A C O MP L E T E C O U R S E I N

D R E S S MA K I N G

L ES S O N ! I I

HO W T O MA KE ME N S C LO T H E S
’

C L E A N I N G MAT E R I ALS
I N D E!
 L ES S O N ! I I

HOW TO M A KE M EN S S HI R T S ’

AND U NDERWEAR

PAR T I

Why not t ry
y o u r h an d a t
making m e n s ’

clothes ?
Of c ourse i t ,

would be poo r
economy to at
tempt a suit o r
overcoat They .

requ i re c areful
tailoring every
inch of t h e way ,

besides a par
t icular cut and
a more part icular Fig .
(1 ) He ll like the g if t you make Aim
’

fitt i ng Making
.

me n s coats and su i t s is a t rade qu i t e apart

’

fro m d ressmaking .

B ut how about s hi rt s and underwear ?

HE woul d apprec i ate t h e g i ft you made
 A COMPLET E COU RSE IN D RE SS MA KI NG

HI M
’ ’
You l l stretc h your clothes dollar a
.

long way too if you spend it over the piece

, ,

goods counter i nstead of in the haberdasher

shop A shirt will cost only the price of four
.

y ards of twenty seven i nch madras I f you

- .

get t h e making habit you can cut down on ,

the c ost of underwear nightshirts and pa ,

j amas too , .

Wh e n yo u
have made your
first s h irt o r pa
j amas or bath
robe or smo ki ng
j acket you ll be ,
’

surprised how
easily the wor k
sl i ps along I t .

’
won t take as
long as i t would
Fig ( ) A hi will
. 2 nly w p i
s rt
f to have turned
cost o e r ce o

f y d f md our
0 111: some fr i lly
ar s o a ras

g a r m e n t fo r
yourself About the most forbidding state
“
.

ment that can be made about men s clothing ’

i s There i s only one right way to stitch and

,
” ’
fin i sh them I t s not like a blouse where you
.

can c h oose between three or four di fferent

ways of turning your seams Men s sh i rt s .
’

[ 2]
HOW TO MA K E ME N S S H I RT S ’
AND UN D ERW EA R

and underwear are not so very di fficult to

stitch but they mus t be stitched thus and
so i f you expect HI M to like them
,
.

My fi rst l i ttle piece of advi ce to you i s to

look over the clothes HE already has Ex .

amine the seams jot down in your memory

—

whether there are two stitchings or one ,

whethe r i t s a plain seam or a lapped felled

’
-

one whether the garment has reinforcements

,

and l inings etc Get a good mental picture

,
.

of how the finished garmen t you are planning ,

to make ought to look

,
.

In th i s lesson I am go i ng to give you a few

examples of di ff erent types of men s clothing ’

that are practical for a woman to attempt

to make The making of these garments will
.

serve as a revi ew of many items you h ave

already studied I shall t ell you about the
.

finishing of the various garments but not the

pattern mak i ng You can secure patterns for
.

shirts u nderwear etc from any commercial

, ,
.
,

p attern company Making men s patterns

.
’

i s also a trade by itself .

’
You w i l l find that making men s clot h e s i s
l argely applyi ng t h e finishes you have learned
’
i n ma ki ng women s and children s clothes
’
.

[3]
 A CO MPLET E COURSE IN DRESSMAK IN G

M EN S S HI R T S
’

A Coat S hirt wit h C ollarband : P rac

t i cally all shirts are made i n coat style now
.
,

t hat is wit h an open i ng all t h e way down the

front Fig 3 is a good example of this kind of
. .

shi rt.

B e su re your material is really a s hi rt i ng .

A man dislikes h aving a shirt made out of

fabric which might be termed queer I f you .

choose silk get a fairly h eavy qual i ty A

, .

sleazy shirt goods i s never satisfactory A .

heavy quality of crepe de c hi ne makes a good

looking and good wearing shirt There are .

striped h abituas too that com e especiall y

, ,

for shirtings .

Med i um and fine madras i s excellent for a

cotto n shirt but clumsy h eavy madras i s
not intended for shirts Fine cambric or musl in
.

are the materials used for plain white s h irts .

A lmost eve ry man l i kes a fine si l k and wool

flannel sh irt for t h e cold weather S uitabl e
_
.

fl annels c ome i n endless str i ped e ff ects .

Cutting t he coat shirt : Pi 4 s h ows t h e

ieces of the shirt patt ern placef on the goods
folded l engt hwise t h rough the center You
,

can buy such a pattern wh i c h wi ll be an

,

[ 4]
 -
HOW TO MA K E MEN S S H I RTS
’
AND UN DE RWEAR

exact duplicate of a ready made s hi rt -

, from
any commercial pattern compan y .

You may find i t nece ssary to rearrange t he

Fig
.
(3 ) A regulation style coal shirt

[5]
 A COMPLET E COURSE IN D R ES S MAKIN G

pieces according to t h e widt h of your material .

F ollow the plan of placing the largest pieces

on the goods first and then fitting in the smaller
‘

pieces .

Making a Coat S h irt : the About b est

advi se I can give is the general statement that
I have made before Do as muc h of
. the
fin i s hi ng as you can while the pieces are flat ,

Fig (4)
. The shirt patt ern arrange df or cutting

that i s before t he seams are closed I t will .

facil i tate the work to face the front closings

,

fi rst There are two ways of domg th i s

. .

You can cut 21 facing of the material hem ,

the back edge and join this to the edge of the

shirt as shown in Fig 5 I n t h is case after
. .
,

the facing is turned into i ts finished position

and pressed in shape stitch along the front
,

edge of the shirt about one eighth of an inch

-

from the edge Also at the bottom of the

.
,

facing stitch from the edge of the shirt to the

[6]
HOW TO MAKE MEN S SH I RT S
’
AND UN DE RW EAR

back of the facing from there run the stitching

,

down one eighth of an inch and then stitch

-

The
f ront closing
completed

b ack to the front edge This h olds the facing

.

l n place .B elow the facing turn a narrow

[7]
 A C OMPLET E COURSE IN DRES S MAKING

h em on the front ed ge continu i ng i t aroun d

,

t h e bottom and up the vent at the sides .

A somewhat qu i cker way of fin i shing t he

front closing is to use a facing of b utchers ’

linen T his will g i ve a finis h on t he outsid e

.

which is identical to the one just desc ribed .

C ut the facing of butchers linen making the

’

bac k edge the selvedge edge of the goods .

Turn un der the front edge of t h e shirt one

sixteenth of an inch that is just rol l t h e
, ,

Fig .
(8) Most shirts havef ullness either side of the back

edge enough to turn ofl the raw edge Turn ’

.

’
under the lower edge of the butchers l i nen
facing a seam s width and place it along t he
’

edge of t he s hi rt as s h own in Fig 6 T h en

,
. .

turn back the edge of the shirt again and

stitch as shown in Fig 7 Continue the
, , .

’
narrow hem around the bottom A man s .

shirt has fullness either side of the bac k to

g ive freedom of movement R un gat h er .

t h reads at the top of the ba ck as s h own in

[ 81
HOW TO MAKE ME N S SH I RT S
’
AND UN DERW EA R

Fig 8 S titch yokes to fronts and backs

. .
,

making lap felled sea ms

- -

Making Collarband: S titc h around nec k

to prevent
stretching The .

collarband must
be st ifi so make
‘
,

it three or four < 3

p l y o f go o d s :
t hat 18 interline
,

it wi th one or Fig (9) I nt lining th n kb nd

. er e ec a

t wo th i cknesses
of l inen or some other firm materia l Cut .

these interlinings the shape of the outs i de but ,

without seams B aste t h e i nterlinings to one

.

piece of the neckband S t i tch the two pieces .

for the neckband together running the stitch ,

ing across the ends

and top ( S ee Fi g . .

S lash the seams

around the top and
ends Trim off th e .

raw edges to within

Fig ( ) S tit hing th

. 10 kb nd
c one quarter l ll Ch O f
-
e nec a

the stitching Turn .

the nec kband right side out and press S t i tc h .

around the outer edges again (S ee Fig 10 . . .

S t i tch the neckband to the s hi rt inserting t h e ,

[9]
 A COMPLET E COURSE IN D RESSMAKING

edge of the shirt between the edges of the

band .

F i n i s h i ng t he
S leeves : S lash
the
bac k of the sleeve
for a vent Th e .

bac k edge of the

vent is finished with
an extension and
the front edge wit h
a pointed fac i ng .

Fig ( ) Th l v v nt
. 11 e s ee e
Cut t h e material
e

for the extension

one and three quarter inches wide and about
-

one-half inch longer t han the vent Fold .

under a seam at the top and stitch one edge

of the extension to the slash as shown in Fig .

11. Note that edges of

extension and sleeve are
even at bottom but that ,

extension projects nearly

a seam s width beyond the
’

slashed edge at top of

vent T urn under the free
.

side of the extension a

seam s width fold the ex
’

tension through the center

and S t lt Cll again ( 86 65 Fl g Fig ( ) F ing th h k
. .
. 12 ac e ac
edge o the sleeve vent
f
12
[ 10 ]
HOW TO MAKE MEN S SH I RT S’
AND U N DERW EAR

The Fig 13 shows a

.

pattern for a pointed fac

ing which would finish one
i nch wide .L ine CD is
parallel to 4 8 and one
inch from it while line ,

G H i s parallel to the first

two lines and one half inch
-

from CD Point E is cen

.

t erway between points A

and C and point F is one
a n d o n e -qu a rt e r i n c h e s
above it I n cutting out
B
.

‘
the pattern add the regula D H
tion seam allowance three Fig 03 ) Di g mf
, . a ra or mm
eighths of an inch at all ing P int df ing f o
,
o e ac r sleeve

p o i nts
.

joining the facing to t h e front edge of

the slash turn under ,

the top and side AB a

’
seam s widt h and jo i n
the edge GH to the edge
of the slash ( S ee Fig . .

Fold t h e facing
along the line CD and
stitch as shown i n F ig .

Finishing the f ront

15 ° L ap t he
facl ng
f
o .

the sleeve vent O VCI

'

the ext ensw n and

[ 11 ]
 A COMPLET E COURSE IN DRESSMAK ING

stitch across the top of t he ex

tension as shown l n Fig 16 .

“
.

N ext
stitch the sleeve to t he
armhole with lap felled se am
-

and join the sleeve and under

arm seams in one cont i nuous .

seam T his seam too i s b est

.
, ,

finished lap —felled .

the lower edge of t h e

G ather
Fig ( 5 ) Th p nt d sleeve as shown in
. 1 e ai e F1 17 .

Note that the fullness 1s thrown

either s 1de of the vent and not
at the u nderarm
seam ; al so that the
extension at the
back of the vent
is turned bac k .

T 0 M a h e a
French cnfl ,
lay t he
t wo pieces for t he
c u ff wi t h the wrong
sides of the mate
r i a l together and
st i tch a round the
outside (
. S ee F ig .

C ut off the
seams diagonally p
The vent com leted

[ 12 [
HOW TO MAKE MEN S SH I RT S ’
AND UN DERW EAR

at the corner tu rn
‘

cu ff right side out ,

lay it onto sleeve

wit h the raw edges
even with the bot
tom of the sleeve
F g ( 7) Pl 11 u m t1
e
l
t1
0

I a
a n d S t l t C h O Il C h tt iih
f th
’
iz
’

o or
’ 2e

e s
’
l
’
v
e ;e

t h1ckness of the
cu ff to the sleeve (S ee Fig . Fold under .

the free edge of t h e cu ff and stitch it over the

raw ed ges on the wrong side of the sleeve .

( S ee Fig . W ork a buttonhole in the

facing and sew a matching button to the

Fig .
(1 8) The two pi eces f or a French cnfi
'

[ 13 ]
 A COMPLET E COURSE IN DRESSMAKING

extension on the vent Also work four but .

t onholes in the cu ff as shown in Fig 21 . .

Fold the cu ff double and fasten with cu ff

links as shown in Fig 22 Tu rn a narrow . .

hem on the back of the shirt at the lower edge .

Wor k a button h o l e at t h e center bac k o f

-

the neckband and

buttonholes in the
front of the neck
b a n d a n d l e ft
front of the shirt .

S ew small pearl
buttons to right
front .

An O ut ing or
Wo r k S h i r t
With the ex cep
tion of the collar
and cu ff s an out ,

Fig ( 9) Th fi t tit hi g in j ining th

. 1 e rs s c n
l n g o
o
r w ork
e
S hl rt

fi t th l
cu o e s eeve I S about the same

proposition as the
regulation sh i rt The usual shirt of th i s type
.

i s made w i th a detached collar and band cu ff ,

as shown in F ig 23 . .

I f i t s a wor k s h irt den i m ch a

’
,
mbray o r ,

khaki will give good service Khaki is also .

excellent for an outing shirt H owever .

,
 A COMPLET E COURSE IN D RESSMAKI NG

and stitch around the outer edges ( S ee .

Fig. C ut O ff the corners d iagonally to

within an eighth O f an inch of the stitch i ng
and turn the collar right side out I f the .

material you are using lacks su ffi cient body ,

I nt erll ne the col

lar To do this .
,

cut a collar O f
b u t c h e rs l i n e n ’

wi t ho u t s e a m s ,

and baste it to ‘

one thickness of
the outsid e collar
before stitching .

the collar After

is turned right
sid e out press it ,

and stitch around

the outer edge
again Now you .

are ready for the

Fig ( ) Th uf
. 21 mp l d
ec co collarband C ut
ete ,

the two outside

pieces with seams and the interlining without
seams B aste the interlining 10 one O f the
.
’

outside pieces Place one outside piece o n one

.

side O f the collar and one on the othe r with .

what will be the top of the collarband when

[ 16 ]
HOW TO MAKE MEN S SH I RT S
’
AND U N DERW EAR

finis h ed along the raw edge O f the collar

, .

( S ee Fig .

S titch around the ends and across the bot

tom as shown in Fig 25
, . .

Tu rn the collarband into

its finished position and
press Join i t to the neck
.

edge of the shirt inserting ,

the raw edge O f the shirt

between the two thick
nesses of the band .

Finishin g t he S leeve
S ew extensions to the vent ,

a s described in making the

regulation shirt Lay the .

two thicknesses for the

band cu ff with the right
sides together and stitch
across the ends and bot
tom Then turn the cu ff
.

right sid e out and press it .

I f the material i s sleaz y Fig A th l v l k s e s ee e oo s

fi ihd
,
n s e
ad d an interlining as the
collar was 1nt erlined T urn .

wrong side out and the cu ff ove r t h e

sleeve with the raw e (p
, glace
e of the cu f
f even w it h
t he lower edge O f the sleeve S titch one .

t hic kn ess of the cu ff to the sleeve Tu rn t h e .

[ 17 ]
A COMPLET E C OURSE I N D RESSMAK ING

Fig .
(23 ) A n outing or work shirt with attached collar

[ 18 ]
HOW TO MAKE MEN S SH I RT S ’
AND UN DERW EAR

Fig
.
(2 4) S titching the two collar pi eces together

sleeve right side out and stitch the free edge

O f the cu ff to the sleeve S titch around the .

outer edge of the cu ff again .

Fig .
(25 ) d S ewing the neckban to the collar

F inis h wi th buttons and buttonholes ( S ee .

Fig.

H em the top O f the pocket turn under raw ,

edges and press it T hen stitch .

it to the left side front .

A Tu c ked B asotu S hirt

A d ressier type O f shirt i s shown
in Fig 27 S uch a shirt would
. .

be made of a fine cotton shirting

or silk You can use your plain
.

shirt pattern i n copying it 6) d

.

( A h 2 an
Draw the outline O f the bosom ufi c
'

[ 19 ]
A COMPLETE COURSE IN DRESSMAK ING

Coa
. shirt d
with tucke bosom

[ 20 ]
H OW TO MAKE MEN S SH I RT S ’
AND U N DERW EAR

on the plain front as shown in Fig 28 S ee . .

lines AB C Place the pattern on another

.

piece O f paper and trace

along the lines AB and
B C al so a cro s s t he
,

shoulder neck and front

,

edge down to point A .

This will give you the

outline for the bosom .

Add seams beyond the

lines AB and B C .

A gain place t h e pat

,

tern O n another piece o f

’

paper and trace around

the outer edges O f the
shoulder armhole u n der
, ,

arm seam lower edge and

,

front u p to the bosom ,

line AB
,
From there
.
,

trace along the lines AB

and B C T his gives you
.

the pattern for t h e front

of the shirt Add seams

E
g
.

r ond the ll nes AB and Fi 8 M ki p tt n g

.
(2 )
f or the
‘
a ng
hosonz f
“ro
,
nt
a er

Tu c k two s t raigh t
pl C C CS O f mat e —
r1al solid with one quarter inc h
-

tucks leav1ng the front edges plain for a space

,

[ 21 ]
 A COMPLET E COURSE IN DRES SMAKI N G

of one and one h alf inches Place

- .

these pieces one on top of the other

with the wrong sides of the goods
together and place the p a ttern on
top as shown in Fig 29 Mark
,
.

around the outer edge O f the pat

tern and cut out the bosom front .

Making a B osom f ront S hirt

-
First of all join the bosom sections
to the front double stitching the
,

seams T hen proceed to finish the

.

front and close the seams as

described l n making the regulation
shirt .

?)
ing i
f 6523;
t
I f you want a sti f
f att ached cu f
f
to close W l t h cu ff l1nks fi n1sh the ,

sleeve vent with extensions as

described in making the regulation s h irt .

Then interline the cu ff and join it to the lower

edge as the band cu ff was joined
,

to the sleeve O f the outing shirt .

I n this case however the edge

, ,

of the vent finished with the

narrow extension is turned back
before the cu ff is joined to the
sleeve (S ee Fig
. .

A Nigh tshirt : Fig 3 1 shows

.

you a regulation nightshirt I t s .

’

[ 22 ]
 A COMPLET E COURSE IN DRESSMAKING

using cambric or muslin ,

flannel or outing flannel ,

the way O f making i s the

C same
A . 1 “ o
.

Making a Nigh tsh irt

You will notice that the
front of the nightshirt
has a slashed closingg wh i c h
i s finished pract ical y the
l
same as t h e vent i n t h e
sleeve of the shirts de ,

scribed in the first part O f

this lesson .

Fig 3 2 sh ows a dia

.

g ram for t h e pointed fac

i ng
pattern You can .

make 1t any des i red width ,

remembering that the

width from A to C 18 h alf
the width from C to E .

Make your diagram With

out seams andgad d them
H
I
beyond the outer edges
Fig (3
. 2 ) Di agra mf m king
or
afterward
a
.

f acin
g patt
ern

After
the pattern has
the seams added fold i t ,

[ 24 ]
HO W TO MAKE MEN S SH I RT S
’
A ND UNDERW EAR

along t he line CD Place the front of the

.

shirt pattern on top of this pattern with the ,

front edge cent erw ay between lines CD and

EF and the neck edge a seam s
’

width from the top of the ex

tension pattern at the side .

Mar k along the neck edge O f the

shirt pattern Turn the shirt
.

pat tern over onto the other half

of the extension pattern and
mar k the neck edge again This .

will g i ve you a new curved upper

line as the dotted line Fig 3 3 . .

A dd a seam beyond t he dotted

line and cut O ff the portion which
extends above this new s eam
allowa nce This shapes the to p
.

of the exten sion so it will exactly

fit the neck O f the garment when
it i s sewn on .

” Fin i s h t h e r i gh t front of the

slas h in the shirt with a plain
extension Turn under the seam
.

all owan ce across the bottom and

a l ong the side EF of the pointed
extens i on T h e n s t i t c h t h e
.
Fig 03 ) n e w
m
,

d
.

p o t e extens i on to the edge of ternf olded and new

”PP ” edge marked
t he slash letting the extension
~

[ 25 ]
 A COMPLET E COURSE IN DRESSMAK ING
’
project nearly a seam s width beyond the
edge of the slash at the bottom ( S ee F ig
’

. .

Fold the extension along t h e line DC

and stitch as in Fig 3 5 . .

Join t h e yo k e to the back and close t h e

shoulder seams next ,

m a k i n g l a p fe l l e d
-

seams Then you are .

ready for the collar ”

.

I nterline the collar as

the neckband of the
regulation shirt was in
t erlined I n joining i t .

to the nec k O f the shirt ,

first stitch the outside

collarpiece to the neck

edge then turn under ,

the free edge O f the

collar and stitch it over
the raw edges O f the
f n g i
.

S i hi
m 1a
t tc n a ” 0
f
ro 5 right side O f the s h irt .

Face the lower edges

O f the sleeves wit h the cu ff piece before the

sleeves are joined to the armholes To apply .

the facings turn under the upper edges and

,

press them Then place the facing pieces on

.

the wrong side of the sleeves with the lowe r

edges of the sleeves and facings even and stitch
[ 26 ]
H OW T O MAKE ME N S SH I RT S ’
AND UN DERW EAR

across the sleeves Turn the facing pieces onto

.

the right side of the sleeves press and stitc h ,

across the top C lose the sleeve and under

.

arm seams in a continuous stitching making ,

a lap -felled seam .

Turn narrow hems at the lower edges and

S l de vents .

PAJAM AS

P ajamas : course Of
you want to know how ‘

’
to make men s paj amas ,

too . There is nothing

nicer for a gift than a pair
of sil k paj amas or even a ,

pair of cotton poplin ones

can be made to loo k very
attract i ve .

The style t h at i s s h own

i n Fig 3 6 i s suitable for
.

Fig ( 35 ) Th lo ing fi ni h d
eit h er silk or cotton Flan .
. ec s s e

nel ones are sometimes made i n this style or

the neck i s c ut hig h and finished with a narrow
b and collar You c an secure either style in a
.

com mercial pattern .

Cu t ting t he P ajamas : Fig 3 7 shows the .

pattern for the paj amas p l aced on material

[ 27 ]
A COMPLET E COURSE IN D RESSMAKI NG

Fig
.
(3 6) P ajamas are another easy- m
to- ake

[ 28 ]
HOW TO MA K E ME N S SH I RT S’
AND UN DERW EAR

folded d ouble lengthwi se T he exact placing .

of the pieces may vary according to the width

of the material but do not fai l to make a
,

layout .

Making P ajamas: Th e shou l der seams

ought to be closed fi rst Make these lap .

felled seams .

The front and nec k edges are b est fi n i shed

wi th a facing This ought to be cut the s ame
.

shape as the p attern at these points and about

four i nches d eep .

U nbcv la?

Fig.
(3 7 ) Diagram showing pajama patt ern pla d on th
ce e goods

Mark a line o n the p attern four i nches bac k

from the front and neck edges Lay the .

pattern o n another piece of paper and ru n the

tracing wheel along the front edges across
the shoulder seams across the bottom and
,

along the lines just marked T his gives pat .

terns for the facing pieces Where any cu rved .

,

pointed or j agged edge is to be fac ed the facing

ought to be cut to fit it in this manner .

[ 29 ]
 A COMPLET E COURSE IN DRESSMAKING
’
t h e raw edge a seam s width press and stitc h , ,

as shown m Fig 3 9 . .

J oi n sleeve to arm h ole w i t h a lap -felled

seam and close underarm and sleeve seams
, ,

makiil g these lap felled seams too H em

-
, .

lower edge of sleeve

and coat .

Turn a h em at t h e
'

top of the pocket and

stitch i t to left front .

Finish closing with

buttons and button
holes The left s i de
'

’
of a man s paj amas
always laps over t he
right side .

I n making the trans

fi n i s h fl y fi r s t
ers .

U suall
y there i s an
extens i on beyond the
center front F a c e
- .

right front extension

for a button-stand ( S eeg Fig 40
. T urn 1n . .

extension on left front and stitch to position

( S ee Fig. Cut a buttonhole stand as
shown m Fig 42 Fold this through center
. .
,

stitch around outer edges as shown gi n Fig 43 .

[ 32 ]
HOW TO MAKE ME N S SH I RTS ’
AND U N DERW EAR

and turn right side out Wor k buttonholes .

and stitc h buttonhole stand to left

- as
sh own in Fig 44 . .

Fig . (43 ) S titch

ing the un er/u d p

Jo i n i nner leg seams lap felling them and

,
-

t h en close crotch seam Make lap felled

,
- .

seams here too Join a casing to the top

, . .

H em the lower edge of the trousers as s h own in

Fig 45 . .

[ 33 ]
 A COMPLET E COURSE IN D RESSMAK ING

U NDER W EA R

Coat and Trousers S et : suit of sum A

mer underwear is shown in Fig 46 The . .

style may vary a little according to the make

O f commercial pattern you use but t h e general
finish i ng is the same .

Th e best mater i a l to buy for suc h a garment

i s soft cross barred muslm I t wears well
- .

and 1s cool .

Turn a regulation h em
at t h e front edges but
stitch it four times for a
tailored finish ( S ee Fig . .

R emember to press
the h em before stitching .

I t helps to keep the

st i tching even .

Fig (45 ) H mming th b tt m

. e e o o
of th p j m
e a a as N ext close the shoulder
seams These ought to .

be double stitched .

N ec k edge needs a shaped facing U se .

the front and back patterns as a guide in

making the fac i ng patterns ( S ee Figs 48 and . .

L1ne DE 18 t h e center-front The fac .

ing need only extend a seam s widt h beyond ’

the center front Measure i n from t h e nec k

- .

[ 34 ]
H OW T O MAKE MEN S SH I RT S
’
AND UN DERW EAR

d
S ummer un erwear consisting f
o coat and
d
knee lengtlx rawer:

[ 35 ]
 A COMPLET E COURSE IN DRESSMAKING

edges t wo and one quarter inches and m -ar k

lines as the dotted lines B C and FG Place
,
.

the patterns on another piece o f paper and

trace along the dotted lines T his gives you .

patterns for front and back facings that will

finish about one and a h alf inches wide .

I f you use these patterns the seam i n the

facings will come on the shoulder
the same as i n the garment and ,

the center bac k of the Ipattern

-

ought to be placed on t he iold of

f

t he goods i n cutting H owever .

,

it i s better to lap the facing pieces

at the shoulder three quarters of
-

an i nch to take u p the seam allow

ance and add a seam at the center

“
Fig (47 ) Th
back ( Se
ee Fig . 5 0 L apping . .

d the fac i ng pieces three quarters of

.

h m t il
e a or e
-
” WW M an inch at the shoulder takes u p
” ’

just the regulation seam allowance

on the front and back of three eighths of an
-

inch Trace the new facing pattern onto

.

another piece of paper making 1t a c ont i nuous

,

p i ece from front to back .

Make lapp-felled seams at the underarm and

finish the armholes and l ower edges with
narrow hems .
HOW TO MAK E MEN S SH I RT S
’
AND UN DERW EAR

Making t he Trousers : The crotch ought to

be reinforced so lap your pattern at the inner
leg seamand mark for the reinforcement ( S ee
,

Fig . Place these pieces on another piece

of paper and trace alon g the line 4 3 0 and the
c rotch edge This g i ves you a pattern for the
.

Fig . (48) Making the f ront pat Marking the hack

ternf or the nee/cf aeing patt
ern f or the neckf acing

reinforcement A d d a seam beyond t h e curv ed

.

edge .

I n addition to the crotch reinforcement s t he ,

front must be faced Fig 5 2 shows the front

. .

edge of the trouser marked for t he fa ci ng .

[ 37 ]
 A COMPLET E COURSE IN DRESSMAKING

Line 4 8 is thefront edge and CD is t he facing

line Place a
. piece of paper unde r t he pat
tern and trace the facing marking around the ,

outer edge of the pattern from D to A from ,

1 t o B and from 1

“ B to C Trace
D along the dotted
.
‘

line CD I n cut .

ting out the fac

ing pattern al ,

w ad s : 2 m
P ig (5 0 )
. The ncchf aeing patterns
{p eyon i
tI C
0

3111 6
CD . I n ma k ing
t h e trousers the crotc h seam i s closed from
,

the i nner leg seam u p to point E F rom E to A .

the seam is left open Place point E three .

inches from B Fig 5 3 shows t he fron ts

. .

jo i ned at the crotc h seam from point B t o E .

Join your two front fac

ing pieces from point E to
B .
( S ee F ig . Then
st i tch the facing p i eces to
the front edges of the
trousers placing t h em on
the wrong side of the
trousers .
( S ee F ig .

Turn the facing pieces onto

t h e right S ide O f the t rouS f
crotch rein orce ment

[ 38 ]
 A C OM P LET E COURSE IN DRESSMAKING

stitched Trim the seams close to the st i tc h

.

ing and turn the band right side out P ress it .

and stitch it to the top of the t rousers ; first

stitching one edge to the trousers then turn ,

ing under the free edge and stitching 1t in 0

place S titch around the outer edge and t w1ce

.

S titching the f ront

sea m

acros s t h e bottom for a ta i l ored fin i s h .

( S ee
Figs 62 and
.

’
It s a good plan to ma k e t h e bac k adjustable
b y straps at the waistline Fold the edges of .

t he strap as shown i n F i g 64
, T h en turn . .

bac k the end and work two eyelets in the end ,

as in Fig 65 S titch the straps to the back

. .
,

as shown in Fig 66 Lace the eye l ets with tape

. . .

[ 40 ]
HOW TO MAKE ME N S SH I RTS A N D UN DERW EA R
’

H em the bottom of the trousers .

U nion S uit : Some men prefer the un i on

suit style of underwear instead of the coat
and trousers j ust described A typical union
.

suit is shown in Fig 6 7 You can obtain

. .
'

style si milar to this i n most commercial pat

The f acings
d tim
a secon e

terns I t too ough t to b e made of a soft

.
, ,

cros s-barred muslin.

Making a U nion S uit: H ere you ca nnot

finish the front closing until the upper and
trousers have been joined S tart by c l osing
.

t h e shoulder and underarm seams Al so .

[ 41 ]
 A COMPLET E COUR SE I N D RESSMAKING

turn a narrow hem at the arm h oles Then .

l ay aside the upper u ntil you have the trousers

read y to join to it
.

U nion su i ts are made wi t h the center b ack -

seam open and a wide l ap added The l ap .

must be t h e same shap e as the trousers i n

The crotch reinf orced

orde r to fit over the trousers comfortab ly .

Trace the bac k portion of the trouser pattern

on another piece of paper Then place the
.

front portion w i t h t h e l eg seam lapping over

t h e outline of the leg seam of the bac k attern
and trace around 1t (S ee Fig 68
. .h e leg.

[ 42 ]
H OW TO MAK E ME N S S H I RT S
’
AND U N DERW EAR

seam must be lapped enough to take up the

sea m allowance on bot h edges That is if .
,

the seam allowance i s three-eighths of an

inc h on each edge the edges must be l apped
,

three quarters of an inch I n Fig 68 CB is

- . .
,

the back and A DE the front Point D i s .

three inches from the leg seam Draw a line .

on the pattern where you want the outer edge

Fig . B ack seamof

( 59)
yoke han d

of the lap to come as line HGFE D Th is wil l .

also serve as a facing line Add seams .

beyond the dotted lines and cut out t h e pat

tern for the facing and extens i on along ll Il CS
HC GED DE E FGH
, , ,
.

Make l ap-felled seams at the l eg joinings .

The left back is finished with t h e extension .

C utthe extension piece a single thickness and

finish the outer edge with a shaped facing .

[ 43 ]
 A C OMPLET E COURSE IN DRE S SMAK ING

Join it to the left back wit h a lap felled s eam - .

( S ee Fig . Fig 7 0 gives a front . view of

this portion of the trousers .

The right back is faced wit h a piece cut the

same sha e as the extension ( S ee Figs 7 1
_p . .

and
H em the lower edges of the leg portions .

Now you are ready to join the trousers t o

Fig (60 ) The two iecesf orp Fig .

(61 ) Thef ront e dg
e f
o the
d d
.

ban stitched t o vohe han

the waist Make a lap felled joining at the

.
-

waistline .

The front edges finish all the way down t o

the extension and facing on the trou ser part .

with straight extensions To join the ex .

tension to the front e dge place it on the wrong ,

side of the goods and stitch as shown in Fig .

T urn under the free edge a seam s width

’
73.
,

fold it through the center and stitch as shown

[ 44 ]
HOW TO MAKE MEN S S H I RT S ’
AND UN DERW EA R

in Fig 74 S titc h the extension four t i mes

. .

for a ta i lored finish ( S ee Fig . .

Onthe l eft front l ap the lower edge of t h e ,

upper extension over the trouser extension

and st i tch as shown in Fig 7 6 Lap the left . .

front over the right front bringi ng the up pe r ,

extensions on top of each other and the left

trouser extension over the right trouser por

(62) hand The d aw

r mpleted
ers co
d
stitche to the to p o f the
d rawers

t i on and stitc h from A to B and across t h e

U pper extension ( S ee Fig . .

F inis h t h e nec k e dge wit h a shaped fac i ng ,

as described i n making the coat of the ot h er

underwear set .
 A COMPLET E COURSE IN DRESSMAKING

B AT H RO B ES

A B lan ket B at hrobe : D o you know that

a practical bathrobe can be made out of a
fl annel blanket ? I f the blanket has a border
( so mtrch the better I t will se rve as a trim
.

ming Fig 7 8 will give you some i dea of how

. .

the fin i shed garment will look .

A ny h eavy flannel makes a nice bat h robe

or if it i s for summer you can subst l t ut e
’

Turkish towelling material .

lFig (64)
. The stra p fo r the hack Fig.
(65)The eyelets
worked in the stra p

C utt ing t he B at hrobe : Diagram Fig 7 9 , .

,

shows the pattern for the bathrobe laid on the

material folded double Note th at the lower.

edge and sleeves are laid along the outer edge

of the blanket .

Making the B athrobe : front edges I f the

are on the selvedge or finished edges of the
blanket they need no other finish I f t he .

front edges are raw face them with the same

,

material to a depth of fou r inches using the ,

[ 46 ]
A COMPLET E C OURSE IN D RESSMAKIN G

A mmer union suit

su

[ 8]
4
HOW TO MAKE ME N S SH I RT S
’
AND U N DERW EAR

to run a gather thread between these t wo

poi nts and draw up the mater i al Just enough

Drawers p attern lapp e d and marked f orf acing

that it will fit the under portion of the

sleeve.

[ 49 ]
 A COMPLET E COURSE I N DRESSMAKING

B eforethe seam is closed shrin k out as

much of the ful lness in the upper sleeve as
possible To do this cover the material with
,

a wet cloth duck or canvas preferred and

, ,

steam with a hot

iron B ring the .

i ro n d own
squarely on the
wet cloth Let .

it stand a sec
ond then t e ,

move allowing ,

the steam to rise .

I t is surprising
how much full
ness can be
taken out of
woolen material
in this way .

neatest The
f 1n 1s h a t t h e
lower edge of the
Th n i n f h k S lCCVC is given
wn t th le
e exte s o se o e t ac

by turning the
hem pressing it and then hand fell i ng i t i n
,

plac e .

Make lap felled seams i n stitc hi ng t h e

-

sleeve to the armhole . I f t h ere is a dart

[ 50 ]
HOW T O MAKE ME N S SH I RT S ’
AND UN DERW EAR

at t h e nec k e i ther side of the front stitch i t ,

as shown in Fig 85 On the right S l dC of the

. .

garment stitch a second time as in Fig 86 . .

I n a blanket robe where the lower edge i s

.

straight there is
,

usually fullness
at the back of
the neck Lay .

this material in
to pleats : ( S ee
F ig.

S ateen is a
good material to
use for the col
lar and pocket
lining Cut the
.

lining just a trifle

smaller than the
outside In .

s t i t c h i n g ease
the outside to
t h e l i ning at all
F nt vi w f t n i n o ex e s o
points I n st i tc h
.
ro e

ing lining to col

lar stitch across ends and around bottom .

( S ee Fig . C ut off the seam [to within

a quarter of an inch of the stitching and cut
off the corners diagonally so that they will not

[ 51 ]
 A COMPLET E COURSE I N DRESSMAKING

be bulky Turn the collar right side out

. .

I f the outside has been eased or held i nto the

$ 12 6 of the lining it will roll beyond the seam
,

and h ide the lining .

O n the ot h er hand if ,

t he lining i s cut the

same size as the out
side collar it i s apt ,

to sag below the out

side collar and show
when the collar 1s fi n
ished S titch around
.

the collar a half inch

from the edgge for trim
m i ng Join the col l ar
.

to the nec k with a

facing I n joining lin
.

ing to pocket leave

space free so pocket
can be turned right
side out ( S ee Fi
g . .

After pocket i s
turn ed right side out ,

Fig (7 ) Th ight h kf
. 1 e r ac d t urn I n f aW edges and
ace

slip stitch Join .

pocket to robe as shown m Fig 9 0 . .

B indthe lower edge of the robe and turn

the hem as shown in Fig 9 1 Make straps
. .

[ 52 ]
HOW TO MAKE MEN S SH I RT S ’
AND UN DERW EAR

for the cord to pass through as shown 1n F 1g

92. S titch these at waistline at the s1des .

( S ee Fig . S lip
p
-stitch frogs to left -side
and sew buttons to right side of closing .

S M O KI NG JAC KET S
A S moking J ac ke t
When I talked about
co ats and not making
them i n the fi rst part
of this lesson I d id not ,

intend to exclude smok

ing j ackets A smoking
.

jacket i s the a c ceptable

g i ft to nine out of
every ten men I t is .

the l uxu ry that per

haps HE won t h ave ’

unless you make i t for

HI M .

Then too a smoking

,
’
j acket isn t really a
coat . There is very Fig (7 ) F nt v w f ight id
. 2 ro ie o r s e

l i ttle l n the way of tailoring l n making one .

I n the way of example I have , select ed a

regulation style that can be obtained in
almost any commercial pattern (S ee F ig . .

[ 53 ]
 A COMPLET E COUR SE I N DRESSMA KI NG

Velvet a heavy corded sil k or a wool

,

brocade makes a nice j acket .

Making a S moking J ac ket : Fig s h ows . 95

the pattern for a smoking j acket placed on the
goods Of course you
.
,

may have to rearrange

your pattern to suit the
width of goods t h at you
are us i ng .

First of all in making

the j acket tape the Fig Th
,
. e

front edge to prevent 32253353335

st ret chmg Then close .

the shoulder seam mak ,

ing an open seam T he .

3 5 (73 )
next step is to join the
n n
o w t f
se t under collar to the neck
n o ron
” mg
.

05
edge H ere press open
.

the edges of the seam

across the lapel and turn the raw Fig (75 ) .

edges down 1nto the coat across the g;

back .
with f u o r
tit h g s c in s

I f the material you are using

hasn t much body face the front and the
’

collar with tailors canvas (S ee Lesson on

’
.

coat making ) S titch the front and collar

.

facing to the oute r edge of the collar and the

[ 54 ]
 A COMPLET E COURSE IN D RESSMAKI N G

tail braid To make a frog d raw a diagram

.
,

as shown i n Fig 96 making line A C abo ut

.
,

three inches long

an d l i n e EB D
about two i nches
long . S tart the
braid at point B ,

p a s s it t o point
A and back to B ,

t a cki n g it
-

together at B
From h ere pass ,

it around po i nt
C and bac k to B ,

tacking it again .

Then pass it
around point E
and back to B
and tack it From .

there pass k
around point D
and back to B
and tack it agai n ,

slipping the end

u n d e r I f yo u
.

hav e any diffi

culty mark your
,

B lanket B athrobe diagram o n a

H OW TO MAKE ME N S ’
SH I RT S AND UN DE RW EA R

Fig .
(7 9) The patt ern pla d on th
ce e
“
Co a?
blanket

piece of material and b aste the braid to the

material catching j ust the braid together
,

securely wh ere it crosses Wh en the frog .

is finished i t can be ripped from t h e mater i al

,
.

S ew a braid covered button to the end of

-

mi P afi
‘

TY ( e ? 11
"

Fig .
(80 ) Cutting the f rontf acing
 A COMPLET E COURSE IN DRESSMAK ING

Fig
.
(81 ) d
Thef rontf ace

t h e frog on t h e righ t side of the coat and loop

the frog on the left s i de of the coat over t h e
button .

[ 58 ]
HOW TO MAK E ME N S SH I RT S AND U NDERWEAR
’

Fig (85 )
. S titching the
shoul erd d art

(84) Double stitching the seams

OVER ALLS

O veralls :
’
I f you can make a pair of boy s
trousers there i s no reason w h y you canno t
,

run u p a pair of overalls in an hour o r so .

The process i s about the same .

For i nstance a pair of blue j ean denim o r

, ,

[ 59 ]
 A C OMPLET E COURSE I N DR ESSMAK IN G

khaki overalls as shown i n Fig 98 i s mostl y

, .
,

a matter of double stitc h ed seams .

Making th e O veralls : Finis h a fly i n t h e

the same as i n mak i ng boy s trousers ’
.

(86) The The back pl at

e s

stitched a second time

Then double stitch the front and back seams

either side of the fly .

Double stitc h the side leg seams leaving ,

room for a vent at the top F1n1sh the vent.

with a cont l nuous facmg as shown in Frg 99

,
. .

[ 60 ]
HOW TO MA KE ME N S ’
SH I RTS AND UN DERW EAR

Fig .
(88) S titching the two p ieces Fig.
(89) d
The packet line
of the collar together

O n the back edge of the vent the facing forms ,

an extension and on t he front edge i t i s

turned back and caught i n place S ew a .

button to the facing on

the back and work a
button h ole in t h e front .

Turn one i nc h h ems at

-

the bottom of t h e over

alls and narro w h ems at
the top H em t h e straps
.

and stitc h them to the

bac k as s h own i n Fig

“
, .

100: Wo k but tonholes

1n r
t he en i s anc
i but t on
3552
R " (90
them to the b i b . 0 2233?
pack

[ 61 ]
 A COMPLET E COURSE IN D RESSMAKING

H em the top of the n ockets and turn and

i h
"

press the o u ter edges . t 1t c them on as

shown l n t h e la rg e 111ust rat 1on .

CAP S
Making a S ec tional Cap : any of the In
commercia l patterns , you c an find a cap

s i m i l a r to t h e one shown i n F ig 10 1 I t s t h e
’
. .

regulat i on eig ht sect i on cap that i s good

loo ki ng in tweed serge or l 1nen I am us1ng
,
.

this particular cap as an example but all

,

c ap s are made i n the same way .

Th e first step i n ma ki ng t h e cap isto jo i n

t h e se c t i on s wi t h o pen seams (S ee F 1g
. .

[ 62 ]
HOW MAKE MEN S SH I RTS AND UN DE RW EAR
’
TO

l i ttle larger t h an t h e under fac1ng ( S ee .

F ig. I n join i ng h old i t to t h e s i z e of

t he under fac i ng (S ee Fig
. Cut t he
.

foundat i on peak of sti ff buckram or cardboard .

Fig 108 shows t h e fac i ng s l i p ped over t h e

.

foundation pea k .

Join the pea k to the outside cap as i n F i g .

10 9. Then stitch lining to outside across

,

-
‘
Q

I)
Fig (96)
. Diagramf or making brai d df
e rog

[ 65 ]
 A COMPLET E COU RSE IN DRESSMAK I N G

ba ck .
( S ee Fig . Turn i t i nside t he
cap . Turn under the raw e dges of l i n i ng
a c ross peak and slip stitch them in place .

NEC KT I ES

Necktie : I wonder i f you h aven t odd ’

lengt h s of s i l k tuc ked away t h at would ma k e

t h e ni c est ki nd of ties Nearly every woman
.

ll as .

B rocades and
po plin silks left ,

over from coat

l inings m a k e
g ood ties Y ou .

kno w you can

piece the t i e in
t h e center and it
doesn t t ake very
’

m uch goods A .

four-in-hand suc h as i s shown in Fig 11 1 can

.

be cut eit h er o n the straight or the bias .

Making a P at tern f or a Nec ktie : F i gs 112 .

and 1 13 S how the first diagram in making a

necktie pattern { 1B in each diagram is t h e
.
/

center back T h ese two edges will be put

.

together to ma k e the complete pattern When .

n
f
f
’

you ak e y o ur d i agram ma k e one cont i nuous

HOW TO MAK E ME N S S H I RT S
’
AND UN D E RWEA R

Overalls are as easy to make as

’
a pai
r o f
boys wash trousers

[ 67 ]
 A COMPLET E C OU RSE IN D RES S MA KI NG
.

d i agram of Figs 112 .

and 113 The pages i n .

this book are too short

to S how them in one
diagram .

Considering Fig 112 .

fi rst wh ic h i s the s h ort

end of t h e tie draw ,

Fig (99) F ing th ad m ,

.
ac
line
e s A C and B
.
D parallel
in ti m m
ze” to eac h ot h er and one
:

i nc h apart Mar k points .

six and one h alf i nches from the b ac k as G and

-

H Make points C and D seventeen i nches

.

from A and B Cont i nue t h e l ine CD to

.

o in t s L and M making the space from L to C

p ,

and from M to D three quarters of an i nc h

- .

A lso cont i nue the line B HD one

and three qua rter i nches beyond
-

D S ee po i nt N Fi g 112 Draw
.
, . .

li ne s from po i nt N to po i nts M
and L Draw l i nes from L and
.

M to G and H This gives you .

the finished l i nes for t h e short end

of the tie .

I n making the diagram Fig 113 , .

place the lines BF and EA one

inch apart Mar k pomt s S I! and £ k th
.
1
! ( ) Th 7 100 e

f ac o e over
one half I nches from the center
-

[ 68 ]
How TO MA K E MEN S
'

’
S HI RTS AND UN DE RWE A R

(1 0 4) S tay ing the lower

edge o
f the cap

(1 0 1 ) A cap suitable f or
tweed or linen

(1 0 2 ) The sections o
f the
cap stitched together

Fig
.
(1 0 6) The p kf ac
ea

ings

[ 69 ]
A COM PLE T E COUR SE IN D R ES SMA KI N G

Fig (1 0 8) Thef acing

.

pp d ov
sli e f
er the ounda
t ion p eak

to the

The lining sewn to the cap

V0 1
 '

A COM PLET E COUR SE IN D RE SS MA KI NG

origina l line CD at the bottom

to points 5 and 6 placing point
,

5 two and three quarter inches

-

beyond po i nt M and pomt 6

one and one h al f i nches beyond
-
po i nt L NO W d raw lines wh i c h
.

cont i nue the diagonal lower

edge lines unt i l they touc h t he
new side lines This g i ves you
.

t h e finished pattern for the

short end O f the tie The lower .

line wil l b e from po i nts 7 and

8 to the po i nt .

A d d t h e t u r n u nders to
-

the long end O f the tie i n the

same way making po i nt 5
, ,

Fig 115 two and one-half

.

inches from point 0 and po i nt

6 t wo l uc hes from point D
,
.

B ring t he
two diagrams
to gether at t h e center back
-
,

po i nts AB ( S.ee Fig .

the diagram f or the Mar k the c enter O f the t i e and

on this center l i ne mark p point
,

1,
one i nc h from line AB .

Me a s u r e a t righ t angle to t h i s l i n e a n d
mark a point on the upperline as po i nt 2 . On t h e
[ 72 ]
HOW TO MA KE MEN S
’
SH I R T S AND UN DE RW EA R

1} 4 A

Fig ( )
1 13 T he other h f
al
( ) A ll w ingf o the turn
.

114 o r
f the diagramf or the neck
o
p
tie attern
d p
un ers on the attern

[ 73 ]
A CO M PL ET E COUR SE IN D RESSMA KI NG

Fig (
1 15 ) Th e turn- d d to th
unders ad e e
p
.

other end of the attern

H OW TO MAKE MEN S S H I RTS ’
AND UN DERW EAR

O the r side O f line

AB mark point
,

3 on the center
l i ne placing it
,

one i nch from

line AB Also
.

from t h is point ,

d raw a l ine at
r i ght angle to the center l ine and mar k a
point o n t he lower l ine as point 4 Draw a .

line from point 2 to point 4 This gives you .

a bias seam at the back I n tracing the new .

patterns for eac h end allo w seams at t h e ,

bia s jo i n i ng .

A ec kt i e sets b ette r i f i t has i nterl i n i ng

n
of cotton flannel U se you r or igina l diagrams
.
,

F igs 112 and 113 t o ma k e a pattern for t he

.

Fig .
(1 1 7 ) Making the pattern f o r the interlining

i nterlining b ringing them toget h e r

, at t he
center back mm a continuous pattern
- .
( S ee
Fig .

O n the short end of the tie mar k point

a
h
t rt e I nches beyond the center bac k ,
1 e n - as pomt
[ 75 ]
 A CO MPLET E COU R SE IN D RE SS MA KIN G

1. From h ere draw line at right angl e to

,

the center lines O f the tie Where this l ine .

touches t h e upper line point 2 d raw a , ,

diagona l line to the lower line as l ine 2 3

-
,
.

O n the l ong end O f the tie mar k a point ,

twenty i nches from the center back as point

-
,

4. F rom point 4 draw a line at right angle

,

Fig (1 1 8)
. Theflannel interlinings joine dt o the back-
stay

to t h e center l i ne Where th i s line touches t h e

.

upper l ine point 5 draw a diagonal line to

, ,

the l ower l i ne as line 5 6 The flannel in

—
, .

t erlinings s h ou l d extend only from l ine 2 3 —

t o l ine G H and from line 5 6 to l ine f

—
7 K .

Trace these portions wi thout adding seams .

F rom G to can be staye d wi t h canvas .

Lapt he
canvas bac k stay over t h e c otton -

flanne l 1nt erl1nings as shown in F ig 118 , . .

Fig .
(
1 19 ) A n outsi d e stay f or the back o the necktie
f

C rease the sil k for the outs i de collar along

the lines AGL B HM B KD and A 7 0 F i g
, , , ,
.

[ 76 ]
HOW TO MAKE ME N S S H I RTS
’
AND UND E RW EA R

112 and 113 P ress the s i l k and stitc h a

.

narrow h em at the b ottom S l i p the silk.

over t h e i nterlining and turn under one O f

the raw edges slip st i tc h it i n place Re
,
- .

inforce the center back O f t h e tie on the wrong

-

side with a piece O f silk cut on the stra i gh t or

a piece O f r i bbon .
( S ee Fig .

[ 77 1
 A CO MPLETE COUR SE IN D RE SS MA KI NG

PA R T I I

M AT ER I ALS

AND HOW TO T ES T THEM

C an you tell wh ether a piece O f good s i s

woo l -0 1 cotton or p art wool and p art cotton ?
'

DO you know good wool when you see i t ?

DO you k now that s h od dy may b e a ll wool ?
C an you dist i nguis h silk from art i ficia l silk ?
C an you tell whethe r or not a mater i a l will
give good service ?
Nature of t he Fi bers : In
order to judge
and test fabrics i ntelligently one must know
something O f the nature O f the variou s fibers
from whic h these fabrics are made The .

fibers most used i n dress fabr i cs are wool ,

silk cotton artificial silk and linen Each

, , , .

of these fi bers has c erta i n c h aracter i st ic s which

distinguish i t .

Wool i s the h a i ry coveri ng O f t h e s h ee p

—
and i s kinky and elastic not smoot h and
straight like the ha i r of most other animals .

I t 18 covere d wi t h many overl a pp i ng scales

17 8 1
 A COMPLET E COURSE IN DRESSMAK ING

Merc eriz ed is chemically treated

Cot ton
cotton Cotton cloth or yarn is immersed
.

in a strong caustic soda or caustic potash

“
solution then stretched and washed T h is
, .

causes the fibers to lose most O f their twist

and to become round smooth and glossy , , .

I f cotton is well mercerized the fibers very

clos ely resemble silk in appearance .

Linen i s a vegetable fiber O btained

from t h e
stems O f the flax plant A single filament .

may vary from a few inches to several feet

in length and has a complex structure I t is .

very smooth lustrous and silky looking I t

,
.

is stronger than wool or cotton but not as

strong as silk Linen is more readily i nj ured
.

and dis i ntegrated than cotton by strong

was hi ng powders or chemicals I t is even a .

better conductor of heat than cotton and ,

therefore makes the coolest garments

,
.

Art ifi c ial i s O f vegetable origin be i ng

silk ,

made by a chemical process from cotton o r

wood pulp I t is a smooth solid filament
.
,

similar to sil k in appearance and with a luster

even greater than S ilk H erein lies its chief
.

value for in wearing quality and durability

i t does not begin to equal silk When wet the .

fiber swells somewhat and loses strength so

that it must be handled with great care ,

[ 80 ]
 MAT ER I ALS AND HOW TO TE S T T H E M

but in drying again it recovers its original

strength Normally it is about one-half as
.

strong as silk and has almost no elasticity .

To Det ermine t h e K inds of Fi bers in

Clot h : P erhaps most O f u s think we can
recognize an all wool all silk all cotton o r all
, , ,

linen fabric by I ts appearance and feel S ome .

times we can B ut to recogn i ze a material

.

in which th e cotton and linen fibers have been

carded l n the same yarn o r to tell silk from
,

artificial silk silk from mercerized cotton

, ,

new wool from shoddy or to d etect the ,

presence O f a very small amount O f wool ,

cotton or silk I n a fabric is a more di fficult ,

problem than the eyes and fingers alone can

solve.

Di fferent kinds O f fibers are now S O cleverly

mixed and woven that the microscope and
chemical tests are the only means by which
one can accurately determine the fiber content
O f a piece O f cloth S ome O f t he chemical
.

tests are very simple and can be readil y per

formed I n the home .

Animal an d Vege ta ble Fi bers : The

fibers described in the prece ding paragraphs
fall naturally according to their orig i n into
, ,

two groups animal fibers (wool and silk ) and

,

vegetable fibers (cotton linen and artificial

, ,

[ 81 ]
 A COMPLET E COURSE IN DRESSMAKING

silk ) All animal fibers are similar in chemi

.

ca l composition are proteins and therefore, ,

are similarly a ff ected by heat acids alkalies , , ,

and other chemical reagents All vegetable .

fibers are s i milar I n composition are cellulose , ,

a d react similarly toward reagents but very

{ n
di ff erently from the animal fibers For ex .

ample strong acids weaken and destroy

,

vegetable fibers but do not readily destroy

animal fibers Animal fibers will readily
.

dissolve in hot alkali solutions while vegetable

fibers are little a ff ected by them This ex .

plains many of the precautions necessary i n

laundering fabrics For example woolens .
,

and silks must be washed I n a neutral soap

solution or one which contains nO free alkali
,
.

B urn ing Test : When testing a woven

cloth ravel out a single warp yarn and a single
,
!

filling yarn and burn each O f these separately

!
.

This 18 necessary because the threads runnmg

lengthwise may be O f one kind O f fiber while
those running crosswise are O f a nother I f .

the yarn flames and burns quickly emitt i ng ,

the O dor O f burning wood i t is cellulose o r ,

vegetable fiber Cotton linen and artificial

.
, ,

silk yarns all burn in this way I f it is a .

cotton yarn the fiber end s O f the unburned

portion remaining in yo ur fingers will be
‘
W arp y arns are th ose running leng thwise in a. cloth whl le filling yarns are th ose
running crossw e m .
 MAT ER I ALS AND HO W TO TE ST TH E M

brushlike I ts fibers tending to separate I f

—
.

it is a linen yarn the fiber ends remain closely

in contact .

I f a yarn burns wit h di ffi culty emitting a ,

very disagreeable O dor like burning h air or

feathers i t is protein o r animal fiber Wool
, , .

and silk both burn in this way A woolen .

yarn as it burns rolls up forming a little ball

,

at the end ; silk unless it is weighted with

,

metallic salts to make it appear of h eavy

q ua lity does the same thin g
,
I f the silk yarn
i s heavily weighted w i th metallic salts it ,

not only does not roll up but there remains

after the burning a wh ite or gray ash .

-
B oiling O ut Tes t : The presence O f cotton
or other vegetable fibers in a woolen cloth or
yarn is determined by a boiling out test - .

When cotton is carded with wool in the same

yarn it is O ften impossible to tell by the appear
ance or by burning that the cotton i s there .

A very simple chemical test will reveal its

presence Dissolve one ounce O f caustic potash
.

o r caustic soda or a tablespoonful of lye y in a

p I nt O f water B oil
. a small s ample of the
clot h i n a little of th i s solution for fifteen
minutes The W O O l will dissolve but cotton
.
,

if present will remain

,
S train the solution
.

[ 83 ]
 A C O MPLET E COUR S E IN D RE SS MA KI NG

and the residue will gi ve an i dea O f the amount

O f cotton present .

To I den tif y S ilk wh en Assoc iat ed wit h

Co t t on or Woo l : T he boiling out test as
-

given above for wool and cott on may be ap

plied to silk and cotton since S ilk is soluble in
lye and cotton is not One can re adily identify
.

sil k in a wool mixture by the app e arance O f the

fibers .

To Tell t he Difi eren ce B e tween S ilk and

’

Art ifi c ial S ilk : T he three following t ests

may be applied :
( )
1 P out single yarns from the clot h and
ull
b urn S ilk an a nimal fiber will burn slowly
.
,

and give a disagreeable O dor ; artificial silk ,

a vegetable fiber will flame burn uickly

, , ,

and give almost no O dor or the O dor O f urning

wood .

( )
2 Moisten a yarn and try to pull i t apart .

AS we learned previously artificial sil k fibers ,

are very weak when wet and can be easily

torn while the strength O f silk is not a ff ected
,

by moisture .

( )
3 T he boiling-out test may also be used
to distinguish between silk and artificial silk .

S ilk an animal fiber will readily dissolve i n

, ,

[ 84 ]
 MAT ER I AL S AND HOW TO T S T TH EM
E

alkali while art i fic i al silk a vegetable produ c t

,

will not .

Linen f rom Cotton

_

To Distinguish
Cotton fabrics are now S O cleverly finished to
look like linen that even experts are O ften de
ceiv ed . I f a fabric 1s all linen o r all cotton or
is woven with a cotton warp and a line n filling
as many O f them are it i s possible to detect the
,

di ff erence between t h e c otton and linen I n t h e

following ways .

( )
1 B y A pp ea ra n c e B o
. i l a samp l e O f t h e
c l ot h for fifteen minutes i n a soap solut i on ,

r i nse thoroughly and dry T h is will remove

, .

an y starch or dressing Now the linen t h reads

.

will still present a smoot h lustrous appearance ,

w h ile the cotton will be less smooth and dull .

( )
2 B y T ea r in g : L i nen l s stronger than
cotton and tears wit h greater di ffi culty The .

ends of torn linen ya rns show very uneven

but parallel glossy fibers while the» ends O f
, ,

torn cotton yarns S how rat h er even curly , ,

dull looking fibers

- .

(3 ) B y B u rn i n g : T h e burn i ng test may be

applied for the purpose O f O bserving burned
ends O f the y arn as previously explained .

S i nce l inen and cotton are bot h cellu l ose

t h ere I S no sat 1sfact ory chemical test for
dl st l ngul shl ng one from the other This.

[ 85 ]
 A COM PLETE COURS E I N D R ESSMAKIN G

means that i f a fabr i c i s woven of yarn i n

whic h linen and cotton are carded together
none of the above tests or any chemical test ,

will reveal its exact nature A cloth appearing

.

to be all cotton may contain a very small

percentage of linen or a cloth appearing to be
al l linen may contain a small percentage of
c ot ton ( B ecause of this fact the microscope
.

i s real l y the only means of determining cor

rect ly t h e true nature of linen and c otto n
fabr i cs ) .

J udging t h e Q uality of Fabrics : A n

exam i nat i on of fabrics reveals some very im
portant facts as to their general character and
qual i ty .

Firmness of Weave : A clot h to be durable

and to h old i ts shape should be fi rmly woven .

I ts firmness may be determined by t h e

following simple tests :
( )
1 P ullin g Test : P ul l t he s amp l e i n a ll
dire c t i ons The yarns should have about
.

the same elasticity and remain in their original

ositions The cloth should reta 1n 1t s original
p
.

orm .

Creasing Test : C rease a sample of

cloth between the t h umb and fing ers A good .

piece of woo l o r silk will spring back into

shape due to the i r natural elasticity I f a
, .

[ 86 ]
 A COMPLET E COURSE IN D RESSMAKING

Q ualit y of Yarns : Yarns vary in quality

ac cording to the lengt h diameter elasticity , , ,

and strength of t h e fibers and the twist and ,

pl y of the y arn .

Woo l y arns are of two ki nds worsted and

—
woolen A worste d yarn i s usually made of
.

longer fibers than woolen y arn and i s therefore

stronger I t i s also combed whic h causes the
.
,

fibers to l i e paralle l in the y arn ; wh ile woolen

yarns are carded causing the fibers to l i e,

crisscross Cloths made O f worsted yarns

.

wil l wear b etter than those made of woolen

y arn T h ey are h owever l i kely to wear
.
, ,

sh i ny S hodd y i s woo l whic h h as been re

.

c overed from O ld garments and rewor k ed

or made over i nto new material I n the proc .

ess i t l oses a good dea l of i ts original elasticity

and many of the fibers are crushed and broken .

I f t h e origina l wool was a very good grade ,

t h e S hoddy ma y stil l make a better material

and give better service than a poor grade of
v i rgin wool A poor shoddy because O f i ts
.

s h ort torn fi bers has a dead feel h as ve ry ,

little strength and wil l tear easily

, .

The strongest sil k yarns are made of grou ps

of long continuous filaments which lie parallel
and are wel l twisted A yarn of carded spun .

sil k o r short filaments may be woven to g i ve

good service but i s not as strong .

[ 88 ]
 MATE R I AL S AND H OW TO TE ST TH EM

Likewi se the best grades of cotton yarns

are the well twisted plied yarns made of ,

long stapled combed fibers

- .

Pul l out single warp and filling yarns fro m

you r sample of cloth and examine carefully
the evenness twist ply elastic i ty and
, , , ,

strength U ntwist a yarn and examine the

.

arrangement of the fibers Then gently pull .

the fibers apart being careful not to tear t h em

, ,

and O bserve their length .

Finish and Weigh t ing : A mater i a l i s

often weigh ted and fin i shed wit h foreign sub
stances to give it more body and the appear
ance of a very good grade of goods when i n
real i t y i t i s very poor .

A woo l en fabric i s somet i mes we i ghted and

fin i s h ed with a mass of very short wool fibers
from clippings called flocks These are sprin .

kled thickly over the surface and pressed

well i nto the cloth Then the cloth is filled
.

and finished T his makes it thic k er and

.

heavier but the little fibers soon rub and

brush O ff wit h wear and leave a threadbare ,

m i serable looking fabric I f a sample of cloth

.

is rubbed and brushed t h oroughly any surface

finish of this kind is qu i ckly revealed .

Most sil k materials are we ighted more o r

l ess W I t h t 1n salts or other met alhc salts .

[ 89 ]
 A COMPLET E COURSE IN D R ESSMA KING

B urn a s ample of s i l k clot h I f I t i s h eavily

.

Weighted , anp as h retaining the or i g i nal weave

and form of the S i lk wil l remain A pure silk .

l eaves almost as h when burned Many

no .

soft silks are finis h ed with g

gelatin dextrin o r , ,

some gluelike substan c e S uch silks eas i l y

.

spot with water .

C otton fabrics are frequently padded or

fi l led with s tarch clay o r other chemicals
, ,
.

I f such a material i s rubbed thoroughly be

t ween the fingers some O f t h e fillingg wil l be
removed

Dete c ting Yarn Dyed and P iec e Dyed

Fa b ri c s : The way i n which mater i als are
dyed makes a d i ff erence l n the i r value T h ere .

are wool dyed y arn dyed and p i ece dyed

, ,

fabr i cs H ave you ever not i ced that a piece

.

of woolen material may l oo k l ike a sol i d colo r

at a distance and wh en you examine i t o r put i t
under a magnifying glass that there are Several
colors i n the yarn ? This 18 a piece of wool
dyed goods T h e wool was dyed be fore i t
.

was spu n i nto the y arn B lue and red wool

.

twisted into one piece O f yarn will g i ve a very

.

pretty pu rple You can tell wool dyed goods

.

by raveling out and untwisting a piece of the

y arn S ome of the very best worsted and
.

coat l ngs are wool dyed .

[ 90 ]
 MATE R I ALS AND H OW T O TE S T TH E M

Th e great mass of woolen goods are yarn

dyed Th at means that after the y arn is
.

spun i t i s dyed before it i s woven i nto t h e

clot h This ma k es a very ood material but
.

g
each fiber of the yarn hasn t the life nor the ’

elast i city that a wool dyed fiber has I f you .

r avel a piece of yarn dyed goods and u ntwist

a p i ece of the yarn the fibers will all b e one
,

color and they will cling together and will

not S pring apart as in a wool dyed goods .

P iece dyed fabrics are dyed after the clot h

i s woven C heaper grades O f woolens are
.

p i ece dyed I f you untwist the yarn of a

.

p i ece dyed fabric you are apt to find fibers

here and there l n the center of the y arn that
are not dyed .

Cotton mater i a l s are eit h er yarn dyed ,

p i ece dyed
y or printed The same .i s true of
linens Where the pattern is woven i n t h e
.

goods suc h as a checked or striped gingham

, ,

the material is yarn dyed C hambrays are .

also yarn dyed while percales are piece dyed

, .

You can tell t h e difi erence by raveling the

t h reads As a general rule the yarn dyed
.

goods w i ll hold i t s color better t h an a p i ece

dyed goods .

Color Tests : I s the material fast color ?

H ave you ever h ad a coat that faded in
[ 91 ]
 A C OMPLET E COURSE IN R E S S MA K ING
D

streaks from exposure to sunlight or a d ress ,

that faded so badly in the first washing that

it looked like an O ld one ? Few dyes are fast
to light water washing and crocking Woolen
, ,
.

fabrics used in coats and dresses s h ould be

fast to l ight and water but not necessarily to
washing A gingham s h ould be fast to was h
.

1n
g .

To test wool and silk fabrics for fastness to

water twist a piece O f material with a piece
,

of white muslin Place it in warm water

.

and allow it to stand for one half h our I f

- .

the color bleeds into the white it is not fast ,

.

To test for fastness to was h ing was h a ,

sample of material in hot soapsuds rinse , ,

and dry C ompare the color with that of the

.

original good s .

To test for fastness to crocking cover t h e ,

eraser O f a lead pencil with a white cloth .

B low on i t and rub the colored sam p le The .

color should not rub off .

R ENOVAT I NG NOT E S

Dry Dry
cleaning implies
Cleaning :
cleaning without the use of water Much of .

the dirt adhering to garments is held by oil or

grease I f this is dissolved the dirt is loosened
.
 RE NOVATING NOTE S

and readily removed T he best solvent s f or

.

oil and grease that are cheap enough to use in

large quantities are gasoline benzine and
, ,

benzole Any one of these liquids i s satis

.

fact ory for cleaning providing it shows no

oily deposit or foreign matter .

Ca ution : A ll of these s olvents are very in

fla mmable a ndf orm explosive mixtures with a ir .

They should be used out of doors

- - If y ou use
.

them in a room, ha ve all the windows open a nd

do not ha ve a fi re orfl a me in the room .

Just dipping a garment u p and down in

gasoline or a cleaning fluid does not clean the
g arment thoroughly . All dry cleaning estab
lishment s use a ga soline soap o r powder which
is especially prepared for this purpose You .

can buy them at any d rug store You will .

O btain t h e best result by having three con

t ainers filled with gasoline o r the cleaning

fluid Th e containers should be large enough
.

to give roo m fo r rubbing the garment Put .

the gasoline soa p o r d ry cleaning powder I nto

the first conta i ner and wash the garment
in t h is The soap or powder acts merely as
.

soap would i n water R inse the garment

.

thoroughly 1n the other two containers This .

process will remo v e grease spots and ordinary

dirt but not stains H ang the garment in
.

[ 93 ]
 A COMP L ETE COUR S E I N DR E SS MAK ING

t h e open air and allow i t to rema i n there until

.

the gasoline or solvent h as evaporated I f a .

strong o dor remains hang the garment over a

,

radiator o r register so that hot air can pene

trate the fa bric and carry away t h e odor .

C arbon tetrac h lor i de w h ic h can be O btained

i n any d rug store i s a very excellent solvent
for removing O il and grease spots I t is .

absolutely safe since it cannot burn o r explode

but i s too expensive to use i n large quantities .

To Clean and Freshen Velvet : Dry clean

velvet according to the general directions
given for dry cleaning B rushing velvet with
.

a soft brush against the pile while in the

cleaning fluid will h elp to remo ve the dirt
and grease spots Water spots o r creases
.

whic h are due to flattened pile may be removed

by steaming R emove the lid from a steaming
.

te a kettle then holding the velvet taut over

,

the escaping steam brush gently w i th a soft

,

brush aga i nst t h e pile Worky quickly for

.

the steam should not be allowed to condense

on the velvet O r the velvet may be evenly
.
,

moistened on the wrong side then gently ,

b rushed while being moved slowly over the

smooth surface of a hot flat iron placed on end .

To Clean Lac e and Chifi on Veils : Veils

'

may be dry cleaned but dry cleaning will not

[ 94 ]
 A COMPL ETE COUR S E IN DR E S S MA K ING

cals and therefore cannot always be removed

by the same agent I can say however
.
, ,

that all stains are removed more easily wheri

fresh.

B efore attempting to remove a st ain study

—
the nature of t he fabri c us w e1ght weave , ,

fiber and color .

A firmly woven fabric may stand hard rub

bing or laundering while a light weight ,

delicate loosely woven one will not ; the

,

slightest rubbing of such a cloth may displace

the thr eads permanently and cause an ugly
spot more unsightly than the stain .

A woo l or sil k fabr i c may stand laundering

if the water i s neither hot nor cold but ,

ne i ther wool nor sil k will stand wringin g or

‘

twisting .

H ot water always felts or shr i n k s woo l

and may turn sil k yellow .

Wool and s i l k are destroyed by alkal i es

while most acids will not injure them unless
allowed to dry 1n t h e fiber .

Cotton and linen may be boiled strong —

alkalies will not inj ure them unless allowed

t o dry i n the fibers while strong acids will
,

readily destro y them Weak acids may b e

.

used on them i f used qu i c kly and t h en

neutrali z ed .
 R ENOVATIN G NOTE S ”

I f a garment has color attention must be,

given to t h at Often a spot could be easily

.

removed but for the color Merely soaking .

1t l n water may cause it to bleed ; o r ag e. A

,

though the color is fast to water t h e dye ,

may be suc h that it will be a ffected by the

chemical which would take out the spot .

Dye s are of endless variety and variously

a ffected by the sam e chemical ; and since it
i s not poss i ble to know from its color t h e
'

nature of the dye the only thing to do i s to

,

try out the reagents to b e used in remov i ng

the stain on an unexposed portion of the
garment for example on the underside of
, ,

the hem .

R eagen ts U sed f or R emoving S pots and

S tains
These absorbents are
often used for preliminary
treatment to remove l arge
quantities of staining sub
Blot tingP ap er stance For example i f a
l
.
,
C ha k
S t arch
bottle of ink i s spilled most ,

C ornmeal of the ink can be absorbed

B ran
quickl y with c ornmea l or
bran B lood may be ab
.

sorbed with starc h grease

,

o r wax with blott i ng paper

[ 97 ]
 A C OMPLETE COURS E IN DR E S S MA K I N G

and a h ot i ron A fter suc h .

treatment the remaining

,

stain may h ave to be r!

moved by other met h ods .

S olvents Water i s t h e un i versa l

Water solvent H owever i t often
.
,
O rganic S olvents
G aso inel a ffect s the finish of t h e
»

B z
en ine clot h and W il l not readily
z
B en ole
dissolve substances such as
up
T r entine
A
lcohol grease o r oils in wh ic h case
l
C h oroform
organic solvent s ( suc h as
,

E ther
C arbon-T etra gasoline alcohol or et h er )
, ,
chloride
should be used .

Acid s and A lkalies A ny acid w i l l neutralize

A cids or destroy the action of any
O x a lic— S u
at rated
so lu t ion alkaline substance and vice
A ce tic— I O % ol s u versa Therefore i f a gar
.
,
t ion
Lemon J ice u ment h as been spotted with
Vineg ar an acid substance touch
A lkalies ,

A mmonia — D u
il te the spots wit h ammonia .

u
S odi m bicarbonate I f spotted W ith alkali touch
B
( aking oda) s ,

u
Ammoni m carbon thepspots W ith dilute oxali c
at e
or acetic acid .

T hi s may b e used on all

B leaching Agents
Hydrogen P eroxide fib er s I t I S especially suit
.

a ble for sil k and wool .

U se on l y on cotton or
B orax
l i nen
.

[ 98 ]
 A COMPL ETE COURS E IN DR E S S MAK IN G

a neutral soap i f necessary then l aunder t h e

,

garment l n the usual way Th 1s method can

.

be used only 1f the color 1s fast .

S ponging : Pl ace the sta i ned mater i a l

wrong side u p o n a pad made of several thic k
nesses of clean white soft clot h or b l otter .

Thi s i s t h e best met h od for applying solvents ,

such as gasoline carbon tetrachloride and

, ,

benzole The clot h or blotter will absorb any

.

superfluou s l iqu i d as wel l as any grease o r

substance to be removed and also prevent
spreading S ponge the spot gently wit h a
.

soft white cloth ; o r better with a piece of ,

material like the garment if it i s colored for i t ,

may prevent the removal of color from the

garment C hange the pad as soon as i t be
.

comes soiled .

S pot ting : Th i s method i s best w h en Ch em i

cal reagents must be used O ne should work
.

qui ckly for most of them will i njure fa brics

,

more or less if allowed to remain i n con t act

any length of time Place the stained fabri c
.

over a pad of soft wh ite cloth o r blotter and

apply a few drops of t h e chem i cal with a
medic i ne dropper A fter a few moments
.

r i nse thoroughly w i t h clear water I f meces .

sary repeat the process but b e sure always to

rinse thoroughly I nstead of using the pad
.
,
 R E NOVATING NOTE S

the sta i ned portion of t h e fabric may be gently

stretc h ed over a smal l bowl .

Spe c ific S pots and S tains

A c id S ubstan c es so m et i mes c h ange or de
stroy y the color of dyed materials gm which
case t he color c anyoften be restored by
neutraliz i ng t h e acid with an alkali .

Acids rarely stain white fabr i cs but can

injure the fibers .

( )
1 R i nse a t h e spot w i t h water t h e n ,

neut rall z e the nc1d w l t h ammonl a c .

R inse aga i n thoroughly .

( )
2 S prin k l e the stain on bot h sides wit h
sodiu m bicarbonate (baking soda )
and mo i sten with water and allow
to stand R inse with water
. .

( )
3 A mmonium carbonate may be used
1n the same way .

Alk alies may also change or destroy the

color of the fabric or will destroy s i l k
and woo l R inse the spots t horoughly
.
a

and apply one of the following agents :

( )
1 L emon j u i ce — as long as the spot i s
alkaline lemon j u ice will remain
yellow in color but t h e color will
,

disappear when the S pot becomes

acid .

( )
2 V i negar .

[ 10 1 ]
 A COMPL ETE C OURS E IN DRE S S MA KI NG

( )
3 Dilu t e aceti c acid .

R inse t h oroughly after using reage nt .

B lood i s of a p rotein nature Hea t coagu

.

lates proteins therefore hot water will set

, ,

bl ood stains if applied before the protein

is removed U se one of the following :
.

( )
1 C old water — soak the stain i n cold
or lukewarm water until i t t ur ns ,

ligh t brown i n color Then wash .

in h ot soap sud s as i n ordinary

laundering S tains 0 11 wool and silk
.

should be sponged with lukewarm

water
m
.

( )
2 A mmon i a ( for was h able aterials )
Add two tablespoonfuls of househol d
ammonia to one gallon of water .

S oak t h e stains i n t h is and th en

launder
w
.

H ydrogen perox i de — This ill ofte n

(3 )
remove the last trace of a stain and ,

can be used on wool and silk pro

y iding i t does not change the color

of the fabric .

( )
4 Javelle water — M a y b e u sed as a
last resort .

Candle Wax consists of I araffin and a dye

Cover the spot wit h a b
.

lot t ing paper and

press wit h a warm iron This will remove
 A COMPL ETE COURS E I N DR E S S MA K ING

i ng water They are di ffi cult to

.

remove when dry Most of them .

are set by al k alies therefore i t is ,

wise to avoid the use of soap .

B o i ling water for wh i te o r fast

colored fabrics S tretch the stained
.

material over a bowl and pour boiling

water upon i t from a heigh t A .

litt l e rubbing b etween treatments

may h elp .

( )
2 W arm water for silk or wool S ponge .

the stain .

( )
3 L emon juice and sunlight .

( )
4 D i lute acetic ac i d o r oxalic acid .

Apply the ac1d solut 1on and t h en

treat w i t h bo 111ng water .

( )
5 H ydrogen peroxide made very slight
ly alkaline with ammonia T h is can .

be used o n silk and wool after spong

ing wit h warm water .

Javelle water — U only on cotton

( )
6 se
and l1nen .

Grass or foliage stains are due to the green

coloring matter the chlorophyl in the
, ,

plants This is soluble in a lcohol and

.

other organic solvents but is insoluble i n

water .

( )
1 A lcohol — A pply by sponging .

10 4 ]
 R E NOVAT ING NOTE S

( )
2 Hot water and soap as i n ordinary
launderl ng W l ll ofte n mechanl cally
remove the st al n .

Grease can b e removed by one of t h e fol

lowing
( )
1 W arm water and soap as in ordinary
laundermg W I 11 remove grease spots
from washable mater 1a 1s .

( )
2 A bsorbents — B lotting paper F ren ch ,

chal k o r white talcum powder will

remove much of the grease from a
delicate fabric ; cornme al o r salt are
good for rugs o r coarse materials .

S pread a layer of the absorbent

material over the stain and wor k i t
about gently ; then shake o r brus h i t
off and repeat until the sta i n i s
removed .

O rganic solvents — C arbon hl

( )
3 t et ra c o
ride and chloroform are excellent
grease solvents B enzole-. i s also very
good S ponge t h e stain gently with
.

the solvent over a pad until d ry to

prevent leaving a r i ng .

I n ks for writing vary widely in compos i t i on ,

therefore no one agent W I 11 remove all

,

1nk st al ns .

( )
1 A bsorbents — If a large quantit y of
[ 10 5 ]
 A CO MPL ETE COUR S E IN D R E S S MAK ING

ink is spilled spread cornmeal salt

, , ,

French chalk bran or talcum powder

, ,

thickly over the spot This will .

absorb the in k and prevent it from

spreading Re new the absorbent as
.

it becomes soiled When the dry .

absorbent ceases to ta ke u p the ink

make i t into a paste with water and
apply
( )
2 M i l k —
S oak t he stain for a day or

so i n milk cha nging the milk when 1t

,

becomes d iscolored .

O xa l i c A c i d — A pply oxalic acid and

( )
3
allow to stand for a minute then ,

rinse w 1t h w ater A dd a few drops of

ammonia and rinse again thoroughly .

R epeat if necessary .

( )
4 H ydrogen peroxide O ccasionally
this I S helpful .

( )
5 Javel l e water —
A pply J avelle water
and allow it to act for about a
minute Then apply oxalic acid
. .

R inse thoroughl y R epeat this treat

.

ment as many t i mes as is ne c essary .

I odine stains can b e removed wit h

( )
1 A mmon i a .

( )
2 A lcohol .

[ 10 6 ]
 A COMPL ET E COURS E IN DR E S S MA K ING

—
Javelle water This 1s most e ff ective
( )
4
for old stains Apply the Javelle .

water and allow it to rema i n on t h e

stain for one minute Then apply .
p
2
»

oxalic acid R inse thoroughly Re

. .

peat t h e treatment if necessary .

Milk and Cream spots are similar to those

from blood and meat ju l ees They con .

tam protem .

( )
1 C ol d or l uk ewarm water should be
used to remove the prote i n Follow .

this treatment with hot water and

soap .

( 2 C ol d o r lukewarm water followed by

chloroform carbon tetrachlor i de
, ,

gasoline o r other grease solvent

, .

Mud spots s h ould be brus h ed carefully

before treating and then one of t h e follow
i ng agents applied :

( )
1 S oap and water as i n l aundering .

( )
2 A lcohol ,
gasoline o r benzine .

P ain t and Varnish s h ou l d b e treated by

scraping off as muc h of the paint or
varnis h as possible and then apply one of
the following agents :
( )
1 S oap and water will often wash out
fresh stains .

[ 10 8 ]
 REHWOWU ¥FH§GFDK7 TES

—
Turpentine S ponge the stains with
( )
2
turpentine and rinse with turpentine .

( )
3 C arbon - tetrachloride chloroform , or ,

benzole .

( )
4 A mixture of benzole and alco h ol .

P erspira tion often changes t he color of a

fabric which color can sometimes be
,

restored W hile the perspiration from

.

most of the body is acid that from the ,

armpits is alkaline T herefore use a .

,

weak acid or weak al k al i t o neut ral i ze it

according to the sou rce .

To remove persp i ration sta i ns from white

goods :
( )
1 S oap and water then h,ang i n t h e sun .

( )
2 Javelle water .

Tar R oad O il Et a can be removed by

, , ,

t h e fo ll owing :
( )
1 Turpentine .

( )
2 Turpentine followed,
by washin g in
soap and h ot water .

( )
3 B en z ole .

C arbon - tetrac h lor i de

( )
4 .

( )
5 L ard . R ub the l ard i nto t h e stain ,

then wash i n hot so apsuds .

Tea should b e treated as fol l ows

( )
1 B orax and b o i l i ng w ate r S oa k i n a .

[ 10 9 ]
 A COMPL ETE COU RS E I N
,
DR E S S MAK ING

borax solution then rinse in boiling

,

water .

( )
2 S trong s o ap solution B oil
. t hesta 1n
l n th 1s solut 1on .

( )
3 L emon j uice and sunlig h t .

( )
4 Javelle water .

Water spots some mater i al s Th e water .

probably dissolves some of t h e dressing ,

distr i buting it unevenly and on evaporat ,

ing ri ngs remain The only satisfactory

, .

met h od for removing such spots is to

dampen the entire garment and press
while d amp o r steam it thoroughly
, .

DY EI NG MAT ER I ALS
How about t h e streaked and faded d resses
‘

and dresses of an unbec oming color ? Do you

k now how to dye them ? There is something
so satisfactory in turning the dingy fabrics
i nto smart new shades or subduing the glaring
c olor of a dress that you simply can t wear ’
.

H ere are some h elps that w i l l save you t i me

and help you t o always h ave go od resu l ts .

B e S ure t he Dye S uits t he Goods

N ot all dyes are alike S ome dyes are made
.

just for woolen and some just for cott on or

l i nen Other dyes are goo d for either an
.

Q
 A COMPL ET E COURS E I N DR E SS MAK ING

sticks to lift and stir the goods wh i le i t is

being dyed After you have tested the size
.

of the container wring out the garment or

,

material .

Dissolve t he Dye B ef ore P u t ting in

t he Material : Put water enough in the

[ 112 ]
 R ENOVA TING NOTE S

conta i ner to wel l cover t h e goods and h eat ,

the water until i t i s l ukewarm T h en stir i n .

the dye Keep stirring until it i s all dissolved

.
,

which probably will be when the water starts

to steam You can tel l i f all of the dye i s
.

dissolved b y taking a spoonfu l of i t u p and

letting the fluid run off the spoon gradually .

I f the fluid appears a clear color and there are ,

no pa rt i cles in i t the dye i s d i sso l ved

, .

There is danger of the g oods spotting if the

dye is not dissolved when the material is put in .

P ut the good s i n wet The cooler the dye i s ,

.

the better I f t h e dye i s boiling , i t attac h es

.

i tse l f quic kly to the material , and will settle

i n spots before you can submerge t h e wh ole
garment .

S t i r t h e goods c ont i nually l ift i ng i t u p and ,

pull i ng i t apart and spreading it out Do

,
.

not cram the goods down i nto t h e bottom of

t h e dye pot .

Goods Looks Ligh ter Af ter i t is Dried

R emember that the goods will d r y very
much l i ghter than i t l ooks i n t h e pot Wash .

the goods thoroughly after t a ki ng i t out of

the dye pot Woolens cottons and linens
.
,

ough t to be was hed wit h soap and wat er .

Wash s ilk in clear water Keep rinsing until .

the water runs clear .

[ 113 ]
 A COMPL ETE COUR S E I N DR E S S MA K ING
“

P ressing B efore t he Goods is Dry

Don t let the wrin kles d ry in t h e garment
’

they are quite d a m

.

P ress them off whil e p .

Always press woolens from the wrong side

or i f you are pressing from the righ t side
cover the ma terial with a damp cloth P ress
, ,

silk w i t h a lukewarm i ron A hot i ron rot s i t. .

To Ligh ten t he S hade : goods turn s If the

out darker than you anticipated you can
l i ghten i t b y washing i t in a strong su d s
mad e of yellow laundry soap I f this does .

not give the d esire d result boil the mater i a l ,

i n soapy water using yellow soap

, .

Mat c hing i s pract i cally im

S hades : It
poss i b l e to dye goods to exactly match a
shad e of another piece of goods Dye all .

mater i als that you want to matc h at one time .

If Goods is S treaked: The best results

w i ll be obtained if you dye i t a darker sh ade
of i ts original color I f you try to dye it a
.
»

di ff erent c olor the streaks w ill probably

,

show
m
.

Cold Water Dyeing : This

i

1 eans color

ing wit h ou t the boiling process I t is satis .

factory for light shades and i s especially ,

good for tinting si l ks .

There are many good cold water dyes an d

[ 114 ]
 A COMPL ET E COURS E I N DR E S S MAK ING

you j ust wh at to expect wh en you are dye i ng

ove r an old shade :
R ed dye o n yellow material gives scarlet .

l ink dye on light yellow material g i ves she l l

pm L
R ed dye on an orange material gives a ligh t
bright red .

Pin k dye on an oran ge mater i al gives a

c oral pink .

R ed dye on brown materia l gives a red

h enna .

R ed dye o n dar k blue material gives purple .

Pink dye on light blue material gives

l avender .

R ed dye on purple material gives a reddis h

purple .

R ed dye o n green goods gives brown .

R e d dye on gray gives a dull red

R ed dye on taupe goods gives a darker red .

B lue dye on yellow goods gives green .

B lue dye on orange goods gives greenis h

blue .

B lue dye on brown goods gives dull blue .

Light blue dye on light yellow gives Nile

green .

B lue dye on green goods gives bottle green .

B lue dye on purple good s g 1y es a bluish

purple .

[ 1 16 ]
 R E N OVATING NOTE S

Yellow dye on brown goo ds gives golden

brown .

Yellow dye on purple goods gives greenish

brown .

Yell ow dye on green goods g i ves bright

green .

B rown dye on orange goods gives tobacco

brown .

B ro w n dye on purple goods gives chocolate

brown .

B rown dye on green goods gives olive green .

O range dye o n purp l e goods g i ves ligh t

re ddish brown .

O range dye on green mater i al gives myrtle

green .

G reen dye on purple material gives dull

dark green .

The same result h olds true i f you reve rs e

the co l ors above that i s us i ng yellow d ye
, ,

on red oods p produces scarlet and so on down ,

t he tab e I t will give you the key to m i xing

co l ors too I f you mix red and yellow dye
, .
,

it will dye whiteygoods scarlet etc , .

Natural silks such as pongee will not talee

a jet Hat /c I t I S wise not to attempt to dye
.

t h em black . They take an unattractive blue

black .

O verdyeing : B y overdyeing , I mean dye

[ 117 ]
 A COMPL ET E COU RS E I N DR E SS MA K ING

ing over an old shade These are a few of the

safe c h o i ces you may make B lack wil l cover
an y color H owever t h e or i ginal color of
.
,

the goods wil l i nfluence the kind of black

that you produce For i nstance i f you dye
.
,

re d material black you are apt to get a rusty

,

bla c k I n order to counteract this add the

.
,

comple mentary color to the blac k ( 1ye In .

t hi s case i t would mean adding green to t he

,

red dye You k now when you mix compl e

.

mentary colors i n equal proportion s and i n

t h e i r brightest s h ades i t produces blac k
, .

N avy b l ue w i l l c ove r almost any shade

ex cep t b l ac k .

Dar k b rown will cover any colo r except

b l ack
.

Dar k green will cover any medium or ligh t

s h ade
.

G arnet w i ll cover any medium shade except

navy blue .

Ligh t blue light green pin k or yellow W l ll

, ,

only cove r white or a very delicate shade .

Purp l e wi ll cove r on l y l i g h t s h ades .

O range w i ll cover on l y very pale s h ades

or white .

Gray will cover only white .

B lea c h ing : I f you want to remove the

[ 118 ]
 EA S Y MAK E-O VE RS

G et one h undred per cent wear out of .

you r c l othes !
’
That doesn t mean to wear them t i l l they
fall ap art whether they are in style o r out .

You really are not gett i ng one hundred pe r

Gingham collars
'

Fig .
(1 2 1 ) fl
and cu s will f reshen up a
autiste House

[ 121 ]
 A COMPL ET E CO UR S E I N DR E SS MA KING

c ent out of your clot h es unless you enjoy

.
,

wearing them and they make you loo k your

best.

Of course no one reall y enjoys parad i ng

,

aroun d i n clothes t h at spea k right U p and s

The too-tight waist can be d

ma e larger with insets
 A CO MPL ETE COUR S E IN D R E S S MA K ING

plet elyrecutting Touch i ng p is the most

.
-u

successful wa y of makmg over Just a new

- .

collar a s k irt pane l or a little embroidery will

,

A V-nech can he made high if you add a bosom

 EA S Y MAK E OV E RS -

often change a nondescript garment into a

smart one .

H ere are a few suggestions that you may

be able to apply to the clothes that have taken
the back hooks in your closet .

G i vi n g t h e
Tu c k in B louse
-

an O ve r t h e
S kirt S t yle : I f
you happen to have
a chiffon blouse left
‘

from t h e t i m e
when all chi ffon
blouses t u c k e d
sedately i n s i d e
the top of the skirt ,

add a band and

h av e a n o v e r
b louse .

Fig 120 g ives

.

the idea of how to

do i t Cut off the
.

lower edge of your

blous e until it
hangs an e q u a l
distance from the Fi p p
g ( 5) 12 P in tucked anels add a retty
floor all the way t immi g
.

r n as well as making a shirt larger

 A CO MP L ETE COURS E IN D RE S S MA KING

around Then add straight bands front and

.
,

back and fasten them with buttons at the

sides Or just use snaps and sew o n the but
.
,

tons for trimming .

I f y o u c an t
match the color of
your bl ouse i n chi ff
on use a contra sting
sh ad e Pe rhaps .

your blo use is tan

'

and you have a

navy blue suit I n .

this case overb ands ,

of navy b lue chi ffon

would be prettier
than a matching
shade .

A bindi ng at the
neck and cu ff s of
the contrasting ma
t erial will add to the
appearance of the
waist .

Gi g h a m f
, o r
Collar and C ufi s:
T he odds and ends
A t p n l
i nse
f r o m o n e o f
Fig (1 2 6) f ront
your summer gmg
. center a e

is another way o enlarging a s

f ki t
r

[ 126 ]
 A C OMPL ET E COU RS E I N DR E S S MA K ING

crep e dc c hi n e wa i sts h ave t h e gingham

trimm i ng .

Th e B louse t ha t is Tig h t : A pleated

i nset of t he blouse materi al at the side front 1s

(1 2 8) d
I nset han s are an
lengthening a skirt
 EA S Y MA K E OVER S -

a smart way of remending the too -tight

blouse Fig 122 shows a white crepe de chine
. .

that has pleated insets of striped crepe de

chine added
t

A bias of the striped crepe

.

(1 29) d
Lace si e panels will make d
a non e
p
scri t silkf rock smart

[ 129 ]
 A OMPL ET E COU RS E I N
C DR E SS MAK ING

de c hi ne is a l so used to bi nd the co l la r and

cu ffs .

A not h e r way of ma ki ng a tight b lou se

fulle r across the is t o add panel
'

Fabricfi owers are one of the smart waist

li ne fi nishes

( S ee Fig .T his method is especially good

for remodelling a l1ngerie blouse of voile o r
b atiste .

Making a V n e c k R o u n d Y o u may
-

h a v e s e v e r a l V-n e c k w ash blouses that you

wis h were high necks with flat round collars
[ 13 0 ]
 A CO MPL ET E COURS E IN DR E S S MA K ING

wi ll never show under the tuc k s ( S ee .

F ig.

A not h er way of enlarg i ng a skirt i s to

add a center front i nset panel s (S ee Fi g
- .

S uch a style i s go od l ooking in

cotton s or s i l k For instance you might make t h e
.
,

(13 2 ) A waistline dress can he made straight

ding n in t ti n
hanging by ad a se sec o

inset panel in a blue crepe de chine white

.
, ,

tan o r gray and use blue crepe de chine covered

buttons at the center front O f c ourse the
- .
,

w aist of t h e d ress ought to h ave a matc hi ng

pane i .

[ 13 2 ]
 If a S kirt is Tigh t at t he Waistline, ra i s e
—
it and c ut a l ittle off the top provided of
course , there is material enough in t he h em
to l engt h en i t
. I f t h e s ki rt is too s hort to

Even the d p V-n

ee ec k is collarless

ra i se cut off the top and add a st raight p i ece

,

of lin1ng at the top gat hermg 1t to the ski rt

.

belt S uc h a sk1rt can be worn W 1t h an over

.

blous e ( S ee F ig
. .

[ 133 ]
 A COMP LET E COUR S E I N D R E S S MAK ING
C

To Make a S kirt Narrower : Try on

t he sk1rt and pin out t h e surplice goods in the
.

s eams .S t 1t ch along t h e pin ned l ine s and

c ut off the extr a goo ds .

Fig .
(13 4) Oval and roun nd
ecks are houn d

Length en a add i nset b and s

S kirt : .

( S ee F ig .
T h is illustration shows an
organdie dress lengt h ened with dotted swiss
bands but the sam e idea can be used for other
[ 13 4 ]
 A OMPL ETE COU RS E I N
C DR E SS MA K ING

d ress Waistlines must be loose and l eng

. .

I f the dres s i s fancy then the wa i stl i ne de

mands noth i ng more elaborate t h an a narrow
materia l sas h o r a narrow ribbon girdle .

H owever when the dress i s unadorned then

,

waistlines go i n for all sorts of frl volit ies .

One of the favor i te fancy waistlines is m ade

Fig (13 6) Cut of the tight

d
.

silk sleeve and add a threa

lacef rill

[ 13 6 ]
 EA S Y MAK E OV E RS -

of a series of material flowers These are of .

goods the same as the d ress I t I S a fin i s h

.

that may be safel y copied i n cotton or silk .

( S ee Fi g
.

F agot a p i ece to the l ower ed e of a b l ouse

to give the ew long w aist e l oo k ( S ee
n - .

F ig
.

A chifi on pay? is stylishf or a silk

'

or velvet rock
f

[ 13 7 ]
 A COMPLET E COUR S E I N DR E S S MA K I NG

Making a Waistline Dress S traigh t

Hanging: A void the pinched i n w aist y
look Fash i on i s des igning on st raight er bulkier
‘

.
,

lines I f you h ave a normal waistline d re ss

.
,

add a straight section at the waistline to give ,

i t a straight h anging appearance Fig 13 2 . .

shows a cloth dress that h as been tre ated i n

t h is way
.

S lashe d l
s eeveswill
add sty le to a cloth f rock

[ 13 8 ]
A COMPLET E COURS E I N DR E S S MA K ING

(1 40 ) d
Try a ding a cre p e silk
top to the cloth dress that i s tight
p
through the upper art

[ 140 ]
 EA S Y MAKE OV E RS

(1 41 ) New sides of contrasting material will

also help out th e too-tight dress

[ 14 1 ]
A COMPL ETE COURS E IN R E S S MA K ING
D

A suit can easily he changed

i nto a coat d
ress
A CO MPLETE COUR S E I N DRE S S MAK ING

( )
1 44 p
The three- iece suit with the jacket on

[ 144 ]
 EA S Y MA K E OV E RS -

The i nset section i s pleated c h i ffon in a

mat chl ng shade .

To accomplis h suc h a result rip you r w a i st ,

and skirt at the waist line Try o n the waist .

and c ut i t off an even distance from the floor

all t h e way around Lap the lower e dge of
.

the waist over the p l eated section and st i tc h

A little ’
d
l s ress can he lengthene
zr d
with a scallo e han pd d
[ 145 ]
 A COMPLETE COURS E I N DRE S S MAK ING

along t h e edge of the clot h C ut off t he top

.

{ of the skirt and join i t to t h e bottom o f the

p l eated section , lapping it over the pleate d
sec t i on
. I f you have material enoug h t o
make a narrow material sash it will add to t h e,

st yl e of the d ress I f you are short of goods

.
,

Fig (1 46)
. Fagotting is another way f
o letting
down a f rock

[ 146 ]
A CO MPL ET E COURS E I N DR E S S MA K ING

d
The tight ress will of ten work over into a skirt
and trimmi ng f or an oeerhlouse

[ 148 ]
 EA S Y MA K E OV E RS -

neck bateau necks and squ are nec k s h ave

,

taken to bindings (S ee Figs 13 3 134

. .
, ,

Just a b i as fold of good s will add more sty l e

than an elaborat e and expens i ve c ollar .

A man s worn shirt makes a

’
nice f rock
f or Miss Three-Year-Old
 A COMPLETE COURS E I N DR E S S MA K ING

S leeves are Fan c y: I f you h ave a sil k

frock with a long tight sleeve c ut it off cap ,

length and add a frill of lace o r a pu ff of

,

chiffon ( S ee Figs 13 6 and

.

Your c l ot h froc k too will b e t h e smarte r

, ,

for h av i ng a l ong sleeve sla shed at the back

,

and gathered i nto a narrow band cu ff ( S ee .

Fig .

If Your Dress I s Worn U nder t he Arms ,

make a sleeveless dress of i t T h i s g i ves an .

opportunity to cut the armhole low ( S ee .

Fig .

For t he Dress wi t h Tigh t Waist add a ,

l ong waiste d upper portio n and use the old

-

wais t for t r i mming Fig 140 shows a twi ll

. .

dres s t h at i s remodelled with canton crepe

bod y part bands of t h e twi ll be i ng used to
,

tri m the wa i st .

A not h er way of making a t i gh t wa i st larger

is t o add side sections ( S ee Fig . .

H ere paisle y silk in straight s i de se c t i on s

gives an old c repe silk an up to date style as
- -
,

well as making it l arge enough for comfo rt .

Making a S uit into a Dress : I f you h ave

a su i t too many and are a dress sh ort conve rt ,

you r su i t i nto a dress Almost any su 1t can

.

[ 150 ]
 A COMPL ETE COURS E I N DR E S S MA K ING

Length ening a Li t t le Girl Dress : O r

’
s

g andie and other light cotton stu ff s can be

lengthened with a double scalloped fold of
fine net ( S ee F ig
. And silk frocks
.

can be lengthened by split t ing t he material

'

and fagot t ing it toget h er ( S ee Fig . .

L attice work tr i mming i s another way of

-

letting down Mary s frock whether it is cloth

’

c otton or silk ( Fig. .

I f t he dress i s tight as well as short use ,

the waist for t r1mm1ng and mm the sk1rt to

an underbody I t can be worn W 1t h a blouse
. .

trimmed with t h e skirt mater i al (S ee F ig . .

A Child
’
s fFro c k ro m a Man s ’
S hirt
Th ose shirts t h at are frayed at the neck and
cu ffs will make perfectly good little frocks for
Miss Three-year-old U se t h e back of the
.

s h irt for the front of the dress and the fronts

of the shirt for the backs of the d ress ( S ee .

F ig.

-
These ma k e over problems are a good
rev i ew for some of the things you studied i n
t he other eleven lessons Even i f you h aven t
’
.

clothes to make over see if you can cop y all,

the ma k e over styles shown

- .

S tud y t h e l essons in their consecut i ve orde r .

15 2
 I N D E!

A fternoon C lothe s
A ppl i d S hi ing s
e rr

A ppl iqu d Fl ow e ers

A p ons r

A p ons B u ng al ow (
r , see B ung alow )
A p ons C hil d s
r ,
’

A p ns C u tt ing of
ro ,

A p ons P o k t
r , c e
A p ons S l ip -ou
r ,

A p ons S t ing s
r ,
r
A p ons W ais tb and
r ,

A p ons W ais tl in
r , e
A rm Mea re su
A rrow he ad T ack

A rtifi cia i k, T e ting l Sl s of

B
B bi s C l th s
a e
’
o e

B k M su
ac ea re

B k O n Pi
ac , e- ece

B k W id h f
ac ,
t o
B k nd Y k in O n
ac a o e e

B nd d C ll
a e o ar
B T
ar k ac
B squ D ss
a e re

B th R b s
a o e

B h C ll
ert a o ar
B i s E dg
a e

B i s F l ds
a o
B inding E dg s e

B l nk B h R b
a et at o e
B l nk S i h
a et t tc
B l hing
eac
B l k P tt n
oc a er

B l m P l y uit
oo er a s
B lo m so er

1 53 ]
 A C O M PLE T E CO U RSE I N DR E SS M A K I NG

B l us D s R uss i n
o e res , a
B l us d D ss
o e re

B l us
o es
B l us s C l s ing s ( C l s ing s )
o e , o see o
B l us C ll s ( C ll s )
o es, o ar see o ar
B l us s C s tu m
o e ,
o e
B l us s C u ff s ( C u ff s )
o e , see

B l us s E dg s ( E dg s )
o e , e see e
B l us s Fi ing f
o e ,
tt o
B l us s L ing i
o e , er e

B l us s O bl us
o e , v er o e
B l us s P tt ns
o e ,
a er
B l us s R v s
o e , e er

B l us s S l v s ( S l v s )
o e , ee e see ee e
B l us s S p ts
o e , or
’

B l us s T il d
o e , a ore
B l us s T imming s ( T imming s )
o e ,
r see r .

Bl us s T yp s f
o e , e o
B l us B y s B us B w n
o e, o
’
t er ro

B l us Middy
o e,

B l us O u ing S hi t
o e, t r
B l us R uss i n
o e, a
B l us S il
o e, a or
B l us S m k
o e, oc
B l us T u k-in
o e, c

B l us C hil d s w i h B u n d n S ki t
o e,
’
t tto e -o r

B S h p d C ll a
,

oat - a e o r

B t-S h p d N k O u l in
oa a e ec t e
B s m F nt
o o ro

B s m F nt M n s F nt tu k d
o o ro ,
e
’
ro , c e

B C t
ox - o a
Box -P l t C l s ing
ea o
B ys C l thing
o
’
o
B ys B l ous s ( B l ous s
o
’
e see e ,

B ys C ts
o
’
oa
B ys H s
o
’
at
B ys Middy B l us
o
’
o e

B y O lls
o s
’
v er a
B ys S hi s
o
’
rt

B ys S m k
o
’
oc
B ys T us s ( T us s )
o
’
ro er see ro er
B ys Und w
o
’
er e ar
B id nd T ss l T im
ra a a e r

B iding
ra

B ss i s
ra ere
B ss i s G
ra ere S upp t s
,
arter or
B s i s P tt n
ra s ere ,
a er
 A CO M PLE T E CO U RSE I N DR
!
E S S MA K I N G

Cl s ing S l t S m
o s, o ea
Cl ing T b
os s, a
C tBoa ,
ox
C t B ys
oa ,
o
’

C at C p
o , a es
C at C ll
o ,
o ar
C t D p ing f
oa ,
ra o
C t E n
oa ,
to
C t Finis hing f
oa ,
o
C t Fl ing
oa ,
ar
C t I nf nt
oa , a s
’

C at C p f I nf n
o , a e o a ts
’

C at L p l
o , a e
C t L in d
oa ,
e
C t N f lk
oa ,
or o
C at P tt n f
o , a er or
C t P plu m
oa , e
C t P k t (
oa ,
P
oc e s see ocket s)
C t R gl n T p
oa , a a o
C oat, S mi-Fitting
e
C oat , S hi t M nr ,
e
’
s

C oat , Sl v ee e
C oat T op
,

C oat T imming s
,
r ( see T rimming s,
C oat )
C oat, and T ro us s S
er et

C oat l , U n ined
C oat W aps
,
r

C oll a B and d
r, e
C ol la B thar, er
C oll a B at-S hap d
r, o e
C oll a C at r, o
C oll a C onv tibl
r, er e
C oll a Fan yr, c

C oll a of L ong W aist d D

r, e ress

C oll a P att n f o
r, er r

C oll a P oint d N k
r, e ec

C oll a R v sr, e er
C oll a R ll ing
r, o
C oll a Rou nd Flat
r,

C oll a S ail o
r, r

C oll a of S t aight-H anging D

r, r ress. .

C oll a w ith B a k C l os ing

r, c
Coll ar, U - h a ed N eck s p
C llo ar, of W ai t ine ress sl D
C llo arb and, Men s
’
oat hirt C S .

C l o or T e ts s
 I N DE!

C ol o s fo A ubu n-H ai d Wom n

r r r re e
C ol o s f B l ond s
r or e

C l s fo B lond tt
o or r e es

C l o s C ombination of
o r ,

C ol s f Fl o id C mpl x i ns
or or r o e o .1

C ol o s fo G ay-H ai d W m n
r r r re o e
C ol s f S all ow C ompl x ions
or or e
C l s f S tou t W m n
o or or o
‘
e

C mm ial P att ns U
o e rc f er , se o

C nv t ibl C ll a
o er e o r

C ding
or
C s tu m B l ous
o e e

C tt n T s ting f
o o , e o
C u hing
o c

C u nt y C l oth s
o r e

C oz yw rap
C ss S
ro t itching
C s S
ro s- t itching E dg e

C uff D p ,
ee

C u ff Finis hing f
, o
C u ff F n h M n s
, re c ,
e
’

C u ff S t aig ht P l ain
,
r

C u ff T u n B a k
,
r c

C u ff T u n B a k f o
,
r c r

D
D ais i s e

D a t-F itt d S l v s
r e ee e

D p C uff
ee
D iap er
D ou bl Point P at h P o k
e c c et
D ap d S ki t
r e r .

D ap ing of C at
r o
D ap ing of Fitt d L ining
r e

D ap ing S ki ts
r r

D aw s C i ul a
r er ,
rc r
D aw s Env l p
r er e o e

D aw s S t p in
,

r er e -
,

D aw s W aist B y s
r er , ,
o
’

D aw n W k I ns tion
r or er

I) resses

D re ss e s ,
B squ
a e

D re ss e s ,
B l us R uss i
o e, an
D re ss e s ,
B l us do e

D re ss e s , C h s ing f
oo o
D re ss e s , D an ce

157
 A C O M P LET E C O U RS E I N D R E S S MA K I N G

D s s L ng W i t d
re se , o a s e
D ss P tt ns
re es , a er

D ss s R uss i n B l us
re e ,
a o e

D ss s St ig ht H ng ing
re e ,
ra - a
D ss S t ig ht H ng ing w ith B k
re es, ra a ac
C l s ingo
D ss s S u pl i
re e ,
r ce
D ss s T imming s (
re e ,
r T imming s see r ,

I) )
ress

D ss s W is tl in
re e ,
a e

D ss s C hil d s
re e ren
’

D ss s B l m P l y-S u it
,

re e oo er a
D ss s B l w i h B u t n d n S ki t
,

ouse t o e -o
'

re e ,
t r

D ss s G u imp
re e e

D ss s Gymn s iu m S u it
,

re e a
D ss s Middy w ith P l t d S ki t
,

re e ea e r .

D ss s O b l us w ith B -P l t d
,

re e ver o e ox ea e
,

S ki t r

D ss s P y
re e art
D ss s R is d W is tl in
,

re e a e a e

D ss s S m k nd B l m s
,

re e oc a oo er

D ss s S t ig ht-H ng ing
,

re e ,
ra a
D s s Y k
re se ,
o e
D s s I nf n s
re se ,
a t
’

D y C l ning
r ea
D u h ss C l s ing
c e o
Dy e ing

E dg es C ross -S titching
,

E dg es Emb roidered
,

E dg es Finis hing of
E dg es B anding s W oven
,

, ,

Edg e s,
Bi s a
E dg e s B inding
s B aid Ri k
,

E dg e r ,
c rack
,

E dg e s ,
Facing
E dg e s ,
Hem
E dg e s ,
P ip ing
E dg es, Frilled

E dg es W hipp ing
,

E mb roidered E dging
E mb roidery B u tton
E mb roidery R u nning S titch
,

Emb roidery, S tit h s c e

 A CO M L T P E E CO U R S E I N D R E S S MA K I N G

Hem
Hip Me a re su
Hip Y oke S kirt
H oneycomb S mocking
H ood, of I nf ant C a e
’
s p
I
I nf ant s Cl s
othe
’

s
I nf ant C ap
’

I nf ant s C p
’
a e
I nf ant sC s
’
o at
s
I nf ant C oz yw rap
’

I nf ant
’
s D p
i a er
f s
I n ant H ood
’

I nf ant
’
sK imono
f
I n ant
’
sP etticoat

f
I n ant
’
s D s
re s

s
I n ert ion, D r aw n Work
s
I n et , s Ple ated

s s S
I n et , hirred
s s u
I n et , T cked

J
J acket , E ton
K
K imono I nf ant s ,
’

K imono S l eeve
Knickerbockers B oy s ,
’

K notted B raid
L
L a T ab s
ce
L a T imming
ce r

L ap l P ak
e ,
e

L app d C nt -F nt C l os ing
e e er ro
L app d C l os ing
e
L att i W k
ce or
L ay tt
e e
L ay u t D finition of
o , e .

L az y D ais y S tit h c .

L ng th ning S l v
e e ee e
L in d C ats
e o
L in n T s ting of
e ,
e

L ing i B l u s
er e o e
L ining f W ais tl in D ss
o e re
L ng -W ais t d D ss
o e re

L ps H and W k d
oo ,
or e

[ 1 60 ]
 I N DE !

Machine A ttachments ( S ew ing )

Machine B inder
Machine C ording Foot
Machine E dg e S titcher
M achine H emmer
Machine H emmer W ide
, ,

M achine Q u il ter
M achine R ufiler
M achine T u cker
Machine S ew ing
,

Mag az ines U se 0,

M aking O ver
Materials Dyeing
,

Material s T es ting of
,

Measu rements T aking of ,

M edall ions
Men s C l othing B ath Robes
’
,

Men s C aps
’

Men s N eckties
’

Men s Nig htshirts

’

Men s O veral ls
’

Men s P ajamas
’

Men s S hirts
’

Men s S moking J acket

’

Men s U nderw ear

’

Men s U nion S u it
’

Merce riz ed C otton T es ting of ,

Middy B l ous e
Middy w ith P l eated S kirt
Mourning C lothes
N
N arrow ing S l eeve

N eck Facing

ul
N eck O t ine sB
S ha ed
oat - ,
p
ul
N eck O t ine P ointeds
,

ul
N eck O t ine Ro nd s u
,

ul
N eck O t ine S are s qu
,

ul s
N eck O t ine U -S ha ed
,
p
N eck, P ointed
z
N eck, S i e of

N i g htg ow ns
Nig htg ow ns, C hil d s ’

[ 161 ]
 A C O M PL E T E C O U RS E I N DR E S S MA K I N G

s
r

N ig htg ow n Y oke ,

N ig htshirt Men ,
’
s

C)
P
O ne- iece ack B
- P
O ne iece C ap, oy s
’
B
S
O ne- ided o ing Cl s
u S
O ting hirt, Boy
’
s
ul S
O t ine titch
O va lP
atch ocket P s
lls B
O vera , oy
’
s
lls
O vera , Men s
’

l us
O verb o e, oy s
’
B
l s C l
O verb ou e, hi d s w ith B ox - leated
’
P
S
kirt
l us
O verb o e, hirred S
us
O verblo e, adies
’
L

P ajama s
P a ty D ss
r re

P at h P k ts
c oc e
P at h Po k ts D ou bl Point
c c e e
P at h P k ts Pointed
,

c oc e ,

P at h P o k ts P oint d O utl in
c c e , e e
P at h P o k ts S all op d T op
c c e , c e
P at h P k ts S qu a
c oc e , re
P at h P o k ts T ab
L

c c e ,

P att ns A p ons ( A p ons )

er ,
r see r

P att ns B a k O n -P i
er , c , e ece

P att ns B l oom s
er ,
er

P att ns B l ous s
er , e
P att ns B ass i s
er ,
r e re

P att ns C amis ol
er , e
P att ns C ap I nf ants
er , e,
’

P att n C hang ing S iz f

er s, e o
P att ns C h mis E nv l op
er ,
e e, e e

P att ns C l os ing s ( C l s ing s )

er ,
see o
P att ns C oats ( C oats )
er ,
se e .

P att ns C oats I nf ants

er , ,
’

P att ns C ll a s (
er , o r see

P att ns C omm ial U of

er , e rc se

P att ns C o yw ap
er ,
z r

P att ns C u ff s ( C u ff s )
er ,
see

P att ns D aw s ( D aw s )
er ,
r er see r er

[ 1 62 ]
 A CO MPLE T E C O U R S E I N D R E S S MA K I N G

Po k ts W l t
c e , e
Point d E dg
e es
P oint d N k C olla
e ec
‘

P int d N k O utl in
o e ec e

P oint d P at h P o k ts
e c c e

R
l
R ag an S eev e l
l
R ag an T op C oat
R enov ating
R ev er os B l us
e w ith ,

s ll
R ev er C o ar ,

R ever Fri s ll ,

s
R ev er Front C o ing ,
l s
R ibbon O rg an P leated
, .

R ickrack raid B
R iding H abit
ll B
R o ing rim Hat
ll
R o ing C o ar ll '

R om er p s
p s
R om e r D ro S eat p ,

p s
R om er P eg T op ,

p s
Rom er , U nderleg O ening p
Ro e ss
Ro ette
‘

s s
Ro se T rimming
u l
R o nd F at C o ar ll
u
R o nd N eck O t ine ul
u
R nning S tit ch E mb roidery
u s B l us B s
R s ian o e oy ,
’

R uss B l us
i an o e D res s
S
S ailo B lous T u k-in
r e, c
S ail o C ap r

S ail Coll a
or r

S ail O v bl ous
or er e
S all op d B anding
c e
S all ops
c
S all ps G ath d
c o , ere
S ams
e
S ams D u bl S tit h d
e ,
o e c e
S ams F n h
e , re c
S am H mst it h d
e s, e c e

[ 1 64 ]
 I N DE !

S ams L ap F l l d
e , e e

S ams S l ot
e ,

S tional C aps M n s
ec , e
’

S mi-Fitting C oat
e
S w ing E qu ip m nt
e e

S w ing H and-F ll ing

e , e

S w ing B a k S tit h
e , c c
S w ing B asting
e ,

S w ing B l ind S tit hing

e , c
S w ing O v as ting
e , erc
S w ing R u nning S tit h
e , c

S w ing Ma hin Atta hm nt

e c e c e s

( . Ma hine A tt a hm nt
see c c e s
S he Mat i als
er er
S hi d I ns ts
rre e

S hi d O v bl ous C hil d s
rre er e,
’

S hi ing
rr

S hi ing A ppl i d
rr e

S hi ts B oy s O u ting
r ,
’
,

S hi t s M n s
r , e
’

S hi t s C oll a band
r , r

S hi t F n h C u ff
r s, re c

S hi ts O uting
r ,

S hi ts T u k d B s m
r , c e o o
S hi tw aist s ( B l ous s )
r see e

S ho t ning S l v
r e ee e
S houl d er
S il k T ting f
,
es o
S ki ts ; C i ul a
r rc r
S ki t s D ap d
r , r e
S k ts D ap ing of
ir ,
r
S ki t s G o d
r ,
re

S ki ts Hip Y ok
r , e
S ki ts P l at d
r , e e

S ki t Po k ts ( P k ts )
r s, c e see oc e
S ki ts R g ul ating H ang f
r , e o
S ki ts T w o P i
r ece

S ki ts T yp s f
,

r ,
e o
S ki ts W app d
r ,
r e

S l as h d P o k t s
e c e

S l v s A mh l
ee e ,
r o e
S l v s B l ous d D ss
ee e ,
e re z

S l v s C at
ee e ,
o
S l v s D a t-Fitt d
ee e ,
r e

S l v s I nf ant s D ss
ee e ,
’
re

S l v s K imono
ee e ,

S l v L ngth ning
ee es, e e
 A C O M PL ET E C O U R S E I N D R E SS MA K I N G

S l v s A nnhol
ee e ,
es

S l v s Making f
ee e , o
S l v s N a ow ing
ee e ,
rr

S l v s P att ns f o
ee e , er r

S l v s R ag l an
ee e ,

S l v s S w ing I n
ee e , e

S l v s S h t ning
ee e ,
or e
S l v s S t aig ht H ang ing D ss
ee e ,
r re

S l v s T w o Pi
ee e , ece

S l v s W ais tl in D ss
ee e , e re

S l v s Wid ning
ee e , e

S l ip -O n A p n ro

S l ot S am C l s ing
e o
S m k and B l oom D ss
oc er re

S mo king H on y omb
c , e c

S mo king S t ok d
c ,
r e

S moking J a k t c e
S p o ts B l us
r
’
o e

S p o t s C l oth s
r
’
e

S qu a N k O u tl in
re ec e
S qu a P at h P k ts
re c oc e
S t ains R mov al f
, e o
S t p -in C h mis
e e e

S t p -in D aw s
e r er

S tit hing B l ank t

c , e

S tit hing C at
c ,

S t it hing C oss
c ,
r

S tit hing F ath

c , e er

S tit hing L azy D ais y

c ,

S tit hing Ma hin

c ,
c e
S tit hing O u tl in
c , e
S t aig ht-H ang ing D ss w ith B a k
r re c

C l o ing s
S t aig ht-H ang ing D ss
r re

S t aig ht T ous s B ys
r r er ,
o
’

S t t C l oth s
ree e

St ing s A p n
r , ro

S t ok d S mo king
r e c
S tyl e
Styl fo O l d W om n
es r er e

S tyl s f S h t W m n
e or or o e

S tyl s f S l im G i ls
e or r

S tyl f o S t u t G i ls
es r o r

S tyl s f S tou t W m n
e or o e ,
S tyl s fo T all Wom n
e r e t

Styl fo T hin W om n
es r e

[ 1 66 ]
 A C O M PLE T E C O U R S E I N D R E S S MA K I N G

T rimming s, C ou ching
T rimming , s E mb id y ro er

( E mb id y)
see ro er

T imming s F g tt ing
r ,
a o
T imming s Fu
r , r

T imming s G i dl s
r ,
r e
T imming s I ns t s
r , e
T imming s L t i
r W k,
a t ce or
T imming s M hin S tit hing
r ,
ac e c

T imming s Q u ill ing

r ,

T imming s S hi ing
r ,
rr

T imming T il s T ks ’
r s, a or ac
T imming s T a s l nd B id
r , s e a ra

T imming s T u k d I ns s
r
,
c e et

T imming s I nf nt s
’
r ,
a .

T imming s S it hing (
r ,
S tit hing )
t c see c .

T imming s U nd w
r , er e ar "

T imming s A ppl iqu d Fl w s

r ,
e o er
T imming s C h in S t i h
r , a tc
T imming s E mb id
r d E dg ing
,
ro ere

T imming s L
r ,
ace
T imming s M d ll i n
r ,
e a o
T imming s R s
r ,
o e
T imming s S ll p d
r ,
ca o e

T imming s T b s L
r a ace
us s B ys B u n n
, ,

tto -o
’
T ro er , o
T ro us s K ni k b k s
er ,
c er oc er

T ro us s S t ight
er ,
ra

T u k d B s m S hi t
c e o o r

T u k-in S il B l us B ys ’
c a or o e, o
T u ks A ll w ing f
c ,
o or
T u ks P in
c ,

T u ni c
T u n-B k C ufi
r ac
T wo- Pi ece S ki t r s

U S p
h a ed N eck o ar C ll
S p
U - h a ed N eck O ut ine l
U nderw ear, oy ’
B s
U nderw ear, hi dren s’
C l
’
C l
U nderw ear, hi dren s G ert rude P ett i

co at
U nderw ear C hil d ren s N ightg w n
’
o "

U nderw e ar C hil d n s U nd w is t
,
’
re er a
,

[ 1 68 ]
U nderw ear, Men s
’

U nderw ai t s 0 )

Union uit S
Union it, oy Su B s
’

Unlined oats C

W ais t B oys D raw ers

,
’

W aist Meas ure

W ai s tband
W ais ted D ress L ong
W aist l ine
W aistl ine A p ron
W ais tl ine D ress
W ais tl ine T u nic
W aist l ine S l op ing of
,

W elt P ockets
Whipp ing E dg es
W idening S l eeve
W ool E mbroidery
W ool T es ting of
,

W ork S hirt Men s ,

’

W rap
W rapp ed S kirt
Y
s
Y arn , T esting of 1

Y oke D
ress
Y okes

[ 1 69 ]