carefully
pin the center front and back
pieces of the garment to thie
center front and back of the
model. Pin from the neck to
the hip line. Care must be
taken to keep the neck line in
position while pinning the
FIGURE 211
BACK
FRONT
MI


PATTERNS FOR VARIOUS FIGURES
221
front and back pieces to the model. Smooth the back shoulder
piece forward to fit the model, keeping the threads of the fabric
horizontal and vertical. Pin carefully in place (I). Weave in
pins on the back piece along the
shoulder line. Smooth the front
piece upward, folding under the
fabric at the shoulder line until
the fold just meets the shoulder
pin line of the back. Pin the
front piece to the back piece
along the fold at the established
shoulder line (II). The finished
seam line should be made along
the pin line on the back piece
and the fold on the front (III).
Location of Underarm Seam
(Figure 212). — This seam starts
at the armpit directly under the
high point of the shoulder and
extends the length of the body
(I). From the side it should
resemble a continuation of the
shoulder seam. It should be
exactly at the center side of
the body and should not be
seen from the front or back
when the eye is on a line with
the center side. Fullness should
be eased in at the front. The
FIGURE 212
shoulder seam should be estab-
lished first. Darts and gathers bring the fabric up at the
seamline when the fabric does not run vertically around
the body. Smooth the back underarm piece forward to fit


222
FROM THIMBLE TO GOWN
the model. Pin carefully in place, keeping the threads of the
fabric horizontal and vertical (II). Weave in pins on the back
along the underarm line. Smooth the front toward the back,
folding under the fabric until the fold just meets the underarm pin
line (III). Pin the front to the back along the fold at the estab-
lished underarm line. The finished seam line should be made
along the pin line on the back and the fold on the front (IV).
46. Darts. Location of Darts and Lifts (Figure 213). — Darts,
besides adding fullness, lift the material so that the thread runs
vertically and horizontally with the lines of the body. Darts
are not needed in the garment until
the figure starts to develop. The
larger the curves of the figure, the
deeper the darts will have to be
made to take in fullness and to keep
the threads running vertically and
horizontally. The four placements
of the darts, or lifts as they are
sometimes called, in the waist are
located at the shoulder, center neck
line (as a lap), under the arm, and
FIGURE 213
at the waistline between the center
and seams in either front or back.
The shoulder and underarm placements are the most used.
The length of the dart will depend upon the form of the model
and material. The width of the darts will depend upon the
amount of fullness required. If much fullness is required, several
small darts should be made and placed in groups.
The shoulder dart is established in line with the point of the
breast, and just past the center of the shoulder seam, either
toward the neck line or the armseye. It acts as a pad for the
hollow or dip in the shoulder line. The dart at the underarm
seam is established so that it will point diagonally toward the


PATTERNS FOR VARIOUS FIGURES
223
1
point of the breast. It should not be placed closer than one
inch below the armseye.
The waistline darts are established so
that they are parallel to the center front.
The neck line darts are established parallel
with the center front or diagonally toward
the point of the breast.
Waistline darts above the waistline point
diagonally upward and all below the waist-
Figure 214
line should point diagonally downward. (For making darts, see
page 46.)
47. Lines. Location of Neck Line (Figure 214). — The loca-
tion of the neck line should not be established until the shoulder
and underarm seams are finished. The
neck line should form a good curve from
just above the collar bone in the center
front around the base of the neck to the
prominent bone at the back. The curve
should be higher in the back and sides
than in the front. There are good neck-
lines for all types and a careful study
should be made of them (page 81).
Location of Bust Line (Figure 215). —
To establish the bust line, place a tape
around the fullest part of the bust and
keep it straight across in the back. The
tape should be loose enough so that
three fingers may be slipped underneath
-
-
FRONT
it.
i-i
48. Sleeves and Pockets. Armseye
Curve; Location of Sleeves (Figure 216). —
The establishing of a good armseye is the
brand of a well-made garment. The lines
BAC-
FIGURE 215


224
FROM THIMBLE TO GOWN
should be established to form a good curve over the top of the
shoulder and should come over the highest point of the shoulder
bone or where the arm joins the shoulder; then dropped down
in a straight line for three or four inches as shown in (I).
When this line is established,
the arms should be crossed so
that the finger tips are just
touching the shoulder bones.
(On the average figure this line
is the top fourth in the back
of the armseye and is parallel
to the center back.) The line
is then extended under the
arm in a perfect oval curve,
FRONT
BACK
continued to swing towards
the front, and on up to the
shoulder seam. Pin a tape
securely around the armseye
and in far enough so that the
I-
--
--
WWW
lun
DD
FIGURE 216
FIGURE 217
outer edge of the tape will form the shape shown in (II).
Weave in pins around the outer edge of tape, and carefully run
bastings around the established pin line before removing the pins.
Cut away the excess fabric, allowing 1 inch for the seam line.


PATTERNS FOR VARIOUS FIGURES
225
A
AU
Location of Waistline (Figure 217). — To establish the
waistline, place a tape snugly around the smallest part of
the body so that three fingers may be
easily slipped under the tape.
Location of Hip Line (Figure 218). — To
establish the hip line, place and pin a tape
around the small part of the waist and
measure down to the largest part of the
hips as indicated by arrows in the figure.
Measure the same distance down from the
center back and sides, and weave in pins.
The row of pins indicates the hip line and
should be parallel to the waistline.
To Locate Hem Line. — To establish the
FIGURE 218
placement of the hem line see page 64.
To Locate Placement of Pockets. — To establish the placement
of pockets see page 104.
mm
2. How to ALTER PATTERNS
Patterns that have not been previously used should be care-
fully fitted, and the adjusted pattern cut from old or inexpensive
fabric before the final cutting of the
garment.
49. Waists. Waist That Is Too
Wide (Figure '219). — To alter a
waist pattern that is too wide in
both the front and back, lay a fold
from the center of the shoulder
line to the lower edge of the pattern,
keeping it parallel with the center
front and back. To take up the
BACK
excess width, correct the shoulder
FIGURE 219
line.
FRONT


226
FROM THIMBLE TO GOWN
Waist That Is Too Narrow (Figure 220). — To alter a waist
pattern that is too narrow cut both the front and back from the
center of the shoulder line to the lower edge of the pattern,
keeping the cut line parallel
with the center front and
back. Separate each piece to
allow for the width needed.'
Correct the shoulder line.
Waist That Is Too Long
(Figure 221). — To alter a
waist pattern that is too long,
lay a fold below the armseye
across both the front and back
FRONT
to take up the excess length.
FIGURE 220
Waist That Is Too Short
(Figure 222). — To alter a waist pattern that is too short, cut
below the armseye across the front and back. Separate each
piece enough to allow for the length needed.
BACK
188
FRONT
BACK
FIGURE 222
Figure 221
Waist That Wrinkles under the Arm (Figure 223). — To alter
such a pattern, pin a deeper seam at the armseye at the shoulder
seam, tapering toward the neck line. If wrinkles are only in
front, the fullness may be taken out by darts (page 46).


PATTERNS FOR VARIOUS FIGURES
227
FRONT BACK
FIGURE 223
FIGURE 224
50. Bust. Flat-Busted Figure (Figure 224). — To alter a
pattern for the flat-busted figure, slash a line to within 1 inch
of the shoulder line, beginning
at the lower edge of the pat-
tern. Keep the slashed line
parallel with the center front of
the pattern. Lap the pieces to
take up the excess fullness.
Full-Busted Figure (Figure
225). — To alter a pattern for
FRONT
BACK
the full-busted figure, slash a
line to within 1 inch of the
shoulder line beginning at the
lower edge of the pattern.
Keep the slashed line parallel
with the center front of the
pattern. If the bust is very
full, it may be necessary to
BACK
FRONT
allow for extra length. To do
this, cut at the fullest part of
the bust from the center front
to the first slash. Then slash
the other piece diagonally to
within į inch of the armseye.
FIGURE 225


PATTERNS FOR VARIOUS FIGURES
229
If the back is too wide, it may be taken up with a plait from the
center of the shoulder line to the lower edge of the pattern, keep-
ing the plait parallel with the center back of the pattern.
51. Shoulders. Narrow Shoulders (Figure 228). — To alter
a shoulder line that is too narrow,
slash the front and back from the
center of the shoulder to the bust
line and spread apart to allow for
the width needed.
Round Shoulders (Figure 229). —
To alter a pattern for round
shoulders, slash the back of the
pattern crosswise at the shoulder
FIGURE 229
line. Spread the slash to allow for
the extra room needed across the shoulders. Straighten the
center back edge. This added amount in the center back will
make the neck line larger. The extra fullness at the neck is
essential for this type of figure
and may be fitted at the neck
line with tucks, gathers, or darts.
Square Shoulders (Figure 230).
– To alter a pattern for square
FRONT
shoulders, raise the pattern at
center front and back. The
shoulder seam at the armseye is
left the same, and the seam at
BACK
the neck line is raised until the
FIGURE 230
pattern hangs evenly on the
figure. This will make the seam wider at the neck line
than at the armseye. A new neck line must be established
(page 223).
The Sloping Shoulders (Figure 231). — To alter a pattern for
sloping shoulders, raise the pattern at the armseye. The pattern


230
FROM THIMBLE TO GOWN
at the neck line is left the same, and the seam at the armseye is
raised until the pattern hangs evenly on the figure. This will
make the old armseye smaller and
therefore a new one must be estab-
lished (page 224).
52. Figures. Over-Erect Figure
(Figure 232). — To alter a pattern
for the over-erect figure, lift the
back of the pattern at the shoulders.
FIGURE 231
If this is not enough to make the
pattern hang smoothly on the figure, lift the pattern at the back
at the waistline until the pattern does hang smoothly (B). The
pattern adjustment at the shoulder seam will make it necessary to
establish a new armseye (page 224) and neck line (page 223).
Sway-Back Figure (Figure 233). —
To alter a pattern for the sway-
back figure, the pattern should
be adjusted to conceal the hollow
at the waistline. Gathers, at the
bottom of the waist and the top of
the skirt at the waistline, and
FIGURE 232
FIGURE 233


232
FROM THIMBLE TO GOWN
whether the garment is a one- or two-piece garment (page 222).
Darts at waistline or hips should slant downward. Pin darts
from the seam line inward.
Flat Chest (Figure 236). —
To alter a pattern for the
flat-chested figure, take up the
shoulder seam in the front at
the neck line and taper the
seam to the armseye (I). The
FIGURE 236
neck line in front should be
clipped (II) and a new neck line established (page 223). If
the shoulders are sloping, the pattern will also have to be taken
up at the armseye and a new armseye established (page 224).
53. Neck. Large Neck (Figure 237). — To alter a pattern
that is too large at the neck line, take up the shoulder seam at
I
FIGURE 237
FIGURE 238
the neck line. If the neck line is still too large, small darts may
be placed in the center front and back of the pattern.
Small Neck (Figure 238). — To alter the pattern that is too
small at the neck line, spread the shoulder seam at the neck line,


234
FROM THIMBLE TO GOWN
the back establish a correct shoulder and underarm line. This
will balance the front and back of the pattern.
The fault in the pattern may be that the neck line is too large.
Adjust the pattern for too large a neckline
(Figure 237).
Fleshy Neck and Shoulders (Figure 243). — For
the fleshy neck and shoulders alter the pattern
between the armseyes to within one inch of each
armseye. Spread the slash the needed width
and straighten the pattern at the center back.
FIGURE 243 The fullness this adds to the neck line allows for
the fullness needed.
Slender, Flat Back (Figure 244). — For the slender, flat back,
alter the pattern by raising the shoulder line in the back at the
neck line and tapering it to the armseye. Trim
out the back of the neck the desired shape.
54. Collars. The Too-Large Collar (Figure
245). — To alter a collar pattern that is too large
at the neck line, take tiny dart tucks in the center
back and at equal distances from the center back
until the collar is the correct size at the neck line. FIGURE 244
This affects the neck line only.
The Too-Small Collar (Figure 246). – To alter a collar pattern
that is too small at the neck line, make a tiny slash at the center
Figure 245
FIGURE 246
back and at equal distances from the center back. Spread until
the collar is the correct size. This affects the neck line only.


PATTERNS FOR VARIOUS FIGURES
235
The Too-Long Collar (Figure 247). — To alter a collar pattern
that is too long, make small folds in the collar in the center back
FIGURE 247
Figure 248
and at equal distances from the center back to the front until the
collar is the correct size.
The Too-Short Collar (Figure 248). — To alter a collar pattern
that is too short, cut the collar in the center back and at equal
FIGURE 249
FIGURE 250
distances from the center back to the front and spread the pattern
until the collar is the correct size.
The Too-Wide Collar (Figure 249). — To alter a collar pattern
that is too wide, cut the pattern lengthwise through the center
and lap the pieces until the
collar is the desired width.
Reshape the ends of the collar.
The Too-Narrow Collar (Fig-
ure 250). — To alter a collar
pattern that is too narrow, cut
the pattern lengthwise through
the center and spread the pieces
until the collar is the desired
width. Reshape the ends of
the collar.
55. Sleeves. Wrinkles from
Top of Sleeve Pattern to Elbow
FIGURE 251


236
FROM THIMBLE TO GOWN
I
(Figure 251). — To alter the sleeve pattern that wrinkles from
the top of the sleeve to the elbow, the sleeve cap, from the top
of the shoulder to the level of
the armpit, must be enlarged
to correspond to the top of
the arm. To cut the cap larger
at the top of the sleeve pattern,
slash lengthwise through the
center parallel to the seam
line. Slash crosswise to within
FIGURE 252
one inch of the sleeve seam at
the armseye. Raise the sleeve cap the necessary amount to
fit the top of the arm.
Wrinkles at Armpit (Figure 252). – To alter a pattern that
wrinkles at the armpit, cut both the front and the back of the
pattern between the armseyes. Lap the
pattern at the armseye (I), take out
this fullness, and let it spread a little
at center front and back. Pin paper
under the slash and straighten the center
front and center back line (II). It is
FIGURE 253
very necessary to build up the neck
line at the shoulder. Retrim the armseye at the shoulder
(page 224).
The Too-Long Sleeve (Figure 253). — To alter a sleeve pattern
that is too long, cut the pattern midway between the wrist and
elbow, and between the elbow and
shoulder. Lap the pieces until the
sleeve is the correct length.
The Too-Short Sleeve (Figure 254).
– To alter a sleeve pattern that is
too short, cut the pattern midway
FIGURE 254
between the wrist and elbow and


238
FROM THIMBLE TO GOWN
cut off a seam allowance on the lower half of the sleeve. This
will raise the pattern at the armpit, removing the wrinkles.
Sleeve Which Wrinkles around Up-
per Arm (Figure 260). — To alter a
sleeve pattern that wrinkles around
the upper arm, cut off a seam allow-
ance from the lower half of the
armseye, both on the waist and
FIGURE 259
sleeve.
Sleeve That Is Too Small around Armseye (Figure 261). — To
alter a sleeve pattern which is too small around the armseye, allow
for a larger seam above the elbow or
set in a gusset (Figure 103) from the
armseye to the elbow.
The Too-Small Armseye and Top of
Sleeve (Figure 262). — To alter a sleeve
FIGURE 260
pattern in which the armseye and top
part of the sleeve are both too small, cut the pattern to fit at
the lower half of the armseye (I). The same amount that is
cut from the waist at the armseye should be allowed at the lower
II
FIGURE 261
FIGURE 262
half of the top of the sleeve. Place a piece of paper under the
sleeve pattern and allow at the lower half of the top of the sleeve
the amount that was cut from the waist. Allow the necessary


240
FROM THIMBLE TO GOWN
amount that has been trimmed from the armseye of the waist
to the back top of the sleeve.
Top of Sleeve Is Enlarged When Shoulder Seam Is Let Out
(Figure 266). — To alter a sleeve pattern when the shoulder seam
has been let out, slash diagonally
both the front and the back of
the top of the sleeve, beginning
midway between the center and
seam and slashing to the elbow,
taking care not to cut the piece
out. Place a piece of paper
under the sleeve and spread
FIGURE 265
each slash one half the amount
let out on the shoulder seam.
Top of Sleeve Is Made Smaller When Shoulder Seam Is Taken
Up (Figure 267). — To alter a sleeve pattern when the shoulder
seam has been taken up, slash diagonally both the front and back
II
FIGURE 266
FIGURE 267
of the top of the sleeve, beginning midway between the center
and the seam and slashing to the elbow, taking care not to cut the
piece out. Lap each slash one half the amount taken up in the


PATTERNS FOR VARIOUS FIGURES
241
shoulder seam. Even the top of the sleeve by tapering the seam
line.
Sleeve That Draws at Top and Twists Around (Figure 268). —
To alter a sleeve pattern to prevent sleeves from drawing at the
top and twisting around, slash
the back of the sleeve crosswise
two inches below the armseye to
within three inches of the other
I
FIGURE 268
FIGURE 269
side. Spread the slash to allow for the necessary amount. Two
inches is usually sufficient. This fullness may then be held in
the seam along the upper part of the sleeve (II).
Medium Upper Arm (Figure 269). — To alter a sleeve pattern
for a medium upper arm where a little extra fullness is needed
above the elbow, place a piece of paper
at the side of each seam line above the
elbow. Add the necessary amount
without changing the line at the top
of the sleeve.
Large Upper Arm (Figure 270). —
To alter a sleeve pattern for an arm
that is large above but not at the elbow,
fold the sleeve lengthwise and, starting
on the fold at the elbow, slash crosswise
to within two inches of the seam line.
Unfold the sleeve and cut from the Figure 270


242
FROM THIMBLE TO GOWN
center fold at the top of the sleeve to the slash at the elbow.
Spread the slashes to allow for the necessary amount.
Large Arm (Figure 271). — To
alter a sleeve pattern for a large arm,
slash the sleeve lengthwise through
the center to within six inches of
the bottom of the sleeve. Spread the
slash to allow for the necessary
amount.
Sleeve That Twists around Arm
(Figure 272). — To alter a sleeve
pattern that twists around the arm,
extra fullness must be allowed at the
FIGURE 271
back of the sleeve at the elbow,
spreading the slashes to allow for the fullness. This will
allow the sleeve to follow the shape of the arm.
Sometimes sleeve patterns do
not need alteration if they pull A m
back or set too far forward, be-
cause the fault lies in the fact that
FIGURE 272
they have not been set in cor-
rectly. To avoid this, set the sleeve in with the threads
running vertically and horizontally (page 90).
56. Cuffs. — Cuff patterns are altered
in the same manner as collars (pages
234, 235).
57. Waistlines. The Too-Large Waist-
line (Figure 273). — To alter a waistline
FRONT BACK
that is too large, turn back the edge of
FIGURE 273
the pattern at the waistline on all skirt
pieces, tapering to the hem line of the
skirt. When the skirt is too large above the hip line, the full-
ness may be taken in by darts (page 46).


246
FROM THIMBLE TO GOWN
.
Blocked patterns are those that are marked on the fabric
or paper by using a tested pattern.
Drafted patterns are those made by using individual measure-
ments to make the pattern. (Often a tailor will draft a pattern
for a man's shirt in this way.)
Draped Patterns (Figure 283). — These are extensively used
by designers for creating new styles. Paper may be used to
drape on the model. A knowl-
edge of establishing correct
seam lines must be carefully
worked out before draping
paper or fabric.
Collars are the easiest to
drape.
61. How to Make Drafted
Patterns. — Even though com-
FIGURE 283
mercial patterns are so inexpen-
sive and easily obtained, there
is much to be said in favor of the drafting of patterns when the
method given is easy and simple to use. It teaches the impor-
tance of complete accuracy in taking measurements in dress-
making, as well as in the drafting itself. It also teaches the
fundamental seam lines of the figure, and gives a thorough
knowledge of the use of a foundation pattern and its many
variations. Through this knowledge one may learn to draft
patterns for unusual figures where a commercial pattern would
have to be altered.
The drafting of patterns necessitates the taking of careful and
accurate individual measurements.
Taking Measurements (page 196). — The habit of accuracy in
drafting and cutting is absolutely essential as the first requisite
in drafting patterns. The fitted pattern which is the founda-
tion pattern for making variations does not allow for any full-


PATTERNS FOR VARIOUS FIGURES
247
ness. After patterns are drafted, mark with a straight line the
way the pattern should be placed on the fabric, so that the line
of marking will be parallel with the warp thread.
The Fitted Waist (Figure 284). — To draft a fitted waist
pattern the following measurements should be taken: neck,
F
--
-
---
N
Bbce-----------
--------
BACK
FRONT
FIGURE 284
waist, bust, width of front and back, length of front and back,
and length of underarm and shoulder.
Allow three inches or more on all sides of rectangle.
The bust measure equals the length (AA) of rectangle.
The back measure equals the width (AB) of rectangle.
a. Back of Fitted Waist
AB equals length of back.
C is the middle point of AB.
D is the middle point of AC.


250
FROM THIMBLE TO GOWN
P is 1 inch below 0, on a line at right angles to ZF at 0.
ALZPFK equals lower curve at top of sleeve.
Using H as a pivot and HA as a radius, swing the curve AF.
I is 1 inch above F, on a line perpendicular to SK at F.
IK equals part of top curve.
KIA equals upper curve at top of sleeve.
CR equals } hand (fist) measure plus 1 inch (or allowance for
whatever fullness is desired).
B is inch down from C.
N equals 1 inch to right of B. Construct NR.
BNR equals bottom of sleeve.
TN equals four inches and is constructed at N, at right angles
to CR. (Cuff opening is in line with little finger.)
Construct RK.
J is midway between R and K (distance between wrist and
elbow joint).
Q is į inch left of J.
RQK equals inside line of sleeve. With paper folded, cut
around top curve AIK, down side KQR, then across bot-
tom RNB. Unfold sleeve and cut lower curve at top of
sleeve ALZPFK.
Fitted sleeves, after drafting, should be altered at the elbow
to allow for fullness so that the sleeve will not bind but give
ease when moved. On the underside of the sleeve pattern at
Q, measure a half inch to each side, slash perpendicular to the
fold and spread the pattern the width of the desired fullness.
This fullness may be held in with gathers, folds, or darts.
Foundation Collars (Figures 286, 287). — For the flat foundation
collar, the foundation waist pattern should be used. Place the
shoulder lines of the waist together at the neck line and spread
1 inch at the armseye. Cut the neck line of the collar the same
as that of the waist. The outer edge of the collar may be shaped
in any desired design. When the collar extends beyond the


PATTERNS FOR VARIOUS FIGURES
251
shoulder seam, the back and front are balanced by keeping the
point in line with the shoulder seam line.
Flared collars are made by slashing the outer edge of the flat
collar pattern at intervals and spreading apart to allow for the
desired flare.
To make a rolled collar, the foundation waist pattern is lapped
at the armseye instead of spread apart (Figure 287). A one-inch
lap is usually sufficient for the roll.
Figure 286
FIGURE 287
The Foundation Cuff. – To make a foundation cuff, the hand
measure is used for the bottom of the cuff. The top of the cuff
may be made in any shape, but should correspond in design with
the collar, except that the cuff designs are smaller. The cuff may
be of any width, and if the flare cuff is desired, slash the outer


252
FROM THIMBLE TO GOWN
edge of the foundation pattern at intervals and spread the pattern
to allow for the flare.
Two-Piece Fitted Skirt (Figure 288). — The following meas-
urements should be taken to draft a foundation skirt pattern:
waist, hip, length of front, sides, and back (to be taken from the
TO
WAL
.B
N
FIGURE 288
waistline to the floor). The desired skirt length should be de-
ducted from the above skirt measurements and used when draft-
ing patterns.
Skirts should be designed in keeping with the waist. Remem-
ber that gores have a tendency to slenderize the figure.


254
FROM THIMBLE TO GOWN
Connect I and N.
OIN equals front side seam.
PIN equals back side seam.
The two-piece foundation skirt pattern may be made into as
many gores as desired by equally dividing and sub-dividing the
waist, hip, and bottom skirt lines. Flared or circular skirts may
be designed by cutting at the hem line between L and N, and
N and M, up to the hip line between J and I, and I and K, and
the pattern then spread. The desired amount of fullness should
be proportioned equally on the center front and back, side seams,
and cuts.


UNDERGARMENTS
257
Oc
joooo
cut wide enough to allow for ease when walking. This fullness
is allowed at the hip line (about seven inches below the waist-
line) (A) in a plait, even
gathers, or a circular flare at
the sides (C) or with a
diamond-shaped bodice with
upper and lower points cut on
the bias (D). A straight piece
of material, allowing a twelve-
inch lap, may be sewed on at
the hip line. The lap makes
the slip shadow proof (B).
Seams may be either flat, fell,
or French.
Shaping the Neck Line (Fig-
ure 290). — Neck lines of slips
should be carefully worked out
and should never be conspicu-
ous. Neck lines may be any
shape desired, but should cor-
respond with the neck line of
the dress worn. The shaped
neck line, besides being a bet-
ter design, does not slip off
the shoulder. This does
FIGURE 289
away with the untidy habit
of adjusting shoulder straps.
The armseye should be in
keeping with the neck line.
Finishing the Slip. — The
edges and bottom of the slip
may be finished with an ap-
propriate design.
Figure 290
NU
11


258
FROM THIMBLE TO GOWN
A-1
-A-5 be
65. Teddies. Cutting the Teddy. — Teddies do not neces-
sarily require a pattern. They may be made from a width and
one half of fabric, depending upon the hip measure. They
should be large enough to
slip over the hips with ease
and, if fullness is desired, it
may be inserted in the side
by flares or gathers. When
a width and one half is used,
the half width should be
used in the back.
Finishing the Teddy (Figure
291). — The seams may be
either flat, fell, or French,
and the last stitching may
INSERT
be made by hand to give a
hand-made effect. The top
may be straight or shaped
(A-1, A-3). The straight
top should have a half-inch
hem and may be finished
with hand hemstitching
(A-2). The shaped neck line
may be finished with any
dainty, narrow edge. (See
Neck Line Finishes, page 81.)
Straps should be attached
by sewing them underneath
at the hem line, in the back
D-2
and on top, and on the edge
in the front (B). A loop
D-3
and streamer may be allowed
FIGURE 291
in the front to lengthen the
....
..
..
BACK
FRONT
Tuy


UNDERGARMENTS
259
strap if desired, while at the same time it serves as decoration.
A wee strip of ribbon may be sewed securely along the center
of the shoulder seam of a garment, with an end left which snaps
down and holds your lingerie straps in place.
The sides of the teddy should be folded evenly and shaped in a
curve about eight inches in length if the straight strip is used.
The bottom of the teddy should be finished in keeping with the
top (C).
The straight strip that holds the bottom of the teddy together
should be one inch wide and five inches long, and should be of
double fabric. It may be sewed fast (D-1) or snapped (D-3)
or buttoned (D-2) together in the center The strip that is
fastened in the center is more convenient to iron. A narrow
strip is more satisfactory because it will not bind or pull out so
easily as the wide strip. The length of the teddy, when fin-
ished, should be about five inches above the knee.
66. Bloomers. — Elizabeth Smith Miller invented the bifur-
cated garment which we to-day call “ bloomers.” The garment
did not meet with approbation, except among the most radical
of the women's rights advocates. Mrs. Amelia Jenks Bloomer
of Seneca Falls, N. Y., who, according to the book, Woman
Suffrage, was editor of one of the first periodicals devoted to the
cause of women's rights, was enthusiastic over the startling new
garment and advocated the wearing of it, nameless as it still was,
in her weekly paper the Lily. The newspapers took up the
subject and discussed it vigorously, and for want of a better
name, called them “ bloomers ” in honor of the woman who
advocated them so earnestly. The “ bloomers,” however, met
with so hostile a reception on the part of the general public, and
their wearers were so ridiculed everywhere that, after a time, the
prominent suffragists who had adopted the garment began to
fear that the odium attached to the dress might injure the suf-
frage cause. So, since their desire for the political freedom of all


260
FROM THIMBLE TO GOWN
women was greater than their interest in their own individual
comfort, they gave up wearing the “ bloomers.” This experi-
ment, according to the History of Woman Suffrage, in which the
whole story is related, was not without a good cause. All this,
then, was the forerunner of the modern knickers and bloomers
which have paved the way to woman's high place in sports
because they have given her a greater freedom in dress.
The first bloomers were made ankle length, while the modern
bloomer comes just above the knee. The top of bloomers may be
finished with a yoke, band, or elastic. Elastic should never be
more than a quarter of an inch in width and should harmonize
with the material of the bloomers in color. To take the measure-
ment for elastic, place the elastic so that it fits snugly, without
stretching, and so that two fingers may be easily slipped under it.
Elastic bands that are too tight are injurious, as they restrict
circulation. The bottom of
the bloomers may be finished
with bands or elastic.
The seat of bloomers should
always be reënforced on the
inside. Plackets are used in
children's bloomers on one, or
both, sides.
Decorations on bloomers
should be very simple and
dainty, and should harmonize
with the material.
67. Pajamas (Figure 292).
— Pajamas are a one-piece or
a two-piece suit. In the two-
FIGURE 292
piece, the top part, which is
like a jacket, may be made with or without sleeves, and may
be either opened or closed in the front. The bottom part is


UNDERGARMENTS
261
made like bloomers except that the legs are made straight and
sometimes very full, and ankle length. They are seldom
gathered at the bottom. The neck, cuffs, bottom of the
trousers, and front opening may be finished with self or con-
trasting color or fabric. The top of the trousers is finished
with elastic, band, or yoke. The front of the jacket is fastened
with button and buttonholes, frogs, or snaps. One-piece
pajamas usually have a tie belt and fasten on the shoulder with
a snap or button. Pajamas are coming constantly more and
more into use for house wear.
The lounging pajama-suit is taking the place of the kimono.
In this suit, the coat part may be varied in length, and the
trousers made very full, so that they hang like a skirt. The
whole ensemble (än sän'bl') is much more elaborate than a suit
of sleeping pajamas, for it is usually made of richer, less-easy-to-
wash fabric.
68. A Note on Children's Clothes. — Children's clothes should
be simple, although there are as many kinds of clothing for
children as there are for adults. The size and type of the child
will determine the color, texture, size, and type of the pat-
tern and the material.
Leaflets issued by the Division of Textiles and Clothing,
Bureau of Home Economics, United States Department of
Agriculture, give a carefully worked-out analysis of children's
clothes in relation to health, comfort, and ease in putting on
and taking off.





UNIT III
THE GARMENT


266
FROM THIMBLE TO GOWN
The athletic type is of medium size with square shoulders
and strong features. Straight-line dresses are the best for this
type, and only the more simple trimmings, such as plaits, but-
tons, or buckles, should be used. Medium or dark shades of
color are the ones most suited to this type.
The dramatic type is tall and slender, with striking features.
She may wear dresses of extreme lines, and trimmings in dark,
rich colors, bright colors, or striking combinations.
“There are no secrets in dress; there is either knowledge or
lack of knowledge.” (Collins.)
1. How to Make A DRESS FOR ANY OCCASION
Wardrobe. — In planning for a new dress, one should first con-
sult her wardrobe to determine the kind of dress she needs, and
decide from her budget the amount of money one can afford to
spend (pages 216–218).
In checking the wardrobe, one may find a dress of good fabric
but out of style. This dress should be remodeled instead of
purchasing new fabric. Many do not enjoy a “made-over”
dress as well as a new one, but by having to do this the wearer
will be taught the folly of buying more clothes than are needed.
The question that is then voiced is, “Shall I make or buy my
dress ?” The determining factors are the amount of money and
time one has to spend, one's artistic ability, knowledge of good
design, and taste. There is no gamble in the ready-to-wear dress
as to the finished appearance on the wearer. Select a dress that
will fit in with the color scheme of your wardrobe and one that will
fill a need for more than one occasion.
There is no reason why a home-made dress, if it is constructed
well and pressed as it is made, should not look as well as a ready-
made dress. Use time-saving methods and never put unnecessary
labor in making a dress, but strive for effect rather than perfection


THE FINISHED GARMENT
267
in workmanship. When both qualities are obtained in a dress,
namely, style and good workmanship, the triumph is complete.
Picture. — Carefully choose a picture as nearly as possible like
the dress needed. Remember that simplicity is the keynote of
good design. One outgrows dresses mentally as well as physically,
and for this reason great care should be taken to choose pleasing
lines and a suitable design (pages 158–160; 163–165). True it
is that the smart costume should be a symphony of line, texture,
and tone, carefully assembled.
Measurements. — After selecting the picture of the dress, take
the correct measurements that are required for the pattern (pages
195–198).
Pattern. — Buy the pattern in the size that is designated by your
measurements, unless there is irregularity of the figure. The type
of figure, style, and material to be used influence the selection.
Beware of choosing young designs, thinking they will make you
appear young, for you will be disappointed.
Fabric. — Select and buy good fabric that is suitable to the
pattern, preferably one of those named on the pattern envelope.
Read the direction chart about the amount of cloth needed
carefully, so that you may have enough fabric with no ex-
travagant waste. This saves your pennies (pages 167–169 ;
201)!
• Color. — Nature has given each one of us a keynote of color
(pages 154–156). Each should wear the shades that will enhance
the beauty of her individual coloring and blend with her wardrobe.
The softer the color tone of a dress, the softer the dress will
appear when worn. Bright colors must be used in small quan-
tities and shades in bulk. Too much color distracts attention
from the wearer's face and personality in general. Remember
that all people do not respond in the same way to color.
Trimmings. — In selecting trimmings it is best to have too little
rather than too much. Designed fabrics are more effective with


268
FROM THIMBLE TO GOWN
self-trimming. All trimmings should combine to produce a one-
ness of effect (pages 157–160).
Shrinking the Fabric. — Shrink the fabric (pages 284–286) and
even the ends (page 200).
In making the dress, much time can be saved by using an
organized method (pages 203–205).
Study the pattern (pages 201–202). All pin fitting is done
along the seam lines, and should be done with care, because then
the exact amount the pattern needs to be altered in width and
length can be determined. Arrange the pattern economically
on the fabric and cut (pages 200–202). With each pattern
is a direction sheet or guide which outlines in detail the laying
out and cutting in the most economical way.
Dresses should be constructed and pressed as they are cut since
this insures accuracy in fitting and finish. This is a general rule
for all clothes. However, every dress is an individual problem
as to seams, trimmings, etc., depending upon the pattern and
fabric used. Pressing should be done at every stage in the con-
structing of a dress, in order to blend the seams and parts to-
gether and produce a finished effect.
2. How to MAKE A COAT, AND THE BEST TAILORING
PROCESSES IN USE
He made him a coat of many colors. — GENESIS 37:3
The finished smartness of a coat depends upon suitability to
type, occasion, climate, and age. The really tailored coat must
denote careful workmanship, and taste in selection of color and
suitable fabric. There are certain processes used in the con-
struction of tailored garments, whether they be suits, coats, or
dresses. The tailored coat with the notched collar is one of the
best examples of the many processes of tailoring and will be used
to illustrate the making of a coat.


THE FINISHED GARMENT
269
The tailored coat is suitable only to certain types, but features
of it may be adapted to almost every type. Your wardrobe,
which is most versed upon such matters, will tell you your need
as to color and style. Your budget will tell you the amount to
be spent on the coat (pages 216–218). The fabric chosen will
depend largely upon the occasion for which it is to be used, the
climate in which you live, and your age (pages 168–169). Wool
fabric is more adapted to tailored finishes than other materials,
and the greatest demand for tailored garments comes from the
business and sports world.
In the construction of the tailored garment the pressing equip-
ment is as essential as the sewing machine. Never use one without
the other in making coats. It cannot be repeated too often that
one half the secret in good sewing is pressing as you go; because
pressing blends the seams together and gives the coat a trim,
tailored finish.
The following steps will give a satisfactory order to follow in
making a coat:
Pattern (pages 219–254). — The style of pattern should be
dictated by one's type (pages 265–266), and by the use for which
the coat is intended.
Measurements. — Follow "How to Take Accurate Measure-
ments” (pages 195–198).
Fabric. — Purchase the yardage of fabric designated on the
back of the pattern envelope (material that is in keeping with
the design of the pattern), lining, and trimming. Cheap fabrics
do not have the body and lasting qualities that are required of a
smartly tailored coat. Therefore, it is advisable to purchase
a good quality of worsted or woolen, as it takes the tailored
finishes best and always appears well.
Muslin. — Purchase as many yards of a medium grade of Indian-
head unbleached muslin as the yards of fabric called for by the
pattern.


270
FROM THIMBLE TO GOWN
Shrinking. — Shrink the muslin and fabric for the coat
(pages 284-286).
Study Pattern. — Identify all pieces of the pattern and pattern
markings (pages 200–202). Return the unnecessary pieces to
the envelope.
Pin Paper Pattern. — Carefully pin the paper pattern together
to get an idea of the necessary alterations.
Cut Muslin Pattern. — Cut the muslin pattern, following direc-
tions for cutting garments (pages 203–205). The muslin coat is
cut as though it were the coat material, allowing for all alterations
indicated by the paper fitting. Mark with a straight line the way
the muslin pattern should be placed on
the material so that the line of marking
will be parallel with the warp thread.
Assembling the Muslin Coat (Figure 293).
- Make darts or tucks (pages 46–47;
50–51). Establish shoulder or underarm
seams (pages 219–222), and make seams.
Establish neck line (page 223). Make fac-
ing. Cut the facing by the adjusted facing
pattern. Place the right side of the facing
to the right side of the coat and pin them
together. Baste from the neck line down;
then, from the neck line, stitch one quarter
inch from the edge, beginning at the notch
at the top of the lap and down the facing.
Clip the corner of the facing and turn in
the facing to the right side of the coat to
the depth of the notches. Beginning at
the notch on the right side of the coat, baste the facing from
the neck line to the waist, or the end of the lapel; the right side
of the facing must be turned under toward the coat far enough
so that the plain seam does not show. From the bottom of the
H
JRE 293


272
FROM THIMBLE TO GOWN
Sood
they will hold their shape. Smoothly rolled lapels and collar and
good firm edge lines are more than half the battle in making a
tailored garment. Cut the facings by the muslin pattern and use
the muslin facings for the interfacings. The interfacings are placed
on the wrong side of the front of the
coat, pinned and basted, and held in
place by diagonal basting stitches
which are invisible from the right
side of the coat as in Figure 293.
Hold the lapel facing firmly over the
hand with the interlining on top, and
in stitching roll and shape the lapel
the direction in which it is to be when
finished. Trim the edges of the in-
terfacing one-quarter inch from the
edge. Place the right side of the coat
facing to the right side of the coat
and pin together.
Baste from the neck line down, and
from the neck line in, to the depth of
the notches, and stitch; following the
interfacing, one-quarter inch from the
edge, beginning at the notch, stitch
down the facing. Clip the corner,
dampen, and press the plain seam
FIGURE 294
open. Turn the facing to the right
side. Beginning at the notch, hold the plain seam under, so
that the seam cannot be seen from the neck line to the waist
or the length of the lapel as in Figure 294. From the bottom
of the lapel turn the plain seam in the opposite direction so
that the seam line does not show on the right side of the coat.
Dampen the facing and press, using a pressing cloth (page 282).
Baste the raw edges of the facing to the coat.
pooooooooo
ooooooo
eoooooo.


THE FINISHED GARMENT
273
Make tailored collar (pages 84-85). Make the sleeves (pages
92–94). Set in the sleeves (pages 94–96). Make the cuffs
(pages 101–102). Establish the hem line (pages 64–65). Make
the coat hem. Mark the hem two inches in depth from the estab-
lished line and cut off any excess fabric. Baste the hem in place,
taking care to match the seams. The bottom of the facing is cut
one-quarter inch below the
creased hem line, and the inner-
lining at the bottom of the fac-
ing is cut exactly at the creased
line (I). With small bastings
turn the creased fold back of
the facing, and baste just above
the creased line. Turn in a
small hem along the side of
the facing, the distance that
overlaps the hem. Cut out
the hem of the coat that comes
under the facing one-quarter
inch from the finished edge of
the facing (II). Baste the
facing to the bottom of the
coat, so that the folded edge
of the facing and the coat just
I
meet. Dampen and press with
FIGURE 295
a pressing cloth. Sew the fac-
ing, that has been basted to the coat, securely in place with small
diagonal basting stitches (page 5). Sew the raw edge of the
facing and hem in place with the catch stitch (page 11).
Make the pockets that are in keeping with the type of coat
desired (pages 104–114). Make buttonholes (pages 128–136) and
sew on buttons (pages 137–139) that are suitable to the fabric and
type of coat. Make and sew in lining (pages 119–123).
Oooood
Moa


CHAPTER XII
CLEANING, PRESSING, AND SHRINKING
Cleanliness is next to godliness.
— JOHN WESLEY
MEDA N
CLEAN garments are economical. Clean
u fabrics wear longer than soiled ones.
Clean garments give a personal satisfaction
and have a psychological reaction on the
senses.
There are two general methods of cleaning :
dry cleaning and washing. Silks and wools
are usually dry cleaned, while cottons, linens,
and rayons are most often washed. Experi-
ment first with a small piece of the material to ascertain which
method to use, and shake or brush the garment well before
cleaning.
1. The CLEANING OF GARMENTS
69. Dry Cleaning. — Dry cleaning was developed in France.
It differs from laundering in that the solvents used are readily
volatile and contain no moisture. Gasoline, naphtha, carbon
tetrachloride, trichloride, thylene, ethylene, and the new “Stod-
dard Solvent ” are used in dry cleaning. All agents except carbon
tetrachloride are explosive, and the vapors are heavier than air
and settle to the floor instead of rising. They should, therefore,
be used out of doors, and never used near a fire. The safest and
most satisfactory liquid for home cleaning is carbon tetrachloride.

274


CLEANING, PRESSING, AND SHRINKING
277
Rice and potato starches give finish and body, but not stiff-
ness. The clothes should be dried in clear air and sunshine, for
these two powers whiten and purify the clothes. Clothes should
never be allowed to freeze, as frozen fibers will break with the least
bending. Sprinkle the clothes evenly, and let them stand until
the moisture is evenly distributed.
Ironing. — Iron directly on the fabric with strength and firm-
ness, and follow the warp thread up and down the garment.
Linen should always be ironed on the wrong side to preserve the
rough finish of line. Embroideries and laces should be ironed on
the wrong side over a soft pad to bring out the design. The iron
should be lifted up and down, pressing a small portion at a time, so
as to keep the pattern in position. Tucks are ironed lengthwise
until dry. In ironing ruffles, iron the edge of the ruffle first and
then turn the point of the iron toward the gathers. In ironing
garments, always iron the cuffs, collars, sleeves, front, then the
back.
71. Washing Special Materials. Rayon. — Rayon is washed
like cotton but should be handled with greater care, for the fibers
are weakened when wet. To remove water, it should be squeezed
but never twisted. Rayon should be dried upon a flat surface
when possible, or evenly hung over the line and ironed with a
warm iron on the wrong side after it is entirely dry. Acetate
rayon will melt under a hot iron.
Silk. — Silks are always washed in tepid water, as hot water will
turn the fiber yellow. They should be dipped and squeezed but
never rubbed. They should never be starched or blued. A mild
flake soap is advisable to use in washing silks. After the silk has
been thoroughly washed, it should be rinsed in water of the same
temperature. Squeeze excess water from the silk and roll in a
Turkish towel. Iron with a warm iron on the wrong side when
almost dry. This method will preserve the luster and make silk
look like new.


278
FROM THIMBLE TO GOWN
Wool. — Before washing a knit wool garment, brush it thor-
oughly to help remove the dirt. Then lay it out flat on a paper
and make an outline of its shape. This same outline will serve
for future washings also. After washing the garment, place it on
the paper, shape it to fit the outline, and leave it until it is dry
enough to press.
Wool should be washed in soft, tepid water with a mild flake
soap or pure naphtha soap; and through the entire process of
washing and rinsing, the waters should be kept at the same even
temperature. If soft water is not attainable, add one tablespoon
of borax or ammonia to each gallon of water. Borax is best for
colors; dissolve it in a little hot water before adding it to the
wash water.
Never put woolen fabrics into hot water or hot suds, but re-
member that the warmer the water, the more likely the colors are
to run and the material to shrink. Always use enough mild soap
to maintain rich suds, otherwise a greasy deposit of lime soap is
left, giving the garment a spotty appearance and a dingy cast.
When the suds are ready, put the garment in and start washing
at once. Colored fabrics should not be soaked even for a short
time; nor should white garments that have colored trimmings,
for they are likely to become streaked as well. The garment
should be washed by squeezing the suds through and through,
but should never be rubbed. If there are any very soiled spots,
squeeze the suds through these portions repeatedly. Do not
allow the weight of the wet garment to pull it out of shape or to
tear the sheer yarns in the daintier garments. Wash badly soiled
pieces several times in clean suds. The fresh appearance so
much desired cannot be expected if the suds are dirty. Plenty
of clean suds are necessary in order to get fresh, soft woolens.
Wool should be rinsed in tepid water to which has been added
enough soap to make it look milky. After rinsing, squeeze the
excess water out, roll the garment in Turkish towels, and then


CLEANING, PRESSING, AND SHRINKING
279
twist them to absorb as much water as possible. Press as soon
as sufficiently dry. The whole washing and drying should be
done as quickly as possible. When wet, the wool expands and the
projecting edges loosen, but when drying, they interlock, drawing
the fibers closer together. There are five main causes of shrink-
ing: strong soap, hot water, alkalies, much rubbing, and a hot
iron.
Flannels. — Flannels should be soaked for a few hours in cold
water and then washed in a warm soapy (mild) solution. Dry
in a windy, shady place, if possible. This method will not
harden or shrink the flannel.
72. Method of Bleaching Linens. — The old Irish method for
bleaching linens and white cotton is both simple and effective.
Wet the linen in buttermilk and place in the sun until it is bleached
to satisfaction. Wash and press carefully. The article will be
snowy white. Old linens and cottons may also be treated in this
manner, or by soaking them overnight in a solution of pine
clay and warm water. Wash and boil them the next day in the
usual way. Silk and wool may be kept white by using in the
rinse water each time one teaspoon of hydrogen peroxide diluted
in a quart of water. Almost any kind of stain on white fabric
can be removed by the following method: Dissolve two pounds
of sal soda in two quarts of water and boil until dissolved. Add
one can chloride of lime. (This solution will keep indefinitely.)
Soak the article fifteen minutes, rinse well, and boil. This solu-
tion will not hurt the fiber if it is rinsed well.
73. Setting Colors. — Will it fade? This question is difficult
to answer because of the many different dyes, methods used in
dyeing, and the power of the fiber to hold the dye. Fibers may
be compared to tiny tubes that hold the dye within them. The
tubes are seldom able to absorb all the dye in the dye bath.
When high, vivid colors are desired, the excess dye forms layers
around the fiber. In washing, many think the material is fading


CLEANING, PRESSING, AND SHRINKING
281
the garment out of the sunlight. The garment must be wet
before dipping it into the coloring solution.
2. PRESSING
As neat as a bandbox.
76. Tools. — Pressing removes wrinkles, crinkles, and creases;
and nothing gives more life to a garment than pressing. Press-
ing should begin with the construction of the first seam, as it
blends the garment together and gives a finished appearance.
Ironing Board – The ironing board should have a smooth,
firm, and well-padded surface. This padding should be made by
layers of felt, flannel, or table wadding and be large enough to
cover the entire board. A fine grade of canvas is splendid for
ironing-board covers, or a heavy grade of unbleached muslin
may be used. Several strips of straight tape are sewed at
even distances along the sides of the padding and muslin covers to
hold them in place. The removable covers may be conveniently
laundered.
Sleeve Board. — The sleeve board is necessary for correct pressing
of sleeves and armholes. It is about two feet in length and tapers
in width from five inches at the upper end to three inches at the
lower end. The sleeve board is padded and covered in the same
manner as the ironing board. If a sleeve board is not available,
a Turkish towel, folded to about three inches in width and placed
inside the sleeve, proves very satisfactory.
Tailor's Cushion. — A tailor's cushion is used in pressing and
shrinking the excess fullness from the darts, the top of the sleeves,
and curved seams. The cushion is made from two pieces of heavy,
firm material, eighteen inches by fourteen inches in size and is
egg-like in shape. It may be stuffed firmly but not solidly with
wadding. Sawdust and sand may be used but are not so satis-
factory.


282
FROM THIMBLE TO GOWN
Pressing Cloth. — The pressing cloth should be of some heavy
firm material, preferably a medium grade of unbleached muslin.
The cloth should be dipped in hot water before using, to remove
sizing. The pressing cloth may be used in either of three ways,
depending upon the fabric. A dampened sponge is used in press-
ing silks. A damp cloth is used in pressing heavy fabrics,
mainly wool. The cloth is dampened by placing one half of it in
warm water. The excess water is squeezed out and the dampened
side is folded over and wrung together with the dry side to dis-
tribute the dampness evenly. To press seams the dry cloth is
placed over the seam and the cloth is slightly moistened with a
sponge, brush, or the finger tips. This method does not cause
spotting.
Iron. — The six-pound iron is most commonly used. Only a
moderately hot iron should be used in pressing, which is the
process of lifting the iron gently over the fabric. Press, do not
iron. Work slowly, pressing always with the warp thread. Press
lightly at first until the moisture changes to steam, and then
increase the pressure. Press until the fabric is dry. Keep the
iron moving over the fabric to avoid the imprint of the iron or
scorching. Good pressing removes the “home-made” look of a
garment and will do much to prolong the life of the fiber. The
secret of a well-pressed garment is to press as you sew, and not
after the garment is finished.
77. Method of Pressing. -- Fabrics not made up are pressed
on the wrong side, while finished garments should always be pressed
on the right side so as to conceal folds and ridges. Most materials
are affected by heat and moisture. A piece of the material should
always be tested to determine the effect of heat and moisture on
the fiber.
Long seams are always pressed on the ironing board. The
short seams are pressed on the sleeve board, while the top of
sleeves, darts, and curves are pressed on the tailor's cushion. The


CLEANING, PRESSING, AND SHRINKING
283
seam around the armseye is always pressed toward the sleeve,
using the point of the iron. Shoulder and underarm seams are
pressed toward the back of the dress, except when plain seams are
desired. Bias seams are pressed from the wide to the narrow part.
78. How to Press Various Fabrics. Cotton. — Cotton may be
pressed on the right or wrong side.
Linen. — Linen should always be pressed on the wrong side to
preserve the rough appearance on the right side, except on table
linen where a gloss is desired. In this case iron half dry on the
wrong side and finish ironing dry on the right side with a very
hot iron. If a high gloss is desired, dip the linen in very hot
water and run through the wringer. Fold smoothly and roll in
a Turkish towel for a few hours and then iron.
Pile Fabrics. — Pile fabrics may be pressed on a wire board
made for this purpose. The board is made with a heavy canvas
back and fine wires set close together in a slanting position. Then
canvas is tacked over the wire board. The pile is not injured
when pressed over the wire board as it sinks between the wires.
To remove deep creases, a slightly damp cloth may be placed on
the wrong side of the fabric that has been put on the wire board.
Always press nap fabrics, as broadcloth and panne velvet, with
the nap. Nap fabrics should be steamed, and this may be done
successfully at home. Use a one-gallon can having a spout. Fill
the can half full of water and screw the cap on tight. Place a
five-foot rubber tube over the end of the spout. A strong steam
will come from the end of the rubber tube when the water boils.
Place the garment on a hanger and hold the end of the rubber
tube to the garment, moving it lightly back and forth until the
wrinkles are steamed out. Then brush the pile lightly with a
whisk broom. Seams may be pressed by placing a wet cloth over
a hot iron turned upside down. Hold wrong side of the seam over
the steaming cloth. This method may also be used to raise the
nap in velvet.


284
FROM THIMBLE TO GOWN
Silk and Rayon. — À warm iron should be used on silk because
a hot iron weakens the fiber, therefore taking the life from the
silk. Always use a dampened sponge in pressing, and press on
the wrong side. Tissue paper may be used over the silk.
Wool. — Wool should be pressed with a damp cloth and requires
more pressing than any other fabric. A cloth of new cambric
muslin gives a degree of stiffness that lends a newness to the
fabric. The same cloth may be used several times for this
purpose. A colored pressing cloth should be used on dark fabric
to prevent lint from showing. Wool may be satisfactorily pressed
by dampening with a damp sponge and placing a piece of cheese-
cloth or wrapping paper on the fabric before pressing. In
shrinking, press the fabric lightly so that the steam will circu-
late under it. The shine may be removed from woolen fabrics
by rubbing with a fine emery paper, teazel, or by using a pressing
cloth which has been dipped in water containing a little witch
hazel or vinegar (two tablespoons to one pint of water) or a tea-
spoon of ammonia. Stop pressing before the fabric is dry and
brush with a bristled brush.
. 3. SHRINKING
The long and short of it.
Will it shrink? All fabrics shrink some, whether it is notice-
able or not. The amount of shrinkage will depend upon the
treatment that the fiber has received. The fibers may have been
stretched before and after weaving and, since fibers are affected
by hot and cold solutions, the fiber will regain its original size
or shrink noticeably. For this reason all fabrics should be
shrunk carefully before being made up. Garments that have
not been shrunk, or are not large enough to allow for shrinkage,
cannot be re-dyed because the hot and cold dye baths in the process
of dyeing affect the fiber, causing it to shrink.


286
FROM THIMBLE TO GOWN
is thoroughly dampened. Then press carefully, first on one side
and then on the other, still keeping the fabric folded. Press with
the warp thread until thoroughly dry.
4. THE REMOVAL OF STAINS
Out, out, I say! — SHAKESPEARE
Stains are unlike dirt marks in that they have penetrated the
fibers instead of being held on or between them. The five dif-
ferent kinds of fibers composing fabrics cannot be treated the
same because, generally speaking, the vegetable fibers — cotton,
linen, and rayon — are not injured by alkalies but are by acids.
When acids are used, therefore, they should be neutralized
by weak ammonia. Wool and silk are injured by alkalies, and
even washing sodas or strong alkaline soap often seriously injure
these fibers. A mild washing soda, therefore, such as borax or
diluted solutions of ammonia, should be used. Acetic acid will
often restore a color that has been changed by alkalies. Wool
and silk are not injured by acids. Each “spot" is a different
problem and requires special consideration because of the
different fibers and the 1500 varieties of dyestuffs. The nature
of the stain and fiber should be known, if possible, before its
removal is attempted, because this determines the treatment.
The stain remover and the method used should be as mild as
possible and should be repeated until the stain has entirely
disappeared. When acids are used on vegetable fibers, they
should be neutralized by weak ammonia.
The chief difficulty encountered by the inexperienced are the
ring formation and the roughening of the fabric. Rings are
caused by the excess dressing of the fabric which runs back into
the edge of the damp portion and is deposited there as the fabric
drys. Or the fabric may be soiled, in which case the cleaning
agent removes any foreign matter as well as the stain. Care


CLEANING, PRESSING, AND SHRINKING
287
should be taken to sponge the soiled spot with the least possible
amount of cleaning agent. If a small quantity of salt is added
to the cleaning agent, it will also help to prevent the customary
ring, through absorption. After the spot is removed it is well
to go over it lightly with a moist sponge or cheesecloth, absorb-
ing the surplus liquid and barely dampening the surrounding
fabric enough to spread the dressing out in an irregular indis-
tinct line. It is sometimes helpful to go over the spot with a
tintless sponging cloth barely moistened in denatured or wood
alcohol. Alcohol affects some colors, so one must be careful to
have the cloth just damp. When it is impossible to prevent
rings, the entire garment will have to be cleaned.
Rapid drying should always be practiced in drying stain
removals, especially when there is danger of ring formations.
When the fabric becomes rough after the removal of stains, it is
due to too harsh treatment when being sponged.
79. Removing Agents. — There are four agents used in stain
removing, and they should be used as quickly as possible so that
the chemical is not left on the textile fibers any longer than
necessary.
Washing. — Water is used with soap, soapbark, ammonia,
borax, or washing soda. Water should be used first on all materials
that do not spot or fade. To remove stains, never use hot water
on wool and silk as it turns it yellow, shrinks the wool, and
injures the finish of the silk. Most rayon is weaker when wet
than when dry, and boiling is likely to decrease its luster. Pre-
caution must be used, as water may spot the fabric or cause the
color to run. Yellow naphtha soap may be used in the wash
water for all washable and colored fabrics and will remove the
majority of stains.
Solvents. — The solvents are water and such liquids as chloro-
form, ether, carbon tetrachloride, gasoline, naphtha, benzine,
kerosene, turpentine, and wood or denatured alcohol. Most


CLEANING, PRESSING, AND SHRINKING
291
vu.
article with hot water, apply a solution of ten grains of oxalic
acid and one pint of water, and rinse well. Diluted ammonia
can also be used on cotton, linen, and rayon. Fruits are acid and
the stains must be counteracted with an alkali. Acetic or
oxalic acid may be applied to blue or gray stains after boiling
water has been added. This restores the original color and
renders the stain more easily soluble in boiling water. Stable
hydrosulphites or potassium acid oxalate, commonly known
as “ salts of lemon” or “salts of sorrel," are very satisfactory
for removing stains in white fabrics. Treat stains with boiling
water and then boil them in a solution of oxalate acid.
Grass. — Use ether, wood or denatured alcohol, or milk on all
fabrics. For cotton, linen, and rayon, use ammonia and
wash in a soda solution, or molasses, or equal parts of hydro-
gen peroxide and ammonia. For all washable fabrics use
kerosene, or naphtha soap. Traces of stain may be bleached
out with javelle water or potassium permanganate. A dry
paste of soap and baking soda may be made and allowed to dry
on the fabric, repeating the applications until the stain has
disappeared.
Grease. — Use any spirit, gas, carbon tetrachloride acetone, or
benzol for all fabrics. Use alcohol on all unwashable fabrics.
For cotton, linen, and rayon, apply lard and wash first in cold and
then in hot, soapy water; or cover the spot with fuller's earth,
magnesium carbonate, starch, or French chalk; then place the
spot between blotting paper and apply a hot iron.
Ink. — The compositions of ink are so varied that one method
will not remove all spots.
1. India ink. — Apply wood or denatured alcohol, glacial
acetic acid, chloroform, or gasoline.
2. Marking ink. — Moisten with a few drops of tincture of
iodine, sponge out, and then remove with a solution of sodium
thiosulphate made by dissolving several crystals in half a cup of


292
FROM THIMBLE TO GOWN
water. Corrosive sublimate (poison) in dilution is very effec-
tive, but because of its poisonous nature, care must be taken to
keep it from the fingers and to remove all traces of it from the
vessel used. Javelle water may be applied for white cotton or
linens. Soak the stain in ammonia solution and launder well.
3. Printing ink. — Rub the stained place with lard, working
it well into the fibers, then launder with a strong soapy solution,
or soak a few minutes in turpentine, then sponge out with
chloroform, ether, or wood alcohol.
4. Writing ink. — Sour milk can be used on all fabrics. For
all fast-color fabrics, alternate oxalic acid and javelle water, a
few drops at a time. For all washable fabrics, either soak in a
strong salt-water solution and rinse in a strong solution of
ammonia, or moisten the ink spot and rub with salt, cornmeal, or
sugar, then wash in cold water. For cotton, linen, and rayon
either use salt and lemon, or rub ordinary laundry soap on the
spot, wet with kerosene and then peroxide, roll the article, and
let stand one hour. White cotton, linen, and rayon can be
treated with ordinary laundry soap rubbed on the spot, then wet
with peroxide, and the spot held over steam from the iron or tea
kettle. For cotton, linen, and rayon of fast colors, use lemon
juice and sunshine. For red ink use cold water followed with
ammonia, or javelle water, or hot ammonia and alcohol.
Iodine. — Wash all washable fabrics immediately with cold
water and sponge with chloroform, denatured or wood alcohol,
or an ammonia solution. Sponge in sodium if desired. This
sulphate consists of one tablespoon of sodium to one pint of water,
or sodium sulphate. Wash cotton, linen, and rayon in hot,
soapy water. On unwashable fabrics, steam the iodine spot
until the stain has disappeared, or apply hot ammonia and
hyposulphite of soda.
Mildew. — Use alcohol on all fabrics, or ammonia followed by
vinegar, or powdered chalk and sunshine. White rit can be


CLEANING, PRESSING, AND SHRINKING
293
used on white fabrics. For fast colors of cotton, linen, and rayon,
use either lemon juice, salt, and sunshine, or a solution of one pint
of javelle water to one gallon of soapy water and soak the mildewed
fabric in it, or rub soap on the spots, then a little chalk and
dampen with lemon juice. Mildew is the hardest of all stains to
remove, and a most satisfactory way to remove it is to use two
tablespoons of chlorox in one quart of cold water, rinsing thor-
oughly. Old and persistent stains may also be removed with
potassium permanganate. A 10 per cent solution of oxalic acid
will remove some forms of mildew.
Oils. — There are three methods for cleansing all fabrics of
oils : gasoline, alcohol, ether, chloroform, or naphtha; carbon
tetrachloride; or place the spot between blotting paper and apply
a hot iron. Turpentine can be used on all washable fabrics, and
soap and water on cotton, linen, and rayon.
Paint and Varnish. — All fabrics can be treated in a variety
of ways: Rub with oil, lard, or butter and wash in a strong
soapy solution; use benzine, carbon tetrachloride, chloro-
form and alcohol, or gasoline (for delicate colors use chloro-
form); or apply equal proportions of turpentine and ammonia
to the spot, scrape the loosened paint, and apply ben-
zine; or wash out in soapsuds. For all fabrics except
rayon, soften with amyl acetate and remove with gasoline.
Turpentine can be used on all washable fabrics. Equal
parts of benzine and acetone and alcohol are also very good
removers.
Perfumes and Perspiration. — Perspiration, if not immediately
removed with plain water, will weaken the fibers, and the acid in it
may form a permanent stain and remove the color of the fabric.
Wash cotton, linen, and rayon in tepid, soapy water. Use de-
natured alcohol on all other fabrics. Hydrogen peroxide,
javelle water, or potassium permanganate can be used for cotton
and linen.


294
FROM THIMBLE TO GOWN
Rust. — Iron rust is soluble only in acids, and it is therefore
difficult to remove iron rust from colored fabrics, as the acid used
removes the color. A solution of cream of tartar and boiling
water is good for cotton, linen, and rayon. Lemon juice, salt, and
sunshine can be used on all fabrics. Boil four tablespoons of
cream of tartar and one pint of water, and pour over the stain
on all washable fabrics. For cotton, linen, and rayon fabrics
of delicate colors, use javelle water. For silk and wool, use diluted
hydrochloric acid, and for cotton and linen, use oxalic acid.
Hydrochloric acid is an excellent agent but is very corrosive
and should be handled with a great deal of care.
Scorch. — There are several ways to treat all fabrics : dampen
the spot and place material in hot sunshine; rub the scorched
spot with soft bread crumbs; and for all washable fabrics, rinse
in soapy, tepid water, apply white vaseline, and dry in the sun-
shine. Fast colors of cotton, linen, and rayon may be treated by
moistening a cloth with hydrogen peroxide, placing it over the
scorch, and, placing a dry cloth over it, pressing with a warm
iron. Precaution: Do not iron directly on cloth moistened with
peroxide or moist fabric after dry cloth has been removed. If
this is done, the iron rust stain remains on the garment. If the
body of the fabric is burned, it is impossible to remove the scorch.
Soft Drinks. — Such stains are usually classed as tannin stains,
and should be washed out in plain water immediately, as the fibers
in the fabric are affected by tannin. It produces a yellow or
brown color when exposed to alkalies and heat, and cannot be
removed without injuring the fabric. Sponge all fabrics with clear
warm water or denatured alcohol. Use boiling water on dry
spots in cotton, linen, and rayon. Wine spilled on any fabric
may be removed by putting salt on the spot, if it is done
immediately.
Stamping Marks on Embroidery. — Wash cotton, linen, and rayon
in tepid, soapy water. Sponge all fabrics with denatured alcohol.


296
FROM THIMBLE TO GOWN
82. Brushing and Airing Clothes. — Before returning any
garments or other wearing apparel to the closet, give everything a
thorough brushing: hats, clothes, and shoes. Take all those
little stitches, that, “taken in time, save nine.” Get under
collars and cuffs; get into the corners of plaits; turn pockets
wrong-side out. And whenever the weather permits, do all this
brushing out of doors, because the rays of sunlight have cleansing
powers.
83. Dressing Up Closets. — A closet can be made very
attractive nowadays, especially if a girl likes to sew and make
things herself — cretonne- or wall-paper-covered shoe boxes for
her shoes and stockings; matching covering of the hatboxes on
the shelves (with fronts of the boxes cut so that they may be
dropped down for convenience in reaching a hat) or covered,
cone-shaped standards upon which the hats may rest; long
muslin bags for the best ” dresses and little shoulder covers of
cretonne for the others, so that each dress is kept separate from
every other. A complete color scheme may be worked out, so
that the closet will harmonize with the bedroom.
Hangers, too, may be dressed up, with sachet pads sewed on
them for faintly scenting each garment. An ideal hanger is one
with a covering of soft, webbed material, to keep the garments
from sliding off.
Such a closet is worth striving for. For clothes, you know,
take on a charm from attractive surroundings.


CHAPTER XIII
ORIGINS
1. Origin OF TOOLS OF SEWING
Be not the first by whom the new are tried,
Nor yet the last to lay the old aside.
– POPE
DAR back in the dim corners of old attics,
T or in museums, here and there, stand the
spinning wheels and the looms upon which
your great-grandmothers spun the yarns and
wove the coverlets that lay on the canopied
beds of colonial days. It was their task to
spin as well as bake, and under their agile
fingers the flax or the wool became thread or
yarn, which in turn was made into cloth for
household linens and clothing for the family. And many an old
sampler today shows the uneven stitches made by little fingers
in their first lessons in the art of sewing.
But the beginning of the nineteenth century, with its machines
and its fast-growing cities, brought new methods in the produc-
tion of textiles and clothing. With tremendous speed machines
made the cloth that used to be home-made; and girls went
into the mills to work, instead of staying at home and learning to
sew by hand. Before long the lovely hand-made carpets and
coverlets, linens and homespuns, were put away in the attic
chests, or given away, and “store” products were bought instead.
For many, sewing became a lost art.
297


298
FROM THIMBLE TO GOWN
When a girl marries and has a home of her own, however, she
has need of a knowledge of sewing, and it became evident that
somehow and somewhere she must be taught something of the
arts of this handicraft. The solution seemed to be in the school.
In 1854, the women of Boston, with the financial aid of a wealthy
Bostonian, succeeded in having sewing taught in the schools.
From such a small beginning has grown the domestic science
courses of our modern schools, up and into the doors, even, of
o our colleges; so that today, no girl's
education is perfectly rounded out un-
less she has acquired enough knowledge
of homemaking to cook a little, to sew
a little, to purchase articles intelli-
gently, to know what is proper to do
and to wear, and to budget her time
and her money. A girl may well be
proud of her ability to make her own
clothes, or alter those she buys so that
they may be individual and distinctive.
Scissors. — The words “shears” and
Scissors from the 10th to "scissors," although derived from dif-
14th centuries.
feront roots have practical
original meaning. “Scissors” comes from the Latin "scindo,"
meaning “to part” or “divide,” while the word “shears” is
traced back through the old English “seeran," meaning “to cut”
or “clip,” to the old Teutonic root“skar," "to cut.”
All the earlier forms of shears and scissors resembled the
modern scissors. Bronze scissors were made as early as 1500 B.C.
by the Chaldeans and Egyptians. Steel scissors were made by
the Romans about 800 B.C.
Pins, Common. — The earliest forms of pins were thorns, fish-
bones, pine needles, and the like. Later on, women changed
these natural forms into more effective tools by sharpening the
UMARRERAS
BLOLARARLIMAUTE


ORIGINS
299
initud dimilitum
points and smoothing the surfaces. Still later, metal pins were
fashioned. Pins of bronze and copper have been found in ancient
Egyptian tombs.
In Europe, metal pins were first made in the fifteenth century.
They were very expensive, as they were fashioned out of precious
metals by hand. Common pins were made in two pieces: the
head, a spiral coil of wire, soldered to
a metal shank. When one of the
ladies at the court of Henry VIII cut
herself on one of the coils, the king
ordered all pins to be made of one
piece.
The origin of “pin money” belongs
to this period when a certain amount
of money was set aside by each woman
at the first of the year for her supply
of pins.
Pins, with perforated heads,
Safety Pins and Fancy Pins. — The
from Upper Austria and Italy,
and primitive fibulae derived
use of the safety pin dates back to from them, supposedly, from
the early Egyptian, Greek, and Roman Sweden and Northern Italy.
days. These pins were hand-made of gold and silver, practically
in the shapes of those used today. In some cases they were cov-
ered with jewels, examples of which, discovered in archeological
excavations, are found in museums throughout the world.
The safety pin used today is strictly a triumph of American
genius. It was made first, in 1804, with the guard on only one
side of the pin, but improvements have been made at various
times since.
Needles. — Needles are not a modern invention. The steps
in the development of the race can be traced from primitive to
modern times by the forms and materials of needles.. Eyeless
needles of thorns, ivory, bones, or fish-bones were used by all
early people who wore skins or woven materials for clothing.


302
FROM THIMBLE TO GOWN
with land
made chiefly of wood, about eighty were being used in Paris in
1846, making army clothing, when an infuriated crowd wrecked
the establishment. Thimmonier was not discouraged and in
1845 he patented a machine made entirely of metal, a great im-
provement over the first model. But the troubles of 1848 blasted
the hopes of this inventor. He
sold the patent and died in
1887, unfriended and unre-
warded.
Elias Howe, a native of
Spencer, Massachusetts, di-
rected his attention to
machine-sewing about 1843.
In 1844, he completed a rough
THIS SEWING MACHINE, "embellished
model, and in 1846 patented
the first premium and medal at the New his sewing machine. Howe
York State Fair in 1857. Its price was
was the first to patent a
$15.00.
lockstitch machine, but his
invention had two other essential features: the curved eye-
pointed needle and the under-thread shuttle, invented by Walter
Hunt, twelve years previously. Howe's invention was sold in
England to William F. Thomas of Cheapside, London, a corset
manufacturer, for 250 pounds. Thomas secured the English
patent in his own name in December, 1846, and engaged Howe
on the basis of weekly wages, to adapt the machine for his
manufacturing purposes. The career of the inventor in London
proved unsuccessful, and, having pawned his American patent
rights in England, he returned in poverty to America in
1849.
The most prominent of the manufacturers, and inventors, ulti-
mately appeared in Isaac Merritt Singer (1811-75) who in 1851
secured a patent for his machine. Elias Howe, hoping to estab-
lish his rights, regained possession of his pawned patent and


304
FROM THIMBLE TO GOWN .
boxwood. Combs were made in beautiful designs, often ex-
quisitely carved and jeweled. Many of the decorative combs
worn today are made of tortoise shell.
Cravats. — The cravat was origi-
nally a scarf. The word is from the
French name “cravat,” a corruption
of “Croat.” This was the name
given by the French in the time of
Louis XIV to the scarfs worn by
Croatian soldiers in the royal regi-
THIS STONE-AGE COMB was ments. The scaris were usually OI
made by placing sticks close to- linen with broad edges of lace. They
gether and holding them firmly homofochionohla throughout ronno
y became fashionable throughout France
in position by a wooden clamp.
and the fashion spread to England.
The Fan. — The fan has an interesting history. The first fan
was probably a palm leaf used by man to keep away flies and
gnats. In Egypt, 2000 years ago, fashionable hosts had servants
to stand behind dinner guests and fan them with papyrus. The
fans were semi-circular, made of leaves
and feathers attached to a rigid handle of
wood, ivory, or painted sandalwood.
The custom of carrying fans soon spread
from Greece and Rome to other parts of
Italy and Europe. Venice, quick to grasp
the opportunity to produce beautiful
things, began to construct fans of ostrich
"CRAVATE À L'AMERI-
feathers. France and Spain followed suit, caine," from a French
and the fan became an important article book published in 1829,
called How to Tie the
of dress.
Cravat.
The invention of the closing or fold-
ing fans is accredited to China and Japan. They were made
of ivory, turquoise, or mother of pearl slats, combined with
wood, gold, silver, and sometimes silk and skins.


ORIGINS
307
is
Queen Elizabeth was especially fond of fine gloves and proud
of her beautiful hands as well, and it has been said that during a
single interview, she was known to put on
and pull off her gloves a hundred times.
People of the court gave her numberless
pairs of gloves exquisitely perfumed. Many
were made to special order and were em-
broidered with gold and silver threads with
tiny jewels worked into the designs.
In France, under
Louis XIV, gloves of
kid made their appear-
ance. The women also
wore gloves of knitted
silk.
Today, glove making
ONE OF QUEEN ELIZA-
BETH'S GLOVES, worn in
is one of the established 1566. It is half a yard
productions of modern long and is made of fine
white leather worked
manufacturers, and
with gold thread, edged
gloves are as constantly at the bottom with yel-
low, and lined in the
changing in style as cuff with drab silk.
costumes themselves.
Hairdressing Styles. — As far back as we
have record, men and women have carefully
LADIES' HAIRDRESSING dressed and decorated the hair. Some styles
was at its “height"' about
were intended to be purely ornamental,
1780. Headdresses
were from one to three while others indicated the age or rank of
feet high, and were the wearer. In the ancient times, centuries
decorated with yards of
on, ropes of beads, before the birth of Christ, wigs were in
artificial flowers and general use, elaborately coiffured. Medieval
ostrich plumes.
hairdressing became more simple, but be-
ginning with the fourteenth century styles became more elabo-
rate again. Men not only curled their hair but their beards


ribbo
y curled 12 yles becample, but in


308
FROM THIMBLE TO GOWN
as well. From the sixteenth to the eighteenth centuries, mam-
moth hairdressing was the vogue — tall headdresses of lace and
stiffened muslin, huge edifices of curls stiffened so as to hold their
shape. At the beginning of the nineteenth century, styles again
became more simple. Short hair became the style for men, and
women wore their hair in curls, tied back with ribbons. Later
the curls were dispensed with and the hair arranged in a knot on
top of the head. This was followed by the bobbed style of the
present day.
Originally the Chinese wore their hair in a knot on the top of
their heads. When the Manchus captured China, they were
compelled to adopt the pigtail as a mark of bondage. It even-
tually became a popular fashion, and the braids were frequently
lengthened by a silk thread.
Handkerchiefs. — The first handkerchief was a jackal's tail
mounted on a stick. These “handkerchiefs" were used by the
Bushman in primitive times, and served the double purpose of
handkerchief and fan. Other savage races wove little mats of
rushes to wear on their heads and used them to mop away the
perspiration from their foreheads.
The Greeks and Romans had handkerchiefs of small squares of
linen, which they carried tucked beneath their girdles.
The development of the handkerchief was rapid, and in France
in the seventeenth century it reached an elegance hardly con-
ceivable. Handkerchiefs were made of hand-wrought laces
sometimes studded with jewels. In the eighteenth century,
women began to use colored handkerchiefs. Louis XVI, in-
spired by Marie Antoinette, issued an edict causing handker-
chiefs to be made square, rather than oval, round, or oblong, as
the individual saw fit.
Hats. — Hats were intended originally as a protection from
the sun or cold. Later they became ornamental and deco-
rative.


ORIGINS
309
The first form of the hat was the turban, taken from the
Oriental countries, and had great distinction of style.
The headdress of the fourteenth and
fifteenth centuries was introduced into
France by Isabelle of Bavaria. It was
a large-meshed fillet, tall and conical in
shape. It is said the reason Isabelle
introduced this hat was because she had
lost her hair and disliked wigs. Another
type of fifteenth-century hat, which was
worn in England, was an extravagantly
trimmed bonnet resembling an infant's capi
and was worn by both men and women.
Catherine de' Medici and Mary, Queen
of Scots, introduced the custom of the HEADDRESS introduced by
Isabelle of Bavaria.
mourning bonnet which still prevails.
The “Fontanges headdress” was so called after the Duchess de
Fontanges, who, while riding with King
Louis XIV lost her hat, and taking her
ribbon garter, slipped it upon her head to
keep her hair in order. This so pleased
the fancy of the king, that other court
ladies promptly adopted the fashion.
The most fantastic headdress in history
was worn during the reign of Louis XVI
by Marie Antoinette and the ladies in
the court. Following the revolution the
poke bonnet came into popularity. This
shape is still in vogue for children.
HEADDRESS during the
The toque is like the turban with the
reign of Louis XVI.
exception of the brim. The tam-o'-
shanter owes its name to the hero of Burns' poem, “Tam
O’Shanter.” It was first worn by the Scottish plowman.


ORIGINS
311
Ornaments. — It was not long after the origin of dress, that the
idea of ornamenting one's dress was born. Embroidery, bead
work, and fringes appeared on early Egyptian garments. Long
sashes were looped up around the waist or hips, with richly
ornamented ends, heavy with gold and silver and precious stones,
left hanging. Fabrics were often embroidered with precious
stones, — corals, seed pearls, or even colored glass beads as well
as gold and silver spangles. Oftentimes the robes were finished
at the neck with large pendants, engraved with various designs.
Besides these necklaces, many
bracelets, armlets, and anklets HR
of gold and silver and beads
were worn. Much of the
sport jewelry of today goes NECKLACE. – A relic of Palaeolithic
back to these ancient times times, from Barma Grande, Italy. It was
for design.
made of stag canines, fish vertebrae, and
Nassa nerita shells, and was found with
In earliest times, men mo- the skeleton of a young man. Note the
nopolized all ornament. The rhythmical arrangement and balance of
design from top to bottom.
prettiest shells, the sharpest
saber teeth, the most highly polished stone, belonged to them.
The chief and the medicine man were particularly resplendent
in their ornaments and decorations. They were painted and
greased. They wore shells and image idols. They even made
for themselves bracelets of the human hair cut from war
victims.
When man became a hunter, he found that many decorations
were a hindrance to him. Warriors, too, found the ornaments a
hindrance. They could swing a stone ax and wield a great spear
much more easily when their bodies were free from heavy orna-
ments. They gave up everything except their "good-luck”
charm, which they believed would protect them on the battlefield.
The dress of man, therefore, became simpler. Only the chief
and the medicine man, both of whom remained in safe parts of


312
FROM THIMBLE TO GOWN
toun
ke bolsileagle bell
the battlefield and who did but little hunting, continued to wear
many ornaments.
It was when man began to find elaborate dress and decora-
tion a hindrance that woman began to decorate herself. She
found it a pleasant diversion
to sit by the fire and string
teeth on a long fiber to be
worn around her neck. She
liked to make ornaments that
BRONZE Chain, from Lozère, France. — would delight her master.
Chains like this one probably served as
belts, and enjoyed a wide distribution. The
The Thus, while man hunted
form of the Bronze age specimens is char- with his neighbors, woman
acteristic — flat, ribbon-like pieces alternat-
ing with filiform rings.
sat before the fire and kept
the food in readiness for his
return and, while the food cooked in the big iron pot, she made
new things for herself to wear. Woman gradually began to dress
for her own pleasure, as she
still does to a very great extent.
It would seem, however, that
woman adorned herself origi-
nally because of man's vanity,
rather than her own; the
wealthier the man, the more
ornaments she wore.
Parasols. — Sunshades were
well known in Athens, as well
as in Assyria, Egypt, and
Persia, and were carried only
by women. They resembled
the Japanese parasol which we
know, being somewhat flat, 7
and were made of linen or silk The Umbrella being introduced by Jonas
stretched over a framework
Hanway.

V.


ORIGINS
313
NIR
of ribs similar to that in the umbrella of today. The women
of Gaul carried richly ornamented parasols.
During the first half of the nineteenth century, the parasol
almost usurped the place of the fan in milady's favor and seldom
did she emerge for a promenade or drive without her tiny fringed
sunshade. No one knows who made the first umbrella, but we
know that Jonas Hanway was the first man to carry one over
his head to keep off rain, as he walked through the streets of
London. He is said to have used it for thirty
years before it came into general use for this
purpose.
Perfume. — The use of perfume in religious
ceremonies can be traced back to very early
times. The incense which was burned during
these ceremonies spread a pleasing, aromatic
odor throughout the temples. The Bible is
full of references to perfumed oils and oint-
ments.
During the sixteenth century perfumes
uny perfumes L'Amonières. --
The oldest type is
were so popular that gloves were scented and
that of a little bag
even rings had cavities which held perfume. with a cord by which
to open it and hang
Manufacture of perfumes today has become
umes today has become it from the belt.
one of the fine arts, and new odors are being
placed constantly on the market. Milady of fashion may now
match her mood to perfume as easily as she may match a hat to
a gown.
Purses. — One of the quaint customs introduced by the Cru-
saders was the fashion of wearing purses attached to the girdle.
They were called “Saracen almsbags,” but usually held other
things besides coins for the poor. These little purses, or amonières,
remained in fashion all through the Middle Ages and reappeared
throughout the century as one of the indispensable adjuncts of cos-
tume, and were remarkable either for material or for needlework.


314
FROM THIMBLE TO GOWN
SAN
A
Later, in France, the little purse was called the reticule. It
had a flat, bag-shaped appearance and was usually made of silk.
Scarfs. — During the nineteenth and twentieth dynasties in
Egypt (1350-1090 B.c.), the wearing of a long mantle became
fashionable. This was draped, sometimes under one arm and
over the other, sometimes over both shoul-
ders, and fastened in front over the breast.
Later the mantle became a short man-
tilla, which was often edged with fringe.
Though this mantle was worn by Grecian
adies of later days, it was never adorned
with fringe.
The style in mantles varied greatly in
the different countries throughout the cen-
turies. The scarf, or mantilla (borrowed
from the Spanish mantilla), made of silk
or satin was worn about the shoulders, or
thrown over the head, and the ends tied
loosely in front.
During the second quarter of the nine-
teenth century, mantles were made of
various materials according to the season,
Veil, worn by a Gre- often trimmed with fur for winter wear.
cian lady, about to per- The Veil. — The veil, like the glove and
form funeral rites.
the walking stick, belongs to antiquity. In
ancient Greece veils were worn to distinguish different ranks,
and to distinguish the free women from the slaves. Often the veil
was a symbol of reverence, bereavement, matrimony, or service.
These veils were more often worn as head-coverings than face-
coverings, and were made of silk or linen, often embroidered.
Women adopted the veil as a fashion to enhance their beauty
during the Middle Ages. During the early nineteenth century
nose veils were considered very fashionable. With the advent


ORIGINS
315
of the automobile, great veils of chiffon and gauze came into
style, only to disappear as the closed car came into vogue.
Today the wisp of a veil is only a whim of fashion.
The Walking Stick. — The walking stick, or cane, has a history
that reaches back to Biblical times, for the Hebrews carried long,
hooked sticks like those of shepherds.
The young Athenian dandies carried walking
sticks. Some were long, like those of the
Hebrews; some were short, like the modern
riding crop.
In Europe, after the age of chivalry, the
walking stick gradually took the place of the
sword. Its use, however, did not become gen-
eral until the time of Queen Elizabeth. Under
Louis XIV, the walking stick was introduced
into the French court. Men and women alike
carried long, slender sticks.
Coats, Jackets, and Cloaks. — The ancient
Asiatic people were the first people to wear
another garment over their pantaloon-like A CANE as part of
dresses. It was made like a vest and fell in the costume of an
many folds below a girdled waist.
Athenian youth.
The women of Phrygia wore long, straight, close-fitting tunics
with sleeves reaching to wrist or elbow, and large mantles of rich
material over their shoulders.
In Greece about 600 B.C. the people wore a rectangular piece of
woolen material sufficiently large to wrap about the body. This
was known as the “peplos.” The Doric “chiton” resembled the
peplos to a certain extent, except that it was more ample and of
softer and finer material and fell in numerous folds.
The garment that was worn by the Greeks in rainy or cold
weather was a mantle which covered both the head and shoulders,
thus serving as a head-covering and cloak combined. Another


316
FROM THIMBLE TO GOWN
garment which was often worn by the women of Greece was called
the “diploidion.” This was a square or oblong piece of material
of varying size, resembling our shawls. It was folded double and
generally wrapped around the figure so that the center of the
material came under the left arm. It was fastened by clasps.
The shape of the garment was considerably modified by fashion,
and in later times it became a narrow slip hanging from the
shoulders, resembling a semi-fitting jacket.

הננננננננננננננננעשינו
0133
Costumes. — A Phrygian lady, a Dacian man, and a Grecian lady.
About the same time, the “chlamys” was introduced for the
men. It resembled the women's cloaks except that it was smaller
and fastened on the opposite shoulder.
In the first century A.D. the Gallic women of Rome began to
wear the “palla” or “stola.” This was a loose-fitting jacket-like
garment, gathered in at the waist with a girdle. Later, the palla
was replaced by the mantle which was draped around the figure.
It frequently took the form of a full cloak, open in front and
secured by a large clasp or brooch. Gold tissue was a favorite
material for this mantle, but when occasion demanded, heavier
stuffs were doubtless used. Until the tenth century, mantles of
various shapes and sizes were the style.


ORIGINS
317
At the time of the Crusaders, a tendency toward severity set in,
and in the eleventh century both men and women adopted the
"bliaud” – a long straight garment with
large loose sleeves resembling the present-
day kimono sleeve. Our modern garment,
the “blouse,” has preserved the name of
“bliaud.”
It is this garment, no doubt, which in
the thirteenth century was changed into
a “surcoat.” These simple and severe
costume effects, which came in during
the period of the Crusades, proved to be
only temporary,
and from the
eleventh century on
cloaks became more
artistic.
During the thir-
teenth century, a
THE CHLAMYS
fitted tunic came
into use known as the “cote” or “cotta.”
A sleeveless garment (surcoat) was worn
over this. This surcoat soon merged into
the close-fitting, long-sleeved jacket which
we know today.
The fashion of colored robes was devel-
oped in the fourteenth century. These
robes and jackets were in vogue until the
late seventeenth century, when the little
A THIRTEENTH-CENTURY shoulder cape or “palattrie” (called "pel-
Gown
erine” by the English) was introduced. It
resembled a large drop collar and was usually made of gauze
or lace in summer, and fur in winter.

OM OT


318
FROM THIMBLE TO GOWN
090
MASWAMARAL
U
U
The long clinging robe was also introduced which, without the
suggestion of a plait, revealed the lines of the figure to advantage,
and was looked upon with high approval by the leaders of fashion.
At the same time a change from the doublet to the waistcoat or
coat, for the gentlemen, was seen.
Toward the middle of the eighteenth century, the scarf or
mantilla made its appearance and was worn about the shoulders
or thrown over the head and the
ends tied loosely. In winter a full
mantle or cape was worn, sometimes
lined with fur and buttoned all the
way down the front.
As the years wore on, the old fri-
volity and luxury were doomed for
destruction, and by 1792 everything
was changed. English fashions came
into favor for a time. Close-fitting
jackets with large lapels were adopted
by women of fashion and waistcoats
and cravats were frequently worn.
AN EIGHTEENTH-CENTURY GOWN
The dress of the early settlers in
America has always been associated with the words “dull,”
"drab,” and “sad-colored.” Doublet and jerkin were made of
leather or heavy woolens; the cassock, a garment similar to a
coat, was of canvas and fastened with hooks and eyes, for but-
tons were a “vanity.”
The Puritan women wore large kerchiefs about their shoulders
on going out of doors, and in very cold weather the cloak and
hoods were of heavier material fur-trimmed or made entirely of
fur. In 1660, the doublet was gradually transformed into the
full-skirted coat and with the coat came the vest.
In the later eighteenth and early nineteenth centuries, the
pelisse was an indispensable item in every wardrobe. In its
Lumen
S
DIWANASUL
D


ORIGINS
319
LAR
original form it resembled the modern three-quarter jacket with
close sleeves. The neck and sleeves were edged with fur, for it
was decidedly a winter garment. In France it resembled a cape
with large openings for the arms.
These large cloaks were worn by the very fashionable, and
many of these were lined with bright colored silk. During the
summer, shawls, short mantles (like dol-
mans), the long silk scarf, and the spensers,
were popular.
The latter had its beginning in a man's
coat, a top coat invented by Lord Spenser.
This gentleman, so the story runs, made
a wager that he could set a fashion which
would become popular inside of six months
and, further, that it would be a form of
dress wholly meaningless and unnecessary.
He then called for a pair of shears, cut
off the tails of his coat, close to the waist,
donned his hat and went out for a stroll. A
Since he was a handsome man and one
well known in fashionable circles, it was only a matter of a
few days before several London dandies were seen wearing
“spensers,” and within two weeks all London had donned the
garment.
The spensers varied in style. Some were shaped like a blouse
and opened in front. They were all short, never going below the
waistline. For summer wear, the spensers were of silk. All our
boleros, etons, and Spanish jackets have doubtless been evolved
from the spenser. During the second quarter of the nineteenth
century, long cloaks, the pelisse, the redingote, and the tippet
were worn.
By 1890, the dolman was a favorite out-of-doors wrap. These
cape-like coats varied in length and were made of the finest


320
FROM THIMBLE TO GOWN
brocades, silks, and satins, elaborately trimmed with fringes and
puffings of silk. Outdoor jackets with short backs and long fronts
were also worn.
The Corset. — Long before the days of Tennyson, both men and
women wore a corset-like contrivance to keep their waists small.
As early as the tenth century, corsets were being worn pretty
generally by women everywhere. They
were long and tight, mercilessly compress-
ing the waist. During the Middle Ages
these “stays” remained, always becoming
more and more torturous. The tight-
laced bodice also made its appearance.
During the Elizabethan period, fashion
ran to remarkable extremes. Fashionable
men were never uncorseted and women
wore corset covers, or bodices, of steel.
These bodices were covered with beads,
embroidery, or gold and jewels. In 1828,
when Harvey made the discovery of the
AN ELIZABETHAN Cos- circulation of the blood, people began to
TUME, showing the neces-
think that the corset stopped the circula-
sity for a small waist.
tion and was the cause of all the little
pains and aches and ills they had been suffering. It therefore
became more and more modified until it reached the “girdle"
of today.
Undergarments. — It is said that Isabelle of Bavaria was the
first to wear linen undergarments. This fashion was readily
adopted by the ladies of the period. The linen chemise was
regarded as a luxury, and called “robe-linge." In order to allow
a glimpse of the underlinens, the ladies of the court cut slashes
in the sleeves of their gowns and also in the hips of their
skirts. This vanity finally led to a deception; only that part
of the chemise which could be seen was made of linen, and

tin


324
FROM THIMBLE TO GOWN
instead of a fine silk one. The queen, you see, was very vain and
fond of gorgeous clothes. In order to please her, William Lee
constructed a frame with twenty needles to the inch instead of
eight, on which, in 1595, was made a pair of silk stockings which
the queen accepted and praised, but she refused him a patent
because she claimed it would take away the means of living from
many poor subjects.
In 1816, the first circular knitting machine was invented. A
few years later, steam was applied to this machinery, and now
there are great factories which knit not only stockings but gar-
ments of almost every description.
The Clothes Closet. — Queen Elizabeth who had three thousand
separate dresses, found chests wholly inadequate for her ward-
robe, nor were the cupboards any more convenient, since the
frocks and gowns were stiff with crinoline. Therefore, a special
room was set aside for the Queen's gowns, and each gown was
hung on a separate wooden peg. This room with the wooden peg
developed into the modern clothes closet with its separate hangers.
A coat, a cape, a hat, a veil,
A scarf, a glove or two,
A pocket-book, a dainty fan,
A parasol of blue —
Supplied with these,
My Lady,
Be she dark or be she fair,
Is equipped for any climate,
Any country, anywhere.


APPENDIX


TO THE TEACHER
The text and illustrations of this book teach the pupil the
technique of sewing. They present the necessary processes
clearly and logically, thus giving the learner a firm founda-
tion.
Upon this foundation may be built a course of study of
any desired length based upon any approved method. The
following projects and exercises are suggested to those who
wish material of this sort, either as a guide or as a supplement
to their own courses of study. Whenever necessary, page
references to the text are given, so that the pupil may turn
directly to the text for directions for completing the project.
The time allotment for the various assignments is purely
suggestive. They will be found flexible enough to allow the
adaptations which necessarily vary with locale.
Many of the projects, in their consummation, hold valuable
suggestions and data for future reference. Such material
should be collected in a notebook and kept as the pupil's per-
sonal guide to the “art of being well-dressed.” The score card
on page 341 could then be copied in the notebook whenever
a project is to be scored, the entries becoming a permanent
record of the degree of mastery of each construction project.
Other suggested score cards can be found on pages 342–344.


APPENDIX
PROJECTS AND EXERCISES
Project I: The Sewing Room Equipment
1. What are the physical requirements of a convenient sewing
room? Explain your reasons for your choice.
2. Make a list of the things necessary for a well-equipped
sewing box and tell something about the various articles; their
use, their origin, etc. (Pages 1–2.)
Project II: The Use of the Sewing Machine
(2 to 4 lessons)
1. Name the principal parts of a sewing machine. (The book
of instruction which comes with a machine will be helpful for this
exercise.)
2. Practice threading a machine, winding a bobbin, treadling,
and putting in the needle. (Pages 35–39.)
3. Practice stitching exercises, given below, on a piece of paper.
a. Stitch on lined paper so that the stitching will coincide exactly with
the lines.
b. Stitch on lined paper as near to the line as possible without touching it.
C. Stitch from edge of paper the width of the large and small parts of the
presser foot.
d. Stitch along drawn curves, circles, points, and squares. Interest is
obtained by stitching holders and individual monograms.
e. Fold a hem of paper and stitch as near the edge as is possible.
f. On unmarked paper, stitch uniform, specified widths, as ģ, ), and į
inches apart, using the eye as a gage.
327


APPENDIX
331
9. Practice putting on bias banding (page 56), first cutting
true bias and dressmaker's bias from paper, and then from cloth.
Put on both single and double bindings. (Pages 56–57.)
10. Discuss suitable kinds of lace to use for trimming. (Page
123.)
a. Practice various methods of attaching lace. (Pages 123–
128.)
b. Practice mitering the corners of lace trimming. (Pages 63,
124.)
11. How can you determine the kind of neckline. to use?
Explain your choice. (Page 256.)
12. When you have completed your garment, have it judged
and enter the scores on your score card.
Project V: Gift or Christmas Problem
(10 to 15 lessons)
1. Discuss suitable gifts which can be made by hand or
machine, and make a choice for your own construction.
2. List all the various processes necessary to complete the
work chosen in a.
3. Practice the decorative stitches to be used. (Pages 9–27.)
4. When you have completed the problem, have it judged and
then enter the scores on your score card.
Project VI: Textile Studies and Judging Textiles
(Cotton, silk, wool)
(7 to 10 lessons)
1. a. Discuss the various fibers. (Pages 176-188.) Bring
some samples from home and study them under the microscope.
Make the various tests suggested on pages 179, 181, 184, 186, 188.


332
APPENDIX
b. Make a line graph showing how these fibers rank in length,
strength, diameter, elasticity, luster, capacity for holding mois-
ture, heat conductivity, and cleanliness.
FIBER
LENGTH
STRENGTH
DIAMETER
ELASTICITY
ETC.
cotton
linen
rayon
silk
wool
2. Be able to identify several kinds of cotton materials.
Make tests for fastness of colors. (Pages 190–194.)
3. What qualities should one look for in buying fabrics ?
Collect and mount samples of materials suitable for underwear.
4. Examine samples of each kind of weave. (Pages 188–194.)
Why is each weave suitable for a certain purpose ?
5. What are the various qualifications of good material ?
6. Experiment with the effect of sun, heat, and dye upon
rayon.
7. Learn to distinguish between woolen and worsted. (Page
187.) Make various tests of woolen and worsted. (Page 188.)
Project VII: Construction of a Wash Dress
25 lessons)
1. Cut out from the fashion magazines pictures of dresses
suitable for school and bring them into class for discussion,
together with samples of appropriate materials.
2. After making a choice of style and material for a dress,
take proper measurements for a pattern and purchase the size
necessary. (Pages 195–198.)
3. Purchase the necessary amount of material and findings,
such as thread, lace, ribbon, buttons, and so on.


APPENDIX
333
4. Study the pattern, reading the instructions carefully and
noting the markings. (Pages 201-202.)
5. Demonstrate altering the pattern. (Pages 225–245.)
6. Cutting. (Pages 199–205.)
a. Straighten material.
b. Lay out pattern economically (pages 201–202) and pin.
C. Mark notches.
d. Demonstrate tailor's tacks. (Pages 45–46.)
7. Decide on seam allowance and demonstrate how the seams
are to be finished.
8. Make an outline of the steps to be taken in the order of
their accomplishment.
9. Review the sewing processes to be used, and practice any
of which you are not sure.
10. Make your dress, asking your teacher's approval after each
step before starting the next.
11. When the dress is finished estimate the cost of it, item by
item. Enter your scores on the score card.
Project VIII: Selection of Design and Material for a Graduation
Dress and Its Construction
(30 lessons)
1. Discuss those things which improve one's personal appear-
ance; such as care of hair, nails, skin, teeth.
2. Discuss well-chosen clothing: dress, shoes, hosiery, under-
wear, accessories. (Pages 161-165, 206–218, 255–261, 266–268.)
3. Discuss the desirable qualities in a well-selected dress
design: becomingness, suitability, lines, sleeves, material to be
used. (Pages 157–194.)
4. Try out various colors, different shaped neck lines
(page 81), collars, placing of belts, and so on, in class.
5. Follow construction processes as outlined in Project VII.


334
APPENDIX
Project IX: Selection and Construction of a Silk Dress
(20 to 25 lessons)
1. Collect samples and pieces of figured silks. Which would
you choose as correct for your own "type"? Why? (Pages
163-165.)
2. Test various samples of silk, and review what you have
learned about silk and rayon. (Pages 184–187.)
3. Follow construction processes as outlined in Project VII.
Practice carefully any processes not previously used. (Select
pattern, select material, make dress, demonstrate fitting, record
scores.)
Project X: Selection and Construction of a Wool Dress
(35 to 40 lessons)
This unit should be started so that the dress will be finished and
ready to wear at the time of year when it is needed.
1. Review study of woolens and worsteds (pages 187–194)
and test various pieces of woolen fabric.
2. Demonstrate methods of shrinking woolen fabrics. (Pages
285–286.)
3. Demonstrate methods of pressing woolen fabrics. (Page
284.)
4. Make samples of suitable types of seams to be used on
woolen material. (Pages 40–43.)
5. Make samples of different methods of turning or finishing
hems. (Pages 63–71.)
6. Make a model pocket suitable for a woolen dress. (Pages
104–114)
7. Make a bound buttonhole and a loop. (Pages 130–136.)
8. Make a model placket for skirt or sleeve opening. (Pages
73–81.)


APPENDIX
335
9. Make a sample collar, appropriate for a woolen dress.
(Pages 81–89, 234,235, 246.)
10. Make the dress, following construction processes as out-
lined in Project VII.
Project XI: How to Dress in Good Taste
(10 lessons)
1. Bring to class pictures of a well-dressed girl and discuss the
points which you consider necessary to being well-dressed.
(Pages 266-268.) Enter in your notebook the points agreed
upon by the class.
2. Discuss the value of the three factors: Appropriateness,
becomingness, durability.
3. Illustrate with pictures cut out of the fashion books, or by
lists, various types of clothes suitable to various occasions, and
enter the approved choices in your notebook.
4. a. Paste on separate sheets of notebook paper pictures cut
from fashion magazines which illustrate the following:
2 dresses and 2 hats suitable for the short girl.
2 dresses and 2 hats suitable for the tall girl.
2 dresses and 2 hats suitable for the stout girl.
b. Write briefly the reasons for your choice and explain the
details of the costume in order. (If you can make original draw-
ings for this project, do so.)
5. Study your own type and decide on the texture of material ;
waistline, armline, shoulder line, and neckline most becoming.
Have the class judge your selections. (Pages 163–165.) Enter
these items in your notebook for reference.
6. Plan a color chart to suit your particular type. (Pages 154–
156.) When it has been accepted by the majority of the class,
enter it in your notebook for reference.


336
APPENDIX
Project XII: Planning the High School Wardrobe
(2 lessons)
1. What are suitable clothes for a high school girl ? List those
you think you will need. After class discussion, amend your list,
if necessary, and enter the result in your notebook for future
reference. (Pages 266-268.)
2. What types of dresses should never appear in the class
room?
3. Consider the question of silk stockings for the high school
girl's wardrobe. What are your conclusions ?
4. Cut from the fashion magazines a school costume for your-
self, which includes dress, coat, shoes, hose, gloves, and purse. Be
prepared to defend your choice. When you are sure your choice
is excellent in all details, enter it in your notebook.
Project XIII: Budgets in Relation to High School Girls' Spending
and Clothing Allowance
(7 to 10 lessons)
1. Make the following lists:
a. The Clothing I Have on Hand.
b. The Garments Which May Be Made Over.
c. The Clothing I Shall Need This Semester.
d. The Repairs Necessary for the Clothing on Hand.
e. The Approximate Cost of My Needs in Clothing.
f. The Clothing I Should Like to Have This Semester.
2. Compare the approximate amount which your family can
allow you for clothing for the semester with the approximate cost
of your needs in clothing. Is there any way in which you may
cut the approximate cost, without sacrificing qualities you need,
and thus be able to buy some of the things you want?


APPENDIX
337
3. How do your lists compare with other lists in the class ?
Does comparison make it possible for you to cut down on either
list c or f in the first exercise of this project?
4. If e amounts to more than your family can allow you, what
can you do?
5. State in a few sentences reasons why you should be given a
clothes allowance.
6. List all the suggestions you can think of which would be of
value to you if you were buying on a limited income. (Pages
216–218.)
7. Discuss the care and repairs which make garments more
usable. (Pages 141-143; 274–296.)
8. Make a one-year, two-year, or three-year clothing budget
for a high school girl, with a clothing allowance of $100 a year.
Choose the best budget in the class and copy it in your notebook.
Project XIV: Alterations in Patterns to Suit Individual Figures
(10 to 15 lessons)
Practice altering patterns following suggestions given in
Chapter 7.
Project XV: Variations in Plain Patterns to Suit Individual
Tastes
(15 lessons)
1. Demonstrate shifting fullness from one place on a pattern to
another.
2. Design different styles of collars and cuffs.
3. Draft a pattern to fit yourself.
4. Choose a pleasing pattern from a fashion magazine and
demonstrate the variations you will have to make in a simple
pattern to create a garment like it.


338
APPENDIX
5. From a simple, kimono sleeved pattern, work out variations
in plaits, collars, cuffs, front facings, or trimmings.
Project XVI: Designing and Constructing Children's Clothing
(10 to 15 lessons)
1. Make a child's dress from a simple pattern, adding varia-
tions in fullness, yokes, collars, cuffs, or trimmings.
2. Design several dresses for children, giving a detailed account
of the kind of fabric to choose, colors, finishes, and trimmings.
Project XVII: Renovation of Clothing and Care of Clothing
(25 lessons)
1. Make a sample of a neat patch. (Pages 141-143.)
2. Make a sample of a darn. (Pages 7, 143-144.)
3. Make a laundry bag, clothes cover, clothespin bag, or shoe
bag.
4. Repair and press a garment.
5. Make an outline to follow for the daily care of clothing.
(Pages 141-143, 274–275, 295–296.)
6. Discuss various stains and methods of removal. Demon-
strate one of them. (Pages 286–295.)
7. Plan how one old dress in your wardrobe might be re-
modeled.
8. Launder two samples of white silk and white wool; one
sample of each in tepid water, the other in very hot, soapy water.
Compare the results. (Pages 277–281.)
9. Wash and press a simple blouse or dress. (Pages 281–284.)


APPENDIX
341
SCORE CARD FOR PROJECT.----
169

WORKMANSHIP
APPRAISAL
PROBLEM
HAND
SEWING
MACHINE
SEWING
|
2 |
3
|
1
|
2 | 3 || COLOR:
SEAMS
HEMS
TUCKS
DESIGN:
PLAITS, GODETS
BINDINGS,
FACINGS
YOKES
FABRIC:
PLACKETS
COLLARS
SLEEVES
CUFFS
POCKETS
Cost:
MATERIAL $----
BELTS, GIRDLES
FINDING
FASTENERS
MY TIME
FINISHES
(DECORATIVE STITCHES)
TOTAL
TOTAL SCORES
TOTAL SCORE


APPENDIX
343
SCORE CARD FOR FANCY WORK
Perfection of stitches.......... 20 Harmony of color and materials 25
Neatness of finish. ............ 15 Total................... 100
Suitability of article to purpose. 20
Beauty and quality of design.. 20
SCORE CARD FOR WOMEN'S GARMENTS
General appearance. ......... 15 Economic aspects............. 20
General design and color Durability of materials
combination......... 10
and design.......... 5
Individuality .......... 5 Value in relation to cost. 5
Suitability to person for whom
Judgment shown in dis-
planned. ................ 20 tribution of cost among
Artistic aspect......... 10
articles ..............
Design and color.
Cost of upkeep.........
Materials.
Suitability to occasion........
Health aspects..........
Workmanship.................
Comfort.
(Neatness and quality of stitch-
Protection.
ing, seams, hems, etc.)
Completeness of costume...... 10
Total........
100
SCORE CARD FOR MADE-OVER GARMENTS
Be sure the material is worth remaking, as to durability and
time.
General success of project..... 30 Textile design combina-
Ingenuity shown in the
tions................ 5
problem............. 10 Workmanship................ 30
Economical use of ma-
Choice and neatness of
terial.................
seams, hems, finishes,
Suitability of result to
etc.................. 15
purpose for which in-
Perfection of stitching
tended. .............
(hand or machine)... 15
Durability of result.....
Relation of value to cost in time
Design and color. ........ 30 and money .............. 10
Beauty of design .......
Total. ........ ........ 100
Color combinations..... 10
Texture combinations... 5
er : er or


344
APPENDIX
SCORE CARD FOR CHILDREN'S GARMENTS
Suitability of design and ma-
Artistic aspects....... 10
terials.......... ....... 50
Beauty of design and
Health aspects......... 15
color
Comfort and protec-
Simplicity
tion
Completeness of costume...... 10
Ease of putting on and
General attractiveness of ex-
removing.......... 10
hibit......... ...........
Design
Relation of value to cost in time
Fastenings
and money ..............
Economic aspects....... 15 Workmanship....
Durability
(Neatness and quality of stitch-
Provision for growth
ing, seams, hems, etc.)
of child
Total. ........
Ease of laundering
.......... 100
and cleaning
OUTLINE FOR BUDGET PLANNING
NUMBER NUMBER NUMBER UNIT
REQUIRED ON HAND TO BUYCost
TOTAL
Cost
YEARS | YEARLY
USED Cost
Outer clothing
Coats
Hats
Dresses, etc.
Underwear
Union Suits
Chemises
Bloomers, etc.
Boots, Shoes,
Stockings,
etc.
Gloves
Sundries


INDEX
LIBRARY
COLLEGE OF AGRICULTURE
UNIVERSITY OF WISCONSIN
NDISON


INDEX
Accessories, 206-218, 303–324 | Appenzell Stitch, 14
Origin of, 303–324
Appliqué, 26
Acetate Rayon, 182
Appropriateness, 266-268
Acid Tests for Fibers, 179, 180, 181, Armseye, 223-224
184, 186, 188
Arm Measurement, 223-224
Cotton, 179
Arrowhead, 21-22
Cotton from Linen, 180
Attached Cuffs, 103
Cotton from Silk, 179
Attaching Laces to Edges, 125–126
Cotton from Wool, 179
Rayon, 184
Back Measurement, 196–197
Silk, 186
Back Stitch, 6–7
Wool, 188
Balance, 158-161
Adding Fullness to Patterns
Ball and Socket Fasteners, 139–140
Bust, 227-229
Bands on Garments, 48–49
Collar, 234–235
Bar Tack, 23
Hips, 243-244
Bar Tack at End of Buttonholes, 128
Neck, 232–233
Basic Stitches, 3-9
Neck and Shoulders, 234
Basting Stitches, 4-5
Shoulder, 229-230
Diagonal, 5
Skirt, 244–245
Dressmaker's, 5
Sleeves, 235-237, 240–242
Even, 4
Sway-Back, 230-231
Guide, 5
Waist, 225-226
Uneven, 4-5
Adjustments of Patterns, 219–254 Ending Threads in Machine Stitch-
Altering Patterns, 225-245
ing, 4
Belts, 245
Knot Stitches, 3
Bust, 227–229
Plain Knot, 3
Collars, 234-235
Plain Stitches, 5-9
Cuffs, 242
Back, 6–7
Figures, 230-232
Blind Slip, 8
Hips, 243-244
Buttonhole, 7
Neck, 232–234
Catch Hemming, 8
Shoulders, 229-230
Combination, 7
Skirts, 244–245
Darning, 7
Sleeves, 235-242
Overcast, 6
Waistline, 242-243
Overhand, 6
Waists, 225-226
Running, 5-6


INDEX
Color (Continued)
Neutrals, frontispiece, 151–152
Black, 151
Gray, 151-152
White, 151
Primary, frontispiece
Scheme, 153-156
Blend with Eyes, 153
Secondary, frontispiece
Setting of, 280
Shades, frontispiece
Terms of, frontispiece
Tertiary, frontispiece
Tinting, 280-281
Tints, frontispiece
Types, 154-156
Demi-Blonde, 154
Gray, 156
Pale Brunette, 155
Pure Blonde, 154
Pure Brunette, 155
Titian, 155
Value, frontispiece
Warm, frontispiece
Color Cycle, frontispiece
Colors, 148–152
Blue, 148
Brown, 149
Green, 149
Orange, 149
Purple, 149-150
Red, 150
Yellow, 150–151
Combination Stitch, 7
Combing, 171
Combs, 303–304
Commercial Pattern, 245–246
Commercial Seam, 43
Common Pins, 298–299
Complementary color, frontispiece
Construction Problems, 71-144
Belts, Girdles, Sashes, and Ties,
114-116
Double, 115–116
Girdles, 116
Sashes, 116
Single, 115
Ties, 116
Fasteners, 128–141
Buttonholes, 128-136
Bound, 130–133
Cord, 136
Elastic, 136
Frogs, 136
Looped (Fabric), 134-136
Looped (Worked), 133–134
Worked, 128-130
Buttons, 128, 137-139
Cloth-Covered, 137–139
Metal, 137
Pearl, 137
Hooks and Eyes, 140–141, 303
Snaps, 139–140, 303
Laces, 123-128
Attaching to Edges, 125–126
Corners, 124-125
Fagoting to Fabric, 126
Insertions, 127-128
Joining of, 124
Medallions, 126-127
Linings, 116–123
Coat, 119–123
Waist, 117-119
Mending, 141-144
Darned in, 142
Darning, 143
Darning Holes, 144
Diagonal Tears, 144
Hemmed, 141-142
Overhand Patch, 142–143
Set-In, 141-142
Straight Tears, 144
Three-Cornered Tears, 144
Neckline Finishes, 81-89
Convertible Collar Facing, 81-83
Detached, 87


INDEX
4-136
33–134
-139
141, 303
Middy, 83-84
Non-Convertible, 86–89
Peter Pan, 88
Rolled, 88–89
Shawl, 89
Stand-Up, 87-88
Straight Band, 83
Tailored, 84-85
Plackets, 73–81
Continuous, 73–74
Cut-Out Continuous, 74
Fly, 76–78
Lap, 76
Neck Binding, 79-81
Tailored, 78–79
Tucked, 75–76
Two-Piece, 74–75
Pockets, 104-114
Bound, 108–110
Flap, 113–114
Lap, 110–111
Patch, 105-106
Set-In, 106-108
Welt, 112-113
Sleeve Finishes (Bottom), 98-104
Attached, 103
Cuffless, 99
Detached, 103-104
Double, 100-101
Single, 99-100
Tailored, 101-103
Sleeves, 89–98
Epaulet, 98
Kimono, 96–97
Raglan, 97
Set-In, 90–96
Shirt, 90
Yokes, 71-73
Double, 72–73
Single, 71–72
Construction Processes, 39–70
Bias, 56
True, 56
Bindings, 56–57
Conspicuous, 57
Inconspicuous, 57
In General, 56-57
Cordings, 60
Pipings, 60
Tucked, 60
Darts, 46–47, 222-223
Making of, 46–47
Placement of, 222-223
Facings, 56-60
Fitted, 59
Shaped, 59-60
Straight, 59
Gathering, 47-50
Garment Bands, 48–49
Machine, 47
Ruffles, 50
Shirring, 49–50
Godets and Flares, 54-56
Inconspicuous, 55
Tailored, 55
Gussets, 55–56
Hems, 63-70
Bound Hem, 66-67
Curved, 67-68
Damask, 70
Establishing Hemline, 64-66
Faced, 67
French, 70
Method of Sewing in, 66
Napery, 70
Plain, 66
Pointed, 68–69
Rolled, 70
Scalloped, 68-69
Squared, 68–69
Mitering, 61-63
Bias Tape, 61
Embroidery, 63
Finish Miter, 61-62
Firm Fabric, 61
Lace, 63
25-126
143
144
ing, 81-8


INDEX
Darned Patch, 142
Darning, 7, 143-144
Hole, 144
Darts, 46–47, 222-223
Making of, 46–47
Placement of, 222-223
Decorative Stitches, 9–27
Appenzell, 14
Appliqué, 26
Arrowhead, 21
Bar Tack, 23
Blanket, 15
Bow, Deerfield, or Oriental, 12
Briar, 12
Buttonholed Eyelet, 14
Cable, 21
Catch or Catstitch, 11
Chain, 9-10
Couching, 21
Cross, 12–13
Crowfoot, 22
Embroidery, Blanket, 16
Fagoting, 16–19
Bermuda, 18-19
Diagonal, 16
Net, 17-18
Straight, 17
Feather, 12
French Knots, 13
Hemstitching, 19-21
Diagonal or Rickrack, 20
Double, 20
Italian, 20-21
Single, 19
Ladder, 10
Long and Short, 11
Lazy Daisy, 11
Magic Chain, 10
Needlepoint, 26-27
Outline, 9
Punch Work, 25
Rambler Rose, 15
Rolled Rose, 14
Satin, 15–16
Seed, 11
Shadow Stitch, 25–26
Smocking, 23–25
Stem, 9
Zigzag Chain, 10
Deerfield Stitch, 12
Design, 157–194
Elements of Design, 158–160
Fabrics, 165-188
Classification of, 168–169
Cotton, 176-180
Linen, 180-182
Rayon, 182–184
Silk, 184-187
Terms, 169-176
Wool, 187-188
Figure and Posture, 161-163
Individual types, 163-165
Weaves and Knits, 188-194
Figure, 192–193
Knitted, 193–194
Warp, 193–194
Weft, 193–194
Lappet, 173
Pile, 174
Plain, 190
Sateen, 191-192
Satin, 191-192
Twill, 191
| Detached Collar, 87
Detached Cuffs, 103-104
Diagonal Basting, 5
Diagonal Fagoting, 16
Diagonal Hemstitching, 20
Difficulty When Stitching, 39-40, 328
Direct Printing, 171
Discharge Process, 171
Double Belts, 115-116
Double Crocheting, 30-31
Double Cuffs, 100-101
Double Hemstitching, 20
Double Ring Tatting, 28–29


10
INDEX
Grass Bleaching, 173
Hosiery, 161-163
Gray, 151-152
How to Alter Patterns, 225–245
Green, 149
Belts, 245
Guide Basting, Stitch, 5
Bust, 227–229
Gussets, 55–56
Collars, 234-235
Cuffs, 242
Hackling, 173
Figures, 230–232
Hairdressing Styles, 307–308
Hips, 243-244
Handkerchiefs, Origin, 308
Neck, 232–234
Hand Stitches, see Stitches
Shoulders, 229-230
Hats, origin, 308-310
Skirts, 244–245
Hem Line, 64-66, 225
Sleeves, 235-242
Hemmed Patch, 141-142
Waistline, 242,243
Hemming Stitch, 8
Waists, 225–226
Hems, 63-70
How to Clean, Press, Shrink, and
Basting, 66
Remove Stains, 274–295
Bound, 66-67
Care of Clothes Closet, 294–296
Curved, 67-68
Cleaning garments, 274–281
Damask, 70
Pressing, 281–284
Faced or False, 67
Removal of Stains, 286,295
French, 70
Shrinking, 284-286
Plain, 66
How to Dress in Good Taste, 206–
Pointed, 68-69
218
Rolled, 70
How to Make a Coat, 202, 268–
Scalloped, 68-69
273
Square, 68-69
Assembling Coat, 271-273
Sewing in, 66
Assembling Muslin Coat, 270-
Turning, 65
271
Hemstitching, 19-21
Cutting Coat, 271
Diagonal, 20
Cutting Muslin Pattern, 270
Double, 20
Fabric, 269
Italian, 20-21
Making Single Collars, 271
Rickrack, 20
Measurement, 269
Single, 19
Muslin, 269
Hand, 19
Pattern, 269
Sewing Machine, 19
Pattern Study, 270
Herringbone Stitch, 11
Pinning Pattern, 202, 270
Hip Line, 225
Shrinking, 270
Hip Measure, 198
How to Make a Drafted Pattern,
Historic Costume Figures, 208–209, 246-254
211, 215
Back of Fitted Waist, 247-248
Hooks and Eyes, 140
Collars and Cuffs, 250-252
Origin, 303
Fitted Skirt, 252–254


INDEX
Setting-In, 93–94
Testing, 235-242
Slide Fasteners, 128
Slip Stitch, 8
Slips, 257
Sliver, 175
Smocking, 23-25
Snaps, 139
Origin of, 303
Sorts, 175
Spinnerets, 175
Square End Buttonhole, 128
Square Hem, 68-69
Square Knots, 4
Stains, 274–277, 286-295
Absorbents, 288–289
Bleaches, 288
Blood, 289
Bluing, 289
Boiling, 276
Chewing-Gum, 290
Chocolate, 290
Cocoa, 290
Coffee, 290
Dry Cleaning, 274–275
Egg, 290
Fruit, 290-291
Grass, 291
Grease, 291
Ink, 291–292
India, 291
Marking, 291-292
Printing, 292
Writing, 292
Iodine, 292
Ironing, 277
Mildew, 292–293
Oils, 293
Paint, 293
Perfume, 293
Perspiration, 293
Pressing, 281
Rinsing, 276–277
Rust, 294
Scorch, 294
Soaking, 276
Soaps, 275
Soft Drinks, 294
Solvents, 287–288
Stamping Mark on Embroidery,
294
Tarnished Metallic Laces, 295
Tea, 290
Varnish, 293
Washing, 287
Water, 275
Wax, 295
Standing Fell Seam, 42-43
Stand-Up Collar, 87–88
Staple, 175
Stitches, 3-35
Basic, 3-9
Back, 6
Basting Stitches, 4-5
Diagonal, 5
Dressmaker's, 5
Even, 4
Guide, 5
Uneven, 4-5
Blind Stitch, 8
Buttonhole, 7
Catch Hemming, 8
Combination, 7
Darning, 7
Diagonal Basting, 5
Dressmaker's Basting, 5
Ending Threads, 4
Even Basting, 5
Guide Basting, 5
Hemming, 8-9
Catch, 8
Running, 5
Slip-Stitch, 8
Warp, 8–9
Knot, 2
Overcast, 6


INDEX
Foundation Stitches, 27-28 Tucked Placket, 75–76
Single Ring, 28
Tucks, 50-51
Tears, 143-144
Corded, 51
Diagonal, 144
Turned Seams, 45
Holes, 144
Twill Weave, 191
Straight, 144
Two-Piece Placket, 74–75
Three-Cornered, 144
Two-Ply, 175
Teaseling, 173
Types, 265–266
Teddies, 258,259
Athletic, 266
Cutting, 259
Dramatic, 266
Finishes, 258,259
Ingenue, 265
Illustrations, 258
Tension, 38, 328
Umbrellas, see Parasols
Tertiary color, frontispiece
Underarm Measure, 196
Testing Fibers, 179, 181, 184, 186, 188 | Underarm Seam, 221
Testing Patterns, 219-254
Undergarments, 255–261, 320-321
Textiles, 176-188
Bloomers, 259–260
Cotton, 176-180
Kimono, 261
Linen, 180-182
Nightgowns, 256
Rayon, 182–184
Origin of, 320-321
Silk, 184-187
Pajamas, 260–261
Wool, 187-188
Patterns and Measurements, 256
Thimble, 1–2, 300-301
Slips, 256,257
Origin, 300-301
Suitable Materials, 255
Position, 2
Teddies, 258,259
Use of, 1-2
Uses of Lace, 123-128
Thread, 2–3, 301
Origin, 301
Value, Color, frontispiece
Table of Size, 3
Value of Fibers, 165–194
Threading the Machine, 37–38 | Veil, Origin of, 314-315
Throwing, 175
Ties, 116
Waist-Back Draft, 247-248
Tints, frontispiece
Waist-Front Draft, 248–249
Tools of Sewing, 1-3, 297–303 Waist Line, 242–243
Tops, 175
Waist Lining, 117-119
Treadling the Machine, 35–36 Waist Measurement, 198
Trimmings, 255,256, 267–268 Walking Stick, Origin of, 315
Dress, 267–268
Warm Colors, frontispiece
Underwear, 255,256
Warp, 175
Trom, 175
Washing, 275–279, 286,295
True Bias, 56-62
Cotton, 275–277
Garment, 56
Flannel, 279
Mitering. 61
Garments, 275–279