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GUIDE 
 
 TO 
 
 DRESSMAKING. 
 
 ^ CONTAINING 
 
 ALL AND COMPLETE INSTRUCTIONS IN MEASURING, 
 FITTING, CUTTING BY MEASURE, MAKING UP, 
 AND ALL THE OTHER DETAILS OF 
 DRESSMAKING. 
 
 TO WHICH ARE ADDED 
 COMPLETE INSTRUCTIONS FOR CUTTING AND MAKING 
 
 LADIES' UNDERCLOTHING. 
 
 FIFTT-SEVEN ILLUSTRATIONS, 
 
 BOSTON- vc..«w.,H,«&.< 
 
 J. HENRY SYM'ONDS, PUBLISHER, 
 65 Devonshire Street. 
 
^ 
 
 S' 
 
 c^"' 
 
 9 
 
 Entered according to Act of Congress, in the year 1S76, by 
 
 J. HENRY SYMONDS, 
 
 in tlie office of the Librai-iau of Congress, al Washington, D. C. 
 
 
^^ 
 
 PREFACE. 
 
 The great success which the previous practical works — 
 adapted to the wants of the American lady and issued by 
 me — have met with, Is an assurance that this thorough 
 treatise on a subject of absorbing interest to every lady, 
 especially to all mothers of families, will meet with a 
 cordial welcome. 
 
 It has been the intention of the author to so simplify 
 the subject wbich she has treated as to enable all ladles 
 who will give the work an attentive persual, to literally 
 become their "own dressmakers." That this modest pub- 
 lication may enable thousands of ladles to master the 
 details of the art of dressmaking, and thus to prove to 
 them a very economical as well as instructive companion, 
 
 is the hearty wish of, 
 
 The Publisher. 
 
ANNOUNCEMENT. 
 
 In presenting this volume to the ladles of America, the 
 publisher takes occasion to call attention to the following 
 books issued expressly for those ladies who find pleasure 
 and profit in the several arts of which they treat. 
 
 Lady's Book of Knitting and Crochet was first 
 Issued in January last, and has already reached the sale of 
 nearly ten thousand copies. It contains over a hundred 
 formulas for these interesting pursuits, all of which have 
 been thoroughly and conscientiously tested by a lady 
 expert, and she has succeeded in describing them all so 
 distinctly that no one can have the slightest difficulty in 
 understanding them. These directions include the most 
 novel and unique effects in these branches of lady's work. 
 Price §0 Cents, 
 
 Guide to Needlework. The second edition of this 
 valuable ladies' companion is just issued, in which its one 
 hundred and sixty-seven illustrations have been greatly 
 improved. It contains full and explicit instruction for 
 every kind of stitch in plain and fancy needlework, 
 together with full directions for cutting and making under- 
 clothing, and complete directions for Berlin w^ork and 
 embroidery. The character of the instructions which it 
 gives is such as to make it almost invaluable to such ladies 
 
as are already skilled in needlework, as well as to those 
 viho are seeking to become so. Price jo Cents. 
 
 Guide to Hon i ton Lace Making. This work will 
 introduce to the ladies of America an agreeable occupation 
 which, although not much practised in this country, is very 
 fashionable throughout Europe where it has proved to be 
 not only a very fascinating employment, but at the same 
 time a calm and quiet occupation, and is considered a real 
 benefactor to the sex. Illustrated with sixty-eight cuts. 
 Price §0 Cents. 
 
 These books are for sale by all booksellers, news-agents, 
 and dealers in trimmings ; or mailed, postage free, on 
 receipt of 50 C^/z/^, by J. Henry Symonds, 6S Devon- 
 shire street, Boston, Mass. 
 
 Trade supplied by New England News Co., Boston, 
 and American News Co., New York. 
 
GUIDE TO DRESSMAKING, 
 
 INTRODUCT I ON. 
 
 The followlncf lessons are deslorned to teach ladies how 
 to cut out and make up their own and their children's 
 dresses. Dressinaking has been of late years a much neglect- 
 ed art, and few ladies even possess the knowledge neces- 
 sary for making the clothes they wear. 
 
 Yet dressmaking is not difficult work ; it does not de- 
 mand genius, but a capacity for taking trouble. A care- 
 ful worker will become a good dressmaker, and will suc- 
 ceed, after a few trials, in making far more satisfactory 
 dresses than she can obtain from a second-rate dressmaker 
 by patiently mastering each detail, and, with the help of 
 a really well-fitting pattern-bodice, no amateur need 
 despair rivalling first-class work. 
 
 In these days of sewing-machines, paper models, and 
 fashion magazines, with their accompanying illustrations 
 of the ever-chans^Inof mode, there can be no more reason 
 why a lady should not employ her leisure time in making 
 her own dresses than there was in earlier days against the 
 maids and matrons of England's upper and middle classes 
 sitting: at the distaflf and manufacturinsf their own linen. 
 In fact, there are many reasons in- favor of such a prac- 
 tice. Economy is forwarded by it, and a lady can afford 
 to trim her dress much more handsomely when she has in 
 hand the amount of money that would otherwise 
 
lO 
 
 have gone to the dressmaker for mere making. Be- 
 sides, many things aheady in the house can be utihsed in 
 home dressmaking that one would not hke to ask a dress- 
 maker to use up. And on other accounts it is also advan- 
 tageous. For instance, it is almost invariably the case 
 that those w^ho make their ow^n dresses fit themselves 
 much better than any regular dressmaker. This may 
 seem improbable, because the professional hand has natu- 
 rally much more experience, but w^hen our readers reflect 
 that among so many patterns for so many different fig- 
 ures a dressmaker inay often get confused, and that in 
 the case of home dressmaking the pattern and the fig- 
 ure are all one and the same, it will appear less unlikely 
 that an unprofessional hand may succeed in this case 
 better than a professional. 
 
 Planning a new dress is not unlike planning a new 
 house. One first estimates the cost, then chooses the 
 style, in which is included the choice of material. Nowa- 
 days, the style of both houses and dresses are so various that 
 the principal difficulty is to choose, and the next to follow 
 one's choice out with consistency. This last point is 
 where most of us fail. Anomalies in architecture are not 
 rare, but incongruities in style of dress are pitiably fre- 
 quent. But with this vexed question we have nothing to 
 do at present. 
 
 CONCERNING MATERIAL. 
 First of all, then, in selecting materials and trying the 
 necessary quantities, you must bear in mind the different 
 widths of the various textures, and find out before you en- 
 ter the shop exactly the quantity of material you wish to 
 purchase. Let us suppose, for instance, that you want to 
 make yourself a jacket ; and before buying the stuff you 
 
II 
 
 wish to know exactly how much it will take. The ma- 
 terial is to be serge, which is thirty-two inches wide. 
 You fancy that it will take three yards — from that to four. 
 Clear a strip of the floor, about four yards by thirty-two 
 inches ; mark it out distinctly on the carpet with white 
 chalk, and then lay the different parts of your pattern on 
 it ; turn and twist them till you are satisfied that they lie 
 in the smallest compass, and before taking them up make 
 a little sketch on paper of the way in which they are 
 arranged, lest you should forget ; then measure exactly the 
 length taken by them on the carpet; and, lastly, give two 
 minutes to thinking it all over, and satisfying yourself 
 that there is. no mistake, such as forgetting a sleeve, or 
 having arranged the two fronts for the same side. By do- 
 ing this a few times you will soon get into the habit as it 
 were mechanically, of know^ing where each little piece 
 will fit in, and then you will cut out to advantange without 
 all this preliminary trouble. Another thing to be mind- 
 ful of is to be sure to allow for a right and wrong side, 
 should there be a difference, and that the grain or nap of 
 the stuff is the same up and down. By careful attention 
 to these little things a reduction of two or three yards 
 may frequently be gained. 
 
 It is a good plan, when one is going to buy materials, 
 to keep in the pocket-book a little table of the widths of 
 the different materials, and a list of the respective quanti- 
 ties required. Thus, fourteen yards of serge, thirty-two 
 inches wide are equal to eight yards of tweed at fifty-two 
 inches. Sixteen yards of silk, twenty four-inches in 
 width, equal fourteen yards at twenty-seven inches in 
 width. 
 
 It is almost impossible to give minute directions as to 
 the quantities required for a dress, jacket, tablier, or bod- 
 
12 
 
 ice. Much depends on the size of the wearer, and much 
 on the quantities of trimming used. A perfectly plain 
 dress for a figure of medium size requires twelve yards of 
 material thirty-two inches In width. When I say a per- 
 fectly plain dress, -I mean an untrimmed skirt, tabller-tu- 
 nic, and jacket bodice. To make a short jacket takes 
 about a }'ard and a quarter of tweed, according to the size 
 of the wearer ; in linsey or serge, about three yards ; of 
 Irish frieze, being somewhat narrower, three yards and a 
 quarter. For tabllcr-tunic and bodice, of double-width 
 material, such as merino, a little under three yards and a ■ 
 quarter will sufiice ; if the serge be single-width, five 
 yards ; if narrower still, say twenty-seven inches, then 
 five and three-quarters. Frieze, although narrower, will 
 take somewhat less, on account of the extra thickness of 
 the material. This Is all reckoned without allowance for 
 trimming. 
 
 Certain materials require to be made up with the nap 
 running up ; of these are sealskin and velveteen. If they 
 are made so that the nap brushes downwards, they will 
 look very badly. There will be a dusty-looking white 
 sheen on them, whereas If made as above, they present a 
 rich gloss, and look their best. 
 
 This must be allowed for In calculating the quantities 
 of material required, as, for instance. In cutting gored 
 breadths. It will not do to make two gores out of one 
 breadth, as may be done in ordinary plain materials, for 
 that would necessitate turning one of them down and the 
 other up. In goring velveteen It is well to cut off the 
 unnecessary portion in such a manner as will enable you 
 to utilise It for some other portion of the dress, such as 
 the under part of the sleeve, the cuff, or the pocket. 
 
CONCERNING TRIMMINGS. 
 
 Calculating the quantities for trimmings is rather more 
 di^cult than estimating the number of yards necessary for 
 cutting the plain dress. A rough guess maybe made by 
 allowing three times the length of the part to be trimmed 
 for kilt plaiting, or close plaiting, as is sometimes called. 
 For instance, if the skirt measure four yards round, and 
 you wish to trim it with these close j^laits that are now so 
 fashionable, you must allow twelve yards of material cut 
 to the right width, for this plaiting. If the i^laiting is too 
 be seven inches in depth, you must cut stripes of material 
 of that width until you have twelve yards. This will aid 
 you in estimating the quantity necessary to buy. For 
 flounces or frills that are simply gathered or plaited, it 
 will be sufficient to allow twice the length of the part to 
 be trimmed. For bias bands It Is very easy to calcu- 
 late, for a yard of material, if cut exactly on the bias, 
 and carefully managed will give exactly the same length 
 in bias bands that it would if cut Into plain straight 
 strijDS. 
 
 Such small matters as collai-s, cuffs, piping, etc., need 
 not be calculated for in purchasing a dress, since these 
 can always be got out of the cuttings. 
 
 The gathered sleeves that are still sometimes seen re- 
 quire about double the quantity of material necessary for 
 the coat-sleeve, which is now the sleeve par excellence. 
 
 Sometimes the cuff of the coat-sleeve Is very elaborately 
 trimmed, and In this case the quantity of material necessa- 
 ry fbr such trimming must not be omitted in one's calcu- 
 lation. 
 
 Linings, buttons, whalebone, hooks and eyes, tape, 
 ribbon, and braid must not be forgotten. For body and 
 
H 
 
 sleeves three yards of lining will be sufficient. Properly 
 speaking, sleeves should always be lined with silk, which 
 is more comfortable than linen or cambric, and also gives 
 the sleeves a better *'set.'* For the skirt, a yard and a 
 half of lining will.be sufficient, unless it be intended that 
 the skirt shall be lined throughout. This is not often done 
 now, though I always recommend it with the skirts of 
 thin dresses, such as tussore, thin silk, lawns of the light- 
 er kind, and black silks when "done up" afresh. The lin- 
 ing not only keeps the dress cleaner, but it also protects it 
 from wear and tear, or such accidents as may befall when 
 the dress gets trodden upon. 
 
 In buying braid for putting round the hem of dresses, 
 one should always buy the best. . If the dress be four 
 yards round, four and a half of braid should be allowed, 
 as it should be put on without the slightest stretching, 
 otherw^Ise it will not serve the purpose for which it is 
 intended, that of protecting the dress from injury and 
 soil. 
 
 TERMS USED IN DRESSMAKING. 
 
 No science, no art, is without a certain language of its 
 own, a language which must be mastered by the student. 
 For example — terms used in cookery have to be learned 
 by the novice ; the terms used in botany and chemistry 
 present the great difficulty of being in a dead language ; 
 while musical terms are chiefly Italian, and cookery tech- 
 nicalities are French, To France, then, as the great lead- 
 er in the civilizing arts of cookery and dress, do we turn 
 for instruction in the alphabet of dressmaking terms. 
 These terms should be acquired by beginners, for, although 
 we endeavor to avoid French words as much as possible 
 in this work, yet certain words have become Anglicised, 
 
15 
 
 and are accepted and understood by all workers. We may- 
 instance the word Bouillotz as one of these terms, which, 
 being ahnost untranslatable into English, is universally 
 made use of by dressmakers, modistes, and drapers. In 
 the following alphabetical list I have given — ist, the exact 
 or literal meaning of the word ; 2nd, the explanation 
 when necessary ; and 3rd, an exam^Dle of the application, 
 also when necessary. 
 
 I do not pretend that this list includes all, or even one 
 half, of the French terms used in dressmaking ; for, as 
 novelties are continually arising, so words are coined and 
 become general in a short space of time ; but the words 
 most usually employed are here. Some ladies wish that 
 * 'dressmakers' language" could be "put into English," but 
 technical terms must be used in describing the art of 
 dressmaking, as well as in describing all other arts. 
 
 LIST OF FRENCH TERMS USED IN DRESSMAKING. 
 
 Jlgraffe. — A clasp ; applied also to gimp fastenings. 
 
 A-ppret. — I. Finish ; the dressing j^ut into calicoes, &c. 
 Ex. — Pei'cale sans appei-t^ undressed cambric. 2. Also 
 the trimming at the back of a bonnet, either a lace lappet 
 or ribbon bow, or any finish to a head-dress. 
 
 Aumoniere. — Alms bag ; a small bag hanging from 
 the waist; 
 
 Baleine. — ^W'^halebone. 
 
 J^andeaux. — Bands ; applied also to bands of hair. 
 
 J3as. — I. The lower edge. 2. Stockings. 
 
 JBasques. — Applied to the ends of a jacket or bodice 
 falling below the line of the waist. 
 
 Bials. — I. Bias, on the cross. 2. Crossways. 
 
 JBoinbe. — Rounded or puffed. 
 
 Borde. — Round ; edged with. 
 
i6 
 
 Borde a clieval. — Binding of equal depth on both sides. 
 
 JBottes. — Very thick walking boots. 
 
 jBotiines. — Boots ; applied chiefly to house boots. 
 
 Bourre. — Wadded or stuffed ; a term often applied to 
 quilted articles. 
 
 Calotte. — Crown ; the crown of a cap or bonnet. 
 
 Cainlsole. — A loose jacket ; applied to dressing and 
 morning jackets. 
 
 Cap i tonne. — Drawn in like the seat of a sofa or chair ; 
 buttoned down. 
 
 Capuchon. — A hood on a mantle. 
 
 Cascade. — A fall of lace ; generally used in speaking of 
 lace that is made to flow, with zig-zag bends, like a river. 
 
 Ccintnre. — Belt, waistband, or sash, 
 • Chaussure. — Boots and shoes. 
 
 Chemise. — Shift ; chejnise de jour^ day chemise ; cJie- 
 mise de nult^ night-dress ; chemise d' hom7ne., a night- 
 shirt. 
 
 CJiiquete. — Pinked out. 
 
 Clos. — Closed or fastened. 
 
 Coiffeur.' — Hairdresser. 
 
 Coiffiii'e. — A head-dress ; manner of dressing the hair. 
 
 Coive. — Bonnet lining. 
 
 Confection. — A term applied to all kinds of made-up 
 mantles, cloaks, and jackets, and all outdoor garments. 
 
 Cogues. — Looped bows of ribbon. 
 
 Cornet. — The cuff of a sleeve opening like the large 
 end of a trumpet, larger at the wrist than above. 
 
 Corsage. — Bodice. ' 
 
 Cor^t. — Stays. 
 
 Costu7ne. — Complete dress. 
 
 Coulisse. — Small slipstitcbed plaiting, sewn on to the 
 dress by slipstitches. 
 
17 
 
 CreneU. — Crenelated ; cut in square scallops, like bat- 
 tlements. 
 
 DentcUe. — Lace. 
 
 Dent die. — Scalloped. 
 
 Dents. — Scallops ; these can be pointed or square. 
 
 Dessous. — Underneath . 
 
 Dessus. — Above. 
 
 Devant. — Front. 
 
 Dos. — Back. 
 
 Echarpe.—K scarf; applied to scarves tied round the hat. 
 
 Ecru. — The color of raw silk. 
 
 Effile. — Fringe, generally a narrow one. 
 
 Encolure. — The opening at the neck of a dress or the 
 armhole. 
 
 En biais. — On the cross. 
 
 En cJidle. — Resembling a shawl ; applied to bodices 
 and drapery. 
 
 Encoeur. — Heart or V-shaped ; applied to bodices. 
 
 En coquille. — Folded backwards and foi'wards in zig- 
 zags. Shell points. * 
 
 En echelle. — Like a ladder. 
 
 En eventail. — Like a fan. 
 
 En tahlier. — To look like or imitate a tablier. 
 
 Envers. — The wrong side. 
 
 Epaise. — Thick. 
 
 Epaisseur. — Thickness. 
 
 Eendu. — Slashed, cut open ; applied to jacket-basques, 
 sleeves, &c. 
 
 Eichu. — A half-squaae, cut from corner to corner ; any 
 small covering for the shoulders. 
 
 Elots. — Quantities of lace or ribbon so arranged as to 
 fall over each other like waves. Ex. — Elots de dentelle^ 
 rows of gathered lace falling one over the other. 
 
i8 
 
 Prange grill ee. — A rather deep fringe, with an open 
 heading, like network. 
 
 I^ronces. — Gathers ; France^ gathered. 
 
 yarretie7'e. — Garter. 
 
 jfupe. — Skirt. 
 
 yupon. — Petticoat. 
 
 Lingerie. — Collars and cufTs, made either of linen, 
 cambric, or muslin and lace. 
 
 JLisere. — A narrow edging or binding. 
 
 JLisiere. — Selvedge ; applied also to the colored edges 
 of silks. 
 
 Manche. — Sleeve. 
 
 Afajzckette. — CufF. 
 
 Afanteau. — Cloak. 
 
 Mule. — A heelless slipper. 
 
 JVceud. — A bow, or knot. 
 
 JVoue. — Tied, or knotted. 
 
 Oin b relle . — Parasol . 
 
 Pareinent. — Cuff on the outside of a sleeve. 
 
 Parure. — A set of collars and cuffs ; applied also to a 
 set of jewelery or ornaments. 
 
 Passant. — Piping without a cord. 
 
 Passe. — The front of a bonnet or cap. 
 
 Peignoir. — Dressing gown ; dressing jacket. 
 
 Pelerine. — A small mantle, rounded like a cape. 
 
 Petit cote. — Side-piece. 
 
 Plastron. — Breast-piece ; a piece put on the front or 
 back of a dress bodice, generally of a different color and 
 material. 
 
 /Y/.— Fold. 
 
 P//^.— Folds. 
 
 Plise. — A plait, or fold. 
 
 Plisses. — Plaits. 
 
^9 
 
 Ras-terre, — Just touching the ground. 
 
 Retaj^er. — To do up a bonnet or hat. (Milliner's term 
 only.) 
 
 Robe. — Dress. 
 
 Robe de chainbre. — Dressing or morning gown. 
 
 Rouleautes. — The same. 
 
 Rouleaux. — Rolled trimming made of crossway strips 
 of material. 
 
 Ruches. — Gathered trimmings ; called ruches here, 
 
 Saut de lit. — Dressing-gown. 
 
 Simuler .—'^\v(\vi\.2i\.Q ; to imitate. 
 
 Soulier. — Shoe. 
 
 Taille. —'W^iist^ or figure. » - 
 
 Tournure. — A bustle ; also the general appearance of 
 a dress, costume, or person. Ex. — Tournure distinguee, 
 lady-like appearance. 
 
 Traine. — A train. A traine. — ^With a train. 
 
 Tunique. — Tunic. 
 
 Tuyaux. — Fluted plaitings. 
 
 Tuyaux d'orgue. — ^Wide flutings, like the pipes of an 
 organ. 
 
 Velours. — Velvet. 
 
 Veloute. — Soft, like velvet. 
 
 Vetement. — Garment. 
 
 Volant, — Flounce or frill. 
 
 STITCHES, SEAMS, &c. 
 
 The stitches used in dressmaking differ very slightly 
 from those employed in plain work ; still there is a little 
 difference in the mode of working each which should be 
 attended to. We therefore give illustrations and descrip- 
 tion^ of each. 
 
20 
 
 Simple as is the running stitch, it requires considerable 
 care in taking the exact number of threads up at each en- 
 try of the needle. This applies particularly to the run- 
 ning together of silk breadths for skirts, and to grenadines 
 and other similar fabrics. Runningr is used for seams of 
 
 skirts, putting on trimmings, and in connection with felling 
 and stitching, for sleeve seams and French seams. In 
 running two widths together, care must be taken to draw 
 the thread tightly to avoid all puckering, drawing up of 
 the material ; and on heavy material an occasional back- 
 stitch is necessary when working upon dress skirts. 
 
 Fig. 2. Back Stitching. 
 
 Tacking, or basting, is running upon an exaggerated 
 scale, introducing stitches from two to three inches apart. 
 
 Stitching, which is used for all body seams, is exactly 
 the same as that used in plain work. In stitching the 
 fronts and the side pieces to the back, the same number 
 of threads must be taken up each time on the needle to 
 
21 
 
 produce the pearl-like appearance so remarkable in the 
 work of good dressmakers. For stitching bodice seams, 
 the stitches may be less carefully executed, but no care- 
 less work is allowable. 
 
 Fig. 3. Bodice Seam. 
 
 Seams of bodices are usually stitched, and overcast (^see 
 
 The overcast stitch is merely a sewing stitch, taken from 
 left to right instead of right to left, as in ordinary sewing ; 
 
 Fig. 4. Freucli Seam (begun). 
 
 it is also taken much deeper into the fabric; our illustra- 
 tion, in fact, does not show the stitch taken with sufficient 
 depth. 
 
22 
 
 But some materials require seams made with a French 
 seam. The seam is closely run as near to the edge as pos- 
 sible, and on the right side of the fabric ; the seam is then 
 turned over and stitched on the wrong side, just below the 
 turned-in portion. 
 
 ! 
 
 1 
 
 rig. 5, Freuch Seam (complete). 
 
 French seams are used for clear, transparent materials, 
 and for unlined fabrics ; they are useful wherever it is desir- 
 able to have the inside as neatly finished as the outer side. 
 
 French seams are often used in making up lace, net, 
 &c. ; this is not a good practice ; the best modistes stitch 
 
 ll;l^^^^^^^^'!,'!'!lll(lllllHMllllMrlMlllllllNii!!Ml!"j;!l;]|] 
 
 jjjji'iBiliiiiiilii 
 
 Fig. 6. The EoUed Hem. 
 
 net and lace fabrics, then cut the edges close and overcast 
 into every hole of the net or lace, the seam is then scarce- 
 ly visible. As lace and net are frequently worn over col- 
 ored silks, it is most important to secure an almost invisi- 
 ble seam. 
 
23 
 
 Cloth and thick materials are often finished by being 
 turned over and stitched down. If hand-stitched, this 
 kind of hem need not be tacked, but for sewing machine 
 work it is best to do so. 
 
 Fig. 7. llemmmg. 
 
 Few finishes for muslin dresses are prettier than the 
 stitched hem. For children's dresses, the stitched 
 hem is often worked with a silk contrasting in color, 
 which gives the effect of a Russia braid. Tarlatan ball 
 dress flounces, stitched with white, or with colored silk, 
 look admirably, and are thus trimmed at trifling expense. 
 
 Fig. 8. Stitched Hem. 
 
 Another mode of hemming used by dressmakers is 
 called by French modistes "half hem," and is used for 
 keeping up the lining of dresses in position ; the stitches 
 are taken very far apart, and the needle is inserted slant- 
 ing so as to take up the least piece at a time, in order not 
 to show on the right side. This is easy enough on thick 
 fabrics, as cloth, serge, rep, and poplin, but very difficult 
 on thick silk, when, as it is not possible to preserve the 
 
24 
 
 stitches from showing on the right side, the stitches are 
 much closer together, and set at exactly even distances. 
 
 The false hem is so called because it apj^ears to be what 
 it is not — part of the dress turned under and hemmed up. 
 
 False hems are added to the edges of dresses, and used 
 in many ways in dressmaking. Fig. 9 illustrates this hem. 
 
 C, the 
 
 false or additional hem. The false hem C is stitched to 
 the lining ; the lining and false hem are pieces of materi- 
 al run at the edge of the skirt, on the right side, turned up 
 over on the wrong side, and lightly hemmed down by 
 slip-stitches, as shown in the illustration. 
 
25 
 
 Various fabrics are employed for false hems. When 
 economy is no object the dress material is used, or -a poor 
 silk or sarcenet, matching in color, and lined or not with 
 muslin, according to the requirements of the dress fabric. 
 If lined with muslin, it is usually cut the selvedge ^vay, 
 in order to secure long pieces, and small plaits are laid 
 where requisite, but the more careful dressmaker will cut 
 her lining exactly shaped to the dress, and we need not 
 
 Fi^. 10. Gathering 
 
 say that the effect is better, although, for ordinary dresses, 
 it is not considered worth while .to devote so much time 
 and labor to the false hem lining. Dressmakers as a rule, 
 do not hem the lining up when the skirt is trimmed, as the 
 firm work used to keep the trimming in place also keeps 
 the lining in position. The edge of the lining is nicked 
 with the scissors in points, like pinking, to prevent fray- 
 
26 
 
 ing. But this must be cut carefully In neat zigzags, as, 
 if carelessly cut it will look very untidy. 
 
 Gauging, or gathering, is required in many parts of 
 dressmaking. Formerly all dresses were gathered, before 
 the great plaits came in ; and many dresses are now 
 gauged at the back plait. Gathering is employed for 
 drawn sleeves, bouillons, and for all gathered flounces. 
 The stitches must be very carefully taken, and in each row 
 of gauging the same threads must be taken up as in the 
 
 Fig. 11. striking Down Gauging. 
 
 preceding row. See Fig. 13. When a bouillon is gath- 
 ered, however, exactly the reverse of this is done ; the 
 the top edge is gathered first, and when gathering the low- 
 er edge, the stitches are arranged so as to take up all the 
 intervals passed over in the upper or first gathering, and 
 to this secret nearly all the beauty of the bouillon is due. 
 Gathering is sewn in to a band, as shown in illustration 
 12, and is tucked down under rouleaux, or other super- 
 
27 
 
 posed trimming. When skirts, or portions of skirts, are 
 gathered, the gauging is longer, and is not only sewn in 
 fold b}' fold, but one or two rows of slip-stitches are taken 
 
 iil^^ 
 
 
 mm im 
 
 IHIIIII iillii 
 f/i||||j!j|lll 
 
 /Hilllllllllllii^^^P 
 "'lllllllllllftl^w*^ 
 
 Fig. 12. Gathered Flouncing Sewn in Band. 
 
 about one inch below the lowest, in order to keep the 
 gauged folds in exact position. Very strong waxed cot- 
 
 Fig. 13. Double; Gauging. 
 
 ton should be used for sewing in gathers, but silk is pref- 
 erable to any kind of cotton for this purpose. 
 
28 
 
 The illustration Fig. 14 shows the mode of sewing in the 
 wide gathers used at the back of children's dresses. The 
 material is very evenly gathered on a firm thread, drawn uj-) 
 on this thread, and the end of the thread wound under 
 and over a pin, to keep it as tightly as required during the 
 process of sewing in the band. 
 
 As will be seen from our illustration, every fold is sew^n 
 firmly in place, and the fulness is managed according to 
 the quantity of material to be sewn into the given space 
 of the band. 
 
 Fi; 
 
 14. Sewing in Dress Giithers. 
 
 At a distance of from one inch to an inch and a half 
 from the top, the gathers are fimly caught down by 
 slij^ped stitches. This gives great solidity to the work. 
 Gathers are much used for children's dresses and for pe- 
 lisses. A strong thread should be run through all the 
 edges of the top of the gathers. 
 
CORDINGS AND BINDINGS. 
 
 Cording is extensively used in dressmaking, and for 
 this work great nicety is required. Cording can be made 
 single, double, treble, or quadruple, though this is seldom 
 done ; but the principle of every kind of cording or pip-" 
 ing can be learnt from the following : — Cut the material 
 in exact crossway or bias lengths (for single cording it 
 should be narrower than for double) ; tor single cording 
 the cord is placed in the center of the bias piece, and the 
 material folded over and run in place, as shown on the 
 upper edge of Fig. i6, and the edges turned under and 
 hemmed down as here illustrated. 
 
 Fig. 15. Single Cording. 
 
 In making double cording, both edges are folded over 
 the cord, and when run, the two cords are put together, 
 and run or stitched to the material. Experienced work- 
 women arrange and make the cord as they put it on the 
 work ; but this is by no means an easy plan for beginners, 
 who will do well to make each cord separately and neatly 
 before attempting to finish a dress bodice with cording. 
 Bodices are often edged with a double cordinsr of the 
 
30 
 
 same, or of contrasting material ; flounces are sometimes 
 corded with another shade of color, and ball dresses of 
 white tarlatan look admirably when finished with satin 
 cordings. 
 
 Fig. 16. Double Cording. 
 
 Binding is used In dressmaking, both as a trimming and 
 as a secure finish, as at the edges of dresses, &c. Our il- 
 lustration shows binding hemmed on on both sides of the 
 braid ; but binding is often run on one side and hemmed 
 
 No. 17. Binding 
 
 on the other ; and again, on thin materials the braid is 
 simply folded in half and run on, taking the stitches 
 through on the other side. This mode is used in bind- 
 ing tarlatan flounces with satin ribbon, &c. 
 
31 
 
 Our illustration, Fig. i8, shows a bias flounce, finished 
 at the edge by a narrow hem of bias silk ; it will be seen 
 that both fabrics are cut strictly bias, and that the silk is 
 placed right side downwards upon the right side of the 
 flounce, when it is run on closely but lightly at one-eighth 
 
 18, Bias Binding. 
 
 of an inch from the edge, turned over, and felled on the 
 wrong side over the turned-in portion, and no stitch is of 
 course seen on the right side. 
 
 Fig. 19 illustrates a hem bound with the same material ; 
 this is done precisely like the above. Another mode of 
 producing a similar effect is managed thus :— Cut the bias 
 flounce a little longer than is actually required, turn down 
 on the right side of the fabric one-eighth of an inch more 
 than is required for the rolled bind ; run closely at one- 
 eighth of an inch from the edge, pulling the cotton rather 
 tightly, and finishing off very securely ; then fold back 
 the turned-down piece, and fell down on the wrong side ; 
 the effect will be similar to that of Fig. 19. 
 
 Cording, bound hems, and rolled hems are all esssen- 
 tial portions of dressmaking, and are regularly taught to 
 
32 
 
 apprentices. Ladies who desire to make practical use of 
 these instructions must not grudge devoting some Httle 
 
 *• Fig. 19. Hem Bound with Silk. 
 
 time, which will well repay their trouble, to the acquire- 
 ment of these details in the art of dressmaking. 
 
 CUTTING BY MEASURE. 
 
 The most important thing in making the simplest, as 
 well as the most complicated, garment, is to know how to 
 take the exact measure of th.e person for whom the gar- 
 ment is intended. This operation once carefully per- 
 formed, success is sure to follow, and the dresses made at 
 home w^ill fit as well as if they came out of the hands of a 
 first-rate dressmaker. 
 
33 
 
 No trouble is too great to bestow upon cutting out ; up- 
 on the accuracy and care displayed in cutting out depend 
 the fit of the dress ; stitching may be unpicked and re- 
 made, but a badly cut dress is without remedy. 
 
 We will ask our readers to examine closely the two fig- 
 ures, (20 and 21,) and to follow the numbers marked, 
 writing them down at the time in a note-book. Take, 
 with a yard measure, the first measurement, Fig. 20, the 
 length of the bodice in front ; write it down fully, front of 
 bodice, or simply designate it as No. i. 
 
 After a little time the numbers will be understood at 
 once. 
 
 The second measurement is round the neck ; the third, 
 the width of the chest at the top of the shoulder ; the 
 fourth is taken from the neck crossways to the waist ; the 
 fifth takes the chest at the widest part, it is generally 
 taken with the back, which corresponds with it, and is 
 marked No. 5, the measure is put right round the body un- 
 der the arms ; the sixth measurement is the size of the 
 waist ; the seventh the length of the skirt in front ; the 
 eighth the entire length of the arm to the wrist ; the ninth 
 the armhole : this completes the front of the bodice. 
 
 After the length of the skirt has been taken to the in- 
 step, the hips must be measured round, as in Nos. 10 and 
 1 1 ; now that dresses are worn tightly stretched over the 
 hips, this measurement is quite indispensable. 
 
 The second figure (21) gives the measurements at the 
 back ; No. 12 is the length down the middle of the back ; 
 No. 13, the width of the shoulders ; No. 14, the armhole, 
 which is the same as in front ; and No. 15, which is taken 
 round the body, has been already explained. The arm- 
 hole has already been taken as No. 9. The length of the 
 sleeve, with the elbow bent, must next be taken : it is 
 
18N 
 
 
36 
 
 an important measurement, and is marked No. 17 ; the 
 size of the wrist, No. 16. On the skirt we have already 
 Nos. 10 and 11, which give the size round the hips; No. 
 19 is the length of the skirt at the side, taken from the 
 waist under the arm; and No. iS is the length of the 
 train. 
 
 We will suppose that the mode of taking measurements, 
 as given in our lesson here, is understood thoroughly. 
 We will begin by making a plain bodice, which will serve 
 as a pattern for every kind of corsage. Fig. 23. 
 
 Take a large sheet of paper, and begin by tracing the 
 exact length of the line of the front — the length is taken 
 from the center of the neck to the center of the waist ; 
 from the neck trace a straight line the exact width of the 
 chest, marked on the diagram 1,1; this line should be ex- 
 actly half the width of the chest. Line No. 3 should be 
 the length of the figure from the waist to the top of the 
 shoulder ; this line is curved, as shown on the diagram for 
 self-measurement. (See Figs. 20 and 21.) 
 
 Line No. 2 is taken at the most prominent outline of 
 the figure, and shoidd measure exactly half the chest 
 measurement taken at its widest part ; a line (No. 4) is 
 drawn from No. 2 to the waist. No. 4 ; this line is sloped 
 if the figure is much curved, and falls well in at the 
 waist. 
 
 Now, thanks to these four lines exactly traced upon the 
 measures taken, you can trace without difficulty your whole 
 pattern. 
 
 Between line 3 and the end of line i the curved line 
 of the shoulder is drawn ; between the line and the be- 
 ginning of No. I , you will draw the rounded line of the 
 neck; between the extremities of lines i and 2, you will 
 draw the outline of the armhole, which is well rounded 
 
37 
 
 at the line No. 2. In cutting out, however, it is best not 
 to exaggerate the size of the armhole, which can be cut 
 away when tried on. 
 
 The gores must be outlined but not cut, and are placed 
 below the bosom. To ascertain exactly the proper posi- 
 tion of the front gores, divide the width ot the chest into 
 three ; thus, if one half of the chest measures twelve in- 
 ches, the gore should be be begun four inches from the 
 front line, taken at the waist ; let us call this b. The 
 height of the gore is regulated by the position of tlie 
 
 Fig. 22. Front of Bodice. 
 
 bosom, a plait is begun at <z, and taken up to the round- 
 ing of the bosom in a gradually lessening line, and kept 
 in place by a tacking- thread. 
 
 For the second gore, take again the third of the width 
 of the chest (taken from just above the top of the first 
 gore marked 3), and mark the point c on the pattern, then 
 take a plait in a similar manner up to </, and tack firmly. 
 
 Another mode of placing the gore is regulated by the 
 waist line ; the measure of the waist is taken and divided 
 
38 
 
 in half — the average waist being 24 inches, let us take that 
 number for example — this gives six inches for each front ; 
 the chest measures at its widest part 20 inches, half this 
 gives 10 inches, and the difference between the 10 inches 
 of the chest, and the 6 inches of the waist, gives us the 
 material for one or two plaits or gores, which must 
 always be in the center, just under the bosom. 
 
 Occasionally bodices are made with three gores, the 
 plaits on them less in depth and closer together, and 
 placed at equal distances one from the other. Three 
 gores look well only on bodices destined for very stout 
 figures. 
 
 Fig. 23. Back. 
 
 If the bodice-front is either too large or too small, the 
 alterations should be made by decreasing or increasing the 
 size of the gores. 
 
 To cut the back by measure, yve proceed in a similar 
 manner. A perpendicular line must first be traced (38), 
 a second line, width of shoulder (i) ; a third line, width 
 of back(2) ; and a fourth line (5), from the shoulder-top 
 to the waist ; between these lines the curs^ed line of the 
 neck, shoulder, armhole, and round of the back must be 
 
39 
 
 traced ; from the top of line 38 to point 5 is the curve of 
 the neck, from 5 to i the shoulder curve, from i to 2 the 
 armhole cun-e, from 19 to c the curve of the back in 
 which the side piece is placed. The side-piece (Fig. 24) 
 fits in at 2 and </ and is simply employed as a means of 
 of ornament to the back ; the measures for the side- 
 piece are taken from the length from under the arm. 
 No. 4, to the waist, marked 4 also ; the cui-ved line 
 
 Fig. 25. Diagram of Sleeve. 
 
 No. 2, must necessarily correspond exactly with the 
 curve of the back upon which it is stitched. Upon the 
 shape of the side-pieces and the neatness of their stitch- 
 ing much of the beauty of the back depends. The inex- 
 perienced dressmaker would do well to avoid making 
 them, as very stylish bodices can be made without 
 them. 
 
40 
 
 To cut a sleeve by measure, we must take the length of 
 the arm outside, like 17 (diagram for self-measurement), 
 and on the inside line 8 (same diagram) the size of armhole, 
 line 9, and wrist, line 15 ; then measure from armhole to 
 elbow when the arm is curved, and draw a rounded line from 
 that point to the wrist. In tracing the under side, take 
 care to hollow out the under side of the sleeve at the arm- 
 hole. Fig. 25 shows the sleeve both coat-shape and also 
 open. For an open sleeve the outer edge is prolonged, 
 the inner edge shortened, and a line drawn, either straight 
 or scalloped, between the two. 
 
 An important part of cutting out sleeves is the position 
 of the elbow, which varies with every arm ; sometimes 
 the under part of the sleeve is cut narrower than the 
 upper side, according to the exigencies of the reigning 
 fashions. 
 
 The above directions are for tracing out a plain bodice 
 by measure, the bodice consisting of the four pieces 
 shown here, viz., Front, Back, Side-piece, and Sleeve. 
 
 These must be regarded as the foundation for the real 
 dress lining. Take the traced pattern, cut it out carefully 
 on the outline, and place the paper pattern on the lining ; 
 pin firmly, and trace out the outline, proceeding as direc- 
 ted on pages 54 and 55. 
 
 Basques, or the jacket part of the corsage, are of many 
 shapes, some being added to the bodice, others cut in one 
 piece v/ith it. Nearly all modern bodice basques are cut 
 in one piece with the upper parts of the bodice. In order 
 to cut a basqued bodice, when the pattern is a plain round 
 waisted one, it is only necessary to place the paper pat- 
 tern, traced from a Diagram Sheet or from a paper model 
 on the waist of the bodice, tacking it lightly, and outlin- 
 ing it with the rest of the pattern. 
 
41 
 
 Stout full figures look best with the basques canned 
 towards the hips and slashed, or cut open at the back and 
 sides. 
 
 CUTTING OUT MATERIAL. 
 
 In cutting out a bodice, whatever be its shape, certain 
 rules are always followed : the pattern is first cut out in 
 lining, and then in the material. The widths of fabrics 
 vary — some velvets being eighteen inches wide only, 
 while cashmere, merino, and many mixed goods, are forty 
 inches wide. . 
 
 When a fabric is too narrow to cut the fronts of a dress- 
 bodice Vvdien folded in half, each front must be cut sepa- 
 rately ; side-pieces, part of sleeve, or backs, may, by a 
 little management, be cut out of the piece remaining. It 
 is well for beginners to pin ever}^ part of the pattern in 
 position before cutting out any j^icce, or to chalk the out- 
 line as is done by tailors, before cutting out. 
 
 In cutting out on narrow fabrics, it is necssary to add to 
 the gores of dresses. Fig. 26 shows the mode of cutting 
 the additional piece v^hich is run on the gore at the sel- 
 vedges, marked on our illustration by a dotted line. Fig. 
 26 also shows the mode of placing the front of a Princess 
 dress on the material. But this economical mode of ar- 
 ranging and cutting out can only be done when we have 
 either a plain material or a pattern alike both up and do\vn 
 the material, as geometric patterns often are. We give an 
 illustration of this mode of cutting, because it is less easi- 
 ly arranged than are smaller patterns. Half only of the 
 pattern is here given. It is not advisable for beginners to 
 cut two parts — as two side-pieces, for instance — together. 
 Better have a little more patience and a well-cut garment 
 than save a little time to be lost again over rectifying errors. 
 
42 
 
 Tunics, tabliers, peplunes, double skirts, polonaise, or 
 by whatever name the top or over-garment is called, are 
 all cut in a similar way. Double-width materials are 
 
 Fig. 26 
 
 Mode of Adding to Fabrics for Wide Patterns. 
 
 folded at the center, and the fronts of tabliers and tunics 
 placed along the fold. Jackets are cut as jacket-bodices, 
 but differ usually in size and trimming. 
 
43 
 
 Cutting bias or crossway of the material presents some 
 little difficulty to the novice, yet it is most important that 
 bias cutting should be learned, for it# is much used in 
 dress-making. The material is laid before the worker 
 with the selvedge along the edge of the table, and the cor- 
 ner raised and folded to the top or upper selvedge line, so as 
 to place the straight cut end of the fabric along the selvedge 
 line ; this is carefully pinned down, and the fabric creased 
 where the natural fold occurs. This is the exact cross of the 
 fabric, and this fold is cut through, leaving a half-square 
 piece (which is laid on one side) and a true bias or cross- 
 
 rig. 27. Mode of Cutting Bias. 
 
 cut line on the fabric. The width of the bias pieces you 
 require is next ascertained. We will suppose a six-inch 
 bia^ is required ; measure six inches at both selvedges, 
 turn the material down, and pin firmly ; then fold the 
 other selvedge down six inches, and crease the fabric as 
 before cutting on the creased line, as was done with the 
 first bias cut; this is repeated as many times as you 
 require bias pieces. One point to remember in cutting 
 bias is that if you require a six-inch-wide flounce, you must 
 cut your bias pieces eight inches, as, if you measure six 
 inches on the selvedges, your flounce will measure about 
 
44 
 
 four only. Beginners, to save themselves the trouble of 
 measuring each bias piece, often place the first cut bias 
 on the material, and cut along the outline, which thus 
 causes the bias to be untrue, and consequently not to hang 
 well. Practising on paper is the best mode of learning 
 to cut bias properly, and cutting by measure is the only 
 safe way for beginners. Experienced hands take the ma- 
 terial thus : — At first a very straight line is cut at the edge 
 of the material, a perfect bias line is made by folding up 
 the corners as here described, and the required width is 
 
 FOLDING BIAS 
 
 Fig. 28. Jlode of Folding Bias. 
 
 marked off at once with chalk on each side of the selvedge, 
 rapid folding and cutting follows, for as all the measures 
 are exactly and carefull}^ marked, very little delay occurs 
 with tlie rest of the work. 
 
 Great care is required in cutting bias on twilled fabrics. 
 The material should be laid right side down to the table, 
 and the left-hand corner turned over, as for cutting ordina- 
 ry. This brings the right side up^Dcrmost, and the lines 
 of the twill appear i:)erpendicular. The same rule applies 
 to cutting: bias on crape. 
 
CUTTING OUT. SKIRTS. 
 
 The first part of the skh't of a dress to be cut out is the 
 front breadth. The exact height must be taken, and 4 in- 
 ches extra allowed for turning in at the bottom, and for 
 the slope at the top ; the breadth must be 24 inches at the 
 hem, and from 10 to 1 3 inches at the top, depending on 
 the fio'ure of the wearer. In cuttinsf the sides of the 
 front breadth, about 8 inches are left straight above the 
 hem, and from thence to the top sides are cut with a slight 
 outward curve. These breadths used to be cut with a 
 plain slanting line from the hem to the waist, but since 
 tightly-fitting skirts have come into fashion, the new 
 method of cutting them has been adoj^ted, as it makes the 
 skirt fit better. A piece is cut out in a rounded shape 
 from the top of the breadth, deepest in the middle, and 
 the front breadth is completed. 
 
 In cutting the first gores, 2 inches extra must be 
 allowed for the length, as the straight side has to be the 
 same length as the sloping side of the front. The top of 
 the gores is rather more than half the width of the top of 
 the front breadth ; the material is folded slanting, and the 
 two gores are cut ; at tlie top of the straight side a small 
 piece is cut off" in a rather curved line, about an inch wide 
 at the top, and sloping off* to nothing, at about 15 inches 
 -below the waist : this is done to improve the fit of the 
 dress over the hips. At the edge the width must be re- 
 duced to 16 inches for very tight dresses, or to 18 inches 
 for moderate ones ; this is done by cutting off the sur- 
 plus material on the slanting side up to half the length of 
 the gore. These two parts, the front breadth and the 
 first gore, never vary, no matter whether the dress be 
 short or trained. 
 
46 
 
 The top of the second gore must be the same width as 
 half the top of the front breadth, and the bottom the 
 width of the material, less the 5 or 6 inches required for 
 the top of the other gore ; 2 inches more must be allowed 
 for the length of the second gores, but they require no 
 
 aa \ 
 
 
 PLAIn\ WIDTH 
 
 
 \ 
 
 
 \ ^ 
 
 
 \ 
 
 \aou 
 
 Fig. 29. Mode of Cutting Gores. 
 
 other shaping, except at the top where a small piece is cut 
 off both from the first and second gores, deepest on the 
 straight side. 
 
 One plain bi-eadth, 2 inches longer than the last gore, is 
 put at the back, and this completes a short, or costume 
 
47 
 
 skirt ; the material is supposed to be of the ordinary- 
 width, that is, about 27 inches. 
 
 If the skirt is to have a moderate train, 4 inches for ex- 
 tra length must be allowed in the second gore, and 4 in- 
 ches more again in the back breadth ; but in all cases the 
 extra length must be divided between the second gore and 
 the back breadth. 
 
 When the skirt is made with a long train, three 
 breadths are required at the back, and the extra length 
 must be divided between them and the second gores ; the 
 center breadth should not be made very much longer 
 than the side ones, and must be rounded in the middle, 
 not cut to. a point. If there is not material enough for 
 this, the train may be made in the following way : — One 
 whole breadth in the center, and a gored breadth on each 
 side of it ; this gored breadth must, however, be the full 
 width of the material at the bottom, and slope off to a 
 width of 5 inches at the top. 
 
 In cutting the gores where there is an up and down pat- 
 tern, they must of course be cut one beyond the other, and 
 the parts left used for sleeves, side-pieces, &c. 
 
 This rule applies to velvet, velveteen, and to all fabrics 
 having a raised pile which require to be made up with the 
 pile brushed in one direction — /. ^., downwards. In cut- 
 ting out material into gores, it is well for the inexperienced 
 dressmaker to run the outline of each before cutting ; and 
 this applies more particularly to cutting out fabrics the 
 pattern of which Is Inverted by the gore. To economise 
 material, portions of the bodice can be cut from the in- 
 verted gores — as back, side-pieces, sleeves, cuffs, and false 
 hem for the skirt. 
 
 When the material has a right and a wrong side, lay 
 one pattern of each gore on the stuff, cut them out, and 
 
48 
 
 then fold the cut gores over onto the stuff, to cut the oth- 
 ers ; the gores must be either face to face, or back to back, 
 and then when they are taken apart it will be found that 
 there is one of each for either side. 
 
 BANDING MODERN SKIRTS.— (French Style.) 
 
 In putting the skirt into a band, the opening is now 
 generally made between the second gore and the back 
 breadth ; the latter is folded into a double or treble box- 
 plait, and made to wrap over the gore almost to the seam 
 between the first and second gores : the other side is ar- 
 ranged in the same way, only without an opening. Small 
 plaits are put between the front and first gore, and again 
 between the first and second gores, to hide the seams ; 
 the front and sides are sewn to the waist-band the fulness 
 being held towards the worker. 
 
 The pocket is put between the first and second gores, 
 about 2 or 3 inches below the v/alst, and lined at the top 
 with the same material as the dress. 
 
 The skirt should be cut from a new model, and should 
 be from 3 1-3 to 4 )'ards round, the front gored, and the 
 side width slightly shaped, the back plain ; begin to stitch 
 from the top to the edge, cut off any unevenness there, 
 and overcast all the seams, leaving a hole for pocket, and 
 make placket-hole. The edge of the skirt is faced 
 with muslin, stitched one inch from the edge, which is 
 then folded over one inch, and tacked with very long 
 stitches, the muslin is smoothly laid over the skirt, and 
 hemmed at a distance of from 3 to 4 inches. This hem- 
 ming is very slightly taken, in order not to be seen on the 
 other side. 
 
BACK 
 PLAIN WIDTH 
 
 fig. 30. Showing the Shape of Gores and Mode of arranging a Skirt. 
 
50 
 
 It is well to baste the edge before hemming it, as little 
 plaits must be put in it, and the basting shows exactly where 
 the plaits will fall. 
 
 The present mode demands that the front and side 
 widths be put in the band as plainly over the figure as the 
 contour will permit, only one or two slight plaits being 
 allowable to make the skirt sit easily at the waist ; the 
 whole fulness is at the back, where a double box-plait is 
 placed, forming the Bulgare plait now so often men- 
 tioned in pages of Fashion Journals. 
 
 Fig. 31. Skirt and Band. Made up. 
 
 Dress skirts are sewn in a band of strongly made rib- 
 bon. 
 
 When the dress fastens at the back, the size of the waist 
 is taken exactly on the band, but not cut, the center 
 marked by a pin. The left side of the waistband (when on) 
 has two strong eyes sewn on" the exact edge of the band ; 
 two hooks are sewn on the under part of the right-hand 
 side of the band, and one hook an inch and a half dis- 
 tant from these. The left-hand waistband is continued 
 
 I 
 
51 
 
 for two inches longer than the waist measurement, and 
 on it an eye is sewn one inch and a half from the first 
 two ej^es. 
 
 In sewing-in the dress the material is sewn plainly, 
 without any fulness, on this portion of the band, and is 
 then measured off into center and quarters. Formerly 
 the dress was arranged pretty evenly all round ; but now, 
 as we before remarked, the whole fulness is thrown to 
 the back, whether the Bulgare plait is used or a simple 
 plain gathering. 
 
 In putting in a Bulgare plait, the plait is simply cen- 
 tered and folded as a box-plait, from three to four inches 
 wide when finished. 
 
 In measuring off widths for the skirt the hem is al- 
 lowed for in thin fabrics only, as muslin, barege, &c. ; 
 but heavy fabrics, as woollen materials, silks, velvets, &c., 
 have always a false hem of alpaca or stiff muslin, in 
 wdiich case an extra inch allowed for turnings both top 
 and bottom will be found sufficient. 
 
 False hems are cut lengthwise, and not across the mus- 
 lin, alpaca, or of whatever fabric the false hem consists. 
 
 ON DRESS FABRICS. 
 
 Materials for dresses vary so much in width that the 
 beginner needs especial directions respecting the peculiar- 
 ity of each. Fancy names arc, however, given by drapers 
 to certain fancy goods each season, and in many cases the 
 same fabric is sold under four or five hlsfh soundins: and 
 more or less applicable names. Special makes, too, in 
 silks and cashmere, present other difficulties to the learn- 
 er, requiring special instructions in cutting-out. Yet there 
 are certain time-honored dress materials the widths of 
 
53 
 
 which are unchanged from year to year, and as these are 
 also the most useful and durable materials for dressmaking, 
 we will confine our attention at this early period of our 
 lessons to these. 
 
 Silks, poplins, merino, cashmere, alpaca, velveteen, 
 muslin, print, and pique form a sufficient number of ma- 
 terials to learn to cut out upon. 
 
 The beginner would do well to make print and muslin 
 the fabrics upon which to try her " 'prentice hand." 
 
 Nearly all patterns are calculated for dress materials of 
 27 inches wide, this being the ordinary and accepted 
 width for dress fabrics, and, as we must take some stand- 
 ard to avoid repetition, it is upon this basis that our 
 patterns are drawn. As a matter of knowledge, the fdl- 
 lovv'ing table of the widths of various fabrics has been 
 drawn u^d ; it will, we hope, be useful to many, as even 
 when rich fabrics — velvet for instance — are not required 
 for dresses, yet small quantities are often wanted for trim- 
 mings, and so we add this and other rich fabrics to our list. 
 
 TABLE OF FABRICS 
 
 AND TPIE VARIOUS WIDTHS 
 
 OF 
 
 EACH. 
 
 
 
 
 
 Inches. 
 
 Barathea 
 
 
 
 . 
 
 42 
 
 
 
 Crape 
 
 
 
 . . 
 
 23 
 
 43 — 
 
 Crepe de Chine 
 
 
 • 
 
 24 
 
 
 
 Satin 
 
 
 
 • . 
 
 iS 
 
 27 — 
 
 IMuslin 
 
 
 
 . . 
 
 33 
 
 
 Prints 
 
 
 
 . 
 
 33 
 
 
 
 Piques 
 
 
 
 . 
 
 33 
 
 
 
 Percales 
 
 
 
 . 
 
 33 
 
 
 
 Bonnet and 
 
 Trimming 
 
 Silks, as Ottoman 
 
 
 Turquoise 
 
 
 . 
 
 . 
 
 iS 
 
 20 
 
 Serge 
 
 
 . 
 
 . 
 
 28 
 
 32 — 
 
 Tweed 
 
 
 . 
 
 . 
 
 28 
 
 54 60 
 
53 
 
 Foulard 
 
 
 
 
 Inches. 
 24 
 
 Damask 
 
 
 
 
 
 India Silks . 
 
 
 
 
 32 34 — 
 
 Janus Cord . 
 
 
 
 
 2832 - 
 
 Merino 
 Cashmere 
 
 
 
 
 45 4^ — 
 46 
 
 Mousseline de Lalne 
 
 
 
 
 26 
 
 Paramatta 
 
 
 
 
 42 
 
 Grenadine 
 
 
 
 
 
 Velvet 
 
 
 
 
 18 20 — 
 
 Black Silk . 
 
 
 
 
 22 26 — 
 
 Colored Silk . 
 
 
 
 
 22 26 — 
 
 Popliii 
 Rep 
 
 Alpaca, 1st quality 
 Alpaca, 2nd- quality 
 Velveteen 
 
 
 
 
 30 32 — 
 30 3- — 
 30 3^ 54 
 24 36 — 
 
 . 27 28 - 
 
 Challe 
 
 
 
 
 28 
 
 Beige 
 
 
 
 
 . 25 28 - 
 
 Cloth 
 
 
 
 
 38 54 60 
 
 CUTTING-OUT AND MAKING-UP. 
 
 Dressmaking Is an employment which requires the use 
 of an undisturbed room, or part of a room, "svhere one 
 need not clear up the table and remove one's work ; a 
 good practical sewing machine ; a well-fitting bodice, or 
 a paper pattern (a fasliionably-cut paper pattern) of one 
 garment In question. A large table, pins, needles, cot- 
 tons and silks for basting and for machine, cutting out 
 scissors, small scissors, and button-hole scissors, chalk, inch 
 measure, hooks, eyes, waistband, some linen, silk, and all 
 the odds and ends of needlework. 
 
54 
 
 Cutting Out, Putting Together, and Finishing. — 
 Have your table covered with green baize, drawn in tight- 
 
 rig. 32. Arrangement of Patterns on Cloth. 
 
 ly beneath the top ; unless you prefer, as many do, a plain 
 wood table, or a board and trestles. Which ever is chosen. 
 
55 
 
 the table should be at least six feet long by four wide. On 
 this place your lining, which should be of soft twill, either 
 white or grey, according to the color of your dress. The 
 lining should be rolled up and the cut endlie across you as 
 
 A j 
 
 I 
 
 Fig. 32. (a). Continuation of Fig. 32. 
 
 you stand, the selvedges straight in front, — Figs. 33 and 33 
 {a) — on the left-hand selvedge place your right-hand front 
 of bodice, which you will know by the button-holes ; pin 
 the edge where the button-holes are to the selvedge, allow- 
 
 NOTE.— The size of our page compels us to divide the diagram for laying-out of 
 the patterns, but the reader will understand that Figs. 32 and 32 (a) are supposed to 
 be one, and the dotted line is continuous. 
 
56 
 
 ing an inch and a half for the turn-in ; then smooth out the 
 front to the arm-hole, then pin down the front gores, then 
 the seam at the side ; spread the hand lightly over the up- 
 per part to the shoulder ; pin down. With a long basting 
 needle and basting thread run the whole outline in black 
 on white, or white thread on grey ; do this carefully, tak- 
 ing three stitches to one inch or two. Place the left-hand 
 side (where the buttons are) on the front, opposite side of 
 the lining, and proceed first to pin, and secondly to run 
 the outline as before described. 
 
 Remove both fronts, and pull the lining so as to unroll 
 a little more. Take the back, and place the center of 
 back one inch from the selvedge ; pin down, and outline 
 as you did the fronts, then do the second half on the other 
 selvedge (for backs are often made with one central seam 
 only, but side pieces are again coming into fashion) ; then 
 place your sleeve both upper and under side on the lining 
 (you will find room for part of one between the two back 
 pieces) . The upper part of the sleeve is always placed 
 straight, which throws the part below the elbow on a gen- 
 tle cross or bias line of the fabric. 
 
 When you have thus. outlined the whole bodice, cut out 
 each outlined piece half an incli from the outline thread ; 
 this half-inch is for turnings. The only parts you do not 
 cut half an inch from outline are the two front edges, 
 which, as stated above, are placed one and a half inch 
 from selvedge, and are not cut at all. Now clear away 
 your lining, roll, and write the lettters R and L on the 
 fronts, left and right, and a T on the upper or top part of 
 sleeve. Also pencil R and L on your sleeves, or you are 
 likely to put them in wrongly presently. 
 
 On the baize cloth place a clean sheet of linen, or paper, 
 if your dress material is delicate, if not, the clean baize 
 
57 
 
 will not Injure It, and begin to cut your bodice from the 
 material which should lie wrong side uppermost, placing 
 the roll or piece about a yard from you, and spreading the 
 fabric smoothly as you did the lining. Do not be ner- 
 vous at cutting Into the fabric, for the work done on the 
 lining Is really the most Important. Place the front lin- 
 ings R and L on the fabric, pin here and there the lining 
 to It, noticing that It lies quite smoothly beneath the lin- 
 ing, then tack the lining to the material with long stitches 
 about a quarter-inch Inside the outlined stitches, and cut 
 out on the exact edge of the lining. 
 
 Be very careful and exact In this. Cut every piece in 
 the same manner. Then thread the machine with the 
 colored silk you have got to match your material, and 
 stitch the central back seam, which you will do exactly 
 on the outlined thread. The two halves of the back 
 with their tacked turning are naturally laid face to face, 
 and you can see at once if you have put them correctly, 
 by opening them out after inserting the one or two pins, 
 which are all that is necessary to keep the work In place 
 for the machine. 
 
 Finish off the seam with a needle, and lay the back 
 aside. Then double back the right-hand front exactly on 
 the outlined thread, and stitch a row of neat small stitch- 
 es close to the edge. Here v/e may remark that the rule 
 for this Is to run the guide close to the cloth presser, and 
 so we get the stitching as close as the width of space be- 
 tween the needle-hole and the edge of presser, ^vhich is 
 some distance from the edge. 
 
 Then place the front gores together and stitch ahvays 
 on the outlines^ the two seams formed by these. Stitch a 
 line on the outline thread of the left-hand front, but do 
 not turn In the piece allowed (i i-3 inch) for turnings, as 
 
ss 
 
 it forms a flap to conceal any white the button-holes may 
 chance to show. The front left gores must be stitched ex- 
 actly as on the right side, and now stitch the sides of the 
 front and back together, always on the outlined stitches, 
 and then the shoulders. The sleeves follow, and should 
 be stitched and left inside-out to be finished. 
 
 Fig. 
 
 Casing for Whalebone. 
 
 The next thing to do is to cut some bias or cross pieces, 
 for cording is now seldom used, save as trimming. The 
 neck has to be bound with a narrow bias band, and the 
 sleeves w^ant a short facing of bias also. 
 
 The band for the neck should be i 1-3 inch, to allow 
 for turning. Stitch one side on the outline thread of the 
 neck. Cut the turning-in quite within 1-4 inch of the 
 
59 
 
 stitches, and turn the bias over and hem down neatly on* 
 the other side. Face the sleeve in the same v^ay ; but 
 turn down the outside a little way in, forming a fold, so 
 that the facing does not show. Facings for coat-sleeves 
 are from three to four inches deep, and should be cut from 
 the wrist-end of the sleeve-pattern out of a piece of bias 
 material. Every seam must now be over-cast, and casings 
 
 Fig. 34. Mode of Inserting Whalebone. 
 
 for small whalebone inserted. Stitch the casings on the 
 the seam, and put the bones in, and then overcast. Bones 
 are used in the two front gores and at the side waist-seams. 
 Add the buttons, sewing them on firmly. 
 
 The waist is finished by basques, it a jacket ; by a cord 
 if a round waist ; and by a band if a waistband or sash is 
 intended to be worn. The lining extends to the waist on- 
 
6o 
 
 ly, where It is hemmed, and a tape run to tie round the 
 waist, or a ribbon band with hooks and eyes, which is 
 still neater. 
 
 Work the button-holes with tailors' twist. 
 • Of tailors' twist it takes one length to work a large but- 
 ton-hole. The easiest way of placing buttons and button- 
 holes even, is this : — Pin your tape measure down on one 
 of the fronts, and put in a pin at an inch and a half from 
 the top of the bind, and add a pin at every inch and a half 
 all the way down ; repeat this on the other side. Work 
 the button-holes on what is the right-hand front when on, 
 and sew the buttons on what is the left-hand front when 
 on, exactly on the spot marked by the pins. 
 
 Fig. 35. Plain Buttonholes. 
 
 button-holes. — A perfectly straight cut must be made 
 for each button-hole, long enough for the button to pass 
 through easily ; but before cutting the button-hole it Is bet- 
 ter to run it round twice with the twist, leaving two 
 threads of the stuff between the two Inner rows of stitches', 
 and only one thread between the inner and outer rows, the 
 button-hole being cut between the t^vo Inside rows. 
 
 Fig. 35 shows button-holes worked on a ribbon, or on a 
 piece of the material which is sewn on under the front of 
 the dress, and when fListcned wholly conceals the buttons. 
 
 BuLtoii-holcs are \vorkcd from left to right, the eye of 
 the needle being always near the hole, and the point below 
 
6i 
 
 the second row of stitches ; the twist Is turned round the 
 needle, which is pulled out and drawn upwards, that the 
 stitch may close as near as possible to the edge of the cut. 
 When one side of the button-hole is finished, a little bar is 
 
 Fig. 3G. Piped Buttouliole. 
 
 worked across the end, which ensures strength and unites 
 the two sides. To make this bar, three or four stitches 
 are worked across the width of the button-hole, and then 
 worked back in button-hole stitch ; the other side is then 
 worked, and the other cross bar last of all. 
 
 Ko. 37. ripcd Buttonhole completed. 
 
 Piped button-holes are sometimes used for veiy large 
 buttons. Illustration Fig. 36 shows one in course of prep- 
 aration, and Fig. 37 shows it completed. 
 
 Loops are used in dressmaking for finishing muslin and 
 grenadine dresses, and should be worked neatly and close- 
 ly. They are often employed for closing fronts of dress 
 when the trimming in front is composed of bows. 
 
63 
 
 The bodice, after being joined at all the seams by the 
 close stitching, and illustrated by Fig. 3, where the over- 
 casting is also shown, is finished by the insertion of 
 whalebones, which are always placed at the waist side 
 seams, at the front gores, and often in the back of the dress 
 of the center seam. The present mode, however, has a 
 greater number of side pieces ; so, a greater quantity of 
 whale-bones are employed, and the modern corsage is, on 
 the reverse side, not unlike the antique corset, so garnished 
 with bone does it appear. The whale-bones are carefully 
 selected, and cut of the exact length required ; the ends 
 are scraped with a sharp knife, or rubbed down by means 
 of a file. The object of this scraping may not be obvious 
 to the amateur dressmaker ; we therefore explain : — If the 
 whalebone ends were left unscraped, the dress would be 
 marked by the ridges ; but by bevelling these edges, the 
 bones do not show in the least. Fig. 33 shows the casing 
 prepared for the reception of the bone ; this casing is usu- 
 ally made of tape, hemmed over the flattened seams, and 
 slightly fixed on in hemming, as shown in our illustration. 
 Fig. 34 shows the bone in place, fastened by a few stitches 
 taken across the end to prevent it shifting up and down 
 within the casing, which is the cause of whale-bones 
 working through the dress. Before putting in the whale- 
 bone, a small hole is placed through the thin scraped por- 
 tion, and the stitches are taken through this hole, and thus 
 the bone is firmly fixed. 
 
 Fig. 38 shows an illustration of a bodice in course of 
 completion. The various seams are shown ; the place for 
 putting in the bones is indicated ; the button-holes and the 
 marks where the buttons are sewn on will be observed ; all 
 the seams are completed except those of the shoulder, 
 which are left open to show the work in progress. 
 
Fig. S8. Bodice Half Fiuislied, 
 
SLEEVES.— DIFFERENT STYLES. 
 
 Although the shape of sleeves often varies, there is one 
 rule that never changes — The length of the sleeve above 
 the arm is about two inches longe}"than U7ider the arin^ 
 ivhcj-e it is cut out. 
 
 The coat sleeve, being that which gives the shape of the 
 arm best, will be first described. 
 
 Fig. 39. Coat Sleeve. 
 
 •^^&' 39* To draw this pattern, a horizontal line, a b^ 
 must be made across the top of the paper. Place on this 
 line half of the arm-hole measurement, and mark one end 
 c and the other d ; then draw the length of the arm from 
 (/to ^^in an oblique line. For the outer line of the sleeve, 
 trace a straight line two inches above c, meeting the point 
 y, and stop this line at^^, tlie center of the line d <?, where 
 the elbow is situated, and prolong the line obliquely, par- 
 
6s 
 
 allel with the Inner hnc ah-eady traced, but ending about 
 an inch beyond it at/^. A line drawn from h to e shows 
 the shaj^e at the lower edge, and must be measured to fxt 
 the wrist. Two lines arc drawn at the top, that fro my* to 
 d for the upper jDart of tlie sleeve, and that from f to /, 
 which shows the portion that is cut out for the under part 
 of the sleeve. 
 
 Y\'^. 40. Open Sleeve. 
 
 The under part of the sleeve is generally cut narrower 
 from the top to just below the elbow. 
 
 Method of Making. — The pattern is placed on the 
 lining, which must be folded quite straight, and two 
 pieces are cut for the upper part of the sleeves, and two 
 more for the under part, allowing for all their respective 
 curves. The stuff must be cut from the lining. The 
 
66 
 
 sleeves are stitched all the way down the outer and under 
 seams ; and, in order to make them look neat, only one 
 piece of the lining will be stitched in, so that the other part 
 can be hemmed over the seam, taking care not to let the 
 stitches show on the right side. If this is not done, the 
 seams must be sewn over. 
 
 The opening of the wrist is hemmed or finished off with 
 a false hem ; to do this, the stuff and the lining are both 
 folded bact and joined together with slip-stitches or a 
 binding. 
 
 Various Shapes. — On this foundation a s'leeve, more 
 or less long and wide, may be made; it maybe open, 
 either partly or -entirely, on either side, and joined at in- 
 tervals by some trimming, &c. 
 
 Sleeves may also be cut in a single piece, leaving a per- 
 fectly straight fold down the inner line d e ; but this is sel- 
 dom done. 
 
 Fig. 40. This sleeve Is more or less open, and gen- 
 erally cut on the bias. After drawing across the top of the 
 stuff or paper a horizontal line a <$, half the width of the 
 armhole is put at one end <:, nearly two inches above a ; 
 then, lowering it to the right at the other end d^ a line is 
 drawn near the slanting measure, which gives the rounded 
 part of the upper part of the sleeve. 
 
 From d a curved line is drawn obliquely towards the 
 lower part of the length required, ending at e. 
 
 The more open the sleeve is, the more this line must 
 •slant. After drawing a straight line from c toy*, the length 
 of the sleeve, the lower part is drawn in any shape that is 
 liked, either by the line to e or one of the other shapes 
 shown on the illustration Fig. 40. 
 
 The line c J"^ which gives the outer side of the sleeve, 
 may be lengthened till it reaches the hem of the dress if 
 
67 
 
 required, but the inner line d e must stop at the wrist, un- 
 less a large fold or revers is wished for, which must be al- 
 lowed for in the length. 
 
 Method of Making. — This sleeve is cut in one piece, 
 folded on the bias, and the fold turned towards the out- 
 side length c f. 
 
 It is joined by a seam like that in the coat sleeve. Like 
 the latter, it can be left open at the inside seam, or even 
 outside ; but more than this, it may be made of enormous 
 
 Fig. 41. Gathered Sleeve, and Mode of Cutting, 
 
 length, and, if narrow, tied to the other sleeve at the back 
 of the costume. The sleeves may also be made less long, 
 but of immense width, and all stjles of costumes can be 
 represented by them — Oriental, mediaeval, Greek, &c. ; 
 and they can have names such as judge, page, religious, 
 funnel, leg of mutton, &c. ; when they are short and fin- 
 ished off with lace they are called engageantes^ but these 
 are rather under sleeves. 
 
6S 
 
 Fig. 41. This pattern is so simple that it does not re- 
 quire to be traced on paper. 
 
 The sleeve is cut in one piece, folded straight, particu- 
 larly if made in washing material, although it may also be 
 cut on the bias. The upper part a b \s traced like that 
 of the preceding sleeves, taking in the whole width of the 
 stuff, which must be wider than the armhole c. The 
 length depends on the length of the arm ; the corner d is 
 cut off at the edge near the inner line b t/, which is slight- 
 ly curved. 
 
 The top and bottom parts must be plaited, or gathered, 
 until they are the same size as the armhole and wrist, leav- 
 ing a little space plain about an inch and a quarter near 
 the under seam. These sleeves are generally finished off 
 with a wristband. They may be varied in form, first, by 
 not being put into a wristband, but by making up the gath- 
 ering under a parement or revers ; they can also be gath- 
 ered or bouillonne the whole way down, or gathered at the 
 top only, and cut very narrow at the edge where they fit 
 closely to the vs^rist. 
 
 When the sleeves are fastened into the armholes, care 
 must be taken to put them under the seam to the point 
 where the width of the chest is measured. Sleeves can 
 be trimmed in all sorts of ways, the trimming being made 
 to correspond with the style of the dress with which they 
 are worn. 
 
 Another mode very much used by dressmakers for mak- 
 ing up coat-sleeves is to place the right sides of material 
 together, and the right side of lining together, stitch up, 
 and turn them right side out. Both seam and stitches are 
 then out of sight, and much time is saved by this way, but 
 great care must be taken in turning the sleeve, or the ma- 
 terial will be creased. 
 
69 
 
 The parement, or cuff, is an important part of the sleeve 
 trimniing. It can be really added to the sleeve, or mere- 
 ly simulated by the trimming. Cording sleeves at the 
 armholes is not now fashionable. 
 
 TRIMMINGS. 
 
 When we have thoroughly mastered the details of cut- 
 ting, fitting, and fininishing, Trimming, an important part 
 of dressmaking, lies before us, and one w^iich demands 
 a quality which can neither be so taught nor purchased — 
 Good Taste. It is this quality wdiich is prized, and 
 which is so rare. 
 
 Fig. 42. Bias of Two Materials. 
 
 Trimmings for dresses are required when the material 
 is poor, tliin, and transparent, when it is worn and 
 shabby, or, again, when there is something In the figure of 
 the wearer from which we wish to divert the eye. But 
 trimmed dresses are not required by young girls or by 
 good figures, neither should rich ladies be overladen vvitli 
 costly garnitures. 
 
 Again, certain fabrics should never be used as trim- 
 mings upon other materials. Velveteen, for instance, 
 cannot be ornamented with velvet bows, but must have 
 faille or silk orliaments ; grenadine cannot be used as a 
 trimming on washing fabrics, nor is white embroidery 
 suitable with barege. Poplin looks best when velvet 
 trimmed, but gros de Naples is not amiss w^ith it, while 
 
70 
 
 turquoise and faille can both be employed as garnitures 
 for cashmere, merinos, and all plain woollen goods. 
 Clear fabrics, grenadines, and bareges look best self- 
 trimmed, but foulard silk may be used with good effect. 
 Passementerie, or gimp, as it used to be called, is suitable 
 
 Fig. 43. Bias Border Half Made. 
 
 on all opaque fabrics; and fringes, it must be remem- 
 bered, are used to edge garments, and are placed under, 
 and not upon, the fabrics they ornament. Velvet bands 
 are used to outline the borders of the dress. 
 
 Fig. 44. Bias Trimmiug. 
 
 The effect of trimmings placed across the body is to 
 widen it, while lengthway trimmings take from the ap- 
 parent width, and add to the height. 
 
 In Fig. 44 the upper bias is stitched down. Fig. 45 
 shows a bias of thick material folded in such a manner 
 that one side of it forms a piping to the other. 
 
7' 
 
 The trimmings which serve most usefully to conceal the 
 ravages of time-^on our toilettes are the bias folds here 
 shown. Fig. 43 shows a bias of two materials, w^hlch 
 forms a useful border for covering the marks show^ on 
 
 Fig. 45. Stitched Bias. 
 
 the removal of crape. Fig. 46 shows a bias four times 
 folded, forming a wide band. The easiest way of making 
 this band is to run long tacking threads on the wrong 
 side, tacking each fold down lightly but firmly, and then 
 
 Fig. 46. Four-Fold Bias. 
 
 remove the tacking threads, continuing until all the folds 
 are basted and run on ; the top fold of the bias must be 
 neatly fastened down with slip stitches. 
 
 Rouleaux have been much used for dress trimming, 
 and may now be seen on mantles, and are also used for 
 edging very fashionable dresses, as well as for plain skirts. 
 
73 
 
 Ruches of various patterns are also employed for the 
 purpose of trimming. . These patterns are changed nearly 
 
 ] 
 
 
 
 % 
 
 Fig. 47. Thick Rouleau. 
 
 Fig. 49. Koulc II ' 
 
 every season, so that it would be useless to present any 
 collection in these pages. Two very pretty ones are 
 shown in the illustrations, (Figs. 50 and 51.) 
 
' 73 
 
 The clearness of the engraving (Fig. 50) explains how 
 this ruche is made. The under part is first plaited up, 
 
 Fig. 50. Double Buche for Dress Trimming, 
 
 and the second or narrower strip is made and laid in the 
 center, The trimming is very appropriate to muslin 
 dresses when the ruche can be made of two materials. 
 
 Fig. 51. The Fan Ruche for Dress Trimming. 
 
 This ruche (Fig. 51) is intended for trimming dresses, 
 and is newer than the plaitings, with fullness in the center. 
 The plaits here are sewn on in clusters. 
 
LOW BODICES AND BALL DRESSES. 
 
 The low bodice can be cut from a high bodice pattern, 
 and should be allowed fully an inch and a half higher 
 than the dress is intended to be when completed. The 
 pattern should be placed upon lining which, for ball 
 dresses, is usually fine lawn, which is soft, and yet strong 
 enough to bear the strain of lacing. When the lining has 
 been cut, basted, and accurately fitted to the figure, the 
 upper part is turned down outside the dress, and creased 
 down at the line where it is to be corded. The lowness 
 of the corsage depends entirely upon the figure ; no rule 
 for this can be given, but as crepe lisse and lace tuckers 
 are always added to the low bodice, if the line is left too 
 high it appears to cut the figure, while a line cut too low 
 is immodest as it is vulgar. 
 
 All the beauty of a ball dress depends upon the cut of 
 this line ; therefore no pains should be spared to perfect 
 it. 
 
 Ball dresses are made — i, pointed back and front; 2, 
 with round waists ; 3, with basques of various shapes, 
 cut in one with the bodice ; 4, with front basques and 
 pointed back. 
 
 I . The pointed waist. — This is usually a very becoming 
 style. The front points vary in length with the figure, 
 and are kept stifi' by means of whalebone in cases. The 
 whalebones are cut in blunt points, so that they should 
 ■not cut through the dress fabric, but must also be pierced 
 and sewn on. The edges of the bodice are corded with 
 single or double cording ; the sleeves are also corded 
 at the edges, and the top is corded to match. Eyelet- 
 holes are worked on the inside of the back whalebones ; 
 they are worked in white silk, in close overcast, not 
 
IS 
 
 button-hole stitch. Dresses are laced from top to edge, 
 therefore the silk lace is put in at the top left-hand eyelet- 
 hole. 
 
 2. Round- walsted bodices are cut off at the waist-line 
 and corded, and the skirt is then firmly sewn under the 
 cord. A sash is always worn with these simple but pretty 
 corsages. 
 
 3. Ball dress bodices with basques are worn, and 
 are cut like high bodices as far as the lower part of the 
 bodice is concerned. The edges are hemmed or corded, 
 according to the nature of the garniture. Colored silk 
 cordings are extremely fashionable at the edges of basques. 
 Basqued bodices are laced up at the back like the 
 pointed corsage. 
 
 4. A low bodice with front basques and pointed back 
 is extremely becoming, and is made by a union of the two 
 styles, I and 3. 
 
 Low bodices are trimmed with folds of silk tulle or lace, 
 arranged in various forms, and termed Berthe or Bertha. 
 The Bertha is made on a shape cut from not very stiff net 
 or tulle, and on a tarlatan foundation taken double ; but 
 the experienced milliner will fold the Bertha upon a paper 
 pattern, running the folds in place and trimming vv^ith lace. 
 This has a light and good effect. A bouillonne Bertha 
 demands a foundation of stiff net or tarlatan. The bouil- 
 lonn^s are usually finished by lace or a frilling of the ma- 
 terial. The sleeves of ball dresses are always trimmed to 
 match the Bertha, and often consist of pufis of tulle, a 
 frill of crei^e lisse, or Frou-Frou with velvet run in, being 
 tacked inside the corded edge. A crepe lisse or Frou-Frou 
 tucker is run inside the cording of the neck. Whatever 
 is chosen as a neck tucker must be repeated on the sleeves. 
 Ball dresses are worn over "slips" or petticoats of silk, or 
 
76 
 
 consist of rich silk or faille trimmed with tulle, net, blonde, 
 crepe de chine, and other diaphanous fabrics. Nearly all 
 kinds of trimming are and have been emploj^ed for ball 
 dresses. 
 
 Ball dress skirts and slips are made with lon^ trains ; 
 the prevailing characteristic of walking and visiting toil- 
 ettes will be found repeated in gauzy materials for the ball 
 dress. 
 
 MAKING OVER. 
 
 To make old clothes look almost as well as new is an 
 important part of dressmaking in families where economy 
 is desirable. It Is more difficult to remodel in some instan- 
 ces than to make an entirely new dress, and a few obser- 
 vations on the subject may prove acceptable. 
 
 We will suppose that it Is wished to convert half-worn 
 black-silk and half-worn black cashmere into a stylish 
 costume. The first thing to be done Is carefully to unpick 
 the skirts of both, taking all loose threads away. A small 
 sharp penknife is better for this purpose thnn a pair of 
 scissors. Having separated all the breadths of the silk, 
 prepare them for sponging by shaking and brushing them 
 very carefully. Then get a basin of clean cold water, soft 
 if possible, and sqeeze the blue bag Into it until It is dark 
 blue ; spread one of the silk breadths on the table, and 
 sponge It very thoroughly on both sides ; then fold it up 
 and lay it on a clean cloth or towel. Proceed in the same 
 manner with all the breadths ; then roll them up tightly in 
 the towel, and on the following day iron them carefully on 
 what is to be the wrong side. By this mode the disagree- 
 able stiffness that usually characterises cleaned silk is 
 avoided, and the blue has the eflect of renewing the black. 
 
77 
 
 The cashmere breadths, after behig thorougly brushed, 
 must be sponged with the blue water and hung in the sun 
 to dry. They must not be ironed if it can be avoided, 
 though sometimes it is necessary to press out the creases. 
 
 It is always well to line a done-up silk skirt. If this 
 is not done the silk is likely to split sooner than it would 
 without the support of the lining. It also prevents the 
 silk from looking thin, and this is an advantage in many 
 cases. Each breadth must be lined separately, and be 
 joined together afterwards. To make the seams neat 
 on the wrong side, one side of the lining should be left 
 out in stitching the breadths together, and afterwards 
 hemmed down upon the seam, taking care not to take the 
 stitches through to the silk. When all have been joined 
 together, leaving, of course, the pocket-hole and the plack- 
 et-hole, the bottom of the skirt is cut even, lined a few in- 
 ches up, and bound with braid. 
 
 This is a part of dressmaking into which it is wise to 
 put good work. It looks very untidy to see a piece of 
 braid hanging loose from the dress, and it is, besides, a 
 fruitful cause of accidents. Again, when the braid has 
 been torn off in this way it never fits in its place again, 
 having become stretched, and a join is alw^ays to be avoid- 
 ed. 
 
 For the next steps our supposed worker must be guided, 
 in a great meaaure, by the quantity of each material she 
 possesses. If there be sufficient cashmere to make a tab- 
 lier and sleevless jacket-bodice, so much the better. The 
 skirt may be trimmed with plaited frills of silk, cashmere, 
 or both combined. I would not advise any one to attempt 
 plaiting these frills unless she possesses a sewing-machine. 
 Not only is it a long and weary task merely to lay down 
 the plaits, but the two rows of sewing necessary to keep 
 
78 
 
 them in place take a very long time to do by hand. Also, 
 the evenness and regularity of plaits and stitches, w^hich 
 add so much to the appearance of the trimming, are much 
 more easily attained by using the sewing-machine than by 
 hand-^vork. With a treadle sewing-machine it is easy to 
 turn down the plaits while you do the w^ork, but v^ith a 
 hand-machine they must be pinned or tacked beforehand. 
 In the case of those who have not a sew^ing-machine it is 
 better to cut the frills and join them all ready, and get 
 'some one in your neighborhood to plait and stitch them, 
 which she will do for a very small charge per yard. 
 
 It is better not to put on the plaited frills w^ith the ma- 
 chine. In case of wishing to alter the dress again, there 
 is great difficulty in unpicking the machine lock-stich, and 
 the marks are not to be erased. As silk "does up" over 
 and over again, these points are w^orth considering. 
 
 Plaited frills may be cut either the selvedge way of the 
 material or across. I do not mean "on the cross," for 
 plaits do not "set" when cut on the bias. Those who 
 like the frills to set rather flat have them cut the selvedge 
 way. Those, on the contrary, who like them full and 
 "fluffy" cut them straight across the stuff*. 
 
 We will consider that the plaited frills of cashmere or 
 silk have now been completed and sewed on the skirt, 
 wdiich, when sewed on the band and provided with a 
 pocket, is completed. 
 
 The next consideration Is the tablier. Having chosen 
 a style, our worker gets the pattern of it, and lays it on 
 the cashmere. Joins will be necessary for this, and they 
 iTiust be neatly done and pressed on the wrong side with 
 a hot iron when completed. Much of the style of the 
 costume depends on the way the tablier sets at the 
 waist. A good slope must be taken in front, and in sew- 
 
79 
 
 ing It on the band, care must be taken to follow the slope 
 equally on both sides, otherwise the tablier drags and 
 looks crooked. If it should be necessary to have a join 
 down the front, it can easily be managed by having a hem 
 with either buttons or bows all the way down. The long 
 straight tablier, reaching nearly to the edge of the dress 
 infront, was always an ungraceful and unbecoming gar- 
 ment, and has now nearly disappeared. A better- style 
 reaches a little below the knees, and Is either rounded or 
 pointed in front. The cashmere tablier must be trimmed 
 with a narrow close plaiting of silk, unless fur, tape, 
 fringe, or other trimming should be preferred. But before 
 this trimming is put on the tablier should be lined two 
 inches deep all round with bias silk. The plaiting Is sewn 
 on over this lining. 
 
 The sleeves of the costume must be of silk. Both skirt 
 and sleeves are almost universally of silk at present. The 
 cuffs may be trimmed with cashmere. The pretty shape 
 which seems to come round the wrist and button over up- 
 on Itself is easily cut and placed upon the sleeve. When 
 sleeves are worn tight to the arm It is sometimes necessary 
 to have them open an inch or two at the outer seam. 
 When this is the case the opening Is trimmed all round 
 with very narrov^ kilt plaiting, and a little bow of silk or 
 ribbon Is placed where the seam begins. 
 
 The advantage of these tight sleeves Is great. Even a 
 thin ''scraggy" arm looks well in them, and a well-rounded 
 one is at its best. 
 
 We now come to the bodice, which probably requires 
 more contrivance than any other part, for bodices are 
 tight, and tight things will wear out. In these days, how- 
 ever, the fashion of bodices would seem to have been 
 made expressly to favor the "crafty little cunning econo- 
 
8o 
 
 mies" that the clever worker delights in devising. The 
 bodice may be all cashmere or half cashmere, that is, 
 there may be a fold of cashmere down the back, and 
 another down each side of the front. These folds have a 
 very good effect, and being brought from the shoulder are 
 not only easier to arrange than side pieces, but are more 
 becoming:. In cases where a bodice has become too nar- 
 row across the chest, fashion allows us to place folds of 
 silk or cashmere down the front to add to the width. 
 
 The basques should be trimmed either with a bias band 
 of silk or with narrow kilt plaiting of silk to match that 
 on the tablier, after having been lined with bias silk, also 
 like the tablier. 
 
 The collar may be made plain, or stand-up, or turned- 
 down, or both, according to the taste of the worker. The 
 ultra-fashionable collar stands up all round the neck, and 
 comes down to the third button of the bodice in front. 
 Sometimes it is longer on on one side than on the other, 
 and crosses over. Sometimes there is a double stand-up 
 collar, a very large one, and a smaller one inside. Again, 
 there is the stand-up and turned-down collar which is not 
 so elaborate as it sounds, consisting merely of revers in 
 front in addition to the ordinary collar, which is a union 
 of both shapes at the back. A long neck is improved by 
 a high collar. 
 
 The Spanish proverb says, "There are no birds in last 
 year's nest," but I hope contrivance and ingenuity will 
 prevent some of our readers from supposing there are no 
 dresses in last year's wardrobe. 
 
JACKETS. 
 
 Cutting-out and making-up a jacket for out-door wear ' 
 is perhaps even more difficult a task than that of fitting 
 and making a tight bodice. A tailor-made jacket always 
 fits better and wears better than those made by women ; 
 and the natural inference is that tailors study the laws of 
 proportion and reduce them to practice more efficiently 
 than dressmakers and mantuamakers. With the assistance 
 of good paper models, however, a fair attempt may be 
 made to rival the the dressmaker, at least, in this depart- 
 ment. 
 
 One great error that is frequently made in cutting out 
 fitting jackets for street wear is that of making them too 
 tight at the waist. If this is done, the jacket never wears 
 so well, and it is, besides, almost impossible to make the 
 basques sit properly. In the case of loose jackets, of 
 course, there is no temptation to commit this blunder ; but 
 here the principal difficulty consists in making the sleeve 
 sit well ; particularly if the material be thick, as cloth, 
 sealskin, astrakhan, etc. A tailor always gives abundance 
 of width on the chest and across the back, and we must 
 imitate the fraternity in these cases if we want our home- 
 made jackets to be a success. 
 
 The modern ones are almost invariably short at the 
 back and long in front. Some of them have sleeves ; in 
 others, the sleeve is simulated by a deep fold of the ma- 
 terial, as in the dolman form. The latter is the more be- 
 coming shape to most figures ; but the former will proba- 
 bly be preferred by the generality of our readers. 
 
 I need not particularly enlarge upon the mode of cutting 
 out these mantles, for the general principles are precisely 
 the same as those on which a jacket-bodice is cut, but the 
 
82 
 
 reader must remember to allow a great deal for 'turn- 
 ings," and must on no account cut the neck away until the 
 collar has been cut out, made, and tried on. Much of the 
 style of the garment depends on the sit of the collar. 
 
 There are some differences in the mode of finishing off 
 from those necessary in completing a dress bodice. The 
 fronts must be lined for a breadth of about two inches 
 with silk, before the button-holes are worked. This lin- 
 ing not only gives strength to the button-holes, but also 
 affords a neat finish to the sides. The basque mu.st be fin- 
 ished in the same manner. In the case of cloth and other 
 thick materials, braid is substituted for silk, as being 
 stronger and wearing better. 
 
 The inside of the sleeves at the cuff is finished to cor- 
 respond. The sleeves are not piped into the jacket as in 
 a dress bodice. They are very firmly stitched in. If the 
 material be cloth, the raw edges are afterwards parted and 
 lightly tacked down on either side. The stitches are not 
 taken through to the right side. 
 
 The collar is lined with silk, the lining being hemmed 
 down on the inside after the collar has been stitched on. 
 
 The foregoing remarks have applied more particularly 
 to the jacket form of mantle, but there is very little differ- 
 ence in making a dolman. The lining must be of silk, 
 but no button-holes are necessary. The trimming round 
 the edges may consist of fringe, lace, or silk plisses ; but 
 it is not indispensable to have any of these, more espec- 
 ially if the dolman be braided or embroidered. The braid 
 fringe or tape fringe so much worn makes a charming 
 finish, especially when mixed with silk. 
 
 In cutting out a fichu, the width of the material seldom 
 admits of the whole being cut without a join, These 
 joins should be managed so that they shall come at that 
 
83 
 
 portion of the fichu which crosses over under a bow. 
 Fichus are finished off similarly to dolmans, but it is quite 
 necessary that they should have a fringe, or plisses of silk 
 or cashmere. Otherwise they look not only unfinished, 
 but ungraceful. These plisses need not be made of very 
 good silk. It is difficult to make them at home, and is a 
 tedious business even with a sewing-machine. I should 
 advise those who think of this trimming to put it out to be 
 done. 
 
 UNDERCLOTHING. 
 
 In cutting out all underlinen great care must be taken to 
 lay the pattern perfectly straight on the material, to smooth 
 out all folds and creases, and to take note beforehand of 
 any alterations that may be required in the length or width 
 of the garment. When the pattern has been pinned on to 
 the cloth, it is no bad plan, before cutting out, to make a 
 pencil mark round all the outlines, particularly where 
 alterations are needed, and the first garment must be most 
 carefully cut out, as it should sei'\"e as a model for all the 
 subsequent ones. Many a set of clothing has been spoiled 
 by not attending to this rule. The last one cut has been 
 used as the model for the next, and when the last of all 
 has been compared with the first, it has been found so 
 utterly different, and sometimes so ridiculous in shape as 
 to be quite useless. 
 
 Turnings must be allowed for everywhere, except where 
 selvedges are seamed together, as in joining on gores, &c. 
 Tucks in drawers must be taken into consideration and 
 allowed for, and only one garment, or portion of a gar- 
 ment, must be cut out at a time, no matter what its size 
 may be, nor how simple it may appear. 
 
84 
 
 Place the roll of cloth from which you intend to cut on 
 a chair at the end of a long (dining-room) table. Pull 
 out as much cloth as will lie all along the length of the 
 table : the cutter should stand at the side of tlie table, so 
 that the piece of cloth lies selvedge-ways across her. 
 
 Before cutting out a chemise, it must be ascertained 
 what width it is to be at the hem, as the size of the gores 
 and the method of cutting depends entirely on this. (See 
 Figs. 53 and 53.) 
 
 Fig. 52 shows the way to cut a chemise with small gores 
 only. An ordinary cloth cut in this way gives a width of 
 two yards, v^hich is generally considered sufficient. Sup- 
 posing, however, that the material should be narrow, or a 
 greater width be required, the chemise and gores must be 
 cut by the dotted lines. 
 
 Fig. 53. The gores can always be cut from the pieces 
 of cloth at the top of chemise, and must be neatly seamed 
 on, leaving of course the wider part at the hem. When 
 the gores are joined at the side, seams should be run and 
 felled, and a hem from half an inch to an inch wide made 
 at the bottom. 
 
 The yokes are placed on the cloth, and cut as shown 
 in Fig. 54. The sleeves must never be cut across the 
 material — that is from selvedge to sefvedge — but always 
 the lengthway of the cloth, as they wear much better cut 
 in this way. They are joined and put into the armholes 
 of the chemise, with the pointed part towards the lowest 
 part of armhole. The back and front of the chemise 
 must next be gathered, the back and front yokes joined at 
 the shoulders, and then fitted on to, and stitched to, the 
 top of the chemise and sleeves. The yokes can be either 
 plain, or tucked all over, or made of alternate strips of 
 tucks and embroidered insertions ; the right side of the 
 
^ 
 
 tT, I 
 
 5 
 ^ 
 
87 
 
 front should button over the left, and the top edge and 
 edge of sleeves may be trnnmed with lace or embroidery. 
 
 Trimmings. — The most durable trimming for under- 
 clothing is Madeira w^ork, but as this is costly, it is not 
 within the reach of all ; and the Excelsior and the Beau- 
 Ideal embroideries are a most excellent and durable sub- 
 stitute. Real Valenciennes lace is sold by some houses at 
 little more than cost price. The make is strong, and very 
 and suitable for trimmings. 
 
 The mode of cutting out a nightdress is similar to that 
 employed in cutting out a chemise ; the required length 
 
 Fig. 54. Diagram for Smaller Pieces. 
 
 must be calculated, and the pattern pinned on to, or pen- 
 cilled out on, the cloth. Fig. ^^ does not give the entire 
 length of the night-dress, but it is very easy to continue 
 the perfectly straight lines until the breadths are as long as 
 they are wished to be. Figs. 55 and ^6, the simpler pat- 
 tern, shall be described first. The front breadth of this 
 night-dress for a person of medium height should be a 
 yard and a half long from the shoulder to the hem, and 
 the back breadth six inches less. 
 
3 
 
 
 / 
 
Fig. 56. Jlode of Tlaciug the Various Pieces of tlie Niglit Dress. 
 
90 
 
 Before beginning to make up the night-dress, the gores 
 must be cut out, and with them the sleeves and yoke- 
 pieces. The gores are joined to the lower part of the 
 night-dress on either side to give it additional fulness 
 round the skirt, and the side seams should then be run 
 and felled up to the arm-holes. A tolerably wide hem 
 completes the lower edge of the night-dress, an inch and 
 a half usually. 
 
 At the top the back is gathered between the two small 
 marks on the illustration ; in the front the line down the 
 center from the neck represents the opening, and is from 
 sixteen to eighteen inches long. The front of the night- 
 dress on either side of this opening Is tucked to within 
 four Inches of the arm-hole, the tucks being continued a 
 little lower than the opening, until the width is sufficiently 
 reduced to make the shoulder fit exactly to the shoulder of 
 the yoke. The right side of the opening should fold over 
 the other, and will require an extra piece put on, and the 
 hem on the left side must be lined. This hem, and the 
 piece fold-ing over it, which Is double, are usually about 
 an inch wide. 
 
 The sleeves should next be joined, and the narrower 
 and straighter gathered into a wristband ; the upper 
 part is put plain into the armholes, any extra fulness being 
 gathered at the shoulder. The yokes must be tacked 
 together a little way from the edge, and first hemmed on 
 the wrong side to the back, sleeves, and front shoulders, 
 and then stitched on the right side, A straight band round 
 the neck, and buttons and buttonholes down the front, 
 complete the night-dress. 
 
 Figs. 57 and 58. This differs a little from the previous 
 one ; the back breadth is precisely the same but the front 
 breadth is cut to fit into a pointed yoke, and is only three 
 
1 1 
 
 1 
 
 
 1 
 
 7^ 
 
 
 \ ■ 
 
 f 
 
93 
 
 inches longer than the back one. The mode of putting 
 in the gores and sleeves is, however, exactly similar to 
 that already described ; the back and front breadths are 
 gathered at the top, the two yoke pieces tacked together, 
 and then hemmed to the back, front, and sleeves on the 
 wrong side, and stitched on the right side. The gather- 
 ings in front should not be continued beyond the marks on 
 the illustration, but between them on both sides, leaving 
 plain spaces near the front and arm-holes. A narrow 
 band is put round the neck, and the collar joined to it. 
 
 The piece ^of longcloth left between the second yoke 
 and the selvedge will come in for cutting out bands, 
 linings to hems, &c., all of which must be cut the length- 
 way of the material. 
 
 Young ladies who have plenty of time at their disposal, 
 and not much money to sj^end on trimmings, will find 
 feather-stitching a very pretty way of finishing off bands 
 and yokes. Sleeves wear better if the arm-holes are lined; 
 This is done by cutting pieces of cloth about two inches 
 wide, but the exact shape and size of the arm-holes, and 
 hemming them neatly on the wrong side. The sleeve is 
 then slipped in betsveen the night-dress and the lining, 
 and joined to both by fine hemming. 
 
 If several night-dresses are required, it will be found 
 better to cut all the front and back breadths first, then the 
 gores, which can be made to fit closely into each other, so 
 that four gores can be cut out of the width, and lastly the 
 sleeves, yokes, and bands ; but the method illustrated 
 Fig. 56, is the most economical for cutting out a single 
 garment. 
 
 Night-dresses are frequently trimmed with embroidery, 
 which is put on with a cording by most makers. This 
 plan, although beautifully neat, is not altogether to be 
 
94 
 
 adopted, as, when the embroidery Is torn or worn, the 
 cording has to be removed in order to replace it. 
 
 A better plan is to cord the night-dresses at the collar, 
 front, and cuffs, to whip the edge of the embroidery, and 
 draw it up to the fulness required to tuck in place, and 
 neatly hem down the whipped edge just below the cord. 
 
 By this means the work can be removed and replaced 
 with little trouble. 
 
 The same remarks apply to putting on lace, which 
 should be sewn on the edge of the night-dress, and not 
 put on with the cording. Before using any ^ord for cord- 
 ing underlinen, it should be scalded in boiling water to 
 prevent shrinking when washed. Unless this precaution 
 is taken, the cord will draw the cloth up into very unsight- 
 ly wrinkles. 
 
GUIDE 
 
 DRESSMAKING. 
 
 CONTAINING 
 
 ALL AND COMPLETE INSTRUCTIONS IN MEASURING, 
 FITTING, CUTTING BY MEASURE, MAKING UP, 
 AND ALL THE OTHER DETAILS OF 
 DRESSMAKING. 
 
 TO WHICH ARE ADDED 
 COMPLETE INSTRUCTIONS FOR CUTTING AND MAKING 
 
 LADIES' UNDERCLOTHING. 
 
 FIFTY-SEVEN ILLUSTRATIONS. 
 
 BOSTON: 
 
 J. HENRY SYMONDS, PUBLISHER, 
 68 Devonshire Street, 
 

 
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