Qass. Book. COPYRIGHT DEPOSIT / (^J HOME DRESSMAKING A Sewing Room HOME DRESSMAKING A COMPLETE GUIDE TO HOUSEHOLD SEWING BY ^ ANNIE E. MYERS Fully Illustrated with more than One Hundred Engravings "^7 y CHICAGO CHARLES H. SERGEL & COMPANY MDCCCXCII , Co .-\'^ t^> Copyright, 1892. By Charles H. Sergel & Company. f'3ff^/ PREFACE. In undertaking this work there has been a higher object than merely adding another to the long catalogue of books. My great ambition has been to help women who are trying to help themselves. As a young woman who wished to be as well dressed as my limited means allowed, I had to work out for myself the principles of planning, cutting and making my own gowns. Again, as a writer for newspapers and magazines, I had to study to formulate into words the knowledge I had gained by practical work. Many and many were the times I wished for some book to help in both my hand work and my writing. There was none in the market. To offer other women the help I vainly craved I present this book to the public. Annie E. Myers. CONTENTS CHAPTER I TOOLS FOR THE WORK Training for Hand-sewing — The Sewing-room — Tools for Cutting — The Shears — Tools for Sewing — Tools for Fitting — Tools for Pressing. ,...'.... ii CHAPTER H dressmakers' findings Linings — Facings — Wadding and Canvas — Fastenings — Whale- bones and Casings — Shields — Yokes. . . . . .21 CHAPTER III HOW TO MAKE DRESS SKIRTS The Modern Gored Skirt — The Foundation Skirt — Skirt Drap eries — The Kilt Skirt — The Trained Skirt — Reeds. . . 29 CHAPTER IV HOW TO MAKE A BASQUE An Ordinary Basque — The Pattern — First Step in Making — Bast- ing the Lining — Fitting the Lining — Fitting the Basque — Cut- ing out Stripes and Plaids — Stitching Seams — Finishing Seams — Pressing Seams — Finishing Closing Edges. ... 47 CHAPTER V HOW TO MAKE A BASQUE — CONTINUED Boning a Basque — Scale for Placing the Bones — Finishing Edges — To Finish a Tailor Garment — Lead Weights. . . 64 CHAPTER VI SLEEVES AND COLLARS Dress Sleeves — Making a Coat Sleeve — Sewing in a Sleeve — Jacket and Cloak Sleeves — Standing Collars — Turned-over Col- lars — Revers Collars — Plastrons. ..... 78 vii via CONTENTS CHAPTER VII JACKETS AND CLOAKS Ladies' Tailoring — Its Difi&culty — The Pattern — Sponging Cloth — Cutting Cloth — Lining a Wrap — Finishing Seams. . 89 CHAPTER VIII PLAIN SEWING AND FANCY STITCHES Over-hand Sewing— Fine Stitching — Running Seams — Back- Stitching — Hemming — Hem-Stitching — Felling— French Fell — Gathering — Shirring — Overcasting — Tucking — Gussets- Patching — Sewing on Strings 96 CHAPTER IX PLAIN SEWING AND FANCY STITCHES CONTINUED Slip-Stitching — Whipping — Binding — Cording — Piping — Darning — Chain-Stitch — Cross-Stitch— Herring-Bone Stitch — Loops — Button-holes — Sewing on Pearl and Similar Buttons. . no CHAPTER X UNDERWEAR Materials — Cut, Fit and Making— Chemise — Drawers — Corset- Covers — Nightgowns — Petticoats — Dressing-Sacques — Wrap- pers — Aprons. . . . . . . . . .125 CHAPTER XI INFANTS' WARDROBES How to Dress Baby — A Simple Layette — How to make it — Caps and Cloaks— Nurses' Suits. ...... 140 CHAPTER XII children's CLOTHES American Mothers — Short Clothes — Small Boys' Clothes — Dress for Girls — An Apron. ........ 148 CHAPTER XIII DRESS TRIMMINGS Bias Bands — Plain Binding and French Hem -Round Piping — Cord-edge — Double Cord-edge — Straps and Bands — Fur Trim- mings — Flounces — Pleating. 157 CONTENTS ix CHAPTER XIV SPECIAL COSTUMES Riding Habits— Cycling Costumes — Bathing Suits— Dress for Business Women — Artistic and Reform Dress — To Dress for the Photographer. 167 CHAPTER XV DRESS FOR HOME AND FOREIGN TRAVEL Dress for Home Travel — Dress for Southern Travel — Dress for the far East — Dress for Ocean Travel. .... 189 CHAPTER XVI MOURNING Mourning for Widows — Mourning for a Parent, Child or Sister — Children's and School-girls' Mourning — Complimentary Mourn- ing — Second Mourning — For the Neck. . . . . 200 CHAPTER XVII BRIDAL OUTFITS Seasonable Gowns — The Veil — Bridesmaids' Dresses — For Quiet Weddings — The Best Date — Brides' Traveling Dresses — The General Trousseau. ........ 206 CHAPTER XVIII FANCY AND THEATRICAL DRESSING Materials for Stage Dresses — Effect of Color — Waists and Skirts — Some Fancy Dresses, . . . . . . .215 CHAPTER XIX HOW TO BE YOUR OWN MILLINER Correct Taste — To Trim a Hat — How to Make a Stiff Crowned Hat or Bonnet — Making Drawn Bonnets or Hats — Taste in Colors. .......... 227 CHAPTER XX THE DRESSMAKER AT HOME Three Methods — Preparing for the Home Dressmaker — Hints for Making Over Dresses. ....... 240 CHAPTER XXI FABRICS, LACES AND EMBROIDERIES Vel vet — Silk — Linen Cloth — Laces — Embroideries — Ostrich Feathers — Widths of Dress Fabrics. , .... 249 X CONTENTS CHAPTER XXII THE HOUSEHOLD LINEN In what it must consist — Darning Table and Bed Linen — The Linen Closet 265 CHAPTER XXIII LAWS OF CORRECT DRESS Considered from the point of Economy — Considered from the point of Beauty — Dress for Slender Women — Dress for Stout Women — Individuality in Dress — Dress for Red Hair — Dress for Blonde Hair — Dress for Brown Hair — Dress for Black Hair — Dress for Gray Hair — Jewels — General Remarks. . , 273 CHAPTER XXIV THE ETIQUETTE OF DRESS Incongruities — Correct Dress for the Morning — Correct Dress for Teas, Matinees and Afternoon Receptions — Correct Dress for Dinners — Correct Dress for Lawn Parties — Correct Dress for Driving and Coaching — Correct Dress for Weddings and Wed- ding Anniversaries — Correct Dress for Dancing Parties — Cor- rect Dress for Mourning — Correct Dress for Servants. . 295 CHAPTER XXV TERMS USED IN DRESSMAKING 31O CHAPTER XXVI TO CUT A BASQUE PATTERN BY MOLDING The Front — Back and Side-Bodies — Embellishments — The Sleeve 318 CHAPTER XXVII CUTTING-OUT BY MEASUREMENT Introduction — Measurements — How to take Measures — Verifica- tion of the Measurements — Variable Measurements — Draft of Pattern of a Dress — Verification of the Patterns for a Body — Pattern for Basque — Dressing Gown — Low, Round Waist — Transposing Measurements — Drawers for a Woman — Drawers for a Girl — Princess Apron — Apron with Straps — Apron for a Child 325 HOME DRESSMAKING A Complete Guide to Household Sewing CHAPTER I TOOLS FOR THE WORK TRAINING FOR HAND-SEWING — THE SEWING-ROOM — TOOLS FOR CUTTING THE SHEARS — TOOLS FOR SEWING TOOLS FOR FITTING — TOOLS FOR PRESSING TRAINING FOR HAND-SEWING When a woman attempts to make a dress, we natur- ally conclude she knows how to sew. Let us hope she has practiced running up long seams, both by hand and machine, that she knows how to hem, blind-stitch, gather, fell, and, above all, to baste. Our grand- mothers served their apprenticeships piecing patch- work together. Nothing could be a better schooling. There has been much said, and with good cause, against the waste of time and talent over patchwork. A woman, skillful and intelligent, spending days and weeks over a bedquilt, is not an ennobling thought. She might do something more important, do much that would 12 TOOLS FOR THE WORK make her world wider and those around her more com- fortable, it would seem. But, for a child or young girl, there is no better training for the hand, the eye and the contriving, accurate intelligence than to neatly join pretty pieces of cloth into symmetrical designs. In later chapters will be found complete and clear explanations of plain sewing and the clever but inexpe- rienced woman will find therein many assistants to the proper and effective use of the needle. But just here we must start out with the idea that the dressmaker is capable of doing plain sewing. We would pause here, however, to comment upon the value of hand-training for woman. A skillful use of the hand is alwa5^s conducive to a well furnished and orderly mind. It calls into more perfect use the touch and the sight. It tends to make the useful also the beautiful. The prejudice against manual labor is slowl}' but surely disappearing. The little girl who is now being educated for any field of intellectual and administrative work, is not well equipped unless her hands have been trained to do dainty needlework and are skilled in other handicraft. This physical develop- ment along with the mental is according to nature's method of preserving a balance of power and a proper equilibrium between the brain and hands. THE SEWING-ROOM With the hands trained, the woman who would make dresses must furnish herself with the proper tools. To TOOLS FOR THE WORK 13 begin with, she should have a sewing-room. If, in the economy of the house, there is no room she can devote exclusively to that purpose she must have one that is given up to that occupation for the time being. It is as absolutely necessary to have such a room to do good dressmaking as it is necessary to have a kitchen to cook in, a studio to paint in, a sanctum to write in. If it is at all possible, she should close herself up in it with her tools and fabrics and forbid interruption. To do anything well, one must give one's entire atten- tion, one's whole mind, to it. This is true in dress- making as in everything else. Another reason why one should liave such a room is, that all materials and tools may be kept there together in their places and just where the hand maybe put upon them the instant they are needed. And, when such a room is devoted to that purpose, pieces of fabric may be left undis- turbed and ready for use. If they must be gathered up, they are often thrown away and are missing when they are wished for afterward. This room may be furnished as simply as can be imagined, yet it must have two chairs, an ordinary cane-bottomed square chair of medium height and a low one. We would not recommend a rocking chair to sew in, but a low rattan chair without rockers is just the thing. A footstool is also a very convenient thing to have in a sewing-room. A woman who pins her work to her knee when she sews should have that 14 TOOLS FOR THE WORK foot on a stool. This relieves the back of much bend- ing and back-aches are less frequent. TOOLS FOR CUTTING For cutting ample provision should be made. The table upon which material is laid preparatory to cut- ting should be perfectly smooth and of sufficient dimen- sions to permit the largest patterns to be laid out entirely. For such pieces as a trained or kilted skirt this is often not practicable but the worker must then exercise her most careful ingenuity and judgment. The home dressmaker is often led into the most expensive mistakes by cutting out on the floor or bed. We can not be too urgent against such a proceeding. Therefore in our sewing-room there must be a table at least four feet long and three feet wide for cutting out. The best table is the substantial ordinary one of wood, with a smooth, even surface and square corners. If this is not available, one of the folding tables of at least that size is reasonably convenient. They are certainly entirely satisfactory for cutting but a more substantial one is better for pressing, and there is no reason why the same table should not be used for both purposes. When working at the table, either cutting, basting or pressing, one should sit, not stand. When sitting one can easily reach across three feet of space and two feet on either side. This saves much tiresome bend- TOOLS FOR THE WORK 15 ing of the body and wearied feet and legs at the end of the season of sewing. This table in the sewing-room will be used for all sorts of other purposes beside cutting out the original garment. But an ordinary lap-board should also be provided. It will often be used when cutting small pieces like collars and facings and when putting flounces or pleatings on the bottoms of skirts it will be found indispensable. Perhaps the most important tool in the sewing-room is a pair of shears. In dressmaking much depends in the beginning upon clean, evenly cut edges. In basting or stitching seams the eye is easily, although often unconsciously, influenced by the out- lined edges and where they are rough or uneven the seam is wavering and inaccurate. Clean cut and even edges also influence the stitcher to finish the seams in a neater manner. She will with- out thinking execute that part of the work with greater precision. THE SHEARS Long, slender and sharp blades should characterize the shears used. Never attempt a garment with dull, rough or rusty ones with a loose rivet, nor with dainty little embroidery scissors. Use shears of good metal not less than eight inches long with bent handles, with well sharpened ends and riveted just tight enough that no resistance will be noticeable when opening and closing them. Take care of them when they are not in use. Keep them from dampness and do not let 1 6 TOOLS FOR THE WORK them fall as that will often impair the nicety of their adjusted blades. TOOLS FOR SEWING Ever}' sewing room should have a machine that is light running and capable of sewing from the heaviest to the lightest fabrics. It should be kept well oiled and in order. It should also be kept perfectly clean. Do not let it become clogged up with dust or old oil. A little kerosene will clean all this away, when it in turn must be wiped off and the machine properly oiled with the best machine sperm oil. It is pleasant to have all the attachments invented with the machine, but for dressmaking one must have the hemmers, the tuckers and the gatherer. At the side of the machine provide a scrap bag in which can be stowed away use- less pieces, and thus save the bother of picking them off the floor later. Two bags are not too many ; one for absolutely useless pieces, the other for larger scraps that may be found useful later on. There are many minor details of the sewing-room's furnishings which will gradually be provided and accumulated as the sewer prosecutes her work. But her sewing basket must be well stocked to commence. It should be a strong basket or box sufficiently large to meet all ordinary requirements. It must contain needles of all sizes and chosen from those of good quality. Those with egg-shaped eyes are the easiest to thread. They should have long taper points, as it is impossible to sew on stiff material with a conical-pointed TOOLS FOR THE WORK 17 needle without pricking one's fingers at every stitch. Tn every case the needle must be large enough to draw the thread through the fabric without the least effort. There must be pins in plenty, cotton thread and spool silk in both white and black with a good large spool of coarse basting cotton. There must be an emery bag, which should be home made, as those bought in merchan- dise stores are generally filled with anything rather than good filings. There should be a square of hard white soap. A linen seam is a difficult seam to sew by hand or machine. If you pass the soap over it before commencing, all the difficulty is instantly re- moved. There must be in this basket a well fitted thimble. Two thimbles are even better, as it is very provoking to be forced to stop and hunt a thimble that has momen- tarily disappeared just when you most need it. They must exactly fit the finger. It is ver}' uncomfortable to work with a thimble which turns on the finger; if the extra space is filled with paper or rag, it renders the thimble too heavy and the thread is liable to catch. There must be a lead pencil and a good tape line and a pair of button-hole cutters with a gauge are a great convenience. Equally pleasant to have at hand are a sharp steel punch or chisel and a perforated bodkin for drawing a cord or tape through clings or hems. This basket should be provided with a cover to keep its tools free from all but ordinary dust. A piece of silk as long as the basket around its top and about 1 8 TOOLS FOR THE WORK six inches wide makes a good cover. Join its ends and sew one of its edges to the basket top. Then run a casing in the other edge of the silk and pass a draw- ing-string through it. Thus the cover may be opened and closed at pleasure. A medium size leaded pincushion is extremely con- venient for use in pinning the work. Pinning the cloth to the knee is very poor policy, on account of the fatiguing stoop it causes. When the leaded pincushion is at hand, the cloth is so easily attached, and a woman who has become accustomed to one will never be without it. They are easily made, the heavy piece of lead being securely hidden in the sawdust used to fill the cushion. TOOLS FOR FITTING There is an absolute necessity for a mirror in which the entire figure may be surveyed. Even in fitting a bodice or short wrap the general effect should be the thing considered. Their lengths can only be decided correctly in reference to the entire length of the figure. The best mirror is one that swings in a frame. Such a one in a dressing-case is very convenient, and there are less expensive ones called easel mirrors. If these are beyond the means at hand, place any ordinary mirror on the floor at an angle Avhere a view of the entire figure can be obtained. The gown must harmonize with the wearer. In other words, you must adapt the materials to yourself, and this can only be done by see- ing yourself as others see you. TOOLS FOR THE WORK 19 The next best help one can have for this purpose is an adjustable wire form. The forms that may be adjusted to correspond with neck, waist and bust meas- ure are few and expensive, if they are of any value at all, but there are skirt figures that may be bought for a couple of dollars — they are a capital investment. Drap- eries may be adjusted with the greatest ease when they are used. TOOLS FOR PRESSING Among the most importanttools are aflatiron and some means of heating it. In this day of steam radiators there is often no such means at hand. There have been many inventions given an aggrieved and credulous pub- lic, such as attachments to gas jets, alcohol burners, etc., but the best thing is a little kerosene stove. There is no reason why it should be dangerous ; nothing but the grossest carelessness makes it so, and it heats a flatiron in a few moments. Remember there is everything in the proper pressing of the garment. This applies to the skirt seams, the hems, the bodice seams and facings and to the sleeves as well. A good investment is a couple of press boards, one for skirts and a smaller one for bodices and sleeves. Any carpenter will make them and the cost is but a trifle, while the convenience will more than repay an even greater expenditure. A skirt board should be about forty-four inches long, the length of an ordinary skirt and nine inches wide. The sleeve board should be five inches in width and twenty-seven inches long. 20 TOOLS FOR THE WORK Give them each at least one thickness of flannel and add a cotton cover. With these and a couple of hot flat-irons and plenty of strength, the homemade dress may be made a very presentable affair- CHAPTER II DRESSMAKERS' FINDINGS LININGS FACINGS — WADDING AND CANVAS EASTENINGS WHALEBONES AND CASINGS — SHIELDS — YOKES LININGS Those who undertake to learn the trade of dressmak- ing find that silesia, braid and canvas represent the A B C's of the art. The novice will do well to try every pattern or idea in the smooth, firm but inexpensive silesia. It is the amateur dressmaker who frequently makes the mistake of plunging at once into all the per- plexities of silks, velvets and furbelows. Such experi- ments are pretty sure to result disastrous!}'. She is liable to waste a great deal of material and to expend so much time and patience in several thousand times too many stitches that she gives up trying to sew at all. How much better to begin with the anatomy of the dress. Master the fit in the linings, which is reall}- essential to the successful fabrication, and then suc- cess awaits further along the line of experience and a garment is achieved of which the maker may well feel proud. 22 DRESSMAKERS FINDINGS "But what kind of linings should we use?" do you ask? In the first place, don't use old linings. Such a course is not economy at all. For with linings that have lost their firmness and body no waist can be made to fit, no skirt made to hang properly. The same may be said of whalebones, hooks and eyes, braids and sometimes of buttons, although the latter can again be used more frequently. Yet cloth buttons are usually worn shiny and metal ones are tarnished. Have plentiful and good lining materials. Ail dress fabrics, except some cottons, require a foundation to protect them from strain ; cloths and woolens stretch, laces and sheer woolens tear and silks cut and split with- out a good under foundation. Silk, cambric and silesia are each in turn used. Each has its recommended qualities and each again is entirely unsuited to certain purposes. Silk linings are by all odds the most elegant and comfortable. To be sure they are a little expensive in the first outlay but they wear so well and are so light in weight, per- fect in fit and generally elegant in appearance, they are favored by our leading and best modistes. For dresses intended for general wear the soft fine French cambric can not be too highly recommended. Silesia is also an admirable lining material for almost any dress and for all its parts. For the waist and its sleeves it is unsurpassed, and for the skirts of dresses as well. DRESSMAKERS' FINDINGS 23 The purpose of a dress lining is twofold. It is necessary as a neat finish and as a foundation. Some ladies will tell you they use good, perhaps the best linings for the waist, not quite so good for the sleeves, and that anything Avill do for the skirt of a dress. These are mistaken economies. There is just as much strain and wear on the sleeves of a dress as upon the waist and the linings should be the same. The only difference which may be made is for the skirt, where a lighter and less strong material can be used, as there it is only the neat finish and protection, and really no strain upon it. FACINGS Beside the linings proper for skirts there are several accessories which must be provided, that must be classed with them. The facing for skirts comes first among them. There is quite a diversity of opinion as to which is preferable of some three or four which are all in general use. Perhaps we are safe in saying a majority of profes- sional dressmakers face their skirts first with cross- barred crinoline, afterward covering it with alpaca. This certainly makes a soft finish to the skirt but also one which is thick and clumsy and one which is extreme- ly addicted to gathering and holding dust. Equally objectionable for the same reason is the use of canvas covered with alpaca. And there is yet another objec- tion we may urge, and that is such facings do not 24 DRESSMAKERS' FINDINGS wear well and are very hard upon the shoes of the wearer. Ladies who have their skirts finished in this manner find themselves in a very short time forced to trim off rags and tatters or look untidy with them hanging around their feet, and, if the dress is at all durable, the facing must be renewed at least twice during its exist- ence. Very much better, for durabilit)^, cleanliness and soft finish is the cotton padding. When it is used, the work of facing a skirt is greatly simplified, it being easily put on as will appear in our extended directions for facing a skirt in a following chapter. Every skirt must be finished with a braid or a vel- veteen band. Pleated braids are sometimes used when a little extra finish is required, but when an ordinary braid is used it should be one of the best and then it will not be a narrow one, but wide enough to cover all edges. WADDING AND CANVAS Findings for the waists of dresses are more complex. First is the lining proper, which as we have suggested be- fore should be either silesia, cambric or silk. Whichever is used, let it be the color of the dress unless it be a black dress. Black lining should never be used for waist or sleeves and dark gra3MS better for black skirts too, still black may be sometimes employed for them. It is quite likely to soil the underwear. There are many good silesias woven black on one side and dark gray DRESSMAKERS' FINDINGS 25 on the other, which will be found useful for some pur- poses. There are but few women — or men either — whose forms do not require some "building up". Many dress- makers place a laj^er of wadding between the lining and the dress fabric reaching from the shoulders to the top of the darts. This certainly gives a smoothness over the bust, that is desirable, still it greatly increases the warmth. One thickness of light quality of canvas accomplishes the same end and is cooler. The tops of the sleeves, from the shoulder to the elbow should be given the same treatment when the form is not plump and bones make unevennesses. When the form is inclined to be too large below the waist, one thick- ness of canvas placed between the lining and the dress fabric below the tops of the darts assists in keeping a basque or polonaise in shape. FASTENINGS When buttons are used, the button-holes are a seri- ous question for the dressmaker and must be neatly worked with good twist, or the garment is not beautiful even when handsome fabrics are used. In Chapter IX. will be found full instructions concerning button-holes. When hooks and ej^es are used for closing, the ama- teur dressmaker should ask for bent hooks, as those slightly bent near the point stay fastened. Otherwise it is necessaray to sew them on alternately, which makes them very inconvenient for closing. Small rings used instead of eyes on the outer part of dress waists 26 DRESSMAKERS' FINDINGS should be covered with silk in button-hole stitches. The very large hooks and eyes used as cloak and wrap fastenings are also excellent for keeping up a heavy skirt : four of the hooks being set on the waist just below the belt, — two on the seam joining the back and side-forms and one on each under-arm seam ; the eyes are placed on the skirt band to correspond and the wearer hooks them before fastening the inside belt of her dress. WHALEBONES AND CASINGS The use of whalebones is an important item to con- sider. Most ladies require every seam stayed. If the seams were curved absolutely perfectly it would not be necessary, but this art is seldom encountered. When stays are needed, use the best wht^lebones only. Nothing else wears so well nor gives the proper elasticity. Horn, tin, steel and rubber have all been used, and either rust, break or twist unpleasantly. Galloon must be provided for casings in which to run the stays. Casings of lining material make clumsy seams. Ribbon for binding the edges of the waist and sleeves seams finish the waist in the most acceptable manner. With loops to go in each armseye of the same by which to hang up the waist, a neat finish is given. However, this ribbon binding is repudiated by some ladies who delight in the snuggest fits. They insist the binding of edges draws the seams and demand rather they shall be loosely top sewed and pressed. DRESSMAKERS' FINDINGS 27 In any case a sufficient length of binding tor an inside belt must be provided to attach at the back seams at the waist-line to take the strain off the front. It is usually fastened in front by medium sized hooks and eyes. SHIELDS Dress shields must be provided, large ones in the armseyes, and ladies who perspire profusely use small ones in the sleeves at the elbow curve. Some ladies abominate cheap shields for dresses. They buy the best and take them out at intervals and wash them in clean soap suds. This is not a bad idea. It is also good practice to purchase cheaper ones and change then often. None are perfect and neatness requires they should be changed as soon as the slightest odor can be detected. In any case it is good policy to buy shields by the half dozen pair and so have them always at hand. A RESUME For a medium sized woman's ordinary costume, con- sisting of a walking length skirt and a basque with coat sleeves, the following findings will be found neces- sary : If silesia is used five and one-half yards for the skirt, one and one-half yards for the waist and one yard for the sleeves, or a total of eight yards. If ordinary silk is used ten yards will be found sufficient. For the skirt facing one yard of canvas, with one yard of alpaca, or one yard of padding alone, if the latter is preferred. Add to these three long whalebones, one boltofbraid, 28 DRESSMAKERS' FINDINGS one bolt of ribbon to bind seams, one piece of galloon for whalebone casings, one card of hooks and eyes or one and one-half dozen of medium sized button, two spools of twist, one of sewing silk and one spool of basting cotton. The findings required for jackets and outside wraps of all kinds will be fully treated in chapters devoted to such garments. To conclude and at the same time be explicit we would say do not buy cheap findings. They do not pay. Do not use old linings or whalebones. It is false economy. Findings do not show in one sense of the word, but they tell every time in wear and general comfort. YOKES A word as to keeping the whole gown in shape and doing away with ' closet wrinkles. " Buy a wooden or wire yoke such as tailors use for suspending coats, and after turning the dress wrong side out fasten the waistband and slip the whole over the yoke. It spreads the folds of the drapery, preventing them from being crushed into an unshapely mass, and keeps the foun- dation from stretching down at the seams. These yokes are inexpensive, and may be found at any dry- goods store. CHAPTER III HOW TO MAKE DRESS SKIRTS THE MODERN GORED SKIRT — THE FOUNDATION SKIRT SKIRT DRAPERIES THE KILT SKIRT THE TRAINED SKIRT REEDS THE MODERN GORED SKIRT The size and st3de of skirts vary with each edict of fashion. However, tliere are two general styles upon which the changes are rung, the short walking skirt and the trained skirt. Walking skirts may be divided into the round full skirt and the gored skirt ; the former is a mere matter of straight seams, a hem, and a gathered top on a band, tliat anyone can make. But the shapely gored skirt is a different thing. The modern gored skirt is the work of an artist. Some one has said "the making of one is like singing an old ballad. A novice may sing a grand operatic aria but it takes a genius to sing 'Comin' thro' the Rye,' and to make a gored skirt. Both are most simpte in design but most difficult of construction." There are three things which go to make a perfect skirt ; first an accurate cut, second a neat finish and third a thorough pressing. 29 30 HOJV TO MAKE DRESS SKIRTS The walking skirt most used is rather narrow in its proportions. The only skirt less ample was the one which showed its back breadth gored at the top to fit as close as the present front and side-gores do. Z^Inches. 7 Inches. 18 Fnches. < CD 18 Inches. THE FOUNDATION SKIRT Every skirt should be made with a perfectly fitted foundation. It should be of easy walking length, prop- erly gored and not too wide. It is usually cut with one front-gore, two side-gores and a straight back breadth. For a lady of medium size who will measure twenty-four inches around the waist the following are the correct measurements for each part. The front gore will be fifteen inches wide at the top with a dart two inches wide allowed for on each side of the mid- HOU^ TO MAKE DRESS SKIRTS 31 die of the front. It is forty inches in length in front but is sloped to forty-one inches in length at the sides and at the bottom is twenty-two inches wide. The side- gores are each forty-one inches in length at their front sides and forty-two where they are joined to their back breadth. They are seven inches wide at the top with two inches allowed for darts and are gracefully curved to sixteen inches in width at the bottom. The back is just one yard in width its entire length, which is forty- two at its sides sloping to forty-four inches in the middle. When quarter-inch-wide seams are taken, the back has all its fulness gathered into five inches, which is the correct proportion. For home dressmakers it is much the best plan to use a good pattern for this skirt, as no rule given in figures can explain the graceful curves which each gore should show to give the best effect. A skirt that hangs ill is always dowdy looking. No matter how elabor- ately draped or trimmed, a badly shaped foundation skirt ruins all. The materials used for the foundation skirt vary with the fabrics employed for drapery. We will for exam- ple suppose we require one for a dress of cashmere, serge, cloth or silk. In which case the skirt should be of lining silk the same color or a shade harmonizing with it. However, good silk linings (poor ones are an abomination) are expensive, and there are other materials which make admirable linings. By some sateen and silesia are preferred and the latter cannot be 32 HOW TO MAKE DRESS SKIRTS too highly recommended except in the matter of weight. It is always heavier than any other skirt lining, Yet it is not too weighty. French cambric is also an excel- lent material for skirts. Whatever the material chosen, cut the front and back breadths on a lengthwise fold of the goods and the side- gores with their front edges on straight edges of it, The seams of this foundation skirt are of course sewed up separately from the outside or draped portions. They may be sewed so that the smooth sides of the seams are on the underside of the skirt and their rough edges next the draperies. The facings in that case should all be cut to fit the skirt after its seams are closed. For heavy skirts it is better to slash the front-gore for four inches at least on its lower edge to give greater freedom in walking. This is a great saving to shoes, whose leather over the instep is otherwise often worn through while the other parts are intact. A tight braid is very wearing in that respect. The foundation of most skirts is faced on the upper side under the draperies, four inches with material of the drapery. This facing is laid on each portion of the skirt with its upper edge turned under and stitched down on the lining, before the skirt seams are sewed. Begin to sew each seam (and there will be four in all) at the top, allowing all unevenness to fall at the bottom. Be careful not to stretch any bias edges. If you are an entire novice it is the best plan to both pin and baste the seams before stitching them. It will often save hours I/Of!^ TO MAKE DRESS SKIRTS 33 of worry and ripping. When the seams are stitched, press each one down flat, turning them alwa3S toward the back, this method is better than laying the seams open. In either case the edges should be overcast or top-sewed, and thoroughly pressed, with a warm iron. Then lay the skirt folded down the middle at the front and back portions so that the corresponding seams are together, on a table. Let them be even at the top, and then pare off any unevenness at the bottom. The matter of inside facing is a very important one and also one upon which there is almost as much diversity of opinion as there are dressmakers. How- ever, when we resolve the question down to what is really required, it is a simple thing to decide how to face your walking skirts. A facing is required to neatly finish the bottom of a skirt, and a facing is required to obviate any luipleasant clinging about the limbs when walking. What will best cover both requirements is what we want. Some dressmakers contend that this is, first a five- inch piece of crinoline or canvas and tlien a piece of alpaca. Another will demand a hem lined for twelve inches with horse hair cloth, still another demands canvas or buckram in like width. In most things the simplest way is the best way, and we believe it is especially true in putting on a skirt facing. Much practice and experience convince us that skirt padding used alone is the best thing and it certainly is the cheapest. In some localities this material is 34 HO]V TO MAKE DRESS SKIRTS called by other names. But it is a moderate weight fab- ric glazed on one side and likecanton flannel on the other. It possesses sufficient stiffness but at the same time it is pliable and does not render even the lightest skirt ungraceful. It is also a fabric which sheds the dust, and when it is required may be wiped off with a damp cloth. Again, its durability is a great recommenda- tion: it will last as long as any skirt. The neatest manner of putting on a facing is, after the lower edge of the skirt has been properly pared, tocut the facing eight inches deep and to fit it exactly. Then seam the skirt and facing's lower edges together on the inside and turn. The upper edge of the facing should be cut in fine notches and just below them stitch it down on the skirt lining. Then finish the smooth edge with the customary braid. Always use the best braid, it receives the hardest usage of any portion of the skirt. It should be dipped in water and allowed to thoroughly dry before it is stitched on the skirt. Otherwise, even the "warranted not to shrink" braid will draw up on the skirt founda- tion. The above directions are ample for finishing the bot- tom of a skirt when you have it cut over a perfect pat- tern and the padding is used. When a skirt design is used that has not the proper spring given its gores, other resources must be called upon. Every woman knows how disagreeable it is to walk, when at every step the foot is pulled back by the skirt. This is obviated by HOll' TO MAKE DRESS SK/RTS 35 twice slashing for four inches the foot of the skirt's front-gore and covering the slashes with pleating. Some dainty imported dresses for wear in the house are not bound with braid, but are simply faced with silk. Attached to this facing inside the skirt is a pinked frill of silk instead of the»lace balayeuse some- times formerly employed. To protect the extreme lower edges of skirts which are of extra length, many expedients are resorted to. At the shops many new"protectors" are found and at once recall those used for a similar purpose some years ago. The new ones, of course, have the advantage of all the improvements of progression. Several kinds are of buckram, which is widely bound with rubber cloth and either pleated to a binding which curves the protector to the shape of the train, or is sewed to a j^oke-like piece shaped like the bottom of the skirt at the back. These protectors extend across the sweep of the skirt only. Others, however, are in the nature of a facing. The fac- ing material is a strip of blacksilesia orserge, and is long enough to pass completely round the skirt foundation. For a sufficient distance to extend around the sweep at the back this facing is again faced with a stirp of rubber cloth securely stitched on, and as this comes next the surface on which one is walking, it prevents the edges of the skirt and its foundation becoming worn, soiled or damp. A braid is .also supplied which has a rubber strip Stitched to it for a sufficient portion of its length to 36 JJOIF TO MAKE DRESS SKIJRTS protect the sweep of the skirt ; and folded rubber strips, which look like pipings, are made to extend entirely round the skirt and are very satisfactory in the capac- ity of protector. Most of these protectors may be found in gray, brown and black. When the lower edge of the foundation skirt is completed, it should also be finished at the top be- fore its draperies are ad justed. A placket-opening must be provided either at the back or at one side. This is done by making an opening either in a seam or by cutting the material the depth of ten inches from the top. Face the upper or INSIDE OF FINISHED SKIRT Overlapping side with a two-inch-widestrip of the material of the draperies. Then sew in a seam to the opposite side a double flap of the same material and let it extend under the faced side, tacking it fast at its lower end to the opposite facing. A pocket should then be put in along the second right-side seam. It may be made of either silk or siiesia and must be faced with the material of the dress each side of its opening. When these preliminaries are completed the entire skirt must be most thoroughly pressed on the long skirt board with a hot iron. HOW TO MAKE DRESS SKIRTS 37 The adjustment of the foundation skirt, about the hips of a small woman is comparatively a simple matter. The darts in the front and in the side-gores are stitched and the fulness at the back is held in gathers. The band of the required size ma)' be added in one of two ways. First, the edge of the band may be basted on the under or wrong side of the skirt, tacking the middle of the band to the middle of the front and the tops of the seams on either side at corresponding dis- tances on the band. Then tr}' on the skirt, and satisfy yourself that it hangs perfectly even and easy. The re- mainder of the work will be done on the machine, which is difficult to rip, consequently all changes should be made now. When satisfied, stitch the band and the upper edge of the skirt together. Then turn over the band with the seam inside and stitch it down on the skirt. This process does away with all hand sewing and is a very neat finish. The second manner of finishing the top of the skirt with a band, is to first make the band of the required size. (A piece of belting may be used.) Then turn under the edge of the skirt a quarter of an inch, secur- ing it with a running stitch. Then tack the middle of the front and the seams to the band in their respective positions and lay the fulness of the back in pleats or gathers. After which fell the band to the skirt edge by hand with a strong thread. 38 HOW TO MAKE DRESS SKIRTS To sew the gathered portion to the belt, see illustration. The portions sewed to the belt, with a close over-casting stitch, are the stitches of the gathering them- selves, the intervals between them Sewing Skirt Gathers Supplying the deep pleatS which are secured in place by a row of strong stitches about one-half inch below the line of gathering. When there is a great deal of material to gather into a small compass, the gathering stitch has to be dis- carded, the intervals between the stitches being too wide to sew across. Then the material is evenly pleated up and sewed as pleated to the belt, shown in the uncompleted portion. The advantage of this gath- ering over real pleats is that the gathered pleats are upright, and the material below hangs freely, while pleats are sewed flatly into the belt and confine the material more. For stouter women a skirt band mars the fit of the bodice worn over it, and it is a good practice to face the entire top of the skirt, gathering the fulness of the back on tapes and so use no band at all. SKIRT DRAPERIES Before the draperies are added, the best skirts are given a pleating of the dress material. This pleating should be five or six inches wide and should be stitched fast to the upper side of the foundation skirt. HOW TO MAKE DRESS SKIRTS 39 The draperies of skirts are so varied and often so complex, according as fashion dictates, only general- ities can be considered in this work. It requires great skill to cut skirt draperies without a pattern. Only experienced dressmakers should attempt it. To do so generally results in much worry and a waste of material. When it is attempted, the draper- ies should be first cut in soft paper or some cheap cloth, and this used as a guide in cutting the more expensive dress fabric. When the draperies are cut, stitch all the breadths together and press the seams. Then turn up the lower edge in a medium sized hem. For bordered materials, silk and cotton fabrics, it is best to secure this hem with a fine blind stitching, but cloths and suitings may often be enhanced by machine stitching the hem. Unless the material is heavy and firm in quality it Is best to stiffen this hem with crinoline before stitching. The edge of draperies are of- ten best finished by a false hem of the foundation material, (C) about six inches wide, (B) after having overcast an interlining muslin (A) to the lower edge of the skirt. The false hem being finished as illustrated, place A FALSE HEM ^raid at the lower edge, not in the ordinary binding style, doubled in half and conceal- 40 HOJV TO MAKE DRESS SKIRTS ing the whole edge, but sewed inside the skirt and left quite fiat. For cloths and other heavy woolens the tailor hem makes the neatest finish. The stitches of the tailor hem are invisible from the right side. Thin paste is employed to make the halves of the hem adhere together, and to facilitate flattening in with the iron. Three inches from the edge tack a straight line which is to be the edge of the skirt. Have the paste and a hot iron at hand. Apply the paste inside with a brvish, not too thickly, where the hem is to bend over, on the three inches below the tacking. As you paste, turn over the hem at the tacking, and iron it flat and smooth. Tack down the hem for greater safety, and then hem it invisibly, passing the needle only half through the cloth, so that no vestige of the stitch appears on the right side. Now remove the tack- ing and iron a second time. Your hem in spite of the thickness of the cloth, should be perfectly fiat, and beautifully smooth and even. Sew with silk of the cloth color, not cotton. The silk must be strong and of excellent quality, as the constant damping necessary in tailoring injures the color of cheap silk, which is also not strong enough to hem and stitch thick cloth. When a skirt or tunic is edged with one or more rows of stitching, the tailor hem is not necessary, although the pasting and ironing are advisable before the hem is put under the machine to be stitched. When this hem has been carefully pressed, turn no IF TO MAKE DRESS SKIRTS 41 under half an inch at the top of the draperies and fell them into place on the foundation skirt, at the waist. Cover this edge with a fiat galloon or braid. Now comes into use the skirt stand. It is as neces- sary as the sewing machine; it is a comfort and a con- venience ; it facilitates the work and much better results can be produced by arranging the draperies and sew- ing them into place while the foundation skirt is on the stand. Draping is too changeable in style to be treated at length here. It is ornamental and must be an expres- sion of the existing fashion and the taste of the wearer. To finish the skirt, along the belt, tack on two braid loops by which to hang up the skirt. Use two hooks and eyes to close the waistband and add two large hooks to correspond with two large eyes placed on the bodice at the waist-line to join the two. THE KILT SKIRT The kilt skirt is but a variety of the draped skirt. It is made with a foundation as is the gored skirt. The same proportions prevail as are mentioned for it. The kilted or pleated portion, is not difficult to adjust if two simple rules are strictly followed. These rules are first, the outer edge of each pleat must be folded its entire length along the straight thread of tlie cloth ; second, each pleat must be laid to hang in a straight line from the waist to the bottom of the skirt. At first glance many women would declare this to be impossible but it is not. The easiest way to accom- plish these results is to make the foundation skirt as 42 I/OJy TO MAKE DRESS SKIRTS directed in the preceeding pages. Finish it complete with an upper facing of the dress material and the usual under-facing, braid and waistband. Then put it on the skirt stand. Prepare the straight breadths to be kilted by sewing and pressing the seams, joining the breadths and finishing the lower edge with a hem, machine or blind stitched. Enough breadths muSt be provided to make the portion to be pleated three times as wide as the bottom of the foundation skirt. Then divide the breadths at the hem into spaces of about five inches and crease the goods the length of the skirt each five inches apart. This crease will be the outside fold of the pleat. These creases may be basted with a thread their entire length. Pin all the pleats into position round the bottom of the foundation skirt and draw the creased edge of each up to the waist-line, so it is in straight line and the extra width will arrange itself into an easy graceful pleat underneath. When this has been done all around the skirt baste the pleats securely and remove the kilted drapery. Press it on the under side. Then take tape of medium width and tack one length to the under crease of the pleats about nine inches below the waist-line and another about eighteen inches above the bottom. The pressing and tapes will hold the pleats in posi- tion permanently. When it has been done, again put it on the skirt stand over the foundation skirt and fell it on to the latter, at the waist-line. Tf any ornamentation of stitching, braid or embroid- HOW TO MAKE DRESS SKIRTS 43 ery is given the skirt, it must be done before the pleats are laid. For some kilt skirts the foundation skirt is omitted but they can not be made to wear satisfactorily or to look so well even in the beginning. An ordinary skirt braid tacked on flat to the under-side of the pleated portion, so that its edge extends only just below the hem will protect the edge of that hem. TRAINED SKIRTS A pattern must be provided when a trained skirt is to be made and when it has been cut, the making is an art in itself. It must be lined with a material to correspond with the fabric employed for the trained skirt. That is with silk of a contrasting or harmon- izing color. Nothing but the neatest finish of the under-side of a trained skirt will be satisfactory, as it is liable to become visible at any moment. For trains made of heav}' silk or woolen materials, no extra stiffening is required, but for soft silks, soft crinoline may be used as an interlining to give it the requisite body. However, it should be used with the greatest discrimination, as the soft train is in the best taste and an undesirable stringiness is all we wish to avoid. Tapes must be adjusted on the under-side to draw the front and sides back into their proper places, as well as to hold the fulness of tlie back together. Our illus- tation on page 36 shows this finish. 44 HO IV TO MAKE DRESS SKIRTS THE BALAYEUSE The balayeiise is a flounce sewed under the edge of the skirt, instead of above it. It can be sewed to the skirt itself, or to a band which is then sewed to the skirt. A little time ago the white halayeiise was uni- versally worn indoors, but of late this has been superseded by the flounce of taffeta or any soft silk, cut on the straight or the cross, and TO MAKE THE BALAYEUSE pleated or gathered on to the hem. Dressmakers should learn how to set a balayeusc well, as it is never entirely put aside, and has lengthened periods of great popularity. REEDS Extenders, or bustles come and go at Fashion's pleasure. There are ladies, however, who are very flat in the back below the waist-line and it is an improve- ment for them to always use one reed or steel in the skirt about ten inches below the waist-line. A casing must then be run as indicated by A, B, (See illustra- tion page 30, ) through which the reed is passed. At its ends on either side a tape must be fastened and when tied the reed is distended and the back drawn together. Trained skirts seldom require this reed. There are a few most important points it seems well HOW TO MAKE DRESS SKIRTS 45 to recall more briefly, in order to fix them more firmly in the mind. I St, that you should pin or tack together the breadths of the skirt, at the top, before you begin, that you may not chance to put in more gores on one side than the other (if there are gores), or find that the back-breadth comes to one side. 2d, that you should, while thus arranging the breadths, look very carefully that no one is turned wrong s ide out, if there are two sides ; or, if figured, with the pat- tern upside down, 3d, that, as the uppermost edge takes up the most, as your work lies over your finger, and as the cut edge stretches more than the selvage, you should, pin from top to bottom, before you begin to join them, the breadth on which you are employed. This is the only sure way of avoiding puckering. 4th, that you should, as often as possible, begin your run at the top, that, if there is any left over, it may go off at the bottom, where it is of the least conse- quence. You can do this in every case but when you have to join a cut edge and a selvage, and then you must begin at the bottom, in order to have the selvage uppermost. 5th, that you must remem.ber that gored skirts hang lower at the bottom of the gores than either before or behind, and that the first turning in of the hem should be, therefore, laid rather deeper at the sides of the skirt. 46 MO IV TO MAKE D^E.^S SKIRTS 6th, that you should make your fastenings so good that the dress may wear out before they give way. This is particularly important with regard to the pocket- holes and the placket opening, which should be well secured by stitching, or a bar at the turn. It is very trying to a lady to find her skirt slit down behind, the first time she slips her gown over her head, or her pocket-hole give wa}' before she has put her hand into it half a dozen times. CHAPTER IV HOW TO MAKE A BASQUE AN ORDINARY BASQUE THF, PATTERN FIRST STEP IN MAK- ING — BASTING THE LINING FITTING THE LINING — FIT- TING THE BASQUE CUTTING OUT STRIPES AND PLAIDS STITCHING SEAMS — FINISHING SEAMS — PRESSING SEAMS — FINISHING CLOSING EDGES. AN ORDINARY BASQUE The best advice to be offered a beginner in dress- making is to practice on round waists. Thej' are not so difficult to fit. The proper adjustment of darts and seams extending only to the waist-line, is not perplex- ing. The proper cutting and fitting of its collar and sleeves need not drive her to desperation. However, in this instance time and space will not be devoted to them alone as the hints on basques properly include round waists. THE PATTERN Few ladies have the time or inclination to learn a good system of dress cutting, consequently they must depend usually upon patterns of greater or less excel- 47 48 HO]V TO MAKE A BASQUE ence. A very good pattern ma}' be secured by going to a first-class dressmaker and having a basque cut, insisting upon a perfect fit. This may cost $5, but the pattern you may cut from it will cost only a little care. Again there are plenty of teachers of systems who will cut and fit a lining which will ever after serve as a pattern. However, there are many sewers who can not afford to pursue this course and for them there are the tissue paper patterns. These are cut to fit perfect forms and but few women possess them. The same difficulty appears when marked waist linings are used. These linings may be purchased by the 3'ard, on which is traced the entire waist and it can soon be cut out and basted together and alterations made in it. If the latter are numerous, when a perfect fit has been obtained, cut a pattern from it for future use and cut a new lining. THE FIRST STEP IN MAKING The first step in making a basque is to lay out the lining smooth on the table. On this lay the pattern. An economical cutter will lay out the entire pattern before cutting one piece. In laying on the pattern the grain of the cloth must be carefully considered. The perfect fit of the basque, sleeve, or collar depends greatly upon the weave being just as indicated by the pattern. Never attempt to economize by twisting the pattern into spaces to fit the piece of lining. How TO MAKE A BASQUE 49 HOW TO LAY ON A BASQUE PATTERN 50 HOW TO MAKE A BASQUE The preceding illustration gives the best manner of laying a basque pattern on the cloth, forty inches wide. Pin each piece securely in position as soon as they are all arranged. Then with the sharp shears cut them out with perfectl}' smooth edges. Mark with a pencil any perforations or notches in the pattern. When this lining has been cut out, the next step is to carefully baste the pieces together, as the mate- rial of the dress proper should not be cut until the lining has been carefully and perfectly fitted. BASTING THE LINING Basting is the foundation of good dressmaking. Its importance can not be too highly appreciated. Prob- ably only one dressmaker in ten can baste a basque properly. The first rule is, do not be afraid of stitches. Run a basting thread along the waist-line of each piece, first. In joining the different parts of the basque — of which there are generally eight — always begin to baste at the waist-line. This will prevent the the basque from being lop-sided. First join the sidebody to the back. Begin at the waist-line and sew down and again sew from the waist up. Be very careful in handling the sidebody not to stretch its edges. Join the under-arm gore to the front by beginning again at the waist-line and basting first down and then up. Join the side- body and under-arm gore, proceeding in the same man- ner. The curves of the darts in the front of a basque in HOW TO MAKE A BASQUE 51 themselves show the artist, therefore, when you have a pattern 3'ou will use at all, adhere closel}' to the lines indicating the darts. If it is necessary to make alter- ations to secure a perfect fit make them in some seam, never change the darts. The darts should be joined at the waist-line and basted down and then up as are the seams. Join the backs together in the same manner and then close the shoulder seams. Fasten all basting threads tight enough to stand fitting. Before fitting if the lining does not seem entirely firm run a basting thread along the edges of the neck and armseyes. FITTING THE LINING Now you are ready for the fitting. Much depends upon the manner of underclothes worn. Some women wear such shocking underwear, misfitted corsets and so many knots and bunches of gathers, no one could make the modern dress fit over them. Well fitted cor- sets, a smooth vest or corset-cover will greatly assist in a perfect fit. Put on the basted basque with the edges of the seams outside, pinning the fronts together, not over each other. The novice in fitting must not grow wearied easily. She will probably have to put on and take off the gar- ment eight or ten times. There are several sacred seams of a basque in which alterations should never be made. First the darts should never be touched and second the seams joining 52 HOJV TO MAKE A BASQUE the sidebodies to the back. These in a good pattern are given perfect curves and to change them a hair's breadth is fatal to the gracefulness of the basque. Some dressm.akers hold the same regarding the middle-back seam. Unless the form to be fitted is unusually abnor- mal, all alterations can be made in the under-arm and shoulder seams. The curve of the fronts may also be made to conform to the figure's outlines. When the basque is pinned on, if there are wrinkles, work them out into the shoulder and under-arm seams if possible. If the back wrinkles between the should- ers, it is too long. Loosen the shoulder seams and take up the length there. If it wrinkles at the waist loosen part of the under-arm seam and let them escape there. Wrinkles also come from an insufficiency of notches. Have plenty along the sides of the seams at the waist-line and cut them as deep as possible with- out cutting the threads of the stitching. When the figure fitted is slightly stooped or round shouldered, which often occurs, the curves at the top of the back pieces must be omitted and the neck there be cut straight across to prevent the collar drawing out from the neck. In such case the curve of the fronts around the arm must be altered to allow a free- dom for the arm. In fitting the lining allow it to be at least one-half inch too long at the waist-line. This may be laid in a pleat while it alone is being fitted but must be arranged in fine gathers along the seams when the lin- HO IV TO MAKE A BASQUE 53 ing is laid on the dress fabric, as is shown by fine lines in the space between T and B, shown in the illustra- tion on page 54. Alterations should be made with the utmost care. Very often the shape and style are ruined in making them. Remember that in taking in a seam, an-eighth of an inch is frequently sufficient whereas if a half inch is made new troubles are produced. Patience must be used to strike that happy medium of correction that lies between perfectness and utter ruin. FITTING THE BASQUE When the lining has been fitted, trim off even all edges of one-half of it, before taking out the bastings. Then rip the entire basque apart and cut the second half to exactly correspond with the first or trimmed half. It is exceedingly risky to fit and trim either side independently of the other. There are very few forms but require some padding into perfect shape. Perhaps it is onl}' a little over the bust, perhaps a hoUowness under the arms or over the collarbones must be filled in. Wherever it is required to give a smooth surface, baste cotton-batting into place on the lining, with its edges uneven, before the lining is laid on the outside dress material. Afterward lay each piece of the lining on the out- side with the cotton-batting between. It will be found economical to lay all the lining pieces on before bast- ting or cutting any one portion. In laying the lining on the outside material attention must be given to the 54 HOW TO MAKE A BASQUE grain of the cloth. The threads of the lengthwise weave of one should correspond exactly with those of the other. If this is not done the bodice is likely to twist to one side or the other. When this has been done, run a thread basting them together at the waist, the line marked L. in the illus- tration. Then ran a line of basting from the top of each front dart straight to the lower edge of the basque, holding in the extra length of the lining in fine gathers. SHOWING GATHERS IN LINING There are tricks in basting the lining and dress fab- ric together peculiar to different workers, all agree, how- ever, in basting tailor-fashion on the table, because it is the simplest. Stitch the dress goods well and baste through the dotted lines, keeping the lining easy all over but not full any place except between the lines T and B. This easy allowance provides for the strain in wearing. no IV TO MAKE A BASQUE 55 To baste the front, run first the basting line down the middle of the darts, then along the lines T and B. From the line B to the bottom of the basque, pin the lining straight but do not stretch it. In basting the remainder of the fronts follow the dotted lines to the hair's width, making the stitch short on the dress fab- ric and long on the lining. Be careful in taking up the fulness between the lines T and B not to pleat it down. It must be equally divided and taken up more as gathers or shirring than as pleats. It is usual to have a little more of this fulness above the line L than below it. The space between T and B should be about three inches. The same rules should prevail for the other portions. The material for the sidebodies should not be stretched as it is partially bias and if pulled, will wrinkle when made up. When all the lining pieces have been basted onto the outside, carefully cut them out of the cloth with even edges. That done, baste, using No. 60 cotton. Baste close and baste on the table — never in your lap. Many women, and among that number are those who profess to understand the business, baste over their fingers. The result is ruinous, for that makes the upper piece shorter than the under and the garment becomes lop- sided. To repeat former advice, don't sew anything over your finger. In joining the six gores of the basque together, remem- ber to begin all the basting at the waist-line and sew 56 HOW TO MAKE A BASQUE down to the bottom, and then return to the waist-line and baste to the top. This will prevent the garment from being lop-sided. In a basque properly made the basting of all seams will run just inside or just out- side the line of stitching. This avoids the possibility of catching the basting thread in the stitching and of breaking the thread used in stitching when the bast- ings are drawn out. Start with the front-gore, pin the darts together at the waist-line and baste down to the bottom ; then, beginning at the top, baste down to the waist-line. Join the under-arm to the front by pinning the waist- lines together ; begin at this place and baste in the basting threads, sewing down first. Then commence again at the waist-line and sew up, stretching the under- arm a trifle at the waist. Join the sidebody to the back, beginning at the waist- line, sewing down, and again from the waist up. Be very careful in handling these gores not to stretch che edges. Next join the sidebody and under-arm by pinning the waist-lines together, keeping the edges even and basting the traced line, sewing down and then from the waist up. Fasten the basting stitches strong enough to hold for a fitting. Try the basque on and if no alteration is necessary and there should be none if the lining is properly fitted, you are ready to stitch the seams. HO IV TO MAKE A BASQUE 57 CUTTING OUT PLAIDS AND STRIPES When cutting a bodice from striped or plaid mate- rial it requires a great nicety of adjustment to get the different parts to fit neatly and properly together. There are several rules which must be followed exactly or the bodice will be absolutely unpresentable. First the stripes or plaids must exactly correspond on either side of the middle-back seam and on either side of the front closing. M^ m m TO CUT PLAID GOODS They may be cut on the bias of the goods or in the usual straight up and down manner, but where they come together their lines must exactly match. To do this only requires care and attention. The lining must 58 HO IV TO MAKE A BASQUE be exactly fitted and the seams distinctly marked upon it. Then lay each piece of lining upon the fab- ric and see that the lines of one piece of the back exactly correspond with the lines of the opposite piece, when they are laid with their right sides upon each other. Our illustration indicates as nearly as we can the manner of laying one-half the lining pieces on a plaid material. The other half must correspond. In the fitting the lining the exact waist-line should be indicated by a creased line in each portion. In lay- ing the portions on the cloth one line of the plaid is followed by this crease. In this instance it is the white line just below A B. First lay the back lining on the fabric with its waist line just below A B. Baste it in place all around. Then lay the sidebody with its creased line just below A B also, taking care that the top of the armseye cor- responds with the part of the back's armseye, which reaches lines E F. Perhaps at first the curves of the back and side-back will not exactly correspond but the fabric may be turned and even slightly twisted on to the lining until they fit together exactly. When this has been carefully adjusted, the under-arm piece of the lining is laid on the fabric with its creased waist-line also just below line A B. The line C D must also come in the same position for it as that line does for the sidebod}-. Place the front on the fabric so the cross stripes HOW TO MAKE A BASQUE 59 correspond with those of the under-arm piece at the waist and armseye lines. The stripe down the front must also be taken into consideration. It looks best of course, to have this stripe curve par- allel with the front closing line but with full busts this is impossible. However, for ladies of moderate development the stripe may be curved sufficiently without injuring the fit of the bodice. By following these directions the plaid will match exactly excepting at the darts, under-arm and shoulder seams. In cutting a bodice from striped material the work is less difficult. Still great care must be taken to have the lines match in the middle-back seam and the sidebodies fit into the curved back seam with the stripes hitting exactly. The stripes down the front closing should be curved as suggested above, in every possible instance. If the .lining is properly fitted the twisting effect will all disappear in the dart seams. It is best where it is possible, to have a stripe to run down between the darts. It looks better than if only one side of the stripe is shown. By keeping the darts nearly the same size, the bias effect often seen in the second dart back will be overcome. STITCHING SEAMS The seams of the basque must be stitched in abso- lutely straight lines ; wavering, irregular machine work will ruin the otherwise perfect fit. In stitching the curved seams joining the side-back and back portions, 6o HOW TO MAKE A BASQUE always nave the back underneath and the side-back next the "presser-foot, " and it is well to hold the piece well up at each end of the "presser-foot," otherwise the side- back is likely to pucker in the sewing. When stitching the shoulder seams, have the front above and the back beneath as, if there is any difference, the front should be stretched on to the back. Leave the shoulder and under-arm seams until the last to be stitched. The front closing should be finished before. The garment may require a slight loosening or tightening at these seams before the collar and sleeves are added ; it is much easier to make such changes before the}' are machine sewed. Beside such altera- tions leave marks which can not always be removed, especially from silken fabrics. FINISHING SEAMS Finishing the seams of a basque is a matter of time and taste. Although the modern dressmaker is good enough to embellish them with bright ribbons, the busy woman will find that turning in and running the edges will make quite as neat a seam, wear just as well, take less time and answer every purpose. If the mate- lial used is cloth, silk or any other fabric that will not ravel, the edges can be notched or pinked, a finish popular with tailors. In thin or wash fabrics the French fell is used for most seams. This finish is made by placing the wrong sides of the parts together and stitching them in a narrow seam. Then when the edges have been pared oft even, turn the parts at the HO IV TO MAKE A BASQUE 6i seam, so that the right sides are together and make another seam. This leaves all the raw edges turned in and firmly sewed. Another way of finishing such fabrics is to make the ordinary quarter-inch seam, but at the same time sew in a narrow bias binding-strip of the goods. When the seam is made, pare it down closely, turn the binding strip over it, and also turn under the loose edge of the strip and fell it down along the seaming. In gar- ments made of partly embroidered fabrics this binding process is used along the seamed embroidered edges, even where a French fell is made along the plain edges ; because it is almost impossible to make a suc- cessful French fell along an embroidered edge. PRESSING SEAMS After the basque is stitched and the seams finished, it must be pressed, not a little, nor in spots, nor with a cold iron, but all over, with strength and with irons as hot as can be used without burning. Tailors are adepts in the use of the goose, the needle and the shears and should be regarded as the home dressmak- er's models. If you follow their example, you will take a press cloth of clean muslin, dampen it, (if the dress fabric is woolen) will lay it along each seam in turn and press until the cloth is perfectly dry. Afterward press the bare seam, running the iron under the edge to prevent outlines on the outside. The shoulder and dart seams are also treated in this 62 HO IV TO MAKE A BASQUE manner, the greatest care being taken to retain their desirable curves. When all is done the basque should be tried on and should fit without a wrinkle, absolutely smooth. The bones which are added later are used only to make permanent that smoothness. FINISHING CLOSING EDGES The closing edges of a basque are finished either for buttons or hooks and eyes or for lacing. In each instance a special finish must be used. When the closing of the edges is to be effected by buttons, the left side must have its curved edge finished by a deep facing. This should be a quarter-inch wider than the size of the button-holes, and it should not be cut bias but show the same grain of cloth as the basque edge. The facing should be turned and basted over evenly and hemmed down on the wrong side. The right closing edge should be cut an inch wider so as to extend under the button-holes when the basque is closed. A tape stay should be stitched on the under side along the line for the buttons. When hooks and eyes are employed for closing, both edges should be finished as described above for the left side, only the hooks and eyes should be sewed on so as to just touch the outer edges and a neat facing then sewed on over them, to finish. Thousands of nicely drafted basques are spoiled because the fronts are uneven. They will measure the same, but the hooks and eyes not being opposite, the HOW TO MAKE A BASQUE 63 collar is made crooked, the dress gaps and the whole waist is unbalanced. It is not an exaggeration to say that not one woman in fifty can button a dress prop- erl}^ and not one in twenty can sew hooks and e3'es directly opposite each other. There is no trick about it, it is simply a matter of correct measurement. Use a piece of chalk or a colored pencil and mark off each side at regular intervals with an inch measure. If the waist is pinned down so that it will not slip, the spacing can- not be inaccurate. These are some of the little points in the finishing of a dress that are so perplexing and on which so much of the style depends. An extra facing of the cloth of the basque must be added. It is attached to the right side and should be wide enough to extend well under the line of closing. When a cord lacing is used the edges are finished as for hooks and e3^es, except that eyelets are worked instead. The same care must be taken to have the eyelets even and opposite. The extra facing should be attached on the right side and extend under the lacing. CHAPTER V HOW TO MAKE A BASQUE (Continued) BONING A BASQUE SCALE FOR PLACING THE BONES FIN- ISHING EDGES TO FINISH A TAILOR GARMENT LEAD WEIGHTS BONING A BASQUE The boning of a bodice is a particular matter and a tedious one as well. Few dresses are properly boned. Some good rules followed, remedy all mistakes usually made, and when the work is properly done the bones or stays add a great deal to the beautj^ of any bodice. They are generally added before the collar and alwa3's before the sleeves are attached. A bodice is likely to be twisted and handled a good deal in inserting the stays and that is the best reason why the work should be done as soon as the seams are otherwise finished and before facings, collar or sleeves are added. Covered steels and whalebones in casings are the stays in vogue. There is a great deal of difference in the varieties of each to be purchased. The best will be found the cheapest in the end and it is pretty gen- 64 IfOJF TO MAKE A BASQUE 65 erally conceded that the old-fashioned whalebone can not be excelled for either wear or grace. Before using whalebones they should be soaked in hot water for a couple of hours. This process makes them pliable and easily cut and pierced. They also need shaping and this can then be readily done. A moment's thought will reveal the presence of curves described by the lines of the figure. It will also reveal the absurdity of putting straight bones or steels in a garment intend- ed to follow these exquisitely curving lines. To be sure, being flexible, they will to a certain extent shape themselves to the figure, but not accurately. They must be shaped beforehand. In other words, the stays are a part of the garment and the garment must be given the fit ; it must make the figure whether the woman is shapely or shapeless. You should see the fit in the basque before it is put on. Consequently, when the whalebone has been soaked and cut the right length, it must be curved with a hot iron, to follow the seam. For some seams when they run on bias lines, it is not always possible to get the nice curve with wide bones and they must be whittled down. This should not be done with a knife or shears, they are likely to split the bone which if good is very fibrous ; but a piece of ordinary glass should be used and with its sharp edges the bone can be neatly shaved into shape very rapidly. There should also be bored or punched holes in the bone in three or four places to 5 66 HOW TO MAKE A BASQUE sew through, those at each end being most import- ant. When steels are used they always come covered and are easily bent into the proper curves. When bones or bare steels are used, it is necessary to stitch along each seam casings in which they can be inserted. Whatever is used for these casings they must be fulled on almost in gathers. Galloons may be purchased for these casings, which answer every pur- pose, and are neat in appearance ; however, hemmed muslin or silk like the lining used, makes very good casings. Full them on by hand, stitching them close on each side over the seam. The casings full and the bones tight will straighten the seams of any bodice and defy wrinkles at the waist. In sewing bias strips of lining to the seams for casings several methods may be employed, one or two of the best being here given. Cut the strips just wide enough so that- when they are sewed on they will tightly hold the bones or stays. One plan is to turn under the edges far enough to make the casing of the desired width, and then crease it through the center so that the latter may easily be made to follow the seam ; then fell or neatly run the sides of the casings to position, or, with fancy silk, catch-stitch them in place. The latter method produces a very neat effect. Or, after the casing has been folded and creased, run it along the crease at one side, and turn it over the seam and fell it down on • the other side, taking care to keep the center over the seam. HO IV TO MAKE A BASQUE 67 Where a casing is bias there will be no necessity for putting it on very full, as in the straight casings when galloon is used because it will give with the seam and for that reason will neither bind nor draw it. SCALE FOR PLACING BONES Here is a scale for the correct placing of bones. The one up the back seam is not necessarj*. In the side seams let the bone run up four and a half inches above the waist-line and two inches below ; the bones under the arm must not come nearer than two inches of the sleeve. In the darts have the bone end one inch below the casing. Run the bone to the bottom of the basque and tack it by sewing through at five different places above the waist-line and two places below. Of these seven sewings have two one-half an inch on either side of the belt. At the top of the casings tack the bone in place, half an inch or so below, so as to prevent it breaking or pushing through. If properly soaked there will be no difhculty in sewing though the bone, and it is this sewing that will support the figure and sus- tain the shape of the bodice. If hooks and eyes are used, bone both front closings. Run a stitching along the edges the width of the bone and insert the bone between the linings, having it as high as the darts and extending down to the bottom oi the facing. As before stated, if properl}^ cut any waist will fit if abundantly and tightly boned. The bone must be 68 HO IV TO MAKE A BASQUE whole to afford the pliability desired and must be securely fastened by strong sewing. There is a use to which steel stays are rarely put, but one which deserves general adoption in finishing low-necked or evening waists having no seam at the center of the front and, also those whose upper edges do not closely enough follow the figure of the wearer at the center of the top. The waist is boned in the usual manner, except that no bones or sta3's are added to the front darts, as their addition is liable to produce a bulging effect where the other stays join. The waist between these darts is held smoothly to the figure by this new arrangement of steel stays. Two stays, long enough to extend from the point at the lower edge of the front to a little more than half-way to the tops of the darts, have their adjacent edges fastened together at the point, and are spread so that they will extend to the dart and are felled to position on the lining after the latter is well stretched under them. Two other stays are joined to the upper ends of the lower stays and are felled to the waist-lining and reach the top of the waist about an inch from the center at each side, where they are firmly secured to a short stay extend- ing along the top of the waist over the space between the front darts. The top of the waist is turned down over this short stay, from which the covering may be removed, and an extra facing is added to give a neat and firm finish. It will be at once understood that a waist thus fortified will present a close, smooth effect HOW TO MAKE A BASQUE 69 and at the same time secure for the wearer that peace of mind which comes with tlie consciousness that her waist will follow the outlines of her figure as closely when she is seated as when she is standing. Whale- bone may be used for the diamond-shaped arrangement of the stays in place of steel, but for the cross-piece at the top a steel stay is decidedly preferable, though whalebone will serve the purpose fairly well if bent after being heated in water. MODE OF FASTENING IN A WHALEBONE Our illustation shows two modes of fastening in whalebones. The fan-shaped mode is used in prefer- ence for stays. A hole is bored in a piece of whale- bone with a strong bodkin, previously to- slipping it in and the stitches are put in so as to form a fan both on the right and on the wrong side. The cotton or silk used must be thick and of excellent quality. The other mode is also used. The whalebone is not bored, and the stitches take just as much material on the right side as will insure their firmness, but no more, for they must be as little seen as possible, the long sitches being all on the wrong side. 70 HOW TO MAKE A BASQUE FINISHING EDGES The lower edge of a basque should always be given a silk facing, cut bias. It is absolutely necessary to provide silk, no matter what the material of the gar- ment, for facing the bottom of a basque and to line its collar. Any other goods will produce a clumsy finish. INSIDE OF A FINISHED BASQUE When all seams have been sewed, pressed and finished and the closing edges also completed, the lower edges of the basque, if it is a plain one, should be turned HOW TO MAKE A BASQUE 71 over and neatly basted. If a simple machine stitching is to be given this edge, as is often found desirable, that should be done and then attach the facing by hand. Cut the silken the bias and hem it on the bottom holding it easy. Gather in the fulness of its lower edge rather than pleat it down. The sewing should be firm rather than loose as the strain otherwise may break it. But the facing of the bottom varies in depth with the length of the basque's skirt. In deeper round basques the facing should be cut wide enough to reach the belt, that is five inches wide perhaps. The habit basque, which is short on the hips, pointed in front and finished with tails, calls for a special facing, nar- row all around, with the tails faced to the waist. Cut the lining on the bias and don't pleat it in any place. If 5^ou hold it properly it will adjust itself to the edge of the basque. Silk also for these while not as durable as farmer's satin, is preferable on account of its softness. The sleeves and collar of a basque are treated of at length in the next chapter, so we will only add here that the neck and armseye edges should always be fin- ished by a narrow bias facing or a ribbon binding as preferred. TO FINISH A TAILOR GARMENT It is when we come to the finishing of basques that tailoring rises to such pre-eminence over ordinary dressmaking methods. Every means is followed to 72 JIOIV TO MAKE A BASQUE overcome wrinkles, which will appear in the most per- fectly fitted dressmaker's garments. When the seams have been stitched, before touch- ing the lining, which is tacked to each piece well away from the seams, there is a great deal to be done. The seams must be notched where they describe an inward curve, for each seam must be ironed open and flat. They must be pressed very smooth and notched well into the seam until they will la}^ perfectly flat. As cloth is very stubborn, a very hot and heavy iron must be banged on the cloth, not merely passed over it. To facilitate flattening, the cloth may be smeared before ironing with a piece of dry soap, on the parts where the notched edges of the seams fold back on the inside of the bodice. With thick very stubborn cloth the soap is not sufficient and then tailors use thin paste of flour and water, which they lightly apply with a small brush in minute quantities as described for the soap. With the paste the seam flattens perfectl}-. You will probably crease the lining in ironing the seams but as each seam is pressed, iron afterward the two pieces of lining into place smoothly over each other. When the bodice is ironed and boned, turn in the edge of the upper portions of lining, tack each neatly and easily on the under part, and hem them together, taking care to sew the lining only, and not to interfere with the cloth in any way. When all the hems are complete iron them flat, putting a cloth over each seam, so that the iron does not make the lining shiny and unsightly. HO IV TO MAKE A BASQUE 73 Before boning and hemming your seams it would be advisable to finish the fronts of the basqiie. Our direc- tions are for a double-breasted corsage, with a row of buttons up each side, because it requires more finish. It hooks down the centre of the front, and then the right front buttons over on the left. There is a seam down the center of the double-breast or plastron to render the fit perfect, and the space between the two rows of buttons must be lined with packing to- make it as smooth and stiff as a board. Hence it must fit perfectly. The packing is kept in place by the buttons on the right, and the button holes on the left, and its two portions are tacked firmly down the center over the seam of the plastron. Down this line the hooks are used. The basque must be lined with packing, from one inch of the lower edge to an inch above the waist-line. It will have to be done in small pieces because no crease is permissible as the packing follows and accen- tuates the curvings of the basque, and the pieces must be securely sewed together when the whole basque has the packing tacked upon it. You must leave an inch f orturn- ing, along the edge of the basque and up the edge of the plastron. Turn this inside over the packing, notch- ing the edge of the turned-in portion where it shows any tendency to pull. Tack this edge smoothly, and stitch it down with two rows of machine stitching. This will make the basque and plastron beautifully firm and smooth. 74 HOW TO MAKE A BASQUE Now you have to line plastron and basque with silk ; tack pieces of silk in place, very smoothly, and make a tiny round hole above each hook, so that its tooth can emerge. The edge must be cut flush with the machine stitch nearest the edge, on to which it is closely and neatly hemmed with silk. The lining of the plastron must be in two pieces, that of the basque at least in four, as it would be endless trouble to cut the exact shape in cloth on the cross ; and the edges, left raw but neatl}' cut, must be hemmed over each other. INSIDE OF FINISHED TAILOR-MADE BASQUE When the cloth is adjusted and seamed, the bones must be inserted, the tapes being sewed to the inside of the seams. Except the bone in the middle of the back, MOJV TO MAKE A BASQUE 75 all bones cease at the waist-line, and the upper end cased in tape is left free from the seam for about an inch to avoid indicating from outside the exact spot where the bone ceases. The boning done, hem over your lining and hem the lower edge over the cloth basque just above the waist-line so that the belt when sewed care- fully inside above each bone, conceals where the lining of the corsage and the cloth lining of the basque meet. The lining is neatly hemmed over the plastron lining. Press the finished basque with a very hot iron, cover- ing the inside with a cloth as above described. This is a delicate operation, for if you crease them you will have to replace the packing and do your work over again. Now sew on the buttons and make the button- holes, which last is not easy to do well through the two thicknesses of cloth and packing. The sleeves are lined like the corsage, independently of the cloth, and when the sleeves are sewed in, the upper edge of the lining is neatly hemmed over the seams before the dress preservers are put in. The parements are simulated by rows of stitching ; they button up at the elbow seams, and are stitched, lined with packing first, and then with hemmed-over cloth, exactly like the plastron. The collar is similarly made. The packing and lining are seamed inside the corsage to the neck. Then the cloth of the collar itself is drawn over the seam, and is hemmed to the silk lining of the corsage. 76 JIOIV TO MAKE A BASQUE CLOSING WORDS It is customary with French modists, who are so very successful in making silks and light woolen fabrics, to use two wide steels of nine or ten inches to hold the front and back of a basque down. These steels which come covered with soft white kid, are incased in ribbon and felled in the dress along the two seams. Although not very flexible they are wrinkle-proof and hold the waist down as nothing else will. They were introduced after the lead weights were retired and they are characteris- tic of the French system modistes. Every basque should be provided with an inside belt secured to every seam (but not to the front darts). This holds the garment in place on the figure, prevents drawing up in the back and takes the strain off the front portions. This belt is best made of the regular belt ribbon, which ma}^ be purchased in any shop, by the yard. The best quality has a corded edge. Inside belts made of lining goods and the material of the dress stitched together are cheaper, but their clumsi- ness can not be denied and the ribbon will be found more economical in the end. They should be finished to fasten in front with two small hooks and eyes. LEAD WEIGHTS When the basque is postillion in shape at the back or is given long tails of any other description it is almost absolutely necessary to weight their lower edges to keep them in place. Nothing is more disfiguring than to have the lower edge of a basque at the back HOW TO MAKE A BASQUE 77 or front turned up always after sitting down in it. The sta)'s used in the fronts of basques usually prevent this there, but in the back, lead weights will be found its best remedy. They can be purchased for a song, of different styles and sizes. They should always be carefully covered with silk and then slipped under the facing and securel}^ tacked so they can not get out of place with wear. Tabs on the sides of basques or bodices of any style, should be leaded also on figures where the hips have any tendency to push them up. CHAPTER VI SLEEVES AND COLLARS DRESS SLEEVES MAKING A COAT SLEEVE SEWING IN A SLEEVE JACKET AND CLOAK SLEEVES STANDING COL- LARS — TURNED OVER COLLARS — REVERS COLLARS PLAS- TRONS DRESS SLEEVES The proper fitting of a sleeve is almost as intricate as that of a bodice. Whether the sleeve is fashioned for a tight, plain arm covering, or is a voluminous, ornamental affair matters but little in the work to be done. In a tight fitted coat sleeve there are several mis- takes to be avoided if a perfectl}^ fitted sleeve is desired. To make such a pair of sleeves for a dress, the lining for each sleeve should be cut and fitted before the fabric of the dress is touched. This will be found a great saving of time, patience and material just as when at work upon the basque. When the sleeve is one for a jacket or cloak and requires no lining it will always be found good policy 78 SLEE VES AND COLLARS 79 to cut a sleeve in some inexpensive material and fit it over the arm into the garment. When this sleeve has been made to fit the arm properly it should then be used as a pattern by vi^hich to cut the cloth to be really used. This course will be found truly economical. Expensive, wide cloth or even narrow, but equally costly velvets and plushes which are usually the mate- rials used for jackets and wraps are too valuable to try experiments upon. In cutting this lining the greatest care must be taken to lay the pattern upon the cloth with the weave or grain of the latter running correctly. Ladies cut out sieves with their outline edges just like the pat- tern, they declare and yet the sleeve does not fit. It twists on the arm. The inside seam in some myste- rious way will crawl over the top of the arm, or de- scribe a spiral curve from the elbow to the wrist. This is only because the straight line, always found in good patterns given to indicate how to lay it on the goods has not been followed. Sometimes there is a strong temptation to deviate from this rule, when you find that by moving the pattern over just a half-inch further to the left or right, you can save several inches in length, but it is an economy never to do so. The entire sleeve will be ruined nine cases out of ten, you will f^nd. However, these rules need only apply to the lining of a sleeve. If it is cut correctly the outside may be 8o SLEE VES AND COLLARS cut bias if desired and the lining will hold it in posi- tion. Another error comes from taking in the seams of a sleeve too deep. There is, of course quite a strain on the seams of a sleeve and they must be made wide enough to withstand that. Wide seams in sleeves must be notched at the elbow, however, just as waist seams require it where they introduce curves. The seams of a sleeve should be finished in the same manner as those of the waist. If the latter are bound with ribbon, bind the sleeve seams also ; if they are overcast only that will answer for the sleeves and sleeves always fit well when their seams are laid open and the edges loosely tacked to the lining. It is also very important that all seams and facings should be thoroughly and carefully pressed with a hot iron. A large strong bottle wrapped with smooth linen, makes an excellent ironing board for sleeves. Press on the right side of a sleeve, with a piece of cloth between it and the hot iron. The fit of a coat sleeve for a small arm, or an arm that is not smoothly rounded is much improved by a layer of wadding extending from the elbow to the shoulder. Some good dressmakers use it for all lined sleeves as they find it gives a desirable firmness to the set of the sleeve. For all long close sleeves which fit the arm tight below the elbow and extend to the wrist, it is best to leave either one or the other seam open at the wrist SLEEVES AND COLLARS 8i for two or three inches. This finish will be found convenient and quite ornamental at the same time. It is often found comfortable to turn back the sleeve by this means as a cuff, when long gloves are put on or bracelets added to the toilette itself. The sleeve must always be faced up to a line above this opening. MAKING A COAT SLEEVE When the lining has been fitted and the edges trimmed off to correspond with any changes, rip out all bastings. Then tack on the wadding (if it is used). Lay the lining on the outside fabric and baste all four pieces of the two sleeves into place before cutting them out. If the fabric is striped or figured see that the opposite upper portions correspond. Then cut each out accurately. Join the edges along the inside seams, and finish them with ribbon, or over- stitching as has been decided upon. Then press these seams flat with the hot iron. Afterward lay the wrist of the sleeve with the right side flat upon the material provided for facing the sleeve. Cut the facing four inches deep and to fit this end of the sleeve. Stitch them (the lining and sleeve) together across the whole lower edge and along each side for three inches. Then join the edges of the outside seam terminating the seam at the seams made by joining on the facing. Turn over the facing and tack it down by hand. When the edges of the outside seam are finished and pressed 82 SLEEVES AND COLLARS over the bottle, the entire sleeve is finished. It is a most simple and neat piece of work. Any trimming desired may be added after the sleeve is turned. SEWING IN THE SLEEVE Sewing the sleeve into the garment is a thing which must be done caretuUy too. The seams of the sleeve must be placed in their positions and then extra ful- ness can be laid in pleats or gathers according to the prevailing fashion. While basting the sleeve into the armseye hold the sleeve toward you always. Sewing the sleeve in by hand is very good as a machine will often disarrange the gathers or pleats. Tailor-made dresses of the best style have their sleeves with linings made separately and ail seams turned inside. In such cases the lining only is seamed into the armseye while the full outside fabric is sewed on to the waist by invisible stitches. Such sleeves require considerable skill to make properly and we would not advise a novice to attempt them. In any case the sleeve must first be basted in, hold- ing the sleeve towards you. Fasten it into the arms- eye by pinning in their correct places the front and the back (if there is one) seams and arrange any fulness there is over the shoulder. Try the garment on before machine stitching the sleeve into place. JACKET AND COAT SLEEVES It is advisable to line even the heaviest cloth sleeves. Even when the remainder of the garment is not SLEE VES A ND COL LARS 83 lined, a smooth silk or silk finished lining can not be too highly recommended for the sleeves. Aside from the fit its omission is very trying upon the patience of the wearer. The smooth lining allows the garment to be so easily slipped on and off. Then light colored dresses are not exposed to the dye of the cloth that soils in even the best woolens. The smooth lining prevents straining and stretching the seams of the sleeves and shoulders. These linings should be cut the same size as the cloth but must be made and pressed separately. They should be put together with their respective seams inside and the armseye seams should be covered by felling the lining of the sleeve over it. At the wrist the sleeve should be cut long enough to be turned up inside an inch and the lining is also felled down over that raw edge. STANDING COLLARS For an ordinary round standing collar, the neck of a waist should be neatly bound by a narrow piece of bias silk. In other words it should be completely fin- ished just as if there were to be no collar added. How- ever, this is not always done and other methods will be explained further along in the chapter. A STANDING COLLAR The above illustration shows the correct proportions for a standing collar. It must be cut out of straight 84 SLEE VES AND COLLARS cloth, that is the lining or foundation must be ; the outside may be cut bias or in any fashion desired. Canvas or buckram must be used for the interlining or foundation of all standing collars. Crinoline or lighter stiff materials will nut give the desired firm- ness. A standing collar should be so stiff it will not with ordinary wear wrinkle or crease. Cut the inter- lining first and baste it firml}^ on the outside fabric. The width of the collar must depend upon the style in present fashion and the taste of the wearer. There must, in cutting, be an allowance made of a quarter of an inch all around the collar for seams or turn in. Every collar unless a very thin one should be lined with silk, This should be cut to correspond in size with the interlining. Turn down together the inter- lining and outside (which have previously been basted together) all around the depth of a deep seam and baste this fold in place. Then baste upon the under- side the lining of silk : turn in its edges all around and fell them down neatly. This makes a much neater collar than to seam the three pieces together and turn them inside out, which process also wrinkles the can- vas so badly, it is almost impossible to press the collar into shape and smoothness again. Every collar must be thoroughly pressed with a hot iron with a cloth between. When this has been done place the middle of the collar at the middle-back waist seam and sew it on from that point toward each front. Use strong twist and back-stitches on the under-side of SLEE VES AND COLLARS 85 the waist. These stitches should pass through the inter- lining of the collar but must not be seen on its outside. Under no circumstances must the edge of a collar be stretched but sometimes the neck may be given an imperceptible extension and a more perfect fit in the curves of the neck and shoulder be secured. However this is hazardous and should only be practiced after considerable experience in dressmaking has been acquired. Another method of making a standing collar is to seam the ends and upper edges of the cloth, interlin- ing and lining altogether and turn them, and press. Then joining the middles of the cloth and interlin- ing at their lower edges to the middle back seam of the waist at its neck, seam the collar on. Afterward fell the lining of the collar down covering the raw edges of the seam. It must then be thoroughly pressed with the hot iron. Either of the above methods of sewing on a stand- ing collar is preferable to the old one of sewing on all lower edges of the collar to the neck of the waist and a bias facing in a seam after which the facing was felled down over the raw edges. This was clumsy fashion and not at all permissible in these days of per- fect and close fitted bodices. TURN-OVER COLLARS Both jackets and basques are frequently finished at the neck by turn-over collars. They are cut in two portions with their front edges on the straight of the goods. 86 SLEE VES AND COLLARS This illustration shows a turn-over collar. It should never be sewed on to the neck of a waist but should be first joined to a band of straight cloth and it attached to the neck. When all the seams have been sewed and pressed and the waist put on, turn over the collar and press it with TURN-OVER COLLAR ^^^ ^^^^ ^^^^ ^j^^p^^ ^j^-^ j^ ^^^^^^ than pressing it before it is put on. This style of collar should be given a lining of silk harmonizing in color with the cloth and an interlining of canvas. Crinoline may be used instead of canvas if found more convenient, as there is not so much firmness required for this style of collar as a standing one. Where the turned over collar is as wide as as the one illustrated, the ends and lower edge are often fin- ished with a wire. The turn in the front is thus kept in its upright position. REVERS COLLAR This collar is the most difficult of all to make. Some authorities go so far as to say no one, but a good tailor should ever attempt one. But for many double- breasted jackets and basques they are indispensable and we see no reason why with care and good rules to follow' a woman may not accomplish even this collar. REVERS COLLAR SLEE VES AND COLLARS 87 When the collar is cut in three pieces joined by seams at the notches, it is easily made. The cloth is joined at these seams and a lining of silk and an interlining of canvas is provided and they are seamed together at the outside edge. Then the cloth is seamed along the edge of the cut-away neck of the garment, with the seam on the right side of the latter. After which the lining of the collar is felled down over the raw edges of the seam. But more often the three-cornered part of the collar which comes down over the bust is continuous with the front of the garment itself. It is the front turned over. This makes the collar more intricate. In such case the first thing to do is to baste over this part a layer of canvas and then top face it with the material that is used for the remainder of the collar. Join to it the cloth of the back portion of the collar in the short seams and join that portion to the neck of the gar- ment itself. When all this is done and thoroughly pressed by the hot iron nothing remains to do except fell on a lining with a canvas interlining for the back portion of the collar. PLASTRONS But little can be said on the trimming of bodices, owing to the fluctuations in fashion. Full draped bodice fronts are very pretty but it requires skill to handle a folded piece of cloth and lay it in artistic pleats. The aspirant is cautioned against attempting 88 SLEE VES AND COLLARS too much. Even to copy a fanciful design requires a long and faithful apprenticeship. But plain plastrons and cuffs can be more sat- isfactorily managed. A double-breasted front gives a desirable style to a basque, whatever the prevailing fashion. The one illustrated may serve as a guide. It can be cut on three sides over the outlines of the button-hole side of the basque. It is joined along the one side to the button-hole side A PLASTRON of tlic basque its entire length. Along its outer edge it may be finished in scollops, or simply completed straight, slanted or narrowed toward the bot- tom of the basque. It may be fastened down along that edge bv buttons or by hooks placed on the under-side. But as that edge must be necessarily bias, hooks and eyes do not close it securely. Pieces like this or other revers and sleeve cuffs should always be lined with silk and at the same time be given an interlining of crinoline. CHAPTER VII JACKETS AND CLOAKS ladies' TAILORING ITS DIFFICULTY THE PATTERN — SPONGING CLOTH — CUTTING CLOTH LINING A WRAP — FINISHING SEAMS ladies' TAILORING Tailoring varies from dressmaking principally in the methods of cutting and finishing. In cutting a gar- ment (always done by measurements) the tailor draws the pattern on the material itself, using no paper pat- tern, and cutting the lining Afterward. In tailoring, the lining is merely put in as a neat finish ; it has nothing to do with the set or fit of the garment; it is seamed when the garment is sewed and boned, by being neatly hemmed over on itself. Hence tailoring only suc- ceeds for cloths and heavy materials, because light fab- rics need the support of a lining to give them firmness and substance. On the other hand, when lining and material are seamed together, as in dressmaking, the tailor's exquisite fit is nearly impossible. No mat- ter how careful we may be, the lining and material go JACKETS AND CLOAKS will never exactly correspond, and then one may give or stretch more than the other; in either case wrinkles, no matter how small they may be, are inevitable. Tailoring is marked by its perfect accuracy, its firm- ness, strength and durability of workmanship. It is naturally heavier work than dressmaking, but it is a style of work adapted, and indeed requisite for heavy materials. The home tailoress will find an inces- sant need of hot, heavy irons in the course of her work, die work of the iron being assisted by the action of soap, water, and even paste as is elsewhere shown. But there is something satisfactory about the work, for it looks so beautifully neat and firm when finished. ITS DIFFICULTY The novice should understand that the most difficult task a sewer can undertake is to make a jacket or cloak. The ordinary dressmaker is not usually modest regard- ing her ability but she has been forced to confess she can not handle cloth like a tailor. The only reason for this is, she does not understand the value of bast- ing and pressing as he does. Did you ever see a coat while a tailor is at work upon it? It is always absolutely covered with white bastings and he works with his hot goose within reach of his hand. The tailor also cuts by the square and rule but certain systems of dress-cutting are modelled on the same principles and there are patterns that will answer every purpose. J A CKE TS AND CL OA KS 9 1 What makes the contract also a very serious matter is that usually it is expensive material that must be risked. Unless you are a little experienced in cutting and have a tried pattern it is a good plan to pay a tailor a couple of dollars to cut the garment. If the cloth is not cut with the correct curves and outlines no power on earth will ever make it fit properly. THE PATTERN However, if yoM have a basque pattern that fits you perfectly it will answer for a jacket with modifications. The seams must be cut a half-inch wider than for a dress and the armse5'es cut one-half inch lower than a dress waist. This extra allowance is required because of the thickness of materials used and because the garment is to be worn over another waist. For basques two darts are used but a jacket is usually supplied with only one, and if the jacket is cut tight, half-fitting or loose, one dart is usually indispensable. However, for women tending to Embonpoint two darts are better. The seam lines tend to lengthen the waist- line. Further along suggestions are given for lining wraps but this is seldom done, and the fitting can not be done in that as it is for dress waists. Consequently, if there are an}^ doubts of the perfect fit of the pattern it is the better plan to take some inexpensive muslin and first fit it after the pattern. When that has been done use this muslin as a pattern for cutting the cloth. This will often save you many dollars and much mortifica- tion. 92 JACKETS AND CLOAKS SPONGING CLOTH There are very few woolen cloths but require spong- ing before being used. Perhaps the salesman from whom you purchase it will tell you, it does not need sponging, but it is not safe to trust so unreliable an authority. All cloths showing a gloss on the surface will spot with the least drop of water. A light rain shower will ruin a jacket made up in it without sponging. Some women think this sponging of cloth a most mysterious process and a thing they can not do for them- selves. And when the cloth is taken to a dye or cleaning house, there will be a charge of twenty-five cents per yard for the sponging. This is all out of proportion for the service. The work can be easily done at home. Before cut- ting the cloth, wring out of clear water a sheet or a strip of muslin and lay it between the folds of the right side of the cloth. Towels, that do not shed lint may be used for the same purpose. Roll up the cloth in these wet cloths and allow it to wait a half hour and then remove the muslin and press the cloth on the wrong side until it is perfectly dry. The wet cloths should be wrung out as drv as can be done b}' hand before being placed on the cloth. This sponging will take off the objectionable gloss and at the same time will sufficiently shrink the cloth. Some wait until a damp lowering da)', yet when it is not raining and then they hang out in the air for two or three hours, the cloth they want sponged. This J A CKE TS AND CL OA KS 93 plainly is not a safe expedient. Another way is to lay the damp muslin on the cloth and iron it with a very hot iron until both are dry. This is certainly a safe method but it is also a very laborious one. CUTTING CLOTH Upon the surface of the smoothest woolen cloth as well as that of velvets, plushes and similar fabrics there is always a nap. By brushing the palm of the hand lightly along the surface its general direction can be readily detected. In laying the pattern upon the cloth, it should be done in such a manner that the nap always runs or turns down. This rule should be followed even at the expense of the quantity of cloth used. These rules hold good with regard to velvets and plushes used for the same purposes, although there have been those who held that their nap should run in the other direction, to give them a desirable full look. But the best authorities do not agree to it. When you are sure the pattern at hand is a good fit, cut your cloth but never before. As suggested, fit cheap muslin first. Then lay all the portions on the cloth before cutting out one of them. Lay them on so that the weave of the cloth corresponds exactly with the weave of the pattern. Then the nap of the cloth must all run downward. Alwaj^s allow for generous seams. In an experi- mental garment they are safeguards. The only change 94 J A CKE TS A ND CL OA KS which Is likely to be required is in the length of the waist. If it is too long it may be remedied by taking up the shoulder seams when, of course, tlie collar and armseye seams will have to be cut down. However, in fitting make as few changes as possible in the cloth. To cut away a half inch before you are absolutely sure the change is required will often ruin the whole gar- ment. LINING A WRAP Lining a jacket or cloak and lining a dress are two very different and distinct things. For a bodice the dress material and lining are seamed together. For a jacket or cloak two distinct garments are made. One is the cloth and the other the lining of silk or satin. The only points of connection are along the lines of the edges. The sleeves of the wrap, if it require sleeves, are made in the same manner. Their cloth and lining are only joined together at the wrists and the shoulders. For cloaks an inter-lining is frequently used. It gives the garment a certain desirable style to place can- vas over the chest and across the shoulders and makes it set well. Again flannel is sometimes, introduced in the same way for extra warmth. These inter-linings ate sewed together with the cloth seams, but the silk lining always remains separate. The seams of each portion must be laid open, notched and pressed flat before they are laid together. Pock'^ts are among the most difficult things to man- age in making a jacket or cloak. Their openings are JACKETS AND CLOAKS 95 cut in the cloth and they themselves are cut and made to lay flat. They are always put in before the lining is attached and do not appear in it at all. The pocket welt or opening must always be stayed. There is no cloth, no matter how excellent that will stand the strain of a pocket welt without a stay. A strip of canvas or silesia sewed in the fold of the welt is all that is required. FINISHING SEAMS In heavy woolen garments, such as cloth jackets and cloaks, where the seams are to be bound with satin, silk or farmer's satin, and the garment is not lined, the binding is sometimes put on before the seam is stitched and is cut wide enough to extend just a trifle beyond the basting of the seam. It is applied by the usual binding process at each side, and then the seam is stitched through the binding as well as the fabric. Seams finished in this way are not pressed, of course, until the binding has been added and sewed in ; and a row of stitching may be made along the rolled edge of the binding on the upper side of the seam edge. A safer way is to baste the binding on, after the seams are pressed, by the rolled method just described, turning the binding under on the under-side, so that one row of machine-stitching will hold both it and the roll of the basted edge in place. Silk, satin and farmer's satin cut in bias strips are employed for this kind of binding. CHAPTER VIII PLAIN SEWING AND FANCY STITCHES OVER-HAND SEWING — FINE STITCHING — RUNNING SEAMS — BACK-STITCHING — HEMMING HEM-STITCHING FELLING FRENCH FELL GATHERING SHIRRING OVERCASTING TUCKING GUSSETS PATCHING — SEWING ON STRINGS HAND-SEWING Since the advent of the sewing machine, stitching by hand is considered a sad waste of energy. At the same time the beauty and delicacy of sewing done by hand can not be equaled by the best machine work. Dainty linens and cambrics hemmed, felled and tucked by hand will always be preferred and, in the market, demand a better price from purchasers. Our grandmothers were taught needlework as they were taught their A, B, C's and every little girl and woman to-day enjoy knowing the rules governing such work. For hand-sewing the foremost need of the work-basket is a needle-book well stocked with all sizes of needles of the very best make. They may be long or short as 96 PLAIN SE WING AND FANCY STITCHES 97 the worker prefers but they must have sharp points and good large eyes. The best needles have eyes as large as possible in proportion to their size. When a needle's point breaks off or becomes bent throw it away at once, there is no econom}^ in preserving it for possible emergencies. The work-basket should also be supplied with cotton- thread of each number. Then in sewing be particular to use the sizes of needle and thread best adapted to each other and to the fabric to be sewed. A large needle carrying fine thread will pierce a hole too large to be filled by the thread, thus, making an uneven stitch. A thread too coarse for the needle or fabric will make an uneven ragged hole or will draw the weave of the fabric out of place. An emery bag is also a requisite work-basket acces- sory. This is best homemade as the fascinating straw- bery trifle sold under that name often contains a spuri- ous filling. However, when sewing by hand, when the needle loses only its smoothness, running it through your hair once or twice restores it. The natural oil of the hair is a powerful lubricator for both refractor}' needles and pins. For making the thread smooth and flexible a piece of good white wax is always valuable. OVER-HAND SEWING Our grandmothers spent their youths spinning and weaving narrow widths of linen they afterward fash- ioned into sheets requiring a torturing seam their en- tire lengths. It was upon these overhand seams little 7 98 PLAIN SE WING AND FANCY STITCHES girls were given their first sewing lessons. We hope it will be upon shorter seams our reader will learn the task. Overhand sewing will be found a very simple lesson, if you avoid "puckering". That word is the synonym of woe to many a spectacled dame of to-day. A pucker in her seam meant ripping and doing over many a long seam, when she was a little girl. OVER-HAND SEWING Two selvage edges for overhanding are basted together and the sewer must stitch them over and over from left to right. The stitches in a seam of this kind must be even in depth; that is the same number of threads from the edge must be taken up by the needle in each stitch. To make the seam perfect the worker must always introduce the needle at the same angle. It matters little whether it be continuously straight over and over as in the first illustration or slanting as in the second. Uniformity is the thing desired. If this is followed persistently, precision soon becomes so natural as to require no effort. The fabric should be pinned to the lead pincushion or table and held, straight in the hands, not drawn over the first finger of the left hand. The thread should not be drawn too tight over the selvage edges to allow PLAIN SE WING AND FANCY STITCHES 99 STITCHING the seam to press out smooth when finislied, as shown in the third illustration. Seams with raw edges may be sewed in the same manner. In such cases, however, the edges must first be turned down on the wrong side. FINE STITCHING The orthodox method is to sew the fabric together by putting the needle back two threads behind the place of its last insertion, bringing it out two threads in advance of the latter. Continuing this in a line makes each stitch only the length of two threads of the fabric. Our illustration shows more plainly than any explanation the way the needle must be inserted. This is the most exquisite of hand sewing, but it is seldom done, never except on the finest of infants' clothing and then stitches guided by the eye are dainty enough, without the strain of the exactness of count- ing threads. KUNNING SEAMS Running is similar to stitch- ing with the difference that the needle is never put backward. Several stitches may be taken RUNNING STITCH upou the needlc before the thread is drawn through the fabric. Two threads of the fabric are taken up by the needle and two threads passed 1 06 PLAIN SE WING AND FANCY STITCHES over. This does not make a seam of any great strength, but it is used for skirt breadths and tucks sewed by hand. All materials do not allow of a thread being drawn out easily to guide the needle, as is indicated in our illustration. Even when thej^ do, it would often be a considerable waste of time, and children learn- ing must early be taught never to waste time. A piece of light cardboard or thick paper folded double and cut of the exact width of the seam will serve the same purpose. Being held firmly under the thumb of the left hand and slipping with it along the edge as the seam goes on, the needle being always carefully inserted by the side of its lower corner, the straight line will be quite correct. BACK-STITCHING Back-stitching must not be confounded with fine stitching. They are alike with the exception that the number of threads taken BACK-STITCHING . , r 1 r up m advance of the form- er stitch is twice the number taken behind it. Or the needle is inserted two threads behind the former inser- tion and brought out four threads in advance, or six threads are taken up, on the needle. There is a seam which is much used made up of a back-stitch and a run. It is not a very artistic seam but it is stronger than a run. For this, four or five running stitches are taken, the thread drawn through PLAIN SE WING AND FANCY STITCHES loi and then the needle is inserted two threads back and another run of four or five stitches is made. HEMMING The preparation of a hem for sewing is very important. The raw edge must first be turned under and the extra fold HEMMING which conccals it must be laid. These folds should not be crimped between the fingers but pressed together smooth and even. The folds are usuall}^ pressed into position by the thumb, while others rub them up and down against the edge of a table. The stitching of hems seems like a very simple form of sewing but carelessness is only too common and a nice garment is often cheapened in appearance, by slip-shod hemming. Working from right to left, the stitches of a hem should be taken up every four threads of the fabric. They should not be. too long but only enough of both parts of the hem should be taken on the needle to secure the hem. Cloth and thick materials are often finished by being turned over and stitched down. If hand-stitched, this kind of hem need not be tacked, but for sewing machine work it is best to do so. Few finishes for muslin dresses are prettier then the stitched hem. For children's dresses, the stitched hem is often worked with a silk contrasting in color, which gives the effect of a Russian braid. Tarletan 1 02 PLAIN SE WING AND FANCY STI TCHES ball dress flounces, stitched with white, or with colored silk, look admirably, and are thus trimmed at trifling expense. Another mode of hemming used by dressmakers is called by French dressmakers "half hem," and is used for keeping the lining of dresses in position; the stitches are taken very far apart, and the needle is inserted slanting so as to take up the least piece at a time, in order not to show on the right side. This is easy enough on thick fabrics, as cloth, serge, rep, and poplin, but very difficult on thin silk, when, as it is not possible to prevent the stitches from showing on the right side, the stitches are much closer together, and set at exactly even distances. HEM- STITCHING Hem-stitching at one time entered largely into fanc3'-work only, but to- day it is used for hem- ming, sheets, pillow cases, towels and some table- HEM-STITCHING ^i^^j^g^ UapkiuS, doilieS and other household linen. For hem-stitching, measure from the edge of the fabric the space the hem will require. Then draw out at that distance from the edge five threads of the fabric. Then turn under a fold of the edge and baste the hem down to the drawn threads. Holding the wrong side of the hem towards PLAIN SE WING AND FANCY STITCHES 103 you work in regular hemming stitch from right to left. At each stitch run the needle under five of the cross threads of the fabric. Repeat this the second time, passing the needle through the edge of the hem also. In this way you will find the ravelled stripe of cross threads of the fabric are divided into strands at the same time that the hem is sewed down. When only a few threads are drawn out the hem is worked on one side only; if a number of threads are drawn it should be worked on both sides. FELLING Felling is hemming a seam. It is used for finishing a seam with neatness and [strength. It is seldom used except for cotton, linen or silk muslin FELLING , , , . when they are made into un- derwear. The seams for a shirt or night-gown are first sewed together in a seam by hand or by the ma- chine, allowing a good edge. The under raw edge is then cut one-half narrower than the other and the wider is turned under like a fold of a hem and after- ward hemmed down flat. To make a seam that is per- fectly neat when felled, the edges must be seamed even and narrow and the turn in of the wider edge neatly pressed down on the fabric. FRENCH FELL The French fell is also much used for muslin under- FRENCH FELL 1 04 FLA IN SE WIN G A ND FANC V S TI TCHES wear. It has the great recommendation of being quickly done, either by hand or machine. The edges of a seam are run together first with the raw edges coming on the right side. When they have been trimmed even and as narrow as will be consistent with strength, turn the seam and run it together on the wrong side taking in the raw edges. This manner of closing a seam has been called the "pudding-bag seam." If the seams, as in other felling are made even and narrow, a neat, strong seam is the result. All ready- made underwear, unless especially fine has its seams finished by the French fell. GATHERING To gather a ruffle correctly, the old rule was to take up on the needle two threads of the fabric and pass three. In these days it means to simply run the fab- ric in an even line with a thread strong enough to draw it together. When this has been done, push the needle through the fabric at the end of the gathers and wind the thread back and forth over the needle securing the gathers. Then fastening the end of the cloth to a leaded pin-cushion, with a coarser needle stroke each stitch into position, pushing the straightened stitches between the first finger and thumb of the left hand. SHIRRING For shirring, the line of gathers is repeated again PLAIN SEWING AND FANCY STITCHES 105 and again. These lines should be an eighth of an inch apart. It is not re- quired to stroke the stitches for shirring. SHIRRING OVERCASTING Every seam should have its raw edges finished in some manner. Chapter IV. gives several ways for finish- ing dress waists and the ordinary and French fells are mentioned as before indicated in this chapter, but there are many seams requiring only a neat overcasting as a finish. This is the term used for the far apart over- hand stitching which binds together raw edges. Care must be taken not to draw the thread too tight in over- casting. TUCKING The great Benjamin Franklin once gave this rule for io6 PLAIN SE WING AND FANCY STITCHES measuring a tuck to his daughter. "In measuring a tuck so as to make its width mathematically even at all points, the best way is to cut a piece of stiff card the depth needed for the tuck, marking the space between the tucks. Little triangular nicks in the card can be cut to indicate these measurements. Hold the card in the left hand with the notched edge toward the right, and move it along as you baste or mark. " The tuck must be folded and basted. Machine stitch- ing is best for tucks, but some will use only hand run tucks for infants' dresses. In cutting cloth to be tucked twice the depth of each finished tuck must be allowed in the length. GUSSETS There are two kinds of gussets. One which we illustrate is a square piece of fabric let in to give more fulness to a sleeve or any other part of a garment. A GUSSET A gusset of this kind is always cut square. It is PLAIN SE WING AND FANCY STITCHES 107 first joined on one side to the side of the sleeve by a felled seam. Then the other side of the sleeve is after- ward joined to the gusset and felled like the first. The gusset thus apears cornerwise in the upper part of the sleeve, as is shown. The other kind of gusset is alwa5's small and cut square or three-cornered (a square cut in two). It is placed in the opening of sleeves, of nightgowns, blouses, etc., to prevent the tearing-open of the seams. When these gussets are not cut square, the edges are turned in on all the four sides, then the gusset is folded in two, so as to form a three-cornered piece which is sewed in its place, in overcast stitch, the needle taking together, at each stitch, both turnings-in of the piece and the side of the opening in which it is fitted. If the gusset had been cut three-cornered, turn- ings-in are also folded down on all sides of it ; the cor- ner which forms a straight angle is sewed in, in over- cast stitch, half-way up each side of the patch. The remaining part of it is then folded down on the wrong side of the garment and hemmed around neatly. PATCHING Patching must be done with great care, for it must be as invisible as possible. All the worn out part of the fabric which may surround the rent, must be cut away into a square or rectangular shape following exactly the thread of the fabric. The patch is then cut of the same dimensions as io8 PLAIN SE WING AND FANCY STITCHES the cut-out piece, allowing an extra quarter or half- inch, according to the fineness of the fabric, for the turnings-in. PATCHING At each corner of the space cut out of the material a slanting stitch is made just half as deep as the extra space given to the patch, and the edges are turned in. The material is then folded down all round the edge of the patch which is sewed in in fine overcast stitches. (See illustration.) It must exactly fit the space left for it, and neither pucker nor cause the material to do so. It will surely fit in if care is taken to give to all the turnings-in. If the patch has been put in woolen material or in a dress, there is nothing to do but to flatten the seam with a warm iron \ but if it has been put in linen, the turnings-in must be neatly hemmed down. For linen there is another kind of patching which is neater still. The patch is put in with a felled seam, the felled part of the seam being ahoays formed by the patch, but the corners are very difficult to make per- PLAIN SE WING AND FANCY STITCHES 109 fectly straight and even ; none but experienced needle- women will do them neatl)\ There is another mode of patching cloth. The patch is cut of the exact dimensions of the piece which has been cut out, as there is no need of turnings-in. It is sewed in on the wrong side with fine silk or cotton, the needle never going tli rough the cloth, but taking in only half its thickness. When the patch is entirely sewed in, the nap of the cloth must be slightly raised on the right side of the seam with the point of the needle. If the work has been neatly done the patch will be quite invisible, especially after having been ironed down. SEWING ON STRINGS We give two illustrations to plainly indicate the two ways of sewing on strings! the first shows a string sewed on in the plain cloth where it can not be seen on the right side of the garment and it is simply stitched on with as unobtrusive stitches as possible ; the second shows the string attached to a hem or seam on the edge of the material. No. I No. 2 CHAPTER IX PLAIN SEWING AND FANCY STITCHES (Continued) SLIP-STITCHING — WHIPPING — BINDING CORDING PIPING DARNING — CHAIN-STITCH^CROSS-STITCH — HERRING-BONE STITCH LOOPS BUTTON-HOLES — SEWING ON PEARL AND SIMILAR BUTTONS SLIP-STITCHING Slip-Stitching is so termed because the needle must be slipped under the right side of the material without getting through it. The work is held in the hands as when hemming or sewing a seam, but the way of insert- ing the needle resembles more an overcasting stitch. [ ii"iilMliiti|.iHiMiiiiinniiii) Slip-stitch Slip-stitch Finished This is much used in dressmaking for fastening on made trimmings and in millinery it is indispensable. To make the stitches entirely invisible the thread no PLAIN SE WING AND FANCY STITCHES 1 1 1 WHIPPING should be drawn as tight as it is possible without caus- ing the fabric to pucker. This stitch may be used on silk and other thin materials but is more easily on a thick fabric like velvet. WHIPPING Whipping is not much used, but for gathering fine muslin net, gauze or soft woolen materials it is found convenient and neat. As shown in the illustration, the edge of the material is rolled down by the thumb of the left hand as the work proceeds; it is sewed in overcasting stitches with cotton strong enough to force the material into gath- ers when it is drawn straight through. BINDING There are two ways of binding. One, chiefly used in plain sewing, consists in simply folding the bind, as the braid or ribbon is termed, in two over the edge of the material and hemming or stitching it, taking care to insert the needle through both sides of the braid. (See illustration). The other, used in dressmaking and for thick mate- rials, as it must be first sewed on and then turned down, is more elegant and is often used as a sort of 112 PLAIN SE WING A ND FANCY S TITCHES ornament. For this way of binding, the braid is laid on the right side of the material as low under the edge as the binding is in- tended to be broad. It is run on just at the edge then turned down and hemmed on the other side No stitches are visi- ble, and it forms a neat edge. In bind- BiNDiNG ing scollops, care must be taken, when running the braid, to make suffi- cient allowance for the subsequent turning over, as the scollops would curl should the braid be drawn too tight. A good precaution, when using woolen braid, con- sists in previously soaking it in warm water and then hanging it out to dr}'. It will shrink then as much as it is liable to do, and will do so no more. When sewed on afterward it will always remain flat, and will not cause those puckerings which are so great an objection to braid bindings. CORDING Cording is generally used to prevent stretching. Around the armhole and whenever it is placed between two pieces of material, the strips of material carefully cut on the bias, are folded just in two, a piece of piping cord is slipped in and the strip is neatly stitched in PLAIN SE WING AND FANCY STITCHES 1 1 3 together with both pieces of material. When the cord- ing is placed on the edge of the material, the strip must only be folded half-way down, and the cord insei'ted within ; this allows for the hem. Beginners had best tack down the fold of the ma- terial over the cord, but that is unnecessary for practised hands. The strip nuist then be placed CORDING on the edge of the right side of the material, the corded side downwards, and be stitched close under the cord, then the strip is turned down so that the corded edge alone shows on the right side of the material, and hemmed on the wrong side. When the garment thus corded is lined, the hemming must be done with slip-stitching, so that no stitches are visible on the right side. Our first illustration shows cording put on at the edge and partly hemmed down. Another variety of cord- ing is frequently used as a trimming. It is shown in our second illustration and con- sists in inserting between two materials one or more rows of DOUBLE CORDING cord more or less thick and stitch- ing them down, forming in this way a series of orna mental ribs. PIPING Piping is still another style of cording that has, under te 1 1 4 PLAIN SE WING AND FANCY STITCHES that name, been often in great favor for trimming dresses. It is put on plain or double and is generally employed to edge bias or straight bands of material. The ^^^-x.^>&xv^_^vv^.^ws.V^.j::.„.,i^ should be taken on the CHAIN-STITCH needle at each stitch. The thread must be kept under the needle at each stitch, the left-hand thumb being placed upon the loop formed by the thread when the needle is in- 1 1 6 PLAIN SE WING AND FANCY STITCHES serted in the ver}'^ hole from which the thread came out for the last stitch. Care must be taken not to draw the thread too tight, otherwise the material will be puckered. This stitch is the simplest manner of marking cloth. Take a pencil and draw on the ma- terial the initial and work over with the chain-stitch. CROSS-STITCH Cross-stitch is the best stitch for marking cloth and it ma}' be done in silk, cotton or woolen thread. Experi- enced workers become able to outline an initial with- out, but it is better to use a piece of coarse canvas when marking, after which it may be drawn out by threads. To make the cross-stitch as shown in our illustration the needle must be inserted upwards from under the material, a knot having previously been made at the end of the cotton. Each stitch is double, being composed of two slanting stitches crossing each other, and must cover the threads of the material in each direction. All the other stitches must be crossed in the same direction, and the crossing go slanting up from rie:ht to left. When two or more stitches have PLAIN SE WING AND FANCY STITCHES 1 1 7 to be made in a row, half of each stitch must be made at a time, then they are all crossed at once. HERRING-BONE STITCH This stitch is often used in dressmaking for fasten- ing into place pieces of the linings or for tacking in place a seam's edges. The seams of skirts and skirt facings are often finished by herring-boning. It is also much used on flannel and cloth garments which are worn not lined. The edge of the material being folded down ojue small straight stitches (the stitches used for running) are made alternately above and under the edge. Work- ing thus, and always backwards, each stitch crosses the preceeding one. It is superfluous to say that the stitches must be made very regular, of the same length and with the same interval between them. LOOPS Loops are in many cases used instead of button- holes, especially for the smaller articles of apparel. They should be made rather thick, for they break easily, and should be fastened firmly on the edge of the material. Like button-holes, the loop must be made of a size exactly A LOOD corresponding with that of the but- ton it is meant for. The stitch is exactly the same as the button-hole stitch described below. 1 1 8 PLAIN SE WING AND FANCY STITCHES BUTTON-HOLES There have been many inventions presented the sew- ing world, for cutting button-holes, but nothing has been found to be better for general utility, than a pair of sharp medium sized scissors. For cutting round- ended or eyelet button-holes a cutter having a punch and sharp blade combined is sometimes preferred but with a sharp bodkin and a pair of scissors better results are generally obtained. Button-holes are usually cut at right angles with the edges they close and they should always be properly spaced and marked before being cut. • A tape-line is the best measure that can be used for spacing, although some prefer a card of the size of the space between the button-holes. By placing the edge of the card even with the edge of the basque the button-hole can be marked with chalk or a pencil, or even cut immediataly, along its edge. The proper distance from the closing edge to the front end of the button-hole may be indicated on this card and a perfectly marked button-hole is the result. This dis- tance varies somewhat with the size of the button to be used. While the front end should always be set back one-half inch from the closing edge, when a large button is used, the distance must be a few threads more than one-half the diameter of the button. When button-holes are worked in cross-barred or plaid fabrics, they should be cut to follow parallel with the cross bar or plaid, even when a slight deflec- tion from a right angle to the closing edge is made. PLAIN SE WING AND FANCY STITCHES 1 19 The same thing may be permissible when the closing edge is considerably curved. When cutting a button-hole which is to be made over three or more thicknesses, there is great difficulty in getting them all cut exactlj' alike; when the fabrics are thick and elastic they are likely to slip. There have been various methods tried to prevent this. The best is to baste them all firmly together along the two lines made by the front and back ends of the button- holes, before they are cut. Another method, which, however, has its objection- able features is to take a mild mucilage made of shellac dissolved in alcohol and with this paste the fabrics together where the button-holes are to be worked. The alcohol soon evaporates, still fabrics are very likely to become smeared or their colors will run together when the pasting is done. Another way of holding fabrics together while cutting and working button-holes, is to mark the button-hole on the cloth and machine stitching though all the thicknesses on each side of the mark. These stitchings should be just far enough apart to allow the cutting of the button-hole between. Whatever method is chosen, as has been before stated, in cutting a button-hole great care must be taken to cut the underside exactly like the upper. To do this where there is any thickness is difficult. When the punch is used it is pushed through sharp and direct at one end and the sharp pointed scissors make the rest of the 1 20 PLA INSE WING AND FANCY STITCHES cutting a simpler matter, but when the scissors alone are used, one sharp point must be depended upon to do as good work as the punch, but this requires a very steady hand. No. 1 No. 2 BUTTON-HOLES No. 3 We illustrate the three kinds of plain button-holes used in ladies' and childern's garments. The first, or No. I, illustrated is the button-hole made in cotton and lin- en fabrics, the second, or No. 2, is the customary but- ton-hole for dresses and similar garments, while the third, or No. 3, is the cloak or wrap button-hole. When the button-hole has been cut, before proceed- ing to work it, as it is called, its edges must be stayed. For a button-hole like No. i, a single thread run like a bar along each side will be sufficient. A single stitch at each end of the button-hole^will give you this bar. When you commence to work the button-hole begin at the back end and work to the front edge of the garment always. The button-hole shown in No. i is barred at each end. This is done by taking up a tiny bit of the material on the needle for five or six stitches across the end, then turning the goods and working to the other edges of the button-hole back to the other end where a similar bar is ?*-itched as a finish. For the button holes, Nos. 2 and 3 only the back end is barred. For No. PLAIN SE WING AND FANCY STITCHES 121 2, which is used for dresses the front end of the button- hole is just simply worked around in regular stitches. The loops along the opening are, of course closely crowded together, but the intervals of the stitches should be regular at their outer edge. If one round end is required as is shown in No. 3, a punch is the best thing to use and in connection with the sharp scissors, but when the punch is not at hand, take up one or two threads on a pin at the circular end and cut the pin out. This will leave a small cir- cular place to work around with the same stitch used on the sides. All button holes should be dampened, (if the material will permit) after they are worked and then thoroughly pressed through a cloth. Large ones like No. 3, worked in stiff lined cloth should have their edges drawn together with a basting thread before pressing. After the press- ing is done, the round punch should De run up and down in the eyelet or round end to give the proper shape. After which the bastings of the button-holes may be removed and the appearance will be as above. It seems almost unnecessary to go into the details of the stitch used in working button-holes, but for the benefit of any reader who has never seen it done we give a minute description. Draw the needle with a single thread through the cloth from the under to the upper side of the cloth and at the back end of the but ton-hole. In ordinary cloth the stitch should be taken- about three threads in from the cut button hole edge. 122 PLAIN SE WING AND FANCY STITCHE S About two threads further along take another stitch holding the thread below where the needle comes out. This gives a twirl to the thread of the stitch and this must be held in place along the button-hole's edge. The repetition gives the desirable cord-like finish to the button-hole which covers raw edges and is very durable. Care must be taken to make the stitches the same size and the same distance apart. It is best not to draw the thread too tight at each stitch. THE BOUND BUTTON-HOLE The bound button-hole is much vised for heavy cloths and for garments made with interlinings, as well as ordinary lining. Our illustrations give one an idea of the process of making a bound button-hole and again just how it looks when finished. When the garment demanding a bound A FANCY BUTTON-HOLE button-hole is lined and interlined, it is best to baste all around where the button-hole is to be cut so as to PLAIN SE WING AND FANCY STITCHES 123 hold all the parts firmly in one position in relation to one another. In cutting the hole use your sharpest scissors, or the sharp chisel can be employed in this instance to advantage, for a clean even cut clear through is most essential. Then take a narrow piece of silk, satin, lasting or whatever is to be used for binding the button-hole, and sew it securely all around the open- ing. Draw the binding as tightly around the ends of the hole as possible in this sewing. Then fasten the two ends of the binding together and turn it through the hole and hem its other edge down flat on the under side of the garment. A FANCY BUTTON-HOLE We also illustrate two button-holes which are worked in fancy stitches. They are simply ornamental but can be readily worked from the plain pictures presented. HOW TO SEW ON PEARL AND SIMILAR BUTTONS Insert the threaded needle on the wrong side of the cloth to which the button is to be attached, at about three-quarters of an inch from the place for the button and slip it between the goods to the required spot. Then bring the needle out on the wrong side, and after 124 PLAIN SEWING AND FANCY STITCHES fastening the thread securely by two or three stitches, pass it through to the right side. From underneath put the needle through the right hand lower hole of the button and then through the left-hand upper one and through the cloth, thus mak- ing an oblique stitch and drawing the button into place. From the under side of the cloth pass the needle through the right hand upper hole and thence put it through the left-hand lower hole and draw it out through the cloth on the wrong side, and so complete the cross-stitch. This should be repeated four or live times more. Then pass the needle to the right-side of the cloth under the button and wind the cotton several times around under the button to form a stem, which raises it a little from the cloth and also strengthens it. Fasten the sewing on of the button by three or four repeated stitches on the wrong side of the cloth and, then slipping the needle to the right side, cut off the thread. CHAPTER X UNDERWEAR MATERIALS CUT, FIT AND MAKING CHEMISE DRAWERS CORSET-COVERS — NIGHTGOWNS PETTICOATS — DRESS- ING-SACQUES — WRAPPERS APRONS MATERIALS The articles composing a suit of ladies' underwear vary according to the dictates of fashion. The stjde and make of a dress must to a certain extent control the style and make of the garment worn beneath it. For instance, under a basque made to fit the form as close as the skin of the wearer, a full chemise gathered on to a band and with full puffed short sleeves, can not be worn ; neither can a full round dress skirt hang in the most desirable manner when a petticoat beneath is gored to fit tight over the hips. Before and up to the '8o's a set of ladies' underwear consisted of drawers, chemise, petticoat and skirt with the addition of a gown for night wear. These articles are still and will always remain in vogue, but they are not so absolutely worn by every woman as then. 125 126 UNDERWEAR The wholesale manufacture of woven underwear revolutionized the fashions in such garments. The neatness of their fit, their admirable wearing qualities, their comparative cheapness and their unlimited variety, quality, design and size appealed to every women. They have come to stay most probably. Indeed it seems they only continue to increase in favor year after year. They come in silk, woolen, linen and cotton. In shirts or vests, long and short sleeved, high and all sorts of low necks. In drawers of different sizes, shapes and lengths and in the combination garments which var}^ as much in style and make. Even the much abused tights are in the highest favor among the most modest and best dressed women. These woven garments mean a minimum of weight in clothing and the freest use and development of the muscles of the entire body. For the development of the trul}^ artistic in dress they are of the highest import- ance. They do not destroy the outlines of the human form but are made and conform to the rules which are in accordance to the truest lines. The greatest obstacle reformers of woman's dress encounter, is that the majority of their sisters do not care to be conspicuous by any innovation. But the wearing of this elastic and well fitted underwear does not render them so. However, in connection with and often independent of, these "first principle garments," if we may term them UNDERWEAR 127 so, are the additional pieces that must be provided for every well dressed woman viz : the drawers, chemise, corset, corset-cover, petticoats and the night-gown. For these, silk, linen, lawn, percale, cambric, mus- lin, flannel and other similar fabrics are used according to the season, climate and taste of the wearer. Fashion sometimes seems to exhaust itself in novelties for under- wear and then she suggests colors in it by way of variety, but, the best taste never accepts such an edict and it as regularly dies a natural death, without much more than a ripple of consideration. The first law that | should govern underwear is purity,and dyes even of the best quality do not give this nor do garments dyed even in the most delicate shades of color suggest purity. The fad at one time prevailing of entire suits of black under- wear was certainly revolting and anything but whole- some. The use of the delightful China silk is responsible for most of our colored underwear. When of the best qual- ity this silk washes like cotton, even in the most fragile colors as well as the white. Some fastidious women prefer silk to any other fabric, even fine linen, and for all the different pieces, while others will tell you they can only use linen for everything except nightgowns, when they choose the China silk. Cotton cloths in turn have their devotees. Of course thej^ are cheaper which is a recommendation and they certainly do possess equal softness with silk when as fine, and they wear as well as good linen. 128 UNDERWEAR CUT, FIT AND MAKING Whatever the material, the cut and fit of these gar ments are usually the same. That is, a silk chemise is cut and sewed in just the same way a cotton chemise is done. In the long ago, when our grandmama's made their chemises, they used all the material possible and fulled it on to bands around the neck and arms, with about two yards width around the waist. Drawers and skirts were equally voluminous. A well dressed woman should have her under garments as neatly and snugly fitted as those worn over them. In cutting out the garment, a good pattern is about as indispensable as one for a dress. Still another gar- ment that fits well can be utilized, if the cutter exer- cises care and common sense. Each garment should be basted together, tried on and alterations carefuU}' made unless the pattern used has often been used before. The daintiest underwear is made by hand but very good garments and very pretty ones are made hy machine entirely. The chief objection one can make to machine made underwear is that it is usually over trimmed and too fussy. Too much tucking and ruffling is vulgar. Delicate daintily made pieces of comparative plainness are to be alwaj's preferred to over decoration poorly done. Whether done by hand or machine all seams with raw edges are stitched and felled. In the chapter immediatel}^ preceeding both plain and French felling, as well as other stitches are explained UNDERWEAR 129 at length but for the convenience of tlie reader we repeat. The best way to make the ordinary flat fell is to sew the two edges together in an ordinary seam and cut off the edge of one side one-half its depth ; then turn the uncut edge over the cut or narrower edge and then fold them down flat and stitch them into position. Ready-made underclothing is usually made by using the French fell for all its seams. It does not provide as neat and smooth a finish as the ordinary fell which is perfectly flat, but is a trifle more rapidly done and wears very well. To make the French fell lay the wrong side of the pieces together and stitch them in a narrow seam, pare off the edges smooth and close to the stitching, then turn the pieces at the seam so that the right sides are together and on the wrong ^de make another seam as deep as the edges enclosed. This makes all raw edges covered and firmly sewed. THE CHEMISE The chemise will probably never pass entirely out of style although at times it is not generally worn. They are certainly bidky garments unless neatly fitted and made. They are made with the fulness required in the skirt, gathered into a band over the shoulders or they are made in what is known as the sacque shape, which is a very neat, comfortable undergarment and adds nothing to the size of the wearer. These sacque shapes are cut to fit without fulness over the back and front and four darts are introduced below the bust to 130 UNDERWEAR shape it into the waist there. The armseyes are not supplied with sleeves and only finished by embroidery or lace. Some chemises have shoulder straps that but- ton on and may be removed when worn under a low corsage ; the garment being so closely fitted by darts it does not need to be suspended from bands over the shoulders. The trimming of the chemise must be limited to the neck and the end. Embroidery done of the material itself is the most durable trimming but Hamburg and Russian embroideries, Valenciennes, and Torchon laces trim in an exquisite manner. The end of the chemise may be finished by a hem two to four inches deep or by ruffles two to six inches wide, which may be edged with lace, tucks or embroidery according to the material and the taste of the wearer. Ribbons add a great deal to the beauty of under- wear. They are used in narrow widths run through casings of the material itself or through woven head- ings which may be used with both lace and embroidery. Then narrow ribbons are drawn through and tied in coquettish loops. Bows and rosettes of wider ribbons are set about on the shoulders or in front on chemises at the will of the wearer. In making a chemise when it has been cut, baste up the seams and, if there are darts try the garment on before stitching. Then sew up the side seams and fell them down. Then hem or trim the end after which finish the neck and armseyes. UNDERWEAR 131 DRAWERS If any difference is shown, drawers should be made of heavier linen, cambric or muslin than any other piece of underwear, as there is more strain upon them. When closed drawers are used they should be made with a deep yoke over the hips, thus bringing the closing at the back below the stiff corset. The best patterns for open drawers have an overlapping band at the back and the seat is cut longer in proportion. If this is not done the drawers are likely to draw apart and not give the needed protection. The lower part of the drawers admits of considera- ble trimming. Clusters of tucks separated by feather stitching, insertions of lace or embroidery and lace or embroidered ruffles will all be seen on one pair. In making drawers, first do all this trimming on each leg and then stitch together and fell each leg. If they are closed drawers, seam and fell the legs together and then put on the yoke or band. If they are open draw- ers, after the legs are closed, face each side with a straight piece of the material and then join to the band. Use medium sized flat pearl buttons for the closings. CORSET-COVERS A corset-cover should fit as perfectly as a basque and no better pattern can be found for a corset-cover than a tried and true basque pattern. Corset-covers are cut high or low neck as the wearer chooses and a great number are high behind with open 132 UNDERWEAR V-shaped or square-necked front. Sometimes very small sleeves are added or else the armseye isfaced, or scolloped or a narrow embroidered or lace edge finishes them. The corset-cover can not be comfortably worn over a chemise, the woven silk, lisle or wool vest is its proper accompaniment. It should be cut in the same number of pieces as a plain round basque; which consists, for a medium sized woman, of front, back and under-arm gores. When an extra side-body piece is required to give the proper curves at the waist to a basque, they must be added to the corset-cover worn under it. It should be basted together neatl}' and fitted before its seams are stitched. During this fitting the neck should be cut into the desired shape, if it is not to be a high-neck cover. After a good fit is obtained, stitch the seams and fell them. Either the ordinary flat fell or the French fell ma}' be used the former being decid- edly the better method, because it is a flat finish. The front closing edges should be curved like a well fitted basque and will in that case require to be faced. This facing should be made wide enough to take a button-hole and the cover should be closed with small pearl but- tons and button-holes to correspond, about two inches apart. The bottom of the corset-cover should be neatly finished by a narrow half-inch hem and the neck should be given a half-inch facing unless the trimming gives the necessar}^ stay. When Hamburg embroidery is UNDERWEAR 133 used, the top of the corset-cover can be turned over a half inch and then stitched down on the embroidered edge. This is the same as a facing but when lace is used to trim, the facing of the same material as the cover must be supplied. NIGHTGOWNS The style in nightgowns varies more than any other under garment, but the gown made with the long breadths gathered into a yoke is always in favor. The square, round or pointed yoke may be cut over a basque or high-neck corset-cover and a good fit obtained. For serviceable and inexpensive gowns, fine muslin simply trimmed with tucks and a lace edging can not be sur- passed. The yoke should be made double with seams on the shoulders and a closing in front. The shoulder seam of four thicknesses should be stitched together so that the seam is within. The seams of the skirt of the gown should be felled. The French fell can be used in this case without inconvenience. The sleeves should be made and completely trimmed before they are inserted in the armseye. The front of the gown should be closed with small pearl buttons and button-holes four inches apart. For more luxurious gowns ribbons are used and tied instead of buttons and button-holes. Silk, batiste, cambric, mull and other materials are used and make very luxurious nightgowns. Ladies who suffer from cold, wear gowns made of fleeced mus- lin or piqu^ which are made with but little fulness 134 UNDERWEAR and with only scolloped ruffles in the neck, front and sleeves. The sacque-shaped gowns are best for these with a pointed yoke placed as an under-facing for extra warmth. • PETTICOATS Short petticoats are usually made with a yoke fitting perfectly over the hips and stomach and closed with buttons at the back. The straight breadths fall just below the knee and whether made of flannel, muslin or silk have but little fulness. The best flannel skirts are made of flannel which is half cotton as it will not shrink when washed. These seams are to be sewed by hand and laid open, tacked into place by the simple cross-stitch done in silk thread. The bottoms of these skirts are usually embroidered. Scolloped edges of embroidery do not wear well and the hem-stitched flannel edges with embroidery above and a little lace run along beneath is the prettiest finish. The full part of the skirt is gathered where it is joined to the yoke. Short cambric petticoats are sometimes made with a yoke also, but not always. They are often elabor- ately trimmed with lace, embroidery and hand-stitching. This is permissible as they do not receive the hard usage the longer petticoats must. Trained petticoats should never be worn ; they soil immediately and never follow the train of the dress and are generally all around nuisances. The petticoat for wear under the ordinary walking skirt is cut three UNDERWEAR 135 inches shorter than the dress-skirts worn over it. It is made with front and side-gores and straight back breadth. The top is finished by a yoke when the hips are large enough to require it. The seams should be stitched and over-cast and the bottom of the skirt finished by a two-inch hem. The petticoat should measure around the bottom two and one-half yards, for a medium sized woman. The trimming of these skirts should be done on deep flounces of scanty fulness ; tucks, lace and embroider}^ being used together and alone. The same ornamentation is applied to silk, cambric and to cloth walking length petticoats. DRESSING-SACQUES A dressing-sacque is best made with a close fitted back and a loose front. An ordinary basque pattern that fits may be used as a pattern for tliese sacques. However, in cutting the front parts do not curve the closing edges and the darts need not be cut out or taken into consideration at all. This gives the desired freedom for the arms and body generally. Neverthe- less some ladies use the first dart to draw the garment in a little to the figure. Whatever the style desired in that respect, cut the sacque out of 5^our material, silk, wool, cotton or lace as it may be, and baste up the seams and lay the hem down each side of the closing in front. Try the gar- ment on and if alterations are necessarj^, make them before stitching the seams. After the seams are tightly sewed, if the material is a cotton or linen fabric, fell 136 UNDERWEAR them neatly. If heav}' silk or some similar material that will not fray is used, the edges of the seams may be notched in fine notches and the seams themselves should then be pressed open flat. Cloth, cashmere, flannel and most woolen fabrics are finished in this manner. When the sacque is made of China silk the seams should be finished as are cambrics and mull. Generally full sleeves held in by a band at the wrists, or simply flowing sleeves complete these garments. Perhaps the daintiest dressing-sacques are made of white nainsook and are trimmed with insertions of both lace and nainsook embroidery and an edge of gathered lace. Torchon and Valenciennes laces are always the prettiest and wear best. Ribbons in white or some bright becoming shade of color are knotted and tacked on according to the taste of the wearer. Sometimes belts of these ribbons are added but this gives too much primness to a garment which should be free and loose to be a typical dressing-sacque. WRAPPERS The garment called a wrapper conveys so widely dif- fering meanings that it is difficult to give definite sug- gestions concerning its development. The comfortably fitted princess dress, however, is the best t3'pe of wrapper and upon this the various changes of loose fronts, Watteau backs, long and walking length wrap- pers are rung. There are two faults into which wrap- pers may fall, they may be made to be entirely too negligee to be worn except as a dress for the bedroom UNDERWEAR 137 and they may be made as elaborate as an evening or dinner gown and so lose all characteristics of comfort. But there is no prettier house toilette a woman can provide herself than a neatly fitted princess wrapper made to touch the floor several inches at the back and to fit neat. A pretty becoming color and enough trim- ming to give it a certain daintiness are all that are required. Cotton cloth wrappers are seldom lined and the seams are long and often bias, consequently they must be securely stitched and stayed. French cambric makes the best lining when the wrapper is made of silk or woolen fabrics. The bot- tom of the skirt may be faced with the same. Noth- ing heavier is required. The sleeves and neck are finished just as a basque should be. If the front of the wrapper is made to fit snug, then its closing edges should be curved as those of a basque, and must be faced, but when it falls loose, the straight hemmed edges are easily finished. For invalids and for bath- robes there are blanket wrappers made of thick and fine colored blankets, with the woven border serving as the only trimming. The border is usually only suffi- cient to appear on the lower edge and as the pockets, cuffs and collar. A very thick woolen cord and tassel are added to hold the robe in at the waist. This wrapper is usually cut with as few seams as possible. APRONS The simplest cooking apron one can make is a long 138 UNDERWEAR square apron hemmed on the bottom, gathered at the top and fastened around the waist by a narrow band which ends in strings which are tied at the back. Two widths of gingham or linen are required to make it. To make the apron one yard long, two and one-quarter yards of gingham are required. Cut off two lengths, each thirty-nine inches long and gore one of them, so that it makes two gores out of the one. As gingham is alike on both sides, this will give a side- gore on each side of the other width which will be used for the front of the apron. Join the gores at the top to the straight breadth, with their respective bias edges, thus leaving their selvage edges for the back edges of the apron. Stitch the two seams and over-cast them, then pare off even the lower edge of the apron. After- ward baste down a three-inch hem and stitch it in place. Gather the top of the apron, make a band of the six inches of cloth remaining and join the gathers to it, for eighteen inches in the middle of it and fell it down over all rough edges. This apron can be made with a sewing machine in an hour's time. If a pocket is added on the front of the apron and a square bib above the waistband, another half yard of material must be provided and then a most complete apron is the result. Narrow, straight aprons made of one width of linen cambric, silk or mohair are often made into quite dressy affairs by adding insertion and edges of lace or bands and edges of embroidery. Dainty little aprons made of fancy towels and large sized handker- UNDERWEAR 139 chiefs are also easily concocted, and the lace-striped Swisses and piques, make most bewitching aprons when knots of bright ribbon are given them on the bibs and pockets. CHAPTER XI INFANTS' WARDROBES HOW TO DRESS BABY A SIMPLE LAYETTE HOW TO MAKE IT CAPS AND CLOAKS NURSE s' SUITS. HOW TO DRESS BABY In dressing baby the best rule is the golden rule every time. Dress the bab}' as you would like to be dressed if you were a little one. Heaven lies all about us in our infancy, we are told, but how can it be seraphic to be put through a summer, bound up in a bandage, a diaper, a pinning blanket, two skirts with bands like bandages and a long double* gown. It is no use talking, a baby can not be angelic when he can not kick one pink toe. In such rigging as enumerated above, it is no wonder he protests with his lungs. It seems strange that in everything else but dress- ing baby, we have progressed beyond our grandmothers, but when it comes to that, we find our bump of vener- ation wonderfully enlarged. Grandmother dressed mother in bands and loads of flannel, hence the new baby must be made uncomfortable. 140 INFANTS' WARDROBES 141 All honor to our grandmothers, they did admirably in the light they had, yet we must protest, that our girls of to-day can do better. Grandmother dressed baby too tight and too much. "But, " says the old lady, "the baby must be bandaged or he will be out of shape. " AN INFANT'S WARDROBE Trust the shape of baby to nature. She never does her work in a careless way. The abdominal wall is elas- tic and intended to distend, and if allowed to expand evenly there can be no rupture. Then confiscate the pinning blanket and so many long skirts. The objec- tion to these is that they clotlie the chest and legs too 142 INFANTS' WARDROBES warmly and leave the shoulders and arms Avith almost nothing. In our changeable climate it is a difficult thing to dress the babies properly to meet the demands of cool nights succeeding hot days, and sudden changes within an hour. However, if they are neither over-dressed nor under-dressed, much can be done. It is with genuine pleasure all lovers of babies note the increased enthusiasm on the subject of comforta- ble by clothes. The idea of "Reformed clothes for Babies" has taken as firm hold of the feminine com- munity as has the "Reformed Dress for Women," and mothers are putting their common sense to work and, while they buy many pieces, they make the rest or have them made as they should be. The principle of such dressing is extremely simple. It is to have nothing that frets or binds the small bunch that is to be kept warm. It is now held that innumerable colics and griping pains are made by the tight pressure of the flannel bands about the tender body, which really also occasion too much warmth, and which the old-time nurse thought good for nothing if not bound with a grip of iron about the little bowels, as if they would fall to pieces but for its maintaining strength. Many a rupture in later life, can no doubt be traced to the use of this heathenish garment, which, if it is not yet abolished altogether, is treated in a very different fashion, being more frequently knitted of soft elastic wools, than stitched in stout flannels, and INFANTS' WARDROBES 143 allowed to give warmth and not expected to yield support. The long skirts, too, in the hands of those mothers who are more careful of their babies than of their vanities, are going the way of the old fashions, and it is no longer demanded of the tiny limbs that they shall uphold all that hanging weight of embroidered flannels and tucked cambrics and wrought work — poor little limbs that have often been still futher maltreated by never being allowed temporarily to support the weight of the child, until they are suddenly called upon to do so when the child has become so heavy as to almost surely bend them by the weight. Nowadays the pet- ticoats are shortened very early and the baby is never found less lovely nor less able to rule the house in its pretty shoes and stockings than in its cloud of draper- ies. A SIMPLE LAYETTE Every baby should have provided for it at least three wool shirts. These are now to be purchased woven in fine ribs, of excellent shape, with close neck and long sleeves. They are very elastic and slip on and off easil3\ They are long enough to come well down over the body and provide sufficient warmth and protection from stray drafts. Two soft flannel skirts with bands fastened at the back and straps over the shoulders and as many cam- bric skirts must also be provided. Six slips of cambric, cut sacque shape, are properly 144 INFANTS' WARDROBES for night wear but likewise serve at first for day dresses. A fine flannel wrapper and two soft cashmere sacques shcul-d also appear, as well as one cambric dress, with a )^oke. A dozen squares of linen diaper and a few pairs of knitted socks or boots complete the simplest of layettes. HOW TO MAKE IT The flannel skirts are made of two lengths of white flannel, seven-eighths of a yard long. They are seamed together with silk thread, the seams neatly pressed open and catch-stitched down. A deep hem secured b}' a pretty fancy silk stitch should finish the bottom. At the top the breadths should be neatly shirred and joined to a band twenty inches around the bod}'' and four inches deep. This band should be provided with two tape bands to pass over the little arms. Safety pins are used to close it at the back; buttons and button-holes can not be used to advantage as the size of the tiny body will vary-ever}^ day. The little cambric skirts are made in the same way, except that the hems are felled into place and a row of gathers is all that is required at the top of the breadths. The slips are made open in the front the entire length. The four seams, two shoulder and two under-arm seams, should be neatly felled. These fells must be "made small and soft. A narrow hem should finish the fronts and bottom of the slip as well as the small sleeves. INFANTS' WARDROBES 145 The neck must be faced with a narrow bias piece of the cambric and a fine drawing-string should be run through it. Four small pearl bottons with corresponding but- ton-holes, placed two inches apart beginning at the neck are all the closing required. Below them the slip may hang free over the cambric skirt beneath. A little nar- row lace on the neck and sleeves is all the trimming allowable. These slips should be, however, made with the daintiest neatness. When made by hand alone they are most in keeping with lovely bab3'hood. The flannel and cashmere wrapper and sacque are made with as few seams as possible and they should be pressed open and catch-stitched with silk. Their edges should be button-holed or pinked in small scol- lops. The wrapper should be sacque shaped and one yard in length only. Some mothers make the mistake of using colored flannels or cashmeres for these garments. Don't use even the lightest tints. The dyes are likely to stain the tender flesh and white is the on/y thing for baby- hood. The first cambric dress should have a yoke of fine tucks and a skirt one yard long gathered on to it. Fine tucks and lace-edge should finish the bottom of the skirt and sleeves and the neck of the yoke. It should be closed at the back by knots of white satin ribbon. The cambric sash sometimes added is not pretty or appropriate. The finest cambric, lace and needle-work 146 INFANTS' WARDROBES is not out of place on this garment, but too much work and lace are. The linen squares are simply squares the size of diaper width. They will have two selvage edges and the other two must be finished with flat, soft hems. Always keep soft socks on the baby's feet. If allowed to rub his bare feet together constantly, he is liable to have crooked or bow-legs. If already so inclined, the tendency is greatly increased. These socks or bootines may be made of cashmere, cut in one piece with a felled seam running along the sole and up over the toes, or they may be knitted or cro- chetted in Saxony wool. In every case let them be pure white. CAPS AND CLOAKS Caps for infants to wear outdoors are made of muslin or of silk. They should never be worn indoors. Pretty French caps are made of fine India muslin with tucks in the center and shirrings to draw them into shape around the face and head. Simple little frills of the muslin edged with lace are the trimmings, with a rosette made of the same, placed on top. These are made quite warm by adding a lining of China silk, or still warmer by a quilted silk lining. Cloaks are made in both cape and sacque shapes. The sacques with round or square yokes are perhaps most popular always. Silk, cashmere, flannel and repped piqud are the materials used and lace or em- broidery are the appropriate trimmings. Knots and INFANTS' WARDROBES 147 ties of white satin ribbons add much to their dainti- ness, whatever the material used. nurses' suits A nurse's suit consists of a cap, apron and cloak to be worn over a plain dress. The cap has a mob crown of a white swiss or India muslin, plain or embroidered. Some erect frills of the same material placed across the front are the regulation style, but a gathered nar- row ruffle on all the edge is also used as a finish and strings to tie behind are added generally. The apron is made of two straight breadths of wide Victoria lawn with two or three broad tucks across the bottom, or some wide embroidery may finish the edge. The breadths of lawn are gathered at the top and joined to a band that has ordinary strings to tie at the back. It should always be long enough to reach to the bottom of the dress over which it is worn. The cloak is made of cloth or flannel in brown, maroon or gray generally, and is of deep circular shape. It should be as long as the dress and shirred from the neck to the shoulders or gathered on to a round yoke. It should be completed at the neck by a full white muslin scarf or neck-tie, Hemmed by a narrow hem along the sides and a deep hem-stitched hem on each end. CHAPTER XII CHILDREN'S CLOTHES AMERICAN MOTHERS SHORT CLOTHES SMALL BOY's CLOTHES DRESS FOR GIRLS AN APRON AMERICAN MOTHERS In no country is so much attention paid by mothers to the dainty costuming of their little ones as in Amer- ica. French women are as a rule too vain and frivo- lous to care how their children are dressed, and when they do think of it, they array them in impossible garments often low-necked and short-sleeved and with ballet like skirts reaching to the knees, and their unformed little bodies are cramped into tight-fitting spider-waisted bodices, the counterpart of the whale- boned ones of their mammas. In England, where the rising generation is kept strictly in the background, sensible but homel}^ and inexpensive dressing is the rule, and English children are generally little frights in brown Holland pinafores and stuff gowns. In Ger- many economy is paramount, and a dark woolen or 148 CHILDREN'S CLOTHES 149 linen garment which will not "show dirt" is the ordi- nary attire of the flaxen-haired little maiden. In spite of this marked tendency to simplicity, we owe much of the picturesque beauty of the modern child's dress to the clever English woman, Kate Greenaway, the illustrator of the familiar nursery rhymes. Dress the children prettily, but do not make dolls of them (this refers mostly to little girls) ; childhood, like "beauty unadorned is adorned the most." A child that is be- decked with silks and rare laces loses that chief charm of childhood, simplicity, and one ought as soon think of dyeing the russet gown of the dear little Jenny Wren. Few children are unattractive in themselves, but many are made so by the lack of good, sensible taste shown in their dress by those having them in charge. A neatly-dressed child is a pleasant sight, but one loaded down with silks and laces is really to be pitied. To be sure, for a best or company dress, it is allowed to have as rich a material as is consistent with the purse of the parent, but it is this over-dress- ing during play or school hours that is harmful to the child both physically and morally. Physically, as she can take but little part in the games of her compan- ions when she is afraid of soiling or rumpling a nice dress ; consequently, she loses that exercise the lack of which, in after years, will have so damaging an effect upon her constitution, leaving it fragile and delicate. We have in mind the case of a little girl, beautiful in both face and disposition, who, having lost both I50 CHILDREN'S CLOTHES parents when she was but two years of age, and not having any near relatives, at least none that appeared to want to take the care of her, was adopted by a wealthy lady. This woman never had any children of her own, so she could scarcely be blamed for trying to make the child happy, as she thought, by clothing her in the richest kind of fabrics, trimmed with rare laces and ornamented by broad, heavy sashes. During the summer months, when other little ones, clad in cool, loose-fitting garments, played about, she sat or walked with the nurse-maid in the shade, and watched them wistfully. She could not take any part in their merry games, for she was loaded with finery and must not crumple or soil her clothes, and after a little while she had no desire to join them, but would walk by them with uplifted head, manner and gait, in imitation of some popular society belle. Yes, dress the children sensibly. The world has no place for miniature soci- ety belles j it wants natural, lovable little children. SHORT CLOTHES The first short dresses for boys and girls are usually made alike. They are yoke slips just long enough to reach to the ankles when the child stands. The same materials may be used for them as are used for the long dresses of infants. These are put on when the child is six months of age. When it is eighteen months old, belts may be inserted in these little dresses although the slips are often continued until the child is three years of age. CHILDREN'S CLOTHES 151 Fashion dictates whether their skirts shall be long or short but just here a protest may be entered against the long ones. There is nothing more conducive to the health and happiness of children than the free use of their limbs. When the long unfolding skirts are worn they are hampered in every way. The baby can not kick, the two year-old little ones have their motion impeded and the four-year-old child can not run because her clothes hold her back. SMALL boys' clothes Bo3's should wear trousers as soon as they begin to run easily. The Knick- erbocker skirts must be retained until they are large enough to run around out of doors but after that time small boys should be given all the freedom of move- ment consistent with the necessary warmth. Mothers may without fear listen to the requests of the little fellows to give up the kilted skirts. It is, of course, from the commendable desire to be men that the small boys beg for trousers, but it is also because their skirts are bothersome. The pretty little sailor suits with the long trousers, which fit snugly above the knee and are given a nau- tical spread at the ankle, are the more sensible and the prettiest suits for small boys. The union suits of 152 CHILDREN'S CLOTHES underwear, can be obtained in qualities to suit the various seasons and are the best underwear that can be provided. They are as pliable as Jersey cloth and give with every movement of the body. Long stockings held by straps which pass over the shoulders and broad spring-heeled shoes are the proper covering for the feet. Little boys' overcoats and hats or caps should cor- respond. The smaller boj^s are generally given a cape over the shoulders of their overcoat but boys from nine to twelve discard this and wear long sack coats but- toned up in single-breasted fashion. As regards dyes for either boys or girls light colors are more healthy than dark, since they contain less coloring matter, and fast dyes are safer than those which fade rapidly. Indigo-black is a very "fast" dye, and is therefore better than blacks obtained from log- wood. Logwood has a peculiar effect well known by dyers, in that it deprives the skin of the sense of feel- ing. Dyed materials are least injurious when there is least perspiration and they should be especiall}^ avoided for dresses to be worn during exercise. White, therefore, besides being the prettiest, is the most healthy color for summer and other dresses. This matter, with regard to color, applies particularly to underwear, but where it can be done economically all children's clothing should be white. The little sailor suit shown on the preceeding page is very pretty made in white serge or flannel, as is also the little girl's dress shown opposite. CHILDREN'S CLOTHES 153 DRESS FOR GIRLS In choosing materials for girls' cloth- ing care should be taken to secure warmth without adding weight. They should also be inexpensive and strong, so that the child may not have to be forbidden healthy play lest its clothes should be spoiled. No really loving mother will prefer the welfare of the clothes to the welfare of her child. Woolens of lighter or greater weight according to the season are the best materials for children's dress. Aprons made of white cambric and pretty ginghams afford all needed protection from dirt. Girls and misses up to twelve years always look well and sufficientl}^ fashionable in dresses made with round full skirts and round waists with long full or coat-sleeves. They are easily made and readily laundered. For such a dress the skirt is quite straight, com- posed of two or more widths of material firmly run together. The bottom of it is finished b}' a hem about four inches deep, and above it may be a number of tiicks, grouped according to taste. The opening at the back, six inches deep, is made in the midde of the width, hemmed and wrapped right over left in the ordinary way. The top of the skirt is gathered and sewed oh to the waistband of the body. The body consists of five pieces, viz., one front, two backs, and 154 CHILDREN'S CLOTHES two sleeves. The seams on the shoulders and under the arms are neatly and thickly stitched, the raw edges are trimmed with the scissors, and overcast either singly or in the double. The backs are strenghened by a one-inch deep hem, and fastened with excellently worked button-holes and as many little buttons. The bottom of the front is gathered for a short distance on each side of the mid- dle to give a small amount of fulness over the chest. The neck and the waist are finished by a half-inch band, often put on with a piping, which greatly adds to the strength as well as to the neatness. These bands may form cases for tapes by which to draw the body up so as to fit each individual wearer. The armeyes are carefully curved and roomy. They measure large around to permit free movement of the arms. The sleeves are gathered both at the top and bottom, and if full, form a pretty puff,, and the fulness at the bottom is set into a narrow band. They are firmly stitched into the armeyes, the raw edges are pared and then thickly overcast. AN APRON A child for all ordinary occasions never looks neater or more attractive than when wearing a pretty little pinafore apron over her dress. It is simple yet pretty in shape and is easily arranged. It may be made of print, cambric, checked muslin, diaper, hol- land or any similar fabric about thirty inches wide. They are always made to button at the back. They CHILDREN'S CLOTHES 155 are hemmed in a narrow hem all around and tied with strings fastened in at the sides, in a bow at the back which forms a modest sash. A little strong lace or other trimming sewed on all edges finishes it neatly. SUMMARY The choice of children's clothing should never be left to nurses or outfitters ; but the mother, be she never so rich and fashionable, should superintend it herself, so as to be sure that every garment worn by her little ones is both healthy and comfortable. We must never let children wear clothes they have out- grown. Boots must always be made to fit, by good makers, and of the expensive material called glove-kid, and each child ought to have two pairs, which should be worn on alternate days, in order to prevent that mold- ing of the foot to any peculiarity in the shape of the boot, which may happen if it is worn constantly. The little ones must have clothes suitable for every kind of weather, so that they may never be kept indoors because they have nothing fit to go out in. They must have changes of clothes in case they come in damp. And last but not least, however great the damage may be to clothes, nothing must induce us to interfere with the little one's romping play. From the foregoing it is clear that the first principles to be obeyed in the clothing of children are the preven- tion of undue loss of animal heat b}^ the use of apparel so contrived that it shall not hamper their movements ; and cleanliness. Both these principles may be obeyed 156 CHILDREN'S CLOTHES equally by rich and poor : for clothes may be made even more easil}'^ on a rational plan than in the com- mon way, and soap and water are decidedly inexpen- sive ; but people must devote time and thought to the subject. CHAPTER XIII DRESS TRIMMINGS BIAS BANDS PLAIN BINDING AND FRENCH HEM ROUND PIPING — CORD-EDGE — DOUBLE CORD-EDGE STRAPS AND BANDS — FUR TRIiMMING — FLOUNCES PLEATING BIAS BANDS Bias bands and rouleaux are modified or perfected bindings and cordings. They are always cut on the cross, or bias, and form very neat and eleganttrimmings for woolen and silk materials, but they are not at all nice for washing materials, because they will often shrink, * and always be flattened out of all elegance in the iron- ing. Very great care must be taken to cut the material for bias exactly on the cross, folding together the selvage and raw edge of the material, then cutting along the corner piece thus formed, taking care to measure accurately all along the width of the first bias. This can afterward be pinned over the material as many times as there are strips wanted ; they will thus 157 158 DRESS TRIMMINGS be all exactly alike. The strips are next sewed together along the selvages and the seams ironed flat. The sewing on of bias is no easy task, especially to beginners, when the material is soft and limp. It is then necessary to pin or tack the bias very carefully to avoid its puckering or stretching. When the bias is meant as a border or binding, it must be laid upon the right side of the material wrong side uppermost, as low under the edge as it is neces- sary for the intended width of the bias. It must be run very straight and even, then the bias is turned down and hemmed in slip-stitch on the wrong side. In sewing the bias band on the dress, care must be taken not to stretch it, for being on the cross it will allow itself to be stitched entirely out of shape with the slightest pulling. It must be eased in sewing enough to make it lie easily but without puckering. Lay the band with its right side against the right side of the skirt or tunic, just above where it is to be when finished. Run the ^ower edge of the band tc the garment evenly and straight, and without pulling the band. When this is done, turn the the band over, tack it smoothly in place, and hem the second edge (now the lower of the two) under, on the wrong side of the garment. The second illustration, on the oppo- site page, shows the band run to the skirt and turned over in place. The lower edge must be turned under and hemmed at the back. Stitched Bias Band DRESS TRIMMINGS 159 The stitched bias band is made of a bias band with its two edges turned in and tacked together one below the other. It is then sewed to the garment with the machine, the mathine stitching following the line of tacking. Anothervariety of stitched bias trimmingis illustrated, made in two materials. The upper half is doubled Bias Band IN Two Materials and tacked tO the garment. Over this the upper edge of the second band is tacked wrong side upwards. Afterward this band is turned over, its lower edge turned under and tacked in place as illustrated. As a rule, bias trimmings should be made of differ- ent material than that used for the garment trimmed. Velvet and silk make beautiful trimmings on woolens. Velvet should never be put on velveteen and woolens do not look well on woolens, unless they are of vivid contrasting color or elaborately figured or embroidered. PLAIN BINDING AND FRENCH HEM To make plain-binding, you must cut a strip of silk, on the bias, of twice the width you want for your bind- ing. Double it, and run it on the right side of your flounce or cuff, keeping the raw edge of your binding to the raw edge of your flounce. Then turn the binding i6o DRESS TRIMMINGS over, and fell it down on the wrong side, taking care to let no stitches be seen below the run on the right side. PLAIN BINDING (nO. I) The reason why this binding is made double is, that it so stands off with a handsome roundness. This binding is most used for bows and flounces, and other light trimmings, while the French hem suits better «i|flfP^«ifif« PLAIN LIXDING FINISHED (nO. 2) for finishing a dress at the bottom, or for edging a cape, or the front of a plain cloak. French hem is made like plain-binding, except that it has a cord at the upper edge. This cord is run in, on the right side of the article to be trimmed, and the strip is then turned over, and felled down at the back. £>/^£SS TRIAIMINGS ROUND PIPING Round piping looks simple enough : but it is far from easy to make properly. It is illustrated in Chap- ter IX. It is made of a strip of bias about an inch wide, doubled and folded, and folded again till it is round, when the edge must be hemmed down. The difficult}' is to prevent its twisting, so that the hem winds round and round the pipe. This can be prevented only by carefully cutting the silk on the right bias, and of an even width, and by folding it with great regularity. This kind of trimming is sometimes convenient for covering hems and joins, for finishing sleeves at the wrist, etc. Sometimes it is used for embroidering the bottom of the skirt, or the front of the body of a gown or cloak. CORD-EDGE The strip of silk or satin of which cord-edge is made is cut on the cross, or bias, as it is called : that is, neither straight along by the selvage, nor off the breadths, but between the two. Cut in this manner, the strip stretches easily, and can be turned this way and that, without puckering, as a straight piece never does. This strip is generally about an inch wide. It should be quite evenly cut ; and several lengths should be joined, before you begin to make the cord-edge. The black or white cord, of the length required, is laid along the middle of the strip