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 Digitized by the Internet Archive
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http://www.archive.org/details/dressmaker01butt
The Dressmaker
A Complete Book
on all matters connected with

Sewing and Dressmaking

from the simplest stitches to the

cutting, making, altering,

mending and caring
for the clothes.

"The Dressmaker" is a standard work, and

the differentmethods of Dressmaking and
Tailoring which it presents may be used
whenever the current styles call for them.

A New Edition, Revised and Enlarged.

'The Butterick Publishing Company

•I

New York London Paris

 i<*
\°<

SECOND EDITION

PUBLISHED BY

THE BUTTERICK PUBLISHING COMPANY

BUTTERICK BUILDING, NEW YORK,

PARIS LONDON NEW YORK TORONTO

(yC
&l
Copyright, 1911 and 1 9 1 6, by The Butterick Publishing Company

M Zc 1916

'CI.A418554
 CONTENTS
Altering Boys' Patterns SO Embroidered Scallops 25
Altering Skirt Patterns 76 Embroidery Inserted 9
Altering Waist Patterns 71 Equipment for Dressmaking .... 60
Aprons 38 Eyelets 15
Arrowhead Tacks 22 Fagot-Stitch 25
Backstitch 4 Feather-Stitch 24
Band Trimmings 30 Figured Materials 66
Barred Buttonholes 13 Flannel Petticoat 3S
Bar-Tacks 22 Flat Fell Seam 5
Bastings 3 Folds, Bias 30
Bias Bands 30 French Knots 25
Blanket-Stitch 24 French Seam ."i

Blind Loops 15 French Tacks 109

Blood-Stains 13S Gatherings 8
Bound Buttonholes 16 Grease Spots 137
Buys' Suits 128 Gusset 7
Bustle 107 Half-Backstitch 4
Butterick Patterns 68 Hanging a Circular Skirt 117
Buttonholes 13 Hanging a Skirt 117
Buttons Sewed on 15 Hems ii

Care of the Clothes 136 Hemstitching 12

C \tch-Stitch .")
[nfants' Clothes Hi
Chain-Stitch 23 Ink Spots i;;s

Chemise Nightgown 4.") Inserting Embroidery <)

Children's Clothes 52 Inserting Lace 10

Cleaning Laces 137 Inserting Ruffle in Hem 11
Cleaning Silks 137 Iron Rust 138
Cleaning Velvet 137 Knots, French 25
Cleaning Woolen Goods 137 Knots, Simple 3
Coats and Jackets ll!l Lace Inserted 10
Combination Garments 44 Lapped Seams 103
Combination Stitch 4 Machine-Oil Stains 138
Cording 33 Maternity Dresses . 98
Cord Piping 31 Medallion Insets 82
Cord Seam 101 Mending-Tissue _>o

Corset Covers 44 Mildew i:j,s

Crow's-Foot Tack 23 Mitered Corners 7

Cutting Materials ii4 Mitered Trimmings 11
Darning .17 Nightgowns 45
Drawers 4.' Norfolk Jacket, Boys' 131
Dresses, Unlined 07 Norfolk Jacket, Ladies' 126
Dress-Form (il Notches 70
Dressmaking Equipment 60 Open Pocket 106
Dyeing 134 Overcasting 4
Embroidered Edge Facing S Overhanding 4
Embroidered Edge in Tuck - 9 Paint Stains 13s
Patching 19 Skirts,Dress 109
Patch Pocket 104 Skirts,Foundation 107
Patterns 68 Sleeve Board 61
Perforations 69 Sleeve Form 62
Petticoats, Flannel .38 Slot Seams 102
Petticoats, Lingerie 40 Smocking 27
Piping 32 Sponging Materials 67
Plackets 34 Square Corners 7
Plaid Materials 64 Stockings, Darned 18
Pockets 104 Stoting 21
Pressing Clothes 61, 136 Strap Seams 102
Remodeling 134 Tailored Seams 100
Rolled Hem 9, 32 Tailor's Buttonholes 14
Round-End Buttonhole ...... 14 Tailor's Cushion 61
Ruffle Applied under Band .... 11 Tailor's Tacks 22
Ruffle Inserted in Hem 11 Tailor's Tissue 20
Ruffle Whipped On 9 Tucks, Nun 112
Running Stitches 4 Tucks, Simple . 7
Russian Blouse Jacket, Boys' .... 130 Underskirt, Flannel 38
Russian Blouse Jacket, Ladies' . . . 126 Underskirt, Lingerie 40
Russian Dress, Child's 52 Use of Butterick Patterns 68
Sailor or Naval Suits 55 Waists, Lined 88
Scalloped Edge 25 Waists, Unlined SI
Seams, Simple 5 Welt Pockets 104
Seams, Tailored 100 Welt Seams 101
Shirring 26 Whipping on Trimming 9
Side Pockets 106 Yoke, Hip ." 41
 THL DRESSMAKER
CHAPTER I

5LWING STITCHES
TO MAKE A KNOT, hold the threaded needle in the right hand. Take the end of
the thread between the thumb and first finger of the left hand, stretching the
thread tightly. Wind it around the top of the first finger, crossing it over the end
held between the finger and thumb. Roll the first finger down the ball of the
thumb about half an inch, carrying the thread with it, and with the second finger push
the knot thus formed to the end of the
thread. If a larger knot is required, wind
the thread around the finger twice.

BASTINGS are temporary stitches

used to hold two or more pieces of ma-
terial together while putting in the perma-
nent stitches. The thread should be
smooth and rather fine. Careful ba-
sting is essential to successful sewing and
dressmaking. There are four kinds of
bastings.
Even Bastings start with a knot on the
right side so that they may be easily re-
moved. Pass the needle over and through
the material, making the stitches and
spaces the same length. To fasten the

thread, take two stitches over the last

one made. (Fig. 1.)
Uneven Bastings are made by the
method just described for even bastings,
except that the stitches and spaces are of
unequal length. The stitches taken upon
the needle are about a third shorter than
the space covered by the thread. (Fig. 2.) Fig. 3. Combination Bastings
Combination Bastings are used on
seams where extra firmness is desired
for close fitting. They are made by ta- <M
king, alternately, one long stitch and two
short stitches. (Fig. 3.)
Diagonal Bastings are slanting stitch-
es used in dressmaking to secure the out-
side material to its lining, particularly
where the lining is eased on to the mate-
rial, as is often the case in waist^making.
The method is shown in Fig. 4. Fig. 4. Diagonal Bastings
4 THE. DRESSMAKER
RUNNING STITCHES are shorter than bastings. The spaces and stitches are of
equal length. They are used on seams that do not require the firmness of machine or
back stitching. (Fig. 5.)

THE BACKSTITCH is made by ta-

king up a short stitch back on the upper
side and a longer one forward on the
underside of the material, bringing the
needle out a space in advance. Insert
the needle to meet the. last stitch, pass-
ing it under the material and out again
a space in advance of the last stitch
taken. (Fig. 6.) Fasten by making two
or three stitches over the one last made.
The backstitch is used on seams requir-
ing strength and firmness.

THE HALF-BACKSTITCH is made

in thesame manner as the backstitch,
except that it is taken halfway back
instead of all the way, leaving a small
space between each stitch on the right
Hair-Backstitch
side. (Fig. 7.)

THE COMBINATION STITCH consists of one backstitch and two or more small
running stitches. It is fastened like the backstitch. Figure 8 shows a combination
stitch with one backstitch and two run-
ning stitches. It is used on seams re-
quiring less strength than the back-
stitch.

OVERCASTING is a slanting stitch

used to keep raw edges from raveling.
(Fig. 9.) In taking the stitch the needle
should always point toward the left
shoulder. Hold the material loosely in Fig. 8. Combination Stitch

the left hand. Do not use a knot, but

turn the end of the thread to the left
and take the first two stitches over it.
Make the stitches about one- eighth
of an inch apart and one-eighth of an
inch deep.

Keep the spaces between the stitches

even and slant the stitches in the
all
same direction. Before overcasting, be
sure that the edges are trimmed off
evenly. In overcasting a bias seam,
begin at the broad part of the piece
and work toward the narrow part, to
prevent its raveling while you are
working on it.

OVERHANDING, top, or over sew-

ing, as it is sometimes
called, is used to
join folded edges or selvages. (Fig. 10.)
Baste the pieces with the folds or sel-
vages exactly even and sew with close
stitches over and over the edges, taking
up as few threads as possible, so that when finished the seam will be smooth and flat
and not form an awkward ridge or cord on the wrong side of the garment.
 SEWING STITCHES 5

CATCH-STITCH, sometimes called cat stitch, is a cross stitch used to hold down
seam edges. It is the preferred finish for the seams of flannel garments, for it does
away with the clumsiness of a French or felled
seam, takes the place of overcasting and pre-
vents raveling.
Place the edges together and run a seam,
taking an occasional backstitch. Trim off
one edge close to the line of sewing and press
the other edge flatly over it, holding the work
as shown in Fig. 11.
Make a knot and insert the needle under
the edge at the lower left corner, cross the edge
and take a small stitch a few threads to the
right . Cn iss back again and insert the needle,
taking a similar stitch through all the thick-
nesses of the material.
Always point the needle to the left and make the
cross stitches encase the raw edges. The stitch is done
from left to right. If preferred, these seams may be
pressed open and catch-stitched, working the stitches
over the raw edge at each side of the seam, thus
holding both down as shown in Fig. 12.
A quicker method of catch-stitching is shown in
Fig. 1.3. This stitch has not the strength of the first
method and is only used in millinery and in dress-
making where the work is concealed. This style of
catch-stitching is done from right to left.

Fig. 13. Catch-Slitch Used in

Dressmaking and Millinery Fig. 14. Flat Fell Seam
A FLAT FELL SLAM has one edge hemmed down to protect the
other raw edge. It is used principally for underwear. Baste the
edges together, and sew with combination stitch. If the edges are
bias, sew from the broad part of the pieces to the narrow, to
prevent raveling and stretching.
Remove bastings, trim the edge toward you close
to the sewing line, and turn the other edge flatly over it,
pressing hard with the thumb
nail. Make a narrow turning,
baste and hem. (Fig. 14.)

A FRENCH SEAM is a
double seam encasing the raw
edges.seam
(Fig. 15.) Place
the edges evenly together and
sew close to them on the right
Fig. 15. French Seam
side of the garment. Trim off
all ravelings from the edges.
Turn the wrong side toward you, crease exactly at the seam, and make a second sewing
of sufficient depth to entirely cover the raw edges. This seam is generally used in
making garments of wash materials.
6 THE DRESSMAKER
A HEM is a fold made by twice turning over the edge of the material. (Fig.
16.) Make a narrow, even turning, and mark the depth for the second turning on the
material with a coarse pin, chalk or basting, using as a marker a card notched the de-
hem. Fold on the line, and if the hem is wide, baste at top and bottom.
sired depth of the

Fig. 16. Hem Fig. 1 7. Napery Hem

Hold the edges you are going to sew on, toward you;
place the hem over the forefinger and under the middle
finger and hold it down with the thumb. Begin at the right
end and insert the needle through the fold, leaving a short
end of the thread to be caught under the hemming stitches.
Pointing the needle toward the left shoulder, make
a slanting stitch by taking up a few threads of the mate-
rial and the fold of the hem. Fasten the thread by
taking two or three stitches on top of each other.
If a new thread is needed, start as in the beginning,
tucking both the end of the new and old thread under
the fold of the hem and secure them with the hemming
Fig. 1 8. Folding for Square stitches. Train the eye to keep the stitches even and
Corners true.
A Napery or Damask Hem is used on napkins and
tablecloths. Turn under the edge of the material twice
for a narrow hem. Fold the hem back on the right

Fig !9. Hemming Square

Corners

side, crease the material along the

first fold,and overhand the fold and
crease together. The needle is in-
serted straight as shown in Fig. 17.
Open and flatten stitches with the
thumb nail. If a square is used,
turn the opposite side in the same
manner. Hem
the sides before fold-
ing back on the right side. No ba- Fig. 20. Folding for Mitered Corners
sting is needed for this hem. Take
small stitches so that the work will look well when the hem is turned down, Directions
for hemstitching will be found on page 12.
 SEWING STITCHES
SQUARE CORNERS made by
turning under the edges as for hems. Turn the over-
are
lapping hem back toward the right side and crease the material along the first fold.
Open the hems and cut away the undcrlapping hem to within a seam of the second
turning. (Fig. 18.) Hem the overlapping edges to the hem underneath, but not
through to the right side. (Fig. 19.) Overhand
the ends of the hems. Finish all the corners in
the same manner.
M ITERED CORNERS are made by joining two bias
edges to form an angle. Turn the edges as for
hems, and crease. Open the material, fold the
corner toward the center, and crease where the
lines cross. Cut the corner off, allowing a narrow
turning. (Fig. 20.) Fold the hems down all
around, bring the mitered corners together, and hem
the side. (Fig. 21.) Hem the corners, but do not
catch the stitches through the material underneath.

A GUSSET is a triangular piece of material

set into a garmentto strengthen an opening. (Figs.
22 and 23.) Fold diagonally a piece of mate-
rial two and one-quarter inches square and cut it
on the fold. Take one of the triangles and fold
it down a quarter of an inch all around, folding Fig. 21. Hemming Mitered
the straight edges first. Cut away the projecting Corners

Fig. 22. Inserted Gusset on 23. Finished Gusset on

Wrong Side Right Side

points at the sides. Hold the wrong side

toward you, with the right angle down and
fold so that the point at the bottom will
meet the fold at the bias edge.
Make a narrow hem all around the
opening. Pin the corner of the gusset, to the
end of the opening, right side to right side.
(Fig. 22.) Beginning at the center, overhand
tn the hem as far as the crease in the gusset.
Fold the gusset over at. the crease and pin
at the center and each corner, taking care
that the warp and woof threads run parallel
with those of the garment. Baste and hem
all around. (Fig. 23.) The lower edge of
the gusset will have to be stretched to fit
the opening.

TUCKS should be marked with a. meas-

ure so that they will be of even width. Fig. 24. Tucks
8 THE. DRESSMAKER
Cut the gage from a piece of cardboard, and from the end measure down the width
of first tuck, making a slash and a bias cut to meet the slash. (Fig. 24.) Make a second
cut as shown in Fig. 24, allowing for width
of space and second tuck.
It is quicker and more accurate to
make a gage of this sort in measuring short
spaces, such as hems, tucks and the spaces
between them, than to use the tape meas-
ure, as sometimes the eye becomes con-
fused at the small marks on the tape, and
mistakes are made that will prove quite
serious.

Fig. 25. Gathering

FOR GATHERINGS, make a row of

small running stitches. The stitches may be
the same length as the spaces, or the spaces
may be twice the length of the stitches.
Always begin by inserting the needle from the
wrong side to conceal the knot. It is better
to slip the stitches along on the needle and
not remove it from the material.
When the gathering is completed remove
the needle and draw the gatherings up tight.
Place a pin vertically, close to the last stitch, Fig. 26. Position of Needle in

and wind the thread several times around the Stroking Gathers

pin in the form of an 8. (Fig. 25.) This holds the gathers firmly together and facil-
itates the stroking.
In Stroking or Laying Gathers the work is held between the thumb and fingers of
the left hand, with the thumb below the gath-
ering thread. Put the side of the needle well
above the gathering thread and press the little
plait under the thumb, drawing the needle
down. (Fig. 26.)
Do not use the point of the needle, as it
scratches and weakens the material. Continue
entirely across the gathers, putting the needle
under each stitch and holding the plait firmly
with the thumb. Stroke the material above the
gathering thread as well as below it to make
Fig. 27. Two Rows of Gathers
the gathers firm and even.
Two Rows of Gathers are often used in dressmak-
ing and do not need stroking. A skirt joined to a
band, a sleeve set in a cuff or sewed into the armhole,
should be gathered twice so that the gathers will stay
in the proper place.
The second row is made with the stitches directly
in line with those of the first row and one-quarter or
three-eighths of an inch below them. (Fig. 27.) If
there is much fulness to be gathered, the spaces be-
tween the stitches may be lengthened.

EMBROIDERY EDGING USED AS A FACING is

shown in Fig. 28. The plain material above the em-
broidery is applied as the facing. Crease the edging
off at the depth it is to extend beyond the garment. Fig. 28. Embroidery Facing
Baste the material along the crease so that the seam
will come toward the inside of the garment. Then stitch the seam. Now turn the
edging down, fold in the raw edge at the top, and hem down as a facing. The facing
should be no wider than necessary to make a neat joining.
 1

SEWING STITCHES 9

TO JOIN EMBROIDERY IN A TUCK, make several tucks in the plain material above
the embroidery if it is wide enough. Then measure carefully the amount for the
space between the tucks, the under part of the tucks, and the seam. Cut away the
superfluous material and join the edging to the gar-
<l ment. Crease the tuck with the seam directly in the
J fold so that the raw edges will be encased in the tuck.
^^
When the materials of the garment and the embroid-
ery are similar, and there are several tucks above and
below the seam, the joining is imperceptible. (Fig. 29.)

A ROLLED HEM may be used as a dainty finish

in joining trim-
ming of any kind
to a garment of
sheer wash ma-
terial. Hold the „/ji/ttHHm*UlllttJ/ttllUtllllll'/Jtl4*ttt*4ttM4,
wrong side of the
material toward
Fig. 29. Embroidery Joined you, and, af ter '11UU1
in a Tuck
trimming off all
ravelings, begin at the right end and mil the
edge toward you tightly between the thumb
ami forefinger of the left hand, keeping the edge
rolled for about one and a half inches ahead of
Fig. 30. Insertion Inset with
the sewing. (Fig. 30.) Rolled Hem
EMBROIDERY MAY BE INSERTED by differ-
ent methods. When a straight-edge insertion
is used, the plain cambric may be cut away
at each side of tie- embroidery. The material
of the garment is then cut away under the em-
_
broidery, leav-
i ng a s ma 1

seam, which is

rolledand whip-
pod to the em-
1) r o i d e r y as
shown in Fig. 30. Fig. 31. Insertion Inset by Machine
If preferred, a.

small seam may be left on the insertion as well a

on the garment and be put together by a tiny
French seam. This is the finish most commonly
employed.
Embroidery also may be inserted by a machine
fellseam. (Fig. 31.) Baste the insertion to the ma-
terial with a narrow seam on the wrong side. Trim
off all ravelings and insert raw edges in the hem-
mer of the machine, and stitch as in hemming.

WHIPPING ON TRIMMING is generally done

on an edge. If lace, it should be either gath-
ered by pulling the heavy thread which is
usually found at the top, or whipped and drawn
as in a ruffle. Roll an inch or two of the gar-
ment material, place the lace with its right
side to the right side of the material, and whip
both together. (Fig. 32.) Lace may be whipped
on plain if preferred, but it must be eased in.
Fig. 33 Whipping and Gathering
Insertion may be inset in the same way.
A Ruffle Used as Trimming may be whipped and gathered. Roll the raw edge and
overcast the material as tar as it is rolled, taking care to make the stitch below the roll,
10 THE DRESSMAKER
not through it. (Fig. 33.) Draw up the thread, making the ruffle the desired fulness.
Divide the ruffle in quarters and mark them with colored thread. Make corresponding
marks on the edge to which the ruffle is to be attached. Roll the edge of the garment

mmtwmmmrM&M
mmmmmmmm
ruiiiMftiniii
Fig. 34. Showing Cut for

and overhand the ruffle to it, taking a

Lace Insertion

stitch
#mmm&mtMsm&&
in every whipped stitch of the ruffle.

METHODS OF INSERTING LACE and

insertion, when the material has a straight iiiliiilillillMfflir^^^""^
edge, are shown in Figs. 34 and 35. Fold the Fig. 35. Finished Hffect of Inserting Lace
material for a hem, creasing the lower fold
hard Openthe hem and baste the lace edge
just below the lower fold, and stitch. (Fig.
34.) Turn back the hem and crease the mate-
rial on a line with the top turning of the hem.
Cut to within a small seam above this crease.
Fold in the raw edge, insert the edge of the
lace insertion, and stitch. Turn a second hem,
following the preceding directions, baste the
other edge of the insertion just below the lower
crease, and stitch as before. As many rows of
insertion may be used in this manner as are
desired.
To Insert Lace Insertion in a garment,
pin the lace in the position desired, and baste
Fig. 36. Lace Insert
down both edges of the insertion.
If the insertion is narrow, the ma-
terial is cut through the center (Fig.
36); but if the insertion is wide, the
material is cut away from under-
neath, simply allowing a seam on
each side.The edge is turned in a
narrow hem covering the line of the
basting. Stitch the insertion close to
the edges from the right side, and at
the same time catching through the
material hemmed down.
Insertion above a Facing is first
basted in position, and the upper
edge is finished as shown in Fig. 37.
The facing is generally used when
the outline of the lower edge is
curved or pointed so that it can-
not be turned up in a straight hem. Lace above Facing
Fig. 37. Insert
 SEWING STITCHES II

The facing is cut to fit the outline of the lower edge and applied as a false hem, as
shown in Fig. 37. When edging is used, it is basted to the bottom before the facing is
added and all stitched in a seam together. Turn under the facing at the line of sewing,
baste in position and stitch insertion from
the right side.

TO INSERT RUFFLES IN A HEM turn

the hem toward the right side of the gar-
ment and crease the fold hard. Divide
both ruffle and hem in quarters and mark
each division with colored thread. Insert
the edge of the ruffle in the hem close to
the fold (Fig 38) with the right side of the

the right side of the garment

ruffle to
and the corresponding marks together.
Baste and stitch one-quarter of an inch
from the fold. Turn the hem back to
the wrong side of the garment, fold the
second turning, baste and hem. (Fig.
39.) L,
. ._

TO COVER THE JOINING OF A Fig. 39. Finished Ruffle on Right Side

RUFFLE, divide both ruffle and garment
in quarters and mark with pins or colored
thread. Gather the ruffle and baste it to the
garment. Turn the raw edges up on the
garment and cover with a narrow bias band
which can be bought by the piece with the
edges turned ready for use. (Fig. 40.) This
finish may be used on either the right or
wrong side of the garment. Frequently
this finish is used on berthas or scalloped
edges that are not lined or faced.

TRIMMINGS MAY BE MITERED so

that the joining will scarcely be seen. If
embroidery, fold it over so that the crease
comes exactly in the middle of the corner,
taking care to match the pattern per- Fig. 40. Band Covering Joining of Ruffle

fectly. Crease firmly, and cut

on the creased line. (Fig. 41.)
Place the right sides face to face
and buttonhole the raw edges
together with short, close stitches.
Fig. 42 shows the finished corner.
The method of making the but-
Fig. 4 1 Showing Cut for Mitered Corners tonhole stitch is shown in Fig. 48.
12 THE DRESSMAKER
Lace may be mitered in the same way, but it should be cut between the cords, not
across them. Overhand the edges together, putting the neei lie back the depth of two
cords. (Fig. 43.)
Fig. 44 shows the figures cut around the edge, lapped and hemmed around
the figure on each side.
If a stronger corner is
desired, the lace may be
mitered in a very tiny,
flat hem.

HEMSTITCHING is
a line of open-work
made by drawing out
parallel threads and fas-
tening the cross threads in successive small
clusters. Draw as many threads of the material
as desired at the top of the hem, and baste
it on this line. Hold the hem toward you
Fig. 42. Mitered Em- and work on the side on which it is turned Fig. 43. Mitered
broidery up. Fig. 45 shows the position of the hem Lace
with the stitching done
from left to right.
Insert the needle in
the undcrf old of the hem
at the left-hand edge.
Hold the work over the
forefinger of the left hand,
keeping the thumb over
the thread. Take up four
or five threads with the
needle, and draw the
needle through, holding
the thread firmly by the
Fig. 44. Lapping and
left thumb. At the ex-
Matching Lace treme right of these
stitches take a short stitch Fig. 45. Hemstitching
in the fold of the hem, as
shown in the illustration. Now
take up the same number of threads
as before, and repeat. Care must
be taken to keep the warp and
woof threads exactly parallel, es-
pecially in hemstitching a corner
where the material has not been cut
away.

Machine Hemstitching is a sim-

ple way of making imitation hem-
stitching on the machine as shown
in Figs. 46 and 47. Fold the ma-
terial for a hem, and cut the garment
Fig. 46. Preparing for Machine Hemstitching bv
off one-quarter of an inch above Machine
Hemstitching
the sewing line. Fold blotting
paper or any soft paper to one-eighth of an inch thickness. Place the two cut edges of
the garment together, as if to sew a seam. Slip the blotting paper between the two edges,
loosen the tension of the machine and stitch a quarter-inch seam through all the thick-
nesses. (Fig. 46.) When the seam is stitched, cut the paper close to the stitching and pull
it out. The stitches between the two edges of the material will then look like Fig. 47.
The edge toward the hem is turned down and the hem is stitched by machine, close to
the turning. The raw edge of the garment is turned in and stitched by machine.
 CHAPTER 11

BUTTONHOLES
WELL- MADE GARMENT that is otherwise perfect ma}' be greatly injured in ap-
A pearance by badly made buttonholes. They should always be properly spaced and
marked before they are cut. Mark the points for the top and bottom button-
holes, and divide the distance between these two points into the desired number of spaces.
The slit must be cut on the thread of the goods, if possible, and must be large enough
to allow the button to slip through easily, as a buttonhole becomes tighter after it is
worked.
With the buttonhole scissors carefully test the length of the slit and make a clean
cut with one movement of the scissors. One of the most noticeable faults in buttonhol-
ing results from an uneven or ragged slit. This may be caused by dull scissors or by
the slipping of the fabric. To prevent the material from slipping, baste around the
cutting line before using the scissors.
There arc three kinds of buttonholes, one with the bar at both ends (Fig. 49), another
with one round and one
barred end (Fig. 50), and a
third called the tailor's but-
tonhole. (Fig. 51.)

BARRED BUTTON-
HOLES as illustrated in Figs.
49 and 50 are used for un-
derwear, waists and shirts.
If the buttonhole is in an up-
right position as in the cen-
ter of a plait, or if the strain
does not come at the ends of
the buttonhole, as at the cen-
ter back of a neck-band, the
Fig. 48. Correct Position in
buttonhole with a bar at both
Making Buttonholes
ends (Fig. 49) is used. If
the strain on the buttonhole comes at one end so that the
button requires a resting-place as in a cuff or belt, use the but-
tonhole with the round end. (Fig. 50.) Buttonholes are
stranded to prevent the edges from stretching. Bring the
needle up at one end of the buttonhole, and, allowing the
thread to lie along the edge of the cut on the right side of the
material, stick down at the opposite end. Do the same on
the other side of the cut and stick clown opposite the first
stitch, with a stitch across the end to fasten the thread. If
the material is inclined to fray, the edges may be overcast
before working the buttonholes.
To make the stitch, place the buttonhole over the forefinger
of the left hand, holding it in position with the thumb and
second finger as shown in Fig. 48. Begin to work the button-
hole close to the corner or starting-point. Insert the needle, Fig. 49. Buttonhole with
and while it is pointing toward you, bring the double thread Bar at Both Lnds
13
14 THE DRESSMAKER
as it hangs from the eye of the needle around to the left under the needle. Draw the
needle through the loop, letting the thread form a purl exactly on the edge of the slit.
Continue these stitches to the opposite end, being careful to take them the same depth
and close together. Now pass the needle up and down through the goods until two or
three threads cross the end of the slit quite close to the buttonhole stitches, thus form-
ing a bar tack. (Fig. 72, page 22.) At the end, turn the work
around so that the bar end is toward you and make several button-
hole stitches over the bar tack and through the material. (Fig.
49.) Work the other side of the buttonhole and the second bar.
THE ROUND-END BUTTONHOLE is stranded in the same man-
ner as the double-barred buttonhole. Fig. 50 illustrates the
steps in the making of this buttonhole with the opening first
stranded and then overcast.
Begin the buttonhole stitch as in the first buttonhole, work-
ing down one side. When the outer end is reached, the stitches
are taken on a slant, inserting the needle each time at a little
different angle until the end is rounded. Continue the work on
the other side. The inner end is finished with a bar tack. The
different steps of this buttonhole are shown in the illustration.

THE TAILOR'S BUTTONHOLE is used for garments of heavy

cloth, as the round end or eyelet provides a resting-place for the
shank of the button or the stitches holding the button Baste around
.

the line of cutting so that the material will not slip, and cut the slit
the desired length. At the outer end
cut a small eyelet as shown in the
top figure in the illustration, 51.

After cutting, the buttonhole

should be stranded so that the worked
Fig. 50. Buttonhole with
Round End edge of the buttonhole will be firm
and distinct. This may be done
with two threads of twist. Tailors follow the plan of
using cord formed of several strands of the buttonhole twist,
or linen thread twisted together, or a gimp cord. An end of
this cord or thread is secured at the inner end of the button-
hole between the fabrics, and the other end is fastened to
the knee or some convenient place and kept taut by a slight
strain upon the work as it is held in the hand.

By this strain the cord is kept straight and in position

Just back of the edge of the buttonhole. The stitches are
worked over the cord by the usual movements. After each
stitch is drawn down, the loose twist should be picked up
firmly by the thumb and forefinger quite near the stitch,
and two or three circular twisting movements should be
made so that the loop formed will settle securely and neatly
into its proper position. Be careful to complete each stitch
with uniform movements. When the eyelet is reached, the
Fi$. 5 Tailor's Buttonhole
1 .

work is adjusted so that the stitches may be made at the

proper slant. The stitches should radiate from the eyelet as the spokes do in a wheel.

The inner end of an eyelet buttonhole may be bar-tacked. Sometimes the bars are
simply worked with an over-and-over stitch. This is done by passing the needle up
through the fabric at one side of the bar and down through it at the other side until the
bars are entirely covered with these stitches and the stays look like a fine cord. After
the buttonholes are worked, their edges should be closely basted together by an over-
and-over stitch made by pushing the needle up and down over the edges just back of the
stitches. Then they should be pressed under a dampened cloth. In fact, all buttonholes
should be pressed if the goods will permit. Before they are dry, a stiletto should be
pushed up vigorously through each eyelet until the opening becomes perfectly round
 BUTTONHOLES 15

and the stitches around its edges are regular and distinct.
When the bastings are removed, the buttonholes will be
symmetrical in appearance.

BLIND LOOPS are used on garments fastened with hooks

and eyes, to take the place of the eyes. The process of making
them is shown in Fig. 52. Mark the position of the loop oppo-
site the hook, knot the thread and bring the needle up through
the material. Make a bar-tack the desired length by taking
three or more stitches one over the other. Working from left
to right, hold the thread down with the left thumb, and insert
the needle, eye foremost, under the bar and over the thread.
The use of the blunt end of the needle facilitates the work.
Draw the thread up, letting the purl come to the lower edge of
the loop. Repeat the stitches, covering the entire bar-tack,
and fasten on the wrong side. Sometimes the bar-tacks are
made in the form of a cross-stitch.
EYELETS are holes
made and worked in a
garment to hold the
cord or buttons. The
method of making
is shown in Fig. 53.
Pierce the eyelet - hole
with a stiletto. Make
running stitches around
the circle, place the hole Fig. 52. Blind Loop
Fig. 53. E-yelet
over the fore finger of the
left hand and buttonhole the edge, covering the running stitches. Work from right to
left, as shown in the first figure of the illustration.

METHODS OF SEWING ON
BUTTONS are illustrated in Fig. 54. Always use a
coarse single thread in preference to a fine double one. In placing buttons. in posi-
tion, lap the edges of the garment, and push a pin through at the outer end of the
buttonhole. This will bring the button exactly opposite the buttonhole. Make a
knot in the thread, push the needle through from the right side so that the knot
will be directly under the button. Place the button in position. Bring the thread up
through a hole in the button and
down through the hole diagonally
opposite as shown in the second fig-
ure. Place a pin under the thread
on top of the button in order to keep
the thread loose, and make a cross-
stitch through the remaining holes.

Repeat the stitches until the but-

ton is securely fastened. Remove
the pin, draw the button away from
the material as far as possible and
Fig. 54. Sewing on Buttons
wind the working thread tightly sev-
eral times around the threads between the button and the material, thus forming a
thread shank for the button. If a button is too closely sewed to the garment, it will not
have room to rest easily in the buttonhole and will crowd the latter out of shape and
make the spacing seem irregular. The loose sewing and the winding increase the dura-
bility of the work and lessen the strain on the button.
The shows another way of sewing on a button in which the stitches are not
first figure
crossed. This method is used in dress and coat making, as the stitches are considered
more ornamental. The third figure shows the method of sewing on a shank button.
Make the stitches parallel with the edge when sewing on this button so that the strain
will come on the shank.
16 THE DRL55MAKLR
r THE BOUND BUTTONHOLE is shown in Figure
54 A. The length and position of the buttonhole
should be marked on the garment with basting cotton.
A bias strip of self or contrasting material about seven-
eighths of an inch wide is used for binding it. Sew the
binding to the right side of the garment with running
stitches an eighth of an inch from the buttonhole
. 54 A. Bound buttonhole mark (Figure 54 B). Turn in the other three edges an
eighth of an inch and press them flat (Figure 54 B).
The binding should be fully the length of the slash.
When it is sewed on and the edges pressed, cut the
buttonhole in the garment. Be sure to cut a clean,
H straight hole.
Push the binding through to the wrong side of the
garment and slip-stitch it to position in the sewing
line of the right side. Slip-stitch the corners of the
binding so that they will not fray. Figure 54 A shows
the finished bound buttonhole.
The bound buttonhole can be used on wool, silk,
linen or cotton garments. It gives a finished look to a
coat or dress and is particularly effective when the
binding itself is in a contrasting color, though the bind-
Fig. 54 B. The binding ing is frequently of the same material as the garment.
 CHAPTER III

DARNING AND MENDING

NOWHERE the
the household.
is maxim
Here
"
it
A stitch in time saves nine "
implies, in a general sense, the
more applicable than Id
immediate repair of any
all household articles. But the proverb is more particularly associated with the
and
thought of mending and darning the household linens and the clothing of the fam-
ily. Every one will agree that a patch is better than a hole, but it is still better to postpone,
and, if possible, to prevent, the hole wherever the case will permit it.

DARNING is a simple remedy for many cases of prevention as well as cure. A few
general directions will apply to darning in all its various phases. Neatness and the care-
ful selection of materials most appropriate for the work are the chief requirements for
successful darning. Whether the material to be darned is cotton, silk or wool the darn-
ing thread should correspond in thickness and color to the thread
in the material, and the needle should be neither coarser nor finer
than required.
For Reenforcing worn places before the hole has come through,
particular care should be taken to make the work as inconspic-
uous as possible. A thread or raveling of the material will do
better than one of sewing silk, as the latter, no matter how well
matched in color, will be sure to have a luster that will bring
the stitches into prominence. The drawn thread need not be
long; short ones can be worked in just as well.
Baste the part to be mended over a piece of medium stiff,
glazed paper, or table oilcloth. Use a needle as fine as the
thread will permit. Darn back and forth with as fine stitches as
possible, following the grain of the goods and keeping the threads
Fig. 55. Reenforcing b
loose so that they will not draw. (Fig. 55.) The ends of the
Worn Place
threads are not fastened, but are clipped off close to the garment
when the work is finished.
A Running Darti is used when the garment is worn too thin
to be mended satisfactorily by reenforcing. Insert the needle
a short distance from the edge of the worn or thin part, and

Mm ffl
*
i i"* '.
i

parallel with the thread of the weave. Run it under a few threads
and iiver a few, to the opposite side of the worn place. Re-
.. : ,' •-. turning, run the needle over the threads that were taken up,
and under those over which it passed in the first row. Con-
tinue the process until the whole thin surface has been given
1 \\ a new body. In Fig. 56, white thread has been used in order
c,IV'
.

Fig. 56.
•; t
1

w
A Running Darn
to show the stitches.
When the part to be mended requires still more body than
can lie given by the running darn, a piece of the material may
be laid on the wrong side, and while applying the running
darn, this piece is occasionally caught up by the needle to
hold it securely in position.
A Woven Darn is necessary when a hole has been worn
through the material. The threads in this case are woven both lengthwise and cross-
wise with the weave of the garment. First baste the part with the hole over a piece
of paper or table oilcloth, taking care not to draw it out of shape nor to let it bag. Do
not trim the frayed or worn edges off. The unevenness around the edge, which these
frayed ends create in the process of darning, helps to make the darned place less con-
17
18 THE DRESSMAKER
spicuous. The lengthwise threads are run in first. Starting
well in from the edge of the hole at one side, take up a few
small stitches, cross over to the opposite side and again run a
few stitches into the edge. Keep the threads taut, but not
tight enough to pull. Returning, leave a tiny loop at the
turning-point, to allow for shrinkage of the darning threads.
Continue back and forth till the hole has been covered. Now
begin the crosswise threads in the same way; darn over and
under the lengthwise stitches, alternating with each return
thread. The frayed edges are caught in the weave as they
happen to come, and are firmly secured between the latticed Fig. 57.
threads. (Fig. 57.)

STOCKINGS are darned on the right side to keep a smooth surface next the foot.
A darning-egg or ball, held in the left hand, is slipped under the hole, with the stocking
stretched smoothly, but not tightly, over it. The darning is done with the right hand.
In a woven darn the darning threads in a stocking usually run up and down with the
rib, and then across, but when the hole is at the knee or heel, where greater elasticity is
desired, the threads are run across diagonally.
A Broken Stitch or two in a stocking, sometimes giving the
appearance of a large hole, can be very easily remedied if
attended to at once. With a silk thread, pick up the broken
stitches and draw the edges together, and by a web-like weav-
ing close the hole.
A Dropped Stitch is an ugly imperfection in a stocking that
is more easily remedied by the use of a crochet-hook than by
darning. Slip a fine crochet-hook through the little loop at
the lower end of the hole; catch up the first thread, and pull
it through the loop. Continue until every dropped thread
has been caught, then securely fasten the last loop at the end
with a few sewing stitches. Fig. 5S shows the position of
Fig. 58. Picking up a
the crochet-hook in the process of picking up dropped stitches.
Dropped Stitch
To Set in a Piece is a very satisfactory way of "extending the
term of usefulness of the stocking when the hole
is too large be neatly darned.
to For this pur-
pose it is always well to keep on hand the leg por-
tions of a number of stockings of which the feet have
been worn out and discarded.
Baste the part to be mended over a piece of paper
and trim off the ragged edge. Cut a piece from a
stocking-leg, matching it in color and texture, with the
ribs running like those in the stocking, and conform-
ing in shape to the hole, but a trifle smaller. Baste
this piece into position on the paper, and join the two
-edges, the
f-Vw needle
passing in Fig. 59. Setting a Piece in a Stocking

close stitches, alternating, over one edge and

under the opposite, until the piece has been
securely and neatly worked into position.
The stitch in this method will be seen to form
a kind of lacing, which must be done evenly
and closely, but not tightly enough to raise
the edges. (See Fig. 59.)

An Underlaid Piece Darned In is a still

better method of closing a hole when the
stocking or garment is very loosely woven or
Hi zm knitted, in which case the use of a darning-egg
Fig. 60. An Underlaid Piece Darned In would give it a baggy appearance. Do not
 DARNING AND MENDING 19

trim off the ragged edges. Cut the underlying piece a trifle larger than the hole, but
conforming to it in shape and matching it in color and texture. Baste the piece on the
paper first, and then lay the hole over it. Or the torn piece may be stretched over an em-
broidery hoop and the patch basted to it. Run the darning-needle back and forth,
over and under the lapped edges, closely weaving them together, keeping down all
the loose ends. Fig. 60 shows the right side of the finished darn, a black thread having
been used in the illustration to show the stitches.

A PATCH is generally used for mending flannel or heavy woven underwear, par-
ticularly if the garment is too much worn to warrant the time and work necessary for a
careful darn.
.1 Flannel Patch is a piece of the material

basted on the wrong side of the worn or torn

part, and catch-stitched to the garment with
small stitches all around the edge. The worn
place, or the ragged edge of the hole, is then
cut away from the right side, and the edge
catch-stitched all around in the same man-
ner. (Fig. 61.)
A Hemmed —
Patch is used unless the hole is
so small that it can be neatly darned for —
mending material that requires frequent laun-
dering, such as muslin underwear, bedding
or household linen. If the material is striped
or figured, the patch should be cut so that
the lines will match. Pin the patch into posi-
tion on the underside of the piece to be mended.
Crease a seam all around and baste it down. J
Now cut out the worn part, allowing a nar- Fig. 61. Right Side of Flannel Patch

Fig. 62. Wrong Side of Hemmed Patch Fig. 63. Right Side of Hemmed Patch

row seam at the edge. Clip the edge a trifle at each corner, turn in the seam, and baste
it down. Then with fine stitches sew the patch down all around on both sides of the
material. (Figs. 62 and 63.)
An Overhanded Patch is used on material that is seldom washed, and where the raw
edge on the wrong side is not objectionable. The sewing in this patch is not so notice-
able as in the hemmed patch, for it has but one line of stitches. In cutting the patch
be sure to match the stripe or figure. The piece should be large enough to cover the
hole well,when it is basted over it with tailors' tacks. (Directions for tailors' tacks are
given on page 22.) When the patch has been basted and cut apart, it will be seen that
the exact outline of the patch has been marked on both the garment and the patch. The
uneven edges are trimmed away leaving a narrow seam. (Figs. 64, 65 and 66, page 20.)
20 THE DRESSMAKER
Notch the corners of the hole diagonally to the line
of tacks, and trim off the corners of the patch. Turn
the seam edges of both hole and patch toward
the wrong side on the line of the tacks, and baste
together. Then with small overhand stitches sew
the patch in securely, being careful during the
whole proceeding to keep the warp and woof threads
of the material straight at the joining edges. Figs.
65 and 66 show both sides of the patch after it has
been well pressed.

Fig. 65. Wrong Side of Patch

MENDING TISSUE, or TAILORS' TISSUE, as it

is sometimes convenience in cases
called, is a great
of awkward rents or tears where patching would be
undesirable. It is a semi-transparent substance,
resembling the thin rubber used in dress shields.
It melts under a hot iron and acts like a glue,
holding the torn fibers together.

A Triangular Tear should be mended imme-

diately, before the edges have had a chance to
F,g.66. Completed Patch
fray _ The tom par( Qf the garment should be
.

laid, wrongside up, over an ironing-board. Push the

torn edges together, bringing them as nearly as possi-
ble to their original position. Lay a square piece of
the mending tissue large enough to completely cover it
over the tear and a piece of the cloth over the tissue.
Baste the cloth piece in position, but do not let the
basting threads run through the mending tissue or
they can not be easily
drawn out. Then run
a hot iron over it all
several times until the
two pieces and the
ragged edges are nicely
stuck together. Cut
away all superfluous
material around the
Fig. 67. A Rent Repaired with
edges. Fig. 67 shows Mending Tissue
a satisfactory result of
this method of mending on the right side of the material.

A Patch may also be set in with mending tissue in cases

where it undesirable to have any stitches showing.
is
The hole is trimmed to a square or oblong shape, and a
Fig. 68. A Piece Set In piece cut the same shape, but a seam's width wider all
 DARNING AND MENDING 21

around. Lay the garment over an ironing-board, as directed above, and, between the
edges of the hole and the lapped edge of the patch, lay strips of the mending tissue. Be
careful not to have any of the tissue extending beyond the torn edge on the right side,
as it will make an ugly mark after being pressed. Fig. 68 shows a hole neatly mended
by this method.

STOTING is a process of mending much used by tailors, especially on closely woven

or very heavy cloth that does not fray. The first illustration, Fig. 69, shows the cut, and
in Fig. 70 is shown the
position of the needle
and thread in the proc-
ess of stoting. Use
either a thread drawn
fromthecloth, orahair,
to do the stoting.
The part to be mend-
ed is basted smoothly
over a piece of paper.
The needle is inserted
Fig. 69. A Cut in Heavy Cloth about half an inch from Fig. 70. Stoting with a Hair
the torn edge, and run
between the threads of the cloth, across the cut, to half an inch on the opposite side,
and drawn through. Reinserting it, run the needle back od a somewhat slanting line
and continue until the cut has been closed. Then repeat the same process, running
the threads in the opposite direction. When pressed, this mending can hardly be noticed,
but stoting can only be done over a clean cut or tear. On material that is not thick
enough for the needle to pass between the weave, it must be done on the wrong side as
lightly as possible.
 CHAPTER IV

PRACTICAL AND ORNAMENTAL STITCHES

TAILORS' TACKS are used in cutting out garments to mark seams, perforations, etc.
They are used to give a clean exact line for the sewing. When laying out the
pattern on the material, mark all the perforations as directed in the pat-
tern instructions with chalk and cut the pieces. Then with a double thread
baste through both thicknesses of the cloth
wherever it is marked, alternating one long
and one short stitch. Leave the long stitches
loose enough to form a loop under which a
finger can be passed. (Fig. 71.) Then cut
every long stitch and separate the two pieces,
cutting the threads that still hold them to-
gether as you go along. There will then be
enough stitches in each piece to indicate
the sewing line plainly, and both pieces will
be marked exactlv alike. For waists or
coats, or for any curved outline, the tack Fig. 7 Tailors' Tacks
1 .

stitches should be quite short.

In using tailors' tacks for marking long tucks or plaits in skirts, etc., the loose stitch
may be an inch and a half long and not left in a loop, its length supplying the neces-
sary ttvead for pulling through between the two pieces of cloth.

BAR-TACKS make a very neat and serviceable finish for the ends of seams, tucks
and and the corners of collars,
plaits,
pockets and pocket laps of tailored
garments. Fig. 72 illustrates the
process of making the simple bar-tack, fl \ limillll
1

generally used as a stay for pocket

openings. Mark the length desired
for the tack; stick the needle through
the entire thickness of the goods, down liinfiitl-

on one side, up on the opposite, and

repeat several times, according to the
required strength of the tack. Then Fig. 72. Making a Bar-Tack Fig. 73. Barred on Ends
without breaking off the thread, make
one short stitch across one end of the long ones, and continue stitching closely all the
way across, firmly covering the threads of the long stitches. Keep these cross-stitches
close together, and while working, press the long stitches with the needle, to produce
a cord-like effect.
On garments having a finish of machine stitches at pocket openings, etc., the bar-tack,
with small bars crossing the ends of the plain bar, is more ornamental. (Fig. 73.) The
process of making is similar to that of the simple bar-tack, with small
bars worked in after the long one has been finished.

ARROWHEAD TACKS are used at the top or bottom of plaits and

laps and at the ends of seams and pocket openings. (Figs. 74, 75, 76, 77.)
First make an outline of the arrow with chalk or pencil. Bring
the needle up at point A, then take a small stitch at point B as
shown by the position of the needle in Fig. 75. Bring the needle
Fig. 74. Arrowhead down at point C (Fig. 76), up very close to point A along the line
 PRACTICAL AND ORNAMENTAL STITCHES 23
CA (Fig. 76), and take another stitch at point B close under the first one, and down
very close to point C along the line CA. (Fig. 77.) The needle must go in on the chalk
line BC and come up on the chalk line BA, keeping the outline of tne triangle. Each
successive stitch below point B will be a little longer than
the previous one. Repeat this stitch until the entire
space is filled. The finished arrowhead is illustrated in
Fig. 74. on the preceding page.
THE CROW'S-FOOT
TACK is the most ornamen-
tal of thefancy tacks ordi-
narily used at the ends of
pocket openings and seams.

Fig. 75. Outline of Arrow-

head

It is illustrated in Fig. 78,

with the detail of the
stitch in Figs. 79 and 80.
Fig. 76. Second Movement
Outline the tack with
chalk or pencil. The dotted outline seen in Fig. 79 shows
the correct design for the tack. Bring the needle up at
point A, pass it down at B, and up again at B outside of Third Movement
and close to the stitch in line AB; then down at C, up sit
C outside of and close to the stitch in line BC, and down tit A just outside the stitch in
line AB, as illustrated in Fig. 79. Now bring the needle up on the dotted line AG out-

A C
Fig. 78. Crow's-Foot Fig. 79. Detail of Crow's-Foot Fig. 80. Second Movement

side the stitch on line ACclose to A; pass it down on dotted line BC outside the stitch
on line BC close to B; up on dotted line AB outside both stitches on line AB close to
B; down on dotted line CA outside the stitch on line CA close to C; up
on dotted line BC outside both stitches oh line BC; and down on dotted
line AB outside both stitches on line AB, as illustrated in Fig. 80. Fill
in the entire outline in this way until the completed foot looks like
Fig. 78. It will be noticed in making this tack that all the stitches are
taken on the dotted lines and always outside the made stitches, thus
compressing the first stitches so as to curve the sides of the tack
like the outline.
For working these ornamental tacks, coarse buttonhole twist or
twisted embroidery silk is usually employed, and it is generally the
same color as the material. With a little practise these tacks can be
well made, and any of them will add greatly to the finish of the garment.
The crow's-foot is generally worked in scarlet or dark blue silk on
the pockets of serge sailor suits. When it is used to finish the end of
a plait in a skirt it is worked in floss the color of the dress.

A CHAIN-STITCH is, as its name implies, a row of stitches resem-

Fig. 81. Chain-
bling the links of a chain. Bring the needle up from under the material,
Stitch hold down the thread under the left thumb, and insert the needle in the
24 THL DRL55MAKLR
same hole. Bring it up a stitch's distance below, on the upper side of the thread, thus
forming a loop, or link. (Fig. 81, preceding page.)

THE FEATHER-STITCH is one of the most frequently used of all ornamental stitches,

for can be worked with the coarsest of yarn or the finest of silk or linen thread, accord-
it
ing to the nature of the material on which it is used. It makes a most satisfactory trim-
ming. The single, double and triple combinations are shown in Fig. 82.
Run a colored thread along the outline to
mark the center line or mark it with a
: . , transfer design. To make the single
knot the thread and then bring the
stitch,
needle up through the material. Hold the
thread down over the
line with the left thumb.
Insert the needle a little
to the left of this line,

Fig. 82. Feather-stitching.

Butterick Transfer Design 3561

and take a short, slanting stitch to-

ward the right, drawing the needle out
while the thread is held down smoothly
by the left thumb. Then hold down
the thread on the center line and take
a stitch of equal length on the right Fig. 83. Simple Design
side, and draw it out as before.
For the double combination, take two stitches to the
left, and two to the right each time before crossing the
center line; and for the triple combination, three stitches.
The beauty of feather-stitching depends on its evenness.
Material may be marked for feather-stitching by a trans-
fer pattern. Figs. 83 and 84 show ornamental designs. Fig. 84. Wreath Design

THL BLANKET-STITCH is used to protect the edges of heavy woolen materials, and
prevent them from fraying. In working, do not use a knot, but secure the thread by
one or two running stitches toward the edge. Then, holding the thread under the left
thumb, insert the needle
to the depth required and
bring it up from under the
edge, allowing the
thread to lie beneath the
needle, forming an edge.
(Fig. 85.) This stitch
Fig. 86. Design used as
Ornamentation
may be worked into var-
Fig. 85. The Blanket-Stitch ious ornamental designs if
intended for decorative
purposes. (Fig. 86.)
 PRACTICAL AND ORNAMENTAL STITCHES 25
FOR EMBROIDERED SCALLOPS the material may be marked with a stamping pat-
tern, which can be had in various sizes for various purposes —
handkerchiefs, towels, sheets,
table linen, etc. This marking should be half an inch from the edge of the material. The
work very simple and
is
easy, even for an inex-
perienced needlewoman.
Directly on the line run a
row of chain-stitching
which serves as a padding
for the scallops. (Fig. 87.)
The buttonholing is
worked closely with the
needle inserted just above
the line of running stitches
and enclosing the line of
Fig. 87. Scalloped Edge. Butterick Transfer Design 2886
chain-stitches. Use silk
or cotton, whichever is
best suited to the material. The outer edge of the material cut away close to the em-
broidered scallops after the stitching has been finished.

FRENCH KNOTS, which are used in embroidery for the centers of flowers, etc., are
made as illustrated in Fig. 88. After bringing the
thread up through the material, take an ordinary
back-stitch. Wind the thread or silk twice around
the needle, draw it through, holding the coils down
with the left thumb. Then insert the needle over the
edge of the coils, in the same hole, thus making the
knot secure. Do not cut the thread on the under side,
but pass on to the next knot.

THE FAGOT-STITCH is a style of hand-made trim-

ming I hat is always popular and attractive. (Fig.
Fig. 88. French Knots
89.) The simple beading stitch or any of the
more elaborate stitches shown in the illustrations, which are very effective for trimming
dainty lingerie, may also be used as a beading through which to run narrow ribbon.
For fagoting, lie design of the work should first be traced on a piece of stiff paper.
I

Or, as in the case of a yoke or collar where a fitted shaping is required, a fitted pattern
should be cut of stiff paper, and the ribbon, braid or folds of the material basted evenly in
position, following all the curves. When the fagoting is to be applied to the garment in
fancy design, and the material underneath the stitches cut away afterward, the entire
piece of work should be smoothly basted over paper, and the line "of spacing which repre-
sents the fagot-stitching outlined with
chalk or tracing cotton.
The Simple Fagot-Stitch is done by cross-
ing first from left to right, and recross-
ing from side to side between the folds of
the material, taking a small stitch in the
edge. The needle in crossing each time
passes under the thread of the preceding
stitch, thus giving the threads a slight twist
at the edge of the material. (Fig. 89.)
Simple Bending Stitches are illustrated
in Fig. 90 on the following page. To make
the upper design, a buttonholed bar, take
Fig. 89. Simple Fagot-Stitch a stitch directly across the space between
the two folds and work the buttonhole
stitch over the thread back to the starting-point. Then stick the needle into the edge
of the fold near the hole of the first stitch, to keep the bar from twisting, and on the
under side pass on to position for the next bar.
In the lower design the thread is carried across as in the other case, and, returning, one
26 THE DRESSMAKER
loose buttonhole stitch made over the thread.
is Over this same loop, run two closer
buttonhole stitches. Then make a second loose buttonhole stitch over the first thread,
ind again, as before, the two close buttonhole stitches over this loop. Catch the needle
into the edge of the fold, and pass on to the next
stitch. The link bar is not so difficult to make
it appears, and really can be done
as more
•• ~:„ .
..--. quickly than the plain buttonhole bar.
]

HBH| BFJHjIIHj More Elaborate Beading Stitches are shown

in Fig. 91. The upper design is a combination
of the link bar (described in the preceding par-
agraph) run diagonally across the open space,
and a simple twisted stitch run straight across
from the apex of each of the triangles thus made.
To make the second design from the top in
Fig. 91, bring the thread up from one edge of
the fold over to the opposite edge, take a stitch
from the under side and draw the thread taut.
Then insert the needle three-eighths of an inch
Fig. 90. Simple Beading Stitches
from that point, allowing the thread to form a
tiny loop. Insert the needle again directly op-
posite the last hole, and from this point make
five buttonhole stitches in the loop. Now catch
up the edge of the fold just where the first plain
stitch began, and on the under side bring it over
to the second plain stitch, and draw it up for
msmmnmm
the next loop.
In the third design in Fig. 91, the thread is
first carried across from one fold to the other
and left rather loose. Then the thread is brought
up through the same fold one-fourth of an inch
from the point where it was just inserted. Make
five buttonhole stitches in the loop formed of the
thread in crossing, and insert the needle in the
opposite edge. Now carry the thread over
again to form the next loop, running the needle
into the same hole. Bring it up one-fourth of
an inch below this point, and continue as before.
To make the buttonhole cross-bar stitch
illustrated in the fourth design of Fig. 91, first
make a buttonholed bar as described in the par-
agraph on simple beading stitches, but do not
draw it tight; rather let it curve a trifle. Then
proceed as if for the next bar, but when crossing
catch into the preceding bar at the center but-
tonhole stitch, and then continue to the opposite Fig. 91. Elaborate Beading Stitches
edge. Make an even number of buttonhole
stitches on each side on this thread. Allow a small space between the cross-bars.

SHIRRING is made of successive rows of gatherings. It is used as a trimming. There

are several different kinds of shirring, the use of which must be determined somewhat by
the character of the material and the style of garment. Before beginning, it is best to
mark the sewing lines with a colored thread, to be sure to get the rows even. This thread
can be drawn out when the shirring is finished.
A Simple Shirring is shown in Fig. 92 on the next page. The top edge is turned in and
the first row shirred in close to the edge. The thread should be amply strong, with a good
big knot at the end; for if the thread is weak and breaks, or the knot pulls through, the
shirring will progress slowly, and the material will suffer unnecessarily in the working.
Shirring can also be done very successfully on the machine, by using the gathering at-
tachment. In that case it is especially necessary to mark the sewing lines before beginning,
as the machine does the work so rapidly that one is more apt to get an irregular line.
 PRACTICAL AND ORNAMENTAL STITCHES 27
Gaging or French Gathers is a style of shirring
generally applied at the back of skirts, etc., where
a quantity of material must be adjusted to a com-
paratively small space. (Fig. 93.) The stitches
in this case are made evenly: long ones on the
right side and short ones on the under side of the
material. Each successive row of gathers has its
long and short stitches parallel, respectively, with
those of the preceding row". The threads are all
drawn up evenly, and fastened at tin- ends.
Tuck Shirring* should lie made on the bias of the
material. Baste the tucks in first, and then shirr
Fig. 92. Simple Shirring.
along the line of bastings through both thicknesses
of the material. Fig. 94 shows the tuck shirriugs
drawn up lo fit over the shoulder. The
length of the shirring thread determines
the curve.
Scallops or Snail Shirriugs are meant
to be used as a band trimming. Make a
narrow fold of the material, and run the
shirring thread zigzag across from edge
to edge. (Fig. 9.5.) As the work pro-
gresses, draw up the thread, when the
fold will acquire a scallop edge on
both sides. If a wider fold is used,
two threads may be run in close
together. This will produce a
more even trimming and one that
will be less perishable.
Cord Shirring 96) is
(Fig.
made much the
like tuck
shirring. Tiny tucks are hasted
Fis. 93. Gaging or French Gainers iu with a cord enclosed from the

under side. (See Fig. 9(i, page 28.

Run thread along the
in the shirring
basting of the corded tuck, and when
the entire number of threads have
been run in, draw up the fulness.
SMOCKING (illustrated on two
pages following) is a style
of trimming particularly
suited to children's dress-
es. It may
be used in a
pattern, forming yokes,
etc. As a trimming it is
sufficiently ornamental to
make the addition of lace
MP;
1-ii
or other decoration quite
unnecessary, and as an in-
expensive trimming it can
not be equaled. Delicate Fig. 94. Tuck Shillings. Fitted Over Shoulder
fabrics of cotton, wool or
silk are best suited for this work, which is clumsy in too heavy materials.
To Prepare /lie Material for Smocking, spread it out on a table. With a
transfer pattern mark the straight lines of dots spaced an even distance apart.
(Fig. 97.) The rows of clots for the smocking are so evenly arranged that
they form perfect squares. (Fig. 97.) Keep the lines of dots absolutely
Fig. Q5.
Scallops straight on the grain of the goods. When marking material for smocking by
28 THE DRESSMAKER
a transfer pattern, use as
many rows of dots as the
width of the smocking re-
quires. But it is always a
safe plan to mark a row or
two less, in case a change
should be decided upon before
the work is finished. Then
the material will not be disfig-
ured by the marks. Soft,
loosely twisted embroidery Fig. 96. Cord Shirring
silk is used on silk or woolen
materials, and the best quality of French embroidery cotton on wash fabrics.
For the Simple Smocking, as illustrated take a thread and catch the mate-
in Fig. 98,
at the first dots of both the first and second
rial
1
rows; bring them together and catch the ma-
terial securely at this point with two or three
neatly made over-and-over stitches. Then, pass-
ing the thread under the material, bring the
needle out at the third dot and do the same
there. Continue down the row to the depth
desired for the smocking.
In the second row of stitching, the alternate
dots of the second and the corresponding dots of
j

the third rows are caught together, always

Fig. 97. Preparing the Material for Smocking
keeping the long thread on the under side taut
but not so it will draw, and making the stitches as even in size as possible.
In Fancy Smocking the material must, of course, be marked with dots following
the pattern decided upon. The needle is first run through each dot as for a gathering,
drawing the material up
in even folds (Fig. 99),
similar to the method of
making French gathers.
The Outline Stitch, as
used in Fig. 100 is worked
from left to right along
the line of the gathering
thread. The stitch is
caught through from the
Fig. 98. Method for Making Simple Smocking under side of each small
fold while the gathered
material is held in the left hand, and brought up and over the edge of the first fold
to the second one. A variety of arrangements can be used effectively in this way.
The Cable Stitch, used single and double, is
illustrated in Fig. 101. Start the thread as for TTTTn~~
the outline stitch, taking a stitch from left to
right through a fold from the under or left side;
then through the next fold, from right to left,
and repeat. The second row is begun with the
right-to-left stitch, thus producing a V-shaped
arrangement of the fold.
The double cable stitch is simply two rows
of the cable stitch run close together.
The Diamond Stitch is begun like the cable JL 111 nil Uj
stitch. Take one stitch in the first fold, from Fig. 99. Preparing Material for Fancy Smocking
left to right,with the thread below the needle.
In the second fold, a little above the line of the first stitch, take a similar stitch. In the
third fold take a stitch from left to right, but with the thread above the needle. This
stitch forms the apex of the triangle. Descending, take a stitch in each of two folds
 PRACTICAL AND ORNAMENTAL STITCHES 29
from to right, keeping the thread above the
left
needle. The stitch in the third fold again has
the thread below the needle, and the line of
stitches again begins ascent. Continue in this
way as far as the smocking is desired.

Fig. 101. Cable Stitch

Outline Stitch

The second row of zigzag stitches is put in so

that the two will form a line of diamond-shaped
figures which can be increased to any depth de-
sired by additional rows of smocking. (Fig. 102.)
If a yoke or. pointed effect of the smocking is
desired, it can easily be accomplished by omit-
ting as many diamonds as necessary to make the Diamond Smocking
points, as one proceeds with the work.
Smocking is not in the least difficult once the method has been thoroughly grasped.
For some reason it is much more popular in England than in the United States. Abroad
it is used a great deal for small children on little dresses of the simple smock order.
They are very quaint and picturesque, extremely comfortable and becoming. Smock-
ing done in colors on fine white batiste, silk mull, or nainsook makes pretty guimpes
and dresses for children and very smart blouses for women.
 CHAPTEJR V
BIAS TRIMMINGS

BANDS, folds, facings, must be cut on a true bias to give satisfactory-

ruffles, etc.,
BIASresults. For rounding corners or following curved or making folds or ruffles
lines,
} hang gracefully, it is impossible to use successfully material that is cut on the
straight of the weave. To maintain a perfect bias, the strips should be of equal
width throughout their entire length.
Sometimes, in cutting, if the material is very
7"-
pliable, the edges will stretch, and in time the cut-
ting line will deviate from the original mark.
ITFlllllL is well, in cutting many strips, to test the bias
It

J
< s ^
§ §
5
.
M It* line occasionally, by laying the yard-stick across
the material, and cutting a new edge if the old
III one is not even.
True Bias is obtained by spreading the ma-

* 1 $ terial on the table and making a mark seven or

1 § , tti 111 eight inches from one corner on both the selvage
and the cut end. Lay a yard-stick across the
corner, touching both these marks, and draw a
line. (Fig. 103.) Make as many marks on both
edges as there are strips needed, marking them
i4 i §4 i yi I the required width. Then cut, carefully follow-
ing the line and using sharp scissors.
1 1
'I J
;
11
II II
LI 111!
I I I
•

When the material for the bias bands is alike on

§ I
i 1 both sides, as in the case of corded silk, for instance,
14ISS I
1/1 §§ Ss
§/% <$ -S
be careful to have the cut strips all on the same bias.
•1 I l-l 1 I
111 I 1
1 1 I I
I

TO JOIN BIAS 5TRIP5, lay the two diagonal ends

1 ll l l | l ! | together as shown in Figure 104 and baste in a seam.
¥i
A- I
J JL_I I
S
. $ I
%
(Fig. 104.) It will then be seen that when the
joined strips are lapped back, the grain of both
FiS, 103. Marking Material pieces runs correctly in the same direction.
for Bias Strips. (Fig. 104 A.)

BANDS or FOLDS USED AS TRIMMINGare made in a variety of ways. They may be

lined, unlined,double of the material, or piped at the edges. Cut the band the required
width, allowing for a turning at both edges.
The Unlined Fold, illustrated on the following page, has its lower edge basted up in a
hem, and stitched evenly from the right side. The upper edge is turned over, and the band
is then basted into position on the garment. The upper edge is stitched through the
garment, making the one stitching serve two purposes. (Fig. 105.)

Y if* 'I''
'

J
,.'!«
w ,,/n
1 '

Fig. 1 04 A. The Seam.

The Lined Fold is finished before it is applied to the garment. Cut a strip of canvas
or crinoline, as wide as the band should be when completed. Baste it evenly on the wrong
30
 BIAS TRIMMINGS 31

— - — -. —— )
side of the strip of material, catching both edges
down over it. With the catch-stitch, fasten down
the edges to the lining, and the fold is ready for
use. (Fig. 106.)
The Piped Fold is one in which a cord or piping
(seepage 32) has been applied to the edges with one
.
— - -
--
"; or more rows of machine stitching that give it a
tailored finish. (Fig. 107.)
Fig. 105. UnNned Fold Double Folds are made of bias strips cut twice the

Fig. 106. Lined Fold Fig. 1 07. Piped Fold

width desired for the finished band. Fold them over on the center line and baste them flat.
Turn the two raw edges in and baste them together. Then join them neatly with slip-
stitches, and apply to the garment by hand. If machine stitching is desired, baste the
fold in place first and then stitch. These folds are frequently used as a trimming in the
place of tucks. (Fig. 10S.)
A Milliners' Fold is made by turning the top edge of the strip over one-half the
width of the finished fold. Bring up the lower turned-under edge, covering the raw
upper edge. Sew flat with fine running stitches. (Fig. 109.)
If the material is very sheer, it is a good plan to have a small strip of paper, not

Fig. 1 08. Double Fold Fig. 109. Stitched Milliners' Fold

quite the width of the fold, to slip along within the fold as the work progresses. II
pressing is necessary, use only a warm iron.
Crepe folds are cut on the straight of the goods, so that the crinkles will run diagonally.
Tailors' Straps are folded bands used
to strap seams, or as an ornamental
trimming on tailored garments. They
may be cut on the bias, if of velvet or
taffeta; crosswise if of woolen; length-
wise if of cotton materials. Fold the strip
at the center and catch the raw edges to-
gether with loose whip-stitches as shown
in Fig. 110. Spread out the fold and press
it well. Baste into position on the gar-
ment and stitch by machine on both
edges.

CORD PIPING is used to give firm- Fig. 1 10. Making Tailors' Strap
ness to an edge, or as a trimming for
waists, skirts, etc. Fig. Ill, on the following page, illustrates the process of running
in a cord intended for a trimming. Mark the trimming line for the cord with a
colored thread. Then, holding the cord underneath with the left hand, enclose it in a
32 THE DRESSMAKER
tuck, stitching with fine even running stitches as close to the cord as is possible.
In Pig. 112 is shown the cord run in a bias strip which is intended to be used as a facing
for an edge. After the cord has been inserted, join the cording to the garment with
the raw edge on the inside. The broad edge is then turned over one-
quarter of an inch and hemmed down.
PIPING is a finish much used in all styles
of dressmaking. It is easy to make and very
effective. Cut bias strips an inch and a quarter

Fig. 111. Inserting Cord

wide, if the material to be used for the

Fig. 112. Cording for Facing
piping is firm, as taffeta, etc. If a loosely
woven material is used, the strips should be a trifle wider. Join all the strips, as described
on page 30, and press the seams open. Then fold the strip over at the center line and
baste it flat, being careful not to let it become twisted.
Next prepare the edge of the material to which the piping is to be applied. If a stiffen-

Fig. 1 1 5. Right Side of

Fig. 113. Crinoline Basted Fig. 114. Under Side Showing Completed Piping
to Material Piping Clipped at Corners

ing is desired, cut a lining of crinoline or canvas three-eighths of an inch narrower than
the pattern or the piece to-be lined. Baste this lining into position as shown in Pig. 113.
If the edge forms a fancy outline, as illustrated here, turn the edges over evenly all
around, clipping at the corners and folding in at the points where necessary. (Pig. 114.)
Then run a basting thread an even width (about three-eighths of an inch) around the edge
to serve as a guide. Next baste on the piping, following this line closely. Be careful
to avoid any scantness at the points or bulginess at the corners. Pig. 115 shows the right
side of a pointed edge neatly piped.
A ROLLED HEM makes a very pretty
trimming-bands.
finish for bias or straight
can only be used on an edge that is cut on
It
a straight line. It can not be used on a
curved edge.
An allowance of one and a half inches will
have to be made on the edge for this hem.
Fig. The Rolled Hem
l
Fold the edge over on the right side and
sew one-quarter of an inch from the fold (Pig. 115 A). Then turn under the raw edge
one-quarter of an inch and hem it over the stitches on the wrong side (Fig. 115 A). The
hem must look round like a cord when finished not flat (Fig. 115 A).— —
 BIAS TRIMMINGS 33
CORDING is a very useful trimming and is made with bias strips and Germantown or
eiderdown wool. The bias strips should be about an inch and a quarter wide. Fold the
strips lengthwise through the center and run a seam three-eighths or a quarter of an inch
from the fold edge. With the strips still wrong side out, slip the ends of several strands
of Germantown or eiderdown wool far enough into one end of the tube-like covering so
that you can sew them securely to it. Then with the loop end of a wire hairpin push the
wool farther and farther into the covering at the same time turning the covering right side
out.
When cording is used to form a motif, stamp the motif on ordinary wrapping paper.
The cordings are first basted in place on the design with the seam uppermost so that the
right side of the motif will be next the paper. They are then sewed together at the points
of intersection and contact.
 CHAPTER VI

PLACKETS
UNDERWEAR PLACKETS are made in the following manner. If there is no seam, cut
the opening in the garment the desired length. It should be long enough to slip
easily over the head. Cut for a lap a strip of material lengthwise of the goods.
It should be twice the length of the placket opening and three and three-quarter
inches wide. Fold the ends together and crease through center; open and fold the sides
together and crease. Cut out one section to within a small seam of the
crease as shown in Fig. 116.
Baste the long straight edge of the lap to both edges of the opening,
making a nar-
row seam. Run
it almost to a
point at the
lower end of the
opening. (Fig.
Fig. 6. Underlap and Facing
1 1
117.) Make a
Strip for Placket
narrow turning
on the three
edges of both the narrow and the wide part of
the lap. Double the wide part back (Fig. 118),
baste the edge over the line of the sewing, and
hem. This forms the underlap. Turn the
narrow part back on the line of sewing, baste
the free edge to the garment to form an under-
Fig. 1 1 7. Underlap and Facing Stitched to facing, and hem. The end of the underlap is
Placket Slit in Skirt turned under, basted and stitched across. The
finished closing is shown in Fig. 119. This placket
has an outside row of stitching. It is usually employed for drawers, petticoats, etc.
Plackets such as are made for Unlined Dresses are shown in Figs. 120 and 121, on the
following page. These illustrate the placket
used on skirts of unlined dresses when the
outside sewing would be an objection. Use
a strip twice the length of the opening and
three and three-quarter inches wide, without
cutting away the section as in the first method.
The first sewing is made as in the first
placket, then the free edge is turned under and
hemmed close to the sewing. When this strip
or lap is applied above the back seam of a
skirt, it is set back an eighth of an inch from
the stitching of the seam. One side is ex-
tended out to form the underlap, and the other
side is turned under on an even line with the
stitching of the seam. When the placket is
closed, the entire lap is hidden as shown in
Fig. 121.

The Plackets for Cloth Skirts require neat

and tailor-like workmanship. Great care Fig. 1 1 8. Folded to Fig. 1 1 9. Finished
must be taken in handling the edges of the Position Placket
34
 PLACKETS 35
opening. They are gen-
erally bias, and stretch
easily. If the upper edge
becomes stretched it will
bulge when the skirt is
—
on the figure a defect
you probably have often
noticed on other women.
Hooks and eyes or pat-
ent fasteners should be
placed sufficiently close
together to prevent the
skirt from gaping. Any
stitching that shows
through on the outside
should be done evenly
and with a suitable
stitch and tension.
Otherwise the placket-
hole will have a careless
appearance. A placket-
120. Inside View of Con- Fig. 121. Outride View of Continuous-
hole should be ten or
tinuous-Lap Placket Lap Placket
eleven inches deep unless
the figure is unusually large and full,
requiring a still deeper opening.
\\ The design of the skirt regulates the
position and finish of the placket. It
may be at. the center or side back,
the front or side front.
.4 Placket-Hole at the Center of an In-
verted Plait is shown in Fig. 122. The
placket comes under an inverted plait
at the center back of the skirt.
The first step in finishing the placket
of a skirt of this kind is basting a nar-
row strip of canvas or cambric along
each edge of the opening, with the
edge of the canvas three-eighths of an
inch from the edge of the opening.

Fig. 122. Placket in Center of Inverted Plait

I
The skirt edges are then turned back on the canvas and
caught to it with small stitches. (Fig. 123.) Stitch the
edges of the placket-hole and sew on the hooks and eyes
as illustrated. Cover the canvas on the right side with
a facing of silk. Sew an underlap of material an inch
and a half wide, finished, to the left edge, and bind the
raw edge of the lap with binding ribbon. (Fig. 123.)
A Placket-Hole at the Right Side of an Inverted Plait is
used on a skirt of heavy cloth that does not require the
canvas reenforcement. Join the center-back seam to the
top of the skirt and cut through the right-hand crease in
the inverted plait to the regular placket depth. Bind both
cut edges of the inverted plait with binding ribbon or a Fig. 123. View Showing Hooks
Inside
binding of thin silk. This method, as you see, allows and Lyes
36 THE DRESSMAKER
the inverted plait to serve as a placket
underlap. The outer left-hand fold of the
plait should be stitched through all the
thicknesses of the skirt, allowing the stitch-
ing to taper to a point. (Fig. 124.) The
stitching on the right-hand side of the
skirt leaves the under portion of the in-
verted plait free. Fig. 124 shows the posi-
tion of the hooks and eyes and patent fast-
eners on this placket-hole.
The Placket-Hole at the Center of a Habit
Back is practically the same as for the
skirt with an inverted plait closed at the
center-back seam. Face both edges of
opening with canvas or cambric strips
placed three-eighths of an inch from the
Fig. 124. Placket Showing Hooks and Eyes edges which are turned back and catch-
stitched to the canvas. (Fig. 123.) Stitch
the edges of the placket-hole. Sew on the hooks and eyes, taking care that the stitches
go no deeper than the canvas, for the sewing must not show through on the outside of the
skirt. The same care must be taken in covering the canvas on the right side with silk,
and in sewing on the underlap. The latter should
be an inch and a half wide, finished. It is slip-
stitched to the left hand edge of the placket. Its
free edge should be bound with binding ribbon.
The other edge should be turned under and hemmed
by hand to the canvas. (Fig. 125.)
A Placket-Hole at the Side Back or Front is used
quite frequently. So far as the construction goes
a skirt can open at any seam. When a skirt
does not open at the center back the placket-hole
generally comes on a seam at the left side of the
back or front. The placket-hole in this case is
made exactly as in the habit-back skirt, directions
for which are given in the preceding paragraph.
A
Placket-Hole Under a Strapped Seam is shown
in Fig. 126. The right-hand fold of the strap is
stitched flat to the skirt. The left-hand edge of
the strap is turned under and stitched to itself,
following the same line of stitching that holds
Fig. 125. Finished Placket on Habit
the rest of the strap to the skirt. (Fig. 126.)
Back Skirt
The hooks are sewed to the left edge of the
strap. Notice that they are set close together and a trifle back from the edge. A
strap placket must be held firmly to keep the line of trimming absolutely straight. For
the same reason it is just as well to add a row of patent fasteners just back of the hooks.
The underlap should be an inch and a half wide
and an inch longer than the placket-hole, finished.
It should be made of the skirt material faced with
silk or with a light-weight lining fabric.

Lay the underlap on the under side of the skirt

with the edges of the skirt and lap even. Join
them with a generous seam. The depth of the
seam will depend largely on the width of the strap.
After stitching the seam, turn the seam edges
back and hem them flat to the lap. The other
edges of the lap should be bound with silk or bind-
ing ribbon. Blind loops are used instead of eyes
Fig. 126. Placket Finish of Strapped Seam and should be worked on the skirt in corresponding
 PLACKETS 37

positions to the eyes. The patent fasteners are sewed to

the lap. (Fig. 126.)
The Plachet-Hole in a Skirt Set in the Same Belt with its
foundation skirt is made by the same methods as ordinary
plackets. In such an instance, the placket opening of the
skirt is finished separately. The edges of the placket open-
ing of the foundation skirt are turned under three-eighths of
an inch. The right-hand edge is hemmed under the bill of
the hooks on the skirt, and the left-hand edge is hemmed
against the edge of the underlap of the skirt placket.
This style of placket is not used as much just at present
as in former years, when almost every skirt was made with
either a lining or a foundation skirt. While we dispense
with the drop skirt in all dresses of heavy materials, it is
still used with all thin evening fabrics and with a good
many light-weight materials such as voiles, etc.
127. Reverse Side of
Whatever kind of placket is used, one should be particu-
Underlap
larly careful to see that the hooks and eyes or fasteners are
so arranged that they will keep the hole securely closed. Nothing looks worse than a
gaping placket, and any woman who takes a pride in her personal appearance will pay
special attention to this part of her dressmaking.
 CHAPTER VII

APRONS AND FLANNEL PETTICOATS

A LL WOMEN need aprons, both for sewing and household use. For any one who has
/\ had experience in needlework the making of a few simple, pretty aprons will
little
* *• make her familiar with the use of stitches and materials.
Two sewing aprons can be made from three yards of lawn thirty-six inches
wide. Tear the goods into three equal breadths. If the edges are uneven, pull the cross-
w'se threads into shape by stretching through the bias. From one length tear four
strips, thirty-six inches long and six inches wide for the ties, and two lengths for the
belt bands. The latter should be three inches wide and two inches shorter than the
waist measure.
Take one of the remaining large pieces and turn up a four-inch hem at one end by
folding over a narrow turning and creasing evenly. Make a second turning four inches
wide and crease. Baste along the line of the first turning and hem neatly with small
even stitches,
using fine cotton
and a small
needle.
Beginning
with the selvage,
elope the apron
off a little at the
top to keep it from hooping up at the front. It should
be one-half inch shorter at the center front than at the
sides.
Gather the top three-eighths of an inch in from the
edge and stroke the gathers. Draw up the threads,
making the apron two-thirds of the waist measure. Pin
the middle of the band to the middle of the apron on
the right side. Hold the gathers toward you and back-
stitch to the band. Hem the ties with three-eighths-inch
hems at the sides and two-inch hems at the ends. Lay a
plait in the upper end making it one inch in width and
back-stitch to the end of the band three-eighths of an
inch from the edge. (Fig. 128) Turn the band toward the
.
Fig. 128. Sewing on Ties
wrong side of the apron, turn in the raw edge three-eighths
of an inch and hem to the gathers, covering the line of sewing. Turn in the ends of the
band and hem them to the ties. Overhand the remaining spaces on the band.
The apron may be finished without ties by cutting the band one and one-half inches
longer than waist measure. Turn in three-eighths o'f an inch at each end and overhand
all around. Make two buttonholes at one end and sew two buttons at the other end.
A FLANNEL PETTICOAT or UNDERSKIRT is an excellent garment for the inexper-
ienced needlewoman to practise on.
Select a good pattern and cut as directed in the instructions. If the pattern allows
for no hem, each gore must be cut about three inches longer at the bottom. Baste the
seams, matching the notches, and backstitch them. Leave a ten-inch opening at the
back for a placket, which can be finished with f eatherstitched hems as shown in Fig. 129,
The seam edges may be catch-stitched as shown in Figs. 11 ,and 12 on page 5.
The bottom of the skirt may be finished with a scalloped edge as shown in Fig. 87 on
page 25. Or, the hem may be turned up on the right side, made into a French hem, and
finished with a row of featherstitching as shown in Fig. 131. If this latter finish is de-
38
 APRONS AND FLANNEL PETTICOATS 39
sired, the to within twice the depth of the finished hem, as illus-
seams must be stitched
trated in Fig. 130. Clip the seam at this point to the stitching, turn the lower edges
toward the right side and stitch the remainder of the seam. Press open, turn the hem
to the right side, baste and featherstitch. Gather the top
of the skirt, or, lay the fulness in an inverted plait at the
back.
Pin the belt to the top edge,
on the outside of the skirt
with the marks indicating the
middle of the belt and the mid-
dle of the skirt edge togeth-
er, and the ends of the belt ex-

129. Fealherslitched Hem 30. Reversing « Fig. 131. French Hem on Flannel
at Placket French Hem Skirt

tending three-eighths of an inch beyond the hems of the placket. Distribute the gath-
ers evenly, baste and backstitch the skirt to the belt. Turn the belt toward the wrong
side, make a narrow turning on its wrong edge and hem it over the seam, covering the
raw edges. Turn in each end of the belt three-eighths of an inch and finish with over-
and-over stitches.
 CHAPTER VIII

MAKING AND FINISHING UNDE.RGARMLNT5

ALTHOUGH there a particular daintiness and charm about hand-made
is

much fine and beautiful work may be done on the machine.

under-
wear, The saving
of time is so great that when a number of pieces are to be made this method is
usually given the A —
few of the smaller pieces a corset cover, che-
preference.
—
can easily be made by hand, but the amount of work on gowns,
mise or a pair of drawers
garments inclines one toward the machine method.
petticoats or combination
One must understand something of the mechanism of the machine. It must be kept
clean and well oiled. The number of the thread, the size of the needle, the length of the
stitch, and the adjustment of the tension must be adapted to the material. No. SO cotton
is the best for white work, except for tucks and hems and all outside stitching on very
sheer and fine materials, when No. 100 or No. 120 may be used. Every make of machine
has a table, giving the sizes of needles that should be used with certain number threads,
which it is wise to follow. Remember that a sewing-cotton requires a looser tension
than silk.
The hemming and tucking attachments are great time-savers, but many women prefer
to gather ruffles, puffs, etc., by hand and stroke them.
No raw edges of material are left at the seams in lingerie. All edges should be joined
with veining or finished in French or felled seams. The French seam is used at what
may —
be called the regular seams those joining together the gores or the front and back
portions of the garment. A
felled seam is used to piece the material in cutting unusually
—
wide garments drawers, for instance.
Both the felled and the French seams are illustrated and explained in Chapter I,
"Sewing Stitches."
The daintiest and at the same time the most effective trimming for lingerie is hand
embroidery. It is used on all the most beautiful French underwear, and is very lovely to
look at, and yet adds very little to the cost of the garment. It is the only trimming that
does not wear out, and it never requires mending. For every-day wear the simple scallops
and eyelets which can be used in place of beading are very satisfactory. More elaborate
designs can be used on finer lingerie for evening wear, etc. One can get very beautiful
effects by combining hand embroidery with lace.

THE PETTICOAT is a simple garment which even the beginner on the sewing-machine
can undertake. With dress skirts that fit smoothly about the hips the fit of the under-
garments is an important matter.
Select a good pattern, in a suitable number of gores. A seven-gored pattern is preferred
for a stout figure, as it gives two more seams for fitting.

For Cutting, arrange the pattern pieces economically on the material, following the
instructions carefully. Allow a two and one-half inch hem if it is not provided for in
the pattern.
Baste the gores together with a three-eighths of an inch seam. In basting a petti-
coat always begin at the top with small, close stitches, for the greatest strain in fitting
comes at the waist and hips. Below the hips the basting stitches may be larger. Be
careful not to stretch the bias edge of the gore, as this is often the cause of the seams not
being put together correctly.
Try on and make any necessary alteration in the fitting. Stitch one-quarter of an
inch outside of the bastings. Remove the bastings and reverse the seam, stitching a
second time where the first row of bastings was made, making a French seam, as shown
in Fig. 15 on page 5.

The Placket is made at the back with a continuous lap three-quarters of an inch wide,
finished as shown in the process of making on page 35.
40
 MAKING AND FINISHING UN DERGARM E.NT5 41

Thepetticoat may be finished at the top with a narrow bias facing which allows
it to drop below the waistline. If fulness is used, it can be gathered or laid in plaits
at the back and the bias facing is basted to the right side of the skirt, turned over to the
wrong side and stitched down by machine. The method for applying a facing is shown
in Fig. 137.
A Yoke which insures a better fit to the outer skirt is often used instead of a
facing on un-
derskirts and
drawers. The
yoke pattern
should be
bought by the
same measure-
ments as the
skirt. If the
waist and hip
measure are
disproportion-
ate, order the
pattern by the Fig. 132. A Circular Yoke Fitted to a Large Waist.
hip measure-
ment nearest your own and alter it at the waistline. The yoke patterns are cut in one
piece, either with or without darts.
The yoke may be fitted by the darts if there are any. In case there is none, cut a
trialyoke from coarse cambric before cutting out the real garment. Mark the center
front with a colored thread and fit the yoke. If the waist is too small, slash the yoke
down from the waist wherever necessary and pin a piece of cambric at each slash to
hold it to the correct size as shown in Fig. 132. Use this fitted yoke as a pattern from
which to cut the real yoke. Do not alter any of the notches in the lower part of the
yoke, as the changes at the waistline do not affect the construction of the rest of the
garment.
If the waist measure is smaller than that of
the pattern, pin little darts into the cambric
yoke to make it fit. This process will repay
the slight trouble involved by giving a smooth
and comfortably fitted garment. Two pieces
should be cut from muslin by the yoke pattern,
one to be used as a facing or lining.
If the yoke is not provided in the pattern,
measure down from the waist to yoke depth
off the top of the skirt, making the
and cut
cutting three-quarters of an inch above the
lower edge of the yoke.
.1 Silk Petticoat may be finished at the top by

a method which dispenses with a placket. (Fig.

133.) The entire upper edge of the skirt is
finished with a bias facing. Stitch the facing to
the skirt with the seam on the wrong side, turn
Fig. 133. Method of Finishing Skirt without the facing over and stitch directly on the edge;
Placket.
the remaining edge is turned in and stitched
down flat. At the back, where the fulness commences, cut a slit in the skirt at each side.
The slits should be worked like buttonholes. Insert a tape or drawstring through
one buttonhole and draw over a short distance beyond the buttonhole on the oppo-
it
site side. Tack it firmly. A second tape is put through the buttonhole near the last
tacking and brought out through the one on the opposite side, where it should be tacked
firmly just beyond the buttonhole. (Fig. 133.)

The Hem is turned up at the bottom, or a narrow put on as shown in Figs. 38

ruffle is
and 39 on page 11, making the skirt three-quarters of an inch longer than the desired
42 THE DRESSMAKER
length. Gather the quarter it, and stroke the gathers. Measure up from the
ruffle,
bottom of the skirt the exact depth of ruffle and crease, folding in the right side of skirt.
Insert the ruffle and stitch three-eighths of an inch from the crease. Fold the tuck
back and make a second stitching along the fold. This uses up the three-quarters of an
inch which was added to the length of the skirt.

DRAWERS are finished at the lower edge first. A gathered ruffle of either the plain
material orembroidered edging makes a
pretty trimming. It may be added in either
of the ways shown on page 11. The depth
of the hem, ruffle, etc., must be considered
in measuring the length. .If a row of insertion
-

is desired at the head of the ruffle, the hem

may be omitted and the insertion applied to
the edge of the material with a French seam.
The ruffling is joined to the insertion also in a
French seam. If tucks are to be used as
trimming, cut the drawers sufficiently long to
allow for them. One-eighth inch or finer
tucks in clusters of three or five are effective,
either with or without an insertion of lace or
embroidery between the clusters. All the
edges are joined in felled seams.

Facing on Open Drawers Open Drawers are made with the seam run-
ning from the front belt to the back, not
joined, but hemmed or faced, as the pattern provides. If a facing is applied, stitch it to
each leg portion from the waist to the front around past the joining seam, easing the
facing on the curve, and continuing it up the back edge to the waist. Turn in the free
edge of the facing and hem it to the inside of the garment. The manner of applying
the facing is shown in Fig. 134.

In Fig. 135 is shown a pair of drawers that can take the place of a short petticoat, as
they are cut in circular shape and fall quite full about the knees. The material is
fine nainsook, long-cloth or French cambric. The yoke is circular in shape, and
should be fitted to the figure as shown in Fig. 132 on page 41.
The lower edges of the drawers are
turned up in narrow hems and the lace
edge is inserted in the manner shown in
Fig. 34, page 10. The lace may be fulled
very slightly by drawing the strong
thread which will be found in the top
edge of nearly all laces. This will keep
the lace from hooping; at the same time
it is not full enough to look like a ruffle.
Or, the lace edge may be whipped on to
the edge of the hem by hand.

The rows of lace insertion are then

applied in even rows. Measure with a
notched card as shown in Fig. 24, page
7. Baste close to the edge of inser-
tion. Turn to the wrong side and cut
the material to within a narrow seam
of the bastings. Turn in a very narrow
hem which must come exactly under the
edge of lace so that the work may be
turned to the right side and the lace
stitched on by machine, at the same
time sewing in the narrow hem. An illus- Jx*^ %S.We s 3-*ui>*
tration of this method is given in Fig 1 35.
,

Fi$. i35. Circular Drawers on Fitted Yokt>

 MAKING AND FINISHING UNDERGARMENTS 43
If the ruffle at the lower edge of the garment is straight, the lace edge and insertion
may be applied as illustrated in Figs. 34 and 3.3, on page 10. There are different
ways of fitting the drawers at the waist. (Fig. 136.) If there is fulness at the
top of the drawers, gather the top of the drawers according to the instructions given
with the pattern, and stroke tin gathers. The right side is lapped across the left at the
front. The center front of both the yoke-pieces is marked with a colored thread, and
the lower edge of one yoke is basted in a seam to the gathered top of the drawers, match-
ing the notches in both, and making the seam toward the outside. The garment may
then be tried on, to see if the distribution of the gathers is correct.
The drawers portion may
need raising a little into the
yoke at either front or back
if the figure requires it. After
any needed alterations are
made, the seam is stitched.
The second piece is then
placed even with the one
joined to the drawers, but
toward its wrong side that —
is, the inner side of the gar-

ment— and a seam is stitched

around the top or waist edge
Voke Sewed to Drawers that will hold the two yokes
together. The one on the
inside (that has not been seamed to the drawers) is then turned over toward the outside,
covering the top of the seam just made. Its lower edge is turned under a seam's width
and is basted and afterwards stitched on, on the outside, to cover the seam joining the top
of the drawers to the first yoke. This process may be readily understood by examining
Fig. 136.
Drawers are sometimes fitted with darts instead of a yoke. In this case the darts are
closed with felled seams, and the plaits laid in the back to hold the fulness in place are
often stitched down a short distance on each fold edge. The waist edge of the drawers
i- finished with a bias facing. Fig. 137 illustrates the upper portion of a pair of drawers
showing the first row of stitching. Clip
the scam at the curves, turn over the
facing and stitch at the top and bottom,
as shown at the right-hand side of the
illustration. The drawstrings or tapes
are put in, one on each side, and sewed
firmly. >r, the drawers may be fastened
<

by abutton and buttonhole. If preferred,

the fulness, instead of being laid in a
plait, can be gathered by the drawstring.
Insert the tape and fasten the ends se-
curely where the gathers begin.
Drawers cut in this way are not at all
difficult to fit. There is just one point
that needs the same care in these gar- Facing at Top of Drawers
ments as in the skirt, and that is the ad-
justment to the figure that has very full abdominal development and is flat at the back.
In such a case, if the drawers ate cut exactly by the pattern, they will draw from the back
to the front. If the waistline of the drawers is raised a little in the back, to counteract
thistendency the entire garment will be made shorter. The correct way is to allow an
extra inch or two at the top on the fronts in cutting, tapering the allowance away to
nothing just over the hip. In patterns for the larger waist measures a moderate
allowance is made at the abdomen, but when the development is unusually large, it is
better to make a still greater allowance in cutting.

For Closed Drawers, cut the slits at the side like the pattern and finish with a con-
tinuous placket. The two parts are seamed together with a flat-fell and the top is gath-
44 THE DRESSMAKER
ered. The lap at the front of the opening is turned under at the joining, and the
one at the back extends out to form an underlap. The facing or yokes are attached
in the manner illustrated on page 43. A button and buttonhole is used for fastening the
front of the drawers to the back.
If worn with a waist, buttonholes only are needed in the ends of the bands, and at the
center front and center back.

CORSET COVERS have the widest range of design

and style among undergarments. They should be
carefully planned as to material, trimming and style,
for they often serve as a slip under a thin waist.
For a stout, short-waisted figure a pointed neck both
back and front will be found more becoming than a
round outline. Ruffles extending across the front of
the corset cover will give a good figure to a slight per-
son and serve to hold out the blouse. This style of
cover usually closes at the back. The pattern is perfo-
rated for the position of the ruffles. Corset covers can
very easily be made by hand, and they are extremely
dainty, pleasant handwork.
Hand-made underclothes are steadily gaining pop-
ularity with the general use of French underwear. Its
very simplicity expresses refinement and daintiness.
Very narrow tucks, insets of lace and motifs of hand
Fig. 138. Hand-Embroidered Corset
embroidery are used as trimming.
Cover
A dainty corset cover may be made of either nain-
sook or cambric. The under-arm and shoulder seams
are put together with veining or stitched with a French or felled seam. If a peplum is
used, it is fitted like the yoke of drawers. Gather the corset cover at the waist as directed
in the pattern instructions, and sew it to the peplum in a French seam. Or, the seams
may be turned from the inside, and a narrow bias strip basted on and stitched over the
seam. This bias seam is hemmed over as a narrow facing. If preferred, the waist may
be gathered into a strip of beading and sewed on in a French seam. The bottom edge
has HI^HH
Finish the neck and armholes with embroi-
dered scallops as shown in Fig. 138. Buttonhole
tiny slashes for the ribbon draw-strings. A few
sprays of flowers scattered over the front or a
monogram in hand embroidery makes a pretty
trimming. Medallions may be purchased and
applied if the band embroidery seems too labor-
ious. Valenciennes insertion inset in the fronts,
combined with a little embroidery in a fancy
design, makes a .dainty trimming. Several
methods for applying laces, etc., are given in
Chapter XV, "Unlined Waists."
If a plainer corset cover is desired, the top is
hemmed and beading and lace overhanded to it
as a finish. Avery narrow bias facing is basted
around the right side of the armhole, stitched,
basted over on the wrong side, and stitched again.
Care must be taken in basting on the bias strip Fig. 139. A Chemise Nightgown
to give plenty of ease around the curve of the
armhole so that it will not draw when turned over, The lace edge should be sewed on
the armhole after it is faced.

COMBINATION GARMENTS dispose of much of the useless material about the hips
and waist, are excellent for stout figures, and give a better fit to the one-piece dress.
If the corset cover and skirt are cut in one, the garment is basted and carefully fitted
and stitched in French seams. If cut separately, each is fitted and them basted to-
 MAKING AND FI-NI5HING UNDERGARMENTS 45

gether with the scam toward the outside, which is afterwards covered with narrow bead-
ing. The skirt is closed directly in line with the closing of the corset cover. The skirt
opening is made the necessary length and finished like the placket for underwear, which
is shown in the process of making on page 34.

NIGHTGOWNS may be made of cambric, nainsook, long cloth, dimity or cross-bar

materials, and trimmed with lace, embroidery, or a touch of handwork. The parts
are joined by French seams and a hem turned up at the bottom.
The Chemise Nightgown slips over the head and may be gathered into a fitted yoke or
finished with an insertion or beading. (Fig. 139.) It may also be gathered into a binding of
sheer lawn, trimmed in any pretty fashion. The binding should be about three-quar-
ters of an inch wide after it is joined. The ribbon is run through it instead of through
a beading. If desired, beading or narrow insertion may be used for attaching this
binding to the gown. Beading is inserted between the turned-in edges of the binding
and all three edges held together with one row of stitching. The beading is then joined
to the garment in a tiny French seam. The ends of the binding are made to meet in
front so as to form openings through which the ribbon is passed.
In a High-Neck Gown the opening is cut as directed in the pattern instructions. The
edges are usually turned under for hems, the right lapping over the left and machine-
st itched across the bottom. Another kind of finish for the neck is a strap, yoke-shaped
to fit the neck of the gown smoothly. It gives a simple method of closing, one side en-
tirely covering the other. The strap may be trimmed with feather-stitching or hand em-
broidery. When the yoke is not lined, the outer edge is turned under in a narrow hem.
A buttoned through closing is better for this style than the fly. The neck decoration is
usually repeated in the sleeve.
The Sleeves are gathered twice at the top. Baste the seam in the armhole with the
seam toward the outside and stitch close to the edge. Now turn the seam and stitch
again, having the finished seam at the inside of the garment. Care must be taken that
the gathers are evenly distributed between the notches of the pattern, and drawn
down straight from the first stitching.
 CHAPTER IX

INFANTS' CLOTHES
AN INFANT'S WARDROBE should be characterized by extreme daintiness of mate-
/V rials, trimming and workmanship. Baby clothes are not subject to sudden
* * changes of style, but there are improvements instituted from time to time,
primarily with a view to insuring greater comfort to the child in the wearing of the
garments and to making the process of dressing an infant a less tedious operation.
Buttons and buttonholes are not desirable, except
on the dresses, slips and outer garments.

SHIRTS should be made either of softest baby

flannel, or of fine linen, nainsook, etc. Every stitch
should be made by hand.
In the is necessary to exercise
Flannel Shirt it
great care in finishing all of the seams, hems and
turnings as flatly as possible, as otherwise they are
likely to render the child uncomfortable. The
shoulder and under-arm seams should be pressed
open, after
stitching, and
both seam
edges catch-
stitched on the
inside of the
garment.
Fig. 1 40. Flannel Shirt with Double turn-
Crocheted F.dges
ed hems are fre-
quently dis-
pensed with on the front and lower edges of shirts.
In some cases the flannel is turned only once and a
loose buttonhole or crochet - stitch in soft Saxony
wool or silk floss is made over the edge. This
finish is shown in Fig. 140.
A Linen or Nainsook Shirt is made with
felled seams. The front and lower edges are finished
with a hem, and the
neck and armholes
with narrow bias fa-
cings of the material.
Around the neck the
Fig. 141. An Infant's Linen Shirt
facing serves also as
a casing for the drawstring. If fine lace is used as trim-
ming, the armhole edges are not faced, but are merely
rolled and the lace is whipped to them. (Fig. 141.)

A FLANNEL BAND for an infant is shown in Fig. 142.

twenty-seven inches long and about six
It is of flannel
inches wide. All the edges are turned over on the outside,
Fig. 142. A Flannel Band one and a quarter inches and catch-stitched. (Fig. 142.)
A PINNING BLANKET or BARRIE-COAT is used in place of the flannel petticoat.
After the skirt portion is cut, the front and lower edges are turned in hems and feather*
stitched on the outside. (See Fig. 143 on the following page.)
46
 INFANTS' CLOTHES 47
The body is cut from fine cambric, and though the edges may be bound or faced, it is
better I., make the body double. Join the shoulder edges of both the outside and inside,
and press the seams open. Lay the two body portions evenly together, with the
shoulder scams of both toward the outside. Stitch a seam around" the upper edge
and across the lower edge to the notches. The ends are left open until the tape is in-
serted. The body is stitched between the notches after the skirt is joined to it. Aftei
they are stitched, the two body
parts are turned to bring the
seam edges inside. The edges at
the pointed ends are turned in
and the end of the piece of tape
is slipped into each opening.
Gather the skirt and join it to
the body as shown in Fin. 143.
Baste around the armhole about
one inch from the edge to keep
the two portions evenly togeth-
er. Clip the raw edges and turn
one in a seam's width and baste
it; then turn the other edge in

and baste it to the first. Stitch

by machine or overhand the two
folded edges together to finish
Pinning-Blanket with Tie finds
the armhole. The edges of the
body portion should be basted and then featherstitched. Baste about an inch each side
of the perforations that indicate the opening to be made at the left side. Cut through the
perforations and bind the opening with soft ribbon or silk tape. If preferred, the skirt
may be mounted on a straight band, made double, instead of on the shaped body. The
straight band can be lapped and hemmed.

AN INFANT'S PETTICOAT is finished according to the material of which it is made.

The Flannel Petticoat has the scams stitched and finished as shown in Figs. 11 or 12,
on page 5. The bottom of the skirt may
be embroidered in scallops, or the hem
finished as shown in Fig. 131, page 39.
A flannel petticoat which hangs from
the shoulders and has no separate body
or placket is shown in F'ig. 144. It is fas-
tened on one or both shoulders by rib-
bons or buttons and buttonholes. The
neck and armholes of this style of petti-
coat are usually bound with ribbon or
tape, though a scalloped edge worked
with white embroidery silk makes the lit-
tle garment much prettier. If it is to
be embroidered do not cut out the neck
and armholes, but mark the outline of
the pattern with a colored thread. The
design can then be stamped along the out-
line and cut out after the embroidery is
done.
Fig. .44. Flannel Skirt. Closingon the Shoulders The under-arm seams are finished in
Transfer Scallop Design 10420 ., ... .^, , . ,
manner with
the regulation catch-stiteh-
. ,

ing or featherstitching before the embroidery is begun.

The Nainsook or 'ambric ( Petticoat is finished in French seams. The lower edge of the
skirt may
be finished with a deep hem or with tucks, insertion and etlging. The upper
edge gathered with fine stitches and joined to the body after the placket has been
is

hemmed with a very narrow hem on one side, and one three-quarters of an inch wide on
the other. Lap the wide hem over the narrow (Fig. 145), and tack firmly at the bottom
48 THE DRESSMAKER
of the placket with
two rows of machine
stitching, preferably
running slanting.
The body is either
cut single and faced
at the neck and arm-
hole after the shoul-
der and under-arm
are joined in a
French seam (Fig.
146), or cut of two
layers of cambric,
one serving as the
lining. (Fig. 147.)
If a single body
is used the seam Fig. 146. Petticoat Joined to Single Body
joining the body
and skirt is made toward the inside. A bias strip of cambric
isplaced next to the petticoat in the same seam, which is then
stitched, turned over and hemmed to the body.
Fig. 145. Hemmed Placket If made double, stitch the under-arm seams of both outside
and lining; place the right sides of the material
together and stitch all except the lower edge
and shoulder seams. Clip the curved edges,
turn the body right side out and crease along
the sewing line. It may be stitched again on
the outside to strengthen the edges and hold
the seams in position. The top of the petti-
coat is gathered and basted to the lining with
the seam toward the inside. Turn this seam
up on the body; turn in the edge of the out-
side piece and stitch it over the gathers, cov-
ering all previous stitchings. The shoulders
are stitched in a fell seam.

A SLIP is invariably made very plain and

nainsook or
loose, of fine, sheer Persian lawn,
dimity. It should be put together with nar-
row French seams. In the model shown in
Fig. 147. Petticoat Joined to Double Body

Fig. 148, the neck is finished with

a bias binding. A narrow tape
is run through the binding so that
the neck can be drawn up to the
right size when the slip is worn.
Make an eyelet in the outside of
the neck-binding just in front of
the underlapping hem. Pass the
ribbon through this opening so
that it will meet the other end that
comes from the opening of the
overlapping hem.
The neck and sleeves, which
should be gathered into narrow
bands at the bottom, may be
edged with a frill of lace. The
back is cut down through the Fig. 1 48. Binding at Neck of Slip
 INFANTS' CLOTHES 49

center to the depth given for the opening in the pattern instructions. Each edge of
the opening is finished with a tiny hem. A plait is then made deep enough to bring the
opening back one-half inch from the edge. It is held in place by a slanting row of stitch-
irg at the end of the opening. (Fig. 149.)

THE KIMONO or WRAPPER

is a very practical garment and

may be made of cashmere or any light-weight woolen

flannel,
material. A very pretty little garment may be made of French flan-
nel, dotted or plain, with a shaped band of contrasting silk or flan-
nek (Fig. 150.)
The garment is collarless, and the neck and front edges, as well

as the sleeves, are finished with shaped bands. The band is basted
to the inside of the wrapper, along the neck and front edges.
After it is stitched on, the band is rolled over on the outside of the
wrapper and basted in such a manner that it extends a trifle
beyond the joining seam. The other edge of the band is turned
in and basted flat to the material and is held in position by a simple
featherstitch. When a straight band is used, one long edge is
joined to the wrap-
per with the seam
toward the out-
side ; the other
Fig. 149. Finish at
edge is then turned
Closing
under and basted
over the seam as shown in Fig. 151.
French knots and various fancy
stitches, scallops or little trailing vines
of embroidery can be used very effect-
ively the trimming of these wrap-
in
pers. Silk or satin ribbon may be
used for the straight band. Some of
these kimono wrappers are lined
throughout with soft India silk. The
wrapper design mentioned above is per-
forated in the correct length for a house
sack. This convenient little garment
is made like the wrapper in every par-

ticular, except the length.

A dainty little sack is made of white Fig. 150. Applying a Facing
cashmere lined with pale pink India silk.
Both the outside and lining portions are cut exactly alike, the
seams stitched and pressed open. The sack and lining are then
basted together, with scams turned toward the inside. The
sleeve portions are gathered separately at the top. Sew the out-
side material of the sleeve in at the armhole. Turn the raw
edge of the sleeve lining under, gather it and hem to the arm-
hole. A tiny turnover collar may be added with the same kind
of finish. The edges of the sack may be turned in and secured
with a row of featherstitching, or they may be buttonholed
together by a scalloped edge. Both finishes are shown in Chapter
IV "Practical and Ornamental Stitches."

THE DRESS is made same way as the slip.

practically in the
Nothing but the should be used, batiste, nainsook
finest material
or sheer linen. Simple designs with a few hand-run tucks, a bit
of embroidery, featherstitching or drawn - work make a far
daintier gown than heavy material, lavishly trimmed with lace
or machine embroidery. There are many excellent patterns for
baby dresses, and one who has the time and taste to spend on
Straight Band the layette will find it a fascinating occupation.
50 THE DRESSMAKER
A Dainty Yoke may be made by over-handing alternate rows of lace insertion and em-
broidery together. Fine tucking rolled and whipped to lace insertion, also makes a pretty
yoke. Narrow veining or hemstitched beading as shown in Fig. 152, joins the yoke to
the dress. It is rolled and whipped on, or sewed in a tiny Frenjh seam. The shoulder
seams are joined by beading, which is also used as a finish for the neck and sleeves.
// the Skirt is made
of flouncing with an embroidered or hemstitched edge, the fulness
under the arm usually disposed of in an
is
inverted plait. This plait takes the place of a
gored seam and enables one to keep the out-
lines at the bottom perfectly straight. The
edges are joined at the back to a convenient
depth for the opening and a placket is finished
as shown in Fig. 148.
In Cutting a dress from any plain material,
follow the instructions on the pattern. The con-
cealment of the back seam is usually arranged
for under the plait. The edge may be hemmed
by hand, tucked or ornamented in any way
desired. The placket opening is cut and fin-
ished in the center of the back piece.
Some of these patterns are arranged so Fi§. 152. Yoke for Infants' Dress
that the material may be cut with a bias seam
under the arm, if it should be desired, which gives the garment a curved lower edge.

THE CLOAK and OUTDOOR GARMENTS are made more or less elaborately according
to one's taste and needs. White is generally used and daintiness and simplicity are the
most desirable characteristics. In summer, pretty little cloaks are made of pique and
cashmere. The lower and front edges may be hemmed by hand or held in place by feather-
stitching on the outside, or the hem may be stitched by machine. The same finish is
carried out at the neck and wrist. The
buttonholed edge is a suitable finish for
pique.
Even for colder weather cashmere
may still be used with a warm interlin-
ing. Bedford cord and broadcloth make
excellent coats. Wool wadding or a soft
flannel are best for the interlining. It
should be cut without the seam and
hem allowance Instead of making the
regular seam, draw the shoulder and
under-arm edges together with a loose
overhand or ball-stitch, making them
lie perfectly flat. The outside of the
coat is turned under at the bottom and
catch-stitched to the interlining.
The Lining is cut like the outside and
seamed in a regular seam, which is
afterward pressed open. Place the
seams toward the inside and baste the
lining to the coat. The lining at the
bottom of the coat should be one-half
inch shorter than the coat after its lower
edge has been turned up. (Fig. 153.)
Place the lining in the sleeves; gather
sleeve and lining separately at the top.
Stitch the sleeve in the coat leaving the
lining loose. (Fig. 154.) Later it is
hemmed down over the stitching of the '

How LininS and Interlining Are Used armhole.

 INFANTS' CLOTHES 5!

The Collar is made unlined, with a facing of the lining material. It is stitched to the
neck of the coat, and the lining of the coat hemmed against this stitching. If the coat
has a cape it is sewed on like the collar. The edge of the collar, the wrist and the
cape may be trimmed with fancy braid, lace or
handwork.
The cloakis preferably lined with soft China

silk, wool wadding is used, the wool is

and if

picked away from the cheese-cloth around the

seams to avoid bulkiness at these points.
LITTLE SHOES and SLIPPERS made of a
washable material are a pretty part of the lay-
ette. The pique or other material is cut accord-
ing to a slipper pattern, following the directions
given on the pattern envelope. The sole is cut
from silesia or some other stout lining fabric.
The sole and upper part of the shoe should be
lined with flannel. The outside material and
the flannel lining are seamed separately and the
seams pressed open. They are then basted
together with their edges even. The upper and
lower edges of the slipper are bound with a
Fig. 154. Detail of Sleeve Lining
bias seam binding. The upper part and the
sole are overhanded together on the wrong
side and the shoe is turned right side out. The ankle straps are lined with cambric.
Work the buttonhole in the right hand strap of one slipper and in the left hand strap
of the other. Flat bows run through tiny buckles, or rosettes of baby ribbon, can be
used to trim the bootees.
 CHAPTER X
CHILDRLN'5 CLOTHES

CHILDRLN'5 'CLOTHLS should be made very

Use a good quality ma-
simply.
terial and suitably childish colors. The one-piece
dress is an accepted style
for small boys and girls, and can be made of wool, linen or cotton materials.
Directions for finishing dresses made of sheer materials will be found in Chapter
IX, "Infants' Clothes." For instructions on the making of a sailor or naval suit, see
Chapter XL
THE RUSSIAN DRESS has a side-front closing, and the buttonholes may be made
through the material or in a fly applied underneath the over-
lapping edge. Patterns for this style of garment are to be had
either with or without plaits. A good design for little folks
is a perfectly plain dress confined at the waist with a belt of
leather or of the dress material. An inverted plait is sometimes
allowed at the under-arm seams, which gives extra fulness to
the skirt. The neck and wrists, and sometimes the closing
edges, are usually finished with narrow bands.

A Plaited Design is very becoming to little girls. The front

Fig. 1 55. Stitching on Box
and back portions of the dress are laid in plaits which are Plait Finished with
stitched only to the belt line. The closing is arranged under one Crow's-Foot
of the plaits, either at the front or back. Before cutting out,
place the front and back of pattern on the
material, and if piecing is necessary, plan to
have the joining concealed under a plait.
Mark all perforations and notches plainly
on the material. To make the box plaits,
bring the lines of perforations together; baste
and stitch through them. Bring the cen-
ter of the plait over the line of stitching
and spread it to form a box plait. Baste
the plait in position along both folds and
stitch it down, if desired. A crow's-foot
(Fig. 155) worked at the end of each row
of stitching may be used. The method of
making a crow's-foot is given in Chapter IV,
"Practical and Ornamental Stitches."

The Closing, cut under a plait and fin-

ished with laps for buttons and button-
holes, is shown in Fig. 156. The slash for the
opening was made under the plait a seam's
width from the sewing. The laps are made
double, and when attached should be a little
narrower than the plait which covers them.
By referring to the illustration, the method
Fig. 1 56. Laps Finishing Closing Edges of joining the laps to the edges of the open-
ing will be readily understood.
A Buttonhole Fly is provided in some patterns by a hem allowed under the plait. The
edge is turned under once, and basted as for a hem, but not stitched. The raw edge
is not turned in a seam, but is inserted in the box plait and secured with the one stitch-

52
 CHILDREN'S CLOTHES 53
ing. (Fig. 157.) If the hem
not allowed on the pattern
is

the edge is brought over to the line of perforations, where"

it is basted and stitched. The center of the plait is
brought over to the line of stitching forming the box
plait, and is then basted in position. To the raw edge
under the plait, stitch a lengthwise strip of material cut
to extend to within one-quarter of an inch
of the outer edge of the plait, to form the fl}-
for the buttonholes. Hem the free edge of
the strip against the line of sewing. In-
structions for the most suitable finish for
each garment will be found on the pattern.
The button side of the garment can be fin-
ished with a hem or an underlap. (Fig. 158.)
A Yoke can be joined to the front of a
dress as shown in Fig. 159 on the following
page. Cut the yoke and turn the edge
under a seam's width, clipping the edge
where necessary to make it lie flat. Baste
the yoke over the top of the front of the
dress. To the wrong side, baste a bias
strip of material with its edges turned under.
Place two rows of stitching across the yoke,
stitching from the outside. They will catch
through the bias facing that is basted un-
derneath, and which covers the seam, ma-
king a neat finish on the inside. This finish
is desirable for a summer dress, as it makes
it unnecessary to line the yoke. If a lining
is used, however, it is cut like the yoke pat-
tern, and the top of the dress portion is en-

Fig. 157. Hem Used as Fly Under Plait

closed between the turned-under edges

of the yoke and its lining.
Sleeves are made in various ways.
They may be gathered at the wrist and
set into a cuff or wristband, or the lower
part of the sleeve may be stitched in
plaits forming its own cuff. After lay-
ing the plaits according to the pattern
instructions, baste them flat to the
sleeve and stitch through both plait and
sleeve. Stitch the seam of the sleeve at
the openings, with the extensions beyond
the edges of the seam. On the front
edge this extension is turned under for
a hem, and on the other extension a tiny
hem is turned in along the upper end and
the long side. This extension is meant
for an underlap. Underface the wrisi as
shown in Fig. 161. Close the opening
with buttons and buttonholes. (Fig. 162.)
A Cu/J, if one is used, is made of two
pieces of material cut from the cuff pat-
tern. These two pieces are basted to-
gether, with the right sides facing each
other. The stitching is made close to Fig. 158. A Fly Stitched on Under Plait
54 THE DRESSMAKER
the edge, and runs around the two ends
and the lower edge. The cuff is then
turned right side out and carefully basted
so that the stitching will come in the
crease. Join the upper edge of the cuff
portion to the lower edge of the sleeve,
with the seam toward the outside. The
other cuff portion is turned under and
basted over the seam. Stitching at the
edges, around all four sides, finishes the
cuff.
Buttons and buttonholes are also used
in closing the cuff, which is made to lap
the width of the extension. Fig. 160 shows
the cuff basted to the sleeve in prepara-
tion for stitching. If the sleeve has a Fig. 159. Attaching Yoke to Front
box extending to the top, gather
plait
the sleeve from the edges of the plait to the notches, but do not gather the sleeve
the box plait.

Right Side
Fig.160. Method of
Applying a Cuff

A French seam is the

best finish for all light-
weight cottons, but for
heavy cotton and wool
materials the armhole
seams must be either
bound or overcast. Di- Wrong Side Bight Side
rections for making Fig. 161. Method of Fig. 1 62. Finished Sleeve
French seams are given Finishing Sleeve Closed
in Chapter I. Two rows
of gatherings are used along all the edges that are to be gathered, The finished hem
should be the exact width given in the pattern instructions.
Sometimes these little dresses are trimmed with an embroidered star or other em-
blem such as are used on sailor suits. For appropriate designs for this purpose see
the opposite page.
 CHAPTER X!

5AILOR OR NAVAL 5UITS

A LMOST invariably the small boy and given any voice in the choosing of their
clothes, will select the suit that looks
girl, if
most
like a uniform. Probably this is the
reason why the styles permitting the use of brass buttons, emblems or insignia
meet with such general and long-continued favor.

EMBLEMS CHEVRONS in the various groups, or sets of anchors, bars, eagles and
and
stars, finishedand ready to sew on, can be bought, but they are never as satisfactory as
the designs that can be stamped on the dress itself. .Sometimes the figures are worked
in the center of a piece of broadcloth or linen, which is cut square or oblong, or possibly
in shield shape, and attached to the sleeve with a row of catch-stitching.

Fig. 1 63. Emblems and Chevrons

The mother who makes her children's clothes is sometimes confronted with the problem
of selecting some kind of an embroidered emblem, and for this reason we offer the differ-
ent combinations illustrated above. The chevrons or stripes are not padded but
should be made of strips of scarlet three-eighths of an inch wide, separated one-fourth
inch and sewed on flat with an overlock stitch of scarlet silk on the edges.
In working the specialty marks and eagles, an easier plan than the one of cutting the
figures out of pasteboard and working over them, is to baste a piece of canvas or crino-
line on the wrong side of the material, and work right through it, cutting the edges of the
canvas away after the figure has been completed.
55
56 THE DRESSMAKER
Light-weight twisted embroidery silk, mercerized cotton, or a linen thread may be
used to advantage, for in this work smoothness is the most desirable feature, and the
threads should all be placed in such a way as to lie next to one another, but not overlap.
On suits of galatea, ehambray, linen or any of the pretty cotton materials used for
children's clothes, the work may be done with cotton, either plain or mercerized. This
thread is more suitable than silk for suits which need frequent washing. The sleeve
emblem may be repeated on the front of the blouse or shield, or a simpler design a stal- —
er anchor, for instance —
may be used if preferred.
THE SAILOR or NAVAL SUIT is one of the most attractive costumes for young girls
for any season of the year. This type of dress makes excellent school and play dresses.
The blouse is particularly good for gymnasium suits. There are many modifications of
the sailor dress, and a great variety of patterns.
Dark navy-blue flannel and bleached cotton drill are the materials used for these blouses
or overshirts, as they are called. According to the regulations governing the uniforms
of officers and enlisted men of the navy, the dark -blue flannel
blouses are trimmed with white linen tape, while the cotton
drill blouses are made with sailor collar and cuffs of dark-blue
flannel, which are also trimmed with the tape.
In adapting this style for misses' and girls' wear, it is not nee-
essary to be governed absolutely by the ironclad rules re-
garding color and material which are
observed in the navy. Besides the
regulation n a v y- blue and white,
brown, gray and red, and the un-
bleached "khaki" shades are consid-
ered quite correct for sailor dresses,
Serge, cheviot, prunella cloth and
panama suiting are appropriate wool-
en materials, while linen, duck, pique,
gingham, galatea, etc., are a few of
the suitable wash fabrics.
The selection of the emblems for
the "rating badge" on the sleeve of the
Fig. 165. Rating Badge for
blouse makes quite an interesting
Chief Master-at-Arms
study. The navy regulations state
that the rating badge shall be made of the garment mate-
rial, its decoration to consist of a spread eagle above a specialty
mark, and a class chevron.
For blue clo- thing, the eagle and specialty marks should
Fig. 164. Boatswain's Male
be embroidered in white, and for white clothing they should
First-Class
be worked in blue silk. The naval uniform regulations
further order that the rating badge shall be worn by all petty officers of the starboard
watch on the right sleeve, midway between the shoulder and the elbow ; by all petty
officers of the port watch the badge is on the left sleeve. This statement eliminates
any doubt as to the correct placing of the rating badge, as, in accordance with these
instructions, either sleeve is correct. The chevrons show the class of the officer, while
the specialty marks indicate his position in the marine service.
In using these emblems on a girl's blouse, it is a pretty fancy to select the specialty
marks worn by the father or brother who is enlisted, or even an insignia indicating the
trade or professional calling followed by a male member of the wearer's family, such as
engineer, electrician, printer, carpenter, plumber, machinist, etc. The emblem may be
placed on the shield also, and a five-pointed star should be embroidered on both corners
of the collar. Excellent transfer stamping patterns can be purchased for the emblems,
stars, etc.

TO MAKE THE BLOUSE, baste the seams with notches matching, and try the blouse on,
either by head or lapping the fronts, as directed in the pattern instruc-
slipping over the
tions. a yoke-facing is used, the under-arm seams are left open to facilitate the work.
If
The shoulder seams of the blouse are joined with the seams toward the outside those of ;

the yoke-facing toward the wrong side. Stitch and press the seams open.
 SAILOR OR NAVAL SUITS 57

The lower edge of the yoke is turned under a

seam's width. If the yoke has a curved lower
outline, the turned-under portion at the fullest
part of the curves must be slightly eased, while
at the sharp points it must be slashed as shown
in Fig. 166. Lay the blouse flat on the table,
spread out its entire length. Place the yoke on
the blouse so that the shoulder seams come ex-
actly together and the yoke lies smoothly on
the blouse. Pin the yoke to hold it in place,
then baste and stitch it to the blouse.
Turning Edge of Yoke
Plaits arc made in the regulation sleeve by
creasing from the perforations at the bottom to
the corresponding perforations at cuff depth. These creases are brought over to the
position marked by perforations and the plaits are stitched along the fold edge before
the seam is closed.
The illustration below shows how the blouse may be laid out on the table for conven-
ience in joining the sleeve. Baste the sleeve to the yoke with the usual three-
eighths-of-an-inch seam and then stitch it. Turn
under the- armhole of the blouse three-eighths of
an inch, baste it over the seam, and fell it down. Make
a second stitching on the body of the blouse one-quar-
ter of an inch from the seam. The under-arm and
sleeve seams have been left open until now, making
the work easier to handle and also making it possible
to sew the rating badge on the sleeve properly.

Close the under-arm seams and the sleeve seams as

notched, using flat felled seams. A placket is some-
times made in the sleeve at the wrist, which is closed
with buttons and buttonholes. The method for ma-
king this style of sleeve, with and
without a cuff, is given in Chap-
ter X, "Children's Clothes."
A hem is turned at the bot-
tom of the blouse, and, if the
pattern instructions direct, an
elastic is inserted to hold the
blouse in place.

THE COLLAR is joined to the

neck with the seam toward the in-
side. (Fig. 168.) The collar is
marked with notches showing
where it joins the blouse, and, in
basting it on, the' edge should be
stretched between the notches to
fit the corresponding edge of the
Setting in Sleeve
blouse thus causing the collar to
roll closely about the neck. The outer edges are
turned under three-eighths of an inch and basted
down. At the end of the slash in front, the turned-
under portion tapers away to a point.
The outer facing is placed on the collar so carefully
that the roll perforations will come exactly together
and the ends are slipped under the fronts. (Fig. 169.)
Baste along the roll perforations. The neck edge
of the facing is stretched sufficiently to make it lie
smoothly when the collar is rolled back. After pin-
ning the collar facing around the neck and down the
 THE DRESSMAKER
58

^ ~H
front, roll the collarand facing over at
the perforations, and roll the fronts back
to the single perforations near the front
edge. Put your hand under the collar
and smooth it outward, so that it does
not wrinkle on the collar facing.
Turn the edge of the collar facing un-
der, even with the collar. Baste the
collar and the facing together across the
bottom and sides, up to the seam join-
ing the collar and blouse. From that
point down, take out the pins that
hold the collar facing to the blouse.
The collarfacing is trimmed with three
rows of linen tape, set its own width
apart and stitched on both edges. If
you sew the tape on the collar facing
after the latter is on the blouse, the
stitching will show on the front of your
yoke. Across the back of the collar it
makes no difference, for the facing is on
top, and the stitching underneath. Baste

Fig. 168. Basting on Collar

the linen tape carefully to the collar fa-

cing and stitch it on both edges.
After it has been stitched, the collar
facing can be basted in place under the
front. A row of stitching as close to the
edge as possible should run around the
entire outer edge. The inner edge of
the collar facing must be turned under
three-eighths of an inch. Wherever it
is necessary, it must be clipped, or
eased, like the edge of the yoke. After
the edge is turned under, it is basted to
the blouse. Across the back of the
neck it is felled to the blouse, covering
the seam, but down the fronts it is
stitched with two rows of machine
stitching, which makes a pretty decora-
tion on the front of the blouse. Another
method of attaching a sailor collar is
given in Chapter XXII, under "The
Russian Blouse Jacket." Fig. 169. Adjusting the Collar Facing
The shield is cut in one piece and
may be simply hemmed, or, if preferred, lined throughout with lawn or cambric, It is
trimmed with an emblem or star.
After both blouse and shield are finished, it is practical to make a few buttonholes
along the neck line of the body part, under the collar, sewing buttons in corresponding posi-
tions on the shield to prevent it from shifting around out of place. A crow's-foot may be
made at the lower end of the neck opening in front.

THE NECKERCHIEF or TIE worn with the blouse by a sailor of the navy is made of a
 h

SAILOR OR NAVAL SUITS 59

perfect square of black silk tied in a square knot, leaving ends from four to six inches long.
This square piece is folded diagonally and then rolled up, with the two overlapping cor-
ner-, folded into the material and held together by an elastic, as shown in Fig. 170,
while the other corners are tied at the lower end of the collar in a square knot, with a
corner extending from each side. By studying Fig. 171
the method of tying a sailor's knot will be easily under-
stood.
TO MAKE THE SKIRT, lay the pattern pieces on the ma-
terial, paying due
attention to the
perforations indi-
cating the grain
of the goods. The
skirt e n g t
1

should first be
i
certained, and,
-

unless allowance
is madeforahem,
sufficient length
should be added Fig. 171. Detail of Tying Knot
when cutting.
If front openings are desired, and arc not provided for in
the pattern, both edges of the front gore are underfaced
In the depth <>f a placket opening, with a straight strip
of material about one and one-half inches wide. The
front edge of each side gore should have an underlap
The Neckerchief Tied tn the same depth, which should be about one inch and a
half wide when finished.
Join the cores together with stitched, felled seams, continuing the stitching along the
opening. Baste the hem. If the skirt is to be plaited, the plaits will give sufficient
material for the underlap. See Chapter XXI, "Skirts." After the skirt has been
fitted, the plaits are stitched near the edge down
tu the required depth.

For a back lacing, the back plait is stitched sepa-

rately from the skirt and the fold edges worked with
six or eight eyelets, done in the same manner as in-
structed on page 15. A black silk lacing or silk tape
is laced through the eyelets. The navy regulations
demand that the finished lacing appear like Fig. 173,
The up-
per edge if 1

the front
gore is fin-
ished with
a straight
belt t wo
i n c his
wide. A
continuous
bell of the
same width
IS a 1 1 ached
Front Placket of Skirt to the side Regulation Naval Lacing
and back
gores of tin- skirt. The belts are cut single and lined, with an interlining added if it is
necessary. Three buttonholes are made at each side of the front gore, two on the skirt
part and one on the belt as shown in Fig. 172. The sailor blouse may be used with a
boy's suit. Instructions for making trousers will be found in Chapter XXIII.
 CHAPTER XII

AN EFFICIENT EQUIPMENT FOR DRESSMAKING

DRESSMAKING, like any other form of work, will give the best results when it is
done with the best equipment. "Best" does not mean the most expensive. A
three-dollar pine table of the right height and size for sewing and cutting is a bet-
ter table for dressmaking than a fifty-dollar mahogany sewing-table just big
enough to hold your scissors and work-basket.
THE SEWING-ROOM. Every woman who sews or who has sewing done at home
should have a light, well-equipped sewing-room. It need not be large, but it should
have a good light by day and the artificial light should be properly placed and shaded.
—
The floor should be covered by a clean sheet or linen drugget sometimes called a crum-
cloth. This covering keeps light-colored material from becoming soiled, and also enables
you to leave the sewing-room in perfect order at the end of the day, for all the scraps and
tlireads can be picked up in the cloth.
The room should be furnished with comfortable, straight chairs and a table large
enough to lay out a skirt or coat for cutting and sewing. If it is a regular sewing-table
you can keep your shears, pins, etc., in the drawer. The table should have a smooth, hard,
even surface and should be of comfortable height, so that you can sit at it with your feet
under it as you would sit at a writing-table. Never sew with your work on your lap. It
makes you sit in a fatiguing position, strains your eyes and back, and stretches and crum-
ples your work. Lay your
sewing on the table, letting
the table support its weight.
A big chest of drawers is use-
ful. Keep one drawer for
buttons, boxes, hooks and eyes,
bones, etc., another for pat-
terns and a third for left-over
pieces of materials. Keep all
pieces of material as long as
the garment is in use, in case
you wish to mend or alter it.
There should be hooks on the
wall, coat and skirt hangers,
and a silkoline curtain to draw
over dresses, etc., that are left
hanging overnight.

SHEARS AND SCISSORS.

Dressmaking shears should
be about nine or ten inches
long. Never use scissors for
cutting. The shears should be
kept well sharpened so that they
will cut a clean, even edge and
not fret and chew the material.
The best shears for dressmak-
ing are known as the "bent"
Fig. 1 74. The Sewing Lquipment shears. (Pig. 174.) They are
60
 AN E.FFJCIENT EQUIPMENT FOR DRESSMAKING 61
bent in this way so as to raise the material as little as possible in cutting and so
prevent
the under layer from slipping in cutting two thicknesses of material. A good pair
of bent
shears can be had for a dollar and a quarter. Do not buy a cheap, poor pair.
Good steel
will last for many years. Do not use your shears for cutting threads, etc. You will
need a pair of scissors and also a pair of buttonhole scissors.

WEIGHTS. When your material is laid out smoothly on the table for cutting it should
be held in place by four round iron weights
weighing one or two pounds. (Fig. 174.)
You can get them at the stationer's and
they cost about fifteen cents apiece. Or
you can use the same sort of weights you
use for your kitchen scales.

PINS, NEEDLES, ET CETERA. Clean,

Fig. 1 74A. The Sleeve-board unbent pins are important. Small pins
are better than large, and fine steel pins
should be used on silk or any material that will mark. Never push a pin through a fabric.
Use the points only and take up as little of the material as possible.
You will need a thimble that fits correctly, needles of all sizes, basting cotton, different
colored cottons for marking tailor's tacks, chalk, a yard-stick and a tape-measure. Learn
to use your tape-measure accurately, for one of the points of fine dressmaking is the differ-
ence between an eighth of an inch and a quarter, a quarter of an inch and three-eight lis.

IRONS. You should have either an electric iron and two ordinary irons, or else three
ordinary irons. The two extra irons are used to hold the third in an inverted position in
steaming velvet. An eight-pound smoothing-iron is the most satisfactory type for pressing.

IRONING-BOARD. Skirts and coats can be pressed on your long laundry ironing-
board or on your sewing-table. Seams should be pressed over the curved edge of an iron-
ing-board so that the seam edges will not be marked on the garment.

A SLEEVE-BOARD which can be used for sleeves and short seams can be made from
a board two or three feet long, and tapering from
five or six inches in width at one end to
three inches at the other. (Fig. 174A.) The ends and edges should be rounded and the
board should have an inner covering of flannel or a similar wool material, and an outer
cover of smooth cotton cloth. (Fig. 174A.)

A TAILOR'S CUSHION is used for pressing darts and curved seams. (Fig. 174B.)
It is ham shaped and is stuffed tightly with cotton rags. Cut two pieces, eighteen
by fourteen inches, making them narrower at one end. (Fig. 174B.) Round off all the
edges. Stitch the seam with a close stitch.

THE SEWING-MACHINE should be of a good, reliable make. You will get full
directions with and in using it be careful to observe the correct tension, length of stitch,
it,

etc. Tucking and gathering, etc., can be

done on a machine.

THE DRESS-FORM. It is necessary in

dressmaking to have a perfect duplicate of
your own figure on which you can try your
clothes as you make them.
Buy a dress-form one size smaller than
your bust measure. If you have a thirty-
six-inch bust, buy a thirty-four-inch dress-
form. It should have an extension stand
that can be lowered to your skirt length.
The stand should be on casters so that you
can move it around and turn it easily. It is Fig. 174B. The Tailor's Cushion
62 THE DRESSMAKER
not necessary for you to have a wire skirt frame.
Buy a princess lining, buying it by your bust meas-
ure. If you are long or short waisted, round-shouldered
or over-erect or have any other slight peculiarity of
physique, alter your pattern according to the instruc-
tions in Chapter XIV, "The Use of Butterick Patterns."
Cut the princess lining from unbleached muslin or
natural-colored linen or duck. The material should be
of a firm, strong quality so that it will not stretch and it
should be thoroughly shrunken before it is used. In
cutting the lining out, cut one sleeve.
Lay the pattern on the material, following the direc-
tions given on the pattern envelope. Pin it on care-
fully and cut, following the edges of the pattern exactly.
Clip the notches distinctly but not too deeply, and mark
the working perforations with tailor's tacks, using dif-
ferent-colored cottons for the different-size perforations.
Put the lining together according to the illustrated
instructions given in the pattern, making the closing at
the center front.
Try the lining on with the fold edges of the front
opening just meeting.
The lining should be tried on directly over your cor-
set so as to get as close a duplicate of your figure as
possible. In using the finished dress-form remember
that it represents your figure without lingerie. If you
wear heavy, clumsy underwear you should put it on the
form in fitting. If you wear fine, close-fitting lingerie

it willnot be necessary to do so, as the lingerie will not

alter the size or shape. Pin the fronts carefully and be
sure that the neck edges are even.
Make the necessary alterations at the outlet seams,
fitting the lining very carefully. Be sure to have the
neck and armhole exactly right. Remove the lining
and if you make any alterations baste them in and try
on the lining once more to be sure that it fits perfectly.
Stitch the seams through the bastings. If you can't re-
move them afterward it doesn't matter in this case.
Press the seams open, It is not necessary to bind, or
overcast or bone them Run a strong basting around
the armholes and
Fig.175. The Padded Dress-Form neck to keep them
from stretching.
Malce up the single sleeve you cut with the rest of
the princess lining, following the directions given with
the pattern. Baste it into the lining and try it on to be
sure that it is the right length and sets comfortably on
the arm. Fit the sleeve as close to the arm as possible.
Then rip the sleeve out, leaving the gathers at the top.
Stitch and press open the sleeve seams.
Baste the collar to the right-hand side of the lining, try
on to be sure that it is the right size, and then stitch it to
the right side of the lining. The collar closing is at the •

center back and the lower edge on the left side will be
sewed to the lining later, three-eighths of an inch below
the neck edge of the lining.
Stitch the fronts about an eighth of an inch back of
each fold edge. Put the lining on, pin the fronts evenly
together and have some one turn up the lower edge of Fig. 176. The Padded Sleeve Lining
 AN EFFICIENT EQUIPMENT FOR DRESSMAKING 63
the lining. (See Chapter XXI. Skirts.) Take the lining off and face it with a bias
facing three inches wide, stitching the upper edge of the facing flat to the lining.
Mark the waistline by a line of colored thread through the waistline perforations.
Place the lining on the dress-form, leaving the front edges open temporarily. Pad be-
tween the lining and the form with tissue-paper, cotton rags or wadding until it fits per-
fectly. Be careful in padding not to stretch or draw the lining or to let the padding get in
bunches. Pack it until the front edges just meet and then pin them together. Then sew
them with an overhand stitch. (Fig. 175.) If you have prominent or uneven hips or a
round abdomen, place the wadding where it is needed. When you pad below the waist-
line, pin the wadding to the form so that it will not slip. When you have padded the front
out to its right proportions, turn up the lining and cover the padding at the hips with a
thin piece of lining material, tacking the covering to the dress-form.
Fell the left side of the collar in place and overhand its back edges together.
Place a piece of lining material inside each armhole, turn in the armhole edges three-
eighths of an inch and fell them to it. (Fig. 175.)
For a figure that varies quite decidedly from the average it is better to use a special
dress-form. Alter your pattern and make up the lining as described in the earlier part of
this chapter. Send your finished lining to a firm that makes dress-forms and have a
special form made from it, but a size smaller than your lining. When you get the form,
put the lining on it and pad it as already described.
Or a woman of this type of figure can get an adjustable dress-form. Get it a size smaller,
adjust it to represent your figure, cover it with your lining and pad it as directed here.
A woman who sews for a number of people will have to use an adjustable form with a
fitted lining for each person she sews for. Mark these linings distinctly with name of the
person for whom it was made. The form will have to be adjusted and padded each time a
lining is used.
In using a dress-form, the skirt can be put on the form and the form placed on the
table. It is easier to work with in this position.
In fitting a coat the form should be dressed with the waist and skirt over which the
•coat will be worn.

THE SLEEVE-FORM. Take the finished sleeve of the lining and pad it firmly and
evenly. Place a piece of lining material over the padding at the wrist, turn in the wrist
edges three-eighths of an inch, and fell them to the piece of material. (Fig. 176.)
Slip a piece of lining material in the armhole of the sleeve. Turn in the edge of the
under portion of the sleeve three-eighths of an inch and fell the fold edge to the lining
material. (Fig. 176.) Pad the upper part of the sleeve until it looks as nearly as
possible like the arm. Turn in the upper edge of the piece of lining three-eighths of an
inch and fell it to the upper part of the sleeve. (Fig. 176.)
You can use the sleeve-form for either the right or left arm and you will find it very
useful for trimming or draping sleeves.
 CHAPTER XIII

CUTTING MATERIALS, 5PONGING, ETC.

THE NAP PILE

garment.
the
or in all woolen cloths should invariably run toward the bottom of
(Fig. 177.) The cutting line of perforations in the patterns, and
the directions for their use must be carefully followed. In waists and skirts that
are to be cut bias, special instructions for placing the cutting perforations are
given with the pattern. Fig. 17S shows a pattern laid on material that has no nap.
When Velvet or Plush or any velvet material except panne velvet is used, the pile
should run upward, just as the pile of the fur does in a garment of sealskin. When in
these fabrics the pile runs upward its tendency is to fall outward, thus bringing out and
enhancing its depth of color; while when the pile runs downward it is more liable to
flatten, just as fur will when stroked, and its richness and intensity of color are ren-
dered less apparent, and therefore less effective.

Panne velvet, the one exception to the above rule, should be cut with its pile
running downward.
In Adjoining Sections, great care
should be taken to have the nap
or pile run in the same direction.
8
£ Otherwise the different reflections
o of light caused by the varying
S : FIRST
o directions of the nap make the
will
CORE
.

',

SIDE FIRST
9 garment appear as if made of two SIDE CORE^
2 . rr shades of goods.
I
'.

'SIDE
FIRST
CORE\
',

An Irregular Plaid can rarely be

used on the bias, consequently the
ways of making it up are limited.
SECOND
SIDEGORE' A dress made of irregular plaid SECOND
requires more material than one SIDE CORE

f made of regular plaid. The

darkest stripes should run across BACK CORE
the bottom with the lighter tones
up, as the shading in this direction
BACK CORE is better.
It must always be borne in mind
throughout the cutting, that all
FIRST
pieces of the pattern, or lining,
SIDE GORE 5:

must be placed with the upper

part in the direction for the top
of the material. An amateur BACK GORE.
had better use an even plaid.
The most satisfactory results
are obtained by folding the mate-
SICONJJ
I SIDE CORE'.
rial and pinning through both
thicknesses as for a seam, then Fig. 78. How Pattern May Be
1

Laid When Material Has

BACK GORE turning over on the right side and
No Nap
noting the effect. In this way it
may be easily ascertained which stripe, plaid or figure it will
be best to use for the center of the front and back, respec-
Fig. 177. Laying Pattern on
tively. Be careful, in replacing the goods, not to lose the
Material Having a Nap original position.
64
 CUTTING MATERIALS, SPONGING. ETC. 65
THE PLAID WAIST should be cut in as few
pieces as possible and can be made either on
the straight or the bias of the material. Match
the heavy lines wherever the waist is joined,
either at the under-arm or shoulder.

With the present style of stretching the

back of the draped waist, little difficulty is ex-
perienced in the making. Having chosen the
stripe that is most suitable for the center of
the back, select also, for the crosswise stripe, a
position which will leave the best effect on
the figure. For the front, arrange the plaid
so that when the waist is closed the center
will form a succession of perfect blocks. Other
ideas may be considered for the front closing;
this is simply a matter of choice, since the lines
across the front must match. In any event,
the crosswise plaids of the front must be on a
line with those of the back, so that when the
under-arm seam is joined the crosswise stripe
of both will match perfectly. (Fig. ISO.)

The chief difficulty in the making of a

striped or plaid waist lies in the accurate
matching of the stripes. In using a new
Fig. 179. Marking Pattern for Matching
pattern, cut and fit the lining first. Then if
Stripeson Shoulder
any alterations are necessary they can be re-
peated in the pattern of the outside waist
before cutting the material.
When making a waist of striped mate-
rial the only place where the stripes must
match is at the shoulder seams unless, —
of course, the stripes in the material run
bias or the waist itself is cut on the bias.
In the latter case the general principles
given in the preceding paragraphs on cut-
ting materials can be followed.
In a plaid waist the vertical lines at
the shoulder seams and the crosslines at
the undcr-arm seams must match. (See
Fig. 180.) If the waist closes in front,
the back should be cut out first. Pin
the back to the pattern of the front at
the shoulder edge. Mark the stripes with
a pencil on the pattern of the front where
they intersect the shoulder seams. (P'ig.
179.) Lay the pattern of the front on the
goods so that the stripes of the material
correspond to the stripes marked on the
pattern. Then cut out the fronts. In
Fig. 179 the seam edge of the pattern is
folded under to show the way the stripes
should match when the shoulder seam is
closed.

IN CUTTING THE SKIRT of plaid,

place the chosen line or plaid exactly in
the center of the front gore, or, if the
skirt is circular, directly down the center
Fig. 180. Matching Cross Stripes at
of the front. After the front is cut, the Under-Arm Seam
66 THE DRESSMAKER
uncut material is laid on the table and the cut
front placed alongside, near the edge, with the
crosswise as well as the lengthwise stripes match-
ing exactly. (Fig. 181.)
F.'a/ie the pattern of the side gore on the mate-
rial, .Hatching the front, and if the position is cor-
rect, cut; otherwise move the front gore to the
next block or plaid on the material. This may-
necessitate some waste,
but there is no alterna-
tive. Frequently, in
plaid or figured mate-
rials, the pattern will
have to be moved half
a yard or more to a cor-
responding line or figure

Fig. 181. Matching Plaid at Side Seams

of Skirt

before the correct position will be

found. Cut each gore after the
manner directed, and baste and
stitch.
Fig. S2. Center Back or Front
shows a material of plaid,
Fig. 181
1

Seam of Circular Skirt

in cutting which a waste was neces-
sary in order to match the plaid. On
account of 'this waste matching more material must be
in
allowed for the making a plaid dress.' Care and attention
of
are necessary in making up plaids, for no costume is well
put together unless the different portions are carefully
matched. Center Front or Back
Fig. 1 83.
Stripe, check and plaid materials can be used effectively Seam in Skirt of Plaid
in a circular skirt with a bias seam down the front. (Fig. 182.)
A two-piece pattern is suitable for such a skirt, and full directions are given in the pattern
instructions showing how to place the pattern on the material in order to obtain a
desirable bias.

It is better in cutting a skirt of plaid or stripe, to cut one side first, then, removing
the pattern, lay the section just cut upon the material, and carefully match the plaid
at all points before cutting the opposite piece. When both sides are joined, the
prominent lines in the plaid should have a mitered effect, as shown in Fig. 183.

FIGURES and FLOWERS must match perfectly.

also Unless one line of flowers
is up and the next down, as usually occurs, one position will have to be selected for
the top, Generally the stems of the flowers run downward.
When cutting a garment where several breadths of silk must be joined (a circular
most important that the pattern or figures on the material should
skirt, for instance) it is
be matched. Often this can not be done when the breadths are simply joined at the
selvages. Cut the front gore first by folding the silk lengthwise through the center
(if the skirt has no seam at the front), and laying the front edge of the pattern even
with the fold. If there is a decided figure in the silk, fold this front breadth so the
figures will balance and not make the skirt look onesided.
 CUTTING MATERIALS, SPONGING, LTC. 67
Lay the paper pattern
out on a table; place the
front gore upon it and
match the figures of the
silk atthe edge of the sec-
ond breadth to those at,
or near, the edge of the
first. It will sometimes
be necessary to lap the
Fig. 184. Matching the Design in second breadths consider-
Figured Silk ably over the first, as
shown in Fig. 1S4, in order
to find the corresponding
figures. Turn under the
edge of the second breadth
and pin it to the first. The
gore may then be cut ac-
cording to the pattern. Fig. 186. Matching Plaid When
Proceed in the same way Piecing is Necessary
to join the breadths for
both sides of the skirt.
Slip-stitch the breadths together, from the outside
Fig. 185. Slip-stitching the Breadths by slipping the needle along, inside the fold edge of
Together the upper breadth, and then taking a stitch in the
under breadth, as shown in Fig. 185. When the skirt
isturned wrong side out, it will be found that the slip-stitching from the right side forms
the basting of the seam, Material will give more and match better if the selvages are
cut off.

SPONGING is one of the most important steps in both dressmaking and tailoring.

Almost woolen materials should be carefully sponged before they are used. A few
all
very thin, open-meshed fabrics cannot be sponged on account of the shrinkage, but in
most cases the sponging is advisable. If you are in doubt take a small piece of the
material and experiment with it. To a certain degree it prevents spotting from
rain, etc. For sponging, one must have a large-sized table, an ironing-blanket and a
strip of heavy unbleached muslin or drilling one yard wide and two yards long. The
ironing-blanket must be laid on the table without a wrinkle. The selvages of the
material should be clipped or cut off aad the material should be laid face down on the
blanket. Wet and wring out the strip of muslin, lay it over the material, and press it
with an iron several times. Then remove the muslin and press the material itself until
it is dry. Sponge a small portion of the goods at a time and work slowly and carefully.
In sponging material of double width, let it remain folded with the right side turned
in during the sponging. If the material is very heavy, it may be turned to the other
side and the sponging repeated.
—
Wash materials of the linen order should be shrunken dipped in water, wrung out
—
and pressed dry before they are made up. Fine mulls, flowered organdies, Swisses,
etc., should not be shrunken for they are not as pretty afterwards as they were before.
 CHAPTER XIV

THE U5E. OF BUTTE.RICK PATTERNS

BUYING A PATTERN — In home dressmaking, the first principle of success is to

start with the right size pattern. The wrong size pattern means a waste of good ma-
terial and an unnecessary amount of fitting. It only takes a fraction of a minute to
be measured, and it saves you the possibility of any trouble and extra work.
You ought to be measured each time you buy a pattern. Don't be measured over old
corsets or a carelessly fitted dress or a house gown. Put on the corsets you are going to
wear under the new dress. Lace them properly. It may make a difference of one or two
inches in your waist and hip measure. Have your measurements taken over a waist and skirt.
Your bust measure should be taken easily, but not snugly, over the fullest part of the
bust, close up under the arms and across the back. (Figs. 187A and 187B.)
Your waist measure should be taken snugly, but not tightly, at your normal waistline.
Don't think because you are going to buy a pattern with a raised waistline that you should
take your measure at your raised waistline. The waist measure given with any pattern is
the measure of the lower edge of the finished belt which comes at the normal waistline.
(Pigs. 187A and 187B.)
Your hip measure should be taken easily, but not snugly, seven inches below your nor-
mal waistline. (Pigs. 187A and 187B.)
Your arm measure should be taken easily around the arm, just below the armhole.
(Pig. 187A.)
In buying a pattern for a skirt have both your waist and hip measures taken carefully.
Compare your measurements with the table of waist and hip measurements given on the
pattern envelope. Buy your pattern by the measure recommended on the pattern envelope.
After you have bought your pattern, buy your material, guided by the quantities given
on the pattern envelope.
In buying material for a ladies' dress or skirt, remember that the pattern does not allow
for a hem. If you wish to hem the skirt you will have to buy a little more material than the
pattern calls for. A facing can
often be cut from the left-over
scraps of material if you prefer
to face the skirt.
When you get your pattern
home, open it, and identify
each piece from the illustration
on the back of the envelope.
Read the instructions carefully,
and go over the illustrated
instructions. You will see that
they are very simple, and with
the illustrations are extremely
easy to follow. Butterick
patterns have these illustrated
instructions.
The pattern is marked with
a few clear, unmistakable
symbols that show you exactly
how to cut and put the dress
together.
FiSs. 1 87A and 1 87B. Measuring the Bust, Waist, Hip and Arm
68
 THE. USE. OF BUTTERICK PATTERNS 69

Large double perforations invariably mark the cutting line. (Fig. IS7C.) They are
k always used in a series that form a straight line. (Fig. 1S7C.) When
"
you have your material laid out, ready for cutting, these large double
| perforations are always laid lengthwise of the material. (Fig. 187C.)
Fig. 187C. A Every piece of material has two dimensions: Crosswise which is —
Line of Large —
from selvage to selvage; and lengthwise which is the length of
Double Perfora- the selvage. The large double perforations are laid on the material
tions is Always parallel to the selvage, so that each one of these large double perfor-
Laid on the Ma- ations is the same distance from the selvage as all the other large
terial Length-
double perforations.
wise and Parallel
It is extremely important to get these large double perforations
to the Selvage.
straight, and not bias, on the material. If they are laid on straight,
the garment will be easy to make, and will wear nicely. If you put
these perforations on carelessly, so that instead of being parallel to
the selvage they run bias, the garment will pull and twist and
stretch. It will be found an aid in cutting correctly if a ruler or
yardstick is laid on each piece of the pattern, its edge touching each
of the perforations that indicate the way the pattern should lie on
the goods, and a heavy pencil mark made along the line formed by the
ruler. This question of the grain or thread of the goods is a very
important one. Some skirts are cut with one straight and one bias
edge on each gore; others have two bias edges, for it all depends on
the design of the skirt. The only safe plan to follow is the line of
perforations marking the grain of the pattern. Measure from each
end of the line to the selvage of the goods, and move the pattern until
both ends of the line are the same number of inches from the edge.
Large triple perforations are also always used in cutting.
(Fig. 1S7D.) They are always laid on a lengthwise fold of the ma-
terial. In some cases they can also be laid on a crosswise fold. The
pattern instructions tell you whether you are to lay the large
triple perforations on a lengthwise or crosswise fold.
Small double perforations are always used to mark the normal
Fig. I87D. Large Triple waistline in skirts, blouses, coats, etc. (Fig. 187E.)
Perforations. Large single perforations (Fig. 187F) and small single perforations
(Fig. 1S7G), either alone or together, are used for different purposes,
which are explained in the instructions.
Notches (Fig. 187H) are used to mark seam edges and to
show which edges come together. Edges marked with corresponding
notches are put together in a seam, with the notches matching.

Fig.l87L. Small Double USING A PATTERN FOR CUTTING is explained fully on the
Perforations.
pattern envelope. In most cases, when the two sides of a garment
are exactly alike, the pattern is given for one-half the garment. Each
piece of the pattern is cut twice or double to make the complete
garment. In eases where the two halves of a garment are not alike,
for example, when a skirt is draped on the left side and not on the
right, the pattern is given for the entire garment. In every ease
the pattern explains which pieces should be cut twice or double,
Fig. 187F. A Large
Single Perforation
and which should be cut once and singly. A front-gore pattern is
usually laid on the folded material with its front edge on the fold,
thus cutting it double. Two side gores can be cut either singly,
making two cuttings, or once with the material doubled so that the
two are cut at once. In a skirt with an irregular front closing, each
half of the front is cut separately. Before cutting your material, be
sure that the pattern is the right length and proportion for you. If
you are shorter or taller than the average figure, the length of the
pattern can be altered as directed on the pattern envelope.
If your figure is out of proportion in any way, large or small in the
Fig. I87G. A Small
Single Perforation. bust, etc., the pattern should be altered according to the directions
70 THE DRESSMAKER
given in this chapter, which covers the alterations for different
types of figures.
—
Cutting In laying a pattern on material for cutting, arrange
the pieces so that they will cut to the best advantage without

< wasting your material. Follow the pattern instructions in regard

to the position of the cutting perforations. (Figs. 187C and 187D.)
Pin the pattern in place with fine small pins placed as close
together as necessary to hold the pattern firmly. Do not push
the pins through the material recklessly, but take up as few
threads as possible so as not to mark the material.
Cut out the garment with bent shears (Fig. 174, page 60),
following the pattern' edges exactly, and cutting a clean, even line.
Fig.187H. Single and Mark the working perforations with tailor's tacks (Fig. 71, page
Double Notches
22), using different colored cottons to indicate the different size
perforations.
—
Putting Seams Together The seam edges are marked with notches (Fig. 187H), showing
which edges come together. Outlet seams are marked by large single perforations (Fig..
187 F) and the basting on these seams should be through these perforations. Ordinary
seams are not marked by perforations, but are sewed evenly three-eighths of an inch
from the seam edge.
Darts are marked by V-shaped lines of perforations. A dart is made by folding the gar-
ment so that the two lines of dart perforations come together.
Fig. 187 I represents the easy curve commonly followed in terminating darts in waist pat-
terns. The picture shows the effect when the material is folded with the corresponding
dart perforations matching, according to the pattern instructions. The point to be em-
phasized here is that the line of the dart seam should follow the reversed curve, toward the
point running into the folded edge, almost in a line with the fold. When this curve is fol-
lowed, the "pouting" effect (as it is called by professionals), often seen at the top of darts,
is avoided.
Fig. 187 J shows the line of the dart seam running straight from the third perforation
from the point of the dart to this point. This is the cause of the "pouting" effect, which,
as explained in the preceding description, is easily avoided. It is an ugly and unnecessary
fault.
Although the darts in skirts are reversed, this caution should be observed, as the points
should be finished perfectly, to avoid this same pouting effect already referred to.

THE BEST METHOD OF ALTERING PATTERNS—

Butterick patterns are so carefully planned that it is
unnecessary for most women to change them in order to
secure an absolutely satisfactory fit. At the same time,
for figures varying from the average in waist lengths, sleeve
lengths, skirt lengths, bust size, waist size, hip size, etc., the
patterns can be easily changed to suit individual peculiari-
ties ofform by following these instructions.
It easy to lengthen or shorten a waist, sleeve or skirt
is
without in any way detracting from the original lines, if the
work is done at the right time and in the proper way. A
woman sometimes spends a long time endeavoring to fit a
waist cut the normal length to a long-waisted figure, and the
result is unsatisfactory because the lines of the seams and
the proportions of the waist are not what they were designed
to be, a very slight change sometimes destroying the effect
of the whole garment. Fitting an average-length waist
pattern to a short-waisted figure is another difficult thing
for an amateur to do. By carefully studying these illustra-
tions, methods and principles, one can alter patterns satis-
factorily for all types of figures.
Figs. 1 871 and 1 87J. Right and
Wrong Methods of Terminating
A knowledge of the proportionate measurements used in
Darts making patterns is very necessary for the dressmaker,
 THE USE OF BUTTERICK PATTERNS 71

whether professional or amateur. A comparison

between these measures and those of the person to
be fitted should be made before cutting into one's
material.

FOR ADAPTING PATTERNS TO LONG OR

SHORT WA1STED FIGURES, the first step should
be to read the pattern instructions carefully. Then
open the pattern, and, referring to the instructions,
identify each piece by its number and description.
Before cutting the material, the figure should be
measured from the collar seam at the back of the neck
to the waistline and from close up under the arm to
the waistline.
Make a note of all the measures as they are taken,
then compare them with the corresponding measure-
ments of the pattern. In most cases it is sufficient to
alter the length of a waist lining at the lower part.
Some figures, however, are long-waisted from under
the arm to the waistline, and short from under the
arm to the neck. This is determined by the length
Fig. 187. To Shorten the Waist Lining of the underarm measure. If the lower part is too
long, lay a plait across each piece two and one-half
inches above the waistline. (Fig. 187.) The size of the plait depends on the difference
between the measure from under the arm to the waistline of the pattern and the corre-
sponding measure of the figure. If the upper part is too long, lay a plait across the front
and back, half way between the underarm and the neck. (Fig. 187.)
Thelining may be lengthened by cutting it across at either or both of these points and
separating the pieces the required space to give them the desired length. (Fig. 188.)
The seams edges should be evened off at the plaits after the plaits are laid. What-
ever alteration is made in the length of the lining, corresponding alterations must be made
in the pattern of the outside of the waist, taking out or putting in the same amount at the
same places.

ADAPTING PATTERNS TO FIGURES WITH EXTRA LARGE OR SMALL BUST—

A pattern may be of the correct bust measure and yet require a slight alteration across
the bust. This alteration can usually be made at
the underarm seam, where an extra allowance, or
outlet, is provided for just such cases.
When there are two underarm gores in a pattern,
the alterations should be made so that it is equally
divided at the two underarm or outlet seams.
Occasionally, however, one finds a figure with what
is termed an "extra large'' or "extra small" bust,
which means that while the bust measure in both
cases may be the same as for a figure of average
shape, a greater proportion of the measurement is
over the front and less at the back in the first case,
and less in the front and more at the back in the
other.
For an Unusually Large Bust get some stout, inex-
pensive lining material, as much as the lining pat-
tern calls for. Unbleached muslin will do nicely.
Lay your pattern on the material, following the
pattern instructions for cutting. Cut it out care-
fully and mark the working perforations with tailor's
tacks. Put the lining together and turn under the
hems, following the pattern instructions.
Take a piece of the lining material six inches wide
and long enough to reach across the front of your pig. 188. To Lengthen the Waist Linir
72 THE DRESSMAKER
figure to the underarm seams. 189 the Bust is Too
Ffe If
Place it over your bust and pin it FuM it Pu b Up
| the Uning
smoothly to your lingerie slip.
Put thelining on, pinning the fronts
together with the fold edges just
meeting and placing the pins about
an inch and a half apart. The
lining will draw in wrinkles that run
from the bust downward toward
the underarm seam. (Pig. 189.)
Get some one to cut the lining
straight across the figure to the
side-front seam (Fig. 189A.), and
from the side-front seam upward
to three-quarters of an inch below
the notches in the armhole edge.
(Fig. 189 A.)
As soon as the lining is cut it
will separate as much as the figure
requires (Fig. 189A.) and will drop
in place on the abdomen. (Fig. Fig. 189A. The Remedy is
to Give the Lining More Size
189A.) Pin the edges of the slash
Across the Bust
carefully to the piece of lining
material underneath. (Fig. 189A.)
Take the fining off and haste the edges of the slash to the piece under it. Be sure to
baste very carefully.
Try the lining on once more to be sure that it fits perfectly. Then take it off and rip it
apart, cutting through the material underneath on a line with the seams.
These lining pieces are not to be used for a pattern or for a lining. Take each piece of this
altered lining and the corresponding piece of the pattern and make the same alterations in
the pattern, using the lining piece as a guide. Slash the pattern fronts like the lining, sep-
arating the pieces of the pattern in the same way and to the same extent, and paste a piece
of tissue-paper under the slash.
Never use the altered fining to cut your
real lining. The lining material would
stretch in handling and would not make
an accurate, pattern.
reliable Keep the
corrected tissue pattern and use it for any
waist or dress that calls for a French lining.
The change here suggested and illustrated
is for a figure of extreme fulness at the bust.
It will not, of course, be necessary to make
so great an alteration for figures more
nearly the normal shape.

FOR A SMALL BUST—Figure 190A shows

the same French lining pattern, slashed and
adjusted to fit a figure with an extra small
bust. This represents an extreme case,
where the bust is very small, although the
measure taken about the bust is the same
as for a figure of average shape. Where the
—
bust is not so small that is to say, but
slightly undersized —
such extreme altera-
tions are unnecessary.
Here again you make up your waist lining
Fig.1 90. Here the Bust is Fig. 1 90 A. Some of the
in unbleached muslin, just as the woman
Small in Proportion to the Size Must be Taken with the large bust would do.
Rest of the Figure Out The experimental lining is put on
 THE USE OF BUTTERICK PATTERNS 73

carefully, but il is not necessary to pin a

piece of material under it. When the lining
is on the figure, the size that is not taken up
by the bust will drop in wrinkles below the
full part of the figure. (Fig. ISO.) The
alteration is made at the same point as the
alteration for the overfull bust. The lin-
ing is again slashed straight across the
front to the side-front seams and from the
seams upward to within three-quarters of
an inch of the notches in the front of the
armhole. (Pig. 190 A.) Lap the slashed
edges until the lining sets smoothly and
comfortably on the figure. Do not try to
make it snug or tight. There should be
plenty of room so that the lining dot s not
cramp or confine the figure, and so that you
can breathe comfortably.
Pin the edges of the slash (Fig. 190 A), re-
move the lining, baste in the alteration, and
Fig. 191. If the Figure is Fig.
1 92. The Lining Will try the lining on again. If it fits perfectly,
Round-shouldered Require More Size Across take it off and rip il apart. You will find
the Shoulders that the edges of the side-front seams are
jagged from the lap laid across the lining.
Even them off, following the original seam-line. Correct your paper pattern in the
same way. Slash the pieces and lap them as you did in the lining, pasting the edges
together.
These alterations for a large or small bust may be made on this kind of a lining usually —
called a "French lining" — or on a lining with one or two darts or with a straight or curved
edge.

FOR A ROUND-SHOULDERED FIGURE— The lining must again be made up of

cheap material so that it can be fitted to the figure and the corrections transferred to the;
paper pattern.
When your lining is made, have some one pin a strip of the lining material, about four
inches wide, smoothly across your back from one arm to the other. Then put your lining
on and you'll find that it looks like Figure 191.
Wrinkles will run up from under the arm to the
side-back seam (Fig. 191), and the lining will stand
out across the back at the bottom. (Fig. 191.)
The lining draws in this way because the
shoulders pull the lining upward. (Fig. 191.)
Have some one cut the lining across the shoulders
between the side-back seams (Fig. 192) and from
the seams down to within three-eighths of an inch
of the underarm seam. (Fig. 192.) The lining
will spread apart, separating as much as your
figure requires. (Fig. 192.) Have some one
pin the cut edges of the lining to the piece
beneath it, take off the lining, baste it, and
try it on again. Now rip and cut it apart so
that you can use the altered pieces to fix the tissue
pat tern. Slash the pattern just where the lining
is slashed, separate the pieces a similar amount,

and paste tissue-paper underneath the slash.

If you are not very round-shouldered it will
not be necessary to slash the lining as much or Fig. 1Q3. IfaWoman Fig. 194. The Extra
Size Should be
separate the pieces as much as shown in Figure f^T** uf
Lining "P/ii^w'- Removed
ino
1\)Z.
t. -
i c j i. u
It is only for very round-shoulders that
Ti .
Will Wrinkle
Across the Shoulders
 74 THE DRESSMAKER
such an extensive alteration is necessary.
If a person stoops very much, a second
cut should be made nearly all the way across
the back and side back, -commencing at a
point about one-third the distance from
the neck edge to the broken line, and ter-
minating near the armhole edge just below
the outlet perforations, separating the edges
made by the slash more or less as the figure
—
requires generally from an eighth to a half
inch. In cutting out the side back, preserve
an even curve all along the edge. The un-
derarm gore very seldom needs any change
for this type of badly proportioned figure.

FOR AN OVER-ERECT FIGURE— On a

figure overerect in carriage, the lining will
wrinkle across the shoulders. (Fig. 193.)
The fining must be made up carefully
and put on the figure. It is also slashed
Fig.195. If a Woman Has Fig. 196. The Alteration
Square Shoulders the Lin-
across the shoulders from side seam to side
is Made at the Shoulder
ing Will Wrinkle Across Seam seam and downward to within three-eighths
the Chest of an inch of the underarm seam. (Fig.
194.) The edges of the slash are lapped
and pinned. (Fig. 194.) Don't lap them too much or you'll be drawn back more than
ever. Baste the slash, try the lining on and then rip it apart. Where it has been
lapped there will be slight unevenness at the seam edges that must be trimmed off.
Using the lining as a guide, alter the pattern, slashing it, lapping the edges and pasting
them securely.

ADAPTING PATTERNS TO SQUARE OR SLOPING SHOULDERS—We have shown

how a waist will act and how it should be altered under such conditions. An instance
of square shoulders causing crosswise wrinkles at the front is shown in Figure 195.
For a case of this kind it is not necessary to make up a lining first in order to alter the paper
pattern. The alteration is very slight and can be made on the actual lining.
Cut your fining by the pattern, follow-
ing the pattern instructions carefully,
and baste it together in the usual way.
Try it on, pinning the fronts evenly
together. You will find that it draws
across the chest. (Fig. 195.) It should
be taken up at the shoulder seam, taldng
up as much as necessary near the neck to
remove the wrinkles, and gradually slop-
ing off the alteration toward the shoulder.
(Fig. 196.) This alteration will make
the fining too high around the neck, for
the fining has been lifted to the level of
the highest part of the shoulder. So the
neck edge must be slashed at intervals
until it feels comfortable. (Fig. 196.)
After you take off the lining, rebaste the
shoulder seam and trim off the neck on a
line with the slashes. Try the lining
on again to be sure the alteration is
right, before.stitching the shoulder seams.
If there are crosswise wrinkles across Fig sloping Shoulders Fig. 1 98. The Lining Must
the back, the lining can be altered in the Make the Lining wrinkle from be Lifted on the Shoulder
same way at the back. Shoulder lo Armhole
 THE USE. OF BUTTERICK PATTERNS 75

Shoulders that are more sloping than the

average will cause a diagonal wrinkle from
the neck to the armhole. (Pig. 197.) This
alteration, too, can be made in the actual
lining without changing the pattern.
Make up your lining in the usual way
and put it on, pinning it carefully. You'll
find that it looks like Figure 197, though if
your shoulders only slope a little it will not
wrinkle as much as it does in the picture.
The trouble in your case is that your
shoulders droop too much to take up the full
size of the lining, so the extra size must be
taken out at the shoulder seam. Take up
as little as possible near the neck and as
much as is necessary out on the shoulder.
198.)
.(Fig. Lifting the lining at the
shoulder will raise the armhole and make it
1 99. Shortening the bind. You'll have to slash it a little until
Sleeve Pattern Don't slash it too much
it feels just right.
Fig. 200. Lengthening
or your armhole will be too large. ( Fig. 198.)
the Sleeve Pattern
Take off your lining, baste the shoulder
seams, and cut out the armholes on a line
with the slashes, Try it on again to make sure that it is comfortable, and your lining is
ready to be stitched
Ifthere are diagonal wrinkles at the back, they may be handled in the same way as the
diagonal wrinkles at the front.

TO LENGTHEN OR SHORTEN SLEEVE PATTERNS, measure along the inside of

the arm from
the armhole to the bend, and from the bend to the wrist. These two meas-
urements are necessary so that the elbow of the sleeve may be in correct position on the
arm, since the upper and lower arm may vary in proportionate length. If all the altera-
ations are made in the upper or lower part of the sleeve, the elbow will be drawn out of
place.
If the measure from the armhole to the bend is one inch less than the corresponding part
of the pattern, fold a half-inch plait straight across the pattern a little above the elbow.
If it is necessary to shorten the lower-arm portion, make
a plait half as wide as the amount to be taken out,
laying it across the lower part of the sleeve pattern,
about three inches below the elbow and parallel with the
wrist edge of the sleeve. The plaits across the under-
sleeve piece should be made to correspond in size and
position with those on the upper piece. The upper-
sleeve portion with the plaits pinned in is shown in
Figure 199.
Fig, 200A. Increasing the Waist Size When the plaits are folded over, the perforations and
of the Yoke Pattern
the edges of the pattern become uneven. To correct
them, lay the altered pattern on a large piece of paper
and mark a new outline, running across the edge of the
folded part. If the arm is very full, the space between
the elbow and the greater width at the top of the sleeve
should be filled out, making the edge an even line.
But if the arm is not large, the surplus width may be
trimmed off to make an even outline from the elbow
to the top of the sleeve. Whatever alteration is made
at the edges of the seam must be repeated in regard
to the large perforations.
Fig. 200B. Decreasing the Waist Size If the sleeve needs lengthening, make the alteration
ot the Yoke Pattern a t the same places by cutting across the pattern,
76 THE DRESSMAKER
instead of making the plaits. Lay the pattern upon another piece of paper and separate
the pieces far enough to make it the required length. Correct the outlines in the same
way as when the sleeve is shortened. (Fig. 200.) Alter the outside sleeve to correspond
to the lining.

ALTERING A YOKE PATTERN —

If, in buying a pattern with a circular yoke, you

had to take a pattern that was too large or too small for you at the waist, the yoke pattern
can be altered very easily. (Figs. 200 A
and 200 B on preceding page.)
If the pattern is too small for you, slash the yoke pattern from its upper edge to about
the hip line. Make three slashes. (Fig. 200 A.) In pinning the yoke pattern on the
material, spread the upper edge until it is the right size for your waist. (Fig. 200 A.)
If the pattern is too large for you at the waist, make three dart-shaped plaits in the
yoke pattern, letting the plaits begin at the upper edge and taper to nothing about the hip
line. (Fig. 200 B.) The dept of the plaits depends on the amount of the alteration required.

FOR ALTERING A GORED SKIRT PATTERN, it is of greatest importance that one

should know the hip measure as well as the waist measure of both the pattern and the
figure to be fitted.In taking
the waist measure the tape
should be drawn quite snug-
ly. The hip measure should
be taken seven inches below
the waistline, holding the
tape easily around the figure.
The table of measurements
on the envelope should be
referred to in order to ascer-
tain if the figure's measures
correspond to those of the
pattern.
Order the pattern accord-
ing to the directions given
on the pattern envelope.
In some styles a skirt pat-
tern should be ordered by
Fig. 20 Increasing the Waist Size in a Gored Skirt Pattern
1 .

the waist measure, in others

by the hip; but in each case the pattern instructions will specify whether it should be
bought by the waist or hip.
If a gored skirt is of the correct hip measure, but is too large at the waist, the alteration
is quite simple. It can be made in fitting the skirt after the gores are basted together, by
making each seam a little deeper from the hip toward the waist.
If the waist is the correct size and the hip is too large in a gored skirt, make each seam a
little deeper from the waist toward the hip, continuing to take in each seam from the hip
to the lower edge of the skirt the same amount taken in at the hip. As a rule this is the
best plan, because it is easier to take in material than to add it, and one is sure not to
have a pattern that is too small.
However, if one is proficient in making garments, a gored skirt pattern may be bought
by the hip measure, even if too small at the waist, and the waist size may be increased in
the following way: The increase must be calculated and planned for before the skirt is
cut. We may find, for instance, a figure with 34 inches waist measure, and hips that
measure 44. Referring to the "table" we find that the waist measure of the pattern of
this hip size is 30 inches — four inches less than the waist we are to fit.
The first consideration is the number of gores in which the skirt is cut, as this governs
the number of seams at which allowance may be provided in cutting, and the amount that
may be added at each seam. Another and very important consideration is the shape of
the figure to be fitted. The same number of inches may result from the measurement of
figures that differ entirely in shape. The hip measure of the nicely rounded figure with
perfectly proportioned hips and abdomen may be the same as that of another that is flat
at the front and back, with abnormal development at the sides; or of still another that has
unusual abdominal prominence with extreme flatness at the back.
 THE USE OF BUTTERICK PATTERNS 77
It will be readily seen that the allowance at the seams must be so distributed that the
greater amount wil come where the figure has the fullest development. Under ordinary
1

circumstances, it is preferable to make no alteration on either the front or back gores, but
this rule can not be followed when the figure is unusually full at the front. In the meas-
urements cited (34 inches waist and 44 inches hip) it is neces-
sary to add 4 inches to the skirt pattern at the waistline, 2
inches on each side.
Figure 201 shows how this amount may be added to a nine-
gored skirt pattern. It is a good plan to mark the outline of
the pattern on the
goods, leaving ample
material at each seam
HIP LINE which may be let out
"^Inches where the figure re-
trom waist- quires it, tapering this
LINE amount off to nothing
at the hipline which is
seven and three-eighths
Cinches! froh inches below the upper
edge. A skirt pattern
should never be ordered
with a hip measure
smaller than that of the
figure to be fitted.
If a plaited skirt is
too large or too small
at the waist or hip, the
plaits should be made
either deeper or shal-
lower to fit the figure.

Fig. 202. Shortening a Plain

Gored-5kirt Pattern

LENGTHENINGAND
SHORTEN NG GORED I

SKIRTS—Measure the
length of the skirt at the
center front from the
natural waistline to the
floor and compare it

with the corresponding

measure of the pattern.
To Shorten a gored
skirt pattern, lay a plait
straight across eachgore F 203 &
Shortening a Plaited Gored-
-

Skirt Pattern
of the pattern about six
inches below the hipline
(seven and three-eighth inches below the waistline, the three-
eighths of an inch being the seam-allowance at the upper edge).
(Fig. 202.) If the gores are cut with one straight edge, measure
at the straight edge, or, if both sides of the gores are bias,'
measure along the line of perforations that indicate a length-
wise thread of the goods. If the figure is full, the slope of the
gores at thp bias side should be filled out from the folded plait
to the hip; but if the figure is slight, this little extension
may be taken off.
To Lengthen a gored skirt pattern, cut each gore straight
across, six inches below the hipline, and separate the pieces 204. Lengthening
as much as necessary. (Fig. 204.) Gored-Skirt Pattern
78 THE DRESSMAKER
To alter the length of a gored plaited skirt pattern', follow the same principle as for the
plain gored skirt pattern. Then make new lines through the perforations that show
the lines for the plaits. Place one end of a yardstick at a perforation near the hipline, and
the other end at the corresponding perforation near the bottom, and mark with a pencil.
(Fig. 203.)
If, as is rarely the case, it should be necessary to alter the length of a skirt as much as
four or five inches, it is best to take half of the amount out below the hips as explained
above, and to take the remaining half off at the lower edge of the skirt.

ALTERATIONS FOR A ROUND OR PROMINENT ABDOMEN OR HIPS— On women

of this type, the skirt, if unaltered, will stand out in front and at the sides. These
women, as a rule, have flat backs. A small pad worn under the corset at the back will
fill in the hollow of the figure below the waistline. For these three types of figures it is
advisable to experiment with one-half of the skirt cut of cheap lining cambric. Then,
after finding just what changes are necessary to fit the figure, the good material may be cut.
For the women with the round abdomen, take the side-front gore of the pattern and
mark the hipline on it seven inches below the waistline. At the hipline on the back
edge of the gore, take up a dart-shaped plait one-quarter of an inch deep and tapering
away to nothing three-eighths of an inch from the front edge of the gore. (Fig. 205.)
This quarter of an inch will change the entire balance of the gore. If it is necessary,
in a skirt of many gores, do the same thing to the next side gore, but do not go back
of the hip. You can keep increasing the size of the dart-shaped plait until the back
edge of the gore above the hip forms a straight line with the back edge below the hip.
(Fig. 205.) Stop at that point,
for the back edge must never be-
come hollow or concave.
Figure 207 shows the allowance
at the top of the front and side
gores when the abdomen is prom-
inent. Each gore must also be
extended an inch or more at the
top, gradually decreasing to noth-
ing at a point over the hips. Ex-
tending the gores up an inch will
make the waistline smaller, so the
side edges of the gores must be in-
creased to keep the waistline ex-
actly the original size of the pat-
tern. It is a good plan to outline
the original pattern on your mate-
rial as a guide in fitting, but leave
sufficient material around it to fit
the prominent abdomen. If the
figure is full in front, all garments
should have this allowance left at
the top of the front when cutting.
For the woman with the prom-
inent hips, select from the pattern
the gore with its front edge coming
over the fullest part of the hips,
pinning the pattern together to
Fig. 205. Alteration for Round find the right one. This gore Fig. 206. Alteration on Side
Abdomen must be altered in same way as for Gore for Prominent Hip
the round abdomen. (Fig- 206.)
If necessary, in a many-gored skirt, the next gore toward the back may be altered in the
same way, but the shape of the back gore should never be changed in altering a skirt to
fit a prominent hip. These principles apply to any gored skirt pattern.

FOR A CIRCULAR SKIRT PATTERN, it is best to order the pattern by hip measure,
 THE USE OF BUTTERICK PATTERNS 79
as the alterations may easily be made at the waist when the hip measure is correct. A
well-cut circular skirt pattern without darts allows from one to two inches extra size, more
than the waist measure, on each half of the pattern. This fulness should be eased into
the belt over the hips, and the fulness shrunk away after the skirt is finished. When
fitting the skirt, mark on the waistline where the fulness should be distributed, and
gather this portion to the required size with fine stitches on a strong thread. Dampen
the material, or place the wet sponge cloth over it and press it over a tailor's cushion
until the
cloth has
shrunk to
the correct
size. (Fig.
208.) This
must be
done very
carefully in
order not to
leave any
"bubbles" in
the cloth.
If the
waist needs
to be made
very much
Fig. 207. Increasing Waist Size, With Extension (or Prominentsmaller than
Abdomen
the pattern,
it may be necessary to make one or two small darts, but if only a small reduction is re-
quired, it may often be shrunk in. If the waist size is to be increased, no alteration is
necessary. There will simply be less material to ease into the belt. In a circular skirt
with darts, the waist size can be made smaller or larger. It can be done by taking in or
letting out the darts. If the waist size is to be increased, the darts may be let out. In a
circular skirt pattern of the correct hip measure it should not be necessary to make an al-
teration of more than one inch at the hips on the whole skirt. This alteration may be
made at the center back.
To Alter the Length of a circular skirt, it is best to make the change at the lower edge.
For a woman having a slightly rounded or decidedly prominent abdomen, an alteration is
required to provide for extra length at the top. (Fig. 209.) If this provision is not made
in cutting, the skirt will draw up in front and stand out in a very ugly manner.

Fig. 208. Shrinking Out Fulness in Circular Skirt

It will be found, in making the alteration,

that according to the prominence of the abdo- Fig. 209. Extra Length at Top of Circula r
men, from one-half to one and one-half inches Skirt
will have to be added to the top of the pattern
in front, gradually decreasing to nothing at a point over the hips, to make the skirt drop in
80 THE DRESSMAKER
a straight line from the fullest part of the abdomen to the floor. To do this, it is best
to outline the edge of the pattern with chalk or thread, and leave sufficient material to
raise the waistline as much as may be necessary. (Fig. 209.) In extreme cases it may
be necessary to put a dart at the center front, but usually a slight easing of the skirt
into the belt across the front will be sufficient.

POINT AT HIP LINE

OVER FULLEST PART
OF HIP

Fig. 210. When the Hips Are Large

FOR A FIGURE WITH PROMINENT HIPS, it is necessary to increase the amount

eased in the belt, or increase the size of darts over the fullest part of the hip. Mark the
hipline on the pattern seven and three-eighths inches below the waistline. At the hip-
line on the back edge of the pattern take up a
dart-shaped plait about one-half inch deep and
tapering away to nothing at a point just over
the fullest part of the hip. Slash the pattern
from the upper edge, through the darts, to the
hipline, to make it lie flat. (Fig. 210.) The
darts should be kept the original length.

ALTERING LENGTH OF BOYS' PATTERNS—

When a boy of five or six years has the breast
and waist measure of a nine-year-old size, even
though he has the height of a six-year-old, it is
better to get a nine-year-old pattern and
shorten the coat, the sleeves and trousers.
The Coat and Sleeves Are Shortened in practi-
cally the same way as already shown in the
woman's waist.
To Shorten the Trousers considerable care is
needed in determining just where the alteration
should be made. The length of the underwaist
to which they fasten has a great deal to do
with their length when worn. It is well to
measure an old pair of trousers on the child,
taking the measure from the waist to the crotch
and then to just below the knee, allowing for Fig. 211. Shortening the Pattern of Boys'
the extra fulness to fall over the knee in knick- Knickerbockers
erbockers. Any alteration in length above
the crotch should be made across the pattern below the extension for the pocket open-
ing, changing the seam edges as little as possible. In the lower leg part, fold the plait
across above the extension piece at the lower part of the leg. (Fig. 211.)
 CHAPTER XV
UNLINLD WAISTS
SEPARATE unlined waists are made from a great variety of materials, sheer batiste,
lawn, handkerchief linen, etc., silks of all descriptions and many of the soft woolens.
For Trimming a lingerie waist the combination of two kinds of lace, fine and
heavy, or of lace and embroidery, is very effective. Fig. 212 shows a waist made of
linen, cut from a perfectly plain pattern, clos-
ing in the back. The first step in making
this waist is to cut the front and back pieces;
baste the seams and fit the waist to the figure.
Stitch the shoulder seams. Now open the
under-arm seams; lay the waist out flat on the
table, and baste or pin the insertion in place,
following the design illustrated, repeating it at
the back.
Draw the pull-thread in the lace where the
curve requires a slight gathering to make it lie
flat At the corners turn the lace sharply, and
miter carefully. (Instructions for making
mitered corners are given on page 11.) Then
sew the edges of the fine and heavy lace
together with an overhand stitch. The free
edges of the lace are basted to the material
and stitched down by machine as close to
the edge as possible.

Fig. 212. Ornamentation of Lace and Lmbroidery

and Hand-Lmbroidery
Insertion, Medallions

Cut out the material from under the lace,

leaving a narrow seam's width at each side.
This edge may be turned back and stitched
flat by a second row of stitching, leaving
a raw edge. Or, it may be overcast closely
with the raw edge rolled in to prevent any
possible raveling. Fig. 214 on the following
page shows a medallion decoration set in in
this way. Sometimes, where two finished
edges come together, they are lapped and
stitched together as illustrated in Fig. 215.
A waist made from a pattern that allows for
tucks is shown in Fig. 213. They should be
made before the lace is applied. The waist
itself is put together like a plain waist.

Fig. 213. Tucked Waist with Insertion and

When all the trimming on the waist has been
Hand Lmbroidery Trimming securely fastened in place, the under-arm
81
82 THE DRESSMAKER
seams are again closed, stitched by machine
and finished in the usual manner.
The Collar, which is preferably attached to
the waist, may be made of alternate rows of
the fine and heavy lace. Cut a fitted collar
pattern of stiff paper, turning under a seam
at the top and bottom. On this paper col-
lar baste the insertion in place, right side
down, drawing the pull-thread sufficiently to
give it the proper curve. Overhand the edges
together and then remove the collar from the
paper.
A narrow seam beading is used to join the
collar to the waist. Trim the material away
from the upper edge of the beading, and over-
hand this edge carefully to the lower edge of
the collar. Baste the lower edge of the bead-
ing to the neck edge of the waist and stitch in
Fig. 2 1 4. Finishing the Underside of a French seam.
Medallion Inset
To keep the collar from becoming crushed,
a suitable number of collar supports should
be placed at each side of the center front,
as shown in Fig. 216. The supports are
placed two and one-half inches from the
end on each side, and a third support at
each end.
A SHIRT-WAIST is a type of waist model-
ed on the style of a man's shirt. Shirt-waists
are usually made of linen, madras or flannel.
A good pattern for the beginner is a perfectly
plain design having slight fulness at the
waistline. Though a shirt-waist needs care-
ful fitting, not so much skill is required in
making it, and it is quite possible to fit
oneself.
Always open the pattern, identify each
pieceand get a clear idea of the construction
by reading the instructions carefully before
beginning to cut into your material. This Fig. 215. Medallion and Insertion Set in
care at the beginning will make the work by Machine
easier and save mistakes and consequent
waste of material. In cutting out the shirt-
waist, mark all notches and perforations.
In Tucked Shirt-Waist Patterns, it often
happens that the fronts are too wide to be
cut from one width of the goods. In this
case it is necessary to piece the material.
Fig. 2 1 6. ^Showing Position of Collar Supports Take care that the seam comes where it will
not show.
In Fig. 217 the right front of a
shirt-waist is shown pieced in this way. The method of piecing is easily understood.
The pattern should be laid on the material, and the best place to make the joining con-
sidered carefully. It will depend on the width of the goods and the style of the shirt-waist.
In some cases it may be made at the stitching of the last tuck, but in others this tuck is not
stitched to the waist line but terminates at yoke depth; consequently this seam would
not be hidden.
In the model illustrated the best place proved to be at the stitching of the first turn-
back tuck on the right front. According to the pattern instructions, one inch back
of the fold edge of the tuck is the stitching line, as the tucks are one inch wide. Mark
 UNLINED WAISTS 83

the stitching line with chalk, allow three-

eighths of an inch beyond it toward the
front edge for a seam, and cut off the
rest of the material.
A piece wide enough to complete the
front must be joined at the stitching line,
and when the tuck is made, both raw edges
of this seam should be turned to one side
and included in the tuck so that the seam
is completely hidden on both the outside

and inside of the waist. A piece suffi-

ciently wide to enlarge the front breadth
is sometimes left from the width from
which the back is cut. The left
front of the waist is turned under
for a hem, as directed in the pat-
tern instructions, and stitched.
The Gibson Turk in a waist ne-
cessitates joining the shoulder seam
first before basting in the tuck.
This leaves the tuck free across
the shoulder seam (Fig. 218), and
in basting in the sleeves the tucks
can simply be turned toward the
neck out of the way as illustrated. Fig. 2 1 7. Hiding the Joining 5eam in Front
Tucked Shirt-waist

Make the closing for the box plait or turn under

the edge for a coat closing, on the right front, and a
hem on the left front, as directed.
The direction may be readily understood by re-
ferring to Figs. 219 and 220 on the next page. The
coat closing is finished by turning both hems toward
the wrong side and stitching. (Fig. 222.)
If the waist is to have a blind closing, a fly must be
applied to the closing edge. The fly should be made
double, folded lengthwise through the center, and
a seam turned in at each edge. The fold edges are
basted togetherand then sewed in position. (Fig. 221. j

Stretch the edges of the fronts at the neck and

at the shoul-
Fig. 2 1 8. Basting in a Gibson Tuck
der, between
the middle of
the shoulder and the neck, to make the waist fit
into the hollow of the figure around the collar-
bone. Baste the shoulder and under-arm seams
toward the outside through the lines of perfora-
tion with the notches matching. Gather the back
and fronts at the waistline perforations and baste
to the belt stay unless the fronts are to hang free
under the belt. Try on, lapping the fronts.
Any necessary alterations in the shirt-waist
should be made at the shoulder and under-arm
seams, never at the front. A little adjustment at
the shoulder seams will often correct what appears
at first to be an ill-fitting shirt-waist. Stitch
three-eighths of an inch outside of the basting on
the right side of the waist at the shoulder
and under-arm seams. Trim off the edges
close to the line of stitching; turn the waist to Fig. 2 1 9. Making the Box Plait
84 THE DRESSMAKER
the wrong side, and stitch again in a French seam.
If the under-arm seams have been let out or
taken in, the notches in the top of the sleeves
must be altered correspondingly. For instance,
if the under-arm seam has been let out one inch,
raise each notch in the sleeve half an inch. The
lower part of the sleeve is purposely cut larger
than the lower part of the waist so that the sleeve
will not draw on the waist.
If the armhole of the waist is too small,do not
cut it out recklessly. Try snipping the material
at intervals around the armhole three-eighths
of an inch or so. This will allow the armhole to
spread on the arm, and will show how much to
cut away.
The Neck requires care. It should not be trim-
fig. 220. Finished Effect of Box-Plait Closing med out too much. The neck-band should fit
the neck closely, though not too tightly, or it
will be difficult to adjust the collar.
Shirt-waists are usually made with a band
finishing the neck of the waist and worn with
a separate linen collar. In making the
band, cut two sections by the collar-band
pattern and place them together with the
right sides face to face. Baste an even
three-eighth-inch seam at the top and ends,
turn the band right side out and crease and
baste the edges fiat. Baste the inside section
of the band to the neck of the waist with the
seam on the right side. Turn the seam up,
turn in the remaining edge of the band fully
covering the seam and stitch the outside,
continuing this stitching all around the band.
Fig. 221 shows the neck-band sewed to 3

the neck of the waist. It will be seen that

the wide lap from right to left requires that
the neck-band be longer on the right side
than on the left, measuring from the center
back. If the band supplied with the pattern
is not the right size of one's neck, alterations
should be made at the center back, cutting
Fig. 22 1 Fly, Buttons and Neck-Band
the pattern straight across and basting a
.

piece of paper in the space to make it larger, or

lapping it at the center to make it smaller.
The buttonholes which should be worked in the
front of the neck-band and at the back, when
the waist is worn with a linen collar, are shown
in the illustration No. 221.
A back yoke may be applied to the waist as
shown in Fig. 223 on next page.
If the fronts are to hang free, baste a tape across
the back of the waist, and adjust the fulness over
the front under the tape. Many prefer this plan,
since it lessens the trouble in making and laun-
dering.
Where the waist is very full in front or is made
ofheavy material, the front portion is frequently
cut away below the waistline where the gathers
fig. 222. Finished Effect of Coat Closing begin, and the fulness gathered into a band.
 UNLINED WAISTS 85

This band is an inch deep, when finished,

and is cut a trifle bias in front. Fig. 224.
Be careful not to draw the line of the
seam joining the front and back out of
place. The material, which is slightly bias
under the arm, should be drawn smoothly
toward the front as far as it will reach,
and pinned at the waistline. The tucks
may then be lapped over each other unless
the fulness is gathered or laid in overlapping
plaits and the waist drawn down or bloused,
as preferred.
The tape should be pinned carefully, fol-
lowing the waistline. When the waist is
taken off, baste the tape in place. Then
take either a strong twill tape or a narrow
strip of the material with the ends turned in,
and baste to the inside of the waist, follow-
ing the line of the upper edge of the tape on
the outside. Then remove the outside tape
and stitch the upper edge of the inside tape
to the waist, after disposing of the fulness
Fig. 223. Method of Applying Yoke at the back by making two rows of gathers
as far apart as the width of the tape. This
method is shown in Fig. 227, on the next page.
Another method of finishing the fronts is
to cut across the fronts just above the lower
edge of the strip stitched to the inside.
(Fig. 225.) The cut must extend only as far
as necessary to take out the extra fulness.
The uneven upper edge of this piece may be
trimmed and turned in and hemmed down
to the part from which it was cut, providing
sufficient length to hold the waist down.
(Fig. 226.) A row of stitching should be
placed at the lower edge of the inside band.
The band will cover the raw edges of the cut
portion at the front. This finish does away
with the bulky material below the waistline,
which is apt to spoil the set of a close-fit-
ting skirt. The bottom of the waist is fin-
ished with a narrow hem.

The extension below the waist at the Fig. 224. Fulness below Waistline Dispensed
sides may have to be slashed to prevent its With in Band

drawing over the If preferred, a

hips.
circular peplum such as is given in a corset
cover pattern, may be used. The peplum

*Nl

Fig. 225. Tucks Cut Away below Waist Fig. 226. Extension Joined to Waist
86 THE DRESSMAKER
is sewed to the bottom of the waist to hold it
down properly. For waists having no fulness at the
back, the peplum is used to give the proper spring
below the waistline.
Sew buttonholed rings at the back of the waist
belt, as shown in Fig. 227. If two are used, each ring
should be an inch and one-eigb th from the center back.
Or, one can be placed at the center of the back with
the others two inches apart. Hooks are sewed with
the same spacing to the in-
side of the skirt belt. Do not
Fig. 227. Gathers and Buttonholed Rings
use hooks any larger than are
at Back of Waist
necessary to fit into the rings.
If rings are not procurable, ordinary eyes may be substituted.
For the Slash in the Sleeve sew the underlap piece to the back
edge of the slash with the seam toward the right side. Crease
the seam on the lap, turn the lap
at the perforations; baste dowi,
entirely covering the joining, and
stitch. Join the overlap piece to
the front edge of the slash in the
same manner. (Fig. 22S.) Adjust
the overlap so that it will con-
ceal the underlap and baste it in
place. Stitch all around the over-
Fig. 228. Method of Apply-
ingLaps to Sleeves

lap, fol lowing the

shape of the point.
At the top of the open-
ing the stitching Fig. 229. Finish for Link-Button
should cross the lap Closing
and catch through
the underlap, securely holding the opening in
correct position, as shown in Figs. 229 and 230.
A Continuous Lap is often used to finish the
slash at the cuff opening. This lap is made by
sewing a straight strip of the material continu-
ously along both edges of the slashed opening,
the strip of material being the same width all
its length. (Fig. 231.) The other side is turned
Fig. 230. Finish for Lap Closing
over and hemmed by hand or machine-stitched,
to cover the first seam. This lap is shown in Fig. 232. When the lower edge of
the sleeve is gathered this lap is turned under at the front or overlapping edge of the
opening and extends on the other side to form an underlap.
Join the long edges of the sleeve in a French seam and
gather the bottom. Cut two sections and an interlining of
coarse linen or muslin for each
cuff. Baste the interlining to
the wrong side of one of the cuff
sections. Then baste the second
cuff section to the first with the
right sides facing each other,
I stitching along the two ends and
1
I;
J JV\|

1 /' / ! \\ j, I lower edge. Trim off the seam

f^
1

^£~^s/
/-'

Fig. 23
I

1 .
\

Vi/^
3^A^
Method of Applying
w
a t the corners and turn the cuff
right side out, making sure that ^
the corners are as neat as pos- Fig. 232. Position of Contin-
sible. Baste along the seamed
Continuous Lap uous Lap and Cuff
 UNLINED WAISTS 87

edges so that the cuff will be easy to handle in sewing

it to the sleeve.
Baste the upper edge of the outside and interlining
to the sleeve and overlap, but not to the underlap
in a link cuff (Fig. 229), and to the sleeve, overlap
and underlap in a lapped cuff. (Fig. 230.) Then
stitch, pushing the sleeve fulness well toward
the end of the cuff. Turn the seam down and baste.
Make a narrow turning on the inside of the cuff and
baste in position, covering the seam. Stitch around
all the edges of the cuff from the outside. For con-
venience in handling it is better to turn the sleeve
wrong side out before making this stitching.
The notches at the top of the sleeve show where
the gathers begin and end and where they are placed
on the waist. The fulness should be fairly evenly dis-
tributed, but more of it should be pushed to the top Fig. 233. Binding the Armhole
of the shoulder than to the front and back. In sew-
ing in the sleeve, hold the sleeve side toward you so that the gathers can be handled
easily in basting.
Baste the sleeve to the armhole. If the material is too heavy for a French seam, make
the seam toward the inside and cover it with a narrow bias strip of lawn. (Fig. 233.)
The shirt-waist is now ready for the buttonholes. In the box plait they are worked up
and down through the center with a bar tack at each end. (Page 13, Fig. 49.) In the
neck-band they are worked lengthwise. The buttonhole at the center back is worked
one-quarter of an inch above the stitching and has a bar tack at each end. Those at
the ends of the band are worked a corresponding distance above the stitching, but with
a round front end above the center of the box plait. (Page 14, Fig. 50.) The button-
holes in the cuff are cut one-half inch in from the edge and about in the middle of the
cuff. They are worked with one round end and one bar tack.
If a detached collar is desired, cut two sections and an interlining by the collar pattern.
Stitch together on the outside edges. Turn, and baste the bottom of the collar and its
band with the seam toward the wrong side, and then stitch. Hem the outer edge over to
the line of stitching. Stitch around the outside of the collar and work buttonholes
corresponding to those on the neck-band of the shirt-waist.
 CHAPTER XVI

LINED WAIST5
HE CONSTRUCTION of a lined waist requires the most minute attention to

T every
results.
detail. great care is given to the work one can feel sure of satisfactory
If
For a draped waist the lining is made separately, fitted, and the seams
pressed open and boned before the outer material is adjusted.

THE LINING is the foundation of a fitted waist. When cutting the lining, lay the
perforations indicating the lengthwise thread of the material parallel to the selvage. If
the directions are not followed exactly in this respect the waistline of each section of the
pattern will come on the wrong thread, and the lining will stretch out of shape.
Some dressmakers advocate cutting cotton linings crosswise of the material, but they
do not cut to advantage this way. The argument is that material used crosswise will
stretch very little, if any, and the lining may be strengthened by making it double at the
points where the greatest strain will come.
At the seams of the under-arms, the shoulders and the darts, mark the sewing line by
tailors' tackt along the line formed by the large perforations. Do this when cutting the
lining and while it is double, so that both sides may be marked exactly alike. Mark
with a colored thread the perforations that indicate the waistline and also those mark-
ing the elbow in the sleeve portion. Baste the seams of the lining together with their
notches matched, basting the outlet seams through the perforations and the other seams
three-eighths of an inch from the seam edges.
A waist lining should be reenforced for a stout figure in the following way: Before
cutting out or closing the dart seams, baste an extra piece of lining from the front of the
waist to the second or back dart, and reaching from the top of the dart to the bottom of
the lining. (Fig. 239.) Now cut up the center of each dart between the rows of per-
forations, then bring these perforations together, and, beginning at the top, baste the
darts and include the stay pieces in the seams. A waist fastening at the back has the
back portions reenforced to a corresponding height.
Baste the under-arm and shoulder seams toward the outside for the first fitting, for it
is at these seams that the greatest alterations are usually made. Put the lining on
and draw it toward the front, bringing the two raw edges together. Pin them in a seam,
placing the first pin at the marks indicating the waistline. Smooth the fining over the
figure at both the front and back, and be careful that the waistline of the lining is at the
waistline of the figure. Make alterations at the under-arm and shoulder seams and at
the front edge if necessary. Draw the lining up well at the shoulder seams, but not
enough to draw it from the correct waistline. It may be fitted at these seams a little more
snugly at the final fitting.
Sometimes after the shoulders are carefully pinned there will be wrinkles in the front,
between the shoulder and the neck. These are caused by the natural hollow of the
shoulder. In this ease the shoulder seam must be ripped open and the front stretched
to the back from the center of the shoulder to the neck. Wrinkles at the back near the
neck are often caused by the lining being too long-waisted in back. Or the shoulder seam
may have been sloped too much, especially if the person is very square-shouldered. It
is always better to rip the bastings and pin the seam over again.
If the waist draws to one side it is because the waistlines have not been pinned together
at the fine of bastings. The top of the darts must come just below the curve of the bust
and they may be raised or lowered if necessary.
If the armholes feel too tight, be very careful not to gouge them out under the arms or
around the front, or the waist may be ruined. The best plan is to snip the armholes for
about three-eighths of an inch. This will give sufficient spring for the arm, and the sleeve
can be stitched in just beyond the end of the snippings. If, however, this does not give
88
 LINE.D WAISTS 89
sufficient ease to the armhole, pare the edges off a little and snip the seams a trifle deeper.
The same caution applies to the neck.
Pin the alterations, and mark carefully along the line of pins with tailors' chalk. With-
out removing the pins baste through the corrections, keeping a well-shaped line for the
seams. Try the lining on again to be sure that the alterations are right. Transfer the
alterations to the other side of the waist by using the corrected side as a pattern. Baste
the seams again, this time with the seams toward the inside. Stitch the seams just out-
side the bastings so as not to make the waist any smaller, bearing in mind that the sewing
of the seams will tend to tighten them. It also allows the bastings to be drawn easily,
for if the seam is stitched directly on top of the bastings, both rows will be so interwoven
that it will be almost impossible to pull them out.
In stitching side-back seams always have the
back next the feed of the machine and the side-
back next the presser-foot, and hold the parts
well up at each end of the presser-foot. Other-
wise the side-back seams are liable to pucker or
pull when being sewed.
In making seams in which one portion is fulled
on to another, place the full portion next the
feed, or downward, because if it is placed next
the presser-foot, the latter is liable to shove the
fulness out of place. Notch the seams at the
waistline and two or three times above and
below it, enough to allow them to lie flat when
pressed. Bind the seams neatly with ribbon
seam-binding run on loosely, and press them
open. Some dressmakers prefer to overcast the
seams, and most of the imported French dresses
are finished in that way, but it does not present
as neat a finish and takes a great deal of time,
as the overcasting must be done closely and
carefully.
Many linings, especially those of taffeta, are
simply pinked. Fig. 234 shows a seam edge
bound, another overcast, and a third notched and
ready to bind. It also shows the notching neces-
sary to make the side seam lie flat when it is
pressed open.
When no hem is allowed at the closing edge of
the lining, it is necessary to face it. Cut two
Fi£. 234. Notched Seams Before and after pieces of the lining material in the same outline
Binding
—
as the front or back wherever the opening
—
comes and two inches wide. Baste one on the
outside of each front or back, stitch a seamed edge, and turn the facing over toward the
inside. Place a row of stitching one-eighth of an inch inside the edge and another far
enough inside the first to allow a whalebone or featherbone to be slipped in.
If a hem is allowed at the closing edge, turn it over toward the inside of the lining and
make the two rows of machine-stitching form a casing for the bone. If the waist has a
back closing, the hem or closing line is usually indicated by a notch at the neck and an-
other at the bottom of the pattern. Fold a line from one of these notches to the other,
keeping the hem an equal width, and with a thread of different color from the lining run a
basting along the edge of the fold. Later this will be turned over for the closing.
Make a stay for the hooks and eyes from an extra strip of taffeta or thin lining, two
inches wide. Fold lengthwise through the center and place it on the inside of the lining,
with its fold at the basting-thread which marks the closing. Turn over both thicknesses
and baste very carefully. Then stitch with one row of stitching an eighth of an inch back
from the edge, and another row about three-eighths of an inch inside of that. The method
is shown in Fig. 234. Pin the fronts together with the waistlines even. Place a tape-
measure along the front edge, and with pins mark carefully the position for the hooks and
eyes at every inch point, beginning one inch below the neck.
90 THE DRESSMAKER
Whalebone can be bought in strips one yard long.
About three yards are required to bone a waist. Get a
medium-weight quality and let the whalebone soak in
tepid water to soften it so the needle can be passed
through it. Do not use hot water, as it will make the
bone brittle.
Round the ends of the bone and shave them for half
an inch make the ends thinner, using a dull knife
to
or the blade of the scissors. Slip a bone into the cas-
ing at each side of the closing, allowing it to reach
within an inch of the top of the first dart, and sew
through the lining and bone near the top to hold it in
place.
The seams should then be boned. Whalebone or the
uncovered featherbone should be slipped into a bone-
casing. Mark on each seam the
point where the bone is to start.
From five inches above the
waistline is the rule, to one-
quarter of an inch above the fin-

Fig. 235. Applying Bone Casing

ished edge of the waist. Pro-

cure a piece of single bone-ca-
sing or Prussian binding, as it is
called. This may be had in
several colors, but black or
white is to be preferred. Dou-
ble over one end an inch and
over-hand the edges together
to make a little pocket. Do
not sew this. pocket fast to the
seam, but begin three-quarters
of an inch down from its fold
and sow the casing on with a
running stitch. (Fig. 235.) Fig. 236. Whalebone
Properly 5prung
Sew both edges, holding the
casing somewhat full and keep-
ing it over the middle of the seam.
Run the bone into the pocket at the bottom of each
casing and fasten it at the top by sewing through both
bone and casing. Sew through again three inches above
the waistline. Then push the bone very tight, so it
will stretch out the seam and give a curve at the waist
(Fig. 236) and sew again there.
, If the finished edge
extends below the waistline, fasten the bone again one-
half inch from the bottom. (Fig. 236.) Do not spring Fig. 237. Hem or Facing Covering
the bones in the front so much as at the sides and back. Hooks and Hyes
The greatest curve is required at the under-arm seams,
less at the front and oack.
For Covered Featherbone, the method of boning a waist is somewhat different, since it is
stitched to the lining by machine, without an applied casing.
 LINED WAISTS 91

The seams of the lining are pressed, bound and marked as for whaleboning. The cover-
ing is ripped about half an inch on one end of the featherbone, the bone is cut away, and
then the covering is turned over the end, giving it a neat finish. This end is placed over
the seam at the mark. Keep the center of the bone
over the seam; stitch it in position. Care must be
taken to push the bone up and draw the lining
down while stitching, as otherwise the lining is
likely to be held in on the bone, causing it to
wrinkle. Its inexpensiveness and convenience are
qualities that have made featherbone very popu-
lar with dressmakers. It is obtainable in many
different styles, and in twelve and thirty-six yard
lengths, so that it can be used without waste.
The bone is cut off a trifle shorter than the mark
for the length of
the waist.
The hooks and
eyes, alternating, are sewed on
rig. 238. Facing the Bottom of the Waist atter the bone has been slipped into the easing.
(Fig. 237.) Separate the two rings of the hooks at
the back to make the hooks lie flatter Place them well inside the edge; sew through the
two rings and also around the end of each hook this latter sewing a quarter of an inch
from the edge. Sew completely through, to
insure durability, allowing the stitches to
go through to the right side. Be careful
when sewing the hooks and eyes on the
second side of the front to have them ex-
actly correspond in position to those on the
opposite side.
When all the hooks and eyes have been
sewed on, turn back a seam at the edge of
the facing piece, and hem it over by hand
to the row of stitching nearest the edge,
thus covering the stitches for the hooks and
eyes, as shown in Fig. 237.
Many dressmakers prefer to have all the
hooks on one side and the eyes on the other
side. If this method is preferred, take
care again that the hooks and eyes are
sewed on in such a manner that the waist
will not gape. The bill of the hook must be
one-quarter of an inch back from the edge
of the waist and sewed on firmly through
the lining at both rings and bill. The eye
should extend just far enough beyond the Reenforced Fiont and Manner of
Fig. 239.
—
edge to be easily hooked one-eighth of an Attaching Inside Belt
—
inch and should be sewed firmly at the
rings and at the edge of the material. The sewing of the hooks and eyes will give a trifle,
even with the greatest care, when the waist is worn.
Hem back over the hooks and eyes in this case also, the hem or facing, bringing it
close up under the turned-over part of the hook, and covering the sewing.
Baste an inch-wide bias strip of soft crinoline around the bottom of the waist three-
eighths of an inch from its lower edge on the inside. Turn
the edge of the waist under a seam's width and catch-stitch
it to the crinoline. Cut a bias strip of lining one and a half
inches wide. Turn under one edge and hem it down as a
facing on the turned-under seam at the bottom of the
waist. Turn under its other edge and hem it neatly to the
waist, covering the crinoline. (Fig. 238.)
Cut a belt of silk or cotton belting sold for this
,-.. -,.„
Fig. 240. Hook and Lye on
Ends of Bell Tape
purpose.
r ,,,,„
_Make, it . three inches longer than thex. waist
measure. Turn back an inch and a half at each j
end,
92 THE DRESSMAKER
sew a hook on one edge and an eye on the other, and hem the raw edges over them as
shown in Fig. 240. Mark the center of the belt and sew it to the center-front seam if the
— —
waist opens in the back or the center-back, if it opens in the front and to the next
seam on each side, with the lower edge of the belt one-half inch above the waistline. (Fig.
239.) Sew across the width of the belt with a long cross-stitch to the inside of the seam.
If the material of the waist is thin and transparent, the fitted lining should first have a
scant draping of mousseline which serves to cover the seams of the waist and holds out
the outside material.
Sew the eyes to the back seams of the lining to correspond to the hooks on the skirt,
making the waist belt overlap.
THE OUTER WAIST is easily managed if you have a carefully fitted lining for a founda-
tion. In using material of a width that requires piecing, the place of joining must be deter-
mined by the design of the waist. The join must come where it will be least noticeable.
This may be the center front, if the waist has much ful-
ness at that point. Or, if there are tucks at the side,
extending from shoulder to waist, the seam may be made
at the sewing line of one of the tucks.
The waist is now ready to be draped, the process be-
ing greatly facilitated by the use of the bust form. In
the draped waists, whenever they are in style, the
outside material usually is not caught in with the lining
at any seam except the shoulder seam. However, there
are occasions when the material is caught in the under-
arm seams as well. In these instances the under-arm
seams are not stitched with the other seams of the lin-
ing, but are left basted until the entire waist is draped.
The material for the back of the waist, after it is pre-
pared according to the pattern instructions, should be
pinned to the lining straight down the center of the back,
drawn well down and across toward the sides. Pin it
at the shoulder, the armhole and down the under-arm
seam, stretching it down that it may lie smooth and flat,
and placing the pins near enough together to hold it
well in place. Gather the fulness and draw it toward
the center of the back.
The front is then draped on the lining according to the
lines of perforations and notches at the neck and shoulder.
Very elastic material may require to be stretched or
drawn a little more tightly than one of firmer texture, and
Fig. 241. The Front Waist-Drapery allowance must be made for this fact in matching the
Lapped Across the Back at perforations that indicate where the outer material is to
the Under-Arm be tacked to the lining.
When the front drapery is arranged from the shoulder
to the bustline, pin carefully about the armhole, then arrange the drapery below the
bust; make the rounded part of the bust that lies at the second part of the lining a central
point from which to work the drapery in both directions. Draw the front drapery toward
the under-arm seams, turn under the raw edge and fit it in a straight, well-shaped line to
cover the raw edge of the back drapery. Pin it hi place to be sure the line is good.
After the other side has been draped and pinned in the same manner remove the waist
from the form and baste by slip-stitching. Stitch the seam by machine and press it open.
This method is preferred by most people and looks neater when finished than slip-stitch-
ing, although the latter may be done closely and used as the final sewing if preferred.
Fig. 241 shows another method of finishing the seam under the arm. The waist is
draped as directed, but after pinning the drapery in a good line, baste this folded edge
through the front drapery only. Remove the pins, and place a row of machine stitching
close to the edge, using silk the same color as the material. Pin the stitched edge in place
again, stitching it down well.
Pin the other side in the same manner, remove the waist from the form and stitch by
hand, taking the stitches through the row of machine stitching made in the front por-
tion. Try on the waist after draping, because it often happens that boning pushes the
 LINED WAISTS 93
waist up so that it needs taking up a little more on the shoulders. If it is correct, stitch
the shoulders. Then press them open and finish like the other seams.
If the material is heavy, or there is any likelihood of the lower edge of the waist being
bulky, the material is not turned under the bottom
of the waist, but is sewed securely to the lining just
I

below the waistline, the material cut away below

this line, and the raw edge covered with a piece of
seam binding laid on flatand sewed on both its edges
as shown in Fig. 242. The girdle covers the line of
sewing.
Never bind the armhole of a lined waist, as the
lining serves as sufficient stay. When a sleeve of
elbow length or an even shorter length is used com-
plete directions for making it will be found in the
pattern instructions.
If t he collar is to be of woolen or silk like the gown,
242.
Fig. Waist Drapery Sewed to the
Lining it should be lined with a piece of soft, light silk.
Catch-stiteh the collar supports to the silk, taking
care to sew through the silk thoroughly. Turn over all the edges of the collar and
catch-stitch to the lining. Slip-stitch the lower edge to the neck of the bodice.
If closed at the left side, the entire collar, except the small portion at the back, is stitch-
ed firmly to the neck. The neck of the lining at the left side, which is free, is bound with
seam binding. For a waist with a front closing, bind the left side of the neck with seam
binding, pin the collar around the right side, with the center of the collar at the front
edge of the right front, and the right end of the collar at the center-back seam. Sew
the collar to the neck, being careful not to catch the stitches through the outside mate-
rial. Sew four hooks on the
left end of the collar (on the
inner side) and one to its
lower edge about half-way
between the center front and
back.
Cut the facing (preferably
of silk) the same shape as the
collar. Turn in the edges of mA
the facing and hem it to the
collar on the left side, and to to
the neck of the right side of
the waist. Work four but- Fig. 243. Collar Applied to Neck
tonhole loops at the right of
the collar, and one in the left side of the waist at the neck. The collar and facing are
shown in Fig. 243. If the collar is made of transparent material, the mousseline de soie
should be used instead of the silk and the collar may be held up by collar supports.
For a woman having a very short neck, a high boned collar is an ahsolute torture. At
tl e same time, some support must be given to the collar or it w ill look wilted and untidy,

and make the neck seem still sh< rter and stouter. As the ordinary way of placing tl e
supports diagonally at the front does not seem to prevent their poking into the chin, it is a
good plan to use two supports about three and one-half inches long, finished. 1 h( se two
support are then crossed. The same method is used if the collar lining is taffeta silk.

IN A FITTED WAIST MADE WITH A YOKE, the yoke is mounted on the lining be-
fore the waist is draped. The yoke line must be marked through the perforations on the
pattern to the lining, and then outlined with a colored basting thread as a guide in finish-
ing the lining if it is to be cut from under the yoke. The yoke and collar are cut by the
patterns provided for them, and fitted to position on the lining. Usually the yoke is cut
in one piece, particularly if it is of lace or embroidery.
If the yoke is in one piece, first cut the yoke of lining material and fit the shoulder seams
if necessary. Now place the center front of the yoke lining, if the waist opens at the back,
on a lengthwise fold of the yoke material and cut it in one piece. This brings the yoke
opening on the bias. If the yoke is of lace, it is better to cut one or two thicknesses of
94 THE DRESSMAKER
mousseline de soie to soften the effect. The mousseline is stretched over the waist lining
first,and hemmed to the lining three-eighths of an inch below the colored thread mark-
ing the yoke line. The lining is then cut away, and the edge turned toward the mousse-
line at the marked line and hemmed down. Stretch the lace over the mousseline, care-
fully basting all points around the neck, arm's-eye and the yoke line. The lace is onen
sewed to the lining at the bottom without turning in the edge.
The Lace Collar is also lined with one or two thicknesses of the mousseline. Measure
the correct length and height of the collar and cut one of stiff paper. Mark off the seam
with pencil. Also mark where supports are to be sewed.
Cut one or two thicknesses of mousseline like the pattern, and baste to the stiff paper.
Procure either the bronzebone, which can be bought in the right length, or the narrow
silk-covered featherbone. If featherbone, cut the lengths so that the casing may be
slipped back three-eighths of an inch and the bone cut off. Draw the covering over the end
and turn it back and fasten it. The featherbone is then catch-stitched to the mousseline.
The edge of the bone should be one-eighth of an inch from the top and botton of the
collar. Cover the collar with lace, turn the top down three-eighths of an inch to the
wrong side and hem, or turn to the right side and cover with applied trimming. The top
edge must be slit to keep it from drawing. The lower edge is turned to the under side and
basted to the yoke. It should be tried on and any necessary adjustment made around
the neck and at the back.
The collar may be slip-stitched from the right side, or the waist may be turned to the
wrong side and the collar backstitched to the yoke, taking care not to take the stitches
through to the right side. The support is placed at the right end on the line of marking,
the edge is turned back one-quarter of an inch beyond the traced line, and hemmed or
faced. Sew four hooks on the overlapping end, and eyes or silk loops along the other end
in corresponding positions.
The meeting edge of a lace collar and yoke should be appliqued together. To obtain
this effect, themousseline yoke and collar are first fitted and joined together. The edges
of the lace are left free at this point, and, by cutting and weaving together, the pattern
appears continuous. In places where the mesh is too thin to disguise the seam, sections
of the pattern may be cut from the lace and applied to cover it.
In a low-neck evening gown the bertha or collar effect is put on according to the direc-
tions of the pattern. Turn in a seam at the top of the bodice, including the top edge
of the bertha, the lining and outside waist. Baste the seam in place, then hem over it a
facing of bias silk three-quarters of an inch wide. Be careful when hemming down the
lower edge to catch through the lining only. Use this facing as a casing for a narrow
ribbon, which should be drawn in when the waist is worn, holding it close to the neck.

THE DRAPING OF THE GIRDLE completes the gown. All kinds of material are
used, from the heavier velvets and cloths down to the sheerest chiffons, gauzes and ribbons.
The girdle must, of course, harmonize with the trimming of the gown.
If the girdle is of silk or velvet, the material is usually cut on a perfect bias, and the
edges hemmed or catch-stitched. Begin by pinning the center of the girdle to the center
front of the waist, and draw very firmly toward the back from both sides of the front. It
is best to pin a part of the draping on each side of the waist alternately, as sometimes the
bias does not stretch evenly on both sides, and it may be found necessary to move the pins
at the center front a trifle in order to make the bias draw more naturally. The draping is
tacked to the lining wherever it is pinned. The back edges can be finished with a small
shirred heading, which is allowed to extend beyond the hooks in order to cover them when
the girdle is closed.
When the waist is to be worn inside of the skirt, the girdle is usually separate. Cut
pieces of featherbone the desired length for the front, back and sides. Hooks and eyes
are sewed firmly to the two featherbones used at the back closing. Cut a piece of belting
an inch longer than waist measure, and turn back the ends one-half inch. Sew the feath-
erbones at the back, dropping the bone one-half inch below the belt. The front bone is
sewed to the middle of the belt, and the other bones at the sides and back. This founda-
tion is now put on the figure, and the girdle draped over it.

THE SLEEVES are considered by some people as the most difficult part of a cos-
tume. Great cautionis necessary to keep them exactly alike from the time the sleeves are
 L1NE.D WAISTS 95
cut until they are finished and sewed in the armhole. If not cor-
rectly cut and basted, one sleeve may be larger than the other.
If they are not stitched in the armhole exactly alike, one may
twist while the other hangs without a wrinkle.
The first step before cutting the sleeves is to study the pat-
tern instructions. Measure the sleeve and arm and make altera-
tions in the pattern, if necessary, as instructed in Chapter XIV,
"The Use of Butterick Patterns." Be sure that the elbow of
the sleeve comes in the right place.
Next, the sleeve must be cut accurately and carefully basted.
The seams should be pinned even at both top and bottom, and
the extra fulness of the upper back edge gathered in at the
elbow. (Pig. 244).
To be very accurate, the pattern should have the outlet
seam marked with tailor's tacks.
Baste the front seam three-eighths of
an inch from the seam edge. The
back seam is basted through the line
of perforations. A one-seam sleeve
should be basted with the upper and
lower edges even.
In joining waist and sleeve seams,
short basting stitches are used,
as shown in Fig. 244. Never place
machine stitching directly on top of a
basting. If the seam is stitched just
Fig. 244. Fulness at FJbow
outside the basting there will be no
of Sleeve Lining
difficulty in removing the latter.
Enough emphasis can not be laid on
careful basting, for next to cutting, it is the groundwork of
dressmaking. If it is poorly done, it is the source of many
future difficulties.

// a Fancy Sleeve is to be made, the lining must be fitted

firstand the material draped or arranged later. In basting
the lining, place the under piece of the sleeve upon the upper
with the notches of the front seam together, and pin in posi-
tion. Then baste this seam with small running stitches. Pin
the back seam through the outlet per-
forations from the top to the upper
notch, and again from the lower notch
i
to the bottom. The extra material Fig. 245. Correct Location of
of the upper sleeve portion is gath- Front Seam
ered into the space between the
notches to give room for the elbow. The seam is then basted. The
sleeve should always be basted as the pattern directs, and the
same width seam will be taken off both upper and under sleeve por-
tion. The outlet seam should be basted on the line of perfora-
tions.
Fig. 246. Wrist of Sleeve
Adjust the sleeve in the proper position, draw it up well on the
Prepared for Facing
arm, so that the elbow is in the correct position, and pin the
sleeve in the armhole with notches matched, as directed in the pattern instructions.
Distribute the fulness fairly evenly. More of it should come on the top of the arm than
at the back or front.
In a sleeve which sets correctly after basting, it will be noticed that the front seam, in-
stead of lying perfectly straight when laid flat on the table, will roll somewhat toward the
under side of the sleeve from the center of the seam to the wrist, as shown in Fig. 245. This
is quite important, as many workers imagine that the sleeve should set perfectly flat the
length of this seam.
Drape the material on the sleeve lining, remove the bastings and press the seams flat.
96 THE DRESSMAKER
Clip the front seam, then overcast or bind with a narrow silk binding ribbon. If it is de-
sired to have a firm wrist edge an interlining of soft crinoline is placed at the bottom, one
to two inches deep. With the sleeve right side out, roll the crinoline until it can be slipped
into the wrist. Place the hand inside and move the lingers about until the crinoline fits the
sleeve without either drawing or falling in folds; then baste. The rest of the work is done
from the wrong side. Turn the sleeve inside out and turn up the bottom three-eighths of
an inch. (Fig. 246.) Catch-stitch it to hold it down, then press. Face the wrist with a
bias piece of silk, and slip-stitch or hem it at the upper and lower edges. Any trimming
is added and the sleeve fully finished before it is
basted in the armhole. After the sleeve has been
sewed into the armhole the seam is overcast.

A BLOUSE -WAIST is generally made with-

out a lining. In some cases, for instance in a
silk waist, a lining is desirable to save the silk
from wear and strain. It differs from the lining
used for a closely fitted tailored or draped waist
in that it reaches only to the waistline, has but
one dart, and, as the curved fitting at the waist
and hips is not required, it contains fewer pieces.
Consequently, a simpler method of boning than
that of the fitted waist may be employed.
The pieces should be basted together and the
lining fitted, any necessary alterations made and
the under-arm seams stitched. Usually a hem is
allowed for at the closing edges, but even if only
a seam is provided, the closing line should be
marked.
In bring the closing line of both fronts
fitting,
together, and pin along the tracing, forming a
seam toward the outside. Alterations may be
made on this seam, if necessary, in which case a
new closing line must be marked. If the closing
edge is to be faced instead ot hemmed, trim the
edge, leaving only a seam's width. Cut a straight
piece of the lining material two inches wide, and
long enough to cover the length of both the front
edges. Place the piece with one edge to the
edge of the lining on the outside, and stitch a
seam. Turn the facing over, making the fold
come exactly at the seam, and stitch one-eighth
of an inch back from the edge.
Fig. 247. Dart in Lining Stitched
for the Bone
The casing for the bone in the front edge is
made by a second row of stitching, as shown in
Fig. 234. At each of the seams, also, a casing is made in the same way. A bone is run
into each casing and tacked in place, as seen in the dart seam in Fig. 247.
The bone in the casing of each closing edge reaches only as high as the bone in the dart
seam. If the closing is in the back, the bone may reach a height of five inches.
The under-arm seam of the blouse-waist is usually basted separate from the outer
blouse. The shoulder seams may also be stitched separately, if desired, or they may be
stitched in the seam with the lining.

TO CLOSE A BLOUSE- WAIST when a lining is used as shown in Fig. 247, pin the two
front portions of the blouse together, with the right side lapping over the left, as it should
be when finished. Hook the lining at the closing; place the blouse over it with its cen-
ter line directly over the closing line of the lining. Then pin each side in position and
baste together around the neck and armhole edges.
Small hooks are sewed on the right front, and buttonholed loops to correspond are
worked on the left. If preferred, the closing of the blouse may be made by means of a fly
with buttonholes on the right front and small buttons on the left.
 CHAPTER XVII

UNLINED DRE55ES

FORMERLY the kind of dresses that were made without linings was strictly limited
to those of washable materials, such as muslins, ginghams, lawns, etc. But so
popular has the unlined dress become that we are now quite accustomed to seeing
organdies, voiles, and even crepe de Chines made up without linings. They
are usually worn over slips, or well-cut corset covers and petticoats.
Before beginning work on the dress, read Chapter XIII, "Cutting Materials, Sponging,
Etc. " and Chapter XII, "An Efficient Equipment for Dressmaking."
An unlined dress is really nothing but a blouse or shirt-waist joined to a skirt in what
is now called "semi-princess style." The instructions given in the chapters "Unlined
Waists" and "Skirts" will cover every point in the construction of the unlined dress,
except the matter of the finish at the waistline. In dresses made by a dress pattern
the waist and skirt should be joined according to the directions given on the pattern.
Practically any unlined waist can be joined to a skirt in semi-princess style if the
openings of the two garments come at the same place at the front, side or back. Of
course the designs and materials of the skirt and waist must be suitable.
When a skirt and waist are to be joined together each is made and finished inde-
pendent of the other. But the belt-stay of the waist is basted to the inside of the
blouse, and the belt of the skirt is basted to the skirt, but not stitched.
When the two garments are finished put them on with the skirt over the waist.
Adjust the fulness of the waist becomingly and pin the waist and skirt together. Then
take them off and baste the two together at the waistline. Try the dress on again to
make sure that the waistline is exactly right, and rip the belt-stay from the inside of the
blouse before stitching the belt.
<

IN CLOTH, SILK, CREPE DL CHINE DRESSES— in fact, dresses of any material that
—
does not require laundering stitch the waist and skirt together at the top and bottom
of the skirt belt. Cut the bottom of the waist away below the belt and beneath it to
remove all unnecessary thickness at the waistline. The belt can be covered with a
girdle or sash.

IN LINEN, GINGHAM, PIQUE, etc., DRESSES, the skirt belt generally finishes the
waistline of the dress. It can be made either of the dress material or of some other
wash material of a contrasting color. It should be stitched at the top and bottom after
the waist and skirt are basted together. The bottom of the waist can be cut awav
below the belt, but not beneath it until the dress has been laundered. Then if the
waist shrinks there is an inch or so of material under the belt by which it can be length-
ened. After the dress has been laundered two or three times this can be cut away.

IN LINGERIE DRESSES the belt is generally covered with lace or embroidery joined
together to the required width. After the skirt and waist are basted together pin the lace
belt over the waistline of the dress with its lower edge just below the lower edge of the
skirt belt. Sew it securely in place, taking care not to stitch through the skirt belt.
After the lower edge of the lace is stitched down, rip off the skirt belt and the belt-
stay of the blouse and then sew down the upper edge of the lace belt. In this way you
get rid of the two unnecessary belts.
The bottom of the waist can be cut away below the belt before the dress is washed.
Afterward, if the waist does not shrink, it can be cut away under the belt as well.
Instructions for applying lace and insertions are given in Chapter I, "Sewing Stitches."
The more severe unlined dresses and shirt-waist suits are finished in tailor fashion,
97
 CHAPTER XVII!

MATERNITY DRL55LS

GARMENTS for maternity wear are so designed that they may be adjusted com-
changing figure and keep the trim appearance of fitted gown.
fortably to the yet a
The clothing should be so skilfully planned and made that no undue pressure
will rest upon any part of the body. If corsets are worn they must be very
loose, and be laced with rubber lacings at the back and ovei' the abdomen. Dresses
and negligees may be made of attractive materials, prefer-
ably of soft wool or silk, and in plain, solid colors rather
than figured effects. They may be prettily trimmed with.
lace, embroidery and ribbon.
The great trouble has always been with linings, for
when they were once made and fitted there was no way of
gradually enlarging them. This difficulty has been overcome
by lacing the front seams or the darts. (Fig. 24S.)
Other necessary changes may be made by moving a few
hooks and tapes. The waist lining should be basted and
fitted in the usual way, making it fit neatly but not too
snugly. Turn back the hem at the front of the lining and
stitch it with the usual two rows of stitching, making the
first row three-eighths of an inch, and the second three-
quarters of an inch, from the edge. Work eyelets near the
edge the entire length of the front of both sides, and
run a very soft and pliable bone in the casing formed by
the two rows of the stitching. Or, place the bone near the
edge, as in an ordinary lining, and sew eyes, but not the
hooks, along both edges, and lace through them. It would
be well to sew a fly or underlap about two inches wide
underneath each front, and sew hooks and eyes on their
Fig. 248. French Lining wilh Plait
front edges. Lace with a round elastic cord, such as is used and Lacings
for corset lacing.
After the lining has been fitted, the under-arm seams should be pressed open and
bound. The correct basting line in the side-front and side-back seams should be marked
with tailors' tacks or chalk.
Cut four strips of lining on the bias, making each strip three and a half inches wide
and a bit longer than the side seams of the front and back. Baste a strip to the under
side of the side-front seam with the raw edges together. Baste and stitch them three-
eighths of an inch back of the edge. This forms a small plait under each seam. (Fig.
248.) In sewing on the bias strip, one must be particularly careful to ease it over the
bust on the outer edges of the side seam. In sewing the strip to the second edge of
— —
the side seam the edge nearer the center front the bias band should be stretched at
the bust to make it easy over the curve of the figure. Baste the second bias strip to
the second side seam in the same way as the first. Take out the basting threads in
the side seams and sew back three-eighths of an inch from the edges. This gives you a
small fold on which to work the eyelets l'cr the lacing of the fronts.
The other two bias strips are used to finish the side-back seams of the lining. They
are handled just like the side-front seams and are also laced together instead of being
stitched. The edges of the center-back seam are closed in an ordinary seam.
The eyelets should be placed an inch and a quarter apart and a quarter of an inch in
from the edge of the fold. (Fig. 248.) They are made with a stiletto and worked with
the ordinary buttonhole stitch.
98
 MATERNITY DRESSES 99

In a lining made with a dart

instead of a seam to the
shoulder in the front, rip the
darts open and mark the seams
with a basting thread ; then
make that thread the edge of
a tuck, one-quarter inch deep,
running not quite to the top
of the dart. Work eyelets or
sew eyes just back of the tucks
of each edge of the dart seam,
and slip a round bone into
each tuck.
The shortening in the front,
which makes the ordinary skirt
Fig. 249. The Upper Part of Skirt
undesirable even when the belt
is enlarged, is provided against
in the maternity skirt by an extension at the top of the pattern as shown in Fig. 249.
The crossline perforations indicate where a ribbon casing should be sewed on. A ribbon
or tape can be run through it, coming out at a small buttonholed opening in the center
front. When fitting this skirt
pin a piece of tape around the
figure where the belt would
naturally come. The tape will
show whether the perforations
are in the right place for the
casing. The part of the skirt
which extends above the casing
should have its raw edge over-
east or bound. As the skirt
becomes short across the front
and sides, the casing may be
moved up toward the top to
lengthen it.
For maternity wear women
should use rather long, loose or
semi-fitted coats that will pro-
FiS. 250. The Inside Finish of Skirt tect the figure. If a semi-fitted
coat is used it should be double-
breasted so that the buttons can be moved over as the figure grows larger. In a well-
made coat a woman can go about as usual without feeling uncomfortable or conspicuous.
 CHAPTER XIX

TAILORED 5E.AM5

M ANY KINDS of seams are used in the making of tailored costumes. It is neces-
sary to keep the cloth extremely smooth at the seams and to make the stitching as
even as possible. In making a garment that requires a tailored finish one should
not be sparing in the use of bastings
and the hot iron. He was a wise and honest
tailor who declared "In the flat-iron is our
fortune," and the dressmaker who would
be successful along the same lines will do
well to keep in mind this well-tried maxim.

IN PLAIN SEAMS of very closely wov-

en material that does not fray or ravel, the
edges of the seams may be simply notched Fig. 251. Edge of Plain Fig. 252. Edges of Plain
or pinked, and pressed open. (Fig. 251.) Seam Pinked Seam Bound
Plain seams of jackets, cloaks and other
garments made of heavy material that will fray should be bound with satin, silk or
farmers' satin. This is cut in bias strips just a trifle wider than the depth of the seam
after it is closed. Stitch the binding on the right side of the seam edge, close to the edge,
then baste it flat, covering the edge. Close the seam of the garment with bastings catch-
ing through both cloth and bind-
ings. Then stitch.
A better way, requiring more
labor, however, is to stitch the
seam and press it open. After
pressing, the seam will have
spread at the edges, especially
if it is curved, and the binding
can be safely applied without any
J
Fig. 253. Stitching on One Fig: 254. Stitching on Both
chance of pulling later.
Baste the strip of binding on
5ide of Seam Sides of Seam the right side of the edges; turn
it over the raw seam edge and
fell it down on the underside, keeping the turned edges of the binding even on both
sides of the seam edge. (Fig. 252.) It is finished with one row of machine stitching
close to the edge of the binding.
When Trimming is to be applied over seams, the plain seam is used. It should be
finished completely, and pressed before
the trimming is added.

Joined Seams of garments that have

the lining cut like the outer pattern
and stitched together, are finished by
turning in the raw edges of the seams
of both cloth and lining toward each
other and closing the edge with over-
hand or running stitches. Where the Fig. 255. Broad Seam Stitch
seam is curved, the edges must be
notched every now and then to prevent the garment from pulling at such points.

AN ORDINARY TAILORED SEAM, which makes a good neat finish, is the plain seam
pressed with both edges turned to one side, and a row of machine stitching run in neatly
100
 TAILORED SEAMS 101

along the one side of the seam from the right side of the garment as shown in Fig. 253. Or,
if preferred, a row of stitching may be applied to each side of the seam. (Pig. 254.) In the
latter case, however, the seam should be pressed open before running in the stitching.
.1 Broad Scam is a plain wide seam with four rows of ornamental stitching. (Fig. 255.)
This seam is mostly used on tailored garments of heavy materials.
A Cord or Tuck Seam is a plain seam with both edges turned to one side, and a row of
stitching run one-fourth of an inch from the seam, through the three thicknesses of the

Fig 256. Cord Seam Fig. 257. Welt Seam

goods. This creates a raised or cord-like effect. (Fig. 2.5G.) The undesirable thickness
on the under side may be cut away at the inner edge as close to the stitching as possible.

A WELT SEAM is made by first stitching a plain seam with the one edge of the mate-
rial left very narrow. Then turn back the fold and baste down close along the narrower
seam edge. Stitch parallel to the line of bastings, keeping the seam flat. Fig. 257 shows
this seam with the machine stitches ripped out at the top to expose the narrow seam edge
underneath.
A Do able- Stitched Welt Seam has an additional row of stitching set in one-fourth inch
or less from the edge. (Fig. 258.)
An Open-Welt Seam is first basted as for a plain seam. The tuck is then basted down

Fig. 258. Double-Stitched Welt Fig. 259. Open Welt

flat,with the stitches directly over the line of bastings in the seam. With one row of
machine stitching the tuck-like fold and the seam are made secure. (Fig. 259.)
The raw edges on the underside of an open-welt seam may be bound with velveteen
or with narrow grosgrain ribbon, which can be bought for the purpose. Baste the bind-
ing over the double seam edges, and stitch through all the thicknesses as near the edge of
the binding as possible. (Fig. 260, on next page.)
 [

102 THE DRESSMAKER

A SLOT SEAM is made by basting the seam
as for a plain seam. The basting stitches should
be short enough to keep the seam firm while
it is being pressed open. Then baste an un-
derstrip of the material a trifle narrower than
the .combined width of the seam edges, directly
under the basted seam. (Fig. 262.) From the
right side, stitch three-eighths of an inch on
each side of the center. Remove the bastings.
The turned edges, now free, give the slot ap-
pearance, whence the name. (Fig. 261.)
A Double- Stitched Slot Seam is produced by
stitching another row each side of the center
close to the turned edges. (Fig. 261.)
Fig. 260 Open Welt Seam, Bound
STRAP SEAMS are plain seams over which
straps of the material are stitched for ornamental
purposes. The strips for these straps may be cut
lengthwise of the material from pieces that are
left after cutting out the garment, but experience
has taught that when silk is used it is better to cut
them on the bias, and when the material is cloth
the better result will be obtained if the straps are
cut crosswise of the goods.
For a finished strap that is five-eighths of an inch
wide, the strips are cut one and one-fourth inches
wide. Join the two raw edges with loose overhand Fig. 261. Double-Stitched Slot Seam
stitches as shown in Fig. 10, page 4; spread out the
strap with the line of joining directly on the

1 .
T~ *
1

i.V
'
center, and press.
f.

When making strap seams it is desirable to

graduate the thickness at the seam as much as
possible. For this reason, cut the seams either
:

j
wide enough so the edges on the underside will
extend bej'ond the edges of the strap, or, cut
i
them narrower so the edges of the strap will ex-
-
t :

tend beyond the seam edges.

Baste the straps carefully over the seams, with
Fig. 262. Reverse Side of Slot Seam a line of bastings run along each edge. (Fig. 263.)
When it is necessary to piece the straps for
long seams, avoid having the joining seam in a prominent place on the garment.

A LAPPED or IMITATION STRAP SEAM is the most practical finish for unlined gar-
ments. The edges at the seams are lapped and the raw edges turned in with a row of
stitches finishing it alike on the right and wrong sides. (Fig. 264.)

Fig 263. Strap Seam Fig. 264. Imitation Strap Seam

 TAILORED SE.AM5 103

A Raw-Edge Lapped Seam is used in making

garments of heavy, closely woven material
that will not fray or ravel. The seam edges
must be cut very accurately and smoothly.
Baste the edges evenly, lapping them the full
allowance, and stitch as near the edge of the
upper lap as possible. A second row of stitch-
ing five-eighths of an inch from the first gives it a
neat and tailored finish. The seam on the under
side should be trimmed off evenly. (Fig. 265.)
One should be very careful in deciding on
the style of seam used on a tailored garment.
Tweeds, homespuns, friezes, and all other rather
loosely woven woolen materials should be fin-
ished with bound seams. In linens, pongees
and crashes one should use the cord, bound or
lapped seam. Broadcloth, meltons, kerseys,
covert, and other heavy driving cloths can be Pig. 265. Raw-Ldge Lapped 5eam
pinked, as they are so closely woven that they
will not ravel. To have a good tailored look the machine-stitchings on any seam must
not be too fine. The thread and needle should be of medium thickness and the stitch
should correspond in size.
 CHAPTER XX
POCKLT5
PHASE OF DRESSMAKING that is generally regarded as tedious and difficult is

A the work involved in putting pockets neatly into a garment. The difficulty, how-
ever, is one that can easily be overcome by the simple remedy of "knowing how."
The various styles of pockets used on tailored and boys' suits which require some
technical knowledge will be treated in this chapter.

A PATCH POCKET
is, as its name implies, simply a patch sewed on three of its sides
to the outside of the garment. Patch pockets vary in size and shape according to the
style of the garment and the position they occupy.
The upper edge that is
left open may be sim-
ply hemmed or faced,
and trimmed in any
way that the character
of the garment may
suggest. In all cases
the essential feature of
a patch pocket is neat-
ness.

A SLASH POCKET
one that is made on Fig. 267. Pushing Facing Through
is

Fig. 266. the inside of the gar-

Facing of the Slash Pocket to Wrong Side
ment and has a slit
opening through to the outside. Mark the line for the opening with tailors' tacks.
Run a line of bastings in colored thread through the perforations to mark the line still
more sharply, letting the bastings show on both sides of the material.
Cut a piece of the suit material for a facing. It should be about three inches wide and
an inch longer than the pocket opening. Baste it face down to the right side of the
garment so that its center comes exactly over the pocket opening and the facing itself
extends half an inch beyond each end of the open-
ing. (Fig. 266.) From the wrong side of the gar-
ment run anoth-
er row of col-
ored bastings
along the line
for the pocket
opening so that
the second row
will show
through on the
pocket facing.
From the
right side place
a row of ma-
chine stitching
on each side of
the pocket line
and about an
Fig. 268. Pocket Slipped Under the Facing eighth of a n Fig. 269. Pccket Turned up and Stitched
104
 POCKE.TS 105

Fig. 2 70. Inside View of a Slash Pocket FiS. 271 f a 51ash Pocket

inch from it. (Fig. 266.) Tie the ends of the threads firmly so that the stitching can not
pull out, and then cut through the pocket line with a sharp knife, cutting through both
the facing and the garment material. Push the facing through the slit. (Fig. 267.)
Rebaste the facing from the outside, letting it form a head or cording an eighth of an
inch deep at the edges of the pocket. It should be stitched on the upper edge of the
pocket hole from the right side. The pocket edges should be cross-stitched together to
hold them in shape until the rest of the work on the garment is finished. Turn down
the upper edge of the pocket facing as close to the stitching as possible, and press it
flat to the wrong side of the garment. (Fig. 269.)
Cut from strong cotton or light-weight canvas a pocket piece about twelve and a half
inches long and two inches wider than the
pocket opening. Shape one end of the pocket
like the curved pocket opening and insert it

f -<&.
'
between the lower pocket facing and the
garment, close to the opening. (Fig. 268.)
Baste it in place from the wrong side, turn
the garment portion over to the right side,
and stitch through both facing and pocket.
This row of stitching should be set close to
the pocket opening. Turn under the lower
edge of the pocket facing and stitch it to the
pocket (Fig. 268), but be careful not to stitch
through the garment.
Now turn up the pocket about four and a
half inches from the opening and baste it in
place with its upper edge toward the top of th&
garment. From the right side, stitch through
the garment and the pocket along the upper
edge of the pocket opening. Turn under
the edge of the upper part of the facing
and hem it to the pocket. The easiest
way to do from the right side, pushing
it is
the pocket and facing through the slit so that
you can get at it easily.
The sides of the pocket are closed with a
Fig. 2 72. When the Pocket Opening is
row of machine Stitching about three-
sin S le
Perfectly Straight eighths of an inch from the edges, (tig. 209.)
106 THE DRESSMAKER
A Perfectly Straight of material applied as directed above.
Opening has a facing (Figs.
266-267.) Two pocket pieces are nut of pocketing or drill, the lower four and a half inches
long, the upper piece five inches long. Both pieces should be an inch wider than the open-
ing. They are slipped under the facings, basted and stitched from the right
side. Strengthen the ends of the opening with a bar tack.
The raw edges of the facings are turned under and stitched to the pocket pieces. The
upper pocket piece is then turned down over the lower and basted and stitched to it
around its three open sides. The raw edges may be bound or overcast.

Fig. 273. In and Out Lap on Pocket Fig. 274. Open Pocket with Lap Cut on a Slant

IN A POCKET WITH AN IN-AND-OUT LAP the latter is finished completely before

the pocket is begun. Cut the piece for the lap from the cloth, being careful to have
the grain or stripe of the goods match when the lap is laid on the jacket in the position it
will have when the pocket is completed. Turn in and baste a seam on three sides.
Run two rows of even stitching around the edge from the right side, the first row one-
eighth of an inch from the edge. Then add a lining of silk, slip-stitching it on by hand.
. Now lay the finished lap face down on the goods, with its raw edge down, and even with
the line of bastings that indicate the pocket opening. The rest of the work is the same as
for' the pocket described above. In this case, however, that section of the facing
strip which is supplemented by the lap is cut away. (Fig. 273.)
AN OPEN POCKET is made similar to the one having an in-and-out lap. The lap is
made straight or on a slant, not quite so wide as for a loose lap, and is joined to the gar-
ment at the lower edge of the slit in an upright position, and is attached to it at each side.
SIDE POCKETS OF TROUSERS are usually made in a seam. Cut a square piece of
silesia or stout lining material the size desired, and, doubling it over, notch the edges to
indicate the pocket opening. Make corresponding notches in the seam edges of the trous-
ers. Face the back edge of the pocket on both the right and wrong sides with bias
facings of the cloth one inch and a quarter wide and long enough to
extend from the top of the pocket to an inch below the notch in
the opening. (Fig. 275.) Lay the front edge of the pocket edge to
edge with the front edge of the trousers on their wrong side and baste
it to them. In the same seam baste a bias facing of the cloth to the
front of the trousers on the right side. This facing should be the same
length and width as the facings on the back edge of the pocket. Stitch
the pocket, trousers and facing together in a narrow seam. Turn the
facing over onto the pocket and run a row of stitching close to the fold
to hold it in place. Turn under the back edge of the facing and stitch
it to the pocket. Trim off the lower corners of the pocket (Fig. 275),
and crease the edge for a seam toward the inside. The seam of the
pocket may
then be closed. Baste it first, and close it with one stitch-
ing. The back edge
of the pocket is caught to the front at the
notches with bar stay-tacks. The upper edges are held by the waist
band. Fig. 2 75 Side Pocket
 ;

CHAPTER XXI

SKIRTS

HE PRESENT STYLE of making skirts without linings has considerably sim-

T work of the dressmaker. These unlined skirts, however, unless made

plified the
of very heavy material, call for well-fitting underskirts as a foundation, and on
them largely depends the fit of the overskirt.

THE FOUNDATION SKIRT may or may not be joined in the same belt with the over-
skirt, as preferred. In either ease, both the overskirt and the foundation are made and
finished separately, with the exception of the inside belt. The foundation skirt is made
first. China silk, India silk, taffeta, and satin are good materials for this purpose, though
for wearing qualities some of the lining materials, mixtures of silk and cotton, or the
better grades of percalines, sateens, etc., are pre-
ferred.
Get a good pattern, and make a careful study of
the figure which is to be fitted. Many women have
a slight hollow below the waistline in the back an —
ugly defect, but one which can easily be overcome.
It is frequently found in connection with a round
or prominent abdomen.

A Small Light Bustle that will not interfere with

the wearer's comfort adds much to the set of the
skirt on such a figure. It can be made of the same
material as the foundation skirt. Cut a piece of
the lining material the size and shape desired for
a foundation, and hem or pink the edges. Make
ruffles four inches wide, and treat their edges in the
same way. Sew several rows of these ruffles across Fig. 2 A Ruffle Bustle
the foundation piece, and one all around the edge
except at the top. (Fig. 276.) The completed bustle may be attached inside the skirt, or
it may be hung around the waist under the corset by means of a narrow tape sewed at

each side.
If the figure to be fitted is abnormally
short or tall, stout or thin, or out of pro-
portion in any way, instructions for ad-
justing the pattern to the figure will be
found in Chapter XIV, "The Use of
Butterick Patterns." Separate patterns
are used for the foundation and skirt ex-
cept in the case of tunics, overskirts, etc.
Cut the gores for the foundation skirt
baste them together according to the pat-
tern instructions and try it on. If the
skirt is to end in a full plaiting at the lower
edge, measure the width of the finished
plaiting and deduct this width from each
gore in cutting, allowing, of course, three-
eighths of an inch on each for a seam.

Fig. 277. Plaiting Stitched on Foundation Skirt For the Plaiting, cut strips crosswise of
107
108 THE DRESSMAKER
the material. The combined length of these strips
should measure at least twice the width of the skirt
at its lower edge. Stitch them together, and make
a narrow hem along one edge. Then plait the entire
piece. If a side-plaiting is used, run in a row of
stitching along the upper edge to keep the plaits flat.
When an accordion plaiting is used, the upper edge
may be pressed flat, and a gathering thread run in to
keep the fulness of the plaits perfectly even.
Lay the plaiting right side up along the lower
edge of the skirt on the wrong side. Baste the
raw edges of skirt and plaiting evenly together.
Then on the right side of the skirt stitch a narrow
bias fold or strip over these raw edges as shown
in Fig. 277. This makes a neat finish on both the
right and wrong sides or the garment.
If the foundation skirt is to be full length, the
plaiting or flounce may be set on above the hem.
The skirt in this case must, of course, be tried on
and the even length secured all around the lower
edge (see Fig. 301B), and the hem or facing finished
before the flounce is added.
When the skirt is ready for the flounce, plaiting
or ruffle, mark a line parallel to the lower edge of the
skirt a distance above it to equal the width of the

Fig. 278. Plaited Flounce and Dust Ruffle

finished plaiting. Then lay the flounce face down
over the skirt, with the raw edge over this line and
the hem of the flounce toward the belt of the skirt.
Baste a narrow seam along the mark, and stitch.
Turn the flounce over and stitch again three-
eighths of an inch from the turned edge, keep-
ing the plaits even and flat.
If preferred, the flounce may also be hemmed
at the top, and stitched to the skirt with a nar-
row heading.
If the plaited flounce is a dust ruf-
of chiffon,
Fig. 279. Simple Ruche for Edge of Chiffon
fle of the silk is generally used under it. The Accordion Plaiting
lower edge of this ruffle is simply pinked, and
the upper edge is finished with a very narrow hem. The
ruffle is stitched on with a narrow heading. (Fig. 278.)
Another good method for giving the graceful flare or ful-
ness at the lower edge of a foundation skirt is by adding
several tiny ruffles or ruchings to the plaited flounce or ruffle.
These are cut bias, if made of taffeta, and simply pinked at
both edges and gathered or plaited through the middle.
(Fig. 280.)
A Simple Ruche of chiffon for the edge of a flounce is made
by doubling a strip of the chiffon over on the center line with
the upper raw edge turned under and the gathering thread
run in along this line. (Fig. 279.) After joining as many
Fig. 280. Box-Plaited Ruche strips of the chiffon to make the required length, cut the
selvages off, as the stiffness will prevent the chiffon from
falling into a soft, graceful ruche.
A Three-Tuck Ruche is used when more fulness is desired than is given by a simple
ruche. This is made by cutting the chiffon strips about seven inches wide. After joining
the strips as before, hold them in thirds, bringing the two raw edges together three-eighths
of an inch from the folds. Run a gathering thread through all the layers of chiffon at one
time. (Fig. 281.)

A Puff Ruffle is sometimes used over a silk plaiting or ruffe. This is made of strips of
 SKIRTS 109

chiffon double the width of the

ruffle desired, plus the two inches
required for the heading at the
top. Fold the chiffon double,
bringing the two raw edges to-
gether on a line one inch below
the edge that will be the upper
edge of the ruffle. Turn under the
upper raw edge and run in the
gathering thread, using small
Fig. 28 1 . Three-Tuck Ruche
stitches. Baste and then sew the
puff ruffle to the skirt above the silk flounce. (Pig. 282.)

A Circular Flounce may be ussd as a finish at the bottom of the foundation skirt if
desired. This may be cut from any good circular pattern. The lower edge is turned
up in an inch hem, and the upper edge joined to the skirt in a French seam. The flounce
may be trimmed with tiny ruchings or ruffles, as may be preferred.

A Dual Ruffle is sometimes sewed on the in-

side of an outside skirt when it is desired to give
it a graceful flare at the lower edge without ma-

king it necessary to wear additional under-

skirts. The dust ruffle is also used on founda-
tion skirts when one is desired. It is usually
four inches wide, pinked at both edges, and
sewed to the skirt by hand with invisible
stitches. The ruffle is held down at intervals by
French tacks. They are made by taking a
small stitch in the skirt and one in the ruffle,
leaving a half-inch or more of thread between.
Fig. 282. Puff Ruffle
Pass the needle back and forth once more, put-
ting it into the same place, and then work several loose buttonhole-stitches back over the
three strands of the silk thread. (Fig. 283.)
Foundation skirts vary in style and shape according to the prevailing fashions in out-
side skirts. These instructions are intended, therefore, to be of general use in making
either drop skirts, petticoats or foundation skirts for evening dresses, etc.

THE DRESS SKIRT is, of

course, made and finished ac-
cording to the material used and
the style of pattern chosen. Di-
rections for putting the skirt
together will be found in the pat-
tern instructions. If the figure
to be fitted is out of proportion
in anyDarticular, read Chapter
:
XIV,' The Use of Butterick
'

Patterns, " before cutting out

Fig. 283. Method of Making French Tack
the skirt. The first step is to
lay out the pattern on the ma-
terial, following, of course, the perforations indicating the right grain of the material, and
being, careful to keep the nap or figure running the proper direction. (Read Chapter XIII,
"Cutting Materials, Sponging, etc.")
Before basting, lay the gores together, with the more bias edge on top (Fig. 2S4), and
smooth the two gores out by running the hand lightly down and across with the weave
of the fabric, being careful neither to pull nor stretch the bias edges. Beginning at the
top, pin the edges together at intervals, and then baste along the sewing line with small
even stitches until well over the hips, where the strain will come in fitting. Below this
point the basting stitches may be longer.
 '

110 THE DRL55MAKE.R

Try on the skirt, and make alterations wherever neces-
sary. Be careful not to fit it too tightly over the hips, or
it will tend to make the skirt lose its shape bj r drawing up
and wrinkling when one is sitting. To set properly, the
center line of the front of a skirt must stand exactly per-
pendicular. Draw the skirt up well at the back, and mark
the line for the belt with tailor's tacks, allowing three-
eighths of an inch for the seam.
Stitch the seams and press. The finish of the seams de-
pends on the weight and texture of the material. (See
Chapter XIX, "Tailored Seams.")
—
The Inside Belt For your inside belt use silk or cotton
belting of the width recommended on the pattern envelope.
You can get it at any notion counter. Cotton answers,
but get it in a good quality or it will be too lirnp to hold
the weight of the skirt. It is of the utmost importance
to make the belt by the pattern, for if it does not fit cor-
rectly it will slip on your figure, bringing the skirt in the
wrong place, in which case it will not fit at the hips.
Get the straight belting, and mark the darts by the belt
pattern. Bring the V-shaped lines of dart perforations
together, and baste the darts. Turn each end under one
inch for a hem. Try the belt on with the fold edges of Fig. 284. Basting a Bias Edge to a
the hem just meeting. If the belt is too large or too small Straight One

turn in or let out the hems. If it is too large at

the top, do not make the darts deeper. Let the
darts out a trifle, and take the extra length off
the ends of the hems. When the belt fits snug-
ly, but not tightly, stitch the darts and the fold
edges of the hems. Turn under the raw edge of
the hem and stitch the fold to the belt. Turn
the darts flat against the belt and stitch them.
Mark the center of the belt with cross-stitching,
and sew the loops to the sides, to hang the skirt
up by. Fasten your belt with good-sized hooks
and eyes, number 8 are the best. For a belt of
average width, sew three hooks to the right end of
belt, placing them about one-quarter of an inch

Fig. 285. Bound and Hemmed by Hand in from the fold edge. Sew them through the
.

rings and over the bill. Sew three eyes to the

left end of the belt, letting them extend far enough beyond the edge to fasten easily.
Sew them through the rings and at the edge of
the belt. Some women use only two hooks,
and their belts bulge at the center.
The hooks should be one-eighth of an inch
back from the edge, and the eye at the top I

touching the seam of the facing and skirt.

A Hem two or three inches deep is the usual I

finish of the lower edge of skirts. The e.».tral

length required for the hem must be allowed,
j

for when cutting. The patterns usually allow

only three-eighths inch for seaming. If the Fig. 286. Hem Gathered at Top
material is of soft texture, the hem is simply
turned under, its edge turned in and sewed down by hand in blind stitches, or finished
with a row or two of machine-stitching. The lower edge of the skirt measures more than
the line of sewing, so it must be fulled or laid in tiny plaits here and there, to make the
hem lie flat. (Fig. 286.) If the skirt is of heavy material the upper edge of the hem or
facing may be bound with a bias strip of lining material instead of turning in the edge of
the cloth. The stitching should be made through the binding. (Fig. 285.)
 1

SKI RTS 11!

/I False Hem or Faring is sometimes pre-

ferred for the finish of the lower edge, espe-

cially if there is a wide sweep at the bottom.
The facing is cut in bias strips, or shaped to fit
the lower edge of the skirt. The strips are
pieced together and the seams pressed open.
Then baste and stitch the facing with a narrow
seam, to the lower edge of the skirt on the right
side. Turn over to the wrong side and baste
down flatly along the edge. Then baste again
along the upper edge of the facing, turning in
a narrow seam. (Fig. 2S7.
Velveteen or Skirt Braid may be added
to protect the lower edge of the skirt, if de-
sired. The velveteen strip is first stitched by
hand, on the inner side of the skirt very near
Fig, 287. Facing Hemmed to Bottom of Skirt
the edge, then turned up, leaving a narrow
fold extending below the edge, and again
sewed to the inner hem or facing, as shown in Fig. 28S. The skirt braid should be shrunken
— —
wet thoroughly and pressed dry before it is used. It is sewed flat to the under side
of the skirt, its lower edge one-eighth of an inch below the bottom of the skirt. Sew it
with a running stitch, just above the lower edge of the skirt. The upper edge of the
braid is hemmed down. In other words it is
sewed with two rows of stitching running —
stitches near its lower edge and hemming
stitching at its upper edge.
AnInterlining may be used in the hem or
facing if it is desirable to add weight at the
lower edge of the skirt. The material used for
the purpose may be strips of lining, or, ac-
cording to the texture of the skirt material,
any substantial material such as heavy flan-
nel or broadcloth. These materials are used
where body is required in the garment. Since
it is simply a question of giving weight to the
skirt edge, especially in the case of soft silks,
etc., the interlining for the hem may be made
of light-weight cotton flannel.
The interlining is cut in strips as wide as
Fig. 288. Velveteen Finish on Bottom of Skirt
the hem or facing, omitting the seam edges
at both sides. Baste it to the skirt along
its lower edge, if the skirt is to have a fa-
cing. For a hem that is to have an inter-
lining, mark the skirt all around a distance
above the lower edge to equal the width of
the hem. Then the strip for the interlining
isbasted along this line. The hem is then
turned up, and with the narrow seam
turned in at the top, one row of stitching
catches through both the hem edge and the
upper edge of the interlining.
When it is not desirable to finish a hem
with machine stitching, and it must be done
by hand, do it with blind or slip stitches.
When this is the case, the interlining must
firstbe securely stitched on the inner side
of the facing, or the turned-up portion
of the hem, with the seam edge turned
Fig. 289. Braid Finish over the upper edge of the interlining.
112 THE DRESSMAKER
TUCKS are sometimes made above the hem for trimming or adding weight to the
lower edge. If tucks above the hem are desired they should be basted in before the lower
edge is finished. If the pattern does not allow for the tucks, the additional length must
be calculated in the cutting. They may be of any width and of any number desired. If
the lower edge of the skirt is straight the tucking is simple. The greatest difficulty is
when the lower edge is very circular in outline, for then the tucks must be marked and
basted before the stitching is done. Usually the skirt is fitted and finished at the waist-
line first.
Nun Tucks are wide tucks, usually two inches or more in depth. The method for
making all tucks is the same, more or less, but the wider the tuck the greater the diffi-
culty in keeping the lines and the dis-
tances between the tucks even when the
bottom of the skirt is circular at its
lower edge.
The number and width of the tucks
must be decided before the skirt is cut,
and the additional length allowed in
each gore. For instance, when two
tucks two inches wide are desired, you
must add eight extra inches in the
length, and two inches more if a hem
is to be used also.
After the gores of the skirt have been
joined, and the belt finished, the length
of the skirt is made perfectly even at
its lower edge. The easiest way to get
an even line is to try the skirt on the
figure, standing on a footstool or some
elevation that will permit, the entire
skirt length, including the allowance for
the tucks, to hang straight.
Fig. 290. Preparing "Nun" Tucks The hem is then pinned up and basted.
From the sewing line of the hem meas-
ure the distance desired between the tucks (the hem is counted as a tuck in this in-
stance), and from this point measure again to a line two inches above, for a two-inch tuck.
Baste a fold evenly all around the skirt at this point, being careful not to twist at
the fold edge nor deviate from
the exact line. Mark with a
basting thread a line two
inches above and also one two
inches below this fold edge all
around the skirt. Then hav-
ing the skirt on the lap board
or sewing-table, with its lower
edge toward you, baste in the
tuck by bringing these two
lines together. It will be seen
that the lower line is a trifle
wider than the upper one,
and this is just wherein the
difficulty of making tucks lies. Fig. 291. Finished "Nun" Tucks
(Fig. 290.) As you proceed,
the lower basting thread must be drawn up a trifle here and there, to keep the tuck
perfectly flat on its upper surface. The final stitching can then be put in, either by
hand or machine sewing. (Fig. 291.) For the second tuck proceed in the same way.
PLAITED SKIRTS are more or less worn at all times, though some years they are more
popular than others. Different arrangements of plaits are worn each season, but there
are certain general instructions that apply equally well to the different styles of plaited
skirts.
 SKIRTS 113

The of course, is to read the pattern instructions carefully,

first step, and to get a
clear idea of the particular style of the skirt that is being made.
composed of seven, nine or more gores it is not so difficult
In cases where the skirts are
to handle them successfully, since alterations may be made at the seams. But in skirls
where few gores are employed, particular attention must be paid to the correct position
of the lines, in order to keep the plaits perfectly even. Furthermore, the skirt must be
joined to the belt and the material between the plaits properly disposed, so that the plaits
themselves will have a uniform appearance.
Before cutting the material read the pattern instructions, examine the pattern and iden-
observing the notch-
tify the pieces,
es and perforations according to
the directions. No fixed rule can
be given for laying out material for
cutting. It is frequently necessary
to open out double-width material,
cutting each part separately. Be
careful in this case to observe the
right and left side of the garment.
In cutting a skirt, make a length-
wise fold in the material for the
center of the front gore. Never
start cutting with the widest part
of your pattern toward the solid
part of your material. Lay out
your pattern carefully and place it
on the material economically before
starting to cut. If the material is
narrow, it will be necessary to piece
the lower part of this gore at each
side; but this need not be done until
after the rest of the skirt is cut. as
some of the pieces cut from the side
gores will probably be large enough Fig. 292. A Gore Marked tor the Plaits
for this purpose.

Single-width material should be laid out straight for all breadths except the front. It
may be folded across at half its length, or cut in two and reversed (if it has a nap) and
cut double. After all the breadths are cut, and
before removing the pattern, mark all perfora-
tions except the ones that indicate the cutting or
grain line, with tailors' tacks. (See Chapter IV,
Pig. 71.) In a plaited skirt remove the pattern
and place a yard-stick on the cloth with its edge
even with the tailors' tacks, and draw a con-
tinuous line with chalk. Mark this line with
tailors' tacks. (Pig. 292.)
The long threads should be cut, the pieces
separated, and the breadths joined at the seams.
In sewing a bias edge be careful not to stretch it.
Basting the seams is shown in Fig. 284 on page 110.
For a Box-Plaited Skirt, after all the seams are
joined (except the back seam, which is not basted
until the plaits are all laid), begin at the front
breadth and bring the two lines of markings at
each side of the center front together and baste.
This forms a large tuck. (Fig. 293.) The next two
rows of markings are then basted together to form
a second tuck. Continue in this way around
each side of the skirt. Bach seam corresponds
Fig. 293. Basting the Plaits in Tucks to a row of markings, and is to be basted to the line
114 THE DRESSMAKER
formed at the perforations on the breadth
toward the front. After the plaits are basted
into tucks, each one is flattened to form a box
plait, bringing the seam in the center on the
wrong side. The method of forming the plaits
is shownin Fig. 293.
Be
careful to get the box plaits even, without
any draw, especially where the edges come bias.
As each one is flattened, it should be basted a
quarter of an inch from the fold edge, as shown
in Fig. 294, to keep it in shape. This will be
found a great convenience later.
The skirt is now ready to try on. Draw it up
to reach the waistline all around, and pin it to
the petticoat at the hipline. Then, from the
hip up, arrange each box plait in a good line.
The basted seam at the center of each box plait
can be ripped as far as the hipline and the
waist adjusted to the correct size. The bastings
at the edges of the box plaits will hold the
plaits in place so that their size can not be inter-
fered with. They may be brought closer to-
gether to make the waist smaller or spread
Fig. 294. The Box Plaits Basted in Place.
farther apart to make it larger.

The edges of the box plaits should be pinned in correct position at the fitting, and when
the skirt is taken off, they should be basted as pinned. The skirt can then be turned to the
wrong side and the ripped seams rebasted. When this has been done, mark on the skirt
the edge of each plait that has been altered. Then remove the bastings that hold them
to the skirt, so that the under seam may be stitched.

The plaits should be basted to the skirt again

at the line of markings made after the fitting.
The bastings should run down as far as they are
to be stitched. It would be advisable to rip
the basting of the back seam, as the skirt can
be more easily handled under the machine if it
is opened out flat. Stitch the plaits down
through both plait and skirt to the desired
depth. In cases where the plaits are not stitch-
ed the entire length of the skirt, the thread-ends
on the under side must be securely tied, as
shown in Fig. 295. Then baste and stitch the
back seam, put on the belt, press the plaits in
place to the bottom of the skirt, and try it on
again to secure the correct length. Finish the
Fig. 295. Tying Threads hem, placket and belt in the usual way.
When a box-plaited skirt is put on the belt
correctly, it will be noted that the space between the plaits over the hips is wider than
at the belt because the waist is smaller than the hips. Where seams are provided under
the plaits, the superfluous material may be taken out. Where there is no seam, however,
the fulness which occurs must be disposed of under the plaits. If this fulness is not too
great, the material may be held a trifle easy, or, one might say, puckered or pushed toward
the line of stitching. To present a thoroughly well-made appearance, this fulness must
be hidden; and on that account the plaits are very convenient.

Notwithstanding the fact that it is possible to dispose of all the surplus material under
one plait, it should not be done, since it would throw the other plaits out of position.
There must be an equal space between the plaits. Where the figure is out of proportion
in any way, either very large around the hips or small at the waist, the quantity of surplus
material is increased. While a small amount may be managed as directed, and after
 SKIRTS 115

careful pressing be unnotieeable, a larger quantity

would be too bulky, and had best be treated differently,
When the plaits are laid the full length of the skirt,
and the skirt is being fitted, side plaits or darts should
be used to adjust the extra material to a small waist-
Fig. 296 shows the method of placing the darts. If a
dart is used it is sewed in a position that will come well
under the plait so that there will be no likelihood of its
being seen. Even if folded over, the upper edges of the
box plait should not be disturbed, for this would disar-
range the size and width on the outside. The material
near the stitching is folded over one-eighth or one-
quarter of an inch to form a dart-like tuck, and these
new lines are joined or folded in such a way that they
taper gradually into the line of the original plait just Fig. 296. Arrangement of Dart
above the part of the hips, as seen in the illustration.
full under Plait
It should then be pressed flat, and the extra fold will
not be objectionable. Treat the extra fulness in this manner where it is necessary, and
keep the spaces an equal width.
A Skirt Made with Side Plaits or Kilts is shown in Fig. 297. The manner of prepar-
ing the skirt and marking the perforations that indicate the plaits is the same as that
already described. At each line of markings that represents the fold of a plait, the plait
should be folded with the markings as an edge, and the doubled goods should be basted
one-quarter of an inch back of the edge. This will hold all the plaits in the correct line,
no matter what alteration may be neces-
sary in fitting. Many plaited models have
one row of stitching placed just back of
the fold edge, and through the two thick-
nesses only, in the same way as the basting
just described. This row of stitching an-
swers a double purpose. It is ornamental
and at the same time holds the edge of the
plait in shape, and is especially desirable
for wash goods or a thin woolen mate-
rial that is likely to twist on a bias edge.
The second row of stitching is placed a
little distance back of the first and is
taken through both plait and skirt.
Stitch it to the desired depth and leave
the ends of the thread two or three inches
long at the end of the stitching, so that
they may be drawn through to the wrong
side and tied securely. (See Fig. 295 on
Fig. 297. Side Plaits with Two Rows page 114).
ol Stitching
When a plaited skirt is made of heavy
material or is lapped very much at the waist in fitting, it may be made less bulky by cut-
ting away the surplus material after the plaits are stitched. The under-lapping goods
is cut away to within an inch or so of where the stitching finishes. From that point it
is cut across the top of the plait. The raw edges left in this way are bound with a bias
strip of lining, that will finish across the top of each plait except where the seams that join
the breadths form the inner fold of a plait, when the binding will continue down the raw
edges of that seam to the bottom of the skirt. (Fig. 298 on the next page.)
As each figure has some trifling peculiarity, careful study should be given the instruc-
tions on the pattern and judgment used as to the best means of alteration or adjust-
ment. It must always be remembered, however, that the tucks or plaits must be evenly
arranged and that the space between them must be the same, as this is quite an im-
portant point in making a plaited skirt.
When a plaited skirt is made of washable material, the laundering is not difficult if
one goes about it in the right way. The lower part of the skirt should not be pressed
 116 THE DRESSMAKER
out flat, but each plait as it is
pressed at the stitched upper
portion should be laid in posi-
tion all the way to the bottom
of the skirt, smoothed and
arranged with the hand and
pressed into position. After-
ward the iron may be run un-
der the plait to smooth the
part underneath. This is the
same method that is employed
in pressing a similar skirt made
of cloth. In laund 3ring orpress-
F,g 29a lnside Fi, ish of a Killed 5kirt
ing a skirt the va:ue of shrink- -

ing the material before cutting and of observing the "grain" of the weave is realized.
Gored skirts that have a side plait or an in-verted box plait let into the seams some
_

distance up from the bottom, are sometimes troublesome because of a tendency of these
plaits to show below the bot-
tom edge of the skirt since
there is nothing to which they
may be attached. This trouble
may be avoided in the man-
ner shown in Fig. 299.
The seam edge and the edge
of each of these plaits are
bound, and after the skirt is

Fig. 299. Supporting Inlaid Plaids

finished a tape or strap of lining is sewed to the top of each

plait and is carried from one to the other all around the
skirt. The tape will generally be found sufficient stay, but
in a woolen skirt of heavy cloth an additional tape or strap
may run diagonally from the top of each plait to the next
seam and be securely sewed there to the wrong side of the
skirt. This stay also is shown in the illustration.
Flare Skirts are many-gored skirts that do not hang in
plaits below the hips, and are made to stand out from the
feet at the lower edge. These need special treatment in
finishing, to preserve the flare and make them hang in
just the right way. The proper finish of the seams on the
inside can be seen in Fig. 300. After the seams have been
basted and stitched, it is advisable to try on the skirt and
pin a tape around the figure to determine the hip depth to
which the flat seam shall extend. At the same time the
length of the skirt should be determined by pinning it up
around the bottom or by marking it with chalk. Mark the
line for the bottom of the skirt with a basting thread and
also mark the skirt with a thread along the edge of the
tape. At the hipline clip both raw edges of each seam at
the inside of the skirt in order to divide the flat-finished
hip part from the rippled part. Make this clip or cut ex-
Fig. 300. Inside Finish of a Many-
tend the full width of the seam edges, running in as far as Gored Flare Skirt
 SKIRTS 117

the stitching of the seam. The seam above the

clip is tobe pressed open, clipping or notching it
wherever necessary to make it lie flat. It may be
finished with a row of machine-stitching at each
side of the seam and quite close to it, or both
edges of the seam may be turned the same way, a
row of stitching on the outside holding them in
lap-seam effect.
Mark the hem
or facing depth at the bottom
of the skirt —
usually about three inches deep.
it is
Clip the seam in at this point; press this lower
part of the seam open in order to hem or face the
skirt properly. The part of the seam which has
not been pressed open should be bound as shown
in Pig. 301, using a narrow bias strip of lining
material for the purpose. This portion of the Fig. 301 Seam Stitched Across Facing to
Hold Flare Effect
seam is not to be pressed to either one side or
the other, but stands out straight from the in-
side of the skirt, and gives a fluted effect to the breadths. Baste a bias facing in place,
hem the lower edge to the turned-over edge of the skirt. The upper edge may be hemmed
by hand or may have one or two rows of maehine-stitching to correspond with the stitch-
ing on the upper part of the seams. The skirt should then be folded at each seam and
placed in the machine in the same way as when the breadths were first stitched together,
and a row of stitching, as shown in Fig. 301, made along the bound part of the seam
close to the first row and extending across the facing forming that into a small seam.

HANGING A CIRCULAR SKIRT. A circular skirt is cut on the bias and a bias will
always stretch more or less. One should let, in fact encourage, the skirt to stretch as much
as possible, before the bottom is finished so that it will stretch very little, if at all, after
it is hung.
A skirt stretches because its own weight and the weight of the hem or facing drags down
the bias grain. If you hang the skirt up for two or three days properly weighted you will
exhaust its powers of stretching. In your piece bag you will find plenty of useless material
that can be used to weigh the skirt. Cut strips three or four inches wide and enough of
them to make four or five thicknesses. Pin them to the lower part of your skirt. (Fig. 301 A.)
Pin the two halves of your skirt together at the top and
pin loops of material to the skirt to hang it up by. (Fig.
301 A.) Slip the loops over hooks placed just far enough
apart to hold the skirt band out even. Let the skirt
hang for two or three days with the weight of the strips
stretching it as much as it will. Then you can turn up
the bottom without fear of its sagging.

TO HANG A SKIRT. Cut a strip of cardboard two

inches wide and eight or ten inches long. Make a notch in
one long edge at the distance you want the skirt to clear
the floor. Put your skirt on and stand on a table. (Fig.
301 B.) Have some one mark the skirt with a marker and
pins or else with a needle and a long thread. (Fig. 301 B.)
Take the skirt off, turn it up at the marked line and baste
it. Try it on again to be sure that the lower edge is per-
fectly even before hemming or facing it.
There is a homely but successful way to hang a skirt
if you have no one to help you. Get a dish-pan and place
it on a large, even pile of old magazines, arranging them so
that the upper edge of the pan is the same distance from
the floor that you want the lower edge of your skirt to
be. Fasten a piece of soft chalk to a long stick. Stand in
Fig. 301 A. Hanging j
Skirt to Prevent .
the dishpan with your skirt over the pan. With the stick
118 THE DRESSMAKER

Fig. 301 B. Getting an Even Line at the

Bottom of the Skirt

and chalk tap your skirt against the rim of the pan. You can easily mark an even line
in this way. Take the skirt off, turn it up at the chalk marks and baste it. Try it on
again to be sure that it is even at the bottom. This is an easy method for the woman
who has no one to help her with her dressmaking.
 CHAPTER XXII

COATS AND JACKETS

FITTED COAT5, outlining the figure, require more care and attention in the
making than fancy coats, though the latter, when finished, may look much more
elaborate. The first important step is to have the cloth thoroughly shrunken,
according to Chapter XIII, "'Cutting Materials, Sponging, Etc."
Measure the length of the back from the collar seam to the waistline, and the length
of the arm from the armhole to the wrist, and alter the pattern, if necessary, according
to the directions given with it. When the cloth is ready, lay the pattern on it to the
best advantage. Be careful, if there is a nap, to place the pieces so they will all run the
same way of the goods. Otherwise, the pieces with the nap running in the opposite
direction will shade; that is, some will look darker than others. In cloth the nap should
always run toward the bottom of the garment. In velvet, but not in panne velvet, it
should run upward. In panne velvet it should run downward.
Be sure to follow carefully the directions accompanying the pat-
tern, in regard to the grain of the goods; otherwise the garment
will draw and stretch. (See Chapter XIII.)
—
When using full-width cloth that is, fifty-two or fifty-four
inches wide — many coats may be cut economically with the
cloth folded lengthwise through the center, as it is folded when
bought. For a long coat, however, it is sometimes necessary
to open the cloth to its full width. Lay it out smoothly, with the
wrong side up, and arrange the pattern upon it.
Pin the pattern carefully to the material and cut it out with
sharp scissors, following the outline most exactly. After you
have cut the first half, lay it face down on your material, with
the pattern still pinned to it, and cut the second half. Be sure
that the nap runs the same way in both halves and that you do
—
not cut two halves for the same side a common mistake of
the amateur. Clip all the notches, and mark all the perfo-
rations, except the ones that indicate the grain line, with
(See Chapter IV, "Practical and Ornamental
'

tailors' tacks.
Stitches.")

THE FRONT of a cloth coat must be interlined with a soft, Fis 302 - -

£fpg?e
and Tape
pliable canvas, cotton serge, or cambric, which should be shrunk-
en before it is used. For a coat that is cut with a seam to the shoulder, the canvas is
cut by the pattern of the front and side front. The canvas in the side front may
stop three inches below the armhole on the under-arm seam and slope to
the waistline on the side seam as shown by the dotted line in Fig. 302, or it may be used
throughout the entire front. In a linen coat use butchers' linen instead of the canvas.
In a silk coat use a lining material about the weight of a cotton serge, sateen or cambric, in
the fronts, and a light-weight lining canvas or soft crinoline for the collar, sleeve caps and
wrist. These interlinings should be shrunken before they are used.
Baste the canvas to the wrong side of the coat. (Fig. 302.) Then baste the seams of
the coat and canvas together according to the notches, lapping the canvas edges flatly
over each other and catch-stitching them together after the cloth seams are pressed.
Try the coat on and make alterations if any are necessary before stitching the seams.
To give the coat more body over the bust, an extra piece of thin canvas not quite as
heavy as used in the fronts should be applied to each front as shown in Fig. 302. Do
not make a seam in the canvas to make it fit the bust, but slash it and lap the edges to
make it fit smoothly in the coat. This canvas should be attached to the other canvas
in the fronts by padding stitches. Fig. 305 shows how these stitches are made.
119
120 THE DRESSMAKER
In a coat that is made with a dart instead of a seam to the shoulder in front, the can-
vas must be cut with the pattern of the front as a guide. The canvas should be about
six inches wide along the front edges of the coat. At the waistline it should slope out-
ward and upward to the under-arm seam, where it should stop three inches below the
armhole.
Pur and fur-cloth coats are generally without seams in front. If the coat is made of
fur cloth, the entire coat should be lined with cambric before the canvas is put in. (Fig.
304.) This cambric reenforces and strengthens the rather
loose weave of the fur-cloth. It is also used in fur coats if
the pelts are tender and perishable. •

If the coat is made with a dart, the darts in the coat and in
the canvas should be closed separately. Take up the dart in
the coat in the usual way, but lap the edges of the dart in the
canvas and tack them together. (Fig. 304.)
When the garment is an
Eton or any other short
jacket, the interlining in
the front is cut to the
waistline and to the ex-
treme front edge, whether
the jacket is single or
double breasted.
Baste a piece of canvas
or other interlining the
shape of the neck and
shoulders of the back, and
about two inches deep,
across the neck at the
back, and similar pieces
Fig. 303. How Cambric and around the armholes of
Canvas Are Used
the back and underarm, to
meet the interlining of the
fronts as shown in Fig. 303. This stays the coat and
prevents the breaking around the armhole. The side
seams, the vents at the back and the bottom of the
coat are reenforced with cambric. (Fig. 303.)
Stitch all the seams of the coat. If they are to be
finished with stitching or lapped seams, press them
before completing the finish. (Chapter XIX.)

FOR THE STRICTLY TAIL-

ORED COLLAR cut an inter-
lining of tailor's canvas. Use
the collar pattern as a guide,
but cut the canvas three-
eighths of an inch smaller at all
edges than the pattern. The
canvas should be shrunken be- Fig. 304. Canvas and Cambric in the
Front of Fur-Cloth Coat
fore it is used. The "stand"
of the collar —the part next the neck that stands up when the
coat is worn — is marked by perforations. It is a crescent-
shaped section which should be covered with parallel rows of ma-
chine stitching about
a quarter of an inch
apart. (Fig. 306.)
The canvas and cloth
in the turnover part
of the collar, and in
Fig. 305. Padding
5titches in Collar the lapel or revers on Fig. 306. Stitching on the Stand of the Collar
 COATS AND JACKETS 121

the front, must be held firmly by many small stitches called "padding stitches." These
stitches are about half an inch long on the canvas side and just barely caught through
on the right side. Hold the collar or lapel firmly over the hand, the canvas side
uppermost, and, in stitching, roll and shape the section in the direction in which it is
to lie. (Fig. 305.) The stitch should be started at the line of the fold of the lapel or
collar and worked in successive rows to the edge. The edges should be turned under,
caught to the canvas and pressed.
Baste the collar, canvas side up, flat on the coat, according to the notches in the
collar and in the neck. (Fig. 307.) Stretch the neck edge
of the collar between the notches so that it will set
smoothly on the coat. The upper or turnover part of
the collar must lie flat, joining the turned-over lapels at
the tup of the fronts, to form the notched collar.
When the coat has advanced thus far, try it on. Fold
over the lapel corners at the top of the fronts and see
that the collar is the correct size and fits properly.
If it does not, it may be shaped by shrinking, stretch-
ing and pressing. The front edges of the coat should
lie close to the figure at the bust, and a well-fitted
coat should hold itself in shape to the figure at this
point, even when unbuttoned. If the coat is inclined
to flare away at the front line, pin one or two small
dart-like tucks about one-quarter of an inch wide at
the coat's edge and running out to nothing about two
inches inside the edge, to shape in the edge and take
Fig. 307. Stretch the Collar Between
out the stretched appearance. Mark these tucks with Notches
chalk, remove the pins and slash in the canvas at each
chalk mark. Lap the canvas the same space that the tucks
were made, cut away one edge to meet the other, lay a
piece of cambric over the slash and sew the cambric to hold
it to shape. The cloth will still have the fulness that has
been taken out of the canvas, and must be gathered on a
thread, dampened and shrunk out with the iron.
Narrow linen tape, well shrunken, should be sewed to the
canvas toward the inside of the coat at the crease of the lapel,
drawing it taut to prevent stretching. (Fig . 302.) The
edges of the lapel and the front coat edges should also be
taped, drawing the tape snug at these edges to give them a
good shape. Press the fronts earefully.
An additional Interlining, if required for warmth, should
be made of outing flannel or the regular silk-and-woo! inter-
lining that comes for the purpose. Cut it with the pattern of
the coat as a guide, letting it extend an inch or two below the
waistline. (Figs. 309 and 310, on page 122.) Slash the inter-
lining at intervals along the bottom so that it will not bind

Finishing the Fly the coat. Do not put the interlining together with ordinary
seams, but tack it inside the coat, letting one seam edge of
the interlining overlap the one next to it.
From the cloth, cut facings for the collar and fronts. The front facings must be cut to
the shape of the front after the edges have been altered and taped. Lay the cloth on the
fronts and over the lapel corners; pin it carefully in place, holding the front and lapel
in
It need extend only about
to their proper shape; then cut it to the required width.
three inches inside of the line that marks the center of the front. The collar facing, if
of cloth, must be cut on the width or crosswise of the
material and must not have
a seam in the center of the back.
facings, matching
Fit the collar facing to the canvas collar and join it to the front
the notches on the collar and the front facings. Press the seams open and baste to the
canvas collar and to the front of the coat, turning in the edges of both coat and facing.
This finish is for visible closing, when the buttonholes are to be worked through both
the outside and the cloth facing.
 —

122 THE DRESSMAKER

A SINGLE-BREASTED COAT PATTERN allows a lap which is ample for the button-
holes on each front edge beyond the perforations that mark the center of the front.
It may be finished with visible buttons and buttonholes or with a fly which conceals
the fastenings. (Fig. 308.)
For a Fly Facing, leave the facing of the right side of the front separate from
the coat below the lapel, as it will form the fly for the invisible buttonholes. Turn the
edge of the cloth under on this right side.
From the crease of the turned-over lapel to the
bottom of the coat stitch on the upper or fin-
ished side of the coat one or more rows of
stitching as a finish about a quarter of an inch
from the edge. Then face this side with a piece
of the silk lining. (Fig. 308, page 121.)
The cloth facing for the right side must itself
be faced upon the side toward the coat with
a piece of the same lining (Fig. 308), and should
be stitched a quarter inch in from the front
edge Baste the cloth underfacing to the inside
of the right-hand side of the coat, and at the
center line stitch with one row of stitching
through both coat and facing to hold them
firmly together. Buttonholes are then worked
Fig. 309. Pad the Low- Fig. 3 0. The Sheet Wad- in the facing at equal distances apart.
1 The
er Shoulder ding and Interlining front edge of the facing should be tacked to the
coat midway between the buttonholes. Now
continue the row of stitching at the edge from the place where it began at the top of the
right side around the turned-over lapels, around the collar and down the left side.
COLLAR FACINGS of velvet are sometimes used, but instead of
being applied directly over the canvas the edges of the velvet are
turned under and catch-stitched to the cloth collar. If a velvet
collar facing is used instead of one of the same cloth, it should be
made of a seamless bias strip of velvet. Do not stitch the edges
of the collar, but only the cloth turned-over lapels. One-eighth of
a yard of velvet cut on the bias is usually enough for a collar facing.
All pressing and shaping of the collar must be done before putting
on the velvet facing.
The shawl-collar facing is sometimes cut in one with the front
facing. The collar proper is cut and joined as just described
stitched to the body of the coat and pressed. The two facing sec-
tions are joined at the back, and the seam pressed open. The fa-
cing is pinned in position with wrong sides together. The outer
edge of the facing is turned in even with the fold edge of the coat.
Baste the free edges of the facing in place, being careful to allow
sufficient ease for the roll. The edges are basted and stitched. Turn
up the bottom edge of the coat over a narrow strip of bias cambric, Fig. 311. Interlining
and catch the coat edge to it. (Fig. 302, page 119.) and Cap

If Padding Is Needed, a few layers of sheet wadding decreasing toward the edges may
be basted around the armhole from the front of the shoulder to the back, deepening
under the arm, and made thick or thin as the figure may require. (Figs. 309 and 310.)
If you wish to make the shoulders look more square, place a triangular piece of wadding
on the shoulder with the point at about the middle of the shoulder seam and the wider
part at the armhole, making the wadding thick enough to give the required squareness
to the shoulders. If the shoulders are uneven, fit the upper one and pad the lower
one with a triangular piece of wadding. (Fig. 309.)
Baste the Seams of the Sleeves and try them on. If they need any alteration in size
around the arm, make it at the seam marked by outlet perforations. A bias strip
of canvas, or whatever is used in the fronts, three inches deep should be basted into the
wrist just above the turning line of the hem part, and the cloth turned over and
catch-stitched to it. (Fig. 311.)
 '

COATS AND JACKETS 123

If a vent or opening is provided at the outer seam of the sleeve, the extension on the
upper part is turned under for a hem: and the lower part, neatly faced with the lining,
forms an underlap. This opening may be closed by buttons used as a decoration or by
buttons and buttonholes. Finish the edge with one
or two rows of machine-stitching to match the stitch-
ing on the edges of the coat. If stitching at cuff
depth is desired, it must be made before closing the
outside seam.
Cut a piece of cambric in the same outline as the
top of the sleeve and about three inches deep, and
baste it in position to the inside of the sleeve. (Fig.
311.) Gage the top of the sleeve with two rows of
gatherings, as shown in Fig. 312. This is done by
taking up a short stitch on the upper side and a
longer stitch on the under side. All the stitches of
the second row should be directly underneath those
Fig. 312. Gathers
of the first row. Baste the sleeves into the arm-
holes, try the coat on to see if the sleeve sets right, and then stitch it.
In some sleeves the fulness at the top is taken out by small darts.
These are marked with tailor's tacks, as directed on the pattern, stitch-
ed, cut and pressed open. Often, if the fulness is slight, it can be
shrunken out entirely. It is first gathered with one row of very fine
gatherings and then placed over the small end of a tailor's padded
cushion. (Illustrated on page 61.) A damp cloth is laid over the sleeves
and they are pressed with a hot iron until dry. (Figs. 314 and 315.)
Work the Buttonholes, the top one
just at the lowest corner of the
turned-over lapel, and sew- the but- Fig. 313. The Inter-
lining
tons at the left side to correspond,
sewing through coat and canvas, but not through the
facing.
Flat lead weights about the size of a quarter are
tacked in the bottom of the coat to weight it prop-
erly. They should be covered with the lining satin
so that they will not wear through
the lining.

THE. LINING is the final step of

coat -making; the outside must be
entirely finished, the pockets put
in, and all the ornamental stitch-
ing done before beginning on the
lining. Silk or satin is unques-
tionably the only satisfactory lin-
Fig. 314. Shrinking the Small Sleeve
ing for a coat. One of the sever-
al silk substitutes may be used for
lining a gown, but only the greatest necessity for economy excuses
its use as coat-lining. White satin of a good firm quality is attrac-
tive, but satin matching the shade of the cloth is more serviceable.
Cut the lining from the same pattern as the cloth, allowing for
any alterations which have been made in fitting.
Cut the lining of the fronts to extend to the front facings only,
and eat the back pieces each one-half an inch wider than the pat-
tern to allow for a small plait in the center back. Leave good seams,
as the lining must be quite easy in width as well as length. (Fig.
316.) If it is tight it will draw the outside of the coat and make wrinkles.
Baste a small plait at the center back to avoid any possibility of tightness. With the
back piece of the lining basted in the coat, the two outer edges will be raw. Catch these
raw edges flat with a loose basting-stitch to the inside seams of the coat over which they
lie. Now take the next piece of the lining and baste it through the center to the corre-
124 THE DRESSMAKER
sponding piece of the coat, then turn under the edge toward the back and baste it down
like a hem over the raw edge of the back piece, notching the edges of both seams' at the
waistline and immediately above and below it, so they will fit the curves of the coat.
Repeat this method with each piece of the lining. Turn it up at the bottom, allow-
ing a little of the cloth to show.
After all the edges are turned under, and basted over the preceding pieces and over
the raw edges of the facings in front, and over the edges of the collar at the neck, they
are neatly felled down to the cloth. (Fig. 316.) Be careful not to catch through the
cloth to the outside. The lining of the sleeves is cut like the
outside, and the seams are stitched and pressed open. The
lining is slipped inside the sleeve and hemmed down at the
hand and on the small opening at the back of the wrist if
there is an opening allowed in the sleeve pattern. It is then
drawn up in place, and basted through the cloth of the sleeve
about five inches from the top. Then draw up the sleeve lin-
ing, turn in the raw edge, and baste it to the coat lining all
around the armhole and fell it in place. If the sleeves are to
be interlined, the interlining should be tacked to the sleeve lin-
ing. It is used on the upper part of the sleeve only, and
should stop three inches below the upper edge and three
inches above the wrist edge. (Fig. 313, on page 123.)
Occasionally one has to line a coat for which there is no
pattern. If the coat has had one lining and it is only a mat-
ter of replacing it by a fresh one, rip the old lining apart and
press each portion open. Fold the new material with the two
cut ends together, and, taking one-half of the old lining, lay it
carefully on the material so that it will cut to the best advan-
tage. Mark the seams, or, if the lining will crease, turn back
the seams and crease the sewing line. The seams may all be
Fig. 316. Completed stitched save the under-arm and shoulder seams. The extra
half-inch plait is basted down the back, and the basting is not
removed until the lining is hemmed in. Tack the seams of
the lining to those of the coat, with long loose stitches. Fold under the seams of the back
at the underarm and the shoulder, and hem them down with small stitches.
If the coat has had no previous lining, place the garment wrong side out over the pad-
ded bust form, and fit a piece of silk to the front. The material for the back is creased
down the center back and basted in one-half inch to form the plait previously described.
Pin the lining straight across the back the entire length of the form. Crease the silk
along the line of the seam, and cut, allowing three-eighths-inch seams.
Pin on the side portion, keeping the same grain of the material. Fold back the mate-
rial along the line of the sewing, and cut it away, allowing seams. Turn under the seam,
baste and hem it to the back portion. The next portion is cut out in the same manner,
the seams creased and hemmed. Care must be taken to keep the grain of the lining the
same as that of the garment, and also to baste the lining in very easy so that it will not
draw the outer material and cause it to wrinkle.
THE HALF-LINED COAT. Top coats, storm coats, motor coats, etc., should only
be lined to about twenty-five or twenty-six inches from the neck. (Fig. 316A.) Youneed
a lining in the upper part to cover the interlining and to make the coat slip on and off
easily. There is no real need for a lining in the lower part, and it wears out so quickly,
from rubbing against your skirt, that it is really better not to. use it.
The Interlining. The interlining is used in all coats, not for the sake of addi-
tional warmth, but in order to give the material sufficient body so that it will not break
and look poor and flimsy when the coat is on the figure. The best interlinings are soft
French canvas, cotton serge or cambric. The interlining should be cut according to the
directions given in the "Illustrated Instructions."
After the interlining is cut it is laid on the wrong side of the coat, with the edges and
notches of the coat and interlining even. The interlining is then pinned and basted in place.
The Seam, Edges. When a coat is lined to the waist only, the seam edges in the
lower part of the coat must be finished neatly. Heavy materials like wool velvet and
 COATS AND JACKLT5 125

army cloth are really self-finished,

for they are so closely woven that
they will not fray and can be left
raw quite satisfactorily.
Tweed, cheviot, mixtures, etc.,
mil fray and must be bound. The
seams should be bound with rib-
bon seam-binding, the color of
the coat. Seam-binding comes in
amerent widths and you can get it
wiae enough for even a heavy coat-
ing. Put the seam-binding on by-
hand with an easy running stitch,
sewing it neatly and evenly. (Fig.
252, chapter XIX.) The seam-
binding should run up well above
the line of the lower edge of the
lining.
The Lining. The coat lining
should be cut with the coat pat-
tern as a guide, following the direc-
tions given in the Illustrated In-
structions. The lining must be cut
slightly wider than the pattern. A
ining must be loose and very easy.
If it draws at all, it will wear out
almost at once. In a half-lined
coat the lining comes only to about
twenty-six inches from the neck.
Put the lining in according to the
directions given in the Illustrated
Fig. 3 1 6A The half-lined coat
Instructions in the pattern.

AN UNLINED COAT. An unlined coat needs interlining. The interlining for the
front of the coat should be cut and put in according to the pattern instructions. The
interlining in the front of the coat should be covered with a facing of the coat material.
The part of the interlining left exposed back of the facing should be covered neatly
with a lining.
In cloth or linen the raw edges of the interlining and facing of the side fronts should be
bound together. In silk they may both be turned under three-eighths of an inch, facing
each other, and stitched. In either case, these edges should be left loose from the coat;
they should lie against it, but should not be caught or stitched to it.

A yoke-shaped piece of lining material must be used in the back of the coat. It should
be six inches deep at the center, and run straight across the shoulders. Turn under its
lower edge three-eighths of an inch, and stitch it in a narrow hem. Then baste it to the
back of the coat at the shoulders and neck, leaving its lower edge free.
The shoulder edges of the back yoke should be turned under, and then basted and
felled carefully over the shoulder edges of the front lining.
In silk the coat should be finished with French seams. In a coat of cloth the seams
may be pressed open and the edges bound separately with silk seam-binding or they may
be bound together, turned to one side, and stitched down flat to the coat. If they are
pressed open, they need not be stitched again unless you prefer to stitch them on both
sides of the seam. In heavy wash materials the seams can be handled in the same way,
using a cotton seam-binding instead of silk. Be sure the binding is shrunken. It should
be the same color as the coat. Or, on a linen, cotton rep, etc., you can use the flat stitched
seam.
The lower edge of the coat should be turned under according to the instructions on he l

pattern, weighted with lead weights at the seams, and its raw edge either hemmed
or bound.
126 THE DRESSMAKER
A RUSSIAN BLOUSE JACKET is not difficult to make. Follow the same direc-
tions for laying the pattern on the material and marking the perforations that are given
on page 130. Pace the jacket opening, and insert the pocket as directed by the pattern
instructions. Baste the body portions together, try on, and stitch. The seams should
be pressed open and the edges bound. Or, if lapped seams are preferred, the seams
should be cut wider and finished according to the method described in Chapter XIX,
"Tailored Seams." Finish the front and lower edges of the jacket according to the pat-
tern directions.
The deep collar on the jacket should be lined with a piece of lining material of the
same shade. The collar should be turned under a seam's width at its edge and finished
with one or more rows of stitching or braid around it. The lining is also turned under
a seam's width, and hemmed to the underside of the collar, covering the stitching. The
neck portion of the collar is joined to the neck according to the notches, with the seam
toward the outside of the jacket or blouse. The collar lining is then turned under at its
neck edge and hemmed to the neck of the blouse, concealing the seam.
Bind the seams of the sleeves in the same manner as the seams of the jacket, and face
the wrist with a cuff, according to the directions of the pattern. Baste the sleeves in
the armhole, try the coat on, and if the sleeves set properly stitch them in by machine
and bind the raw edges.
The coatis fastened with buttons and buttonholes either in a visible or blind closing.
If a blind closing is desired, a double strip of lining is cut for the fly and stitched one-
fourth inch from the outer edge, and again along the inner edge, through all thicknesses.
It is tacked along the outer edge of the coat midway between the buttonholes. If a
visible closing is used, the buttonholes should be carefully worked, using the eyelet but-
tonhole. Directions for working eyelet buttonholes, as well as the correct manner of
sewing on the buttons, will be found in Chapter II, "Buttonholes."
A belt either of the material or of leather is slipped through straps of the coat material
which are fastened at each under-arm seam. When a cloth belt is used it should be
stitched at its edges to correspond with the stitching on the jacket.
There are many variations of the Russian blouse jacket, but the methods of finishing
them vary so little from this model that the worker will have no trouble with them what-
soever.

FOR A NORFOLK JACKET, cut the material carefully as directed and mark the
perforations for seams, box plaits, pocket opening, etc.
Bring the thread lines marking the box plaits together, baste and stitch. This makes
a large tuck, which is flattened to form a box plait by bringing the seam exactly under
the center. As each one is flattened it should be basted one-quarter of an inch from
each fold edge. Press well. The box plaits at the front must match those of the back
on the shoulders.
If the box plait is applied, cut the plait by the pattern. It is better to stitch the
plaits separately and slip-stitch them to the jacket. Interline the belt with canvas,
and hem a lining to the turned-over cloth. When the jacket is made with a seam run-
ning to the shoulder in both the front and back portions, the simulated box plait is applied
afterward over these seams, covering them.
Insert a pocket in each side of the jacket in the manner described on page 106, Fig.
273, in the chapter "Pockets." Face the fronts with canvas from the shoulders as
shown on page 132. Join the back of the jacket to the side and front pieces, and press the
seams open. In the upper corner of the front that is to turn over as a continuation of
the collar, the canvas and cloth should be held together with the "padding stitch." In
Fig. 323 is shown an inside view of the front with the canvas and pocket in place.
The collar is cut from the cloth, and a canvas interlining for it is cut a seam's width
smaller at all edges than the collar itself. The space from the perforations that mark
the turning line of the collar to the neck edge should be stitched with several rows of
machine stitching. The remainder of the collar is to be filled with padding stitches, as
shown in Fig. 305. The cloth edges of the collar are turned over the canvas and catch-
stitched to it. The collar is then hemmed by hand to the outside of the jacket, the end
of the collar and the turned-over corner at the top of the jacket fronts forming a notch
collar. The canvas should be trimmed away a seam's width from this corner and down
 COATS AND JACKLT5 127

the front of the jacket. Cut a facing for the collar and a front facing like the front,
extending back an inch beyond the turned-over corner at the top.
Lay the front facing face down on the outside of the jacket fronts and stitch a seam
around the corner and down the front of the jacket; turn it over and baste near the
edge. Baste the collar-facing to the collar, turn under the edges and slip-stitch to the
collar and to the front facing where it joins it at the top. Stitch one or two rows around
the edge of the collar and down the fronts. Turn up the bottom of the jacket according
to the pattern directions.
Cut the back lining like the cloth back, but allow a half-inch plait down the center
of the lining. Cut the lining of the front and side pieces in one, laying a dart-like plait
from the shoulders, running out to nothing about five inches down. Full directions for
lining a coat will be found on pages 123 and 124.
 CHAPTER XXIII

BOYS' SUITS

THE MAKING
right way.
of a boy's suit is not at all a difficult matter if one goes about it in the
There are a few tedious details of finish, the proper carrying
out of which determines the success of the suit. A hot iron is a necessary requis-
ite to good work, and its frequent use will help much toward the progress of the
suit. Follow the pattern directions closely and there will be no trouble.
Before Cutting have the cloth shrunk and pressed. Then lay the entire pattern out
on the material to the best advantage, as explained in the pattern instructions. With
tailors' chalk trace the seams along the perforations that indicate the sewing line of
the outlet seams. With tailors' tacks, one long and two short stitches (see Chapter
IV), mark these seams through the two thicknesses of the cloth. Cut the stitches and
separate the pieces.
The various sections of the suit should have the pockets in place before they are
joined. Mark the positions of the pockets as indicated by the perforations.

THE TROUSERS will be our first consideration. As the initial step, baste and stitch the
darts in the back portions of the trousers, and press them open. In the right-back portion
make a pocket, instructions for which will be found on page 104, Chapter XX, "Pockets."
The Fly is next put into the
front portion. Baste a facing, cut
from the fly-piece pattern, to the
outside of the front edge of the
left-front portion, with the notches
even. Stitch a narrow seam from
the top to the notch. Turn the
facing to the wrong side, and
baste it flat, with the cloth at the
seam edge entirely covering the
lining.
Now lay together, face to face,
two fly pieces, one of cloth and one
of lining, and stitch a seam on the
notched edge from the top to the
notch. Turn it to the right side,
baste flat and press.
It is more convenient to make
Fig. 3 1 7. Inside
the buttonholes in the fly now,
View of Trousers Having no Fly
than after it is stitched in place.
They are worked from the cloth side, the first one coming just below the waistband.
Then baste the fly into position, its edge a trifle back of the edge on the left front of
the trousers. Stitch one-quarter inch back of the buttonholes, through the four thick-
nesses of goods, down from the waistband, ending in a curved line on the lower edge.
(Fig. 318.) Tack the fly between the buttonholes to the facing. Overcast the raw edges
on the inside.
The underlapping fly piece for the buttons on the right front of the trousers should
be faced with lining the seam sewed at the unnotch ed edge. The notched edge of the cloth
;

piece is then basted and stitched to the edge of the right front of the trousers. This seam
is then pressed open. Turn under the lining, clipping the edge to make it lie flat, and
baste it to the cloth seam. From the right side stitch neatly an even line down close
to the bastings and across the free edge at the bottom.
12R
 BOYS' SUITS 129

Small trousers buttons are sewed on in position corresponding to the buttonholes on

the opposite fly.
For the Smaller Boys, when buttons and buttonholes are impracticable, the small
facing provided for in the pattern is attached to the right side of both of the fronts,
turned in and stitched down. (Fig. 317, page 128.) The front seam is then closed from
the notch above to the waistline.
The Side Pockets should be put in
next. Complete instructions for ma-
king them will be found on page 100,
Chapter XX, "Pockets."
Trousers Having no Fly Closing have
the waistband divided into a front and
back waistband, leaving an opening at
each side of the trousers. In this
case the extension on the side of
the back pieces of the trousers is
faced, thus forming the under-
lap for the opening. The loose
edge of the pocket piece is then
faced on both sides with the
cloth, and two rows of stitching,
a quarter of an inch apart close
to the edge, give it a firm finish.
Now the upper edges of the
pocket are basted to the upper
edge of the trouser's front. (Fig. fig. 318. Inside View of Pocket with Buttonhole Fly
317, page 128.)
Make a bar, overcast or buttonholed, between the two rows of stitching, catching through
the cloth, and both sides of the pocket at the top and at the bottom of the opening.
The pocket may now be closed. Round off one or both of the corners, and, turning in
the seam with the raw edges toward
the inside of the pocket, stitch securely.
The Outside Seam of the trousers is
closed next. In knickerbockers, it is
stitched in a seam all the way down.
The lower edge of the leg is gathered in a
casing with an elastic. In trousers fin-
ished with a band the extension allowed
at the lower part for an opening at the
side is turned under fora facing
on the upper side, and faced and
used as an extension on the
underside. The band can be
fastened with a buckle or with
a button and buttonhole. After
stitching the seam, turn the
raw edges toward the front.
From the outside, run a line of
stitching one-eighth of an inch
from the seam.

Fig. 319. Outside View of Fly and Pocket

Now and press open
stitch
seam of each leg.
the inside
The two leg portions may then be joined, beginning the seam down the back at the
waist, and extending it to the notches in the lower edge of the fly pieces, including in
the seam the seams of the fly pieces below the notches. Press this seam open and
baste over it, flat on the inside, a piece of tape or a bias strip. Stitch from the outside
a row on each side of the seam. Turn the end of the tape over and hem neatly down
at the end of the fly stitching. On the outside, at the end of the fly opening, make a
strong stay-stitch or bar, to keep it from tearing out.
130 THE DRESSMAKER
The Top Edge of the trousers is turned over a seam, and a strip of lining stitched to it,
then basted down in a faced hem. A band, with the buttonholes worked in it with stout
thread or twist, is basted over this faced hem, and from the right side stitched through
both facing and band at the lower edge and the ends. A strong tack thread should
catch the band and the facing between the buttonholes.
The Lower Edge of each trousers leg is hemmed up by hand with invisible stitches.

RUSSIAN BLOUSES for little boys' suits vary considerably in detail of style, but
they are generally made without lining. They may or may not have a pocket; they may
be perfectly plain or made with tucks or box plaits; with sailor collar or with a stand-
up band, or to be worn with a linen collar.
They may be trimmed with braid, chevrons and
badges, with hand embroidery, or without
either, as the case may require.
In cutting observe and mark all perforations
and notches for seams, box plaits, pocket open-
ings, etc. See Chapter X.
If a pocket is desired it should be put into
the left-front piece before the seams are
closed. Proceed as directed in the in-
structions for the pocket on page 104,
Chapter XX, "Pockets."
Bind the raw edges of the front and
back pieces at the seams with lining
satin or seam-binding. Baste the pieces
together and stitch. If preferred, a seam
requiring no binding may be made by
allowing a wider seam when cutting and
arranging a lap seam, as explained in
Chapter XIX, "Tailored Seams " Then
press it flat and from the right side stitch
an even row down on each side of the
seam.
The Front is closed by means of
buttons and buttonholes whether in
fly, the single lap, or double-breasted
style. In case of a fly make a strip of
lining, doubled, in which the buttonholes are
worked. This strip is then basted to the
overlapping front, one-fourth inch from the
outer edge of the blouse, and stitched from the
outside through all the thicknesses, on the line
of the inner edge of the fly. Tack the fly be-
tween the buttonholes. With a visible closing,
the eyelet buttonholes are used. See Chapter
II. The lower edge of the blouse is hemmed.
Fig. 320. Basling the Lining to Collar
The Sailor Collar should be turned under a
seam's width around the outside edge, and all the trimming sewed on it before the col-
lar is lined. Turn under the outside edges of the collar lining a seam's width and baste
it to the wrong side of the collar with the edge of the lining about an eighth of an inch
within the edge of the collar, keeping the corners straight and being careful not to
stretch or pull the edge of the cloth. Baste the lining to the back and sides of the col-
lar, then stitch, turn to the right side and press. Baste the cloth neck edge of the collar
to the neck edge of the blouse, according to the notches, with the seam toward the
under or outside of the blouse and stitch. Baste the lining neck edge over the seam.
Hem it down by hand. Fig. 320.
The Sleeves may have a cuff or not, according to the pattern. The seams are stitched
and finished like the seams of the blouse. Baste the sleeves into the armhole and try
the blouse on before stitching by machine. Bind the raw edges at the armhole with a
 BOYS' SUITS 131

bias strip of the lining or with seam-binding. For illustrations see Chapters X,
"Children's Clothes," and XI, "Sailor or Naval Suits."
A the blouse material, is worn with the Russian blouse suit.
Belt, either of leather or of
It is slippedthrough cloth straps which are fastened, according to the perforations, at
each under-arm seam. When a belt of the material is used it should be stitched flat,
to correspond to the stitching on the collar.

A NORFOLK JACKET is somewhat more

like a coat, in that it is linedand has a
more In cutting, ob-
strictly tailored finish.
serve the notches, perforations, etc., and
all
mark the material accordingly.
The chalk or thread marks indicating the
box plait are then brought together, and a
large tuck stitched. Spread it out, bringing
the sewing directly under the center line of
the plait. Baste along both edges and press
flat.
If preferred, the box plaits may be made
separately, if the pattern does not allow for
them. Turn under the side edges of the
cloth three-quarters of an inch and baste.
(See Fig. 322.) The plaits are then stitched
to the jacket three-eighths of an inch from
the edge.
A Pocket with a Lap is made in each side
of the front piece, behind the box plait.
For making the pocket see instructions on
page 104, Chapter XX, "Pockets.
The Yoke, if one is used, is cut by the pat-
tern and basted in position with its lower
edge turned under.
Stitch it flat with
a row of stitching
three-eighths of an
inch from the edge.
Cut the cloth away
from under it, and
press. Fig. 321. Front View of Jacket. Pieced
Now face the
fronts of the jacket with canvas from the shoulder, as shown
in Fig. 323. The upper corners of the fronts, that are turned
over to form the lapels, are made firm with padding stitches
run through both cloth and canvas.
A cloth facing, a little wider than the lapels, is basted to the
right sides of the fronts. Stitch a seam across the lapel cor-
ner and down the front edge. Trim away the canvas from the
seam as close as possible, and turn the facing back. Baste
the edge flat, and stitch it down neatly three-eighths of an
inch from the edge.
The shoulder and side seams joining the fronts and the back
of the jacket may now be closed. Press these seams open.
Turn up the lower edge of the jacket and baste it flat.
The Collar is cut from two pieces of the cloth and one of
canvas. The cloth piece for the top of the collar is a seam's
width wider all around than the canvas. Baste the latter two
pieces together, and trace the turning line of the collar. The
< Plait,
crescent-shaped space thus outlined is the part that stands up
Ready to Apply to Jacket
'
> n the finished collar. To give it stability and strengthen the
132 THE DRESSMAKER
curve, run several rows of stitching across it, parallel to the tracing. The other part
of the collar is covered with "padding stitches." (Fig. 324.) Now baste the top collar
piece over this foundation; turn the edges under and baste.
The collar is then basted to the jacket on the outside of the neck edge. Baste it on
carefully, avoiding any possible stretching out of shape. At the points where the collar
meets the lapels of the jacket, the canvas must
^^i be cut away to make a neat joining.
The Sleeves are cut, the seams stitched and
pressed open. Turn the wrist edge up as far as
the pattern allows, and baste it flat. Then run
a line of stitching around it, as directed in the
pattern instructions. Following the notches,
baste the sleeves into position and try on the
garment. If they set properly, they may then
be stitched in by machine.
If cuffs are provided for, they are made sep-
arately, and slip-stitched to the sleeve over the
wrist edge after the lining has been put in. (See
page 54, Chapter X, " Children's Clothes.")
The Belt has an interlining of canvas, stitched
in at the same time with the row of machine-
stitching that finishes it three-eighths of an inch
around the edge. The lining is then added by
hand. Two buttonholes are made, two inches
apart, at the round end of the belt, and two
corresponding buttons are sewed on the straight
end. An opening through which the belt is run
is allowed under each box plait in the jacket.

The Buttonholes are made with eyelets as

described and illustrated in Chapter II.
The Lining for the jacket is the next con-
sideration. Cut the back by the pattern for
the jacket, allowing a half-inch plait down the
center, which keeps the lining from drawing
the outside cloth out of shape. Baste this little
Fig. 323. Inside View of Jacket Front,
Before Lining is Added
plait down. Now secure the lining back into
position on the inside of the jacket. Baste the
raw edges at the side seams over the corresponding seams of the cloth, but do not
have the bastings show through to the right side of the jacket. Do the same at the
shoulder seams. At the neck edge clip the curve enough to make the lining lie smoothly;
slip the raw edge under the
collar and baste the latter
down over it.

Each lining front is cut

in one piece, with a dart-
like plait allowed at the
shoulder which graduates to
nothing five inches below it. Fig. 324. Showing Padding 5titch and Machine Stitching
Baste each piece into posi- on the Collar
tion in the jacket. The raw
edge at the side seam is turned in and hemmed down by hand, covering the raw edge ot
the back piece. It mjy be necessary to clip the edges slightly to prevent any possible
drawing at the seamy.
The raw edges down the front are, likewise, turned in and stitched down over the
cloth facing by hand. At the shoulder, the seam of the back lining laps over the raw
edge of the front piece. The top collar piece is then stitched down by hand.
The sleeve lining is cut by the sleeve pattern, the seams stitched and pressed open.
Slip it into the jacket sleeve with corresponding seams together. At the wrist edge
 BOYS' SUITS 133

turn in the lining and hem it to the cloth sleeve by hand. Hold the lining in place by
running a basting thread around the sleeve about four inches from the upper edge.
Lastly, turn under the upper edge of the lining, baste it down over the raw edges of the
armhole and sew down by hand.

The lower edge of the jacket may now be closed in the same way; all basting threads
thatshow are pulled out, and the jacket is given a final pressing wherever necessary.
Boys' suits should always be made of strong, durable materials of as good a quality
as one can afford, for they get very hard usage, and a poor cloth will not only wear out
quickly, but is also likely to stretch and lose its shape. For cold weather heavy serges
and cheviots are about the best materials one can get. For the spring use lighter
weight serges for every-day suits, and tweeds and homespuns for better wear. These
last materials are extremely smart-looking, but they are loosely woven and are not
practical for school suits. They are generally used in the light shades of gray and tan.
In summer weather heavy linen crash is an excellent material for ordinary wear. The
lighter linens on the order of a good-quality French linen are very nice for better suits.
 CHAPTER XXIV
REMODELING

ONE ought, at the very beginning of each season, to set to work to take a critical
survey of
last year's wardrobe. It is the easiest way to find out exactly what new
clothes are needed and exactly how far one can go with the old ones. Coats, suits
and dresses that are still in sound physical condition, but which have grown out
of style, should be remade. The remodeling of a pair of sleeves, the recutting of a
skirt, will almost always give a new lease of life to a suit, while there are dozens of clever
little ways by which one can completely obliterate the date of vintage of a gown.
Decide first what clothes are worth remaking. When the materials are badly worn
it is hardly worth while going to any amount of trouble in the way of renovations. But
when the material is sound and whole it is little short of criminal not to take advantage
of its possibilities.
—
If one feels inclined to take a little trouble and with a good dye there is practically no
—
trouble at all one can completely disguise a last year's suit or dress by changing it
to another color.

DYLING a very simple thing, but there are certain hard and fast rules in regard to
is
it that must not be disregarded.In the first place you can not dye a silk or wool material
with a dye intended for cotton and linen. Neither can you dye cotton and linen with a
silk and wool dye. In the second place, you can't change dark colors into lighter ones.
In the third place, the material must be prepared carefully for the dyeing. If there are any
grease spots or stains they should be removed as thoroughly as possible. (Chapter XXV.)
Afterward the material should be washed for two reasons. The first is, that if the
material is put into the dye soiled, the dirt will mingle with the dye and the result will
be muddy instead of bright and clear. The second is that as much of the old dye should
be taken out or "discharged," as it is called, as possible. Otherwise it will be impos-
sible to predict how the mixture of the two dyes will turn out.
Cottons and silks can be washed in soap and boiling water, but it is not safe to use
soap to any great extent on wool materials, as it softens the wool. Boil the materials
about half an hour, changing the water as it becomes discolored. Keep up the washing
until the water remains clear —
a sure sign that all the dye has been discharged that is
likely to do any harm.
It is best to dye the material while it is still wet from the washing as it absorbs the
dye more readily and more evenly in that condition. Be sure to follow the directions
given with the dye you use. A good reliable dye compound will be accompanied by
explicit directions, which you must take care to follow. You must be especially careful
in picking out a dye that will suit your material. White, of course, can be dyed any
color. Pale shades can be dyed darker or changed into other slightly deeper colors.
A material of one color dyed with a dye of a second color will emerge from the fray an
entirely different shade from either. For instance, if you dye a yellow material with a
light blue dye you will get green; while the same light blue over light red makes purple,
;

and over light green makes peacock. A dark blue dye over brown makes navy blue, and
over yellow, bottle green. A brown over blue makes dark brown; over green makes
olive brown; over red makes seal brown. There are dozens and dozens of combinations
and variations of colors that one can bring out by a clever combination of dye and
material. One should go back to the old safeguard of experimenting first and doing the
actual business afterward.
After you've dyed your material, take it out of the dyeing fluid and hang it up until
it is nearly dry. Then rinse it out in clear water to prevent its crocking. If a material
134
 REMODELING 135

has been dyed black, do not rinse until it has dried thoroughly. It will leave it a better
color. If you do not dye your material, clean it carefully. Directions for removing spots,
stains, etc., are given in Chapter XXV, "Care of the Clothes."

IN MAKING OVER A WAIST it is sometimes necessary to use new material; but

when chemisettes, yokes and half-sleeves are in fashion, you can use net, lace, chiffon, etc.
In remodeling a waist or dress, put it on a bust form and stuff out the sleeves with
tissue-paper. Look it over to see where it requires alteration. Sleeves and skirts fre-
quently need to be recut. If piecing is necessary, make the seams fall in places where
they will not show or where they can be covered with trimming.
If the dress is to be entirely remodeled, rip it apart with a sharp knife or pointed scis-
sors. Do not stretch the material, especially at the neck and armholes. Brush the seams
carefully, and remove all clipped threads. If the material has changed color, use it on
the reverse side if possible, even if the weave is slightly different-
—
After the material has been thoroughly freshened washed, pressed or dyed lay it —
out on the new pattern and see if it requires piecing. If necessary, piece the lining so
that it will set comfortably. It should be easy across the bust and shoulders, and snug,
but not tight, over the waist and hips. In piecing, cut the patches on the same grain of
the material as the original garment. Never piece at the neck or armhole with a bias
or straight piece of material. Lay the new fabric on the old, following the grain of the
latter. Hem the piece down neatly, and cut the garment over by the new pattern.
Put the Lining on, and then drape the outside over it after you have cut it according
to your pattern. By using fancy trimming-pieces, collars, yokes, plastrons, etc., you
can almost always remodel a waist so that the piecing will never show. Lace or net for
yokes, chemisettes, etc., can be dyed the color of the dress either at home or at a regular
dyeing establishment. Lace can be dipped in tea to give it a rich cream color that can
be made lighter or darker according to the strength of the tea.

REMODELING A SKIRT is an easy matter if the new pattern is narrower than the
old skirt. In that case it is only a question of recutting; but if the pattern calls for
more material than you have in the skirt itself, you will have to do some piecing. Braided
bands covering the skirt seams are an excellent way of increasing the width of a skirt.
Or you can raise the skirt at the waistline, refit it, and add to it at the bottom by a band
or a fold. Or it may be pieced at the bottom and the line of piecing covered by wide
braid, bias bands, etc.
Linen or Pique Shirts can often be lengthened by bands of embroidery insertion or by
bias bands of the material. These skirts are very apt to shrink around the hips. They
should be ripped from their belts, raised and refitted. They will have to be lengthened.
Coats should be remodeled by an up-to-date pattern. If they require piecing, try to
let it come at a seam and cover it with a stitched or braided band. Quite frequently it
is easier to cut a coat suit down for one of the daughters of the house than to remodel
it for the mother. But do not use a material that is old and somber for a child, without
relieving it by a trimming that is bright and youthful-looking. A black-and-white pin-
checked wool or a dark serge is apt to make a dull frock for a little girl, but if it is trimmed
with bands of contrasting material in a suitable color it becomes childish-looking and
pretty.
In making over half-worn garments into presentable and at the same time durable
clothes for boys, such as suits, reefers, and overcoats, a tailored finish is the first require-
ment. It means neat work, even stitching and careful pressing. For the pressing you
will need heavy irons, evenly heated, and a piece of unbleached muslin that can be
dampened and laid over your work.
In ripping apart the old coat or suit that is to be remodeled for your little son, notice
carefully the small devices of interlining, canvas and stitching that the tailor used
all
in making the garment. You can repeat many of them in your own work. If you use
the old canvas and find that it has grown limp, you can restiffen it by dampening it
thoroughly and ironing it with a heavy iron thoroughly heated. Full directions for
making boys' trousers are given in Chapter XXIII, "Boys' Suits," and Chapter XX.
"Pockets." Chapter XXII, on "Coats and Jackets," will give you all the necessary
information you will want for finishing the jackets or overcoats.
 CHAPTER XXV
CARL OF THE CLOTHES
GOOD PRESSING
and
boards
is a very important part of dressmaking and tailoring.
tailor's cushions may be made at home or bought from any dress-
Special

makers' supply house. (Chapter XII, page 61.)

In opening seams, dampen the seam, if the material will permit it, and press
slowly, bearing down heavily on the iron. Very little dampness should be used on cash-
mere, as it flattens the twill and spoils the texture. Little or no dampness should be
used on silk. A cloth, well wrung out of water, may be used on these materials, and
their seams may be dampened slightly. Seams should be pressed over the curved edge
of an ironing-board so that the seam edges will not be marked on the garment.
Velvet must not be pressed, but should be steamed so as not to injure the nap.
To steam velvet, heat an iron and place it face up between two cold irons arranged so
as to hold the hot iron firmly. (Fig. 325.) Lay a damp piece of muslin over the face of
the iron and draw the velvet over the muslin. The steam will have the effect of pressing
the velvet without hurting the pile. Seams can be opened in this way, and this method
can be used on velvet, plush, wool velvet,
materials with a high nap, satin and silk.
Velvet may be mirrored or panned by pass-
ing an iron over the surface of the velvet,
ironing with the nap. After velvet has gone
through this process it can be pressed as much
as is necessary. If the iron can be held with
the flat surface upward by a milliner's steam-
, i-T.ii. c
ing-box or a tin box, the seams ot perishable
t. i_i
rig. 325. The Proper Way to Open Seams
jn a Velvet Coat
materials can be pressed open by running the
seam over the surface of the iron.
Nearly all pressing is done on the wrong side. Suitings and heavy cloth may be pressed
on the right side by steaming. Wring out a cloth as dry as possible and keep it over the
place to be pressed. Have the irons hot and press firmly until the cloth is nearly dry.
Turn the garment to the wrong side and press until thoroughly dry.
The shine which sometimes comes in pressing may be removed by placing a dry cloth
over the shiny place. Then wring out as dry as possible a second cloth which has been
thoroughly wet. Place it over the dry one, and with a hot iron pass lightly over the spot.
If the material has a nap requiring raising, the place may be brushed with a stiff brush and
the process of steaming repeated.
Many fabrics retain the imprint of the basting-thread under heavy pressing. For
such material it is necessary to give a light pressing first, removing all basting-threads
before the final pressing.

ALL CLOTHES should be taken care of as systematically as possible, as their period

of usefulness depends entirely on the way they are treated. Lingerie and washable
waists and dresses should be mended before they go to the laundry. A small hole will
become a large one in washing, and not only is the work of mending doubled, but the
injury to the garment is frequently irreparable.
—
Woolen clothes dresses, suits, coats, skirts, etc., should be brushed regularly and
watched closely for such small matters as loose buttons, frayed skirt-braids, missing
hooks and eyes, and soiled chemisettes or yokes. Coats should never be left lying care-
lessly over chairs, and should never be hung up by the collar or armhole. They should
be kept on hangers when they are not in use so that their necks and shoulders will not
lose their shape.
Dresses and waists should also be kept on hangers, and if they are made of light, per-
ishable materials they should be slipped into great bags of silkoline to keep them from
136
 CARE. OF THE CLOTHES 137

the dust. The bag should be as long as the waist or dress. If one has plenty of closet
room, it is much better to keep one's evening dresses hanging up in bags than to lay them
in chests or drawers where they can not fail to become badly wrinkled.
Skirts should not be kept on wooden hangers, as they are likely to become stretched
at the hips. Small strips of braid or ribbon should be sewed inside the waistband of
—
each skirt one on each side, and an equal distance apart. The skirt should be hung
by these hangers on two hooks placed just far enough apart to keep the belt taut.
Winter clothes should be brushed and cleaned and then put away during the summer
months with plenty of gum camphor, moth-balls or some other safe moth-preventive.
Summer clothes should be put away clean and packed as carefully as possible, so that
they will not need pressing when they are wanted again. Sheets of blue tissue-paper
can be put between the folds of white dresses to prevent them from turning yellow.

CLEANING can frequently be done at home with very little trouble and expense.

TO CLEAN WOOLEN GOODS, the simplest method is washing in warm water and
soapbark. Get ten cents' worth of soapbark and pour over it two quarts of boiling
water. Let it stand until the strength is taken from the bark, strain, and pour into a tub
of lukewarm water. Let the goods stand for half an hour in the suds, then rub well and
rinse in another water of the same temperature to keep the goods from shrinking. Press
on the wrong side before it is thoroughly dry. Experiment first with a small piece of
the material to be sure that it does not change color or shrink badly.

FOR SILKS, mix six ounces of strained honey and four ounces of a pure soap with
one pint of pure alcohol.
Lay each piece of silk flat on a table or marble, and with a brush cover the silk with the
mixture, first on one side and then on the other. Brush the silk as little as possible and
always straight up and down. Dip the silk in several tepid rinsing-waters, the last one
mixed with a little honey. Do not wring the silk, but hang it up, and when half-dry iron
with a cool iron on the wrong side.
A French method of cleaning black silk is to sponge the silk on both sides with spirits of
wine, and then iron on the wrong side with a piece of muslin between the silk and the iron.
Ribbons may be cleansed in the same way and rolled smoothly over a bottle or round
stick to dry.

VELVET is cleaned by steaming. First brush the velvet thoroughly with either a soft
or stiff brush until all dust and lint are removed. It is better to use a soft brush if the
velvet is not too dirty.
If a milliner's steaming-box is at hand, invert a hot iron in the box and cover the face
of the iron with a good-sized piece of muslin which has been thoroughly wet. This
produces steam, and the muslin must be moved along as it dries. The velvet is held with
its wrong side against the muslin and brushed carefully with a soft brush until the pile of
the velvet is raised. Always brush against the nap. The pile may also be raised by
holding the velvet tightly over a pan of boiling water.

FOR BLACK LACES, an old-fashioned cleaning mixture is made by boiling an old

black kid glove in a pint of water until half the water has evaporated. Strain, and, if
necessary, add a little cold water. After brushing the lace, dip it up and down in the
liquid. Then roll it over a bottle, or pin smoothly over a covered board to dry.

WHITE LACE may be washed in a suds of pure soap, then thoroughly rinsed and
pinned over a covered board to dry. Some laces will stand ironing on the wrong side.
Let the lace partially dry, and iron over several thicknesses of flannel.

GREASE-SPOTS on woolen or silk are best removed by naphtha, gasoline, ether or

chloroform. These solvents are highly inflammable, and must, therefore, never be used
near a light or flame. In applying any of them to grease-stains, place a piece of cloth or
blotting-paper underneath the stain to absorb the excess liquid. Rub the spot from
the outside toward the center until dry, so that the liquid will not leave a ring. Ether and
chloroform are less liable to leave a ring than gasoline or naphtha.
138 THE DRESSMAKER
A goodmixture for removing grease-spots is made from equal parts of alcohol, benzine
and ether. Powdered French chalk or fullers' earth may be used by placing the powder
over the stain and holding over a heated iron. The heat will dissolve the grease, and the
powder will absorb it.

MACHINE-OIL STAINS may be removed in the following manner: Moisten borax

and rub it on the stain from the outside toward the center, taking care not to spread it.
Pour water through the material. Washing with cold water and a pure soap will remove
most stains of machine-oil.

BLOOD-STAINS may be taken out by washing with soap and tepid water. They
may also be removed by covering the spot with wet laundry starch and allowing it to
stand. Afterward it should be washed.

ON INK-SPOTS, if still moist, rub either salt, meal, flour or sugar, and wash in cold
water. Or, lemon-juice may be put over the spot and covered with salt. Then place
the article in the sun for a while, and wash. The process may be repeated, if necessary,
until the ink-spot is entirely removed.
Another method for removing ink-stains is to let the material soak in javelle water,
made from one-half pound of sal soda, two ounces chlorid of lime and one quart of water.
After soaking a few minutes, wash in clear water.

IRON-RUST is removed by the same mediums as ink.

MILDEW the hardest of all stains to remove, and can not always be taken out suc-
is
cessfully. Anyof the mediums used for ink and iron-rust may be tried. For silk only,
dip a flannel in alcohol and rub briskly, first on one side and then on the other.

PAINT, when fresh, can be softened with vaseline and washed off with benzine. Or,
it may
be rubbed with equal parts of turpentine and alcohol. If a grease-spot remains,
remove it with benzine. Turpentine mixed with a little ammonia is also good. Wash
off with soap-suds or benzine.
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