KDESTER SCHGDL BCDK OF DRAPING Geo. J. Cowan tmJ Win H. Bates V. ' ■•'^-5^'^'??^*^?? *J" i tilLLjf^'"' "IT .J wx^i^r-T'^:^^'^ ¥ WILL H. BATES ^U^''<. ■■ ii. -^ iL..^ jj-PLiygy. .Pji i ji .-jk. « -.-.t*.-**, * jj» GEO. J. COWAN ;.KS;'- Lfe^ THE KOESTER SCHOOL BOOK OF DRAPES A Complete Text Book and Course of Instruction in Merchandise Draping Compiled by GEORGE J. COWAN President Koester School of Window Dressing Author of "Show Window Backgrounds" and other Window Trimming Books. Twelve years' experience in Dry Goods and Department Store Window Trimming. Lecturer on Window Trimming — illustrated with stereopticon views and original draw- ings. Student of Chicago Art Institute, 1897-98. For ten years contributor of Window Trim- ming articles to the foremost trade papers in America. Editor for nine years of Wlnflcw .Trimming Section of the Dry Goods Krport'er. Graduate of Kofictjer School AND ■ • ■ '■•':■ WILL H. BATES Window Dressing Instructor at Koester School Ten years' Window Trimming experience in Dry Goods, Shoe and Department Stores. For five years contributor of Window Trim- ming articles to: Merchants' Becord and Show Window. The Shoe Retailer. Dry Goods Reporter. Drygoodsman, etc. Graduate of the Koester School of Window Dressing. CHICAGO THE DRY GOODS REPORTER 1913 c:'?*^'^ )^^* /"• ^C.opyright, 1913 GEORGE J. COWAN HAMMOND PRESS B CONKEY COMPA CHICAGO To Albert A. Koester WHO has given to Window Trim- mers of the World a systematic and easily understood method of drap- ing fabrics so that when displayed they will give the customer an idea of how beautiful the goods will look when made up; who also through his work, teaching and writing has probably done more than any other individual to help window trim- mers to a higher perfection in all their work. THIS BOOK IS RESPECTFULLY DEDICATED :39529l Mummy Drapes INDEX PAGE Portrait, Albert A. Koester 2 Portrait, Will H. Bates 3 Portrait, Geo. J. Cowan 4 Title Page 5 Index 8 Preface 10 Early History of Draping 11 How to Handle Goods 14 Color Combinations in Draping 15 Displaying Wash Goods 18 Examples of Early Drapes 20 Complete Window of Early Drapes 23 Later Examples of Early Drapes 24 Lessons in Draping Preliminary Instruction 37 Drape 1 30 Rrape 2 43 Drape 3 46 Drape 4 49 Drape 5 52 Drape fi 55 Drape 7 58 Drape 8 pi Drape 9 fi4 Drape 10 68 8 Index Cylinder Drape 11 71 Drapes 12, 13, 14 74 Drape 15 7G Drapes IG, 17, IS, 10 77 Drape 20 79 Slab Drape 21 80 Novel Drapes 22 to 27 82 Mummy Drapes 28 to 35 87 Box Drape 36 92 Louis XVI. Drape 37 93 Wall Drapes 1 to 7 94 Complete Wall Drape Windows 1 1^> Bolt Drapes 1 1^9 Furniture as Draping Fixtures 1-2 Vase and Basket Drapes 126 Flower Drapes j28 Use of Accessories 1^^ Drapes for Tailors |3- Draping on Forms ^^' Early Shell Form Drapes 138 Drapes 1 to 18 139 Finishes for Tops 145 Directoire Shell Form Drapes 152 Hipless Drapes jjj'j Panier Drapes |^1 !!!'''!!!!'!!!!!!"!!!'!'!!!''!!!!"!!! 166 Full Form Drapes.. Sheath Drape. Directoire J^' Miscellaneous Form Drapes 176 Arm Form Drape 186 Three Forms in One 187 Mermaid Drapes 188 Evening Gown Drapes 192 Comic Draping 201 Panier Drapes Flannellette Drapes. 218 220 Children's Form Drapes Wax Figure Drapes 222 Waist Form Drapes 244 Skirt Form Drapes ^^^ Live Model Drapes ^JJ The Evolution of a Drape ^J; Small Town Drapes ^Jj How to Lay Out Complete Windows ^'^7 Window Plans 1 to 17 ^O;) Background Draping ^' ■", Interior Draping ^j^^ German Drapes • ' ^ English Drapes ^ "J Australian Drapes ' ^" Danish Drapes ^^ Japanese Drapes ^. Complete Window Trims • • • ^^^ Over 100 Illustrations of Complete Windows, running from page 324 to 41U Fashion Doll Drapes .. The Later Drapes ^^^ Pref 1 rerace [T has been my good fortune to be closely associated for many years with Mr. Koester and with Mr. Bates — you might say we have grown up together in the Window Trimming work. I collaborated with Mr. Koester in getting out his book, "The Koester System of Draping," having made all the drawings for this the first book ever published on the subject. This first book on Draping is now out of print, and because of my connection with it and my intimate I III knowledge of the subject, it has fallen to my lot to compile this second and far more complete book on the subject of Draping. Because of the great success of Mr. Koester's methods of draping it became necessary for him to have help in teaching this work in the school which he founded. Mr. Will H. Bates, a former pupil of Mr. Koester's, was chosen by him for this work because of his really wonderful ability along this line. It is conceded that these two men are the most talented draping experts of our day. This book contains a very complete collection of practically all the important work of these two mas- ters of Draping to which is added the best work of many other well known trimmers and of the author. i-i EARLY HISTORY OF DRAPING ONJ*2 cannot have a complete knowledge of any subject unless he knows somethinf^- about what has been done along this particular line in the past. A knowledge of previous efforts in Draping, as applied to window display, will not only be of much help to a trimmer, but should also hold much of interest. Naturally the first attempt at draping was merely the effort on the part of a clever tradesman to interest a possible customer in his wares by opening up the pieces of goods and hanging them up in such a way that the beauty of design and texture could be easily seen. We find evidences that this type of display was in use thousands of years before our own era. I show on this page an illustration of how fabrics were draped in the ba- zaars of the Orient hundreds of years ago. The early history of the world is the history of the people of Egypt, and what we broadly term the Orient. Their method of shop-keeping has not changed per- ceptively for thousands of years, so that in showing you this illustration of a bazaar of the Orient you can imagine yourself looking at the way draping was done thousands of years ao;o. In those days glass was u n know n, so there were no show windows of g- 1 a s s. The show window was merely the open end of a booth, or stall. The booths were grouped togeth- er into a bazaar the same as our stores are grouped together, and called "The busi- ness d i s t r i c t," or ■'Down town." So, I show you this bazaar with the beau- tiful stuffs of the Orient hung up on rods or cords so as to catch the eye of the passer-by 11 of the Orient, hundreds of years old, showing how fabrics were draped along the walls similar to methods in vogue a thousand years or more ago. Early Histohv of Dhaimnc. The next tangible trace of early draping that I have been able to find was in an old book printed in the year 1840, and called "Old London Shop Fronts." This book is illustrated with steel engravings, colored by hand, and was intended to interest the architect who was interested in planning store fronts. It uncon- sciously serves our purpose, because I find several of the fronts are trimmed with dress goods and silks, and thus gives us a very correct idea of how draping was done nearly one hundred years ag-o in London. Thus you will see that the drap- ing of fabrics had not developed very much In thousands of years. And after reading this book you will find that practically all the real progress in this work has been during the last twenty-five years. An old Loii(l(iii .Slioj) over TTi years old showing the use of small panes of glas.s, before plate glass was invented. Notice the dress goods drapes In the windows. Koestcr, because his natural ability in thi^ 12 It was just at the beginning of this pe- riod that Mr. Albert A. Koester realized t li e possibilities o f wliat could be done in tlie draping of fab- rics in such a way that the complete drape would suggest or imitate a complet- ed gown, the advan- tage being that the customer would not only see the design and texture, but would see how this particular fabric would look w h e n 111 a d c up, or. bet- t e r still, would suggest to her how to make it up. It is more than probable that other trimmers had something to do with this develop- ment, but most of the credit must go to Mr. line of work made it very superior, Eahly History of Dhaitnc; and because he early tried to help other trimmers to a thoroii<^h knowledge of draping. ITe did this by fovmding a window trimming school in Cjermany and illus- trating and explaining how to do draping through a series of articles appearing in German trade papers, and later publishing a set of window trimming books entitled "Die Kunst of Schaufenster Dekoration." Practically everything worth while in up-to-date draping f(jr show windows has developed since 1890, and it is possible to trace very easily the ])rogress of the work since that time. There is much of this work that, to us of the present time, seems woefully out of date, but this is only true as regards the fashion element that enters into the drape and form. Fashions, as we all know, are continually changing, but it is also true that generally within a period of ten years the same style will come back again for at least a short peri- od. Because of this, I have thought it wise to include in this book certain of the drapes of almost every year and of every change of fashion. Of course, it has been impossible to get all of them, but I really consider myself fortunate in being able to get as much as I have. Thus, I not only can show you an al- most complete rec- ord of the develop- ment of draping, but the greater percent- age of these drapes are usuable today, and many others are apt to come back in style almost any time. 13 One of the first plate glass fronts in London about 65 years ago. fabrics are here piled in the windows and several pieces are draped in one corner of the farther window. HANDLE THE GOODS CAREFULLY IF YOU have ever been behind the connter you can appreciate having goods brought to your deparUncnt that have been used in the windows — faded, mussed and soiled. A good deal of this is from mere carelessness, leaving them in the window too long, walk- ing on them, not keeping the floor of the window clean, etc. In fact T have seen trimmers working with white goods who had such dirty hands that they would soil the goods wherever touched. A really good man has the interest of the store so much at heart that these things do not occur. Y«u must know that this means a big loss on the goods in the course of a year, and the less you cost the firm the more yon arc worth to them. Many trimmers when they go into a window do so with their stocking feet, others have slippers made of felt to slip over their shoes, Init about tb.e handiest thing is the fleece lined bedroom slippers made from the same material as fleece lined underwear. Do not let goods of a dainty chaincLer stay in the windows so long that they are all faded out and almost rotted by the heat of the sun. And do not let a wash-goods trim stay on the ledge so long tliat it's an ad for real estate instead of dry goods. Do not step all over the goods, either, while you are working with them, or after you have them arranged. If you really must step on them, have your shoes encased in slippers, socks or cloth, as mentioned above. COLOR COMBINATIONS IN DRAPING Importance of Proper Comuinations — -Jnfeuenck ox riii'; Huyer THE old proverb about tlic bending- of the twig to incline the tree, is only one version of the fact that man is a creatnre of circumstance, on all sides surrounded by forces which mold him into what he is and governs his actions. IJeauty is a thing from which much enjoyment is obtained, and when one is pleased with the beauty and harmonious coloring of a display, their mind is more apt to desire the things of beauty that are in the display. The love for the beautiful is subconscious, therefore this unconscious pleasure is apt to be considered a real desire for the article itself. Beauty of form and color play their part in all development. That color has the power to influence is shown in the fact that reel, which represents one extreme of the visible spectrum, is a color which excites the combative instinct, and that violet, which represents the other end of the scale of impres- sions, is a color which depresses instead of excites — the "reason why" of this fact has never been explained. Yet the ancients recognized it by giving to red the attributes of war, and to purple the attributes of mourning, while white meant purity. When color can have such influence, and nature has guarded us against its influence by clothing herself with the neutral color, green, which is mid- way between red and violet, how much more influence will your displavs have upon the mind of the person who is brought in contact with them if they are planned with some understanding as regards color combinations and harmony, and with some thought as to whether background and display will please and be in perfect taste with each other. Possibly if you look back at some of your work you will realize that some of your displays were just "put in" and you know the color was not given a thought. But as thought is necessary for the most successful work, plan your every display with the idea of using every bit of knowledge you possess to the greatest possible advantage. Color and its relation to window trimming presents a problem that is pleasing to some and very complex to others. Nothing, perhaps, goes so far to make or mar your fabric display as the use or abuse of color. You will realize the truth of this when you see a window that disregards the laws of harmony. To a sensitive e3^e it is no less than appalHng. COLOR INFLUENCE Without going into the theoretical side of the question, we may admit at the outset, that primarily, color is but an appeal to one's emotional being, and that it exists because of something in man's very make-up that needs and demands it. Conversely, the influence of certain colors is so undeniable that, consciously or unconsciously, according to the sensitiveness of the indi- vidual, this influence is felt — a fact well worthy of the most careful consid- eration. 15 Color Combinations in Drapes Take, for example, red. This is a color that should be used advisably, and for accent rather than in large surfaces. Nature is here, as in all things, a good criterion, and it is her invariable rule to use the intense colorings but sparingly. How delightful these bright notes are in a cluster of berries, perhaps, or in the gorgeously tinted leaves that the first Winter winds send scurrying across the gray, cheerless sky. Red, then, is suggestive of warmth and cheer; it strikes the note of the fire's glow; it is the danger color — aggressive and self-assertive, inciting lo action rather than repose. It is a color, therefore, that should be avoided as much as possible in Summer displays, and, whenever used, in a great mass. In choosing shades of red, remember that terra cotta, maroon and the deeper crimson are much less violent than the vermilions, and more pleasing than the reds with a purple cast. Unless you are a master hand, keep the color simple. Consider the special needs of each color — the relation of one color to another. Select the colors with an appreciation of their individual values — greens wherever rest and repose is to be sought for, for green is the color of all colors that Nature has chosen to refresh and restore the tired eye. YELLOW AND BLUE Yellow is invaluable wherever there seems to be a lack of cheer, for yellow is a sunshine color, and brings gladness and brightness with it. Should a display be, by reason of its location, sunny and bright, there is a chance to introduce one of the soft old blues, which are always charming. Any bit of yellow or rose coloring will take away any little coldness that the blue suggests. Pink is always a prime favorite in windows showing dainty goods. The proper use of color entails not only judgment and thought, but some intelligent knowledge of the subject as well. For some, their indi- vidual taste seems to be guide enough, but to those who have not this unerring instinct in the choice of color, we advise that they keep close to the beaten path. One's windows are a poor place for much experimenting, so be wide-awake to the best that has been done by other trimmers. These color suggestions are especially worth knowing by everyone who works about the silks and dress goods stock and by the one that puts in the displays of these goods. DO NOT LET YOUR COLORS QUARREL We herewith give a few color combinations that will help you. "White contrasts with black, and harmonizes with gray; white con- trasts with brown, and harmonizes with bufif; cold green contrasts with crimson, and harmonizes with olive ; warm green contrasts with crimson and harmonizes with yellow ; green contrasts with colors containing red, and harmonizes with colors containing yellow or blue; orange contrasts with purple, and harmonizes with yellow; orange requires blue, black, purple 16 C.OI.OK ('OMBINATIONS IN DhAI'KS or dark colors for contrasts, and warm colors for harmony; citrine contrasts with pnrple, and harmonizes with yellows ; russet contrasts with green, and harmonizes with red; gold contrasts with any dark color, but looks richer with purple, green, blue, black and brown than with the other colors. It harmonizes with all light colors, but least with yellow. The best harmony is with white." CHROMATIC COMBINATIONS Colors That May Be Used Together to Produce Harmonious Effects The following table of harmonizing colors will be found useful. The list comprises all the principal colors, and with them are given the shades and tints that may be used with them. This is a very complete list and is especially good for reference : Brown — Mace yellow, nile green, light blue, maroon, pinkish purple, shrimp pink, bufif, black, gold, dark green, russet. Black^ — Yellow, grey, gold brown, light green, violet, light blue, red, chestnut, copper, drab, olive. Dark Blue — Orange, light yellow, sky blue, tan, dove, white, gold, violet. Light Blue— Dark orange, golden brown, red, black, grey, pink, light green. BufT — White, yellow, ochre, red, brown, grey, orange, violet. Citrine — ^Yellow, orange, white, buff. Chestnut — Red, black, yellow. Chocolate — Raw umber, red, black. Copper — Red, yellow, black. Dove — White, vermilion, blue, yellow. Drab — White, yellow ochre, red, black. Lavender — Grey, purple, tan. Maroon — Orange, brown. Olive — Orange, green, blue, l)lack, yellow, white, red. Orange — Grey, maroon, blue, olive, black, green, red, white, buff, pur- ple, tan. Purple — Yellow, dark red, lavender, rose, citrine, dark green, brown, gold, orange, cream, white. Russet — Red, yellow, orange, brown, white. Red — Olive, yellow, white, dark green, violet, sky blue, dark red, black, buff, chestnut, copper, drab, grey, pink, purple, orange, russet. Tan — Dark blue, salmon pink, turquoise blue, lavender, light green, white. Violet — Purple, red, buff, yellow, dark green, blue, white, black. White — Blues, orange, pea green, yellow, violet, buff, pink, dove, olive, drab, gold. Yellow — Dark purple, dark green, red, black, yellow, violet, dove, brown, buff', chestnut, copper, grey, white, olive, light green, russet, blue. 17 DISPLAYING WASH GOODS Some Suggestions for Showing White and Printed Goods— The Arrangement Shoui.h Be Loose and Fluffy to Bring Out the Airy Lightness of the Fabrics — Color Combinations THE finer kinds of figured wash goods are subject to the same treatment as some kinds of silks — foulards for instance. With their showy and artistic colorings, they are in themselves sufficiently decorative, and only judicious arrangement is required to bring out their fullest beauties. On account of their light gauzy nature, wash dress fabrics require a broad, easy treatment. They are shown to the best advantage when arranged in a light, loose manner. There must l)c no stiffness or formality. Drape the goods in long sweeping: folds and billowy ruchings and carefully avoid short l)roken linos. A window may be made beautiful with ligurcd wash goods, using only straiglit upriglits and T stands for draping. First cowr the stands with while cambric, tlun from tlie top drape the goods in loose folds well away from the stand so the liglit can shine through show- ing the airy lightness and semi transparency of the fabric. Tlie principal charm of summer wash goods lies in their light airy character, and to show tbeni properly this quality must be brought out. This may be accoinplislied l)y taking a fold of the goods and draping it in a long sweeping curve to sonie point high up on the background or at the side of the window. 18 Displaying Wash Goods The better class ,uf suuuner wash goods are so elegant in design and of so fine a texture that a draping form is required to bring out their fullest beauties. In most windows, at least one draping form should be used. In draping a furm with light summer goods, the same rule holds as in draping a stand, i. e., drape the goods loosely. The lines of the form should be suggested rather than shown. Because summer wash goods are comparatively inexpensive, they frequently receive less care in treatment than they deserve at the hands of many trimmers. The trimmer is careless and slights the arrangement because he does not think that low priced goods are worth the care and study necessary to make a good display. That idea is very wrong. No matter what is to be displayed, the decorator should never permit himself to be careless. Just as with silks and other expensive goods, summer wash fabrics must be treated with the greatest care and judgment to get the proper color effects. The designs, mostly floral, are delicate and artistic and the colors beautiful, but it is very easy to make mistakes and get the wrong colors together in such a manner as to spoil the display completely. Everything depends upon the trimmer's taste and judgment. He must be able to select the proper color harmonies and to make the right arrangement with regard to line and form. Some charming effects can be worked out by using goods having the same general floral design. For example, a very attractive window could be made by using goods showing nothing but rose designs. There could be large roses, and small ones and rose buds, roses single and roses in groups. The general eft'ect of the whole window would be pink and white. To give tone to this display pink ribbon and white lace should be used judiciously. A little black velvet ribbon should also be used. This might be used in the form of small knots or arranged in combination with the pink ribbon. A bunch of natural roses in a high cut glass vase might be added to this display. In the same way a violet window might be trimmed, using only white goods with violet designs of different kinds. The supplementary colors for a violet window should be black in combination with either pale green or apricot, used in a manner similar to that suggested for the rose window. White wash goods may be trimmed over white or colored linings. If a color is desired it may be pale blue, pink, light yellow, violet or any other light shade, but no more than one color should be used. To add tone, ribbon of the same color as the lining may be used with lace over it. If white goods are draped over white lining, any light colored ribbon may be used to set it off. If a draping figure is used, the colored ribbon may be knotted at the front of the form with lace, the ends of both extending to the floor. Decorators commonly fall into error when displaying dress accessories such as fans, gloves, parasols, etc. To be perfect a display must be consistent— that is, the goods must go together logically. As an example, it would be incorrect to show evening gloves with a street hat or to show gowns for day wear with evening fans, etc. Goods must be shown as they are worn and to do this the trimmer must follow the styles closely. 19 EXAMPLES OF EARLY DRAPES DRAPE 1 Tl i E first recorded drapes that 1 1 by Mr. Albert A. Koester and years ago. Tliese drapes will hold iiiiuh of ii ested in this work, because lu- will sci lavc I ])rint( .en al)lc to trace are some that were designed d in Germany in the neighborhood of twenty t crest to every window trimmer who is at all inter- in lliL-se early attempts at draping the birth of our esent day system of draping, commonly called the Koester system. There are many ideas contained in these early diapes that will be most helpful even at the present (lay for those trimmers in small stores, who do not h.ive much to work with and who are ambitious to t^il experience. These drapes will also be of help to the be- ginner as they are easily made and a knowledge of v to do some of these drapes will be helpful in more fully understanding the more elaborate drapes oi even the more up-to-date simple drapes of the pi esent day. The drawings that illustrate these drapes have been very carefully planned out so that every step taken to produce the drape will be clearly under- ^^^- ^ -^'S- ^ stood by the trimmer. This is also true of every- thing shown in this entire l)ook. This makes it a real text book on draping as well as a history of draping. Our first drape is made over a home-made stand as shown in Figs. 1 and 2. As will be noticed this stand has a top and bottom made of half circles of wood, the top small- er than the bottom. Three strips of wood (lath will do) about three feet long serve to hold together the top and bottom and over this ^'^ ^ ^*s- ^ " framework is fastened a covering of carpet paper, brislol board Fig. 1 shows the back of this draping stand and clearly indicate 2 shows the front of the stand. Next, the front of this stand should be covered over with a layer of cheap white muslin so that should thin goods be shown over the stand none of the paper covering would show through. You are now ready to proceed with the drape and should first cover the stand over with a thickness of the goods you are going to use in the drape. '20 Fig. 5 r other heavy paper, its construction. Fig. Examples of Early Dhapf.s Fiist Fig. 3 shows the next step and this clearly indicates how one fold of the goods has been so arranged that it makes an inverted cornucopia in the center of the stand. Fig. 4 shows how a second similar arrangement of the goods is placed at one side of the center and in Fig. 5 is shown how a third arrangement similar to the two already illustrated com- Fig. 6 pletes the main body of the drape which is to be finished off at the top with pointed puffs. Fig. G clearly indicates how these puffs are made, take the end of a fold and plait it diagonally across the good^ and you have the puff as indicated in the lower drawing in Fig (! This is then pinned on the top of the stand and four othei puff'- added to complete this drape, that we will call "Drape 1." After this drape has been successfully accomplished tlu window trimmer will find that all that he has learned in tlii'- one drape will come in handy in hundreds of other drapt - that he will make later on. This same drape can be used for practically all lines of cotton goods and silks. Very few woolen goods could be used 1 possess enough body or stiffness to be successful in making the puffs. DRAPE 2 In this next drape I illustrate what I mean when I said ing Drape 1 would come in handy in many other drapes." Here you make as the foun- dation of the drape the same stand and the same draping of fabric on the stand. The only change is in the puff at the lop. Here we have a single large ro- sette puff that changes the appearance .nf the entire drape very much. This rosette puff is made by first taking about four yards of the goods at the end of the cloth and doubling it through the center and then folding it back and forth into about six layers. In Fig. 1 I show the trimmer start- ing in at one end of these folds to folds along the edges that are folding. do not n niak gather ,or plait the thus leaving the selvage free. When the entire length of the fob them and then driven into the top of ; licen galherc ^land, leaving the .getlier goods Drape 2 pm IS ru s shown in F EXAMPLICS OF EaHLY DhAI'KS DRAPE 3 IN l^RAPIi ."! the same stand will he used, thus showing that there are a great numhcr of drapes that can be de- veloped on any one stand or form. I will however show that a completely new drape has con made, both as regards the drape on the stand and the uffs used on the top. Fig. 1 shows the stand having been covered over with a -single thickness of the cloth and the inverted cornucopia placed at the extreme side of the stand instead of in front as n the two former drapes. Fig. 2 shows how you continue this ar- rangement until three of them have been placed on this same side of the stand, thus completing the lower part of the drape. Fig. 2 The next thing to be considered is the series of five puffs used on top of the stand. These puffs are the most easily made puffs of any. All you need do is to fold your goods double and then gather them up as in Fig. 3 at the right distance from the fold. The shnrt or small pulT is made by gath- ering the goods up close to the fold and the larger pufTs are made by gathering the goods farther back. I bring this point to your attention here as the small and large pufifs arc so clearly in- dicated in the top of Drape 3, and this shows how attractively they can be combined in finishing ofT the top of this style of drape which was in vogue for many years anion;; the trimmers of ten to twenty years ago. 22 Fig. 3 COMPLETE WINDOW OF EARLY DRAPES IT IS with a good deal of interest that the window trinmicr of the present day can look at the above illustration and realize that it is over twenty years old — older than some of the younger trimmers who arc already adepts in every pliasc of window work. This window is interesting from many angles. First it shows you one style of drape that was in use at that time, and secondly it shows how tlicse drapes were arranged in a complete window using a series of steps or platforms on the door, and thirdly we get an idea of a decorative background. This background was made out .of a heavy plain cloth^probalily the same cloth as is displayed in the drapes. This background is finished off at the top in a very clever decora- tive border of ribbons and bows. This same ribbon idea is carried out in connection with each drape, thus making a most harmonious decoration and one that holds the entire display together. Notice how the same drai^es are used all the way through the wdndow, the only differ- ence being that several of the drapes arc reversed in order U) 1 rcak tiic monotony and also in order to get better balance in the display. 23 LATER EXAMPLES OF EARLY DRAPES Showing How the Stands Wf.rk Made and How the Drapes Were Made DRAPE 1 THE ever recurring wash-goods season ncccssitaUd the draping and showing of the new fabrics in an entirely different way. Drapes that were old and timeworn in one trim- mer's repertoire were entirely new to other trimmers and their audience. Therefore, the interchange of draping ideas among various trimmers soon brought out a large variety of drapes, most of them very similar Iio\vc\er to the early drapes, especially as regards the puffing feature. In this Drape 1 the stand is very easily made, consisting of a tvvo-by-two upright, the base (of inch stuff) and a iieavy piece of cardloard. Figure 4 shows clearly the construction of the stand. Figure 1 shows the piece of card- board, and the dotted line gives you an idea of where to cut it to get the desired shape. Figure 2 shows how the cardboard will look when viewed from the front, when it is bent and tacked to the wooden strips shown in Figure 3. Drape 1 in I'igure H is shown tiie compUtcd Draiu- !. bf)ard and then draiicd in loiij^ folds from the lop I)uffcd out a nunil.er of i,A>\s uf tile goods. •Jl 105:03 goods are applied ilal on the card- e wooden upright, 011 wliicli is also Later Examples of Eahlv I)haim:s The number of folds in the drawing could be increased to suit the triuuncr's taste. The top of the cardboard is finished off with a lace or insertion, which is also draped from the top of upright to the floor. At the extreme top point of the cardboard is gathered up a bow of this lace or insertion. If it is not stiff enougli to make an effective bow, insert white millinery wire to make the folds stand out. DRAPE 2 DRAPE 2 is shown in Fig. fi. It is made upon the same stand, with the cardhoara placed to the left of the upright, and ribbon used in place of the lace. The draping of the goods on this stand is clearly shown in the drawing, and dif- fers very little from the first one. Both of these styles would look well in the same window. Light woolen goods, challies, silks, mercerized fabrics, and cotton goods would look well draped as shown in Fig. 6, as they are peculiar- ly adapted to the long, graceful folds. From this you can see that it is an easy matter to make still other drapes entirely different yet along the same line. DRAPE 3 lat this assertion is true, 1 er drawing (Drape 3). Here same upright, but, instead of the same shape cardboard, you use a large cornucopia shaped from carpet paper. The goods are stretched tightly over this cornucopia and draped, as before, from the upright, while one end is gathered along the top of the cornucopia. Drape 2 Ribbons or laces are then draped from the stand, to give it a finishing touch. ■ ( Most trimmers had plenty of the Vi-ooden uprights or standards, so that it was an easy matter for them to use these drapes, as they only had to add the cardboard or carpet paper. These styles of drapes were also extensively used on ledges inside the store. L\!i;h Examplks of Eahly Dmaim-s DRAPE 4, or THE HOOP DRAPE IN many stores, especially the smaller (nics, it is not possible to use the very long sweeping line in drapes, because they have not the room or window space. Their class of cus- iiimcrs, too, would feel that they did not have much of an assortment. So for these stores it is necessary to use a more compact drape — one that will admit of their showing quite a number of patterns in a pleasing way. To this end I show Drape 4. At the left is shown the plain wooden upriglit, at the top of which is nailed a common wooden barrel hoop. On this stand is draped the wash goods or silks, as is shown in the drawing. Drape 4 Romid price cards can he suspended in the center of the circle, and for a sales window is a good thing. For a window showing more exclusive goods, you can use ribbon bows and streamers on some of the drapes, as is shown in the illustration. N DRAPE 5 ( )W, for the larger store that has plenty of window space, there was designed Drape •^. At the right of the drawing is shown the stand, 'liic top is a curved piece of wood, cut out of incii lumber, and supported on the upright with a brace. You will notice tiie base of this stand extends out farther on the side on which the top projects. This prevents the extra weight of goods on this side from pulling the stand over. The drawing shows you clearly how the goods are draped on the form and arranged in a serpentine effect about the base of display. This drape will permit the use of wash goods, silks or woolen goods, thus being very useful. The top part of drape is linished off, as shown, with some contrasting or harmonizing shade of silk or velvet ribbon. When these ribbons arc arranged with taste, they are the means of making your display complete. Be sure that the goods show no wrinkles, and that the selvage is always out of sight. Use as few pins as possible, and never let them be seen. Do not step on the goods, but if it is necessary have fleece-lined bedroom slippers over your shoes, or be in your stocking 26 Latkr P:xampi.es of Eahly Diufes feet. Where you step into the window, always lay a piece of paper, for, if you do not, in time this spot will he greatly soiled, while the rest of the floor covering is all right. T DRAPE 6, or WIND-MILL DRAPE O the right of the drawing No. (i is sliown the wooden standard on which the drape is made. A common n])right cross pieces at each end, T-shaiied with several lath crossed, and with wooden k_^fe?*==^~^ Drape 5 These T-shaped arms hold out the large loops, made of the goods, and in the center is made a bunch of smaller loops as a finish. The drawing itself shows how several widths of the cloth are brought to the floor, and shirred at the base, to cover up where it is pinned to the floor. The wooden upright has a fold of the cloth brought down over it, but it is not shown in the drawing, as it is covered up with the goods that extend out in front of the stand. Latkr Examplks of H\hly Drapi:s MOST wooden DRAPE 7 stands can be used over and over again, as it is pos- sible to drape the goods in many different ways. It is also possible to change the same stands, by using different shaped tops. In our drapes 7 and 8 is shown these wooden stands, each with a dif- ferent top. Drape 9 can be made over three Drape 7 cornucopias of carpet paper fastened together at the top and bottom and supported by one of these stands. The uprights of these stands are generally made of V/2XV/2 inch or 2x2 inch lumber. while the base and top are of inch lumber. It is a mighty good idea to make up some oi these fi.xtures in your leisure time, as they are almost indispensable in the showing of wash goods, silks and woolen dress goods. The stand for Drape 7 has a flat top made in the shape of a half circle. To construct this drape, it is best to plait your goods (if wash goods) in four equal plaits, running the length of the goods, at a point the same distance from the end of the goods as the stand is high. You then pin this plaited point at the base of upright, and fasten end at top of stand, covering half of it. Then bring up the goods and fasten at top, covering the other half. Next, you bring the goods around the entire front of the top, in the form of small puffs or loops, and carry it down to the floor at one side, as is shown. Then gather it' over thf" floor, covering up the base of the stand, and bring it over to the other side of stand and up to the top, the same as the other side. By careful study of the illustration, you will be able to drape this in short oiiKr. This drape was cs- ially appropriate for w.'ish goods and silks and 1000. Later Examples of Early Drapes DRAPE 8 THIS fan drape was a very pretty tiling, and especially so if a series of them was used, either in the window or on the ledge. It is especially good for the showing of cheap wash goods. These goods are generally very hard to show up well because of the starchiness and poor texture of the weave. But this drape plaits and puffs it up so that it really looks much better than it is. In connection with price tickets these drapes sold any amount of the cheaper wash goods. This drape was not desirable for silks, as it wrinkled the goods up too much and also made too many pin holes in it. In constructing the top of the stand, instead of sawing out a curved piece of lumber, Drape 9 you can use a barrel hoop or bend a strip of light lumber. Another method is to use small bits of light lumber nailed together in the curved shape desired. DRAPE 9 THIS very sightly drape was equally good for wash goods or silks. The three cornu- copias or funnel-shaped pieces of carpet paper were fastened together at the top and bottom. It is a good idea to have them fastened to a wooden upright. Each funnel is fastened separately with the goods, and then the puffs or loops at the top are arranged. I'"or thin sheer materials one must be sure to use a lining of white batiste or lawn. Some dainty color can be used also to good effect, but care must be taken to have the colors suitable. I do not show goods gathered about the base of this drape, as I consider the plain finish was most effective, and entirely dift'erent than the puffing so much in vogue around the base of many of the drapes. 29 Latf:i{ Examples of Early Drapes DRAPE 10 THIS drape is particularly suilod to wash goods, but was used for silks and challics. Cut Xo. 1 shows the home-made wooden fixture, on which the first drape is ar- ranged. Cut No. 2 shows the complete drape. First, you cover the boards smoothly with the goods, and when this is done plait the goods in four plaits and fasten at A. From A bring the goods to the floor at B, and arrange in plaits while fastening to floor. Now fold the goods on the floor until you come to C. From C the goods are brought up to the top and center of the V-shaped boards or point D. At D the goods are again plaited in four folds and brought to floor at E. Then the goods are brought around and back of the stand Drape 10 SO that they can be brouglit up to V. From F, where they are plaited, the goods are brought out in a fan shape to the cross-bar at toj). .\ fniisli of puffed gootls on this bar completes tlie drape of goods. As indicated in the drawing, there is a liow of ribbon finishing the drape at D and two bands of ribbon arranged on the boards. Many other finishing touches can be used, thus changing them a trifle in api)earance. There was quite a craze for several years for using these two boards as a draping stand and tlie stand itself acquired the nickname of the Mortar Board. You will see other drapes developed on it elsewhere in this book. It still holds an important place as a stand used in connection with some of our best present day drapes. 80 LAri;R Examples of Iv\hi.y Dhai>i:s DRAPE 11 FIGURES 3 and 5 show, respectively, the sides and front view of the home-made wooden fixture that is the basis of this drape. It was especially pretty when used for either wash goods or silks, and takes from a three-pattern length of goods to a whole bolt. The stand is about seventy inches high, the distance from the base to the wooden shelf being about forty inches. The shelf is 12 inches wide and as long as the width of the goods. Start with the end of the goods at bottom (A), allowing one and one-half yards to cover the bottom board of stand. Gather in tight in plaits at A, and draw the goods up to the shelf (B) and fasten. •Now you take the other end of the goods, double the two selvages or edges together vVb^. f^oriT Vltvy* A !\ and pin to the front of the standard at B, then bring to the top (C) and make a loop a yard and a half long. Now gather this loop up in two-inch plaits and pin at C. Do the same thing again and you will have two gathered loops of silk that when pulKd out into shape will look like the plumes shown in the drawing. The goods are brought down to C and then up again half way between B and C. Here, two of these gathered folds are made just like the ones above, and the goods brought down to B again. This gives you four drapes similar in shape to ostrich plumes. Lay the remaining goods on the shelf in folds that will, when dropped over the front edge, allow a distance of one or two inches between each fold. When complete, your drape should look like the drawing No. 4. This was a rather unusual drape, and one that was not in common use. It was originally used as a counter drape in the silk department but wa& only about half as high. 31 La'ikh K\.\mi'1j;s of Kahl^ 1)ii how this drape is made he can use his own method of constructing it. Drape 15 In Drawing No. 4, you will notice at once how this small liolt of silk has been pulled and spread out to make a large ball-shaped affair. This is really a very beautiful thing when made in silk, as the light is caught in the many folds and intensifies the beautiful lustre and coloring of the silk. At the base of the vase and on top of the pedestal are seen drapes of silk dropped to the floor and puffed into different sized loops. The finish shown in the drawing is very good, although any trimmer can originate other ways of working up a trim for the lower part. Only one drape of this kind should be used in a window, as it will then show up to great- er advantage in contrast with the other drapes of different construction. This drape is particularly good for taffeta silk or any other silk of about the same stiff- ness. Wash goods could also be made into this same drape. 35 Latkr Examplfs of Early Drapes DRAPE 16, or OSTRICH DRAPE OXl'". of the most attractive of all the old type of puff drapes is the one that was known as the Koestcr Ostrich Drape. The iUustration on this page gives you some idea of its slender beauty and gracefulness. This was very apparent when dainty figured silk was used in the drape. Each one of the plumes, as you might call them, was made by puffing a long width of the silk, and each plume was arranged on the stand at slightly different heights. This made a most artistic composition. This same drape was also developed with fine figured lawns and other wash goods. The end of the goods was gathered about the base of the stand principally to cover up the base of the stand. DRAPE 17 Tlll.S drape was made on a stand having a square top, with an extension of the stand extending about two feet above this top and being finished off with a crossbar in order to hold up the tall puff at the top. The other puffs of graduated sizes are allowed to drape over the square top and where the material was too soft to hold up well the puffs were strengthened by being filled inside with crushed paper. The unusual feature of this drape is the manner in which a width of the goods is draped from the top to the floor at a point quite a distance from the stand. The goods are then gath- ered in a puffed effect on the floor and brought back the base of the stand and puff'od around the base. Drape 16 LESSONS IN DRAPING PRELIMINARY INSTRUCTION THE examples shown in these lessons form the basis of all dress goods draping. Wheii the window dresser has mastered the principle of these drapes, he has mastered the art of handling dress goods, for if he can form correctly the various sweeps and folds shown here, he can combine them into endless schemes for window display. It has not been the purpose of the author to give endless examples, showing all of the hun- dreds of ways in which material may be handled, but rather to show thor- oughly the basic principles that are the foundation of dress goods draping. If he will follow the directions laid down here and will persevere, anyone can make perfect drapes. Window trimming of the highest type is largely a matter of taking pains and looking after the little things, for it is the careful attention to little things that makes perfection. Never be satisfied with an effect that is "fairly good." If a knot or fold is not just exactly the way it should be, work with it until you get it exactly right — do not leave it until you are thoroughly satisfied that it cannot be improved upon. You are doing yourself an injus- tice when you turn out imperfect work. Remember that if you once do a thing right, it is that much easier to do it right the next time. In the series of drapes given in this book, it will be noted that the same sweeps and folds are repeated through most of the examples and the reason for this is that the folds and sweeps shown here are all there is to dress goods draping. An artist can take a few lines and by repeating and com- bining them will make them into a beautiful picture. It is the same way with draping — the expert window dresser can take a few sweeps, and folds and combine them into endless beautiful drapes. In making any drape remember always that the whole cannot be perfect unless every part is perfect. Your greatest difficulty will be in giving a smooth even effect to the folds, especially at points where a number of folds start from one pin. First form the folds as evenly as possible by taking the big end (or the end that lies on the floor) and swinging the goods from side to side. When the folds have been formed, run the fingers lightly along the edges to make them even. Bring the fingers between each fold clear up to the point where the goods is pinned and see that every fold is in its place. Display stands should always be kept in first class order. Those that are shown in the book are simple and substantial, but no matter how strong a wooden stand may be, after long use it will become loose and rickety. Inspect your stands every time you use them. Look them over in yom workroom 37 Lessons in Draping and see that the tops and bases are tight. Another important thing — see that the edges of the stands are all smooth. A little sandpaper will often save val- uable goods from being damaged by the rough edge of a stand. One of the first things for the trimmer to learn is how to handle goods so they will not be damaged. In niost of the following drapes, very few pins are used. In several of them there is only one pin and that is through the selvage. Never use an unnecessary ])in and when one has to be used, place it so there will be no strain upon the goods. Do not drag the material over the top of the stand — lift it and carry il carefully. A show window and e\cry thing in it should always be immaculately clean. Before you place a piece of goods in the window be sure that the floor, woodwork and mirrors arc as clean as it is ])ossiI)lc to make them. V>e- fore you lea\c the window, after the (lisi)]ay lias been ])ut in, look the lloor over carefully for stray pins, ravelings, splinters of wood, etc. People pass- ing by outside will frequently draw their hands across the glass, leaving finger marks. This is a little thing, but it counts against a display. In designing a window keep in view the whole display. There is har- mony of lines as well as harmony of colors. Thiidc how each drape will look in its relation to other drai)es. \\^atch the lines of your display — they should not all be the same. If you are using a great many long curves, work in some short curves and straight lines, to break the monotony. If you have many folds, use some broad flat surfaces as a contrast. Use drapes of differ- ent heights to give variety to the display. In learning to drape correctly, the most important thing is practice. Time spent in practice is the best investment a triiunicr can make. Practice every detail until you can do it perfectly. Anyone who has the use of his faculties can learn to drape if he will only i)racticc. Most window dressers will have more trouble with the sweei)s than with anything else, but when one once gets the knack, there is nothing easier. r)Ut a few seconds are required to form a sweep when the trimmer knows how. Practice! Practice! Practice! In window dressing there is far more in i)ractice than there is in being a genius. Lessons in Dpapinc; DRAPE 1 THIS is a very simple drape and it can be executed very quickly. It may be used for any kind of goods. The fixture required is one which can be easily and cheaply made. It is shown in Fig. 1. The base is made of %-inch pine, 14 inches square, and to this is fastened a hollow standard 38 inches high. The standard is made of four J/-inch pine strips, V/j inches wide. When these arc nailed together, the opening in the midde is 1-inch square. In this opening is used a straight stick ^x^x48 inches with small holes bored through it at intervals of 6 inches. The holes arc made so a small wire nail can be used to adjust the stand any required height. The stick that is used in the standard should fit snugly, so that it may be elevated its entire length without leaning over to one side. In fastening the hollow standard to the base, the best way to secure it is to nail a block Gx6 inches to the middle of the bottom. Then make a square hole ihrougii the bottom of the block corresponding in size with the hole through the standard. Take a piece of pine 1x1x8 inches and drive it through the base into the standard and nail it. A small square block should be nailed beneath each corner of the base or two strips along the sides, as this will make the stand sit firmly even on a rough floor. To make Drape 1, two lengths of dress goods will be required if the stand is set at the height shown here. Set the stand at six feet and place it so that one corner points directly toward the front. Place the goods on the floor in front of the stand. Open the goods by taking the upper selvage in the right hand and pulling the goods with the left hand keep- ing the right side of the goods toward you. As the material is jiickcd up. it is folded back and forth until all is opened. 39 Lessons in Draping \\'licn the bolt has l)ecn opened lay it right side up on the tloor at the riglit hand side of the stand. Carry the end over to point B at the left side of the stand. Lay the end of the goods on the floor about two yards from the stand. Then pick up the goods by the back selvage and place it over the uiirighf, allowing the back edge to extend about one inch over the back of the stand. After allowing suBicient goods on the right side to form the sweep at the back, carry the remainder to the front of the stand at the left side and leave the end at point D, which is some distance in front of point P>. Of course the right side of the goods must always be kept uppermost. Pick up the goods by the selvage at point K which is about the middle, and lift it to the top of the stand. Put a pin through the selvage as close as possible to the edge and then fasten the pin to the extreme point of the stand in front. This uuist be done carefully in order that the goods in the two front sweeps may come to an absolute point where it is pinned. The material is now placed so it extends in four directions from the top of the stand. This is done before the sweeps are formed in order to apportion the goods properly. If the decorator began to form the folds in the sweeps before the goods was all laid out, he might easily make a miscalculation that would necessitate beginning all over again. ^■flu will now begin to arrange the folds of the sweeps, beginning with the sweep at the back on the left side. It is an extremely easy matter to form beautiful even folds if one goes at it in the right way. Only a little practice is required. It is done by holding tlie goods in one hand and swinging gently from side to side, allov^'ing the goods to fall into its proper place. I'nless the trinmier is very proficient in making folds, it will pay him to practice at this part of the work as it is the foundation of all draping. To form the folds of the left rear sweep, lake the goods loosely in the left hand. Turn the front selvage under witJi thr right hand just enough to conceal it. In the meantime, Still hold the gathered goods in the left hand, lifting the material out of the way so (hat -10 Lessons in Draping yon can see how to arrange the first pleat or the one next to the floor. First swing tlie guuds back, allowing some of it to drop, making a fullness. Then bring it forward and back again, turning a second fold about one inch back of the first one. Repeat this motion to form the upper fold or pleat. It will be found that very little smoothing out will be necessary to make the folds hang evenly. The top pleat is 1 inch wide at the top and gradually widens out until it is 12 inches wide at the end on the floor. It covers all the lower pleats. Drape 1 Now form the folds of the back sweep on the right hand side of the stand. This is done in exactly the same manner as has already been described, except that the goods are gathered in the right hand and tlie folds are smoothed out with the left. To make the front sweep on the right side, gather the goods in the right hand at the end of the sweep. The first or lower fold is allowed to fall from the top of the stand (C) straight down to the floor directly in front oi the middle of the stand. The selvage is turned under just enough to conceal it. Then form the three folds in exactly the same manner as has been described in connection with the back sweeps. Each fold or pleat extends out several inches beyond the one above it. The widest distance between the top and middle pleat is 9 inches. Between the middle and bottom pleat the widest distance is 12 inches. The front left hand sweep is arranged in precisely the same manner as the front right hand sweep, except that the position of the hands is reversed. The folds of the lower pleats of the front sweeps now meet in front of the stand, forming a straight line and completely concealing the stand. The length of the sweeps nnist of course be governed I\v the amount of goods used and by the window arrangement. However, where a double dress length is used, the four 41 Lessons in Draping sweeps will all be about three yards in length, measuring fr,om the lop of the stand to the end of the sweep. When this drape is rightly constructed the two back sweeps will extend in a straight line parallel with the back of the window. The two front sweeps extend to the right and left at angles of 45 degrees from the line made by the back sweeps. The drape is now complete. The goods between the two right liand sweeps is not arranged, as it will be covered by another drape, as illustrated in Window Plan No. 1 in chapter on "How to Lay Out Complete Windows." The same applies \i) the excess goods on the left side of the stand. This drape may be done in various heights according to the size and shape of the window. It is not likely that this drape will be used very often in a window, as it is perhaps too simple to suit the taste of most decorators. The object in describing it at length is mainly to show how the folds and sweeps arc constructed. The beauty of this and all the drapes that will be described hereafter lies largely in llic long sweeping folds that start from one point and fall naturally and gracefully. The entire secret of draping lies in the making of folds and pleats. If the student will follow the directions carefully, he will find that the folds almost make themselves. Practice — practice — practice — everything depends upon bow the work is done. Arranged carelessly it will mean nothing — the same goods arranged with care and the window will be artistic and will produce results. 42 Lessons in Draping DRAPE 2 FOR tliis drape is reciuircd tlic same stand as was described in Drape 1, except that it has a top that is 9 inches square. The top should be nailed securely and should be perfectly level. After long use, it has a tendency to get loose and to tilt to one side, so the decorator should inspect his stands occasionally and tighten them up when it is necessary. To begin Drape 2 put a nail in the second hole from the bottom. This brings the top of the stand to a height of a little more than 4 feet. The height of this drape will depend, however, upon its position in the window. It can be made as low as desired or may be made in any height that the width of goods will permit. The amount of the goods required will depend upon the height of the stand. If it is Wz feet high, a single pattern will be sufficient. If the stand is higher, more goods will be required. Place the stand with one corner pointing directly toward the front. Unfold the goods, turning- the right side out. Then place the bolt on the floor at the right side of the stand. Carry the end of the goods over to B on the left hand side of the stand leaving enough of the fabric on the floor at B to form a sweep, pick up the goods and place it squarely over the top of the stand, allowing the back selvage to hang 1 inch over the back of the top. Leave enough goods at the riglit of the stand to form two sweeps and carry the remainder around in front of the stand to the left side. Then pick up the back selvage at point C Fig. 3. Fold the selvage under about 1 inch and fasten with one pin to the extreme edge of the front of the stand (point D, Fig. 3). 43 Lessons in Draping The material now extends in four directions from the stand and the next step is to form the folds of the sweeps. Begin with the back sweep on the left hand side. The goods at the end of the sweep are held loosely in the left hand, and the front selvage is turned under with the right hand. Then swing the left hand back and fortli, forming three folds or pleats, as was described in Drape 1. The lower pleats extend about 1 inch in front of those above. These folds are very easily formed. The two top folds start from the corner of the top of the stand. The lower fold starts at the middle of the side of the stand as in- dicated in Fig. 2. The selvage of the upper fold is turned under about 5 inches, making what may be termed a box pleat, which is 10 inches wide at the broadest point where it reaches the floor, at point B, Fig. 2. In making the rear sweeps of this drape, do not Drape 2 stretch the goods or pull the end out too far from the stand. It should be allowed to fall in a graceful curve, as shown in Fig. 2. When the folds of the left hand rear sweep have been completed, those of the right hand rear sweep are formed in the same manner except that the position of the hands is reversed. To form the two forward sweeps, bring the goods straight down to the floor in the middle and turn under the selvage. Then start the folds of the sweep on the right hand side. Turn under the front selvage and form the folds by swinging the goods in the right hand. The selvage of the upper fold is turned under 5 inches to form a box pleat, and the ends of all the pleats are folded under, as shown in the drawing. The upper pleat is 12 inches broad at its widest part. The front sweep on the left side is made in exactly the same manner as the one just described except, of course, that it is reversed. 44 Lessons in Dh.\i>inc. If the pin is properly placed at the top of the stand, the folds of tlie two front sweeps will fall in beautiful curves, Starting at a point, they gradually widen out until they reach the ends. Now place two buttons at the top point of the stand. These should Ijc ratiier large, and care should be used to place them straight. Some buttons have a design on thcni such as a flower or a head, and these should always be placed right side up. Hang the first button over the pin that is used to hold the goods, being sure to place it squarely. Then put in another pin a little lower down and hang upon it the second button, allowing it to lap a little over the lower edge of the first one. For plain goods, fancy or jeweled buttons may be used, and for goods with mixed patterns, use plain ones. For early Spring, b'all or Winter goods, an umbrella may be shown on top of the stand. Before it is placed, it should be rolled carefully and if there is a price tag on it, it should be concealed. Turn the handle toward the front and arrange it so the button on the cover cannot be seen from the front. The umbrella should be placed so that it is parallel with two sides of the top of the stand. A black umbrella may be shown or it may be colored, such as navy, green or brown. It should harmonize in tone with the goods. The handle should be in keeping with the buttons. For example, if gold buttons are used, the handle should be gold also. A gold handle would not look well with silver buttons. Now place a pair of gloves over the umbrella. These should be arranged somewhat after the manner shown in the picture. This takes away the flat, stiff appearance. White gloves, or white ones stitched in black, will fit in with any color. Gloves of any other color must match or harmonize with the material of which the drape is composed, as, for instance, light tan gloves would look well with brown material. A good example of pleasing color combination suggesting a tailored suit would be l)rown broadcloth, bnown umbrella with a dull gold handle, Roman gold buttons and very light yellow gloves. This drape is especially adapted to showing goods that are used for tailor made suits. It may be used, however, to show almost any kind of dress goods. 45 Li-ssoNS IN Dhaping DRAPE 3 THIS drape requires about two dress lengths and is especially appropriate for showing novelties oi the better class of goods. It requires a good deal of floor space and serves admirably for a corner drape. It should be used in connection with some of the other drapes shown in this series. For this drape will be required the ordinary home-made extension draping stand that has already been described. The top is 10 inches square, and it is placed on the upright at an angle of 45 degrees, with the four corners pointing up and down and to the sides. The stand should be from 5 to G feet high. The height, however, may be varied accordin;4 to the size of the windows and the height of the background. rig. 1 To begin the drape, open the goods and carry tlie end over the top of the stand from the back, allowing it to fall to the floor about 18 inches in front of the middle of the stand. From the point where it reaches the floor it extends forward another 18 inches, making the forward edge 30 inches from the middle of tlie stand. Arrange the goods over the top of the stand so the crease in the middle extends straight up across the top. The crease should pass directly over the corners A and B in Fig. 2. Then spread out the front (raw) edge perfectly straight and smooth and form the two folds, one on each side of the middle of the front. These folds will come some- what closer together than they are slu)wn in the drawing. Fig. 2. The crease in tlie goods should extend exactly down the middle nf the front, half way between the two folds. In case there is a mirror background, strai-hten the goods that fall behind the stand in order to preserve the appearance of the bark of the drape. Carry the goods out to the right of the stand to point C, and allow for the long right hand sweep at the back. Lessons in Dhapinc; Then pick up tlic selvage at point J), turn tlic selvage under twice at puint 1) and pin to the top of the stand at point ]•:. Then form three folds to the sweep between points C and D and turn under the rear edge to the top pleat. Now bring the goods down to point F to form the right forward sweep. This is executed as follows : Viewed from the front, the goods are pinned through tlie left hand selvage at point E. Draw out to point F and pin to the floor through the extreme right hand selvage. This causes the pattern of the goods to run diagonally across the top fold of the sweep. The pin at F should be placed at such a distance as to allow the lower fold (or the left hand edge) of the goods to be turned under and join closely to the goods already draped over the front of the stand. When the pin has been properly placed, turn under the right hand edge. The upper part of the sweep then forms itself naturally. It begins at the point K and gradually widens Drape 3 until it is al)OUt 10 inches across at the widest part. It then diminishes in width until it comes to a point at F. The lower part of this sweep is formed by folding the goods back under and then bringing it out at the bottom. Now allow suflScient goods to form the puffing in front as shown in the finished draw- ing, and carry the remainder across to the left side. Allow for the left hand front sweep of the same length as the one already constructed on the right side. Pick up the right hand selvage of the goods and after having turned the selvage under twice, pin through the edge at point opposite E. Tlic sweeps on the left side are constructed in exactly the same manner as those on the right side, except that they are reversed. After all four sweeps have been made, use the surplus goods in front to form the pulling which extends in a crescent shape between the points of the front sweeps. 47 Lkssons in Dhaping I'or the trinmiini; of this drape two liolts of ribbon one lialf inch wide and 10 yards long are required. The rilibon may be either of velvet or satin. It should be in two shades, one light and the other dark. Tlie darker sliade should always be arranged on top. In handling the two ribbons they should be kept together in the same position throughout. The formation to the bow shown in Drape 3 is so simple that but little description is necessary. Allow about a yard for the ends that hang down the right hand sweep. Then form the two ribbons in a single pleat and pin to the right hand corner of the stand. Form the long loop, pleat again and pin at the same point. The two short loops are formed in the same manner, always folding the ribbons in a single pleat where they are pinned. Then bring the long ends over from the back to the front and turn it twice around the base of the loops where they are pinned. Tliis forms the knot and the long ends are carried across the right forward edge of the stand and over to some other stand where they are again knotted and allowed to fall to the floor. This ribbon is used throughout the entire window, passing from drape to drape. No other decorative or trimming is used. For very stocky displays where it is desired to show many pieces of goods, this drape may be made without any side sweeps. Simply drape the goods over the stand as sliown in Fig. 2. Arrange this part of the drape in the manner already described and two folds will form naturally at each side of the stand at I and J. These folds should be smoothed out and after the surplus goods has been concealed behind the stand, the drape is complete. For the embellishment of this drape, any appropriate trimming may be used, running from stand to stand throughout the window. This drape is particularly suitable for the high stands in the back rows of stocky windows. Lf.ssons in Dhafinc DRAPE 4 THE high T stand is used for this (hapc. Tliis stand is shown in Fig. 1. The top is 24 by 4 inches. This stand should have a heavy bottom or should be nailed down to the floor, as the heavy folds on one side would make it tip over other- wise. In trimming the drape the stand has to be covered first perfectly smooth, beginning with the end of the goods on the bottom of the stand so that about one half yard of the goods is lying smooth on the floor at A. The left hand selvage has to be even with the left corner of the top B and the rest of the width drapes down on the right of the stand C. The back of the stand has also to be covered smoothly, so that the stand does not show if there is a mirror liackground. The next movement is the fomiation of the two sweeps that extend from the front of the stand. Allow sufl'icient material to form the sweep that extends to the right. The amount will be governed by the size of the window and the position of the stand. Then pick up the goods by the edge, using both hands, as shown in Fig. 2. Turn the selvage under twice, making each turn about ^4 of an inch. Then place the folded edge squarely over the edge (C) of the stand, allowing it to extend back only about Vi inch. The fold is then pinned in position. A pin is driven in from behind the right hand corner of the front (C) of the stand. This pin must be placed so it will not show. Another pin is placed on the opposite side, but this one need not be concealed, as it will later be hidden by a knot of velvet. The goods are now arranged to form two wide sweeps as shown in the finished drawing. They begin at apposite sides of the front of the stand and extend to tiie right 4 49 Lessons in Dhaping and left. Tlic right liand sweep is formed witli fmir even pleats and extends at an angle of -15 degrees to the right of the line of the l(jp of the stand. The folds are f/jrmcd hy taking the goods in the right hand and adjusting the pleats with a swinging motion from side to side. The edges of the folds at the end of the sweep should he even. The length of this sweep should l)e alioiil •_" _■ \ards, tliis distance however, must be adjusted, accord- ing to the size of the window and the height ,of the stand. Having completed the right hand sweep, the forward sweep is formed. This sweep starts from the left hand corner of the front of the stand and descends in a pleat which gradually widens toward the middle and then diminishes until it comes to a point where it is pinned to the floor. At the widest point, it is 12 inches across. The formation of this sweep is quite simple. It is done as follows : To begin with, the goods used for this sweep are already pinned through the left hand selvage to the front of the top of the stand. Now decide how long the sweep is to be made and take the .opposite or right hand selvage. Pin the right hand selvage to the floor and the pleat forms itself naturally. The pattern of the goods crosses the sur- face of this sweep diagonally. The left hand selvage is turned over about -1 inches and falls back naturally in line with the wide sweep A. Having finished the front sweep, the goods are carried back m a graceful curve along the lower end of sw-ecp A to a point on the floor correspondiiig in position with point E, Fig. 2. Allow fullness enough to form the puffing. In this and all similar movements always be careful not to twist the goods, and the right side should always be uppermost. From the point E carry the goods up to the top of the stand B to measure the distance of the back sweep on the left side. Having found the correct distance lay the goods on the floor and fold under one eighth of the whole width. Then fold back and forth until the goods are arranged in four pleats of equal depth, as shown in Fig. 4. Having com- pleted this arrangement, the pleated goods can be laid smoothly over the top of the stand at B. The selvage of the uppermost pleat extends l)ack one inch bexund the lower folds in order to conceal them, as shown in h'ig. ;i Wlien this arrangement has i)een completed. the front edges of the four pleats are about l\ inches in front of the extreme back of the stand P.. In arranging the folds the lower one extends a tritle in front of the next one above and each succeeding one is arranged in the same way. Having completed the 50 Lessons in Dhapinc. arraiigenienl al tlic rear of llir lop of tin- stand, lliis swcfp is carried tn the left at a right angle from the top of tlie stand and is fastened with a single pin through the left hand selvage at point K. This |)oint is aluuit _' yards from the standard of the tixtnre, or as far as the width of the goods will ])ernut. This hrings the end of the sweep to a point and the four folds form themselves automatically. The ])lacing of the pin at E is an important matter. It nuist he at a spot which permits the lower fold of the sweep to fit snugly over the edge ,of the sweep A throughout its entire length. For the trimming of this drape take a piece of insertion lace (Venetian Applique) from 5 to (i inches wide, hang it smoothly over the top. Gather it together and fasten it with one pin on the left hand corner of the front of the stand, as shown in Fig, "). After this hring the lace down in a graceful curve at a right angle from the top of tlu' stand and parallel with the folds of the hack sweep. The end of the lace should he carried Drape 4 some 18 inches hcyond the g(Vids on the lloor. Jt is then turned under, carried hack and the surplus lace is placed under the dress goods. Gather the lace together and fasten with a pin to the floor at the exact edge of the dress goods as shown in Fig. G. Then take a piece of velvet Vs yard long and fold it in three small pleats, h'asten at the point where the lace is gathered. Wind the velvet loosely around the lace twice, in such a manner as to form an oval knot 3 inches high. The loop of lace which extends heyond the knot should he looped up into little waves to take away the stiffness. Another similar knot of velvet is made at the point where the lace leaves the top of the stand at C. In making the knots of velvet, care should he taken to avoid showing the selvage or end of the material. A good deal of skill is required to get the hest effects from these little knots. They should he folded and arranged in such a manner as to hring out the folds strongly, as their principal charm lies in the light and shadow of the velvet. 51 LivSsoNS IN Dhaimng DRAPE 5 THIS drape is siiital)lc ior any kind of licavy goods. It is well adapted to broad- cloth and serves equally well to show up goods having a rough surface. It is especially suitable for large plaids and Scotch goods of all kinds, as the large smooth surfaces oi the drape serve admirably 1o show up the pattern. It can be used to good advantage in displaying any kind of winUr falirics. While goods of lighter weight can be displayed in this way, tluy .l- n.a >bnu up as well as heavy goods The latter have the body and weight that niakr theni fail in InUR, sweeping folds, whereas it is diffi- cult to make a long graceful swcip uitli \ery liv^ht g.oods. The stand required is shown in Fig. 1. It is the ordinary telescoping stand having a horizontal board 4 by 24 inches in size for a top. This top is 48 inches from the floor. To the back end of the top of the stand is naibd a vertical strip 7/^ inch square, the top of which is 78 inches from the floor, in most cases where a drape of thi> kind is used the ends of the sweeps will be covered by other drapes. This feature is expl.iined in a later chapter under the heading of window plans. To begin the drape, place the stand so the b.-ard top points slightly to the right or left, unfold the goods as usual and carry the end over to the left about 2'/: yards, about Ys of which lies mi tiie floor, and can zontal top of the stand, allowing the front fold of the ;-;(io(ls t< ipriiAJit at point A the sehage back til of the top and c Then bring the goods out to the rii;! as was left on the left hand side. Xdw allow at the right, also enough for the long :^weep 1'. and turn the selvage under twice. Then carry corner of the top of the stand D. 52 id .wer folds t - part of Ih necessary is rear edge ot 1 the sanu' n f tl ) and facing the stand, take the goods I) side at the same time letting it fall ig until even with the draping that has ami. As the folds are already started make the pleats of even width and to L' top |)liat is turned imder. Tiic sweep ler. except that the Irinnnev's positiim is Drape 5 reversed and he handles the goods witli his left iiand instead of his right. When the sweeps have been formed it will l>e found tiiat there is some distance btween the stick and the inner folds of the high sweeps. To Id! in this space tlie innermost folds are drawn together and pinned in front of the slick. In pinning them, care must be used to avoid pulling the folds out of shape. It is impossible to entirely fdl the opening without disarranging the folds. The space that remains however, may be covered with a fur piece as indicated in the large drawing, if winter goods arc shown. If summer goods are shown use a piece of lace, or a featlier boa. The knot that is atlaclied to tlu' froul of the lower part of tiie drape is constructed as shown in big. 5. It is made of two strips of velvet ^s yard wide cut straight across the width of the goods. These are twisted together as Fig. 5 shows. Wide ribbon may be used in place of the velvet. I-'urs make ai)propriatc accessories for (his kind of drape, as the goods are intended for f;ill and winter wear. In the large illus(r;i(iion a eomple(e set of furs is shown and an umbrella is laid across tiie lop of (he s(and. 51 Lkssons in Dmai'inc; DRAPE 6 THE stand required for this drai)e is tlic same as has been described in connection with (Other drapes. It has a to]) -!1 I\v 4 inclies, which is tilted at an angle of 45 degrees. It sliouki be adjusted t,o a heiglit of about (ied and the :tch the goods too tight. The folds should be allowed to give graceful curves and avoid all appearance of of the curves shown in the (lrawini.;s should l)e 56 Lessons in Draping Having completed the third or rear left hand sweep the »'>ods are carried from the top down on the opposite side to the floor where another sweep, identical with the third one, is constructed. As the folds are already made at the top (point B), all that is neces- sary is to carrj' the goods to the proper point, pin tlic selvage to the floor and arrange the folds. When properly arranged, the front and rear sweep on the left side arc at right angles to each other. The same is true of the sweeps tin the rif;ht side. For the trimming of this drape take one-fourth yard of velvet cut on the bias. Then cut this piece in halves along a line drawn at a right angle from the longest side of the piece as shown by the dotted line in Fig. 4. Only half of the piece of velvet is used. Two colors are required for the trimming of tliis drape, or one color in two different shades. Both pieces should be cut in the mamicr described before. The kn,ot thai will be described here requires two pieces of velvet. Take the lighter colored piece and fold it across the square end into four equal folds, as shown in Fig. 5. A pin is driven through the four folds at the left hand side of the front end of the stand (point C, Fig. 3). This should be arranged so that the four pleats are turned towards the front and the end of the velvet hangs to the right. The darker piece of velvet is folded in the same manner as the lighter one, and is fastened just back of the f^rst piece and in exactly the same posi- tion. The end of the first or lighter piece of velvet is carried down beneath the folds of the two forward sweeps as shown in Fig 6. It is tlun l)rought up on the left hand side and held erect in the left hand, while with the riyht band the darker piece is twisted once around the lighter piece, as illustrated in I'ig. 7. This makes the folds of the two forward sweeps seem to emerge from a small knot of light velvet. Li:ssoNs IN Draimnc. DRAPE 7 THIS is an exceptionally good all around drape. It is easily and quickly constructed. It is attractive in appearance and is adapted to almost any kind of goods. It is especially good for a stocky window where a number of patterns are to be shown, and it is equallj- good for special displays where only two or three patterns are put in the window. It also can be used to advantage in connection with any of the other drapes shown in this series. The stand should be 42 inches high. For this drape a new stand is required. It is an extremely simple home-made fixture and can be constructed in a few minutes by any one who knows how to use a hammer and saw. It is made of two ^ boards 42 inches long. One is 8 inches wide, the otlur I' inches. They are nailed together at right angles to form a trough, as .shcnvn in b'ig. 1, having two sides 9 inches wide. This stand may be made in any luiglit, luit about 42 inches is best for general use in the front of the window. As was said in the beginning, the 12 inch stand is llie most useful for front row drapes in the window. However, in stocky windows there may be two or three rows of 58 Lessons in Draping Fig. 6 Stands; and it is then necessary to have the back ones higher. It is not necessary, though, to make higher stands, as tl-.e 42-inch stand can be placed on a box to bring it tx) the required height. In phicing it on a I;ox, care should be taken to have the stand so the sides will be flush with the sides of the box. To accomplish this the angle of the front of the stand should be directly above the angle formed by the corner of the l)Ox. When it has been placed in the proper position on the box, a nail or two should be used to hold it solid. The proper way to ar- range this kind of a drape in the win- dow and the manner of placing the draping stand upon the box is indi- cated in Plan 3. Only one dress pattern is re- quired to form Drape 7, but if it is in a bolt, sufficient goods may be used for the drape and the remainder can be concealed when the drape has been completed. To begin with, the goods are opened up as usual and the start is made from the left side of the stand at point A, Fig. 2. About 1 yard of goods is left on the floor. Then take the top selvage and arrange smoothly over the left hand side of the fixture from point B to point C. Three inches are allowed to lap over the top of the stand. A pin is first put in at point B and when the goods has been smoothed out another pin is placed at point C. The goods are then placed over the right side of the stand between points C and D in the same manner. Then smooth the goods carefully down on both sides of the stand, being careful to take out any wrinkles and bring out the shape of the stand strongly. When it is perfectly smooth, place pins at the points E and F to hold the goods in place. Care should be taken to make a smooth fold in lapping over the goods behind the top of the stand at the point C. The goods are here pinned from behind. Then form a sweep of three pleats on each side of the stand. This is done in the same manner as has been fully described in Drape 2. The stand then appears as shown in Fig. 2. The next thing to do is to form the three folds that appear at points G and H in Fig. 3. These are made as shown in Fig. 4. The folds are made as narrow as possible, so that each pleat contains only about 1 inch of goods. The 3 inches of selvage left over the top of the stand are sufficient to form these pleats. They are held in place by a single pin from behind. The loose end of the goods is then brought around in front as is indicated in Fig. 3. It is taken up at point I and the selvage is turned over 1 inch. It is then pinned with a single pin at point C. Place the pin at the edge of the goods and fasten at the extreme forward point of the stand. This is necessary to make the folds fall properly. Two long sweeps are then made in front. Each has four pleats arranged as may be seen in Drape 7. The front selvage on the lower pleats is turned under about 1 inch. The selvage on the upper pleat is turned under about 5 inches at the lower end. The depth of the pleat depends upon the width of the goods. If the goods are very narrow only three pleats can be made, with goods of ordinary width, however, there will be plenty of room to make four good pleats. To finish up this drape, a rosette is made and fastened at the point C. For this, a 50 Lessons in Draping remnant containing about 1 yard or a little more of soft silk is required. It should be in harmonizing or contrasting shade, according to the color of the goods. To make a rosette, fold the silk lengthwise in two even folds. Then pin one end temporarily at point C. The pin should be passed through the selvage and the middle fold of the silk, keeping the edges even. Then start making the rosette as shown in Fig. 5. The goods are gathered in pleats 1 inch wide. Continue until all the silk has been ruched. When completed both ends (raw ends) should come on one side, so they can afterwards be pinned together. Then take the ruching and fasten the pleated ends at point C as shown in Fig. 6. 'i'lu- i)in must be driven in very securely, as the ruching has to be handled later, and if the pin pulls out all the work will have to be done over again. Now take the two open ends (the raw edges of the silk) and pin together to the stand as close as possible to point C. This prevents the raw edges of the silk from showing. The rosette is then «pcncd. This is done by pulling apart the folds and forming ^ffM Dr.ipe 7 them in two regular circles with one in front of the other. Willi a little arrangement the folds can be made to take the form of a rose. .\ little experimenting will enable the trimmer to get some very pretty effects with this rosette. ill narrower goods, such as challis, tlanncls, etc., it iner. as these goods are not wide enough to cover a ii of the goods. Tn this case, the stand must be ij) li'n.ntliwise from tile bottom. This leaves the bolt lint !'. ( i'i.L;. 'D tlie left hand rear sweep is formed, irward and beginning at the lioltom. tlie left hand forward sweep is formed. Then the goods are brought down to form the right hand forward sweep and the end is finally carried around to make the >weep at the back on the right hand side. With narrow goods only two folds can be made to each sweep. It is easy however, to double the goods back in each sweep, thus getting enough for four folds. GO If this drape is to be made has to be handled in a different ii stand of this height with the w covered first by bringing the good of goods at the back. Starting at p< The end of the goods is then carried Lessons in DnAi'iNd DRAPE 8 THIS drape is one that is appropriate for almost any kind of dress goods, but it is especially adapted to the display of plain material liaving a smooth soft surface. Only one pattern of goods is required hut if the fabric is in a l>olt, the surplus may he concealed behind the stand. Goods having a pattern, such as plaids, etc., cannot be shown to advantage in this manner. Fig.l The stand required is the same as shown in the preceding drape. It is of extremely simple construction, being two yi inch boards nailed together to form a trough 42 inches high. One of the boards is 8 inches wide and the other is !) inches. They are nailed together at right angles, so that each face of the fixture has a breadth of U inches. The drape shown in this plate is right for the front of tlie window. If it is to l)e used at the rear of the window, it will be necessary to have a higher stand or to place the 42-inch stand upon a box to elevate it to about 52 inches or higher, in order to preserve the per- spective of the display. At the beginning of this drape the goods are opened up in the usual way and the bolt is placed at the right hand side of the stand, which has been secured in its place by one 61 Lhssons in Dhai'ing or two wire nails that arc drixin into the lliHir. '\'hv cml nr raw cdye of the goods is earried llirec inches l)eyond llie left edge of the stand and the nppcr selvage is lapped over the lop 2 inelus ai d is i)inne^< corner of the left side as shown in Pig. 2. The lower fold extends out about '4 inch beyond the fold abf)ve it, and this arrangement is continued with each succeeding fold, making a miniature stair step effect, each lower fold extending ]4 '"^"^i i'l front of the fold above. Draw out the sweep to the right and pin to the floor through the selvage with one pin at point K. This point should be at such a distance from the stand ,'is allows the lower fold (of the six) to drape up closely to the right side of the stand. Now bring the goods forward, allowing for a puffing and i)ick up by the upper selvage at point I'' in l'"ig. ."'.. This is a point that allows for making two front sweeps of equal length. Turn the upper selvage over 1 incli and jiin point 1'^ to jioint ]'. on the stand and the goods will fall naturally into the folds, shown in Drape S and in l'"ig. ,"1 The gootls are now arranged roughly and the mxt thing is to go over the three sweeps and straighten out the folds cart-fully. I low this is done may be seen in the drawings and has been carefully exi)lained in the description of Drape 2. To complete the drape, an ornamintal buckle ,ind tluei' loops of soft satin ribbon about 5 inches wide are required. Much depends upon the choice of the colors of the ribbon ii-2 Lrssoxs IN Dhaimng ]'or example, if the goods are liglit tan or silver gray, take pale pink, pale licliotrope and liale line rihlions. The shades of the rihhon must he in very light pastel colorings and must harmonize perfectly, otherwise the effect will he lost, if the goods arc dark take one color in three shades, one very light, the next medium and the third moderately dark. To form the loops, one yard of each shade of rihhon is rcfiuired. Form each ribbon in three pleats and place all ,of them together and pin at point P>. There are three loops 8 inches long extending upward. These are separated and the ribbons are allowed to remain wrinkled in order to show the varying light effects. Below are only two loops (> inches long of the two lighter shades. These are straightened out to their full width at Drape 8 the extremities of the loops. A piece of the darkest shade is then cut off and run through the buckle, which is placed separately in a slanting position and pinned in place at jioint P>, where the loops radiate from. In Drape 8 the forward sweeps appear somewhat longer than they actually are, owing to the perspective of the drawing. Using one length of goods it would be impossible to make them as long as these appear. The proper length, however, is easily determined, as the single pattern of goods will naturally bring out the proper proportions. For a very stocky window in which space must be economized, this drape may be constructed without the front sweeps. In this case the buckle is not used and the trimming is applied in the manner shown in Drape 9. 63 LkSSONS in DH.\PIN(i DRAPE 9 THE stand used in this drape is the same as was described in Drape 7. It is made of two ^-inch boards 42 inches long. One of them is 9 inches wide and the other 8 inches, and when they are nailed together as shown in Fig. 1, the two faces of the ti.xture are 9 inches wide. Further comments on the construction and use of this stand will be found in the description of Drape 7. For this drape a straight upright sliouKl be added to this stand. It is a ^ by 3^ inch strip nailed securely to the back edge of the right hand side of the stand and extends 27 inches above the regular stand. Then, before beginning to drape, pick out the proper spot in which the stand is to be placed and nail it tightly to the floor, as the weight of the goods is mainly on ,one side and, mik-sh secnrely fastened, the stand is likely to topple over. To begin with, the goods are placed as may be seen in Fig. 2. After having unfolded the bolt, as usual, the stand is covered and in this connection it may be well to impress the fact that draping broadcloths or any other goods that has a nap, it should always l)e draped so the nap runs down instead of up. Take the end or raw edge of the goods and bring it up over the top of the lower part of the stand. Five inches of selvage is allowed to fall over the top of the stand. It is first pinned at the point A and another pin is placed at point B, Fig. 2, being careful to keep the goods folded straight along the edge between A and B. The surplus goods at the back is tlien tlrawn up and a pin is placed at C. Then draw the goods smoothly over the front of the stand, being careful to take out all wrinkles. Place pins at the points D and E. You now take the surplus of the goods at the right side of the stand. This will usually be about half the widtli of the piece. Gather it in two pleats, as shown in F, Fig. 2, and fold the upper edge around the upriglit and pin at a point 7 inches al>ove the top of the lower part of the stand. It will then fall in two even pleats as shown in Fig. 3. This having been done, fini.sh smoothing out the goods used to cover the stand and arrange the !?urplus at the bottom in neat folds. The pins are all placed in tlie back, where they will not show, and the temporary pins at points A, B, C. D and E are taken out. The next thing to do is to form the four large pleats at the right. Hefore lieginning 64 Lr.ssoNs i\ Dhmmng them the siirphis goods should be carried to tlic right and then brought to tlie top point of the upright. This is to determine how much goods must be allowed to form the sweep and the puffing in front of it. Then having allowed for the puffing, lay the goods on the floor (behind the stand) and form four equal pleats. Care should be used to keep the goods from getting twisted during this operation and the right side should always be kept uppermost and toward the front. The pleated section is then lifted up and placed over the top of the upright as shown in Fig. 5, leaving the surplus to fall l;L-hind the stand. The edges of the pleats should be made to extend exactly to the front edge of the upright (no further). A temporary pin is placed in the top to hold the pleats while the sweep is being formed. To form the sweep carry the goods out to the right and pin to the floor with a single pin through the upper selvage. The distance from the stand to the point on the floor where the pin is placed is determined l)y the width of the goods. It should be placed just far enough away so the lower ctlge of the sweep meets the outer edge of the two pleats that have already been formed, as shown in Fig. :?. When the goods have been pinned in the proper place the folds of the sweep will fall into place naturally and little adjust- drape and arrange tb.e four folds so they The puffing should then be arranged as and Draw nient will be needed. Step out in front of tht. fall evenly and smoothly as shown in Drape ! can be seen in the drawing. Now step to the back of the stand and smooth out the pleats that fall down over the left side of the upright. Having gotten the edges together, pin at point G in Fig. G. This is done to get this part of the goods into a small compass, where it cannot be seen when the drape has been completed. At the top of the upright the rear edges of the pleated goods extend out some distance. Bring these edges to a point at the extreme top carry the point around to the left until it reaches to the front of the upright, this point tightly and pin, as shown in the Fig. G. Then remove the temporary pin from the top of the upright. The purpose of this is to bring the top of the upright to a small point where the goods cannot be seen when the drape is finished. You then draw out the surplus end of the goods and doul)le it in the middle lengthwise with the right side out. This leaves a reversed crease where the original fold was. To keep the crease out of sight the goods should be folded about y> inch to one side of the middle and the crease should be made to come on the inside of the pleats that are made afterward. The pleats are made as shown in Fig. 7. Beginning at the end. four pleats are made, each one being 17 inches long. When the four pleats have been made they form 65 Lkssoxs in Dhapinc. a doulili.' liKip, as appears in I'i.ii. iS. 'J'lu' lop middle conur is ]iiniKil with a single pin to the top of the upright and tlie folds aif allowed to fall to the right in front of the upright. In placing the pleats in i)osition care must be taken to turn the side with the raw edge behind, next to the upright, otherwise the edge will show. Draw the upper edges out to the right and get them perfectly smooth and even. The distance along the top from I to J, Fig. 8, should be 15 inches, as 2 inches has been used for pinning. Allow the right edges of the pleats to fall inside of the top of the fixture, as shown in Fig. 8. When the edges of the pleats have been made perfectly even, draw the goods down to the point H, Fig. 9, and pin to the front of the upright where it joins the lower part of the stand. The goods ])etween the top of the upright and the point H must l)e sufficiently tight to prevent any wrinkles. What remains of the left side of the pleats is drawn around behind the upright and pinned out of sight. This leaves the top as it shows in Fig. 9. Then bring forward fold around to the left side leaving the right fold where it was orig- inally. This makes two equal triangles, one standing out on each side of the upright as shown in Plate 9. To hold them in place take two pieces of light wrapping paper folded twice and cut very slightly smaller than the triangles. This paper is inserted at the top on each side. It that the edges appeai The triinming fo and a piece of inseri of the stand and beneath the first fold on ilu' riol Uring the lace and ribbon horizontally around to tl from the left side. Then double back and |>in as down at an angle of 45 degrees which makes it li ribbon which is allowed to drop down over liie pin nut smoothly Init not so answer for this purjiose. Take a piece ■of ribbon Is 1 incho from the top t so the ends and ])in cannot lie seen, e top of the stand to a point 3 inches shown in l'"ig. Kl The pin is slanted r directly in line with the fold of the as shown in big. 11. The ends of the Lessons in D raping ribl)on and lace arc drawn onl in fronl of llu' stand in a .m-accl'ni curve and tlu' ends arc turned under. Drape IX P. is made in the same manner as Drape 9 except the lop and trimmings. The top is made in two donhle loops instead of one double loop. The middle top folds arc pinned at the top of tlie upright and the triangles are arranged as may l)e seen in the drawing. Tn order to get a ditierent effect the edge of the goods is turned in .'5 inche at the outer points of the triangles. This gives the folds a broader, softer appearance Drape The manner of api)lying the trinnning in Drape iX I! is the same as in Drape !', except lliat the ribbon is narrower and is applied separately. This style of drape serves i)erfectly for light flannels and waistings in which case a small button can be placed where each riblion turns to fall on the floor. 67 LkSSONS in DF^\PIN(i DRAPE 10 THE stand for tliis drape has the same Ijasc as those used in other drapes. The upper part will be understood froui the accompanjing drawing, Fig. 1. The top is a slanting oval. This drape may be built in any height. It is especially appropriate for high drapes at back of window. The stand is jilaccd with face (jf tlie oval square to front. This point is important. The goods are opened in usual way and laid right side up at left of stand. If a bolt of goods is used, only open enough to conii)ltle the drape, as it is easier to handle that way. Carry end over to the riglit of tlie stand, leaving about three yards surplus on tloor for the pufting in front when the drape i> linished. TIkii pick up the gcjods in frout of the stand by the back selvage and jiin to the tn]) of the lower part of stand at point A, Fig. 2, which is about -^ feet from floor. The folds of the goods arc now drawn roughly to the right and left, leaving a wide section of material formed by the width of goods directly in front of the stand. This is carefnllv draped smooth and the llopes in a graceful curve up to point A, where it is pinned. Then form three ileep even jdeats on the right hand side as shown in Fig. 2. Three pleats are made on the left side in same manner. The bolt of goods is now carried over to the right side, leaving enough goods on the tlo«u- at the left to form the long sweep shown in Drape lt>. Pick the goo(|> up in the middle in front of the stand, and place it so the back selvage hangs 1 inch over the lack of the o\al top of the stand. The goods should be placed perfectly straight over the top, otherwi>e the folds will not fall evenly. The luxl m\) placed horizontally is used as shown in Im.u. 4. I^.r the front row the stand is placed about 4 feet hitih. In this case not much material is rciinircd. A single dress pattern will do. If the goods are not wide enough to nach the lloor. the hase of the stand will have to he covered with the end of the goods. One dress pattern contains ample goods to accomplish this. Another variation of thi^ (h-ajie may he made over a stand with a sloping circular top placed so the top slants toward the l)ack instead of toward the front as shown in iMg. 'i. The goods are arranged to fall from the upi)er edge instead of across the face of the top and in order to get the right effect the whole surface of the top must l«e covered. This style of goods .should be used on high stands at the back of the window. 70 Ll-SSONS IN Dhai' DRAPE 11 ORIGIXALITY in window display lies lar-cly in littK- things— m the little trifles that arc sometimes overlooked or considered not worth hothcrin-; with. The whole effect of a drape frequently depiiuls upon a single deft turn of the goods or upon some little piece of embellishment that is apparently imimportant in itself. We have all fre- quently seen dressgoods windows in wliich the goods were well handled but struck the observer as being commonplace. A little trimnn'ng in the right i)laces would change these windows w-onderfully. This is i)articular!y true of woolen dress goods. When shown in a window they slionld inxariahly he Iirightencd u\) a hit with buckles, buttons or bits of appropriate trimmings. The difference I ?twecn a couuuouplace drape and a highly effective one may lie in the placing of a bit of colored riI)l)on or a few handsome buttons. Figures Figure 1 shows a drape stand that is easily made and over which it is possible to make a number of simple attractive drapes. It is made as follows. Place a roll of heavy cardboard about eighteen inches long by four or five inches in diameter, on top of an extension T-stand from which the top 1)ar has been removed. Push the upright rod through the lower side of the cardboard cylinder and through the top, run a wire nail to meet the rod. In this way the cylinder may be adjusted in any desired angle and is held iirmly in place on the top of the stand. These dimensions are not arbitrary and are only used as an illustration. The cylinder may be made any size with satisfactory but different results. Xor is it necessary to make the cylinder of cardboard. Wood will answer very well but the cardboard serves the purpose and is more easily procured and can be handled with greater facility. The rolls upon which linoleums are rolled can be cut up for this purpose and arc very satisfactory. 71 Lkssons in Draping For a drape showing a side effect, lay the ii'nuU over the cyhnder flat or in pleats as desired, allowing the end of the material to fall lahind the stand, the goods coming forward and falling to the floor. The edge is then turned undir and the piece is lifted up and draped over the forward end of the cylinder, as shown in fig. 2. The graceful folds will form naturally just helow the cylinder and all that is necessary is {n arrange the sweeps of goods that extend down to the lloor. Tlu' end of the material is then carried around behind the stand and the same operation is repeated at the other end, as shown in Fig. 3. The height of the stand makrs no ditTerence except in the amount of goods required to accomplish the drape. The trimming is then applied and this may he anything suitable tliat is at hand. In iMg. :! the trinuuing consists of two contra.sting ribbons, a buckle and a few buttt)ns. The ribbons ht snugly over the i)erfectly smooth surface afforded by the cardhoar.l under the drcssgoods. The cardboard also makes it possible to attach the buttons neatly ami without damaging the goods, as small pins can easily be pushed through the cylinder. Another good idea is shown in I-ig. 1. An oval is cut from very heavy cardboard or thin wood and fastened at an angle to tiie top of a stand. The goods are thn.wn over the oval and draped at the sides in the usual manner. I'.ul over the (nal which has been previously cut to fit the same place a narrow gilt frame. F.Muieen by seventeen is a stock size and gives a good effect, as it is large enougli to display ;, considerable area of mate- rial within the oval, and is not too heavy. However, alm,,si ,auy si/e that may be fouml in the picture departnient can Ic made available for the purpose. it is of course not 72 Lessons in Dr.mmn(. necessary that a gilt frame be used. Silver or a colored one may lie pressed into service, but care should be exercised to pick one that will harmonize well with the goods. Over the face of the goods but under the oval may he run a diagonal band of insertion, ribbon or other trimming appropriate to the character of the goods used to make the drape. Some large buttons might also be used, Imt they should lie of a striking pattern in order to attract notice. This makes a neat, clean drape with just enough difference in appear- ance to attract attention. FiQ,aro ^ There are endless other little touches tliat will brigliten U]) a window woiiderfidly and the trimmer can easily think tliem out if he sets his mind to it. lie should be con- stantly on the lookout for ideas. Whenever lie sees anything in the store (or out of it, for that matter) that has a decorative \aluc, he should try to think up some way in which it can l)e used in his windows. If one will do this consistently and witii j\u!gment. he need never lack for ideas and his work will take on an originality that it would not have otherwise. 73 LfvSsons in Draping DRAPES 12, 13 AND 14 Till', three drapes that we show herewith can he executed hy any trimmer very easily. These drapes are arranged over home-made fixtures tliat take only a short time to make. Every trimmer should consider the advantages derived from new and original drapes that can be made without the cost of special fixtures, especially for yard goods, because the fixtures are invariably hidden. The top of the stand used in the drape shown in Drape li' is cut in the shape of a half crescent. The small drawini; of the stand shown in this first illustration shows the Drape 12 shape. This top is tilted at an angle of 45 degrees, being (! inches wide at the base and 27 inches in length. The stand itself can be made any height desired. Start the drape on the Hoor at the back, bringing it up to the point at top of crescent. Fasten the selvage of the goods along the outer edge of crescent, leaving the goods hang in natural ripples inside. Drop the goods to the ftoor after leaving base of the half crescent, allowing enough for a long sweep on the floor. Xow bring the goods up to the outside point of the base of half crescent, pin the selvage and drop to floor in graceful, sweeping folds, as shown in the drawing. The bows of ribbon shown at the top and base of the half crescent not only cover the pins that hold up the drapes, but add just that bit of necessary finishing touch that com- pletes the drape in every detail. The Drape No. b? is arranged over a fancy crescent top. as shown in the small drawing. This top is placed at an angle of 45 degrees and is 18 inches across. To make tlie drai)e bring the goods up from the floor to A and pin the selvage all around the outer I'dge to C, then droj) to floor. Xtnv bring goods around to the back and n[) to C. and drop to floor in long, graceful folds. Now full the goods along on the fl(jor at the edgi- of goods that were thrown over the stand until you come to front of drape, where you bring goods up to A or front of to]). After these two long sweeps of graceful folds arc arranged the goods are fulKd on the floor and brought up in sweeping folds to B, as slujwn in the drawing. 71 Lkssons in Draping At B is arranged a riblMin Iiow, with three grachiatcd loops fastened to the lop of stand. A bnckie or bntton coidd he plaeed at jioint A. in Drape Xo. 14 we sliow a stand witli a pcrfeet crcsccnt-shapcd top. This top is 24 inches from p.oint to point and (! inches tlirough in the widest part. It is fastened to the stand at an angle of 45 degrees. Drape 13 This drape is very simple, the drape l)eing bronght up fnim the floo fastened all along the outer edge of crescent, then dropped to the tloor, and one selvage dentv of fullness Drape li being left on the floor. You take selvage and pin in the very inside of crescent, and then drop goods to floor on other side of stand. This gives you a chance to arrange the goods in three wide folds, as can be seen in the drawing. A pretty finish for this tlrape would be the placing ,of a bow and streamers of ribl)on on either the right or left side, or rather points of the crescents. Without this the drape would be a bit svnnnetrical. Lkssons IX Dmaimng DRAPE 15 WV. HAVE advanced far enough n< sons so tliat it should be very cas to iigurc out how any drape is i may run across. You can readily see that jou now- fundamental principles of all draping— am this ]irinciplo enters into every drape yo studied. Therefore in showing you ovu- Drai see that after we show you the draping 1 with a lialf circle top you can at once )w ni our Ics- y f.,r you now iiade that you have had the (1 can see lloW n lia\ e so far .e lo von can stan( 1 in Fig. follnu out the Pig. 1 movements shown in Fig. 2 and in the completed drape. It is also more than prob- able that you could originate quite a \aricty of other drapes for use on this same stand. r- Tig. 2 Every drape that you sec should suggest to you other drapes of a similar nature, an 1 by this i)rocess you arc al)le to make up drajjcs tiiat in many cases are absolutely new ; original. The arrangement of trim- mings and i)lacing of accesso- ries can also be done in such a manner that the drai)c will look entirely different. Drape 15 Lessons in Draping DRAPES 16, 17, 18 and 19 THE beauty of a display of dress faljiics lies in its simplicity. The simpler and more adapted to its purpose the execution of the decoration, the better is the effect. This refers especially to fall and winter fabrics, which in their rich, heavy texture and quality, demand a plain uncomplicated trealnicnt. Richness lies in tlie very fabric itself, and in the making of the same into suits and costumes the tailor-made is generally given preference. To relieve a plain fabric of monotony and s,ombernes In this way one can overcome the cold and unattracti\e well toad )m 1(1 i)lea: ,ph nijinati bright oAor. low and create •t. Just as in a princi[)al jjoint nd lilendim; of CO COWAtN - Drape 16 6 with different trimming If you have at your disposal a num- ber of windows and intend to have a great display of dress goods say in about five windows— then should each of these win- dows be decorated in one color; that is one color in several different shades. Then add the ornamentation in contrasting col- ors — if possible in two shades. For instance, decorate one window in silver gray cloth and take for ornamenta- tion champagne tones and yellow. Or a Same as Drape 6 with different trimming brown window in different shades and trimmed with old rose and pale pink— one color in two or three different shades, deep in tone and soft in effect. This may consist of velvet, velvet ribbon or silk, but sparingly as bows, knots, etc. This color effect, say in three shades, from lightest champagne to yellow, must be carried out to some extent h\ the additional trimming ; for example, a hat trimmed in silver gray velvet with yellow plumes, etc. If it is intended to make this display more lirilliant and elegant add a few sets of furs — ermine and chinchilla corresponding in tone with the shades of gray in the window ; a fine silk umbrella with silver handle, white or silver gray gloves. According to this detailed description of a window many handsome displays can be pro- duced, always in one color, with corresponding ornamentation. All other articles added must be in harmony with the whole color scheme of the window. The accompanying drawings will illustrate simple display of dress goods, and will show ho 77 Drape 17 Same as Drape 5 without the hi; . back Drape Li;ss()Ns IN Dhaimnt. easily a rich and cl"U-cti\ c (Icoiiralinii can lie iirnduced with very few tion of such a display is iiiosl simple, nnly <;ieat care nuist he used ii the material. arliclo. The prnduc- ihe proper draping of In Drape Hi the stand on which the material is draped is made of a T shaped stand, on which a Ijoard of 4x24 inches is fastened at an angle of thirty-five degrees. Over this spread the material smoothly, letting it fall to the floor, returning it again to the board and fasten it to the front. Let it fall in natural folds again, then lay six even folds on the upper edge of the board and s{)read them out wide and gracefully on the floor. As ornamentation, lieavy lace and velvet rib1)on are selected. This arransiement is shown plainly in the illustration an.l should lie followed clo-ely. Drape IT is the same T shaped stand but the l)oard is horiz,ontal. The arrange- ment of the material is the same only the ornamentation being difi'ereilt. A fur set, umbrella and gloves finish this group. For Dra))e IS a T shaped stand is used which has a top ten inches square. The finish of this is very siiuple and shows a particularly handsome and graceful sweep, which is ])roduced by fastening the mate- rial on the corners with pins, letting it then lind its own natural folds. Gloves, um- brella and buttons will here serve as or- naments. Same as Drape Drape 18 2 with different trimming For Drape 19 are used two boards joined in a right angle. The goods are at first stretched over smoothly and the folds arranged on the floor; folds on the front edge emerge from a knot of velvet. These figures show th;it the material can be drai)ed in a rich and handsome way with- out iiijurv from crushing. ref|uire no e we may mention are especially ad weight materials use the above forms combined varied displav n hese styles of draping, whic pecial preparation or expens the draping forms which ipted for the use of light It is also advisable to figures and the (lr;iping this way produced. ire Drape 10 Same as Drape 7 with back drape left off on one side 78 Lessons in DiupiNd DRAPE ON SLOPING CYLINDER TOP STAND THIS fixture lias a sloping lop measuring 24x4 inches. Heavy cardboard is tacked to the sides of this, bending it over the top, thus giving a half round effect. Trim ^ the front and hack edges of this,^ cardboard so the edges will be per-B pendicular. " In starting the drape, bring the goods over the top, end ,on the floor in front, and surplus hanging over front edge. Selvage of goods should hang perfectly straight down to the floor (P^ig. 2) tesy .Arlington Mi Ne'xt, carry the goods out on the floor at the sides and return the sel- vage edge up over the end of the cylinder as shown in Mg. :>. Let thi-- come down to the floor in a long sweep, then return the selvage edge up over the top of stand. Pin the point of the folds over the top gath- ering the folds in a hunch as it is carried ovt'r the top. Arrange each of the sweeps in '^ distinct folds, the third sweep coming down and crossing over the lower part of the second. Drape 20 7<) Lfssons in Dhafinc. SLAB DRAPE 21 THIS lixlure should 1)C made of thin hnnl)cr or some nf the well known wall boards. Dimensions, 27x5 inches and 5 feet high. Cardboard is fitted over the top in a rounded effect. If wall boards .such as Beaver r.oard, Upson Board nr I'tility Board are used it will mean that you must make a w.ooden frame as a foundation on which to fasten this wall board. Fig. 1 Fig. 2 Fig. 3 Fig. 4 Beaver Board or Upson P>,(jar(l can be rounded over the top if placed in water until pliable. If you use Compo-P,. lard you will not need to bother with fr.ime work because this wall board has a wooden core and can be worked up and used the same as thin woods. Fig. 1 shows how the stand will look when ready for ilraping. Lessons in I)i{\i»in(; Start tlic drape as in Fig. "2. The end starts at the Ijase of stand in front. Fit smootlily up over the top of stand and on sides, allowing one fold to show from the top as the goods are fitted around in the back of the stand. Let the goods drop Slab Drape 21 CuurtfHy AilJinftuulIiUa down in the back, then carry out in front on the floor. Return up to edge of stand as in Fig. 3 and carry remainder of goods across back. Bring this goods around back of stand on the floor and return it again to edge of stand as in Fig. 4. Hide the bolt in the back. Pick up some of the surplus goods in the back and bring up over the top in a bunch of long pointed plaits down to the edge of stand. Finish with velvet ribbon underneath each edge and with a row of buttons. 81 Lkssons in Dhaping Fig. 3 of the stand, and return it up to the back edge as also shown in Fig. 3. Next drape the goods around front of stand and out on tlie floor at the right. Change sel- vage and return goods in a sweep up to the back edge of the stand, pinning just below point to which folds from top edge are drawn (Fig. •1). 'ri.c trinunin!^- consists of three bands of velvet rilibon, brought over the top in graduated lengths and finished with but- tons at the ends. DRAPE 22 THIS is another one of the good ideas for a home-made draping stand — and a drape for it. It can be made out of lumber or wall boards, is 1.1 inches square and 0, 7 or 8 feet high. The top is finished off in rounded effect by means of a bended piece of cardboard (Fig. 1). To start the drape, throw the end over the lrape 31 same height as the average woman, about five and one-half feet, and the upper lines sug- gest the shoulders and bust. The straight lines present every opportunity to the clever draper and do not restrict him to set lines as was the case with some of the old-fashioned forms popular a few years ago. It is not to be understood that the new form is to take the place of the shell form which follows with more or less variation the lines of the female form. Tlie latter is more popular now than it ever was and will always be used by the progressive decorator. New models have been brought out recently, more perfectly than any of those that have gone before, and others will follow from time to time as the changes are made necessary by •>t!*" the ever shifting fashions in the female figure. The shell form is a remarkably satisfactory display device and trimmers now wonder how they over got along without it. It will always have a prominent part to play in the showing of yard goods. The two sketches, Drapes 29 and 30, suggest simple arrangements. This stand might almost be called "automatic,'' it is so easy to drape .over it. The waist, which was always a stumbling block to the beginner, is absent. There is no flare at the base which make certain lines necessary and compels a certain sameness. With this form the trimmer is lim- ited only by his skill. If he is clever at drap- ing, there is no end to tlie fascinating effects he can accomplish with this form and pretty dress fabrics. Drape 31 is another suggestion making use of trimmings of lace and a velvet liow. This was draped by Will H. Bates. Drape 32 was draped by Mr. Lou Good- year, a graduate of the Koester school. His work is of a very high order, this drape giv- ing some idea of the beauty of his work. This mummy form was at first thought to be merely a novelty that would not have a very long life, but it has developed that it is a very practical draping stand or form and is being used more and more. It gives the window trimmer a chance to give much change to his windows and after using forms simulating the human figure or after using wooden stands he gets an absolute change liy means of the mummy forms. Each new style that comes out gives the trimmer a chance to get up new drapes for every one of his forms. And the new drapes on the mummy forms often surpass those on the other types of forms. 8!) Drape 32 Lkssons in Draping Not only is the nunniny form well adapted for the display of sijks and wool goods, Init it is also good for the showing of cotton wash goods, flannelettes and anv line of fabric that can he draped. In our Drape :Vi,\ we show how a bor- dered flannelette looks when draped and we also show you a very good drape for use on this type of form. This same drape can le used for llie showing of any other material. This drape makes use of the border design to give cliaracter and also to serve as a decoration. T!ie only other trimming iu(\ and bow used at used is the ribl n the bust line. Next we sho of a ver\- wide in Drape .'12R the use liordercd chiffon. The Drape 32A upper part of the draping stand, or rather the mummy form, was covered with plain colored silk or satin to harmonize with the chifYon. The chiitifon was then caught up at one side of the top and draped across the front of the stand and then on down to the floor. The only trimming used in this drape was the ribbon shown at the top. The border pattern in the goods serves as a trinnning for this drape. Where plain goods are draped on the mununy form it will be well to use such accessories as buttons, riI)bons. braids, etc., in order to give more character to the composition. U Drape 32B yo Lessons in Draping DRAPES 33, 34 and 35 VERY striking effects may be secured in draping reversible materials or two faced goods which could only be secured otherwise by using two pieces of goods. On this page we show three drapes showing how to drape revcrsilile goods on common T standi mummy stand and full form. Drape 33 is made over an ordinary dress goods T stand, and shows how a coat effect may be suggested on this staple fixture. First, the goods is draped over the top of the stand and allowed to hang straight down to the floor. The surplus of goods hanging over the end of the stand is arranged in cascade folds, showing just a bit of the reverse side of the goods. Then the other end is brought up over the top of the stand and down to the floor in front, reaching about two-thirds of the way across the front of the stand. Then the sel- vage is folded back about five inches down the front showing a narrow panel of the reverse side. Pin to the standard near the top and fold back diagonally to the end of the stand forming a large revere collar. Arrange goods hanging over this edge in one wide fold and fold up the selvage to form a cuff. Large buttons or frog trimmings are used as a finsh for the drape. Drape 34 is made on the mummy form, but is carried out on practically the same principle as that on the T-stand, so that it will not be found difficult to make. The shape of the form with its rounded bust line gives bet- ter opportunity for developing the coat idea along the lines of the human form. Drape 33 Drape 34 a full form or wax figure. In this case it would be well to drape the form first with a gown effect of some lighter material, say of silk or light weight dress goods. Then drape the coat effect over the one side of the form. This gives an opportunity for a strong color effect and also makes possible the drape with a short pattern length of the goods. These three drapes may also be taken as a lesson on how some one idea can be utilized on a variety of stands. For in- stance, in each of these drapes the method of forming the nar- row front panel and the collar, by turning back the selvage, is the same. Details of placing the trimmings and arranging the folds reaching on the floor may be varied to some extent so that there will not be too much similarity in the drapes when all arc used in the one window. 91 Drape 35 shows a still fur- ther development of the idea, this time being worked out on Drape 35 Lessons in Draping a Q. o X 1^ -^ *^ o •o .r. •T3 r; o n n ^ XI ! o a n o o X ■8 o bO 3 o 8 bo 1 bc .S *j O bo x; s o 1^ a, X b/D c c a: TJ (U t« rt 3 -5^ J2 ^ >. o >, . :5 ~ o :s x: >, ^1 !^ :S c O « 1) 3 -C i:' S? b '^ -a -o > ^ ^ c Lessons in Draping n iSl H . 13 6" 5 rl |g 5 a u ° ^ O O ■'-^■' 93 Lessons in Draping WALL DRAPE 1 FALL dross goods displays arc in several rcsi)ccts entirely different fmm dress ;40ods dis- plays made at other seasons. Tliey require a treatment entirely distinct from that accorded to spring and summer goods. Fall goods are heavy in weight and generally ilark in color. Many of the fabrics, such as broadcloths, etc., are entirely devoid of pattern, and these require a manner of treatment that brings out their color and texture. They must be arranged to sliow how they fold and how light and shade affect them. Then there are the fabrics that have a snl)dued pattern that must l)e shown in addition to showing the tex- ture, etc. Tliircl, there are llie g(X)ds having decided patterns, such as the large plaids and stripes that will be worn this fall — these will require an arrangement that provides for large smooth surfaces combined with folds wide and narrow, long and short, to show how the goods will "make up." In slwrt, every different piece of goods requires a distinct treat- ment. Before deciding upon how a line of goods is to be shown the decorator should study all of the points carefully, considering textures, pattern, color, etc. He should choose some scheme of arrangement that will bring out and accentuate every attraction that the material possesses. Before the display is made it would be advisable that an inexperienced trimmer should take a few pieces of goods to his workroom (providing it is large enough and light enough), and there experiment with them until he hits upon the best way to show them off in the window. Having decided upon the manner of handling, the whole stock of goods siiuuld be looked over with the object of determining upon a color scheme. If there is a large table in some light part of the store the color arrangement of one ,or a dozen windows can be worked out in a short time. Open up the bolts of goods sufficiently to show the color and pattern and then place them side by side on the table. Then shift them around until the proper combination is found. The next thing to do is to make a chart or memorandum that will show just where each piece goes. The first showing of fall dress goods is more for the purpose of illustrating the trend of fashion than to show the scope of stock. For this reason the windows should be trimmed with a few pieces ,of the most favored styles rather than crowded with a great many sam- ples. If the store has enough windows to warrant it several should be dressed as a series, using a well planned color scheme throughout. Of course, the number of pieces to be shown will depend largely upon the size of the window, but three or four patterns are about all that can be shown to advantage in one window, no matter how larne it is. If novelty goods are shown they should be arranged in groups having a similar pattern, h'or fall dress goods it is not necessary to arrange an elaborate background setting. The plain mirror l)ack or wooden paneling will answer the purpose very well. The principal object to be .linud at is a broad, striking effect, and to obtain this it is necessary to use long sweeps and large sur- faces to show both color and design. Wall drapes of various kinds are particularly suited to the sliowing of fall dress falirics. They give the great length of line that is so essential to a l)ig effect. In connection with this chapter are shown detail sketches of how to make tlie drapes. Tlie jiicturcs are merely rough drawings intended only to show the general effect, as it is inij)ossiliK' to make a sketch or even a photograph that will give an adequate idea of a earefullv ihapetl fabric. Drape 1 was designed for plaids or novelty go.ii^'.-^J'<^-^-^!JiMriyL^ Lessons in Draping Lkssons in Draping are unfolded and the upper selvage is carried around the board to point a, Fig. 2, where it is pinned over the top. It is then carried along to points b, c and d, placing a pin at each point. In the sketch, for convenience, the goods are shown narrower than they actually are. From point d the goods are carried down to the floor, and after allowing for puffing at the bottom are brought up again and pinned at the same point. This movement is very clearly indicated by the arrows in Fig. 3. From point d the material is carried to the right, making a series of deep folds and' pinned again at point c. BVom point c the goods falls to the floor and is carried back again to point b, where it ends. After the pins have been placed the decorator proceeds to straighten out the folds and sweeps as shown in the large draw- ing of Drape 1. The sweep on left at the back has wide box-pleat on top made by turning under the selvage at the back and folding the goods under in front as shown in the draw- ing. The front sweep at the left is also made with a box-pleat on top and may have two lower folds as indicated in the sketch or it may have three or four, according to the nature or width of the goods. Particular care should be used in making the loops and folds at the top of the drape. In the drawing these have been made considerably wider than they actually are, in order that the picture may be entirely plain. These are three deep loops that must be smoothed out carefully. On each side of the loops are four folds. These should be made perfectly even on both sides by running the fingers between the folds, from the bottom clear up to the point where they are pinned. It is very necessary that the folds and loops be made even on both sides in order to preserve the symmetrical appearance of the drape. The two sweeps on the right are made in identically the same manner as those on the left. Lessons in Dhapinc WALL DRAPE 2 WALL DRAPE 2 is an entirely different arrangement. Although it can be used with any kind of goods, it is particularly adapted to the showing of broadcloths and other fabrics having a fine lustrous finish. It is a very effective drape and not difficult to make. To begin, a square board 15x15 inches is nailed horizontally to an upright and placed 24 inches above the top of the background as shown in Fig. 4. The top of the board should be about 10 feet from the floor if the construction of the window will permit. Start with the goods on the floor at the left, leaving enough to form a generous sweep. Carry it up to the board as indicated by the arrows and pin at point a, Fig. 5. Then carry it straight across the upper edge of the board (letting the selvage lap over the top) to point b, from which point it descends in a long, slender loop and is returned to the same point, as the arrows show. From b it is carried in the same manner over to point c, where another loop is made identical with the one at point b. These loops and folds will fall naturally as shown in the large drawing, but they require to be straightened out to get the desired finished effect. From point c carry the goods over to point d, which is the end of a slanting stick fastened to the background in somewhat the same manner as is shown in Fig. 6. Point d should be about on a level with the top of the background or about 24 inches lower than the top of the board at the left. From point d the goods are looped down in exactly the same manner as they were from points b and c. This is indicated by the arrows in Fig. 7. The goods are then carried down to the floor, as indicated in the large drawing. The beauty of this drape will depend to a great extent upon the care that is used in making the loops and folds that descend from points b, c and d. These will be slightly narrower than they appear in the drawing, which was made to show the details. Every fold must be straight and they must be perfectly even on both sides. The three sets of loops should be made exactly the same length and all should be identical in every detail, or as nearly so as it is possible to make them. The sweeps may be made as shown in the draw- ing or they may have more or less folds according to the trimmer's idea of which will look the best in his window. In both of these drapes the window dresser will have to use some discretion as to the manner of arranging the sweeps. This will depend upon the size of the window and the character of the other drapes that are to be used in connection with these. The additional drapes that are shown in the windows with Drapes 1 and 2 should all be made over square top stands. Their placing must he left to the judgment of the decorator. Lessons in Dhaimnt. lUO Lessons in Draping Lessons in Draping 102 Lessons in Drapin(. WALL DRAPE 3 EVERY dress goods drape should be simple— that is the secret of artistic and effective show window composition. The purpose of the drape is not to show the skill of the decorator, but to display the goods in the most attractive way. A person standing in front of the window should not think of the decorator at all. She should think how beautiful the goods look, and that is all. If the work of the decorator is too elaborate it will draw attention to itself rather than to the beauties of the goods. Furthermore, a complicated treatment is almost invariably lacking in strength and dignity. Drapes 3 and 4 are suitable to almost any kind of fall fabrics. They are made by a combination of long and short sweeps, with sufficiently large flat surfaces to show off checks, plaids and other goods having a pattern. On the other hand, they have' folds that are de- signed to show light and shade perfectly, and for this reason are well adapted to smooth goods, such as broadcloth and kindred fabrics. They are both exceedingly easy to make- neither should require more than ten minutes after the fixtures are in place. While they are especially suited to large windows, they can be used to good advantage in those of moderate size. The arrows in the drawings of these draperies indicate so plainly the method of construction that little description is necessary. There are a few points, however, that may need a little explaining. To make Drape 3 two fixtures are required. The first is shown in Fig. 8. It is a smooth board 24 inches long by six inches wide, fastened to an upright and nailed to the top of the back. This board points straight toward the front and inclines sharply downward. It is placed about ten feet above the floor of the window, or 2 feet above the top of the back. The other fixture is a home-made wooden stand, shown in Fig. 9. The top is a board 5x27 inches, inclined at an angle of 45 degrees. It is constructed as shown in the drawing, and is 6 feet high. This stand is set so the right front points to the right and front. It will require almost three dress lengths of material to make this drape. The be- ginning is shown in Fig. 10. Take the end of the goods and throw it over the top of the stand, letting it almost reach the floor at point a. This end is to cover the stand forming the flat space x. Then allow about one yard and pick up the goods behind the stand, pinning it through the back selvage at point b. This is the beginning of the sweep at the back on the right hand side. Carry the goods to the floor, across to the front, and up again to point c, as indicated by the arrows. Place a pin at point c and make a deep loop of three folds in front of the stand, pinning the goods again at point d. This loop should extend low enough for the lower edge of the goods to lie on the floor, completely concealing the stand. From point d the material is carried in a graceful curve to the other fixture over which it passes and then descends in a long sweep to the floor, where it ends at point g. After the go^ds has all been put in place, start at the left to arrange the sweeps and folds. The first sweep extends from g to e. It has a wide box-pleat on top and two folds. After this has been arranged, form the folds that fall from the front of the stand f. These should be made about as they are shown in the large drawing of Drape 3. Now arrange the folds between points e and d. after which the loop from e to d is formed in folds as shown in the drawing. Care should be used to have the goods forming space x perfectly smooth, and the folds should fit closely to it. Lessons in Draping r Lessons in Dhaping 1 Lessons in Draping 106 Lessons in Draping WALL DRAPE 4 WALL DRAPE 4 is even simpler than the foregoing one. It also is made over two fixtures. Fig 11 shows a home-made wooden stand 6 feet high. The top is an oval lOxlG inches, that is tilted at an angle of 45 degrees. This stand is turned toward the right and slightly toward the front. The other fixture may be seen in Fig. 12. It is also an oval 10x16 inches, inclined at about the same angle and turned toward the left and front. It is placed two feet above the top of the background, or about 10 feet from the floor. To begin the drape unfold the goods at the left side of the window and begin at point a. Carry the goods up over the top of the stand at a and then let them fall to the floor at point c. Allow sufficient material to form the puffing between points c and d. Then carry it up over the high stand at e, bringing the remainder of the goods down in a low, sweeping curve, and pin at point f. This is the only pin used in this drape. The material is now all in place ; all that remains is to arrange the folds and sweeps. When finished these should appear pretty nearly as they do in the large drawing of Drape 4. Begin at the left and form the sweep from a to b. This has a box-pleat on top and two folds. The upper end of the sweep should terminate at the extreme left of the oval. Then form the short perpendicular folds as shown in the drawing. This is easily done as the folds fall into shape naturally and all that is required is to straighten them out evenly. Now form the sweep that descends to point c, making the folds fall in front of the stand as full as possible. With goods having a pattern, the folds should be wider than with plain material. Next arrange the folds on both sides of the high oval. A step-ladder will be necessary for this. The goods should not be placed straight across this oval in the usual way, but should be arranged as follows : Lift the material up from above and carry that which forms the right hand sweep around in front of the stand toward the left. That which forms the folds on the left side should be carried around behind the stand to the right. This will make the folds come out as they appear in the picture. Another and perhaps easier way to get this effect is to fasten the oval to the upright with one strong nail. Point the oval straight toward the front and place the goods squarely over it. Then arrange the folds as evenly as possible on both sides. After the folds have been smoothed out perfectly, twist the oval tops gently to the right until it is in the position shown in the pictures. The single nail will permit the top to swing around and the folds will come out smoothly and in perfect symmetry as they appear in the large drawing of this drape. To finish this drape take the end of the goods and gather up a sufficient length to form the large oblong puff at point f. When the puff has been formed after the manner shown in the picture, fold a piece of silk and give it several turns around back of the puff and pin the whole to the stand top. This is the only pin used, and it completes the drape. It will be observed that the bottom of the wooden stand shows below this drape. It should be concealed by the sweep of some other drape that is used in connection with the one shown here. A very pleasing effect may lie had with either of these drapes by using two shades of the same material in the same drape. In this case the shape of the drape would be the same, but the method of draping would be somewhat changed. The lighter goods should always be used behind the darker. For example, in Drape 3 it would not be nec- essary to begin as shown in Fig. 10. Start at g and carry the goods to e and over to d. Then carry the goods straight along the top of the stand to c instead of forming the loops in front of the stand. This will form the space x and what remains of the goods can l)c concealed behind the stand. Now take the second shade of goods and begin at point b, carrying it just as before, as the arrows indicate, until point d is reached. From this point bring the goods down to the floor to form a sweep to correspond with the front sweep at the right. 107 Lessons in Draping To make Drape 1 in Iwo sliadcs. l-)egin just the same as described lief<->re and contimie tlircjiigh points a, h and e until tl:c puffmK is reached. Then inlerminglc the two pieces of goods on the floor and linish the (hapc with the second or ligliter shade. In using two pieces of goods in these drapes they should be two shades of the same color — never two 108 Lessons in Dhaimng ■""•" i in iM Ti ii i i i i m It i iii m M|->«iU i *i n iii ii-ii H II n n ii wt°-r°v^— — — ^tiiict colors. The ideas for tlie given here arc lotion of what raniicnient of the two shades that are merely suggestions. The decorator ma\- work out other ways to suit his : makes the most attractive efifect. He may also modify the entire drapes in various ways, but he will do well to stick pretty close to the general lines of the designs shown here. 109 Lessons in Draping 110 Lessons in Draping WALL DRAPE 5 WALL drapes are especially appropriate for backgrounds having' a plain construc- tion, such as mirrors or plain hard wood. These drapes are very effective and they have the advantage of being easily and quickly made. Another point in their favor is that they do not take up much floor space, as no stand is used in making them. Perfectly plain goods (those which have no patterns) are the only kind that can be used for this particular drape, as plaid or figured goods do not show to advantage when arranged in this way. Broadcloth, cashmere and other similar fabrics having a fine smooth texture are the best to handle in this manner, as the sheen of the goods is brought out admirably by the smooth even folds. All that is required for this drape is a piece of wood 10 inches square. This is fastened to the top of the back or the side of the window by a strip of wood, as is shown in Fig. 1. If the background will not permit of this arrangement, the square board is braced from be- neath, always using care to keep it in perfectly horizontal position. Open up the goods as usual and, leaving the bolt at the right, begin the drape at point A on the left. Fig. 2. Carry the goods up over the board, allowing the upper selvage to •extend back only 2 inches beyond the corners B and C. This leaves about one-third of the board uncovered but that does not matter, as the top cannot be seen. The back selvage of the left hand sweep is turned under and a box-pleat is formed beginning at point B and extending down in a generous sweep. Then pick up the selvage with the right hand at point D, Fig. 2, 45 inches from point C. With the left hand draw the goods together at point E, Fig. 3. Point E is 18 inches 111 Li;ss()Ns IN Dhafing from i)uiiU D. Xuw cany tlie gathered gauds up Id puinl C nu the square board and pin it securely as indicated in Fig. i. Allow enough goods for the two right hand sweeps and gather the upper edge of the goods again as shown in F, Fig. 3. The distance between the selvage or point F and the place where the goods are gathered is 10 inches. This is carried just back of point C and pinned close behind the first pin. The object in gathering the goods at F is to form the folds in the l)ack sweep. Now double the point D over backwards making the loop as shown in Drape 15. If the goods arc too soft to stand out properly a piece of paper should be used to stiffen the loop, always keeping the loop in a natural loose shape that does not show the stiffening. Take three remnants of velvet or satin ribbon about ^^-yard long in three harmonizing colors or in throe shades of one color and l)ind tightly around the base of the loop at point C. Draw the ribl on through an ornamental buckle and form the end into three loops of different lengths. The upper part of the ( arrange the folds and pleats in sweeps. need to be straightened out and smoothed will have to be pinned up closely to kcej of the forward folds that bang from the wooden s(i Wall Drape 5 irape is now inishei These will fo -m llu . Tlie lower fob is ( 1) tlum from liangii llial remains is to laturally and only iif the rear sweep md showing back One of the most particular jxiints fall straight down from tiie squari' b care, arranging the folds on the left Beginning at the bottom run your tin; n this drape is the arrangement of the folds that ird. Tliese must be straightened out with great (le in a cascade effect, as indicated in Drape !•"•. ■rs ui) to the top between eacli fold on the right hand side so the line of the fold e.xtencls cK There are two loops that hang down below th 112 ir and slrai;-;bt to the buckle at the top. buckle. Lkssons in Dhapinc. WALLED RAPE 6 DRAPE 6 shows another form of wall drape somewhat similar to the one shown in drape 5. It is even simpler than the latter. It is formed over a semi-circle board fastened to the top of the back or end of the window in the manner shown in Fig. 1. The diameter of the board is 16 inches. When placed at the top of the windows the back edge of the board should stand out 3 inches in front of the background. A double pattern of goods is required and after it has been opened in the usual manner the end is carried over to A Fig. 2 from which point the drape is started. Leaving enough goods to form the sweep at the left, the upper selvage is carried up over the semicircular board, allowing about 2 inches to lap over to back of the board. Care must be used to keep the goods in a perfectly straight line with the back of the board, otherwise the folds will not fall evenly. Then carry the goods over to a point at the top of the side of the window D and pin. Bring the goods forward, allowing for the two front sweeps. The excess goods, if there Le any, is taken up in the puffing at the right side. Take the upper selvage at the end of the goods. Hold point E in the left hand and gather the goods with the right hand at point F, which is ^20 inches below point E. Carry the gathered goods up to the wooden semicircle and pin on top near the edge at a point about 5 or 6 inches from the right end of C. Then double back to the point E so it cannot be seen and a loop is formed. If the loop requires stiffening, do it with paper in such a manner that the cloth is not stretched or the folds effaced. A plain velvet knot is made just above the point where the loop is pinned to the board. 8 113 Lessons in Draping The knot is formed of two pieces across the width of the velvet and al)OUt Vs yard wide. The velvet may be in the two harmonizing colors or in a light and dark shade of one color. The two pieces are pinned back of the base of the loop and are twisted together and brought around under the loop close to the pin. Another turn is taken close up against and above the first turn. The ends are then carried over to the back and tucked under the last turn, which holds them in place. A good deal of care should be exercised in choosing the colors of the velvet, as the right shades will bring out the color of the goods beautifully. A piece of lieavy Venetian or Irish lace (edging) is fastened with the loop by the velvet knot from which it emerges and follows the curve of the goods over to the point D and then down the edge of the right liand sweep to the puffing, where the end is concealed. All that now remains to be done is to arrange the folds and sweeps and the l)eauty of Wall Drape 6 the drape depends entirely upon the manner in which this is done. First arrange the left hand sweep. This is done by turning under the lower selvage in front and making three wide pleats. The upper selvage is turned under at the back of the top pleat. The folds that fall from the half circle will form themselves and require only to be smoothed out. The folds that hang below point E are arranged in a cascade. The other features of this drape are too apparent tx5 require any explanations. This drape is particularly adapted to broadcloths, as the semi-circle causes the folds to form beautifully, thus bringing out the rich, dull lustre of the fabric and giving a light and shade effect that cannot be equaled by any other method of handling. Another reason that this is a good way of draping broadcloth is because the goods arc not injured in the least. Only two pins are used in the entire drape and they are placed at points where the strain is very slight. If the decorator wishes to reverse this drape it can be done by starting on the opposite side. Ill Lessons in Draping WALL DRAPE 7 HERE is a good idea for a background drape. The feature of the drape is in the using of a wooden chopping bowl as a top of the draping stand. Fig. 1 shows the wooden arm, or bracket, topped with this wooden bowl. This bracket is fastened on the top of tlic window border and the dress goods draped over same in one of the many ways possible. In Figure 2 is shown one way of draping the dress goods. The goods are brought up over the bowl and allowed to fall in natural, graceful folds all about the edge of the bowl. The long sweeps can be arranged in many different ways. This same bowl idea can be used on the top of all tlie otlier stands in tlie window, thus keeping the window in perfect iiarmony. Then, too, for making stands for the showing of Wall Drape 7 blankets, comfortables, etc., this bowl will give you something new to spring in your displays. The same size bowl should be used on all the stands, although various sized bowls should look well where you have various heights and sizes of stands and drapes. These bowls can be procured in the woodenware department of any store that carries this line. If you have a strictly dry goods store, you will have to get these bowls from some department store, hardware, or o and 10 cent store. Practically any drape that we show in this book as being draped over an oval or circle top can be used over this bowl. 115 Lessons in Draping Window No. 1 COMPLETED WALL DRAPE WINDOWS Broadcloth Draping and use of Accessories on Drapes. WE COMPLETE our chapter on wall drapes by showing their use in completely draped windows and also show ideas for decorating the tops of drapes and show in the small sketch on this page how you can adapt wall drapes for use on extremely tall draping stands. As we complete this chapter it is a good place to give you a few points on the draping of broadcloths. From their peculiar nature, broadcloths have to lie shown in a manner different from Wall Drape Used on a High Draping Stand llfi Lkssons in Dhaimno Window No. 2 any other fabric. The fine nap of the cloth gives it a dull lustre that is very susccptililc to light effects, and for this reason its greatest beauties are brought out by an arrange- ment which gives a varied effect of lights and shadows. Broadcloth has no pattern to dis- play, and there is, therefore, no need of displaying large surfaces as with Scotch plaids or other figured or rough finished goods. The main thing with broadcloth is to bring out the beautiful colors and the soft lustre that betokens the fine texture of the goods. This is best accomplished by pleats and long sweeping folds. As to the background or window setting— that should be unostentatious, simple and dignified, yet rich, to be in keeping with the goods. Plain backgrounds of mirrors or wood are best and the less ornamentation there is, the better. For the floor covering, cream colored felt or cottonette, laid smoothly, cannot be improved upon. All the brightening up of the display that is needed can be had from accessories such as buckles, furs and knots of velvet, judiciously used. Broadcloth displays can l)c made especially effective when they arc shown in a series of windows having a related color harmony. The principal feature of the above drawings of drapes arranged in complete windows is the high wall drapes. Some trimmers call them "Roman toga drape," from the fact that it was suggested by the togas worn by Roman senators. These were caught up with a buckle and fell from the shoulder in somewhat the same manner as shown here. These drapes arc only slightly different from those already described and illustrated. A suggestion as to color and an explanation of drapes shown in our window 1 is as follows : Beginning at the left the first piece can be light coral draped in the Roman toga style from a small square board placed at the top of the background. The points from which the folds fall are to be set off by a mink skin held by a dull gold buckle, above which place three loops of velvet ribbon, varying in color from coral to light pink. The second drape can be tan goods draped over a square topped home-made stand. Two mink skins to be fastened at the top by a Roman gold buckle with an arrangement of coral and pink velvet ribbons, as shown in Fig. 3 in the diagram that accompanies this article. The third drape has a semicircular board at the top of the background. This third or middle drape is also in the toga style. The cloth can be a medium shade of coral. Three mink skins to be 117 T.HSSONS IN DHAPING Suggestions for Use of Accessories on Top of Drapes thrown across the top. The fourth drape to be of tan cloth over a stand with a sloping top. It can be set off by a large gold buckle with an arrangement of coral and pink rib- bons and mink skin, as shown in Sketch 1 in the diasram. The lifth drape at the right end of the window to be of deep coral with several mink skins thrown over one corner. Here are suggestions for drapes arranged in the full window. No. 2 in this window, the first and third drapes (from the left), can be in two shades of lavender. The second drape of dark plum color, and the fourth of a lighter shade of the same color. Chinchilla fur and buckles set with rhinestones look well used in connection with wide satin ribbons, varying from dark wine to pale lavender. Our small illustration is intended to show tlie construction of one form of the toga drape. We show it draped over a high draping stand but it should not be made over a stand unless it is a very high one. It shows to best advantage when made over a board, fastened to the top of background, from 7 to S feet above tlie floor of the window, as shown in the windows 1 and 2. This (Irai)e has a top in the form of a semicircle. The weight and softness of broadcloth cause it to fall in more perfect folds than any other kind of goods, and the round topped stand brings out this quality of the goods perfectly. It will be noted that the folds are full, round and even. They show the lustrous finish of the goods perfectly. We now show you a set of ideas for tlie fmishing off of the tops of various drapes. Broadcloth being all in one tone requires some spot of color to set it off. In our sketches are shown a numljer of ideas for combining buckles, ril)bons, furs and laces. These are a few of the arrangements that can be used on the drapes explained in this book. In using these little finishes cautii>n slundd be exercised not to overdo them. They are intended only to enliven the monotone of the fabric, and should not be large or strong enough to overshadow the goods. The sketches shown here will suggest to the trimmer many other combinations. 118 Boi/r D HA PES 119 Bolt Dhapks BOLT DRAPES OXl'' of the vcrj- earliest and simplest forms of draping was to unroll a quantity of goods ofT the end of a bolt and drape this loose goods over the bolt or around it. Some very clever displays can be made with the whole bolts of goods and by draping some of the goods over other Ixilts or lixtures. On the opposite page we show fourteen dilTcM-cnt Iwilt drapes and a sliort description of each one follows : Fig. 1 shows how to improve the looks of a bolt of goods that is being shown in the window. This is done by tying a ril)l)on around it and finishing off with a bow. Fig. 2 shows how to do the same tiling witli two bolts of goods. Notice that the two bolts are slightly crossed. Fig. 3 shows a bolt up-ended with a ribl)on bow used on same in connection with parasol, gloves and purse. Fig. 4 shows how a bolt of goods can be placed on the scat of a chair and one end held up in a ribbon loop. Notice the graceful way in which the end of the goods unrolled from the bolt is draped around the base of the bolt and on to the floor. This will make a most effective drape used in a large window. Fig. 5 is an idea for laying one bolt on the floor while another stands on end. Ribbon bands are placed around each bolt, and the end of the goods draped to the floor. Fig. 6 represents a bolt placed against a small upright stand and one end of the goods draped over another stand somewhat taller than the bolt itself. Buttons, parasol and purse are used as accessories. Fig. 7 shows a group of bolts, three of them up-ended with two others across them. Several ends of the goods are draped over these bolts. Fig. 8 is a very attractive arrangement of accessories in connection with a bolt of goods. A hat, purse, parasol and buttons are displayed as well as the goods itself. Fig. 9 shows a clever display of outing flannel. The bolt is inclined onto a stand and the goods filled around the base of bolt. A tennis racket and tennis balls are shown on the floor. Fig. 10. For large window displays where only a few pieces of goods are to be shown it is a clever thing to make draping stands in the shape of bolts, only of course having them, many times the size of a Veal bolt of goods. In Fig. 10 we show two such drapes. Figs. 11, 12, 13 and 14 all represent different ways of draping this enlarged bolt. Fig. 15 is a dress-goods drape which suggests a tailor-made suit at a glance. The plain, tight-roll parasol and short-length gloves help to give this impression, as well as suggest that they should be purchased, too. The buttons attached to the holt are selected to match the goods and being detached from the original card and shown directly against the goods, produce a much more suggestive effect than if shown in the old way. The addition of the hat gives balance to the unit and makes the whole complete. A twenty-four inch w,ood pedestal was used for this drape, with an oblong slab, twelve inches wide and twenty-four inches long. The drape is made from a one suit length, the bolt lieing a dummy made of cardboard and covered with a part of the goods in the center of the length. 120 Bolt Drapes In our illustration on this page, Fig. 10, we show one of the very best bolt drapes designed for use in the showing of wool dress goods. A careful look at the drawing will show you how the dr;ipe is made. A little de- scription will, however, be a help. The idea is to make a large dummy bolt and cover same with a width of tlie cloth. These drapes to start from the top and liack of this false bolt. The bolt is placed on a table in order to get the long sweep or drape of cloth to the floor and in order to get the garland drape over the edge of the table. This table also adds a touch of novelty and attractiveness to the display that will be a help in gaining attention. This table can be borrowed from a neighboring furniture store and should be as fine an example of a table as you can get. There are many ways of finishing or trimming this drape of velvet ribbon are fastened diagonally across the l)olt and on the front of the bolt. The trimmer can plan to use the bolt idea in other ways. on chairs, on plateaus, or on the window floor. Another idt display of drapes, making use of the various adaptations of the bolt idea. The same idea can be further introduced into the display of silks, linens, wash goods and other yard goods that come in bolt form. To make these large bolts all y,ou need do is to cut the two ends out of inch lumber, connect them with thin strips of wood, such as lath, and then cover this over with carpet-paper or bristol-board. If light goods are to be shown it will be a wise thing to cover the bolt over with white nnislin. ; M^ .W '":S M^ We illustrate how two bands bow three buttons are pinned He can place it on pedestals, a would lie to plan the entire Drawn by Geo, J. Cowan Fig. 16 121 FURNITURE AS DRAPING FIXTURES Very iNTtRtsTiNG Drapes can be Made in Connection with Various Pieces of Furniture <<"¥ TARIETY is the spice of life," is a trite saying that can be converted into "Variety V gives life to your displays." One of the very helpful things in giving variety to your drapes is found in the possibility of using pieces of furniture in place of draping stands, fixtures or forms. The furniture can be used in a great number of ways, such as accessories to the display or as the fixtures on which to arrange the drapes. Our illustrations on the opposite page will clearly illustrate our point. In Fig. 1 a tall standard is fastened to back nf chair and dress goods allowed l.o drape from top of stand over the top of chair and then over the seat of the chair. Fig. 2 shows how the end of a bolt of goods can be thrown over the scat and back of a chair and allowed to drape on down back of the chair to the floor. Artificial flowers placed on the seat of the cliair completes this drape. Our Fig. 3 shows another chair drape with the goods simply draped over the scat of the chairs and other goods added to the display, such as silk vest, petticoat and slippers. We next show the use of a small table or stand. First we show the talile as a draping stand in Fig. 4 with goods draped irom the top down to the shelf and then to the floor. A vase of flowers, a fan and pair of gloves complete the display. Next in Fig. 5 we show how the tables are merely used as a decoration in the window in combination with the very unique drape suspended from a large circular frame fas- tened to top of window backgrouml. The tables are used to support large baskets or bowls of flowers. \Vc show in our Figs, (i, 7 and 8 three separate draping ideas and have so arranged liuni that taken all together they make a complete arrangement for a window display. Here we demonstrate how to drape draperies or curtains on various bits of furniture. Tin's is a most api)r()priate idea Ix'cause these goods are all classed as furnishings for a house. In Fig. G we suggest how a screen can be u^ed to support a drape oi curtain goods. A chair is placed near the screen in order to complete this unit of display. In Fig. 7 wc show how the goods can be draped through the handle of llie lamp, then down to the table toj) and then on down to the Ibwu-. Fig. 8 shows a simple drape of a curtain o\cr a chair, the curtain or goods being puffed at the top of the chair. b'urniture thus solves the question of certain of your displays. It is easy to get, because, sboidd \oii not have it in your store, you should be able to Iiorrow it from \ring it up doulile to the waist again. Allow the width underneath to fall to the floor and again hring it up double to the waist line, farther back, but reaching over the first fold at the waist line. Repeat this again and then make a double back sweep, which is composed of two plaits pinned at the center of the back. In this particular drape enough goods must be allowed to cover the back of the figure. This can be done very easily by pinning at the middle of the waist line behind, and then spreading the goods out, pinning at the shoulders and under the plaits that have been brought forward. In case the figure is dressed to face the front of a window, how- ever, there need be no covering for the back unless there are mirrors, and even in the case of mirrors the figure can be so arranged that the hack will be invisible from the front. In making the sweeps of the skirt, the upper part sliould be made to fit smoothly about the hips to give the slender figure that is so popular; ihc Ixtttom, however, should flare out moderately, being considerably fuller in the back tiian in the front. The fullness around the bottom not only adds the graceful Ijalancc to the drape, but it tends to avoid the ready made appearance that was spoken of in the beginning of this article. One side of the figure is done. Next take the unused end of the silk and bring it around to the waist line of the right side of the figure. Cover that side just as was done on the other side. The right sleeve is then formed and the whole performance is repeated just as has been described for the left side. After the folds in the sleeves are done, the front should be straightened out care- fully. A narrow edging of lace or velvet ribbon is fitted into each fold where it is held in place by an occasional pin when that is necessary. The velvet ribbon or lace should be chosen according to the character of the silk used. The front is filled in with any appro- priate lace and a ruching, jabot or stock is added to finish of¥ the neck. All that now remains is to put on a belt which is made from a wide ribbon in a harmonizing color. It should not be too dark, preferably of a medium shade. Before the belt is put on it may be necessary to smooth out some of the folds around the waist in order lo make the belt fit smoothly. 165 Draping on Forms Draping on Forms DIRECTOIRE DRAPE Where the Idea Originated and How It Was Introduced — How to Drape a Costume IN THE Sheath Style NOT in many years has any vogue created such a commotion in the world of fashion as has the Directoire style and the so-called sheath gown. When first shown the sheath gown was exhibited on living models with much pomp and circumstance in large stores all over the country. Thousands ,of curious women have shouldered and stepped on each other to catch a glimpse of it, and, having seen it, have become enthusiastic or scandalized, according to their turn of mind.. As the window dresser should be posted on this style some information as to its origin and development may prove of interest. To begin with it may be stated that the terms sheath and Directoire are in no sense synonymous, although they are pretty generally understood to be. The sheath gown is distinctly a French creation. It made its entree at the Longchamps racing meet in the spring of 1907. It has for years been the custom to introduce the new styles at these race meets. The leading dressmakers of Paris send to the races models dressed in gowns that Fl^-l are designed to forecast the prevailing fashions for the coming season. Tlie event in this day has grown to be more important as a fashion show than as a sporting event. Repre- sentatives of all the great Eliropean and many American stores are present, eager to inform themselves on the latest fashion tendencies. And it is a wonderful show— aside from the dressmaker's models, all of the fashionables of Europe are present, decked out in the very latest gowns and finery. This style was introduced by one of the fashionable dressmakers of Rue de la Paix 167 Draping on Forms liy sending out two l>c;uitiful models wearing sheath gowns made in the Directoire style. The gowns were ma the riglu one (left side of picture) a half turn being given to the material at the middle of the bust. Form The drape No. 8 shown here is a good one. It was not intended to show a fin- ished gown. The purpose was to demonstrate tw^o features that are important in the selling of dress materiaLs — style, and the goods by the yard. Showing the goods at- tractively by the yard is con- sidered from a merchandising standpoint as more important than the indicating of style. This form of drape will be found to be easily made if one will follow closely tlie little sketches. Fig. 1 shows the drape started. The beginning is made witli the end of the goods at the neck. The material is brought down tlie front of the form and fitted around it. Pins 17(3 Drape 8, Fig. 2 Draping on Forms the short sleeve from the right shoulder and bring the goods back to the point where the half turn was made about the middle of the bust. Then take the goods again at the selvage and allow the full width to fall to the floor in natural folds. With a little straightening up and fitting the principal part of the drape is now finished. All that remains is to apply the trimming, which is done as shown in the completed drape. All of this may sound a bit complicated to the begin- ner, but with his goods and the draping form before him it will be found an easy mat- ter to follow the sketches. In Drape 8, Fig. 3 making any drape handle your goods as carefully as you know how. Fit the material as you go along and do not try to go too fast at first. Use pins care- fully and in such a manner that the goods will not be stretched or damaged in any way. You will later be entrusted with costly mate- rials of delicate texture and it is well to get the habit of being careful in the be- ginning. ^^^^Sh^^^ 177 Drape 8 Completed Dhai'inc. ox Forms I'^wTV beginner in window trininiiiii; slimild yet the riylit training at tlie start, and tliis is possible through the very successful Koestcr School in Chicago. In any other profession it is necessary to study constantly for years and at a large expense before one begins to think of making money. P'irst learn the right principles, and learn them thoroughly; then you have a foundation on which to build. Without this foundation no man can make a real success as a window dresser. The draping of dress goods has come to its perfec- tion — it may l)e varied in form, but it cannot be greatly vcd. 'I'lie present day half and full forms are nply variations of what have been used for fifteen V. f Drape years — we arc only changing them to ^ meet the demands of modern modes. >-i. w. And of course, fashion is helping us»- — Drape 10 to do our work gracefully. No matter what the style may be, the capable window dresser will always find some way of presenting it attractively to the public. Should the "hoop- skirt" of sixty years ago return to favor, we would get busy and find some way to drape it attractively. The drapes that are illustrated here are all such as may easily l)e made, l^rapc shows a chic tailor-made suit for morning wear. This is a comfortable looking garment with a loose fitting blouse. The sketch shows what can be done with a combination of materials of different kinds. For example, it might 1,'e draped throughout witli plain or striped ma- terial or the skirt could be made of striped material with the blouse plain. It would be iiif^bly cfTective in black and white, brown and green, or grey and red. The drape shown in the picture was made on a half form l)ut couhl also be made on a 178 Draping on Forms lull form. 'J'Ik- skirt was made of striped material and the loose ends were arranged on the floor. The band around the bottom of the skirt was made of the same material as the jacket. It would look equally attractive if made of satin or a wide plain braid in the same color as the jacket. Any button that will harmonize with the material may be used to com- plete the skirt. The making of the jacket is slightly m,ore complicated than the making of the skirt. However, it can be easily accomplished by a little careful manipulation. Take full width goods and open, turning the end over to make the rever. Drape the goods around the form as indicated in the sketch ; then bring forward that which is to be used in forming the sleeve. The remainder of the material is pinned in the hollow of the back of the form. Drape 11 The rever and cuff are made of any material that may have been selected, and the waist effect is accomplished by using a remnant of lace allover or any trimming that may be con- venient. The belt and buttons are applied last. In this, as well as any other drape, it is probable that some pins will show here and there. Let them show as they will indicate that this drape is pinned together and not tailored. In this connection we wish to call attention to a pretty misapprehension regarding the draping of goods to indicate tailored suits. Many people think that a tailor-made mode! should not be draped as shown in Drape 9, with a surplus of goods around the bottom of the skirt — they contend that the skirt on the form should appear as nearly as possible like it would when worn. That, of course, is a mistake. It is not the purpose of draping to do more than simply suggest the style. We do not drape the goods to sell the suits, but to sell the material. A skirt could be draped as though cut ofif squarely at the bottom, but the effect would be far less satisfactory than when draped in 179 Draping on Forms it make your drape of this class too much of a a manner similar to that shown. J )> tailor-made affair. Drape 10 shows a charming afternoon gown which when made up could also be used for evening wear. It can be made of any seasonable materials. Either a fancy voile (wool or silk) or silk such as bordered foulard, plain marquisette or meteor satin. There are so many color combinations that might be used in making this costume that we leave it to the trimmer to select the goods, trimmings and colors that may seem to him the best. Mjerely as a suggestion, the lower part of the skirt would look well made from black Drape 12 panne velvet or satin, or as an overdrape on hunter's green satin meteor. The belt effect may match the material used for the lower part of the skirt. Gold trimming or lace band trimming could be used on the skirt and waist. This drape is very easy to make without cutting. First make the yoke eft'ect from any remnant of lace or fancy allover or other trimming. Then form the bottom of the skirt from some dark plain material. When this has been done start on the waist. Begin at the right hand side about the waist line and carry the material around across the back and to the front again. This is a simple operation. Then carry the goods down and around the lower part of the form on the bias. Tuck in the goods at the sides of the upper part to form the sleeves and apply the trimming. Drape 11 shows a pretty gown made from the lace and velvet. It is a drape that is remarkably easy to make and would be extremely handsome in black lace over either white satin meteor or velvet. Tlie skirt or lower drape can be made of black lace underlined with white. This part of the drape is made first. Then the overdrape is made (in much the same manner as in Drape 10) from plain black satin meteor or panne velvet. The 180 Draping on Forms only difference between this overdrapc and Drape 10 is that in this one, after forming the waist, the material is brought loosely straight down in front and back (instead of on the bias). It is drawn to one side and fastened as shown in the sketch. The lace trim- mings are added around the shoulders and sleeves. Large jeweled buttons of rhinestones or pearls are to be used across the bust and at other points on the drape. The waist line of this gown should be arranged to suggest the Empire style. Through the opening of the overdrape may be seen the lace underdrape. At the lower end of the opening the goods are drawn together ard a small bunch of flowers is fastened at this point. ill ^A. 'i\\%/^^ Drape 12 is done in a combination of royal blue chiffon velvet broche with a lighter shading of panne velvet. The velvet was used to form the underdrape and an end of the same piece was carried up to form the broad rever which has been so much in evidence. The bodice, or yoke rather, was made of gold cloth. Rhinestone buttons and gold lace were used to trim the sleeves and to finish off the lower edge of the underskirt. This makes a remarkably effective drape and the wide rever and loose treatment at the waist conform to the present fashion. The loose end of the goods was loosely tied in a large knot which may be seen on the floor at the right. 181 Draping on Forms In Drapes 13, 14 and 15 there will be found nothing complicated or difficult. The average trimmer will find little difficulty in duplicating them. Drape 13 was pinned and draped entirely with embroideries consisting of flouncings and edgings with an underlining of light blue. The underdrape of the dress was light blue peau dc soie trimmed with black velvet ribbon. The yoke and sleeves were also of edging with light blue and Irish crochet fringe, trimmed with black velvet ribbon. Drape 14 illustrates "rear view" of the form. This is an entirely new drape to many trimmers. It shows the pannier or back train made of satin and panne velvet. This form was draped with green satin chiffon edged with fringe. The pannier and belt were of black satin meteor, trimmed with metal lace edging. The buttons showing at the back of the waist line on the pannier were of rhinestone. One dress length of five and one-half yards was used in making the drape. Drape 15 represents a polo coat drape made of the material so much in vogue for this style. The figure was draped with five yards of double faced cloaking of plain tan on one side with a tan and lavender backing. The reverse or plaid side of the material was turned over on the rever and sleeve as shown in this fashion. Golden and purple buttons were used. VA Drapo 11 DHAI'lNd ON FOHMS For Drape No. 16 a standard suit form is used, although it can be made on a wax figure, or even a "live model" just as well. The drape is to suggest a tailored effect in a dress, and about a seven-yard length is required. First cover the top of the form with white tissue paper and make a collar of the tissue around the neck. Fit a band of wide lace across the front, finishing the top edge with a band of velvet ribbon. Start one end of the goods at the shoulder, keeping the goods in the double fold. Pin folded edge at the waist line, part way around the form and fold back this edge over the shoulder forming a rever collar effect (Fig. 2). Next draw the goods around the waist line to the back, but keeping the line of the skirt so that it hangs straight down for the skirt. At the base of the form open out a short length of the goods and bring it up around the back forming the folds that come around across the front (Fig. 3). Then carry the other end up over the other shoulder letting the end reach down to the floor in front. In case the full piece is used, the bolt comes here, and should be carried underneath the form and hidden in the back (Fig. 4). Fit the goods over this side of the form same as on the other. For trimming slip a narrow band ,of coral velvet ribbon underneath the edges of the collar. Pin silk fringe trimming along the edges of ^**^ the sleeve and diagonally across the front. ■- Then add the buttons. 183 Drape 16 irtesy .Arlington Mills. Draping on Forms Drape 17 is one of the most attractive drapes designed at the Koester School and shows a clever combination of allover lace and silk. The silk is first draped over the form and then allowed to form the wide drapes over the shoulders and one of the pieces is continued on down the back of the form and then spread out into a train. The allover lace is used to cover these shoulder pieces and continues down the train until it is completely hidden and stopped where the train is narrowed at the floor line. These drapes executed on the back of the form are very in- teresting and because they are not so common, you will find them probably more attractive. Drape No. 18 shows an orig- inal drape designed by a Koester School graduate and used by him in the windows of the store in which he worked when he left the school. This drape was patterned Drape 17 after one of the latest Paris styles and shows how, with the Koester method of draping, the window trimmer can design drapes after the very newest fashions. The goods are not cut or nuitilatcd in any way. Two tones of the same goods were used in this drape. The darker color was used for the underskirt while the lighter goods was used for the waist and overdrape. Allover lace was used for the neck, yoke and sleeves. A hand- some cluster of artificial flowers was used at one side of the waist. Drape No. 19 is a purely convcn 181 Drape If Draping on Forms tional treatment of a full form, suggesting the tunic idea across the front which falls away in cascades to the sides, ending in the broad sweeps out on the floor, same as is generally used in half shell form drapes. In Drape No. 20 we have used one of the best types of full figure form that can be had. Tlic hips are very narrow, as is also the entire lower part of the form. This gives a chance Drape 20 to get the narrow effect at the bottom of the dress which prevails in most panier styles. This shows a pleasing arrangement in the crosswise draping of the border across the front of the form and out in the long train in the back. A three-yard length of allover lace will be required for the underskirt drapery and the surplice treatment over the shoulders. Notice the use of artificial flowers at the waist. Bouquets of this kind are very popular just now and can be taken advantage of by all trimmers to add a new touch to all their drapes. 185 Drai'inc. on Fohms Tlic two drapes .shown herewith, are made un a new draping furni illustrated below. The special features of this form are the short papier-mache arms and the shaped effect bringing out the contour of the form around the knees. This latter effect is emphasized in both drapes by fitting the goods snugly to the form, an idea which may or may not be used, according to the aesthetic notions of the trimmer. In the back view drape the tunic is finished with a wide band of lace and a rather umisual oft'ect in the skirt is obtained by draping the folds down in the back and out in the long fiat folds on the floor to the front. In the other drape, about the only new feature is where the drapery is caught up at the side in several plaits and held in place with an ornament, cut out of card board and covered with shirred silk ribbon. The drapery over the shoulders is finished out with a large rosette of many loops of ribbon, in the same color as the ornament on the skirt. Drape 20. Thrce-tiuarter back view of chape on new form. 186 Drape "21. Simple and beautiful drape. Draping on Forms THREE FORMS IN ONE AN extremely practical form is the one shown on this page in Fig. 3. By taking off the upper part shown in Fig. 1 you have left l-'ig. 2. Thus we have three distinct forms made out of one, each form having many uses. For instance, Fig. 1 not only can be used for draping but it makes a fine collar and neckwear stand, shirtwaist stand, or fur stand. Fig. 2 is principally intended for a draping form but is also practical for the showing of skirts. Fig. 3 is as fine a garment form or draping form as you can buy. We show in Fig. 4 bow Fig. 3 can be used for an exquisite drape of the finest of mate- rials. For a trimmer who cannot afford a large .variety or a great number of forms, this combination will appeal because it makes it possible for him to have a goodly variety in the way of equipment at a very small outlay. Rg. 1 1^. L^/^ Fig. 4 Fig. 3 Draping on Forms DRAPING THE MERMAID FORM A FEW years ago several novelty forms were gotten out and christened "Mermaid Forms." We show these forms here in Figs. 1 and 4. In Fig. 1 the upper part of the form is made in tlie shape of a regular bust form, but below the waist line the form is brought down to the base in a round column effect. This gives the trimmer an opportunity to drape the upper part of the form in a regular waist effect, but because of the absence of any hips he can arrange the balance of his drape in entirely new and novel effects. In Fig 2 is shown a real mermaid drape with a fish tail train arranged on the floor. Notice wliat graceful drapes are draped from the shoulders. Fig. 3 shows a very handsome drape having the upper part arranged with wide revcrs and four widths of the goods draped on the floor and radiating to the front. Both these drapes were made from plain silks and were trimmed in fringe, lace and flowers. Fig. 3 Draping on Forms Both of these drapes were designed by Mr. Will H. Bates and were demonstrated by him at one of the window trimming con- ventions held recently in Chicago and were the most novel of all the drapes shown. Next we show in Fig. 4 the other type of mermaid form. This form has an entirely different top, in fact, it has an inter- changeable top. The illustration shows the egg-shaped top that can be taken off and a round flat board substituted, while another idea would be to leave the top open and fill it in with a mass of shirred goods. Our Fig. 5 shows how effectively this form can be draped. First the goods are stretched onto the surface of the form and loop of the goods wound around the top and then to the floor. It will be noticed that both these forms are finished ofif with very sightly bases. This is done so that should you make a drape in which the base would show, it would really add a touch of novelty to your drape and would on account of its perfect finish look most attractive. Fig. 4 Fig. 5 18'J A Full Figure Drape Made in 1912 The above photograph ilhistrates a clever method of drapinji tlie full form figure with silk. The skirt itself is a dark silk, finished off at the bottom with a series of shirred bands that are sold in the trimming department. Over this and over the l)ust has been draped a figured silk to harmonize with the silk used in the skirt, and deveK>ped in a simple panier style. The edge of the sleeves and of the top .skirt or panier, has been finished off with a shirred band, as indicated in the illustration. A belt of the same goods finishes off the waist, while verj- fine net is used in the yoke, placed over an albjver lace pattern. Tliis illustration is large enough so that every trinnner can get a very clear idea of all the details in connection with this drape. 190 Drapinc; on Forms FULL FORM DRAPES THE drapes illustrate on this page wen: made in 1!I12 by W. Young, decora le Interstate Mercan- tile Co., of Winona, Minn. These drapes were used dur- ing a silk sale which lasted a week. During that, time the drapes were changed fre- quently to show as great a variety of patterns as pos- sible. This manner of dis- playing the fabrics attract- ed a good deal of notice and brought many people to the store who were ac- customed to trade else- where. The drapes of fab- rics with a few trimmings added to give the prospec- tive customer a fairly ac- curate idea as to how tlie goods will make up and that is quite an advantage. These drapes were used without cutting or injuring the goods. EVENING GOWN DRAPES Practical Suggestions for Handling and Displaying the Finer Fabrics and Trimmings — Greatest Care Must be Used to Avoid Damage to the Materials— Examples. THE first consideration in making any drape is to save the material from any harm through stretching, pinning, soiling or otherwise making it any less salable than it vi^as before it went into the window. Merchandise is money and in some of the high- class city stores the window dresser will use over a hundred dollars' worth of silk and trimmings in making a single drape. Naturally it is highly essential that this costly mate- rial be handled with the utmost caution. It is a common fault with the window dressers, even with those of experience, that they are too careless with the goods they use in making drapes. In order to get just the effect desired, the trimmer will place pins where the tension is too strong and the result Drape 1 Drape 2 is a hole in the go,ods or a strain of the fabric that will not resume its original shape. Such a defect may render unsalable an entire dress pattern running into a lot of money. Possibly the trimmer may gloss over the fault when he returns the goods to stock and it may escape detection for the time being, but later it is more than likely to be discovered by the customer or by the critical dressmaker who inspects the goods with the utmost care to discover faults for which she may later be held responsible. In the making of drapes with expensive goods, the decorator should first study his goods and not attempt any design that requires a great deal of pinning or folding. He should be able to form a mental picture of the various steps in the process of draping and to see where each pin is to be placed. If, after the drape is pretty well along, some difficulty 192 Dhapino on Forms Drape arises and the expected ef- fect cannot be obtained in tile way it had been planned, do not pull and stretch the material to reduce the vvai^t or otherwise make the jol) a smooth one. In such a case, it will generally be found that the drape has been started in the wrong way, or, for some reason or another, it is impossible to make a good job. It is at this point that the care- less trimmer makes his greatest mistake. He has already put so much work on the drape that he is un- willing to undo what has l^een done and start over, so he patches it up as well as he can and goes ahead. The result is either a clumsy drape or damaged goods. While some dress ma- terials are to a certain ex- tent elastic, none of them are intended to stretch. There are extremely few materials that after being stretched unduly for some length of time, will regain their first smoothness. Tlicrefore do not place a strain upon your goods. The material may be pulled snugly over the hip or elsewhere to make a good fit, but there should be no strain whatever. The draping form should be a trifle more slender than the regular suit form as allowance must be made for taking care of ex- cess goods wherever that may occur. If too thin at any point the form can be padded out very easily. 13 193 Drape 4 Dhafing on Forms There is one feature of draping ' upon which the beginner frequently goes wrong, and that is in the selection and use of trim- mings. In most cases the drapes of the amateur are ovcrtrimmed ; with an abundance of buttons, buc- kles, braids, embroideries and other trimmings to se- lect from he cannot resist the temptation to add a lit- tle bit here and a bit there, until he has spoiled the ef- fect. There is far less dan- ger of putting on too little tlian too much trimming. Tlie best advice to the beginner in draping is to try simple effects at first and to practice with inex- pensive materials until he is thoroughly familiar with the underlying principles that govern this art. After he has gained some facility in the handling of goods on the form, he can use the l^'^ape 5 finer goods and attempt more pretentious effects. But even after he has grown proficient, or even expert in the work, he will lean toward the simpler forms of draping in which the effect is secured through graceful folds rather than through the tight fitting of the form. The drapes shown here were made to display the goods and trimmings used for evening and party dresses. They were done without cutting the materials and with the use of but few pins. Drape No. 1 was done with black satin with a lace flounce and rhinestone trimmings and a buckle of the same sort. Band lace was used over the shoulders and across the bust as well as for the sleeves. The skirt was drawn up in front and held in place by an orna- mental pin. The collar and yoke were of a pattern that fitted with the band lace. Drape No. 2 was made by first covering the form with white satin. Over this was draped a black shadow flounce. There was a gold band at the waist and a corsage bouquet of gold flowers. This drape was an especially effective one on account of the combination of materials used. However, it required but a few minutes to make. As the goods are of a delicate character the arrangement was somewhat loose and the pinning was done with great care. Drape No. 3 shows a bridal gown arranged with a few appropriate accessories. Tlie form was draped with the new bridal silk and trinuned with real point lace, making a beautiful bridal gown. In this drape the graceful lines of the bust, waist and hip were brought out as fully as possible. On the train was placed a small white bouquet tied witli 194 Draping on Forms white satin ribbon. The accessories that were placed in front consisted only of a fan. gloves and handkerchief. Drape No. 4 shows the form taken apart Lo make a waist and a skirt arrangement separately. This form will be described a little later on. To the left is the npper part of the form fitted on a low stand and draped with Irish lace to suggest a waist. At the right is a graceful skirt drape made of an Irish lace robe trimmed with cerise ribbon and a bouquet of flowers. A rhinestone buckle was placed at the back. Drape No. 5 shows an arrangement of an entirely different kind. In this case the form was covered with plain satin charmeuse for the underdrape and frappe velour broche was used for the upper drape. This was trimmed with gold band lace. A few pieces of ermine fur were added to finish the effect. Drape 6 In Drape No. 6 the underdrape was done with figured woolen dress goods and over this was used a heavy dress material. Buttons of an appropriate character were added. This figure suggests two separate drapes, one on each side. Note the graceful line of the hip at the left. In most of the foregoing drapes, the most costly materials were used, yet they were handled in such a way that n,ot a single pin-hole could be detected when the goods were returned to stock. 195 Dhaimnc. ox Forms In (Hir Jhaiii-^ 7. S. M .iiid Ki \vc ,sli,,u (lrapr> ilial wiic nia souii a> tlu>c styles were Itmu.ulit out, ami in all of these repriKlnctions tlierc lia\e ln'cn Iwo salient features — newness and ori.uinalilN . The experienced Irininu-r who has made a study of draping finds there is no linul t.. the hcautiful ideas lie can exi)ress in fahries. Every new season ushers in a new fashion, and the latest style is no sooner suggested than it appears in the show windows, from which even the foremost dressmakers often get their inspirations. Drape 8 Drape 7 was in ecru ccdored chiiTon bordered with i)ink and green llt)wers. The over- drape was of Venise lace. The vest effect was of rihhon trinmuil with rhinestones and with a covering of lace. The lace was not cut. Drai)e S had at the l.otloni a hlaek veUel rihhon about 12 inches wide with ecru chiffon above and the skirt was of black and ecru net with a X'enise donnce. The waist was of narrow lace to niatcii that at the bottom. .\ two tone ribbon was used for the collar. These goods were not cut. 196 DuAPiNd ON Forms Drape 9 had a lace skirt with an overdrape of silk in tlic panicr style. Changeable ribbon was used at the neck and waist. The silk was tatYeta in changeable tones of ecrn. The silk was not cut. Drape 10 ; was beaded trii was not cut. iiad The panicr was of changeable l)lue taffeta. Thei d thr neck and arm. As in the otlicr drapes, this si! Drape Drape 10 It is of course most interesting to be able to work with these finer and more expensive fabrics but you will find that you can produce the same styles in cheaper goods and at a distance they really look almost as good. Therefore in order to get a more exclusive look to these expensive fabric drapes it is very wise to place as few drapes as possible in the window as this gets all the attention con- centrated on the one or two drapes. 197 Draping on Forms It is always interesting to look over the various drapes tliat have beeen originated for there seems to be a continual advance in the novelty and attractiveness of the latest crea- tions. Tliis, we think our readers will agree with us, is the case with the drapes which we show herewith, of which we will append brief descriptions of each : Drape 11 — \\'hite satin underskirt with black chantilly lace flounce; narrow chan- tilly lace over the waist, with wliitc rose. Flowers, by the way, nrc now used on the finest Drape 11 Drape 12 dresses for evening wear and for street. Flowered brocaded velvet is also used in the draping. The velvet is of the unusual width of 50 inches, which makes the work of bring- ing out the proper effect more difficult, but the success in doing so is very noticeable. Drape 12 — Gold lace underskirt, with black flounce. Same on waist, in narrow width, over gold lace. The drape same as before, of same black brocaded velvet; also flowers at center on waist. Drape 13— Pink chiffon underskirt, witli white flounce. Waist of white allover on 198 Draping on Forms one side, and on otlicr side is white beaded allover. Extra band silver embroidery on right side. Handsome pink roses on waist and skirt, and ribbon bow same hue. Drape 14— Waist and skirt, white satin with gold flowers. Two pieces of uncut lace draped over all. Ribbon starts at skirt in bow and runs through to waist. Bunch of pink roses at skirt. Drape 15 — Waist and skirt, white satin ground with silver flowers. Over drape of waist and skirt of one piece of lace without cutting. Beautiful trimming interspersed with 7.-) ^!i T! •"«' Drape 13 Drape 14 Drape 15 little green leaves and tiny rosebuds, same outlining corsage and coming down to a point on skirt — an unusually beautiful and attractive embellishment. These drapes illustrate the beauty and yet simplicity that may rule in even the finest goods. Many of the drapes one sees nowadays are rather too complicated to be easily copied by the dressmaker. These are rich, yet simple and practical, and admit of being easily du- plicated by the dressmaker. Should the goods mentioned here be too expensive and not carried in your particular store all you need do is to substitute the goods you have and even change the color scheme if necessary. 199 l)H\l'IN(i ON FoHMS On the top of this page we show drapes made several years ago and on the bottom of ihc page wc show more recent drape s — to be exact there is five years interval between the times when these drapes were made. We show ihem here as a demon- stration of how present day draping more nearly conforms to the fash- ions. This is particu- larly noticeable in the N oluminous drapes spread out on the floor in the older drapes. Draping on Forms COMIC DRAPING As a rule it is not wise to introduce anything in the window tliat l)ordcrs on the comical. In the first place it docs not suggest to the customer tlvat they do any l.nying and thus by many merchants would he consi(U'rcd more or less of a waste of effort. It will he interesting however, to see the two ratiier comical drapes thai we show on this page. In Fig. I we show how one trinnner draped a complete suit on a full form figure out of Tm-kish towels. Anything as unusual as this would of course attract attention and if used in a towel window would answer the purpose of arresting attention while the balance of the display would have to in- terest the possible customers. In Fig. 2 is a little window display that will provoke many smiles. It is explained by the in- scription on the card which reads "Hallowe'en Ghosts of 1884." The display was suggested by an old fashion plate taken from a magazine and Fig. 1. Turkish Towels Draped on mounted on the show card. The full figure was draped after the fashion plate in the style of 1884. White serge was used for the draping and the goods was not cut or damaged. At the right was a large crescent or new moon cut from light lumber and cov- ered with tin-foil. A large black cat with arched back was standing in the cres- cent. There were five green lamps placed in the moon and another of the same color over the show card These lamps gave the win- dow the proper lighting effect. Fig 2. Drape Made from an 188i Fashion Plate 201 PANIER DRAPES When It Originated and how It was Modified to Meet Modern Requirements IN THE fashion news that filters down to us from the great dress- making establishments of Paris, we hear mention of such things as the Pompadour period, the Watteau modes, the Robespierre collar, etc. We are told that one designer is basing his models on Directoire and influenced by oriental effects, all Restoration styles; all of which is more or less confusing to the prosaic window dresser. To try to harmonize and classify all of these different periods in the present modes would seem to be an almost hopeless task; as the styles as now used are so changed from the original, in order to meet modern conditions, that it is sometimes hard to recx-)gni2c their source. And often we find in a single gown a combination of ideas adopted from different sources. Nobody cares to inquire too closely as to the historical correctness of a style, and when we find a gown combining features of the Marie Antoinette, the Empire and the early nineteenth century periods, combined in one, we accept them all under the broad title of French Fashions, and do not question the slight inaccuracy. So it would seem that the window dresser must dig up his history and post up a bit on the inside working of some of these French court periods, in order to understand thoroughly the source of the new styles. We hear a great deal about the Pompadour period as the source of the panier. It may be inter- esting to know more of just what is meant by this Pompadour period. The Pompadour period covers the years during which Madame de Pompadour ruled from the footstool of the French throne, — broadly speaking from 1740 to 1750. Let us quote ex- tracts from a short biographical sketch : "From a middle class family in ordinary circumstances, she developed into a most exceptional character. From childhood she apparently worked steadily toward the accomplishment of one idea, that of becoming mistress of the King, Louis XV. Before her twentieth year she was adopted by a wealthy mer- chant, and through the increased opportunities offered by her new surroundings, finally succeeded in her ambitious scheme. She was one of the strongest characters in history, without a gleam of remorse or shame for the sacrifice of her girlhood ; kindly, polished, brilliant, and with a marvelous appreciation of art and beauty, she left an undying impression on the history of art, especially in the realm of silk, lace and costume design. With her appreciation of artistic merit she quickly recognized the genius of Boucher, and Watteau, and conceiving the idea of embodying the exquisite pastels of the latter through living models, planned her gardens as scenes of Arcadian simplicity, in which the elegants of the court appeared dressed as shepherds and shepherdesses." Watteau was a noted artist, whose dainty wall panels, ^ i A form designed es- pecially for draping the Panier. It has weighted feet, thus permitting the form to stand alone and allow dainty silk hose and shoes to peep out from under the short skirts. Panier Drapes usually done in simple pastoral scenes, are a dominant feature of the Louis XV. style of decoration. So it seems that the Watteau shepherdesses were the originals of the Panier and Pompadour styles. Let us take one of these, for example, and note the effect arrived at. In the small initial sketch, note the exaggeratedly small waist, hips and bust also exaggerated to increase this effect and the skirt is flowing ample folds. Compare this with the present revival of this style and we see quite a difference in each essential point. In the first place, the narrow or "hobble" skirt effects have found too much favor during the past two years to give away at once to a very increased fullness in the skirt. Then too, our women, especially the influential class, with ample hips of their own, are not taking kindly to the extreme Panier to bouffant around the hips, but are demanding that the modern Paniers must not interfere with the slender line of the figure. This means that the Panier drapery must not be so full as of old, and also that the materials used be of the most supple variety. Soft silks on the order of charmcuse are being used a great deal for this purpose, and so is crepc-de-chine. The Panier mode is not beingmetvery enthusiastically Ijy the ready-to-wear garment trade. It really demands the individual touch of an experi- enced dressmaker, and the variety of ways in which the mode is being developed will certainly afford her plenty of scope for the exercise of her taste and skill. And this leads us up to the main point we wish to make for the window dresser, and that is, that this style means an increased sale of yardage in the silk department, and it is to encourage and foster this tendency that the trim- mer should devote his draping energies whenever possible. Drapes on the full form, suggesting the panier style, are not difficult to make. There is opportunity for an almost unlimited variety of effects, and by choosing proper acces- sories, laces, buttons, fringes, etc., it is easy to suggest to the prospective customer ideas which she can adopt entirely, — and this means increased sales for each of these departments. In the four drapes shown herewith, Nos. 1, 2 and 4 were made with a 19-inch silk. No. 1 is a "drape" pure and simple, and shows the panier fitted closely over the hips, and then draped away to the sides over a skirt of lace, and the end brought out to the floor and ties in a knot near the end. In No. 2 the loose panier is formed by bringing the goods across the front, pinning the selvage part away around the waist line, and allowing to drape loosely around the sides to the back. The under- side of this panier is pinned up underneath to give the overhanging effect. No. 3 was made with a double fold Ratine and is not strictly a 203 Drape 1 Pan IE R Drapes panier, but is given here as a suggestion for a skirt drapery and coat effect of this material and also how the drape at the back of the skirt indicates the panier influence, which can be made either on the regular half-shell form, or on one of the new full-draping forms, by using the side view. No. 4 shows a more extreme development of the panier, in whicli the side draperies are each made in regular loops or festoons, laid in plaits at the sides. The panier, although a revival of the style of Colonial days and of the French court of the time of Marie Antoinette, is sometimes called the "basket" skirt, getting its name from the old fashioned paniers— wicker baskets used to carry fruits, etc., on the sides of a horse. Thus by panier skirt was meant a more or less loose drapery around the sides of the upper part of the skirt from the front to the back. In tlio new fashions, most anything looped up is a "panier." Unlike the style worn by Marie Antoin- ette, these paniers often extend all around the skirt in a soft, graceful overhanging puff. True, many of these styles do suggest paniers in the low side drapes which gracefully merge into the train, ])ut they are very different from the paniers of old times. In the spring, taffeta is the favorite material fur this style of skirt, but later, organdies, silk mulls and lingerie materials are best made up that way. The panier style when in style means much to the draping window trimmer. First of all it means a break- ing away from straight lines in styles, which are bar to drape satisfactorily. In the second place the style is being developed in so many modifications of the original that it opens up possibilities for a great variety of different drapes. Finally, it is a new, nnich discussed style, and the trimmer who first makes use of it in his store windows is going to make a liit for tlie store and for himself. Tlic drapes illustrated arc ikU siixen .ns examples of tlic pure panier — rather they are shown as givini; some variety of ways in which this new style has lieen developed in its modifications. If llie drape in Xo. -5 jiad l)een fin- i--hed on both sides, tlie same as on the right — which might easily be done — a i)anier, approaching the original idea would result. However, lln^ idea of draping the panier on one side as com- ing out from underneath a panel or seam in front, gives quite an unusual effect. The illustration T)Tav6 2 should give one a clear idea of iiow it is made. Tt will be noted that in these drapes the fashion tendency is suggested in a conser- vative manner and without exaggeration of thd style. It may lie said in this connection th.'it the window drajjcr who is jn-esenling a uvw style is frequently led into gross exaggera- tion tbroni;!) bis natural desire to bring out the characteristic features of the style. For 204 Panifh Dhapks example, when the "ho])hlc" skirt made ils appearance, many trinnncrs draped their llj>ures so tightly abont the ankles that had the figures been living women they would certainly have toppled over like so many tenpins through their inability to move their feet an inch in any direction. This tendency toward the extreme is one tliat should he avoided. It leads to a caricature rather than an intelligent illustration of the fashion. The purpose of the drape in the show window is to show the possible purchaser how certain materials Drape 3 Drape i and trimmings may be combined to make a gown in the prevailing style. The suggestions contained in the drape are presumed to be authoritative and to be taken seriously. That being the case, the window dresser must avoid any freakish treatment that has a tendency to make a parody of the fashion, lie is less likely to err on the side ,of conservatism than through exaggeration. 205 Panier Dhapes In some stores form draping was at first discouraged because it was claimed that the handling of the goods damaged it lo some extent. It was found, liowcver, that form draping damaged the goods reall_v less than most any other style of draping. Drape 5 The expert trimmer invariably can so arrange any of liis drapes that the goods will in no way be damaged. It is the beginner who through liis lack of knowledge is most apt to muss up the goods and fill it full of creases and pinholes. This is one of the reasons why every trimmer should take a course of study in draping. After this knowledge is gained he becomes an expert and every store will appreciate his experience. Panier Drapes The manufacturers of forms had anticipated the demand for a panier draping form and brought out some very commendable shapes. After experimenting with all of IJiem, we find they are well adapted for every con- ceivable kind of panier style. One of the cleverest ideas in a panier form is that used in Drape G. This form is designed to show the panier styles that are designed with the short skirt. The novelty of this form and this style of draping will attract much attention to your show window. The form itself is illustrated on the first page of this chapter. Diape 6 Drape 7 In this drape the paniers are draped around the sides from the front to the back, and end under a smooth panel of the silk down the back. Note the short jacket effect and the sleeves, which were made without cutting the material or using any cardboard founda- tion. The pointed bodice was made with a short remnant of wide lace. A somewhat similar drape is shown in our Drape 7. Drape 8 shows the use of this same form with the upper part of the bust taken off, 207 Panihh DhAI'F.S leaving in reality aliiu>>t nothing Imt a skirt foiin. A plain color silk has been nsed for tlie lower or imdcrskirt. while a fancy silk has been used above and for the pauier. The panicr idea can be carried out in a great many different ways, producing a number of unusual effects. In some, the panier consists simply of a very scant drapery of thin lace around the hips. In others, this drapery is carried out in much heavier effect, of taffeta or other niaterirds. presenting a loose, almost "baggy" effect that reaches down about Drape 8 to the knees. In still others, the panier is developed quite tunic or over-skirt effect. So it would appear that the wii tunity for much variety in developing drapes on this ordei goods. Kxamples of these difftreiil elTects in panier draping ar is slwwn a very conservative jianier style, using two pieces 208 Drape 9 down — at the bottom of a trimmer will ha\e oppor- • the showing of his vard silk. plai, In Drape d a flowered Panier Drapes taffeta. The form is covered first with the plain silk from the bust line down to the floor, and the short folds draped around, across the front. Then starting with the end of the fancy silk over the left shoul- der, carry the goods down across the front to the waist line where it is pinned. Then fit around the waist line to the back of the form, and up the side to the shoulder, forming a short extension of the silk to suggest a sleeve. Next drape the goods around the side of the form to the back, laying the back selvage in several pleats and pinning in center of the back. Repeat on other side, using other end of the silk. lunish the drape with fichu of wide lace, and a large double bow of ribbon, set with a buckle. In No. 10 is shown an unusual devel- opment, in that the panier draping is brought out at the lower part of a long tunic skirt. First, the lower part of the skirt is formed by carrying a width of the silk around the bottom of the form. This is done again across the front of the form at the bust line. Then start from the end of the silk and cover the long cardboard sleeves smoothly up to the shoulder, carry over the top and down in the back. Then return up over the shoulder and down the center of the front. The two sides over- lap down the center of the front under buttons ,of taffeta. Near the bottom the overlapping selvages are laid in several pleats, and the goods draped around the sides of the form to the back. A fichu of lace and a girdle of wide ribbon finished in front with a bow and buckle complete Drape 10 the drape. Paniers look well when made of taffeta, which is particularly suited to this style. Flowered or "Cretonne" taffeta drapes in panief effects are especially pretty, trimmed with splashes of plain color in the way of revers, girdle or sash. Buff, ecru and pale yellow are the colors much in favor, also those dotted with tiny old-fashioned flowers in bright colors. For evening and garden parties these gowns are very appropriate— in fact, it is only in gowns for such occasions that the panier idea is suited. Drapes Nos. 11 and 12 are draped on the regular panier form. Hitherto it has been 14 209 Panikh Drapes impossible to drape short-skirted effects on tlic ordinary draping form because ut tlic necessity of covering the broad bases on which these stands usually rest. This form can be fitted with silk hose and a pair of pumps, and is so balanced that it will stand alone without the aid of a prop in the back, as is usual with niost forms with limbs. Among the prcltic>t m.ilcrials for an inexpensive sunmier frock are the striped and bordered cotton voiles. TTicsc voiles, witli printed borders in floral designs are numerous and attractive and are proving to la- among the season's best sellers in dress fabrics. Drape 11 Xos. 11 to ].'{ inclusive, will offer some valualile suggestions lo ihe window trimmer Jlinr " • • ' - ' of voile w; 1 — '• '" '•' •>">-iii.->i > >., >4 111 uuei suuie \.iuiiU)ie SUggl'blinils id in handling these goods, or in fact most any other bordered materia k-as used in making each of these drapes ic l)order makes an cs in No, across the bust .\ lU-yard lengtl /oile was used in making each of these drapes. The i)order makes an especially good iinish aroimd the liottom of the short skirt, and Mo. 11 it is utilized lu good advantage in forming llie b.nuls over the shoulders ami )ss the bust. 210 Panier Drapes isily understood from a close study oi thij (1 on short cardboard sleeves pinned to the The construction of No. 12 sliould illustration. The width of the voile is shoulders. No. 13 is a more conservative development of the panier idea, using a panier full form without the feet, 'i'he start is made near the center of the yoods, and carried arunnd the hollom oi the l".>rni, then anuuid once aijain, higher up. 'i'hen the end> are hroughl up to the hiist, Imrdi-r in the center, and draped away and arnuiid the sides Drape li Drape 13 of the form in the paniers. Finally some of the surplus gxxxls is brought up in the back and draped across the front in a hchu effect. Drape 14 is not a panier style, still it has the panier tendency of crossing or draping goods across the hips. We show it here because it is a very beautiful drape designed at the same time that paniers were being used. A careful study of tliis drape will show you how it was done. Two shades of silk are used in connection with allover lace. This was one of the drapes demonstrated by Mr. Will II. Bates before the Window Trimming Ciuventi.m held in Chicago in 1912. 211 Panier Drapes Another drape, purely panier, demonstrated at the same time by Mr. Bates is the one shown in Drape 15. This was one of the most striking drapes shown and because of the clever way in which it was finished off with corsage bouquet and large silk buckle on the panier was received with much applause. Every new style that comes out and every new drape tliat is developed in this style seems to surpass all the things done in the past. When Mr. Bates designed Drape IG it seemed to surpass most all the other panier drapes and possessed a striking chic and French feeling. Drape 14 Drape 1£ The ruffled girdle or belt effect, the use of the artificial flowers and just the use of two bands of lace in order to give charaeUr 1<. the lines, makes of this drape as striking a panier as one could possibly desire for the window. Drape 17 is another very unusual style worked out on the extremely low bust form having the feet instead of usual base. The panier in this drape starts at the siile at the waist line aiul winds about the skirt in a regular spiral effect. There is also a very graceful train elVeet added to this drape. Originality and independence in design are marks of the advanced draper. To be able to do things in a new and better way — to be able to set the pace that others are to follow 212 Panier Drapes shows a capacity that is deserving of the greatest admiration. Everyone recognizes and appreciates originality. And it is the desire to be original that leads the young window dresser into the making of more mistakes than any other one factor. Perhaps it is only natural that a young man who has chosen window dressing as a vocation, should be ambitious to make his mark. He would be less than a man if he did not want to receive credit as an originator rather than a copyist. Unfortunately in many instances he does not appreciate what originality really is, or, rather, he docs not fully understand which kind of originality it is that has a value. The beginner in window dressing should be more ambitious to be right than to be original. Study the work of the leading decorators. Follow their ideas until you are sure of yourself. It is far more to your credit to be a good copyist than a poor originator. Drape 16 Drape 17 213 FULL FORM DRAPES \'.\ A KOKSTKK CiKAnUATF,. DIvAPE No. 1 is made over the form finished with feet. 'I"hc sleeves and bust were eovcred with allovcr laee first, next cover the form from each shoulder down to ankles smoothly, and liring the surplus of goods to waist fastening on selvage and drape around to ankle on left and right. Form the panier and train and trim with vel- vet ribbon and buckle at ankle, and t;irdle with a bow at waist. Drape .\o. 2 was made over the same form, lint with a solid base. This drape was formed In- covering 1)ust with allover lace and forming the Robes- |)ierre collar from two pieces of ^""""W 5^****'i?»*5r '■^i?^3i§^ssr^ Fig. 1 narrow satin silk, d-\vcei)s ;it (be lloor smoothly, nier by bringing a aroinid the waist at ;iping to the sides, which consists of the sleeves with fringe id bow and trun nsl Fig. 2 Idiainel at base. Drape No. .'^ was made ovor the narrow ankle form. Cover the form from the waist down below the hips looping up the goods about 10 to 12 Panif.k l)uAri;s Ty]*\'-S: Drape 3 vet starting at one end at waist, down to left side and around rear of form to front and left, forming the lower part of tunic and sweep or train with an- other end of velvet pleated on corner and drape from left side at waist over to right shoulder form- ing sleeve from balance of velvet. Trim with ball fringe, bouquet and ruching at neck, bust and waist. The waist was first draped with Idack lace over white lining. Drape Xo. o was made over the full form, the figure being covered with allover lace. Then fancy silk was draped over the form, first covering the sleeves witli the ends of the goods, bringing the material over the shoulder and down to the base of the form tightly, bringing out the knee effect and lines of the form. The sleeves and waist were trim- med with fancy lace ; a belt of velvet ribbon with graduated bow effect and buttons finish the drapes. The train in this drape is in three sweeps. Note the 215 inches at this point, and bring the selvage down to base at each side, then pin balance of goods around to rear forming the panier. Next cover the bust with allover lace, and finish with a girdle of dark ribbon and buttons. Drape the neck with a deep circular collar by drawing up top edge on a thread. Finish the drape with tw'O bows at ankles and train to rear. Drape No. 4 was draped on the form with feet. This shows a con- ventional drape of an evening gown of black velvet and striped silk. Start the drape by covering left sleeve with the silk drape over shoulder and dow-n to right side on an angle, cover the balance of form with vel- Drape 4 Panier Drapes Fig. 5 nier to the right and to the left. Lace, black velvet and ribbon and niching are the trimmings used in finishing the drape. Drape No. 7 shows a striking drape of striped silk. Cover the shaped cardboard arms with the ends of the material, bring- ing the goods over the shoulder and form- ing a rever. Cover l)Oth sides of the form smoothly to the ankles. Allover lace forms the fichu. This and the sleeves are trimmed with fringe. An overdrape of plain mate- rial is pleated and drawn around from the right hip down below the left knee and around to the rear in a graceful festoon eflfect. This also is finished with fringe and a short, pointed train is brought to the right. The drape is finished with a bow of ribbon at the waist. use of a fancy fan placed at the neck of the form. A fancy drape of this character is greatly enhanced when placed in a show window with a screen and foliage setting, like the llustration. Drape No. fi shows a two-pattern effect over the full shaped form, first covering the cardboard sleeves with the end of the goods, the ma- terial being brought through the shoulder openings, then bringing the plain and fancy goods up over the shoulders and covering the form smoothly down sides to the ankles. Form the panier with a plain piece .of silk, starting same by pleating at the end of the goods, fastening at the waist line and bringing the pa- rig. 6 216 Panier Drapes It will be noticed in most of these drapes that the illustrations show the forms posed in combination with decorative screens and stands. These decorations are included so as to give some idea how to place tlie forms and decorations in relation to each other. In another way they also give to (he trimmer several good suggestions for decorations to use in his window. Fig. 7 In Fig. 1 is suggested the use of a low pedestal, jardiniere and potted or artificial palm. In Fig. 2 we have a simple screen added to the pedestal, vase and artificial bouquet of roses. Fig 3 shows a very similar grouping with the form placed on the reverse side of the com- position. Fig. 4 has only a panel backing while Fig. 5 has a fancy screen, tall table and floral bouquet. Fig. 7 shows this same table and flowers without the screen. 217 Dkai'inc. on Foh.ms DRAPING FLANNELETTE Till", fall season will give the triniiiu'r the pleasure of displaying the new flannels and llanneletles. It will give him an (ii)i)()rlunit.v to show the new goods in a new way. Much has hecn done along the line .of draping goods, uncut, over all sorts of forms and wax figures. If this draping is well done it will create more interest ;uid sell more goods than any otlier method of display. Fig. 1 In Fig. 2 is shown an entire w^indow devoted to the display of llannelcttes. These goods are draped on a full figure and on two waist forms in the regular kimono drapes. In the five days that this window was in it was necessary to change the drapes six different Dhai'inc. on Fohms times, because tlic ,suri)Ius stocks of the pallcrns sliown were sold out. The stock became so broken tliat the winclow had to be taken out tlie fifth day. This for flannelettes in August is not so bad. VijX. 3 shows an eidarged view of the central drape. This was a simple drape, the side bands help- iuL; out the effect. The photograph shows very clear- 1\- how to drape this full form. The goods are simply draped over the shoulders of the figure, the same as one would throw a shawl or cape over the shoulders. Tlie goods are brought down straight in the front and indled in and pinned at the sides of waist line. The goods drop naturally from the shoulders in a sort of cascade drape that makes the goods look like kimono sleeves, the border on the goods helping out the effect. Our Fig. 1 shows a shirtwaist form used on whicli to drape flannelette in the form of a short kimono or dressing sacque. Two of these drapes are used in the flannelette window shown herewith, the forms being placed on top of pedestals, or stands, tliat are also used for the draping ,of the goods. This method of draping the waist forms is very Fig. 3 similar to the draping of the full-length figure. The goods shown in this cut has not got the bands or border pattern on both edges, only on one, so that an extra width of the goods is brought up under the sleeves with the border design extend- ing out enough to show and make a finish to the sleeve effect. Our Fig. 4 shows a pleasing drape of plain flannel on a child's wax figure. This drape was used as the centerpiece of a window of wool goods for school and other goods, popular for children's school dresses. An eight-year-old size wax figure was used, and practically the entire drape was made witboiu opening the goods out of the donl)le fold, using a seven-yard cut. The surplus i:o,ods were draped o\er the forearms to the floor. The drape was made by plaiting the double fold of goods about the waist, to make the skirt. The goods were then brought up from the back, over the shoulder. Fig. 4 210 DRAPES ON CHILDREN'S FORMS A Branch of Window Display That Has Been Neglected by the Decorator — Telling Effects Can Easily be Produced with Ginghams and Simple Trimmings THAT most of us enjoy trimming a window in which we have expensive fabrics to work with, all will agree. The inherent beauty and attractiveness in a piece of goods worth, say, in the neighborhood of $5.00 per yard, is such that it is quite sure to catch the feminine eye, and the window trimmer gets an inspiration to do his very best in draping and the arrangement of his color scheme. But how is it when the boss tells you he wants a window trimmed of 10-cent ginghams, or perhaps of 39-cent dress goods? Nothing to rave about in these, surely. Do you mutter to yourself something that sounds like, "Oh, piffle !'' and then go disgustedly to your work room, bring out a few T-stands and perhaps a shell form or two, and then literally "throw in" a window with the idea of getting it off your mind and out of your system as soon as possible? I Fig. 2 Or do you make an analysis of these inexpensive fabrics with a view to suggesting some of the uses to which they niay be put, and then endeavor to show by your drapes a practical example of what these uses may be? For instance, at a certain season, practical mothers are preparing their young daughters for school. Window displays of ginghams, or of cheap dress goods suitable for school dresses, are common at this time; but has it ever occurred to you to drape these fabrics to imitate children's school dresses? Little or nothing has been published showing drapes of children's dresses: We illus- trate these drapes of this kind, giving a fair idea of what may be done in this style of draping. These were all made on an ordinary child's form, eight year old size, and using about a six-yard length of gingham or 3fi-inrh dress goods. 220 Children's Form Drapes ^^ Drape No. 1 shows a panel front, and to make this, start at about the center of the piece of goods and form a wide box plait in at the waistline and also at the top selvage. Now continue to lay plaits in the goods around the waist line on both sides to the back forming the skirt. Pin the plaits that arc formed above the waist line, close to the side of the form. Then bring the two ends of the goods up over the shoulder from the back, having the goods folded double; bring down the front under- neath the edge of the panel to the waist line. Fit around the waist, allowing the surplus to hang from the shoulder to suggest a sleeve. Finish with a belt of velvet ribbon by starting the ends of the ribbon underneath the panel front. This velvet ribbon is also used to pin around the edges of the sleeves. Drape No. 2 is made with the surplice style front. The sleeves are formed by fitting the goods over cardboard foun- dations, starting from an end of the goods for each sleeve. Fin the cardboard sleeves to the shoulder of the form after covering, and then bring down diagonally across the front. Have the goods folded double in doing this and turn back the folded edges to make the long revers. Tlie skirt is made out of the remaining goods, by first double folding it and then pinning around the waist line in plaits. The drape is finished with a belt of velvet ribbon, gathered in three loops in front and a narrow ribbon of the same color is used along the edge of the revers. Drape No. 3 was made with a 36-inch dress goods, but could be made just as well of gingham. Have the goods in the double fold lay in plaits around the form at the waist line forming the skirt. At the shoulders pin some short cylin- ders of cardboard to give a foundation for the sleeve. Bring the goods (fold double) up over the left shoulder and straight down the front, with the end almost to the bottom of the skirt. Pin the outside edge around the end of the short cardboard sleeves and shir the surplus up on the shoulder. Then fit the goods up around the form, under- neath the sleeve. Next bring the other end over the right shoulder, and down the front, the folded edge overlapping on ^^" the goods at the left side. At the ■ top double the goods back underneath to form the square neck. Pin at the right side, being sure to keep the goods hanging straight down the front. Then draw the surplus goods out from underneath as it goes over the shoulder. Cover the sleeve on this side and fit around the side of the form same as before. Turn up the ends at the bottom. Finish the drape with a band of velvet ribbon brought around the square neck and down the front. Also form a belt .of the ribbon with a buckle in the center. These three drapes are simple and easy to make and they will suggest to the window dresser many others that can be made along similar lines. Several of these in a window of ginghams or other inexpensive dress goods will add wonderfully to its effectiveness and form a marked improvement over the average window showing this class of fabrics. The trimmer who is a real enthusiast will find it just as interesting to work with the cheaper materials after he once has started. He must ever bear in mind that his purpose is to display merchandise so it will sell, and in this his duties are not confined to the more expensive goods alone but to everything the store has to sell. 221 1)haimn(; on Imjh.ms HOW TO DRAPE WAX FIGURES General Directions as to tjie Dressing of the Wax Figure or 1 muring the materials — practical illustration ok ilow Without Cutting IT is Done THE I'lrst step is to get sonic idea as to what sort of a costiinie jou are going to model on your form. Suggestions may lie had from many sources. Fashion magazines of the better class are prolific with ideas that, with some slight modifications, can he used. But ideas can be caught on all sides. For example, the suggestion that resulted in the drape that is illustrated here canic from a newspaper portrait of a prominent young society woman. This figure was used in a silk window together with another full form drape and several waist drapes. The lirsi i)ictures will show the various steps in the evolution of the drape. It will be noted that the costume has the full length sleeves. Fig. 1 shows the wax figure, size 30 of the "hipless" type. A form of this sort is very essential for draping gowns in the style of today. The old-fashioned forms with broad hips make the drape too awkward and bulky to be attractive. Fig. 2 shows the beginning of the preliminary covering of the figure. The upper part of the figure has first to \>q covered with sateen. Tliis should either l)e white or in some color to match the silk. W hite may be used under any color of all-over or silk. It requires just one yard of sateen to make the nnder-bodice without the sleeves. Sateen comes in double w^idth and there is a line down the middle where it is folded. Cut down this line 9 inches and let the line come right in the center of the neck in front. Carry the ends back over the shoulders, turn under from the front and pin in the back. Then pin in the front at the waist line. Make flat pleats and pin in as closely as possible until the lining fits as smoothly as a glove. .\o pins should be placed above the waist line as this must be left smooth and neat, and clear of all unevenness. In this figure the right half of the under-hodice has been fniished. The hand shows how the material is to be taken over the shoulder prepara- tory to finishing the other side. One arm is sleeveless as yet. while the rii^ht arm lias tlie piicc that is to make the sleeve, ])inned to the >houl(Kr. This piece has not yet IjL-Lii pinned together. To make the sleeve requires a piece of uoods nine inches wide and tlie width of tile goods. Stand the arms out strai.^ht and i)in the goods at the shoulder lirst. Then close up tile sleeve by turning under the edges with care and iiinning them. See iliai tile saueii fits rather closely and tiiat aii raw edges are covered. Fig. :? shows the sleeves of the iinder-liodice completed. One will find tliat after the sleeve has lieeu filled lliere is a surplus of aiiout H ineiies at the wrist. At least 2 or .'! inriies of this surplus should be left because much of the extra Draimnc. on Forms Fig. 2 and careful jol), you will find that all of the material has taken care of itself. Do not touch the bottom of the sleeves at this time. Leave them just as they are until you put the hands on. Xow take some of the surplus goods down from the shoulder and carefully woik enough over to cover the liack. One slee\e is now complete. Take the other end of the all-over and liegin on the other arm. at the wrist. Be sure to get this end of your all-over even with the sateen of the under-hodice as was done on the .other arm. Work up the arm as before, leaving the surplus where it can be divided lietween the two shoulders. The yoke is now made with the middle part of the all-over. If your piece of goods is too long (which it invariably will be) care- fully pleat the surplus on top of the length will be taken up when the arms are l)ent into the proper atti- tude after the drape has been lin- ished. Some extra length also must be left to turn under when the hand is put on. The trimmer can afford to spend a good deal of time in put- ting on this under-bodice as it will last for years if properly fitted and well taken care of. There are some stores, however, that will want the under-bodice changed in color to match the silk shown. Fig. 4 shows the all-over placed over the arms and ready to be pinned together. The collar has al- ready been made. As this was an tmusually long piece the surplus length had to be worked out at the shoulders. This is done by care- fully pleating which is afterward covered with the silk. In pinning up the arm, when the arm pit has been reached, if you have done a neat 223 Draping on Forms Fig. 224 Draping on Fokisis Fig. 6 in a half "V" just below the wax at the neck. This pin is to be re- moved later. Carry the goods straight down the back to the waist line. Now determine how much of the surplus goods will be required from the back to reach around and meet the front under the arm. When the sides have been closed up, you can finish up the front and back, absolutely complete in any style you desire. Finish off the shoulders with box pleats or any way you like. Fig. 6 shows how the trimming is handled. It is brought over from the back ard down the front. The square at the bottom has nothing to do with the costume but it is ar- ranged in this manner to take care of the surplus neatly without wrin- kling it. Fig. 9 shows one-half of the skirt completed. This is done by reaching IS shoulders where it will be concealed by the silk. Fig. 5 shows the all- over completed except that the sleeves have not been turned under at the wrist. Fig. G shows the trimming taken twice around the lower part of the waist preparatory to putting on the silk. This trimming is fastened at the back, as later the end is to be brought forward over the shoulder. Fig. 7 shows the beginning of the application of the silk to the drape. Begin putting on the silk at the waist line (not at the bottom as would naturally be supposed). This beginning is a very important mat- ter and the whole success of it lies in the proper start. Take the end of the silk and turn under the sel- vage. Then pin the end of the goods at the waist line. Keep the selvage turned under and carry the goods up over one of the shoulders. Pin 225 Fig. 7 D HAP I NT. ON Forms Draping on Forms down aliout 12 inches below the pins at the Ijotlum of tlie Iiody of the form; bring up the goods perfectly straight to the waist, carrying it around the waist line to form the side and back of the skirt. Note in Fig. 9 how straight up and down the skirt must set. The back drape is then worked into a train. The skirt is then finished by bringing the other end of the goods up in front and pinning. All that now remains to be done is to apply the trimmings. Fig. 10 shows the completed iorm with a row of buttons down the front sweep. The hat, parasol and other accessories to the costume have been added. Our Fig. 11 shows the drape as it appeared in the window with accessories and a draped waist form. The description of this process of draping may seem a bit complicated to the Ijeginner. This is because there are many simple little twists and turns which require much more time to describe than to execute. Will s Ijefore ^urprise(l form of fabric him, any trimmer will be to lind iiow easy it is to follow these pictures and the directions. Once started right there will be little troul)le. It is highly impor- lar.t, liowever, that the f.ounda- li(»ns be projjerly laid. For in- stance, the row of pins around the bottom of the body of tlie form should be placed with great care. These pins are to take care of any surplus goods that would cause unevenness over the hips. They help to give the clinging, narrow hipped effect that is at present so much in vogue. I would advise tlie use e noticed that in Draping on Fohms order to keep the stripes vertical, it is necessary to carry the goods slightly upward as 3-ou work toward the back. This is done by working with the fingers a little of the goods from underneath, thus making the fold slightly on the bias. The selvage held in the right hand is llun taken around to the back and fitted carefully. The other side of the skirt is made in exactly the same manner, starting from the same point in front. Fig. 3 illustrates plainly how a panel is made down the front of the figure. Both selvages are turned under, forming a panel of three thicknesses. This is carried up and pinned to the lower edge of the guimpe. rig. 3 Fig. 4 shows the panel in front trimmed witli buttons and the guimpe edged with No. 5 black velvet ribbon. The waist is also trimmed with black satin buttons to match those used along the panel of the skirt. A hat and parasol also have l)een added, complet- ing the costume. In the foregoing description many of the details have been omitted, as all of the steps are fully presented in the preceding chapter. Fig. r, shows the start in the making of the wrap. U was made of seven yards of silk pongee. The whole length was folded in half making it H^j yards long. Tlie fold, as shown in the hands of the decorator is used to make the finished front of the wrap. It •231 Draping on Forms rig. 5 232 Draping on Forms is thrown over the shoulder and the two ends of the goods are carried down to the floor at the back of the figure and the surplus turned under. Fig. 6 shows the wrap completed. The edge of the pongee running down from the shoulder is turned under about 2 inches to conceal the selvage and improve the fit. The combination of the black and white silk used in this drape and the wrap of natural colored pongee were particularly pleasing. The hat and parasol were also selected to match the costume. This entire drape is one that is very easily made and it may be said that when the trimmer has once gained a little proficiency in this class of work it is surprising how quickly it can be done. A full figure can be draped with a complete costume in aliont the same time that it required to arrange a drape over a shell form or any of the standard fixtures. Decorators who have never tried costume drapes are frequently heard to say : "That kind of work is all right for trimmers that have the time for it, but it wouldn't do for me with the twenty windows I have to take care of." That is a mistake. In the first place this work does not require so much time when once the trimmer has become accus- tomed to it, but even if it did the extra time would not be wasted. There is no denying that drapes of this kind are much more effective in selling goods— careful observation has proved this to be true. That being the case it is up to the trimmer to use them. If he hasn't time to do this sort of work, the store should allow him more helpers. The extra expense will be well justified. DHAIMNd ON Im)|{.MS WAX FIGURE DRAPES 3 AND 4 IX SUBMITTING these suggestions for draping a wax figure, the idea has not been at all to imitate a completed gown, but rather to use the iigure as a draping stand, to occasionally take the place of the shell draping form. They are very easily con- structed and will not injure or mutilate the goods in any way. A regular wax figure with elbow length wax arms is required. Fig. Wax Figure Drapes 3 and 4 Our Drape No. .3 (Figs. 1. 2, 3 and 1) was used play of l)roadcloths, luit cnuld be used with an\ similar wide dress fabric. f the low bust effect is not desired, fit the ligure with a lace chemisette. The front is to be covered with a length of velvet (or silk) of a har- monizing shade. Pin first at .'\. B, turning under t(ip edge. 'fhcn at waist line C, D. Bring down smoothly in front, turn under and bring behind, form- ing belt by laying in plaits. Finish with buckle. Now take end of the goods, lay in three or four eep plaits and pin just a little over the shoulder at K. Allow folds to drop naturally to floor, and pick up tile upper selvage edge, as at F, bring up bcliind, pin- ning at E, leaving surplus to fall back in long, graceful sweep to the floor. Take other end of the goods and repeat from other shoulder, Init bringing the selvage edge across the back from I to E, as shown he back view (Fig. 3). Let the top fold, . of this last sweep fall just below the top f. lid, G, of the first, which, in case you have mirror backs, gives the reflection of the train the same appearance as from the front. With mirror backs the base of the form will also have to be covered with a surplus of the Lidods nr the velvet. I'ull out folds on the arms so as to cover to the elbow, and if necessary, pin the under folds in at the waist line. Finish with loug li^ops of velvet ribbon fastened with a buckle at the shoulder .and reaching down over the arm. l'"ig. 4 shows the completed drape. A pretty effect with wax heads can be produced by pow- dering the hair, giving it a gray Drapinc. on Forms effect, and gray is a color that goes well with al- most any other color. The Drape No. 4 is intended for narrow- width goods like silks or velvets. In this drape shown in Figs. 5, 6, 7, 8 and 9 you start with a waist of a different l)ut harmonizing piece of goods, laid in three plaits and placed in V- shaped effect, as shown in Fig. 5. Then, start- ing at waist line, pin end of the goods at A, B. Lcl fall to llcnr, turn under and bring out to one side of figure. Leaving plenty of surplus on floor lay in three plaits, bring up to waist line and pin at B. Then bring selvage edge up over top of shoulder at C, and let fall down behind. Lay in two wide plaits and pin again at waist line B. Drape gracefully to floor and carry back several feet to D. Bring up to a point between the shoulders, E. and out on floor again to F. Starting with other end of the goods on the floor at G, repeat the drape on the other side. Carefully smooth nut all the folds, puff the loose goods carelessly about the elbow and iinish with a belt and also a large liow of riblion at the back, E. Fig. 7 shows the completed figure. The photographic illustration. Figs. 8 and 9, the second drape, front and back view. This drape was used in a window of velvet suitings. The drape is in red. and is changed somewhat from the drawing, giving more of an Empire effect. In draping wax figures it is a good idea to cover the head well with cheese-cloth, or some other light material, so that the hair will not be mussed and so that the face will not be dirtied from handling. Before draping the figure one should be sure that the face is well cleaned and the hair nicely dressed. There is nothing more repulsive in a window than a dirty, disheveled form. The trimmer who takes advantage of some clever stunt of this nature is the man who will make a hit. Don't get in a rut and use the same old ideas. 235 Pig. 9 Dhaping on Forms WAX FIGURE DRAPE No. 5 O NE of the greatest diffi- culties in the way of the inexperienced trim- mer who attempts to drape tlie full form is to avoid giving the finished drape a bulky, awkward appearance at the waist. The standard papier- mache form is modeled on about the same lines as a cor- seted female figure, and the window trimmer must drape this figure, disposing of the folds of uncut goods in such a manner as to make the waist smooth and slim. This re- quires a good deal of practice and judgment to get the re- quired result without damaging the goods. In Drape No. 1, two 10-yard lengths of light green figured silk muslin, 27 inches wide, were used in connection with white silk all-over lace. The waist is formed first begin- ning at the elbow and forming the sleeves. An end of each pattern of muslin is used to form either sleeve. After the sleeves arc made the goods arc carried in folds across the front of the waist and over Ihe tops of the sleeves, being continued around to the back of the waist. Form these folds across the shoulders rather loosely so that the front can be drawn down to make a "V" shaped neck. The all-over is lined with a "clouding" composed of layers of pink, blue and green chiffon and this is laid smoothly on the front of the figure at the bust line. From this line it falls smoothly to the floor to form the front panel of the skirt. The next step is to return to the two lengths of muslin that were left after forming the sleeves and upper portion of the waist. This material is used to make the skirt. This is made in long voluminous folds, beginning at each side in front and working around to 236 Wax Figure Drape No. 5 Draping on Forms the back so that the two remaining ends of each pattern may be used to bring around in front of the form to make the sash, which is tied over the all-over as shown in the picture. Forming the skirt and sash in this manner will be found very simple if it is started right. The revers are made of a wide band of silk and lace embroidery. The bodice is finished with a green and gold lace ornament. WAX FIGURE DRAPE No. 6 Drape No. 6 THIS *s a two-piece drape, intended to suggest an eve- ning gown and an opera cloak of eau de nill voile, the under drape being of deeper green. The only trimmings used were of silver tinsel and black velvet ribbon. The drape re- quired only about twenty minutes to originate and execute. It is interesting to know that this drape was made by one of the best known window trimmers in Australia. This shows that rapid, practical and most artistic work is being done in draping in Australia. This trimmer has also very cleverly introduced some inter- esting hair ornaments in the hair dressing of this figure. This sug- gests right here that I advise you to always have the hair dressing done by some one who can give you absolutely the very latest and prettiest styles of hair dressing. Style is everything to most women. Your store must pose as the style center and this means that you must uphold this repu- tation and this can only be done by having every item that enters in your windows absolutely right, from the fashion standpoint. 237 Draping on Forms WAX FIGURE DRAPE No. 7 THE most effective drapes and tliose that more nearly approach the close-fitting skirt are made on the full- figure draping form. This is because it is possible to drape the goods about the lower part of the form much closer and in a perfect manner. Recently many full shai)ed draping forms were finished off at the top with either a wax head or wax bust and arms. One of these forms is shown on this page. This form is well shaped with narrow base or hobble effect. Notice the slenderness of the entire figure and how the hipless effect is accentuated. A full wax bust and head is mounted on the top «f the papier-mache body. We next show one way of draping this form, 'iiie bust has first been draped with a rich colored velvet and llie silk moire in a lighter color is draped around the form in a very interesting and unusual manner. This full form drape was made without cutting or in any way damaging the goods. A gold rosette in the liair and one on the corsage adds a very l)leasing touch to the entire comi)osition. Undraped Form This very clever head dress and the very pleasing face is an added attraction to the drape and adds a certain amount of life to your win- dow that attracts attention. It is also true that a customer gets a liet- ter idea how a certain style or how certain colors will look on a blonde or brunette wax figure and thus she gets a better idea how it will look on herself. We do not suggest eitlier that you use wax heads on all your forms nor do we suggest you use them all the time, but we do think they are very good to use as a change — and in many cases I'lti'T than tlie headless forms. Form chawed witli Diai^c No. 7 2:W Dhaimng on Foinis WAX FIGURE DRAPE No WE SHOW on this patic wliat is called the arni-drapinti- form. This form lias a papier-mache body of the liipless and narrow Iiase variety. TIic novel feature of lliis draping form is the wax bust, shoulders and arm. When goods arc drajied on forms of this kind, one lias a very clear conception of iiow the goods will look whc-n made up and how they look in contrast with the natural color of arms and neck of the wearer. The arm is jointed at the shoulde placed in a great variety of positions, th It being t It md so that be put out o when the forr draped. We show at the liot- tom of this page this form draped with a pat- tern of the fancy bor- der silk. This drape is trimmed over the bust and shoulders, leaving a good display of the wa.K neck and arms. The goods are stretched on the form in a plain, simple style and draped d o w n over the floor from a point at the left of the form. A new ide.-i introduced in tin Every year XJndrapcd Form in trimming is here cord and tassels, has seen many new styles of forms introduced for draping and there are always some of these ideas that continue \ery good for a nund)er of years. This form is one of those that are always good, needing only some slight changes in the shape in order to conform to stvle tendencies. '-^»2^ Form Draped v/ith Drape No. 8 This attractive drape was (- 1 imposed of three materials. The under drape was of white messa- line silk with a pink flower. Over this, pink marquisette was draped. The opera cloak effect was made with champagne colored crepe. Appropriate trimmings were used throughout. This drape was made without damage to the materials and was placed in the window where it could be viewed from all sides. An Opera Coat Made by S. W. Baggott in 1911 for C. Cohen D. G. Co., San Bernardino, Cal. Here is an excellent example of good practical draping. The goods are developed in very simple styles that are not hard to drape. Full rorm Drape and Shirt Waist Drape Made in 1911 by Carl Oreer for Neuman's, of Joplin, Mo. 240 Draping on Forms WAX FORM DRAPES 9 and 10 Panier Styles IN No. 9 both ends of the material are started at the waist line, laid in narrow plaits and draped straight down to the floor. Carry the goods back to the rear, fmishing out the plaits nicely at (he bottom. Then get the center of the remaining length of goods and bring across front of waist in plaits, pinning these in the back, h'inally bring goods up over each shoulder and drape down the sides in pannier style. Trimming consists of a girdle of wide ribbon, and wreath of tiny silk roses is caught in the girdle. Drape No. 10 shows the skirt caught u\^ in plaits at the side draping away from an under- skirt of fine lace over ivory satin. The folds arc held in place with a large silk rose and a bouquet of the same flowers is pinned at the Itelt. In this drape the waist part in surplice cffccl is finished lirst, then the skirt is started from the other end l)inned around the waist line. Drape No. 9 These two drapes were made on a style of costume form with wax bust and arms. This form has been specially de- signed for showing fine evening costumes, Init it has very good lines for draping and can be made to serve a double purpose. The wire skirt can be covered with card- board as a foundation on which to lay the goods. Drape No. 10 241 Draping on Forms A DRAPES 11, 12, 13 AND 14 CLEVERLY handled drape, in which the goods are gracefully arranged and com- bined with appropriate trimmings, will show the materials in their best light and suggest an attractive combination that might never occur to the possible customer same materials were shown in the ordinary way across the counter. Drapes 11. 12. 13 and 14 242 Draping on Form? DRAPES 15, 16, 17 AND 18 REMARKABLE advances have been made in the art of draping the full form during the past three or four years. This is evidenced by the examples shown on this and the opposite page showing to what perfection this 1)ranch of the decorator's work has been carried. Drapes 15, 16 17 and 18 243 DRAPING THE WAIST FORM Some Genkkai. Dikkctions as to tiii-: Drkssin. OR Intuking thk Matkkiai.s — 1'nactical li.i.i; : Waist FoR^[ Without Cutting :s (IK ]lo\v THE Work Is Done rig. 1 at lliis ])niiit, carrying the Roods up over the shoulder and down the back', allowing just enough material to make a good turn. Then come back over the other shoulder to the front again. This leaves one end of the material to make any end linish that may strike the fancy, without cutting the material. Returning to I'i;.;. 1 it will he noted that the mate- rial is lirought straight up the front and pinned at a point about six inches below the neck. The material is then turned over as may be seen in the pictm-e, to make a sailor-collar effect. The Irimmiiig should be started at this stapc of the drape and the ui)per end should be placed nn- Tl 1 E illustrations that appear in connection with this chapter are intended to sln)w a few simple waist drapes such as arc used in every-day displays for showing silks. For this chapter we have pur- l)osely selected an easy drape. If the trimmer who has never at- tempted waist drapes will master the simple principles involved in making this one, he will soon fmd himself able to handle more com- plicated designs. Fig. 1 shows the drape started. The neck is first trimmed with a made yoke with collar attached, borrowed from the ladies' neck- wear department. This picture also shows plainly the starting point of the silk is under the lower part of the front of the form. I have experimented a good deal and am convinced that the best re- sults can be obtained by starting 2'1I Fig. 2 Waist Drapes der the fold that forms the colhir so it will be hidden from view when the collar is pinned down. Fig. 2 shows the other half of the waist finished by bringing the goods from the back- down to the front again. In Fig. 1 the trimming is carried across under the lower point of the form then up the other ler the collar and Fig. 3 the loops of trimming. There are three sweeps extending from this rosette to the floor, which make a very full finish. Figs. .") and 6 show two other simple waist drapes made in somewhat the same manner as the one described heretofore. These last were draped with Messaline silk and it will be noted that the trimmings are quite plain. These together with the ones shown in Fig. 7 suggest a few combinations that can be worked out with silk, a waist form and a few trimmings. There are hundreds of others equally simple that will suggest them- selves to the trimmer after be has once acquired a little facility in this work. the of Fig. 2 shows the amount goods left over after making a waist out of a 12-yards length of silk. The hand is shown holding up the amount of silk required to make a belt. [•ig. •". shows the belt made and trimming brought around the waist line. Three loops arc made where the trimming meets. Fig. 2 also show^s how the goods must 1 e caught up and shirred or pleated in making the proper sweeps e.xtending down to the floor. Fig. 4 shows the waist com- pleted with the floor sweeps fin- ished and buttons attached. At the waist a rosette has been made of the silk and placed in back of Waist Drapes It is now possible to get quite a range of different shaped waist forms and ones that arc finished in various ways as regards bases, tops, etc. This range of waist forms makes it possible for you to choose very good ones that will fit in with your other fixtures and thus serve to have everything har- monious in your windows. Naturally the shapes of the waist forms change each year, therefore care should be taken to buy the very latest shapes and also as soon as the styles change be sure to get some of the new shapes, otherwise, a late style drape on an old style form will look anything but right. Many times it will be found that some of the girls in the store- are clever at draping and making up waist drapes. These girls can help the trimmer out very ma- terially if they are allowed to clrape the waists and then as soon as the trimmer has the window ready all he needs do is to carry in the waist or waists and place them where desired and finish up any part of the draping not to his taste or not completed. rig. 5 Fig. 6 246 Waist Drapes Fig. 7 247 WAisr Dh.\im;s There may be some few old ladies wlio follow the mandates of comfort rather than those of fashion, but these are rare cases — with the average woman style is paramount — it is the one essential requisite in anything she wears. And the rapidity with which style information travels is astonishing. A fashion is developed by the Paris dressmakers — within a fortnight a complete description with photographs, the garments themselves perhaps, are in the hands of the leading American stores. A few days later the new fashion makes its appearance in the show windows. In the meantime the many fashion journals, representing millions of circula- tion, have carried patterns and descrip- tions of the new mode to the most remote corners of the country. Any woman who is willing to pay a dollar or so for a good fashion journal, can get all the style infor- mation she wants, no matter how far in the "backwoods" she may live. This uni- rig. 9 Fig. 8 versal dissemination of style news obliges the merchant to keep his stock pretty well up to date. But no matter how much enter- prise the store's buyers may display, it is impossible to keep up the pace of a good fashion paper, such for instance as "Bon Ton." A journal i>f this sort can naturally print the fashions long before the store can offer the same modes in made up .garments. The store therefore must de- pend upon the window dresser to r^how the new styles first. He can easily do this if he will devote the necessary time and work to master I lie art of draping forms and waists. W bile more and more ready-to-wear :-;aniionts are being sold every year, there are many women who do not and never will wear stock garments. These wnmen who have their dresses 248 Waist Draim:s ^ 1 - ■ \ J- ■ Hi Fig. 10 ■ ■ 1 ' ^^^^^^^^1 249 Waist Drapes made are usually of the wealthier classes and can af- ford to spend a good deal of money on their clothes — they are profitable customers for any store to have. But — they want to see how certain ma- terials will look when made up. A picture of description is not enough for them — they want to see the actual goods, with the trimmings, as they would be combined in waist or gown. It seems a wise course for every ambitious trimmer who has not already taken up this branch of his work, to begin now. The time is surely com- ing when "style" in the han- dling of merchandise will re- ceive far more consideration than will the building of fan- ciful backgrounds. Beautiful rig. 12 backgrounds are expected and necessary at times, but clever and artistic drapes arc neces- sary all the time. The manner in which the goods are handled counts for far more in selling than does the background, no matter how fine it may be. There are but two objections brought against this class of draping — first, that it spoils the goods, second, that it takes too much time. Both of these objections are up to the trimmer. If too much time is taken to make the drape, it is because the trimmer is not sufficiently familiar with the work. With a reasonable amount of practice he can learn to drape rapidly, for it is not slow work. So far as spoiling the goods is concerned, that depends upon the manner in which they are handled. The writer knows from long experience that if the work is done in the right way, the goods can be put back in stock as good as new. But even if these drapes did require more time — and if a piece oi goods occasionally had to be marked down on account of damage, the increased selling value of such a display pays for the loss of time or damage many times over. And here is some good advice for the beginner at form or waist draping. Don't be too anxious to put your first eflforts before the public. Perhaps they may be alright but if you are like most trimmers you will find that your first work will not be nearly so smooth and effective as that which comes later. Get a length of old soft silk from the bargain table. Then select a few trimmings and get to work. First learn to make a waist in somewhat the same manner already described. Just try to get a good fit — never mind the trimmings or anything else except making the fabric fit the form, without straining it. When you have mastered the fitting of the waist, try the skirt. You can afford to put in a good deal of time on this pre- liminary practice for it is the secret of the whole thing — the rest is largely a matter of slight variations and the application of trimming. 250 Waist Dhapes Our illustrations 8, 9, 10 and 11 show how simple a matter it is to work up a sugges- tion found in a fashion book. Every good fashion book contains many designs that can be copied outright or with slight alterations. Experiment a little along these lines and you will be surprised to find what can be done. Fig. 8 shows part of a sketch that appeared in an issue of "La Bon Ton." With this as a model we will see what can be done in the way of reproducing it — not exactly, of course, to sucli an extent that any observer will at once notice the similarity. Fig. 9 shows the form first covered neatly with black sateen far enough down the front to act as a lining for the yoke with a band of ecru insertion laid across first. The silk started at the waist line on the left of figure, is taken up over the shoulder, down the back, up over shoulder, down the front and the two sides of the skirt are then made. The surplus insertion is taken through the back and worked over the lower edges of the short sleeves. Fig. 13 Fig. 10 shows the box plaits made at the lower part of the form and how they should be finished at the waist line. The material must then be folded, making a panel of three thicknesses from which the cross plaits are to be made. The plaits are easily formed and all that remains is to attach appropriate buttons. Fig. 11 shows the completed waist with buttons and a narrow belt added. The color of the goods was natural pongee with buttons to match. While no effort was made to duplicate every detail of the model, the finished drape is sufficiently like the sketch to answer the purpose for which it was intended, namely, to suggest the style. Figs. 12 and 13 show several other drapes arranged on waist forms. Figs. 14 and 15 show drawings made of waist drapes. They will serve as suggestions for the trimmer who is looking for an idea along this line. 251 Waist I)kaim;s Fig. 14 Fig. 15 Waist Drapes It behooves every mercliant to keep his yard goods moving, and there is no way quite so good as having the goods draped attractively and in a location where people can see them. Tills (iiu'stion of draping the goods brings up the fad that one must inaugurate new drapes all the time. The 1)1(1 drapes get stale and lose their attractiveness and force. The better the drape and the more frequent the changes, the more attention you will attract, and thus your chances arc greater for selling more of these goods. In our Fig. IG we show a made-up waist placed on a w^aist or corset form, and over one shoulder is carelessly thrown a fold of gOf)ds, the same as the waist is made from. The beauty of this idea is that it Fig. 1(3 shows the customer just how the goods will look when made up, and this method of di.splay is so unusual that the customers cannot help but notice it. You simply have the dressmaker make up a waist out of a certain piece of goods, put it on the form and drape the yard goods over one shoulder, leaving the bolt of goods lying on the counter or against the stand. When all of this particular pattern of goods is gone, you simply close the waist out in your shirtwaist department. Fig. 17 shows a new silk drape on a : '""' -^ waist form. The novel feature of this drape is the way the sleeves are imitated. You get this effect by rolling a small sheet of cardlioard into a roll the si^e of a sleeve and jjinning it to the shouhlers of the shirt-waist form. It is then an easy matter to drape the waist pattern over this foundation without cutting. The use of lace at the ends of the sleeve, around the neck and in the bust adds to the beauty of this drape. Also notice the use of the buttons and flowers at the waist line. 253 Tig. 17 DRAPES ON THE NEW SHELL WAIST FORM EACH year shows a marked increase in the interest shown in dress fabric draping. This is undoubtedly due, tx3 a great extent, to the prevailing fashions in dress which have contained so many features that can be easily duplicated in full form drapes. But credit must also be given to the various fixture houses for placing on the market a number of special draping forms, whicli liavc made these costume drapes comparatively easy. However, forms for full figure draping arc not the only ones that have been so featured. A new iorm that has just liecn liroiight out consists of a half shell waist form Fig. 1 mounted on an adjustal)Ic metal or wooden stantkird with lieavy base. This is quite a radical change from the usual run of draping stands and makes possible the development of a number of new drapes. The three drapes made on this stand and shown here, give some idea of its possi- bilities. Nos. 2 and 3 show waist form trealnunts with the goods caught up in folds underneath and draped to the floor. The half slull feature of the form makes these waist form drapes very easy to execute, as it gives plent>> of room in the back to fold away any extra width of goods. In No. 2 a puff of the goods is used to suggest the sleeve, also two of these arc pinned under tiio form to relieve the plainness of the folds. This 254 Drapes on the New Shell Waist Form drape could be used effectively in the coming white goods sales, for showing wash goods, as well as the silks. The second drape uses a cardboard sleeve pinned to the shoulder of the form with the goods fitted over this, starting from the end. This drape would be more suitable for the softer silks or mercerized materials, 27 to 3G inches wide. Drape No. 4 was made with a dou- l)le fold wool dress goods and is treated something on the order of the mummy form, no attempt being made to suggest a dress, except in placing the heavy lace collar over the shoulder. There is seemingly no end to the possibilities of draping. Principally be- cause it is possible to originate new fixtures and no end of new fashions. Fig. 3 DRAPES Designed by WILL H. BATES 255 Fig. 4 DRAPING THE SKIRT FORM Fig. 1 Tig. 2 T IKRI'", is now on the market papier-mache draping forms that are cut ot¥ at tl waist Hnc or a short distance above it, thus giving the trimmer a skirt form c which he can get out some very good drapes. If 3-ou can drape the half or full form it will be very easy for you to drape the skirt form, for it means nothing more nor less than the same drape that you put on the others, except that you do not have to drape the waist. Some of the cleverest and most attractive parts of certain drapes are the ones that go to make up the skirt. These are the ones yor want to use in your skirt drapes. To give you some idea of how these drapes would look when completed, we show on this page four such drapes. Fig. 1 shows the front view of a very handsome drape having an all-over lace panel down the front and the paniers droppe(' down below the knees. A good decorative panel idea is shown in this cut. being merely a board covered over flat with dark cloth finished off at the top with a wreath of gold or silver leaves. Fig. 2 shows how the skirt form can be draped in order to show a side view. The skirt is rather plain, having the goods that makes the panier l;rought up to make a large bow at the waist line. Several parasols are fastened to the back of the form and add an attractive note to the display. Fig. 3 is a more elaborate drape, or rather a combination of drapes. First the skirt drape is made with a wide band trimming running down the front and short paniers draped over the hips. The goods are then draped up to a tall straight stand and then allowed to drape on dowr to the floor. In our Fig. 4 is shown Ivw the drape will look when completed on a skirt form having a high belt line. This drape is quite simple. Take your skirt p;ittern, find the center of the goods, and place across the front of form. The over-drape, as shown in the drawing consists of the two ends of the goods thrown over the hips. Notice the plaits over the hips. 25(1 LIVE MODEL DRAPING A New Draping Idea Introduced by Will H. Bates in 1911 THE live model had been used to ad- vantage in the ready-to-wear de- partment, and the next step was to use them for the showing of fabrics, draped in imitation of a late style gown. Mr. Bates developed this idea until it was practical, and showed it for the first time at the 1911 convention of The Na- tional Association of Window Trimmers of America. The fabrics were draped on three young women who were later "assembled" in one of the permanent windows of the Koester school, thus showing a complete window arrangement. The window trimmers grasped at once the possibilities in this new idea. Those that had used live models in exhibits of gowns, coats and ready-to-wear knew how great their success had been in this line and became anxious to know just how to drape the goods in the correct manner. Pencils and paper were resorted to and all the various steps of the three drapes noted down. Mr. W. H. Bates demonstrating how to drape a live model with dress goods, showing how they will look when made up into a gown. Completed window display showing dress fabrics draped on three live models, staged in one of the windows of the Koester School. This demonstration was 257 Live Model Draping If live models can be used to create interest in the new gowns, they can also be used to show just how new fabrics will look when made up in a stylish gown. By using the live models as we suggest in the next few paragraphs, you should create great interest in your store and especially in the dress goods department. The exhibit can be held either in the store or in the win- dow. If you have it in the store, build a platform for the exhibit so that the people in the l)ack of the crowd can sec what is being done. The draping can be done back of a screen or curtain, then by removing screen or curtain the completed drape is shown. A greater "hit" will be made and more interest will 1 e awakened if the trimmer will do the draping in the presence of the on-lookers. This will hold their attention and the novelty of it will bring greater crowds to the store. Wm. W. Sterling, the window trimmer and advertising man for G. R. Lyon & Sons, of Waukegan, 111., saw the possi- bilities not only as a window trim for the store, but also as an advertisement. He therefore took careful notes of the demonstration of this draping given by W. H. Bates at the Koester School, and on his return home laid his plans to use them. We reprint herewith copy of Mr. Sterling's letter which is very interesting: W. W. sterling draping live model for window display Completed Show Window by W. W. Sterling for G. R. Lyon & Sons of Waukegan, 111., using live models "I am sending you two pictures of our opening window and the display of dress goods on living models. It was a big success and the biggest advertisement we have had. 258 Live Model Draping There were three front-page write ups Kiveii to us free, and tlie papers printed the pictures. "Describing the window, I would say that the model on the right was draped with white crepe de chine and trimmed with i^old hand and fringe trimming. The bow was of Ameri- can beauty colored rihlxm and had 141 ild tassels on the streamers. The aigrette in the hair was a deep purple. "The model on the left was draped with •")4-inch navy blue silk. There was a liand of black fringe used about 15 inches from the Ijottom ,of the skirt as a trimming, and the trimming on the collar was a Bulgarian liraid. On the collar there was a touch of bright red silk, and the rose in the hair was a deep purple. "We went into the window at prt)mptly 8 o'clock and both drapes were finished at 8:35. We then asked the people to step back and let us get the pictures. The first picture was the one with the two H.^nres in it. Then we took each figure separately, and then the one showing the (lra])ini; (if the collar. The pictures took a little longer than we expected, for it was hard to knp the people i)ack. Each picture was taken with 15 seconds' exposure. "It has been a great satisfaction to me to think that everything went off so nicely. I had the entire responsibility, and I'm proud of the success of the affair." We illustrate on this page two clippings taken from two different Waukegan news- papers showing how the store procured fine publicity at absolutely no cost. There was also interesting and lengthy editorial mention in these papers explaining the store opening. When a store can do things that will be of enough interest so that the local newspapers feel like playing them up in the news cohnnns then the store is doing the finest kind of advertising. Care should be taken in planning for a demonstration of this kind that the window trimmer is really capable of doing good draping. The next thing necessary is to spend 259 Live Model Draping Mr. R. L. Paxtoii, with W. C. Stripling of Fort Worth, Texas, draping live models some time practicing the drapes on the .girl that will serve as a model. It can be readily understood that the deftness and quickness developed by the trimmer in draping the model arc important factors in making the affair a success. We have had several interesting letters from all parts of the country from boys who liave used this idea with much success. Most of them say that it has pulled some of the largest crowds that the store ever Iiad. Mr. R. L. Paxton, window trimmer for W. C. Stripling, of Fort Worth, Texas, also used living models for draping. The scries of pictures shown here shows only one of the drapes made by Mr. Paxton. The dress goods aisle of the Stripling store is about 30x100 feet and will accommodate from two to three hundred people at a time. A platform was built at the rear of this aisle and there the demonstrations were made. Two models were used, each having three different drapes. The six drapes were completed in about one hour. All of the manipulation of the goods was in plain sight of everyone and held the attention of the audience from beginning to end. The firm was well pleased with the re- sults of the demonstration and have determined to repeat it. The styles represented in the drapes were taken from a fashion journal and reproduced as closely as possible. The drape that is done here was done with double width satin and 30-inch foulard. The various steps are shown so plainly in the pictures that it is unnecessary to describe them. 260 Live Model Draping 261 Draping on Forms THE EVOLUTION OF A DRAPE Where the Ideas Come from and How They are Adapted to Practical Use- Examples OF Drapery. SUCCESSFUL trimmers are ofttimes asked the question: "Where do yon get yonr ideas?" Skeptical ones and "knockers," who cannot credit originality, arc sometimes heard to remark, "Oh, he gets his ideas out of a book!" Which may, or may not, to a certain extent be true. The fact remains that to be a success in this profession, as with any other, one must be constantly studying, constantly on the alert for ideas, and it matters not whether these ideas come from iMuiks, or arc picked up in the everyday walks of life, just so that the idea, when grasped, is one tliat is adaptable to ymir work. In other words, keep your eyes open. A real window artist is a student of architecture, of interior decoration, of scenic and mural painting, of sculpture, fashion, etc. Not that he need be an infallible authority on any or all of these subjects, but he should have a sufficient general knowledge of these different subjects so that he can plan a liarmonious scheme of decoration and see that it is carried out. Fig. 1 When one has mastered the fundamental principles of ordinary stand draping, and the plainer styles of shell form draping, there is no more interesting work than the de- signing of new drapes to conform with the prevailing styles of the season. Much attention and publicity has been given to the draping of full form and wax figures to imitate ready- made gowns, but very little attempt has been made to adapt these styles to the ordinary hollow shell forms. In fact, it may be said that it seems to be much easier for the average trimmer to do full form draping than to drape the shell forms in new ways to suggest the same changes in fashions. Thus it is that we see many good trimmers drape these forms in almost exactly the same way, season ^fter season. New ideas in drapes sometimes come to one as an inspiration when working. More Draping on Forms often they are carefully worked ,out from ideas seen in the fashion magazines, or in im- ported French gowns seen on the stage or in the ready-to-wear department of your own store. Every season there are always two or three predominating features in the new styles that can be adapted to drapes. For instance, one season was noted for the extensive use of the fichu, the large revcr collar in contrasting color, and various sash effects. Any one of these ideas can he used to good effect in trimming the shell form as well as the full form ; and the rcvcr collar, especially, makes an effective trimming on the mummy forms and even on some of the )lt drapes. The diagonal sweep of filmy draperies is a characteristic note of most evening gowns, and this Is very well exemplified in the drape shown in Fig. 2, and which was made on the double shell form. Fig. 1, which was sketched from a pop- ular fashion magazine, shows the origin of the idea, and by a comparison of the two, the evolution of the drape is easily understood. In draping, the goods is simply twisted around the form in a diagonal line, and comes out in the two crossed portions to form the train. This is really the unusual part of the gown which first caught the writer's attention in the original fashion plate, and by exaggerating this part in the drape, it ma'kes a novel and striking effect. Old ivory bro- caded silk, with an overdrape of pale coral chiffon around the body of the form with a trimming of gold lace, brings out the drape in a very hand- some effect. It is not always well to try to copy a dress e.xact, but better to select some one feature that stands out from the rest and accentuate that. For instance, in the drape shown in Fig. 3, which is also made on the double shell form, the par- ticular feature of the drape is the way the train is brought out on the floor in pointed effects, with the ends tied in knots. In develop- ing the drape, the overdrape skirt effect (which in the original was of orange colored chiffon edged with lace, over blue satin), has been elimi- ^'^' nated and the idea of the knotted ends made the chief feature. This overdrape skirt can easily be made the keynote of another drape. The drape as shown was worked out in a heliotrope taffeta silk, 19 inches wide, and trimmed with a sash effect of narrow velvet ribbon in different lengths, each of which is tied in a knot at the end, still further carrying out the idea in the train. It is in these minor details of costume that one must seek novelty in draping. 263 Draping on Forms In Fig. 4 is shown a rather unusual drape on the half shell form, which was "faked up" as a caricature, you might say, of some of the prevailing ideas of dress, i. e., the short close fitting jacket, the large rever collar and the use of contrasting bands of color to finish out the bottom of the skirt. This latter part is exaggerated by the use of long folds of the back. The drape was worked up out of a short length of cream serge, kept in the double fold throughout the drape. Scarlet satin was used for the skirt and to cover the large collar, which was first cut out of cardboard, and covered with an end of satin. Satin ribbon of the same shade was used fc r outlining the jacket and in making the bow in front. We also suggest that, in working up new drapes of your own, from such sources as indicated here, that you avoid making the drape too complicated or too "fussy." Simple lines and natural folds are much more effective, besides resulting in no damage to the goods. Fig. 5 shows another interesting drape made on a style of draping form designed ©specially for one of the large State Street stores. This shows how the form manufacturers as well as tlie window trimmers are continually looking for new style influences so that they may incorporate these correct style tendencies in their newest forms. Form draping should be the aim and ambition of every window trimmer who is really wedded to this art, because to form draping can be directly traced increased sales in the dress goods and trimming departments as well as advertising the entire store. It has been my experience as a window trimmer that when a full form, skirt or waist form was draped in a window of yard goods, that it resulted in increased sales and caused a great deal of favorable comment from the passerby. Though such a person may not be ready to purchase these goods she would be tempted to enter the store and look around, and with proper interior display of mer- chandise many new customers can be added to the store list. Form draping was never more popular than it is now. So many good forms are now on the market that the window trimmer can easily find one that will meet any requirements. If the funda- mental principles are understood it is not a difficult matter to figure out beforehand how any simple drape may be made. Save time by figuring out just how the drape must be carried out step by step and a fine example of this work can be done in from 20 to 35 minutes, according to the amount of work your design necessitates. The average window trimmer should watch all lie fashion magazines and read up on all the style hints, and use all these availables to put his win- dows on a footing with the modes of the hour; by so doing he can build up for his store and himself a reputation for being up to the minute in style and tlnis keep customers at home, instead of going to the larger shopping centers for the new things. 264 Draping on Forms DRAPING IN SMALL STORES Creditable Form Drapes That Will Add Greatly to the Productive Value of the Windows. There are few fabrics intended for women's garments that cannot be presented more successfully when they are draped to show or indicate their ap- pearance when worn, and to suggest their effect when made up. It will often happen that a cleverly draped form will suggest the entire idea of a dress or costume to those who see the show window exhibit, and cause them to buy the materials exhibited and to employ them in the same, or in a similar manner, to that suggested. For these and other reasons it is important that those who plan and trim the windows of small, as well as large stores, should be proficient in the art of draping yard goods on forms or other devices that will show the materials to advantage and con- vey the practical suggestions that have just been mentioned. Stores that do not have, or cannot afford to have, a regular window trimmer, need not be barred from producing attractive, trade-producing windows. It should be an easy matter to develop the talents of a clever clerk. Send this clerk to school whert- draping is taught. This only takes a few weeks' time and will pay you well. Given a reasonable knowledge of merchandise and a fair amount of good taste and judgment such a clerk will often accomplish surprising results and more than double his productive value. W'e illustrate on this page a papier-mache full form drape figure that is very good for small stores. There has always been a demand for a light, solid form that would conform to the exact lines of the female figure and present a perfectly smooth continuous surface over which fabrics of all kinds and widths could be conveniently draped, and 2 show side and rear view o f the form. Fig Fig. 2 3 shows the form draped. Dhapinc. on Forms An inUrcsting group of drapes giving the trimmer certain style suggestions that may be helpful to him in developing certain drapes for his displays. The first drape shows a nearly front view of the form witli all llie sweeps placed in front of the form. Another one of these drapes shows that the hack view of some of the drapes can he made as attractive as the front or side view. 266 r. HOW TO LAY OUT COMPLETE WINDOWS PLANNING THE DISPLAY WITH window dressing as well as with most other things careful prep- aration is, or should be, more than half of the work. Expressed in another way, there is required more head work than hand work in trimming- a good windoAV. The right way to do anything is to start at the beginning, so the first thing for the trimmer is to decide exactly what he is going to do. He will save time by planning out his display to the smallest detail, as he can then go ahead with confidence, knowing just what he is about. The first thing he will have to consider is the nature of the display — whether it is a special or a stocky trim. Let us suppose it to be the latter. There has been received a new lot of dress goods — say twenty different pat- terns or colors — and a display is wanted that will represent the line. The department manager tells the window dresser that he wants a stocky win- dow that will show the variety and extent of the stock and it is left to the trimmer to do the rest. He may show as many pieces as he sees fit. First he must consider his window, its size, shape and how it is to be laid out. AMien this has been done he will know just how many draping stands he can use and how each one is to be draped. If the window is of the ordinary size he may decide to use, for instance, eleven stands arranged in three rows with four stands each in the front and back rows and three stands in the middle row. The window having been laid out (in his mind's eye) the next step is to choose eleven pieces of goods, out of the t\venty, to cover the stands. Open each bolt sufficiently so the color effect can be seen and place them on a counter or table. It will be found that there are a number of patterns that are nearly alike and these should be discarded, as one purpose of the dis- play is to show variety. Suppose the table to represent the floor of the window^ and arrange eleven bolts so that each bolt will correspond in position with one of the draping stands as you have planned to place them. Then move the bolts about according to color until you have them ar- ranged to your satisfaction. Put the bright colors at the back and the darker ones toward the front. If there arc two strong colors that clash, put a neutral color between them and they will look all right. Of course the trimmer chooses his colors to make a harmonious whole and the manager may object 267 How TO Lay out Complete Windows to having some particular color left out, although it is a color that the trimmer may think would kill the effect of all the others. This difficulty may be us- ually overcome by placing the objectionable color in the back row and sur- rounding it by neutral tones. The plan of the window is now complete both as to composition and color, and in order not to forget the arrangement, take two pieces of paper and on each draw a diagram of the window floor, showing by means of squares the position of each stand. Cut from each bolt of goods two small samples and paste one in its proper square on each of the diagrams. One of these diagrams is for your own use. The other is to serve as a memo, for the manager. Before the manager's diagram is given to him, it should be turned over to whoever has charge of the cutting of the goods, first marking under each sample whether one or two dress lengths will be required to make the drape. In the meantime the window is being cleaned out and the stands placed for the new display. Stands should never be cleaned or repaired in the window — that should always be done in the work room. Choose what accessories are needed, using the color diagram if necessary. Supposing all of the stands to be placed properly, throw a piece of goods over each one according to the arrangement shown on the color diagram. Then step to the front of the window and review your color scheme to see if it is perfect. This ordinarily is not necessary, but it is the safer plan, as goods in the bolt are sometimes deceptive and their true color tint is not brought out until they are unfolded. If the arrangement cannot be improved upon, begin draping, starting at the back row on the stand farthest away from the entrance to the window. The stands at the front of the window should be done last. If the trimmer will plan out his windows in this manner he can not only get much better results in a shorter time and with less work, but he can reduce to a minimum the actual window work. The time that the window is closed to the public is valuable advertising lost and the difference between keeping the curtain down two or three hours and keeping it down for a day will be appreciated by any merchant. The trimmer who goes into his window fully prei)ared and knowing exactly what he is going to do can raise his curtain in a small fraction of the time required by the man who takes his goods into the window and then decides how he is to arrange them. 268 How TO Lay out Complete Windows WINDOW PLAN No. 1 Arrangement o£ Fixtures IN THIS plan is showu a simple conventional arrangement for a window of normal size. This window measures 15 feet in length by 7 feet in depth. The same plan may be used in larger or smaller windows by increasing or diminishing the number of stands, keeping them in the same order. This is an excellent layout for a sale window, in which the goods are all of the same price. The same material may be shown in seven different colors or shades or in seven different patterns. The front row of stands is placed in a straight line. Their upright should be about one yard back from the glass in order to leave room for the forward sweeps. These sweeps should never extend clear to the glass, that is, there should always be a little floor space visible between the glass and the front end of the sweep. The two outside stands are placed at equal distances from the opposite sides of the window and the middle stand should be exactly in the middle. In the rear row the stands are placed within a few inches of the background, as all the draping will extend toward the front. The two outside stands in the back row are placed near the corners and the distance between them is divided by two stands into three equal spaces. Drape 2 is shown on the front stands and the forward sweeps of the middle drape cross the sweeps of the drapes at the right and left. The stands in the back row are covered with Drape 1. For a window of this size, the front stands should be By^ feet high and the rear ones should be T feet or even higher. Even if the background is low, the hadk row of stands should be high when Drape 1 is used, as it has a pyramid shape and most of the goods are at the bottom. This drape always appears lower than it is. How TO Lay out Complete Windows WINDOW PLAN No. 1 Completed Drapes IX THIS illustration \ve show ilir star.d- in W'ind.iw Xo. 1 driiind. Thi> drawing is used to show how the window looks wlu-n ^lni^ln.■d and to indicate the manner of arranging llie sweeps. The three drapes in the fr^nt row have front sweeps that cross each other. 'Hie hack drapes have sweeps that lit into each other. The lower ends are concealed and therefore need not he Hnished. In arranging the sweeps in a window such as this one. where the sl.ands art' close logdher. care should he used to kee]) the arrangeinenl uniform throughout. When the lirsl draiie has heen madi-, the next one lo it in the -ame row, should he constructed as nearly like il as possihle and this similarity should he maintained througliout all the drapes in that row. In an unconventional window it is not so essential that the stands he draped in precisely the ^amc maimer. This drawinii illustrates how well as of the various drapes lit int,o each other, making it possihle to show as many pieces as could he shown in any other way. h'.ven more iiieces can Ik- put in the window than are shown in this picture. 270 How TO Lay out Complete Windows WINDOW PLAN No. 2 HERE is a good conventional arrangement for a stocky window in which it is desir- able to show as many pieces of goods as possible. The stands shown here are especially appropriate for this kind of an arrangement, as they are easily draped and require but little goods. The square corners cause the goods to fall in graceful folds, no matter what kind of material may be used. They answer equally well for the heaviest woolens or the lightest lawns. The front row is placed so the uprights are about 24 inches from the glass. They are all at equal distance from each other. The stands in the back row have slanting tops and are placed close to the back of the window, and each stand is directly behind the corresponding stand in the front row. They do not appear so in the drawing, but that is on account of the perspective. The three stands in the middle row also have slanting tops and are placed just half way between the front and back rows. The front stands are 3^ feet high and are covered with Drape 2, the front sweeps crossing as illustrated in Plan 1. In the middle row Drape 2 is also used and the ends of the forward sweeps (except those of the end sweeps) are concealed beneath the front drapes. The stands in the middle row are 5 ft. high. The back row of the stands nun be draped in two ways. They may be treated as shown in Drape 3, Fig. 2, which is the same as the regular Drape 3, except the side sweeps are omitted. This is perhaps the best drape for the back row of stands, as it takes up less room and does not give the back a crowded appearance. Another way to drape the back stands is to treat them as shtnvn in Drape 2, Fig. 2, except that the material is draped down straighter or closer to the stand than is shown in the drawing. If the window is an unusually lar.ne and deep one tlie back row may be dressed with the regular Drape 2. Before beginning to drape the stands in this or any other conventional window, the trimmer should be sure that the tops are all straight. Those that are flat should be per- fectly horizontal and those that are tilted should all be at exactly the same angle, other- wise the symmetrical effect will be ruined. In this and other windows that are similarly arranged the decorator should always drape the rear stands first and the front ones last. 271 How TO Lay out Complete Windows WINDOW PLAN No. 3 THE stands and the arrangement illustrated in this plan give a remarkably neat and pleasing effect. The sharp, straight edges of the trough stands and the broad smooth surfaces serve to show up any kind of goods admirably. This arrange- ment is excellent for a small window and it is equally adapted to a large one. If the window is very large and deep, the number of stands can be increased and other rows may be added at the back. In case three or four rows are used, the back ones should be increased in height in about the proportion shown in the drawing. The arrangement that is shown here is adapted either to a sale window or to a display of novelties. Drape 7 is used and any kind of material can be shown. Aside from double width dress goods this drape is particularly suitable for challis, flannels, waistings and all other single width goods. The front stands are 42 inches high and those at the back are raised by means of boxes to a height of 67 inches. The trimmings for this window will be governed by the nature of the goods displayed. If waistings are shown the trimmings should be such as would naturally be used of a waist. Narrow dark velvet ribbon or white silk braid, etc., can be used attractively. It should be draped across from stand to stand with long loops and sweeps. In Drape 7 is fully explained how this stand is draped with both wide and narrow goods. In that chapter will also be found many suggestions for the arrangement of the stand in the window. 272 How TO Lay out Complete Windows WINDOW PLAN No. 4 EIGHT drapes are shown in this display and the arrangement is designed for a sale window of a rather stocky character. The round top and oval stands are adapted to the display of broadcloths or other heavy goods that have a high finish. The curved edges of the stand tops make the goods fall in rounded even folds that show up the sheen of the material admirably. Of course, square topped stands might be arranged in the same manner. In this plan the front row of stands may be placed so the uprights are about 24 inches from the front glass. The stands are 3i/2 feet high. The rear row is placed close to the background and each stand is directly behind the corresponding stand in the front row. The two stands in the middle row are half way between those in the front and back rows. The two stands in the middle face slightly outward. The end stands in the back row also face outward, and these should be placed at the same angle. The back stands are 7 feet high and those in the middle are 5 feet. All of the stands in this window are dressed with variations of Drape 10. Those in the front row are covered with the regular Drape 10, except that the tops are flat instead of slanting. The appearance of the flat top is shown in Fig. 4, Drape 10. The second row stands are draped in the same manner as those in the front row except that they have the sloping top as illustrated in Drape 10. In the back row the stands may be dressed with Drape 10, allowing the goods to fall almost straight to the floor instead of spreading out in wide side sweeps. The folds of the side sweeps may be brought together so close that they, in connection with the drapes in the middle row, will cover the lower part of the stand sufficiently and there will be need of forming the lower part of the drape as shown in Fig. 3, Plate 10. A still easier way to treat the stands in the back row would be to use the arrangement shown in Drape 3, Fig. 2, using oval top stands and draping the goods lengthwise up and down the stand. With this drape, very little arrangement of the side folds will be required, as they drape themselves naturally and req.uire only a little smoothing out and evening up. The stands used in the two back rows of this plan are illustrated in Drape 10, Fig. 1, 18 273 How TO Lay out Complete Windows t»'?<»).Covian^ WINDOW PLAN No. 5 THE plan shown in this illustration is intended for a sale window showing practically any kind of dress goods. The stands and the layout are practical for woolen goods and they may be used for summer fabrics. In the latter case the stands should first be covered with white cambric or muslin, otherwise the dark stand will give a muddy appearance to the goods. In arranging the stands be careful to keep both the back and front rows in straight lines and to place the stands at equal distance from each other. The stand used in the front row is 3j^ feet high and is illustrated in Drape 2, Fig. 1, All the stands should be placed at the angles shown in the drawing on the opposite page. The stands in the front row are trimmed with Drape 2 done over a stand with a sloping top. The reason for the slanting top is to make it correspond with the rear drapes, thus obtaining a uniformity of lines throughout the window. The sweeps of the front row of drapes are arranged as shown in Plan 1. In the back row Drape C as illustrated in Fig. 2 is used, leaving off the rear folds and sweeps, which would crowd the window too much. The side sweeps of this drape arc brought down rather straight and are not allowed to spread out on the floor as they appear in drape No. 6. The trimmings for this window are different from those shown in the regular Drapes 2 and 6. They should consist of lace, ribbon or braid, etc., such as would be used to trim a gown made from the material used to drape the stands. The lace or ribbon should be looped from stand to stand and the buttons and velvet shown in Drapes 2 and 6 should be omitted. In a window of this kind price tickets will probably be used and they should all be arranged symmetrically. If the goods are all the same price, one large card in the middle of the window will be sufficient. It should be a tall rather narrow card, placed inunc- diatcly in front of the middle drape. If the goods arc of various prices, place the card on one of the sweeps that faces most nearly toward the front and on each of the othe- stands place a card in an exactly corresponding position. 274 How TO Lay out Complete Windows WINDOW PLAN No. 6 THIS plan shows a lesser number of stands than any of the preceding ones. While the arrangement is conventional, the layout is well adapted to a special display of novelties such as is usually made at the beginning of the season. Three distinct styles of draping are shown and they are chosen because of their harmonious relation to each other. The two front stands are the 42-inch troughs with the upright sticks shown in Drape 9, Fig. 1. The middle stand is a 42-inch plain trough stand upon a 15-inch box. The rear stands are the same as the one illustrated in Drape 3, Fig. 1. They are placed at a height of lyi feet. The tw,o front stands are dressed with Drape 9. On the right hand stand the drape is reversed or trimmed on the opposite side of the stand from the way it is shown in Drape 9. The middle stand is trimmed with Drape 7, the front sweeps of which are brought out across the er.ds of the sweeps of the two front stands. The back stands are dressed with Drape 3. The trimming for this window will be of a nature suitable to the goods shown. Rib- bons, laces, braids, etc., may be used, being draped loosely between the various stands. This makes an exceedingly attractive combination of drapes to be used in either a large window or a moderately small one. The drapes fit into each other perfectly, making a symmetrical and graceful effect of long curves relieved by the sharp square lines of the stands. In the place showing Drape 7, it is pictured with a silk rosette, but this should be omitted when the arrangement illustrated in Plan 6 is used as the silk rosette is more suitable for stockier windows. 275 How TO Lay out Complete Windows WINDOW PLAN No. 7 THE arrangement illustrated in this plan is one that may be termed semi-conventional. While the stands are placed symmetrically, their heights vary and different drapes are shown on all but the two end ones at the back. For a showing of novelties this scheme is very satisfactory. The front stand at the right is 5 feet high and is dressed with drape 6. The front stand at the left is covered with Drape 2, made 3J^ feet high. The middle stand is 8^ feet high, Drape 1 being used. On the right hand stand in the back row Drape 4 is used, but this drape must be arranged in a slightly different manner from the plate. Instead of spreading out the front sweeps as the illustration of Drape 4 shown, they must be brought quite close together and should extend together to the right front corner of the window. This drape is about 7 feet high. The drape at the left in the back row is 6 feet high. It is Drape 4 except that it is reversed. In this drape, too, the front sweeps are brought close together to avoid interfering with the drape in front. The arrangement of this plan shows how well adapted this style of draping is to win- dows of any size. Here is a window of medium size and in it are placed five large drapes, yet the sweeps fit into each other in such a manner that each piece shows up well and the window does not appear overcrowded. No general rule can be laid down for the trimmings to be used on this combination of drapes, as that depends entirely upon the nature of the goods displayed. For fall or winter goods velvet rilibon in two shades would make a pleasing effect. 276 How TO Lay out Compli:tf Windows WINDOW PLAN No. 8 IN MOST of the plans that have been described heretofore, the middle drapes have been low and those at the back have been high. In this plan the highest drape is placed in the middle. The middle stand in the drawing appears to be in front of the window, but it should be placed exactly in the center of the floor. It is eight feet high and is trimmed with Drape 1, the four sweeps of which extend from the middle in the direction of the four corners of the window. The shell forms may be dressed with any of the form drapes that are illustrated in this book. The trains or rear sweeps of the two front drapes should extend diagonally back behind the front sweeps of the middle stand. The back stands are covered with Drape 3. The one at the right is the regular drape and the one at the left is the regular drape reversed. This leaves a considerable vacancy at the middle of the background and to remedy this the rear sweeps of the two back forms are draped up to the middle of the top of the l)ackground instead of being arranged on the floor. This is done by taking the rear left hand sweep of the right hand stand and pinning it to the middle of the top of the background. Then take the corresponding sweep of the left hand stand and pin at the same point. Allow plenty of goods to make generous loops and arrange the goods that fall from the point where the pin is placed to fall in uniform, even folds. This will make a symmetrical and pleasing arrangement. 277 How TO Lay out Compli:ti-: Windows ii I i^^-^ 4 feet at the back to 4 feet in front. They are covered with Drape 1. This arrangement gives a good opportunity to work at a striking color effect. The goods may all be in one color or the patterns may be different, according to circumstances. If one color is used— red, for example— the darkest shades are used on the draping form and the two front stands, while the lighter, stronger tones are used at the back. Very little trim- ming need be used in this window. A display of this kind can be put in very quickly, as the drapes require little time in the making. This arrangement is recommended for delicate goods that require careful handling. There is only one pin used on each stand in making the drapes and if Drape 9 is used only a few pins will be required. For a showing of very high-class goods, three stands, instead of five, should be used. 279 How TO Lay out Completk Windows WINDOW PLAN No. 11 THIS plan is intended particularly for fall and winter goods. There are only three drapes used but they are large ones and will fill the window effectively. The stand at the left is G feet high and is dressed with Drape 4. The middle stand is placed at a height of 8 feet and is covered with Drape 5. At the right Drape 4 is used over a stand 7 feet high. This would make an excellent arrangement for one of a series of dis- plays at the beginning of the season. An unconventional arrangement is much more difificult, or rather it requires a much higher artistic sense than a conventional one, as no rules or measurements can be called to the aid of the decorator. He must be governed entirely by his eye and his artistic sensi- bility, hence there are greater opportunities to make mistakes. The unconventional arrangements that appear in this series of plans should help the student tiO originate arrangements of his own that are equally pleasing. Of course, such a layout as this would not be suitable for a sale window. There are many merchants who would not permit their windows to be dressed with only three pieces of goods. There are occasions, however, when this is advisable. With reference to this kind of displays, one frequently hears the remark : "That sort of a window docs very well for a big department store in a city, but it would be no good for my store." In most cases the merchant who makes that kind of a remark is wrong. The big stores in the cities have reduced window dressing to a science. They have checked up results and have found that for certain occasions, three or four pieces of goods in a window will yield better returns than a window containing several times as many pieces. How TO Lay out CoMi'Lirn: Windows WINDOW PLAN No. 12 FOR broadcloths and other goods having a smooth surface and no pattern, this arrange- ment is well adapted. The drapes show off the texture of the fabric admirably. The stand in frort at the left is 3>< feet high and is covered with Drape 2. The other stand is 5 feet high and on it is used Drape 6. At the top of the left wall Drape 5 is used and Drape 6 is used at the right end of the background. The sweeps of the wall drapes are looped up on the background and side, giving the window a sufficiently full appearance. For a series of windows this layout is a good one. The arrangement can be varied in each window sufficiently to avoid the effect of monotony. In each window of the series a one color effect should be maintained and the colors of all the windows should be selected to harmonize when viewed together. If broadcloths are shown in this way a suitable trim- ming would be furs, buckles, buttons, etc. Very little trimming is necessary. Of course, it is not necessary for the trimmer to follow exactly the layout shown here. He may change it around in any way he pleases to suit the size and the shape of his windows. 281 How TO Lay onr Complete Windows T WINDOW PLAN No. 13 Arrangement of Fixtures HIS is a rather unconventional layout, using a wall drape, a T-stand drape, and a scries of four bolt drapes. The latter can be made by unwinding a few yards from the regular full bolts and draping the goods in a semi-careless fashion around the bolt in various ways. Or, these drapes can be made over a dummy foundation whicli is made out of wood and cardboard, usually in exaggerated size, as with the one shown on the table in the center on opposite page. This bolt is 42 inches high, 22 inches wide and 8 inches thick. The idea of using tables, chairs, etc., for showing these bolt drapes is being used quite extensively. As is clearly shown in the above drawing there is used for fixtures a table, two pedestals and shelves, a tall T-stand and a square top fastened just above the background border. The arrangement of every one of these fixtures is clearly indicated in the drawing in order that you may more clearly realize how the completed window looked at the time the trimmer started to do his draping. The pedestals and table should be finished off in the same colors or stain, that is, they should match as nearly as possible, because they are apt to have certain parts of the woodwork show. How TO Lay out Complktk Windows Courtesy Arlington Jlills. WINDOW PLAN No. 13 Completed Drapes IN MAKING the drape on the table, the dummy bolt is first covered smooth with the goods. Then bring the goods around the bolt in a loop across the front and up to the back. Next form the long loop that drapes over the edge of the table, then carry around the back and let the end come out in a long sweep on the floor. The wall drape is made on a square board fixture, 15 inches square and raised about 18 inches above the top of the background. Bring the goods up from the floor at the left and form a loop at each of the three front corners of the board. Then drape it across the background to a point on the border, form another loop here then in a long sweep out toward the front. The T-stand drape in the corner is made as indicated. Other drapes of this same nature are shown elsewhere in this book. Two of the small bolt drapes are placed on 18-inch pedestals at the sides, with 24-inch slabs for foundation. Only a few yards are unrolled for each of the drapes, in each case making the drape with the goods in the double fold. In order to indicate to you more clearly the position of every fold and drape we had a light background painted in on the above photograph, even painting out parts of table and pedestals as they were dark and it was not clear just where the goods terminated. 283 How TO Lay out Completi-: Windows Courtesy Arlington Mills. WINDOW PLAN No. 14 Arrangement of Fixtures THIS window gives a good suggestion for a layout using one style of stand through- out. In this case the stands have sloping oval tops, each 18x10 inches in size. Two of these arc used as "wall drapes" the fixture being fastened directly to the back- ground by means of a bracket. In arranging a window of this kind, the heights of the stands have quite a little to do in getting the right results. The wall drapes are 9 feet high, the center is 7 feet and the two at the sides are each 5 feet high. A careful study of the drawing will show how each stand is placed, also how each top is faced. By facing these tops in different directions the display is kept from being monotonous. This is a particularly good arrangenicnt to use in a window having a mirror back as the drapes are so arranged that none of the back of ihe stands will be reflected. Care must be taken in windows having mirror backs tliat the back of tlie drapes are not unsiglitly and ihat the stands do not show. 284 How TO Lay out Complete Windows Courtesy Arlington Mills. WINDOW PLAN No, 14 Completed Drapes TO MAKE the wall drapes, simply start the end of the goods down in front next to the side wall. Follow this up to the top, pin selvage on the cornice, then drape across the corner and over the top of the oval. Thence in a long sweep down to the floor. The stand drapes are made by bringing the goods up from the floor and straight across the top and out in long sweeps to the sides. Cover the base of the stand by returning the goods underneath and pinning up on standard, then spreading out smoothly across the base of the stand. The goods hang over the edge of the ovals in simple folds, requiring very little ar- ranging to make them come just right. Thus the layout is one that can be placed quickly, and as there is but one pin used in each drape, there is no possibility of injury to the goods. This is one of the easiest windows that it is possible to install and one that looks exceptionally well and makes a big showing for a small amount of goods. A study of the individual drapes in the front part of the book will of course make clear to you all the minor details and it is not necessary to repeat all of them here. 285 How TO Lay out Complete Windows Courtesy Arlington .Mi WINDOW PLAN No. 15 Arrangement of Fixtures THE treatment of this window shows a balanced layout, using two T-stands, two half shell forms and a large half cylinder top fixture in the center. This makes a good layout for a well filled window from 12 to 15 feet wide by G feet deep. As soon as the average window trimmer sees this window layout and then sees the completed window on the opposite page his lesson is practically complete and he will be able to more clearly carry out the idea. The two T-stands have a cross bar at tlie top about four inches wide instead of the one-inch bar commonly associated with T-stands. The stand in the center is clearly described and shown several times in this book. The shell forms should be of the very latest shape. Although we iiidicafc this arrangement of fixtures for the completed window on the opposite page, still it may be wise lo tell you that this same arrangement of fixtures can be used with dii'ferent drapes and will give you a;i entirely new idea, iiy il. 286 How TO Lay out Complete Windows Courtesy Arlington Mi. WINDOW PLAN No. 15 Completed Drapes THE T-stands drapes are very simple. Start the end of the goods on the floor at the base of the stand, and carry it up over the top, spreading out smoothly. Let the goods drop straight down in the back, then bring out along the side to the front. Then carry the goods up to the end of the T-stand, and loop it across the front and down to the floor on the other side of the stand. The sloping cylinder top stand in the center is draped similar to the T-stands the main difference being that, in bringing up the goods to the front, from the floor, the selvage is hung over the rounded end of the stand, instead of pinned at a corner as with the T-stand. Three loops of velvet ribbon in different lengths, finished with a buckle, are used for trimmings. The two shell forms are draped as indicated. Notice the arrangement of the skirt folds so that those of one form come in front ,of those of another. This is necessary in a small window in order to get the long sweeping effect desired. This gives a fairly well filled window and is therefore a very practical display. More goods in this space would crowd the window, wliercas less goods would make more of an exclusive window that would have to depend more on the background and other feature that would fill up space. 287 How TO Lay out Complete Windows Courtesy Arlington Mills. WINDOW PLAN No. 16 Arrangement of Fixtures THIS display was made in a medium sized window, 10x6 feet, using but three drapes and two full bolts. The background was a flat surface or heavy velour curtain bordered with papier-mache design. Displays of light fabrics should always have a rather dark backing, so that, wherever the regular background is light in tone some provision should be made for a temporary covering in a darker color. Various inexpensive curtain materials may be used for this. There are also on the market certain wall papers tinted in a perfect imitation of wood grain which would serve excellently for such a backing. For a showing of dark goods a light background is generally most satisfactory. The two fixtures in the back are known as slab draping stands although these same drapes can be made over cylinder top T-stands. The stands indicated in the drawing are best made out of two solid pieces of wall board for both front and back, while the sides can also be filled in with a narrow width of the same material. The curved top can be made by bending a heavy cardboard. The arrangement of these two slab draping stands, the shell form, pedestal and vase are all clearly indicated. How TO Lay out Complete Windows Courtesy Arlington .Mill: WINDOW PLAN No. 16 Completed Drapes IX EACH slab drape the end of the goods is started at the base and front of the stand, and covers the front of the stand up over the top. Then let it drop down to the floor in the back, carry it out to the front and thence return it up over the front end of the stand. In the drape on the left side, the end of the goods is carried up to the side wall forming a long loop across the front. The two plaits hanging straight down on the back edge of the stands are made out of the surplus width of the goods not used in cover- ing the stands. A band of velvet ribbon is slipped under the edge of the first of these plaits. In making the shell form drape in the foreground, the end is started at the top. Fit smoothly down the front of the form then point out the curve of the waist line in the back. Next bring the go,ods out in front on the floor and return the selvage up to the back edge of the form about six inches down from the waist line. From this point drape it down to the floor in the back, then change the selvage, and bring up in a long sweep to the top point of the form. Arrange the folds so that they hang in long graceful sweeps to the floor, and finish with silk fringe trimming as shown in the cut. Two bolts of goods placed at the sides of the window and the use of several show cards complete the display. 19 1 289 How TO Lay out Complete Windows How TO Lay out Complete Windows WINDOW PLAN No. 17 Arrangement of Fixtures and Completed Drapes HERE wc have arranged a series of drapes especially good for ai y purijnsr. These are shown in our illustration on opposite page. This is a photograph of the actual drapes themselves. The pen-and-ink sketch shows the stands on which to make these drapes. Stand No. 1 is a plain 2x2 upright with a square base and a board on the top three inches wide and about twenty-four incb.es long. No. 2 is a papier-mache form and shows the coat drape. This is a very good drape and can be changed each year to conform with the correct style. This drape was originated by Mr. Albert A. Koester and is one of the series of very practical drapes that have been used a good deal. The next drape is arranged over the stand No. 3 with a tilted circle top. This is an extension stand and can be raised or lowered to any height. The next two drapes are draped on stands 4 and 5, with tops similar to Xo. 1, only tilted as shown in the drawing. No. 6 has for a top a board twenty or more inches long and four inches wide. This board is tilted forward slightly. The half form No. 7 has on it an entirely different drape from that shown on No. 2. This drape shows off the goods as effectively as any drape ever devised. The other two drapes are almost self-explanatory — so much so that any trinuner with a fair knowledge of draping can adapt them to his use. Scattered about among these drapes you will notice a few hats, purses and other accessories. This is a very important thing in a window. It is noticeal)le that those windows that have accessories that match up with the goods are most popular — most at- tractive to the prospective customers — and productive of greater results. The first four drapes will in reality make up a complete display for a medium sized window. A dress goods window with just about four drapes, is about the most effective dress goods trim you could install. Tlic other five drapes also make up a good layout and arrangement for a complete window. Our illustration really shows two window thrown into one. All the drapes in the photograph were made by Will II. Bates. 291 BACKGROUND DRAPING Utilizing Fabrics on Display as Part or Window Background. FOR a change why not make the entire background decoration of your window out of the fabrics you wish to display? Or you can use such a fabric background for a showing of suits, or other garments made out of the identical fabric. This surely will give you a change from your usual run of windows, and this fact alone should mean that it will attract attention. A window or windows of this kind will be just the thing for the trimmer who has a very small appropriation for the buying of window decorations. In our Fig. 1 we show one of the series of four methods of making these fabric back- grounds. This particular background has the goods draped from a nail or peg about twelve inches from the upper edge of the background, the pegs being from thirty-six to forty-eight inches apart, depending on the height of the window. The goods are caught over these pegs as shown and finished off at the top with ribbons and artificial roses or flowers. The ribbons run from the pegs to the top of the background at a point midway between the drapes and then down again to the next peg. Large bows arc Fig. 1 made in the ribl'on where it is fastened to the drapes and top of border. To complete this window, making it har- monize with the background and also give it a stocky effect, one can place a series of pyra- mid drapes throughout the window as indi- cated by the two light-colored drapes in the drawing. These drapes are the simplest that it is possil'le to make as they are simply draped over a plain upright standard. In our Fig. 2 is shown the simplest method of constructing a background, that is, cover- ing tlie rear portion of the window with gathered hangings. In this window the hang- ings are of the goods displayed and the border is made of a width of the same goods in a different shade or color. On this border is worked out a border design by means of some of the various trim- mings which should go with the goods. 292 Fig. 2 Background Draping Remember that these windows are intended more for the stores that employ trimmers who are handicapped by a scarcity of window fixtures and an appropriation for the buying of decorations. The day of the window-trimming fourflusher is past. The man that can't make good is put down and out in the first round. In Fig. 3 we sliovv a background idea that is very similar to Fig. 4, inasmuch as the goods are fastened along the top of the window on a wire or pole and the goods are gathered together by means of ribbons. This idea is especially good for wash goods and silks, for the reason that wash goods will not fall in folds as shown in Fig. 4. This background is cut up into panels by means nf strips of ribbon or embroideries, three strips be- ing used between each drape of goods. The idea shown in Fig. 4 is very clever. The Fig. 3 best way to do this is to run a curtain pole or wire along the top of the background, on which to drape the goods. The most effective way to do this is to use all goods of one color or the same goods in graduated shades of one color. To get the drapes to hang straight it will be necessary to run upright strips of wood from the pole or wire to the floor so that the goods can be fastened back on this standard. Otherwise the drape would look more like those shown in Fig. 3. The arrangement of the ribbon as used in connection with this idea is very good. B\(.K(ilU)rM) DuAl'INd 294 Background Draping BACKGROUND DRAPING An Original Window Background Idi;a That can be Utilized at Any Time. WE HERE have an idea for a window backgronnd that can 1)c used not only for a showing of oriental wares, bric-a-brac, etc., but can be used for almost any line of merchandise. It would look well for a showing of yard goods, as well as for a showing of garments. One can use all of this design or part of it. The border is a wide flat surface, covered with wreaths of artificial foliage. For spring one can use spring flowers and green leaves. For fall one can use autumn leaves. A circular panel is fastened to the border and supported by another panel which has a scroll design frame. The border of the circle and frame is worked out in detail in some repeat design. The center of the circle is left vacant in our drawing and is supposed to be filled with a poster that either illustrates the goods on display or is typical of the season or the decora- tive scheme of the window. The lower panel contains a painted scene or can be left perfectly plain. We indicate the background as being of gathered cloth. This really is a drape of cloth that makes your background. Next we indicate a drape of silk, caught up at the base of each wreath. This drape is clearly indicated in the drawing and is the simplest form of garland drape. The color scheme of the window should be made up of bright reds, yellows, etc., if it is desired to have a bright striking background. Other colors can be used, appropriate for the season in which the display appears. 295 DRAPING FABRICS IN THE STORE INTERIOR Many Helpful Ideas. THE ledge in the store is not trimmed so much or so often as the windows, still, when a trim is desired for the ledge, it is important that you know what to do. The methods of trimming the ledge change from year to year, and vary according to the store and the trimmer. Some stores want a heavy, stocky trim, while others want a simple, artistic and high-class bit of decoration. You will find this same problem in connection with Ihe store's windows and the ledges for your store should be trimmed very much the same as you trim your win- dows. The same reasons for trimming your windows as you do, will enter into the trimming of the ledges. As can be seen in the illustration, there is a brass band that encircles the column, and to this band is attached several real large brass hooks, over which, eacli morning, can be thrown different pieces of new and nobby silks. This method of showing silks is dignified, and be- cause of the richness of the fixtures and equipment needs no elaborate draping. This method does not wrinkle or spoil the silk, and permits it to be taken down each night and an entirely new silk can be put up the next morning. This idea could also be used in the dress goods de- partment for the showing of wool or wash goods. Sev- eral pieces of trimming can be draped over the goods on display, and this will mean extra sales for both departments. This fixture can be made by any fixture house for any size post. It can be furnished either in brass, nickel or oxidized finish. "\ a hook OK store Drape over post In our next illustra- tion we show a very in- teresting wash goods drape placed on top of the low center shelving of the store. This drape as illustrated is shown as a low drape ; it can be made any height. This drape is simi- lar to many of the drapes shown in our chapter on "Later Ex- amples of Early Drapes" and you can readily see that many other drapes can be very easily adapt- ed to use on this low shelving or on the ledge. Clever FuS Drape on Top of Center Shelving 296 Draping Fabrics in the Store Interior A WASH-GOODS DISPLAY TABLE IF YOU have a wide aisle in the wash-goods section, and desire to use it to the best possible advantage in selling goods, we suggest having a table made to fill the space. This table is to be made with shelves underneath, in which to keep stock, and the top used to make a very handsome drape of wash goods. Everyone that gets any place near the table is so impressed with the imposing drape on top that they walk over to examine the goods. The clerk in attendance finds it an easy matter to interest them in the goods, and, when he finds out the color they like, he pulls it out from under the table and shows it to them. The drape that we show takes up quite a bit of room on the table, but if you need the top on which to show the bolts, you can drape the standard in such a manner that you will have all the room necessary. This would be especially good for a sales tabic for the sale of cheap silks, all kinds of wash goods or cheap fabrics. One can put up a drape of the goods in the center and pile the goods around it, and in the shelves underneath. The sign or price ticket can be attached to the drape of goods, on several sides, thus giving it much- prominence. The drape is made on a common wooden upright stand. This stand is generally made of a 2x2 upright, nailed to a square base made of an inch board. Folds of the goods radiate from the top of stand to each corner of the table, and the finish at the top consists of four or more loops of the goods, made in the shape of puft's. The table can be made by any local carpenter, and, if an expensive one is desired, it is best to make it of soft wood, and paint or stain it a color ,or finish to harmonize with the rest of the store fixtures. 297 Draping Fabrics in the Store Interior DRAPES ON TOWEL RINGS IT IS really surprising the many uses a trimmer can find for his fixtures. It is also surprising how many fixtures can be made out of things about the store. To illustrate this fact it will only be necessary for you to read this article on how to use the common wooden towel ring as a help in showing goods. These rings are undoubtedly carried in your own store, but if not, can be procured from any store that carries five and ten cent goods. They are made of hard wood, and have a very high finish or polish. This makes them go well with the rest of the woodwork about the store, in fact, you may be able to get them in the same finish. This is a handy way of showing new novelties or special-sale goods, as they are brought to the customer's attention very prominently. In fact, some stores have a series of these rings over their entire length of dress goods counters, the rings being about four to six feet apart. About all one can do is to pull the goods through the ring and let them hang in folds or loops. Our Fig. 1 shows the suspended ring and Figs. 2 and 3 show dif- ferent styles of draping. No. 2 is one piece of goods in one ring, while Fig. 3 shows two pieces of goods displayed. It is also a very good idea to suspend ribbons or laces over the draped goods. It not only adds to the __^ 4Jt. beaut\' of tlie display, ^ ^ ^ hut is apt to sell the trimming as well as the dress goods. Silks, velvets, wool goods, and wash goods show up equally well when draped in this manner and therefore these rings can be used over counters of all these departments. After using these drapes for awhile it is best to climirate them and then spring them again in several months' time. They will then attract attention again and have an added value because they will by that time look new. In displaying merchan- dise it is always best to have frequent changes. This is very apparent in your window displays, and of course, holds good when applied to in- terior displays. There is a wooden towel ring that has an attachment for fastening it to the wall, as is il- lustrated in our Fig. 4. This drawing shows a side view of it and shows a series of three of these rings, attached to the upper part of the background of a window. Through these rings can be draped yard goods and these same goods can be suspended from the rings and draped to the floor as is shown. .\ny iiuml)er of these 2ns Draping Fabrics in the Store Interior Fig. 1 ^■■1 -^^ m HI H^lj^^S 1 P^T^H I V Wflt ' ^ ilBAlv "Mm^mi y ^^^Pj M mn 1 Fig. 2 ^^■l ^^^^^^H 4'^__L Bl Fig. 3 EARLY EXAM- PLES OF LEDGE DRAPES IT IS interesting to see some of the earliest draping ideas carried out on ledges and to compare them with the work of the present day. We are fortunate in heing able to show in our Fig. 1 a ledge display made about ten years ago, being in the puff and fan drapes so much used at that time. This thsplay is of medium priced ginghams in light col- ors. In Fig. 2 we show a style of trimming used several years lat- er. The only part of this trim that looks old-fashioned is the two wash goods drapes at the extreme farther end of the shelving. The ledge decora- tion is very good, be- ing circular frames, filled in with light green tarlatan on which was pasted a scroll design cut from foil paper. Tiny pink flowers were used in this decoration. Fig. 3 is a ledge trim placed in 1907 by .Mr. Will H. Bates and rei)resents work that would be a credit at the present day. The decorative pilasters with the draped gar- lands of foliage make very pleasing frame- work for the drapes. 299 Draping Fabrics in the Store Interior In trimming the interior of the store and crncd by the same rules of display that he m live work must not be overdone and so profuse Tlie goods shown must lie well placed, nicely arranged drapes or groups are just as ef- fective as a great stocky display in most cases. You have this also to consider. The goods shown in the store, on the ledges, fixtures, etc., if left up for any length of time accumulate quite a coat of dust and dirt. Therefore the less goods you use, the less the loss. To overcome this loss entirely you will have to change your dis- plays often enough so that none of the goods are damaged. especially the ledge, the trimmer is gov- akes use of in the window. The decora- that it takes away from the goods shown, arranged and not crowded. A few nicely Fig. i In our illustrations 4 and 5, we show ledge trims having as decora- tions scroll designs, sim- ilar to Fig. 3. Our Fig. is decorated in cattails and water lilies and scrolls. These scrolls are very neat and artistic, the treatment is simple, yet strong and attrac- tive. This framework is covered with a brown canton flannel and the panels filled with a pale yellow tarlatan. The cattails are made by painting the stems on the l:iiial;ui, an,l [nr li.-a.ls, pasting on cut out pieces of brown velvet or plush. These heads are touched up with brown powder. Water lilies and pads are also used as decorations in this trim, and a seaweed effect is produced by shredding long strands of green crepe tissue paper. Thus we have a trim that is in perfect harmony, as all the decorations are associated with each oth- er, as cattails, water lilies, pads, and seaweed. You will notice in I'"ig. 6 the very hand- some drapes of dress 300 Fig. 6 Draping Fabrics in the Store Interior goods. These dress goods were draped over stands with crescent shaped tops, as illus- trated elsewliere in this book. Notice there are only two drapes used in each section or division, tluis there is no overcrowding of the goods. This illustration shows you how effective is this style of decoration. Fig. 7 Our Fig. 7 shows an entirely new decoration used in connection with yard goods drapes. The decoration is a combination of scroll work and lattice. The scroll work is used to support a fancy lattice design, in the center of which is an oval medallion of scenic work. Fig. 8. Ledge Decoration by Durant Merc, This illustration shows a very neat simple scheme of decorating the ledge above the dress-goods department. If more stores kept their side walls and ledges perfectly clean and kept an ever-changing display of dress goods on this ledge they would notice a healthy in- crease in the sales of this department. Small potted palms were placed between each drape, and added materially to the decorative effect. 301 Draping Fabrics in tiik Store Interior Figs. 9 and 10. Interior Ledge Trims by Will Bates for A. Livingston & Sons, Bloomington, Illinois This is not as heavy a trim as is usually used ; it made the store look very spring- like and caused much favorable comment. Simply a peach tree in full bloom alternating with a white flower box mounted on a stump of white birch. The peach trees were al&o made out of the branches of white birch. These same branches and flower boxes were used around the posts and down the center shelving. One reason that many merchants are more willing to display merchandise on the ledge and about the store in the winter is because there is not so much dust flying into the store, and therefore, the goods are not so apt lo lie damaged. Then, too, there is not so mucli lui^hl sunlight abroad lo get into the store and fade some of the fabrics. Naturally you will want to show seasonable goods, such as silks and wool goods in the fall and winter and cotton goods in summer. The same reason for watching the season's in your windows applies to your interior drapes. For the showing of dress goods, silks, and other fine yard goods, we show three very good photographs of neat and artistic trims in our Figs. 10, 11 and 12. You will want to sell as many yard goods as possible always. This can be done, if above this department, you make a good showing of dress patterns. This can be done by means of ledge displays, above the de- partment, also above oth- er departments. Figs. 9 and 10 show two views of a hand- some ledge trim by Will Bates for A. Livingston & Son, Bloomington, Il- linois. This trim has a plain background against which the goods have a chance to show up well. The trees are very dainty and another dec- orative feature is the birch-bark covered flow'er-box fastened on a birch stump. Fig. 11 is a ledge trim by Emil Peterson for Yetter & Waters of Waterloo, Iowa. These your attention. Fig. 11. Fabric Ledge Display by Emil Peterson, Waterloo, Iowa several drapes shown in the photograph A plain wall makes the best kind of a background for the use of any kind of d Being plain it does not have figures that are apt to detract from the goods. irc well worthy of play. Fig. 12. Interior Fabric Display by E. T. 303 Swank for Louis BIsch of Crawfordsville, Ind. Draping Fabrics in the Store Interior ^ o o :=: rt rt - ^ ;= E ^ 2 H ; O ^ ^ D u 7^ E % . &•■§ c 2 ) », ^ o -" bfi >^ 4-. 1- o . „r o .5 (U r- IJ 2 S 8 2 S 5 *" ^ '^ ^ rt ^ <.- M Ji ^ 2 „ ^ r; ri ni rrt Ts b.. 304 DiupiNG Fabrics in the Store Interior , o s ^ e s > 1 ^i 1 u o f s" ■^ o ^ c 55 rt Q o! > ^1 ^ ^ >^ a ^ H H .''n a i/i t3 « o IS ;^ tA) 13 ^ i^ P ^ H 305 FoRKiGN Draping EXAMPLES OF DRAPING FROM GERMANY FROM Germany come some very good ideas for the draping of yard goods. We show on this page drapes designed by a German trimmer for use on home-made wooden fixtures. These drapes are all quite different from the drapes in vogue at present in this country. However, that is much in their favor, as it gives you something absolutely new with which to attract the attention of the public. The first drape, the one shown at the top of this page, is especially clever, as it simulates the human figure to some extent. The stand on which the goods are draped is simply a wooden upright about four and a half or five feet high. At the top is a cross-bar about twenty inches long. Eighteen inches below the top is a cross-bar about twelve inches long. This stand is indicated at one side of the drape. The way the goods are draped on this stand makes the trim look like a gown. The drape is very easy to make, being nothing more than drop- ping the goods over the top in gathered folds. The goods are then fastened to the twelve-inch bar, thus bringing the goods in at the point that corresponds to the waist line of a gown. An overdrape of harmonizing or contrasting goods is draped from the shoulder (top corner) to the opposite side of drape, at the waist line (twelve- inch cross-bar). A bow of ribbon is fastened at each top corner and a rose is fastened where the overdrape is caught up at the waist line. The illus- trations show clearly how the drape looks when done. This drape is especially good for soft mate- rials such as mulls, challis, rough silks, etc. Fig. 1 rig. 2 rig. 3 Fig. 4 .2 ^ ^- ^ rt "5 S rt r-c O "1 3 -^ x; -a ^ o In £ ■> "<« CO O x> rt CO ^ c -5 -2 1 6 ij