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P.The Dress You Wear and How to Make It By Mary Jane Rhoe Illustrated G. Putnam's Sons New York Gbe and London press flmfcfeetbocfter 1918 .
A506431 ^M v < < .^ Copyright. IRcw l^orfc CI. 191 • BY MARY JANE RHOE NOV -4 1913 Ubc Iknicfeerbocfeer press.
The student needs to listen to the oral instruction given by the teacher. work out all There is certainly a need for such a book as Mrs. merely therefore. Rhoe's. The author tested out every one of its lessons in our class rooms before deciding to publish in them book form. iii . plans. theories and unused will hoping that everything right.There is no question in my mind about this text being a very practical and helpful one. She is not offering. The matter no trouble in the book is presented so simply that our evening school students had in understanding its directions. but she learns her sewing if problems quicker and better she has the opportunity when alone to read and re-read her teacher's printed directions and explanations. Oral instruction in dressmaking is and plain sewing not sufficient where one desires the best possible results.
however. Washington . this case is Our knowledge born of experience. on the part of the more advanced student. Arnold Principal Lewis & Clark Evening School Spokane.This statement means sider that much when we con- adults many evening who do not have The simple school students are the opportunity to complete even the eighth grade when in school. Frank H. text appeals who use These are not in guesses and predictions. strongly to all The it. presentation causes no lack of interest.
which are now so thoroughly established. so that students may receive in their study hours art. also one of the most important that we have to-day. yet there are rules set by Dame Fashion to which . and so condensed that the as well as the woman of mature years may advance rapidly. We should be individual in our dress. Dressmaking is one of the most interesting studies. the very essence of the The author has young endeavored to make the lessons so plain. in a concise system for use evening and vocational schools. It will solve problems for the home dress- maker and the busy Madame in her shop. so practical.PREFACE This book principal is intended to present of the and important It offers details dress- making. girl.
value and assistance to J. Over-dress is always bad taste. consciousness of an appropriate and of becoming costume develops ease manner. Spokane. not only valuable but it is necessary to every woman. will prove of true its readers. 1918. On the other hand. The knowledge sions is. ivi. . of dress for different occa- therefore. the result of much experience. R. this requires a thorough knowledge of the art.VI Preface in order to we must conform The be modern . and the hope of the author that this small volume. poorly fitted and im- perfectly made cause clothes or cheap shoddy self- garments embarrassment and consciousness.
but we have found for the it desirable to produce a system class in advanced dressmaking by which students can be given examinations and receive This is credits as in other school work. shirring on cord. pockets. written or oral. loops. Recitations. It has been arranged for the evening class by giving the first half of the last period to The change at this time rests class work. The following lesson to be given should be . and relieves those not used to the work. tucked shirring. etc. faithful an incentive to and con- tinued attendance to reach a required stand- ard of efficiency. smocking. and samplers made of all the different stitches. covering cord for ornamental purposes. eyelets. flat shirring.SUGGESTIONS TO TEACHERS It is not necessary to follow to the letter the order of teaching as given here. buttonholes.
as a large class can be handled with more class.viii Suggestions to Teachers assigned and discussed with students to give an opportunity for home study. satisfaction to teacher and student after these details are understood by the . Give as much time to class work as can be managed.
CONTENTS CHAPTER I Nap .
. Back Stitch Combination Stitch Questions .. ..... 40 4i CHAPTER Tailors' Tacks Over-Handing Tailors' Fell Stitch . .. ..... Running Stitch .... — IV 42 43 To Sew in Lining 44 45 Over-Casting French Seam Hemming .. 46 47 ... 33 CHAPTER III 34 To Prevent Twisting of Two-Piece Sleeve Basting Velvets and Silks Bias or Diagonal Basting 35 36 37 38 38 39 Padding Stitch ...Contents PAGE Fitting a Skirt Questions Basting .
Contents Cat-Stitch or Catch-Stitch XI .
.108 . . ... .106 108 Bound Open Welt . .. Getting the Length of the Skirt Basting in a Sleeve Tailors' Seams . . Couching .Xll Contents PAGE Arrow-Head Plackets 76 77 Cutting Bias Shirring Bias Bands 80 82 Bands and Straps Milliners' Folds 83 86 Questions .. CHAPTER VIII .. . 103 .. CHAPTER VII 89 9i Covering Cord Shirring over Cord 93 95 Marking for Hooks and Eyes Circular Yokes 96 97 102 Tucking Circular Skirt Questions . . ....
Take Shine off Worn Garments, or .128 from Pressing
. . .
Finishing Top of Skirt
Putting Canvas in Front of Coat
Cleaning Black Silk
Course of Study for Evening Dress.161 making Class
The Dress You Wear
The Dress You Wear
so that the
materials with nap should be cut
nap runs down.
All silk materials with nap, such as velvet
and plushes, with the exception
velvet should be cut so the
nap runs up.
nap runs down.
cut so that the nap of one piece of the
up and another piece runs down
a light and a dark shade.
Velvets and plushes should be brushed so
the nap stands out.
To determine which way
material right side up on
the nap runs,
hand brush the material lengthwise
the left. the twill runs to the on the right side This of material. and when brushing with the nap the material is smooth. slender figures may wear plaids. Another good to the light will test is to hold the cloth it. When brushing against the nap the material will feel rough. Right Side of Material To determine right the right side of goods in serge or diagonal weaves. Suitable Material for Extreme Figures Tall.2 The Dress You Wear then to right. the wrong side have a rough and usually some un- finished ends or small knots are to be seen. also designs that . is The right side in double-fold material inside. and look across look. is usually folded done to protect the right shelf side from becoming worn or soiled by up handling while in the store. fig- ured or plain materials.
.The Dress You Wear tend to shorten the figure. It is also select colors becom- ing to the individual regardless of the prevail- ing style. wring muslin out as dry as possible after dipping in warm water. overskirts. while short. light-weight materials are required for fancy-draped gowns. unbleached muslin a yard wide and one-half yard longer than the material. heavy materials for tailored dresses and suits. ruffles. 3 such as numerous flounces. figures should wear stripes. Shrinking It is absolutely necessary that goods be shrunken and sponged before being made up. Selection of Material for Gowns and Suits Soft. First. stout checks. procure a piece of heavy. lay . small and plain materials made important to in designs to bring out the full height. etc.
Waist measure. and press thoroughly dry on wrong goods. from lower part of tape around the neck to center of tape at waistline. Leave muslin one- half yard to fold over material covering first roll. folded through the center so right sides face each other. draw tape tight around the waist. Front. half-way between shoulder and full part of bust. Chest measure in line with highest outer point of shoulder. Have this measure as wide as can be worn. . Leave in roll two to four hours.4 The Dress You Wear table. unroll. This measure is to be easy. placing material smoothly on leaving it on top. side of Taking Measures Neck measure should be taken or lower part of neck. at base Bust measure close over full up under the arms part of full back and about one inch above the part of bust.
not but easy. Sleeve measurements. around the hips seven inches tight. Altering and Testing Patterns Become using it. Front. from waistline to floor and not too close to figure. with arm in natural position hanging down. from waistline. Back. Inside length. take measure as half-way between top of shoulder and bust as wide as can be worn. length of sleeve outside over elbow with elbow bent. from waistline over fullest part of hips to floor.The Dress You Wear Width line. familiar with the pattern before Measure from neck line in front to perfora- . also 5 in chest. Side. from waistline well up under the arm. around largest part of hand over thumb. Underarm. of back. from waistline to floor. Skirt measure. Hand measure.
inches for blouse if . allowing two or three desired.The Dress You Wear TO LENGTHEN WAIST PATTERN tions for waistline.
In shirtwaist and in shirtwaist effects .The Dress You Wear part Measure underarm from lowest of armhole to waistline perforations.
also two inches larger at bust than measure taken.The Dress You Wear ALTERATION FOR SLOPING SHOULDERS always leave waistline longer than in onepiece dresses. with belt or high waistline. .
. and if necessary cut a little wider across shoulders. especially for round shoulders.The Dress You Wear ALTERATION FOR SQUARE SHOULDERS Test chest and shoulder widths.
10 The Dress You Wear ALTERATION FOR EXTREME FULL BUST If pattern proves too long lay in a fold half-way between waistline and armhole .
The Dress You Wear
TO SHORTEN WAIST OF PATTERN
full bust, especially in
across bust within cess dresses, slash pattern
The Dress You Wear
ALTERATION FOR FULL ROUND SHOULDERS
one and one-half inches of armhole
The Dress You Wear
ALTERATION FOR EXTREME SMALL BUST AND FLAT SHOULDERS
should be done after pattern
The Dress You Wear
ALTERATION FOR EXTREME SMALL BUST AND FLAT SHOULDERS
Adjust pattern to
is is half worn out. Slip under the edges of slash. In this too short from the elbow causing this pull when the elbow is used. an- other piece of paper. This alteration also prevents a draw under the arm caused by the in front. large bust lifting the garment In case of extremely small bust or shoulders take a fold in pattern to Alteration of Sleeve Pattern fit flat figure. Test pattern by pinning up and trying on . This same alteration is sometimes neces- sary in the back in case of round shoulders.The Dress You Wear 15 waistline correctly which will leave open space at bust. pin to pattern on both edges of slash to give necessary room for bust. The most common difficulty is the sleeve that pulls on the back seam from the elbow up and frequently under the arms. strongly enough to tear the sleeve from the armhole before the garment case the sleeve up.
to three inches . and lowest point at underarm at lowest point in armhole. If there a pull from shoulder to elbow. Alteration of Skirt Pattern Many waistline of our skirt patterns are cut for high which allows from two and one-half above the waist. is be sure that the in correct position on the In pinning sleeve into armhole the highest point in sleeve top should be placed at highest point in armhole at shoulder. then place the if hand on the opposite shoulder and done the sleeve is this is easily is correct. too long from elbow to shoulder elbow of sleeve is in this position when also in proper position lay fold in pattern sufficient to take out unneces- sary length. but elbow of pattern arm. cut If upper part longer than pattern. Sleeve may be shortened or lengthened first below the elbow.16 The Dress You Wear of sleeve pinned in pattern for the dress.
floor in front. 17 waistline is always marked in the front gore usually by two small perfora- Take measure as previously is instructed from normal waistline which located by tying a narrow tape around the waist snug. If pattern is too short lengthen at the bottom. It naturally adjusts itself to the smallest part of waist which is the proper waistline. but if more is required put a fold through the center of the pattern. .The Dress You Wear The normal tions. remember the like fold takes out twice its width a tuck. if it is to depth of hem in bottom of be hemmed. and front) and always take measure measure the number Take from this of inches from the floor you wish your skirt to be. Measure from waistline to also over full part of hip and back (allowing to tape to be farther from figure in back than sides floor. If only a little too long the bottom of the pattern may be turned up two inches. allowing for skirt.
too large a tiny fold If skirt proves much may be taken in center of pattern. skirt pattern Measure ing it if around easy to hips. use skirt rule and lay it rule alongside edge of pattern. but too small not easily altered. This gives you the correct length. of pattern the Measure from lower edge required number all of inches to make draw a long or line enough around. leav- amply large as it is it is fit in a little. connecting these marks.8 1 The Dress You Wear After pinning on material for cutting. mark every three four inches with tailors' chalk. A skirt is never too tight around the hips. again . Measure around be easy graceful full part of hips seven inches below waistline. also keeping the circular shape of skirt at the bottom. This gives you the correct line for the additional length. like if This measure should bust measure. allowing to extend the required of number of inches and mark both edges pattern from end of pattern down to end of extra length while in position.
should be If Any other alterations made in the fitting of the garment. if in center back. length of back and hip seem too long . as you are always using one-half same amount will come out of of the opposite gore for the other side skirt.The Dress You Wear remembering the of pattern. skirt was seven inches too small there would be one inch to add to each gore in width adding one-half inch on each side This is of pattern. adding to each gore the required amount to rect size. the 19 fold takes out twice its width and. If your pattern is too small around divide the as amount in half. extreme case to make the alteration In adding to or taking from the width of pattern make the same alteration the full length of pattern to keep the outline and shape of skirt correct. then divide the half into many parts as you have gores. make cor- For example: A skirt of seven gores would have three gores on each side and the front gore with seam Therefore. given as an example of plain.
This will prevent a look in the back and also a pouching out at the bottom in front. it after skirt is correct should be lifted a is little at the back when skirt fitted and a little taken from the top in flat back.20 The Dress You Wear by front measure. .
panne velvet? Give suggestions as to finding right side of 4. How on silk materials such as velvet and plushes ? How should the nap of the material run on 3. Questions i. What materials are suitable for fancy- draped gowns? suits ? What for tailored gowns and ? 8 9.. Waist? Front? sleeve Chest? of Underarm ? What two Where is measures should be taken? 12. the hand measure taken? step required in study- What is the first ing a pattern? 21 . materials would you suggest suitslender figures? care should be taken in selecting able for 6. How do we prepare material before cutting Width 10. Describe method of shrinking cloth. materials. Where should the neck measure be taken ? Bust? back ? 11. 5. What ? colors 7. How should the nap of the material run should the nap of the material run on woolen material ? 2. What tall.
Describe how to pin a sleeve in the arm- hole. full How bust ? flat how to test the entire pattern. 20. What seam from the elbow up? How would you test a 17. How would you make a pattern smaller How larger around hips 19. How do we take skirt measures? How would you shorten a skirt pattern? 2 How would you lengthen a skirt pattern ? 22. The Dress You Wear About what Describe difference is there between the normal and high waistline? 14. 18. 22 13. should you change a pattern for For round shoulders ? For flat bust ? causes a sleeve to pull on the back sleeve pattern? For shoulders? 16. necessary to make alterations full length of skirt ? 25. 1 ? ? 23.. Give example of enlarging a seven-gored Is it 24. skirt. of How would you correct a back and hips are too long? skirt if length . 15.
This sewing work-shop 23 is as necessary to . has been much of a task because of lack of knowledge on the subject. sewing. also lack of equipment. Without them one ous ways and is is handicapped in vari- liable to find the work a discouraging task. one of the home studies and economic feature of the housewife's accomplishments. even the is Home woman is learning that there life a limit to endurance.CHAPTER Equipment It is II as necessary that a home dressmaker has the proper tools to work with as a carpenter. This. In these days of advancement and progress. and home and duties should be made a pleasure and all work done in a business-like way.
. rule 48 inches long. Let us have everything necessary to turn out good work in our parlors. which is all wrong. Dress form. 60). Tracing wheel. 7). Tape Pins. so that our home dressmaking will work not look home- made. doctors. of needles (No. Tailors' chalk. with good points. line. Yet we take a pair in of old dull shears and cut uneven edges good material and get along as best we can. Paper Skirt tailors' Shears (9 or 10 inches long). Emery bag. and nurses make equipment the first consideration. bought at a supply house. Skirt guage. Basting cotton (No. Surgeons.24 The Dress You Wear is the worker as the kitchen to the cook. Beeswax.
Press cloth. Sponge. The Dress You Wear Tailors' punch. in form and one that you can really put your dress on and see the lines and general effect just as you look. one figure like yourself. Whisk broom. It should be at least one size smaller than this reason : your own bust measure for Your . Dress Form To make that is a dress form satisfactory. is not expensive.. Sewing room to be light and airy. tailors' 25 bought at hardware store or supply house (for buttonholes). You only need to buy a cheap form and need not pay over four dollars and fifty cents or five dollars for same. Sewing machine. Tailors' cushions (2 sizes). Two pressing irons (12 pounds and 6 pounds) Sewing table.
in . The lining should be as long as the body of the form and should be cut in at least six sections and fitted very snug. It should fit Pad form wherever necessary smooth and be like with wadding. out wrinkles and stitch like a glove. This will require time and a careful adwill not justment and re-adjusting as you get it correct by is filled just putting wadding on until lining If out. is them out. This form can be cate of yourself made a complete dupliwhen finished. such as tailors use in coats. fill large. hips If it wrinkles at waistline over make a small crosswise fold extending just just far enough and deep enough to take flat. bust on a dress form A lining should be made of drilling or some material that will not stretch. if shoulders are out. to make it fit your own natural form. fill out. fill hips are rather large.26 The Dress You Wear this form and form will is not be just alike (the usually large). if abdomen round. Then.
The Dress You Wear making a gown. Without pinning. . etc. will ease in and cause When fitting in waists and first. would be especially beneficial to your Skirts may be hung and finished. a small tape around waist to get correct waistline the same as to get correct waistline on for future use yourself. on work While in this position pin edges about three inches apart. edges even. Pinning Seams before Basting All seams should be pinned before basting to avoid having one side fulled in the basting. hips. coats pin waistline then pin from waistline to shoulder and In from waistline to bottom of garment. Leave the tape there in fitting. Measure bust. length taken when Put you have form etc. skirts lay both edges to be basted smoothly table. you may be able effect 27 to see the and where change in line or style figure.. and compare with your measures. the toward you side of the seam held trouble.
five or six . a careful pressing complete a perfect seam. or for all around wear. Then. for street.28 The Dress You Wear placing pins. if The seam should look as straight as glued. need not cost so much. the heads toward the outer edge of seams. the money we can afford to put in is another consideration. Material Required for a Garment First. If care- fully planned and bought one's wardrobe To be One rial economical do not buy conspicuous material or use extreme styles. special dress. the points into materials. If this is carefully done before basting and the stitching will is straight. or two garments a year cheap half -made of good mate- and well made means better dressed than affairs. it. Never dress beyond your means. the design should be carefully con- sidered which should be controlled by what Whether we need this special garment for.
The Dress You Wear 29 When you have is decided what your design all to be procure your pattern. yourself as taught in previous In wool goods never pay any attention to the salesman who says it has been sponged and . you are on of pattern Be sure to notice if the material has a nap to lay pattern on so nap runs all one way. then neither buy too much nor too little. read it the instructions. learned the importance lesson. as we have already of. pin pattern up. it is Although wise to buy a little more than your dress enough and have some later on. left to alter To determine how much work terial material floor is needed measure a space on the table or with chalk the width of mato use. Select material but find out just do not buy until you you will how much you will need. it Have it shrunken or shrink lesson. then place all pieces this. try on and make necessary alterations. in a previous then buy material.
of your work. . lady. Never rush. sure of yourself then practice speed. A student of a fine. high-class tailor in New York. She was little more than a child and this had been her ambition to make beautiful tailored gowns and suits." . work and how and of course she thought she old must do the same. was trying to hurry. where no suit or dress was made in his establishment for less than one hundred dollars. A tailor always shrinks his material no matter what any one says. She had often looked in the tailors windows and fast their watched the hands flew. not how well our work how much we can do. as you are liable to meet with much trouble by so doing. He came to her and said: "Little we try here to see can be done. Be master first. tailor But the kind-faced saw how nervously she was trying to hurry and realized what a mistake she was making. Now you are ready to proceed with cutting and making your garment. 30 The Dress You Wear shrunken.
whether mateis expensive or cheap. will Pin in padding while skirt is being fitted.The Dress You Wear The beauty of rial is 31 the garment. fit A will skirt should always easily enough to be eased belting. If from hip too large pin in seams. in the con- struction. pin center of and center of back where they belong on the person. so the person one hip is larger than the other. and the same seams. noticeably little pad the small hip a not look crooked. Fitting a Skirt When front a skirt is ready to fit. it slightly into the band or hang much more sometimes slightly gracefully. If gored skirt see that seams are straight line to waistline. be careful to pin the seams on both sides If so. If person is very slender skirt in it is necessary to lift back and to the sides to prevent the skirt from swing- .
Never is try to get the length until the fitting plete com- and skirt to position . pin and baste to band or belting. and try on again.32 The Dress You Wear and pouching out or having a saggy ing front look in the back. the length If correct may be taken. on band. Remove skirt. make all necessary changes.
Questions In home dressmaking 1. person. If is the fitted cover wrinkles at the hip. Name the articles required in the home dressmaking equipment. 8. is it necessary to In what ? way does the proper equipment assist 3. have proper equipment ? 2. what 7. How 3 33 . gest buying? Explain how to pad a dress form to fit the 5. 9. 6. 16. What kind of a dress form would you sug4. the remedy? How do you mark the waistline? seams before basting? In fitting waists and coats where should Is it necessary to pin you begin 10. selecting material what should be considered ? 12. 11. Would you prefer one or two good garments to many gaudy ones ? economical? can you determine the amount of material needed? Is it necessary to shrink goods? 15. 13. Is conspicious material 14. to pin? Describe In how to pin a skirt. Describe how to fit a skirt.
the same as not hold as for pinning. Do it over the finger or curve it in any way by so doing the curved side held towards you will be eased in. Long seams in skirts should be basted fiat BASTING on table. keep straight. If you it prefer to hold material while basting.CHAPTER Basting III All seams should be carefully pinned before basting (see subject for pinning). even 34 .
To Prevent Twisting of Two-Piece Sleeve In basting a two-piece or coat sleeve. —smooth top. and the will garment not twist as it is liable to do otherwise. fold About three inches from where the upper section over to the under part of sleeve just . then lay on work table with upper or larger section underneath out flat. as has a tendency to draw the whole seam.The Dress You Wear after 35 a careful pinning. baste inside seam first. Do not take stitches too long it and never pull basting too tight. it comes naturally and pin also about three inches from the bottom fold and pin. and when finished if the seam will look as ered. long semi-fitted coats. basques. one side was gath- In princess dresses. Continue pinning from both ends of sleeve to within two and one-half . baste from waistline up and from waistline down. after pinning as taught in article on pinning. and tight linings.
but back section to under section so as to lie flat leave upper and under of sleeve and smooth while pinning sleeve will not twist. Pay no join attention to whether the ends come out even in top or bottom of sleeve. you should use silk thread. as pulling a long basting in fine sheer material. in place. sometimes closer. in that space on the upper side of adjust the gathers. then the Basting Velvets and Silks Cotton thread leaves a mark when used in basting silks and velvets. especially silks.36 The Dress You Wear gather whatever fullness inches of elbow. comes sleeve. therefore. and baste. Then and lay sleeve flat on table in it same position joining if draws or will not stay in correct first shape you have not made the correct. pin. . Clip bastings every four or five inches. is liable to tear the goods or make a bad mark.
according to material and necessity of being held firmly to lining is while the finish of the garment in progress. . leaving the outside a little tighter than the lining. inch to Take stitches toward you and usually crosswise of goods which leaves a diagonal thread between the stitches.The Dress You Wear Bias or Diagonal Basting This is 37 used to baste the outside and lining is together where the lining eased in. BIAS OR DIAGONAL BASTING The stitches are from three-fourths of an inch to one and one-half inches long and from one two inches apart. The it stitches may be longer or used shorter.
Running Stitch A running stitch is made by With taking evencareful prac- length. done on the canvas side of the of The work is garment and barely catching the material the right side.38 The Dress You Wear Padding This stitch is Stitch tailors used by is on lapels and coat collars. small stitches. RUNNING STITCH tice it can be done rapidly from which its it derives name. It the same as diagonal or bias is basting only the stitch half inch long not more than one- and one-half inch apart. Keep edges of seam even .
then set needle one-half length of the under stitch where the under stitch came out. the under stitch the length of the upper stitch. 39 sew an seam putting needle in and out of material. Back Stitch In the back stitch.The Dress You Wear by pinning (see subject of pinning). then again bring needle up through material one stitch ahead and set needle for second stitch . is twice Bring needle BACK STITCH up through material a back of stitch ahead. making space and stitch of even even. straight length.
is This used where a strong seam required. . Combination Stitch This is used in sewing by hand where a is firm running stitch not strong enough and every third or fourth of your running stitch is a back stitch.40 The Dress You Wear first back to meet the stitch is upper stitch.
Questions 1. Where should you begin pinning in princess dresses. long semi-fitted coats. 11. Describe the back stitch. 5. How did the running stitch derive name? 10. should be used in 6. 4i . Should basting be pulled tight? Describe how to baste What kind of thread a two-piece sleeve. How should be done before basting? should you baste long seams in a the seams skirt? 3. 8. Describe the padding stitch. basting silk or velvet? 7. and tight linings? 4. What 2. Describe the combination stitch. For what is bias basting used? its 9.
TAILORS TACKS putting in tucks or plaits. 42 The stitches .CHAPTER Tailors' IV Tacks Tailors' tacks are valuable to tailors and dressmakers in marking both sides of a In garment so they may be exactly alike. first-class work cannot be done without them.
Over-Handing Use over-handing to sew two edges gether. and separate the sides. Gently separate the edges of the material by pulling apart the mark-stitching or tailors' tacks. usually the selvage is to- used. To make of basting cotton. bands. clip thread. or whatever marking done finished. pockets. . In this space leave a loop of the double thread two inches long. being careful not to clip the goods. Then take two more loop all short so rufit is stitches. necessary to seams. then as described for and continue until fles.The Dress You Wear 43 should be taken through both thicknesses of cloth marking the stitch them alike on both sides. is marking have plaits. we use a double thread Take two short stitches little then leave a space a longer than is required for the two short stitches.
over and over the seam. Take side. about one-eighth of an inch but not through to right in material .44 The Dress You Wear Take stitches small and close together. When seam is opened it should lie flat and smooth with no ridge on wrong Tailors 1 side. point needle to the left. OVERHANDING Do not draw thread too tight as it will cause the seam to pucker. This is made by bringing the threads up through the lining at the very edge. Fell Stitch — To Sew in Lining The coats close fell stitch is used to sew in linings in and wherever an edge should be held and stitches are not to show. Then place needle in outside material as close to where needle comes short out of lining as stitch it can be placed.
woven material. than firm. soft Loose. stitch An average may be about one-eighth of an inch .The Dress You Wear 45 Again bring needle out through the edge of lining. Over-Casting This stitch raveling. is is used to keep raw edges from it Trim seam even and the width to be finished. reset as before.woven. Do not draw thread too tight as the lining is it will cause little dents where caught. material will require a deeper stitch close. take a slant stitch pointing OVERCASTING needle toward left shoulder.
Trim off all loose threads or rough edges.46 The Dress You Wear Keep deep and one. French Seam Make a narrow seam on the right side of material as narrow as material will allow. FRENCH SEAM In fine. depth of stitches and space even. .woven. loose.woven goods. baste deep enough to cover entirely the first seam and stitch again. firm material the seam may be narrower than in large thread. is turn seam.third of an inch apart. This finish may be used on light-weight material. crease in seam where stitching done.
then turn width It hem desired. . should be even in width stitches as even width to your and even mean left. Cat-Stitch or Catch-Stitch This is a cross-stitch used as a finish to raw is edge where material finish is heavy and flat . The stitches are taken on a slant. alternate stitches to the left. pointing needle toward the On at point of needle take up two or three threads of material. one row on edge to be covered. smooth like required.The Dress You Wear Hemming Turn edge of 47 to be hemmed from one-eighth to one-fourth of an inch. Stitches should be in straight rows. the other off just the edge. Take small first stitch running stitch cross-thread by working from to the right then you. catching the edge of hem same time. success hem.
To make the feather-stitch have a knot in TOP — CAT-STITCH BOTTOM —FEATHER-STITCH and place stitch end of thread. Take about one-fourth inch long and bring needle . material. bring Bring needle up through thread forward thumb of left hand on thread. take it placing needle about one-fourth of an inch to the right of where was brought up slanting stitch through the material. may be done in single or double stitch and very pretty as a finishing.48 The Dress You Wear Feather -Stitch Feather or brier stitching in place of It is is sometimes used hemming or to hold tucks in place.
Two folds of satin or silk may be joined with fagoting and the top fold sewed on a skirt as ornamental trimming. folds.The Dress You Wear 49 from where stitch up half-way between and one-fourth inch it was placed at first. of lace. Fagoting Fagoting is one of the prettiest stitches It is used in dressmaking. as in the feather-stitch. used to join edges silk or satin narrow ribbon. ribbon should be finished desired. stitches is Two or more may be taken the same slant and very effective. fold. . then to the left and always work toward you. insertion. The lace. bring up to over the thread continue (thread slant held stitch down by thumb) first the right. giving a double twist which makes it firm. or and basted on paper the width apart each edge bringing then insert the needle from the under side of it out over the thread.
The Dress You Wear
The Dress You Wear
A nice closing is an ornament to a garment
and good buttonholes help to make the successful closing.
The hem in which the buttonhole is to be made should be not less than one inch wider
than the buttonhole to be worked.
straighter the edge of the buttonhole
can be made.
at the upper right-hand side of buttonhole.
Stitches should be even distance apart
The depth depends on the
firmness of the material; just deep enough
to hold firm
and not tear
Stitches should be close
enough to keep
purled edge firm and tight which makes
strong and durable.
Mark top and bottom buttonhole.
the space between according to the
of buttons to be used.
Use buttonhole shears
even edge for buttonhole.
Bring needle up through starting point which
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the upper right-hand corner,
double thread extending from the eye of the
needle and wind around needle, pull needle
through and draw the thread down snug.
front end of
an eyelet; the back end
should be finished with bar by taking three
stitches over each other at the
buttonhole the stitch
same as in the plain buttonhole in previous
in the preparation of but-
tonhole for working.
Determine the number
of buttons to
used, find the distance they are to be apart
and with the
where each buttonhole
to be worked,
place a button on this
and mark with the
chalk each side of the button to find the cor-
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rect length of buttonhole.
should be one-sixteenth of an inch longer than
the width of but-
chalk line, use
hold material firm.
Stitch each side of
basting just far
cut on basting and chalk
working the stitch
be taken just over the
Use buttonhole punch and punch round
hole in outer edge of buttonhole, then cut
with sharp shears the length marked for the
linen thread in needle,
. hold this cord in place at edge of but- tonhole. Put knot in thread.54 The Dress You Wear then twist and double thread which gives a cord to work over. Pull cord snug work with silk twist is complete. take of one stitch one-eighth of an inch back buttonhole. needle through material and fasten. bring needle up at edge of buttonhole. hold in place with left hand and Put work over after it all around.
Describe how is to make a French seam. how is it is make the feather-stitch. 10. 9. 17. 14. how What is the use of the buttonhole? Describe how to make a buttonhole. For what For what Describe used ? to fagot. Describe the stitch. What stitch is used to keep raw edges from raveling ? 8. 16. Questions i . For what are 2. also a tailored buttonhole. tailors' tacks used ? Describe the stitch used in making tailors' tacks. For what is over-handing used? is 4. Describe the stitch. What stitch used to sew lining in coats ? 6. 5.. 55 . 1 1 Describe the hemming. For what Describe the cat-stitch used ? to 12. 3. 13. fagoting used ? 15. What kind of material requires a deep stitch. 7.
CHAPTER V Eyelets Eyelets are usually used where lacing is required for the closing of a garment. A very pretty eyelet is made by using the buttonhole-stitch and drawing the purl to the outer edge. French Knots The French knots and also used are used as a decoration in place of on sheer material 56 . holding work EYELETS LOOPS in left hand. taking stitches close together to prevent the hole closing. overcast. Punch a hole with a bobkin.
take a tiny back-stitch. Take another close to stitch of two or three threads will knot and the knot of wash nicely. lace. Loops Loops made of threads are sometimes necessary in closing a dress of soft material such as chiffon. net. . etc. Bring needle through to the right side of goods. which in the back-stitch just taken. Hold thread to form knot tight against material while drawing the thread through.The Dress You Wear 57 beading where beads seem too heavy or on washable garments. or four times around needle just above the point and with thumb hold the thread terial. while beads are liable to break and drop off. of left hand wound needle close to ma- Draw is still needle through the material. wind thread two. The number threads wound around needle depend on the size of knot required. If the French knot is made right it washes nicely. three.
garment being made coarser than is but always used to make the garment. Use buttonhole twist or coarse thread and make buttonhole-stitch working over the bar. drawing purled edge to outer edge Sewing on Buttons I wonder how many of us sew buttons on correctly? SEWING ON BUTTONS Use as coarse thread as the material of the will allow.58 The Dress You Wear Make a bar by taking two or three stitches directly over each other and the length of the loop desired. .
otherwise the buttonhole spreads and gets out of shape. use a if the button is small. draw up gathering string and overhand together or nearly so. place button and bringing needle a large button. The stitches and open space may be cov- . through one hole of button.The Dress You Wear Take two 59 or three stitches to fasten end of thread. Gather cover all or it will be around at the edge. allow- ing thread to pass over the pin or match. if match or something as large. Covering Molds Cut the cover round and a little larger than the button. place button in center. lay across button a pin. which allows the buttonhole to close nicely under the button. but not large enough to quite come together on the underside bunchy underneath. After button is sewed on remove pin or match far and pull button away from garment as as possible and wind thread around under button to form a shank.
more our Nearly all fashion magazines sell patterns . the more even and artistic is perfect the stitches the finished work. and as in all other stitches. being precisely the same distance IMfM nniJiriTir pfi]. design is the one generally The success of smocking depends on the marking. I ii SMOCKING ill apart both lengthwise and crosswise.6o The Dress You Wear hemmed under- ered by a small piece of silk neath. Smocking The honeycomb used.
or threeIt fourths of an inch apart. Dots may be made one-fourth. while size you mark the garment and change the afterwards you may rial ruin the material. is A regular desk ruler one foot in length the most convenient for marking. Allow about four times the width of mateas smocking desired when complete. It is always wise to make a small piece out of some as of the pieces left in cutting the gar- ment you can if easily change the if size of smocking you wish.The Dress You Wear 61 with the spaces accurately marked for smocking. . fine the depends on how is smocking to be used to be. one-half.
usually decides what kind be used. Put needle through material to wrong side and take next stitch in the same two way fastening the same plaits together dots farther down skipping every first other dot. bring needle up through dot at right-hand top corner. Hold material the right side first toward you.62 The Dress You Wear First baste marked piece to be smocked. is When basting finished take all long ends of thread and pull up as in gathers. leaving a long end not fastened. will The marked smocking Fashion stitch form tucks. taking a tiny stitch of not more than four threads in each dot. fasten the next plait to this by two stitches from right to left directly over each other. of and what kind of thread to Sometimes thread is of different color from material used and French knots are often used to ornament where plaits are fastened together. skipping the dot at top for . begin again. Have a knot in thread and break the thread at the end of each row of dots.
voile. material. Continue until re- quired width obtained. color of material. generally used are Georgette crepe. Sewing on Beads Beads are always more or Materials less used to decorate sheer. a bead There are three methods: Beads may be .The Dress You Wear 63 second row and use the second and third plaits fastening together firmly skipping every other one as before. baste together to hold firm while sewing beads on. The thread should be Purse silk is the sometimes silk. and light-weight cr&pe de chine when sufficiently sheer to be able to trace the lines of the design through is also used. marquisette. net. The pattern should be placed under the Smooth out both pattern and material. fancy gowns and blouses. used as it is a little heavier than sewing of Sew beads on about the width apart. chiffon. only opposite to those fastened in first is plait.
.64 The Dress You Wear first strung (placing them in a dish. it Do not draw thread tight as pucker. etc. needle through the next bead and take a tiny backstitch again to secure the bead and as before bring the needle up through the terial ma- the space all between beads and con- tinue until are sewed on. French knots when made in a small knot using the colored silks to represent the beads on material where beads seem to be heavy. The most stitch secure method is to take a backdis- and bring the needle point out the slip tance of space between the beads. will cause all your work to For small pieces such as ends of ribbons and scarfs. taking a few threads of material between each bead. . the also running-stitch used. embroidery hoops are quite necessary. hat bands. you are sure to pick up several beads at a time) and following the outline of the design use the couching-stitch and take a stitch is between each bead. thrust the needle through them.
The pockets with a lap. cut all two pieces of coat lining one inch larger around than pocket . and pressed. and just of all kinds we are allowed pockets and sizes. The lap is made first.The Dress You Wear 65 can scarcely be told from the beads and launder nicely. about four inches from the waistline and a little in front of the underarm seam usually This depends on the for the two or three inches. Baste unfinished edges of lap to upper side of mark for pocket with right side of lap toward coat. Have place is marked on which is coat where pocket opening to be. leaving the edge unfinished that stitches to the coat. size of coat and most convenient place pocket. Tailors' Pockets One of the comforts and conveniences in a tailored dress or coat at present is the pocket. We will give in this lesson two styles of pockets which are always used. which is used in coats. lined. stitched.
After side stitching pull threads through to wrong and tie. fell seam already turned up on wrong and press. turn pocket lap down and seam on wrong side up. baste pocket together. Another pocket used in coats and skirts It and one-piece tailored dresses.66 to be. stitch pocket piece using one-eighth of an inch seam just the length of mark cut slit for pocket. can be . using small stitches to hold snug. piece of pocket through to Turn lower wrong side. leaving long ends of thread. for pockets. is firmly to seam. Place the other pocket piece on the side. baste. press and stitch on coat close to edge of seam above pocket lap. The Dress You Wear Baste one to lower side of mark for is pocket. space by turning seam baste and stitch through from right side of coat. al- lowing to fill to extend over edge of left seam enough in lap up. stitch. Turn pocket turned through of piece (already stitched slit and to wrong side) over edge seam it at lower side of pocket opening.
I as a half-moon and higher at the front of pocket than the back. pocket curved cut bias piece five and one-half inches . Cut a piece of bias If about is four and one-half inches wide.The Dress You Wear made down. not quite as strong a curve TAILORED POCKET NO. slanting graceful curve. Draw pocket line with chalk whatever style the is to be. in 67 different ways —straight up and or a straight crosswise.
2 lay bias piece over it and slap with the hand. . this will cause the chalk mark to come off on the bias piece enough so you can curve.68 The Dress You Wear wide and long enough to extend one inch over at each end of mark for pocket. Mark pocket line strong with tailors' TAILORED POCKET NO. see the Place again on line for pocket on coat. chalk.
replace work. turn facing corners of pockets strong. back up again three or four stitches. stitch to other end of pocket. cut the line for through to wrong side and seam back from the opening on both sides of pocket. pull bastings. draw a chalk line crosswise at both ends of pocket and stitch the bias using one-eighth of an inch seam on each line. side. It is still better to back-stitch at the ends of pocket. Stitch just to chalk ing being careful to have each stitchopposite. of fill by the seam but no more than the eighth of an inch on each side as that . tie come out exactly Leave long thread to draw through and to make ends of stitching firm. and stitch again to the end the second time which leaves the pocket through the coat. take three or four machine stitches then raise presser foot. Allow facing to form a cord on each side pocket just enough of the loose facing to the space left .The Dress You Wear 69 and baste the length the pocket is to be. start again just where you started first without breaking thread.
3 together and press.70 The Dress You Wear Baste in position turn- was the width of seam. cut pocket out of lining the length and width desired and sew to facing on long side. allow top of pocket to lie back toward top of coat and while in this position stitch through from the right side of . overhand edges in center TAILORED POCKET NO. ing corners neatly.
These pockets should be very carefully . piece. Turn down top piece of pocket on the lower and stitch all around the edges. as well as useful ones. the only differ- ence is the facing is not more than two inches side. baste. Leave long ends of thread at each end of pocket. pull through and tie or thread in needle and fasten securely. Fell and are turned under on wrong neatly. All outside pockets should be put in coat before the lining goes in. wide. and work arrow-head or press pocket again crow-foot at each end of pocket.The Dress You Wear the coat at edge of cord formed 71 by facing. Bound Buttonhole The edges of a bound buttonhole are finished the same as the pocket above. down Patch Pocket Dame sizes Fashion uses patch pockets of for all and kinds ornamental purposes.
stitching straight or the pocket will prove anything but ornamental. the pocket may be lined or bound with the trimming material. or lined.72 The Dress You Wear made. bound. using two harmonious colors for a gown. . The top Sometimes in is hemmed. edges cut and turned even and smooth.
73 . 5. Describe how to cover button molds. are eyelets used? 4. Describe how to make a patch pocket. Describe 10. 8. For what are French knots used? Describe how to make a French knot. how to make a tailors' pocket with a lap and one without a lap. 12. 3. Describe the three ways of sewing on 11. For what are loops used? Describe Describe Describe how how to make a loop. to sew on buttons. how to make an eyelet.Questions Where 2. 9. How should you make a bound button- hole? 13. Explain the marking and stitching in smocking. 6. beads. 7.
ways according to the prevailing Make a triangle the desired tailors' chalk. it is also way down the used as an ornamental finish in various styles. turn work in left hand outward from left to right which will 74 .CHAPTER Crow-Foot VI The make a end of crow-foot is ornamental as well as It is useful in plain tailored gowns. Bring needle up through material at outer point then take stitch at next point. size on the line garment with drawing the from point to point with a the center. slight curve toward Use rope silk or twist. taking only two or three threads of material at stitch. used to corner of a pocket strong and at the an inverted plait where it terminates at the waistline in a coat or part skirt. first Take stitch toward you.
The Dress You Wear seem at first 75 backwards. but which causes the ends to cross and forms the crow-foot. and . CROW-FOOT Continue these same stitches taking them very close together and each one a thread or two longer until the center is reached.
Arrow-Head The arrow-head is used for the same purIt is just a is pose as the crow-foot. bringing point just inside the out again at first stitch. Again put needle down through material just inside last stitch The stitch at outer point is taken as before. matter of choice as to which one preferred. from right to left. put needle down through at it right point and left under material. . Bring needle up through at base of arrow- head to the of pocket left of where it is to cover the end or plait or seam. take stitch as for crow-foot at outer point of arrow-head. The diagram is made the same. Again take just stitch at outer point outside and under the top stitch and two or three threads wider across as for crow-foot. then down through at right point which crosses the thread.76 The Dress You Wear will find you you have formed a pretty crow- foot with a surprisingly pretty center.
The Dress You Wear
finish of a placket
depends on the
also the style of
The Dress You Wear
such as thin
placket thirteen inches long, cut fac-
and one-half inches wide and twentylong on lengthwise of material.
Pin and baste the entire length of both
sides of placket,
seam on wrong
clear to stitching at lower
where facing turns.
edge should be turned in a seam width and
folded over to just cover the machine stitching of
Placket facing should extend about onehalf of
turning right side back at top, allowing
side to extend out for fly or underlap.
with snap fasteners about one inch apart,
marking where fasteners are to be placed on
both sides of facing before beginning to sew
The Dress You Wear
This should be very carefully done as any
variation in these
of the closing.
spoil the looks
Always press placket before
sewing on fasteners.
strip of material
one-half inches wide
half inches long,
and thirteen and oneleft side of placket,
seam to wrong
turn back and
facing to outer edge of under facing or
down over seam
tailor's fell-stitch as
given in previous lesson.
strip of silk
one and one-half inches wide
smoothly, turn wrong
right side facing to fly
and sew the
but not to the
hooks and eyes or snaps with
chalk on one side of placket one inch
heavy, close placket,
lay flat on
with hand several
This will cause the chalk marks to
other side, leaving marks for hooks
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and eyes or snaps
In thirteen inch placket you can place the
snap or hook and eye close to the bottom,
with pinchers or place blotter on
top after fastening this one or hooking
lightly, letting it lie
This will close
will not unfasten
and your placket
be long enough and
never tear out at the bottom.
Where hooks and eyes
are used they should
be covered where they are sewed on with
silk or bias
silk or light-weight wool facing
be made of the goods, cutting
width, three inches, and right side facing one
cutting of bias
cannot be too careful, whether for
milliner's folds, or the uses previously
The Dress You Wear If bias is 81 unevenly cut our work must be finished. place smoothly on cutting table. together with correct cutting in every particular worked cessful. stitches all unite in making the smart garment. use a yard stick or . In cutting the bias unfold material. imperfect when This is why "The finish begins with the beginning." CUTTING BIAS The rial selection of suitable design and mateand nicely suc- with nap running correctly.
bias two and one-half inches wide or Turn under a ruffle. Cut more. also five inches from same corner on cut edge with tailors' chalk or pencil. hard The yard sticks edge. Gathered bands are . Draw line across material connecting these marks.82 The Dress You Wear still better a tailors' skirt rule is which is forty- eight inches long and wood with straight given away for advertising are seldom straight enough to cut by. With skirt rule mark five inches from right- hand corner on selvage edge. this line the Mark is cut. made of good. full as Gather about as which is one and one-half the space to be covered. one-half inch on each side and shirr over cord. again from width of bias desired and con- tinue until sufficient bias Shirring Bias Bands This is very pretty trimming that Dame Fashion frequently favors and sorry to see it we are never return.
The Dress You Wear 83 sometimes put on in different designs similar to the illustration shown here. They are made . both crosswise and bias of various widths are used by our fashion designers at different times for ornamental purposes. Bands and coats suited are usually used on tailored skirts as they retain the plain simplicity to the garment. SHIRRING BIAS BANDS Bands and Straps Trimming bands and straps of many kinds.
The wider are used only on skirts skirt. trace lines through on to lines paper. Connect these marks. remove pattern. marks. then mark again above this line the width under band.84 The Dress You Wear usually from one inch to five inches in width. . cut on traced and you have a correct pattern for a perfect fitting band. I flat on cutting table. measure up even dis- tance from the bottom of the skirt and mark every four or five inches the all around where band of is to be applied. and should be cut the shape of the Pin gores of skirt pattern together. lay BIAS FOLD NO. connecting Slip skirt pattern a plain piece of paper.
When bands are stitched stitch the for on both edges. Bias facing when used for bottom of skirt or at back of neck in waists may be shaped the same way. if After edges are turned in place the skirt is circular. may be cut double the width. the shape. dampen wet sponge on wrong side. satin. lightly with band on padded pressboard.. In medium weight goods. then little with hot iron stretch one edge a laying bias by band in circular position It will retain on board and press dry. bands are usu- ally lined with cambric or crinoline to give firmness. etc. sides of fold.The Dress You Wear Lay 85 center front of pattern on fold of material when cutting. if same direction on both no matter how firm they are basted . folding both edges at the top or if one wishes to economize they may be lined as well. Material such as taffeta. Straps of wool material up to three inches wide finished may be cut on true bias.
and straight stitching. THE MATERIAL IN THE ORIGINAL MODEL FOR THIS FOLD WAS BIAS. the ma- chine crowds the band enough to make little numerous wrinkles that may press out but they come back. Milliners' Folds Milliners' folds are very ornamental when nicely made.86 The Dress You Wear stitched to the right on upper edge. then in opposite direction on lower edge. in all strap and fold trimming depends on even width of fold or strap. SAME AS IN FOLD I The beauty straight edges. .
This must be straight and even.. then turn lower edge to one-eighth of an inch of the top. can be made the same cutting bias the de- way by sired width and the lower edge be turned even with the may top.The Dress You Wear The width is 87 determined by the use made of the fold. and perfectly smooth finished. three or four when made of silk for trimming. turn both raw edges together and stitch one-eighth inch from top edge. skirt folds. A pretty medium turning the to width is made by top edge one-half three- fourths of an inch. fold through center. when \ Other wide folds for etc. . For wide inches. skirts.
Questions 1 For what 2. how how to press a bias band to fit skirt or neck.. For what are bands and straps used? Explain Describe 10. 4. What the crow-foot be used ? shape? Describe how to make an arrow-head. Describe shirring bias bands. n. Explain how to cut bias strips. How long should a placket be ? 6. Upon what does the finish of a placket is its may depend? 5. 3. 9. 88 . 8. 7. Suggest some fitting places to use bias. to make milliners' folds.
close enough to hold the threads or cords from springing out be- tween them. braid.CHAPTER Couching VII This onation is an over-stitch used to hold corrattail braid. or any silk or cord used to follow an outline in broidery. silk. To press when finished turn right side down on well-padded pressboard and press slowly with moderately hot iron. 89 . em- The stitches should not be farther apart than one-fourth inch. Several threads of contrasting colors may be used with pleasing effect it but should be twisted slightly in laying on the outline. When joining or starting the braid or punch a hole through the material and fasten in place.
stitch on machine to make firm. this depends on the cord to be covered. Draw cord out of material. pull basting. Place cord in center of bias strip on right side of material tight around cord and take a This needle's length of fine running-stitches.The Dress You Wear Covering Cord 91 In covering cord for ornamental purposes use a good sizable cord. say one-half to threefourths of an inch as the cord does not appear as large when covered as before. trim . then baste the length of strip keeping the same width of material as was used to cover the cord at the beginning. Soft wool may also be used if lightness of weight is desired. being careful not to get the casing too large or too small best to (it is always make a small piece first before begin- ning the trimming piece). Use small basting-stitch. Cut material on true bias size of one inch to one and a half inches wide. determines the width of material required to cover the cord.
92 The Dress You Wear COVERING CORD seam to an even width. put in it will Use tape needle and wind and sew . being careful not to is cut so close that where cord tear out.
casing stitches where the sewing clear Take in the edge of the machine stitching from raw edge firm.The Dress You Wear 93 with strong thread to the end of the tape needle as the cord is too large to go in the eye of the needle. the casing will turn right side out over the cord as you continue to run needle in through casing. place cord on wrong side of material directly under marking. or mark-stitch (never use tracing wheel on silk). left With hand hold material tight around . Sew made the to edge of seam in casing just cord. the allowing at least of six inches between needle is and end done. side of seam and sew very insert in the Turn tape needle back and end of casing. Shirring over Cord Material should be marked where cord to be placed either is by tracing. tailors' chalk.
94 The Dress You Wear by hand using a fine cord and sew running- SHIRRING OVER CORD Hold cord firmly in left hand and with right hand push material back on cord stitch. .
Hooks should of set back from the edge one-eighth placket or closing that is an inch. Marking for Hooks and Eyes When sewing on hooks and eyes. Place right and garment together right side outside. for a just to meet. the closing will be smooth and even. and mark both pieces tailors' chalk. place them about one inch left sides of apart. Round eyes should extend out about one- eighth of an inch. . They should be even top table. also at waistline. In shirring yokes or waists or skirts a number of rows of cord may be used.The Dress You Wear until desired fullness is obtained. If same time with done they will accurately be precisely opposite and when fasteners are on. Lay of flat on work back the edge at the upper piece. 95 Do not draw up running-stitch. or snap fasteners. turn and bottom.
collars are of made of lace. and if stock collar to be worn it also should be cut fitted in some cheap material. in al- ternate rows. then outer edge of yoke allowing the edges to overlap just enough to hold. baste from there to top. . These yokes and bias folds. etc. Valenciennes and cluny. From the fitted yoke cut a paper yoke and stock and baste together.96 The Dress You Wear Circular Yokes Circular yokes are occasionally very fashionable. To make kinds the narrow lace yoke of two of lace. begin at the bottom of collar where it joins the yoke. hand embroidered. or the yoke may be made and lace medal- lions appliqued on. is also pretty. Net. two kinds narrow lace. Bias folds or lace may be basted on of net the paper one-half inch apart and fagoted together. such as lining cambric. A and yoke should be cut and is fitted.
Tucks require twice quired their length. pin very material all carefully or mark and baste the least half-way in one place at up the skirt it the full amount to be used in tucks to get out of the way.The Dress You Wear Stitch through paper. turn up even around the botskirt. especially in circular skirts where the is lower part of the material used in tuck fuller than the upper? Before the bottom can be finished the placket should be made. all seams finished. tom. re- Find out the inches necessary for the number of tucks to be used. press. 97 tear paper and away. and the skirt should be finished with band or belting at the top. Put skirt on. length of finished Baste all around bottom where the skirt . Tucking Circular Skirt Tucks in skirts are sometimes a difficult task.
that one-half if the first four and inches. the next tuck three and one-half inches. Mark the hem all around from where the . tucks are to graduate. then the hem should be five and one-half inches. being larger at TUCKING CIRCULAR SKIRTS the bottom and decrease in size towards the top.98 The Dress You Wear turns for hem. difference in the is tucks. then find the shortest place in material If left at bottom for the hem. the hem should be as is much tuck wider than the first tuck as there is.
and Let out the goods for tucks and measure. to stitch and right on edge of hem as you are through your gathering thread. It with notch cut in five and one-half inches Use tailors' chalk to mark off with. at top until it is in proper place and gathers are where they should baste. leaving only one-fourth inch to turn under for finish. Draw up this thread to adjust the fullness and pin the hem be for press. first the distance the tucks are to be apart. Turn under on chalk silk line and gather. brushes rial leaving no trace. hem to lie flat and smooth. using so this thread the shade of the material or any is thread the dress to be made with thread will not have to be removed. can be bought in different colors and off. then the width of tuck as the double material . fine running-stitch. Cut mate- above mark. or a piece of cardboard With tape measure as a mark.The Dress You Wear skirt is 99 turned and basted at the bottom. stitches to Use be very small.
turn on next and baste the same ' as where hem is turned in bottom of skirt. as in the it Use running-stitch and of material so hem. Make another notch four and one-half inches above the six and one-half inch notch. this line will be the lower edge of tuck after tuck is finished. thread the color need not be removed.ioo The Dress You Wear width in material under- in tuck covers its neath it so add to the space between the tucks four and one-half inches wide the width of tuck. will be the top of the tuck. If tuck is and will space between tucks to be two inches. One more notch still four and one-half inches for the center. Lay skirt on work-table. this thread all Use running-stitch and Run line around the line six and one-half inches above the hem. folding on basting . first mark notch six and one-half inches. or above the notch what is to be lower edge of finished tuck. stitches very small. first which be the lower part of the tuck.
.The Dress You Wear that is IOI to be lower edge of tuck. turn tuck so as to allow tuck all and smooth. now draw up gathering thread to lay flat position. Proceed manner for balance of tucks and you will find the result most charming and satisfactory. re-adjust gathers and pin them. toward hem inside the The full or larger part on top. pin around to down if to inspect work and in like see if it looks right. allowing top fall part of skirt to skirt. then baste. not.
Explain how to make a circular yoke. 102 . Explain how to mark for hooks and eyes or fasteners. For what is the couching-stitch used? 2. 3. Describe "Covering Cord. Give directions for tucking a circular skirt. 6. 7. How Describe "Shirring over Cord." 4.Questions 1." far apart should hooks and eyes or fasteners be placed? 5. 8. Explain how to finish the top of a skirt.
placing one end floor as far from the the figure. hooks and eyes on and can be put on it will be worn. feet as the skirt hangs away from but keep side. set your yard farther from the feet. there are two good ways to get the length. and still a farther across the back. causing it to stand far- ther away from the figure where the greater amount of fullness is and also to be shorter the farther its stands away. is One on the to use a yard stick.CHAPTER VIII Getting the Length of the Skirt After a firmly as skirt has been properly finished at the top. This will be guaged by the fullness in the skirt. 103 . a circular skirt has more fullness to the side back and back. it the same distance you near the a little in front and front then as stick little side back.
Move the yard stick two or three inches and pin again at top. turn up on this line and pin at edge where turned. Try to stand in a natural is erect position while this being done as every movement of the figure changes the adjustment at the bottom. as you wish your skirt to be shortened at the bottom. and place yard stick with small numbers at the top and the same number of inches above the line of pins that were just put in at the top of the skirt. the back of the skirt appear shorter than the front.104 If The Dress You Wear the yard stick is kept the same distance from the will feet all around. Remove the skirt. continue until you have pinned and all around the skirt. again at edge of material turned up. place it on work-table. then mark with tailors' chalk at the bottom of the yard stick all every three inches skirt it is around the skirt. . Allow the yard stick to rest against the figure at the top and place a pin at that point.
cut off all extra material above mark except enough to turn raw edge under. Turn on chalk line. Always try skirt is being to keep one position while the turned up as it will not hang even unless you do. use running-stitch. this distance all skirt. moving skirt guage around inches apart. and run gathering thread around at edge where the chalk line. find the narrowest place in material for hem.The Dress You Wear Try skirt 105 on to see if it is just even around the bottom. then measure at this point. allowing enough to turn raw edge line well under. pin to place and . take all small stitches. Another way to turn up a around while the skirt skirt even is to use a skirt guage and chalk or turn and pin all skirt is on. and pinning about three is After the skirt pinned up even baste on lower edge. With tape measure from around the bottom of skirt. skirt is turned on sary to baste. Draw thread up where it is necesmake it fit the skirt.
hold sleeve toward you. place sleeve BASTING IN A SLEEVE . Press with After stitching press again on right side (see subject of pressing).io6 The Dress You Wear damp press cloth and stitch. Basting in a Sleeve Run gathering thread all abound top of sleeve.
If sleeve is large it should be eased in under arm and about half-way up the armhole. it is Try sleeve on before stitching as some- times necessary to make a change as all arms and shoulders are not just alike. In real round shoulders the top of the sleeve has to set farther forward than in straight shoulders.. also that the center of top of sleeve at highest point on top. When fitting the sleeve see that the elbow comes in the right place. Adjust gathers so that sleeve in all will be eased around but a little stronger at top than remainder of sleeve. The Dress You Wear 107 so that center of lowest point of sleeve is pinned to lowest point of armhole under arm and center of highest point of sleeve to center of highest point of armhole. . It is very important that the sleeve be held toward you while the work is being done. then the balance gathered in across the top and half-way down the sides.
Concentration while you work. Remove basting. is of the utmost importance. left the edges are raw. trim off one side of mate- turn the wide side over the trimmed edge. keep it smooth and even. pin. and stitch seam in regular way. rial. This finish In lined garments Baste and stitch on outer edge. is for unlined garments. Even.108 The Dress You Wear Tailor's Seams seams according The finish of tailored differ to style adopted. straight stitching is absolutely nec- essary in tailoring which can be done with less practice than the student will at first suppose. baste. . Bound Open Welt Allow one-half to three-fourths of an inch seam. turning outer edge under the same as a hem.
off to seam come on After stitching trim seams one-fourth . or wool.The Dress You Wear Strap 109 Seam Strap seams are frequently used in the finish of unlined coats made of silk. STRAP SEAM If coat is unlined baste so raw edges of right side. linen.
edges strap under. made. and press. fold one-half cross-wise or bias. is especially . pin. baste. leaving finished three-fourths of an inch wide. and center of strap over right side of garment. Seam good for unlined This finish garments. only when lined. skirts seam on Suit in tailor work finish should have the same and trimming as the Imitation Strap coat. inches wide. baste. and stitch.no of The Dress You Wear Cut strap one and either an inch and press open. Place center of strap over center of seam. and the straps pressed. the raw edges of the seams are on the wrong side of the gar- ment. Lined coats are also finished with straps.
pin and baste on mark-stitching. seam at edge particular to where it is turned under. turn edges IMITATION STRAP SEAM of seam under and baste on both wrong and Stitch right side of garment. . Press before stitching. Be have turning even. lap seam placing mark-stitching directly over each other.The Dress You Wear in Mark-stitch seam as usual.
Describe an imitation strap seam. How Is can one become proficient in stitchstitching of ing? 7. 112 . Describe how to get the length of a skirt 3. 9. How does the finish of tailored seams 5.Questions 1. 10. Describe how to pin and baste in a sleeve. the tailored seams im- portant ? 8. differ? 6. Describe how to get the length of a skirt with a yard stick. What must ? be done to a skirt before get- ting the length 2. 4. Describe a strap seam. Describe a welt seam. with a skirt gauge.
CHAPTER IX Slot Seam Pin Allow and one and a half inch seam. 8 113 . lay flat underneath with center of three-inch piece over center of same. press seam open. on the crosswise of Cut a piece of material SLOT SEAM goods three inches wide. baste.
U4 The Dress You Wear Pin and baste one-fourth to one-half inch from the edge. Raw Edge Lap Seam This seam is usually used on heavy matc- RAW EDGE LAP SEAM . seam from center and Press and pull bastings? Occasionally slot seams have two stitchings each side of the slot. turn garment to right side. mark one inch or the desired width of slot stitch.
Mark-stitch placing seams as usual lap seam. stitching one-half inch As Fashion is a fickle goddess and changes it is almost while our gowns are being made. turn under the other edge. This is why we should know the different seam finishings and be fickle friend. over the mark-stitchings directly each other. firm cloth. It is sometimes used for broadcloth.The Dress You Wear rial especially 115 those that do not ravel like melton. Baste seam again at outer edge and again on markstitching on opposite side of mark-stitching. and baste seam. ready for our Fell Seam This seam a raw edge. pin. beaver. press . necessary to note what style of seam finish in use is and adopt all it. making space between or more. and other thick. is a fell. hemmed down to hide Trim off one edge of the seam close to the stitching.
and hem. stems usually run down. if goods is folded see that the flowers are exactly posite before cutting.n6 The Dress You Wear This is with thumb. As in plaids. used in FELL SEAM making up wash goods and other rial. . Matching Flowers and Stripes In flowers note if there is an up and down to wide and can be op- the flower. light mate- including silk. baste.
then lay cut pieces on material for the other half of dress. then place it pattern of next gore and lay front gore by to see if the stripes match. Matching Plaids When plaid material it is is wide enough to cut double. also center front of the garment. move pattern until. It is well to cut front gore first. and stripes on right and left side match also where the joining comes in gored skirts. they do match. be sure plaid so that folded in the center of a all plaids match as they face each other in the folded material. If not. Be sure the center of a stripe comes in the center back. after the right .The Dress You Wear If 117 of the gar- narrow material cut one-half all ment. Stripes should also be carefully cut. being careful that flowers direction all run the same in the and come opposite the flowers pieces already cut. like Continue in manner until all gores are cut. right sides together. If necessary to cut single.
they do not. figures. In this way no two pieces will ever be cut for one If side. In matching plaids at seams it is sometimes full necessary to place piece over one-half or width of a plaid to have the stripes match correctly. move pattern until they do match. place all cut pieces rial right sides together. More material is always required in plaid. and under arm. a one-piece dress the crosswise plaids should match at waistline in front. flowered or material with nap. plaids matching. In plaids cut front of skirt or waist. than plaid material with no nap.n8 The Dress You Wear on the mate- side is cut. . In cutting a waist match plaids at bust line. then lay cut pieces on material against pattern as it is lain on If for next gore and see if plaids match. back.
Describe Describe how how to to match flowers and stripes in cutting a garment. Should a skirt be a trifle larger around at the waistline than belting? 9.Questions 1. 119 . How would you prevent a skirt from swingWhen are ing front ? 10. 2. Describe a raw edge lap seam. 4. seam Describe a seam. What good all reason would you suggest for finishings? fell learning 5. In case hips are not alike how may the defect be remedied? 8. Describe a slot seam. 6. you ready to get the correct length of a skirt? 11. match plaids. How should a skirt be pinned on the figure in the first of the fitting ? 7. 12. What materials are suitable for raw edge lap seams? 3.
120 . according to their growth and development. material is narrow and it is necessary to cut single. then right sides together lay them on material and cut for the other side.CHAPTER X Cutting a Garment so as Not to Have Two Pieces for One Side Always If cut with right side of material facing each other. Length of Skirt for Girls at Different Ages This is quite a problem to the mother and also to the girls themselves. cut all the pieces for one side. This will always give you right and side of all pieces cut. The rule given here will vary in older girls from thirteen years of age. left which is absolutely necessary or both sleeves would be for one arm and the whole dress for one side.
if may wear the same length but well developed the skirt should just cover the top of the calf or largest part of the leg in the back. if so. she may wear whatever length it is the style. skirt should and from sixteen to eighteen the be to the top of the shoe. . still she is very small for her age. unless the prevailing fashion determines the length of dresses to be as short as they are at present. prois viding willing. if At she fourteen. The child of average may continue this length until eleven or twelve years old. is becoming and her mother Acid Test for Cloth To test silk boil the same in five per cent solution of caustic potash for fifteen minutes.The Dress You Wear From growth 121 three to five years the dress should just cover the knee. If unusually tall the skirt may be an inch or two longer. At fifteen it should be two inches longer. then the dress should be two inches longer.
Many a yard of cloth sold as "pure wool" contains from thirty to sixty per cent cotton. There are machines to-day which cleverly wrap wool around cotton thread and the .122 If The Dress You Wear the silk is pure the fabric will be prac- tically like destroyed leaving but a small residue If paper ashes. If there is either wool or cotton in the fabric the threads will remain unaffected. there is cotton in it. Blankets sold as "half wool" have frequently been found to contain only ten per cent of pure wool. the cotton will remain. Keep pure these separately and test them If hydrochloric or sulphuric acid. Pure woolens are adulterated even more than silk because they are in greater dealso because they are quite easy mand. Another excellent test is to remove the in strong threads which form the warp and the woof. and to imitate. silk they are the threads will dissolve within two minutes.
and pressure. will retain Use the same If tests for linens as you do for woolens. will destroy the cotton but the wool will not be affected.The Dress You Wear finished 123 product has every appearance of being ''all wool." of adulteration is Another method ing cotton cloth by takof heat. but any cotton that Imitation of printing in it will be destroyed. but the only safe method is to take home of so-called samples and make tests. damask is made to-day by means upon the surface with a sort of . A purchaser may be fully convinced from it is all appearance and feeling of cloth that wool. and " felting" short woolen surface threads upon its by means moisture. Another fifty test is to moisten a sample with per cent nitric acid. Immerse the samples oil wool in This of vitriol for about two minutes. This will turn the its wool yellow but the cotton color. it the sample oil is genuine linen will not be affected by is of vitriol.
124 The Dress You Wear By im- transparent mucilage the designs. mersing a sample in hot boiling water and allowing it to boil several minutes the design will disappear. .
is the usual length approved of for girls of 7. How should you fold material in cutting so both pieces of garment will not be cut for one side? 2. How may we test wool How may we test linen? ? 125 .Questions 1. 10. wear skirts the same length ? 5. 9. Suggest ways that wool may be adulter- ated. to five years to wear their skirts ? Should all girls of thirteen years of age 4. 8. fourteen? Suggest an acid test for silk. In case material is too narrow to fold what would you suggest to prevent cutting two pieces for one side? What length is suitable for girls from three 3. Who What is best fitted to decide the length of a girl's skirt? 6.
at least one yard with no dressing on 126 If you find. using press cloth which should be a piece of heavy unbleached muslin. such as plaits in skirts. After stitching press again over the stitching. etc. In pressing after sponging always press with the threads of material lengthwise. All outside seams should be pressed before stitching. .CHAPTER XI Pressing Pressing is not ironing. it. in good shape for cutting. This pressing over the stitching should be done on the right side. this helps to keep material smooth and straight. hems. ings. collars. otherwise there will be an unfinished is look where stitching done. cuffs. fac- It will it is be very noticeable how much easier to stitch.
is two thicknesses of the dry press cloth put next the material.The Dress You Wear after 127 stiff you have bought have it. A pressing should weigh at least twelve pounds. with such material as broadcloth. is the weight quite important. then your press cloth ready over a for use. Do and not take hold of a seam ahead of iron pull on it to straighten it out or you will stretch the seam in pressing. can . Nearly all pressing is done damp press cloth. little In semi-fitted dresses and coats the crosswise wrinkles that are apt to come in the gores between the seams at waist line. This steams the material it stead of wetting off. it gets and sticks to the iron. and does not take the luster cannot be applied to the Too much iron stress importance of good pressing. In some cases. it laundered to take is out the dressing. then the damp press in- cloth on top. Open the seam but allow material to remain smooth in a natural position.
Be until sure will not burn. Always press material until thoroughly dry. move iron one length To Take Shine off Worn Garments. When the garment is finished and thor- oughly pressed there is liable to be a gloss or is shine on places where heavy pressing done. Do not move it the iron all the time as in ironing. then let it rest you think the material is pressed dry underneath. .128 The Dress You Wear be removed by dampening the seam with a wet sponge and stretch with a pressing iron from two inches above to two inches below the waistline. or from Pressing To remove the shine caused by pressing the following suggestions will prove helpful. This may be removed by steaming and brushing. it Do not have the iron too hot so will scorch (try it on a piece of material to make sure you will not burn your garment). then ahead.
by binding. In serge and other hard twill material that become shiny with wear. a fine sandpaper and ruff the material a This shine material. and . and while steaming brush briskly and you will find the mark of pressing gone. having the pressing iron very Move quickly back and forth over the hot. the wet muslin two or three times. Finishing Top of Skirt After the skirt is fitted and stitched finish the seams ing. or overcast- Put upper and under facing on placket as taught in subject on plackets. being pressed down or worn off smooth. remove. notching. have whisk broom ready. you can wring place one thickness dry sponge cloth over the material. is caused by is all fiber ends of which nap. process does not remove it if the steaming satisfactory. press. using it.The Dress You Wear Dip one end dry as of 129 of press cloth in water. use little. then damp cloth.
If it. then it should be about one inch larger and little darts. like three inches. . as I it band gives an easy natural fitting skirt. and one-half inches from the edge. below the waist- line at the Finish the ends of the belt with a hem.130 The Dress You Wear 7 inspect } our work to be sure it is correctly done. This makes the keeps it belting large enough at top and far from slipping too bottom. do not mean a gathlittle ered skirt but the skirt should be a larger than the band or belting so as to ease little onto skirt. Now we band into the are ready to put the skirt on the or belt. should be taken of the belting. Do not have belting large enough to lap. A skirt should always be eased or belting. the belting a tighter than the the belting is used it should be made just the size of the waist unless very wide. about four or five in the bottom Take up as small a seam as can be' by machine and graduate to a point about one on a side.
also and back of belting. The lifting of the skirt may make it a little .The Dress You Wear 131 Put hooks and eyes on allowing round eyes to extend out one-eighth inch set and hooks to back from the edge the same distance. from right to Leave placket closed and pinned to place full length. Place belting so the left side with eyes on will come to the edge or extension of under side of placket. Fit the skirt again to see if it hangs well and swings front at the bottom in front while on the figure remove the skirt a little pins at back and lift to correct the trouble. Find center of front and back of center of front skirt. allowing the skirt to extend onehalf inch above the Pin from center in a little to front to center back easing have the skirt if it fit nicely. the plackets close the eyes. pin centers belting. will This bring the belting just to meet but Close and pin placket. together. The right side of the belting should left side have all the hooks on. as left. not lap.
through the belting and material from right side close to the edge. under edge should be silk and cat-stitch or If heavy it covered with a piece of bias in cotton or and edges felled to belting.132 The Dress You Wear may be obliged too large at waistline and you to take it in at the top again. Finish raw edge by all trimming around. where the . turn fell. The bias piece should extend beyond side of placket the belting on the right skirt laps. If off frayed edges even width material is light weight. The wrong one-half inch of material left at the top of skirt side may be turned over belting to Stitch skirt and basted down.
Should outside seams be pressed before Is it stitching? 3. necessary to press again after stitchside should this last pressing be ing? 4. Give directions for finishing the top of a skirt.. Is pressing necessary to a perfect finish of a garment ? 8. Questions 1. What kind of cloth would you suggest for a "press cloth?" 6. 1 1 What causes the shine ? 12. Give directions for pressing broadcloth. In pressing should we move the iron with the crosswise or lengthwise thread? 2. 133 . On which done? 5. What weight should a pressing iron be? How may wrinkles at waistline be success- removed ? How would you suggest removing the shine in serge and other hard twill materials? fully 10. 9. 7.
that no matter and how much bottom girlish. 134 . fat bulges out over the top still of the corset they are slender and This type of woman wants her dresses all fitted tight.CHAPTER Lines XII The lines artistic of a gown mean effect gracefulness and becoming from the top of the collar to the I bottom of the hem. of yet some them still exist. believing she makes herself when she is only emphasizing the fact that she is stout. who think if they can only keep the waist a certain number of inches and quote it often. hips. drawing attention to what she wishes to conceal. She looks as if she had outgrown her clothes. am pleased to note that there are few. especially across the bust and around the look small.
The Dress You Wear One can never look 135 well in a tight corset with the flesh bulging above and below. graceful lines conceal while tightness emphasizes. comfortable-fitting. . the designs should be entirely different but both types would be improved. A a first-class if modiste will refuse to is make out a es- gown of her customer she not properly corseted. could make good No gown Loose. and abdomen is truding. because would would not send hurt piece work that She her tablishment. or suit is ever stylish or smart unless becoming. her pro- large arms. We elderly have all noticed the middle-aged or woman with clothing too tight . short neck. It is as essential for the stout woman to dress loosely as the extremely small figure. to tight This unsightliness corseting usually due clothing and the tight makes an exhibit of what the poor woman thinks to conceal. lines.
. good-fitting corset first is all important and should be the eration. making them too spoil If tight. A well-made.136 The Dress You Wear should attempt to build No gown maker a I gown on such a foundation. smart costume on the street." you see an exceptional. and shoes if form part of the whole costume and look as . or wearing hats or shoes that them. they were a part of it then look again and you will see that the person wearing the gown has if correct lines underneath. gloves. or not correct. they have been carefully and artistically concealed by the fitting. did not He said : "I'd rather people buy my gowns or wear my designs than to mutilate them by poor fitting. consid- There are some things that we cannot afford and some things we cannot afford to go without. once read an article on dress from one of our great European designers which I have never forgotten. notice hat.
A walk through your own flower garden. Cut the This is linen for facing on a four-inch bias. I have heard it said. all the park or woods in summer. The art in usual. but not with dressing. done by placing the pattern for facing on the linen with one end of front edge of . You need a yard and a half to two yards of canvas of good weight. pleasing combinations that the of nature's French produce are a careful study combining colors. will furnish the color hints you could desire. a weaver in trying to reproduce a piece of beautiful moss on his loom found he had produced velvet.The Dress You Wear Combining Colors 137 In combining colors nature never makes a mistake. Putting Canvas in Front of Coat All linen canvas will must be shrunken. the amount depends on soft linen stiff the length of coat.
and shoulder even. PINNING CANVAS IN FRONT OF COAT giving a four-inch slant from top to bottom on front edge of linen. Place linen on work-table. then coat front on top with front edges. pin across at neck and shoulder.138 The Dress You Wear pattern four inches from the edge of linen. Linen facing should be cut as wide as coat facing is to be. neck. pins .
139 Place one hand on garment where pins are holding coat firmly on table. Pull bastings and tape front of coat. This should be. to Con- the same process will find the bottom of You is when finished the linen tight slack and coat material as it on linen. with the other hand brush coat down tight over linen. . is firmly basted Remove pins. first row (taking the stitches toward you). basting from top to bottom. as all interlinings as well as linings in coats inside. the second row from bottom to top. and continue back and forth until the linen on. must be easy or same position slack Leave coat front linen in with underneath and baste together using the diagonal or bias basting as taught in pre- vious lesson.The Dress You Wear about two inches apart. crease edge by turning a seam's width. basting and pressing the entire length of front edge across top of revere. pin again about four inches below the tinue coat. is first pinning across facing.
140 The Dress You Wear linen tape about The tape should be narrow BASTING AND TAPING FRONT OF COAT one-fourth inch wide and well shrunken before using. place tape inside the crease . tape on crease just made a seam's width from the edge. Pin tape from top to bottom of coat so will it be snug on the linen about the same Pin edge of as the material or nearly so.
Pin this on so it is a little easier than the coat material. The part of that turns over for the revere should be caught to the material by numerous rows line of the padding-stitch. using overhand-stitch.The Dress You Wear as the linen outside stitching. Pin tape on the This tape should turning for revere. and stitch the edges of coat and facing together one-eighth of an inch beyond the edge of tape and linen. cut away canvas on outside of the tape. baste on outer edge of tape. is 141 to be cut away before Baste tape. placing needle close to tape for each stitch and not through to show on right side of material. Now sew. placing the right side to right side of coat. . Just catch into the coat. be a little tight to prevent stretching. Pin facing on. it is coat swings too far over little too tight and should be loosened a at front edge. over and over the edge of tape. if Try coat on and coat swings back at bottom pin tape a If little tighter in front of coat.
THE LINING OF THE COAT I 42 .
of coat. crease in line of stitching. and corduroy. and seams are less noticeable. also seam. and baste along edge in left Hold work hand and baste the entire facing over the linen. Cat-stitch firmly to linen. and the narrow edge off seam you just turned full- should lie underneath the wide side of width seam. cut 143 away one-half of the seam on one edge. Turn facing. . Press seam open flat. which should be the edge of the coat proper. plushes. only this time you hold the work over the rolling to left hand slightly have the facing basted in easy. Turn both edges ing) over of seam (but not the fac- on tape and canvas being careful flat to have edge and smooth of in the turning. Miscellaneous Stitch against the pile in velvets. using the diagonal basting as you did to baste the linen to front of coat.The Dress You Wear Pull basting.
stitching is done. and if the collar does not come cut even in front you did not locate the center back carefully. . velvets. and belt to have centers meet correctly. if no seam or fold back in of material comes directly in front or waist or skirt. also in joining waist. Try again. broadcloths. When cutting a garment.144 The Dress You Wear Clip basting every three or four inches and remove as soon as In silks. the centers should be marked by mark-stitching of waist and skirt or tracing the full length as it is necessary in fitting to place centers in correct position on the figure. skirt. and many other materials a long basting pulled out is liable to make holes or even tear the material. To put collar on a dress or coat. find center back of garment and collar. pin to- gether at this point then pin from the center back to the right end and from the center back to the left.
York tailor. at the head of a large establishment. marking. basting with short stitches. . save so much trouble later on in the making of the garment. as they are important. to be twenty hours' work. About Basting A New consumed coat. gave the estimate of the time in the proper basting of a lady's first-class by a workman.The Dress You Wear 145 A careful A little and painstaking beginning brings extra successful ending. all observing all notches. about one-fourth inch long (I have half seen them from an inch to an inch and a long) they will be able to notice much im- provement in their own work. reading instructions that come will with the pattern. while the machine stitching could be done in one hour. yet the average dress- maker thinks basting a waste such dressmakers will of time. If try thorough bast- ing with a short needle.
about one-third or one-half the . Press cushions are of made about the shape an egg. do thorough. It is as important in good dressmaking to tailoring. cork. but they so or are doing a profitable business themselves. is said a a tailored also woman cannot make why they are called "dressmaker's coats. and about and seven and stuffed one-half inches wide. pad size. painstaking work as in therefore never slight your basting. we only hear about the less successful ones. or light-colored woolens.146 The Dress You Wear is This why it suit." There are many women in the tailoring business that do work equal to the best done are never out of a position. They may be This pad is with saw-dust. quite neces- sary in pressing curved seams. cut in small pieces. by men. only not quite so rounding on top fifteen inches long. also a smaller.
Lay piece of silk flat on table. All braid should be shrunk before using. will not need pressing left to thoroughly dry. brush or rub lightly with sponge. wet in cold tea. it on the table It new.The Dress You Wear that will fit 147 in the upper part of sleeve and shoulder when pressing. especially from oil place a blotter under and over the . table. flat Lay on have ready for use some strong cold tea and a sponge. if Do not press. Soap bark is fine to use in washing all wool it materials. rub lightly on both hand. especially in black or colors. smooth out with the until dry. as will not take out the color or injure the fabric. finish. Cleaning Black Silk Use the kitchen table that has no Brush out and dust material. The it silk will cling to the table. oil. and leave will look like sides. To remove machine silk.
draw and cut a pattern the size and style you wish. or gathered on. Either cut them away or results. Buckles are sometimes used. made of the same material as the dress to catch up a drapery or hold material in place. To make foundation. They are sometimes covered with beads or other trimmings. Selvages are liable to draw. Foundations may also be made in buckram will and if not stiff enough wired.148 The Dress You Wear moderately hot iron on top and spot. may be wound. The oil will be drawn out into the blotter. clip the edges to prevent bad To prevent thread knotting or snarling off while sewing. then they bend in shape. Cut out of cardboard. place a leave it there. after you have broken the . then the material plaited. First cover the cardboard with a bit of sheet wadding.
the material will not hold well in place while stitching result is is being done and the anything but satisfactory.. basted with too long. The best grade is strong and does not stretch. for sheer is dresses. Basting is to hold material firmly in place is while the fitting and stitching If carelessly being done. We will have work that looks home-made instead professional. of When tight lining is necessary. place a narrow strip paper under the material and pay no speattention to it cial only to see that if it it remains over the feed and stitch as were not there. that are liable to pucker while the stitching of is being done. In stitching thin silk. etc. department. use the heavy net which or sold in the drapery. crooked stitches. hold ends tight in both hands and stretch before using. chiffons. . dry-goods stores. crepe de chine.The Dress You Wear 149 thread from the spool.
The it lining will not be real comfortable to first if wear at you will continue to wear you will get used to it and get accustomed to an erect position. across the back through the shoulders and armhole. . rather snug. rather high and close in front.150 The Dress You Wear correct To round shoulders fit a tight lin- ing. Stand erect while but this is being done.
Basque (bask). worn by Basque peasants of France. stitchery. ancient style. Ajour (a zhur). 151 . by machinery. a fine wool material. Applique (a pie ka).GLOSSARY Accordian Plaiting. Apron (a pron). like the bellows of an accordian. an outlined ornamentation in cords. each side of a different color. Arabesque (ar a besk). surface to represent the fur of the Astrakhan Basket weave. a fancy weave with small raised (as tra kan). (al Albatross ba tross). Allover. closely curled design. a tight-fitting waist which extends below the waistline. a long pile. then steamed and dried to retain this position. woven as a basket weave. an aperature made by joining two pieces together. a separate design applied to the garment it is to adorn. or applied pieces. Antique (an tek). laid in plaits. Armure (ar mur). Albert Cloth. outside garment to protect dress. design extending over entire material. Astrakhan goat.
a ruffle. a stitch not showing. Bodice. Blouse. Boucle (boo cl). cotton or wool prepared in sheets for interlining. French word for lawn. an undyed wool. Bertha. le ro). Bias. Bouffant (boo fant). a tight-fitting waist or girdle. thick nap. goods cut on long side of a right-angled triangle. a plain. trimming usually on edge of material. Batting. a Spanish jacket. Bayadere (ba ya der). Beige (beg). Bishop Sleeve. a closely woven material having a corded surface. used for women's wear. a woolen material with little Bolero (bo tufts on surface. Blind-stitch. a loose waist dropping over the belt. used in a bishop's robe. Bourette (boo ret). a material on which appears rough threads. Bedford Cord. Border. . a thick woolen cloth tne wrong side of which is finished with soft.152 Batiste Glossary (ba test). or cape. Bengaline. Beaver (be ver). full of puffy effect. Bobbinet. covered with silk or wool. round corded weave. a cotton material slightly heavier than lawn. an open lace. a material having stripes running from selvage to selvage. and thus named.
cuffs. Canvas. for stiffening. soft and silky. Bretelle. a coarse-threaded cotton or linen fabric used for stiffening in collars. a fabric made from the hair of the camel or goat. a jet. a sort of cape. and silk . or pearl ornament used in dress or millinery. brocade which has an embroidery Brussels effect. linen or cotton used Buckskin. used for interlinings of coats and for underwear. Brilliantine. a coarse material. Butcher's Linen. tels). and coat fronts. steel. a plain net made first in Brussels but now made in other countries. a soft woolen or woolen fabric. Challis (shally). Broadcloth. a fine. Canton Flannel. a plain fabric of linen used for dress purposes.Glossary Bradenburg. a mohair with glossy surface. Buckram. New. Broche (bro sha). a fastening for military jacket. soft as dogskin with more defined twill. glass. 153 glossy woolen. Cabochous (ca bo shous). a twilled fabric with nap on one or both sides. Camel's Hair. Brocatelles (bro ka a coarse fabric of silk or wool with figured design. a fabric used for lining in linen or cotton. Cambric.
made raw floral designs. Cretonne (kre ton). Chiffon Velour. cotton drilling of uncertain . Chantilly (shan te ye). velvets of the lightest and softest kind. Decolette (day col tay). Chenille (she nel). Denim. gown cut low in neck. a origin. smart Chiffon (shif fon). Corduroy. style. Chic (shek). a cotton material with large of silk. a town in France once noted for the manufacture of rial of silk lace. corded mateor worsted. coarse. ma- Champagne (sham pan). a thin soft silk material usually crepe-like in appearance.154 Glossary bra). to decorate with flowers and rich de- signs in the weaving. soft cotton Chambray (sham terial. ecru with golden tint. a crimped fabric. with soft finish. a thick velvet}^. Damask. a fine. body dress. usually of cotton. a material woven Corselet (korslet). . Cheviot (chev i ut) a material of the cheviot wool woven diagonally. in ribs with pile like velvet. Crepe (krap). Cravat. a neck-cloth. a fabric made crinkled appearance. of raw silk with Crepe de Chine (krap de shen).
a singled or clustered dotted bobbinet. a soft silk. a stout. Eyelet. cotton. Esprit. a cotton lining of high luster. a firm woolen cloth with a firm soft surface. a short sleeveless jacket. Skirt. Farmers' Satin. Festooned. Empire. used in place of lining. Doeskin. twilled fabric of linen or cotton. Duchesse (duch es). Faille (fal) or (fa y). across the shoulders crossing front. the same as Point d'Spree. Ecru (e cru). an underskirt. (Esprit means a Epaulette (ep pau spirit). a heavy. fashionable dress during reign of Napoleon I. very sheer. Drop or silk. Fichu (fe shoo). Faeonne (fa son nay). Drilling. ornamental.Glossary 155 Dimity. a three-cornered piece thrown and draping in . a color unbleached in linen. a round hole worked in garment for lacing. a twilled satin fabric with smooth surface. cotton corded fabric. taken from Greek costumes. let). Empiecement. military shoulder trimming. a fabric made of silk or wool. a piece set in. very light clothes. Drapelles. Eolienne. Eton. a draping in curves.
a sheer crepe-like silk. Gigo (jig o).156 Filet (fi Glossary lay). yoke and sleeves attached to an underbody. a soft material resembling flannel used for underwear.. Fringe. Gingham. (Webster). Gaberdine (gab ar den). silk with luster. corded silk trim. Flannel. or heavy silk or wool threads fastened to a narrow band. strong heavy material of cotton. a stout double-corded Gros Jersey (gro Jersey. Grosgrain (gro grain). Guipure. Girdle. a fabric woven in checks or stripes nearly alike on both sides. mutton-leg sleeve. Frogs. a square mesh net. ornamental braid-fastenings for coat. a lustrous. Foulard (Fu lard). Flannelet. a coarse frock or loose upper garment formerly worn by Jews. worn with a sleeveless lownecked dress. . Galatea. twilled soft silk. Gauntlet Cuff. French Gathers. one flaring at top. beads. a textile fabric of heavy quality and close weave. Georgette Crepe. chenille. fitted belt at waist. a thin. a soft-textured cloth with light nap. Guimpe (gimp). one short and one long stitch. Glace. shiny silk.
. Jupe Cloche or Jupe Tonneau. Medallion. Honoton Lace. scarfs. Jabot (zha bo). Illusion. made by stitching braid upon lace. a cloth. Lingerie (long zhe re). a tan cloth of cotton used es- pecially in army wear. ment. or (jab o). plain across the back. a Japanese silk. especially for auto riding. garments made of sheer material. smooth woolen cloth used for tailored garments. Maline.Glossary 157 Habit. etc. a very fine linen or cotton fabric with an open texture. a very beautiful material. Khaki (kak ke). Liberty Crepe. the same as used in the sleeves of a bishop's gown. soft crepe material. Homespun. cloth woven by hand or an imitation of such cloth. Lawn. a skirt without plaits. silk Landsdowne. a design of lace appliqued to a gar» Melton. Marabou. used for dresses. thick. the revere of a garment. small. La Petite. neck ornament. soft down. a soft gauzy silk. and wool Lapel. a plain delicate lace. Habutai. veils. .
a Grecian sleeve. the glossy effect from ironing Modiste. fine li zha). Ottaman. Peplum. beaded trimming. Panne (pan). a thin transparent cotton. soft colorings. pressed down and extremely lustrous. side draperies. a narrow lengthwise piece of material used in princess dresses and skirts. out of style and date. Motif. an easy unceremonious Organdie. Meroir. beads. soft dress silk fabric. Passe (pas sa). Oriental Lace. a design in lace. a wool fabric in dark gray mixtures. flary skirt or flounce on bottom . Mouseline de Negligee (neg attire.158 Glossary Mercerized. or embroidery. an elegant lace made on a schiffle machine. a chemical process of hardening the threads to produce a shiny Messaline. silk. Soire. a watered silk. Pagoda. and soft. corded silk usually used for wraps and coats. Pastel Shades. a fashionable dressmaker. Panel. long nap velvet. Passementerie. effect. Moire (mwa re) or (mwar). a fabric made from the hair of the Angora goat. a silk muslin. Pannier. Mohair. a glossy material. Oxford. a heavy. a short of waist.
finished. plain in . Pongee. fur of baby lambs. or cotton. Sateen. Taillurs (ta lurs). Shantung. Tailored. combined with Raglan. Reding-gote. Ruche. ornamental material worn each side of front. Rep. a heavy pongee silk of natural colors. Poplin. a mercerized cloth. Picot (pe co) an ornamental finish for collars and cuffs. Suede (swade). natural color. soft cotton material. undressed leather. fine lining material. Selvage. silk in a good wearing silk. an outside garment or polonaise opened down the front. Revere. machine made. a lustrous. Serge. light weight. frills or furbelows. a closely woven. formerly worn by Lord Raglan'of England.Glossary Persian 159 Lamb. a light-weight silk alike on both sides. Stole. Sylvette (sil vet). Taffeta. without outline. lapel. linen. woolen. frock with matching coat. edge of material. Selesia. sport cloth. a strip of material gathered in the center or on the edge and fastened to a band. Silkaline. a large coat. . a corded weave extending crosswise. a material in wool woven diagonally. a kind of basque. Postillion.
a wool material with twilled surface. Voile (vwal). ruffle. a soft slightly ribbed cloth. a mass of tow ready to put on a distaff. a loosely woven material in silk. Volant. Taupe (top). silky appearance with warp coarser than woof. Worsted. French for Velveteen. Tricot (tre ko). called zephyr gingham. Zephyr. similar to plush. twisted thread spun from woolen.160 Glossary Tap. lengthwise thread of material. dark gray. a Warp. crosswise or filling thread. a hairy wool material. Torchon. Zibeline. . Valenciennes (va len lace. Woof. Tunic. and cotton. wool. lur). a bobbinet lace of simple pattern. Venetian. si enz). a narrow edging of Valour (ve velvet. velvet in cotton. an overcoat.
punctuality.COURSE OF STUDY FOR . Nap. individual ance. Suitable material for extreme figures. Lesson VII. Review. Shrinking materials. Lesson VIII. Lesson II. demonstration and individual instruction. attend- and advancement. Lesson Organization and Lecture. Lesson VI. Second Week: Lesson V. Right side of material. demonstration and lecture. ii 161 . Lesson IV. EVENING DRESSMAKING CLASS first month First Week: I. instruction. of Demonstration of bad effects making up materials without shrinking. Lesson III. demonstration and lecture. Materials.
demonstration and individual Questions. Alteration of patterns for extreme demonstration and individual in- struction. demonstration and lecture. Lesson XIV. second month First Lesson Week: XVII. circular . Taking measures. skirts. figures. Lesson IX. demonstration instruction. Lesson X. Lesson XL Taking measures. Alteration of waist patterns. Lesson XVI. demonstration and individual instruction (changing two-piece coat sleeve pattern to a bishop sleeve). Lesson XII. continued. instruction.1 62 Course of Study — Evening Class Third Week: Taking measures. Fourth Week: Lesson XIII. Alteration of skirt patterns. Lesson XV. yokes. demonstration and individual instruction. signing and individual Lesson XVIII. concluded. Alteration of patterns. Alteration of sleeve pattern. deand cutting collars. Cutting and shaping cuffs. Alteration cutting of skirt patterns. Lesson XIX. continued.
Fourth Week: Lesson of XXIX. .Course of Study —Evening Class 163 circular bands. Second Week: Lesson XXI. demhow to keep one side seam from puckering. Equipment. concluded. Lesson XX. demonstration and individual instruction. Lesson XXIV. Dress form. Lesson XXVIII. To change style of pattern. continued. How to add length to a skirt. Examination. Making a plaited skirt from a seven gore foundation. the necessity of. and how to enlarge a skirt. making lining and individual instruction. onstration showing Pinning before basting. Lesson XXVI. Lining making. demonstration and individual instruction. lecture. circular flounces from seven gore foundation. Lesson XXII. with object lesson. Style of pattern for different figures. demonstration and lecture. Third Week: Lesson XXV. Lesson XXIII. Lining making. questions. Lesson XXVII.
Basting velvets and lecture and demonstration. piece sleeve. and individual instruction. XXXVIII. THIRD MONTH Week: Lesson XXXIII. demonstration. Lesson XXXIV. Amount of material. XXXV. demonstration and Lesson lecture. Fitting a skirt. XXXVI. Basting and review on pinning. Lesson XXXII. demonstration and lecture. Lesson XXXI. To prevent twisting of two silks. Lesson XL. demonstration. individual instruction. Review. demonstration and individual Review. instruction. First care Lecture on thoroughness and (being thoroughly competent means that you are master and have no reason to worry over your work). Lesson Second Week: Lesson Lesson XXXVII. Lesson XXXIX. Diagonal basting and padding stitch. . Material required for a garment. Questions.164 Course of Study — Evening Class Lesson XXX.
Buttonhole and buttonhole-stitch. demonstration and individual instruction. Lesson XLIV. tion. com- bination-stitch. Buttonhole and buttonhole-stitch. Questions. Fourth Week: Lesson XLV. fourth month Week: Lesson XLIX. overhanding. 165 back-stitch. Lesson LI. Lesson L. individual instruction. Examination. French seam and hemming. Lesson XLIII. their pur- poses. First Buttonhole. ornamental and necessary. lecture. concluded. or catch -stitch. dividual instruction. Running-stitch. in- Lesson XLVI.Course of Study— Evening Class Third Week: Lesson XLI. individual instruction. individual Lesson XLVIII. instruc- feather-stitch. in- dividual instruction. Lesson XLII. individual instruction. Tailors' fell-stitch and over-cast- ing. Cat -stitch Fagoting. Lesson XLVII. Tailors' tacks. .
Lesson LV. Smocking. Third Week: Lesson LVI I. Lesson LVIII. Review. Tailors' buttonhole. Questions. demonstration and individual instruction. French knots. Lesson LIX. Lesson LXIII. Eyelets and loops. demonstration and individual instruction. Review. demonstration and individual instruction. Sewing on buttons. Covering button molds. tion Lesson LX. . Second Week: Lesson LIII. Lesson LIV. Tailors' buttonhole and stitch. demonstration and individual instruction. Working over cord.1 66 Course of Study— Evening Class Lesson LII. Lesson LVI. concluded. Smocking. Lesson LXIV. Fourth Week: Lesson LXI. demonstraand individual instruction. Eyelets and loops. concluded. concluded. continued. Smocking and marking material for smocking. Lesson LXII.
turned Second Week: Lesson LXIX. Small pockets. Beads. concluded. demonstration and Lesson LXXIII. continued and queslap Lesson LXVIII. Lesson LXX. concluded. finished by drawing facing through. Pockets. Pockets. Lesson LXVL Tailors' pockets. and individual instruction. demonstration and individual instruction. demonstration and individual instruction. with down. Lesson LXXII. Patch pockets. Examination. Lesson LXXI. Pockets. Lesson LXX VI.Course of Study — Evening Class fifth 167 month First Lesson Week: LXV. individual instruction. . Pockets. Third Week: Bound buttonholes. Crow-foot. individual instruction. three methods of sewing on. tions. continued. stration individual instruction. like vest pocket with lap turned up. Lesson LXXIV. Crow-foot. demonand individual instruction. Lesson LXXV. Lesson LXVII.
concluded. Tailors' plackets. con- cluded. Tailors' plackets.1 68 Course of Study— Evening Class Lesson Fourth Week: LXXVII. tion Tailors' plackets. bias bands. conLesson LXXIX. demonstration instruction. demonstration and individual instruction. LXXXIV. Lesson Lesson Lesson LXXXTI. Second Week: Lesson LXXXV. cluded. Lesson Bias bands. . Questions. Continuous placket. demonstra- and individual instruction. SIXTH MONTH First Week: Lesson LXXXI. LXXXIII. Lesson LXXVIII. Lesson LXXX. and individual Lesson Bias bands. Lesson LXXXVI. Continuous placket. LXXXVIII. concluded. continued. LXXXVII. and individual Arrow-head. Review. instruction. Cutting bias and shirring demonstration and individual Shirring bias bands. demonstration instruction.
demonstration by hand and machine. Bias and crosswise straps. Couching. demonstration and individual instruction. demonstration and individual instruction. Lesson Lesson Fourth Week: XCII I.Course of Study ihird Week: —Evening Class 169 Lesson LXXXIX. tion yokes. continued. concluded. demonstration and individual instruction. Lesson XC. cluded. seventh month First Lesson Week: XCVI I. Shirring over cord. Covering cord. . Lesson XCI. Examination. Milliners' folds. con- Lesson XCII. and Questions. Lesson C. demonstrainstruction. straps. Circular yokes. Lesson XCIX. eyes. Lesson XCV. XCIV. Circular yokes. folds. Marking for sewing on hooks and demonstration Circular and individual demonstra- instruction. Lesson XCVIII. and individual instruction. tion and individual Lesson XCVI. Bands.
Fourth Week: Lesson CIX. lecture. stration Finishing top of skirt. length of a skirt. stration Lesson CVII. tion Review.170 Course of Study —Evening Class Second Week: Lesson CI. Lesson CII. . Tucking circular skirts concluded. Lesson CIII. demonstration and dividual instruction. Review. Getting the use of skirt ruler. Lesson CXI. Lesson CXII. Bound open welt seam and strap seam. concluded. Lesson CI. Questions. demonstration and individual instruction. demonstration and lecture on position and Lesson CX. demonlecture. and Questions. Lesson CIV. demonstration and individual instruction. Lesson CI. continued. fitting a skirt. Putting the hem in a skirt and in- basting in sleeve. Third Week: Lesson CV. demonand individual instruction. Tucking circular skirts. demonstra- and Lesson CVIII. Lesson CVI. Making a tight fitting (lace or net) yoke with high fitted collar attached to fitted lining.
Matching flowers and stripes and matching plaids.Course of Study— Evening Class eighth month First 171 Week: slot in- Lesson CXIII. and individual struction. Raw edge lap seam and seam. Lesson CXXII. Lesson CXVI. Examination. lecture and class to discuss lines. Lesson CXVIII. Combining colors. demonstration and individual struction. Lines. Cutting a garment so as to not have two pieces for one side. Lesson CXX. Second Week: Lesson CXVII. Finishing the top of skirt. Questions. lecture. Third Week: Lesson CXXI. lecture. lecture. demonstration and individual instruction. Lesson CXIX. . demonstration and individual instruction. Pressing and to take shine off. fell in- Lesson CXV. and length of girl's skirts for different ages. Lesson CXIV. demonstration. Imitation strap seam and seam. Review.
CXXX. demonstration and individual instruction. Putting tape in front of coat. CXXX VI. Study Review. Questions. Fourth Week: Lesson CXXV. CXXXII. Study of Glossary. Review of Lesson CXXIV. and individual struction. Putting canvas in front of incoat. . Miscellaneous. Third Week: Lesson Lesson CXXXVII. Lesson CXXIV. CXXXVIII. Review. CXXXI. Miscellaneous. Questions. demonstration. CXXXV. Lesson CXXVIII. Second Week: Lesson Lesson Lesson Lesson of Glossary. CXXXIV. ninth month First Lesson Lesson Lesson Lesson Week: CXXIX. Miscellaneous.172 Course of Study— Evening Class Lesson CXXIII. Lesson CXXVII. Study of Glossary. Review of Lesson CXXIII. Miscellaneous. Lesson CXXVI. CXXXIII. Study of Glossary.
CXL. Lesson CXLIV. Examination. Lesson CXLI I. Miscellaneous. . Review. Lesson CXLIII. Closing. Fourth Week: Lesson CXLI. Study of Glossary. Questions.Course of Study Lesson Lesson —Evening Class 173 CXXXIX.
" Omaha Bee. $1. P. even without the comprehensive index reader to the that is sup- plied. and order.— 1000 Shorter Ways Around the House A Handbook of the Furnishing. covering every is phase of the internal regime. Its Building. For every problem and emergency the author offers a solution. guide the facts he seeks. The book embraces everything from the erection and furnishing of the home to its maintenance. G. Savell By Croy mail.65 $1. useful information. Putnam's Sons New York London .50 net. Its concise. aid of the arranged under appropriate headings which. Its Management Its By Mae 12°. according to the highest standards of comfort. cleanliness. Home. " Indispensable to the good housekeeper.
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