TT 518 .V3 Copy 1 INSTRUCTION BOOK With Illustrations To be used only as a Guide and Partial Study in the Expert Course in Dressmaking TAUGHT BY MRS. W. E. VAN AME IN the'' S. T. TAYLOR SCHOOL of SARTORIAL ARTS EDITION 1915-lG Entered according to Act of Congress in the year 191o, by Mrs, Emma W. V'an Aine in tlic office of the Librarian of Congress at Washington, D. C. PUBLISHED BY Mrs. \\'. E. Van Ame, Cleveland, Ohio INSTRUCTION BOOK with Illustrations FOR Sewing and Fitting Course S. T. TAYLOR SCHOOL AND PATTERN PARLORS EDITION 191 I Entered according to Act of Congress in the year 191 1, by Mrs. Emma \V. Van Ame, in the Office of the Librarian of Congress, at Washington, D. C. PUBLISHED BY MRS. W. E. VAN AME, Mgr. S. T. TAYLOR SCHOOL FORT WAYNE, INDIANA S. T. TAYLOR School of Garment Cutting, Dress Making, % Ladies' Tailoring and Designing ><''o^ PUBLISHERS OF LE BON TON and LE MONITEUR DE LA MODE United The Most Exclusive Magazine Published Established in 1851 announcp:ment FORT WAYNE, IND. We take pleasure in announcing Ihat Mrs. W. E. Van Anie, of 720 Calhoun vStreet, Fort Wayne, Ind., has again been pre- vailed upon, through her past success and the many requests from patrons and jnipils. to extend her slay in Fort Wayne. Therefore, we beg to announce that she will continue to conduct personally and superintend the school for teaching the S. T. TAYLOR SYSTEM OF DRESS CUTTING, FITTING, DE- SIGNING, DRESS MAKING and LADIES' TAILORING at the above address for another six months. We can Ihoroughly recommend Mrs. Van Ame as an efficient teacher of our System in training pupils either for businesss or home use. Those desiring to become teachers of our system, or to do independent work, will be specially trained by her to do so. She is also prepared to furnish terms and locations for teachers' agencies upon application. Mrs. Van Ame Tdls orders for pinned paper models, kccjMng on display an elegant line of them. Order for subscriptions to our fashion journal, Lii Hon Ton .\nu Lk MoNiTEUR DE LA MouE I.IniTEd are filled by Mrs. \'an Ame. S. T. TAYLOR CO., Publishers Le Bon Ton and Le Moniteur De La Mode United 1J-15 West _^,4th St., New York ©GI,A4J7170 DEC 13 1915 ((^-■,7^1 Workroom Necessities THE TOOLS NECESSARY in the dn'ss-maker's shop, i)v l' quality of the work. Never use other than a good quality, snuio'th thread. PINS. Avoid using an infei'ior (]uality of pins, as they will leave an obvious hole on removing them, and besides will not penetrate the material smoothly. For pinning silks, velvets and daint.y fabrics use fine needles, as they leave no mark after being re- moved. SEWING MACHINE. The sewing ma.'hine should receive much consideration. Always keeji it in good working order, with a perfect stitch. INSTRUCTION BOOK FOR SEWING AND FITTING COURSE TAPE MEASURE. The tnpe measure should be of stroniT liiKU and tested as to aceuraey. An in- ai'curate tape measure ^vill eause mueh trouble and niauy mistakes. THIMBLE. The thimble must be good fitting. Xcilhcr toil large nor too small and is to be worn ou the seeond finger of the right hand. SKIRT RULE AND SQUARE. A 4S-ineh skirt rule and a perfect tailors' square should find a plaee in every work room. MIRROR. The fitting mirror should be sufficient- 1\ huge to reflect a view of the figui-e from the crown of the head to the tips of the shoes. SEWING CHAIR. The seAving chair should be free from arms. It should be low to avoid the use of foot stools. Sponging and Shrinking Great care and attention should be directed to- ward the careful shrinking of all Avoolens and linens and such weaves and materials as are inclined to shrink when coming in contact with dampness. For if this part of the work is not properly done much trouble results later on in the construction and be- sides there is the risk of the garment losing its shape, should it be worn on a damp day or be caught in the rain. Different materials should be treated according to their various needs. Remove all selvedges before putting the cloth to the process of shrinking. BROADCLOTH must be shrunk by steam. On a well ]>a(lded talde. the larger the better, spread two thicknesses of the broadcloth and over this lay a thick cotton cloth that is quite wet. With a rather hot iron, press this wet cloth, forcing the steam down and through the broadcloth, and continue this jn-or-ess until the cotton cloth or sponge rag is neai"ly auty will lii> nniiniiaind. GLOSSY FINISHED WOOLENS. Th." above rule for shrinking broadt-loth ai)plies to all weaves with a glossy finish which require shrinking. CHEVIOTS. SERGES AND ALL WORSTEDS THAT ARE MADE WITHOUT A GLOSSY FIN- ISH must be shi'uid^ by being rolled (in a board with ■A wft cloth Itetwecn the folds in the following man- ner: Unl)leach<'cl muslin a yard wide makes the best shrinking cloth, because it is wide enough to extend beyond the edges of the woolen, aiul all parts thei'C- fore receive an equal amount of moisture. The mus- lin should be at least a yard longer than the piece of goods to be sponged. Wet it in sliglitly warm water. If the goods to be sponged is a light weight material, the shrinking cloth shoidd be wrung until reason- ably dry, but if it is thick and heavy, do not wring mueh. Spread the goods out smooth on a long table with the right sides folded in. then lay the wet cloth on it. straightening out all wrinkles. The end of tiie wet cloth should extend two or three feet beyond the goods. Take a board as long as the goods is wide folded, and about ten inches wide and roll the goods on it, first wrapping the end of the wet cloth around it. Care must be taken that folds or plaits are not prevalent when rolling up the material, as they will be quite difficult to remove when they are once in. Leave the material on the board from 2 to 4 hours according to the thickness of it, as it must be thoroughly dampened all the way through, after which it should be pressed until it is dry. Use irons that are only moderatelj' hot, for the shrinking yaW be more complete if the pressing is done slowly. This process of shrinking uuist never be used for materials with a glossy finish. However, the steam process used for glossy ma- terials would not be effective enough for other suit- LINENS tliat are intended for tub suits should be immersed in water and dried in the open air. Repeat this treatment two or three times, for linen shrinks more while it is drying than when it is in the water. Before it is entirely dry. after wetting it for the last time, linen should be pressed smooth with moderately hot ii-ons. The average linen suit- ing can remain in water over night without in.iury. While the drying is taking place, care should be taken not to have too strong a light on the linen, for the best dyes are sometimes damaged if left in a very bright light for any length of time. CANVAS AND HAIRCLOTH. Canvas and haircloth should lie [lut in water and left for at least half an hour. Then it is taken out and hung up to dry and just before it is dry. take a hot iron, press it dry, using care to press all the wi'inkles out. Every S. T. TAYLOK SCHOOL AMD PATTERN TAliLORS sci'iip of canvas placi'd inside of a dress or coat, should be tlioroughly shrunk. Hear in mind that all materials must be perfectly dry before attempting to cut into them. The above instructions will only sponge and shrink, but not refinish goods, this being only pos- sible at such places where they have the necessary machinerv to do it with. Patterns The pattei-ns used in cutting a i^aiiueiii should correspond as near as possible with the measure- ments of the individual for whom the garment is to !)(' made. Jf you use the S. T. Taylor system of dress and garment-cutting, you will not have any difficulty in this respect and alterations will practic- ally be unnecessary. If you do not use the S. T. Taylor system, then an S. T. Taylor pattern to iiuli- vidual measurements will be found economy and well worth the price we ask for them. When used in combination with this instruction book the re- sults are highly satisfactory. In many instances alterations will be unnecessary, and when altera- tions are required, they will be very slight and sim- ple. (See fitting.) S. T. Taylor patterns are illus- trated in their fashion magazine "'Le Bon Ton." The price list of same, as well as pattern agencies, will also be found in "Le Bon Ton." The style, lines and fit of the S. T. Taylor patterns are far su- perior to all others. However, there are several other very reputable pattern companies who make patterns to measurements. Any of these patterns will be found much more satisfactory than the in- ferior patterns sold at a nominal price, with disap- pointment and loss of money following through the destrnetiou of the material for which they may be used. The best pattern is always economy in the end. LAYING OF PATTERNS ON MATERIAL. If you have our S, T, Taylor system of dress-cut- ling, you have been taught how to mark your pat- terns for lading on the thread of the material. If you use patterns made by us, you Avill find each part marked for the proper position on material. Ivieii pattern company have their patterns marked for the proper position on the material. It is very essential that the cutter pay strict attention in plac- ing the markings on the exact thread of the ma- terial. Carelessness at this part of the work will cause defects and trouble when putting the garment together and in the fitting of it. Calculation should always be made before cutting the material to prevent waste and mistakes. It is important to note if there is an up and down to the material either in the way of figure, finish or nap. If plaid or striped material is to be used, the match- ing or designing of same should be thoroughly jtlanned before cutting any part of the garment. This will be referred to again. (See Matching Stripes and Plaids.) Marking Goods Now that you have the pattern properly placed on the fabric, next you will proceed to mark all seams, as well as waist line, bust line, elbow line, elbow point, centre front of skirt, centre back of skirt, and all markings on the i>attern which are placed there to assist in joining the garment togeth- er. ^Liny times these markings can be made with the tracing wheel. A sheet of tracing cloth placed underneath the fabric before tracing (or between its folds when desiring to mark two thicknesses), the tracing will show more distinetlj*. Espeeiallj' is this a great convenience in marking soft weaves where tracing will not .show. Thread marking or tailor marking requires much more time, but in instances where it is desired to retain the mark until the garment is finished, or where tracing would injure the fabric, then thread marking is most desirable. Take a needle full of thread, u.sing it double, and baste on the line to be marked, using a rather short .stitch, at each stitch leave a loop large enough so you could put the end of your finger in; after you have it all marked, and cut out (See IIow to Cut Out Material) , pull the cloth apart as far as the loops will permit and cut the marking thread in the centre between the two sides of the cloth, which will leave both sides of both pieces of the cloth marked. INSTRUCTION BOOK FOR SEWING AND FITTING COURSE How to Cut Out Material— Allowing for Seams Great cai'o must 1)0 cxcreised in cutting out cloth to allow for all scams, hems and turnings. The amount to allow on the shoulder and underarm seams is % oi' im im'h at each, 2 inches at the open- ing of the lining waist ; 1 inch at the centre back seam of skirt, 1 inch at the bottom of skirt for al- terations, and I/O inch for all other seams. The al- lowance at the openings of fancy waists must be in accordance to the style of closing selected. The allowance at the bottom of skirts must also be made according to the manner of finish intended. Finishing Closing Edges First finish the closing edges: — Cut an inch wide strip of (previously shrunk) canvas on the true bias, making it as long as the closing edge of the garment. Baste it along the inner edge of the marking for the closing edge ; then fold the 2 inch hem allowance at the marking over the canvas and baste to position, ^[achine stitch one-eighth inch from edge of closing from neck curve to bottom of waist. Stitcth again the full length of the closing three-eight.s of an inch inside of the first closing. Mark the closing directly ojiposite the top of the first dart, then mark again at 1 inch below the mark. Measure from the last mark to within % inch from the bottom of the waist, and cut a whale bone the .same length as the measurement. (For preparing whalebone for use s(>e Boning). Hold the fi'ont with the right side up and slip the l)one, from the bottom up, into the cas- ing made by the two stitchings, placing the bone between the lining and canvas, keeping the canvas underneath the lione. (The canvas, later on, will be in readiness as a substantial stay to sew the hooks and eyes to.) Slip the bone upward until it is i/'o inch above the bottom of the waist, then fasten at the waist line, spring slightly, and fasten i/2 inch below top of bone, again at every 2 inches between the two fastenings. Then fasten at bottom of bone and once again midway to the waist line. (For fas- tening and springing bones, see Boning.) The two closing edges are to be finished exactly alike. The hooks to be sewed on the right side, the eyes on the left. Sewing On Hooks and Eyes ]\rake a Tiiark on the underside of the closing edge at the waist line and mark at ev(>ry three-fourths of an inch from that mark to the neck curve ; then umi-k from the waist line at every three-fourths of an inch to the bottom of the waist. Both closing edges are to be marked in the same manner. At each mark, along the right closing edge sew a No. 2 hook, keeping the bill of th(^ hook one-eighth of an inch back fi'om the edge. Sew with a single thread, button hole twist being ]ireferable. Sew through each looj) lliree times, catch a back stitch at the side to fasten thread, carry thread to bill of hook and fasten bill. Again catch back .stitch at side of hook and pass thread along to the next mark and so on until all the hooks are in place. Precise care must be taken so that Uw hooks when sewed in position will rest perfectly horizontally and exactl.V on the nuirks. If the hooks or ey(>s are ajiplied in a twisted position, the garment will never fit correct- ly. Turn the 2 inch allowance hem over under the bill of the hooks, alloM'ing it to r(>st ea.sy against tlie hook turning; baste in position then fell, with close. even stitches, along the edge which rests under the bill of the hooks. Cut tlie canvas away so it does not show, and blind the other edge of hem. Sew loop eyes on the left closing edge allowing them to project one-eighth inch from edge. With a single thread of twist sew through each ring three times. Fasten at side with backstitch and carry thread along to next mark and so on until all the eyes are in position. Turn the 2 inch allowance hem over the eyes to within one-sixteenth inch of tlie closing edge. Baste to position and ovei-hand with small, close stitches, catching two stitches within the loop of the eye. Cut the c;nivas away so it does not show and blind the other edge of h(>m. The eyes must be set accurate and true, the same as the hooks. Where the hem is not wide enough to permit of the above finish, cover the fastening of the hooks and eyes as well as the edge of the hem by facing with a bias strip of thin silk. Fell ])oth edges down very smoothly. Ribbon oi- single bone casing may also b(> apidied, this being sewed on a trifle full to ndmit oT the outside gixiug to the foi-iii. S. T. TAYLOli SCHOOL AND PATTEHX PARLOUS How to Do Basting The foundation of a great many evils in dress- making is often duo to inaceuratc and poor l)asting. Good and thorough basting is one of the things you must depend on for "that smartly finished effeet" so deserving of ailmiration in first-elass work and so hai'd for l)eginnei's or indifferent workers to ob- tain. Tlie jjroper hasting of an ordinary eoat re- ((uiries about twenty houi-s' woi-k. wiiilc tiie actual maehiue stiteiiing tloes not eonsume more than one hour. From tiiis ratio you will uniler.-tantl iiow im- portant a good workman considers the hasting. Therefore, baste carefully and projierly and the re- sult will be visible in every detail of your work. Xo one can expect to master the art of i)erfect dress- making who is not willing to baste well. Ten or fifteen minutes' carelul basting will often obviate a half day's ripping and changing. A dress never looks or fits well that has been taken apart for changes or alterations. Consequentl.v. remember "a good baster makes a good dressmaker," and that "good basting insures good fitting." It is necessary to have the bastings true and even that they may be used as a guide when stitching. By stitching closely along the basting, either inside or outside of it, and not crossing it, will avoi;('iii ral liasting. The needle employed for basting should be short (they are called "Be- tweens" or Tailors' Needles), No. 7 is the correct size for general basting. This style needle will enable the seamstress to take deep, firm sitehes. close togethei-, which will hold the goods so firmly while the nuichine stitching is being done that the improvement will be noticeable to even an un- tiained eye. leaving behind one of the' earmarks of the amateur dressmaker. For Basting PREPARING THE WAIST LINING FOR BAST- ING, l-'irsl take a iirrdlc ami tlnva.l .-lud IlinIc along in small stitches like this — on the waist and bust lines of each piece of the waist and on the center front lin(> of each front. As the arndioles and neck of a garment are liable to stretch when handling, a basting thread must be run around these along the marking for the seam, using the above size stitch, and drawing the thread up natural, that is. luuther too tight nor too loose. Then fasten .so that it cannot give. This will avoid any undn(> stretching ai-ound arndiole or neck curve. Use a different colored thi'<'ad to run these lines in from what you use to baste the waist to- gether with, so that when the bastings are drawn out you will not accidentally draw out these, as they will need to be left in the lining until the waist is finished. BASTING THE WAIST LINING. In basting the wai>t liniiii; togetlicr make small stitches like these — — — — — — for, if any larger, the seams will gap in trying on the waist. Take but one stitch on the needle at a time. In .ioining the parts of the wai.st together, use great care that the waist lines ol' the i)arts to be joined are exactly together; do not allow lliein to \ai-v (Uii' thread. Tin the two back parts together at the waist line, then baste the centre back seam from the waist line up to the neck curve, then from the waist line down to bottom of waist. Pin the waist lin(> of the side form seam of the l)ack to the wai.st line of the corresponding seam of the sideform. then baste from the wai.st line uj) to the shouldei', keei)ing the back toward you. Then I'l'oni the waist line down. Pin the waist line of the side form seam to the waist line of the corresponding underai-m seam. Then baste from the waist line u]), keeping the side- form toward you. Then baste from the Avaist line down. In basting the front and side front with the seam extending to the shoulder, pin the top of the dart of the front to the top of the dart of the side front and l)aste from the toji of the dart to the shoulder, keeping the side front toward yon. Then pin the waist lines together, you will now find the side front to be one-fourth inch longer than the front. The extra length is to ])e gathered and evenly distribu- ted in a S|)aee 2 inches below the top of the dart to give ease over the bust. Baste from the top of the dart down to the liottom of the waist. la basting darts, pin the waist lines together, then INSTRUCTION BOOK FOR SEWING AND FITTING COURSE baste from the top of the dart down to the bottom of ■vvaist. l^aste the underarm seam of the forepart to the mulerarm seam of the underarm, keeping the front toward you, basting from the waist line up, then from the waist line down. The shoulder is now to be basted. Pin the neck (racing of the back at the shoulder point, to the neck tracing of the front, and the shoulder of the back at the tracing for armhole to shoulder of front at same tracing. You Avill find the shoulder of the front one-half inch shorter than the shoulder of the back; stretch the front until it is the same length as the back, keeping it stretched until basted. In rare cases where the front cannot be stretched enough, hold the back a little easy in basting. (This is done to make the dress fit smoothly over the hol- low part of the shoulder in front, obviating the folds and wrinkles which so frequently appear down the front from the shoulder and neck lines.) Baste Ihe shoulder seam from the neck curve to armhole, keeping the front toward you. The waist can be opened either front or back, as desired. If to 1)6 opened in the back, baste the two fronts together, by first pinning waist lines together, then baste from the waist line up to the neck, and from the waist line down to the l)ottom of waist. BASTING THE SLEEVE LINING TOGETHER. Lay the upper of the sleeve, riglit side up, on the basting table and the under with the right side fac- ing the upper on top of it ; the marking for the el- liow line of the upper and the marking for the el- bow line of the under meeting at the inside seam. Baste the inside seam together from the elbow line 1o the top of the sleeve, and from the elbow line to the bottom of the sleeve, keeping the upper part up toward you. Lay the sleeve on the basting table so that the outside seam is toward you, and the under is on top the upper. Turn the upper part of the sleeve, the ti'acing for the elbow of the upper meeting the trac- ing for the elbow of the under, at the outside seam. Fasten tlie two together with a pin. Tui-n the u])per part of the sleeve, abovi' the dhow line, o\cr, to- ward the under, the two outside markings for seam meeting so that the upper lays pei-fectly flat on the table. Pin them together along the marked lines from the elbow line up. Then turn the upper (below the elbow line), over to meet the under, so that the upper lays perfectly fiat on the table. Pin them together. Now remove the pin which holds the el- bow lines together. Gather the fullness in a space of 1 inch above and 1 inch below the elbow line with two rows of gatherings, keeping them one-eighth inch apart, this will obviate the gathers pushing into the plaits when stitching. Then arrange the fullness across the elbow, evenly above and below the elbow^ line. Now unpin the flat seam. Then pin the sleeve again togetlier in the usual seam, be- fore basting, beginning at the top, holding the upper part next to you. Notch the top portion of the sleeve at two inches from the back seam and at three inches from the front seam. Gather the top of the sleeve with small, even running stitch on the marking for the seam between the notches, then again one-eighth inch below the first gathering. BASTING SKIRT FOUNDATION. First run a liasting along the centre l)a,ck seam as a stay to keep the bias edges from stretching. Thread mark waist line, centre front of skirt and all markings which are to be retained for future use. Then pin the seams of the skirt together at the waist line, and again at every two inches from the w'aist line down to the bottom of the skirt using care not to stretch the bias edges of the seams. Baste the seams, com- mencing at the waist line and baste to the bottom of the skirt keeping the bias side up. All skirt seams are to be pinned the full length, and all are to be basted the full length, with the exception of the seam to be used for the placket opening. This is to be left open from the top down from 9 to 14 inches, according to the size of the individual. A stay tape is to be basted along each edge of the placket to keep them from stretching. In joining two bias seams together they must be stayed with stay tape. Silk seam binding answers very nicely as a stay tape for light weight materials. The lining skirt is now rcadv for the fitting. How to Slash Seams It is decidedly wrong to attempt to fit a garment without first slashing the seams at the proper y)laoes to admit of spring. Slash all seams (Avith the exception of the under- arm and shoulder seams which are to be left un- slashed for convenience, in case alteration might be necessary), according to tlir rollowitig insti'iictions : Slash all seams to within one-eighth inch of the sewing line. When slashing seams at the waist line, use great care to slash exactly on the waist line. Slash the centre back seam at the waist line, and again at three and six inches al>ove. S. T. TAYLOR SCHOOL AND PATTERN PARLORS Slash the seam of the haek and side form at the waist Hue, and ajjain at tliree inches, again at two and and one-half inches. In the remainiler of the seam make two nioi'e slasiies at e(|nal distances in the poition of the back oid.y. Slash the sideforni and nnderanii scam at the waist line in i)oth sideforni antl nnderaiiii portions, and at intervals of two inches fr'om the waist line u|i in the side poi'tion only. Slash the fi'f)nt and side-front seam at the waist lini'. Then at one inch i)elow the to)» of the dart and again at half way lietwcen the tAvo clippinirs, again at half way between tln' top "f the d.ii-t :iiid the shonldcr. Slash dai-ts at the Avaist line, then at onc^ inch below the top of the dart, again at half-way between the two cliiii)ings. If the garment is to open in the back, slash th(> centi'c front seam at the waist line, then at oppositi' the slash below the top of the dai't, again at mid- way between the two slashes, and again at half-way between the U|)i)er slash and neck curve. The undei'arm and shouldei' seams are not to be slashed until the gai'meut has l)een fitted. After all necessary alterations have been made, before re- moving the waist, slash the underarm seam at the waist line, and twice above at equal distances. Slash the shoulder seam in the portion of the back only, at half way between the armhole and neck curve. Al- ways bear in mind these seams may ajijjcar some- what drawn, until after they have been slashed. Slash all seams at t^vo and one-half inches below the waist line. Sleeves ai'c slashed along the inside seam cndy. Slash at the elbow line, then at intervals of two inches the full length of the seam. After slashing, turn the sleeve right side out, then it is in readiness for tlie fitlin}!;. Collar Canvas for First Fitting Cut collar, on true bias, from jilain jiiece of thin •;invas. making it om and on-'-liair inches li.ngci- than siz(> i>\' neck where collai' is to rest, and one- fourth inch higher at both front and back than the height of the neck at front and back. See to it that the collar canvas is in readiness for the first fitting. How to Do Fitting The fitter frequently causes luM-self much troidjle through not knowing just where to commence to eorrect an error. She can readily see that some- thing is wrong, but cannot tell how to remedy the difficulty, and. after many trials and attempts, the work may seem to be right, yet the general effect will not be pleasing. It is the '"knowing how" that must be carefully acquired. If the garment has been correctly drafted accord- ing to the S. T. Taylor system, the fitting will be simjile and easy. If any alterations should be need- ed, they will be very slight. If much alteration is found to be necessary the worker is sadly at fault, eithei-, in the taking of m<>asurem(mts, in the making of till' draft, 01- in the joining of the parts together. In either instance, searcli for the mi,stake, make a new draft and cut a new lining. Never try to refit the spoiled lining. Hefore sli])ping the waist on for the fitting, see to it that the corset cover has no extra fullness be- low the bust line. Much of the fit of the garment may dei)end upon the corset cover. The corset cover nnist fit as smoothly, and cut from as good lines, as the eor.set beneath it. Wherein can lie any benefit of the beautiful lines and cui'ves of the high pi'iced cor- sets, if tlie bulkiness of an illfitting corset cover ob- literates them. Therefore, let the corset cover fit smoothly and perfcctl.y. Any embellishments in the mannci' of ribbons and laees should be ai)plied flatly. In fact, the entire corset cover may be made from rii)bon and laee and yet fit as smoothly as a glove. It is quite as important to see to it that the petti- coats are well fitting, with neat and smooth waist bands. TO FIT A WAIST. Slip it on. i)ull the waist line down to position and hook closing edge at the waist line. th(>n at the neck. Draw the waist (Uit on the shoulder toward th(> arndiol(\ smooth it across the bust and back. Now finish hooking the full length of the closing edge by eonuneneing at the waist line and hooking up toward the neck, then from the waist line down. Pull the wai.st down well all around at the waist line, and pin the waist line down firndy to the corset, first at the centre back, again at midway fi'om there to the neck curve. Then pin at the waist line the centre front to the corset, and again at two in(dies below the bust line, so as when making alterations at underarm seam the garment 10 INSTRUCTION BOOK 1'01{ SEWING AND FITTINC COUIiSIC cannot dnnv out of alignment. Should you omit pinning- wrll at the waist line l)efore making altera- tions at the slioukler, your waist will very likely become short waisted. After the garment is pinned to position, as aliovc directed, should it seem too tight or too loose, it is to be altered at the nnderarm and shoulder seams only, by taking in or letting out as required. (If the garment has been correctly cut to measurements by the S. T. Taylor system, if alterations should be re- quired they "will "be very slight). It is absolutely wrong (and must never be done) to alter a waist at the front lines, over the bust. JSlo matter how full the bust may be, the present way of drafting will always insure the necessary fullness in the seams over the bust. It should not be necessary to make any alterations, but the most experienced sometimes makes mis- takes. With l)eginners they will more frequently occur, and for their benefit the following instruc- tions are given, and will be found beneficial when errors are made : CROSSWISE WRINKLES IN THE UNDERARM PIECE. The i-easoii for this is, that 1lic front edge of the sidi' back, instead of being held a trifle full, was stretched to the underarm piece. To remedy this it will be necessary to open the seam and full it a little more on the nnderarm form, and baste the stretched edge, easy, back again to the nnderarm form. WRINKLES BETWEEN THE LAST DART AND UNDERARM PIECE are caused by the back seam of the dart being stretched. This edge must be held with a little ease when basting it to the opposite seam of the dart. The only remedy for this will be to open the seam of the dart, and relniste, iiolding the back seam a little easy on the front. WRINKLES IN SEAMS are often caused by cro()k-('d and iiii|>rrlVct basting. The only remedy for this is to rip, iiasic o\er again, taking care to have a perfect seam. Wi'inkles in seams afe some- tinies caused by uneven stitching or too tight tention on machine. Again the only remedy is rijiping and putting together again more perfectly. Wi'inkles may also be caused by th<' seams not being in'o|)erly slashed. WRINKLES AT THE WAIST LINE are usually caused by llie scams iKil being slash<'d deep <>nough. also by tight binding or overcasting. Sometimes they are caused by the low(>r part of the waist being too tight. Tf it cannot l>e stretched into shajx'. the seams must be let out. Then again, if the waist is too wide it will wrinkle. IF so it must be taken in. WRINKLES AT THE BACK NEAR THE NECK will be due to one nf the Tullowing causes: The centre back being too long from neck to waist line. In this case it will be necessary to open the shoulder seam and bring back up to correct position and pin. If much alteration is needed at this point, it will necessitate an alteration in the curved seam of the side back. If caused by the shoulders having been taken in or sloped too much, especially if the shoul- ders are too square, open the .shoulder seam from the neck curve toward the armhole as far as necessary, fit, and pin to position. The shoulder line of the front should not be changed when making these al- terations. These wrinkles may also be caused by the shoulder seam of the back not having been slashed or from the finish of the seam being drawn too taut. WRINKLES EXTENDINPt DOWNWARD FROM THE FRONT SHOULDER LINE AND FRONT OF ARMHOLE are caused by the front not being stretched sufficiently, Avhen basted to the back, at the shoulder seam. Open the shoulder seam, i)in in position and when rebnsting use care to stretch the front to meet the back. Tf the front was stretched one-half inch at the first basting the alteration should not require more than another eighth or quar- ter inch. (See basting the shoulder seam, under "ITow to Baste.") Wrinkles around the armliole may also be caused from too much material at that curve. With tailors' chalk mark around the armhole a correct line for sewing in the sleeve. Then slasli around the edge of the armhole ciuwe, being careful not to cut through the mark for the serving in of the sleeve. Keep the armhole as small as possible, with- out binding. This necessitates having the lining high under the arm. The armhole is one of the most important parts of the lining, for more good or damage may be accomplished with it than with any other portion. Therefore, be unusually careful to keep the armhole small. A small well-fitted arm- hole permits of a sleeve that will give greater free- dom to the movements of the arm, for it is obvious that if the armhole is cut out too much, the .sleeve will dras; the waist when (he arm is raised. And besides, the higher the garment is fitted under the arm the longer waisted the person appears. ]\Iany people have an idea that a large armhole means comfort, but such is not the case. The garment should be a little higher (easier) at the back of the armhole than it is in the front, and keeping the armhole Ir'gh in the back will greatly assist you in fitting a sleeve that will permit the wearer to bend her arm and move foi'ward her elbow without an un- comfoi'table drag in the back where the sleeve .ioins the waist. When the arndiole gaps it is either be- caiise it was wrongly cut, or because it was not S. T. T.\>I.()Il SCHOOL AM) I'ATTEKX PAHLORS 11 properly stayi'tl with a tlirciid licFore .ioining the waist toKithcr. (Sec I'rcpariiiL;' llif Waisl T^iiiiii';- for Bastinn:). 'J'his will only occur throu-ili careless- ness, therefore should never occui- at all. But when it does, taking a small dart at the arnihole is all that can be done. If the individual being fitted has very sloping .slioulders. or is round sluuddered or stooped, do not atteiiq)! to fit tiie garment too closely around the armhole, l)ut rather leave it with ease, and build it out with jjaddiug. (See Ilow to Make and Apply Padding.) This will greatly im- prove the appearance of the shoulders, making them look less sloping, and the person with the round l)ack is made to look more erect. The same prin- ciple holds good in fitting the front of the garment. If the individual is liollow in front of the arm. in- stead of fitting the armhole closc^ly. leave it a I>it easy, and build it Ujv with padding. WRINKLES AROUND THE NECK CURVE. 1 1, they are canse-half inch, using care not to slash through the chalk mark for collar. A wrinkle extending from neck curve at shoulder seam may be caused by the front of the shoulder seam not being sufTiciently stretched at this i)oint when basting to the back shoulder seam. AVhen this occurs, it will be necessary to ojjcn the seam as far as necessary and stretch a littl<> more wh(>n I'cbast- ing. The netdv curve must be well fitted before at- tempting to ad.iust or fit the collar. If wrinkles then form around the neck curve after the collar has been applii'd. they are caused by the collar being loo tight foi' the dress neck. Tf the collar is large entiugh at the top. then remove it from the waist and with the thumb and first finger stretch the lower edge of collar until it corresimnds with neck cui'vi>. (See Fitting Collar.) Tf the collar is loo small at the top. cut a new one. WAIST DRAWING TO ONE SIDE. 11 liie waist draws to one side it is bc<'ausc the centre back or sideform seams have not been .joined evenly. Ri]! the seam which is at fault and make sure that the waist lines meet and thai the basting is dii-ectly in the marking. BINDING ACROSS BUST. Siiould liie front of a waisl bind aci-iiss lli<> bust. i1 is because the bust measure was taken too tigiil. Tlie only iTincdy for this is to let out the undei'arm seam of the sid(^ front. Should nnich alteration be needed at this ]ioint, by all nutans nmke a new draft for the front and cut a new lining front. FULLNESS BETWEEN TOP OF DART AND SHOULDER. Should the fronts of a garment show iuilinalion to be loose between the shoulder and the top of the dart, the measurement for the dart has been taicen too long. Remedy the difficult.y by open- ing the shoulder seam and drawing up the front to fit. This alteration must never be made without fir.st opening tlu' shoulder seam the full length. This alteration will usually necessitate a change in the armhole and neck curves. When much alteration is needed it is by far i)i-eferable to make a new draft and cut a new front. SHORT OR DRAWING FROM TOP OF DART TO SHOULDER. When the garment draws at this pai't, the iiicasui-ement for the dart has been taken too short. Open the shou.lder seam the full length and allow the front to drop to proper position. Tiun jiin the shoulder seam of the front to the shoulder sciim of the back. When much alteration is needed at this point, the result may be an arndiole and neck curve dropped too much. It will then he quite uec(>ssary to make a new draft for the front and cut a new front. After the waist has been fitted satisfactorily, take bits of curled hair and .slip under the lining in the hollow places and wheri>ver it is desirable to build up the figure. This will show to both the customer and the titter what result the padding will produce. \ow, mark with tailors' chalk, the exact size and shape the pads are to be made. This marking is to b(> used when cutting the pads. It will also be use- fid in locating the ])roj)er jdace and apjilying the ])ads in the proper position after they have heen made. (See flow to ^Take and Apply Padding.) TO FIT A SLEEVE. After the waist has been pi-ojiei'ly fitted, before taking it of¥, slip the .sleeve on the arm, right side out. Sleeves require most careful fitting. Sleeves must fit as smoothly on the arm as the waist does on the figui-e. HANGING THE SLEEVE. Pin the front seam of the sleeve to the aiiiiliole at the diagonal marking which was placed there purjiosely for this guide. Pin from the front seam the underarm of the sleeve to the waist smooth up to the back notch. Pin from the front seam to the front notch, holding the sleeve a little easy. Draw up the gathers and arrange across the balance of the armhole so that the sleeve will fall perfectly smooth. If when fitting the slee\-e lining, the hand of the arm being litfed is laid li\STUUCT10i\ BOOK FOll SEWING AND FITTINC COURSE (111 the opposite slioulder and the elbow elevated to the level of the shoulder, a splendid position of the Jinn is obtained for the fitting, and comfort to the wearer is assured. AVith the arm in this position it will be noticed that great length is re make this alteration is to remove the sleeve from the waist. open the back seam of sleeve and rebaste according to instructions for the basting of sleeve lining. Then, j'ou will find, if the sleeve was cut from an S. T. Taylor pattern, there will be no twisting at the hand. This manner of basting will be a great assistance in rectifying a poorly cut pattern. FITTING THE COLLAR. Take the canvas col- lar which you ha\-e previously gotten in readiness. Pin the centre back of the collar to the centre back of the waist, keeping the line for the centre of the collar perfectly prependicular. Then firing both ends of the collar around to the centre front, or cen- tre back if to open in back, and hold them in posi- tion while you examine the fit of the collar. If it sets up to the neck, from bottom to top and does not cause any wrinkles around the neck-curve of the waist, then it is perfect and will not need any changes. Turn down the top edge the desired height and shape and you have a perfect pattern to cut the individual's collar from. COLLAR STANDING AWAY FROM NECK. When the collar sLauds away from the neck, either mid-way up, or at the top, is caused by the lower curve being too short. Tliis can be easily remedied by taking the bottom edge of the collar over the first finger of the right hand and with the thumb stretch until the collar sets up nicely to the neck. When the collar sets out at the top it will require to be stretched higher above the lower edge than when it sets out at midway only. The amount to stretch the lower edge will depend upon the .shape of the neck. A neck which is very full at the throat, or neck which is very sloping will require more stretching than the straight neck. Now pin the collar along the loAver edge to the waist. Pin the closing edges together and carefully mark both the closing edge and the line on the waist where the collar is to rest. If the waist forms wrinkles around the neck curve after the collar is in position (which w(>re not there before setting the collar), it is because the collar is too tight. It may be well to mention, that every dress slntuld have an individual canvas collar pattern fitted 1o it. ]\[any dressmakers ti'y to use the .same shaped )ia1- tern on ditTerent dresses, and that is the beginning of many of their troubles with collars. After you have fitted a few collar patterns, according to the directions here given, you will take pleasure in fit- ting collars instead of regarding it with dread, and you will find the making and fitting of the pattern will not re(piire more than two minutes. The can- vas you have fitted is the pattern only, and to be used as such to cut the collar proper fiMiii, and is not to be used in the collar in anv manner. S. T. TAVLOli SCHOOL AM) I'ATTI:KN PARLOUS 13 FITTING THE SKIRT. Tlu' lining of the skirt must l)t' in rcailiai-ss Toi- the fii-st fitting. (Sec Bast- ing Siviit.) Slip the lining di- foundation skirt on. I'iu the centre front of the skirt to the centre front of the waist at their respective waistlines, keeping the marking for c<'ntre front of skirt (which extends from waist line to foot of skirt I, in perfect perpen- dicidar alignment. Then pin the c,n;re hack of ih. skirt to the centre back of the waist, raising or low- ering the waist line of the skirt as may he necessary to cause the skirt to fall in perfect alignment. .\ow take the palm of the hand and place it over the full- est part of the liii)s at the liij) line. i)ass it scraigli. ii.) over the curve of the hips to the waist line, and pin the skiit to the waist line at this point. You now have the correct division of the skirt at the lii]) line and the material which lies l)etween the centre front and the hip line is to he plact'd in the fir.-;! dnrt. That between the hip line and centi-e back, in the back dart. Pin the darts in position and shaju' ac- cor man- ner, with the exception of taking in darts from the waist to hip line, this part is fitted at the seams of the gores. Pin the .skirt securely at the waist line and mark the desired length aiound bottom of skirt. WRINKLES ACROSS SKIRT AT FRONT OR AT BACK NEAR WAIST LINE ,ire .•:iusr;l either l,y tlle darts not having been taken up sufficiently or be- cause the skirt was held too taut when being ad- justed to the band. CAPS OR FULLNESS AT ENDS OF DARTS. This is caused liy too deep ;i dart iiaxiug liem talieii out for the figuri'. and uftcii times by too much sluji- ing at the top of the l);ick. inside using great eai'e to baste them again just as they were or if al- liM-atiiius have been made at these seams be careful 14 IXSTIUCTION HOOK 1-OK SKWIXC AM) I'lTTlNC COl 1{SI': to arrange tlu'in ac-cordiiigly. (IT you aiilioipato using the same jjattern at some I'uture time, it will be well to make the same eorreelioiis mi the pattern as you have in Ihe lining, wliieh will nhviate any fitting when making aiinlliei' liaiiiienl.) The linings are now readx- \i\ mai-hinc stitch. How to Stitch Linings First see that the stitch of the maehine is perfeet, and that tlie tentiou in the maehine is not too tight; with a medium stiteh (not too short), run the ma- ehine with an easy, steady motion (not too fast). Use silk in stitching in evei'y case. Stitch just out- side the basting when stitching the waist, to allow space for boning. Be careful to ke(4) the stitehings true, as any deviation will he ])erceptil)le at the see ond fitting, and will necessitate alterations. It is necessary to have all bastings true and even, that they may be used as a guide for perfect stitching. Never stitch on the basting line, nor across it. but just inside or outside of it as occasion may re(|uire. STITCHING WAIST SEAMS. St it eh cMit : e back from neck down. Stitch the seam nf the l)ack and side fdnii IVmii the top down. Stitch the curved seams (if the side liaek pditinu to the underaiin portion, keeping the side liaik next Ihe presser-foot. Stitching the one limn the lup down, the otln-r from the liollinii up. Stitch the front and side front seam Iroin the bot- tom up. Darts are stitched from the lioltoni up. terminat- ing them sharp at the toj). Threads nuisl he allowed at the top to permit fastening by knotting both ends or sewing them down. Shoulder seams are stitched from the neck curve to armhole, keei)ing front portion next to presser- foot. Keep shoulder seam taut while stitching. Stitch vinderann seam fioiii the lop down. For garments liaving theii' opening in the back, the centre front seam is stitched fi-oiii the top down. STITCHING SLEEVE SEAMS. Sleeves nuist be stitched \\\[\\ the lower or umler jiart kept on top luider the iiressei--foot . I'Mrsl stitch the inside seam and then the back seam, .\lwa.vs sew a sleeve to the garment with tin; sh^eve on top under the pressei-- foot, and stitch carefully, keeping a perfect seam. For stout figures a. narrow tape stilched around the armhole with the sleeve, will pre\eiit an.\- inclination of the waist splitting across the front. STITCHING SKIRT SEAMS. To stitdi skirt seams coiiuoeuce at the lioltoiii and stitch np. kei'|)- ing the bias side down next to the fei'd. Keep a straight seam, as any de\ialion will cause the skirt to hang unevenly. Lay a long rule from the bottom of the curve over the hips to the bottom of the skirt, along the seam to be stitched, i-un a fine chalk mark along the rule on the seam. This will ,i;i\-e an ac- curate and straight line as a guide for stitching. Make and finish the iininu' plaket. (See How to Make Plakets.) To Draw Out Bastings Kemove all bastings fi-om seams before pi-essing, being careful not to break any threails of the sewing. Tlie basting threads must be cut at in1cr\als and then iinllcd out. Do not jittempt to w it IuIimw tlh \\hob' threail at once, as there is danger i\\' ruinint the niatci-ial and often the shape lA' the garirie;it. Trimming Seam Edges After the bastings have been removed li-oin the seams, then all seam edges, with the exception ol' the underarm and shoidder seams, are to be trimmed off evenly, leaving them three-eighths of an inch wide from the seam. The si'am (d' d;irts are cut olV to the same width as other seams to within one inch IVom the \('ry point of the dart where an incision is made deep enough to be able to open out the seam. R(uind off the slashes of seams and the seams are ready for pressing. S. T. TAYLOR SCHOOL AND PATTERN PARLORS 15 Pressing Facilities for pressing have been given nuder "Workroom Necessities." Pressing is one of the most essential parts of dressmaking. Various ma- terials re(|uire a diiferent process of pressing. While, as a rnle the seams of a gai'ment should be pressed open with an iron, some fabrics, such as fine silks, erej)es, etc., do not permit of this. These are simi)ly creased open with tlie back of the thumb nail. Care -must be used in utilizing the correct tools when pressing the various parts. Always press straight seams over the straight pressing roll, and curved seams over a curved seam board, placing the seams over the seam board jjerfeetly smooth. Press slowly and carefull.y, bearing well on the iron, lift- ing the iron at short intervals to prevent stretching. and guiding the jtoint of the iron directly over the seam. If the iron is allowed to twist to one side or the other, a crooked seam will be the result, liy pressing evenly and as much as possible with the point of the iron on curved seams, will obviate such wrinkles a.s occa.sionall.y form underneath the out- side fabric, and when once in, it ■will be found very difficult, if not entirely impossible to remove them. All bastings must be removed and seam edges trimmed to proper width before pressing. "Where selvedge seams are to be pressed, they must first be slashed or clipped throughoiit, otherwise the.y will draw on the outside, no matter how much pressing is done. Cloth seams are to be dampened and pressctl with a heav.v iron, whereas lighter wei.ght matei-ials reouire irons not quite so heavy, and the matciial is not dampened. Do not have the iron too hot for silks or woolens. Colored textiles should always be tested b.v first using a small piece of the same to determine whether they will admit of pressing, as some faln-ics change in color as soon as the hot iron touches them, though in many cases the color re- turns. Should a seam become glossy on the right side after being pressed, sponge it off by the follow- ing process: Lay the garment on the pressing board with its right side uppei-most, place a wet sponging' cloth over the glossy part and set a hot iron down onto it, taking it oflf inunediately, or, in other words, thumping it. Give it a slight brushing to restore the naj) again. This applies to heavy goods. ARMHOLE SEAMS are to be opened and pressed, a lit til' at a timr, the same as all other seams. HEMS as a rule are pressed fiat. Lay the right side of the goods on a fiat pressing board covered smoothly (keeping the wrong side up), then place several tliicknesses of sponge cloth over the hem and press with a heavy iron until smooth. In thin- ner fabrics, such as silks, cashmeres, etc., the hem can be pressed b.v just laying a cloth or piece of ])aper between the hem and iron. For wash goods the hem is pressed without the aid of the cloth and may be pi-essed on either right or ^n'ong side. VELVETS. SILKS, CREPES, ETC.. turn the iron witli bottom sicb' uji. Take hold of the end of the seam with the one hand and with the other guide and keep the seam open from underneath while drawing the seam back and forth across the edge or acro.ss the flat surface of the iron. In cither in- stance be very careful not to stretch the scams out of shape. STEAMING VELVET SEAMS OPEN, Turn the hot iron with the bottom side up. Cover its flat surface with a v>it clotli. Now pass the seam of the velvet over thi.s (keeping the right side up) in the same manner as directed above, having a second oiicrator constantly and carefully brushing the seam on top, with a brush as it slowly passes over the steaming cloth on the iron. Be very careful not to stretch the seam out of shape. RAISING CRUSHED AND RENEWING OLD VELVETS. Turn a broad surfaced hot iron with , bottom side up. Cover the surface with a wet cloth \ and place the velvet to be renewed on the steaming cloth with the pile up. Brush the pile briskly as the steam is passing up thi-ough it. How to Finish Seams SEAM BINDING. Finishing seams with silk scam binding makes the very i)rettiest finish to lie had. To do this neatl.y, crease the ribbon exactly through the centre. Slip the edge of the seam be- tween the edges of the ril)bon, and run the ribbon on with a fine running stitch, catching both edges of the riblion at one sewing and holding the ribbon a trifle full or easy. AVhcn ad.justing tlie binding around the corners of the slashes, pa.y particular attention that the binding is here pulled enough to permit of tile scam lying perfectly flat and even, for drawing the rilibon too tight at this point will not only cause thi> outside to pucker, but will ruin the fit of the dress. The binding of the darts may be run up on one side of the seam, then folded and sewed across the top to cover the raw edge, to be then adjusted 16 IXSTRLTTION HOOK VOR Si:WlX(; AND FITTINC COIRSI': to the opposite side. Use tine silk tlireatl the same shade in eolor as tiie seam binding, always working from the top or upper side of the seaTu. Tiie seam binding may l)e the same color as the mati'rial on which it is to be applied, or may be of some pleasing contrasting color. Foi' instance, scarlet, old gold, or green makes a beautil'iil touch of color when used as a finish on the inside of an all black dress. Light blue or pink are pretty for gray, scarlet foi- navy, geeu for brown, etc. Always bear in mind the bon- ing must match the seam finish in color. Seam l)inding is to be used on all seams and raw edges, which ravel with the exception of the armiiole. This is to be overcast. OVER-CASTING. For cloths and materials which do not fray ii\ i-r-casting may be emi)l()yed as a finish. Uver-cast the edge with buttonhole twist, or sewing silk, the seam.stress woi-king from the right to left with very close stitches, using care not to tlraw the thread so tight as to {-ause a jmckering or drawing of the seam, as that would cause the gaiiucut to be- come ill-fitting, ;is well as to s]i(iii the siiKidth effect of the finish. IMITATION STRAP FINISH, l.iueii and un lined silk coats may be ijeautifully finished by turn- ing the seams to the outside, where each raw edge is turned over under itself, forming a narrow strap- like trimming. When both edges of a seam have been thus ttirned and stitched, the seam appears to have been strap])ed and stitched three times. The inside of the coat is iiei-fectly free from bound seams or other finishing, and presents ffie ai)i)earance of a beautifully lined eoat. The bottom of the coat may be turned up and finished in the same manner. Where the coat is so treated, the skirt should be built in the same manner. When fin- ishing seams in this manner, tile work ]>resents a clean. ne,i( appearauee, which is to be nnicii ad- mired. LAPPED SEAMS, -loin \hv sections, nuiking an oi-dinaiy seam. Cut oil' the edge ol' the one side of the seam about half its depth and turn down the un- cut edge over the <-ut edge; then fold the two over flat on to the mateiial and stitcli or fell to position. All seams are tui-ned towaid the front. The lai)ped seam nuiy be used when finishing the long seams of underiiarnu'ufs or where :i Hat seam effect is ilesii'- al.le. FRENCH FELL SEAM. Join the sections to the right side, making an eighth of an inch wide seam outside of file regular se;ini. Cut off the edges closely to the seaming and turn the seams so that the right sides of the material will couu> together, and make another seam an eighth of an inch from the first seam, or, in other words, sew on the traced or seam- ing lines. This finish is ['dv uudei'gariuenfs only. SEAM FINISH FOR LACES, EMBROIDERIES, ETC. Seams of embroiileries, laces aixi sheer ma- terials are sewed together on the wrong side, cut down to one-eighth inch seam, then bound with sheer riblxin binding. ;dways holding the ril>bon a little easy so that the seam will not draw when finished. In some in.stances. one side of the binding can be stitched in with the seam, and then felled o\'er on tiie othei- side. CROSS STITCH FINISH, On long seams of heavy woolen materials wlii<-h will not fr;iy, the cross stitch applied directly along the edge of the seam makes a beautiful finish. PINKING is a finish which may be applied in a general way as a seam finish and is quite satisfactory, however, not nearly so elegant as ribbon binding, but it answeis nicely when time will not permit of the libbon binding. While if is not so beautiful, yet it has one advantage, that is. in giving ample si)ring to the seams. There will be no rislc that the seams will be drawn along the edges, a defect which is quite liable to happen when a ribbon finish is carelessly applied. Pinking also nuikes a splendid finish for the edges of facings, etc. when it is desirable to ap- ply them fiat and smooth, and when* a tiirned-in (>dge W(nild be bulky, or ol liei'wise undei'sirable. How to Bone Waists One of the most im|)orlaiit details in dressmaking is the boning of a waist. Heal whalebone is always preferable for boning. When whaletxuie can not l)e had. then W;ii-ren Fcatherbone rald found to be pliable and sol't .•nid easily cut and sewed through, wilhoiil injury to the bone. Remove the boiU' from the water, wipe dry, and measure off and cut into correct lengths for the various seams to be boned. The exact length to cut the bones will be found undcT "To .\ppl\- I'.oue ('as- S. T. TAYLOR SCHOOL AND PATTERN PARLORS 17 ings." Rouud the ends and scrape them quite thin, and again phu-e them in the warm water until -want- ed for use. Seams must be pressed and liiiished liefi)re the hone casings are applied. Bone casings must mateh the color of the seam finish as near as possible. TO APPLY BONE CASINGS. Apply bone cas- ings, a little full, with small running stitches both sides of the seam, keeping the centre of the casing directly over centre of. the seam. Should the centre of easing not be kept over the centre of seam, it will cause the seam to twist after the bone has been ap- plied. An extention of one and one-half inches is allowed at each upper end of casing to permit of lapping over as a finish. The lower cud is fastened across the seam. Start all casings at one-half inch from the bottom of the skirt part of the wai.st leaving them run to one inch from the very point of the dart; two and one-half inches from the armhole in underarm seam. On centre back seam, at half way between neck curve and waist line. Three inches on curved side back seam above waist line, unless a curved bone is used, then extend as high as bone in centre' back seam. Three inches also applies to side back seams. If the distance measures more than three inches from the last dart to the underarm seam, then apply a bone in the centre of this space, letting it slant back a little above the waist line and make it from four to five inches above the waist line. Make a mark on the front seam opposite one inch below the top of the dart and allow the casing to extend to this mai-k. On the foregoing seams, all casings are to be started at one-half inch from the bottom of the skii-t of the .waist. In long waisted garments tlu^ bones should extend from three to six inches below the waist line according to the style of gar- ment. Onlj' whale lione can be used for this pur- pose. Remove the bones from the water, one at a time as needed (as they will remain soft enough to sew through for only a short time after removing from water), carefully wipe dry removing: ail tallow or paraffine which may adhere to them. Slip the bones from the top down in their respective casings and fasten at the bottom by sewing through the bone and casing, and again at one inch below waist line. Spring (force), them and fasten at waist line by sewing through the bone and casing. Sjtring again and fasten at one and one-half inches above the wai-st line and at equal distances aliove this at in- tervals of about one and one-half inches making the last fastening at three-fourths of an inch below the top of the bone, this being finished by turning the one and one-half inch extension end of the casing over the three-fourths inch free end of tlie bone and sewing right through them. The object of leaving this end loose is to prevent the bulging forward often seen on waists where bones terminate. SPRINGING BONES IN CASINGS. "Spring ing" is simply stretching the goods so there is more bone length than seam length. This curves the waist toward the figure; therefore the amount of spring required depends upon the amount of curve to the figure. Then again, the curved seams over the hips recpiire more spring and a greater distance of spi-ing than do the straight seams of tlie front and back. Let the greater amount of the spring of tiie seam be at the waist line within the space of one and one-half inches above and one and one-half inches below it. Do not spring between the two last fastenings at either end, simply hold taut. Low- cut evening bodices, quite frequently have bones inserted from top to bottom in back. In those closing with lacing this is absolutely necessary. Nar- row bones are best for closing edges which are to lace together. When a whalebone has been properly lu-cpared in warm water it is easily cut through and can lie slit to any desii-al)le width. BONING TUB DRESSES. In wash dresses cas- ings are applied the same as in other garments, the only difference being that they are finished at the top separately from the bone to permit of the latter being easily removed when desiring to have the gar- ment laundered. BONING GIRDLES AND BELTS. All belts and girdles are to be boned as carefully and thoroughly as waists. The same rules which control tlie boning of waists are to be complied with and carefully fol- lowed when constructing belts and girdles, even though they do not measui-e more than an inch in width. FEATHER BONING. Cut feather bone one and one-fourth inches longer for each seam than directed for whalebone. (See Boning with Whalebone.) Rip the centre row of stitching out of the feather bone one-half inch at the bottom end, and three-fourths inch at the top end. Slip the casing back at each end as far as ripped and cut the bone off. rounding the corners ; then tui-n the easing loosely over end of bone and tack to place on wrong side of bone. Spring the bone on to the seam the same as directed under w^haleboniug and pin to position that the greater amount of the spring will be at the waist line. The bone is then to be cross stitched to the seam, each end being finished with a large X. But- tonhole twist or floss is to be used for this purpose. To feather stitch the surface of the casing and then 18 l.NSTliLCTlON BOOK FOli SI]WlN(i AM) F1TTIN(; COUKSE apply to seam with loiiad nuist have an under and an upper section. The un- der section is to fit smoothly and is to be cut froiu the piece traced from the skirt lining; the upper section is to be cut one-half inch wider at the waist line than the under section. Tlie two sections are to ])e seamed together on the wrong side, around the edges, leaving it open at the waist line. Ari-ange curled hair on the under section, as re(|uired, keep- ing it thin at the edges, and tack hair to the under section only, with long loose stitch o\-ei- the litir, catching a short stitch into the material. Turn tin' pad rightside out and liiiish li.\' making an inverted ])leat, as deej) as the exti'ii fullness will adnut, at the centre of the Widst line of tlie upper section. Tu)'n in the edges at the waist line, baste, and stitch close to the edge. The skirt pad is to be attached to the waist band of the skirt. Very thin arms may be iinpro\c(l by a layer of wadding between thi' elbow and slioulder, when close-fitting sleeves are woi'n. Finishing Lining Skirt :\lake and finish the placket. (See How to ]\lake Pla(dml to cross the shield of the placket ami an extra one-half inch for tur-iung in when finishing end. This waist band is to be att;H-iied on the under side of the liinng skirt, so as not to intei-fei-e with the adjustment of the outi-r skirt. Tin the waist band at the centre front, tlieu ,it the eciiti'e back and draw u\) the gathering threads so as to case the skirt at the waist line to the band. It is not to be understood that the skir't is to be gathcTed, it is oidy to be eased and should there be enough fullness to form gathers, the dai-fs are to be taken in more. By easing the skii't to tln' band will obviate any rolling or pushing up of the skii't at the waist line. Com- mence ItMsting tiu' band at the centre front and baste I'l-oni there, on each side, to the centre ba(d<, with close even stitches. S. T. TAYLOR SCHOOL AND PATTERN PARLORS Making and Adjusting the Outer Portion of the Garment to the Lining Now that .your lining's iu\' all finislicil aud perfect in every respect, the making of the outside aod fit- ting it over tliem will be very simple and easy. If any deeided alterations have been made in the lin- ings, the same changes must be made on the outer parts. For instance : If you made any change in the waist line of the skirt when fitting the 'ining, make the same change on the pattern for the outside poi tiou of skirt before cutting it. Whatever change has been made at the bottom of skirt lining when fitting, make same change on pattern for outer sec- tion befoie cutting. The same method is to be em- ployed with waists and sleeves. This will afford a great saving in material and will obviate the possi- bility of any mistake in regard to cutting. The remaining steps for putting together the other portions of waists, sleeves and skirts involve little that is different and nothing that is more difficult than the instructions given in putting the linings to- gi'ther. All seams in outin- ])oi'tions are to be held, stretched, basted, and stitched in exactly the same manner, as were their corresponding seams of the lining. Seams are to be pressed and finished in a like manner as were the linings. The making of tucks, plaits, folds, pipings, hems, shirrings, etc., will be found under their respective headings. ilake the outer portion of the waist complete (with the exception of sewing in sleeve and attaching col- lar), and slip it over the lining, basting it correctly to position round the neck and armhole and at the underarm seams. Mai'k where it is desired to have the waist line of tlie outer portion meet the waist line of the lining at the centre back, centre front and underarm seams, then gather between these points so that the line of gathering will coincide with the waist line of the lining; run another gathering at one-eighth inch above, draAv up the gathering threads evenly together by drawing both at one time, adjn.st the fullness to proper position and baste out- side to lining at waist line. Make the outer sleeve and drape and fit to the lining sleeve. Then with short even stitches, baste into the armhole at the markings made at the first fitting. Do not stitch the sleeve in tight until after the second fitting. For making and hanging a fancy sleeve without a lining, follow same instructions as for lining sleeve. Turn the sleeve up to the inside at tile bottom. At the marking on the lining for the length of sleeve, trim oft' allowing one-half inch edge above the turning and baste at three-sixteenths of an inch above the turning. I\Iake the collar (See How to Make Collars.), and carefully baste to position as indicated by the mark- ings on tlie lining. Do not sew the collar on tight until after the second fitting. IMake the outer skirt, adjust it over the lining skirt by attaching them together with short basting stitch at the waist line only. Now baste at the waist line on the outside a band of Prussian binding, the same as on the under side, turn in ends of band and sew on hooks and eyes temporarily. Do not stitch the band on tight until after the second fitting, so that if any small change may be needed, it can be readily done. The garment is now ready for the second fitting. Second Fitting If, at the second fitting any defects are to be ob- served, for their causes and remedies, refer to "IIow to Do Fitting." Do not fail to inspect the bottom of the skirt the verv last thing before removing the garment, to make sure it is the correct length all the way round. Also the bottom of the sleeves to make sure each sleeve is tui-ned up at the exact length it is desired to have them when finished. After the Second Fitting If any changes are necessary, make them. Then blind the collar to the waist. Next, sew the sleeves in tight, preferably by close back stiteh. However, they may be stitched to the waist by machine. Al- ways sew in a sleeve with the sleeve on top, or if stitched in keep the sleeve next the presser-foot, stiteh carefully, keeping a perfect seam. Trim the outside material off at tlie waist line. That is, if the 20 IXSTIUCTIOX liOOK I'OK SIIWI.NG AM) I'lTTl.Ni; COIKSI': waist line is lo 1ii> the bottom of tlic waist. The waist liniufj shoiiltl extend at least five inelies below the waist line underneath the skirt. Baste and sew a stay tape one-fourth iiieh wide around the waist at the waist line as a substantial finish, lettinj; it extend just low enough to eover tlie raw edfje of the outside. Trim the turned edge at the bottom of the sleeve to within three-eights ineh from tlu' liiriiiiig and finish with a bias faeing; the faeing nuist meas- ure fully as nnieh in leugth as the sleeve is wide. The width of the faeing will depend upon the style of the sleeve. Remove the hooks and eyes whicli were only tem- porarily sewn on the band of the skirt, and stitch the baud to the skirt by stiteliing along both tlu; upper and lower edges and by eommeneing in the eentrc front and stiteliing to centre back at both sides. Trim the turned edge of the bottom of the skirt to within one-fourth inch of the turning. Cut either a shaped facing, or a faeing on the true l)ias, making it from two to three and one-half inches wide, as occasion may require. Turn in and liaste one- fonrth ineh at the lower edge of the faeing, i)inking the upper edge as a finish. Then ])aste the facing smoothly against the inside of the bottom of the skirt, allowing tin- skirt to project one-sixteenth indi below the facing; shape the upper edge of the faeing by stretching it so it will lay Hat and smootli on tlie skirt. If the facing used is a shaped fac'.ng it will not require any shaping oi' stretcliing. The facing of the .skirt may be stitched or blinded at botii edges, the style of the skirt to determine this. The facing for a silk or light weight skirt should be of fine elntli wliirh will iict MS a sdl'l. clinging weight to h'lid the slurt down aiui in aligniiLenl ; silk or satin is to be used as a facing on heavy skirts. Carefully jire.ss the bottom of the skii-t (See Pressing), and then finish with three-fourths inch wide silk tailors' braid ; first baste the braid smoothly along the lower edge, allowing it to project one-sixteenth inch below the bottom of the skirt. Conunence basting the braid at the centre front and baste to centre back at each side ; then baste the ujiper edge of the braid down smoothly, again commencing at centre front. Fell the braid along the upper edge to the facing only, using care not to catch the stitches thi'ough into the outside matei-ial. The lining or foundation skirt is to be finished at the bottom in the same manner. The joinings of bindings, as well as those of facings, must be neatly finished, lender no circumstances should such ends be lapped. Seam and press them well so they will not be visible. Always seek to join on the slant where material is bias. BELT INSIDE OF WAIST. Inside the waist al- ways sew a belt. It should be three inches longer than the regular waist measure. Turn under each end of the belt one and one-half inches and sew a hook on the right end and an eye on the left. Turn under the raw ends of the belt and hem them down over the ends of the hook and eye. Mark the centre of the belt and sew^ it to the centre back seam of the liniug with a large X stitch, keeping the lower edge of the belt one-fourth inch aboA'e the waist line. If the waist opens in the front, then sew the belt to the centre front seam of the waist, keeping the lower edge of the belt one-half inch above the waist line. To Make Plackets The making and finisiiing of the placket will gi-eat- l.v depend upon the style opening which the placket is to occu])y. The first consideration will lie to ar- range for the ])laidvet oi)ening where it will be the least visible: this will depend u|)on the style of the garment. The right .side of the placket most always lajis to tile left. If yon ha\-e followed iiistruetioiis in putting the skirt together, iiotii sides of the jtlacket opening have a stay tape along the seam to protect thein fi-oin stretcliing, -which is one of tlic secrets (if a true si-tting placket. MAKING A PLAIN PLACKET AT SEAM OPEN- ING. Tnrn and baste the riuJit siile i.f plackd <,\vu- ing nndci- at the marking Ini- tiie seam and press. Trim the edge e]iing them one-eighth ineh back from the edge, using care not to catch the stitches through to the outside material. For the left side cut an extension or shield from the straight of the same material as the outer skirt is made of, making it one and one-half inches longer tiian the pla<-ket ojiening and two and three-fourths inches wide. Baste the shield to the left side of the open- ing, l)y ])lacing the right side of the goods of the shield to the right side of the goods of the skirt and liasfing together along the marking for the seam. Stitch the seam, reiiioxc the basting, trim the seam edge to within iine-liall' inch rnmi stitching: tui'ii the S. T. TAYLOR SCHOOL AND PATTERN PARLORS 21 seam towai-d the shield aiul jiress firmly. Baste rib- bon binding flat across the surface of the seam, by keeping one edge along the stitching and the other edge to extend over and cover the raw edge of the seam. Stitch both edges of the ribbon binding, and press. Starting at tlie waist line mark on the out- side of the shield, between tlie stitchings. at every one and one-half inches and sew suction buttons at the marks, keeping the edges of the suction buttons one-eighth inch back from the edge of the seam. Fasten at the waist line with Xo. 2 hooks and eyes. Also sew a hook on the end of the band of the shield and an eye to correspond on the waist band of the skirt to hold the end of the {)lacket in position at the waist line. If this work is perfectly done the placket opening will always set smooth and perfect in every respect. Sew a No. 2 hook, perpendicular, on the underside of the waist band of the skirt at the centre back, and a corresponding eye, loop down- ward, on the outside of the waist band of tlu^ waist at the centre back. "When putting the garment on, hook the skirt to the waist at this point and the skirt will always be neat and in proper position at the waist line in the back. When the individual is ex- ceedingly broad, then three hooks and eyes are to be applied in the same manner as the foregoing, sew- ing one at the centre back and one at each side at one and one-half inches from the centre back. PLACKET IN PLAIN HABIT BACK TO FAST- EN WITH HOOKS AND COVERED RINGS. Wh.iv a skirt has a plain haliit hack and tiicrc is no trim- ming over any of the scams to cover a placket, it may be at any preferred seam, but the back one is the best. If done properly there is no occasion for it to l)e visible, and the addpd thickness, which is un- avoidable, is more easily disposed of at that seam, ]\lake as follows: First, when stitching the seam stop short of the placket opening, but continue the tacking to the top and press the whole of the seam open. Next, remove the placket, threads ; lay a strip of fine canvas under each edge and turn them back. Then stitch them down from the right side and mitre tlie stitching at the lower corner. Sew hooks (that will not unfasten themselves) and rings alternately and closely under each edge, so that when fastened the edges meet perfectly. To make the inside neat, hem an inch wide strip of material under one edge, and a three-inch-wide one under the other. Turn the latter, after hemming it along the placket edge, back an inch from the seam ; hem it by the fold, and the turned-baek part will form a fly or shield to underlie the opening. The fly may need lining with silk, but if sufficiently firm the edge merely requires binding. The placket should be pressed when stitched and again when finished. PLACKET UNDER INVERTED PLAIT, Where skirts have inverted plaits at the iiack. the placket is cut at the iinderfold of the right plait, this being bound with ribbon seam binding. The waist liand finishes at the end of this top plait, to then close with a hook and eye over to the centre back, another eye having been sewn to the end of the left under belt to fasten with hooks sewed correspondingly to the inside right top belt. When the placket is made in this manner, there will be no fear of the placket opening being visible at any time. PLACKET UNDER BOX PLAIT. Where a skirt lias a box jihiit at the Ijaek. the placket is made at the centre of the liack at the fold of the plait, the plait concealing the opening by being fastened to the left side and hooking over to the right, it being under- stood that the skirt was previously hooked at the centre back. PLACKETS UNDER PLAITED DRAPERIES, ETC. Skirts having plaited draperies have the lihicket opening of the foundation skirt at the middle of the back and that of the drapery at one of the un- der folds of the plaits. Both openings should be faced or hemmed, each separately, and then pressed. Extra allowance nnist be made in the belt to permit of the plait being in proper position when closed. PLACKET IN GATHERED SKIRTS. If the gath- ers ai-e full enough the placket opening may be made in the centre back. If the gathers are scant, then the placket is to be made at one side under a seam. PLACKET IN ONE PIECE DRESSES. The most satisfaetiii-y ]ihiee for )ilaeket ii]ieir!ng in the one jiiece dress is at the centre Inu-k. LENGTH OF PLACKET OPENING. This will de- pend upon tiie size of the individual, varying from 9 to 14 inches in length. Finishing Darts in Skirt Darts must l)e well tajiercd off. Nothing looks worse than a puft'y ending to a dart : it is a sure sign of bad workmanship. The edges should be cut down as far as possible, less wide than those of the seams, and the part toward the jioiut tliat cannot be cut shoidd be carefully laid into a tiny box plait, and as carefully pressed ; then if necessary, a little shrink- ing of the material round the point will make it as smooth as desired. Dart seams, to be correct, should be almost invisil)le. 22 INSTRUCTION BOOK FOR Si:\VIX(; AND IMTTiXC COUUSF. How to Make Collars Take the t'iinvas oollai' pattern wliicli was iiiailc at the first tittiiijr and lay upon iMousscliiu' dc Soic or ChitVon cloth, placing it on the true bias. Carefully mark the Jlousseline all aroimd the edge of the can- vas, also the centre front and centre back of collar from l)ottoni to top. Cut out the collar three-eighths inch outside the markings. This .Mousseline section of the collar is to be used as an inteilining and sup- port for the honing or stays. Now turn in to the wrong side and baste the upper and lo\v(>r edge of the collar at the marking. Run along both upper and lower edge of collar with fine, even running stitch, keeping one-eighth inch from the edge. So;dv- whalebone (See How to Bone Wai.sts ), and when soft and pliable cut lengthwise into strips one-six- teenth inch wide. Slip into the one-eighth inch cas- ing formed by the running stitch on both upper and lower edge of the collar. Cut the wliale bone off at the proper length, and fasten securely at each end. Sew one-eighth inch wide ribbon from the to]) to the bottom at the centre back. IMeasure the sjiace Iroin centre back to centre front at both top and iiottom edges of collar, and divide it into three e(|ual parts. autl sew an eighth inch wide ribbon bone casing at each third from top to bottom edges of collar. The centre front is not to be boned. Cut the hones the proper height for the collar, from tlie one-sixteenth inch wide whalebone, slip them into their respective casings and fasten them securely at top and bottom, and at twice between. All parts of the foundation nnist he the same color as the outer section. Now apply the outside section of the collar onto the l)oned foundation, either plain or draped as desired. Turn all the edges in over the boned foundation, slash so they will lie flat against the boned founda- tion and l)aste thoroughly to position, always com- mencing at centre front and basting to centi'e back. Cut a facing the size of the collar from the true bias of the same material as the foundation, baste to the inside of collar and turn in the edges so they will come to within one-eighth inch from the edges ol collar and fell to position. Collars which oi)en in the back, every part of their eon.struction must be executed by commencing at centre front and bast- ing or sewing to centre back on each side. Should the collar be made by sewing from one end to the other of it, the result will be a collar which twists and will not fit the neck the same at each side. When the collar is to open in the front, then every part must be put together by working from centi'c back to centre front. The same rule a])plies to any and all styles of collais, as well as to the setting of a collar. Baste the collar to the neck curve of the waist at the marking which was made at the lir.st fitting, commencing at the centre of the collar to baste each side. After the last lifting, the collar is to be slijjped stitched to position, and the neck curve of the waist trimmed to within one-fourth inch of the slipstitch- ing. Slash the neck curve to within one-eighth inch of the slip stitching, at ever one-half inch. The neck curve is then to be finished by applying ribbon bind- ing, holding it easy and flat, sewing only at the lower edge (which is to be jilaeed at the slip stitch- ing), and attaching upper edge to iirependieulau bone casings only. TUB DRESSES AND STOCKS. With tub dresses or with stocks the bones are to i)e slipped rroni their casings before laundering same. SHIRT WAIST COLLAR BANDS. These bands ai'e interlined with one or two thicknesses of butch- ers' linen canvas, instead of using i)one stays. Foun- dation and material are all cut one size, i. e., one- fourth of an inch larger all around than the collar is to be when completed. With the machine stitch both inter-linings together several times through the centre ; baste on the outside section, and then the inside, with the right side of the frabric facing the outside of the collar. Stitch all together along the top and sides, taking a one-foui'th inch seam and leaxing the lower edge open. Trim the corners otf lounding, and turn right side out. If the coruers do not come out ]ierfectly. push them out with soiiu> dull instrunu'Ut. Ihning the collar turned right side out. now baste along th<' etlge to keep in position. At the lower edge tui'n to the inside the outer material and the interlining one-fourth inch and baste. Now tui'U up the i'dffi' of the lining letting it come be- tween the lining and the interlining, making the turning one-fourth inch deep and baste. Baste the lower edge of the outer section and infer-lining to the ne(d< curve of the gai'uu'Ut. holding the neck curve of the garment (piile taut to the collar. Stitch to position, and fell down the lining section to cover the .stitching. A row of nuu-hine stitching about one- eighth of an inch from the edge around tlii> collar will greatly improve its ,'i|ii)earance. SAILOR COLLARS. In .-utting the cloth, be sure to allow foi- seams. Line and make the collar, and linish the edges complete, except th(> one that sews to the garment. Where a collar is to be edged with S. T. TAYLOK SCHOOL AND PATTERN PARLORS 23 lace or embroidery, it is cut tlie width of the trim- ming smaUer than it is to be when finished, of course, not forgetting to allow for seamx. The edge of the 'rimming is usually placed between the turned-in edges of the outside and lining sections. The edges are then finished either by slip stitching, or liy machine stitching with one, two or more rows of stitching. Then baste the neck curve of the collar and the neck curve of the waist together, holding the collar slightl.y full around the neck. Take a bias strip one and one-half inches wide and lay it on tlie right side, so the inside edge can be stitched in when the collar is stitched to the garment. Stitch all three together, following the line of the neck. Turn the seam and the bias strip to the inside of the f'.arment, and hem the bias strip down over the seam as a facing. CUT ON TRUE BIAS, All sections of collars are to lie cut on a bias, as far as possible. However, in many instances this can not be done, especially in regard to the outer section of the collar, as much of I he beauty of the design of the material would l)e lost. How to Make Folds Folds are always to l)e ciit on the true bias of the material, for, when cut from other than the true bias a perfect fold can not be made, as ripples are sure to form across it. Work very lightly and do not handle the fold more than is absolutely necessary. L^se great care not to stretch the edges of the fold. Never make straight joinings in folds, always make all joinings on the l)ias. This applies to end joinings as well, which are to l)e seanunl and pressed in the same manner as the other joinings. Under no circum- stances should folds be lapped where both ends meet, unless it is to form a part of the trimming. PLAIN FOLDS OF VELVET, SILK. ETC. To make a plain fold of velvet, silk, dr., cut tliin crino- line on the true bias the width the fold is to be when finished. Cut the edges perfectly even, for any little defect will positively show when the fold is com- pleted. Now cut out the material, from true bias, one inch wider than the crinoline and baste the crinoline on the goods, keeping it exactly in the centre, leaving the fabric extend equal distances on both sides. The edges of the material are then turned over the crinoline and carefully basted. The edges of the material are then to be cat-stitched to the crinoline, using care not to catch through to the right side, A la.yer of cotton wadding placed lietween the outer material and the crinoline will sonu'times improve the outside appearance and give a pleasing- effect. In instances where there is risk of the under- side of the fold showing it is necessary to face the fold with some thin material, such as silk, satin, etc., this entirely depending on where the fold is to be placed, and the manner in whii-h it is to be applied. Folds to be adju.sted with macliine stitching ivquirc no lining, NARROW FOLDS, F,.r a very narrow fohl, the material is cut wide enough to lap over on the under side. FOLDS WITH ONE OVERLAPPING THE OTH- ER, To make folds with one overlapjiing the other, eut strips of the material on the true bias, making them double the width the fold is to be, with one additional inch to allow for sewing or lapping. Thus, if the fold is to show one-half inch when completed, cut the strips two inches wide. If of flimsy and tliin material, line with soft crinoline, taffeta, or satin. Fold over both edges and baste together, be- ing very careful to keep tlie fold perfectly even. The folds are then basted to the garment, each one being fastened by stitching with the machine or slip stitching along the top edge before the next one is added. The edge of the last fold is usually finished with a milliner's fold. MILLINER'S FOLD, To make a milliner's fold, which is a name given to a fold which forms its own piping, cut the material double the width you wish the fold to be when finished. Next turn down the top edge three-eighths of an inch, and the lower edge up one-fourth inch, turning both of these edges to the under side. Now bring up the lower edge to within one-eighth of an inch from the top edge, keeping the right side out, and baste both together There are various M-ays of finishing this fold, one being to slip stitch the one edge to the other, and then adjusting it to the garment by means of the same stitches; or it may be stitched with the ma- chine along its lower top edge and then fastened to the dress with slip stitches. Then again it may be basted right to the garment and stitched with the machine, however, this method is not satisfactory with all weaves, and must not be utilized without tirst trying a sample strip to determine if the ma- tei-ial will work smooth. The dimensions of the fold, as well as the edges to lie turned in, may be changed to suit one's taste. 24 INSTIU'CTIOX BOOK VOW Sl'WIXC AM) IMTTIXC COURSE FOLDS OF CREPE arc uiulcrlincd with silk. SEWING FOLDS TO GARMENTS. Folds may be siipprd stitcliril, iir iii:irliinc stilclicd. as previously referred to iiudi'r ^Milliner's Folds. Folds which arc to be sewed around the bottom of a skirt or any such riiuiidins', iiuisl have the lower edfre of the fcild stretched to make the upper edge lit smoothly. If a fold is to be applied to a hollow rounding, the upper edge of the fold must be stretched to make the low- er edge fit smoothly. How to Make Piping A piping is a border formed of any material on a garment by means of the introduction in it of a pieee of bobbin, cable, or piping cord, for tlu; pur- pose of giving an appeai-ance of greater finish or adding to its strength. All jupings must be cut from a true liias. TO MAKE CORD PIPING. I'la.-e a piece oT the cord to be useil along a strip of material — cut on the bias — on the wrong side, leaving a depth of two- thirds of the width of the strip whi<-h is to lie upper- uu)st, when jilaced on the article to be bound. Tack in the cord lightly, and then lay it on the raw edge of the garment or article to be thus finished; the cord side inward, that is, toward the woi'k. Stitch or backstitch all togethei'. keeping i-lnse to the cord. Then turn all the raw edges inward, and turn in the (lutside one ovei' the others, so as to Un-rn a hem, Whei'c piping is to form the edge of a Idlil. the pip- ing or cording is tii'st adjusted to the fold, then fastened to the garment by .sewing between the piji- ing and fold, the stitches to be concealed. In some instances it is preferable! to fold the bias sti'ip over the cold and run snudl, even stitches thi-ough the bias stri|) close to the coi'd, to hold the cord enclosed and then ad.iust the i)iping to the gai'ment. FOLD PIPING. Cut a strip of material on the true bias; fold o\'er and baste, bringing the two edges together, kce])ing the right side out; adjust the piping from the inside with invisible stitches. Ordinarily, the fold edge of the piiiing is to extend one-eighth of an inch beyond the fold edge to wliii'h it is being applied. Matching Stripes and Plaids The secret of nmtching stripes and iilaids in any garment lies in having a perfect pattern or founda- tion. If there is any doubt as to the pattern being correct, the lining should be fitted before cutting out the material. This will be found necessary for gar- ments which are to be cut from stock patterns; those cut by the S. T. Taylor .system to individual measure- ment will not need any changes. Jt is a very im- portant matter that all scams are cut to one; width, as otlu^rwise trouble is apt to ai-ise in the joining. Hefore cutting, ascertain which way the plaid or strijjc is to run in a garment. I'sually all plaids are so arranged that the darkest sti-ipes I'lni across the bottom, with the lighter shades going upward; flowers and figures to be taken in the same direction. ARRANGING PATTERNS ON STRIPES AND PLAIDS, .\rrange the pallcrn onto the mat. 'rial in \vha1c\i'r manner it is desired to have the design I'un in the garment; if a diagonal oi' V shape effect is desired in any section, it will be necessary to lay the ])atteiii of that section on tl:e bias or diagonal of the material; if a hoi'izontal ell'ect is desired, the* the section of the pattein is to be placed with the design running horizontal, etc. Diagonal weaves should never be matched into Vs, where\er it <-an be avoided, for, as tin* fabric would hax'c to be taken lengthwise and cro.ssM-ise to admit of such matching, there would be chances that one .side of the waist would not fit as snuiothly oi" the sanu> as the op- jtosite one. It is quite essential, that from wliati'ver thread of the material the one side of the garment is cut, the 0]ijK)site side nuist be cut I'rom the same thread to give sjitisfactory results. CUTTING PLAIDS AND STRIPES. Cut out one section from a single thickness of material at a time: then take the portion just cut and place its right side on the i-ight surface of the fabric so that the stri|)cs or plaids will ])erfectly match, and cut out the o])posite piece. By this same method all .seams mav be matched. S. T. TAYLOR SCHOOL AND PATTERN PARLORS 25 Stitches— Tacks— Finishings Fig. I. Fig, 2. Fig. 4. THREAD— NEEDLES, Thread 20. 2i and ;U). use Xo. 5 needle. Thread 36 and 40, use No. 6 needle. Thread 50 and 60, use No. 7 needle. Thread 70 and SO, u.se No. 8 needle. Thread 90 and 100, use No. 9 needle. Thread over 100 use No. 10 needle. Only the best quality of needless are to be era- ployed. Before using, always test a needle to make sure of a sharp and perfect point. Never use a needle which is blunt on the point, or which has be- come l)ent. The size of the thread to be used de- pends upon the quality of the work. Never use other than a good quality, smooth thread. TO MAKE A KNOT hold the end of the thread between the thumb and first finger of the right hand, wind the thread once around the end of the finger, twist the end twice into the loop with the thumb. With th(> middle finger pull the loop to the end. THIMBLE. Place the thimble on the second finger of the right hand. The thimble must fit perfectly; otherwise, the operator will be unable to do accurate .work. HOLDING THE NEEDLE. Hold the needle be- tween the thumb and forefinger of the right hand, the eye of the needle on the thimble; press the needle gently betM'een the thumb and forefinger. It is a great fault to hold too firmly to the needle. BASTING. Always pin carefully before basting (If the materials are silk or velvet, use needless in- stead of pins). For basting use No. 50 thread and No. 7 needles (betweens or tailors' needles). In basting take only one stitch at a time, basting ac- curately and true enough that the basting may be used as a guide when stitching. Careful basting ])reveut.s the seam or goods from puckering. EVEN BASTING. The term "even l)astiug-' means to make llie stitcli the same length on Ijotli the Fig. 6. 26 I.NSTlUCTiON I5()()K l-OK Sl^WlNC AM) FITTIXC COUl^SE Fig- 7- iilipcr and hiwiM- side; this stitch varies in length fi'Dni onc-eigiith to (ine-l'oiii-t h incti, deijending upon where it is to l)e utilized. This way of liastin^- is used for seams of dr(>ss waists and where two or more thicknesses of material is used. See Fig. No. 1. UNEVEN BASTING. The term "uneven hast- ing" mi'aiis to make the stitch one inch long on the upper side and one-l' Kunning Stitch, Fig. No. 3.) SHIRRING. Sliii'riiig is (lone by making several i-o\vs (iT Liathi'iings dircftly under each other. Mark the required iiiiiiiher ol" rows at the desired distance from each otiii-r. In soft materials the finer the stitches, the more lieautiful the shirring. The gatli- ering can he drawn up on the threads, or by coids run between the rows. See Fig. No. 114. BLIND STITCH. This stitch ifj used for fasten- ing tlie rolled :ii)d invisible hem. to attach folds to garments, also milliner's fold, etc. For making blind stitch take up but one thread of the cloth, and before drawing the needle init. lake uj> one-Fourlli PRICKING Is rnipldved in baek-st itching through on unusual thickness; the lU'cdle is i)assed straight through and back as in [lutting on a metal button. To i)ick up a stitch with a sufficiently strong needle for the iturjxise would displace the relative positions (if the textures. STOATING. Stoating is used to join two ends or I ilges tiigetliei' when it is desirable to make the join Matter than an ordinaiy stitched seam would do. A \('i-y thick cidlh may sometimes be joined raw edge to raw edge by this stitch in places where there will be no strain and an invisible join is desired. (See Fig. TV.) DRAWING. Drawing is a stitch worked from the right side, to di'aw two ends ov edges together and FIG. III. — FELLING. inch of the edge of the fold. In making rolled hem and attacliing folds to garments, the needle is so placed that the inside section of the outside is caught to the inider i)iece. SLIP STITCH. To slij) stitch two edges together, pass the needle in between tiu; folds of the two edges, catching first one then the other, using care not to catch to the outside of cither edge, and not drawing the needle out until at the end of the thread or the material. The less fn'(|nentl.v the needle is drawn out and started again, the more smooth and perfect will be the edges which have been slipped stitched. leave an appeai'aiice of an ordinary scam. The cliiel' characteristic in the working of this stitch is to in- sert the needle in the one edge exactly opposite M'here it came out of the other one, to prevent eas- ing the one to the other ov showing the stitches. (See Fig. V.) FINE DRAWING. Fine drawing is applied to join two raw edges of cloth, usually a tear, so as to render the break as invisible as ])ossil)le. A very fin(! needle threaded with finest silk twist must be used, and passed backwards and forwards just under the surface of th(> Tnaterial, all tlu' stitches being care- I'ullv made in dill'erent lengths, so as to a\-oid a ridgo S. T. TAYLOR SCHOOL AND PATTERN PARLORS 29 wliere tlipy ceasp. AVith very thick toxtiires it is often necessary to work on l)()tli sides. The surface of tlie cloth slionld be scratched up with two fine needles held together, then pressed from the wrong side with pieces of linen on both the right and wrong sides of the eloth. In some cases, the one between the iron and tlie eloth would require to be dampened a little. TACKING— Tacking, as a term, signifies to nin two edges together preparatory to stitching them with the machine; it differs from "basting" in that basting generally refers to securing any two flat sur- faces together, or running a thread round any part of a pattern to define the seam lines, making quite large stitches. strong fine twist is used for it. Fig. VL illustrates the actual tacking stitches and the finished bar. FELLING. AVhat in ordinary dressmaking is un- derstood as felling is practically to hem down a turning or edge ; but various kinds of felling stitches are to be employed, according to the work in hand. As a rule, the edge to lie felled is turned awaj' from the sewer, the exception being that of an outer edge ; that is turned toward the sewer, and felled from left to right, instead of from right to left. Of the three specimen stitches illustrated in Fig. III. No. 1 is used when a very slight seam is required ; the needle is slanted forward, likewise the stitch, enab- ling the work to be accomplished very quickly ; biit there is very little strength in the stitch, and there- FIG. VII.— BUTTONBOLE STITOH. Tacking, as a stitch, means staying, to form a stop or security to corners where an opening occurs or a seam ends, such as pockets, plackets, etc. ■ TO MAKE TACKING STITCH. Several long stitches (hegiiuiing and ending at different places for additionjil strength), are worked through the cloth and interlining crossing the end of the open- ing; they arc then sewn over with slanting stitches placed as closely as possible, each one going well through; when it is finished the bar should sink well into the goods. Sometimes, instead of this, a mitred design in machine stitching or a fan worked by hand is used; but the bar is the orthodox tailor finish; fore, when there is the likelihood of any strain at all on the seam, as, for instance, to a facing on the inside of a garment, say at the armholes or neck, it would not be firm enougJi, and then either No. 2 or 3 must be employed, the last being the strongest of the three, as the needle and stitch both slant the same way, and the needle is put in the fold first, and so gets a good hold of the goods; it will also be seen that in working this stitch the seam is held perpen- dicular and worked toward the sewer. SERGING. Serging is the tailor name for over- casting, which see. LOOP STITCH. When an edge is very much iu- .30 INSTIUCTIOX BOOK l-Oli Si:\Vl.\(; AM) F1TTL\(; COLKSl^ ^:^ Fig. 2 1 ilined to fray a loop stitch, such as is used to finish off the edfjes of blankets, etc., is employed instead of over<'astin]oye(l ; this is also fre- ([uently worked on a narrow turning that is not fastened down, as it gives an additional security to the seam, and if an accident should break the seam stitches the turning will not give way because of the cross stitch, without which it would be very liable to do so. Fig. No. l;5, slu)ws the ordinary cross- stitch, with needle in position to work from right to left. Fig. No. 14 Shows the eross-stiteh used to finish a hem. FEATHER STITCH. SINGLE. Fig. No. 1.", .shows a single feather stitch. This is also known as a herring bone or lu-iar stitch. This stitch is worked lengthwise. Start from the right, then to the left, keeping an even line. See Fig. No. 15, needle in po- sition. This stitch is used as a finishing stitch on bone casings, hems, etc. AVhen a hem is finished with a fancj' stitch, the hem is turned to the right side of the garment. FEATHER STITCH, DOUBLE. Fig. No. 17, rep- resents :i dcMililf I'rathi'r stilrh. This is used when a more elaborate stiti-ii is desired. KENSINGTON STITCH. Fig. No. 10 shows the kensington stitch with the needle in position. CHAIN STITCH. Fig No. 11 shows th stitch witii the uccdle in position. •ha in Fig. 22 Fig. 23 S. T. TAYLOR SCHOOL AND PATTERN PARLORS 31 MACHINE STITCHING. First, soo that the ten- tioii ill the mauhiue is neither to tight nor too loose, with a stitch the proper h'ngth according to the thickness of the material to be stitched, and run the machine with a steady motion (not too fast). Silk tliread should always be employed, for it not only wears better, but is more elastic and yields to the pressing more effectually tlian does cotton. Stitch true and even, as much of the beauty of the gar- ment will depend upon the stitching. Always see that all basting is strong enough to firmly hold the two edges to be stitched, and so prevent one edge being "pushed" when sewn by machine. GUSSET. A gusset is a piece of cloth cut in the shape of a triangle and used to enlarge, and as a stay in an opening at the end of a seam. It can be cut any size desired. Take a piece of cloth two by two inches and fold to form a triangle and cut in the fold. Always set a gusset into a seam, never into a rent made by cutting down, as the hem on edge cannot be Avell finished ready for gussets. Put a row of stitching across the bias fold of gusset after set in. TO MAKE A TRUE OR CORRECT BIAS. To make a correct bias, cut directly along a thread crosswise of the material ; then fold the corner over so the straight cross edge wiiich has .iust been cut, will lie directly along a lengthwise thread of the material. HEMMING. To form a bciii. turn the edge of the material in one-fourth inch and crease, on woolen or soft material baste to position, then fold the width of hem desired and liaste near the edge of the first FIG. IV. — STOATING. lohl. Ibild tlie hem over the first finger of the left hand, holding it in place with the thumb and second finger. Insert the needle in the edge of fold, ])oint from you, one-fourth inch from the end of the hem, taking up two or three threads. Pull the needle through, holding the end of the tliirad under the tliumb. Now place the needle through the end of the hem, needle pointing towards the left slioulder; take up two or three threads of tlie cloth and the same of the fold. Continue taking the desired stitch, being careful to make the stitches even. In starting a new thread, place the end of the previous thread under the hem and start as beginning. Always cut, never break the thread. To fasten at the finisli take two or three stitches over the last one taken. Fig. No. ■") shows the stitch and needle in position. HEM IN HEAVY TEXTILES. In heavy t(>xtiles the edge of tlie hem is not turned in. To make this neatly, lay the cloth with the right side on a board or table, turn over the hem the depth required and baste down ' smoothly with about one inch stitches one-half inch below the raw edge. Cat or cross stitch (see cross stitch), the hem from left to right, so tliat one stitch will rest on the hem, one-eighth inch back from the raw edge, and the next in the material just below the hem, so on alternately the full length of the hem. Care must be taken to keep the hem straight. When taking the stitch in the ma- terial, be careful to only catch one stitch of the fabric, so that it will not show on the right side. Do not |)ut the stitches very close or draw the thread tight, as the latter would cause the outside to show dents at every stitch made. Use a very fine needle and fine silk thread. Fig. No. 14 shows the cross stitch used to finish a liem. HEM IN THIN FABRICS. In thin fabrics the hem is seldom left with a raw edge, as all edges which ravel should be concealed. Therefore, the edge of the hem is to be turned in and the hem basted over according to instructions for "Hem- ming." It is then to be felled or cross stitched to position. The cross stitching lieing done as instruc- tions for "Hem in Heavy Textiles." To do the fell- ing properly, and so it will not show on the out- side, use a very fine needle and sewing silk the identical color of the fabric. Pass the needle first Ihi-ough the edge of the hem and then take up one stitch in the material close to the hem, and so on, alternately working right to left. Not more than one top thread of the material is to be taken up when making the above stitch, as otherwise the sew- ing would show on the right side of the material and this must be positively avoided. IMake the stitches as far apart as practical and leave the tlireail quite loose. I.NSTKL'CTIO.N BOOK FOR SEWING AMU I'lTTlMG COURSE HEM WITH BOUND EDGE. The raw oilgo of a hoin may lie tiiiislicd liy adjusting nl>li<)ii hiiuliiig flat on the raw (hIko of llie fal)ric. Tlu' i-il)l)on bimling must be sewed on a little full. The other edpre is to he felled to the material. If this is done neatly it will make a very pretty finish. HEM ON OUTER SIDE OF GARMENT. On fahrirs li:i\iii^' doiililf i'^irr. (ir hoi h sides alike, it is a uuitti'r of individual taste wiietlier tiie iiem is turned to the i-ight or wron»: side of (he material. It frequently making a very pretty finish and trim- riiinjr in itself. When hems are to ,be turned to the outer side of fabrie, the seams are clipped to the depth required and are tui'ned to the rijjht side as represented in Fig. No. 24. The hem is then turned over and blind-stitehed. slipped-stitehod, eros.s- stitched, feathei--stitehed, double feather-stitehed, or machine stitched. NARROW HOLLOW OR ROLL HEM. Do not try to tiu'n in the edges, jdace the edge of the material between the tluuub and tiist finger and with the thumb roll the I'aw edge in, either to the right or wrong side as desired, then fell or blind stitch to position. Uo this work very lightly and do not handle it more than is absolutel.v necessary. "When rolling this hem to the outer side, the seams are to be clijiped to the depth required and are turned to the right side as represented in Fig. No. 2-t. The roll hi'm is the most dainty and narrow hem made. FRENCH FELL HEMS. Fi-cndi fell hems are frequently used on rutfles, etc., and ai'e made by turning in the one edge to the depth of about three- quarters of an inch, and stitching along the seam one-eighth inch from the edge. Turn over and fell to i)osition. (Sec Fig. No. 11."). i HEMS IN WASH FABRICS. Arc usually stitched by machine, although in the liner fabrics hand-sew- ing is better applied, and ever so much more dainty ,-, iid pleasing. CORNERS OF HEMS, TO MITRE. This is one part of garment-making which demantls particular attention; for if the corners of a hem are not well made, the result will never be artistic. Ripping and undoing the parts will spoil the smooth appearance of the hem. Turn the hem over and baste to posi- tion along one edge and then along the other edge of the material. This will let the hem of the one edge rest directly across the hem of the other edge at the corner. With tracing wheel or thread, mark diagonally from Avhere the two hems meet at the upper edges out to the point of the corner. Open the corner, and cut at one-fovirth inch outside the marking of both the upper and lower hem. Fold in the edge of the mitre of the upper hem at the mark- ing and fell, slip-stiteh or machine-stitch to posi- tion to the under hem at the mark for the mitre. Or the mitre may be stitched on the wrong side, the seam opened and pressed and then turned over and sewed to position. Or it may be joined by means of the drawing stitch. Under no circumstances should extra fullness be left to lie underneath a mitre where a flat finish is desired. Tf the work has been care- fully done there will be a perfect res)dt. All hems are to be well pressed when finished. (See Press- ing.) Facings SHAPED FACINGS. If th.'re is t.... much ol' a curve, either rounding or hollow, to admit of a smooth hem then a facing is by far preferable. Fac- ings are usually made of the same material, silk, satin, or fine broadcloth. The facing is cut the same shape as the curved edge, on the same thread of the material, allowing for one-fourth inch s<'am turning both low(>r and top edge. Then turn in the one- fourth incdi at both top and bottom and baste to po- sition with three-c|uai'ter inch stit<'hes. Turn in the bottom e<1ge of the section to be faced one-fourth inch and baste to jiosition. The facing is now to be lia.sted to the section, by ])lacing the wi'ong side of the facing against the wrong side of the section keeping the lower edges even. The lower edge is then to be slii)-stiti'he(l, and upper cd'4-e blind- stitched or machine stitched as uia\- lie desiied. The upper edge of a facing may be ]iinld at both cuds. EYELET BUTTONHOLE. Fiy. Xo. 2.). illustrates the eyelet buttonhole. For garments of hea\y doth and foi" many Iiodiees this stylo buttonhole is the best and most satisfactory in all respects, as il pro- vides a resting jilace for the shank of the liutton or the stitches holding the button. To work this imt- totdiole pi'oceed exactly the sanu' as instructions given. "Ilow to Work HuttonlH)Ies, " with the ex- ce|)tion, when the eyelet is readieii, the woi-k must be adjusted a trille so that the twirling movemeni of tlu^ working thi'cad nuiy be nuule in a slightly difTci-cnt direction, thus forming a corner at the be- ginning of the eyelet ; and these m()v<'nu'nts are to be reversed at the o])i)osite side to i)r()d\u'e a similar coi-n(!r at the end of the eyelet. The ba(d< end of the eyelet l)uttonholc may ' be 'Maidced" or "bar- stitched," PRESSING BUTTONHOLES. After the l)utton- holcs air Worked, their straight edg(>s should lie elosely basted togdiier \ty ,-in over-aiid-ovei' stitch. nuide by pushing the needle up and down over the edges just back of the stilches. Then they arc to be pi-essed through a dami)ened cloth (the dampened cloth is to be used on all buttonholes when the goods will permit). Eyelet bultonholes are to be pressed in the same numner, and before they are dry, a stil- etto or some similar ivory or metalic instrunu'Ut should be pushed vigorously up through each eydct until that oijcning beconu's jjcrfectly round and the stilches around its edges are regular and distinct. Then, when the bastings are renu)\-eil. the button- holes will Itc syiiii'trical in appc.-iraiicc. TO MAKE IMMITATION BUTTONHOLES. The iiiiilation buttonhole nuiy be constiueted in various ways, the styles lieing largely governed by indi- vidual taster Some are worked right on tlu' gar- ments in their respective places by applying a thin cord over which a buttonhole stitch is work'ed into the shape of a buttonhole. Another nu'thod is to cut a piece of cable cord, medium size, twice the length the buttonhol(> is to be when eom]deted. Cut a bias sti'ip of the fabric till' buttonhole is to be made of just as long as the cord ami wide enough to cover same, allowing enough for felling over each other on the under sid<'. ("are must be taken to draw the material smoothl.v over the cord and to avoid twisting it. Fold ovei- so that both ends meet and sew together with over- handing stitches, twisting the tliread around the ends as a finish. The ends are usually concealed beneath a button. To adjust this buttonhole to the garment. sew through th(> centre where both edges have been joined togethei'. liuttouholes to be made (d' plain or fancy cord ai'c made in this same way, with the ex('(q)tion that the covering is omitted. A very prett.v trimming buttonhole is ibnie in the following manner: Cut a bias piece ol' the chosen fabric one iiu-h wiile and four and one-half inches long — these dinu'Usious nuiking a buttoiduile of one and one-half inches in length when completed, -loin both ends of the sti'ip together on the slant and jircss the sciun o])en. Next turn down the upper edge about one-eighth of an inch and the lower one up three-eights of an inch. Now fold up this lower edge lo w itliin one-sixteenth of an inch from the very top edge and slip or blind stitch both edges together, being cautious about getting stitches through to the outside. This strip is then folded into the shaj)!' of the butlonhole. (If the buttonh(>le has been nuule from nuitei'ial other than silk. ]U-ess it slightly before forming it.) The ends are to be well tacked before attaching it to the garnu'nt. To fasten, blind or slip stitch from underneath along each side of the i)uttonholc. Do this veiy dainty, as ])ressing the but- tonhole too much with the fingers will give it a plast- ered clVc-l. S. T. TAYLOR SCHOOL AND PATTEIiX PAHLOI^S 35 To Sew on Buttons Have all parts stayed with tap<' nv a strii) of canv- as along the line you wish to sew on Inittons. li' pos- sible, have this stay eoneealed between the lining and outside fabric. Make marks to designate the place where the centre of the button is to rest on the garment. Shank buttons are to lie sewed on running parallel witii the buttonhole, not lengthwise, unless eyelet buttonholes have l)een nuule, then it will not make any difference. Buttons without shanks, that are to be sewed on through holes in them, must be sewed very loosely to permit of winding the threads to form a thread shank, thus pi-eventing a drawn and gapped appearance on the buttonhole, when but- toned, and at the same time it iiiereases the dura- bility of the work. SEWING ON BUTTONS FOR TRIMMING EF- FECTS. Whei-e buttons arc to lie used \\>v triiii- mina-, those with holes and flat sli.-inks are sewed close to the garment and not wound. When but- tons with wire shanks are to be ad.justed, pierce a small hole just where the button is to be placed, and pass the shank of the button through this and fasten on the underside with a shank ring; or, if none are at hand, pass a cord or tape through the shank and fasten by sewing it firmly to the lining on each side of the shank. Where several or more buttons are to be fastened with one cord or tape, leave the latter a trifle loo.se between them — just enough to ease it — for drawing the same would cause the outside fabric to draw and «rink'le. THREAD FOR SEWING ON BUTTONS. Silk twist or cotton thread, the latter in number from 8 to 40, according to the size of the button, are to be used. Always use doid)le thread to sew on buttons. The knot of the thread must be invisible ; place it between the button and fabric, or between the stay and outside fabric. Harmonizing and Becoming Colors A gown should never be anything but the fi'ame for a picture — elegant and costly, li you will, but still a frame; and it may be observed, as a general rule, that while a gleam of lich color suggests in- finite possibilities, the same coloi- coxering a large area suggests nothing but monotony, and this is to be avoided where colors are to be used for triuuning. In the selection of colors it is imiierati\e that one should know just what shades harmonize best with the hair and complexion, ('ontrasts are full of artis- tic possibilities, but the.y nuist never be glaring. It is always an evidence of bad taste to wear any color that by reason of its brilliancy attracts attention to itself. The hndsomest garment will ajipear ugly where the color is not becoming. BLACK IS A STAND-BY. It harmonizes with all times and occasions and suits almost every com- plexion. It is the leading favorite with all classes and conditions of women, and can be depended upon in any emergency. Even a sallow bruni'tte loolvs well in it. and a dazling blonde in a handsome black costume is a feast for the eyes. There are various shades of black — the dull deep blacks being chosen for mourning, tin' othei' lilncls. In gi'ays, choose blue gray for the l)londe, and a pink gray for the brunette. Lavender shades are also bcrdiniiig to lii-unettes of fair complexion. In the selection ol' tones, haniKUiy is the secret of success. To Improve the Figure— Becoming Lines The artist finds in the lines of a- gown or suit as great a field for the display of judgment and talent as in the coloring, oi'namentation and texture of the material. The study of three things is necessary in order to secure a style of dress which will conform to a certain extent to the dictates of fashion, and l)e artistic anil i)ee()ming. The three essentials ai-e form, coloi' and fabric. A woman who has an ele- gant figure nnist make the most of it, and each one nnist study the style of dress wlii<'h will bring out her gooil points and cover up her defects, .\o gown or suit can possibly be stylish unless it is becoming to the individual. Stout women should avoid lough. hea\y falirics. These are to be left to the tall, angular woman, while those who are petite may revel in light diaiihanous nuiterials, with plenty of laces and ribbons. Another jioint worth consideration is, that while many women have short waists and long limbs, oth- I'rs have extreme length of body coujiled with short- ness of limb. Tn the first instance long wjiist eifeels and full skirts with horizontal trimmings will bi' found mt)st becoming; while in the sei-ond. round waists and straight sweeping skirts will add ap])ai- ent length to the Iind)s and heighth to the ligure. On the princijjle that vertical strii)es tend to (dongate. and horizontal stripes to widen, stout wom- en always look best in the former, while the latter are ada])tcd only to the tall, slender women. This mil- also ai)plies to plaids. Narrow stripes ai'e to lie avoidetl. when a pronounciMl effect is sought, as only broad stri])es hav(> character. These as well as plaids, nuist he accurately matched in making. Quiet coloi's and designs ai'e essential both in textiles and in garnitures, when the wearer's avoirdujjois is ex- i-essive. No nuitter how strong the temptation may be to choose glowing colors and bold ])attei'ns, it cannot be yielded to if really tasteful dress is de- sired. For bodices, any decoration that tends to give the waist a tajtering effect may be safely ado|)ted by llie woman of more than average rotundity — all hij) triiiindngs to be avoid<'d. A waist pointed front and liack. and short ovi-i' the hips, will adcl very much lo giving Ol- making a gond figure. Women of aver- age size can wear almost any style, wherea.s, the slim woiium must ado|)t the full wai.st to give her a broad effect. Plain wiiists ;ire to be entirely disre- garded by the slim woman. Loose fitting conceals and tightness emi)hasizes the good or bad qualities of the lines beneatli. For this reason it is .just as imi)ortant to gown the large figure loosely as the small one, hut unfortunately, the aver- age large person does not realize this fact as keenly as the vei'v slight individual does. Of eoui'se, the tri'atiiumt of the two figures is i|uit(> dilferent, but the prineijile involved is the same, nanndy, that of concealing the undesirable lines, and when this is not accomplished, the sight is a sad reflection on the woman's gown-maker, whose; duty' it is to save her fr(nu such exhibition. If any of the nnsightliness is due to poor corsettiug, this fact will not excuse the gown-maker, as she should not be foolish enough to attemjit to build a gown on such a foundation, foi- the I'orset bears the same relati(ni to the modern gown that the foundation of a huihling does to ai'chitecture. Insist on your customer being well corsetted if .you have any' hope of your work show- ing qualily. (This does not mean that she must part with a fancy i)riee for a custom-made corset.) If a (li|)lomatic explanation to your eustomei- of the ne- cessity of projH'r stays does not convince her of the reasonableness of your recpu'st, you shoidd, in jus- tice to yourself and your work, refuse to aeci>pt her order. It is a mistake for the stout woman to cling to the old-fashioned stays, that permits, and helps to increase the size and quantity of fatty tissues of the abdomen; that destroys all "poise" and "car- riage;'' that eb^vates the bust to a horrible line which shoi'fens the length of the neck (in effect, if not in I'cality), and which does not i)oss(>ss a single ]ioint in its favoi'. A sei'ions and common error is often made in lacing tiie slay to tight, causing the llesh to protrude above oi' lielow. This difHculty is easily overcome by using three lacei-s, each one lac- ing about one-third of the stay. The centi'c laeer is used to take the great(>r ])art of the strain, while the lop and bottom ones are drawn only sul'lieient ly tighl to make the stay lie smoothly ;igainst the liirure. S. T. TAYLOR SCHOOL AND PATTERN PARLORS 37 The hartlest of all the aliiidiiiiMl lines to eoueeal is the large abilomen. Tlie best remed.y available is tirst to make sui-e the skirt does not poke out in front at the bottom, l See Filtinj;- Skirts.) Seeondly, the bust should be liuilt mit. \\licity and accuracy, and to the fact that it can be adapted to every change in fasiiion. It is used by the S. T. Taylor Co., in designing and cut- ting every one of their celebi-ated Le Bon Ton pat- terns. Le Bon Ton is published by the S. T. Taylor Co.. and is acknowledged to be the most exclusive and highest class fashion magazine i)ublished. Definitions and Pronunciation of Some Technical Terms Used in Dressmaking and Tailoring Accordion Plaiting (Ak-kor-dion IMat-ing i —Singh jilaits to staml back and forward, as the bellows on an ai'cordion; can only be doiii' by machine. Ajour (Ah-shuri — .\n openwork in embroidery. All)atross (Al-ba-ti-ossi — A soft, fine wool ma- terial. Antiijue (Au-teek) — Generally used to designate of former centuries. S. T. TAYLOR SCHOOL AM) PATTLHN PARLORS 39 Albert Cloth — Xamcnl for JiJnglands Prince, is a reversible all-wool material, each side of different colors and so iinished that no liiiino; is required. It is used chiefly for coats and cloaks and is better known as "golf cloth." "plaid nack," etc. Appliiiue (Ap-plce-kay ) — To apply one material to another, as lace ornaments are sewed to silk and the like ; also used to designate a certain embroidery and lace. Ajtron (A-pron) — A drajied or flat skirt front. Ai-abesque (Ar-a-besk) — Scroll figures. Armure (Ah-moor) — A fancy weave having a birds-e ye or diaper effect. Astrakhan (As-tra-can i — Fur of the astrakan goat, very wavy and short. Astrakhan Cloth — An imitaticm of astrakhan made with a glossy, curly fur. Haby. or Persian Lamb (Per-sheu) — Fur skin of the stillborn lamb. Basque (Bask) — A tiglit-titting waist extending beloM- the waist line in different shapes. Batiste (Ba-test) — The French word for lawn, fine white cotton or linen fabrics, sometimes printed. Batting or Padding — Cotton or wool prepared in sheets for quilting or interlining. Battlements (Bat-tle-ments) — Square cut tabs. Beaver (Be-ver) — Similar to kersey, but Avith a long nap ; soft, thick nap inside. Bayadere (By-a-dare) — Uucvi'n stripes runuing crosswise of the material. Bedford Cord — A closely woveu woolen or cotton cloth having a raised corded surface similar to pique. Bengaline (Beu-ja-leen) — A material with a heavy filled cord covered with silk or wool. Bertha (Bertha) — Any kind of a trimming such as a ruft'Ie or shaped rever following tln' outline of a low-necked or yoke waist. Beurre (Bu-ray) — Butter color. Bias (By-as) — The diagonal edge of matt'rial. Bishop Form (Bc-shuj)) — A shape, like sleeves Avorn on the robes of the Episcopal Church, either plain or gathered at the top, the fullness at the lower part being caught to a liand over which the fullness dro])s to form a puff'. Blazer (Blaseri — A cutaway .iaeket, generally un- buttoned in front, and extending below the waist line. Blouse — Loose round waist, or in other words, a full waist to drop over the waist belt. Boa (Bo-ah) — A long or short Huffy ariicle for tlie neck ; made of feathers, fur, lace, etc. Bodice (Bod-is) — A close-fitting waist. Bolero (Bo-leer-ro) — A small, i-ouml sleeveless jacket. Border (Bor-der) — A garniture at the edge or just above it. Boucle (Boo-clay) — Tiny locks of hair scattered over the surface of a avooI material. Bouffant (Boo-fon)— A very full effect. Bouillounce (Bul-yon-nay) — A [)uffing. Bourette (Boo-ret) — Kongh threads or knots in straight or uneven stripes. Box-plait (Box-plate) — A liaek and forward laid plait. Bretclle (BraytelD— A re\er-band, or the like, extending from the shoulder to the waist line, front and back ; often known as suspender trimming. Brilliantine (Brill-yan-teen) — A coarsely woveu moliair with a glossy surface. Broche (Bro-sha) or Brocade (Bro-cade) — An em- broidered effect obtained by weaving. Broadcloth — A fine woolen cloth with a glossy finished surface. It takes its name from its width. It is used for men's and women's wear. Buckram — A coarse, plain woven linen or cotton material used for stiffening. Buckskin — A stout dooskiu with a more defined twill. Brode (liro-day) — Eml)roitlcred effects. Cabuclions (Ca-boo-shon) — Large, usually round, ornaments of jet, inetal, glass, pearl, etc., used as a trimming. Cambric (kam-brie) — Fine white linen, also made in cotton in imitation. Camels ILnir — A beautiful, soft, silky fabric, usu- ally woven like du'viot of hair of the eanud or goat. Canvas — A closely woven linen or cotton material used for stiffening. Canton Flannel — A stout, twilled cotton cloth with a nap on one or both sides, used for clothing or deco- rative purpo.ses. The cheaper grades are used for interlining silks, etc., to give them extra weight. Caracule (Ca-ra-cool) — Fine astrakhan fur, with a moire or watered appearance. Carreau (Car-ro) — Cross-bar, square or checked figure. Cashmere (Cash-mere) — A soft wool material \\ith a diagonal ril) on the right side. Cascade (Cas-eade) — ilaterial eut slant and plaited over each other to form shells. Cliangenant (Shan-sluin'i— or Chameleon (Car- may-le-on") — Two or more colors woveu together to produce changeable effects. Chenille (She-neel) — A soft, hairy cord. Cheviot (Siia-vi-ot) — A wixd material with a diag- onal cord. Chitt'on (She-fon)— A very soft, flimsy, thin silk material. Chine (She-nay 1 — An effect produced by printing 40 LNSTKLCTION HOOK [•OK Si:\\I.N(i AM) I'lTTlNCJ COURSI>: the warp Ix'foiv wraviiiu- iind tln'ii tilliiiu with plain colors. Clunix (Shoe) — A huy:e rosette. C'oHarette (Col-lar-et)— or Collet (Col-lay )— Vari- ous shaped collar covering the shoiildcis. Corduroy (Cor-de-roy) — A heavy rilthed vilvctei'ii. Crash (Crash) — Coarse kitchen toweliiiij-liki' ma- terial, in colors ranging from crru to Inowii. Cravattc (Cra-vat) — A how or (he like worn al Hie neck. Crepe Lisse (Crape-lease) — A rrapc-liiiislic(i silk fahric. very thin and trans])ai-eiit. Creponette (Cre-pon-net t — A cri-nklcMl crcpr dr chine. Crushed or Drajx-d Relt — A bias pii>ec o1' material laid in folds. Cuir (Queer) — Leather colored. Cuirass (Queer-ass) — A perfectly plain rhise-littini:' waist. Deheifrc ( Day-haysh) — A sol'l wool material -woven in niixed colors of j;rays and browns. Decollette ( l)ay-col-t ay )— Low-necked. Denim (Dc-nini) — A lieavy cotton matei-ial with a smooth finish on the up])er side. Doeskin (Doe-skin) — A coni])aet twilled woolen, soft and i)lia])le. Di-illintc. Dresden (Drcs-den) — Pi-intcd tifrnres reseiidilini,' Dresden china. Drop Skirt — A skii't of dress material made separ- ate from the lining, hut joined in one belt. Dutch Neck — The waist cut scpiare or round two inches below the throat. Empiecement (Em-])iece-ment) — A piece set in where outer material is cut away. Epaulette (Eh-|)aw-let) — A shoulder trimming to extend o\'er top of sleeve. Etamine (Eh-ta-nieen) — A transparent \\d\-en wool or silk and \vool uiatei'ial. Eton (E-ton) — A .short stiuare-formed jacket. Eyelet (I-let) — A hole or loop worked in a gar- ment to receive a hook, cord or the' like. Faconne (Pa-son-nay) — Fancy. Faille Francaise (File-Frahn-say) — A silk material with a soft cord. Fantasic ( Fahu-ta-see) — Something imaginary. Felling (Fell-ing) — To hem tlie edges down of a seam to protect the edges. Farmer Satin — A lining of cotton, chain or war|) and wool filling, finished with high lustre. Festooned (Fes-tooned) — Drapelaiti'd or sewed or gathered through the centre. Running Stitches — Are doiu' by passing the needle in and out of the matei'ial at regular intervals. Sateen (Sa-teen) — A cotton satin finished material Satin de Lyon (Sa-tin-day-Li-yon) — A fine (|uality of silk manufactured at Lyons, France. Scintillaute (Sin-till-yant) or Changeant (Shahn shalin) — Changcidile. Selvedge (Selv-edge) — A finished edge ol' the ma- terial that cannot unravel. Serge (Serj) — A wool material with a diagonal cord or twill. Serge — To overcast. Serpentine (Ser-pen-teen) — Spiral or twisting shape. Sha])ed Belt — A wide belt cut to fit the figure and kept in shape with whalelxmes. Shirring (Shii'r-ing) or Gott'ering ((iof-fer-ing) — Is done by making several rows of running stitches parallel with oiu- another, and the material drawn together over these. Sicilian (See-sil-yan) — A wiry glossy silk and woul materials nuudi reseml)ling brilliantine. Spanish Flounce — A deep gathered lloutice Joined to the edge of a short skirt. Shoddy — Waste thrown otY in s|iinniiig, slii-eddeil rags, and hits of cloth nuinipulalcd into new cloth. Silesia (Se-li.s-ha) — A light close woven, fine twilled-cotton fabric used for dress linings, etc. Stock Collar — A full or draped piece of material drawn over a j)lain foundation collar. Stole — Pieces of material worn down each side of the front the same as a Catholic Priest wears over his gown. Strass — Paste or artilicial diamonds, commonly known as rhinestones. Slip or Blind Stitch — Invisible stitches. Suede Kid (Swede) — Dull kid, or a skin from which the gloss has been nd^bed of¥. Sun-plaiting — Graduated aceordeon plaiting. Surah (Soo-rah) — A soft silk with a fine diagnoal cord or twill. Swansdowne (Swans-down) — A soft feather fur the same as used for powder puffs. Taffeta (Ta-fet-ta)— A smooth, thin silk with i|uite some body to it. Tabs — Loose hanging pieces. Taut (Tort)— Stretch. Textile (Tex-tile)— A material. Tunic (Tu-nie) — An overskirt. \'andyke (Van-dike) — Cut in itoints. Velour (Vel-oor) — An extra heavy \'elvet with a deep pile. Velveteen (Vel-ve-teen) — A cotton vehet. Vest — An extra piece or trimming set in the front of a waist or coat. Voile (Voil) — Nuns veiling or a fine wool material. Volant (Voo-lahn) — A plain gath(>red strip of ma- terial commonly knowTi as ruffle. V-Shaped — Cut out in the letter V form. Warp — The lengthwise running threads of n nui- terial. Watteau (Wat-to)— A box-plait at the back of a long garment, caught at the upper i)arf of the waist. To fall loose below. Whipping — Forming gathei's by over-casting a rolled edge of fine material and drawing uji the threads. Yoke — A s([uare or round piece ol' niatci'ial across I he chest and shoulders. Zouave (Zoo-of) — A bolero .jacket. Zibeline (Si-ba-leen) — A wool material wifli long hairs. INDEX Adjusting Outer Portions of Garment to Linings. 19 After the First Fitting 1-i After the Second Fitting lH Allowing for Seams (J Arranging Patterns on Material 5-37 Arranging Patterns on StriiK's and Plads 24 Back Stitch 20 Basting, as a Stitch 25 " Uneven as a Stitch 22 Even as a Stitch 25 Basting, IIow to Do 7-25 Basting AYaist Lining Together 7 Basting Sleeve Lining Together 8 Basting Skirt Lining or Foundation Together. .8-37 Basting Collars 22 Basting to Draw Out 3(i Becoming Lines and Colors (See Lines, Becom- ing) 36 Belt Inside of Waist, llow to Make and Ad.just. . 20 Belt or Band on Skirt, llow to .Make and Adjust in-20 Bias, to Cut on True 23-31 Blind Stitch 28 Boning 16 Boning With Whalelione 16 How to Bone Waists l(i How to Bone Collars. Belts and Girdles 17 Bone Casings to Apply 17 Bones, Springing in Casings 17 Boning Tub Dresses 17 Boning with Featherbone 17 Buttonholes 33 How to Cut Buttonholes 33 To Cut Buttonholes in Materials which Fray. . 33 llow to Work Buttonholes 33 Various Styles of Buttonholes 34 Round Edge. Plain. Single Bari-ed Buttonhole. 34 Double Barred Buttonhole 34 Eyelet Buttonhole 34 Pressing Bottonholes 34 To ]\[ake Imitation Buttonholes 34 Buttons. To Sew on 35 Buttons, Sewing on for Trimming Effects 35 Buttons, Thread for Sewing on 35 Chain Stitch 30 Chalk for Marking 3 Collar Canvas for First Fitting 9 Collars, How to Make 22 Collar, To Correct Errors in 12 Collars, How to Make for Fancy Dresses 22 Collars, How to Make for Tub Dresses and Stocks 22 Collars, How to Make Shirt Waist Collar Band 22 Collars, How to Make Sailor Collars 22 Collar, To Fit 12 Corners, To .Mitre 32 Closing Edges. How to Finish 6 Cross Stitch, How to Make and Its Uses 16-30 Colors Harmonizing with the Conii)lexioa. Color of Eyes and Hair 35 Correcting Errors in Sleeves 12 '• ' " " Skirts 13-18 " Waists 10-11 " Lines 36-37 Cutting Out .Matciial 6 Cutting Plaiils and Stripes 24 Cutting the System to Use. Facts Concerning. .. 38 Darts in Waists 7-14-21 Darts in Skirts 21 Definitions and Pronunciations of Technical Terms 38 Drawing 28 Drawing. Fine 28 Facings, How to ilake and Apply 32-20 Facings, Shaped 32 Facings. Bias 32 Feather Stitch 30 Feather Boning 17 Felling 29 French Fell Seam 16 Figure, To Improve 36 Fitting. How to Do 9 Fitting Collar 12 ■' Waist 9-10 " Skirt 13 '• Sleeve 11-12 Fitting. First 9-11-13 Fitting. Second 19 Finishings 1 5-25 Finishing Seams 15 Waist 15 Lining Skirt 18 Skirt 19-20-21 Sleeve and Collar 22 Darts 7-14-21 " Closing Edges 6 44 INSTRUCTION BOOK FOR SEWING AND FITTING COURSE Folds, How to Cut Make and Apply 23-24 Folds, Plain of Silk, Velvet, etc 2:5 ' ' Narrow 23 " One Over-Ijapi)ing- the Otliei- 23 " Milliner's 23 ' ' of Crepe 24 Gathering 27-38 Gusset 31 llarmouizino; and Becuming Colors 3;") ll.'lpful Facts 37-38 llemmiug 31 Hem in Heavy Textiles 31 ' ' In Thin Fabrics 31 " With Bound Edge 32 " On Outerside of Garineut 32 " In Wash Fabrics 32 " French Fell 32 " Narrow Hollow, or Roll 32 " Co'rners of to Turn or ]\ntre 32 1 looks and Eyes, How to Sew on 6 Irons 3 Kensington Stitch 30 Knot, How to Make 2.") Laying Patterns on Material 5-37 Loop Stitch 29 Lines, Becoming To Improve the Figure 3(1 Colors, Styles, Lines and Fabrics Suitable for the Stout Lady 3fi Colors, Styles, Lines and Fabrics Suitable for the Slender Lady 36 Correct Lines for the Short Individual 36 " " Tall Individual 36 " " " " Short Waisted Individual . 36 " " " " Long AVaisted Individual. 36 " " " " ^Vonian with ]\rore Than Average; Rotundity 36 How to Conceal an Abnormally Large Abdomen 37 How to Improve the Lines of the Short Neck and Make it Appear Longer 37 How to C'onceal a Large Bust 37 IIoAV to Ini])rove the Lines and ('onceal Large Hips 37 How to Improve tlie Lines and Conceal Round Shoulders 37 How to Improve the Lines for Sloping Shoul- ders 37 How to Conceal I'rolruding Shoulders, or Un- even Shoulders 37 How to Improve and C!onceal Uneven Ilijis. ... 37 How to Improve and Conciuil Hollows and De- fects in the Back Just Below the Waist Line 37 Marking Cotton 3 .Marking Goods 5 .Matching Stripes and Plaids 24 .Machine Stitcliing 31 Making and Adjusting Fancy Sections of Gar- ments to Their Respective Linings 19 Mitre, How to JMake 32 Mirror 4 Needles 3-25 Needle, How to Hold 25 Outer Sections of Garments, How to Make and Adjust to Linings 19 Over-Casting 16-27 Over-Handing 26 Padding. How to Make and Apply 18 Padding for Waists " IS Padding for Skirts 18 Patterns 5 " Laying of, on Material 5 Pins ." 3 Piping, How to Make and Apply 24 Piping, How to Make Cord Piping 24 " Fold, How to Make 24 Plaids (See Stripes and Plaids) 24 Placket, How to Make Plain, at Seam Opening. . 20 Placket, In Plain Habit Back 21 Under Inverted Plait 21 Under Box Plait 21 " Under Plaited Draperies, etc 21 In Gathered Skirts 21 " In One Piece Dress 21 " Opening, Length of 21 Pressing Boards 3 Pressing 15 Pressing in General 15 ' ' Armhole Seams 15 " Hems 15 Velvets, Silks 15 Pricking 28 Preparing Waist Lining for Basting 7 Pronunciation of Technical Terms 38 Running Stitch 26 Running Back Stitch 26 Raising the Pile and RencM-ing Crushed Velvets. . 15 Seams, How to Make Allowance for 6 Seams, How to Baste : 7-8-22-37-38 Waist, How to Baste 7 Sleeve, How to Baste 8 Skirt, How to Baste ^ 8 Collar, How to Baste T 22 Seams, How to Stitch 14-37-38 Stitching Waist Seams 14 ' ' Sleeve Seams 14 ' ' Skirt Seams 14 Collars 22 Seam Edges, To Trim 14 Seams, How to Press 15 Seams, How to Finish 15 Seam Binding 15 S. T. TAYLOR SCHOOL AND PATTi: liX PARLORS 45 Ovcr-Casting- I'j Imitation Strap Kiiiisli 1<) liapiH'd Spams 1« French Fell Seam ItJ Seam Finish for Laees 16 ( 'ross Stitch Finish I'i '.'inking T; Soams, How and Where to Slash 8 Second Fitting 1-) Second Fitting, After 19 Sewing Machine 3 Sewing Chair 4 Sewing on Hooks and Eves 6 Sergiug 29 Shirring 28 Shrinking and Sponging Cloth 4-37 i^hrinking Broadcloth 4 " Glossy Finished Woolens 4 " Cheviots, Serges and All Worsteds 4 " Materials Without a Glossy Finish. . 4 * ' Linens 4 ' ' Canvas 4 ' ' Haircloth 4 " Braids and Finishing Materials. . . .-4-37 Shears 3 Skirt ]\Larker 3 Skirt Ruler 4 Skirt Foundation or Fjiinng. How to Baste 8 Skirt, To Fit 13 Skirt. Wrinkles Across Fi'ont or Back near Waist Line 13 Skirt, Caps or Fullness at Ends of Darts 13 " Falling Toward Front 13 " Poke in Front at Bottom 13 Too Tight or Too Lose at Hip Line 13 " ILirking Waist Line of 13 " To Pad 18 " To Finish 18 Slip Stitch 28 Sleeve, How to Bast(> Together 8 Sleeve, How to Fit 11 Sleeve, Hanging of 11 " Cori-eeting Errors in 12 " Wrinkles Across Toj) of 12 " Twisted at Hand 12 Slashing of Seams 8 Sponging and Shrinking of Cloth (See Shrinking) 4 Stoating ^ . 28 Stitches :— liasting Stitch. Back Stitch, Blind Stitch, Drawing, Fine Drawing, Cross Stitch, Feath- er Stitch. Loop Stitch, Kensington Stitch, Chain Stitch, Hemming, Felling, Pricking, Over-handing, Over-casting, Running Stitch, Ruimiug Back Stitch, Sergiug. Gathering, Sliirriug, Tacking, etc. . .25-26-27-28-20-30-31-32 Stripes and Plaids 24 Stripes and Plaids, Arrangement of Patterns on 24 Cutting of 24 Matching of 24 Steaming Velvet l-J Steaming Seams Open ■ 15 System to Use for Dress Cutting and ija37 To Draw Out Basting 14 Tools Necessary 3 Trimming Seam Edges 14 Velvets:— How to Make. Correct Direction of Pile 37 To Baste 37 To Press 15 To Steam 15 To Raise Pile on Crushed Velvets 15 Waist Lining to Prepare for Basting 7 Waist Lining, Basting Together 7 Waist Seams. To Stitch 14 Waist Belt, Inside of 20 Waist, How to Fit & Waist, Correcting Errors in: — Crosswise Wrinkles in ITnderarm Piece 10 Wrinkles Between the Last Dai't and TTndcM-arm Piece 10 Wrinkles in Seams 10 Wi-inkles at the Waist Line 10 Wrinkles at the Back Near the Xeck 10 Wrinkles Extending Downwai-d in Front of Shoulder and Armhole 10 Wrinkles Around Xeck Curve 11 Waist Drawing to One Side 11 Waist Binding Across Bu.st 11 Fullness Between Top of Dart and Shoulder. . 11 Drawing or Short From Top of Dart to Shoid- der 11 Waists to Pad 18 AVhale Bone 16 W(n'kroom X^ecessities 3 0f ^axlnrtal Arts EXPERT INSTRUCTIONS IN Garment Cutting, Fitting, Dressmaking, Ladies' Tailoring, Designing, French Millinery, Furrier's Art, Creator's Art, and Hand Decoration of Garments ADVANCED COURSES Teaching Expert Work in Every Branch from Foundation to Finish for Business Pur- poses, Manufacturing, Retail or Exclusive Establishment 217-225 SCHOFIELD BUILDING CORNKR F.lKXll) AND NINTH STS. CLEVELAND, OHIO MRS. W. E. VAN AME, Manager LIBRARY OF CONGRESS 014 061 830 5 •