KDESTER SCHGDL BCDK OF

DRAPING

Geo. J. Cowan tmJ Win H. Bates

' ■•'^-5^'^'??^*^?? *J"

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

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

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

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^

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.

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.

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

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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*

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.

La'ikh K\.\mi'1j;s of Kahl^ 1)i<ai'i:s

DRAPE 12

NEW drapes are always welcome to the progressive trimmer. For with new and clever
drapes of goods the window can always l)e made to look different without any great
expense put into the change of background. Many very good drapes are thought
out and used by trimmers, who would confer a great favor on their brother-trimmers if they
WKDuld only take the trouble to make sketches of the drapes and send them to their trade
journal for publication.

This triple top stand drape, originated in 1906 by a student of the Koester schools,

shows that any trimmer is apt to originate good drapes that will be helpful to other boys.

In the drawing showing the stand with tlu' lliree circular tops, you will see a very

Drape 12

good drape for wool goods for citlicr one or two pattern Icngtiis. This drape is not out of
style even at the present day.

The Cut No. 1 shows the construction of the wooden stand. The three circles are
nine inches in diameter and placed on a slant of about 45 degrees, on a stand 40 inches high.
Circle B is about three inches higher and G inches back of A and C.

In making this drape, one should start at D, leaving plenty of fullness on the floor. The
goods are draped gracefully over tlie circle A, and allowed to hang in natural folds. The
goods are then allowed to hang down back of A for some little way, so that when the goods
are brought up over B they will hang well. From B the goods are dropped down the same
distance as goods between A and B, and then draped over C and then down to the floor.

Several yards from the end of goods you grasp the selvage and bring it up to the circle
B and pin it on the very front edge of this circle, letting the goods fall in natural folds to
Ihe floor. Of course it will bi.- necessary to go over all the folds and straighten them out.
and possibly rearrange them. This really makes qiiilc a showy drape for heavy goods.

Laii:h Kxami'Li:s or Eahi.y Dkaim-s

DRAPE 13

THIS drape is for a one-pattern length of silk. The stand on which the silk is draped
is shown in the Fig. No. 1. The extreme height of stand is CO inches, the circular part
being 36 inches high and the standard from here to the top being 24 inches high.
The cross-bar at the top is 18 inches long, w-hilc the extreme width across the circular base
is 36 inches.

The circular part is made by stretching carpet paper over several hoops that have been

cut and bent in the desired shape and place. The carpet paper is covered with one thickness

of muslin. ■ ''

Start with the silk at A, bringing it up to P.. The selvage of the silk is then fastened

all along the edge, B, C, D, while the other selvage is gathered in at E. This makes the

top of the circular base. Now drop the goods from 1) down to the floor (F), and from
here bring it around to the back, and begin wrapping it aliout the circular base in pretty
gathers or folds until you reach the top of circular i)art. Bring the goods around the back
to E, and from there up to the cross-bar on top in a regular fan-shape. Finish the top or
cross-bar with a series of puffs, as shown in the drawing. A few of these drapes will
easily fill a window.

Be careful in fastening the silk to place the pins as nuich as possible in the selvage, for
pin holes in most silks will spoil its sale.

For this drape use only soft silk, such as foulards, crepes, etc., as the stiff silks, such
as some taffetas, are too easily wrinkled.

Later Examplks of Eahlv Dhapks

DRAPE 14

A Dkape Uski

[Ai. AM) Glass Shelf

EACH year brings out some entirely new drape or adaptation of an ,old drape. The
Spring and Fall seasons arc especially ijrolilk in these drapes, because the stores are
then showing so much in the way of new yard goods.
In more recent years the pedestal and glass shelf have almost supplanted all other
methods of showing goods. It used to be that the goods were shown on large and elaborate
nickel trees or racks. This made a very stocky and symmetrical trim. The latter method
opens up the display, makes it more artistic and attractive. Therefore it is not strange that
we should see the trimmers adapting their wash goods and silk drapes so they could be
used on these fixtures.

Jn the drawing above 1 illustrale a drape of yard g.oods developed for use on a pedestal,
glass shelf and nickel T-stand.

This drape can be used in a showing of cottons, linens or silks.

In the small cut No. 1 is shown the arrangement of the fixtures. On one arm of the T-
stand is clamped a small nickel upriulit, or a wire twisted on will do. This is to hold up
one fof the folds a little higher than tlu- otlur.

This drape is really quite up-lo-dali' and can l)e used with profit at tlie present time.

In the cut No. 2 is shown the complete drape. One end of the goods is arranged flat
on the floor in front of the stand, and then l)rought to the top of T-stand in a graceful
sweep; here it is gathered and fastened. The balance ,of the goods is arranged in graduated
lengths of loops, and these loops are draped as shown in the drawing, one loop almost
reaching to the ground. Another loop is i)laced on oiir side of the glass shelf, while the end
of goods is brought down and onto the other side of ilu- slull. Three or four drapes sim-
ilar to this one, arranged on pedestals of different heighis, make a very good window indeed.

La'I'kr Examples of Eahly Dhapf.s

DRAPE 15

THIS drape is made up of a bolt of 18 or 20 inch light-colored Spring silk. The fixtures
used are a pedestal and a large vase. Who ever imagined a vase would enter into a
silk drape?
In the small drawing No. 1 is shown how the bolt of silk is folded in folds about thirty
inches long and gathered in at one end and fastened very tight with a cord. This end is then
inserted into the neck of the vase No. 2, and this in turn is placed on top of pedestal or
stand No. 3.

The bolt can just as well be fastened to a wooden upright stand with a good heavy
base as to be placed in a vase. After a trimmer has the fundamental idea <>i 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.

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

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.

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

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.

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).

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.

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.

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.

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

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.

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.

<ide of the stand. Allow
the i)iece over the hori-
fall over the forward end
big. •-'.

f the Stand, allowing about the same amount

i\v enough goods for the puffing on the floor

Pick up the edge of the goods at point C

t over ami pin to the right hand forward

Lessons in Drapinc.

Now form the two front sweeps R and E. To do this first straighten out the goods
that fall directly below the point D, where the pin is placed. Take the lower edge of the
goods in both hands, holding them :il)oiit 2i inches apart, and draw forward. Then turn
the lower edge under and smootli out, leaving a little goods to lie smoothly on the floor
at point F, Fig. 3. Thi^; makes a smooth surface that curves gracefully up to the point
where the goods are pinned at the top.

The sweeps at the right and left have three folds each. The lower fold has the front
edge turned under and the upper fold has the back edge turned under to make a Ix)x
pleat. The end of the left hand sweep is turned squarely under, as may be seen in Fig. 3,

and the goods are carried back, leaving a sufficient amount to form the puffing on the
floor at the left.

Then carry the goods to the top of the vertical stick to measure the amount required
for the back sweeps. When the proper amount has licen determined, form the goods in
four equal pleats or folds. This folding may be done on the floor if space permits. If
there is not sufficient space ,on the floor, the folds may be formed on the knee, as follows:

Raise the knee until the upper part of the leg is horizontal. Gather the goods close
to the l)ody with the right side uppermost. Then carry the front selvage forward and
turn it under about (i inches, or in proper proportions according to the width of the goods
to make the required number of folds. Now pick up the goods again and make another
fold of the same width as the goods that is turned under. The forward edge of the second
fold comes directly even with the edge of the fold below. Repeat this process until four
even folds have been made. The back edge of the upper fold is turned under to conceal
the selvage.

Now place the folded goods over the top of the upright at G, using care to keep the

Lkssons in Dhapino

edges even. Tlu
the stick.

fiiruaiv

li;e^ sliuuld In- ])laci'(l \ery sliglitl}' lu'V.Miid the front ec

Xoxt step to llie end of the It
in the right liand. Swing the goi
to form four folds and allow the !<
already been formed over the jowe
at the top of tiie stick, all that is
straighten the forward edges. The
on the right ( rear) side is formed ii

ft (rear)

(Is from >

.wer folds

- part of

necessary

rear edge

1 the sanu'

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.

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 (i<i inches. 'I'hc holt of goods
is opened up as has been explained in the previous drapes. After having unfolded the
material, the goods are placed in a pile at the right hand side of tlic stand. The material
is carried over the top of the stand. leaving enough to extend from the top down to the
door at the left about I'j yards from tiie middle of tl:e stand (iioiut A, Fig. 2). The

left hand selvage extends to the extreme top of the stand B. This will allow about half
of the width of the goods to hang down from the front of the stand (point C).

The next movement is to pick up the goods at the right hand side of the stand
and carry it across in front of the fixture to a point some distance to the left of A,
Fig. 2. Care should be taken to keep the right side of the goods uppermost. Allowing
sufficient fullness at the right hand side, l)ring the back selvage up to the extreme upper
point of the left hand side of the front end of the stand (point C, Fig. 2). Turn under
1 inch of selvage and fasten with a single pin. The right hand sweep in front is carried
forward to the right and is formed into three pleats as described in Drape 2. The selvage
of the top pleat is folded under ab,out .") inches on tiie right hand side. The left hand
forward sweep is done in the same manner. The left hand sweep extends at an angle of

Lessons in Draping

a little less than 45 degrees from the right hand sweep,
sweep is done as follows :

The arrangement of the rear

Having laid out the forward sweeps, the remainder of the goods is carried back along
the lower edge of sweep A, leaving en«ngh goods to form the puffing. Then carry the
goods to the top of the stand to measure the distance for the hack sweep. Having found
the correct distance lay the goods on the floor or take it on the knee and fold under % of
the whole width. Then fold back and
forth until tlio gtiods arc arranged in
four pleats of equal depth. This process
is fully explained in Drape 1. The
pleated section of the goods is now laid
over the hack of the top of the stand at
P). The selvage of the uppermost pleat
extends 1 inch back beyond the lower
pleats in order to hide them. When the
arrangement has been completed, the
front edges of the four pleats are about
3 inches in front of the back of the stand
(point B). In arranging the folds the lower one extends
one above and each succeeding one is arranged in the same

tritlc
•ay.

in front of the next

Having completed this arrangement the sweep is carried out to the left at a right
angle from the top of the stand and is fastened with a single pin through the left hand
selvage at a point about 2 yards from the standard of the fixture. This brings the end
of the sweep to a point and the four folds form themselves naturally. The pin must be
placed at such a distance that the lower fold fits snugly against sweep A throughout its
entire length. In placing the folds at the back of the top of the stand, as shown in Fig. 3,
the forward ends of the pleats are allowed to extend over the back of the stand (B)
about 1 inch. Each lower pleal is arranged slightly in advance of the one alwve, as
described in Drape 4.

At the edge of the top ,of the stand where the pleats turn to pass d(
the corners of the folds may be strengthened and brou,u:ht out I)y pinch
between the fingers to exaggerate the corner efTect. The rcniaiiKbr of
allowed to hang down behind the .stand. In fastening the lower i)arl of 111

the goods at a point about 2]/, yards from tlie bottom of the sta
the width of the goods permits. This distance varies with tin
should always be at such a distance as to ])crmit the folds t,o f;
single pin is required to fasten the left hand selvage to the iloc
ment, the sweep is then complete.

the sides,
the goods
folds are
weep, take
leh distance as
the goods. It
1 a graceful curve. .\
With a little arrange-

dth

In mak
fall in natnrall
trimmer must 1
to sway in the

stiffness. The proportions and line
followed as closely as possible.

llu' forward sweep

/ graceful eur\es.

I- careful not to st

middle sufiicientlv

no ])ins are used at the iloor, consequeiUlv the gi^ids
In the rear sweep, however, a pin is u>ed 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

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

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

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.

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

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<l at points A, !'. and C. it is then sni<M)thcd down over the
front of tlie stand and pinned at tlie lower corners. I lu' uiiltli of the goods extends np
and down tiic stand. In other words, one sehage is at the bottom and the other at the
top. ]lowcver, if single w^idth goods are used it will l)c ft)und necessary to run the length
of the goods up tlie stand, beginning with the raw edge at the bottom.

Allow the goods to fall to the floor at the right and form (I pleats as indicated in
D, Fig. 1. Then carry the pleated goods to the top of the stand .and lay over the rear

^>^<

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.

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

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

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.

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 l<iwer selvage is
drawn out s(jmi' di^tancr in front of the stand (about l' feet) or S or In inches of the
lower edge lies tlat on the floor and the remainder >lopes 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<ive i^ to form the long sweep at the left. This is done in four
pleats of even depth. The frout selvage is turned under slightly and the pleats are formed
as has been described. Four pleats are formed in the same manner on the right hand

Lessons in Draping

sweep. In Drape ]0 the rit;ht and left sweeps arc shown with three or four pleats, respec-
tively, as the drape may lie constructed cither way, as the numher ,of pleats depends upon
len possihlc, use the greater number of pleats, as they improve

the width of the goods. When p
the appearance of the drape.

The goods are now hanging in loose, uneven folds from the front and sides of the oval.
The next thing is lo arrange tluin in small even folds as shown in Fig. li. This is done
Iiy l)eginning in the middle and fdrmiug small round folds that (urn, on the right side
nd on the left slightly toward the left. The beauty of a round

.slightly toward the right,

4V^"

or oval top stand is that as many folds as desired may he made in the goods. No matter
whether they be few or many they adjust themselves perfectly at the top of (he stand.

Then take the surplus of goods that was left at the right hand side at the beginning
of the drape, and puff in a semi-circle clear around to the left hand sweep, where the
end of the goods is turned under as is shown in Drape 10. (M course the puffing is not
necessary if the drape is placed at the back of the window where the lower part will not
show. In a stocky W'ind(nv where stands are placed close in front of each other, the
lower part, shown in I'ig. 2, need not be constructed, nv it may be done with a short
end of the goods sufifieient only to conceal the stand. The beauty of this drape lies in its
simplicity and in the fact that very little time is required to construct it. Inirthermorc
there is not a pin used in the whole drape except the one through the selvage at point A
(unless the slope of the stand makes it necessary to place one at the back of the top).
This makes it a good drape to use with heavy expensive goods. It is principally adapted
for broadcloths on account of the beautiful lustre that is brought out better in the graceful
folds of this drape than in any other. It is not a good drape for mixed or ligurcd goods.

The sloping oval top stand is used for high drapes at the back of the window, as other-

Li:ss()NS IN 1:)h\pin(;

wise the top could not he seen. For lower drapes in tin- trunt nf the windnw a round u>\)
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.

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.

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

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.

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.

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.

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

1(1 i)lea:

,ph

nijinati

bright oAor.
low and create
•t. Just as in a
princi[)al jjoint
nd lilendim; of

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

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

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.

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
l<jp allowing about one-half yard to hang over on
the back (Fig. 2). Crease of goods is at front
edge. Fit the goods smoothly over sides of stand
and take up surplus goods hanging over edge of
stand at the top by drawing it down in plaits to
a point on the back edge as in Fig. 3. Carry the
aoods out ,on the floor to the right from the base

sy ArlinBton Mille

Lessons in Dh.\pin(.

In ma

about the

First,

In Fig

any of the

out of a ]

DRAPES 23 TO 27

r IS said thai "■Variety is the ;,i)ice of
Ufe." This saying applies very closely
to the sho,v window and could be
changed in this connection to read "Va-
riety is the Life of the Show Window."

The progressive window trimmer is al-
ways on the lookout for new ideas, new
ways of putting goods in the window, new
ways of decorating the backgrounds of the
windows and trimming the interior of tlic
store.

The most up-to-date trimmers will take
and modify most any form or draping stand
and originate forms of their own that are
similar or quite different. We suggest here
stands that can be made by the window-
trimmer and therefore need not mean any
expense to the store other than what will
Drape 23 have to be spent for supplies,

ny cases these forms can be made from old lumber or box lumber that may be
store and thus would cost the store absolutely nothing.
we will show in 8 drawings how it is possiljle to make up the stands.
. 1 we show a drawing of the original mummy form. This can be procured from
fixture houses or can be matie in your own workroom. The two sides are cut
ight lumber or compo-board and held togetlier with light wooden braces nailed

across the front. Over this front can then be bent a covering of mat-board. The base shown
in Fig. 1 is the one used on the original manufactured form. You had best put on a plain
wooden base such as w-e show in Fig. 2.

Our Fig. 2 shows a simple modification of the munnny fiuni. This will be easy to make
as it is made of all flat surfaces and can be l)uilt up like a Ijux. The same drapes used on
the mummy form can be used on this modified mummy.

Lessons in Draping

We show in our Drape 27 one very simple and cfTcctive drape that can be used on this
draping stand. It will be noticed that in tliis khh. diMwii u w i li.^w still a different way of
building this modified mummy
form, the difference being that all
four sides run straight to the floor
instead of being narrowed at the
bottom. This last mentioned form
is the easiest of all to make be-
ing in reality a tall box with a
slanting top.

This slanting top of the real
mummy form is suggestive of the
shoulder and bust lines. The
straight side lines narrowing
down to the base of the form are
suggestive of the hipless tight-
fitting skirt effect.

Another decided change from
the old style draping stands is
the building of the sides of
these forms and the stretching of ihv fabrics on tliese surfaces as tlic foundation of the
drapes. This idea was brought out in the first uumuuy drapes and is now introduced into
all .other types of drapes.

In our Fig. 3 we show a slanting, half-round top stand with sides built down to the
floor making a form shaped like a tall slal). You have in all probability used the draping

■^

th a half-

(uuul effect

s new slan

d is, as be-

stand, being a tall wooilen standard with a slaiuiny top, linisluil wi
made of bent cardboard (see Drapu iO). 'I'ln' only dilTcrcnce in tlii
fore mentioned, that the sides are i)uill (ju from tiio floor to top of st.iud.

In our Drape 25 you will see how this l-'ig. I? is drapicl. The .uoods are first stretched
flat over the surface of the form and brought over the loj) in folds and fastened at a point
on the front edge. A graduated fold of darker colond satin is also brought over the top
of the form and fastened at the same point with the cloth. hOlds of the goods are
then brought around to the back of the form and draped to the flooi.

8-t

Lessons in Draping

It will be noticed that the form indicated as used In Drape 25 is of slightly different
proportions than the form Fig. 3, being slightly taller and more slender, thus showing that
there is not only a variety in the shapes of these forms, but variety can be had in the vary-
ing sizes of the same general shape.

Take for instance Drape 26. Here is a form practically the same as the one shown in
Drape 25, the difference being that the curved top does not slant.

This drawing shows a particularly effective drape. The form is first covered with the
dress goods and a folded loop of the same goods draped down on one side over the top.
Drapes are then brought down to the floor from both sides of the form. A double set of
buttons are fastened along the front edge near the top.

We want to call your attention to the manner in which buttons are introduced in the

various drapes shown here. They serve as a very clever finish or decoration on the drape.

In Fig. 4 is a further development of the form used for our Drape 27, the difference

Iicing that the sides are beveled instead of being straight, or in other words the slant top

is continued down on both sides.

In Fig. 5 is a form made up in imitation of a bolt of dress goods. This holt can be
made up in various sizes, some tall and slender and others shorter and thicker. They should
be made in mammoth size in order to be most effective. This allows one to cover them
tightly with a layer of cloth and then drape the goods about them in graceful folds and
sweeps. These bolt drapes are very popular and quite a number arc shown in this book.
Next we have a Form No. 6 built with three sides and a slanting top. This is very

easily made, it only being necessary to use two wide
boards for the front of the stand, and a small wood-
en top. The back need not l)c other than a brace or
two, unless the form should be so located in the
(lisiilay that the back would show, and in that case
the back should be liuilt up the same as the front.

Probably the easiest way to construct same
would be to connect the circular bottom and oblong
top with strips of wood and over this bend heavy
sheets of matt-l)oard or carpet paper.

Drape 23 shows one of the drapes that can be
used on this column form. First the surface of the
form is covered witli the fabric and then a fold of
goods draped in festoon effect down across the front.
Then from the top of the form is dropped down a
series of graceful folds to the floor.

The slanting top of this particular drape
has been filled in with a gathered mass of the same
goods. This top can also be filled with a gathered
mass of silk, satin or velvet.

In Fig. 8

wc show

modifica-

mummy

still another
tion of the
form. This form is the
same as the one used
for Drape 27 with the
exception that the top is
curved instead of a
straight surface. In oth-
er words this top could
be called a quarter-

Lkssons in Draping

now suggests

tile idea of having a half-round top
that is the back of the form would be
exactly like the front. This shows how
it is i)()ssiblc to continue almost indcli-
nilrly to conceive new forms on which
to plan new drapes or on which to use
old drapes in a new way.

Instead of showing you how to
rape this form with the front of the
and towards you, we drape it in Drape
24 so that the back and one side of the
form are facing you. This gives you a
new thought and wc now sec that it is
possible to start an entire new set of
drapes by reversing all the forms we
have already mentioned, and by turning
backs and sides to the front of the win-
dow, we will get entirely new effects.
Care should be taken in covering
the plain surfaces that
'__ the goods be stretched

perfectly flat. The small-
est indication of a
wrinkle will almost spoil
an otherwise well exe-
cuted drape.

Lessons in Draping

DRAPE 28— MUMMY DRAPE

FOR making this drajic, a six or seven yard Icngtli of goods is required. Start with an
end ,of the goods at the top. If the full licit is used, unroll about six yards, carry
the goods over the top and let the l)olt he down at the liack of the form where it can
be covered up with the folds. Fit the goods smoothly down the front of the form having
the crease or center of the goods at the edge of the form on the right. Pick up outer selvage

Fig. 1

at the end of the goods at the top and carry back to the top of the stand (Fig. -2). This
will form a loop on the side of the form which can be picked up in three folds (Fig. 3).
Fit the goods smoothly .over the side of the form at the left.

Now take the other
end of the goods, carry
around back of the form
and bring up across the
front, pinning at the top
(right side). Lay it in
a number of narrow
plaits at curved part of
form and drape com-
pletely around the form
and out on floor at the
right. The goods should
be doubled back under-
neath this sweep in or-
der to give a clean cut
finish to the end. A
narrow band of trim-
ming in a color to con-
trast with the goods is
wrapped around the

folds at the point plaited, j

Mummy Drape No. 28

Lessons in Draping

-^hit^

-^■■^ni,

Drape 29
but here is a draping form
tliat will "stay" if the
American window dresser
is as sensil)le as we believe
him to be.

In the (IrapinLT of the
shell form, there was little
attempt to imitate a finished
Rown. The idea was to
show the fabric in a man-
ner somewhat similar to
that in which the dress-
maker would make it up,
bringing out the folds and
adding the proper trim-
inings. The new stand per-
mits of all this. It is the

THE draping stand that is illustrated in connection
with this article is destined to prove one of the most
important fixtures that has ever been produced for
the display of dress fabrics. It is a rare combination of
the practical and the artistic. Like most big things, it is
extremely simple — so simple in fact that one wonders why
nobody thought of it before.

The practical feature of this form lies in the fact that
it is remarkably easy to drape. Even the beginner who
simply throws the goods over the form cannot fail to get
a pleasing effect if he has the rudiments of a draper in
liini and will give a little care to the arrangement of the
folds. Indeed, it is more difficult to make an awkward
drape with this form than it is to make a graceful one.

As to being artistic, the simple classic lines tapering
down from the top offer endless possibilities to the skilled
draper. Styles may come and go, but we feel safe in say-
ing that this form will last. The fashions in hips may
vary from one extreme to another; waists may move up
or down according to the whim of the modistes; skirts
may pass through all the stages from crinoline to hobble.

Brape 30

Lessons in Draping

I>rape 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.

Drape 32B

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.

Drape 35 shows a still fur-
ther development of the idea,
this time being worked out on

Drape 35

Lessons in Draping

1^ -^

•o

.r.

•T3

n
o

■8

o
bO

3
o

.S *j

O
bo

b/D

t«

-5^

>, .

1 =

U3
1)

o
o
S

■^

bo Si

"bo

ur:

ff;

•2

>«

-C

i:'

b '^

-a

-o

Lessons in Draping

iSl

. 13

6" 5

5 a

u ° ^

O O

■'-^■'

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<Kls. The diaiirani will show bow easy
it is to make. First a snio,otli bo.ird <lx"-'l inches is nailed to the top of tlu' !),iekuround. wliieh
is in most cases about eight fn't from tlie lloor. This Ixiard. as sliowii in Iml;. I, is placed
horizontal and extends to one side at an ans^le of .ilionl l"i dcLirees. Tlu' ed;-;es of the Ixiard
should be sandpapered in order to prtilect llie gouils from any possible injury. The gootls

Lkssons in Dhaimnc.

Lessons in Draping

P^.

'..i):i^i.irj-.rvirr.S^\-;jrr^-AJ?L'>.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

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

Lessons in Dhaping

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 \<n\v
nearest furniture dealer.

122

123

Furniture as Draping Fixtuhks

New ways of draping dress goods are continually being thought of. And it is not
hard to plan new drapes if you first acquaint yourself with most of the old ones. These
old drapes suggest new ones. These drapes that we show may not be absolutely new,
but we l)elievc they will be new to most of our readers.

We show in our Fig. 1 a very clever new drape. The flower-stand is simply a wooden
box supported by four wooden legs and should be painted in white enamel. The flower-
box is then filled with all sorts of foliage, either growing plants or great sprays of leaves,
either real or artificial. The dress goods are then draped about the box as shown in
the drawing. Ribbons and parasols and other accessories can be used in connection with
this trim.

We next show (Fig. 2) a drape making use of a chair.

a tall stand, one fold of
the goods being brought
through the back of a
chair, over the scat and
down on the floor. Tliis
drape is a different dc-
vel^ipment of Drape 1,
shown in the preceding
drawing.

Several difl'erent va-
rieties of trimmings are
draped from the stand
over the extreme top of
chair, over the seat and
on the floor. This ar-
rangement is very clear-
ly shown in the draw-
ing. A spray of foliage

The goods are draped over
is thrown carelessly on
the seat of the chair.

Our Drawing No. 3
shows a very neat
m e t li n d of using a
screen as a draping
stand. The goods are
caught up near tlie top
of scree n and where
pinned are finished off
with a cIiifi"on neck-
piece or a fur. Another
good finish for this
drape would be a large
riblioii bow and stream-
ers. V n u will find

screens a
kind of
have in

\ I' r y nandv
furniture fn
our windows.

124

FCRNITURE AS DhAIMNC. FiXTl'HKS

Three examples of furniture win-
dows showing how upholstery goods
are draped from the background and
over the floor. These drapings were of
goods, colors and patterns that would
best go in a room outfitted with the
furniture shown in the window. Where
complete decorative treatment for room
interior as well as the furniture to go
in room is shown, it is a great help to
the store in suggesting to the customer
what he should have or what he might
have.

Example of upholstery drapes used in connection with furniture. A table, screen and
skirt box are used principally to show how the goods would look when used to cover
screen or skirt box and as a lamp shade on the lamp used on the table. This is a very
practical way of showing these goods. 125

Qeo -J- ^owe^rvs^ ^g

12G

VASE AND BASKET DRAPES

VASES and baskets can be used in various ways accessory to drapes. They can be
used as decorations, because of their beauty, or they can be used as shown in Figs. 3
and 4, showing fabrics issuing from tlieir nioutlis in imitation of something flowing
nut of the vases.

Vases not only serve the purpose of holding flowers but they are also about as bcantifu!
as any ornament that one can procure for decorating.

In Fig. 1 we show how a basket was used in connection with a drape, really serving
as the draping stand. The basket was placed on top of a box or pedestal and the goods
dropped down from one handle in a graceful sweep to the floor, next it was brought up
to and around the base of the basket, tied in a knot and then dropped to the floor and
completed by the other end l)eiiig brought up and fastened to the other side of the handle
of the basket. The basket was fdled with artiticial flowers that harmonized with the color
of the fabric.

Fig. 2 is an unusual drape, in that the vase does not hold any flowers. The vase
therefore, must be so beautiful in itself that it can afTord to be shown as the sole
decoration.

Fig. 3 illustrates a completely trimmed show window having two large vases over-
turned on a platform in the center of the window and drapes of filmy silk flowing from
out the mouths of the vases. Suggestions of large vases are made back of these overturned
vases by covering stands with silk and drawing in the centers with ribbon. The tops of
these stands, or vases, were filled in with huge bunches of roses.

Among the many interesting ideas contained in this window, is the fence at the sides
of the window made out of bolts of goods.

The floor, too, is of gathered fabric and is so arranged that where the goods are
flowing from the vases it looks as if there was a puddle on the floor.

Fig. 4 shows how a vase or pitcher can be suspended in the window or over the
counter and any goods fastened in its mouth, thus suggesting that the goods are flowing
out of the receptacle.

Fig. 5 represents a grouping of a drape and a shirt waist. The goods are draped up
over a stand and around a small screen that serves as a background for the waist.
A vase is placed on the floor to one side of the waist and lends much beauty to the
composition.

lis

FLOWER DRAPES

ARTIFICIAL flowers are probably the most practical of all decorations that are used
in the show window. These flowers are used most ,on the backgrounds and in
designs that serve as decorations for the window.

It is possible and practical to use these same flowers in conjunction with some of
your drapes. This will tie up your drapes and the window backgrounds and decorations
very closely.

On the page opposite we show nine different ways in which flowers can be used in
connection with drapes and at the same time we show you some interesting drapes.

In Fig. 1 we show how it is possible to drape a piece of goods through a wreath
of flowers. This wreath is suspended by ribbons from the top of a tall panel and a show
card placed in the wreath. This one idea will suggest to you many other ways in which
a wreath can be fitted into a drape.

Fig. 2 shows how a wreath is suspended by ribbons between two drapes. Bouquets
of flowers are also fastened to the top of the lower drape.

Fig. 3 illustrates how a large bowl of real or artificial flowers can be encased in the
folds of the goods as they lie on the floor of the window. The use of flowers that con-
trast or harmonize with the colors of the fabrics will make this a very attractive display.

Fig. 4 suggests the use of foliage placed on the curved top of a draping stand. This
foliage not only adds an attractive touch ,of color to the drape but also covers up part
of the top of the stand.

Fig. 5 is an idea for the center of a window or for use on a counter. It consists
in draping several pieces of goods over a bar, either suspended by ribbons or by means
of uprights. One piece of goods drapes over a stool, tabourette or pedestal on the top
of which is placed a bowl of flowers. A spray of flowers is fastened at one end of
the bar.

Fig. 6 is a trifling different arrangement at the top of the same stand as shown in Fig. 4.

Fig. 7 shows a window divider or a specially built piece of fence on one corner of
which is placed a vase of flowers. Back of it are several drapes; part of the goods of
one of them drapes over the fence, while another piece of goods uses this divider as
a stand on which to be draped.

Fig. 8 suggests how a drape of goods can l)e made on a bay-tree. At one side is
a small sketch of a framework showing how to imitate a bay-tree by placing small twigs
and flowers in a circle filled in with wide mesh net.

Fig. 9 illustrates two entirely dift'erent drapes held together by means of ribbons and
foliage.

129

130

USING ACCESSORIES WITH DRAPES

ELSEWHERE in this book wc liavc touclied on the subject of using various accessories
in connection with your drapes. There are hundreds ,of suggestions along this line
contained in this l^iok, but we have collected on the page opposite ten very interesting
suggestions that should be most helpful to many trimmers.

In Fig. 1 we show how several waists and a ])asket of flowers, when used with a
drape of fabrics, makes a most interesting display and will tend to increase sales in both
the yard goods and in the shirtwaist departments.

Fig. 2 illustrates a drape made by draping the goods over a parasol, thus the accessory
serves as part of the fixture as well as displaying itself.

Fig. 3 is another drape in which a parasol enters. A belt also is introduced, having
the top of the draping stand a round piece of wood of such a size that the belt will
fit when fastened around it.

Fig. 4 also contains a parasol, and the goods are draped over it in a very graceful
manner. The foundation for this drape is a panel or board covered over with a plain
fabric, and the fancy fabric draped from one side over the parasol and down to the
floor. A fancy neckpieccis displayed in one of the upper corners of the panel.

Fig. 5 shows a piece of goods draped over a skirt form being finished at the top
with a hat, parasol and cluster of artificial flowers.

Fig. G is a more elaborate grouping, showing the tall drape serving more as a back-
ground to the grouping of accessories, such as parasols, hat, gloves and shoes. A close
study of this grouping will show you exactly how it is done.

Fig. 7 is that of a very simple drape over an upright millinery stand. The hat is
placed on top and two ribbons draped down at the sides fastened to parasols as shown.

Fig. 8 indicates the use of a screen as a draping stand over which is draped several
different pieces of goods and such accessories as hat, parasol, ribbons, flowers and purse
are used.

Fig. 9 shows three pieces of goods draped over a tall stand and then brought out
away from the stand and draped through floral wreaths that were placed on top of
shorter stands.

Fig. 10 represents a simple drape on two plain uprights that serve as a background
to several pieces of neckwear shown on a glass shelf supported by two stands over
which is draped a continuation of the same piece of goods.

131

DRAPES FOR TAILORS

THE tailor's windows today arc just about the same as they were twenty years
ago. Even in the high class shops of New York and Chicago there has been no
perceptible change. Away back in the dim, forgotten past, some tailor made a lot
of cardboard cylinders with wooden ends. These he set up in rows like soldiers and
covered them with his suit patterns. This became the accepted style for showing tailoring
goods— and so it is today, the same old thing— a geometric arrangement that has no more
artistic merit than a row of tenpins.

The tailor's windows are open to almost as varied a treatment as any other line of
goods, and the ideas we give in this book demonstrate this and will suggest many other
ways of showing suitings.

As an illustration of this, look on the page opposite, at drawings 1, 2, 3 and 4. Fig. 4
shows the completed drape, a tall hat-stand with a lower stand, having fastened on a slant
at the top a winding board. Figs. 1, 2 and 3 show small sketches of the fixtures before they
are draped. This drape shows the bolt having the goods draped around the bolt and on to
the floor in a very graceful manner, and by means of a hat and necktie you get interesting
bits of color in the window and show how certain accessories will look with this certain
piece of goods.

As mentioned above, most tailors show the goods in a most set and symmetrical manner.
You can change this into an attractive display by using many of your old boxes or stands,
by arranging these fixtures in a broken or uneven arrangement similar to our Fig. 5.

Fig. 6 shows how the goods will look when draped over these boxes of uneven height
and also how a few neckties, cane or other accessories, will help make the display more
attractive.

One of the cleverest draping ideas that a tailor can possibly use is shown in Fig. 7.

The original coat drape, shown in center of illustration, ansvvers admirably to show
the pattern of the goods and to give a general idea of how it will appear when made up.
The matter of draping is not at all complicated. A suit pattern of 3J/2 yards is draped
over an ordinary coat form as follows : First cover the form with a shirt and fancy vest
to harmonize with the goods that is to be used. The tie and handkerchief are also matched
in color. Grasping the goods about one-third of the distance from one end, and letting it
drop over the right shoulder, the top edge is then folded under and the front reversed to
make the lapel. The goods are then drawn over the other shoulder and allowed to drop
in graceful folds to the floor. The end of the right side is draped up under the form to
the base of the stand. The reader's attention is called to the fact that in draping this
figure the pattern of the goods must be made to run correctly; that is, up and down in all
parts of the drape, as the tailor in making a coat must run the pattern in the same direction.
The buttons on the front of coat are merely pinned in place. The other articles in the
drawing are all shown to gel a better idea of the chances to make a very artistic unit with
this drape.

Drapes for Tailors

These drapes for tailors arc of value to practically every store handling men's clothing,
whether they have a tailoring department or not, as most stores, especially those located
some distance from the large market centers, have a tailor to the trade mail order depart-
ment. These tailoring houses will always gladly accommodate the merchant with enough
suiting, trousor and lining lengths for making displays such as the accompanying units,

Fig. »

which really assist in giving a more graceful display to accessories, such as gloves, footwear,
hats, shirts, etc.

The unit drape No. 8 was arranged over a large woofKn stand having a nine-inch square
t/op, placed at about a '15-degrec angle. The suiting is draped in natural folds to the floor
in front, allowing the material to hang in natural i)osition on either side. Tlie liniu.u silk.
which is of a harmonizing color to the suiting, is pnlTed on the floor and then brought

134

Drapes for Tailors

up on a stand and formed into a fan effect. Canes, gloves, hat complete this display. The
height of the stand is 4i-4 feet, and in making a complete window, using stands of this
kind, they should be placed in graduated heights so as to give the entire display a pleasing
broken appearance, varying from two to six feet.

The men's suiting drape No. 9 is placed over a large wooden stand having a square
top. The top in this case is used in a vertical position and the original height of the stand

Fig. 9

is four feet. The suiting is placed over the stand, allowing the goods to fall to the floor
in a graceful, sloping effect. The crease of the goods is placed on the left of the stand and
the right side is draped by making a BO-inch loop, fastening both selvages on the right
forecorner. The material on the right side is then formed in the cascade effect and trimmed
with buttons suitable for suiting of this kind. The silk lining is draped over the top in
three loops at the left corner. Suitable men's accessories complete this trim.

135

Dhai»i:s for 1'ailors

Drape No. 10 is placed over a stand five feet in height having a square top with a
curved front edge. The goods is draped in a narrower effect than those shown in the
preceding drapes, to the floor, puffing along the floor with the surplus cloth. A large wing
effect of the lining silk is draped over the top of the stand to each side, completing this in
a peaked effect at the top of the drape. Suitable accessories add to the proper tone of the

rig. 10

unit. Buttons may I)c used here and there to good advantage to still further add grace to
the display line.

These arrangements will attract attention on account of their living so different from
the customary goods displays. Tlicy can l)c easily arranged aii<l will well repay the decorator
for his e.xtra trouble. There is no limit If) the nuninor nf dcsij^ns that can be created
along the line suggested here.

136

^^S

^^g|^

I^^M

^^/l^tlm

J|l

IHH

J i

•K 1

/ i

k. "'''■■•'

h^j

DRAPING
ON

^^M

^ The Most
Interesting
of all

FORMS

^^^^

Draping

137

DRAPING ON FORMS

A CoMPLETi- Record of the Progress and Development of Draping Forms

EARLY HALF SHELL FORM DRAPES

NKW methods of displayirg merchandise, new ideas or suggestions for arrange-
ment and form are eagerly sought by the progressive trimmer; their ntnelty, and
departure from certain fixed rules for the display of certain fabrics, is the object
ui his constant endeavor.

Tlie unit which in itself comprises the utmost grace and beauty of outline, over which
the dainty fabric falls in graceful sweep and fold, makes the strongest appeal to both the
artistic decorator and the critical shopper.

Such a unit is the shell form originally designed by Mr. Albert Koestcr, for Marshall
Field & Company, Chicago. It was in their windows that the forms were first displayed,
and they immediately met with popular favor. Since then the forms have been copied in
all parts of the country; and the shapes so changed as to meet all the requirements of
the prevailing styles.

VVc show at the top of this pai^e and at the bottom of the next some of the very
lirst drapes arranged on the original forms.

Note the graceful lines of the bodice, how the goods are caught up and brought to the
waist line with just the proper fullness in the draping; observe the regal sweep of the
skirt, the goods falling naturally in perfect folds.

It is worthy of note that a characteristic feature of the original is in tlic manner of
draping the skirt. It will be seen that the folds do not fall from the waist line, but from
below the hip, over which the fabric is snu)othly drawn.

138

Draping on Forms

Show window trimming which we shall consider in its varions phases, is, in the main,
an outward expression of inherent good taste. The enormous general progress which
marked the different stages of retailing during the past decade has at the same time
developed the work of the window trinnncr to such a degree that today it stands out
as a fine art.

One of the most significant characteristics of this new art is the predominant and
at the same time revived popular pleasure in l)rilliant shades of colors, in tinted effects
of materials, trimmings or furnishings which are pleasing to the eye and becoming to
the wearer.

Not long ago unicolorod, i-Iain fal.rics and dress goods would fill the show windows-
today we see in place of these ni,oni)t(.nons simple colors, fresh, bright and fanciful hues,
creating strong and lively contrasts and charming the eye by the richness and variety
of color.

The widening and cxten<ling of these manifold modern color schemes while affording
more suitable material for the decorator than plain goods, places much higher require-
ments upon his artistic craftsmanship.

SILK OFFERS GREATEST OPPORTUNITY FOR DECORATION

No fabric will show the effects of color to greater advantage than silk. Like gold
among the minerals, silk is the nol)lcst and most graceful material among the various
fabrics for the use of wearing apparel, and in regard to decoration it is the most graceful.
With no other article will the window-dresser accomplish such effective and charming
decorations.

However, the artistic draping of silk, the correct grouping, Hic ch.iice and composi-
tion of shades to create an impressive ensemble, all these factors are not so easily brought
about as it may seem at first sight, but are rather the combination of special adaptability,
of study and of good taste.

BIZARRE DISPLAYS

It should be a matter of fine natural perception with the window-trimmer to select
patterns and shades best suited for his purposes and form drapery and grouping accord-
injjly. In other words, he should know ar.d realize the character, the distinguishing traits
of silk, as compared to other materials.

The display of silk fabrics had reached in its bizarre and eccentric execution such a
point that a reaction was only natural. As against the prevailing fashion of the past few
seasons, the show windows of Europe and America displayed previously an array of
drapery in silk which was extremely fantastical. The heaviest damasks and brocades with
the most exquisite floral designs, originated and painted by prominent artists, were twisted
and squeezed into the most impossible and least appropriate forms, such as rosettes, butter-
flies, musselshells, flowers, leaves, etc., as is illustrated elsewhere in this book.

Such drapings are not only contrary to the character of the fabric, but are costly, as
silks exhibited in this way and pin holed, twisted and generally abused are ruined and
cannot be sold.

Draping on Forms

THE USE OF THE DRAPERY FORM

To overcome this difficulty and make it possible to display silk "as it is worn," and as
the peculiarity of the material requires, Mr. Koester, as already mentioned, invented a
special draping form, which is now successfully in use in practically all stores. Each year
as the styles change this form is newly modeled and thus kept strictly in style.

In using this drapery form there is no intention to copy a ready made or finished dress,
i. c., to simulate in the draping a complete gown. This must be done on the full figure

Early Form Drapes No. 2

forms. The aim, however, is to give to the public an idea liow tlie silk will look in a
finished dress. It will also be necessary to arrange the trimming, be it laces, braids or
ribbons loosely and unconventionally and not to sew it or pin it tightly to the silk. For
this very reason to take away from the draping form the character of a ready-made gown,
the form is made with only half a bust.

Sketches of Drapes 3 and 4 show two different early styles of draping on the shell
form, one being in the Empire, the other in the l&W style. The first is suitable for display
of heavy silk goods, such as damasks with large patterns, etc. The second is more adapted
for light-weight silks, especially the modern Pompadour.

140

Draping on Forms

Draimng on Forms

Draping on Forms

We think now that the original draping forms were very crude in sliapc. In fact, in a
few years there were decided changes in the shape due to changes in fashion. The
waist was very low and small in all its lines. The newer, form had a high back which gives
it a long sweeping line. This back being long, gave another long line from the bust, or
top, of front of form to the top of back. Along this top was an ideal place for the ar-
ranging of the dififerent drapes or finishes, that gave one the necessary variety in the con-
tinued use of the form.

The draping of the skirt also afforded one a chance to originate new styles or methods
of draping. The skirt in most cases must be limited to merely the goods themselves,
while the upper edge of the form not only can be used for a heading of the goods, but
the introduction of such accessories as ribbons, laces, buckles, plumes, flowers, etc. The
possilnlities in connection with using these accessories for the finish at the top makes possible
an almost unlimited number of drapes on these forms.

REALISTIC EFFECT

Tlie great advantage in using these draping forms
lies in the fact that they display the goods in such a
manner that the shopper sees not only how the goods
'look when worn," but the trimmer can drape
them so beautifully that the goods will look really
nnuh more beautiful than they can possibly look on
tlu majority of the people.

The most of the clothing that is worn is, of
couisc, used because of our sense of modesty and
the necessity of having something to protect our bodies
fiom the extreme cold and heat. But let us mention
luiL that the style and beauty of the garments or
goods mean a great deal in creating a desire on the
part of the customer for that particular thing that
Nou have to sell. For they want to appear at their

Drape 5

143

Draping on Fohms

\ery best, and it is natural ihal tlicy should
want goods that they think will improve their
appearance. Therefore, the better the goods look
on display, the more desirable they become to
the customer.

The proof that goods appear to better ad-
vantage on these forms is the fact that, wher-
ever they are used, it is no unusual thing for the
trimmer to be kept busy taking out the pat-
terns that are on the forms. These patterns
looked so well that the customer would not have
anything else in the house.

I have no doubt but that every trimmer who
has used these forms in his windows has had
the above experience. In fact, I have purposely
put in slow-selling patterns on these forms, and
before night every yard of these particular pat-
terns was sold. You will oftentimes be sur-
prised how beautiful a piece of goods will look
in a window display that absolutely will not sell by being shown over the counter.

Practically all kinds of wearable fabric can be shown over these forms. Different
drapes are, .of course, necessary, made so by the texture and style of goods. Silks, being
narrow and stiff, need an entirely different method of handling from wash goods and
wool dress goods. The accessories, too, should be in keeping with the goods on display.
For silks, one should use lace, ribbons, insertion, flowers or ostrich plumes. Buckles and
buttons also look well.

For wool goods, velvet bows, ribbons, heavy laces and appliques, furs, buckles, buttons,
etc., are in keeping. Wash goods will only need laces, ribbons or flowers.

Cheap goods, especially cheap wash goods, are the hardest things of all to show on
this form. They are generally narrow and stiff with starch or sizing. Because of this,
the cloth does not fall in pretty folds, and great care and much attention must be given
each form, in order to make it really look well. You will be well repaid, however, for any
labor in this direction, because the goods will look worth many times what it really is.

Drape 7

Drape 8

144

Draping on Fohms

The heavier fabrics, such as Fall and Winter dress goods, being oi a heavy nature,
should be draped simply. As a rule these goods are made up into tailored gowns or other
styles equally as simple. Therefore, it stands to reason that the draping form should be
used to carry out this idea. Show the goods as they will look when worn — smooth sur-
faces, long graceful folds and sweeps. The fancy part can be brought out in the acces-
sories, and by bright bits of colored ribbons.

The draping form is no harder to drape than any of the common wooden standards
that are in such general use. They look much more complicated but are really easier,
because they give character to the goods displayed.

In the full drape. No. 5, that is shown here, cover the form smoothly with the goods,
starting at the top and working down to the floor. Here the goods are brought up to the
back edge of the hip, and draped down to the flioor. This process is repeated until there
is the desired number of folds radiating from the back of the form to the floor.

The goods are then brought up the inside of the form, so as not to show, and the end
is used to make the finish on the top, which is clearly shown in the drawing.

FINISHES FOR THE TOP

Before the goods are draped on the top, it is best to arrange the velvet ribbons which
are shown on the waist. The lace is brought up from the back of waist to the extreme
top of front of form, and from there is draped in a graceful cascade to the floor. The
velvet ribbon loops are made to stand out and stay in place by the use of invisible wire
loops.

This is a very handsome and unique finish, and ought to make a decided hit wherever
used. Soft fabrics would be especially pretty to use for this drape, because of the gathered
folds of the waist. Silk foulards, wool challis, light-weight wo.ol goods, etc., would be
appropriate. The velvet ribbon should be of a contrasting color.

Drape 6 shows a lace finish for the top of a form that is very easily made and its
construction is clearly shown. The flowers used as a finish on the extreme front are of
a very good quality of the artificial variety. Tea roses are very pretty and also appro-
priate. Of course, if the display is only going to be in for a day or so, natural flowers
can be used. But even then they are apt to wilt a trifle, and then you lose the beauty
of color and line.

With silk and wash goods you can be more elaborate in your creations, for these goods
are generally made up rather "fussy."

SEVERAL OTHER FINISHES

In our illustrations, Drapes 7 and 8, we show several different ways of finishing off
the top of these drapes. They are constructed on the same principle as the finish on the
No. 5 Drape, but more loops are used.

Where you have several forms in one window, it looks well to have all the drapes
along the same general decorative line, but each one changed just a trifle, to give variety
to the display. In fact, it is not advisable to use too many of these forms in one window;
they look much better if only several are used in connection with several other drapes
of goods on T stands with square, round or oval tops.

145

Draping on Forms

Rightly used, there is
possibly no better meth-
od of displaying any
kind of dress fabric
than by means of the
shell form ; but a great
many trinmiLrs make
the mistake of falling
into a rut and draping
it always in the same
way month after month.
Now, no other draping
stand allows so great a
variety of change as
this form, and a little
study of prevailing fash-
ions — the trimmings
used, etc. — will suggest
many new combinations
^"^•P* • to the average trimmer.

The sketches shown here arc offered as suggestions along that line, and also to show
the various styles of early drapes. They are all quite simple and easily accomplished by
any one familiar with draping the form and can easily be adapted to present style forms
and drapes.

The usual method of showing the Empire style is to bring the end of the goods up
to the highest point of the back and pin, allowing the goods to fall in long sweeping folds
to the floor.

Fig. 9 shows a little different treatment of this style. The end of the goods is first
folded back about three inches to hide the raw edge. Three plaits about four inches in
width are taken from the top edge, and these are pinned half way up the back as shown.
The surplus of goods falls down behind and fills out the open space. Two buttons are
added here as a finish, and several more smaller ones at intervals up the back. A length
of silk of a harmonizing shade is gathered in plaits along the top edge, ending in three
large puflfs in front and a long, sweeping fold to floor.

Fig. 2 shows another finish for this same drape, if used for wash goods or silk. A
broad sash of Dresden or Pompadour ribbon starts in front and is gathered in a large
butterfly bow in the back with two long streamers reaching down on the train. You can
finish a drape of wool dress goods in this way by using a length of narrow-width silk in
the same way, making a huge bow in the back and trailing far out behind on the floor.
Drapes 10, 11, 12 and I'A are clearly understood illustrations of different finishes for
the tops of drapes

Draping on Forms

Tlie large drawing (Drape 14), illustrates a very neat drape in the Empire style.
The form is first covered smoothly, by starting at the top and bringing the goods to
the floor in covering the form. From the floor the goods are brought up to the back
of form, where the folds of skirt commence. One fold of the goods is draped back of the
form and fastened on the front at about the knee, then plaited in three folds and draped
to the floor back and to the front of form. Now bring goods up to same point again in the
back and drape the four large folds of the skirt, the last fold being brought up to a point
half way up the back of waist.

From here the goods are concfalrd in Uk- back of furm and l)rought up to the extreme
point on back and pinned in tiny plaits, 'i'lie i;ot)(ls are then brought down to the front of
form, following the upper edge. 'J'his width of L;oods lliat follows this upper edge is then
puffed or fulled out with tissue paper until it appears as in the drawings. This looks quite
unusual to window trimmers of the present day— yet it is only a few years ago that this
was used on State street.

From the point where last fastened, the goods arc dropped to the floor in a graceful
drape.

A very neat finish for this drape is shown in the drawing. These ribbons are simply
laid on the folds of cloth as shown, and worked up into a bow at the top and front of the
form.

This drape is especially good for wool goods, challis, soft silks, and soft wash fabrics,
such as mercerized cottons, pongees, etc.

A BELTED DRAPE

In our small drawing (drape 15) is shown a drape that is a trifle different. First, the
form is covered smooth with the goods the same as our first drape. Then the goods are
brought up to the back, a short distance below the waist line, and then arranged in the
folds, making the skirt as seen in the drawing.

The last fold brings the goods back to this point, and from here it is brought
around the back of form to the front of waist, and then brought around the front of
waist to the back in the form of a belt. This belt can either be narrow or in plaits or in a
girdle effect.

The goods are again placed in the back of the form and brought up to the extreme
top of form preparatory to making the finish for top. This top is a single width of the
goods, puffed out with tissue paper and brought over the top of form in plaits at the lower
part of top edge of form (see drawing).

Then over the front of top edge is dropped the goods, hanging in a graceful drape
from this point to the floor, some distance in front of the form.

148

Draping on Forms

easier to put the goods on in a tight-

The next style of draping form that claims our attention is the rounded shoulder and hip-
less form. Instead of the usual pointed top draping form the newer shell draping form liad
the shoulder built out as you find it on a regular full-formed figure. Our Drape 16 illus-
trates this shoulder eiifect as compared with the pointed top as shown in Drape 17.

Our Fig. 16 was sketched from one of the first drapes that appeared on one of these
forms. This drape was a bordered foulard and gives you some idea of a very effective
drape for either bordered silk or wash goods. The train of the skirt is made first by
pinning the plain selvage at the back of form below the waist line. This can be done
only with real wide goods. The goods are then brought around the front and brought
up over the form.

These forms are so slender that it is much
fitting manner than on the old type of form
that had the large protruding hips. The fin-
ish of the top of the form is made with the
border selvage of the goods in such a way
as to bring into prominence the border
pattern.

Notice the large fancy button that
ishes the back of waist line.

In our Drape 17 we show one of the most
sightly of the older wash-goods drapes. Here
you make use of the old pointed top, hipless
draping form. You can use the form shown
in Fig. 16 by adapting the drape at top to
conform with the shoulder.

To drape this form start at the top of
form with your goods, covering the form
almost to the floor. Then take the goods and
bring them up to the back of hips and pin
the selvage of goods on the edge of form.
This leaves a large loop of goods on the floor.
Repeat until you have three of these loops
of such a length on the floor that you can
arrange them as shown in the drawing.

The goods are then brought up to the

Drape 16

149

Draping on Fohms

Draping on Forms

Studying the new fashion tendencies as originated in the leading style centers of
Europe is a most fascinating occupation for the window trimmer. An advance knowledge
of all the little details of the new things before they are brought out each season, the
new color combinations and the trimmings used, help the trimmer, not only in properly
displaying the ready-to-wear goods, but also in planning new background settings for
these displays and still more especially in helping devise new drapes for the showing of
fabrics by the yard.

It must be apparent to our reader that from the drapes shown so far in this chapter
that the early styles used a generous quantity of goods but that now we find the style
influence giving the narrow silhouette figure, thus using less goods and making the drapes
more severe.

Large artificial flowers have in recent years come in style as a trimming and are much
used as a corsage bouquet on evening and street costumes. A favorite flower is a large,
partly opened rose of black silk with the inner petals of pink, with perhaps just a touch
of gold. These make excellent trimming for the more severe drapes and especially for
evening silks.

Our Drape No. 18 suggests some of the ideas just mentioned, such as the narrow form
and uses of artificial flowers. This drape is made over the half shell hipless draping
form, and shows the use of a front panel with a lining of old rose satin and a veiling of
gray chiffon. This panel is put on the form first. A soft clinging, silver grey silk is
started at the waist line, covering
the back part of the form perfectly
smooth. Several folds are now
brought up to form the skirt in the
back and then carried across the
back to form the folds coming out
in front. Now the other end of the
silk is brought up over the top of
the form and allowed to reach down
and out on the floor. It is fitted
to the top of the form and drawn
in at the back, then allowed to hang
in a loose sweep to the floor. At a
point about even with the knee it is
drawn in and enclosed with a band
of gold embroidery, thence down to
the floor, where it is formed in a
point by folding under the edges and
finishing with a gold tassel. The
rose at tlie top of the corsage
matches the color of the panel front.

Drape 18

151

n by Geo. J. Cowan

Dhaping on Forms

DIRECTOIRE HALF SHELL FORM DRAPES

DIRECTOIRE styles
were the next in-
fluence in drap-
ing. Tlie enterprising
trimmer took advantage
of this fashion trend,
and his backgrounds even
sliowed some suggestions
of the period. This was
an ideal opportunity for
the trimmer to make a
hit for himself and for
the store, because of the
sensational features of
this style, which was so
extensively exploited in
fashion and other papers.
The more pro-
gressive stores showed
extreme models of this
style in their windows,
with the result that the
streets have been blocked
a great share of the
time.

In our sketch
No. 1 a drape on the
shell form is shown
which embodies the
salient features of the
Directoire costume—
the slashed skirt, long
clinging lines, and the
use of large buttons
as a trimming acces-
sory. A decided in-
novation also is the
use of a striped or
checked material for
the coat, and a plain
material for the skirt,
in simulation of the
compose dress.

In forming the

152

Draping on Forms

drape the left selvage of the goods is turned in two inches, and pinned in the center of the
form, just above the waist line. It is allowed to fall in a straight line to the floor and the
train is formed in the usual manner. The end of the bolt is now carried behind and up
the front of the form, concealing the undraped portion. It is pinned securely just above
the waist line, as shown in sketch No. 2. A piece of silk or cretonne is now gathered about
the top of the form, suggesting a vest.

The end of the striped or checked material is thrown from the back over the top of
tlie form, one and one-half yards being allowed for the coat drape. It is pinned at the top

I) H APING ON FOHIMS

Draping on Forms

and back of the form and the selvage turned under to form a clever imitation of the
Directoire coat. The skirt is finished with four large buttons, as shown in the sketch.

Sketch No. 3 show^s a different treatment of the trimming accessories. In place of
the vest, a cascade or fichu of lace is used, suggesting the costume of the Incroyable, or dandy
of the period. The slit in the skirt is laced with narrow velvet ribbon. Illustrations Nos.
4, 5 and G are suggestions of the manner in which riI)lion may be used to finish the top
of a drape form.

Sketch No. 7 illustrates a Directoire drape executed on the full Princess form. A
piece of cardboard has been tacked to the top of the form to give an original finish. The
method of forming the skirt drape is the same as that illustrated on the half form. The
corsage is finished with a piece of silk cretonne or wide Persian ribbon.

Drape 12

155

Draping on Forms

In making the coat drape two free ends of the goods are necessary. It is best to go
to the remnant stock for this goods. One end of the material is pinned at the top of the
form, and the coat drape executed in the
usual manner. The free end is brought
around and up to the other side to form
the opposite drape. The top is filled with
a ruching of the silk or ribbon used for
the vest. Six large buttons arc used for a
trimming accessory.

Our Figs. 8, 9 and 10 show ribbon
treatments for the waist of almost any
kind of drape on a draping form. In No.
8 the ribbon has been brought around the
waist several times and then dropped down
the side and fastened with several knots.
Fig. 9 is much the same, only finished with
a bow instead of knots. Fig. 10 shows a
wide ribbon girdle effect, held together
with a mammoth Inickle.

DIRECTOIRE DRAPE

AND WINDOW

Our Fig. 11 shows a window iiaving
several Directoire drapes in same, and a
Directoire background. The wreaths were
of green foil paper, vases of gold with
pink roses with petals tipped with gold
bronze powder. The women's heads in the
wreaths are classic studies in embossed
gold paper.

One of the Directoire drapes we had
photographed separate!}', and show it in our cut No. 12
at tho top, as usual, and drawn in some at the back.
t iTcct by pinning three small tucks behind, there is a good deal of fullness left in the
goods down in front. This is tucked up under and pinned, forming the ovcrdrape effect,
with the rest of the goods drawn tight around the form. Very simple and gives one some-
thing absolutely new. Buttons are placed as shown in the cut.

In these articles on window display and draping, we have stated that one of the most
important functions of the window dresser's work is to indicate the latest fashions. This
statement, however, will bear repetition for the truth contained in it is vital. Particularly
in the display of new dress fabrics should the draping and arrangement be such as to suggest
the fashion in which they arc to be made and trimmed. Fvcry window dresser should
I)e a close sludciil of fashion. He should study not only the prevailing styles but should

This Directoire drape is started
After forming the draped tunic

166

Draping on Forms

carefully watch the coming modes that are in process of development. A knowledge even
of the modes of by-gone generations will prove of value for the ever-moving finger of
fickle fashion points backward almost as often as forward and the styles of our great-grand-
mothers may be the styles of tomorrow. The fashions of 1908 were adapted from those of
1798 — who can say that the styles of 1834 or those of 18G1 may not be equally dominant
within the next few years? After all there is very little that is really new in any fashion.
There may be some minor embellishments that have never before been used on a gown, but
the essentials are recognized by the student as an adaptation of what has gone before.
Style is simply a matter of rearrangement and changed combinations. Therefore the really
successful window dresser must be a student of styles — if possible he should study those
of the past — of ancient Greece, Rome, Egypt, France, as well as those of Colonial America.
But if he cannot find time or opportunity to study the old styles, he sliould certainly master
those of today and tomorrow and this is one of the reasons we have shown such a really
complete range of old and new drapes in this book. No matter how far he may be from
the fashion centers, the trimmer can easily post himself through reading the various illus-
trated fashion journals. There are several of these periodicals, intended for dressmakers,
which specialize on advance information regarding fabrics, colors, trimmings, etc. From
such a journal the window dresser can get many valuable ideas both in draping and color
effects. Of course, if it is possible for the window dresser to make an occasional trip to
some fashion center, he can get his impressions at first hand, which is much better than
getting them from books. Some progressive stores send their buyers when they go to market.
When a new style is introduced, the window dresser should dissect and analyze it
carefully with the view of discovering its draping possibilities. Every fashion has some
peculiar characteristic more or less pronounced and it is this distinguishing characteristic
that the decorator must bring out in his drape. It is not necessary to reproduce every little
detail. That would be undesirable even if it were possible. It is enough to suggest the more
pronounced features of the style. It is often advisable to exaggerate the style in order to
emphasize the idea. For instance, if skirts are to be worn tight, the draping form should
be draped as tightly as is consistent with attractiveness. If coats of a peculiar cut are to
be worn, that peculiarity should be indicated in the arrangement of the goods on the form.

'Directoire Evening Govm

Arrows Jhow DiTectiomn Which
the Goods <5hoald he Carried — .

157

Draping on Forms

Xo matter what the fashion may l)e it will invariably have some marked characteristic that
will give the decorator his opportunity. But the general design is not all — the trimmer must
accurately show the best color combinations as well as the proper trimmings.

The papier-mache shell form is by far the best fixture for draping dress materials for
showing fashion tendencies. It was designed for that particular purpose.

A drape on a shell form showing an exaggeration of a style tendency may appear highly
artistic and effective while the identical arrangement on a full form would appear as a
caricature. This is owing to close resemblance .of the full furni to the human figure which
is only broadly suggested by the shell form.

Two drapes, 12 and 13, shown in connection with this article illustrate what is meant by
indicating a style. Both of them, it will be noted, suggest the Directoire fashion, one being
in broadcloth and velvet to resemble a street suit, the other in silk to indicate an evening
gown. The most striking characteristics of street suits made in the Directoire style are the
immense revers and long coats. In this example both of these features are suggested
strongly. To make this drape, take a single dress length of broadcloth in some of the new
light shades. Begin as shown in Fig. 2 by pinning the cut end horizontally across the side
of the form about the waist and allowing the surplus width to fall behind the form. The
goods now falls to the floor at the side. It is smoothed out carefully and the short train is
formed by folding the goods under and bringing it around l)ack of the figure to the opposite
side. The front of the form is covered by bringing the other cut end of the material up
over the front of the bust and pinning to the back of the form, carrying the right hand

^it-ectoice- Evcn'0<^ Cc

Draping on Forms

edge around under where the arm would be and pinning it at the back. The material is then
drawn in at the waist and kept in place by pins placed in the back of the form. Now turn
under the right hand edge that descends to the floor and form it into a graceful curve
as shown in the large drawing.

Straighten out the front edge on the floor and place the surplus goods back of the
form. The next step is to tie a wide sash around the bust a few inches below the top. This
sash is a full width of soft liberty silk or crepe de chine. At the ends of the sash are large
tassels in the same color as the broadcloth. The knot at the bust is tied as flat as possible.
We now come to the coat, which is made of velvet in a much darker shade of the same
color as the broadcloth. Fold over one length of the velvet several times and place it
in the position shown in Fig. 3. Pin it at points A and B.

Fold back the left upper corner and the lapel is formed. The skirt of the coat is
made by bringing down the other end of the velvet to the desired length; folding it under
and carrying it up again to the back where it is pinned. This skirt lies flat along the back
edge of the form. The back of the coat is then formed by drawing the lower corner (C,
Fig. 5) around behind the form where it is pinned. The lapel is finished off with an edging
of fine light embroidery. All that now remains to complete the drape is to apply the but-
tons. As buttons covered with the same cloth as the suit are very fashionable this year,
it would be advisable to use buttons covered with the broadcloth used in this drape. They
are placed along the skirt and on the coat in the manner shown in the large drawing. If
the trimmer does not care to use this kind of buttons some of the other fashionable kinds
are passementerie, crochet silk, kid or leather covered, or fancy metal.

The evening dress drape No. 13 is even easier to make than the foregoing one. In
the Directoire evening gowns the dominating characteristics are a closely draped body with
an expansive train. This justifies showing the voluminous folds and puffs on the floor as
illustrated in the drawing. This scheme serves remarkably well to show up the fine sheen
and texture of the light, soft silk that is used. A double pattern of single width silk is
needed, but this can only be used on the "hipless" form, as the larger forms are too wide
for the silk. Begin at the top as shown in Fig. 1, letting the silk fall straight down to the
floor. Then draw it in at the waist and fit it close to the form all the way down. A few
pins at the back will hold it in place.

Now form the four long double folds on the floor as indicated by the arrows in Fig. 1.
Puff up the silk voluminously at the ends of each sweep, as this will serve better to bring out
its beauties. When the last fold has been formed, carry the end of the goods up behind
the form and pin it at the top of the back. Then form it into a shoulder scarf and bring it
down to a point on the bust as shown in the large drawing. Let the end drop down some
distance and attach it to an ornamental tassel. The belt is a wide band of fine butter color
lace or gold or silver embroidery. The top and bottom are edged with narrow bands of
black jet which give a most unusual and distinguished effect. Four large fancy buttons
are placed with their edges overlapping the jet. The tassel and belt should correspond. This
drape being of an evening gown should be made of some delicately colored silk. Any of

the season's shades will serve.

159

Draping on Forms

HIPLESS AND PANNIER DRAPES

THE importance of having not only
beautiful but stylish drapes for
the display of fabrics cannot be
overlooked. More attention is being
given this subject by the window trim-
mer than ever before.

This is made evident by the greater
number of examples of this class of
work that we now see in the show
windows.

Both the Drapes 14 and 15 are
original and were developed by styles
seen in the fashion papers.

In No. 14 the form is first covered
with black satin ; then white embroid-
ered mousseline or chiflfon is draped
over the black in a tunic effect, and
caught about two-thirds down with a
silk cord, or twisted velvet ribbon in
three loops. The loops should be black
and white, or some contrasting color that goes nicely with it. The upper part of the form
or waist is draped with the satin. The overdrape is then brought from the back sweep
to a straight upright stand at the back, then out in front of the form.

Drape li

Drape 15

160

Draping on Forms

The body of Drape J5 should be carried out iu pale cerise satin. The front of the
form or panel to be first covered with pale pink chiffon and then covered with silver
lace. The buttons should be rather large silver buttons. The two bands running across
the top or bodice of velvet ribbon (narrow) of a deeper shade than the satin.

Both these drapes show the use of the hipless, slender shell form and it will l)c noticed
that the great sweep of train, usual in the early drapes on these forms, is almost entirely
absent.

In fact, it is a clever idea to swing this train around to the front of the drape, as
shown in Drape 16. Here we have a pannier drape on the half shell form. This drape
is most attractive, being made with a brocade silk having two folds brought down to the
floor and draped to the front. Another drape drops down tightly over the hips and is
caught up about at the knees in order to give the pannier effect. The upper part of the
form is trimmed with a small piece of lace and a ribbon bow at the back of the belt line.

Drape IC

IGl

Draping on Forms

DRAPING THE FULL FORM

THE full form for displaying dress
fabrics was somewhat neglected
during the years that the shell
form was first introduced. It is true
that a few window dressers occasionally
did use it, but those that got thorough-
ly satisfactory results were rare. One
reason why the full form was not used
more is because many window dressers
seem to have had the opinion that con-
siderable genius was required to make
an attractive drape of this sort. It
must be admitted that a good deal of
practice is necessary to get good efifect'?
with a full form. If the decoratoi
knows how to go about it, howe^eI,
and is thoroughly familiar with the
principles of draping fabrics, he should
be able to get very fair results and
with practice ought to be able to make
attractive drapes. All draping is done
on more or less the same principles
and one who understands how to han-
dle a shell form can, with study and
practice, learn to get equally good re-
sults with the full form.

The trouble with the average wm-

Draping on Forms

dow dresser who starts out to dress a full form is that he usually attempts too much.
He endeavors to make the drape look like a regularly made gown, correct in every detail.
This can be done, of course, but it is not absolutely necessary. Any clever window dresser
can take a fashion model and make a presentable copy of a gown that is not too compli-
cated. To do this, however, requires, in most cases, a great deal of time and trouble ; it
also spoils the goods in nine cases out of ten, for s,o much pulling, pinning and plaiting
is necessary tliat delicate materials will not stand the strain. When the drape is taken
down the material is good only for the bargain table. As a matter of fact there is no
reason why a drape should be made to look exactly like a finished dress. It is not made
up dresses that are for sale, but the goods from which to make them. The primary purpose
is, therefore, to show goods to the best advantage and to bring out the color, design and
texture. The secondary object is to display the material in such a manner that it will
indicate in a general way how it would appear if made up in some prevailing mode.

There are, of course, exceptions to this rule. There are cases when it is desirable
to drape the figure to make it appear more nearly like a gown. Examples of this kind
of work are shown in the follow'ing pages.

We herewith illustrate practical draping used some years ago, one for summer silks
and the other for summer wash goods. The first consideration in planning a drape is to
select some arrangement that will not damage the goods, the next thing to consider is
the window dresser's time. He cannot afford to spend one-half a day on a single drape.
It is, of course, out of the question to illustrate any particular style exactly, but that is
not necessary. All that is required is a suggestion to show the principal features of the
latest fashion. The two drapes shown here were selected because of their extreme sim-
plicity, which permits of their being handled by any decorator who has had any experience
in the handling ,of the draping form.

The first is a drape which was used to depict the Empire style, while Drape No. 2
was suitable for summer silks to illustrate the kimono style which was popular in 1908.
It was used with practically any kind of colored silks. It is simple in design and the trim-
mings are equally plain. This drape may be built over any standard papier-mache full
form and two dress-lengths are required to make it.

The first thing to do is to build out the shoulders of the form so they will support
the modern wide kimono sleeve and give a broad shouldered effect. This is done by
cutting out two stiff pieces of cardboard. These are about 8 or 10 inches long by half
that width. They are clipped out with a pair ,of scissors and pinned on as Fig. 4 shows.

To proceed with the drape take the end of the silk and start it to cover the left side
of the figure and it should be carried around under the shoulder, pinning it wherever nec-
essary to get a smooth, even fit. When this has been accomplished, place a pin or two
in the back, about even with the shoulder. N,ow take a yard and a half of the silk, just
back of where it is pinned at the shoulder, and make three full plaits running the length
of the goods. You now form the sleeve by turning the goods over once. This turn is made
as shown by the dotted line and arrows in Fig. 3. This drawing does not show the plaits
as so many lines would be confusing. The operation, however, is so simple and obvious
that there is little chance of the trimmer making a mistake. The plaits form the three
folds of the sleeve as illustrated in the full-page picture. When the folds of the sleeve
have been straightened out, a single pin at the point of the shoulder will hold them in place.
You now have the three plaits to bring down to the front. This is done as indicated in
Fig. 4. A pin should be placed a little below the waist line and the end of the goods is
allowed to fall to the floor.

The silk on the left side of the upper part of the figure is now in place, the next thing
is to form a skirt. This is done by allowing the silk that has been pinned in front to

163

Drapinc. ox Forms

Draping on Fohms

fall to the floor. Double it over and l>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

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<lc with a generous opening at the side, through which could be seen
a lii)eral expanse of ankle encased in silk tights. To say that the open sheath created a
sensation is putting it mildly. The stir that was raised extended throughout the world.

The dressmaker who designed the two gowns modeled them from an old fashion plate
printed in France in 1798 during the period of the Directory under the first Republic — hence
the name Directoire. More than one hundred years ago the same style was in vogue in
Paris. Its origin was in ancient Greece; the old French dressmakers copied the style from
the l)eautiful clinging draperies worn by Athenian women almost two thousand years before.
Thus has a classical style been brought down through centuries to today.

But the Parisian dressmaker who sent the models wearing sheath gowns to the race
track at Longchanips made a most serious blunder in so far as art is concerned. The sheath
gown was never intended to be worn on the street. In ancient Greece it was a house gown.
In France during the Directory it was worn as an evening gown — never in any age was it
worn on the street, nor is it a proper style for street wear.

The modern sheath gown should have been l)rought out as an evening costume — the
style should have been introduced to the public in the customary way of introducing new
models in house gowns in Paris — that is through the medium of the stage. Had it been
presented to the world in that way there would have been little or no objection, and the
sheath would have been adopted to a much greater extent than it ever will be as it is.

Nevertheless the principle of the sheath gown and the Directoire style are here to stay.
They are not the result of a sudden whim or fancy, but are due rather to natural evolution.
For years fashion tendencies have been leading slowly, l)ut none the less surely, in this
direction. It is getting back to the beginning — to the true art that lies in the classic folds
and draperies of the old Greeks. The styles in their present somewhat radical form will
change, but the influence of this fashion will be seen for many years.

The window dresser may profitably spend his time in studying the display possibilities
suggested liy tliis style. The classical lines and the graceful draping effects lend themselves
admirably to skillful handling. As giving an idea of what may be done, a simple but highly
effective drape is shown in the sheath style.

The drape No. .3 is an exceptionally good one for several reasons. In the lirst place it is
exceedingly attracti\e when properly done. In the second place it is remarkably easy to
accomplish. It is in fact so simple that even ;in inexperienced beginner can make this
drape satisfactorily if he will follow the directions carefully and study the diagrams. An-
other good feature is that very few pins are used and the goods need not be damaged in
the least. No straining or stretching is necessary to get the right effect.

The materials needed are as follows: Two dress lengths of double width, soft liberty
silk, abrnit three or four yards of lace four or five inches wide, about four yards of finest
soft chilton or vvr\)v dv chine, a y.ird or more of wide gold embroidery.

The drape is made over the ordinary costume form. The new style "hipless" pattern
is very desirable, if it is available, as the (Irai)r is speci.dly designed to fit over that kind of
a form. If the trinuner li;is no "bipK-ss" form, lb,- old fashioned type will do. In this case,

168

Draping on Forms

however, it is better to use a 34 size and pad out the chest about two inches. This gives
a more shni effect to the hips and is a great improvement over the ordinary 36 form.

This is a decollete drape, so the first thing to do is to cover the upper part of the form
smoothly with white or very pale pink satinc. Smooth this material carefully over the
shoulders, around the neck and bust and pin with very small pins. Tlic satine will have
to be cut and fitted perfectly to the form, as it represents the skin. The entire top of the
form should be covered as smoothly as possible in this manner. Now take a strip of lace
four or five inches wide and cover the shoulders and bust. This is done as sliown in
Fig. 1. Starting at a on the right side, carry the lace straight up, allowing it to stand out
some distance over the point of the shoulder. The lace is carried some distance down the
back and then brought forward again, where it extends to b, almost down to the waist in
front. It is then turned back forming a V, and carried back over the other shoulder and
then again brought forward so the outer edge extends out over the point o{ the shoulder,
bringing the end down in front and pinning at c, slightly above the waist line. In turning
the lace as at point b and in the back care should be used to keep the right side of the lace
always outside. That, however, is a very easy matter. When the lace has been put in
place, the next thing is to proceed with the silk.

Unfold the goods and take one end of it. Turn the end under several inches. Raise
the end as shown in Fig. 2. The front selvage is turned under five or six inches and a pin
is placed in the corner at point d. The other corner is carried around under the arm, drawing the
goods tight, and a pin is placed in the back at point c. The silk is drawn in to the
waist at the back and another pin is placed down about the waist line. This pin should
draw the goods in so it falls properly over the hip. Do not try to smooth out the wrinkles
at the waist, as they are part of the drape. These wrinkles are characteristic of the French
gowns which this drape is intended to suggest. They add much to the general effect. After
the waist has been fitted as in Fig. 2 the remainder of the goods is unfolded and carried
around back of the figure to the opposite side, being careful not to twist the material.

Now take the other end of the goods ; fold over the selvage at the right side and turn
under the cut end in the same manner as was done at the other end of the pattern. Lift
the goods straight up and pin the right hand corner about three inches from the middle
of the back as indicated in point g in Fig. 3. Bring the folded top edge straight aroun<l to
the back on the opposite side and place a pin at point F, which is about the middle of the
hack. The approximate position of point g is shown more clearly in Fig. 4 which is a back
view. Having pinned the goods at points f and g, the surplus on both sides is drawn in
at the back and pinned down about the waist line. The exact location of these pins are
not indicated as they will vary to a certain extent with goods of different widths and forms
of different sizes. In placing these pins the goods should not be drawn tightly enough to
strain it. Draw it in just enough to make the silk fit snugly over the hips and let the
wrinkles take care of themselves. They will fall naturally in the right places and can be
slightly rearranged after the drape is finished.

The drape is now in the stage shown in Fig. 3, with a lot of surplus goods on the floor
at the back. Pick up this goods by the crease in the middle and carry up to the middle

Draping on Forms

of the back and pin it there, as shown in Fig. 4, forming the front folds and the wide pleat
in the middle of the back. The crease of the goods should extend straight down the
middle of the back fold. Then form the folds on the back side of the drape. Be careful to
get the folds smooth and even although they need not appear exactly as they do in Fig. 4
as this sketch is merely an outline to show the general plan. A much better idea can be
had from the large drawing and the back view shown in the full page illustration.

The next step is to apply the remainder of the trimmings. Take a width of crcpc dc
chine or soft chiffon about 3% yards long ; gather it together tightly and throw it over the
shoulders pinning it at points h and i on each side of the back as indicated in Fig. 5. The
ends which hang down in front should be about as shown in the full page illustration. One
end reaches just to the floor — the other is some 8 or 10 inches shorter. The crepe de chine
is gathered rather closely and brought down over the chest and pinned just below the top
line of the silk. The ends are gathered tightly and fall straight down in front. The lower
ends are finished off with appropriate tassels wliich should be of gold or silver (to corre-
spond with the belt), with pointed ends.

The finishing touch is a broad girdle made of heavy gold or silver embroidery. It is
started from the middle of the back and carried clear around the bust to the starting
point where it is pinned. The drape is now finished with the exception of a hosiery form
which should be fitted with silk hose and an attractive slipper. It is placed so the foot
and a bit of the ankle peep out of the opening in front. Should the trimmer not care to use
a hosiery form, the opening should be arranged so the base of the stand cannot be seen.
The vent may be filled with a panel of gold or silver cloth, allover lace, etc.

After the foregoing directions have been carried out the trimmer should go over his
drape careful^', straightening out the folds and adding the finishing touches. Draw the
folds close to the figure in front and at the sides in order to give the slim, narrow hipped
effect. Turn under the ends of the folds and smooth them out in an orderly way. It is
these little finishing touches that give the drape its character.

In making this drape a striped pattern is the best to use as all of the stripes run up
and down. The effect of the stripes in the (rain arc especially pleasing as they all run
from a point at the top, spreading out like the stick of a fan as the drape widens toward
the floor. As was stated in the beginning, this is a very simple drape and one which anyone
should be able to make without any trouble.

The finishing off of the upper part of the form can be done in many ways that will
suggest themselves to the decorator. A late fashion plate should afford many suggestions
along this line. The writer would urge, however, that some strong, simple design, such as
the one shown here, be used. It is much easier to arrange and the effect is likely to prove
more satisfactory than if a more complicated design be attempted.

Since the introduction of the draping form, some years ago, there has been hardly any
other method used for the showing of dress goods. This is because you can introduce
fashion value in the drapes. That is what is introduced in the drapes shown herewith.

Drape 4 shows the full form, posed just as you see it, giving a three-quarters' view.

170

Draping on Forms

The window trimmer should pose his forms the same as a photographer, in order to get
the very best possible view and artistic effect. The window should be viewed as a picture
and the forms placed therein in such a way that the composition of the completed picture is
perfect.

A good plan is to experiment in your workroom first and get your drapes just to
suit you.

The sweep of the skirt in this drape comes from the back, and is brought to one side
and to the front. You will notice the pointed effect at the top of the bust line of the form.
This is produced by the addition of a pointed piece of heavy cardboard. This is a good
idea for the finish of the top of a form.

The top of the form is finished in three strands of narrow dark velvet ribbon. For
instance, if you have a drape of pale Copenhagen blue, use dark blue velvet ribbons.

A little to the right of the front of form is gathered a large cluster ,of ribbon loops, in
varying sizes, as shown in the drawing, one of the loops being long enough to drape on
the floor. Below the waist line in the front of the form, you will notice the wrinkles, as
seen in certain of the new styles. These little up-to-date features are things that make
for the success of your work.

The drape No. 5 is very simple and rich. It is especially suited to high grade material.
Only one pin is used in the entire drape, thus giving less chance to damage a fine fabric.

The beauty of this drape lies in its simplicity, and in the unusual pose, bringing out
the long sweeping lines of the long train in the back. This drape shows the back view
of a full form. The folds ali start about five inches above the waist line, in order to
give the Empire effect.

Use a soft material in some plain coloring, minus a pattern or figure. The finish at
the top. or waist, is simply the circling about the top of the form of the necessary amount
of very wide ribbon. The prettiest effect is produced when various shades of one color
ribbon are used. The darkest shade at the top.

After this ribbon jacket is made, drop the ends of several of the ribbons to tlie floor
as streamers. Either satin or velvet ribbon can be used.

There is quite a decided advantage in using these full forms, for they will be such an
absolute change from the half form that has been used, that your window will, because of
the change, attract much attention. Of course these forms should be posed so that you
get a full or three-quarter view of the front or back. If you sliow a side view, you might
as well use only the half form.

It is a good idea to try and be the first firm to spring the new forms and new drapes —
thus being responsible for a scoop in the window trimming circles of your town, and dem-
onstrating the fact that your store is the most progressive.

171

Dhapinc on Forms

The clianging styles should be mirrored in the windows as soon as possible. It is
the trimmer's duty to show the newest styles, and to show them in such a manner
that the style value is brought out prominently. The windows should be veritable fashion
plates, showing the style tendencies in advance of the season, somewhat on the same

order as regular fashion journals.

Tlie up-to-date trimmer pays as
much attention to the changing styles
as he does to bringing out clever
background designs. You can read-
^'^'^ ily understand how easily spoiled a
■^ beautiful background would be if
passe styles were shown in the win-
dows.

In drapes 4 and 5 we show styles
that embody the Empire and Prin-
cess modes, influenced somewhat by
the Greek influence. The fashion
lines in these styles are long and
clinging, not showing much of the
waist line or hips. This effect is pro-
duced by starting the waist line, es-
pecially in the back, four or five
inches above the regular waist line,
and letting the goods drop loosely,
just touching the hips and then drop-
ping to the floor in long, graceful
folds.

The gowns of this style in some

cases are several inches longer than

measure. This extra

s on the floor and in

s the skirt closelv about

Draping on Forms

the Hmlis. and in repose
falls in Ijrokon folds on
the floor. This is a
pretty idea to bring out
in your draping of the
form, and is shown in
our illustrations.

Certain styles are
hcst produced in certain
materials. For instance,
the styles of these drapes
call for soft materials
that will hang in long,
soft folds and give pretty
graceful lines. Such
goods as rough finish
and liberty silks, messa-
lines and f.mlards are
very good.

The good trimmer
knows just as soon as he
touches a piece of goods
how it should be draped
to bring out its individ-
ual beauty and charac-
teristics. He would not
think of taking a heavy
taffeta and try to pro-
duce a tight-fitting
princess drape, or pro-

Drape 5

duce the long, soft folds of a Grecian
drape on a form.

Soft goods show off to the best
advantage on the draping forms. In
fact there is no better way of showing
any goods. Soft goods show off espe-
cially well because they need some sort
of foundation.
173

Draping on Forms

The introduction of the Grecian styles in women's wearing apparel several seasons
ago gave the first decided impulse to the draping of the full form in window display.
These and the Directoire styles immediately following, lent themselves admirably to
this purpose. The next style that the trimmer had to contend with was the hobble
skirt idea that did not possess as many advantages from a draping standpoint as did
these others. The close fitting skirt gathered in with a band just above the ankle does
not permit of the long sweeping folds which every trimmer knows are necessary for show-
ing yard goods to the best advantage.

Our drape No. G shows a very plain and simple adaptation of tlie bobble skirt idea
lo a full form drape.

iMrst, of course, the bust of the form must be covered with some white material, and
idain wliite tissue paper serves excellently for this. The top of the form is then covered

with a width of allover lace, the ends of which are
wrought out at the sides to cover the arms. In case a
headless form is used, dummy arms should be made of
flexible cardboard, rolled into a cone and bent at the
elbow. It will be necessary to cut out a segment of the
cardboard at the elbow in order to do this, but a little
experimenting will soon give you the right pattern.

Parallel rows of wide ribbon are next placed across
tlic front of the bust, and the same ribbon used to
trim the cuffs and later on to form the belt. To put
on the cuffs without cutting the ribbon it will be neces-
sary to bring the ends of the ribbon down through the
inside of the paper arms.

For the drape a soft piece of silk, such as foulard
or pongee, will be found best. Start tlie end of the
goods at the waist line witii the belt, and let the goods
fall perfectly straight down in front to the floor. Fit
this first width tightly on the form, then fold under the
liottom edge, carry the goods back and out at one
side. Tlien bring this width up over the shoulder,
turning the front selvage under and pinning, first at
the waist line and tlien at the top of the shoulder.
Tlie goods are then fitted tightly around the waist line
and the outer selvage folded under to give a finished

effect at the shoulder as it passes around

the sleeve.

The other end of the goods is then
brought up over the shoulder from the
back and down to the floor in front, and
the silk fitted to the form same as on
the opposite side. The surplus goods
in the Ijack can now be laid in wide pleats and fitted smoothly to give a finished effect.
The two outer folds of the silk are now caught up and draped back on each side and pinned
about fifteen inches from the floor. A wide satin ribbon is used to form the "hobble"
band, the end being formed in a large rosette, then carried tightly around the back of the
form to the front on the other side and another rosette formed.

174

Drape 6

Dhapinc. on Forms

When this is dune very carefully draw up a little surplus goods frorn underneath the
hobble band to form a fullness above, as indicated in the drawing. Then whatever surplus
goods there may be left in the back can lie brought out on the floor to one side in two or
three folds, forming the train.

In Drape No. 7 we show a hobble drape on the form with the cut out neck. Tliis form
is in the very slender shape with the narrowness below the knees and is especially adapted
to this style termed "Hobble Skirt."

The drape as shown in the drawing is of a piece of polka-dot satin, draped smoothly
over the upper part of the form and allowed to drape in natural fullness to the floor.

To get the hobble efifect it will be necessary to gather a wide band of satin about the
form below the knees. Tliis band should be the same color as the polka-dots in the silk.

The front of the upper part of the drape is finished off w'ith a bow of ribbon with a
length of it suspended in pendant form. Tliis ribbon is l)rought around from the back
of the form.

Drape 7

175

Dhaimng on Forms

'/r-.

Drape 8, Fig. 1

are placed in the back at the
neck, about the middle of the
back, at the waist line and the
last one ratlicr low down on
the hips. The loose end of the
goods is left at the bottom
and then brought up to the
left shoulder of the figure
(right side of picture) as
shown in I'ig. 2.

Fig. 3 shows the next
move. The surplus goods are
brought across from the left
shoulder U> 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

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.

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.

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<K- a> 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

•"«'

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,

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<iiibling the goods
and folding over the ends for the
height of the collar. Then bring the
goods back over the shoulder between
the two layers and finish with a bow
and fancy button. Next cover the
--leeves with the ends of the material
which was tatifeta silk, covering the

■Iva-e an.l <
M-ni the tra
iree >-\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

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 <jf "The
Queen's Own Toilet Pins, Supe-
rior Ouality, Size B. B." These
are extremely small, smooth pins.
almost as hue as a needle, and
tlierefore they cannot damage the
materials.

And it is absolutely necessary
to learn to work with a thimble.
A trimmer cannot afford to take
chances on fine materials, even
with the smallest of hammers.
But aside from damaging the goods, the thimble is much easier and quicker to work with.
You can get into corners with it that would be very awkward to reach with a hammer. Get
a large-sized thimble and keep it in your pocket. It may seem awkward at first, but wear
it constantly when working where no one could see your hands and you will grow as
accustomed to it as one would to wearing a ring.

Many trimmers drape the figures in their workroom on Saturdays and then place them
in the windows. Of course the drape has to be rearranged again after it has been placed
in the window, but this method saves working too long in the window. Study the best
fashion plates ; watch the costumes you see worn, and you will get many ideas that can
be used. You will rarely Ihid a picture of a gown or waist that you can copy exactly,

227

Fig. 10

Draping on Forms

but that is not necessary. All that your drape is intended to accomplish is to give a more
or less accurate idea as to how the materials would appear when made up in a certain
style. One cannot be too painstaking in the first steps of these drapes, for on that
depends the success of the whole thing. When once you have learned to make a smooth
skirt and a plain waist, the rest will be easy and you can make almost any style you wish.

Fig. 11

Draping on Forms

WAX FIGURE DRAPE No. 2

THE dress goods department in most department stores is one of the most important
and the trimmer who can satisfy the buyer for this section can feel pretty secure in
his position. That is the reason that every trimmer should study draping. He
should make a specialty of this branch of his work. It is not a theory but a proven fact
that the logical way to display dress goods is to show thciii, as nearly as possible, in the
manner in which they are to be worn. Actual tests have proved that fabrics draped to
represent waists and gowns sell far more readily than when they are displayed in any

rig. 1

other way. The trimmer who is trying "to make good" with the dress goods buyer can
accomplish this end in no better way than by mastering the details of costume draping.
The purpose of this book is to impress upon the trimmer the importance of this phase of
window dressing and to give him some of all of the principles of the work.

To the beginner, and in fact, even to more experienced trimmers, some of the pro-
cesses of draping are not very clear. Many trimmers will never really master it until they
have a chance to study it under the personal instruction of some good teacher. Others
will be able to follow out nicely the drapes suggested in this book.

229

DUAlMNd ON FoHxMS

Fig. 1 shows a 3(i-iiich full form dressed down to the waist lino. It was covered first
with a pinned slip made of white sateen. The guimpe was made of black silk all-over,
and it stood out beautifully against the white sateen. The reader's attention is called
particularly to the dark parts on the shoulders which have the appearance of a "bolero"
jacket in the picture. This is the surplus of the all-over and the photograph shows how
this extra goods is pleated and made to serve as padding for the waist. In this case there
was at least V/2 yards carefully pleated in each shoulder.

While this picture is lacking in detail, it slmws conc]ii'=i\ rly ijiat llic goods need un\

he cut no matter how long the all-'iver may he. Tin- collar i^ made from llio same piece
of lace, but care must be taken in the l)eginniiii; that liie palUrn of ihe all-over be gotten
directly in the center of the bust before the surplus goods is pleated at the slunilders. The
ends of the lace are of course at the wrists.

Fig. 2 shows just how to begin the skirt at tiie waist line. Tlie si ripe must lie kept
perfectly straight up and down. This illustration shows the silva^r i-inncl in the center
of the figure at the waist line. The ])in is held by the sateen under-lining. The deco-
rator's left hand shows jnM where the second pin is placed. It will I>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

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,

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

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

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-

■

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

WILL H. BATES

255

Fig. 4

DRAPING THE SKIRT FORM

Fig. 1

Tig. 2

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

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 a<lapted this style of draping is for si,,cky windows,
as well as those in which only a few pieces of goods are shown. The sweei>s 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

I i^^-^

<i<<?.^.Cov<»n|

WINDOW PLAN No. 9

THIS layout is similar in arrangement to the one just described except that the stand in
the middle is low instead of high. This makes a very good plan for showing any
kind of novelties.
The middle stand is placed slightly in front of the center of the window. It is 3H
feet high and is covered with Drape 2. The two shell forms in front may be dressed ac-
cording to the taste of the decorator with any of the drapes that we describe. The stands
at the back arc placed at a height of 7 feet and are dressed with Drape 4. The left hand
rear sweep of the right hand stand is looped up in a half circle to the middle of the top
of the background. Before beginning to make the loop the sweep will have to be caught
up at the back of the stand and pinned in a small loop in order to give the large loop the
proper start. The small loop is concealed from sight. The corresponding sweep on the
opposite stand is treated in the same manner, and the goods that fall from the point
where it is pinned are arranged in smooth even folds. As this is a conventional arrangement,
the loops that arc pinned to tlie background should be arranged so the two sides are
uniform and even.

In arranging the sweeps of tlic various drapes in this display the trimmer will
have to be governed by the size of the window and the position of the middle stand. If the
window is a large one, the sweeps will take care of themselves, l)ut if the window is small,
the middle si and will have to be placed back in such a position that the sweeps of the
drape form lit in between the sweeps of the middle stand, or it may be placed farther
forward so tlie sweeps of the drape form pass entirely behind it.

278

How TO Lay out Complete Windows

WINDOW PLAN No. 10

HERE is an unconventional arrangement that makes a pleasing effect. It is suitable
for showing novelties in dress goods and can be used in a window of almost any
size or shape. The draping form at the left is covered with any of the drapes shown
in this book. The five stands at the right are all in different heights, varying from 8>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

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

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

-^^

H^lj^^S

P^T^H

V Wflt ' ^

ilBAlv "Mm^mi

y ^^^Pj

Fig. 2

^^■l

^^^^^^H 4'^__L

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

u
o f

■^ o

c 55

<u ^

•5^

•5

•S

u2 ^

^ ^

O p

•^

^ o

o
-a

»-3

S ^

^ ^

^ H

.''n

a i/i

« o

tA)

^ i^

^ 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

<u •<-> 3

-^ x; -a

^ o In

£ ■> "<«

CO O x>

rt CO ^

c -5

-2 1 6
ij <G ti

c I ^^

O (U

„ U. J!

•II -s

2 " «

-a rt o

5 5?^

•a
-o •'- "a

S fe §

^ 2

Foreign Draping

rig. 11

rig. 10

rig. 12

FoRKiGN Draping

stand over which a fold of dress goods is thrown. Tlie other two boxes are shown at the
sides of tlic window and hold bowls of artificial flowers and serve as stands from which
dress goods arc draped. You can see how well any of the box drapes we have shown can
lit in here. The arrangement of goods in this window is well thought out.

The first drape in the group (Fig. 5) is that of bordered fabric thrown over a pedestal
or stand, al)out four feet high. This pedestal is placed on top of a six-inch high platform,
covered with the same goods as cover the floor window. Then the double-width bordered
goods are draped over the pedestal so that the lower selvage, containing the border, just
falls nicely on top of the six-inch platform.

Next to the pedestal drape is shown a double drape, or two forms draped exactly alike,
except that they are reversed (Fig. 6).

This drape is very similar to our form drape Fig. 1, except that the goods are not
drawn in the center, the overdrape being held up by ribbons. The garland or festoon
of artificial flowers draped between the two stands is a very pretty decorative effect.

Our next drape (Fig. 7) is very similar to the double drape, having a slightly different
way to arrange the goods. Fancy braid, a fan and rosette of ribbon are introduced as
trimmings.

The last drape (Fig. 8) is so clearly indicated in the drawing that it needs no
description.

The beauty of all these drapes lies not only in the graceful draping of the goods, but
in the ease of execution and inexpensiveness of the fixtures, all of them being nothing
more than upright stands, with cross bars at the top.

We show in the pedestal drape a very tasty way of introducing accessories, such as fans,
slippers, etc., in a cluster of artificial flowers arranged on the floor at the base of the drapes.

Too few trimmers realize what good fixtures they can make out of old boxes and other
things that they have at their command. If the boxes do not happen to be just of the size
you want you can easily use the lumber in them for making boxes of the right dimensions.

The most common use for a box is to use it as a pedestal on wliich to show goods
or decorations. You are all so familiar with the pedestal-and-shelf arrangement of unit
trims that we will show the box used in other connections; for with the shelf the box
practically does not show, as it is hidden with the merchandise trim.

Figs. 9, 10 and 11 show a very artistic decorative treatment for most any window.
These boxwood trees and bouquets make very effective decorations and can be real or
artificial. Our idea in these sketches is to show how to drape the boxes on which the
plants or flowers are shown. Fig. 9 is trimmed with ribbons and silk as is also Figs. 10
and 11.

Our next dress goods drape is shown in Fig. 12. The small drawing at the side shows
the box with a nickel stand on top, from which is suspended a hoop. The completed drawing
shows how four patterns of dress goods can be draped from this hoop to the floor.

309

Foreign Draping

UNUSUAL GERMAN DRAPES

HERE is a home-made drapery stand that looks like a form. This is the idea of a
German trimmer. Our illustration shows just how it is done. Fig. 1 shows the
upright nickel or w,ooden stand (wooden preferred), with the three cross-pieces
at the top. The top cross-piece is the width of the collar, the next cross-piece is for the
bust, and the next for the waist line. The cross-piece that is used for the waist line has a
slight dip to it. The wooden stand is preferred because you can more easily fasten the
cross-pieces to it.

The drape is started at the top of stand, as shown in Fig. 2, enough goods being
allowed at top to fasten in the shape of a collar. The goods are stretched out over the

bust line and gathered in at the waist line, then dropped to the floor and up again to the
back of waist line, as indicated by the arrows in Fig. 2.

The next drawing. Fig. 3, shows the complete drape, with the goods nicely placed to
simulate, as near as possible, a full figure. A belt is fastened about the waist and a parasol
displayed at one side of the drape.

We do not think much of the man's straw hat used to finish the top of the drape.

In Figs. 5 and G we have something new in the way of a papier-mache draping form
devised by a German trimmer.

One can never tell what will be seen next in the window trimming world. Some of
the new ideas are very clever and practical, others may be odd enough to attract some
attention, but are not of any permanent value.

The latest wrinkle that we have run across in the
papier-mache form line, is the one illustrated herewith.
This is nothing more nor less than half of a full figure
with the upper part lifted about eighteen inches from
the floor. Thus the form is posed at an angle.

The entire garment is
draped on the form, one
arm of the waist having
been slipped over the
wooden support that /
holds the form up from
the floor.

The one cut shows the
undraped form and the
support, while the other
drawing shows a gown
draped on the form, the
sleeve of which covers
the support.

At first glance this
seems like a rather peculiar way of showing a garment. Iiccause it shows it m such an
unusual manner. It is generally supposed best to sliow a garment in a way that approaches
as near as possible its actual appearance when worn.^ About the only thing that we can
think of that would be worn in this position is a lounging robe.

If any of our American trimmers feel like trying this drape they can do so by simply
using their half-form draping forms.

310

rig. 6

Foreign Draping

COMPLETELY DRAPED GERMAN WINDOWS

THERE arc many
stores that do not
have a complete
assortment of window
fixtures. There are
stores with only two
small windows. There
are stores without a real
window trimmer.

Stores of this kind
cannot hope to put in the
elaborate dress goods
drapes and displays they
might like to. Still they
can put in very neat,
tasty displays that will
add materially to the
looks of the store and
the sale of the goods.

These fully draped
windows designed by a
German trimmer suggest
some very good ways of trimming small windows.

In Fig. 1 we show a simple arrangement of four
wooden stands. This makes a neat, stocky, business-

Fig. 2

311

Fig. 1

pieces of yard goods on home-made
like trim, and is adaptable not only
for the better goods, but
can be used for the
showing of the cheapest
wash goods, such as cal-
icoes and lawns.

Next we show in Fig.
2 how to drape six
pieces of goods on the
sides and background of
the window. Wooden or
metal arms are fastened
at the top of the win-
dow as shown, and the
goods draped in simple
folds to the floor. A
pedestal or table is placed
in the center of the win-
dow, holding some sort
of floral decoration. The
ends of the goods are
draped over the floor
and over three boxes of
different heights that

F()hi;kin Dhaimng

lift the goods from the
floor.

Our Fig. 3 shows an-
other complete window
trim with the dress goods
draped in the same man-
ner as in Fig. 2, only
spread out a little more
and not brought out on
the floor so much. The
floor can be reserved for
the display of other
pieces of yard goods,
and in an arrangement
similar to our Fig. 1, or
can be given over to the
display of some other
line, such as fancy para-
sols (as shown in the
drawing), or other goods
that go well together or
^^^- ^ are accessories.

Our window, Fig. 4, was designed for use at Easter time but, of course, could be used

any time of the year by leaving out the rabbits, chariot, eggs, etc.

The entire layout of the window is so well done and the Easter idea is so cleverly

introduced that we feel certain many American trimmers can get some good out of the idea.
Aside from the good that you can get out of seeing different decorative ideas in

windpws there is the

pleasure of seeing what

other people are doing

in your line of endeavor.

To the window trimmer

there is some good and

much of interest in

everything he sees.

We show next in our

illustration No. 5 a

grouping of dress goods

in conjunction with ar-
tificial flowers. In the

center is a pyramid

drape finished at the top

with a fan-shape cluster

of puffs, in the center of

which is fastened a husc

bouquet of artificial

flowers.

This drape is flanked

on either side with tall

Foreign Dhaping

drapes finished at the top with small clusters of flowers. Several tall vases are also intro-
duced in the -window, filled with large bouquets. Notice carefully the different drapes.
There are some of them that will probably be new to you.

From the German paper "Der Shaufenstcr" we ()l)taincd the design shown in our
Fig. 6. This window has a very light lattice-work tlirown r.round the border and on to])
of background, as a dec-
oration. Through tlie
central arch is built a
series of three steps. On
the lower step or plat-
form is posed a wax
figure completely outfit-
ted with hat, gown,
gloves, purse, etc. Two
tall drapes of dress
goods are shown, fin-
ished at the top with
huge bouquets of flow-
ers. This sort of drape
would look strange in
an American window.

A small table or
stand is placed in one
corner and has, besides
the vase of flowers, such
articles as parasol and gloves thrown on it. A piece of dress goods is draped around
one leg and over the floor.

Hats, waists, ribbons, veils, parasols, and dress goods, all displayed in an ingenious
manner, complete this interesting window.

Fig. 5

Foreign Draping

Fig. 1. Fabric Display Made in 1910 by Seidenhaus, Michels & Co., Berlin, Germany

This is one of the windows entered in a window trimming contest held in Berlin.
Notice the beautifully carved woodwork on the permanent background. The arrangement
of the drapes is exceptionally well done, each piece showing up to advantage.

Fig. 2. Silk Display Made in 1910 by Seidenhaus, Michels & Co., Berlin, Germany

This window is a companion window to the one shown above. The background has
been covered with gathered velvets and two silk drapes are placed in the corners. The
center of the window is taken up with a draping of several pieces of silk over a tall
pedestal and through a taljourct. The pedestal and tabouret arc very elaborately carved.

314

F()hp:ign Draping

" ■> CO

J2 f) hn

<U O ^

bo I- ,

■ SCO

a, c „
-t3 c -J-;

^ ?

SIS

Foreign Draping

EXAMPLES OF DRAPING FROM ENGLAND

W]". NOW show several ideas taken from England. Our Fig. 1 shows a clever way
of displaying water-proof cloth, as a demonstration of the actual water-proof
quality ,oi the cloth you are selling, you could not have a much better arrangement,

while if any water should accidentally soak through (which it ought not to), it is not seen

ly the interested public.

The way to arrange is over a rough frame of lumlier, or even a deep box lid. The

lay figure is dressed in
an ulster and cap, as
shown, seated upon three
or four bales of the
cloth. The balance of
window should be ar-
ranged neatly with the
usual drapes and price-
cards. A cheap fishing
rod is all that is neces-
sary, equipped with line
and a large float, and if
you could make your
artificial pond deep
enough, a few small live
gold-fish, or even tin toy
ones, would lend very
greatly to the attraction.
When posing the fig-
attempt anything out of

Fig 1. Display of Bain-proof Cloth
ure, be sure and arrange it as naturally as possible

Do not

the ordinary, as the whole point of the window lies in the exhibition of rain-proof cloth.
If you could arrange for a little trickle of water from the ceiling into the pond, it would
also add to the effect.

The only show-card
we recommend in front
of the pond is one with
the words "Real Rain-
proof Cloth." Any other
show card used should
be placed by the cloth
on which the figure is
seated, and should con-
tain eloquent, well-
worded details of style
and prices of the goods
you make from this rain-
proof cloth.

In Fig. 2 we show
rather an elaborate idea
for a window. There
are some good things in
this display and some-
one may be able to use

FoHKiGN Draping

them with profit. The terrace steps are of lumber, covered flat with white goods. Suppose
this is to be a display of white goods — you can then make the steps of whole bolts of muslin.
The posts can be topped with folded bolts of muslin, or made entirely of bolts of wide
sheeting.

The spindles of the railings can be of box-fold goods, such as India linens, lawns, etc.

For the lake lay a mirror on the floor, and for the water lilies shape a handkerchief
or doily. The leaves for same can be of cardboard, cut out to suitable shape, and covered
with an art shade, green denim or other material.

Fig. 3. Yard Goods Drapes for Selfridge's, London

The swans are made of cardboard or wood skeleton, to shape. For neck cut out
shape in flat cardboard and pad on either side with soft paper, to get the roundness of
neck; cover the whole with lemon paper or sateen, over which place crochet doilies or
handkerchiefs. Black buttons will form eyes.

Our Fig. 3 shows a type of draping used by the Selfridge store in London. This
draping was done by 'Sir. Edward N. Goldsman, an American window trinnner, who has
had charge of Selfridge's window displays ever since the store started.

There is quite a variety of drapes in this window and the accessories, such as hats,
shoes, parasols, feathers, etc., are well placed.

317

318

FoHHiGN Draping

EXAMPLES OF DRAPING FROM AUSTRALIA

THE illustrations on this page show special drapes of dress goods that were made over
fixtures of his own making by a window trimmer in Sydney, Australia. While
both of these drapes are out of the ordinary, they are simple and easily made.
The first one is made around cores upon which linoleum is wound. The cores were
cut in different lengths ; then the material was wrapped around them smoothly and the
ends were arranged in little
side sweeps as shown in the
illustration. The trimming
consisted of narrow velvet
ribbon. The second figure
was made over a tall, square
box-like fixture having a
plain square base. This was
first covered with heavy pa-
per put on smoothly and
then the draping was done
as shown in the illustration.
An almost endless variety
of fixtures can be made on
the same general principle
of those shown here.

These draping stands will
suggest good foundations
for use in developing many
of the drapes in our lessons
in this book.

The idea suggested in the
first drape of having two
stands of unequal heights
on which to arrange a
drape can be carried out in
many different ways.

The great number of dif-
ferent drapes shown in this
book are only a few of the
many that can really be de-
veloped. In fact, each one
that is shown here will sug-
gest several others and mul-
tiply every drape we show
by three or four, and you
will get some idea of the
possibilities in the way of
variety in draping.

319

Foreign Dhaimng

EXAMPLES OF DRAPING FROM DENMARK

THE window-trimming work done in foreign countries always contains some things
of interest to the trimmers here in America. We are fortunate in being able to
reproduce these photographs of some Danish windows.
These photos were obtained from a window trimmer in Copenhagen, Denmark. What
he says in regard to window trimming in Denmark, is interesting. He says :

"In the better stores the windows are well built and of good size, thus enabling the
trimmer to put in really comprehensive displays.

Fig. 1

"In the smaller stores the windows are suiall and inu^t. trimmers make it a point
to crowd the windows with an assortment of almost everything in the store. This is a
very common fault in almost every country."

In Fig. 1 is shown a symmetrical and pleasing display of wash goods. This is a type
of display that was quite the thing here in this country some years ago and many trimmers
still crowd in set displays of wash goods similar to this.

Fig. 2 is very interesting as it shows a series of dress goods drapes that were quite
common here in America and also in Germany some years ago. As an example of this
style of draping we must admit that this window is very good.

Notice the ceiling in this store. It is made of diamond-shaped sheets of pure white
glass, the panes being held together by means of narrow metal molding.

h— , *« °

.>,S rt

o 5 ^ ■-

^ '

"tn rt OJ T)

> - o

O u g

M ^m c

!:'2 .1

o ^-1 ^

is ■" . o S

> Q rt •£

sho
red
low
rati
app

'3 ^ O

-u -t; o

"O 2 jr -c

g ~ M-. y -O

OJ -r -t; *-

with r
approp;
ows wi
ut on

~ a 9 ^ -Ui

. S-s., s-

^•^'^'^

^ "-> c« ^ a,

° ^-S bo

u^H 3 3

T3 rt C

=« o o >.

^^■^s

1^ li-s

g-2 ...S

-^-' _rt en n

- "E, 1=^ ""

-Q ^ ^ S

n E O „

i ^^1?

rimmer we give
ieveral years ag(
ticularly handsoi
any of the wind
a window trim
:ts a fowl-yard.

sticks of b
A windc

ch catch t
a meanir

pright 5
cocks,
of whi
is not

ndow-t
me. S
a par
In m
sed as
sugges

over u
gnified
folds
ground
lanatio

.« rt c/i .3

^ "': s >.-§

^ '-3 ^ -^ g-

^ "^-^ ^-5 §

&0*:-:

s the Japane:
he year with
n. In Japan
esty of deme
ture is uniqu
lower backgr

re deftly dr;
ng a group
to advantage
n the upper
re a word o

essive
ristens
ipy om
ain ma
this fe
ss the

:repes ;
3, forn:
goods
■circle
11 requ

2 Z

o g

a c bo ^ ^

a.
6

be o <u

-^ .5 " rt

rj HI "^ 5

J^ <U W o ^ o

H pq ^ X < ic
« « S)

p. ^

W CO

X V,

o ;::: ~ — o

o ^

E -?

■> -= T! ^

£ R
H s

I ^

2 O O r-

>. ^ o

5^ -2 n ^

$j O rt

£(5

^ ^ ^ ^

COMPLETE WINDOW TRIMS
A FEW EXAMPLES OF EARLY DRAPING

Window No.

A wash goods dis-
play against a mirror
background bordered
with gathered tarla-
tan and decorated
with artificial holly-
hock fastened along
tlie base of the back-
ground.

A wash goods dis-
play with a back-
ground of gathered
or plaited plush bor-
dered at the top with
a darker color and
decorated with a tall
narrow panel filled in
with tarlatan o n
which was a plastic
design of flowers.

Window No. 3.

Display of flow-
ered silks against a
very clever scroll
background. The
mirror background
was paneled off with
a border of tarlatan.
The scrolls were cut
out of wall board and
made a very attrac-
tive decoration.

324

CoMPLiyPK Window Tiums

Window Xo. 4.

A conil)iiialii>n Irini
having several drapes
and several suits
shown on forms. For
small stores that have
limited window space
it is sometimes nec-
essary to mix dis-
plays of this kind.

Window No. 5.

White goods draped
on half forms and T-
stands. Flowered ril)-
bons were used lib-
erally and introduced
a bit of attractive
color into the dis-
play. Garlands of ar-
tificial roses decorat-
ed the background.

Window No. 0.

Wash goods win-
dow that shows how
goods were draped in
1907 and we would
now say this window
was too messy. The
goods are seemingly
running in every di-
rection.

325

Complete Window Trims

Window No. 7.

A silk window in
which are used three
half forms and two
T-stands. The mir-
ror background was
decorated with two
floral pieces of the
artificial variety with
large ribbon bows as
part of the decora-
tion.

Wi-VDOW No. 8.

A drapery window
using two very large
drapes on T-stands
and a small festoon
drape on the back-
ground.

Window No. 9.

A silk window with
silks draped on waist
forms and on T-
stands. A large how^
drape was fastened
to the center of the
border. The tall post
with lattice decora-
tion adds much char-
acter to the window.

326

Complete Window Trims

Window No. 10.

A gingham display
with a full form in
the center having the
goods draped on
same in imitation of
a house dress and the
same goods arranged
in three pyramid
drapes.

Window No. 11.

A wash goods win-
dow showing the use
of one of the wall
drapes. This is un-
usual because this
type of drape is real-
ly intended for wool
goods.

Window No. 12.

Summer fabrics
shown in a window
decorated in such a
way as to give the
mid-summer outdoor
atmosphere to the
display. This is done
by means of lattice
work and artificial
flowers.

327

C()MPM:ri: Window Thims

Window No. 13.

An interesting stjle of drap-
ing- that was much in vogue
some years ago. It is rather
stiff and too regular in ar-
rangement.

Window No. 14.

Two very good
drapes against an ar-
tistic background hav-
ing a tall panel deco-
ration covered with
artificial flowers.

('oMi'LF-Ti: Window Tium!

Window No

Window No. 16.
This window shows
two mummy drapes, a
half form drape, a waist
drape and a slat drape.
The background is done
in plain panels finished
in alabastine and fin-
ished at the top with a
border of natural oak
branches.

Window Xo. 17
The illustration on the
bottom of tlie page
shows several good satin
drapes.

At first glance this picture may not appear to be especially interesting but it is well
worth a careful study. About the most difficult proposition that is put up to the trimmer is
to make an attractive display of satin. It is the most delicate and perishable fabric carried
by a department store. If there is a wrinkle in it no amount of pressing will eradicate
it without ruin to the surface of the goods. Therefore the goods must be worked with
as little pinning as possible and entirely without fanciful pleating or puffing. This picture
shows the half of a display of satin cashmere de soie. The upper drape was made over
an oval board 9x12 inches. The satin is simply laid over the ovals without the use of

pins. The trimming and

No. 12 black velvet ribbon
are then looped together
and a single large pin is
used to hold them. The
pin is driven straight
through the satin, making
only one hole in the entire
drape. The low drape at
the right hand of the win-
dow is one that one can
use frequently in all kinds
of dress goods displays. It
is put up with the use of
only two pins. The waist
form was trimmed perfectly
plain witli a band trimming
down the front. The goods
used in all of these drapes
came out of the window in
perfect condition. The sat-
ins in this window were all
in purple and helio shades
with accessories to match.

Window No. 17

329

Complete Window Trims

These illustrations from Window 18 to 26 inclusive act as a lesson to other trimmers
on iiow to use scenic work in connection with drapes.

Instead of putting in a regular stage setting of strong colored scenic work, these windows

used the scenic work
only in panels against
the background in con-
junction with massive
square pedestals a n d
frames and a profusion
of artificial leaves. The
colors used in the scenic
work were almost in
monotones with plenty
of plain flat surfaces and
very little detail.

In \\'in|dow 18 we
show a scenic panel tak-
ing up only the center
of the background and
flanked on either side
with square columns of
graduated heights. The
tops of these columns
were covered solidly
Window No. 18 with a mass of artificial

leaves, part of them
trailing down almost to
the base.

The colors of the ar-
tilicial leaves were in ex-
actly the same colors as
the leaves that were
painted in on scenic
panel.

The surface of the
square columns were
covered with a tint of al-
abastine that harmon-
ized perfectly with the
foliage. The painting in
this particular window
was a very beautiful
composition and wa--
used afterwards in tl;e
store interior as a per-
manent decoration on one
of the walls. Window «o. 19

In Window 19 is shown a companion window to Window 18. It will be noticed that
the painted panel is samewhat larger, taking up more space on the background. The con-
struction and arrangement of the framing of the panel is quite clearly indicated. First, there

Complete Window Trims

is a box border covered flat with muslin, painted with alabastine; next there are the square
columns covered with a relief compound and finished up in a very rough treatment. The
plain flat surface was finished up in a slightly lighter color tlian the rough surface.
In Window 20 we find
background

the entire
of the window covered
with a scenic painting.
Notice that the design is
conventionalized into a
purely decorative treat-
ment, with no suggestion
of horizon or fore-
ground. This gives you
ditlcrent treatment than
shown in Windows 18
and ID, and shows how
it is possible to cover
the entire background
witlT the scenic painting.
Care should be taken,
however, that the paint-
ing should be more sub-
dued than most scenic
work and should be

Window No. 20

treated in a decorative
manner.

Window 21 shows the
corner window, the back-
ground of which is cov-
ered with the same
scenic treatment as Win-
dow 20. Where the
l)ackground terminates.
\nu will notice it has
' cen finished oflf with a
border of artificialleaves.
The drape shown in
this window is excep-
tionally well done. It
was done without cutting
the goods and was
draped over a full form.
Votice how beautifully
lie goods drape over the
lloor.

Window No. 21 The drape shown in

Window 18 was likewise draped on a full form without cutting the goods. The over-drape
was of spangled net. It was almost impossible to detect this drape from a made-up gown.

331

Complete Window Trims

The drapes in Windows 19 and 20 were made on the regulation shell draping form.
Notice the show card in Window 20. This card was decorated with a design similar to
the background.

Window 22 shows another scenic window setting, there being only one drape in the en-
tire window. The lower part of the background is made to represent a low cement wall
while above it appears the scenic back.

A tall flowerstand and a row of hollyhocks along the back complete the decoration.
The drape is made on a half form and is beautifully done.

In Window 23 we see a room interior effect produced by painting the panels in with ala-
bastine. Through French doors can be seen a scenic painting of an out-of-door scene. Both
the drapes in this window are shown in separate illnstratiuns in this book, one in the chapter

on "Mermaid Drapes''
and the other in the
chapter on "The Evo-
lution of a Drape."

Window 24 shows an-
other of the Mermaid
Drapes shown, and a full
shell figure draped in a
simple manner. Notice
the artistic show card
used in this window.

In Window 25 we show
another most original
drape worked out on a
full form. This dress
looked so real that it
was impossible to detect
the fact that it was made

up without the aid of
Window No ""

shears, thread and needle
or the drcs.'imaker.

In Window "_'(i wc
have another one of the
series of windows, in-
cluding Windows 23, 24
and 25, all of them made
to represent room inte-
riors. All of tjie scenic
nnrl room interior win-
dows and the drapes in
Windows 18 to 26 inclu-
sive were made by Mr.
P>. I^uis Goodyear, a
graduate of (he Koester
school.

Window No. 23

Complkit: Window Thims

Window No. 26
333

Complete Window Trims

Window 27 — Display of Rajah silks. Green tarlatan is plaited over green silkolinc for the
background, the border being a 12-inch board covered with white alabastine with green
ribbon as border. The two tall panels were cut from compo board, painted with white
alabastine and decorated with artificial flowers.

Window 28 — Three drapes, the one in the center being draped on one of the early style
half forms. It is interesting to compare this form with the one in use today. Green sateen
plaited background with pampas grass decorations.

334

Complete Window Tiums

Window 29— This is a simple display of ginghams against a permanent hardwood pan-
eled background, decorated at the top with a lattice work and artificial grapevines. All the
drapes except th? half form in the center were arranged on wooden stands. Four stands
had crossbars on top while one had a slanting top. Embroideries were draped from one
stand to another. This was a sale window, therefore the show card was used to state the
price.

Window 30— Here is a window trimmed by the same trimmer as did No. 29. You will
notice he has the same hardwood background, but this time it has been decorated with a
few sprays of artificial apple blossoms. The goods shown are all white wool suitings. Two
drapes are arranged in half forms, two on slanting bar tops and one on a slanting diamond
shaped top stand. Several different styles of trimming are draped from drape to drape.

335

Complete Window Trims

Window 31— This illustration shows a complete store front, one of the windows benig
draped in light colored goods. One shell form and two tall T-stands are the only fixtures.
Massive garlands of artificial foliage are draped between two panels, thus givmg a very
sightly decoration on the background.

WiNixjw 32— Here wc have a silk window for Easter. The silks are draped on two tall
T-stands and on a full form. The decorations consist of a papier-mache decorative piece
imitating a group of rabbits. A small rabbit is posed on the floor and a fancy floor lamp
completes the setting.

33G

Complete Window Trims

Window 33 — A well balanced display of dress goods, making use of two half forms,
three wall drapes, two mortar board stands, a tilting board top stand and a semi-circular
top stand. The goods are well handled in this display.

Window 34— A gingham display making use of well arranged groups^ of original bolts.
Only a few pieces are opened up and shown. This is more of an educational exhibit as it
has on the floor an exhibit of the various processes cotton must go through in order to
finally be made up into this gingham. Show cards and photographs further illustrate the
process. 337

Complete Window Trims

Window 35— An exceptionally fine example of dress goods draping, one piece of
goods being shown on the style of papier-mache draping form just introduced in 1910. The
decorations are of foliage in tones of tan and lavender. The window frames were covered
with tan felt and shaded in tones of lavender with an air-brush. The floor was covered
with brown felt. The dress goods were in colors of lavender and tan.

Window 3C — This is an ideal showing of flannels. One pattern is draped over a form
showing how the flannel will look when made up. The other pieces are draped over simple
wooden stands and form the background. The draping and arrangement of goods in the
window is very well done. The background is an interesting treatment of framework cov-
ered in white felt. The darker panels have been covered with plaster and relief designs
drawn on same.

Complete Window Trims

Window 37 — Here we have a fine example of wall drape and two drapes on tall stands
w^ith cross pieces at the top. The form was well draped in the style in vogue at the
time the drape was made. Millinery and trimmings were used as accessories in this window.
A lattice covered with artificial wistaria decorated the background.

Window 38— This window is an example of very excellent draping and also of the fact
that there are windows in small towns that would be a credit to any large city, this window
being placed in a town of only a few thousand inhabitants. The background was decorated
with natural prepared foliage called "Beech Spray" in mahogany shades.

Complete Window Trims

'^m mm

W ixDow 3!)— This is an excellent example of how the various Koester drapes look when
crowded in a window for a sales window. Every drape shows up well and the variety takes
away from the monotony so common in crowded windows, where only one or two styles of
drapes are used.

Window 40 — A clear idea of the arrangement and construction of the framework of
this artistic showing can be had by a careful study of the illustration. The simple and effect-
ive drape of silk on the right offers a suggestion for a similar display of fabrics. The back-
ground is especially pleasing.

340

Complete Window Trims

Window 41 — This very beautiful window has in it one of the Mermaid drapes shown
in the chapter on this subject in this book. At the extreme right hand side can be seen
part of a mummy drape. The other drapes arc on full form.

Window 42 — This State Street window makes use of two dummy drapes and the full
form without shoulders. The background is made to represent a room interior with win-
dows through which one can look out into beautiful formal gardens.

341

('.oMi'LirrE Window Trims

Window 43 — Your especial attention is called to the mummy drape, with the butterfly
drape on the top. This is a new and noteworthy treatment of the mummy form. It is a
demonstration of how one can combine two drapes or draping ideas and get an entirely new
drape. The other drape is arranged on the pillow top stand as illustrated elsewhere in this
hook. The only decoration in the window was the large fancy basket filled with the finest
of artificial flowers.

Window 44 — Here we have two of the best munnny form drapes and one full form
drape using the Princess form. The background was of Circassian walnut paper (a perfect
imitation of the real wood). The border was a scenic painting of a winter scene finished off
in imitation icicles, made out of cotton wadding cut the desired shape. This window was
draped and trimmed by students of the Kocstcr School in one of the permanent windows of
the school.

342

CoMPLETK Window Trims

Window No. 45

Window No. 46

It is our good fortune to be able to show in Windows 45, 46, 47, 48 and 49 complete
show windows draped with silks and dress goods, that are in reality lessons on how to put
in these fabrics.

Not only do these illustrations show you how to place each drape in the window, but they
also show you a large variety of different drapes, every one of them being most practical.
These drapes range from the most simple ones to the more complex.

The beauty of a fabric cannot be brought out successfully unless it is well draped. Too
many trimmers really spoil the beauty of a piece of goods by the way they muss it up
trying to make a drape. These trimmers wrap the goods around a stand or form, puff it
and otherwise maltreat the goods. Instead of this the goods should be so handled that
it would fall into natural folds. It will be found that these natural folds are the most
graceful that it is possible to procure and as there are no wrinkles made in the goods
there will be no spoiled merchandise.

It is said that no one can improve on nature, it surely is true that no matter how
hard a trimmer tries he will not be able to improve on the natural folds that goods will
fall into, if handled by an experienced trimmer.

It is true, however, that the trimmer can accentuate the natural folds and can add to
the drapes such accessories as buttons, ribbons, laces, hats and gloves, and thus make as
nearly perfect a display as possible.

In Window 45 is shown a complete window trimmed with only three drapes. These are,

Window No. 47

Window No. 48

343

Complete Window Trims

however, of good size and fill the window as completely as would a greater number of small
drapes. The highest drape is what is called a background drape from the fact that it is made
over a fixture attached to the background seven or eight feet from the floor.

The top of this fixture is a square piece of wood with one of the corners facing the
front of the window. Part of the goods is draped from this fixture over to a point along
the top of the border a trifle past the center of the window. This makes a simple festoon
drape and is then allowed to drape gracefully to the floor.

The drape in the other corner of the window is arranged over a half-round tilting top,
the center drape being made on a V-shapcd upright made by placing the edges of the two
wide boards together and fastening them in the back so that they are less than right angles
to each other.

Window 46 is a very beautifully draped window in the simplest style possible. The five
drapes are all made over tilting top drape stands. The two highest ones can either be

Window No. 49

fixtures that fasten to the border of the background or can be extremely tall stands. The
eff'ect obtained would be the same and we would recommend the fixtures fastened to the
background, as it will save the extra material needed in a tall stand and is not so apt to fall
over or warp out of shape.

Window 47 is a silk window with four drapes, all of them very diversified. There is a
T-stand drape and a background or wall drape. There is also a half shell form with an
elaborate finish on the top. The most interesting drape in the window is the waist form
draped to imitate a made-up waist.

Window 48 is a dress goods window that shows only three drapes, two of them being
wall drapes. The half form is used to show a very effective drape finished off at the top
with wide velvet ribbons.

In Window 49 is executed three very beautiful drapes, two of them being wall drapes
and one of them being a mummy.

A careful study of all three of these drapes will repay any trimmer. The draping is
very nearly perfect and the arrangement in the window can be carried out profitable by
any trimmer.

344

Complete Window Trims

1:1

H-«

.s I

o v;

^7,

- U3

2-^

"S "O

« ^

.;2

S ^

-O i>

jii "^

•>

w rt

be ^

■« o

•s

^ ^

S 2

« ^

345

CoMPLKTE Window Trims

§ *^ S

_rt

.-^

« -^

S) s

"a.

•n ^

S ■"

1 '^

«l

tn n;

<■

•"

•P

•35 >>

•0 u

•o

-a

'•s

"S ^

■g ^

w re

" P

s 1

03
r-1

tn 4J

•S

6 -

ja u

H S

I-.

-Q <«

■j-j

+^ ^

-Q

r- "^

4) („

15 >

."S

',5

"tn -^

"re fc£

.5 lu •t; K, be

346

•£ J2 ii!

CoMPLE'iE Window Trims

(u (V a

■^3 Q^-^

02 O j_, <D rt

S c V> -^ '^

<u Zi P oj ^

r, u

Ji '' o -o fcO
O b£ 1- J

2 u ^ -^ -n

^ -2 e -^ -

H c; o "-^

-a -^ -a =

^" s :s s £
S « S £ i^

^ ^ ^ ^ 9,
-^ . ,„ „

^ H
S a; ? o
^ ^ -o ^ r:

S -ii

^i: o

o c

tn 3 W

^ >- ° u.

S.'S

te u ^" i-

'^ <U (« TS

be S -^

« i

o o

2 n-3.P :

O ,n

>.'^

i^^ ^ :^ « ^
j= -^ ■« ^ "o

^ ^ o

347

Complete Window Trims

S-= E

bO - rt

^^ 2

w Ji!

,« y "o

O ^ ^

o =<

-5^

§S-.

•c

< -^ a;

. c -^

o o C

c/} C c/,

So-^

<U O ""

g ti o

i: '^

.2 H

?^ <y S

t" o i

•5 >

•o o

Ui (U ,„

&=="£:

"o 5 a)

u) O

H o

348

Complete Window Trims

^ 2

2 bO

.S °

(^ 4-. M

<u » _.
^ -O T3

« o «

2 o
o

349

CO ^

Complete Window Trims

^ ^ •- rt

-o "^ H rt
g ^ -5 U-,

-o

(i>

cfl

-)-l

•J

351

•I 1 "^

"^ ex

^ ? ^

O .-S "^

c .S

c « o

CoMPLKTE Window Trims

^ O

i-s

H S

Complete Window Trims

m ^

■3 C ^ "O

I IH 8

<u be

a; ^ «

H i3 is

353

Complete Window Trims

CS C R

c o
be o

H c -

c o
o

354

Complete Window Trims

■a -5

^ P &■

Complete Window Trims

356

CoMPLETF Window Trims

H o

Q -^

biD 2

- " H

.^ o.,

357

CoMPLKTi: Window Trims

Complete Window Trims

2-?

° '? 2 V,

■;;;

1 '

■^

c«

(VT

-3

■-M

c«

-D

•^

■^

-C

<T<

'rt

c/l

s ^ ^ c,

^ w «
o i3 dj

359

C()MI>li:te Window Trim:

CoMPU'/iE Window Trims

^-2

o ^

•a ID

O rt
J- be

I- 5

361

Complete Window Trims

-^ o

^ r:

-o

•5

<t)

<li

1^ "-' (/I

^ s

362

Complete Window Trims

363

CoMPLETi-: Window Trims

6 -=

■ - rt rt
-S ^ H

6=0

[^ _^ s

^ bo

364

Complete Window Trims

^^, '^" /

<li

O O

.S ^ IS
o g &
•o be

be >
C 03

;{()5

Complete Window Trims

•^ o
■~ '^ tc

s e

fciO

."t:

t«

n
o

366

Complete Window Trims

•^ ^ S §

5 F '-- H

rt ^ O bp

^ 2 n I

cr. o « o

C >- -' <Al

o .t: "

P. ^ •« ^

a. ^

-^ o

_^^

■^

-n

H- ^

ITj

:::

■^;

e/:

.—

.•2

1—,

■^

•a

c 1: — t-'

H 8

<u V Z

TO <U <U <u

<U tH U r

o< bo bo ^

367

CoMPLEii: Window Trims

^ rt t.

o
o aj >

o':

> ^ tD

C o o

O -!^ S-

1 ,

■^

•a

."o^

Complete Window Trims

bo T •- a

bJ3 03 J5 E

a- r-

i3C O

et: aj 1^ .ti .^

■■g -^ P TJ ^

_c rt ^

i I ^ 5 R

o o g

E i; <u ^
■sea

rt u S g

<u ■- (u aj

£ J::; rC J=;

53 o <L>
^ " "

o E

Complete Window Trim:

t:3 = cc _;

all I

o "^

= < w

S H
^

« » ~ -a

:=: ii o

^ "-' i, ii;

O 2
■5 O

H.S2«S

371

Complete Window Trims

372

CoMPLETi: Window Trims

.5 •§

2. '^

is.s

373

Complete Window Trims

"2 ^ u *i " -^

5 o oj ■£ ■" — -v

^'^^gi2§'3--'^

O j^ >>

Sr *^ ;, c o (y
•o rt £ "^ j3 _c

3 -p 2^ -^ -=

w "o 00 ^

374

Complete Window Trims

O a7

o .s

.-2 tn

o 52 r-'

-= t; o
^ "^ 3

I'll

t^ _i i-

1.2 .i

-6 H

375

C o H

K ^' o

^ 2
o o

O rt

5 "S

o ?^ u 4,

£i ^

u O *-.

Complete Window Tiums

— .S

c >

Cu ^

1? G «-'

£ ^ -

Q ^

■^ u! ?^ o

a •

'5 ^S

o -^

•a

(LI

.-^

„•

f 1

■?

-a

-n

<«

M-,

'■^

-o

•d

biD

1^ «

(«

"H ?

(U pJ

.2 '^

I- o

1) £ "o

C <u U ^
y p rt rt

377

Complete Window Trims

378

Complete Window Trims

We show on this page the orighial design for decorations of a fall showing of dress
goods, and also the arrangement of the merchandise. The large illustration on the oppo-
site page is that of the completed window.

The decoration is very effective and very easy to make. The conventionalized tree
is a flat framew,ork cut out to shape and covered flat with felt. If a cheaper covering is
desired, use muslin and cover it with a coating of Alabastine.

On this framework is pasted a thick cluster of autumn leaves or scissored tissue
paper in brown tones. This is pasted to within about two inches of the edge of the frame,
thus leaving a white border all about the tree.

Twisted about the base of this tree and extending ,over tlie top border of the back-
ground is an autumn vine. This vine can be of grapes, ivy, wild vine or creeper. Care
should be taken to have all colors harmonize.

The arrangement of the dress goods is very well carried out. The drape on the form
will be remembered as the hobble drape shown elsewhere in this book.

In the finished window you will notice that the conventionalized tree is not as tall as
planned in the design. We believe that the taller tree would have been more effective.
Accessories, such as furs, millinery, hosiery, etc., are added to the display.
This design can be used in connection with any kind of background, either mirrored,
paneled, wood or gathered cloth. In the sketch the background is indicated as being of
mirrors, while the photograph shows a background of plaited tarlatan.
The floor should be in a light tan shade of felt or flannelette.

This design can be used for other lines such as millinery, ready-to-wear, shoes,
clothing, etc.

This same idea could be adapted for use at Christmas time. The tree would be made
to represent a Christmas tree, and the foliage could be of holly, mistletoe or poinsettia.
The color scheme should be planned out so as to include bright tones of red, green and
giold. Tinsel and other sparkling ornaments add very much to the Christmas trim. Plenty
of light should also be used in the windows in order to give them as much brightness as
possible.

381

C <n rt

ill

Q-5

S H,

O be cj

-- jt-i

o o £ ;5

■p — " «j

C I/)

rt O O

"H £ o ,,

,^ — -^ o
p rt <->

CoMPLF/FE Window Trims

a. 4>
rt a.

o c.

<L>

<u 52

o-s

384

Complete Window Thims

Complete Window Trims

U 73

<u o

73 O

CI OJ ^^

« ?^ ^

« £ l;

a; rt :S

8^2

CS —

■ G "" o

.S H ^

o . c

ill

rt 1^ -
~ -S <
o u

O c c

§i

e E

c..™

15 o ^
? o

380

Complete Window Trims

^ O <U

•5 o 'S

o x:
o
bo -^

- r s

til •V

387

Complete Window Trims

<U 4)

388

■-o "^ '='

> '-S "5 "H

^ • " -^ I ^

^ « c -5

o 2 J:: °
= .S - g ^

g, Q, fcfl "^ a

§ I ? -P
= § =^ =^

ti ^ 2 o I

H5iS|i5

Complete Window Trims

.5 "^

(L) ^

a, o

•5 i!

P o

§ " ^

a, (u
S "^

o <U

Complete Window Trims

nop

a rt

^ =^ S

O OT -^

'- 3 tn

rt <u

G <u 1-

° t^ ii

-^•E.E

1 o ^

<U («

Ji s ^

C5 O

1:.

.2 - ^

^ "^ "Td

■^ D n

- s^

O rt

S^l

o O

lgl

•s^^

tn 1j W

2siS

tn u

■M

gg-s

S 6 g

Q-^^

-a "2 —

"^ C w

o "i ^

BS.-I

^- ^

H S^

S.S

•-S c

o ?

391

Complete Window Trims

" a; o

o .S rt

- o i-

bc ^ o

.5 Q "5

i - H

O t« t"

^ ^ 9

5,Q O

^ o 2^

C tn bo 3

• - -o c p

^ 2 -

be c 2

«« rt o

O (O j3 en

'O t: ^ £

3 I

5 ^

S c _ _

oj a rt •-

c« - c ^ ^

^ ° ^ £ -^

^ ex's.

c a)

~ <" 2

*. Ji <u c

o ^^

§ o rt 15

^ 3 & -

H S

Complete Window Trims

3 -o a

bo c rt

vC rt <-

J2 -O

^ JS ^

> S n

H14

lU en
<u J= ^ VS

■^ ^ C

c ^

"5 ^ n I
c •_g -C >>

3 u ^

•^ '^ >- "T,

C rt O "

^ -E O 175

o "2 >

^"^ n-S

«^ § ^

5S be f^

:-"i

X) o ■" -^

^:-§s

•§

c« (u s n

bfi O o o

•s-^ fe-

.ti r: ^ <U

s ^^-s

2 -CI

C O 'JJ 01

• - +^ J2 ^

en O,

-«.>.&

XI j: ^' o

.£?H "3 -=

dJ >*-

^ '^ ^

.en i, 3 X

^ ^

Complete Window Trims

H c

O O

o S

be rt

T3 _

bo ^

^ o

394

Complete Window Trims

■7^

1^^

"t: rt a-

>-"

'bo "a. 2

■^

gg*

■-•§ °

SCO

■n

^ -^

.■ll

l'^ fi

C rC i

biO C -^ -»-•

C I- _ C

rt <u n <tj

^ M-i .« --

3 <u K

bH 15 B

o 2^

P o

^ C <^

be O •'■
c o

Complete Window Trims

rt rt 4j ^ t"'

•S -a
is c -r

o ^

I si

^ rt QJ

"13 rt

So cu

C2 o a oj
00 ^ '5 c

o rt .2

<L) lU cJ

O <U

-o

«J

y:;

■Tj

•o

"o
E

1!
>
o
c

C
C

•T3

1
o

:::

,^s^

W c o

396

Complete Window Trims

8 o

!- >
>+H bo

W) >.

en "O

o .S

"2 o.

397

Complete Window Trims

398

Complete Window Trims

V il

"i'

jnijn

^^H '''Hi

^■•^is

■%► "

HHHi

S =

<U t, -M

H &

o ^

-a

(1)

-o

5
^

bi)

ft rt

-, ^ u >

•o .y '3 g

1) ^

CoMPLKTE Window Trims

400

CoMPLETr: Window 'I'him:

401

Complete Window Trims

^ ^ ^ Cu

CI.

•:j

t::

'E.

:3
o

-a

■5

o
-a

u
*

■^

■^^

-T3

•3

biD

rt
^

-a

_bo
'0

c/l

_>;>

Cfi

-^3

S '^'^ • X

■^ " c c o

408

CoMPLETH Window Trims

404

CoMPLKTr: Win now Thims

cs ^ o

o o
J c c

be ^

*^ 5

rt y C

? O

H ^-^

i-5

6 •£

405

CoMPLini-: Window Thims

2 ^

a 5 o

^ 5

o "c

^ « .5

=; o o

o c ::

O ? W)

> — j2

o 'B

406

Complete Window Trims

B 1 ^

B ^*

2 o

-a

o 5

? S

'S 3 '^

•a -

^ ^^

2 S t^

^ -5 '-o

Complete Window Thims

§a

C rt

"5 cu

O Q,

•?! c

•£•5 E "•£

o o ^ o

Is 1-1 <"

2^ -a o

<j « o

>■ <i>-^ bo

•si

S3. 'k'S.-o

a r.

•?2 -^--ll

e-g.s

u C

„ o

a a.

o o
E c a

DUM'INti ON FOHMS

FASHION DOLL DRAPING

PERHAPS the most interesting innovation that has l)een brought to the attention of
window trimmers lately is the new fashion doll. The tiny size of these figures (they
stand barely 15 inches high), and their chic poise and rather saucy expression make
Ihem wonderfully attractive to the public. And the trimmer who has been draping with the
full size forms will get more real fun and pleasure in makine these little miniature drapes
than in any other detail of his windnw
work.

These little forms are not, however,
for the clumsy trimmer. The man
whose "fingers are all thunil)s" will have
a sorry time with them.
It takes deft fingers
and an artistic touch in
fitting the goods around
the figurines.

The small size of
the dolls makes it im-
possible that they be _j.
used in the same way as
full size forms are used.
— for they would never
till the space. The logical way is to use them in connection with some stand or box drape
to sho-w the connection of the draped stand with the made up gown.

A yard of ribbon five inches wide will go as far in draping one of these little form?,
as a dress pattern length of average width goods will on a full size form. Therefore in
certain cases it will be por^sible to match the goods in the large drape with ribbon with
which to drape the doll. This is illustrated in our cut No. 1, showing a combination drape

of black velvet and white satin. Three

Fig. 2

upright boards are used for the drape
as will be seen in the illustration, and a
pedci-tal standing in front has the cen-
ter of the black velvet draped over its
top and twisted around it down to the
fioor. The figure was draped with
short remnants of ribl)on in the same
materials.

\\'ith staple materials like these it
is comparatively easy
to match up the
goods with ril.:bon,
but for novelty silks
and dress goods, an-
other problem arises.
Of course there are
no ribbons in dress
goods materials, and

411

Dhaping on Forms

most of these wool goods are so wide that they are bulky to drape satisfactorily on the
dolls. In many cases the only practical way would seem to be to cut off a narrow strip of
goods from the end, 4 or 5 inches wide, and use this for making the drape. This is what
has been done in the drape No. 2. This is a box stand drape of purple broadcloth, with
a second stand, consisting of two boards nailed together at right angles, brought up to
the box in the back. The little figure stands on top of the box with tlic two boards
forming a sort of niche for background. The figure was dressed with a scraji of silk for
dress with train, and then a loose fitting evening wrap of broadcloth draped over this.
The coat was edged witli a narrow band of fur trimming. In this case tlie coat was made
of a broadcloth a shade darker than that used in the drape in order to make it stand out
in the photo. In actual practice a strip from the same piece should be used to make the
connection between the two drapes perfectly clear.

But cutting oflf even so little goods as four or live inches will be objected to in some
stores, — and, I presume, in even some stores where the clerks habitually slash off two ^r
three inches for a sample at the request of a customer. .\1I our traditions in window dress-
ing are to the effect that goods must be draped without cutting or other damage. So it
seems to us that some of the lest stunts that will be worked out with the little forms will
be by using the goods in the full or dress pattern lengths without cutting.

Two examples of what
if this issue and in Fig. 3.

drape, u.'^iiig an end or just a small part of the go(
done in connection with T-stands, box stands, or
is illustrated on previous pages.

412

e accomplished in this line are shown on the front cover
cover illustration shows how the end of a piece of silk
from an ordinary T-stand drape can be brought up
around a pedestal or table plateau, and used to drape the
figure.

The high drape in No. 3 is made over an inverted
.hopping bowl top from which a sweep is brought to the
back of the little figure, the selvage passed around the
ust, then caught in the extended hand of the figure and
aped away to the floor. The silk used was 27 inches
wide, and the surplus was folded
liack underneatli the form, and
edged witli a narrow band of fur
trimmimg. which was also used
around tlie 1 ust.

So nnieli interest lias licen mani-
fested in the idea of draping
fabrics on fashion dolls, \hv\
.we are showing herewith sev-
eral suggestions for the use of
miniature li.tiurcs a trifle over
30 inclies in length. W'c
are of the opinion, that
the clever way to use
these forms is to make
them part of a larger
figure. I low tills can le
ly sort of draping stand.

• lllC

in fact

Draping on Forms

Draping these small figures with
full width material without cuttiiit;,
means that the drape itself must 1 e
simplified, and such things as divided
paniers, tunics, slit skirts, etc., will
not be easy to accomplish. How-
ever, many of these ideas can he
suggested by making over drapes of
lace or ribbon. We do not view
with approval, the proposal of some
of the trimmers to cut up the ma-
terial in order to dress the figures
with cut and fitted garments, pinned
or pasted together. This is getting
away from the draping proposition,
and setting up more as "doll dress-
makers," an accomplishment which
we hardly believe is necessary to
add to a window dresser's repertoire
— to say nothing of the destruction
of the goods.

The doll drape on the table is
suggested as a goc d one to use as a

Fashion Doll Draped on Top of Large Bolt
centerpiece to a window display. A
36-inch bordered material is used,
with the bulk of the goods kept in
the original folds and draped over
the edge of the table. The end from
the top layer is draped around the
doll, without cutting, with the bor-
der in a diagonal across the front.
A remnant of lace is used for trim-
ming over the shoulder and to form
short sleeves.

The other doll drape is made in
connection with a dummy bolt fix-
lure, standing on a plateau, and
using a 54-inch broadcloth. In cov-
ering the bolt, about a yard and a
half of the material is left in the
1)ack, which is afterwards brought
up over the top of the bolt and
draped around the doll. A corner
of tlie goods at the end forms the
pointed bodice. With such wide ma-
terial one can only suggest a draped
effect around the skirt of the form,
but even so. a good idea of how the
goods will look "made up" is ob-
tained, and the direct connection of
the goods on the bolt with the dress
on the doll forms a good advertis-
ing idea.

These blank pages are left so

that you can paste in any new

drape that may come to your

attention.

411

How to Drape the New Five-in-One Form

A new Five-In-Onc draping form, which was shown for the hrst time at the
recent Window Trimmers' Convention, is illustrated in the cut at the head of this
page. Its practicability will be apparent to most trimmers at first glance. With all
parts assembled we have a full form with especially pleasing lines for draping dress
effects. By removing the top and mounting on a metal base and standard supplied
with the form, we have a stand suitable for showing neckwear, furs, or for draping
suggestions of w^aist styles with either silks or line laces. This leaves a three-quarter
form with open top, which may be still further separated into a pair of right and left
shell forms. So whatever style of drape it may be desired to use, a suitable form
will be found with which to carry it out.

The four illustrations on the opposite page will serve to show how the different parts
of this form look when draped.

The full form drape at the right was made as simple as possible in order to keep
close to the lines of the figure. The goods is fitted smoothly down over the hips and
down on the side of the form it is caught up underneath several inches forming an
overhanging fold diagonally across the front. Swing the goods down across the
front of the form in a sort of twisted effect to the back, then return with the under-
fold of the foods up to the same point on the side. The niateri:;! is laid in several
small plaits at the bust and drapes loosely over the shoulders, merely suggesting a
short sleeve effect in this way.

The drape on the waist top form was made with a wide shadow lace. It will
be noticed that this wai.st top extends only to the bust, so that only a suggestion of
the top of a waist may be draped, flowever, this feature will be quite an advantage in
draping the shadow laces on the form, as it will not require a lining. Also the size
of the form makes it especially suitable for show case trimming where often the full
size waist form would be too large.

About a four and a half yd. length nf the lace was used and the start was made
about one and a half yards from the end by jjlacing the lace straight across the front,

41!^

with the edging up close to the neck. (This part does not show in the
tn^raving on account of the high hght on the photo.) Then the end of
tlic lace is rolled to form the lower sleeve and the surplus draped back
over the shoulder to the center of the front. The other side is
finished in about the same way, but there being a hmger length on
tills side, the end is allowed to drape to the floor from underneath
tiie form, thus showing the pattern nicely. The lower sleeve is formed
by gathering a fullness of the lace to the shoulder and then draping
back over the top to the center as before.

In the three-quarter drape form the end of the goods is gathered
loosely along the top, then draped down some-
what into the open part, then comes over the
edge and fits the form snugly down to the floor.
The tunic of wide lace and the drapery caught
up to the girdle with the rhinestone buckle arc
nth features of the new styles. This drapery is'
pinned up to the back and swings out to the
nor at the right in a graceful sweep.

The half shell form does not need much
xplanation. The goods is caught up in front
at the edge of the form, draping away to
the back over a double flouncing of lace.
The shoulder of this shell form is cut away
somewhat lower than the shell form to
which we have been accus-
tomed. To make up for this
a double loop of the goods has
been made on the shoulder
finished off with a large bow
black moire ribbon, set with a
fancy buckle.

This idea of getting so many
can be subdivided into
several forms will appeal particularly to those stores that
have only two or three windows and to those stores
where little money can be appropriated for buying
window fixtures.

There is no limit to ttie number of
drapes that can be developed by the
trimmer who possesses one or more

of these forms. He can make practically any form drape that
he may run across, because if it is to be made on a full figure, he
has the full figure. If it happens to be on the half shell, he has
two shell forms at hand. If it should be designed for use on a
three-quarter form, all he has to do is to take the top off of the
full form.

It must also be remembered
that this full form and the top
or shoulders can also be used
for showing ready-to-wear. The
full form is especially well
suited for showing suits, coats,
gowns, etc., while the shoulder
forms is ideal for showing
wai'^ts. fancy collars, laces, furs,
scarfs, etc.

This shows the shell form draped,

uses out of a single form that

drnpe on the Full Form.

This Is the % Form Draped.

The Bust Trimmed with Lace.

41U

The New Cube Drapes

Tl I v. new "Cube An"' and "Futur-
ism" has struck the mercantile
worhl. What is Cube art and
Futurism, you may ask? It is
the very latest art theory to attract at-
tention. It is a little bit of everything
and nothing in particular.

The Cubist does not attempt to por-
tray that which he sees, but rather that
which he feels. It is not strange, there-
fore, that his subjects lack the definite
form that we are accustomed to see in
other styles of art.

The Cube art is made up of angles,
straight lines and a combination of geo-
metrical figures.

The influence of this new art and the introduction of it
into the new gowns, wraps, hats, ])arasols, ribbons, etc.,
is quite extensive. The materials come in strong, vivid
colors of yellow, green, blue, orange and black, and along
the same lines of the Cubist and Futurist,

Weird and crazy as the art may seem, there is some-
thing about it that is really attractive. The Cubist and
Futurist have hit Chicago, and the inlhience it has had on
fashions is plain, and is now being considered by the re-
tail merchant.

If there is an intluence of C'ubism and Futurism, ihr
alert merchant will want to know about it. and how Ik
of it for his store attraction.

New Cube Draping,
hr Form

he can lake advanlas^o

420

It is possible t-o drape goods in some entirely new drajes, r,^ini; the euhes,
scjuares and straight lines as the l^asis of the (h-a;)cs.

Even though you may nut have enough highly colored and ])attcrned goods
of the Cubist character to fill a window, still by means of the Cube drapes,
3^ou can use almost any fabric to carry out the Cube idea.

As accessories it will be possible for you to use large srjuare buttons, bright
and large figured ribbons, Bulgarian eml)roiderics, etc.

We show in our illustrations a new Cube draping form, having iiothing but
straight lines and angles instead of curves. This form is of such a character
that wherever used it will attract much attention, cs;;ecially just now wdiile
so much attention is being gi\ en to Cubist art.

We next show two very interesting drapes made l)y Mr. Will K. liates, of
the Koester School. These drapes show the \arious ])ossibil;ties in this
direction.

The first drape on this page is of a plain-colored silk using a l)rightly colored
and figured Bulgarian silk as a trimming. Notice the use of the large square
buttons, also that the bow on the left is a square bow. This particular drape
has had added two short square arms.

(Jur next drape shows the use of the same form with the arms. A large
check pattern or shepherd plaid silk has been used, and is trimmed with
straight, wdde bands and Cubist buttons. Even the collar of the form is carried
out in Cube shape.

Special attention is called to the manner in which the dra])es are pulled out
on the floor in straight lines instead of curves. These drapes are finished off
at the end with square corners, instead of left in natural folds.

421

The New Peacock Fashion Drapes

ACCORDTXG to ancient fable our
anccstrc; s, Eve, in wandering
about t'.:c p,arden, held converse
with the various animals and from
each appropriated some trait of character
■which has been handed down to her
daughters and makes its appearance to a
greater or less degree ever since. Thus,
from the tiger she acquired her soft,
velvet-padded caress, which yet conceals
sharp claws; from the lamb, gentleness
and docility of nianner; from the cat, an
elusiveness most tantalizing; from tlv-
hen, domestic science; and so on from
each creature she learned something. IJut,
by far the most lasting trait of all she
acquired from the peacock — that of vanity
and an inordinate love of diess.

Thus, it is that in all decorative design,
the peacock has always been used as the
symbol of fashion and fashionable wnmen.
So, in casting about for an entirely new
idea for a draping stand with which to dis-
play the gorgeous brocades and printed
fabrics of the coming season, there came
the thought of this peacock form with the
result as pictured on this page.

ITS DRAITXG IS SIMPLE

At first glance it may seem to be too
radical a change from the full forms and
conventional stands with which we are ac-
customed. Yet in window dressing it is
the unusual that stops the crowd and the
man with the nerve to spring the new
things and "do it first," is the one who
makes the greatest hit as the window
trimmer of his town. The direct appeal
of this form — its suggestion of the
thought, '"Fashion," right in connection
with the drape — is really more in keeping
with a display of expensive fabrics than
some of the other draping stands which
have enjoyed great popularity — for in-
star.ce, the "mummy."

The draping of the form is compara-
tively simple. The form is being made
in half-relief, the body and neck being
hollow, and with goods up to 36 inches
wide the neck can be covered up to tlie
top of the head simply by rolling and
folding the goods around into the hollow
space. With wider goods it would be
more practical tb start the goods at the
base of the neck in covering the body,
and cover the nee!:, head and beak with

Here your Peacock drape is perched on a
garden seat.

422

Let the
Peacock
Hold a
Drape in
Its Bill

A clever way of making a secondary drape
from the m.outh of the Peacock.

■wide ribbon wrapped as many time?
around as may be necessary. The "top-
knot" is made of ribbon in one, two or
three loops as desired. Aigrettes, hair
ornaments or even small plumes could
be used for this purpose. A button does
duty for the eye. The tail folds will be
easily understood, being made much the
same as with shell form drapes.

The drapes pictured were made with an
inexpensive printed foulard, and how much
richer thev would look in some of the

new matelassc and brocaded materials can
be imagined.

A background made up in garden de-
sign, with stone wall and benches would be
especially good for a display with these
forms. One of the birds posed on a gar-
den bench with the tail folds draping
down over the edge would make an
effective centerpiece for such a window.
In the window shown at the bottom of
this page, stone steps were built across
the back of the window with a heavy
mass of foliage in the corners. The forms
were placed on the floor and the first and
second steps respectively, so as to get a
gradually broken height. The doll forms,
larought out earlier in the year, were used
in this display to make a pleasing break
between the peacocks.

It can readily be seen that a peacock
drape of this kind will lend itself particu-
larly welf as part of the outdoor settings
so common both in Autumn and Spring
displays. A peacock drape will be most
appropriate if posed on a garden wall,
pedestal, bench, balustrade, steps or floor.
The addition of one or two of these drapes
in connection with the other forms already
in stock will bring a display strictly up
to date and the first store in town to use
these drapes will naturally get much fav-
orable attention.

An especially nice thing about this pea-
cock draping form is the fact that it is so
easy to trim. There are some forms very
hard to work on, naturally a heavy handi-
cap to those window trimm.ers who have
not been fortunate enough to have taken
lessons in draping.

Complete window trimmed with Peacock drapes.
423

Keep in touch

with the new drapes

A feature of the selling helps supplied mer-
ehaiits handling

Arlington Mills

Dress Fabrics Jm' American Women

Full instructions illustrated by photographs
of five steps in producing a drape without
cutting the cloth.

Each month you will get the very newest.

We will mail suggestions for draping free to
any window dresser whose store sells ''AR-
LINGTON MILLS" dress fabrics— the lead-
ing line of quality worsteds — known from
coast to coast.

We supply attractive lithographed fashion
figure cards for window and interior display.

William Whitman & Co.

Selling Agents

25 Madison Ave. New York

424

THIS is one of a series of drapes whieh with detailed instruc-
tions is issued free to window dressers in stores sellini^

Arlington Mills Dress Fabrics for American Women

FULL INSTRUCTIONS ACCOMPANY EACH DRAPE
TWO NEW DRAPES APPEAR IN EACH ISSUE

WILLIAM WHITMAN & CO., Selling Agents, 25 Madison Ave., New York

425

Curtis-Leger

The Koerber "3 in 1'" drap-
in.i^ form is made in two

Sinl
Drape Form T\s^'' ^'' I^'"^;!

<,■lYccl^, neckwear displays, etc., and is adjustable in
height on a fniished standard and base. The lower
portion is mounted on an extensible standard with
a black japanned metal base.

The two parts combined produce a draping form
with long, slender and graceful lines. The full form
ma}- also be used for evening gowns, dresses, cloaks
and suits.

Strongly made of heavy papier-mache covered
with white jersey. The two parts join perfectly
and arc fastened with clasps.

Net Price $9.00 Complete

Wax Figures and Forms

We illustrate on this page one of our new 1824 forms.
This form has full wax arms and bust and is mounted on
a heavy lOK' inch base. White jersey covered. Also an
excellent form for tlie display of evening gowns.
Net Price $30.00

Form No. 1823 is made from the same mouhl as X>i.
1824 but has flesh tinted papier-mache arms and bust.
N?t Price $15.00

Adjustable Feet

Xn. ISOI). These a<lju-stal)le feet
can he nttnched to ixny costume form.
F.specially valuable wliere short lengtli
garn-ents are displayed.

Net Price $6.50

Write for complete Catalog of Store Fix
tures and Store Lighting

Curtis -Le^er Fixture Co.

Chicago, 111.

No. 1800

Xu. 1S24

42G

Draping Forms

funu u II
liked by Un- n n
takes plcasuir ];.
piece goods. Its
tlicmsclves to '

_ .iful drapes and efVects.

No. 177.0 B. Made in twr
scct:ons-(riglit and left)\vliicl
flttogetlier s-curcly. W.tlioul
stub shoulders. Net price per pair $5

No. 1775 C. Witli
stub shoulders. Not
price per pair $6.

No. 1775. Made -n
on ■ piece. Net price
per pair $5.

We also make evcry-
tliing else in tlie way of
fi.xt'.ires, equipment and lighting.

All t'lese forms liave btcn sliown
throughout tlie reading pages of tli s
bock. We have formsfor the s!io«--ng
of any kind of drape. Write for com-
plete information.

Curtis-Leper Fixture Co., ChicaRO

To the Window Artist

You^ll Realize How These Ten Features
Make for Better Service

'I'riiii At<r:iot, tOii.sider:

1. Originality.

2. Tlic most Kffer
ntion.

iie Display for your Appropri-

3. fie* Samples an<1 fiml wlietlier or not the Sam-
ple Sii.stain.s the Ailvertisement.

4. The Units and other Illustrations publishecl
by Schack Artificial Flower (!■<). are copied by com-
petitors who g-uess at what such prints mean". Thus
the orifj-inator as well as tlie buyer are deceiyed
when so pilfered.

5. Send to Schack Artificial Flower Co. for sam-
ples.

6. Or — visit the Schack ^mple Room, ren (Um-
bering- that Schack Artificial Flower Co.'s circi lacs
illustrate only a small part of the Scliack product.
Schack Artificial Flower Co.'s Sample Room, located
at the factory, 1739-1741 Milwaukee Ave., Chicago,
111., devotes one floor 50x100 or 5000 square feet of
floor space to display of their product. If you want
to see the effect of a trim. — of one or of many
schemes before deciding, it is within your province,
without cost.

7. At the Schack Artificial Flower Company's
Sample Room you can arrange a window to repre-
sent your own, — select from over 500 actual articles,
the flower or flowers — or the Unit you please, — ^then
try Another or Another scheme until you decide.

8. To visit Schack Artificial Flower Co.'s Sample
Room is like going shopping.

9. Then if you want a Special Design carried out
— flowers with longer stems — flowers with shorter
stems — -flowers with more foliage — flowers with less
foliage — or any special design prices will be made
special because all Schack Artificial Flower Co.'s
orders are filled from fresh made goods, goods made
up after order is received — the size, color and other
particulars are then in accord with the buyer's order.

10. We do not tell you we have not got it — we
tell you yes. and make up what you want, so if you
have an idea come and explain it to our expert de-
signer and lie will demonstrate it.

Schack' s *'Rock Crystal"

This product is now used bv leading window trimmeis everywhere. It is the most
practical, artistic ami inexpensive material on tlie market for finishing architectural eflfect.s,
imitation masonrv and other framework. Comes in fine, clear crystals that glisten in the
sun or electric light and can be colored to any desiied tint with brush or air brush.

Mention color or colors desired or send sample to be matched as near as possible. This
crystal is not like the ordinary rock salt whicli melts. Ci-.\stal remains in sliape and in
colors; will produce wonderful effects. Convince yourself of tlie beautiful effects obtainable
with crystal bv seeing our show room, or send for samiile and test it.

Instructions for application of Rock Crystal, to make rock efVect, sent on request.
Write Today for Our New Catalog Just Out

SCHACK ARTIFICIAL FLOWER CO.

1739-1741 MILWAUKEE AVE., CHICAGO, ILL.

Schack's Floral Decorations

Are the most beautiful and least expensive that you
can possibly procure. Schack's flowers, made of
paper, when placed in the window are as handsome
as imported flowers made of cloth. In shape, col-
oring and design they are as perfect as flowers can
be made. What, then, is the advantage of paying
twice as much for cloth flowers?

They are substantially made from the best of
materials and, with reasonable care in handling
they may be used again and again.

We have a flower for every need and the coloring
has to be right as it is done by experts. Write us
for our latest catalog — it contains many new sug-
gestions that will interest you.

Visit Our Display Rooms
When You Are In Chicago

We have taken .5,000 square feet of additional
floor space which has been fitted up with full size,
model show Avindows. These windows are beauti-
fully decorated with flowers suitable to every sea-
son. Here you can see our latest designs just as
they would appear in your own windows. Our
special artist is always on hand to work out any de-
sign you may wish with any flower. Without doubt
this is the finest display room of its kind in existence.
It is another Original Schack Idea to display flowers
and other decorative materials in model windows.
We believe that every decorator will appreciate the
advantage of selecting his materials under these
favorable circumstances. Our splendid show room
alone is worth making a trip to Chicago to see.

About Schack's Floral Units

If you will write us for our large circular that contains over
100 designs and suggestions we will gladly send it to you.

Any of these Units can be built easily by the average trim-
mer, and the catalog will be of great assistance in his every-day
work. In offering these Units to the window trimming public,
we are following the established policy of the Schack Artificial
Plower Co., which is not only to sell the best possible product
at the minimum price, but to extend the services of our Expert
Designers free of any charge to our customers who may need
them.

Write Today for full Paiticiilais. IJook of ])esif>n.s, etc.

Efc^^"Y-> '^

.y^

^^n

f^i

■ '"'' i

p^t

If vou will <OI

ipare

our ll.)w<r> uilh

ll.Mvei> .v..n «ill

lilKl

that our prucs

are

priutically half that is |

iliarKed for «

■lotli.

(loth Howers art

not

iiitfiideil fur w i

,dow

<»r interior iliror:

tiiiir.

hut are ma.h- for

iiiil-

linery purpose-.

Tappr Howers

pos-

sess a (lelieate

tone

and heautiful

tints

tliat liarmomze

will)

aii\ mer< li;iM<lise

tliat

uv.xs Ki.la.ve.l

SCHACK ARTIFICIAL FLOWER CO.

1739-1741 MILWAUKEE AVE., CHICAGO, ILL.

42y

MOST PRACTICAL FORM MADE

FORMS
IN

This form can be used for showing every possible kind of drape or
for showing- readv-made garments, waists, etc. The full figure sub-
divides into bust form, s^ form and 2 half shell forms.

$2 1 .00 Worth of Forms for $r. 50— Order a Set at Once

Jf vou bought these forms s.-parately, you would have to pay $7.00 for the full form $r, Oft
for the three-quarter form, $:{.0U for the shoulder form, and .I..!. 00 for each cl the half
forms Metal standard furnished with each form. I^inished m white witli llesh enameled
ImstST 50 Covered with white jersev, with flesh enameled bust, $10.00. This is the
greatest 'form ever designed and at a price that makes it possible for every trimmer to
forms in one. \ | Don't delay —

order at once.

;et

Here are Other

Staii«lN and Forms

for Drupiug;

IV o. 220.

For showing 3
s.-i)aiat.. pat-
terns of goods,
per doz.,
«30.00

■<IJ)

We sell
every kind
of draping
stand or
form that
is made.

AVrite for
(atnlouriie.

No. .{01.

Draping stand,
per do-/,.,

No. 21.'$.

iVIost practii-al

all a r o u n d

drape Stan d

made, only,

lier doz.,

.IfJl.OO

xo. ii:i.

Waist form for

draping silks and

waist ings oi- for

showing read y-

luade waists.

Tier do--c.. *S«.00

Superior Brass & Fixture Co."'

iriTS of ovrrytl
lore equipment
store lighting

no 316-318 W. Jackson Boul.
CHICAGO

430

The Most Satisfactory Decorations

f>ir Windows. Slorc JiUcriur>, lUnilhs, l'!i)al> and
in fact every kind of Store Trim are

BAUMANN'S ARTIFICIAL
FLOWERS

The Cloth flowers are not cmly tlie most reah>lic
hut hecause of their suhstantiid construction can
be used over and over ag;ain. thus eitectinj:^: a
great saving-.

New Decorations Every Season

We are the first to present each season the newest ideas in decorative
worked up in the latest colorings.

On account of the originality and because of the beauty
of our flowers we have for many years been furnishing the
floral decorations for the foremost stores of this country, such
as [Marshall Field & Co., ]\Iandel Bros., Chas. A. Stevens &
Bros., and most of the great stores throughout the United
States.

The recommendation of such firms as these and the fact
that they use our flowers, can oifly mean that we give the best
goods, the best value and the best service.

You Can Get the Same

We have everything that you can possibly want in the way of artificial
foliage, such as natural preserved branches, palms, etc., air brushed foliage or
foliage colored to suit you, or all white foliage, every grade of cloth foliage,
artificial fruits, made up pieces such as wreaths, garlands, baskets, etc.

fiowers

¥.
^

Write at once
for our latest cata-
log and circulars —
they show illustra-
tions of our goods
in natural colors.

•'-■•,

Visit our large

display rooms when

in the citv — vou

will find it verv

i..^

helpful.

L. BAUMANN & CO.

357-359 W. Chicago Ave. - CHICAGO

431

USE UPSON BOARD FOR ALL
YOUR SHOW WINDOW WORK

UPSON BOARD is the Easiest and Quickest Decorative

Here are the Facts

IMade from
Pure Wood Fibers
UPSON BOARD is mailp only
from pure wood fibers fresli
from the forest. It does not
<'Oiit;nn any coarse riarl;-
brown or gray fibers wliicli
are clieap, unsanitary and
lacking in strength.

2 Harder and
StifTer
I'P.SOX BOARD is harder
and stilTer than an}' other
board because it is put tn-
gether with greater pressure-,
while the UPSON method of
processing still further stiffens
the board.

rrsoX BOARD has the most
perfect painting surface of any
wall hoard. It doi s not need
a sizing coat, as there is little
or no suction for I);iiri1. Prac-
tically every other ho.ird re-
quires a priming coat.

Kllher the smooth nr the
pebbled side of UPSON
BOAlll) can be used. Tlie
pebbling will never come out.
Most other boards can only bo
used on one side while tiie
pet)bllng disappears when the
1 oard Is exposed to dnmpnc.«s.

Board to Apply and Finish

It is al.so a harder and more serviceable board, thus
making it better adapted for use in making columns,
posts, pedestals, platforms, etc.

UPSON BOARD comes ready sized or primed. It
does not require a priming coat of varnish or shellac
to •■flU" its surface and stop the suction.

Ul'SON BOARD is ready for use when it comes to
you. .Tust cut into shape. Then slap on a coat of
any kind of paint, water or oil and it is done.

This ease of finishhig means lliat ynu ran save from
$.1.00 to $1.5.00 per 1000 sqnair f,ri in Ih.. cnst of
finishing and from two to thnr (l.i\s m iinir. .\ii.l
you get the .strongest, stilft-t an.l i..ui.'lii>t tibrr
board on the market— a board lliat is kihi cured and
water-proofed — a board that is just as serviceable as
wood veneered boards that cost $15.00 per thousand
more.

UPSON FIBER STRIPS

Tpson Fiber Strips make one of tlie handiest dec-
orative accessories you can have around your store.
Wlietlier you use decorative board or not you will
find these strips aseful for making lattice work,
fences, and imitation lumber, special display stands
or forms. Tliere Is nothing so cheap or so easily
handled.

UPSON FIBER TILE OR BRICK

Tills new decorative Fiber Board has the surface
pressed to imitate a tile or l)rick surface. By fin-
ishing oir in white enamel or colored paints you get a
perfect imitation of tile or brick. Write for a sample.

Wliy not send in an order now. today, for your next
trims? You run no risk, because every panel is
guaranteed to be up to the quality of the sample,
whicli wc will gladlv send you, if you are not already
fandliar with UPSON BOARD.

The Upson Company

LOCKPORT, N. Y.

Places to Use it

UPSON BOARD can
be used from cellar to
garret of your store.

Some of the largest
stores have it on their
walls and ceiling's.

Scores of others use
it for decorative pur-
poses.

But note the inany
places it can be used!
Perhaps you may be
reminded of some
place you can use it
ri!?bt now.

T^'alls

Ceilings

Window backgrounds

Booths and exhibits

Signs

Closets

Partitions

ISrodcl rooms

Cloak rooms

Fitting rooms

Screens

Storage rooms

Special display forms

Telephone booths

Show case backing

43-:

415

Drapes on Forms of Htgh Lyons & Co., Lansing, Mich.

SHELL FORM DRAPE

WE give on this and the following pages complete instruc-
tions on how to drape eight of the best draping forms
taken from our line.

It has been demonstrated that the best way to show yard
goods of any kind is to drape them on draping forms.

We have specialized on the form end of our business until
today we believe we have absolutely the most complete line of
practical draping forms in America.

Not only are the forms made up in the best manner, but
their dimensions and shapes are such that they are correct from
the fashion standpoint and easy to drape.

The fault with many forms on the market, is that they are
not designed by men who can drape and therefore are not prac-
tical as a draping form, even though they may be good looking.

We are getting out new forms every little while and have
many others besides those shown here, but as it would be mani-
festly impossible for us to include all of them here, we must
content ourselves with showing you a few of our most staple and
most popular styles.

No. 421 shown on this page is the present day design of the
original shell draping form and is the most used draping form
in use to day. Made in lefts and rights and will stand without
the use of braces price, each, $2.50

Write for Our
Complete Catalogue

Drapes on Forms of Hk.h Lyons & Co., Lansino, Mich.
HOW TO DRAPE

As a practical draping fixture, the half shell form holds its own, and will probably never
outlive its usefulness in window display. For quick work some very good results may
be had by draping it to just give a suggestion of a new style feature. It should be
understood that the half shell is never intended for regular dress drapes. The effects secured
on it should be more conventional, and whatever style feature is brought out should be made
very plain and simple so as to be easily understood.

This is illustrated in the photo in the way the "draped" skirt idea is shown. The end
of the goods is started at the waist line and fits smoothly over the hips and falls straight
down to the floor. Then on the front selvedge make three small plaits and pin to the edge
of the form as shown in No. 1. This will throw the line of the goods toward the front, so

drape the goods around the front and
up across the back as in No. 2. Pin
to the back edge of the form and
drape away in the two folds to the
floor. Now double the goods back
underneath the folds, carry up inside
the form and use the other end to
cover the top (No. 3).

This way a smoother fit can be
had and with less strain on the goods
than when the goods is started at the
top and drawn in at the waist line.

For trimming, make a wide
girdle, or belt of fancy ribbon, and
bring the ends around and tie in a
knot in sash effect.

Write for Our Complete
Catalogue of Store Fixtures

HUGH LYONS & CO.
Lansing, Mich.

417

Dhai'ks on I\)r.ms of Hrc.n Lyons & Co.. Lansing. Mich.

MUMMY FORM DRAPE

AI)RA1'1£ suital)lc for novelty silks,
especially foulards, using a plain color
silk to line the form in either the same
or a contrasting shade.

First, cover the form smoothly
with the plain silk, starting the end
on the floor and carrying up over the
top as shown in No. 1. Then take
the novelty silk, fold double at the
end of the goods and pin the folded
edge about half way up on side of
the form (No. 1). Drape down to
floor keeping goods in double fold,
then return to edge of form with
goods opened out full width. Pin
selvedge at edge of form, then carry
diagonally across front over shoulder
(No. 2). In fitting goods to side of
form, push surplus up toward top
and underneath goods extending at

Drapes on Fohms of llrciu Lyons & Co., Lansing, Mm:

shoulder, which will form the
long rcvcr collar effect across
front.

Next, two loops arc formed in
liack hanging from the shoulder,
each with a lining loop of the plain
color inside, and all the loops to
be in graduated lengths (No. 3).

Then drape goods down in the
hack and form the sweep of the
goods down to the floor and back
again at left (No. 4). Arrange
each of these sweeps as a box
plait.

Trimming — a strip of lace
across front, with a large double
bow of ribbon at the side of the
form.

Xo. 446— Made of papier-
mache and covered w^ith best
quality white jersey. Stands 5
feet high and has 13-inch base.
The lines of this form are most
graceful and when trimmed
makes a very attractive dis-
play price, each, $5.00

Several of these Mummy
Forms No. 446 will give variety
to your yard goods displays.
Order one or more from near-
est office.

HUGH LYONS & CO.

Lansing, Chicago, New York.

41!">

Drapes on Forms of Hugh Lyons & Co.. Lansing, Mich.

It is an especially easy form to drape because there
are no hips over which to draw goods. ]\Iany trimmers
have trouble with the draping of figures on account of
the many curves, notably the hips.

In draping this original Mermaid Form of ours the
goods are all draped from the upper part and the goods
allowed to fall in natural folds.

It stands 5 feet high, upper part shaped with full

neck and bust and tapers from waist line down to 5

inches at base. Base is 12 inches in diameter. This

form is covered w^ith white jersey, with the exception

of the yoke, this being flesh-colored enamel.

Trice, each $5.00

Xock can bo cut nut \' shaped if desired.

Order No. 443. Made only by
HUGH LYONS & CO.
420 Lansing, Mich.

Dkapes on Forms of Hugh Lyons & Co., Lansing, Mich.

HOW TO DRAPE

THE drape may be made with any silk or mercerized material ranging from 19 to 27
inches wide.

Fold the end of the silk under about two inches and pin across the front of the
form high up on the bust. Then draw the goods straight down to the floor and pin around
the stem as in N,o. 1. Puff the goods loosely around base and then carry out to the side.

Now start with the other end of the goods and pin up on the left shoulder, forming a
12 inch loop here. Drape down in a festoon across the front and pin the same selvedge about
half way up in the back (No. 2).

From this point carry completely around the form and up to the right shoulder. Here is
formed another 12-inch loop. Thence the goods drapes out in a long sweep across the back
to the point on the floor.

In following the arrows in the
drawing it should be kept in mind
that you work first from one, then
from the other end of the goods, and
the arrows are to indicate the differ-
ent steps FROM THE ENDS of the
material to the point where they
meet.

Arrange the loops at the shoul-
ders in two folds. The festoon loops
crossing each other in front should
be arranged in two or three folds, de-
pending on the width of the material.
For trimming is suggested a band
of lace across the bust with the ends
brought over the shoulder.

We carry a most complete
line of other draping fix-
tures, besides papier-
mache forms.
They are made in both
wood or metal and com-
prise T stands, curved
top stands, slab top
stands, etc., etc.
Why not get our complete
Catalog?

HUGH LYONS & CO.
Lansing, Mich.

421

Drapks on Fohms of Hrc.H Lyons & Co., Lansing, Mich,

DRAPE FOR FULL FORM WITHOUT NECK

THIS style of full form makes draping easy as it docs away with the need of fitting the
goods to both sides of the neck. It is used more often in making conventional drapes,
something on the order of the shell or miunniy forms, than it is in carrying out strictly
dress features.

In this particular drape, start the end of the goods over the top, exactly in the center.
Fit snioothly down the front and draw in at the waist line on each side (No. 1). Also pin
^^^^^^^^^^^^^^^^^^^ goods around to back at the
Xo. 463— A very
practical draping
stand w-ithout neck
or arms, making an
ieasy form to drape
for inexpe r i e n c e d
trimmers. Stands
five feet high and is
covered with be-t
grade white jersey.
This form makes an
unusually attractive
display.
Price, each $5.00

shoulders bringing out
shape at the top.

Allow a little fullness on the
floor and drape selvedge across
front pinning up in back about
18 inches from the floor, as in
No. 2. Then form loop out on
floor about a yard and a quar-
ter long, which makes the
sweep out to the front.

Now start from the other
end of goods and measure for

422

Drapes on Forms of Hugh Lyons & Co., Lansino, Mk ii.

the combined sash and girdle effect
around form. When the proper length
to make this is secured, pin the selvedge
in center of the back allowing the bal-
ance to drop down to the floor as indi-
cated in the dotted lines in Xo. 3. Wrap
the goods completel_v around the form
making the girdle in shirred effect. Then
carry down across front, draw the end
through a large buckle as shown in the
sketch No. 4 allowing about 12 or 15
inches to hang as a sash or pendant at
the side.

For trimming, a band of ribbon is
placed diagonally across bust, ending in
three graduated loops on shoulder.

Get our big Complete Catalogue
that lists every kind of equipment for
the Store.

Drapes on Forms of Hugh Lyons & Co., Lansing, Mich.

FULL FORM DRAPE

THIS is our most popular draping form. It can
be had without arms as shown here or with
short arms as shown later on.
This is a perfect form because it gives a correct
iiutline of the body, thus allowing you the greatest
possible latitude in designing your drapes.

Of the most approved shape to properly show
the latest styles in draperies. Yoke is removable
wliich allows for a high or low trim. The finest of
abrics may be used without wrinkling. Made of
heavy papier-mache and covered with best quality
white jersey. Yoke finished in our washable flesh
colored enamel Price, each, $5.50

Order these forms from any one of our offices,
HUGH LYONS & CO.,

Lansing, Mich.; Chicago, 111.; or New York, N. Y.

Dhapes on Forms of Hi on Lyons & Co., Lansing, Mich.

HOW TO DRAPE

A TAILORED effect in a drape that is suitable for most double fold wool goods. Start
the end of the goods at the waist line, the center of the goods exactly in the center
of the form. (Xo. 1.) Drape smoothly down the front, then catch the skirt up
in two small plaits in front as shown in No. 2. These plaits should not be made too deep,
else the draped effect will appear too heavy. Cover the two pins used w^ith suitable buttons.

Down on the floor fold the goods back underneath to get a nice rounded effect.

Then with the goods folded double (right side outside, of course), brir.g up in the
back and around side of the form and up over left shoulder. Pin the folded edge at bust
and fold back as it goes over the shoulder to form lapel. This is clearly shown in No. 3.
Fit the goods in around the waist line allowing surplus to hang from the shoulder to suggest
sleeve. Then to get the cut-away effect in the coat, the front edge is folded up underneath
as it fits around the hip to the back.

Allow enough goods in the back to carry across to other shoulder and form the other
side of the coat in the same w-ay.

Wide velvet ribbon can be pinned around the edge of the sleeves to give a cuff effect,
or a regular coat set of lace can be used on both sleeves and collar. Buttons, of course,
must be used to finish the coat, three of them being placed as shown.

Dhai'KS on I'omms of High Lyons & Co., L.xNsiNt;. Micii.

ARM FORM DRAPE

This is one of the late additions to our hne of
draping forms. It has the proper Hnes to properly dis-
play the latest styles in draperies. The arms are at-
tached to the form, which makes the drape firm. The
neck is removable, thus allowing either a high or low
trim. The curves are such that the finest fabrics may
be used without wrinkling. The form is made of heavy
papier-mache, stands five feet high, and is covered with
best quality white jersey. The yoke is finished in our
washable flesh colored enamel. Price, each, $G.50.

HOW TO DRAPE

The characteristic feature of this drape form is the
short papier-mache arms built onto the form, which
makes it very convenient for showing short sleeve
effects.

Start the end of the silk at the waist line in the
back. Bring up over the shoulder and down to the
waist line in front (No. 1). Fit around waist and then
take outer selvedge up and pin tightly around end of
short sleeve. Then puff or plait surplus width of silk up
on arm. Draw up under arm and lit waist loosely in
blouse effect.

Dhapks ox Foi^ms of Ik oh Lyons & (.0., L\nsin(,. Mi

Now draw selvedge down and fit smoothly to
form, and at about knee height start making three
plaits as shown in No. 2. These folds are al-
lowed to drape loosely around to back, the surplus
folded underneath and the two short skirt folds
to floor formed as shown in Nos. 2 and 3.

The other side of the skirt comes down diag-
onally across front and covers edge of these plaits
and is fitted around side of the form to the back.
The surplus goods on both sides of the form is
fitted to the form so as to show the contour of the
form around the knees.

Narrow ribbon or lace can be used to outline
the diagonal line of the skirt. Wide silk ribbon
forms the collar and also the sash and girdle.

Notice how this form is drawn in at the knees
in order that the tight skirt effect can be perfectly
imitated. This form has been pronounced by
draping experts to be the very best draping form
ever brought out.

These forms can only be had from
HUGH LYONS & CO., of Lansing, Mich.,
or from their salesrooms in Chicago or New York.

<^-J-c.

Drapes on Forms of Hugh Lyons & Co., Lansing, Mich.

FULL FORM DRAPE

THE special advantage of this form is that it may be fitted with
hosiery and footwear to match each individual drape, a desira-
ble feature in draping slit skirt or short skirted effects.
The top being finished in flesh tint, is not covered with lace as is
usual in form draping, but a narrow band of velvet ribbon is pinned
around the neck. The end of the goods is started up at the top, the
two corners being folded under and the pointed end pinned to the
ribbon as in No. 1. The goods should then be fitted in at the waist
line and straight down the front. At about knee height on the right
side start to form two or three small plaits on the selvedge, pinning
around in the back to form the draped effect across the front.

Now bring the other end of the material up over the right shoulder
having the goods folded double. Fit around waist line and under
shoulder, allowing surplus to hang from shoulder to suggest sleeve.
Allow sufficient goods to cover back of the waist, then form a loop
out of the folded goods long enough to reach over the shoulder and
down to the waist line. This is shown in sketch No. 2. After this side
of waist is fitted on in surplice effect, take the goods that falls down in
the back and fit to the waist line, selvedge turned under and coming
down left side of form. At point above knee from which skirt is

draped, form a three inch loop in selvedge,
(No. 3), then continue down to the floor. The
small loop is laid in several small plaits and
the pin that holds them to the form is covered
with a button.

Out of the surplus goods in the back make
short sweeps out to the floor. Trimming
girdle of fancy ribbon, ending in large double
bow at side. Also a piping of same ribbon as
used around neck to outline the surplice of the
waist.

(J-JC

Drapes on Forms of Hugh Lyons & Co., Lansino. Mk if.

The body is made of papier-mache and is cov-
ered with high grade white jersey. The feet are
made of steel and are jointed at the ankle in order
that the form may be placed in the proper position
after putting on the shoes. This form will stand
erect without the aid of braces. Price, each $8.00.
Send your order to
HUGH LYONS & CO., Lansing, Mich.

Send for our Complete Catalogue of
Store Fixtures.

I)mai>i:s on Fohms of IIk.h Lyons & Co., Lansing, Mich.

This is our
column draping
form. Very ef-
fective work
may be done
with this form.
Stands 6 feet
high and is 12
inches in diam-
eter. Covered
with best quality
white jersey.
Price, each s.'i.uo

Hugh Lyons
& Co.,

Laiisinu, Mi

COLUMN STAND
DRAPE

A.\ (.'fl'ective draping stain
for cither silks or double
fold wool goods. A
great variety of effects can be
secured by covering the stand
with different materials such as
the wood grain papers, onyx,
marble or bark papers, and
making the drape so as to al-
low part of the stand to show.
In the drape given, the
column is finished in white
marble effect, and the goods
draped around it in a very
simple festoon
loop. Start with
the end out in a
long sweep at
the left, and pin
the selvedge up
at the top of
the column in
the back as
shown in No. 1.
Then keeping
the same sel-
vedge, drape the goods around the front andijback up to the same
point at the top. then awav in the long sweep to the floor at the

right (No. 2).

Arrange the two

long sweeps, each

^ in three distinct

<nn folds and the loop

(—-t) around the column

can lie arranged to

fall in three or four

folds according to

the width of the

goods. These folds

should be followed

lip all the way to the

top so that each is

kept distinct until

the very point

reached.

A festoon

of small silk

roses is hung

around the

top of the

lumn.

i'his same drape would
work up nicely using two
pieces of material, say for
instance, alight and a dark, or
vJ-C. Jt plain and fan

^^ -^combination. Cover the
Or the drape can be \\ ^^^ ^^/^ column first perfectjv smooth

made covering the col- ^\ >^=~--_ 00""^ ^vith the light color and drape

umn and all with the \C'^-^^,.jX^ the dark color around ■

same i)iece of material.

starting the end at the top, fitting down over cohunn. puffing up loosely on floor to right
and then making the same sweeps and festoon as before.

430

HELP YOU MAKE SALES

It makes no difiference what retail busi-
ness you are in, a modern KAWXEER
STORE FRONT (one made to fit com-
mercially) will increase your business.
The 30,000 and more KAWNEER STORE
FRONTS that have been installed are
proof. Merchants in big cities and small
towns have installed KAWNEER STORE
FRONTS for the one big reason of in-
creased business — they have benefited — so
can you.

Wherever you go you'll see KAWNEER
STORE FRONTS— each one making
money for the Merchant behind it — each
one boosting dividends.

Made-to-Fit Fronts

Our experience in the planning and in-
stallation of modern KAWNEER STORE
FRONTS has been the experience of
thousands of Merchants. Paid-for expe-
rience has taught us your Store Front re-
quirements.

Your only business excuse for the instal-
lation of a new Front is to modernize — in-
crease your business. Then why not profit
by the experience of other Merchants?
Your new Front must be built around your
business in order to increase your sales —
in order to pay for itself.

The KAWNEER FRONTS that stand
today have paid for themselves by the in-
creased sales they have made — put one in
your Store and let it pay for itself.

Let us help you determine the type your
business needs.

Kawneer — the Original

Back in 1906 KAWNEER was placed on
the market. It was the original, all-metal
Store Front and was designed to fill your
commercial and technical requirements.
A KAWNEER FRONT is permanent-
only solid copper, brass, bronze or alumi-
num is used. Won't rust, rot, warp or de-

teriorate — you needn't paint it or repair it
— one check pays the whole bill.

And a KAWNEER FRONT will not
leak — ^it can't because the solid metal
mouldings interlock — water can't drive or
seep through.

In KAWNEER the old, time-tried
method of show window ventilation has
been scientifically applied. It directs
enough cool, dry air along the inside sur-
face of the show window glass — wliere it
is effective. This system of ventilation has
resulted in the constant service of thou-
sands of KAWNEER STORE FRONTS.
365-day-and-night window service is bound
to push the sales of any Store.

Merchants* Store Front Book

Years of experience has given us a mul-
titude of practical, sales-making Store
Front ideas. To help you build a Store
Front that will increase your business
we've compiled a book — compiled and
printed for you to read and profit by.

It contains photographs and drawings of
many of the finest big and little Store
Fronts in the country. The information
will not only interest you but will give you
ideas to apply to your business — this in-
formation is the boiled-down experience of
thousands of Merchants. Just drop a card
for this book — no obligation on your part
— ■yours for the request.

Kawneer Manufacturing
Company

Francis J. Plym, President

NILES

HOME OFFICES

- - MICHIGAN

Factories,
Niles, Mich.
San Francisco, Cal.
Toronto, Can.

\Nc^. have a branch
near you.

449

MODEL DRAPING FORMS

Panier Drape Form SSZlg-E.
Plain and Draped.

ARE THE NEWEST
AND BEST YET

We are inventors and manufacturers of IMotlel
Display and Drapins Forms. Their imiversal use
Ihroushout the country is better evidence of merit
than anything we can say in their favor.

Panier Drape Form No. 58214-E

With wax bust, "Non-Depress" metal top, flesh

colored legs $12.00

Same form with flesh colored papier mache bust,
"Non-Depress" metal top, flesh colored

legs if 10.00

Form without bust or top, flesh colored legs $8.00
Same form without bust or top, entire body Jersey
covered $7.00

HiptessMer-
maid Drape
Form 486-E

New Style Hipless Mermaid Drape Form No. 486-E

Willi Wax liust and ornamiMital motal toj)

Willi Papier Mache Bust, ornamental metal toi> !$'.>.()» Sami'foini wiih

Same form witliout bust, papier mache hnish $.".«>().

Panier
Drape
Form

1582 14-E

Showing one
of the hun-
dreds of new
drapes made
on this form.

. ... $11.00
top 7.(>0

Colonial
Drape
Form
483-E

The m o s t
popular drap-
ing form on
the market.

Colonial Drape Form No. 483-E

Plain and Draped

With Wax Bust, "Non-Doprcss" metal top, fli^sh

color legs 912.00

Same form witii llesli color papier mache bust, "Xon-

r)epress" metal top JHIO.OO

AV'thoutbust orlop, llesh colorless ijis.oo

AN'ilhout bust or top, entiie body, Jersey covered

!(!7.00

SEE DRAPES 0. 1. 2, 3. 4. 6. 7. 8, 11. 12. 16. 17 ON PAGES 202. 203, 204. 205. 207, 208
Write for Catalog of Wax Figures and Entire Line of Display Forms.

554 West Jackson Boulevard

Mfgrt. of Adjuitable and Non-Adjustable Dress Forms

Panier Drape Form No. 15822-E

Plain and Draped

ilif?li waist Line, with flesh color legs,

Same form, entire body J eisey covered,

*«.r.o

See pages 208-213 for fall draping particulars.

Model Form Co.

CHICAGO

450

Card Writers'
Supplies

PRICES RIGHT

QUALITY THE BEST

Best Quality, Red Sable (Rigger's) Round.
BRUSHES

Nos. —

123456789 10 11 12

7c 8c 9c 10c 13c 16c 20c 23c 25c 2Sc 33c 40c

Best Quality Red Sable (Bright's) Flat.

Nos. —

1 2 3 4 5 6 7 8 9101112

9c 10c 12c 15c ISc 23c 27c 32c 38c 45c 55c 65c

Russia Sable Grounding Brush.

Sizes .1 3^ V. % 34 7^ 1 inch

15c 16c 18c 21c 23c 25c
Card Writers' Genuine Red Sable One Stroke
(Flat).

In 3 sizes 14 % 1/0 inch

35c 45c 65c

Flat Camel's Hair, One Stroke Lettering.

Sizes

Sizes
Each

6c 7c 9c lie 13c 15c 18c
DAILY'S PERFECT STROKE.
Imitorled Red Sable (Round).

Style No. 51.

5 7 9 11

ISc 25c 35c 45(

Style No. 4 9.
..3 4 5 6 8 10

1 inch
3c

)UC

Sizes ... 3 4 5 6 8 10 1'.

Each ... 25c 35c 45c 60c SOc $1.25 $165

BISSELL'S & CARTER'S SHOAV CARD

COLORS.

For Auto Pens or Brusla

Postpaid Prepaid

2-03. bottles, ea $0.30 Per dozen.. $ 1.50

'/2-Pint bottles, ea.. .50 Per dozen.. 4 50
1-pint bottles, ea . . . 1.00 Per dozen.. 8.00
l-(liiart bottles, ea. . 1.25 Per dozen.. 15.00
For 1/2 -doz. lots take % the dozen price
plus 10 per cent.

INKS.
Gold Ink, for the common pen.

1-oz. bottle 35c; half-oz. bottle 25c.
"White Ink, for the common, Soennecken and

Auto Marking pens, 1-oz. bottle, 20c.
Black and Colored Inks for air brushes.

2-oz. bottle 25c, 6-oz. bottle SOc. 16-oz.

bottle S5c.
Colors, powder form, all colors.

Tube, sufficient to make over one quart of

strong- color, 20c per tube, $2.00 per dozen

assorted.
Black and Colored Waterproof Drawing Inks,

all makes, %-oz. bottles SOc each, half

dozen $1.50.

PENS

Automatic Shading IVns, 20c each. $1.50
dozen.

Soennecken Pens, single and double-pointed.
Single, 2Uc per doz.; double 35c per doz. ;
3-pointed, 5c each, 50c per doz. Ink re-
tainers, 3 for 10c.

Music I'ens, (3 nibs> for large script writing.
5c each, 35c per dozen.

Ball pointed Pens, 2 for 5c, 5 for 10c, 12 for
20c.

Payzant Pens, each $1.00, 3 pens $2.85, 6 pens

Shepard Pens, $1.35 ea<?h, 4 sizes $5 00.

(See Faust's Book of 75 Alphabets for de-
scription and work.)
Shadow Pens, each 35c; 3 assorted, $1.00.

One pen and 1 bottle of ink for same, SOc.
Paper and Card-Hoard Cutters, brass 35c,
nickel-piated 40c.

Lecturers' Crayon, all colors, for tinting
hack grounds, 1 Oc each, $1.00 per do3.

Art Gum, for erasing pencil and finger marks,
size 2i4Xlii,xli8, lOc; large, 3x2x1, 15c.

Pantographs — A fine one, hardwood, nickel-
plated trimmings, ball-bearing rest, ad-
justable pencil holder, in box, $1.50.

Air Brushes and Sprayer.s, leading makes,
$8.00 to $30.00.

Metallics. Flitter, Tinsels, Bronzes, Diamond
Dust, Flocks, luc per package, $1.00 per
dozen.

SHADOAV PENS.

These pens automatically make the bodv of
tlie letter and shades it with a light tint
with one stroke of tlie pen. producing a
beautiful effect. For sample of its work,
prices, etc., send for circular giving full
description.

STENCILS.

Of letters and pattern designs, cut and ready
to cut, from 10c to $1.00. Send for price
list.

SPRAA" OITFITS.

For making showcards and designs, con-
sisting of six assorted colors of ink, one-
half pint each, 1 sjirayer (metal tube).
doulile bulb, continuous fine sprav. and 20
sprayed patterns with instructions, $3.50
postpaid.

Fountain Attachments for .Vutomntle Pens.

The Faust 9i2.:iO

World 4.00

The above articles are sent prepaid, except

tliose otherwise indicated. Ca.'-h must ac-
company the order; stamps accepted for any

SiV REFERENCES— North M est State Bank
or Any Art and Sho^vcard Supply House in
Chicago.

W"e have a complete line of every make in Card AVritcrs' Supplies and Hooks. If you don't
see what you want here — write nie.

C. A. FAUST, 1024 N. Robey St., Chicago, III.

451

Why Buy ^^Near Style^^ Drape Forms

When You Can Get Those of Great
Western Make at a Minimum Price?

THE BRITMKLEY

DRAPE SHELL

A drapery form mod-
eled to conform to the
lines established by Miss
Nell Brinkley In her fa-
mous pen pictures of
American girls. May be
shown front, side or back
view.

Originators of the

Hipless Drape Shell,
Mummy Drape,
Twentieth Century
Drape Form,

Brinkley Drape Shell,
Mermaid and Many
Others.

THE MANDEL FORM

Designed and used with great success by Mr.
Harry Jones, head window trimmer for Man-
del Bros., Chicago. The lines will appeal to
all who desire a form that is away from the
ordinary. Each shell has a shaped shoulder.

No. 1655

See Drapes 32A, 32B, 5, 6, 7, 8. 16. 4. 5. 7, 8.

on Pages 90, 143, 144, 149, 189 and 239.

We can furnish you with any other style

form shown in this book.

Write for our new catalog of
METAL DISPLAY FIXTURES
WOOD DISPLAY FIXTURES
PAPIER MACHE FORMS
WAX FIGURES, ETC., ETC.

No. Jt'>:>o

131 S. Fifth Avenue

GREAT WESTERN
FIXTURE WORKS CHICAGO

452

Show Window Valances

WILL BEAUTIFY YOUR WINDOWS

The perplexing problem of concealing modern show window reflectors is solved
by the use of valances. In addition to this practical use, they also add a final touch
of refinement and exclusiveness to the store, greatly increasing the attractiveness of
the merchandise displayed.

OUR STOCK
VALANCES

Our Stock Valances
are imported in bolt
lengths of continuous
pattern and can be cut
to any desired length.
All special valances
are made to order and
require about two
weeks' time to ship.

WHY YOU SHOULD USE

WEINBERG VALANCES

Because our valances add as much attractiveness to a store front as the window

trim itself.
Because AV^einberg's Valances are made in exclusive patterns of specially Imported

materials.
Becau.se Weinberg's Valances may be cleaned when soiled, they are water and

sun-proof — they will not fade.
Because Weinberg's Valances hook on and off in a second.
Because Weinberg's Valances are made by the oldest and best equipped valance

house in the country.
Because Weinberg's Valances mean strictly first-class workmanship and prompt

service. "Prompt service Is Weinberg service."

Let Us Help You Make Your Store Front More Attractive

We carry in stock the largest and best line of ready-made valances. Our special
service department enables you to submit your own design, and we will work it out
according to our best ideas — based on our experience in designing valances for the
largest stores in Chicago. ^»t" ■•^ .•.-.•• ((»_j ., ,_ -, - p-»^ ^i-'eVi- c-i**

HOW TO ORDER

To fill orders or quote prices, we must have the following information: Number
of pieces desired and exact length and width of each; the distance from floor to
transom bar or point from which valances are to be hung. Send floor plan of your
windows and entrance with dimensions, showing columns or other obstructions be-
tween panes of glass.

Write Today for full particulars, Illustrated Booklet and Prices

1459-1461

Milwaukee Ave.

JULIUS WEINBERG

CHICAGO,
ILL.

453

Koester IM School

Window Trimming ^^^^^ Card Writing

Advertising

Study Window Trimming Under Men You know

Persons intending to become artists, study under some famous painter— and if you
would become a window trimmer or card writer, YOU should study under men who have
made a success in this work.

The Koester School

has as instructors just such men — men whom most of you already know personally or
through reputation— men who have originated a great deal of the most successful methods
used in this work in recent years— such men, and only this kind, can give you instruction
that will give you the greatest success in your work.

AlKofi- \ 'K'r>P»Qff»r Founder of the School, is considered by many the
/i-lDen XV. IV<Je&ld greatest window trimmer in the world. It is certain
that he is one of the greatest. The methods that he uses are taught only at this school
and are now used by the most successful trimmers in this country and demanded by most
stores.

>^ T C^ rwnran President, has probably made a deeper study of Window

VjCO» J» v><LlWd.H Trimming than any other man. He has written more on the
subject and published more drawings and original ideas than any one individual in the world.

HT "R 11 -fh P>rf rkfH ^fanager and Advertising instructor, was at one time
• J» JVU. lllCl IvJl tl president of the Window Trimmers' Association. His
entire experience has been in the disposing of merchandise by means of the window and
other forms of advertising. His success was such that he was entrusted with the advertising
of the John V. Farwell Co., of Chicago, one of the largest firms in the world. His ex-
perience has fitted him for an ideal instructor for boys who want to know how to do the
advertising in a retail store.

•^ntT-* 1 1 XT "RofpkO Draping Expert, originator of the new idea of showing drapes
VV m n.. Dd.iea ^^ fabrics on live models — originator of drapes on the new
"mermaid" form, both of which created so much interest at the recent Window Trimmers'
Convention. To be a successful trimmer, you must be able to drape fabrics according to
the new style tendencies, and the only place you can get instruction on this at The
Koester School.

TrArincr T RrilHforH Store Equipment Expert, gives a demonstration on
irVlllg L^t i-> L dKlLKJl. VI j-jQ^ |.Q niend and clean wax figures — explains how
lo buy fixtures — how to make them, and will assist any student on special information he
may want on the planning of new windows, construction of store fronts, etc. We believe
that this information cannot be found outside of The Koester School.

J1> TJn f c on Instructor in Card Writing, has had two years' card writing ex-
• -I*-* ■'^ ^ I O U 11 perience with the United Cigar Stores and five years' experience
with Marshall Field 6c Co., Chicago. He was witli the Gunning System of painted outdoor
signs for four years, hounded and conducted a card writing school for three years.

A set of literature explaining all courses and h<nv to increase your salary is yours for
the asking. Write fnr it today.

THE KOESTER SCHOOL ^"^^"'^'Siil^cT'" "

464

This
KOESTER

MAN

accepts this
position as
soon as he
graduates.

The examples of drape, show
card and show windows show
what Mr. Freebern was able
to do after completing his
studies at the Koester
School.

We believe there are
few young men who
are able to show bet-
ter work in all these
lines.

Let us help you to
do this kind of work.

Original drape by Walter Freebern

Paul Davis Dry Goods Co., Waterloo, la.

Mr. Freebern says:
To whom it may concern:

It gives me pleasure to recommend the
Koester School to anyone desiring to attain
the latest and most improved methods of
window dressing, advertising and show card
writing.

Their advanced Ideas are of Inestimable
value to the man of ex-
perience and their
thorough and detailed
Instruction puts the be-
ginner in touch with
the very best methods
to make his work suc-
cessful.

I consider that the
few weeks I spent In
their school last winter
has already been worth
many times what the
course cost me, and I
expect to keep In touch
with them from time to
time. In order to keep
my work and methods
up-to-the-minute.

If you contemplate
entering this line of
work, my advice Is to
"let the Koester people
show you how."
Verv tnilv.
W. X, FREEBERN.

.s^how i-nrii and show
window by Walter Free-
bern for Paul Davis D.
G. Co.

455

Window Trimming
Monthly

Published as a section of the Dry Good» Reporter under

the name of Dtore Equipment and Window

Display Monthly

is considered by many authorities on wi».dow trimming
to be the most interesting, most helpful and most beauti-
ful example of paper published in the interests of the
window trimmer, card writer and the man interested in
the store's equipment.

A Real Monthly Window Trimming Service at $1.00 a Year

Geo. J. Cowan, ELdilor.

E. O. Burdg, Associate Editor.

H. J. Rutherford, Writer on

Window Trimming.
W. H. Bates, Writer on Draping.
C. A. Faust, Writer on Card

Writing.
Robert B. Schreffler, Writer on

Store Accounting.

There will also be monthly draw-
ings and text matter by J. C. Bodine,
Art Calitins. Geo. J. Cowan, E. O.
Burdg and others of the foiemosl
trimmers in this country.

This publication prints each month
many of the new things that are
being brought out by the Koester
School.

Window Trimming Depart-
ment contains photographs, draw-
ings and descriptions of every phase
and new development of window
work. The drawings and photo-
graphs of original drapes, unit trims
and groupings, also the background
suggestions, are far superior to any
expensive correspondence course m
window trimming that will cost any-
where from forty to eighty dollars.

Card Writing Department
contains new alphabets and examples
of cards by boys from all over the
world.

Store Equipment Depart-
ment contains complete and au-
thentic information on all types of
store fixtures, store arrangement, win-
dow construction, lighting and venti-
lation.

This is the biggest dollar's worth of
literature on these subjects that you
can get.

All back numbers have been sold,
so in sending in your dollar for a
subscription, it will have to start with
the current number.

Every issue contains photographs of show windows
from all over the world. Special large views arc
shown of all the State Sitcel windows as soon ai
they are installed This keeps the reader posted
on all new ideas used by other trimmers.

Every issue contains drawings similar to the above
that in reality make a monthly window trimming
service, showing just how to trim your windows.
Some of these drawings cost as high as $23.00 each,
and you get sometimes as high as ten in one issur
at the cost of a trifle over eight cents.

456

S300£2 FOR S3jS2

If we were to say that YO'U could Kct $300 worth of informa-
tion out of the DRY GOODS RI:P()RT1-:R during,' a year's study
of its pages, you may think the statement extravagant.

And it inight be extravagant.

Yet there are many instances where a reader of the RR-
PORTER has gotten information from its pages whcrehy he has
added profits to his business that amounted to more tlian $3(X).0U.

Under the same circumstances YOU could do this too.

The REPORTER is pubhshed weekly.

It is not a "literary gem" but instead is a journal of private
information for the man who sells dry goods.

Digesting this information will make you a liettcr merchant
and will make your salespeople better salesmen and saleswomen.

There is no way on earth where you can invest $3.00 to a
better advantage to your business. Some of the features of the
REPORTER which will appeal to every progressive merchant
are:

GENER.Mv EDITORI.VT. PAGES— Just as helpful
and readable as experienced merchants and ex-
pert scribes can make the:n.

SELLING PLANS — The experience of practical
merchants in real business-building and profit-
making methods as gathered by our correspond-
ents and representatives in all parts of the
country.

FASHION NE^VS— Forecasts of the future and
record of the present tendencies in styles in all
things pertaining to women's wear.

FASHION ILLUSTRATIONS— Graphic showing in
black and colors of seasonable merchandise, giv-
ing to the merchant, at a glance, valuable buy-
ing suggestions.

BOSS CONTESTS giving every-day problems
rwhich confront the retail merchant every
week in the year. These problems are solved by
merchants and salespeople throughout the United
States, and their articles on the various phases
of retailing are published in the REPORTER
EVERY WEEK. "WHAT DID THE BOSS SAY"
is worth ten times this publication's subscription
price to any live Dry Goods retailer.

STORE EQnr:\rENT ant) aa^ndow display

SECTION — ^l.sHind monthly as a supplement ti>
the REPORTER. Filled with interesting articles,
profusely illustrated, by expert window trimmers
and card writers. The most complete, competent
and helpful to the merchant of any thing of this
kind published in the United States today.

GARMENT SECTION— Another monthly supple-
ment containing special articles and illustrations
pertaining to Ready-to-Wear Garments.
SHOE SECTION — A monthly supplement, the
reading of which has converted losing shoe ae-
partments into profitable ones.

VARIETY GOODS SECTION— A miniature paper,
half the size of the REPORTER, bound under its
own cover, dealing with small wares, bargain
basement, 5 and 10c goods, novelties and all
those little things that sell quickly at a good
profit.

TRASIP STORIES— A series of humorous but
helpful tales, some true and otherwise, dealing
with ticklish problems in store life.
STORE PLANS — Articles describing new Ideas In
store planning and illustrations showing- best
store arrangements.

STORE ACCOUNTING — Practical suggestions In
store system, lessons in store book-keeping and
examples of merchants' financial statements.
PRICES CURRENT— A carefully revised list of
prices ruling in the Chicago market.
SPECIAL NUMBERS — During the year, four
special Fashion Numbers and many special-
feature niinihers.

ONE SI I5SCKIPTION COVERS ALI.,— And if you
have a mind to, you can have I TSSTHCS of the
REl'oHTElt sent to you FREE. The order blank
below will allow you to get in and "Stick" or
get out without cost. Sign this order and send
it to us today. You can countermand it when
you please.

Date.

DRY GOODS REPORTER CO., 215 South Market Street, Chicago.

Gentlemen:— Please send the DRY GOODS REPORTER for one year and render a bill
at the subscription price of $3.00. It is understood that this order will be cancelled if the under-
signed is not pleased -with the Reporter in every way.

Signed.

Town.

State.

457

/ ^v\ \/'

^,^/

rs**5.j^

^'^

?j^

'J-. \0<=^\

15=.

r^-

Retail

Advertising

Service

CLARENCE SOUSLEY

Advertising Expert in Charge of

Adv. Service Bureau

We have a weekly
Advertising SER-
VICE which we fur-
nish to over five hun-
dred ad writers and
merchants. Issued
weekly on typewritten
forms, exclusive to
one store in a town.

This consists of two
general heads and
from twelve to twenty
subheads for the de-
partments throughout the store. It will be sent to you every
week and mailed on Friday night from our Chicago office.
The writer has a store plan which consists of forty-four
departments, and these departments are treated alternately
each week.

The mission of this Service is to save you time and brain fag and yet
enable you to get up an attractive advertisement for your store very
quickly. The average ad man, who also has other duties, usually by
inclination or force of circumstances, gives these other duties the pref-
erence and puts off his advertising copy for the newspaper until the
last minute. Then he sits down and "dashes it off." You can't write
a good ad in this manner. Your advertising copy must have previous
thought. Our weekly Ad Service furnishes you with this previous
thought.

The price of the Service is $10.00 for one year, in advance. We
do not take patrons for less time, and they are guaranteed exclusive
use of copy.

With this typewritten Service, you draw a plan of the ad as you
want it to appear in the newspapers. Then number the spaces and
number separate sheets accordingly. From the typewritten Ad Ser-
vice, clip the headings that you like, paste them on the sheets, write
items and prices below and hand to the printer. With this Service, it
is possible to get up your weekly advertising in a few minutes' time.
WRITE FOR SAMPLES.

Reporter Service Bureau

7th Floor, 218 South Market Street CHICAGO

^^-c-p-

i^^.

458

STORE ACCOUNTING BOOKS

A Few of the Books That We Can Recommend as Being
Most Helpful in the Accounting Work of the Store.

The Philosophy of Accounts

By Charles E. Sptague
teacher of finance and accounts of
New York University and president
Union Dime Savings Bank, New
York. For the business man and
the accountant, there is no other
work published which states so
clearly, so simply and in such prac-
tical form the principles underlying
accounts and accounting. It deals
with theory, but practical illustrations
abound to clearly show how theory
"intermeshes" with practice when
the practice is correct. This is a book
of 161 pages, bound in dark blue
cloth. Sent postpaid for. . . .$2.00

Department Store Accounts

By Chas. A. Sweeltand
This is a handbook of retail accounting
methods, including the best simple account
systems for the small retailer, book-keeping
for general stores, and methods of management
of the largest department store?. Retailing
involves a multitude of transactions, small in
themselves, but in many cases aggregating
totals that compare favorably with the business
done by the manufacturer or jobber. Because
of the number of his transactions, the retailer
is forced to provide for the handling of a vast
array of details. 208 pages, 125 illustrations,
bound in red vellum clolh. Sent postpaid
for $1.50

Loose-Leaf Book-keeping

By SweellanJ

This book is invaluable to the
merchant using a loose-leaf system
or who intends using it. The lime
to get a full statement of last month's
business is on the first Jay of this
month— not the 1 5th. If you have
to wait every month for your monthly
statement —if your book-keeper must
work overtime to get it out, it's time
you got rid of your poor, inadequate
accounting system. This book con-
tains short cuts, schemes and accuracy
insuring book-keeping plans that will
enable you to gel your statement or
trial balance sheet the first of the
month. Bound in red vellum, over
200 pages. Price, postpaid. $2.00

Goodwin's Improved Book-keeping and
Business Manual

This, we believe, will be the most interesting and helpful
of all the books we know of on store accounting. It has
chapters dealing with the systems used by the best stores in the
country — each house contributing, through its paiticular system,
something towards the whole. Here is a list of some of the
houses: Arnold, Constable & Co.; Calhoun, Robbins & Co.;
H. B. Claflin & Co.; A. F. Stewart & Co.; Lord & Taylor;
R. H. Macy & Co.; James McCreery & Co., Mills & Gibb,
Stern Bros.; Teft, Weller & Co., etc. Care has been taken to
make this book as clear, complete and brief as possible. An
article is of no value unless it is understood, therefore, in getting
out this book, the main idea has been to get it up in such a
way that its subject would be clearly understood. This book
is of generous size, being 7x10 inches, and over 300 pages.
Sent postpaid for $3.00

Send All Orders to The Dry Goods Reporter, Chicago

MORE STORE BOOKS

Pete Crowther: Salesman

By Elmer E. Ferris

People say that salesmen are born not made,
ihat some men can sell anything, others noth-
ing, but when Pete Crowther tells how he
does it, you will find a lot of good suggestions
and common sense for you to follow.

The book contains a practical programme
of success in any sphere of work. It not only
makes salesmanship look good, but it makes
life look food. It will cause you to laugh and
think at the same time.

This book is attractively bound in full cloth
and illustrated. Sent postpaid on receipt
of $1.25.

:^^L

Droad hurst.

T^asterMerchant

Edward Moll Wool ley

Addison Broadhurst:

Master Merchant
By Edward Molt Woolky

The remarkable story of the rise of a
country store cleik to the head of a great
department store. It reads like fiction,
yet it is true in every detail.

The record of his success and how it
was attained he now hands down. '"I
want," he says, "no greater monument
than to leave this record for the guidance
of men who are blundering through busi-
ness careers."

This book is attractively bound in full
cloth, and will be sent posipaid on re-
ceipt cf $1.25.

Practical Publicity

It is a practical treatise on the art of business-
building through all the varied forms of pub-
licity and promotion, written by a man who
combines the training of a journalist with the
experience of a publicity director who creates
and originates all the adverhsing for corpora-
tions that do an aggregate business of six mil-
lion dollars a year. It is intended to be helpful
to every man who has anything to sell and
who is ambitious to enlarge the market for his
product.

A 250-page book, with 215 illustrations of
adverlisemenls. bound in green cloth, sent
postpaid, for $2.15.

Modem Accounting

Du Ihnru RandHalfield. Ph.D.
Associate Professor of Accounting,
University of California
The cbject of this work is to emphasize the
two main purposes of accounting— that is, the
presentation of the status of a business concern
and the determination of its profits. These
two purposes are accomplished respectively by
the balance sheet and the profit and loss state-
ment.

This book is bound in dark red cloth. 370
pages. The price is $2.00, postage paid.

CREDIT Alports

USES

Accounting Practice

The business of accounting has devel-
oped so rapidly that the referi-nce books,
essential to the business, hav.; not kept
pace; consequently the books available
are not on a par with the rt-feience books
of other professions, and it is with this
end in view that the author has compiled
this work, which he feels will meet all
pre ent needs.

This book of over 300 pages, is bound
in deep maroon cloth, gold lettered, size
6x91 inches, and sells at $6.25, postage
i>a>l.

Credit and Its Uses

Bv Wm. A. Prendergast
Comptroller of City of New York

The purpose of this work is to demonstrate
tl e all-powerful influence of credit in the
r. ^ministration of the wodd's affairs; to explain
the principles involved in the question, and to
show how its practical application to mercan-
tile life depends loo comi)letely on a correct
knowledge and observance of those principles.

Bound in red cloth, gold stamping. Price,
postage paid, $1.75.

Send All Order* to The Dry Goods Reporter, Chicago

4JJ

Books for the Advertising Man

liiii

''ALW

UOCESSFUL
ADVERTISING

TO ACCOMPLISH
Mac DONALD

Thi» large bo<,k of
over 400 paga.
fully illuslralrd.
trcal«onpracli/-ally
every subject per-
laning to Reiai!
Adverlbing. In
index con taini over
500 didereni .ub-
jrcts, among lliem
it-e following: Ad
Building, Adver-
tising Ideas. Wordf
to Use. Use of
Price*. Displaying
Ilerrs an J Prices,
Preparing Advei-
liiing Copy for iK
Printer, Use ol
Type, Use of II-
iuslralicr.s— adver-
tising every depart-
ment of the store (a
chapter devoled to
each department)
How to Get A.'
sistance frcm the
Local Papers. Ad-
vertising for Each
iV1cnlhoflhe\'ear
(a separate article
for each rrcnih),
Seascn Advertij.
ing (an article fo(
eachseason I, Gen-
eral Adverlisinj
(Bccidels. Circu
lars), Newspapers
Bill- boards. Show
Windows. Deliv-
ery, Classified. Ed-
ucational Features,
Co-operation,
Hcnesly in Adver-
tising. Individual-
ity, Schemes, Pre-
miums, Street Car,
Mail Department).
How to Write
Advertising, How
Much «o Spend,
Bookkeeping and
System. Catalogue
Making, Adver-
tising Your Town,
Special Sale Ad-
vertising, with ex-
amples. Corre-
spondence, Com-
petition. Describ-
ing Items, Interior
Display, Card
Writing, Head-
lines, Humor in
Advertising, etc.

Every store must do some advertising. Every store should have this book, as it will answer any quertion which may
come up relative to the store's advertising. It is a complete reference library, fully illustrated. Most books devoted
to advertising treat on the subject as a whole, only one small part of it is devoted to retail store advertising. This
entire volume is devoted exclusively to the subject of Retail Advertising. Bound in full cloth, sent
postage prepaid any place io the United States (money must accompany all orders) • $2.00

Send All Orders to The Dry Goods Reporter, Chicago

4G1

Books for the Advertising Man

1,000 Ways and Schemes to Attract Trade

If you should try a new scheme every day, there would
book enough separate suggestions to last nearly three yea
repeating a single one. It is 9/4 x 7 inches in size and has
with 1 20 illustrations and 1 ,000 schemes to draw trade.
paid for $1.00.

be in the
IS without
208 pages
Sent post-

Fifty Lessons in Advertising

Boiled down, concentrated facts of a kind that come up in every
day's business. Designed, written and publL'hed for the retailer and
for the advertising man, for the shoe store and the shoe department
of the general or department store. It is bound in green cloth-
covered boards. Sent postpaid for $1.00.

How to Do Business by Letter

To the dry goods merchant who sends ou I circular
letters, borjklets and samples, there is probably no
book that will help him more than the one entitled
"How to Do Business by Letter." This book
contains 123 model letters of all kinds, all of them
being the most successful pulling letters of recent
times. Bound in full cloth, postpaid, $1.00.

Retail Advertising
Complete

A complete treatise on retail
advertising, complete instructions
for the preparation and use of all
kinds of advertising matter; fifty
good schemes for getting busi-
ness. Written by a retail mer-
chant. Price, postpaid, $1.00.

Poster Advertising

This book contains just the information that a mer-
chant needs, if he is to do bill -board work. Contains
120 pages, 32 full-page reproductions, in six colors, of
commerc al posters that are considered among the best
that have ever been used. Bound in cloth, with a
beautiful original, six-color poster cover, size 8K x I I
inches. The stock used is of extra quality, in order to
show up the illustrations. Sent postpaid for $3.00.

Sales Plans

A collection of 333 successful ways of getting

I I. ss. including a great variety of practical

iliat have been u>ed bv retail merchants

ertisc and sell go<xls. Sent prepaid to any

s. Cloth binding. $2.50; full morocco

binding, $3.00.

Successful Advertising
How to Accomplish It

Over 400 pages. The cream of the know,lcdge of
men who know how and when to advertise — points re-
tailers should know. Simple ads for cvcr>' department—
the sort to make cash sales over your counter. - "Most
returns for the least outlay" is the keynote. Bound ■•
cloth, prepaid, $2.00.

Send All Orders to The Dry Goods Reporter, Chicago

4G2

The Psychology of
Advertising

By Waller Dill Scolt
Though experience is the teacher most
widely depended upon, experience is
well known to be the most expensive
teacher. "The Psychology of Adver-
tising" assists the advertiser in making the
greatest use of his own experience as well
as that of others. Most business men
have sufficient experience, but they are
unable to interpret it and make the most of
it. 8vo, half leather, profusely illustrated.
Price by mail, $2.15.

The Theory of Advertising

By Waller Dill Scoll
Director of the Psychological Laboratory of
Northwestern University
$500,000,000 are spent in advertising in "the
United States every year. This vast sum is t'evoted
to the science of getting results by the use ot printed
paper and type, yet this art is underalood by com-
paratively few business men. No more useful,
helpful or important treatment of this gigantic sub-
ject has yet appeared. "The Theory of Adver-
tising" is not only a handbook used widely by ad-
vertisers, but it has been adopted as a text-book in
the course on advertising in Swarthmore College as
the most adequate, trustworthy and, at the same
time, readable work. Bound in half leather, pro-
fusely illustrated. Price postpaid, $2.15.

Increasing Human
Efficiency in Business

By Waller Dill Scott

This book is of such a nature that the
manager of any business, and particularly
of a retail store, will derive a great deal of
good from it. One chapter alone entitled
"Personal Relationship with Workers as
a Basis for Creating Loyally" should be
read by every me chant. 350 pages,
bound in vellum c'e luxe cloth. Price
postpaid, $1.25.

Modern Advertising

By Ernest Elmo Calkir^i and
Ralph Holden

A book which tells about advertising —
not how to do it, but how it is done.
There is a little theory in it, but consider-
ably more practice. It is a practical book,
tracing step by step all of the different
operations which make up, as far as they
can be described in print, what is known
as "advertising." 366 pages with 65
illustrations, bound in brown cloth with
grJd lettering. Price, postpaid, $1.50.

Scientific Sales Management

By Charles W. Hoyl

Make your salesmen closers, not missionaries —
stop searching for the star salesmen trained by the
other fellow; use average men and manage them
correctly— these are the things which this book
advocates and teaches. It contains 204 pages, size
6x9 inches, liberally illustrated throughout, bound
in high-grade black cloth, richly stamped with
gold. Price postpaid, $2.00.

The Shoe and Leather Lexicon

An illustrated glossary of trade and technical terms relating to shoes, also leather and other
shoe materials and allied commodities, with especial reference to the production, distribution and
retail merchandising of the finished article. It includes correct anatomical drawings of the foot;
tables of fool and last measurements; standard carton sizes: systems of size marking; hosiery sizes;
varieties of low cut shoes; classification of leathers; standard size lengths; statistics of shoe pro-
duction, etc. Of handy size for pocket or desk, gold tinted coated paper, wine colored antique
cardboard cover, small type for condensation and compactness. Mailed to any address in the
United Stales at 40c a copy ( 3 copies for $1 .00)

Send All Orders to The Dry Goods Reporter, Chicago

403

The Drygoogsffian":^

For' the Dry Good* and Shoe Tradft

New Handy
Dictionary

for the

Drygoodsman

A Book of Reference CoDtaining Defioitiont and Ex-
planations of Words, Terms and Expressions Used in
Dry Goods and General Store Work.

FOR the past several years there has
been no book published that would
serve as a dictionary or encyclopedia
for the dry goods store.

There was such a persistent call for
such a book that a handy dictionary for
the dry goods man was undertaken
some time ago and is now of¥ the press
and ready for distribution.

In the preparation of this work two
main objects have been kept in view —
to produce a simple dictionary with
terse definitions of the words and terms with which dry goods and general store
workers come in contact, and to bring it forth in durable form at a moderate
price.

No attempt has been made at introducing encyclopedic features, because such
cfifort carried to a proper finish would make a book too great in size and too
full of long explanations to be of so common service as this book is intended to
be. The cost of such a book would eliminate from the list of purchasers that
vast army of young people learning the business who have the greatest need
for a dictionary. It is this class that especially needs a book that may be car-
ried in the pockets or in the fixtures at a handy place at all times.

The editor remembers his desire, as a green clerk, to possess a dry goods dic-
tionary, but the price of the only one then in existence was higher than he could
afiford to pay. That experience has been a leading incentive in the preparation
of his work — to get it into the hands of every clerk in every store at a time
when it is most needed. The cost is not prohibitive to any who have the desire
for information.

It is suggested to the clerk that he keep his copy always at hand, and if a
customer asks for something unusual, he should consult his dictionary before
he informs the customer he hasn't the goods or there is no such thing. It is
suggested to the merchant that he keep his dictionary as ready for his hand as he
does his pen or his receipt book.

This dictionary sells for one dollar, thus making it easy for anyone to slip a
dollar bill in an envelope and ask that this dictionary be sent him.

Send All Orders to

Dry Goods Reporter, Chicago

464

HELPFUL STORE BOOKS

STRAIGHT TALKS
BUSINESS

-LIAM GAMBLE

Straight Talks on Business

A practical handbook for the progressive hu
man. By ^^illiam Gamble. Small ]2mo. Cloth.

Fifty-two cjiapjers on such subjects as
"Advertising," "Competition," "Prices,"
"Profits," "Economy," "Taking Stock,"
etc. Do you want to know how to slop busi-
ness leaks? How to advertise successfully?
How to make the work of each man pay?
Here's just the book you want — full as a nut
of business meat.

"The advice has grown out of the ex-
periences of a man who has followed a
strenuous business life. He claims no new
business philosophy, but puts principles which
time has tested into new form better suited to
the present-day needs." — Book Rniew Digest.

A book to be read by every young man
who contemplates entering business or by the
business man who "grows." By mail. .$1.00

■hook for
store service and salespeople
generally. By IVilliam A.
Corhion, former instructor in salesman-
ship, service and conduct in the John
M^anamaier Store. 12mo. Cloth.

Mr. Cotbion's long experience as
instructor in salesmanship in several
large department stores makes him
eminently filled to prepare such a work.
He deals with the principles under-
lying good salesmanship and depart-
ment store management in such a way
as to make them clear even to the
unenlightened, and his book will be a
helpful manual for home study or for
use in the department store classroom.
By mail $1.00

English Shop Fronts —
Old and New

The great number of illustrations and
large amount of reading mailer cannot
help but give to the merchant interested
in store fronts a large range of ideas that
will be very helpful to him in deciding
on what is ihe best type of front for his
use. The book is illuslraled with
photogravure plales and bound in thick
beveled covers, and stamped in gold.
This book sells for $6.00

If you desire
more detailed
description of
any of these
books, we will
gladly fur-
nish it.

All books are
sent postage
paid, and
cash must ac-
company all
orders.

How to Measure Carpets

Bv John H: Lind
Written by a man who knows by practical experience how
to solve the problems of ihe carpel man . Tells you all about
the implements of the carpet measurer; how to draw plans;
how to measure halls, stairs, churches, theatres and irregular
carpets; how to estimate; how to cut and match different grades
of floor coverings. Indispensable in the carpet dept. Contains
iSOpages. Bound in red cloth. Mailed prepaid. . .$1.00

rSRLPH&BETS

Faust's 75 Alphabets

re new air-orusn leiiers, several examples oi an -uciilh
:il alphabets and alphabets designed especially for
openings. Fourth of July, ribbon sales, veilmg sales.

This new book contains alphabets never shown in any manner
before. There are new air-brush letters, several examples of air-pencil
relief work,
fire sales, autumn ■
toy sales, etc. ... j • i j- l

Every known card-writing medium is represented, including the
brush, air-brush, air-pencil, relief bulb, stencil, marking pen, shading
pen, new shadow pen, new Shepard pen, PayzanI pen, Soennecken
pen, steel pen and common pen. All the alphabets are printed on the
very finest of half-tone paper and bounj in an album-shaped book,
size 8x10 inches. The price is only 75c postage paid.

Send All Orders to The Dry Goods Reporter, Chicago

465

Books for the Merchant's Library

The following books should be In every merchant's library. By referring to them he can solve
almost any store problem. Cash must accompany every order. All books are sent prepaid.

Science of Organization and
Business Development

By Robert J. Frank of the Chicago Bar

It treats of the Law and Procedure of Or-
ganization — the Financing and Development
of Your Business. It tells you just what you
ought to know about incorporating, selling or
re-incorporating an established business, financ-
ing a new enterprise or re-financing an old one.
In short, it tells you how to organize or re-or-
ganize a business on practical lines. Don t
undertake to secure financial assistance without
reading this comprehensive commentary. Write
today and gel a copy for your desk or library.
$2.75 in morocco, sent prepaid.

Shoe Book for Retail Dealers

A regular reference library on the subject of
running a shoe store. 250 pages, fully illustrated.
Size, 9x6 inches. Bound in cloth, red and gold.
Sent postpaid for $1.00.

Store Management
Complete

The man who knows how to
manage his store properly, knows how
to make it luccessful. He is sure to
make money. This book covers the
subject from A to Z. Bound in
red silk cloth. 252 pages and 16
full-page illustrations. Sent postpaid
for $1.00.

Success in Retailing

The Variety Business

This book is as helpful and practical a book
as a merchant can have. It six^ializes on the
handlmg of variety goods, small wares, etc.
il even illustrates how to make home-made
fixtures, how to arrange stocks in the store,
etc. Gold top and title. 225 pages. Sent
prepaid for $1.00.

How to Do Business

or the Secret of Success in Retail Merchan-
dising, is a textbook of practical hmts, rules and
examples on how toconduci busine.«. Il con-
tains twenty-seven chapters on the subject.
Bound in red cloth and has over 200 pages of
text matter. Sent postpaid for $2.00.

The Combination Cost-Mark

The Reporter has a cosl-mark, a differ-
ent cost - mark for each store, that no
human agency can decipher. lis combi-
nations are more varied than the combi-
nation of a bank safe, yet i/our cost-mark
to you will be very simple. Bound in
linen cloth, 25c.

Send All Orders to The Dry Goods Reporter.

4CG

icago

Books for the Merchant's Library

R. S. B.

MEASURING

CHART

The Accounting System of a
General Store

R. S. B. Measuring Chart

measunng piece

ds at invoicing, tha

With this, one clerk can do the work of five in This booklet

the old way of measuring. I copy, $1.00;
2 copies. $1.75; 3 copies. $2.00; 4 copies.
$2.50; 5 copies. $2.75; 6 copies, $3.00.
All charge! prepaid.

Frederick Hale, who devised this .;yslem for his
own store after much study and research.
Bound booklet in
25c each.

Tales by the Tramp

A book full of sales plans written in story

form, being a collection of the best "Tramp

Stories" published in the Reporter. Illustrated

profusely by our cartoonist, Clark De Ball.

oth binding, price Bound in red cloth. Sent postpaid (or $1.00.

and simple accounting system
1 a greater net profit to you.
written for the Reporter by

History and Manufacture of
Floor Coverings

Devoted to the history of floor coverings,
from the earliest times to the present day.
Complete textbook for the salesman and buyer
in the carpet department. Ful y illustrated.
Price, postpaid, $1.00.

b~ f|'i£^-^--:^-^JS^^-*-L^j

1 SI HlJ

i = = = bSsi fji-

"l|^^«™^*:

1— se^a-jl,

lEmgSn^qii'y!

Oriental Rugs and Carpets

Rugs of the Orient

This new rug book, dealing with Orientals,
is not as l)eauliful as some books, but is corre-
sixindingly cheaper and is simply loaded with
. , , _ . , , practical information. The book is bound in

every kmd of Oriental rug made, ^^roon boards and the back is of dark green
silk, ll is 9' :x 12!^ inches, with 126 page*.
The price is $3.00.

A most complete work, intended for the
salesman and buyer in the rug department. It
treats
Fully illustrated. Price, postpaid, $1.50.

One Hundred Choice Store Plans

This is a book largely of illustrations, sHowinj modern store fronts
and one hundred diagramed floor arrangements. Every plan was drawn
for some certain store. They are practical and full of suggestions. The
book is invaluable to the merchant who contemplates building or remodeling.
Cloth bound, sent oreoaid. S2..S0.

Send All Orders to The Dry Goods Reporter, Chicago

467

Oi^'-W

Collecting by Letter
In Two Volumes
It has taken ten years to write these books. They are the
scientific result of thousands of dollars in tests and experimenting.
It is the last word on successful collecting for every business and
professional man. 250 tested and proved collection money
pullers. Bound in green cloth with colored cover plate. The
two volumes shipped postpaid for $3,00.

Encyclopedia of Ornament

For the window trimmer who is Interested in the various periods
of decorative art as it applies to his work, we are able to call to his
attention the most complete book on the subject yet published.
When you know that it has 2,731 illustrations, you can gain some
idea of how interesting and helpful the book should be. The book
is bound in rich blue cloth, gold stamped, 9":;xl2 inches and 266
pages. Sells at $5.00.

"Town Development"
or "My Town"

By Geo. B. Irving

A book devoted to commercial club
work and giving the merchant full infor-
mation on "Advertising the Town,"
"Reason for Town Decay," "The
Model Town, "_ "Catalog Houses versus
Local Dealers," etc., etc. Mr. Irving
lectures on these subjects and has had the
inspiration to put his experience into manu-
script form, and this book is the result. 1 36
•ages bound in cloth. Postpaid, $1.00.

Analytical Advertising

An authoritative, dependable
book — the product of years of
study and actual experience.
That there may be no doubt as
to the practical application of
scientific theories, a portion of
the book is devoted to tables of
actual advertising results. 228
pages, bound in brown vellum
de luxe, with gold letters. Sent
postpaid, $3.00.

Show Window
Backgrounds

A book illustrating and
explaining how to make
150 different background
decorations for your show
windows. It is in the form
of a calendar, showing doz-
ens of different ideas for
every month in the year.
256 pages, printed in two
colors, bound in heavy de
luxe cloth. Sent postpaid
for $1.50.

A Show at
Sho-Cards

A new practical guide to
show-card writing. Full
instructions for mastering this
important work. This Ls the
largest card - writing book
published, consisting of 300
pages 9x12 inches in size,
with 120 designs and 35
alphabets. The cover is in
green buckram, with poster
design in two colors. Sent
postpaid, $3.00.

The Koester School Window-
trimming Year Book FREE

This very interesting book of over 200 illustrations, dealing with
window trimming, card writing and advertising, is a record of the
best work done by Koester School graduates. It is a valuable
book for anyone interested in these subjects, as it shows photographs
of 78 prize-winning window trims, 44 examples of prize-winning
show cards, 84 drapes, 9 alphabets, 12 drawings of background de-
signs and pictures of over 2,000 window trimmers. Bound in brown
art cover, printed in two colors, with nearly 100 pages of finest
calendered stock.

Sent to anyone anywhere FREE

Send All Orders to The Dry GdsJj Reporter, Cnicago
468

Miscellaneous Store Books

Wax Figure Hand Book

A book giving explicit instructions for cleaning, re-tinting and re-
pairing wax heads, arms and hands. This art has long been kept a
secret. The work itself is very simple and can be easily mastered by
aiiy merchant or window trimmer without difficulty after reading the
book. The different stages of the work are taken up consecutively
and all the formulas used by professional wax workers are given.
With the book are tent all necessary tools, brushes, oils, tints, alcohol
lamps, etc., packed in a case. Price, prepaid, $5.00.

The Standard American

Drawing and Lettering Book

By Peter Idarius

A large book, size 10 inches by 14 inches, with 36 plates of
alphabets, raised letters, etc., and 57 examples of monograms. It
treats on letter shadmg, aluminum leaves and gilding, color harmony,
cutting in, spacing, layouts, materials, mixing colors, etc., etc. Some
of the alphabets cover several pages with letters three inches high.
The beginner can trace right over these letters. Sent prepaid. Board
cover, $1.25. Full cloth cover, $1.75.

mMM»

iW^YIi) M 3ni&S3?,\

The New Salesmanship

and How to Do Business

By Chas. Lingren

This is a series of lessons on the subject of salesmanship, bound in book
form. Consists of four courses in one volume — one for the retail salesman;
one for the traveling salesman; one for selling by correspondence; and one
on buying. Sent prepaid. Cloth bound, $1.00. Half morocco bind-
ing, $1.50.

Influencing Men in Business
By Walter Dill Scott

This book shows how you can increase your ability to influence men
by mastering a few simple laws for influencing their minds. It describes
these laws, explains how they work, and shows how you can follow them
in making sales, closing deals, writing advertisements, hiring and handling
employees. Rich cloth binding. Sent prepaid for $1.00.

RADFORD^S
STORES £ FLAT
BUILDINGS

Radford's Stores and Flat
1 Buildings

This book shows perspective drawings of store build-
ings and plans for all floors. It shows combination
buildings having first floor for store and upper floors for
flats or lodge halls. The only book of its kind, and in-
valuable to a merchant who contemplates building.
Bound in cloth. Sent prepaid for $1.00.

The Art of Retail Selling

By Diana Hirschler

1 This is the most important work on this subject yet

published. Used as a text book in schools and in

•■ classes conducted in retail stores. Written by a person

I who has devoted hei entire lifetime to teaching retail
selling. Bound in cloth. Sent prepaid for $1.00.

yw>

NO BOOKS SENT ON
APPROVAL

Send All Orders to The Dry Goods Reporter, Chicago

469

Encyclopedia of Merchandising

The most comprehensive work ever attempted in
an endeavor to bring real help to the merchant

ODERN MERCHANDISING
is the name given to the set
of books illustrated herewith.
It has been prepared
sponse to a demand that is being felt more

and more by business men throughout
America.

The time has passed when the business
man can survive amid the keen competition
of modern business methods unless he is
thoroughljr acquainted with the methods
employed by other merchants.

In spite of the fact that there are scores
of b oks dealing with almost every other
subject, the great field of business, in its
broader sense, has been prac-
tically neglected.

On this account, Modern
Merchandising has been pre-
pared. It is not a collection
of theoretical essays by col-
lege professors or skillful
journalists and magazine
writers. It is the work of
practical men; the leaders in
the business world today.

It treats of every subject in
the realm of modern busi-
ness, covering this wide range
in every phase. Every article
is by an expert. A real business man— in
nearly every case the acknowledged au-
thority on the suljject — has given to Mod-
ern Merchandising the cream of ideas
gain d by long practical experience in that
branch of business or industry with which
he is most familiar. The salaries earned
by the 300 experts who have prepared this
work, aggregate $4,000,000 annually. All
of the ' ieh salaried experts have con-
tributed freely from their store of practi-
cal knowledge for the b nefit of their fel-
low business men.

Classified carefully, the knowledge is in-
stantly accessible f r the merchant.

All professions have long had their text
and reference books :

The lawyer has had his law library.

Tn; physician his medical library.

The electrician his library.

The civil engineer 1 is lil)rarv, and now
for the first time, the merchant, in the
broadest meaning of that designation, has

This illustrates clearly how large the volumes
are. The book is opened up in the chapter tliat
deals with the shipping of merchandise and
shows one of the forms used as a bill of lading.

in Modern Merchandising, his library ; com-
plete; authoritative; instructive and ab-
solutely indispensable to merchants, clerks,
buyers, s-lesmcn, advertising men, credit
mer, and window drtssers. It is the last
word of those who know, of those who
have by practice gained the knowledge and
experience and who have made the recog-
nition of their success compelling.

The men who have made a great suc-
cess of their own lines, tell in Modern
Merchandising how they did it. This is
the only set of merchants' text books ever
published.

C)ne idea gained from Modern Merchan-
dising by any merchant in America, is well
worth the price of it.

It is composed of tliousands of ideas
from men whose earnings aggregate an-
nually millions of dollars.

470

shows the complete stt l f !•
complete set of text book:

ulumes of Modern Merchandising. The only
.r published for the retail merchant.

Here are a few of the

special chapters:

— Authorities on business
organization.

— Big businesses are built
by new ideas.

— How to secure capital to
back ideas.

— The power in the depart-
ment store that makes
for success.

— Authorities on How to
Buy.

— Advice by managers of
greatest department
stores.

— Experienced buyers tell
others how.

— How to estimate prob
able sales.

— How to tell whether
goods will retain color.

— How to judge the value
of furs.

— How to judge wall pa-
per.

— Authorities on manufac-
tures and products.

— Authorities on how goods
are manufactured.

— Experts on various proc-
essess.

— Experienced chemists
give advice.

— Neted autho r i t i e s on
products.

— Recipes for cleaning all
kinds of goods.

— Recipes for tanning all
kinds of goods.

— How industry has been
transformed.

— Recipes for all kinds of
proprietary preparations.

— Authorities on How to
Sell.

■ — Arguments to use in sell-
ing to cutomers.

• — -Getting "next" to cus-
tomers by mail.

— Noted autho r i t i e s on
credit.

— Advice by bankers and
other financial experts.

— Suggestions from ex-
perience of experts.

— Valuable hints by men
who know.

— How to keep a line on a
customer's credit.

This set of books comes complete
in ten large volumes bound in half
leather. The back and corners are in
maroon leather with gold stamping,
and sides are in handsome green de
luxe cloth.

It is interesting to know that this
set of books was gotten out for one
of the large publishing houses in Chi-
cago with the intention of selling it
at $40.00 per set.

Through a technicality having to do
with the printing, they would not ac-
cept them from the printer, and this
printer will be glad to sell these sets
to any merchant at actual cost of
$15.00 per set.

The Reporter believes that any am-
bitious merchant or clerk will find
this the biggest book bargain ever
offered to him. Anyone of the vol-
umes is worth $5.00 apiece, merely
from the standpoint of being a beau-
tifully bound book.

The only way these books can be
had at this price is to pay the printer
cash for them, as of course he cannot
afford to do book-keeping and make
collections when disposing of them in
this way.

If you desire more information
about these books, we will gladly send
you same including list of the 251 men
who contributed to this valuable work.
Including Joseph Basch, John Wana-
maker, etc., etc.

If you want a set of these books,
send your order and money to the
Book Department of the Dry Goods
Reporter and they will buy them_ for
you and have them sent out by freight.

Complete Set (voTumes) $15.00

— Form letters that make
people pay their debts.

- — Noted authorities on ac-
counting.

— How to audit a business.

— Model sets of transac-
tions illustrating prin-
ciples of book-keeping.

— The steps in the audit
of commercial accounts.

— Noted authorities on ad-
vertising.

— Every field of advertis-
ing covered by experts.

— Advice by advertising
specialists.

— Money-making ideas by
advertising geniuses.

— How to prepare business-
getting letters.

— How to prepare adver-
tising matter.

— How to prepare adver-
tising booklets.

— How to make show win-
dows draw customers.

— How to secure and re-
tain the farmer's trade.

— Valuable poi n t e r s on
preparing adver t i s i n g
copy.

— The best pulling slogans
and catch lines.

— Illustrations of well-bal-
anced "ads."

— Noted author i t i e s on
business law and legal
forms.

— How to prepare legal
documents.

— The laws of every state
governing the collection
of debts.

■ — Index to the comp'.ete
work and cyclopedia of
everything relating to
merchandising.

— Ready reference to this
great store house of
business knowledge.

— The index makes every
fact quickly accessible.

— Tens of thousands of
valuable facts for the
merchant.

— Encyclopedia of informa-
tion with an index ref-
erence.

— References to every line
of merchandising.

Send All Orders to The Dry Goods Reporter, Chicago

471

Know How Your Goods are Made

Every merchant, advertising man and clerk should know how the various
fabrics sold in the store are made.

— It makes it possible for the merchant to buy his goods more advantageously

— it makes it possible for the advertising man to -write about the goods knowingly

— and makes it possible for the clerk to make more sales because the customer re-
cognizes that the clerk knows what he is talking about.

Here is a list of the books — they can be bought separately or in the complete set.

WOOLEN AND WORSTED FINISHING. By John F. Tinimermann, Textile Expert and Writer.
Formerly with the Contral Woolen Co., Stafford Springs, Conn., 320 pp., 110 illus. Half
Morocco binding. A practical working handbook for the textile operative. Price,
prepaid $3.00

TEXTILE CHEMISTRY AND DYEING. By Louis A. Olney, Head of Department of Textile
Chemistry and Dyeing, Lowell Textile School. 376 pp., 100 illus. Half Morocco binding.
Complete scientific and practical instruction in the dilticult art of textile coloring, and allied
processes of troatm^nt. Price, prepaid $3.00

WOOLEN AND WORSTED SPINNING. By Miles Collins, Superintendent of Abbot Worsted
Company, Graniteville, Mass. 352 pp., 200 illus. Half Morocco binding. A comprehensive
reference work and practical working guide. Price, prepaid $3.00

TEXTILE DESIGN. By Fenwick I'mpleby, Head of Department of Textile Design, Lowell
Textile School. 368 pp., 350 illus., guide to the art of designing all kinds of textile fabrics.
The practical application of the principles of textile coloring are shown, and systematic
and business-like methods of cost finding are described. Price, prepaid $3.00

COTTON SPINNING. By Charles C. Hedriok, Mechanical Engineer, Lowell Machine Shop.
368 pp., 260 illus. Half Morocco binding. A practical treatise on the manufacture of
cotton yarn. Price, prepaid $3.00

KNITTING. By M. A. Metcalf. Managing Editor of The Textile American. 408 pp.. 230 illus.
Half Morocco binding. A thoroughly complete handbook of practical Information covering
every detail of this Important and rapidly developing branch of the modern textile In-
dustry. Price $3.00

WEAVING. By IL William Nelson. Superintendent, Ncuse River Mills, North Carolina: For-
merly Head, Department of Warp Preparation and Weaving, Lowell Textile School. 352
pp., 229 illus. Half Morocco bindincr. A comprehensive and authoritative practical treat-
ment of the broad sub.icct of WL-aving. Price, prepaid $3.00

COMPLETE SET of SEVEN VOLUMES- bound^in -'^^ -m bindin^^^^^^^^^^^ "^l «'oO

for the store, on the subject of "How Goods are Made." Price prepaid ^>AO. Vv

Money must accompany all book orders
Send order to Book I), partmen. J^Ry GOODS REPORTER, ChlCagO, 111.

Send All Orders to The Dry Goods Reporter. Chicago

472

Letters That Make Good

Its leading features are:

Seven chapters on the logical divisions of letter writing based on
scientiflc analj'sis. These chapters were written by advertising men who
are Icnown throughout the country as leaders.

Three hundred and six letters are reproduced in full. All of these
letters have been u.sed by business houses, many of them the largest of
their kind in America. Every letter has been an extraordinary result-
producer by actual record.

Notes and comments on each of these letters by advertising managers
or business men who have used them.

Three hundred and six letter-headings set especially for this work.
In the.se headings are shown faces of type, suited to the printing of
letter-headings, from every ype founder in the United States.

This is a large book, 11x9 inches, and over two inches thick; consists
of 500 pages, 306 actual letters printed in colors, 50 page notes. Sent,
postage prepaid, for $5.00.

BELOlNfr. MICMIOAN

Business Building Ads.

Here is a book that is in
reality a collection of advertise-
ments ready to send over to
your printer and be set up. Only
one of each book is sold in any
town or city, and that one is
sent to the dealer who sends his
order first. Each book contains
nearly 200 advertisements set up
in an attractive form. You can
cut out the ad you wish to use.
insert your prices in the space
left for that purpose, and send it
to the printer. Sent post paid for
$5.00.

Analytical Advertising

A book on advertising that
tells in a clear way the rela-
tion between advertising and
psychology — tells of actual ad-
vertising experience and tests.
A portion of the book takes
up the relative merits of size
of space. Attractively bound
in cloth. Postage prepaid,
$3.00.

100 Window Trims

A book for the small store.
Good for the merchant who
cannot afford a window trim-
mer. Full of simple and eas-
ily carried out window trims.
Fine for a grocery store. 224
pages, 104 illustrations, bound
in red cloth. Postage prepaid,
$1.00.

The Story of Textiles

Though a complete history of the indu.stry has not been the
aim of the writer nor the desire of the publisher, the purpose has
been to present to those interested in the textile industry a bird's-
eye view of the leading facts which have marked the progress of
the industry up to the firm establishment of the manufacture of
textiles on American soil. The writer hopes that the man in-
terested in the textile business, whether he be a manufacturer
or a clerk behind the counter, may obtain from these pages a
clear view of the development of America's leading industry, with-
out having to give the subject the time that a fuller narrative
would require. This book is printed on deckel edge, water-marked
paper, with gold top. Illustrations are in sepia on super-calen-
dered stock. The book is bound in heavy art buckram, with blue
and gold leather title. This is one of the finest store books pub-
lished. Sent, post paid, $3.25.

No Books Sent on Approval

Send 'All Orders to The Dry Goods Reporter, Chicago

473

This Book

Will Help Trim

Your Show Windows

**Show Window Backgrounds''

By GEO. J. COWAN

Vice-President of the Koester School of Window

Trimming and Editor of "Window Trimming

Monthly" of the Reporter

This is the most useful window trimming
book ever published and sells at only $1.50, a
price that makes it possible for every window
trimmer and merchant to possess it.

Every background design is drawn in such a
way that anyone can follow out the idea the same
as a carpenter does his work from blue prints.
Every detail is fully illustrated and fully described
with complete text matter.

Thefirsthalf ofthe book has the windows arranged
in the order in which they should be installed, thus
being a yearly window trimming program.

The following partial list of contents will give
you a clear idea of what a valuable book this is:

3 Hallowe'en Windows.
5 Thankftivlng Windows.
14 Christmas Windows.
16 Period Decorations in back-
grounds, sbowine examples
of
2 St. Patrick's Day Windows. Greei, Moorish,

8 Spring Opening Windows. Rtman. Italian,

12 Ka-tei Windows. Gothic, French,

6 Decoration Day Windows. German, Emfire,
5 Fourth of July Windows. Jifantu, Colonial.

7 Summer Windows. Eiyptijn, Minion, etc.
2 Horse Show Windows.

16 Fall Opening Windows.
2 Carnival WitKiows.
and a great variety of general and jpecial backgrounds, making up a total of ove»

6U background desi.ns. with a great number of small detail drawings. Many <
Che drawings are in culots.

It has taken over ten years' continuous work to make the
drawings in this book and over 25 years' experience in every
pha.se of window trimming to equip tiie editor with the p-actical
knowledge necessary to prepare a volume of this kind.

This book is 7 X 10 inches in size, strongly bound in
de luxe silk cover with handsome art desisn. Over
250 puKes and ubout 200illustrations. Sent prepaid
only on receipt of $1.50.

2 New Year's Windows.
8 White Goods Windows.

1 Lincoln's Birthday Window.
4 St Valentine's Day Windows.

2 W.-ishington's Birthday Win-

10 Sale Windows.
2 Bas Relief Backgrounds.
2 Stencil Backgrounds.

Send All Orders to The Dry Goods Reporter, Chicago

474

KOESTERSOI^LBODKOF J^^ ^^^^ Uscful BOOR

DRAPING Ever Published for the

Window Trimmer

Geo. J. Cowan a/^ Will H. Bates

Every window trimmer, and many mer-
chants, find that they need help in displaying
all kinds of fabrics. Every trimmer has a few
drapes that he uses, but after these are used, i
he needs others.

This book gives him over a thousand drapes. Most
of them are such that anyone can follow out the in-
structions.

— hundreds of completely laid out fabric windows.
■ — • many examples of early draping.

— examples of draping from all foreign countries.

— draping for tailors.

— draping of draperies.

— draping of narrow goods, trimmings, etc.

Draping is the Most Important Branch of Window Trimming

and to be expert in draping, it is necessary to make a study of it all the time, in order to keep in touch
with changing styles, fabrics, etc.

This book is in reality a History of Draping and will bring to you practically all drapmg
information known up to the present time.

This book was made possible by
combining all the cuts and articles
on draping that have appeared in
the Merchants' Record and Show
Window, the Window Trimming
Monthly ofthe Dry Goods Reporter,
the book "The Koester System of
Draping," and all the new drapes
made by the Koester School since
the publication of the above-men-
tioned book.

Over SOO pages, printed on finest
calendered stock, with over 1,000
illustrations, bound in handsome
de luxe cloth. ,

Sent postpaid for

$3.00

Showing Window layout and Completely Draped Window

Showing Various Steps in a Lesson on Draping

Where books are shipped to
foreign countries, we ask that
you send additional postage.

Send All Orders to The Dry Goods Reporter, Chicago

475

Books for the Window Trimmer

The most complete work of the kind ever pub
Wished. Over 400 pages, 600 illustrations
Covers, to the smallest detail, the following sub
jects: Wind w Trimming, Interior Decorating
Window Advertising, Mechanical and Elec
trial Effects, in fact everything of interest to the
modern, up-to-date merchant and decorator.
Price, postpaid, $3 50.

The

Art of
Decorating
SKow
Windows

and

Interiors

The first
book that

every

indc

should get

Drapery, Interior
Decoration and
Architecture
BuA. C Morrhon
A practical handbook
for dealer, decorator and
workroom. Mo book ever
published at any price
gives so much practical
k nowledge of drapery and
decorative work. Mr.
Morrison has spent his
entire life in accumulatiiig
the information given in
this bo"k and the profuse
illustrations from hisdraw-
ing; and from photographs
add to the val e of the
work. Size 9 X 1 2 inches;
245 illus'rations; cloth-
bound, lettered in gold.
Pos.paiJ, S2.00.

Hardware Window
Dressing

ii a copyrighted book, 8x11
inches in size, prijted on specially
made high-grade white paper and
substantially bound in attractive
cloth cover. This is the first book
ever written devoted exclufively
to Hardware Display. There
are 256 pages and over 200
illustrations with full working de-
scriptions. Every display the
work of an expert in this line.
Price, postpaid, $2.50.

Color Value

Complete treatise on color
contrasts and harmony.
Drawings, color-plates and
diagrams illustrate all the
principles of the subject. In-
valuable for window trim-
mer, card-writer or salesman,
who can make use of a
knowledge of color harmony
and contrast. Price, post-
paid, $1.00.

'%!

' ' .v^

^ *" ,--.M

HOW TO DRESS '--^

A SHOE STORE •

-imiXf^/.

• $— ^ ,:,-

The French DecorativeStyles

from the earliest times to the present
day. No other book so f. !!y ex-
plains what everyone should know
about the Frencfi decorative styles
that are now so popular in this
country. The illustrations are ex-
cellent and the reading ma"er is
bright and interesting. Size, 9 xl2
inches; fully illustrated; clo'.S-
bound. Post.oaid, $2.00.

How to Dress a Shoe
Store Window

New edition, 224 pages. 7*x9.h
bound in heavy red cloth. Also tolls
about show cards, street fairs, etc.
Over 100 illustrations, printed oa
coaled paper. Postpaid, $1.25.

Window Display Manual for Hardware Stores

This new window-trimming book, just off the press, is designetl to
serve the retail hardware mercliant in an advisory capacity in designing
and executing show window displays that will sell gowls. Bound in
•ed cloth and contains nearly 300 pages. Sent postpaid, $3.50.

Street Fair Manual

A practical book, profusely
illustrated. Streei Fairs. Carni-
vals, Floats, Booths— all about
them. Exr>erl, practical infor-
mation. Only book of the kind
published. Sent prepaid to any
ndclrccsupon receipt "i $1.2^

nd All Orders to The Dry Goods Reporter, Chicagc

476

Books for the Window Trimmer

The Upholstery and Drapery Guide

A book designed for the upholstery and
drapery department, and also of value to
the window trimmer. Treats on drap-
ings, decorations and interior furnishings,
"period" styles, law of harmony, color
schemes, etc., etc. 222 pages, hundreds
of illustrations. Price, postpaid, $2.00.

Cutting and Draping

This book is for the upholstery and drapery depart"
ment and window tiimmer. Over 250 illuslralior.s of
popular drapery styles. Also chapters on festival
decorations dealing with outdoor decorations. Price,
postpaid, $2.00.

The Human Figure

Invaluable to the window trimmer,
garment buyer, card-writer and all those
who must know about correct proportions
and measurement of the human figure.
Printed on finest calleiideredslock and con-
tains over 500 illustrations, some in colors.
It is bound in rich terra-colta cloth, contains
nearly 200 pages and sells for $2.00.

FAIRCNILD'S

MODERN WINDOW
TRIMS

For the

MEN'S WEAR TRADES

Also Store Interiors and
Exteriors

The Principles of Design

Bu E. A. BatchMet
Of particular interest to the window trimmer
who is enough of a student to realize the
importance of using correctly designed back-
grounds and of arranging goods in the window
to meet the demands of good composition.
Bound in a rich blue cloth, with gold lettering.
The text and illustrations are printed on India
tint stock in colors, there being nearly 300
illustrations. Postpaid, $3.00.

Modern Window Trimmer for
the Men's Wear Trades

Your Home and Its
Decoration

This book is the most complete compilation A very beautiful book, devoted to the use of

of information on window trimming for the all kinds of paints, finishes, varnishes, etc. The

men's wear trade and should be in the hands use of woods in decoration, color combinations,

of every window trimmer and merchant. The decorative materials, etc. A very practical

book is large, measuring 10x13 inches, con- book for the window trimmer or for the salci-

tains over 200 pages and about 500 illuslra- man in the upholstery department. Bound in

tions. It is bound in dark blue cloth, with boards and printed on the finest stock; gold

silver lettering. The price is $2.00. lettering. Sent postpaid, $2.1. S.

Send All Orders to The Dry Goods Reporter, Chicago

477

Books for the Card Writer

ABCDEFG
HiJKLMNi
OPQRSTII

[VWXYZ&i

iIninopqrsl.y]

iywxyz.,;:-'TS
112345678911

Compendium on How to Use tlie Automatic Pen

60 plates of alphabets. 20 display cards, 20 comer pieces, 60
border designs, aUo molloes, scrolls, etc etc. Many pages in tull
color, size 8x11 inches. Sent postpaid for $1.00.

Card Writer's Chart

A complete course in the art of making display and price cards and
signs. Beautifully printed in six colors and bronze. Includes specially
ruled practice paper. Someof the subjects treated are: First Practice,
Punctuation, Composition, Price Cards, Directory Cards, Spacing,
Color Comimations, Mixing Colors, Ornamentations, Materials
Needed, etc. bent postpaid for $1 .50.

. .-^. Jcardlliriter-^

Faust's Complete Card Writer

A complete course in the study of card writing. Treats on llie use
of every known medium. 163 examples of show cards, over 100
alphabets. This is the newest book out and, at the pnce, the brat
book we have. Postpaid, paper covor, $1.25; cloth cover, $1.75.

^.A i^3iUS>J£3

Ideas on Air Brush Lettering

A SO-page book, 8x10 inches, on hi
•bowing a complete »ct of the most cxfjuisite a
ever assembled. Printed

enameled paper,
sh designs

9t>^a'k>»j-iA

The Art of Sign Painting

This book embraces a series of instructions written and illustrated in
a practical manner, wliich will enable anyone to acquire a thorough
working knowledge of the art of sign painting. It contains le-son
sheets, review questions, etc. 96 designs in complete composition,
with color note (or each. 160 pages of text matter and 25 alphabeU.
Large quarto; 332 pages; cloth binding, with special decorated cover
design in four colors. Postpaid, $3.00.

50 Lessons on Show
Card Writing

The lesson plates are printed
on card-board and fitted into the
book loose leaf. This system
has the advantage of enabling
the student in practice to work
without a cumbersome book at
his elbows. Besides the 50
lesson plates, this book contains
over seventy instructive illustra-
tions and over three hundred
reproductions of show cards,
cxeculixl by the leading show
card artists of America. Bound
in green cloth. Sent
for $2.50.

olors. Sent postp^i'" 'or $1.00.

Send All Orders to The Dry Goods Reporter, Chicago

478

Books for the Card Writer

Mm € i

Jisac&sjrs

yfs^JCoCM

WMi

j>r&£^Q^A,

^'U'i/W%^%&

Fairchild's Rapid Letterer

It treats several subjects that are not found in the usual card-wriling
book. One of these is that of lettering for newspaper headings.
Another chapter explains half-tone engraving and how cuts are made.
A greatvariety of show card examples are shown. There are321es-
sons on lettering in this book, including pen and brush work, scrolls and
flourishes. The chapters on color harmony and air-brush work are very
interesting. The book has one hundred pages, is cloth-bound and is
10x13 inches in size Sent postpaid an receipt of price, $2.00.

^ Modern Show Card Let-
tering Designs, Etc.,
with 2,000 Show Card
Phrases

book is a complete,
clical treatise on Pen and
Brush Lettering. Over I 50
illustrations of show cards,
besides the long list of alpha-
and the 2,000 show
card phrases. Size of honk,
6x9. Price, postpaid, $ I Ou.

Cash must
accompany
all orders
for books.
Books are
sen.
prepaid.

"T.T

VER.TICAL. LINES
SHOULD BE—
DRAWN TO KlEP
LETTERS UPRIGHT

11^

X-

, NOTTACCEtn^Kl
■CFROUND '\\l

A^ I y' AFTER. LETTEP-S ARE ~\^ I ^

\\/ AaSUPERflUOUSLlNEi^/lzTl """■
\y GUIDES VERTKJls-SO'JMDARmJL

Letters and Letter Constructio.i

By T. J. Trezise

One of the best bcoks on lettering that we know of, having a great
deal of matter not contained in other books. 160 pages, bound in
strong cloth, best stock. Postpaid, $2.00.

' ■ — ' ,L

- t,

IWl^lTINel 11

ir ^s^

The Art of Show Card
Writing

Size 9x6 inches, 209 pages, 256
illustrations, 94 being full-page half-
tones, 32 alphabet plates. Fully
explains and illustrates latest and best
methods used by all card writers.
Nicely bound in art linen on heavy
beards. Sent postpaid for $2.50.

The Sigoisl's Modern Book of Alphabets

Strong's Book of Designs

For the Card Writer. Over 300 designs. 200 Collected and engraved by T. Delamotte.

of them m colors. Most elaborale book of its It is a book of 208 pages with 100 designs,

kmd ever publ^hed (the cuts used i.i ihe book It contains plain and ornamental, ancient and

cost over $4,000). Size 8.1 x lO-i mches, mediaeval alphabets, from the eighth to the

leatherette brnding. eolj iraorint. P-stpaid, twentieth century, with

$3.50. S paid. $1.50.

David's Practical Letterer

One of the most practical card-writing books
leials, etc. Post- *^^'' Puhlished. Very complete. Bound in
full red cloth. Sent postpaid for $1.00.

Send AH Orders to The Dry Goods Reporter, Chicago

479

Books for the Window Trimmer and Card Writer

How to Draw and Paint

Every window trimmer
should know something about
drawing so that he can draw
up his window plans and de-
signs, and paint many of the
decorations in the windows
themselves. Complete infor-
m a t i o n on all subjects.
Strongly bound in boards;
over 150 pages and lOo illus-
trations. Sent postpaid, 50c.

Book of Designs and Alphabets

Contains examples of show
cards, covering the entire page
of the book. These sign lay-
outs, with all kinds of fancy
panels, scrolls and designs
show the card writer just
how to get out this type of
card for his more elaborate
efforts.

Also contains a very good
assortment of alphabets. XOx
6% inches in size, paper
cover. Price postpaid, 75c.

Book on Scenic Painting

Written by Mr. F. Lloyd,
one of the foremost painters
in distemper in England. He
has only recently had the
book introduced into this
country, and Just at an op-
portune time, because it will
be very helpful to those win-
dow trimmers who want to do
this work themselves.

The book is 914x6% inches
in size, contains 100 pages,
with over 50 illustrations.
Sent postpaid, $1.00.

BOOKOTJimUBnS

Painufs, Sign Mat M%]mKn. Ek

Book of Alphabets

A large collection of differ-
ent styles of letters at a very
low price.

This book is Interesting to
the card writer, because it
shows so many types of an-
tique, foreign and novelty al-
phabets. These will serve as
a basis for working up en-
tirely new modern alphabets.

Tlie book is 9xG inches in
size, with paper cover. Price,
postpaid, 50o.

Ti I rc t;sE

J|rti;t; mi l\rt ^tudenU.

Book on Colors

Gives the mo.st practical
information ue have yet found
on the use of colors, how to
mix them, how to paint over
old paint, how to do water-
color painting, oil painting,
fresco, rapid sketching, im-
pasto. scrumbling, imitating
surfaces, methods to use,
tools, brushes, work room,
etc. The book is well worth
the small price of 25c.

Scroll Designs

Scrolls are used very exten-
sively in all designing. They
enter into every phase of
window-trimming work, and
in the decoration of show cards.
Therefore, to know that it la
now possible to buy a book
devoted entirely to a showing
of scrolls will be good news
to the window trimmer and
card writer.

Over 200 scroll designs.
Book is 9x6% inches In size,
paper cover. Price, postpaid,
$1.00.

System of Easy Lettering

AH the alphabets in this book are drawn on cross-ruled
dotted lines In such a way that any one can lay out their
letters according to the small squares. This system will
be as helpful a method of learning how to letter as any-
thing you can get. Contains a full assortment of the most
useful alphabets. Handsomely bound In cloth. Price, post-
paid, 55c.

Send All Orders to The Dry Goods Reporter, Chicago

•180

RETURN TO the circulation desk ot any
University of California Library
or to the
NORTHERN REGIONAL LIBRARY FACILITY
BIdg. 400, Richmond Field Station
University of California
Richmond, CA 94804-4698

ALL BOOKS MAY BE RECALLED AFTER 7 DAYS
2-month loans may be renewed by calling

(510)642-6753
1-year loans may be recharged by bringing books

to NRLF
Renewals and recharges may be made 4 days

prior to due date

DUE AS STAMPED BELOW

JAN 1 1 1990

(

595291

UNP "^-RSITY OF CAjLIFORNlA LIBRARY

«^*i- ^Xv-iJ^ -

iiilBi!

iill