Home Dressmaking Mrs. J ane Ford Class Book. TT s ■Jil GopightN". COPYRIGHT DEPOSIT. HOME DRESSMAKING OR DRESSMAKING MADE EASY BY MRS. JANE FORD ILLUSTRATED NEW YORK CUPPLES & LEON COMPANY TT515 <^^17 I I'' C COFYBIGHT, 1913, BY CUPPLES & LEON COMPANY (3>-f3\33 ©CI.Ar!477se CONTENTS CHAPTER PAGB I. The Art of Correct Dressing 1 II. The Corset . . - 3 III. Guide for Shoppers 9 IV. Preparing Materials for Use 13 V. How to Order a Pattern 15 VI. Adjusting Patterns 19 VII. Different Kinds of Stitches 27 VIII. All About Underwear and Negligees ... 40 IX. Making a Bust Form 48 X. The Waist 51 XI. Fitted Waists 60 XII. The Skirt Proper 69 XIII. Drop Skirts 77 XIV. Making Coats and Jackets , . 81 XV. Infants' Clothes , . 89 XVI. Children's Clothes 92 XVII. Making Boys' Clothing 102 HOME DRESSMAKING CHAPTER I THE ART OF CORRECT DRESSING NEVER before has dress reached the high artistic standard that it has to-day. Women of culture and good taste refuse to be blown by fashion like a feather in the wind and to be forced by modistes to wear anything that is termed fashionable, no matter whether it is becoming or suitable. Dress is a means to an end, the end being to make one comfortable and pleasing to look upon. Poor, mis- guided creatures that some of us are, believing that be- cause garments are costly or pretty in themselves we have attained perfection! To be really well dressed our clothes must harmonize with our surroundings. It is difficult to make some peo- ple understand this. Women say, "If I had money I would be well dressed." Let it be said right here that women who are not tastefully dressed when they spend $50 a year on their wardrobe would not be well dressed if they spent $5,000 a year on it. Garments of one tone are more artistic and truly elegant that those that display a combination of color. Women can never be pleasingly gowned until they learn 1 2 HOME DRESSMAKING the unchangeable law of art — that there must be suffi- cient plain ground to show to advantage ornamentation. It is right here that most women fail to make the best of what they have. It is here, too, that they spend more money than on any other part of the dress, with less sat- isfactory results. FOUNDATION OF GOOD DEESSING Inexperienced girls and women are apt to be misled by the ultra-smart, and believe that to be seen or enter- tained at certain places they require showy, expensive clothes. We hear much of the gorgeous toilet of the Parisian, and are led to believe that it is considered quite proper for a French woman to attend the theatre or ball half clothed, with only an apology for a corsage. It is quite true that a certain class of Parisian women do dress in this style and are often aped by women of this country, but it shows exceedingly bad taste. There are occasions upon which one would feel out of place unless gowned in an evening dress. Here, as in all other places, let simplicity rule. For the young girl who has only a small amount to spend on her clothes, there is nothing so sweet and dainty as a sheer cotton material made over a slip of silk. As women advance in age, crepe de Chine, both in white and delicate shades, is inexpensive and becoming. For women well advanced in life, the same material in black can be used. On all these materials remember that a yard of real lace is worth fifty of imitation. CHAPTER II THE CORSET THE new lines in corsets are supposed to be a fash- ion. Rather they should be termed an improvement in corset making. They are here to stay, and have many advantages for slender as well as stout figures, since the stays are shaped according to the lines of the figure and gives graceful curves that cannot otherwise be obtained. In fact, stays for slender figures should be se- lected with quite as much thought and consideration as those intended for larger figures, because no woman can afford to be indifferent to the fit of her corset. When buying a corset one often gives the waist meas- ure and rests content. This is not enough. Before buy- ing take your measurements in the following way: Place a tape measure at the normal waist line over the corsets then being worn and draw it tightly. The corsets or- dered should be two inches smaller than the actual meas- urement. The under arm length is taken while sitting, and ex- tends from the normal waist line to a comfortable dis- tance below the armpit, which is generally found to be from three to five inches. The length of hip is taken while standing, starting at the waist line and extending to below the bend of the thigh. This prevents an ugly bulge of the flesh. 8 HOME DRESSMAKING THE CORRECT MODEL Whether a high or low bust be selected depends some- what on the lines approved by fashion, as well as on one*s personal preference. This is a point where if one does err it should be in selecting the low bust, for nothing can be uglier or more uncomfortable than a corset with too high a bust. Besides, a low bust gives a more youth- ful figure, and every woman wishes to take advantage of this point. It is difficult to S3iy just what length the back should be from the waist line to the top of the stay, but it must come sufficiently high to give a good line, and not allow the flesh or shoulder blades to be prominent. After the corset has been selected and laced with two strings, the tie-ends so arranged that they come at the waist line, the stay should be put on while the edges are four or five inches apart. ADJUSTING THE CORSET Hose supporters are most important, and must be given due consideration. These are already attached to the majority of corsets, but sometimes it is advisable to add an extra pair. When not on the corset they should be placed there before trying it on. The supporters are arranged on each side of the front steels, and at the longest point over the hips. For stout figures it is well to place an extra pair on each side of the back, about three inches from the laced edges. They are caught to the hose, and the supporters adjusted by means of buckles, so that they do not hang slack. THE CORSET 5 The laces of the corset may then be tightened, com- mencing at the bottom and lacing to the waist line; then starting at the top and lacing down. At no time should the edges be brought closer together than two inches. This holds good for the full length of the stays. When the corsets are so arranged, if they are found to be too large or too small over the hips or bust, or too broad at the back, alterations must be made. These can be ac- complished at home. Even if it is necessary to call in the services of a professional this will be found much less expensive than having the stays made to order. Also it is quite as satisfactory. IMPORTANCE OF THE CORSET The foundation of all good dressing is the corset. Since the best physicians declare them, when properly adjusted, not only harmless, but a support much to be desired, the majority of women refuse to give them up and are justified in this stand. So much depends on this article of apparel that each girl and woman should give the matter special attention, and select for herself a comfortable and well-fitting model. To do this is not a difficult matter if one has a gen- eral knowledge of the subject she is about to take in hand. Corsets may be had at almost any price, but we are often led to believe that to get a satisfactory pair of stays, particularly for a stout figure, it is necessary to pay a price quite beyond the reach of the average pocketbook. This is a mistake that will soon become self-evident if the prospective purchaser will take the trouble to find e HOME DRESSMAKING out for herself. It is quite true that one must be willing to pay a fair price in order to procure good materials, which are essential, but it is not necessary to pay fabu- lous prices in order to get a comfortable, well-fitting cor- set. Whether the corset be laced at the back or front may be decided by preference, as we find sometimes one and sometimes the other of these styles in equally good models. It is necessary, however, that the figure be studied carefully. When making selection, see that the cut of the corset is in keeping with the lines of the body. In other words, do not try to be what you are not. The most serious mistakes made in dressing come from this universal fault of femininity. Your ideal may be the tall, willowy figure, but if you are short and stout and you attempt to follow this style blindly the result can- not help but be disastrous. Therefore, in order to attain some desired effect, do not try to wear a pair of corsets that were never in- tended for you. ^ ALTERING THE CORSET Let us suppose that you have purchased a corset, that it is satisfactory in the main essentials, but to make it perfect fitting a few changes must be made. You have learned how to adjust the stays correctly. After this is done stand before the mirror and see just where alterations are required. If they are to be made at the bust, a dart may be taken up or a gusset set in, as the case demands. In doing this the greatest care must be exercised to see that the finish slopes nicely into THE CORSET T the lines of the corset and does not end abruptly in an ugly bulge. The alterations should be made where there is a broad piece of material between the bones. The changes below the waist line are made in a similar way. They may be needed over the stomach, over the hips or at the back, and one must study at which place or places they are necessary. When the back is narrow in comparison with the bust measure it may be necessary to take a dart in the material at the back in order to have it fit snugly. This should start at the top and taper to a point at the waist line. FOR THE STOUT FIGURE The thin woman has a comparatively easy time alter- ing a ready-made corset, but her sister, whose greatest bugbear is "too solid flesh," has greater difficulty. To fit a corset comfortably to a very stout, short- waisted figure it is often necessary to cut it down under the arm. This alteration requires more time than the others, but it is not difficult and is satisfactory when finished, if gone about in a careful way. The binding is ripped off at the top, several inches each side of the spot where the goods is to be cut. The corset is then adjusted, and the lines for cutting away the goods marked with a lead pencil or pins. The bones and steels in this part of the material are removed, the goods cut away, the bones and steels short- ened so that they come a full inch below the top of the corset, and then replaced. A row of stitching should be 8 HOME DRESSMAKING made at the top of each, in order to prevent the bones and steels slipping up. The edge of the corset is then rebound. TO MAKE CORSETS COMFORTABLE Many women find that corsets press in the flesh when sitting, and are uncomfortable. Pads made of a single sheet of wadding about six inches long and three inches wide placed on the inside of the corset on each side of the front stays will insure perfect comfort and not in- terfere with the fit of the garment. These pads must be arranged lengthwise along the lower edge of the corset so that they cover the ends of the bones and steels and yet do not extend below the bottom of the stays. For stout figures the brassiere has become a neces- sary adjunct to the corset. These fitted skeleton waists blend the line from the waist up and entirely hide the break that necessarily comes at the top of the corsets, and that is very ugly when apparent. They are bought by bust measure and, like the corsets, may require a lit- tle adjustment. It is quite necessary, in order to keep the lines of the figure comely, that a corset be worn at all times, ex- cept when reclining. No greater mistake can be made than to have a cheap (which invariably means inferior) pair of stays for wear about the house. The woman who expects to have any sort of a figure should wear stays regularly. She should have two pairs of corsets, both equally good-fitting. One pair may be kept for best wear and the other for every day, but the latter should always be adjusted and laced as carefully as if for a dress occasion. CHAPTER III GUIDE FOR SHOPPERS BARGAINS are advertised from time to time by all the leading stores, and these bargains are well worth considering, because the prices are far below what you could get the same article for at any other time. The old saying, "Beware of a bargain," is uncalled for in this day, when dealing with reputable shops. The materials, etc., are of the quality represented, but are under priced because buyers are able to get what are known as job lots. This means that manu- facturers have on hand certain articles that they do not wish to carry over to another season, and in order to get rid of them in a single lot a special price is made. There are various business reasons why it is to the ad- vantage of the shops to make such an offer even when the quality of the goods is quite up to the standard. By embracing the opportunity offered by the shops to buy such goods, one often saves from one-third to one-half of the amount it would be necessary to spend if the shopping were done in the regular way. REMNANT SALES Sales of manufacturers' samples should always be taken advantage of, if the list printed includes any 9 10 HOME DRESSMAKING article that will be of use to you. Such goods are often of exceptional value, being the very finest of their kind, but they have been displayed by salesmen, and are not quite as fresh as if direct from the factory; they are by no means worn-looking, however. Sales of remnants should be considered, if one is looking for dress or trimming materials. On these tables are found all lengths and grades of goods that are left after selling off regular dress patterns. These may be had at half or less than half the price they sold for originally by the yard. The pieces are often of suffi- cient length for children's clothes, for trimming, for sep- arate waists and for dressing sacques. Frequently two or three pieces of the same material can be found that together will be sufficient for a whole dress. PLEASING COMBINATIONS When looking over the remnants, pleasing combina- tions present themselves, and a dress may often be worked out in this way. At "short end" sales of silk and ribbon perfectly lovely things can be picked up for fancy work and trimmings, and if good taste and good judgment are displayed, wonderful results can be ob- tained. For women who wish to be well dressed, but who must practise economy, bargain counters are a boon. One need not hesitate to visit the "clearing sales" at the end of each season and buy, even though the purchase must be laid away for use the following year. Money spent in good staple stuff in regular shades of blue, GUIDE FOR SHOPPERS 11 brown, red or green and also black or white will not be wasted, because these colors in goods of regular weaves are always worn and are much more elegant than cheap imitations of high-class novelties. TO ASSIST THE SHOPPEE When one is considering the purchase of materials for various garments, unless familiar with the different weaves and their wearing qualities, it is often diiRcult to make a selection. To assist readers the following list of staple weaves is given. It by no means contains the names of all the materials sold for developing the vari- ous garments, but it gives the names of the most popu- lar weaves. THE DIFFERENT WEAVES Materials for waist and tub frocks are as follows: Sheer wash weaves are cotton marquisette, cotton voile, batiste, perlin cloth, India linen and lawn. Heavy wash weaves are: Cross-barred muslin, linene, cotton poplin, cotton rep, madras, linen, shirting, ging- ham, percale. Materials for waists or dressy frocks are as follows: Sheer weaves are chiffon, silk voile, silk marquisette. Heavier weaves are crepe de Chine, taffeta, pongee, lib- erty silk, messaline, foulard. Materials for separate skirts or whole frocks are as follows: Wash weaves are linen, crash, serge, pique, In- dian head, percale. Silk and woollen weaves are: Pongee, cashmere, hen- 12 HOME DRESSMAKING rietta, poplin, serge, cheviot, broadcloth, camel's-hair cloth. Materials for coats, jackets or capes are: Tweed, homespun, cheviot, broadcloth, serge, coatings (novelty weaves). Materials for lining are as follows: Silk weaves are silk serge, taffeta, duchess, satin. Cotton weaves are percale, silesia, cotton taffeta, lawn and batiste. Materials for yokes are all-over lace, all-over em- broidery, net and chiffon. Materials for negligees are as follows: Wash weaves are cotton crepe, flannelette, lawn, dot- ted Swiss and wash silk. Woollen weaves are cashmere, henrietta, albatross, French flannel, wool crepe and eiderdown. Silk weaves are crepe de Chine, China silk, India silk, foulard, pongee, liberty silk and messaline. Materials for lingerie are longcloth, cambric, nain- sook, lawn, plaid muslin, cotton flannel and cotton crepe. Apron materials are gingham, linen and mohair. Trimmings for lingerie are: — Laces — Valenciennes, Torchon, Cluny and Irish cro- chet. Embroideries — Swiss, Hamburg, French, blind and eyelet. CHAPTER IV PREPARING MATERIALS FOR USE TO PREVENT SPOTTING MANY goods are sold with the understanding that the necessary precautions to prevent spot- ting and shrinking have been taken, but unless there is a guarantee to that effect the purchaser is taking great risks not to guard against all danger of having a garment spoiled by treating the goods as it should be treated before making it into a gown. Woollen weaves are sponged for two reasons — to prevent them spotting, and to keep the goods from shrinking when it is pressed after the garment is made. Place a cotton cloth, thoroughly saturated with warm water, so that it covers the entire surface of the goods, and roll the whole as tight as possible. The goods should then be wrapped in several thicknesses of dry muslin and laid away for twelve hours. When the material is unwrapped it must be hung on a line to dry as quickly as possible. If care has been taken to keep the goods smooth enough to work with it will not be necessary to iron it, as the garment when finished will require a thorough pressing. Cotton and linen weaves are certain to shrink more or less when laundered and when the necessary pre- 13 14 HOME DRESSMAKING cautions to prevent such a disaster are not taken the shrinkage is often so great that the garment is rendered useless. To prepare these materials, keep them in the original folds and lay them flat in the bottom of a bath or laundry tub. Cover them with tepid water, and allow them to remain there for several hours, after which they must be thoroughly dried before they are used. CHAPTER V HOW TO ORDER A PATTERN A KNOWLEDGE of how to take measurements for ordering patterns is very necessary both for the professional and amateur dressmaker. When taking these measurements it will be of great assistance to know the corresponding hip, waist and bust measurements of patterns, and for this purpose the table below is given: — FOR WOMEN Bust Waist Hip Bust Waist Hip 32 20 37 40 28 48 34 30 301/2 42 30 51 36 24 42 44 32 541/2 38 26 45 46 34 571/2 The bust measure is taken at the fullest part of the bust. To ascertain the correct measurement of the hips the tape is placed six inches below the normal waist line. To take the waist measure the tape is placed around the body at the waist. The measuring tape should be drawn close, but not so that it is tight. The importance of giving measurements accurately must not be lost sight of, for all patterns are cut by a stand- ard basis, and if the measurements are not complied with the result will not be satisfactory. 15 16 HOME DRESSMAKING Patterns for misses' garments may be ordered either by the ages, which run fourteen, sixteen or eighteen years, or according to the table of measurements given below. When a girl is unusually large or unusually small for her age, it is better to refer to the table and take measurements accordingly. Misses' patterns in the larger sizes are also suitable for small women, and if intended for them should be ordered by the bust measurements set forth in the table. It should be remembered that in this case it is sometimes necessary to lengthen the skirt, directions for which will be given in a future article. FOR GIRLS 14 years, 16 years, 18 years. 31 bust, 33 bust, 35 bust. 25 waist, 24 waist, 23% waist. 341/2 hip 37 hip 40 hip Patterns for boys and girls are ordered in the same way as those for misses, either by age or measure- ment. It is preferable to give the age except in cases where the child is very much under or over size ; then one should refer to the following table of measure- ments : — FOR GIRLS 2 years 201/^ bust 4 years 22% bust 6 years 24 bust 8 years 25 bust 10 years 27 bust 12 years 29 bust FOR BOYS 2 years 20% breast 4 years 22% breast 6 years 24 breast 8 years 25 breast HOW TO ORDER A PATTERN 17 Those who are not familiar with the use of patterns are often at sea after they have taken one from the envelope. The usual pattern is composed of a number of pieces of which the amateur dressmaker has no knowl- edge and consequently she becomes discouraged. Before taking the pieces of tissue paper from the envelope read carefully the directions on the label, and be sure that you understand them, for it is impossible to go at the work intelligently unless the general plan is perfectly clear. Next see that the size marked on the envelope corresponds with the size ordered. The pattern may then be taken from the envelope and the 18 HOME DRESSMAKING number of pieces counted. Again refer to the envelope and see that the number of pieces of tissue paper you have in hand corresponds with the number of pieces given on the label. The cutting chart on the pattern envelope will also be of great assistance to the home dressmaker. It shows the various parts of the pattern placed in position on the cloth. CHAPTER VI ADJUSTING PATTERNS CHANGING WAISTS THERE are a great many women whose figures vary from the standard measurements of a pat- tern in the length of the waist, sleeves, or skirt and also in the bust and waist sizes. It is easy enough to change a pattern to make it fit perfectly if one only knows how. The way to do this is given in the following instructions: — We will talk first of a waist or coat which is length- ened or shortened at the waist line by slashing or plait- ing the pattern. Ascertain the amount of alteration necessary by measuring the figure from the centre back at the neck to the waist line and comparing the meas- urements with the pattern. Then measure from the pit of the arm to the waist line and compare this measure- ment with the pattern. Next the front measure is taken from the centre front, at the neck, to the waist line, and this is com- pared as the others were. Changes may be required in all, or only one or two parts of the pattern. Sometimes the pattern will be the right length under the arms but too long or short at the back. In this case, the plait or incision which extends straight across 19 20 HOME DRESSMAKING the width of the back should be made about four inches below the neck at the centre back, folding over or sepa- rating the pattern on the goods sufficient to give the re- quired measiurements. (See Figure 1.) When the length from the arm down must be altered, lay the tuck or make the incision as the case may be, two and one-half inches above the waist line. (See Figure 2.) When the latter change is required it is always necessary to extend the alterations across the under arm pieces. (See Figure 8.) As a rule a similar change is required at the front. This is arranged for by cutting the dart through the centre between the perforation two and one-half inches from the waist line up. (See Figure 4.) Two and one- half inches from the waist line, at the under arm seam, fold or cut the tissue straight across to the top of the incision made in the dart. (See Figure 5.) The alter- ADJUSTING PATTERNS 21 ation is made in the same way from the dart to the centre front of the pattern. (See Figure 6.) When the pattern to be altered is too long from the bust to the shoulder the change necessary is made by slashing or folding the tissue three and one-half inches below the neck at the centre front. This is shown in Figure 7. When these changes are made the edges of the pattern will be uneven, but the goods must be graded, as shown in the illustration. The next illustration shows the method of slashing a pattern in order to have it jSt when the bust is un- usually large. If the bust is unusually small, folds are made in the tissue in exactly the same position as indicated by the slashes. 22 HOME DRESSMAKING Alterations such as talked of are not required in loose fitting blouses or in shirt waists. In these gar- ments it is only necessary to readjust the band at the waist in order to get the required results. To shorten or lengthen a sleeve pattern take the tape, and with the arm stretched at full length, meas- ure from the arm socket, at the front, which is about opposite the fullest part of the bust, to the wrist, just above the thumb. Six inches from the top of the sleeve along the inside seam, slash or fold the pattern straight across. If the sleeve is in two pieces, an upper and under portion, the changes must be made at exactly the same point in both pieces. ADJUSTING PATTERNS 23 CHANGING SKIRTS In ordering a skirt pattern for a figure that is un- usually large it is of great importance that the hip meas- ure be taken. If it does not correspond with the waist measure given in the table of measurements, be sure to order by the hip size, for the waist can be taken in or let out without difficulty, while it is not possible to alter the hip size so satisfactorily. In order to ascertain whether it is necessary to change the length of a skirt pattern, hold it up to the figure, with the waist line in place, and see whether it requires lengthening or shortening. The slash or fold used in the alteration is made across each gore about fifteen inches below the waist line. The edges will be uneven after the changes are made, just as in the waist and sleeves, but they are graded when cutting the ma- terial. It is quite a simple matter to decrease the size of 24 HOME DRESSMAKING the waist line in proportion to the hips. The alteration is made when fitting the skirt, after the gores are basted together, by making each seam a little wider. The in- verted plait at the back must never be altered, as any, change at this point would spoil the shape of the skirt. When the waist size is to be increased the goods should be cut a little wider than the pattern at each seam, from the hip to the waist. When the abdomen is very prominent it is necessary when cutting out a pattern to allow material to extend above the top of the pattern. This prevents the skirt from being raised at the lower edge of the front, poking out in an ugly point. PLACING AND CUTTING PATTERNS When cutting out a pattern the material should be placed flat on a smooth surface. A large dining table is excellent for the purpose, but if one is not to be had, a sheet or a piece of muslin may be pinned to the car- pet to protect the goods, and the cutting done on the floor. It is advisable to pin all the pieces of the pattern ADJUSTING PATTERNS 25 on the material before cutting any of them out, because in this way one is able to move them around until they are placed to the best advantage. The widths of materials employed are so varied that charts indicating how to lay the pattern cannot be given in every case. The following direction may, however, be rigidly adhered to with perfect confidence: — Find out whether the material has a nap, or up and down. The direction in which the nap runs may be ascertained by rubbing the hand over the right side of the goods, and all the pieces of the pattern must be placed so that the nap or figure, if it is a figured de- sign, runs toward the bottom of the garment. Should any one piece of material with a nap be cut in a differ- ent position from the others the goods would shade and appear to be of a different color, which would completely spoil the appearance of the garment. In a figured design the effect would be equally dis- astrous. Likewise the greatest care must be taken to see that the pieces are laid properly on the grain of the goods. PLACING THE PATTEEN To assist one in properly arranging a pattern, a line of perforations is placed through each piece of the pat- tern and complete directions for placing the pieces are printed on the label. All edges to be laid on a fold of the goods are marked * * * so that there can be no mistake made. These must be taken care of first, and if the goods is not double width it must be folded double, lengthwise, for 26 HOME DRESSMAKING a sufficient distance to cut these parts of the pattern. After they are cut, if the goods is without a nap or up and down, the most economical and satisfactory way to work is to fold the two ends of the goods together straight across, with the right side in, and pin the pat- tern on it doubled. When the goods is double width it is left in the original fold and the pattern placed. The large pieces should always be arranged first, because there is gen- erally sufficient room left between them to lay smaller pieces. Single width goods with a nap must be folded lengthwise throughout the centre, and if, when laid in this way, it is not wide enough to cut the garment with- out piecing, each piece must be cut separately from the full width of the goods. Each piece must be laid per- fectly smooth and pinned firmly in position, so that it will not slip, before commencing to cut. A large pair of sharp shears must be used for the cutting, and the line of the pattern must be accurately followed, making a clean cut with no ragged edges. After all the pieces are cut out the notches are clipped. These markings must be made just as shown in the pattern, for not only do they indicate which pieces are to be joined, bmt the notches must be arranged exactly opposite each other when basting in order to bring the various pieces in the proper place. CHAPTER VII DIFFERENT KINDS OF STITCHES NOWADAYS a garment is seldom made by hand, be- cause machines with their various attachments do such wonderfully satisfactory work that it really seems a waste of valuable time to sew by hand. It is, however, quite necessary, in order to get the best results, to be thoroughly familiar with the different hand stitches, for as a rule some hand sewing is required on every gown. There are few women who do not know the names of the various stitches used in ordinary sewing, but one often forgets just how they are made or the uses to which they are put. Basting stitches are used temporarily to hold in place the various pieces of a garment, preparatory to stitching; of these there are two kinds — even and uneven. Although it is often a matter of preference w^hich of these stitches is employed, the uneven is generally used. The materials to 27 28 HOME DRESSMAKING be basted should, if possible, be laid flat on a table, but if the character of the seam is such that this is not possible, care must be taken to see that the goods is kept straight, otherwise it would pucker and spoil the set of the garment. Begin the basting with a good sized knot that will not pull through the material, and let it come on the right side so that it will not be difficult to remove. Pass the needle over and under the material, and make the stitch that is taken up on the needle about one-third shorter than the space covered by the thread, as shown in Figure 1. Even basting is started in the same way, but as the name indicates, the stitches and spaces are of an even length. (See Figure 2.) HAND STITCHING There are three different kinds of hand stitches — the back stitch, half back stitch and combination stitch. These are used for regular sewing when machine stitching is not desired or thought practicable. The first, back stitching, is a series of stitches, one taken over the other, with a short stitch on the upper side and a long one on the under side, bringing the needle out the length of the short stitch in advance. The needle is inserted to meet the last stitch, passing it under the goods and out again a stitch in ad- DIFFERENT KINDS OF STITCHES 29 vance of the one just taken. It is fastened off by taking two stitches over and over the last one made. (See Figure 3.) A half back stitch may be used instead of the back stitch and is made the same as a back stitch, with this exception: the needle is inserted half way back instead of at the same place where the last stitch is taken, and leaves a space between each stitch. A combination stitch is used in sewing sheer, light- weight material, where the seams do not require a great deal of strength. It combines one back stitch and two small running stitches. The latter are made the same as even basting stitches, but much shorter. (See Fig- ure 4.) HOW TO MAKE A HEM A hem is a fold of goods turned to finish the edge of a garment. It is most important that it be accurately folded, and the turn must always be made toward you. When about to make a hem see that the raw edge is per- fectly even, then crease the edge over one-quarter of an inch, exactly, pressing it between the thumb and fore- finger in order to have it stay in place. Take a piece of cardboard and mark it with a notch, the exact width the hem is to be when finished. Place the end of the cardboard at the turned edge on the wrong side of the goods, and with a thread, tailor's chalk or a lead pencil mark on the goods the desired width. The hemming stitch is slanting. Point the needle toward the middle of the left thumb and take up one or two threads of the cloth, and at 30 HOME DRESSMAKING the same time one or two threads at the edge of the fold. The hem should be held across the end of the forefinger of the left hand in an easy position. (See Figure 5.) OVERCASTING In every sort of sewing, elaborate or simple, we meet with overcasting. This is a slanting stitch used FKtURC 2 to keep the raw edges of seams from fraying. To take the first stitch hold the material loosely in the left hand and insert the needle so that it points to the left shoul- der; draw the thread through to within one inch of the end of the thread; turn this end to the left and take three stitches over it to fasten. The stitches should be one-eighth of an inch deep and one-eighth to three- eighths of an inch apart. (See Figure 1.) OVERHANDING When selvages are to be joined the work is most neatly done by overhanding. To do this the two edges DIFFERENT KINDS OF STITCHES 31 are basted together and then sewed with the overhand stitch, which is made by inserting the needle so that it points toward you and a very little to the left. Take up as few threads as possible on the selvage of each piece, and do not draw the stitch too tight, so that the seam may be opened out flat when finished and not form a cord. (See Figure 2.) This joining is generally used when working with muslin for sheets, pil- low cases and for piecing underclothes. The overhand stitch is used in making a damask hem on table linen. After a narrow hem is turned, fold it back on the right side and overhand the edges formed. PlQrURg a -^ ^ ^s ^ V^v^vV^v FK5-URE 4 ^ Take up only a few threads on each edge, and when fin- ished flatten out the hem with the thumb. (See Fig- ure 3.) CATCH STITCH Catch stitching is a small stitch used to hold the edges of the seams of flannel and similar materials in 82 HOME DRESSMAKING place. There are two ways of arranging the seams to be catch-stitched; one is of the fell order. In this ar- rangement after the seam is sewed trim off one edge quite close to the stitching and fold the other over it to cover the raw edge. Insert the needle under the edge at the upper left hand corner; cross the edge and take a small stitch a short distance to the right, through the entire thick- ness of the goods. In the same manner cross again and insert the needle so that it makes a similar stitch above. The needle must always be pointed to the left and placed so that it incases the raw edge. (See Figure 4.) To catch-stitch seams when the edges are opened out flat insert the needle under the upper left hand corner of the opened seam, cross the raw edge and take a small stitch a short distance to the right through the entire thickness of the goods. ROLLING AND WHIPPING This is necessary in making fine waists, dainty garments for children and fine underclothes. Hold the right side of the material toward you, and at the right hand end start to roll the edge between the thumb and forefinger toward the left for about two inches. The needle and thread used must be fine. After making a knot at one end, insert the needle under the edge of the roll at the right hand end and fasten it off with a stitch or two. Overcast the edge as far as the goods is rolled, taking the stitch below the ma- terial. DIFFERENT KINDS OF STITCHES 33 To continue the roll, hold the part just made between the thumb and forefinger of the right hand and roll the goods with the left. Continue in this way across the ma- terial. FELLS In the making of underwear flat fells are used a great deal. They are made by taking the regulation three-eighths of an inch seam on the wrong side of the garment, after which the edge near you is trimmed close to the line of sewing. Turn the other edge down flat to cover the line of sewing, turn in the raw edge, and after basting it in position finish by hemming it down or with machine stitching. (See Figure 1.) The French fell is used on dress waists, children's clothes, and also on long seams of underclothes, such as nightgowns and petticoats. It is made by joining the two pieces with a narrow seam on the right side. 34 HOME DRESSMAKING which is trimmed close to the line of stitching. Turn the goods so as to cover entirely the raw edges and bring the seam on the wrong side. Make a row of stitch- ing one-quarter of an inch from the edge so that it en- cases the one previously taken. (See Figure 2.) MARKING TUCKS When marking tucks they must be accurately marked, and if not provided for in the pattern used RS^ ' -'^'"" FIQ-URE 3 ^ nc50RE 4 they must be made in a straight piece of material, and the piece of the garment for which they are intended cut out afterward. They should be marked with a gauge made from a piece of stiff cardboard, cut the size of the tucks desired, the edges of which are notched. When one wishes to work several tucks, in order to have them exactly the same distance apart the measure DIFFERENT KINDS OF STITCHES 35 should be cut with a second notch, by which to measure the distance from the fold of one tuck to the fold of the other. For example, if tucks are to be one-quarter of an inch deep and one-quarter of an inch apart the first notch is made in the cardboard by slashing it straight across, one-quarter of an inch deep. One- eighth of an inch below this slash make a diagonal in- cision to meet it. In this way you get a notch with one straight and one bias edge. The straight edge of the notch is cut the distance from the top of the cardboard that the tucks are to be when finished. One inch from the top slash the cardboard and make another notch. These measurements must of course be varied with the width and spacing of the tucks. Such a measure will simplify the marking. The tucks are then either basted in position and stitched, or sewed by hand with a running stitch. (See Figure 3.) FACINGS These are of two characters, those that are fitted and those made from a bias of goods. They are applied by placing one edge of the facing to the edge of the material so as to bring the seam on the right side. The other edge of the facing is turned in one-quarter of an inch and basted down. The facing is then turned up on the goods and a basting thread run along the turned ^dge to keep it in position. The opposite edge is then basted to the goods and finished by hemming or by machine stitching placed one-eighth of an inch from the edge. (See Figure 4.) HOME DRESSMAKING GATHERING AND SHIRRING A gathering stitch is an uneven running stitch, which is taken in the same way as an uneven basting stitch, but is much smaller. The tinier the stitch the prettier will be the gathers. A double thread should not be used except in very heavy goods, where strength is required. It is better to run the needle through the material sev- eral times so as to get several stitches on it before re- moving it from the goods. When finished it will add much to the good appear- ance of the work if the gathers are stroked. To do this, remove the needle and draw the gathers up tightly, place a pin in the goods at the last stitch and wind the thread around it several times so as to hold them in place. Take the work between the thumb and finger of the left hand and with a coarse needle stroke each gather both above and below the thread. Care must be DIFFERENT KINDS OF STITCHES 37 taken not to tear or scratch the material. (See Fig- ure 1.) Shirring is made by taking several rows of gathers. (See Figure 2.) A corded effect may be obtained by folding the material along the line where the gathering is to be made and running the gathered thread close to the edge. BUTTONS When sewing on buttons, except on very fine material, always use a double thread, knotted at the end. Insert the needle so that the knot will come on the right side, directly under the button. Bring it up through a hole in the button, and down through an opposite hole to B C the wrong side of the garment, first placing a pin over the bottom and between the holes, so that the thread passes over it. Do not remove the pin until the neces- sary stitches to fasten the button have been taken. 38 HOME DRESSMAKING If the button has four holes, turn and sew through the other two holes before removing the pin. When the pin is taken out draw the button away from the goods so as to form a shank; place the needle so it comes out under the button and wind the thread around the shank five times. Then pass the needle to the wrong side of the goods and fasten off by taking three over and over stitches. (See Figure 3.) BUTTONHOLES It is difficult to tell a person how to make a button- hole without actually showing them, but if these direc- tions are followed, with a little practice success will come. A buttonhole must always be cut straight with the thread of the cloth. The simplest and most effective way to proceed is to bar the edges with the thread or twist to be used for the working. Put the needle in from the wrong side at the lower right hand side of the in- cision and at the far edge from the fold of the material. (See Figure 4-A.) Carry the thread to the opposite end and take two stitches. Then take the thread back on the opposite side — see Figure 4-B — so that you start to work the buttonhole close to the corner of the start- ing point. Insert the needle — see Figure 4-C — and while in this position, pointing toward you, bring the double thread around to the left, under the needle. Draw the needle through the loop formed until the thread is quite firm, but not tight, and let the pearl formed by the thread come exactly on the edge of the goods. DIFFERENT KINDS OF STITCHES 39 Repeat this stitch until the edge is worked, inserting the needle each time a thread or two from the last stitch taken. At the end work the stitches into a curve and then finish the opposite side of the opening the same as the first. (See Figure 4-D.) A bar is used to finish the end, which is made by putting the needle through to the wrong side and making several buttonhole stitches on the bar on the wrong side. CHAPTER VIII ALL ABOUT UNDERWEAR AND NEGLIGEES UNDERCLOTHES EVERY woman likes dainty, pretty lingerie, both for herself and her children. Lovely things may be made with only a small outlay of money if one is willing to give a little time to the making. It is not at all necessary to do the sewing by hand in order to have the garments attractive, for there is no part of the work, with the exception of the buttons and but- tonholes, that cannot be done equally well on the machine with its numerous attachments. The time saved is well worth considering. Materials for^this class of work vary in price from, twelve and a half cents a yard to fifty cents, but for every-day wear it is not wise to pay above twenty cents a yard, because in the higher priced goods the threads are almost too fine to withstand the wear and tear of ordinary laundering. Nainsook, cambric and longcloth are the weaves usually used for undergarments, and for trimmings Hamburg embroidery and torchon lace wear nicely. German Val is pretty, but almost always gives out and is in threads before the garment is half worn out. Women who have contended with the work of incom- petent laundresses find it wise to avoid as much as pos- sible using lace and frills on underclothes. Very pretty 40 UNDERWEAR AND NEGLIGEES 41 garments can be made and trimmed with tucks, and where edgings and ruffles are really necessary fine lawn cut across the grain of the goods, hemmed, tucked and gathered makes an excellent substitute for the more ex- pensive and less durable edgings of lace. As a substitute for beading at the yoke of nightgowns and corset covers use a casing of lawn through which the tie ribbon or tape is run. The casing is cut on the bias about one and one-quarter inches wide. One edge is sewn to the material with an ordinary seam arranged to come on the right side of the goods. The other edge of the facing is turned down three-eighths of an inch and the goods folded over so as to conceal the raw edges of the seam. Along the turned edge of the casing is made a row of stitching through the material. MAKING UNDERWEAR When underwear is made no raw edges of material are left exposed. Every seam is a French or flat fell. The French fell is generally used for what may be termed the regular seams, which are those joining the different parts of garments or joining two pieces of embroidery, or joining embroidery to the material. When material is to be joined for the purpose of adding breadth to a width, which is often necessary in cutting drawers, petti- coats or nightgowns, or in any other garment where the material is not quite as wide as the pattern calls for, the edges, if they have selvages, are joined with an overhand seam. When one or both of the edges are raw, a flat fell is used. 42 HOME DRESSMAKING CORSET COVEES In corset covers all seams are made with French fells, including the darts, if the model is fitted. The clos- ing edges, whether back or front, are hemmed. The yoke and armholes are finished with an edging of lace or em- broidery, joined to the corset cover by means of a strip of beading or insertion. At the waist line the garment can be finished either with a strip of beading faced upon the right side of the corset cover or with a peplum. The latter method is preferable for stout figures, as the short skirt is fastened down under the petticoat and keeps the garment in place. Both ends and the lower edge of the peplum should be hemmed; the upper edge and the corset cover are joined by means of a French fell. The French fell is used to join the edges of each leg portion of the drawers and also in closed drawers to join the two portions in the seam that runs from the front to the back. In open drawers this seam is not joined, but each leg is faced along this edge, on the wrong side, with a bias strip of the material about one and one-half inches wide. Stitch the facing to the material with a three-eighths of an inch seam, commencing at the waist at the front, easing it at the curve of the joining seam in the leg and continuing up the back edge to the waist line. Fin- ish the facing in the regular way. The waist line of the drawers is then faced and the two legs joined at the front by overhanding the front edges together from the waist line down one and one- UNDERWEAR AND NEGLIGEES 43 half inches. Tapes arranged so that they can be brought to the front and tied, or buttons and buttonholes, hold the drawers in place. When drawers are made with a yoke, the yoke por- tion should be cut double and the edges of both pieces turned down one-quarter of an inch at the top. To the lower edge of the inside of the yoke join the leg portion of the drawers, as directed on the pattern label, with a quarter of an inch seam arranged so that it will come be- tween the two yoke portions. The edges of the yokes are then basted together all the way around and fin- ished with a double row of stitching, placed one-eighth of an inch from the edge and one-eighth of an inch apart. PETTICOATS AND NIGHTGOWNS All seams in petticoats are made with a French fell. The seam at the centre back will be on the bias, and to prevent its sagging a piece of narrow tape should be sewed in with the first stitching from the lower edge of the vent to the bottom. To finish the vent in the easiest and most satisfactory way take a straight piece of the material lengthwise of the goods, and selvage edge if possible, about two and one-half inches wide and twice the length of the vent. Start at the t(?p of the left side of the skirt, so as to bring the seam on the right side, being careful not to stretch the edges. Then baste the strip to the edge of the gore from the top to the very bottom of the vent, and there ease the strip a little and continue the seam up the edge of the other gore. 44 HOME DRESSMAKING Turn down the opposite edge of the strip one-quar- ter of an inch and baste it so that it conceals the raw edges of the seam, and so that the turned edge of the goods comes directly on a line with the seam. Then stitch it in place. On the overlapping edge of the petti- coat this extension should be turned back at the top on the right side, but it is allowed to extend on the opposite side. THE FINISHING The top of the petticoat must be finished with a fac- ing not over one-half inch wide when completed. If the petticoat is made with gathers at the back the facing may be used as a casing for the gathering tape. In a plain model, hooks and eyes or buttons and buttonholes are used to effect a closing. Petticoats are generally finished at the lower edge with a dust ruffle of the material about three inches wide, which is sewn to the edge of the skirt. They are further elaborated with a deep flounce from twelve to fifteen inches wide, applied after the skirt is finished, and placed so that the lower edge of the flounce is ex- actly even with the lower edge of the ruffle on the skirt. At the top the raw edge is concealed under a tuck in the skirt, which is basted down and stitched close to the edge, or a strip of the material or braid can be placed over and stitched on both edges. All seams of nightgowns are made with French fells. When the garment does not slip on over the head, hems finish the closing edges. The sleeves are placed ac- cording to the notches in the patterns, and the arm-hole UNDERWEAR AND NEGLIGEES 45 seams may be finished either with a French fell or with a binding. TO PLACE THE SLEEVES To place the sleeves for a fell finish, pin together the notches in the armhole and in the sleeves, so that the seams come on the right side of the garment, and, starting at the notch at the front, baste them together downward with an ordinary seam from that point to the notch at the back, and fasten the thread. From that point to the shoulder seam, and from there to the notch at the front, gather the fulness of the sleeve to fit the armhole. After properly distributing the gathers, finish basting the sleeve and armhole together. Stitch the sleeve in place, and then cut the raw edge close to the seam and turn the goods and make the fell. When a yoke model is to be made the yoke should be cut double and the seams joined with a fell. The top of the skirt portion of the garment is slipped between the two yoke pieces, and the edge finished with a row of stitching. THE MAKING OF NEGLIGEES Bath robes, dressing sacques, breakfast jackets, plain and fancy kimonos, all come under the head of negligees. They are all simple and easy to make, and if a becom- ing model is selected the garment is sure to be satisfac- tory when finished. Either light or heavy weight ma- terials may be used for their development, and the goods may be as inexpensive or as costly and the trimming as plain or elaborate as the taste of the wearer dictates. 46 HOME DRESSMAKING In these garments, with the exception of the bath robes, which are always plain, one's fancy may run riot without the least fear of criticism, for these dainty creations are lovely when some striking and individual feature is evident. One woman, who always has a num- ber of pretty negligees w^hich if bought ready made would cost fabulous prices, confides that every inch of material in each of the gowns is bought at a bargain sale. Odds and ends of silk, which if purchased by the yard would cost three or four times what she paid for them, were picked up at ridiculously low prices from remnant tables. In these short ends there is hardly enough for a waist or a dress, but sufficient, when combined with lace and ribbon, to make a perfectly charming negligee. AN INEXPENSIVE GARMENT However, it is the inexpensive and more practical negligee in which most women are interested, and for these, too, bargains may be had. If one can get a short length of fine lawn or gingham at the same price that an inferior piece would cost if bought by the yard why not take advantage of the opportunity? The special weaves of goods in either cotton or silk, with lovely colorings, specially intended for these gar- ments, well deserve mentioning. These materials are comparatively inexpensive and launder beautifully. There is also silk mull, China silk and pongee, all of which make delightfully light, comfortable and durable negli- gees. UNDERWEAR AND NEGLIGEES 47 A FRENCH FELIi vVhen making negligees the seams, whether of silk, cotton or woollen goods, are all made with the French fell, except when using very heavy materials such as are employed for bath robes. The seams of such goods are finished with a flat fell or they are pressed open and the edge bound with a narrow strip of sheer lawn or silk galoon. Banding is a very popular finish for the neck, front and sleeves of kimonos, and is usually cut from a con- trasting material. It is applied as a facing. Sleeves are completed before they are sewed in and the armholes are finished in the same way as those of a nightgown. When yoke models are selected the lower portions and yoke are joined in the same way as they are in children's clothes. Feather stitching and French knots are much used as a finish on all garments of this character, and add so much to the good appearance of the gown that it is well worth the extra time spent in doing this work. On the plainer garments intended for utility this hand work is usually arranged to outline the facing or banding, but on more elaborate creations it edges tucks, lace in- sertion and motifs. CHAPTER IX MAKING A BUST FORM FOR the woman who makes her own clothes a bust form is indispensable. Without this adjunct one must try a gown on repeatedly, and even then it is not always easy to see whether the desired result has been attained. In fact it is almost impossible to fit oneself satisfactorily without a form. These are not expensive even when made according to special measure- ments. If, however, one prefers to save the extra cost of a specially made dummy, a form of papier-mache in staple measurements can be purchased at any department store. It should be ordered one or two sizes smaller, so that it can be padded to fit. To do this select an ordinary lining pattern closing at the front and cut the parts from unbleached muslin, cotton, duck or heavy linen. Be sure to observe the small perforations that show how the pattern is to lie on the grain of the goods. TO FIT THE LINING After transferring all perforations, notches, &c., join the seams according to the directions on the label. Some patterns provide for a hem at the front and others re- quire a facing. After the finish is made, try the waist MAKING A BUST FORM 49 on and pin the fronts in position, commencing at the top, and fit the waist carefully. To do this will require some little time and trouble unless one can have as- sistance, but once a perfect fit is obtained hours of un- necessary labor will be saved. Most figures deviate from the standard measurements to an extent that the lining will need a certain amount of adjustment, but if decided alterations are necessary the pattern should first be altered as directed in a previous article. To fit the lining draw the goods well up on the shoul- ders, but not enough to pull it up from the waist line, and take the material up or let it out at the under arm and back seams. The darts may also require taking up or letting out, but under no circumstances must their position be changed; that is, they must not be moved, back or front. Baste the alterations and then stitch the seams care- fully. Again try the waist on and see that it is entirely satisfactory. Place a tape around the waist at the normal waist line, and with a thread mark where the lower edge of the tape comes on the lining. COVERING THE rORM Press open the seams of the fitted lining and from the marking at the waist line up, bone them as if for a regular lining. It is not necessary to finish the edges, but fold the front edges over at the centre and stitch one-eighth of an inch back from the edges. Around the armholes baste a piece of tape to prevent the goods 50 HOME DRESSMAKING stretching. At the neck attach a shaped standing col- lar of canvas cut double. The lining is now ready to be placed on the form. It must be drawn well up at the neck and pinned together for two or three inches below the collar line, and the same distance from the bottom up. With cotton wad- ding pad between the form and lining wherever needed until it fits as it will when worn. Care must be taken to keep it smooth and even. As the padding progresses pin and sew the edges of the front together with an overhand stitch, using heavy linen thread. The figure must be padded until it is firm enough not to dent in handling, and special care must be taken around the shoulders, neck and armholes. If this work is properly done one will be more than repaid for the time spent in doing it by the great amount of work saved in the future. A sleeve is not used with these forms, but it is a great convenience to have a form on which this part of the waist can be draped. It can be made by stitching a two piece lining pattern according to the directions on the pattern label and padding it with cotton wad- ding. To finish it, an oval piece of the material is sewed at the opening of top and bottom of the sleeve. CHAPTER X THE WAIST THE field covered by shirtwaists and blouses is very large; in fact, waists of every description, with the exception of a fitted basque, come under the head of one or the other of these styles. The severe tailored shirt waist of linen or other tub goods is modeled after a man's shirt, and when it is elaborated, added to, and finally developed in chiffon, net or lace, it is called a blouse, though the general lines are not changed. While a certain amount of care and exactness is re- quired in making these waists, there is really very little work on them unless elaborate trimming is planned. BASTING THE SEAMS The patterns are bought by the bust measure, and as a rule very little fitting is required. After the goods is cut out and all preparations, notches, etc., carefully marked, the tucks and plaits provided for must be basted according to the directions on the pattern label, then stitched and pressed before the various pieces of the garment are joined. Except in very heavy materials the seams are basted so they come on the right side. At this stage the waist 51 52 HOME DRESSMAKING is tried on and pinned in position at the back or front, wherever the waist is to close. The neck is first to be considered. One must be careful when making any adjustment necessary. If the waist is to be worn with a stock or laundered linen collar, the goods must not be cut away too much, but rather must fit snugly to the base of the neck with- out being tight or high. FITTING THE NECK If it is too large at this point it may be necessary to take up the shoulder seams in order to bring the goods closer to the neck. Whether they are taken up an equal distance straight across, or slanted from the neck to the armholes, will depend upon the set of the garment. It will be well first to try taking up the seam all the way across, but if the armhole pulls, or the waist is drawn out of place, then the seam must be slanted. When this change is made the material may be a little high at the centre, front or back of the neck, and, if so, it must be rounded out to fit. FINISHING A SHIRTWAIST OR BLOUSE After the neck of a blouse is fitted the armholes must be looked after. The required changes are made by taking up or letting out, as the case may be, the under arm seams. The openings must be large enough to assure perfect comfort, but the goods must sit close to the body, in order to have the waist look well when finished. THE WAIST 53 If the adjusting of the under arm seams does not give the desired result, move the arm backward and for- ward and the goods will crease and mark itself, showing the line where it should be cut away. With a pair of shears slope the armhole out, a little at a time, being careful to retain a pretty curve. SEAMS OF HEAVY MATERIAL When a satisfactory fit is obtained the seams must be basted according to the pinning, and then stitched. In tub or light weight woollen goods they are finished with a fell, but if the material is heavy, and the turn- ing of the seams will make a thick, ugly roll, then the seam should be pressed open and the edges should be overcast. Another way of finishing seams of heavy material is to lay them flat, turning both edges of the under arm seams, and those of the shoulder seams, toward the front of the waist and making a welt by placing a row of stitching three-eighths of an inch back from the seam through both the waist and turned edges. COLLAR AND COLLAR BAND After the seams of the waist or blouse are completed it is ready for the collar or collar band, as the case may be. Both are cut from a double piece of the goods, and must fit exactly the neck of the waist. To get the length accurately, find the centre of the base of the collar piece and also the centre front or back of the waist, then place the two together and measure, allow- 54 HOME DRESSMAKING ing sufficient at each end of the collar for a three- eighths inch seam. The collar pieces or bands are then stitched together, except at the lower edge, after which they are turned right side out. One side of the un- finished edge of the collar is pinned to the neck of the waist, basted and seamed; the other edge is turned down three-eighths of an inch and basted so as to bring the seam just made between the two pieces of the col- lar, completely hiding the raw edges. A row of stitch- ing, placed one-eighth of an inch from the edge all the way around the collar or band, finishes the upper edge and ends, and holds the lower edge in position. SLEEVES FOR WAISTS AND BLOUSES There is no part of a waist that is affected so by the changes in fashion as the sleeves, but no matter what the change of line may be the difference is always the outcome of one of two styles, namely the bishop sleeve and the coat sleeves. The coat sleeve is cut so that it gradually becomes smaller from the shoulder to the wrist, and whether finished with a cuff or a plain hem it is without gathers, except possibly at the top, where the sleeve is joined to the waist. The bishop sleeve is full at the top and gathered in to a cuff or band at the wrist. When making sleeves the long seams of either style are finished to correspond with the seams of the waist. If a cuff is used on a coat sleeve it can be made a part of the sleeve, or it can be made separate, joined by a THE WAIST 55 seam and turned up on the sleeve. When the cuff is made in one with the sleeve it must be placed and stitched flat to the sleeve at the upper edge of the cuff before the outside seam is joined. The lower edge is then WP.(2>T f=iMi3M OF A turned up and faced with a bias strip of soft silk hemmed down by hand. If the sleeve has a turnback cuff the cuff must be made double and completely finished before it is joined to the lower edge of the sleeve. This is done either with a French fell or in the way the collar is joined to the neck of the waist. FINISHING THE CUFFS Sleeves of the bishop style generally have the cuffs left open at the outside edge in order that they may be buttoned over, close to the arm, which makes them ap- 56 HOME DRESSMAKING pear neat and trim. In order to simplify the ironing and to let the upper edge of the cuff lap with ease it is necessary to have an opening in the material above the cujff that extends up for a couple of inches. The quickest and simplest way to make a sleeve of this character is to sew the long seam in the upper por- tion and then hem the edges of the opening cut in the outside of the sleeve. The cuff is made double and is joined to the upper portion of the sleeve in the same way that the collar is joined to the waist. Any fulness in the upper portion must be gathered so that it is confined between the notches in the cuff, provided for by the pattern. The cuff is finished with a row of stitching placed three-eighths of an inch from the edge all around. PLACING SLEEVES When the sleeves of a blouse are completed it is not difficult to place them in the waist if one under- stands how to go about the work. As a rule, when ar- ranged according to the notches the sleeves will set correctly, but if changes have been made when fitting the waist sometimes it throws the sleeves too far back or front. To ascertain whether they can be correctly placed without making any change gather the fulness at the top of the sleeves and baste the sleeves in the blouse. Try the waist on and if the set is not entirely satisfac- tory rip the sleeves out and place them so that the in- side seam comes on a line with the thumb when the arm is stretched at full length. THE WAIST 67 So arranged, you may feel assured that the sleeves are in the proper position. FINISHING THE ARMHOLE The armhole seams can be finished either with a French fell or with an ordinary seam bound with a narrow bias strip of soft silk or lawn. To make this finish in the quicker way one edge of the binding strip should be basted and sewed in with the seam. The op- posite edge is turned down folded over the seam, so that it conceals the raw edges and is either hemmed down by hand or stitched, THE WAIST BAND When the blouse is completed with the exception of the waist finish it should be put on and carefully adjusted at the neck and closing, and the material ar- ranged so that it hangs straight from the shoulder down. While in this position take a piece of narrow tape, pin it tight around the waist and if necessary rearrange the material in order to have the grain of the goods per- fectly straight from the shoulder down. In this position pin the tape to the material so that the fulness will be kept in the proper place. When the waist is removed baste the tape to the waist along both edges and stitch it flat along the lines of basting. To do this satisfactorily it may be necessary to gather the material between the pins before the edges of the tape are basted. 58 HOME DRESSMAKING THE PEPLUM There are two ways of finishing blouses below the waist line. The peplum finish is by far the nicer, and a waist intended for a stout figure should always be arranged in that way. Many patterns provide this piece. If, however, it is not included one can easily be made by cutting from the double of the goods a semi-circular piece half the length of the waist measure and about three and one-half inches wide, the ends and lower edge of which are finished with a narrow hem. The goods of the waist is cut away be- low the tape, the upper edge of the peplum turned down one-quarter of an inch and basted flat and stitched THE WAIST 69 along the lower edge of the tape on the wrong side of the waist. If one does not care to give the time to making a peplum the waist can be finished by simply hemming the edge of the material that extends below the tape. If the material is very heavy it is preferable to pink the edge, as a hem is apt to show when the skirt is over it. CHAPTER XI FITTED WAISTS FITTED and boned waists are preferred by some women. To make and fit a waist of this order is considerably more difficult and requires more time than the making of a blouse. However, there is no reason why the work cannot be satisfactorily done at home, if one is willing to give attention to the details. For such a waist a lining is necessary, and it should be of some lightweight, firm material, such as percale or silk, which will cling to the figure and set nicely, not stretching, however. If the bodice is to be draped the lining is made separate, and all the seams are bound, pressed open and boned before the outside goods is caught to it. If the waist is not draped or is only partly draped, the pieces of the plain fitted portion and the lining are basted together and seamed at the same time. BASTE THE TWO TOGETHER After all parts of the garment are cut out and ac- curately marked, if the style of the waist permits, baste the lining and outer material together with long stitches and then join the seams according to the notches. If the whole waist is draped, then baste only the lining pieces together and seam them. The under arm and 60 FITTED WAISTS 61 shoulder seams should be basted so that they come on the right side, as this arrangement simplifies the fitting. When the waist is put on for a fitting draw it to- gether and pin the two raw edges together as if for a seam. Without raising or dropping the waist line, aa is indicated by the pattern, draw the material up well at the shoulders so that it is snug and does not wrinkle either back or front. In the same way, fit the material across the bust and back, by adjusting the under arm seams. MAKING ALTEEATIONS Pin the alterations carefully, and if the neck or arm- holes are not perfectly comfortable they may be made OUTSIDE MATERIAL BA5TED a TO FITTED LIMIMC^^ larger by sloping away the goods slightly, but the great- est care must be taken not to gouge into the cloth and 62 HOME DRESSMAKING spoil the shape of the garment. When the armhole is tight, if the arm is moved backward and forward sev- eral times it will crease the goods, and the line marked may be followed for cutting. At the front and back of the waist the material must be shaped to fit close to the base of the neck so that when the collar is joined it will be snug and not pull away from the neck. In order to assure accuracy the altera- tions talked of must be made in the one side only and the opposite side cut the same. BONING When a waist is satisfactorily fitted the seams must be stitched, with the exception of the shoulder and under arm seams. The latter must be left open in order to seam with the one stitching the lining and outside ma- terial. If only the front of the waist is draped the under arm seams should also be left without stitching. In order to have the seams of a waist shaped to the figure, and to prevent wrinkling, notch them at the waist line and also two or three places above that point. Bind the seams neatly with taffeta seam binding, or overcast them with silk. If a hem is not provided for on the closing edges of the waist it will be necessary to have a facing. For the purpose shape two pieces of the lining material to correspond with the front edges of the waist. Make each piece two inches wide and apply these fac- ings in the regular way. The seams are then pressed open. FITTED WAISTS 63 MEDIUM WEIGHT BEST For boning the seams there is nothing better than whalebone. A medium weight is preferable, as it works to better advantage, and if it is soaked in warm water a needle can easily be passed through it. This is bought by the yard, cut the desired length and the ends rounded. The bones should run to about five inches above the waist line, and this point must be marked on each seam. Procure a piece of bone casing and cut from it strips of sufficient length to cover the whalebones, allowing a full inch extra for doubling over at each end. Run the bones in the casings and double over the upper end. THE COVERED BONE Place the end of the covered bone at the marking on the seam. Do not sew them fast at that point, but begin three-quarters of an inch down and hem each edge 64^ HOME DRESSMAKING of the casing to the seam. The bones must end about one-half inch above the raw edge of the bodice, at the waist line, and here they are finished and held in place by turning up the casing. A belt of webbing is cut to fit the figure, finished with a hook and eye, and stitched at the centre to the centre back or front seam of the bodice, according to the closing. The lower edge of the belt is placed one- half inch above the waist line and sewed firmly in place by a series of catch stitches, caught to the inside of the seam and extending across the width of the belt. DRAPING A WAIST When the seams of the lining are boned, the waist is ready to have the outside draped, and here the bust form can be used to advantage. The outside material is cut by the pattern and placed according to cor- responding perforations and notches, full directions for which are given on each pattern label. The seams of the lining, in which the outside material is to be stitched, have the bastings cut and are pulled apart. The outside material is then adjusted in this way: — After the piece for the back of the waist has been ar- ranged according to the directions on the pattern label, it is pinned to the lining straight down the centre back. It is then pinned across the shoulders toward the side, at the armholes and at the shoulder seams, also down the under arm seams. The goods must be pulled until it is tight, but not stretched, and the pins must be placed close enough so that it will be kept firm. FITTED WAISTS 65 THE FRONT PART The front is then draped in a similar way, first plac- ing the corresponding notches or perforations, as the case may be, together at the neck and shoulder seams. If the goods is of a very elastic nature and is cut on the bias, it may be necessary when draping it to dis- regard the notches at the under arm seams and at the waist line. In this case the goods should be drawn a little more tightly than would be necessary with ma- terial of a firmer texture. When the drapery is arranged, the front pieces must be pinned carefully around the armholes and all unneces- sary fulness smoothed away from under the arms, so that it gives a pretty close fit. Any extra material is allowed to go in the under arm seam and is afterward cut away. Both sides of the waist must be draped so that they are exactly alike before the shoulder and under arm seams are rebasted. The waist is then tried on, and if the set is satisfac- tory, the unfinished seams are stitched, bound and pressed open. The under arm seams are boned to cor- respond with the other seams of the waist. FINISHING A BASQUE There are two ways of finishing a basque at the waist line. The simpler is to baste the lining and ma- terial together and stitch a bias silk facing strip one and one-half inches wide to the right side, holding it in place with a row of stitching placed three-eighths of an inch from the edge. Baste the facing up on the wrong 66 HOME DRESSMAKING side of the basque, and, after turning in the raw edge, catch-stitch it to the lining. Waists that are to be worn without a belt are pretty finished with a cord. To make this finish in one with the facing, cut a strip of the goods two inches wide. One- half inch from the edge turn the strip and baste in a medium sized cable cord. Turn the lower edge of the waist up and baste it in position. Lay the corded edge of the casing with the turned edge toward the wrong side of the waist and allow the corded edge to extend beyond the edge of the waist. In this position it is sewed by hand to the turned edge of the waist with an ordinary back stitch, run just above the cording. The upper edge of the facing can be turned and catch-stitched down, or it may be pinked and held in place with a running stitch. A thorough pressing on the wrong side will flatten the edge and greatly improve the appearance of the waist. SLEEVES Sleeves are always important, because they make or mar a waist, and as there are two that must be exactly alike the greatest precaution must be taken to see that every detail is accurately carried out on both. Before cutting the goods read over the directions on the pattern label and then make any alterations neces^ sary in the pattern, as instructed in the chapter on "Adjusting Sleeve Patterns." The lining and goods may then be cut and basted for a fitting. Much depends upon correct basting, and a very bad setting sleeve may FITTED WAISTS 6T result from carelessness. Therefore observe every notch and perforation. A DRAPED SLEEVE There are so many different styles of sleeves used in waists that it would be impossible to give minute direc- tions for proceeding with the work; therefore, one must study the directions that come with each sleeve, but a few general suggestions will be of assistance. If the sleeve is to be* draped, the lining and outside are seamed separately, but in a close fitted model thq material and lining are basted together and both ma- terials caught in the stitching of the inner sleeve. When a fancy sleeve is being made the lining must be basted and fitted first and the material should be draped to the lining while it is on the arm. In placing the out- side material pin the corresponding notches to those in the lining and gather any fulness at the top to fit be- fore tacking the goods to the lining for draping. The sleeve comfortably fitted and draped, it must be finished at the wrist. An interlining of crinoline, one or two inches deep, should be placed at the bottom of each sleeve. The strip should be cut on the straight of the goods, and fitted in the sleeve, so that it does not draw or wrinkle while the sleeve is on the arm right side out. It is first pinned, and then basted in posi- tion, after which the sleeve is turned wrong side out and the edge turned up three-eighths of an inch, catch- stitched in place and pressed. The wrist is faced with a bias strip of silk, sufficiently wide to cover the crino- line and to hem down on the turned edge of the sleeve. G8 HOME DRESSMAKING The sleeve is turned right side out, and any extra trim- ming required must be arranged before the sleeve is joined to the waist. ABOUT THE COLLAR Now a word about collars. No matter where the closing of the waist may be, the collar of a fitted basque is usually hooked at the back. If the dress material is used for the purpose it should be interlined with soft tailor's canvas that has been previously shrunk. If the waist is closed at the back the adjusting of the col- lar is a very easy matter, for it is simply stitched all around to the waist, but on a waist that does not close at the back, the collar is stitched to the neck on the right side from the centre back to the edge of the front or side closing, and the edge of the neck from that point to the back is faced with a narrow bias strip of the lin- ing. To the left end of the collar sew three hooks on the inner side, and two hooks at equal distances apart on the left side of the lower edge. The facing of the collar should be cut from silk, and shaped to fit, allowing sufficient material for a three- eighths of an inch turn on each edge. After the edges are basted down pin the lining in position on the inside of the collar, and hem it to the edges of the collar and to the neck of the right side of the waist where the col- lar is joined. On the right end of the collar work three button- holed loops for the hooks, and two on the left side of the waist at the neck to catch the hooks in to prevent the collar slipping up. CHAPTER XII THE SKIRT PROPER WITH the demand of fashion, from lime to time, the style and cut of skirts vary, but at all times and in all models the principles of mak- ing are the same. However, one should not ignore special directions that are given on the pattern labels of the various models. The making of skirts is divided into five parts, as follows: — First, the top or waist finish, which consists of a belt or binding; second, the finish at the lower edge, which consists of a hem or a facing, and the addition of a binding or braid ; third, the placket ; fourth, the plaits, either of the side or box plaited order; fifth, the seams. Of these there are three kinds : — First, the regular seam, with the edges finished and pressed open; second, the welt seam, which is given a single or double stitching as a finish; third, the strapped seam. No matter what material may be selected for a skirt, it is made in the regular way. After the goods is cut out, having, of course, observed all the directions on the pattern label, if it is a gored model the pieces are basted together, with the exception of those where the placket opening is to be arranged. If there is an inverted plait at the back this is basted in position ac- cording to the markings and the skirt is tried on right 69 70 HOME DRESSMAKING side out. The garment must not be turned, because with the great majority of people one hip is a little larger than the other, and in order to have the skirt hang properly it must be fitted as it is to be worn. MAKING ALTERATIONS The seams must be evenly basted in order to have the work satisfactory when finished, and when changes are necessary the goods is taken up or let out at the seams. When the changes are considerable a slight alteration should be made at each seam in preference to making the change at any one point, as when the pattern is drafted it is so planned that each gore is in relative proportion with that preceding and fol- lowing it. If care is not taken to preserve these pro- portions the lines of the skirt are spoiled and the result consequently disastrous. The alterations must be turned so as to bring them on the wrong side, and any changes that are made should be basted, after which the skirt is again tried on. If entirely satisfactory, stitch the seams along the lines of the bastings. When the seams are to be finished in the regular way the edges are bound with a silk galoon that comes for the purpose and are pressed open by laying a damp cloth on the wrong side and ironing until perfectly dry. FINISHING SKIRT SEAMS In sheer wash materials regular seams are not opened, but the raw edges overcast together and turned toward the back of the skirt and pressed. THE SKIRT PROPER 71 If a strap finish is employed the seam is pressed open and over the right side is basted a straight piece of the goods, about one inch wide when turned with the raw edges folded under and basted, so that they meet each other. The strap is stitched on each side, one- eighth of an inch from the edge. This is also pressed from the wrong side in the same way as the plain seam. The welted seam is used on all materials, but is specially desirable for sheer silk and woollen weaves such as voile, challis and veiling. This finish is made by taking a regular seam and turning it when finished, without opening, toward the back or front of the skirt and then making a row of stitching on the right side of the skirt, through the turned seam, a given distance from the seamed edge. If a broad welt is desired, the seam must be taken wider and the extra width needed must be allowed for when cutting the gores. This seam, like all others, is pressed on the wrong side. THE PLACKET The placket on the majority of materials can be arranged as described for the drop skirt. This ar- rangement is most satisfactory, as the finishing strip that forms the facing and extensions is in one instead of being pieced at the bottom, thus making it impossible for the skirt to rip or tear. In very heavy cloth, serge or cheviot, this mode of finish may prove a little clumsy and therefore not desirable. In this case, two pieces of material are used, each two inches wide and one inch longer than the 72 HOME DRESSMAKING placket opening. They must be on the straight of the goods long ways, and a selvage is preferable. The raw edge of each piece is sewed to the edge of the placket opening so that the seam comes on the wrong side. On the right side of the skirt the applied piece is faced back on the wrong side of the goods and the raw edge catch-stitched flat, care being taken not to let the stitches show through on the right side. The strip on the left side is allowed to extend and the raw edge is finished by cutting tiny triangular pieces from the goods. The placket is then folded over so that the faced edge meets the stitched edge of the extension and the seam below the placket is basted and stitched. This seam is almost always finished in the regular way. When the placket is at the centre back the seam is always on the bias and therefore must, in order to prevent its stretching and thus allowing the skirt to sag, have a tape basted and stitched in with the seam. The tape must be kept straight and not allowed to sag or be pulled. The skirt is turned on the wrong side, and with the placket closed, the lower edges of the extension and facing pieces are overcast together. BELTING A SKIRT If a belt is to be used as the waist finish for the skirt, nothing is nicer for the purpose than a piece of heavy silk ribbon about one and one-half inches wide. Grosgrain is preferable to other weaves. It is applied by basting the ribbon along the right side THE SKIRT PROPER 73 of the top of the skirt, so that the lower edge of the ribbon comes one-quarter of an inch below the edge of the material. The ribbon is then doubled over so that it completely hides the raw edge at the top of the skirt, and is basted in this position. A single row of stitching holds the belt in place. When a belt of the material is preferred a lengthwise strip of the goods must be used. The piece should be about two inches wide, and one edge is joined to the waist line of the skirt with an ordinary seam. The opposite edge of the strip is turned down one-quarter of an inch and the goods folded over so that it conceals the raw edges of the seam. The edge of the belt should be hemmed by hand to the wrong side of the skirt, and a row of stitching made to finish the ends and top of the belt. For very stout figures a facing is preferable as a waist finish for a skirt, and it is applied in the same way as on the drop skirt. FINISHING THE BOTTOM OF SKIETS The lower edge of a skirt is generally finished with a hem, unless the skirt is cut with considerable flare, which latter prohibits a hem because it would be neces- sary to pleat in so much material at the top of the hem that it would not set nicely. On such skirts a fitted facing is used. To arrive at the correct length of a skirt, slip it on and turn it up even all around. If possible it is well to have some one assist with the work. Mark all around with pins or tailor's chalk the line where it 74 HOME DRESSMAKING touches the floor. After the skirt is taken off it can be shortened and made any length desired by marking the distance above the line. The goods should be turned on the marking that indicates the desired length, so that the hem will come on the wrong side of the skirt, and a basting run along the turned edge in order to keep it in place. To complete the hem, notch the edge of a piece of cardboard one-quarter of an inch deeper than the hem is to be when finished. This is used as a measure and will allow one-quarter of an inch for a turn in at the top of the hem. With the end of this measure placed at the turned edge of the skirt, go all around the lower edge and mark the turned hem the distance indicated by the notch. Along this line cut the goods off evenly and then baste down the one-quarter of an inch turn which is allowed. TO BASTE Lay the skirt flat on the floor or table, or slip it over an ironing board, and proceed to pin and baste the upper edge of the hem in position. The seams should lie directly on top of each other, and where any ful- ness comes between them it is disposed of by making several small plaits. To finish the hem, stitch it on the right side as close to the edge as possible. If the basting is carefully made so as to bring the thread in the right position, it will be of great assistance as a guide when stitching. A thorough pressing is absolutely necessary in order THE SKIRT PROPER 75 to make the lower edge set properly, and it is done in the regular way, by placing a damp cloth on the wrong side and ironing it until perfectly dry. The iron- ing board or table used for the work must be well padded or the goods will become shiny. When the lower edge of a skirt is to be faced, the length of the skirt is ascertained as for a hem, and the goods cut off one-quarter of an inch below the line, showing the length desired. This allows for seaming the facing to the edge. The facing is then cut to fit ex- actly the lower edge and any width desired; the lower edge of the pattern can be used as a guide for sloping the facing. Be sure to allow for seams at each side of the various gores, in order that the pieces can be joined. After they are sewed together and the seams pressed open, the full edge of the facing is stitched to the right side of the lower edge of the skirt. The facing strip is turned up on the wrong side of the skirt and conceals the seam. PINK THE UPPER EDGE As the materials on which this finish is employed are liable to be heavy, it will be better to pink the upper edge of the facing instead of turning it in. It is held in place by a row of stitching made one-quarter of an inch from the top. Properly arranged, a facing of this kind will have the appearance of a hem. Every skirt, except those of tub materials, should have the lower edge protected by a braid that can be bought specially for the purpose. It must be arranged 76 HOME DRESSMAKING so that it extends beyond the goods at least one-eighth of an inch. PLAITED OR TUCKED SKIRT MODELS Skirts that show plaits or tucks which run length- wise, must have all perforations in the pattern that indicate folds, etc., accurately marked on the goods. These plaits or tucks must be basted firmly in position before the skirt is tried on. If the work is done accord- ing to the directions on the pattern label there can be no mistake, and one will be surprised to find that such models require very little more time to develop than a plain gored skirt. Tucks that run around the bottom of the skirt are sometimes very troublesome to arrange. An ex- cellent substitute for this form of trimming is bias strips of the material, cut a little more than twice the width they are to be when finished. The strips are doubled so that one edge comes one-quarter of an inch below the other, and the extending edge is turned dowri over the other edge and basted. This strip, which is called a "fold tuck," is basted in position on the skirt and stitched close to the upper edge. Such tucks are practical for tub frocks, as well as for those of silk and woollen materials. CHAPTER XIII DROP SKIRTS WE term a skirt unlined when the goods and lin- ing are not joined at the waist and lower edge. The separate drop skirt is considered hy- gienic because it reduces the weight of clothes necessary, as it combines a lining and petticoat. This style of dressing has many advantages, both from a hygienic and economical point of view. It is no longer con- sidered healthful to weight oneself down with unneces- sary garments. The economical advantage of the drop skirt is that if made entirely separate from the skirt, with separate placket closing and waist band, and if black or a neutral color is selected, one drop skirt may be made to do service for several gowns, unless the outer material is transparent and requires a special color ai a lining. THE DROP SKIRT When the drop skirt is made without a dust ruffle, the flounce is joined with an ordinary seam on the right side to the lower edge of the gored portion, and is finished with a narrow facing of the goods. One edge of this facing is sewed in with the seam that joins the skirt and flounce, and the opposite edge is turned .77 78 HOME DRESSMAKING in and over the raw edges of the seam. In this position it is stitched to the skirt along the upper edge. The flounce on a dress skirt of tub material is applied in the same way. If the drop skirt or petticoat is made with a dust ruffle, which is thought by some dressmakers to prolong the life of a garment, the gored portion is cut within two inches of the full length required for the skirt, and a two inch bias ruffle of the goods is joined to the edge and finished in the same way as the flounce just described. When the skirt is made with a dust ruffle, the outer flounce must be laid on the skirt and the raw edge at the top covered with a braid or bias band of the goods, basted flat and stitched on both edges. A skirt of this character often has a silk flounce mounted on a gored portion of less expensive material. It will have, when worn, the appearance of a silk skirt and will be much less expensive than if the whole gar- ment were of silk. FINISHING MATERIALS FOR DROP SKIRTS For drop skirts, soft silks are usually employed, but there are many substitutes that may be used when cost must be considered. These skirts usually have a plaited flounce at the lower edge, to be made any depth desired. The drop skirt is cut from an ordinary five or seven gored petticoat pattern, and the length of plaiting to be used at the bottom must be determined before cutting DROP SKIRTS 79 the gores, as the longer the flounce the shorter will be the gores. The length of the flounce must betaken after the lower edge is hemmed, allowing three-eighths of an inch at the top for seaming it to the upper portion. The gores are stitched, the placket finished and the inverted plaits at the back adjusted and stitched before the waist is finished. FINISHING THE PLACKET To make the placket finish, take a straight piece of the material two inches wide and twice the length of the opening. Starting at the top of the right side and continuing up the left side, sew the piece to the edge of both gores, with an ordinary seam arranged to come on the right side. Crease the opposite edge of the facing and then fold the strip over the raw edges of the seam so that the creased edge of the goods comes on a line with the stitching of the seam. Baste it in this position and make a second row of stitching to hold it in place one-eighth of an inch from the edge. Try the skirt on, and if it has an inverted plait at the back arrange it so it comes together at the centre. Stitch the plait in this position, one-half inch from the edge on either side, for the full length of the placket. WAIST FINISH To finish the waist of a drop skirt, cut a bias bind- ing of the goods one inch wide and the length required. Stitch the binding to the skirt on the right side, be- ginning at the right side of the back, first having turned 80 HOME DRESSMAKING under the placket strip. On the left side the strip Is allowed to extend and the right side is hooked over on it. The opposite edge of the bias facing is turned down one-quarter of an inch and the facing basted down on the wrong side of the petticoat. It will be more satis- factory if the binding is hemmed down by hand instead of stitched on by machine. CHAPTER XIV MAKING COATS AND JACKETS THAT it is more difficult to make a coat or jacket than it is to do ordinary sewing cannot be de- nied, and unless one is careful, neat and willing to spend a little time in doing the work it is useless to think that you will be satisfied with the results. How- ever, perfectly wonderful tailored work has been turned out by amateurs who had no knowledge of the art beyond that of ordinary sewing. These women followed ac- curately the advice given them on the subject. First, the cloth must be prepared, directions for which have been given in a previous article. Second, the nap and grain of the goods must be observed when placing the pattern, directions for which have also been given. Third, the cutting of the goods must be accurate, and all perforations, notches, etc., plainly marked, so that they will not be lost sight of. While elaborate semi-tailored models may appear difficult to make, they are really quite simple in com- parison with the severe straight lines of the strictly tailored models, which test the skill of even the expert. Therefore one cannot be too particular with work of this kind. 81 82 HOME DRESSMAKING OUTLINE THE EDGES When cutting a short jacket from double width goods, fifty-two or fifty-four inches wide, the pattern will generally lie to advantage with the goods doubled lengthwise through the centre. But for a full length coat it may be necessary to open it out the full width of the material and fit the various pieces of the pattern in, so that the nap runs toward the bottom of each piece. This arrangement is most important, and any deviation will spoil the whole garment. Therefore, it is well to go over the pieces a second time before cutting them out and see that no mistake has been made in placing them. Having all the pieces laid properly on the wrong side of the cloth, outline the edges with tailor's chalk, and if the goods are double cut out the pieces along the marked lines. When the cloth is laid single, cut oi¥ the length on which the outline of the pattern is marked and reverse the remaining piece so that the nap runs in the same direction as that on which the pattern is placed; lay it under the piece on which the outline is chalked, with the two right sides facing, and cut through both thicknesses of the cloth. In order not to become confused later and to avoid all trouble, mark with thread all lines of seams and all marks that indicate points of construction or that have anything to do with the finishing of the garment. FACINGS AND BUST FORMS The most important parts of a coat are the front facings and bust forms, which are developed in can- MAKING COATS AND JACKETS 83 vas and haircloth. To make these properly at home is the most difficult part of the construction of a coat, and as they are inexpensive and can be had in any large department store, it is not wise to try one's patience in making them. They are ordered by the required bust measure and are fastened in the fronts of the coat with several rows of basting stitches. Careful basting and thorough pressing at every stage of the work is the secret of success, and a hot iron, a well padded pressing board and a damp cloth are as necessary to the successful de- velopment of a jacket as is a machine to sew the ma- terial. At this stage the front edges of the coat are pressed, and then the various pieces are basted together. The coat is then ready to be tried on, right side out. If the pattern has been properly adjusted any slight alter- ation necessary can be made at the under arm and shoulder seams. EIP THE SEAMS If the coat is too tight or too loose over the chest, the under arm seams are ripped and the necessary changes made. A similar alteration may be required at the back, or the back may need to be adjusted and not the front. After the coat has been fitted baste the changes along the line of pinning, and if the edges of the seams are uneven trim them off an even distance from the line of basting. Try the coat on again and see that it is perfectly satisfactory. 84 HOME DRESSMAKING Cut a shaped piece of tailor's canvas, about three inches wide, that has been previously shrunken, to fit the back of the neck, and long enough, so that it can be stitched in with the shoulder seams. Baste it in position along both edges. Similar pieces are shaped for the armholes at the back and under arms, and basted in place. At this point the seams are stitched and thoroughly pressed. All stitching on the cloth must be done before the lining is put in the coat. COAT COLLARS Collars for coats are double and are cut from the cloth by a pattern. The canvas interlining is cut three-eighths of an inch smaller all around and is held at the under side of the collar by padding stitches. These are a series of short basting stitches made while holding the canvas uppermost, and they catch the cloth, but do not show through on the right side. You will notice a curved row of perforations in the collar pattern that goes into the neck of the coat and forms the standing part of the collar. Successive rows of machine stitching, about one-quarter of an inch apart, are made from the perforated line to the edge of the collar that joins the neck. Turn the edges of the cloth over the canvas on the outside edge and ends of the collar, and after they are basted in position press them thoroughly. LINING A COAT If one can possibly afford it, silk or satin should be used for lining coats or jackets. One is well repaid for the extra money spent in getting a good quality of MAKING COATS AND JACKETS 85 lining, as it will outwear two or three cheap linings; therefore, it is really less expensive in the end. Skinner satin, silk serge and taffeta are the most popular weaves LiMin