SCHOOL SEWIN — • BASED ON HOME PROBLEMS BURTON Class T In lO Book.. Gopyriglit]^^- CQKRIGHT DEPOSm SCHOOL SEWING BASED ON HOME PROBLEMS BY IDA ROBINSON BURTON, B. S. Former Director Home Economics Muncie Normal Institute AND MYRON G. BURTON, A. B. Director Home-Study Service Kansas State Agricultural College Author cf "Shop Projects Based on Community Problems" PUBLISHED BY VOCATIONAL SUPPLY COMPANY MUNCIE, INDIANA TTjio • IS? COPYRIGHTED, 1916 BY VOCATIONAL SUPPLY CO. AUG 23 i9l6 (g)CU437597 r TABLE OF CONTENTS PAGE ^Title Page 1 Copyright Page 2 Table of Contents 3, 4, 5, (> " Preface 7, 8, 9, la Home Problems 11, 12, 13 Suggestions to Teachers 14, 15, 16, 17, IH Instructions to Students 19, 20, 21, 22, 23 Introduction to Section 1 24 Needle Book 25, 26, 27, 28 Wash Cloth : 29, 30, 31, 32 Hand Towels 33, 34, 35, 36 Handkerchief Case 37, 38, 39, 40 Sewing Apron 41, 42, 43, 44 Book Cover 45,46,47,48 Button Bag 49, 50, 51, 52 Hair Receiver 53, 54, 55, 56 Holder 57, 58, 59, 60 Child's Bib 61, 62, 63, 64 Review Questions and Problems 65 Suggestions for Home Application 66, 67 Introduction to Section II 68 Filing Pocket 69, 70, 71, 72 Sleevelets 73, 74, 75, 76; Cap 77, 78, 79, 80 Silver Case 81, 82, 83, 84 School Bag 85, 86, 87, 88 Broom Cover 89, 90, 91, 92 Crocheted Turban 93, 94, 95, 96 Darned Towel 97, 98, 99, 100 Dresser Scarf 101, 102, 103, 104 Kitchen Apron 105, 106, 107, 108 Review Questions and Problems. 109 Suggestions for Home Application 110, 111 PAGE Introduction to Section III , 112 Traveling Case 113, 114, 115, 11(5 Embroidered Napkin 117, 118, 119, 120 Shop Apron 121, 122, 123, 124 Ironing Board Cover 125, 126, 127, 128 Clothes Pin Apron 129, 130, 131, 132 Scalloped Towel 133, 134, 135, 135 Fancy Apron 137, 138, 139, 140 Bedroom Slippers 141, 142, 143, 144 Handmade Handkerchief 145, 146, 147, 148 Embroidery Corset Cover 149, 150. 151, 152 Review Questions and Problems 153 Suggestions for Home Application 154,155 Introduction to Section IV 156 Sash Curtains 157, 158, 159, 160 Laundry Bag 161, 162, 163, 164 Pillow Case 165, 166, 167, 168 Sofa Pillow Cover 169, 170, 171, 172 Table Cover 173, 174, 175, 176 Guest Towel 177, 178, 179, 180 Bungalow Apron 181, 182, 183, 184 Cooking Apron 185, 186, 187, 188 Baseball Suit 189, 190, 191, 192 Plain Petticoat 193,194,195,196 Review Questions and Problems 197 Suggestions for Home Application 198, 199 Introduction to Section V 200 Combing Jacket 201, 202, 203, 204 Night Gown 205, 206, 207, 208 Kimono 209, 210, 211, 212 Princess Slip 213, 214, 215, 216 Ruffled Petticoat 217, 218, 219, 220 Cambric Corset Cover 221, 222, 223, 224 Drawers 225, 226, 227, 228 Pajamas 229, 230, 231, 232 Boy's Shirt 233, 234, 235, 236 Embroidered Luncheon Set 237, 238, 239, 240 Review Questions and Problems 241 Suggestions for Home Application 242,243 Introduction to Section VI Middy Blouse 245, 246, Tailored Waist 249, 250, Tailored Skirt 253, 254, House Dress 257, 258, School Dress 261, 262, Wool Dress 265, 266, Silk Dress 269, 270, Lingerie Dress 273, 274, Gymnasium Suit 277, 278, Coat 281,282, Review Questions and Problems Suggestions for Home Application 286, Supplement PAGE 244 247, 248 251, 252 255, 256 259, 260 263, 264 267, 268 271,272 275, 276 279, 280 283, 284 285 287, 288 289 Chapter I. Textiles — General Discussion 290 Cotton and Cotton P^abrics 291, 298 Linen and Linen Fabrics 298, 300 Chapter II. Sewing Processes — Introductory Suggestions 307 Straightening Cloth 308 Basting and Tacking. . . . 308, 309 Running Stitch 310 Backstitch 310 Combination Stitch 311 Overhanding 311,312 Overcasting 313 Hemming 313 Hemstitching 314, 315 Rolled Hem 316 French Hem 316 Catch Stitching 316, 317 Featherstitching 317, 319 Cross-stitch 319,320 Outline Etching Stitch.. 320,321 Chain Stitch 321 Seed Slilch 322 Blanket Stitch 322, 323 Couching 323,324 Wool and Woolen Fabrics 301,304 Silk and Silk Fabrics. . .304, 306 French Knots Satin Stitch Lazy Daisy Hooks and Eyes and Snaps Forming a Loop Sewing on Buttons . . . Buttonholes French Seam Felled Seam Lapped Seam Overcast Seam Gathering Cutting Bias Strips. . . Squaring a Corner . . . . Mitering a Corner Patching and Darning. Crochet Stitches Plackets Sewing Machine 324 325 325, 326 326, 328 328 329 330, 333 333, 334 334, 335 335, 336 336 336, 338 338, 339 339, 340 340, 342 342, 349 349, 352 352, 357 357, 358 PAGE Chapter III. Care, Repairing, Cleaning and Pressing of Clothing- Laundering 362, 363 Removing Spots and Stains 363,367 Pressing 367, 373 Clothing and Personality 359 Economy in Dress 359, 360 Care of Clothing 360, 361 Altering Garments 361, 362 Dyeing and Cleaning. . . . 362 Chapter IV. Patterns and Pattern Drafting — General Discussion 374, 376 Drafting Kimono Drafting Foundation Waist 376, 385 Nightgown 390, 392 Drafting Foundation Skirt 385, 390 Drafting Drawers . . . 392, 393 INDEX OF PROJECTS. Baseball Suit 189 Bedroom Slippers 141 Book Cover 45 Boy's Shirt 233 Broom Cover 89 Bungalow Apron 181 Button Bag 49 Cambric Corset Cover 221 Cap 77 Child's Bib 61 Clothes Pin Apron 129 Coat 281 Combing Jacket 201 Cooking Apron 185 Crocheted Turban 93 Darned Towel 97 Drawers 225 Dresser Scarf 101 Embroidered Corset Cover... 149 Embroidered Luncheon Set . . 237 Embroidered Napkin 117 Fancy Apron 137 Filing Pocket 09 Guest Towel 177 Gymnasium Suit 277 Hair Receiver 53 Handkerchief Case 37 Handmade Handkerchief. . . . 145 Hand Towel 33 Holder 57 House Dress 257 Ironing Board Cover 125 Kimono 209 Kitchen Apron 105 Laundry Bag 161 Lingerie Dress 273 Middy Blouse 245 Needle Book 25 Nightgown 205 Pajamas 229 Pillow Case 165 Plain Petticoat 193 Princess Slip 213 Ruffled Petticoat 217 Sash Curtains 157 Sewing Apron 41 Scalloped Towel 133 School Bag 85 School Dress 261 Shop Apron 121 Silk Dress 269 Silver Case 81 Sleevelets 73 Sofa Pillow Cover 189 Table Cover 173 Tailored Skirt 253 Tailored Waist 249 Traveling Case 113 Wash Cloth 29 Wool Dress 265 PREFACE THE most striking feature of the modern educational system Is the atmosphere of practical application which surrounds every line of its endeavor. Educators have come to realize that the surest approach to the child's mind is through the light of his ex- perience. They are therefore striving to utilize the impressions gathered outside the classroom in motivating some of the mental gymnastics which, heretofore, have been sheerest abstractions. Not only has the scope of the curriculum been extended in such a way as to include the subjects founded upon home and community problems, but the very manner of dealing with those subjects themselves has undergone a change consistent with the general scheme of making the child's experience the constant handmaid to his training. Under the old school the plan of the textbook was to arrange the subject-matter in a logical and scientifically sequential form, giving but little thought to the manner of development in the child's mind. In those days it was thought that a textbook should rep- resent a storehouse of racial subject-matter arranged systematically and according to the most logical method. But little attention was given to the idea of making the textbook a bridge between the child's experience and the subject into which the child should be led. Modern thought along these lines has made evident the fact that the child's mind unfolds naturally in response to his experience, that the child is a learner outside the classroom, to and from school, and at home. In fact, during all his waking hours, he is continually absorbing from his environment. With this fact in mind, the so- called "phychological" method of instructing has come into vogue. That is, the immediate interest of the child is utilized in an effort to lead him into the realms of the unknown. A consideration of this conception easily leads one to believe that the method of pro- cedure in teaching could not then be identical in any two children, due to the fact that no two children are equally endowed mentally, neither have their experiences been the same. Therefore the psycho- logical plan of teaching in its strictest sense could be perfectly em- ployed only in a class consisting of one student. If this psychological plan were followed to the extreme there is great danger that it would lead to random thought, encouraging a sort of mind wandering, due to the fact that no definite goal existed. 8 Ironclad advocates of the old school of logical lliifiking appar-' ently believed that the child existed for the sake of fittiftg himself into the established methods of training, and that each child should be slavishly led, or driven as the case might be, through this pre- scribed course, regardless of his personal aptitudes or individual inclinations; likes and dislikes were not in the consideration. It was this school of pedagogy which believed that the sequential logic of the subject should be the master in prescribing the order of pro- cedure in all school texts. On the other hand, the swing of ihe pen- dulum brought many so-called educators to the opposite extreme" where they were ready to cast aside every form of prescribed methods of procedure, and in every line of thought endeavor to cause the mind to unfold "naturally" with but little foresight as to the ultimate goal. This sort of procedure was sure to result in rambling which gave the" student absolute command of nothing that would function in the solution of future problems. These two extremes lie open to anyone who attempts the prep- aration of a textbook. While the logical arrangement has beerr rigidly followed for many generations past in some of the old line subjects, it has asserted itself only to a very limited degree in the newer industrial lines. There have, however, been a few attempts at industrial textbooks which were so inflexible in the work that they set forth as to stint the development of the students, and give them but little that has any connection with the great store of world subject-matter. There can certainly be no greater pedagogical error than to introduce a practical subject and then teach it in such a way as to strip it of all of its practical applications. By far the greatest error, however, has been at the other extreme of the pendulum. Too much of the industrial work of our public schools has been so afraid of falling into the conventional forms of the older lines that it has been almost chaotic; on account of this lack of method, it has brought results which were far from satisfactory. The newness of industrial work as a public-school undertaking has naturally been the cause of its failure to conform to established methods of procedure. Superintendents have been impressed with the beautiful theories often set forth by the expert industrial teacher saying that the work should be made to conform absolutely with the child's personal experiences, and that every problem should arise out of the child's own conception and initiative. Such methods have been tried and superintendents have been very much disappointed to find that, when the classes were entrusted to less skillful teachers, the educational results fell far short of the expectations which had been set upon hearing this theory so beautifully expounded by the expert. If any line of handwork is to have its real educational value it can not be at variance with the established rules of pedagogy. It is absurd to think that a child undergoes any transformation, either physically or mentally, because it happens to be in an industrial laboratory, rather than in a classroom for the abstract subjects. In the preparation of this text, which is based upon many years of personal instruction and observation of all types of schools in several states, the effort has been to find a sane medium between the rigid logical method of arrangement and the almost chaotic result of the unqualified psychological method. Those who are familiar with the subject of sewing are well aware that it does present many scientific phases, and that there are correct and incorrect ways of doing things which belong to this important art. These established principles are but the outgrowth and develop- ment which the age now holds as its heritage from the careful and thoughtful efforts of generations gone by. Surely each girl should not be called upon to relive all these experiences in the sewing class, and to develop herself from the crudest undertakings of sewing through all of the primitive steps which have made possible our modern needlework. Neither, on the other hand, should the child be compelled to master in an absolute way a definite and prescribed set of disassociated needlework principles. The experiences of the child, her own environment, and outlook into her future occupation, as well as her immediate needs should be studiously considered in prescribing her work. The course should be sufficiently flexible to adapt itself to these various needs without in any way disregarding the established principles of the subject. The apperceptive powers of the girl constitute her only means of interpreting her surroundings. With this idea in mind, this text has been designed to deal with logical principles in a psychological way. Paradoxical as this may seem at first, an examination of the text reveals the fact that every lesson presents ample opportunity for the student to acquaint herself with different principles, and at the same time employ those principles in the making of a project which will appeal to her native interest. In order to provide for the development of initiative and to stimulate the exercise of individual tastes, untold possibilities lie open in the matter of original design, choice in decoration, and in the employ- ment of the artistic touches which are in no way a violation of principles. In order to meet the widely difierent conditions of mind, which 10 must necessarily exist in the children who come from homes of vary- ing conditions, a very extensive list of projects has been presented in each section. Kindred ones have been suggested, thus making it possible to claim the interest and attention of every normal girl, allowing her to make articles which are of practical value in her daily experience, and at the same time, enabling her to develop her latent talent for artistic expression. As this text is submitted to the opinion Of our fellow teachers it is our most sincere hope that it will find some place in which to otter its share of real practical assistance to every force which is endeavor- ing to render practical service to our girls who desire to fit themselves for lives of usefulness. 11 HOME PROBLEMS THE most severe criticism which is being brought upon our public schools today comes from professional men, great cap- tains of industry, and those who have devoted their lives to the practical problems of a busy world. It is not uncommon to hear it stated that public schools fail to empower students with the kind of information which they can employ after leaving the schoolroom. The most ardent supporters of our educational schemes will not deny that there is some justice in this accusation. The schools which are becoming famous throughout the country, for the excellent work which they are doing, are those which are taking into vital consideration the needs of the community and the home. We have come to understand that it is just as cultural and just as intellectual for a child to engage her talents in the solution of some practical home and community problems as it is to spend the entire time and attention solving mathematical conundrums or enigmas of languages which will probably never be employed in her daily occupation. As soon as a girl leaves school she will be called upon to solve a great many problems in which an incorrect solution will not mean, an unsatisfactory grade on her report card, the loss of a holiday or the punishment of remaining in the same grade a second year; but she will be confronted with a class of problems, the failure in whose solution will mean the loss of social standing, impaired health, un- happiness and misery to her family and possibly even death itself. The problems of life demand a more careful solution than any of the problems with which she has been dealing in school. Incorrect solutions at school may be revised under the guidance of the teacher; incorrect solution of a home problem can not always be revised, and much less is there an opportunity to make a second attempt under skillful guidance. But little argument is necessary in convincing wide-awake, modern educators of the real value of the introduction of home problems into school work. The subject of sewing ofTers an opportunity for correlating the activities of the home and the school in a way which is sure to employ the natural interest of the student, and to use her inherent disposition toward activities in working out a line of accomplishments which will mean much to her when her school days are over. Surely 12 the consideration of such problems can not be lightly estimated even from the standpoint of their cultural value. Too many girls fail to comprehend what is meant by home prob- lems. To them the v^^ork of the housewife is a mere matter of course, with its drudgery and its never ending round of the same duties day after day. If they could be brought to realize that the problems of the home- are just as worthy the employment of their thought; and in fact oftentimes fully as difficult of solution as the work of Geometry, Chemistry or Physics, then more girls would respond with interest lo this challenge of their ability. The interest in obedience to home authorities and regulations may also be very much enhanced by a proper understanding of home problems. The girl who realizes the numerous problems which confront her mother, and fully under- stands that the mother is constantly racking her brain to find a correct solution of her problems, will have a broader sympathy for her mother, and will be less likely to add annoyance by thoughtless- ness occasioned through her lack of interest in those problems. The matter of providing satisfactory clothing for the different members of the family, keeping their clothing in the best possible condition of cleanliness and appearance, is a problem of no little concern. Particularly is this true in an age when tastes and designs are continually changing, bringing about fashions some of which are consistent with real needs while others are merely gaudy and superficial. A girl should learn to discriminate between her wants and her needs in matters of apparel. She should learn to comprehend the economical problems of costs and values, training herself to dis- tinguish between the two, fully understanding that cost and value do not always go hand in hand. The problems of mending are so homely as to be usually ignored. There is certainly no sane reason why the matter of patching, darning and other phases of mending should be any less dignified than trans- lating a foreign language, solving mathematical problems, or doing research work pertaining to the history of ancient nations. The aim and hope of each lesson throughout the text is given with this idea of enabling the student to comprehend the fact that there are certain home problems for which the particular project in the lesson offers a partial solution. It is not expected that the teacher should go into detail sufficiently to require that each student should thoroughly comprehend the home problems from which the project is drawn, however, the more completely the problems are studied the more likely is the student to pursue the project with interest. It is no more reasonable to expect that every girl should become a 13 seamstress than to expect that every girl should become a clerk or school teacher; but it is imperative that every girl should be deeply concerned in the problems of home life, and it is but natural to sup- pose that she will at some time be confronted with the problems, whether in the management of her own home or in contributing to the happiness and welfare of those among whom she makes her home. Surely the training which gives a girl a self-reliance in being able to make her own clothes is worth while. If she never cares to do her ow^n work she should at least have training sufficient to enable her to direct the work which will be done for her. The best way to instill the proper respect and appreciation for home is to give a girl an early understanding of the existence of home problems, and to equip her with some means of approaching them. u SUGGESTIONS TO TEACHERS THE following suggestions to teachers are intended to give a broad conception of the underlying principles upon which this text is founded and to offer means by which it can be made most effective in the hands of the student. It is not the intention to curtail the possibilities nor any of the originality or initiative of the teacher, but rather to relieve her as much as possible of the drudgery and minor details which fall to the lot of one who must constantly be a source of information and advice to her classes. In practically all other school subjects the teacher has the advantage of being able to place in the hands of her students some sort of literature from which they may gather the essential facts of the subject-matter. In proper justice to the teacher of sewing, as well as to the student, these classes should be provided with some means by which they may gather pertinent information and direct their own activities by their own powers of research. This will conserve the teacher's time and energy, allowing it to be devoted to the more important functions of studying the case of each individual student and then prescribing work suitable to meet those needs. This book is divided into six sections and each section presents ten projects in detail, and offers suggestions for optional modifica- tions which may be used in the construction of three or four times as many additional projects. It is not the intention that any one student should be required to make every project in each section, but the aim has been rather to set forth an abundance of work from which the teacher may direct the choice of each student, after con- sidering carefully her individual tastes and needs. No attempt has been made throughout the different sections to grade the projects and present them in the exact order of the sequence of processes, but rather to present a series of projects dealing with kindred principles, thus offering an opportunity of appealing to the various tastes of the students. It will be found, however, that the sections are somewhat sequential from the standpoint of difficulty. It is therefore suggested, that for the most part, the work should be taken up in the order presented in the text. When a student has completed one project, by a careful grading of the finished product as well as by a thoughtful consideration of the capability of the student, the teacher should advise her what project she is to undertake next. In making these selections the 15 personal wishes of the student should be carefully considered, and the selection should be made in such a way as to give each girl further training on the particular processes which she did not do satisfac- torily in her last project. In this way it will be possible for the teacher to strengthen the weaker points of the student by review without losing any of the interest which comes with undertaking a new project. It will be observed that in each section there are offered l^rojects of such a nature as to appeal to the interest of almost any girl. The introduction to each section should be carefully perused by the teacher in order that she may have a fairly clear idea of what that section embodies. It would be well for the teacher to acquaint herself with the processes set forth in each project before allowing the girls to undertake any of them. The student who has not suf- ficiently mastered the work of one section should not be permitted to pass to the next, but should be given further work, either from the regular lessons, or from the suggestions for optional modifications until she has proven her capability of undertaking the processes set forth in the next section. It is not necessary that all students of the class be working on one project or even projects from the same sec- tion at the same time; in fact, too much emphasis can not be laid upon the matter of giving to each girl the work best adapted to her personal development, regardless of what the other members of the class may be doing at that particular time. One of the principal reasons for placing the textbook in the hands of the student is to make it possible for this plan to be carried out. On the opening page of each lesson is given a half-tone illustra- tion to enable the student to visualize the essential points of the thing which she is about to undertake. These illustrations will also be found useful in guiding the teacher and students in making a wise choice of projects. With each lesson will be set forth the amount of material required for its construction. A suitable kind of material is suggested; this does not mean that that kind of material is the only one suitable, for in a great many of the projects a very wide latitude of choice is allowed. However, the material recommended is very commonly used and will give excellent results. Following the name of the material will be found paragraph references. These references refer to the supplement at the close of the text. By referring to these paragraphs a discussion of the different kinds of cloth will be found. These discussions will afford material for research work, and it is urgently advised that teachers require their students to make a careful study of these references. No attempt is made to give a technical discussion of the various 16 fabrics, but merely to cover the points of general information which will be found of practical value in the average home. This reading may be done outside the regular sewing period, it may be used as the basis for language or composition work, or used in a number of ways which will no doubt suggest themselves to the thoughtful teacher. On the first page of each lesson will be found the "Introductory Statement." The purpose of the introductory statement is to enable the student to realize that the thing set forth deals with a home prob- lem. While no effort is made to give the child a full comprehension of the home problem which the project of that lesson helps to solve, yet the introductory statement is made sufTiciently exhaustive to bring to the mind of the student the fact that such a problem exists in the average home. TTiroughout the text it has been the policy to offer no project Which does not have a real function in home life. Students should read the introductory statement of each project which they make. It would also be well to have all the introductory statements read and discussed in class regardless of the projects which the class is to undertake. This consideration of these intro- ductory statements will develop the judgment and awaken the interest of the students in a way which would not be possible if they were omitted. At the close of the introductory statement a number of references will be found. The purpose of these references is to cite authority to which students may refer for kindred information. Students are often at a loss to know where they may find reading matter pertain- ing to Domestic Art subjects. The references given in connection with each lesson are not necessarily kindred to the problem set forth in that particular lesson, but they will be found of great value in con- sideration of the general problems embodied in the lesson. On the second page of each lesson a number of suggestions for optional modification are given. These pages are designed with the idea of bringing before the students possibilities of developing the idea given in the project, and of encouraging them to use their own initiative in the construction of similar projects. Students should be encouraged to make a great deal of use of the suggestions for optional modification, and from the ideas set forth in these sugges- tions, they should be required to design and execute as many ideas of their own as possible. No attempt is made to give complete working directions for the difi"erent optional modifications presented. Only a mere suggestion can be offered relative to each. The re- mainder of the work is purposely left for the student to develop. On the last page of each lesson the working directions are given. 47 The purpose of the working directions is to guide the student in the construction of the project. It is not claimed that the methods of construction, and the manner of procedure set forth in these working directions, are the only possible ways of doing the work; these di- rections are given merely as safe guides. It will be found most bene- ficial to require the students to read for themselves the directions as set forth, and to execute the work without further interpretation from the teacher. This method will not only develop the power of self- reliance and research of the student, but will conserve the time of the teacher for her more important duties. The teacher should assist a student only when that student has exhausted her own resources in interpreting the method of procedure. Throughout the working directions a great many paragraph ref- erences are given referring to the supplement. Each of these ref- erences should be carefully studied, for in them will be found half- tone illustrations, and carefully worded discussions explaining how to execute the ordinary fundamental stitches and details of the most important processes of jjlain sewing. After the student has followed these references in a few lessons she will then be able to continue her work without further reference to them except as new processes are introduced. Sufficient references should be made, however, to make sure that no incorrect habits are developed. Throughout the text a great deal of latitude has purposely been offered in many of the processes. Custom has caused considerable variation in the exe- cution of a number of processes in sewing. The practices set forth in this text are such as have been thoroughly tested by many years of teaching experience, and have also been recognized and approved by practical seamstresses. At the close of each section will be found a list of review ques- tions. The purpose of these questions is to make sure that the stu- dents have gathered the most important points from the projects in that section. These questions may be used for written examinations, for oral tests, or in any way that the teacher may see fit. No doubt the teacher will have a great many important questions which may be added to this list. The careful consideration of the questions given will reveal the fact that the purpose of these tests is not merely a matter of examination, but they are designed to develop in the student an interest in home problems, and to inculcate a desire to take part in home activities. At the close of each section will also be found a number of sug- gestions for application to home problems. The underlying function of this text is to connect school needlework with practical home 18 sewing problems. In order to do this, every effort is made to bring the home problems into the school work and to encourage the chil- dren to carry home the principles developed in the class. Every teacher should encourage her students to bring from home a great number of pieces of work to be used in the class period. There is no reason why much of the home mending, darning and patching may not be done by the girls at school. It is at least imperative that the girls should assist in the work at home even if they do not carry a portion of it to school. Whatever emphasis is placed on the regular lessons of this text, there certainly should be no neglect of the sug- gestions for home application. Specific directions can not be given for conducting this work; each ter cher must be left to her own re- sources and initiative in working out ways and means of connecting home and school activities. The success of school sewing must be measured in a large degree by the interest which the girls have in home work, and by the results they get in their home undertakings. Girls should be encouraged to ask questions of their mothers, to bring such information to school and to compare that information with the information gathered from their research work. The care- ful handling of the subject in this way will make it possible for the girls to have the advantage of the scientific information set forth in the text, plus the practical experience of the home. It must be con- stantly kept in mind that it is not the purpose of the work merely to teach the girls a few needle practices, but rather to give them a broader education in the art of home sewing and to develop their appreciation for this class of life problems. 19 INSTRUCTIONS TO STUDENTS WHEN you undertake this work in sewing it will seem a little strange to you at first for it is somewhat different from the regular class work which you have been doing at school. In this work you will have a chance to learn by doing as well as by studying and thinking, and you can always make use of some of the things which you have learned at home. This work should be ex- tremely interesting to you because of its relation to the things which you will no doubt be called upon to do throughout j'our entire life. The purpose of sewing work is not merely to furnish you employment for your hands, but to teach you to direct your hands skillfully in the doing of the things which your mind must fully understand. It is very interesting to know that the skillful use of the hands comes only by proper guidance from the brain, so this work in sewing will give you a chance to use both mind and hand. The difference between a great artist and a laborer lies in the fact that the artist puts more brain work into his efforts than does the laborer; this explains why one is an artist and produces things of beauty, while the other is compelled to do the drudgery of the world. There is such a great number of valuable and interesting things given in these lessons, that you will be able to make selection of the ones which you like best. This does not mean that you should simply peruse the book and choose the thing which pleases your fancy without regard to your need or preparation to undertake it. ITie lessons set forth in the early portion of the book are easier because they employ elementary processes. Throughout the book you will find that the projects become more difficult because they introduce more advanced principles. You must not expect to undertake the more difficult lessons until you have successfully completed some of the elementary ones. It would be well for you to discuss with your teacher and your mother the project which you wish to undertake. After you have begun a project, never leave it until it is finished. Half finishing a task is not good training for it develops slovenly habits which, if followed, are sure to bring unsatisfactory results. You should cultivate the habit of finishing any task when you have once undertaken it, even though you may find some portion of it rather irksome and difficult. 20 Sometimes the school program is so arranged that the sewing class does not meet every day; this is frequently offered as an excuse for forgetting materials or neglecting to bring some equipment nec- essary for the recitation. Certainly such carelessness should be avoided. At the beginning of the work, pro\ide yourself with some sort of sewing basket, box or bag. A properly made sewing apron with pockets will also aid greatly in caring for your equipment. A pair of sharp shears, a tape measure, a thimble, a paper of assorted needles and a supply of thread should always be on hand. Tlie larger materials, trimmings, etc., required for the different projects, may be provided as needed. Work should never be carried home without the permission of the teacher, however, it would be well to take partly finished projects home occasionally in order that your mother may have an oppor- tunity to see just how you are doing your work. When work is thus taken home it should not be left there for mother or someone else to finish, but should be promptly returned to school in order to be continued at the next regular sewing period. Your textbook may also be taken home frequently for reference in connection with your home sewing duties, but it must always be brought back to the classroom in ample time for the school work. At the opening of each lesson you v/ill find an illustration giving you an idea as to the appearance of the finished product. You should study the illustration carefully, for it will enable you to form a clear idea of the thing which you are about to undertake. You will also find a list of the materials which will be required to make that par- ticular project. Of course in some cases the size of the material will vary, particularly, if it is for a wearable garment, for in that case the size of the person who is to use the garment will determine the size of it. You will notice that there are paragraph references following the name of the material suggested. You should turn to the supple- ment at the back of the text, and read carefully the i)aragraph referred to, for this discussion deals with the particular kind of material recommended for the project. It is just as important that you should understand the nature of the material that you are using as it is to be able to make the piece of work. This does not mean that the kind of material suggested in the lesson is the only kind suitable; in sewing you have a great choice of materials, however, the kind of material mentioned is generally the one most commonly used. Every lesson has an introductory statement on the first page. This statement deserves very careful study for it will help j'^ou to 21 understand that this particular project is given because it has a prac- tical value in the solution of some home problem. You may not always fully understand the home problem, but it will be worth while for you to think about it. At the bottom of the first page of each lesson you will iind a number of references. These books may be found in your library or in some public library to which you have access. These references are given for the purpose of enabling you to find further reading matter along the lines set forth in this book. It will be well for you to read many of these references, for you not only wish to become skillful in sewing processes, but you should develop as much infor- mation as possible in connection with the subject. On the second page of each lesson you will find some additional pictures and suggestions for original ideas which may be used. These illustrations show some suggestions for optional modifications; that is, they will show you some changes which can readily be made in the project and at the same time not introduce any entirely new prin- ciples. You will observe these changes or modifications usually deal with matters of decoration. It will be well for you to attempt original designs in as much of the work as you can, always discussing with your teacher the ideas which you expect to undertake. The next page of each lesson takes up the matter of working directions. These working directions are given with the idea of guiding you in doing all your work. You should read them very carefully as the work progresses. You will notice a number of paragraph references throughout the directions, these references refer to chapters and paragraphs in the supplement. Each one of these references should be found and studied carefully, for here you will find the complete directions and illustrations showing you exactly how to carry out each dilTicult process. The working directions do not make any attempt to illustrate or give details of sewing processes, all these are set forth in the supplement. It may not be necessary for you to refer to the supplement more than once or twice on each process, but you should refer to it often enough to make sure that you are doing your work correctly, and thus avoid forming any in- correct habits. The real value which you get from this work will depend upon the way in which you approach it. Do not attempt to finish any piece of work in the shortest possible time, rather try to see how well you can do it. There are really not a great many difficult things for you 22 to learn in sewing, but there is an unlimited number of ways in which you can employ those things. A great many girls make the mistake of starting a piece of work in a rather careless hurrying manner; they often become proud of the work when it is near completion and desire to make it neat and at- tractive, but it is marred by some of the errors which were made on account of too much haste at the start. Remember that the time to begin a very fine piece of work is at the first step in its making. An- other very important thing for you to learn from these lessoas is to be orderly and systematic in all your habits of work. The sewing work gives you an opportunity to observe the value of having a place for everything, and of keeping everything in its proper place. When you are through with the sewing period all working materials should be carefully laid away so you will know where to find them when they are needed again. Habits of this sort should be developed in all of your work for neat and orderly habits are sure to lead to success in any occupation. At the close of each section you will find a list of re\aew questions. These review questions should be carefully studied. It would be well to keep a notebook in which to write the answers to these ques- tions. This will make sure that you are gathering the most important points as you complete each section. The pages presenting "Suggestions for Home Application" are very important, for these applications will be the real test of what you have learned in the sewing work. If in the making of any single project you have not mastered some principles which you can apply on the problems at home, your work will have been much in vain. Take an interest in the problems of repairing, patching and darning at home. See how many of the different things which you have learned in school can be employed at home. It would be advisable to have a definite period each week in which to spend as much time as convenient on the home garments, practicing the instructions set forth in the sewing lesson. Your parents will no doubt be very much pleased to find you taking an interest in the home problems. You would be surprised if you could know how much you may lighten mother's tasks by assist- ing a little in these problems which she must consider day after day, month after month, and even year after year. You might be able to assist in selecting and purchasing materials for garments for yourself or members of the family if you have properly acquainted yourself with the different textiles explained in this book. 23 Undertake this work not with the idea that it is drudgery or labor, but with the feeling that it is an opportunity to use your best powers of thought in some of the most worthy tasks which it is a woman's privilege to undertake. 24 INTRODUCTION TO SECTION I SECTION I deals with the most elementary processes of hand sewing. The lessons set forth in this section will be found suit- able for sixth or seventh grade girls who have had no previous systematic training in sewing. Before undertaking any of the sewing lessons, each girl should be supplied with simple sewing equipment, such as needles, thread, shears, tape measure, thimble and some sort of sewing bag or box. The sewing materials may be brought from home or they may be purchased in bulk and passed out at school as the teacher sees fit. This is purely a local problem, but it is extremely necessary to have arrangements made whereby each girl may be satis- factorily supplied at the sewing period. Each girl should be supplied with a text of her own in order that she may have the undisturbed use of it; each student should be required to read freely and to interpret for herself. Before undertaking any of the actual work in sewing, the girls should be required to turn to the supplement and study carefully the correct and incorrect position, to make sure not to form any bad habits in their daily work. The different stitches and processes may be referred to, and studied as they are introduced in the making of the project. It is ad\ised that students who have had no previous training make their first selection from the early projects set forth in this section. As many projects from this section should be made as is necessary to acquaint the student with the elementary stitches set forth. It is not supposed that students should absolutely master all of the processes set forth before they are allowed to pass on to the next section. Success, speed and skill in se\\'ing come only after long and careful practice. If a student has acquired high ideals of excellence, and under- stands that each process must be executed to the very best of her ability before undertaking another one, the particular processes cov- ered by her work need not be a matter of deep concern. 25 NEEDLE BOOK MATERIALS. Art Canvas (Chap. I. Par. 8). Outing Flannel (Chap. I, Par. 30) or Felt (Chap. I. Par. 58). 1 piece art canvas 4y2"x6V2 ". 1 piece outing flannel, or felt, 6"x7". Crewel or rafTia needle No. 5. Colored san silk, or similar mercerized embroidery cotton. INTRODUCTORY STATEMENT. A place for everything and everything in its place is a rule that applies particularly well to the sewing basket, which easily becomes so hopelessly out of order that a great deal of time may be wasted in looking for the articles which it contains, A needle book is a very convenient article to have for the work basket, as it provides a place in which to keep needles of various sizes. It is also a very convenient way of carrying a few needles in the t-raveling bag as it folds flat and occupies very little space. Cre- tonne makes a pretty needle book cover, but being a figured material, leaves but little opportunity for hand decoration. The art canvas used for the cover of the needle book in this lesson is suggested because it gives an opportunity not only to make a pretty cover, but also to practice some of the stitches which will be used later. References : Needles, How We Arc Clothed, Chamberlain. Needles, Great American Industry, Vol. Ill, W. F. Rocheleau. Pins, The Making of America, Vol. VII, Chas. M. Karch. Pins, Great American Industry, Vol. Ill, W. F. Rocheleau. 26 SUGGESTIONS FOR OPTIONAL MODIFICATION. BOOKMARK. No. 1. A bookmark may be made of one strip of art canvas about 2"x8", blanket stitched the same as the needle book, with neat stitches for trinmiing. NAPKIN RING. No 2 The napkin ring is made very much like the bookmark, with a row of catch stitching and chain stitching inside. The rmg is formed by over-lapping and fastening the ends. PENWIPER. No 3 The penwiper is made of art canvas with leaves very similar to the needle book. The leaves are fastened to the base by taking a short stitch and tying the thread. NEEDLE CASE. No 4 A needle case mav be made of cretonne about 3" wide by 7" long A contrasting plain color is basted to the wrong side, and the ed^e of the cretonne is turned over it and hemmed in place, the leaf is made of outing ilannel or felt. The book is folded over like a pocket book and fastened with a snap. 27 WORKING DIRECTIONS FOR NEEDLE BOOK Straighten one short edge of the art canvas by drawing a thread and cutting on the line (Chap. II, Par, 102). Straighten one long edge of the material in the same manner. On the short edge measure out 4". (The length of the needle book), draw a thread, and cut on the line. On the long edge measure out 6" (twice the width of the needle book). Draw a thread and cut on the line. DECORATING THE COVER. Finish the edges of the art canvas with blanket stitching (Chap. II, Par. 128), making the stitches at least ^A" deep and Vs" apart. As the canvas ravels easily you must avoid pulling the thread too tight while working. The stitches used in decorating the surface of the cover may be selected as desired, but the running stitch (Chap. II, Par. 106) is used in the booklet shown in this lesson. A short stitch like the running stitch, backstitch or cross-stitch, is better to use for this purpose than a long stitch, on account of the corners that must be turned. THE INITIAL. An initial with square corners should be used if it is to be worked with the cross-stitch, as you cannot work very satisfactorily on curves with this stitch. First design the initial desired on a piece of paper, copy it with a pencil in the center of one side of the cover, as shown in the illustration, or if necessary, transfer it with carbon paper, as follows: Pin a piece of carbon paper slightly larger than the initial, carbon side down on the needle book. Place design over it, pin it down at the top and bottom and trace it with a lead pencil. Remove design and carbon paper and work the initial by taking first a vertical stitch, then a horizontal stitch on the lines of the drawing. The slanting cross-stitch may be used instead, if desired, by follow- ing the directions given in Chap. II, Par. 124, or the backstitch will make a pretty initial (Chap. II, Par. 107). PREPARING MATERIAL FOR LEAVES. Straighten one short edge of the outing llannel by drawing a thread and cutting on the line (Chap. II, Par. 102). Straighten one long edge in like manner. To lay out the large leaf, measure out on the long edge of the material 3^ j", the length of the leaf, and draw a thread. Measure down on the short edge of the material bVo" (twice 28 the width of the leaf) ; cut on the lines. Make the second leaf 8 " long by 5" Avide, in the same manner. Blanket stitch (Chap. II, Par. 128) completelj^ around the edges of these pieces with the mercerized cotton. If felt is used for these leaves, the edges may be finished with small notches. Outing flannel would ravel if finished in this way. FASTENING THE LEAVES TO THE COVER. Fold the narrow ends of the cover together as you would close a book and crease firmly on the fold. Open Hat on the table or desk. On the upturned side lay the largest piece of outing llannel. On this piece place the second, arranging them so there is a uniform distance between the edges of each leaf and cover, all the way round. Hold the leaves against the cover as you have placed them, then turn the cover side toward you and with a needle and double thread sew through the crease formed by the folding, inserting the needle about 1" from the upper edge of the cover, leaving about 6" of the thread extending to tie in a bow; bring the needle through again about 1" from the lower edge of the book cover, on the same fold. Cut the thread ofT near the eye of the needle and tie the two ends in a neat bow. Trim the thread if necessary. Needles may be arranged in vertical rows in the leaves of the needle book where they will be ready for use when needed. 29 WASH CLOTH MATERIALS. Turkish Toweling (Chap. I, Par. 35). 1 piece Turkish toweling 14" square. San silk, or similar mercer- ized cotton the color de- sired. Crewel or embroidery needle No. 5. INTRODUCTORY STATEMENT. There is an old axiom, "Cleanliness is next to Godliness." This is a general statement and refers to the care of the body as well as the care of the home. The wash cloth is a valuable aid in keeping the face clean. It takes quite a number of wash cloths for the aver- age family for they lose their efficiency after they become badly soiled, and clean ones need to be supplied frequently. It is very desirable for each member of the family to have an individual wash cloth, which may be marked with an initial. While any soft cloth will answer the purpose, Turkish toweling, which has been suggested for the wash cloth in this lesson, is particularly de- sirable because of its loosely woven threads, giving a rough texture which readily removes the dirt from the skin. Soft huck toweling is also used for wash cloths. References : Story of the Cotton Plant, F. Wilkinson. Manufacture of (lotton, The Great Industries of the Tnited States. 30 SUGGESTIONS FOR OPTIONAL MODIFICATION. WASH CLOTH. No. 1. This is a Avash cloth made from Turkish toweling about 12" square with a Yi" hem, blanket stitched around the four sides. The initial is worked with the outline etching stitch. WASH CLOTH. No. 2. This wash cloth is made of huck or Turkish toweling about 12" square with a l(i" hem, basted, then held in place on the right side with catch stitching. The initial is worked in French knots. WASH CLOTH. No. 3. This wash cloth is made of Turkish toweling 12" square with a Vi" hem held in place with crocheting. San silk, or some coarse mercerized thread is used. The initial is worked with the unpadded satin stitch. WASH CLOTH. No. 4. This is a factory made wash cloth edged with crocheting of mercerized thread to match the color in the wash cloth. 31 WORKING DIRECTIONS FOR WASH CLOTH PREPARING MATERIAL. If necessary, straighten two adjoining edges (Chap. II, Par. 102) of the Turkish toweling by drawing a thread on each of these edges and cutting on the lines formed; then from the corner, measure out on each edge 12" (the size of the wash cloth before it is hemmed); mark each measurement with a pin and draw one thread, forming lines, one lengthwise and the other crosswise; cut on these lines. TURNING AND BASTING THE HEM. A hem has two turnings, the smaller of which turns under the raw edge and should be Vs" to ^A" in width, and the wider turning which makes the finished hem; it may be any width desired. Allow about Vi" for the first turning on the edge of the wash cloth. Turn one edge down (even with a thread of the material), toward the side of the wash cloth which you may call the wrong side (there is no right and wrong side to the Turkish toweling) ; baste with even basting about i/4" long (Chap. II, Par. 103), as you turn. On the other three sides turn and baste as you have the first side (making the basting stitches as even as possible). After the first turning of the hem is made around the four edges of the cloth, make the second fold in the hem by beginning on one edge and folding over the edge of the material again y^" towards the same side on which you have already turned the raw edge; baste in place carefully with even basting, as you fold. Turn and baste the hem on the adjoining side in the same manner, being careful to keep the edges even at the corner. Continue turning and basting until the hems have been turned and basted on all four edges of the wash cloth. SEWING THE HEM IN PLACE. Sew the hems in place with the hemming stitch (Chap. II, Par. 114). Using coarse colored thread will give a pretty appearance to the wash cloth, and will also enable you to see whether you are getting your stitches even. Hem all four sides of the wash cloth. You will notice by carefully examining the corner of the wash cloth that the ends of the hems are open. These will look neater if sewed together with the overhand stitch which is generally used to fasten together the ends of hems. You may overhand (Chap. II, Par. 109) the ends of the four hems. 32 DESIGNING AND TRANSFERRING THE INITIAL. An initial may be selected from a commercial pattern book and :used as a guide in designing your own initial, or the commercial -pattern for the initial may be used. If the commercial pattern is ;used, transfer the first initial as follows: Place it in the position .desired with the rough side of the initial down, pin it to the material ;in two or three places and press it with a hot iron for about one minute. After the pattern has been used once it will be necessary to use carbon paper to get other copies from it. To do thic, place the carbon paper with the carbon side down on the wash cloth, over the place where you wish to have the initial, then place the pattern over the carbon paper, pin in two or three places to keep it from slipping, and trace around the design with a lead pencil. As it is difficult to transfer a design onto the rough Turkish toweling, trace around the initial several times before removing it. If you wish to design your own initial, print it, or write it care- fully on a piece of paper first, and submit it to your teacher for .correction. It should be from 1" to 2" high and should have the width in proper proportion. After the initial is designed, it may be copied onto the wash cloth with carbon paper, as directed above, or ,may simply be drawn freehand on the cloth, using the pattern as ,a guide. WORKING THE INITIAL. Remove the pattern and the carbon paper and work the initial ^with the outline etching stitch (Chap. II, Par. 125). The initial may be worked with French knots (Chap. II, Par. 130) or chain stitch ,(Chap. II, Par. .126). 33 ■ p IH ^^^^^^^^^^ • \ . jBbo ^^^H '\^^^^^^M ^^^^^^- '"-. ^^^^^^^^^^L \ ^^^^^^^^ ^^^^^^^ k V' ■ k I^^^^^^^^^^^^^^^^H HAND TOWEL MATERIALS. Crash Toweling. (Chap. I, Par. 44). V2 yard crash towelinj*. 41/2" white cotton tape, %" or 1/2" wide. White thread No. 70. Needle No. 8. INTRODUCTORY STATEMENT. There are a great many different kinds of hand towels, but plain or fancy, they are all used for the same general purpose, that is, to dry the hands and face. A towel should be made to suit the particular purpose for which it is intended. Crash tow^eling is gen- erally used for towels which receive hard wear, such as the kitchen towel, while huckaback or damask linen is more often selected for the finer towels used in the bedroom or bathroom. The material suggested for the towel in this lesson has a smooth finish that does not leave lint and is used, as a rule, for drying fine china and glassware. It is also frequently used for the hand towel which hangs on the apron band. It is a particularly suitable material for beginning problems in sewing because the stripes serve as a guide in turning the hem. Although this is the kind of towel generally used in a school kitchen, it will also be found verv convenient for home use. References: LiiK'i), How We Are (>l()ttiecl, Chamberlain. Linen, How It Grows, National Flax Fiber Co. Linen. .]oiirn;il of Education. \'ol. XLV, p. 177. 34 SUGGESTIONS FOR OPTIONAL MODIFICATION. ■_ ^^B ^B i ^^^^^^^^^^^^H I^^H ■ 1 ^^^^^^^^^^^^^^^^^^V 1— 1 ■ ■ 1 ^^^1 m m ^^l^^^^^^^^^^^^l I H R KM ^1 - m ^ ROLLER TOWEL. No. L This roller towel is made of 2V2 yards of linen crash toweling. The raw edges of the towel are joined with a felled seam. While the roller towel has been condemned for public use, because of its being unsanitary, it is still used for a kitchen towel in many '^^"^^^' KITCHEN TOWEL. No. 2. This kitchen towel may be made of linen crash toweling, 1 yard long. The hems on the ends are stitched with the sewing machine. The initial is Avorked with the outline etching stitch in a color to match the border on the towel. HAND TOWEL. No. 3. This hand towel may conveniently be made from ^'2 yard crash or huckaback. It is to be buttoned on an apron band, or hung on a hook in the lavatory or bathroom. The cross-stitch initial is worked inside of a cross-stitch wreath. 35 WORKING DIRECTIONS FOR HAND TOWEL PREPARING MATERIAL. Straighten one end of the material by drawing a thread and cut- ting on the line (Chap. II, Par. 102). Measure down one of the edges 18 inches (one-half yard), the length of the towel, and draw a thread. Cut on line. TO HEM THE TOWEL. Tlie narrow overhand hem used on this towel is called the French hem (Chap. II, Par. 119); it is the same kind of hem used in finishing the ends of table cloths and napkins. Because it is so commonly used you should learn to do it well. For the first turning of the hem, fold over one end of the tow^el about 14", keeping it even with a thread; crease firmly with the thumb. For the second turning of the hem fold the same end of the to^vel over again 1/4 " toward the same side that you turned the raw edge and crease again firmly. If the toweling is very stiff, it will not be necessary to baste this hem in place as it will stay creased without the basting, but if it does not stay creased well, baste carefully along the edge of the hem with even basting (Chap. II, Par. 103). Turn the hem thus formed back on the opposite side of the towel and crease firmly, making the edge of the hem and a thread in the body of the towel lie together in a parallel line. Knot the thread and slip the needle through the hem at the beginning, then overhand (Chap. II, Par. Ill) the two edges together, being careful to take small, shallow stitches. Fasten the thread securely at the end of the hem by sewing over the last stitch two or three times. With the thumb and forefinger of the left hand, press the hem llat. Overhand each of the open ends of the hem. Finish the other end of the towel in the same manner. SEWING ON THE TAPE. As this is a small hand towel, it is supposed to be hung from the band of the apron where it will be convenient for use. It is to be suspended with a loop of tajie which may be formed and sewed on in eitl]er of the following ways: FORMING THE LOOP. (First Method) Take a piece of cotton tape about V4" wide and 4" long. Fold over the raw edges at each end about 14", turning them both to the same side; then lay the two ends together with the raw edges turned 36 under. Lay them on the wrong side of one corner of the towel, allowing them to lap over the corner of the towel about V2". Baste carefully in place with even basting (Chap. II, Par. 103) being care- ful to keep the ends and edges of the tape even. Hem down on one side (Chap. II, Par. 114) across the bottom, and up the other side of the tapes, fastening them firmly to the towel. To secure the tape to the towel at the corner, turn the towel toward you and hem around the corner of the towel where it crosses the tape. If desired the tape may be secured more firmly to the towel by making two parallel rows of backstitching (Chap. II, Par. 107) across the ends. The band of the apron is slipped through this loop before being buttoned. FORMING THE LOOP. (Second Method) Fold over the two raw edges of the tape Vi" on each end, turning them both toward the same side of the tape. Place the two ends side by side( not over each other), making the opposite closed end of the tape a V shape. This will make two edges of the tape lie together in parallel lines. This line is to form the loop which is to serve as a buttonhole, but you will notice that it is longer than necessary to receive a button. It also needs to be fastened in order to keep it ir- shape. In fastening these two parallel edges of the tape, some space must be left for the button. Beginning next to the towel overhand the adjoining edges of the tape together about 1/2", then leaving a half-inch space unsewed to form the opening for the button, overhand the edges together to the top of the V shaped loop; fasten the threads carefully and flatten the tapes then hem across the piece of tape that forms the wide part of the V. To fasten the tape to the towel, lay it on one corner, on the wrong side of the towel and with the raw edges turned under, hem it down one edge, across the bottom and up the other edge, then turning the towel toward you, hem (Chap. II, Par. 114) around the corner of the towel. 37 HANDKERCHIEF CASE MATERIALS. White, Figured or Plain Colored Lawn (Chap. I, Par. 23) or Dimity (Chap. I, Par. 15). 1/2 yd. lawn or dimity at least 18" wide. 1^2 yds. lace about %" wide. White cardboard, 7 1/2 "x9 1/2". White thread No. 70. Needle No. 8. INTRODUCTORY STATEMENT. One of the first things that a girl should learn to do about the house is to care for and keep her own room neat and attractive in appearance. The dresser drawer, with its ribbons, handkerchiefs, and the many little trifles that are necessary in a girl's toilet, is very difficult to keep in order. If the different articles are kept in boxes or cases it is very much easier to keep them from getting mixed; that is, if all the handkerchiefs are kept in a handkerchief case, the gloves in a glove box, the hair ribbons or neck ties in another box, they can easily be found when desired. The handkerchief case suggested in this lesson provides an attractive place to keep the handkerchiefs. It may be kept either in the drawer or on top of the dresser. If in the latter place, the material of which it is made should harmonize with the colors in the room; that is, if the paper and the window drapes have any one color predominating in them, select material for the handkerchief case which will not be out of harmony with that color. References : Manufacture of Thread, How \Vc Are Clothed, Chamberlain. Lace, Goldenberg (Brentano 1904). Lace, Its Origin and History, S. L. Goldenberg (X. Y. 1904). 38 SUGGESTIONS FOR OPTIONAL MODIFICATION. HANDKERCHIEF CASE. No. 1. This handkerchief case is made of linen crash 7V2"xl3y2" (unfolded). The design is worked with the outline etching and satin stitches. Lace is sewed around the top fold. It is tied with ribbon. HANDKERCHIEF CASE. No. 2. This handkerchief case is made of linen crash 13"xl8" (unfolded). The long edges are folded to the center and a piece of cardboard slipped under each i)Ocket formed. Lace is sewed on all the way round, and it is fastened together with ribbon ties. HANDKERCHIEF CASE. No. 3. This handkerchief case is made of line crash, with end llaps. One piece is H"x21" doubled crosswise. The other piece is 8"xl9" folded lengthwise. The 4"xl9" jjiece (after it is doubled and stitched) is placed on the larger piece about 2^2" from one edge and stitched on three edges. NAPKIN CASE. No. 4. Tliis napkin case is made of two pieces of cretonne, each 15"x22", folded lengthwise. Each piece is stilched sei)arately, then the two are made to form a cross and stitched together. 39 WORKING DIRECTIONS FOR HANDKERCHIEF CASE PREPARING MATERIAL. Straighten one short edge of the material by drawing a thread and cutting on the line (Chap. II, Par. 102). Straighten one long edge of the material in like manner. On the short edge measure out 16" (the length of the handkerchief case doubled). Draw a thread lengthwise and cut on the line. Down the long edge measure out 18" (the width of the handkerchief case before it is folded); draw a thread crosswise and cut on the line. PREPARING MATERIAL FOR POCKETS. This handkerchief case is to be made double, and after the material has been properly sewed together it is to be folded to form pockets, then trimmed with lace, as shown in the illustration. As the handkerchief case is to be made of a double thickness of the material, the first step is to fold the material together lengthwise with the right side turned in and the long edges and the ends made exactly even. Pin in several places along the open edges to hold them in position until they have been basted together. Baste the two ends together with uneven basting (Chap. II, Par. 104), using Vl" seam. A cardboard lYz'^^V^' is to be placed between the double thick- ness of material under the pockets. A space OMi" long must therefore be left in the center of the long edge. To do this, baste 4y2" towards the center from each corner, leaving a space of ^Y-2," unbasted. Fasten the pieces together permanently by sewing along the line of the basting with the combination stitch (Chap. II, Par. 108). NOTE: The handkerchief case is sewed together ^^Tong side out so the seams will be inside w^hen the case is turned. Be careful to fasten the threads firmly at each side of the opening where the cardboard is to be slipped in, as there will be considerable strain there. The edges of the opening are to be finished with a hem turned toward the wrong side of the material. Baste with even basting (Chap. II, Par. 103), using a narrow first turning, and hem neatly (Chap. II, Par. 114). Turn right side out before the ends are folded over to form the pockets; the ends are to be finished with lace. Lay the right side of the lace on the under side of the handkerchief case on one end and overhand the two together along the edge (Chap. II, Par. 112). Sew the lace on the other end in the same manner. 40 TO FORM THE POCKETS. The pockets are to be formed by folding the lace-trimmed ends of the handkerchief case to the center. To do this, first, find the center by folding the two ends of the case together and creasing sharply with the thumb nail on the fold; then open and lay the edges of the lace even with this crease so they will just meet in the center. Crease the fold made at each end. Baste along the edges of the pockets fastening them to the under side of the handerchief case with uneven basting or tacking (Chap. II, Par. 104 or 105). TO TRIM WITH LACE. Overhand the lace (Chap. II, Par. 112) entirely around the outside edges of the handkerchief case gathering it neatly at the corners. NOTE: Be sure to catch both thicknesses of the material along the sides of the pockets so as to hold them in place, but where the open Ing is left for the cardboard the overhanding stitches should catch only the top layer of material. Remove the bastings. TO FINISH THE BOTTOM. Cut a piece of white cardboard 7^2 "x9y2 ", Slip it into the open- ing left for it in the handkerchief case. ANOTHER METHOD OF FORMING THE POCKETS. The pockets may be left loose and held in place by a ribbon fastened in the center of the under side of the case. To do this, sew the lace all the way around the outside edges of the case before folding the pockets, being careful to sew it to the upper edge only of the space which is left open for the cardboard. 41 SEWING APRON MATERIALS. Batiste (Chap. I, Par. 2). V2 yd. batiste or any soft, plain colored material. IVa yds. ribbon. San silk or mercerized em- broidery cotton. Needle No. 8. INTRODUCTORY STATEMENT. r Since laundering handmade articles, particularly if they are decorated with handwork, frequently destroys much of their attrac- tive appearance, it is desirable to keep them as clean as possible during the making so as to avoid laundering. In order to do this it is necessary not only to wash ones hands frequently, but to protect the article from any dust that may cling to ones clothing. A small apron answers this purpose very well and as there is very little strain on it and it is not subject to any hard use, it may be made as dainty as one desires. There are a great many styles and designs of sewing aprons, but one with a pocket in which to keep thimble, needle and thread is especially desirable. The apron presented in this lesson is made as simple as possible. It is not set on a band but merely has a hem at the top through which a ribbon may be run. While it does not present any of the difficulties of a more complicated apron, it will be found very satisfactory^ for the service for which it is intended. References : Sewing Apron, Library of Work and Pkiy, Vol. VII. The Story of Shears, Wiss Bros., Newark, X. J. Maiuifacturc of Thimbles, Scovillc Mfg. Co. 42 SUGGESTIONS FOR OPTIONAL MODIFICATION. COMBINATION SEWING APRON AND BAG. No. 1. This project may be made of ^4 yard of toweling. The pocket is 10 V2" deep. Two pieces of ribbon, or tape, serve as draw strings and ties. The bib of the apron is tucked inside of the bag when not in use. ^^^^^^ ^^^^^^^^. ^^^^^ No. 2. A sewing apron may be made of lawn % yard long and 22 " wide. Pattern should be drawn freehand. A casing for a ribbon band is hemmed onto the apron at the waist line. WHITE LAWN SEWING APRON. No. 3. This sewing apron is made of white lawn with 2 " hems on each side and at the bottom. The two bottom corners are turned up to form pockets. The lace is overhanded together down the center of the pocket. i^anCY SEWING APRON. No. 4. A fancy sewing apron may be made of white lawn, with scalloped edge and embroidered dots worked in a delicate color with strings and rosettes made of ribbon. 43 WORKING DIRECTIONS FOR SEWING APRON PREPARING MATERIAL. The apron in this lesson may be made crosswise of the material. This will bring a selvage on the hem at the top of the apron and also at the top of the pocket; as a selvage usually draws the edge of the material when laundered, trim it olf. Straighten one long edge of the material by drawing a thread and cutting on the line (Chap. II, Par. 102); from this line measure out 18" (half a yard), the width of the apron, and draw a thread; cut on the line. TO FINISH THE EDGES. Measure down from the top of the apron 9V2" to the place where the top of the pociiet will come, on one long edge. Mark with a pin. On this long edge turn a V2" hem with a narrow first turning toward the under side of the apron and crease firmly in place. Where the pin is placed, make a cut across the hem and turn the edge over in a hem tow'ard the upper or right side of the apron the rest of the way to the bottom (this part of the hem will be inside the pocket Avhen made). In this apron the basting thread is used as a trimming for the apron and should be of a color that will contrast nicely with the material used and each stitch should be made as nearly perfect as possible. Baste the hem in place with even basting (Chap. II, Par. 103) with thread to match the material in the apron. Finish the opposite edge of the apron in the same manner. The cross-stitch Chap. II, Par. 124) or catch stitch (Chap. II, Par. 120) may be used instead of the basting to trim the apron. TO FINISH THE TOP END. As you will notice by looking at the illustration, this apron has no band, but is held in place with a ribbon which is run through a casing formed by a hem at the top of the apron. To prepare this casing turn a hem with a narrow first turning 1" toward the wrong side. Crease carefully and pin crosswise at each end to keep from slipping. Baste in place with even basting (Chap. II, Par. 103) and hem (Chap II, Par. 114) neatly. Remove bastings. TO FINISH THE BOTTOM OF THE APRON. A hem at the bottom of the material finishes the top of the i^ocket. (The material is to be turned up to form the pocket.) In order to have this hem inside of the pocket when the pocket is folded in 44 place, the hem must be turned toward the right side of the material. Fold hem about ^ V' wide with a narrow first turning, baste carefully in place with even basting (Chap. II, Par. 103) and hem neatly (Chap. II, Par. 114). Remove bastings. The hem may be finished on the right side with featherstitching (Chap. II, Par. 121) or cross-stitching (Chap. II, Par. 124). TO FORM THE POCKETS OF THE APRON. The pockets should be about half as deep as the apron, but the depth may be varied according to the taste of the one making the apron. This must be decided when the hem is made down the edge of the apron as the pocket must extend up to the place where the hem is turned toward the under side. The pocket in the illustra- tion is made 8y2" deep. To form the pocket fold the bottom edge of the material 8V2" up on the right side and pin in several places, being careful that both edges are even. Baste the pockets and the under side of the apron together with even basting (Chap. II, Par. 103) and overhand them together (Chap. II, Par. 109). Fasten the thread very securely at the top, where it will be subjected to considerable strain. A line of stitches is made up and down the center of this pocket, dividing it into two parts. To find the center, lay the opposite edges of the apron together and make a sharp crease on the fold with the thumb nail. Mark this crease with a basting thread, then backstitch (Chap. II, Par. 107) up the crease, to form the two pockets. (If you have used cross-stitching or featherstitching to finish the hems on the apron, use a corresponding stitch to divide the pockets). Fasten the stitches very securely at the top. Run the ribbon through the hem at the top of the apron, making the ends extend evenly. In the center, on the under side of the hem, take two or three backstitches through the ribbon. This will keep the ribbon from slipping out of place. Cotton tape or mercerized dress braid can be substituted for the ribbon, or a 1" band may be made from the material by doubling under and stitchmg, or over- handing together (Chap. II, Par. 100) the edges of a strip about 2y2" wide and long enough to reach around the waist; it may be fastened with a hook and eye (Chap. II, Par. 133). 45 BOOK COVER MATERIALS. Butcher's Linen (Chap. I, Par. 42). Linen Crash (Chap. I, Par. 44). 1 piece ol linen 1" longer than length of book and 8" wider than twice the width of the book to be covered, meas- uring from the edge of the book to the middle of the back binding. Colored embroidery lloss with Crewel or embroidery needle to correspond. White thread No. 70. Needle No. 8. INTRODUCTORY STATEMENT. Everyone loves a nicely bound book, but the hard use to which books are sometimes placed, oftentimes destroys the beauty of the binding. A book that is used constantly may be protected by some sort of cover, either cloth or tough paper. Books which are carried back and forth to school and exposed to different kinds of weather may be made to last very much longer and retain their newness if properly covered. The book cover presented in this lesson is made of cloth and may be constructed to fit any size book, the book of course being meas- ured before the project is begun. When such a book cover be- comes soiled it may be easily removed and washed. References : I'cokbindii-.K, in Printing ;(iul Writing Materials. A. M. Smith. New IntcriKitional Encyelojiaedia, \'ol. Ill, pp. 224-226. 46 SUGGESTIONS FOR OPTIONAL MODIFICATION. COVER FOR STORY BOOK. No. 1. This book cover is made ot linen crasli to fit a book entitled, "The Story of the Three Bears." An original design is transferred with carbon paper and worked with the outline etching stitch in brown and dark green. COVER FOR COOKBOOK. No. 2. This book cover is made of white linen, or Indian head to fit a cookbook. The design is worked with the outline etching stitch. White oil cloth also makes a suitable cover for a cookbook. BOOK COVER FOR CHRISTMAS. No. 3. This book cover is made of linen crash to fit a book used as a Christmas gift, the season being indicated by the holly, blue birds, and Christmas wishes. BOOK COVER FOR TEXTBOOK. No. 4. This book cover is made to fit a textbook on manual training. The design on the front cover of the book was copied by laying Ihin white paper over the cover and tracing the design on the paper, then transferring it to the book cover with carbon paper. It is worked with brown embroidery cotton using the outline etching stitch. 47 WORKING DIRECTIONS FOR BOOK COVER PREPARING MATERIAL. If necessary straighten Ihe shorter edge of the material (Chap. II, Par. 102). Straighten the adjoining edge of the material in like manner. If either edge is a selvage trim off about V^" of it to keep the edge from puckering when laundered. . The size of the book cover will depend on the size of the book which you Vvish to cover. The length of the book cover should be 1" more than the length of the book. This will allow for two Vk" hems with Vi " turnings. The flaps should be wide enough to hold the cover securely in its place on the book. Three to 3V2 is a good width for a moderate sized book cover. The width of the book cover should be twice the width of the book from the edge of the cover to the middle of the back binding plus 7^2" for the two flaps and hems. Measure out on the short edge of the material the length of the book cover; draw a thread lengthwise and cut on the line. Measure down the long edge the dimension for the width of the book cover and draw a thread crosswise; cut on the line. TO FINISH THE LONG EDGES. The long edges of the book cover should be finished with hems before the flaps are turned, so they will lap under properly when the flaps are made to receive the cover of the book. On one edge make a hem i/4" wide with a I/4" first turning creasing it carefully on a thread. Baste with even basting (Chap. II, Par. 103). Try the cover on the book to see whether the V4," hem allowed on the other side will make it just the right size. The other hem should be just the same width as the first one; if there is extra material there, trim it off even with a thread. Make the hem on the second edge in the same manner as the first. TO MAKE THE FLAP. The raw edge on the end of the flap might be finished with a plain hem 1/4" to 1" deep, but a hemstitched hem is more attractive, so it lias been used in the cover shown in the illustration. It is to be ^V' wide. Fold, pin crosswise, baste and single hemstitch in place (Chap. II, Par. 11.")). Prepare the opposite end in the same way. To finish the first flap, fold the end of the cloth over 3" onto the wrong side of the material. Baste with even basting (Chap. II, Par. 48 103), and overhand (Chap. IT, Par. 109) the ends onto the body of the book cover. Prepare the other flap in the same manner. THE DESIGN. The initial to be placed on the book cover may be designed in the drawing class, or a commercial pattern may be used. The initial designed should be simple in form for it requires considerable prac- tice to work an elaborate initial. If a commercial pattern is used, transfer the initial by laying it rough side dov^n in the proper place on the book cover and pressing it with a hot iron. To use the carbon paper, pin a piece a trille larger than the letter in the place desired, place the initial over it and trace around it with a lead pencil. Remove the pattern and carbon paper. TO WORK THE INITIAL. The initial is to be worked with the satin stitch (Chap. II, Par. 131). Use embroidery cotton that will harmonize or contrast nicely in color and fineness with the material. The padding for the satin stitch may be done with embroidery cotton of appropriate color. 49 BUTTON BAG MATERIALS. Linen Crash (Chap. I, Par. 44). Gingham (Chap. I, Par. 19). 1 piece linen crash or checked gingham 9" wide, 22" long. Embroidery floss or san silk (colored) with embroid- ery needle to correspond. Thread No. 70. Needle No. 8. INTRODUCTORY STATEMENT. Some place in which to keep the collection of buttons of various sorts is a necessity in every household. Buttons may be cut from worn out or discarded garments and kept in this receptacle lor fu- ture use. The design and shape of a button bag is not important, as its principal purpose is for convenience. It may be desirable to make it rather large with several compartments so as to provide suitable places in which to keep different kinds of buttons. As this bag is made for service it should be of some strong, sub- stantial material. It is not intended to be a piece of art needlework, it should, however, be neatly made for no project however simple should ever be carelessly done. References: Manufacture of Buttons, The Great Industries of the United States. Story of the Making of Buttons, How Wc Are Clothed, Chamberlain. 50 SUGGESTIONS FOR OPTIONAL MODIFICATION. BUTTON BAG. No. 1. This bag is made of gingham. The freehand design was transferred with carbon paper, worked with the outline etching stitch and trimmed with buttons and beads. CROCHET BAG. No. 2. This bag is made of ribbon, with narrow pleats feather- si itched on each side, to make a strip to hang over the wrist. A pocket for the crochet cotton is formed by sewing the ends together. No. 3. as No. 1. MARBLE BAG. This marble bag is made of linen crash in the same way BUTTON BAG. No. 4. This bag is made from a circular piece of gingham, hemmed around the edge. Two strips 12" long and 4" wide are stitched on in the shape of a cross in the center of the inside of the bag; the open ends form pockets. It is closed with cotton tape drawn through eight brass rings sewed on the edge of the bag. 51 WORKING DIRECTIONS FOR BUTTON BAG PREPARING MATERIAL. Straighten two adjoining edges of the material (Chaj). II, Par. 102). On the shorter edge measure out 8" (the width of the bag), draw a thread lengthwise and cut on the line drawn. On one long edge, measure down 20" (twice the length of the bag plus the hems at the top). Draw a thread and cut on the line. TO FINISH THE LONG EDGES. This bag is to be joined on the edges with an overhand seam (Chap. II, Par. 110). The raw edges of the seams are to be turned under and hemmed dow^n to make neat seams inside the bag. On one of the long edges of the material fold a hem about ^4" wide with a narrow even first turning. Baste with even basting (Chap. II, Par. 103) and hem neatly (Chap. II, Par. 114). Finish the opposite edge in like manner. TO MAKE THE HEMS ON THE ENDS. (These hems must be made before the bag is sewed up). On one end of the material fold a hem 1^/4" wide with a narrow first turning. Baste with even basting (Chap. II, Par. 103) and sew neatly in place with a hemming stitch (Chap. II, Par. 114). A space must be provided in this hem through which to slip the draw string. To do this, make a row of running stitches the full length of the hem (about %" from the edge). Finish the other end of the material in the same manner. The design should be placed on the bag before sewing up the seams. MAKING AND TRANSFERRING THE DESIGN. It is very desirable to have an original design worked out in the drawing class. To transfer the design to the bag, first fold the ends of the bag over as you would if you were going to sew the edges together. Next lay a piece of carbon paper just a trifle larger than the design, carbon side down on the bag, in the position which you think is best suited for the design. Place the design on this and pin it to the bag in several places to keep it from slipping. Trace around the design with a lead pencil. Remove pattern and carbon paper from the bag and work the design with the outline etching stitch (Chap. II, Par. 125). 52 TO FINISH thp: seams on the bag. As overhand seams are frequently sewed together on the right side, you may lay the wrong sides of the material together making all the edges even. As it is necessary to leave the casings in the hem open at the ends for the draw string, you may begin at the hemming stitches on the lower edge of the end hems and baste the hemmed edges together with even basting stitches (Chap. II, Par. 103). Then overhand the basted edges making an overhand seam on each edge of the bag (Chap. II, Par. 110). PUTTING IN THE DRAW STRING. There should be two draw strings of ribbon or tape about V^" wide, each one being cut 6 " longer than twice the width of the bag. With a bodkin or hair pin, fastened to the end of one of the strings draw it through the casing around both sides of the bag, bringing the end through until it meets the other end. Tie the two ends in a bow knot as shown in the illustration. Starting the other string through one of the openings in the op- posite end of the casing, draw it through the casing around both sides of the bag in the opposite direction from the way the first tape was drawn, pull it through until both ends are even, just as you did with the first, then tie the ends in a bowknot. If desired the raw edges on the ends of the tape may be notched, cut diagonally, or hemmed with V^" hems (Chap. II, Par. 114). 53 HAIR RECEIVER MATERIALS. Cretonne (Chap. I, Par. 12). 1 piece of cretonne 7"xl4". 1 piece of featherbone 9" long. San silk or embroidery cot- ton to harmonize with the cretonne. 2 small rings. 1 crewel or embroidery needle to correspond. Thread No. 70. Needle No. 8. INTRODUCTORY STATEMENT. Every girl should learn to keep her room as neat, clean and at- tractive as possible. It may not be Curnished with fine furniture, but it should be well kept. Nothing adds to the charm of a girl's room more than to have it properly supplied with little conveniences of her own make. A very useful accessory to a girl's dresser or dressing table is a hair receiver, as there is nothing more unsightly than a comb filled with hair or bunches of hair lying about. The hair receiver aJTords an opportunity for a girl to show her skill and good taste; many designs have been worked out some of which are suggested on the next page. Whatever design is used should be neatly made and rather decorative in appearance. The hair receiver presented in this lesson is very simple and will not be at all difTicult. It is provided with a cord so that it may be hung near the dresser or on one of the supports that holds the mirror. References: Embroideries and Their Stitclies. Buttericlc Publishing Co., X. Y. Embroidery, W. G. Tnwnsend. Trustnii, London. 54 SUGGESTIONS FOR OPTIONAL MODIFICATION. HANDKERCHIEF HAIR RECEIVER. No. 1. This hair receiver is made from a bordered handkerchief. An embroidery hoop is placed under the points of the four corners, the body of the handkerchief is pushed down inside to form a bag; it is gathered around the hoop. CORNUCOPIA HAIR RECEIVER. No. 2. This hair receiver is made from white Indian head or linen, hemmed around the edges, embroidered, starched in cold starch, ironed, fastened together at the top and bottom and hung with loops of ribbon. EMBROIDERED HAIR RECEIVER. No. 3. This hair receiver is made from white linen, scalloped and embroidered with the satin stitch. It is held together ^^ith ribbon laced through eyelets, and held open at the top with featherbone. The baby ribbon provides a hanger and part of the decoration. LAWN HAIR RECEIVER. No. 4. This hair receiver is made from white lawn with tlaps similar in shape to the bottom of the bag. The top is held open with featherbone. The bag is suspended with baby ribbon finished at the ends with rosettes. 55 WORKING DIRECTIONS FOR HAIR RECEIVER PREPARING MATERIAL. Straighten the short edges of the material (Chap. II, Par. 102). TTie curves at the bottom of the hair receiver may be drawn free- hand on the material, which should be folded crosswise, but it would possibly be safer to draw a pattern on paper and use that as a guide in cutting out the hair receiver. TO MAKE THE PATTERN. Cut a piece of paper about 6" square; fold two edges together evenl3^ This makes the folded paper half the width of the receiver. As the top of the receiver is to be straight, do not change the top edge of the pattern, but at the bottom from the folded edge cut oil" the outside open corners in a graceful curve as shown in the illustration on the front page. TO CUT OUT THE HAIR RECEIVER. Open the pattern and lay it on the double thickness of the goods with the wrong side out; make the top exactly even with the straight- ened edges of the material. To keep the pattern from slipping, pin it to the goods at each corner of the top and at the bottom, then care- fully cut out the hair receiver; cut through both thicknesses of material. Remove the pattern. TO MAKE THE SEAMS. The curved edges of the two pieces that are to form the hair receiver are to be joined with an overcast seam. To make the seam, first pin the material together (wrong side out) in two or three places to keep it from slipping, then follow directions for an overcast seam (Chap. II, Par. 140), sewing the seam with the backstitch (Chap. II, Par. 107), or combination stitch (Chap. II, Par. 108). Trim off the ravelings and overcast the seams neatly (Chap. II, Par. 113). TO FINISH THE TOP. . As the cloth is to be gathered slightly on featherbone Vs" vnde which is run through a hem in the top of the hair receiver, make the hem Vi" wide, with a narrow first turning turned toward the wrong side; baste (Chap. II, Par. 103), and hem it in place (Chap. II, Par. 114). As the featherbone is inserted after the hem is made, it will be necessary to leave a space of about ^2" unsewed in the edge of the 56 hem, preferably near one of the seams. After the hem is completed, turn the hair receiver right side out. Single featherstitching (Chap. II, Par. 121) may be used to finish the hem on the right side if desired. If it is used, omit the hemming stitches. TO FINISH CURVED EDGE. Single featherstitching (Chap. II, Par. 121) is used around the curved edge of the hair receiver. Special care will be required to make the featherstitching perfectly even on the curved edge. TO PUT IN THE FEATHERBONE. As featherbone is rough at the cut end, it is very difficult to run this through a hem without having it covered with a small piece of cotton cloth. To do this, take a strip of the cretonne V2" wide and 1" long, double it over the end of the featherbone and fold it around it; sew in place with the overcasting stitch (Chap. II, Par. 113), sewing through the featherbone with each stitch. After the end of the featherbone is covered push it through the casing, or hem, at the top of the receiver. Gather the material in the hair receiver slightly on the featherbone, as shown in the illustration. Fasten the two ends of the featherbone by overlapping them about Y2", then sewing through and through them until they are securely fastened together. Wrap the thread around the joint several times to keep it from making a bulge in the hem; fasten the thread securely. (Cut off any extra featherbone). The opening may be hemmed down. TO PUT ON THE HANGER. Sew an ivory ring on the top end of each seam. The bag may be suspended with white cord or ribbon the ends of which are simply tied at each end in a bowknot. 57 HOLDER MATERIALS. Chambray (Chap. I, Par. 9) or Gingham (Chap. I, Par. 19). Outing Flannel (Chap. I, Par. 30). 1 piece chambray or ging- ham 10"x27". 1 piece outing flannel 9"xl4". 1 yard % " cotton tape. Thread No. 70. Needle No. 8. INTRODUCTORY STATEMENT. In lifting hot utensils it is very desirable to have a holder. As the purpose of the holder is to protect the hands from the heat, it should be made thick enough to keep the heat from penetrating it quickly. P'or this reason it is always interlined or made of several thicknesses of material. It is often quilted with parallel rows of machine stitching to keep the layers of material from slipping. The interlining is sometimes made separate from the cover and removed when the cover is washed. Odd pieces of percale, gingham or similar material left over in making dresses may be used in making holders. The holder in this lesson is made with an interlining and has a tape with which to suspend it from the apron band. References: The Making of Thread, The Great Industries of the L'nited States. Handicraft for Girls, MeGlaiiflin. Manual Arts Press. 58 SUGGESTIONS FOR OPTIONAL MODIFICATION. SQUARE HOLDER. No. 1. This holder is made by covering Iwo thicknesses of out- ing flannel with denim or percale. A tape or ring with which to hang it on a hook is sewed in one corner. ENVELOPE-SHAPED HOLDER. No. 2. This holder is made by making an envelope of percale or denim 9" square. It has a double thickness of outing flannel to pad the inside. The flap is held shut by a button or snap. ROUND HOLDER. No. 3. This holder is made by basting two thicknesses of outing flannel between two covers of percale or denim, then finishing the edges with mercerized dress braid which is stitched on with the sewing machine, or hemmed on by hand. "CHICKEN" IRON HOLDER. No. 4. I'^or this holder two chicken-shaped pieces are made of percale and stuflcd wilh cotton batting to give them a rounded appear- ance. They are overhanded together along their backs so as to sit like a saddle on the iron handle. 59 WORKING DIRECTIONS FOR HOLDER PREPARING MATERIAL FOR COVER. Straighten one short edge of the material (Chap. II, Par. 102). (If the edge is selvage, trim it of!" to prevent puckering when laun- dered). Straighten an adjoining edge of the material in the same manner. Measure out on the short edge 81/2" the width of the holder. Draw a thread lengthwise and cut on the line. Measure down on the long edge 27", twice the length of the holder, plus the width of the hems. Draw- a thread crosswise and cut on the line. MAKING THE OUTSIDE. As you will notice in the illustration for this lesson, a pocket is formed on each end by folding the ends of the material to the center. Before folding the pockets, the hems should be made on the ends of the material. Fold a %" hem with a ^A" first turning on one end of the material, baste with even basting (Chap. II, Par. 108), keeping it even with the thread; sew in place with the hemming stitch (Chap. II, Par. 114). If desired, you may turn the hem away from you and with the right side of the material toward you, finish the edge of the hem on the right side with catch stitching (Chap. II, Par, 120), featherstitching (Chap, II, Par. 121) or backstitching (Chap, II, Par. 107). Make a hem on the opposite end in the same way, being careful to turn it to the same side of the material. Find the center by folding the two ends together exactly even; crease along the fold with the thumb nail. Open the material and with the hems turned outside, fold the two ends over to this center crease (be sure to have the raw edges even). Baste the raw edges together with uneven basting (Chap. II, Par. 104); sew them together with the combination stitch (Chap. II, Par. 108). Overcast (Chap. II, Par. 113) the raw edges, remove the basting and turn right side out. TO PREPARE THE INSIDE. The outing flannel padding should be made the required size to lit inside of the cover. To do this, straighten one of the shorter edges (Chap. II, Par. 102). Straighten an adjoining edge in the same man- ner. Measure out on the shorter edge 8" (the width of the inside of the holder). Draw a thread crosswise and cut on the line. Measure down on the long edge 12^ j" (the length of the inside of the holder). Draw a thread lengthwise and cut on the line. 60 As the padding is made separate from the outside of the holder, the edges of the outing flannel should be finished in some way to keep them from raveling. This may be done with overcasting (Chap. II, Par. 113), or blanket stitching (Chap. II, Par. 128); or two thicknesses of material may be used, turning in the edges and overhanding them together (Chap. II, Par. 109). TO SEW ON THE TAPE. If the holder is to be hung on an apron band the tape should be long enough to let it come to the bottom of the apron, from 27 " to 36". To sew on the tape, first turn in the raw edge at one end and place it at the center of the back of the holder near the edge where the ends of the pockets join as shown in illustration. Turn under the raw edge and place it so it overlaps the holder about ^12". Hem the tape on the holder down one edge, across the bottom, and up the other edge, being careful that the stitches do not run through to the pockets. The other end of the tape which is to be suspended from the apron band, is finished with a loop. To make this, fold the raw edge over 2" onto the tape. Turn it in and hem it in place. Overhand the double fold together about V^" up from the hemming stitches and backstitch (Chap. II, Par. 107) across it; then overhand down to the hemming stitches (Chap. II, Par. 109). 61 CHILD'S BIB MATERIALS. Huckaback (Chap. I, Par. 20 or 47). 1 piece of huckaback 12"xl4". Embroidery iloss (color de- sired) crewel or embroid- ery needle to correspond. 2 buttons. Thread No. 50. Needle No. {^. INTRODUCTORY STATEMENT. A bib is very necessary to protect the dress of a child when eating. The material used in making the bib should be washable and heavy enough to prevent moisture from penetrating quickly. Turkish toweling, huckaback, linen, or any smooth finished, firm, wash ma- terial will be satisfactory. Frequently a design that will attract a child's attention is selected to ornament the bib. A bib is very practical because it can be re- moved and washed much more easily than a dress. It is usually fastened around the neck with ties made of white tape or of wash- able ribbon. Buttons and buttonholes are often used. Where buttons and buttonholes are used as in this lesson, the bib must be fitted more carefully to the neck than would be required if lies were used. References : Home and School Sewing, Frances Pafton. Xewson Co., N. Y. Flax, I'. S. Farmers' Bulletin No. 669. G2 SUGGESTIONS FOR OPTIONAL MODIFICATION. CHILD'S BIB. No. 1. This bib is made of Turkish toweling. The hem is basted toward the wTong side and single ieatherstitched in place with rather coarse, mercerized embroidery cotton. The design is drawn on the cloth freehand and worked in outline etching stitch. CHILD'S BIB. No. 2. This bib was purchased with the figures stamped. The edge was finished with a plain hem on the wrong side and the figures outlined with the etching stitch. CHILD'S KIMONO BIB. No. 3. This bib is cut from a child's kimono apron pattern, it is about 5" long in the back and 16" long in front. It is finished with a plain hem around the edge; the sleeves are tied together with ribbon. CHILD'S BIB. No. 4. This bib is made from huckaback. Any bib pattern may be used and a freehand design may be transferred onto the bib with carbon paper. The edge is finished with a narrow hem and rick- rack braid. 63 WORKING DIRECTIONS FOR CHILD'S BIB PREPARING MATERIAL. A coniniercial pattern may be used lor this bib, or a freehand pattern may be made as follows: TO DRAFT THE PATTERN. Use a rectangular piece of wrapping paper 10" wide and 13" long. Fold the paper lengthwise in the center. ( 1) From the top corner of the fold measure down 6" (the depth of the neck), place a dot and number it 1. (2) To lay out the width of the back of the bib, measure out from the top corner of the fold 3%" on the unfolded edge of the paper, place a dot and number it 2. (3) To get the proper slant for the opening at the back of the bib, measure down from the same corner 2" on the fold; number this 3. Connect 3 and 2 with a straight line. (4) To locate curve for the back of the neck measure up from dot 3 on this slanting line P/i". Place a dot and number it 4. (5) To aid in drawing the curve for the neck, measure down from dot 3 on the fold 2y2"; place a dot and measure out from the fold 21/4"; place a dot; number the dot 5. Connect dots 1, 5 and 4 with a continuous curved line. To Round Corners: (6) From the upper corner of the unfolded edge of the paper measure down 3" and place a dot and number it 6. Connect 6 and 2 with an outward curved line. (7) To round the corners of the bottom of the bib, measure up 2" from the bottom corner of the unfolded edge of the paper and place a dot. From the same corner, measure out 1" on the bottom edge and place a dot. Connect the two dots with an outward curved line. Cut on all the lines drawn. To Design the Scallops: (8) To make the scallops around the edge of the pattern, keep it folded and draw a line Vi" from the edge of the pattern all the way around. Lay a penny, or circular piece of cardboard that size, 6n the fold at the bottom of the pattern and draw a line around the lower edge of the penny, making it touch the bottom of the pattern and come just to the parallel line above it. Lift the penny and place 64 it so a line drawn around the lower edge will touch the bottom of the pattern and cross the parallel line in two places, one end touching the end of the first scallop. Draw the curved line. Repeat all the way around on the outside edge of the folded pattern as shown in the illustration. Adjust the last notches to make them neat and even. Use a half dollar or a piece of cardboard that size and lay out the top curve of each scallop. Cut out the pattern around the bottom "Age of the scallops. TO CUT OUT THE BIB. Fold the material lengthwise in the center, lay the center fold of the pattern on the fold of the material. Pin in two or three places to keep the pattern from slipping. Cut around the neck and mark around the scallops, but do not cut them out until after they are embroidered and the bib is laundered. TO FINISH THE NECK. The neck is bound with bias tape. Use %" commercial bias tape, Avhich is already folded, or cut bias strips (Chap. II, Par. 143) making them %" wide. Turning the seam towards the wrong side, baste one edge around the curve in the neck with even basting (Chap. 11, Par. 103), then sew it on with the combination stitch (Chap. II, Par. 108). Turn the facing or binding, back toward the wrong side and turn under the raw edge, making the facing even. Basle carefully in place, then hem in place. Fold, baste and sew in place with running stitches a hem one-half inch wide on each edge of the opening at the back of the bib. Cut and work two buttonholes (Chap. II, Par. 136) crosswise of the hem in the right hand edge of the opening and sew^ on the buttons to correspond (Chap. II, Par. 185). WORKING THE SCALLOPS AND THE DESIGN. Work the scallops with blanket stitch (Chap. II, Par. 128), plac- ing the stitches close together. If the edge of the material is not cut away until after the bib is laundered the edge will not fray. Lay out and work the design with the outline etching stitch (Chap. II, Par. 125), using the same kind of thread used in making the scallops. 65 REVIEW QUESTIONS AND PROBLEMS. 1. How would you straighten the edge of a piece of doth? 2. How would you make a line on a piece of cloth in order to cut it perfectly straight? Why could you not use a ruler and lead pencil and rule a straight line as you would on a piece of paper? 3. What sort of material is most suitable for the leaves of a needlebook? Explain why. 4. What is the most common use of the basting stitch? For what other purpose have you seen it used? 5. For what purpose is the blanket stitch used? Has it any other use? 6. What is a hem, and why is the exposed edge of a piece of material usually hemmed? 7. Why do we baste a hem before hemming it down? 8. Explain how to sew on a loop. Name some home projects in which you would use a loop of tape. 9. Why is a handkerchief case particularly serviceable? Give at least three reasons why such a case is practicable. 10. How is the running stitch made? 11. Name two or three useful home projects in which the run- ning stitch would be used. Explain. 12. How is overhanding done? In what projects have j'ou used this process? 13. What are some of the most important things to think about in designing a sewing apron? 14. What is the purpose of cross-stitching? Name three or four home projects upon which this stitch could appropriately be used. 15. How many ways have you learned for working an initial? Which do you like best? Explain why. 16. What is the purpose of a draw string? What preparation is necessary where a draw string is to be used? 17. Name three or four home projects in which a draw string is used. 18. What is an outline etching stitch? How is it made? 19. Name all the stitches which you have used thus far for decoration. 20. What things have you learned from this section that you can use on your own clothing? 66 SUGGESTIONS FOR HOME APPLICATION. 1. When needles are removed from the paper at home, notice where your mother keeps them. Perhaps they are kept in a pin cushion. Make a pin cushion out of some art canvas or other loosely w^oven material using stitches to decorate the top, similar to those used on the bookmark, or napkin ring shown in this section. 2. Observe the hand towels at home. How are they made? Why are most of them longer than the towel given in lesson two? What advantages can you see in hemming kitchen towels on the sewing machine? Talk to your mother about this. Ask her to let you make the next towels that are needed at home. 3. Notice the hems on the sheets at home. Why is it more prac- tical to stitch these hems on the sewing machine than to hem them by hand? Ask your mother why the top hem is usually made wider than the bottom hem. Why are there no hems on the sides of sheets? If the hem is handmade what kind of stitches do you usually find used? Perhaps you can find a sheet with a seam in the center, although sheets made in this way are uncommon now-a-days. See whether you can find out why. Ask permission to make or to assist in making the next sheets needed at home. 4. Can you explain why some pillow cases have seams down the side and some have not? If you can find one with the seam, observe it carefully. How is the bottom of a pillow case finished? Visit a dry goods store if possible and find out the price of pillow tubing and of unbleached and bleached muslin which is sold for making pillow cases. Inquire as to why unbleached muslin wears better and is cheaper than bleached muslin. Which would you prefer to buy, and why? Make a pair of pillow cases for your room. See if you can find out the price of ready-made pillow cases with a plain hem and with a hemstitched hem; then compare with the price you would have to pay for the same grade of muslin to make the pillow cases. Judging from these figures, if you made a pair of pillow cases, how much would you receive for your work? 5. What kind of waterproof material would be especially de- sirable to use in covering a cookbook? Heavy paper is sometimes used to cover school books. Get a good quality of tough paper and cover some of your books at home. 6. How are extra buttons usually cared for? Do you always remove and save the buttons before throwing a worn out garment 67 into the rag bag? Perhaps you know of someone who would ap- preciate a nice button bag for a Christmas gift. Design and make one at home for this purpose. 7. A bag for soiled handkerchiefs or dust cloths can be made on the same principle as the hair receiver; it should be larger. Make cne for your room using, your own ideas as to proper size and dec- oration. If possible use a piece of material which you have at home so as to avoid expense. 8. If you made the child's bib given in this section you have had some practice embroidering a scalloped edge. Name some dif- ferent articles that you could make that would be very pretty finished ■wi'Lh a scalloped edge. Then make some article with a scalloped edge. Possibly, if it is well done, your teacher would be glad to have you save it for an exhibit day. 9. If you have made buttonholes in school it would be an ex- cellent idea to make more at home, as it takes considerable practice to become skillful. Try to make a buttonhole so well that your mother will be glad to let you work the buttonholes in some garment that she may be making. 68 INTRODUCTION TO SECTION II BV the time the students have completed Section I, they should be pretty familiar with the most common forms of simple stitches, but skill and judgment in the application of eyen the most elementary processes come only with long practice. It is there- fore advised that students be not allowed to pass too quickly from the elementary projects. This section sets forth projects which call for a little more ability in actual sewing work; it also offers opportunity for wider exercises of individual taste. Students should be encouraged to study the suggestions for optional modification very carefully before under- taking any project. They should be expected to incorporate as many original ideas as possible in their work. The home work recommended at the close of this section deals with just such problems as are continually arising in every home and the students should be expected to carry out this part of their instruction. Some of the undertakings recommended should be brought to school and done at the regular sewing period. However, if this is not desirable some plan might be devised whereby each girl could report on the work done at home and receive recognition or credit of some sort for such work. Frequent references should be made to the supplement through- out the lessons of this section, for it is very important that early habits and practices be properly formed. The mechanical operations involved in the various details should gradually become less difficult, thus giving the students an opportunity to concentrate their attention in securing excellent results in their work as a whole. 69 FILING POCKET MATERIALS. Brown gingham (Chap. I, Par. 19) or Brown Chambray (Chap. I, Par. 9) or Linen crash (Chap. I, Par. 44). Cretonne (Chap. I, Par. 12). 1 piece linen, gingham or chambray, 12" wide x 28" long. 1 piece cretonne 3" wide x 12" long. 1 piece cardboard 9y2 "xliy2". 2 brass rings about %" in diameter. Thread No. 70. Needle No. 8. INTRODUCTORY STATEMENT. As a successful business man has a systematic method of filing letters and keeping valuable papers in a definite place in order to increase the efficiency of his office work, so the home keeper will find that her work may be lightened by having definite places in which to keep the many little things which are so easily mislaid. A filing pocket provides one means of caring for different articles, for instance bulletins in the kitchen, patterns in the sewing room, or unanswered letters near the writing table. The material used in a filing pocket will depend somewhat on the use to which it is to be put. If it is to contain heavy bulletins, it should be made of strong material, like denim, or heavy cretonne. If it is to hold light papers it may be made of percale, chambray, gingham or light weight cretonne. References : The Cotton Plant, U. S. Bulletin 601. Cotton Improvement, U. S. Bulletin 501. 70 SUGGESTIONS FOR OPTIONAL MODIFICATION. FILING POCKET. No. 1. This is a large filing pocket made of strong cloth; the edges are bound, a stick run through the wide hem holds the top straight. It is very serviceable for sewing patterns. BULLETIN FILE. No. 2. This file is very similar to No. L It will be found con- venient in caring for club bulletins or other small pamphlets. WALL POCKET. No. 3. This project shows a modification in which the pockets are enlarged considerably so as to serve many purposes. SLIPPER CASE. No. 4. The large loose pockets held with elastic at the top pro- vide a convenient slipper case. 71 WORKING DIRECTIONS FOR FILING POCKET PREPARING MATERIAL. If necessary, straighten two adjoining edges of the material by drawing a thread and cutting on the line (Chap. II, Par. 102). If there is a selvage, trim it ofT. On the short edge measure out 12" or the width of the filing pocket before making. Tear the material length- wise, or draw a thread and cut on the line. On the longer edge of the material measure down 28", twice the length of the back and pocket. Tear crosswise, or draw a thread and cut on the line. If you tear the material, pull the cloth straight (Chap, II, Par. 101) and trim ofl' the ravelings. PREPARING FOR THE POCKET. This filing pocket is made of a double thickness of cloth. With the right side in, fold one short edge even with the opposite one, making the fold at the bottom. Crease this with the thumb nail. Baste the two long edges together with short uneven basting (Chap. II, Par. 104). About V^" from the edge stitch just inside of the bast- ings with the sewing machine (Chap. II, Par. 164), or sew with the combination stitch (Chap. II, Par. 108). Turn the material right side out, being careful to push the corners out with the point of the shears and to make the edges perfectly straight (if you have stitched the seams carefully you should be able to crease these outside edges even with a thread). The upper edges, which are now open are to be overhanded together (Chap. II, Par. 110) after the cardboard is put in. The raw edges must be turned in before overhanding, so you may turn them in one-fourth of an inch, even with a thread, and baste them in place with uneven basting. TO MAKE THE POCKET. The edge of this pocket as shown in the illustration is trimmed with a band of cretonne. This should be sewed on before the pocket is turned up. Straighten the edges of the cretonne (Chap. II, Par. 102), making it 2ii>"xll^2", or the exact width of the finished filing case, plus ^2". Turn the raw edges even with a thread one-fourth of an inch toward the wrong side all the way around and baste them with unevin basting (Chap. II, Par. 104). Care shou'd be taken to keep this piece a perfect rectangle. Baste it carefully on all four edges to the folded end of the filing pocket. The ends will be stitched when the pocket is sewed in place. Stitch the top and bottom edges in place with very even machine stitching, or finish them by hand 72 ■with catch stitching (Chap. II, Par. 120) or featherstitching (Chap. II, Par. 121, 122, 123). Fold up this end of the filing pocket onto the material the depth desired for the pocket, or about four and one-half inches (with the strip of cretonne turned out). Baste the doubled edges together with uneven basting, overhand (Chap. II, Par. 110) the edges together, sewing through the cretonne, or stitch on the machine. PREPARING AND PUTTING IN THE CARDBOARD. A piece of cardboard should be cut to fit the inside of the back of the filing pocket. This should be QVa'xlP^", but will probably vary somewhat in size, as a very slight variation in the width of the seams or the depth of the pocket will make a change in the size of the back of the filing pocket. Measure the back carefully and cut the cardboard to fit it. Slip the cardboard between the two thick- nesses that form the back of the filing pocket and overhand the open edges together. SEWING ON THE RINGS. To sew on each ring, knot the thread and insert the needle about one-half inch from the top edge of the filing pocket bringing it up on the edge about one-half inch from the corner. Holding a portion of the ring next to the edge where the needle came out, sew over and over it six or eight times. Fasten the thread by running the needle through the two thicknesses of cloth about one-half inch. 73 SLEEVELETS MATERIALS. White Cotton Cambric (Chap. I, Par. 6). Long Cloth (Chap. I, Par. 24). 1 piece white goods % yard long and 27" wide. Thread No. 70. Needle No. 8. 1 yard narrow white elastic. INTRODUCTORY STATEMENT. Every girl knows how difficult it is to keep the bottom of long sleeves clean when at work. Sleevelets made of paper and pinned to fit the arm will offer some protection. As they are only temporary and tear easily, they are not very satisfactory. Sleevelets made of cloth are much more practical. As they usu- ally require frequent laundering, they should be made of wash ma- terials, the color depending somewhat on the use for which they are intended. Black sateen is often used for sleevelets to be worn in an office or store while white cambric or dainty colored gingham, per- cale or chambray is generally used for sleevelets to be worn in the kitchen, or at work about the house. While sleevelets may be finished at the bottom in several ways, one of the simplest methods is to gather in the extra fullness with an elastic. The sleevelets shown in this lesson have an elastic band at the top and bottom, making them adjustable to any sized arm. These sleevelets may be used as part of a cooking uniform for school. References : A Profitable Cotton Farm, U. S. Bulletin 364. The Cotton Plantation, U. S. Bulletin 326. 74 SUGGESTIONS FOR OPTIONAL MODIFICATION. ^^^r X 7 ^^^r ''^^1 ^^r i F / mm ^B^^^^^^^^l ^^^L M B^^^^^^^^B 1' ii ii|i' ^B BUTTONED SLEEVELETS No. 1. Sleevelets are sometimes provided with a button and buttonhole instead of elastic at the bottom; the elastic is frequently used at the top of such sleevelets. HEMSTITCHED CUFFS. No. 2. Where pretty dainty sleevelets are desired they may be made short and hemstitched. When neatly laundered they are very attractive. PLAIN CUFFS. No. 3. Sleevelets are sometimes made perfectly plain; they may then be starched stiff and fastened in place with a pin. PLAIN SLEEVELETS. No. 4. Sleevelets may be made perfectly plain, starched like the culTs and held in place with a pin. 75 WORKNG DIRECTIONS FOR SLEEVELETS PREPARING MATERIAL. Straighten two adjoining edges of material (Chap. II, Par. 102) if necessary. Trim off any selvages. Measure out on the shorter edge 12" (the length of the sleevelets before making). Tear crosswise, or draw a thread and cut on the line (Chap. II, Par. 102). Measure out on the long edge ISl-j" (the width of one sleevelet before it is made) and tear lengthwise or draw a thread and cut on the line. The piece of material left should be 12"xl3", the size of the other sleevelet. Trim off the ravelings on the edges if you have torn the material. Cut out the second sleevelet in the same manner. MAKING THE SEAM ON THE SLEEVELET. One sleevelet may be made and when it is completed the other may be made exactly like it, or the sleevelets may be made together by repeating each process on the second sleevelet after you have finished it on the first. In these directions you are to complete one sleevelet before making the second one. The sleevelet should be made a little narrower at the bottom than at the top. To do this, fold the material lengthwise in the center. On one end which is to be the bottom of the sleevelet, measure in from the raw edge one inch and mark with a pin. From the upper corner at the top of the same edge, fold the cloth diagonally to the pin. Cut on this diagonal fold, mak- ing a slanting edge from the bottom to the top of the sleevelets. Baste the slanting edges together using the uneven basting stitch (Chap. II, Par. 104); finish them with a French seam (Chap. II, Par. 137). The bottom of the sleevelet is to be finished with a hem provided with a casing through which to draw the elastic that gathers it at the wrist. To make this hem, make a first turning about Vi" toward the v.rong side of the sleevelet then make a second turning about P/4" tov.ard the same side; baste with even basting stitches (Chap. II, Par. 103) and sew^ in place, with machine stitching (Chap. II, Par. 164), or hem neatly by hand, leaving about i/4" unsew-ed through which to insert the elastic. To form the casing for the elastic measure down about %" below the sewed edge of the hem and make a row of machine stitching or running stitches (Chap. II, Par. 106) parallel with the edge of the hem. Remove the bastings. 76 THE HEM AT THE TOP OF THE SLEEVELET. The hem at the top of the sleevelet shown in the illustration serves as a casing through which to run the elastic. Make this hem about %" wide with Vi" first turning; baste with even basting (Chap. II, Par. 103) and sew in place with the hemming stitch (Chap. II, Par. 114) or stitch with the sewing machine (Chap. II, Par. 164) leaving about 1/4" unsewed (at the seam) in which to insert the elastic. PUTTING IN THE ELASTIC. As the fullness at the bottom of the sleevelet is to be gathered on an elastic band, cut a piece of elastic one-half inch longer than the wrist measure. With a bodkin, or hair pin, draw the elastic through the casing, letting the two ends extend outside the opening. Overlap the ends and sew them together firmly; slip them inside of the casing in the hem and sew up the opening left in the hem. If you have sewed the hem by hand this small opening may be sewed with the hemming stitch; if you have stitched it on the sewing machine sew it on the right side with backstitches (Chap. II, Par. 107). As the fullness at the top of the sleevelet is also gathered on an elastic band, cut a second piece of elastic one-half inch longer thar. the measurement of the arm just below the elbow. Draw it through the casing and fasten it just as you did at the bottom of the sleevelet. Finish the hem in the same manner. Make the second sleevelet in the same manner that you did the first. 77 ^^^^^^' >^^^^H ^Pf k f l^Mii 1 _ ^#i J «^.-. /*^.^w i/ ^ Hgp-- ^ ^^ iJ iW CAP MATERIALS. Lawn (Chap. I, Par. 23) or Cotton Cambric (Chap. I, Par. 6) or Long Cloth (Chap. I, Par. 24). 1 piece of white wash goods about 21" square. 1 yard of lace. % yard of elastic Vs" wide. Thread No. 70. Needle No. 8. Commercial pattern, or a piece of Manilla wrapping paper about 22 " square. INTRODUCTORY STATEMENT. In order to keep the hair in a healthy condition, it is necessary to keep Hie scalp clean. It is, therefore, very desirable to protect the head when working in the dust. This has made the so-called dust caps very popular. While silks, laces, and dainty, sheer materials are used in caps which are worn simply for ornament, the service to which a dust cap is to be subjected requires that it be made of material firm enough to keep out the dust. However, this does not prevent the use of dainty colors such as pale pink and blue ginghams, percales or similar materials. The white cap is usually becoming and looks very at- tractive in the kitchen. Although these caps are frequently made with a brim which calls for two pieces of material, the cap in this lesson is made of one piece only. This cap may be worn as part of a cooking uniform for school. References : Cotton Spinning. Marsdcn-Macmillan Co. Grading of Cotton, U. S. Bulletin 591. 78 SUGGESTIONS FOR OPTIONAL MODIFICATION. CAP WITH BRIM. No. 1. This cap has a turned l>ack hrim which may be piped, Irinimed witli braid or rickrack. LACE TRIMMED CAP. No. 2. Narrow hice may be used eflectively in trimming a cap which is intended to l)e rattier dainty. EMBROIDERED CAP. No. 3. The turned up brim presents an opportunity to use vari- ous decorative stitches, botli on its surface and edges. LACE CAP. No. 4. Tlie combination of lace and silk ofTers unlimited oppor- tunities in designing attractive elTects in dainty caps. 79 WORKING DIRECTIONS FOR CAP PREPARING MATERIAL. This cap is made from a circular piece of cloth about 21" in diameter. To make a pattern for the cap, draw a circle that size on a piece of manilla wrapping paper (use a pencil and a string); fold it on one of its diameters and cut it in halves. Use one-half of the pattern to lay out the cap. PREPARING THE CIRCULAR PIECE. Fold the material in the center and pin the straight edges of the pattern on the fold, also pin it in two or three places around the curve. Cut carefully around the curve, remove the pattern and open the circular piece of cloth. This circle of cloth is to be finished with a hem, preferably a rolled hem, although it is more difficult to make than the flat hem. Make a rolled hem (Chap. II, Par. 118) around the edge and sew in place as you roll it, or a narrow. Hat hem (Chap. II, Par. 114). Lay the right side of the lace on the right side of the circular piece of cloth and overhand the lace on the edge of the hem (Chap. II, Par. 112). To keep the lace from drawing around the outside edge, full it on slightly as you sew. Join the edges of the lace (Chap. II, Par. 148). PUTTING IN THE CASING FOR THE ELASTIC. This casing may be made by using the commercial bias tape, about %" wide, or bias strips may be cut (%" wide) according to directions in Chap. II, Par. 143. If two or more strips are necessary, join them (Chap. II, Par. 144), then turn under the raw edges, making a strip about %" wide when completed. The turned edges may be pressed with an iron, creased firmly, or basted to keep them folded. To allow the edge of the cap to extend beyond the casing, baste the outside edge of the tape about IVi" inside the edge of the hem. Be careful to keep the spacing even all the way around, also stretch the edge slightly to make the tape lie smoothly when the inner edge is basted in place. A small piece of cardboard cut about one-half inch wide and li/4" long will serve as an excellent guide in keeping the tape even with the edge of the cap. When you have basted the outer edge of the tape all the way around the circle, join the ends; baste the inner edge in place, keep- ing the tape smooth. Sew both edges of the tape in place with hem- 80 ining stitches (Chap. II, Par. 114), or stitch them on the sewing ma- chine (Chap. II, Par. 164), leaving a space of about }■>" unsewed on the inner edge through which to insert the elastic. Measure around your head and cut the elastic for your cap about two inches longer. With a bodkin, or hairpin, run the elastic through the casing, allow- ing both ends to extend outside the half-inch opening. Before fas- tening the ends tie them loosely; place the cap on the head; adjust it until it fits nicely, then cut the elastic to the proper size; lap the two pieces about ^A" and sew them together firmly. Slip the joined ends inside the casing. As the elastic is usually removed when the cap is washed, it is ad^'isable to leave the opening in the edge of the casing unsewed. You may prefer to tie the elastic in a neat knot close to the opening in the casing, as it may then be removed simply by untying the knot. Adjust the gathers evenly on the elastic. 81 SILVER CASE MATERIALS. Outing flannel (Chap. I, Par. 30) or Felt (Chap. I, Par. 58) or Canton Flannel (Chap. 1, Par. 7). V2 yard flannel or felt. % yard of tape to match material. Cotton or silk thread to match. Needle to correspond with the thread. Embroidery cotton. Embroidery needle to correspond. INTRODUCTORY STATEMENT. There is nothing which adds to the attractiveness of the table more than well kept silverware. Silver rapidly loses its polish if it becomes scratched. Even a thorough cleaning with silver polish will not restore the characteristic luster of new silver after it becomes marred or scratched. One piece of silver rubbing on another scratches it and thus both pieces are damaged. Knives, forks, spoons and other small silver may be kept looking bright and new much longer if each piece is kept separate from the others. For this reason, a case made with a little pocket for each piece of silver will be found very desirable. The silver should be thoroughly dried before placing it in the case. The case should be made of soft material, like flannel, outing flannel, or felt. Very satisfactory cases can be purchased, but they can also be very easily made, at much less cost. Where linen is used for the outside and embroidered, it should be lined with outing flannel, or some soft material. References ; Wool and Manufacture of Wool, W. C. Ford. A Story of Table Furnishings, The Cornell Reading-Courses. 82 SUGGESTIONS FOR OPTIONAL MODIFICATION. KNIFE CASE. No. 1. This knife case contains separate pockets very similar to the one presented in the lesson. It folds over and over and fastens with a snap. FORK CASE. No. 2. The fork case shown in No. 2 presents a design which may be made very pretty. The use of the embroidery and ribbon adds much to make it attractive. TEASPOON CASE. No. 3. This spoon case is made to match the knife case shown in No. 1. This will suggest the idea of a complete set of silverware cases to match. ROLLED SPOON CASE. No. 4. This case is made of a soft flannel material so it can be rolled and tied with a tape or ribbon. The embroidered initial adds to its appearance. 83 WORKING DIRECTIONS FOR SILVER CASE PREPARING MATERIAL. Straighten two adjoining edges of the cloth (Chap. II, Par. 102). To prepare the larger piece, measure out on the short edge 13", (the width of this piece) draw a thread crosswise and cut on the line. Measure out on the long edge 20" (the length of this piece). Draw a thread lengthwise and cut on the line. The narrow strip remaining is to be used for the pocket. Straighten the edges where necessary and make it 5" wide by 15" long. THE BACK PIECE. As you will notice in the illustration, the back is not a perfect oblong, but is rounded at the top corners and shaped off at one end to form a lap which is to be wTapped around the rest of the case after the silver has been rolled up in it. TO SHAPE THE END. First lay the long edges of the material parallel with the front edge of a table or desk before you. Fold the upper edge of the material over toward the lower edge, 5 inches. Leaving it folded, measure from the lower right-hand corner of the folded material l^Vz" toward the left; mark this point with a pin. From here cut a straight line to within 1 inch of the folded edge at right angles to it. Curving to the left, cut on the line of the folded edge to the left end of the material (this cuts the upper left-hand corner out of the material). The part which extends at the left forms the flap mentioned above. To round the corners of the flap, measure out from one corner 2^l' on the adjoining edges; mark these points with pins. Cut the corner rounding betv.een the pins the same as in the illustration. Round the opposite corner in like manner. The top corners of the back piece should also be made slightly rounding. To do this, measure out from one corner one inch en the adjoining edges, marking these points with pins; cut the corner rounding between them. Round the other corner in like manner. MAKING THE POCKET. The pockets into which the silver is to be placed are formed by sewing the smaller piece on the back piece, as shown in the illustra- tion. Baste it in place with uneven basting (Chap. II, Par. 104). Sew the pocket to the back piece along the bottom and right end with 84 blanket stitches (Chap. II, Par. 128), working them very close to- gether; continue around the remaining raw edges of the silver case. Finish the raw edges on the top and left end of the pocket in the same manner. If desired, the edges may be finished with binding ribbon which should match the material of the silver case. To put it on, crease it lengthwise in the center, lay the inside of the crease on the edge of the silver case and with the edges on the opposite sides, fasten it in place sewing through both edges at the same time. Stitch close to the edge of the tape on the right side with the sewing machine (Chap. II, Par. 164). MAKING DIVISIONS IN POCKET. This large pocket is to be divided into twelve small ones, each of which is to hold one piece of the silverware as shown in the illustra- tion. To make these pockets, divide it into spaces li/4" wide, mark- ing each division with a line of basting stitches extending from the bottom of the pocket to the top. Stitch in place with sewing machine (Chap. II, Par. 164). SEWING ON TAPE FOR TIES. When the silver case is folded, it should have a tape correspond- ing in color tied around it to keep it folded. To sew on the tape, first find the center by folding the two ends together; crease on the fold, lay the center of the tape on the center of the rounded flap, near the edge. Sew it to the flap with two parallel rows of backstitching (Chap. II, Par. 107) placed about 1/4" apart. 85 SCHOOL BAG MATERIALS. Linen (Chap. I, Par. 40). Chambray (Chap. I, Par. 9). 1 piece of chambray or linen 14V2"x36". Thread No. 70. Needle No. 8. 1 yard white cotton tape about 1" wide. Stencil pattern. Heavy cardboard. Oil paints, or dyes suitable for stenciling. INTRODUCTORY STATEiMENT. Did you ever find yourself hurrying to school with an armful of books, and have one of them begin to slip and the others, one by one, follow its example until finally all the books lay at your feet? If you have you will appreciate the advantage of a school bag. A book bag may be made like a button bag, with a string. How- ever, a bag made with a wide opening at the top with straps which can be placed over the shoulder is very much more easily carried. A school bag should be made of strong material, like denim, or a firm grade of cambric, chambray or percale. Oilcloth is also very desirable as it is waterproof. The design on the book bag should be simple. Stenciling makes a very attractive decoration for this sort of bag. It would be interest- ing to design and paint the stencil in the drawing class. References : Choosing Textiles, Gibbs. Illinois Univ. Bulletin. Decoration of the School and Home, Diliaway. Manual Arts Press. 86 SUGGESTIONS FOR OPTIONAL MODIFICATION. SCHOOL BAG. No. L This bag is made the same size as the one in the illus- tration. Instead of the flap at the top, it is finished with an inch hem. Two draw strings running in opposite directions slip through rings. It is trimmed with cretonne. COOKING BAG. No. 2. This bag is made similar to No. 1, the draw strings being run through a hem in the top of the bag; it is ornamented with em- broidery stitches. It may be used to carry cooking uniform back and forth to school. CORSET BAG. No. 3. This bag is made from cretonne. It is QVo" wide by 30" long. The draw strings are run through the lower half of a hem, the upper half being allowed to extend in a heading. PARTY BAG. No. 4. This bag is made of heavy silk, lined with lighter weight silk. The draw strings of ribbon are drawn through the lower part of the hem, leaving the upper part for a heading. It is 15" wide by 18" long. 87 WORKING DIRECTIONS FOR SCHOOL BAG PREPARING MATERIAL. Straighten two adjoining edges of the material (Chap. II, Par.. 102). (If the material is 30" wide it may be torn down the center and two bags can be made out of one width). Measure out on the short edge 141/2", the width of the bag before making. Measure out on the long edge 36", one yard (the depth of the bag before making). TO MAKE THE FLAP. This bag is to be made of one strip of material, one end being made pointed to form a flap, the other folded up to form the bag. To make the flap, find the center of the material by folding the long, edges together evenly; crease on the fold. Open the material. Fold one corner over to the central crease; on the same end fold the other corner over in like manner, thus forming a point on the end of the material. This pointed end of the material is to form the flap. Cut away the extra material folded over and finish the raw edges with sl hem 11/4" wide (Chap. II, Par. 114), mitering the corner at the point (Chap. II, Par. 146). FORMING THE BAG. The opposite end of the material is to be folded up to the be- ginning of the fiap to form the bag. Before folding it, finish the raw edge with a hem %" wide \nih a first turning 1/4" wide. Sew it in place with hemming stitches, or stitch with the sewing machine. The edges along the sides of the bag are to be finished with French seams (Chap. II, Par. 137). To do this, fold the hemmed edge up- ( having the right side out) until it overlaps the bottom of the hem on the flap i/4". Join the edges with French seams about Vs" wide^ Remove all bastings and turn the bag right side out. TO SEW ON THE TAPE. This bag is to be suspended from the shoulder \\ith a strip ot" tape about one inch wide. To sew on the tape, first turn under the raw edge at each end about i/4", allowing one end to overlap the back of the bag 1/2" on one upper corner; baste it in place, being, careful to sew through the back of the bag only. Place the other end of the tape in the same position on the opposite corner of the bag, as shown in the illustration, and baste in place. Fasten each end securely to the bag with hemming stitches (Chap. II, Par. 114),. sewing around the two edges, across the bottom and along the place where it crosses the edge of the bag. 88 THE DESIGN. This bag is decorated with a stencil design. To make a stencil design, proceed as follows : Make your own design, or use a com- mercial pattern. When you have decided on the design, transfer it to stencil board, bristol board, or very heavy paper. To cut out the design, place the material on which you have transferred your de- sign over a piece of glass, and with a sharp knife cut it out in very clean-cut lines. To stencil the design onto the bag, open the flap, place a blotter inside the bag and fasten the design over the bag firmly in the posi- tion desired. Use a brush with short bristles and artist's oil mixed with turpentine, or Easy Dye dissolved in water (Your teacher should help you to select suitable colors for your design). As the paint is likely to spread under the pattern, remove the excess from the brush each time before applying it to the stencil by rubbing it over a piece of waste cloth. Apply the paint with a daubing rather than a brush- ing motion. There should be only sufficient paint left in the brush to color the stencil. Oil crayons may be used instead of the paints or dyes if the design on the bag is pressed with a hot iron to set the colors. 89 BROOM COVER MATERIALS. Canton Flannel (Chap. I, Par. 7). ^2 yard canton flannel. 2 yards cotton tape W wide. Colored embroidery cotton (if desired). Embroidery needle to cor- respond. White thread No. 60. Needle No. 7. INTRODUCTORY STATEMENT. The day of carpets tacked to the floor is rapidly passing, and rugs that can be laid loose on the hardwood or painted floors have almost entirely taken their place. The exposed parts of the floor must be dusted frequently with a dry mop. There are many dust mops on the market which are more or less expensive, many of which are very satisfactory. A simple sub- stitute for these, however, is the broom cover, which can be placed over the broom while sweeping or dusting the hardwood floor and can also be easily removed when it needs to be washed. The covered broom may be used to sweep the walls or to dust high places. The cover may be moistened with furniture polish to prevent the dust from flying when used only on the floor. Any mop or polishing cloth which has been moistened with oil should be singled out and hung in a cool place. If left in a wad there is danger of its taking fire. References : Rules for Cleaning, The (".ornell Reading-Courses. Attic Dust and Treasures, The Cornell Reading-Courses- 90 SUGGESTIONS FOR OPTIONAL MODIFICATION. DUST CLOTH. No. 1. This is a plain simple dust cloth made by sewing togetlier the tops of discarded stockings; it has the advantage of picking up the dust rather than scattering it. BROOM COVER. No. 2. A broom cover made of a large straight piece of cloth with rings and a draw string will be found convenient for dusting high places. BROOM COVER OF CARPET. No. 3. An old piece of soft woolen cari)et sewed into a bag and supplied V. ilh a draw string to fasten it over a broom, is very valuable in polishing waxed floors. MOP CLOTH. No. 4. Several strips of canton llannel. hemmed and stitched together in Ihe middle will furnish a serviceable mop cloth. 91 WORKING DIRECTIONS FOR BROOM COVER PREPARING MATERIAL. Straighten the two long edges of the material (Chap. II, Par. 102). MAKING THE BAG. This broom cover is to be used for hard service and it should not have a great deal of fine work put on it, but, even though it is a simple problem, each process should be done as perfectly as pos- sible. This cover, which is simply a bag, is to be joined by sewing the two selvage edges in a seam, thus making a seam along one edge of the bag and a fold on the other. Lay the two selvage edges to- gether with the smooth surface of the material inside and the upper and lower edges even. With uneven basting (Chap. II, Par. 104) baste the two selvage edges together with a ^A" seam, continuing around the bottom edge. Stitch just inside of the bastings with the sewing machine (Chap. II, Par. 164), or sew by hand with the back- stitch (Chap. II, Par. 107). Remove the bastings and if desired, overcast (Chap. II, Par, 113) the raw edges on the bottom of the bag. Turn the bag right side out. PUTTING IN THE HEM. A hem 1" wide finishes the raw edge at the top. With a quarter inch first turning, fold, baste with even basting (Chap. II, Par. 103) and stitch the hem in place on the sewing machine, stitching very close to the edge, or hem neatly with hemming stitches (Chap. II, Par. 114), or catch stitch (Chap. II, Par. 120) in place on the right side, TO PUT IN THE DRAW STRING. In the center of the hems make an opening about one-halt inch long in the seam which crosses it. On the opposite side make a crosswise cut in the center of the hem the same length as the first one. To keep these openings from raveling, work them around the edges with the buttonhole stitch (Chap. II, Par. 136). Cut the tape in two pieces, each one yard long. With a tape needle or hairpin run one piece of tape through a buttonhole entirely around the hem of the bag, letting one end remain outside and the other come through the buttonhole again. Join these two ends with a felled seam (Chap. II, Par. 138). Run the other tape entirely around the bag in the same manner, drawing it through the opposite buttonhole. Fasten the two ends of tape which hang from this buttonhole with the felled seam. Close the cover by drawing the ends of the tape in opposite directions. 92 THE DESIGN. For ordinary purposes, it is unnecessary to do any embroidery work on a broom cover. A design was worked on the broom cover in this lesson merely to give a better idea in the picture. If you ex- pect to exhibit the broom cover which you have made in class, you will probably wish to work a similar design on yours. The design may be written on a piece of paper and transferred to the broom cover with carbon paper by placing the carbon paper carbon side down on the bag, and pinning the design over it, then tracing around it with a pencil. It would be advisable to use a strip of carbon paper a trifle wider than the letters you have made, and move it as you transfer each line. When a large sheet of carbon paper is used, the carbon is likely to rub off in places and soil your work. Work the design with coarse embroidery cotton in any color desired with the outline etching stitch (Chap. II, Par 125), or chain stitch (Chap. II, Par. 126). You may prefer simply to make your initial in the manner already described, and work it with the outline etching stitch, chain stitch or satin stitch (Chap. II, Par. 131). 93 CROCHETED TURBAN MATERIALS. 5 skeins of Saxony yarn the color desired. 1 bone crochet hook to cor- respond with yarn. 2 large wooden button molds. 2 rubber bands, or short pieces of heavy string. INTRODUCTORY STATEMENT. When the winds of winter begin to whistle around the corners and through the tree tops, the schoolgirl, as she sallies forth, one hand holding her hat tightly, the other filled with books, usually longs for some sort of close fitting head-covering which will protect her ears from the cold. It is a great satisfaction to the aver- age girl to be able to crochet a becoming cap for herself. The soft woolen yarns adapt themselves very nicely to this work and even though a girl may have had but little experience in crocheting, it is quite possible for her to crochet a cap. The cap shown in this lesson, when unbuttoned, is simply a long, flat strip of crocheting. As it is almost impossible to remove the ordinary toboggan cap without disarranging the hair, this cap will prove very much more satisfactory because it can be removed by unbuttoning the ends. References: Woolen and Worsted Yarn Preparation, Cyclo. of Textile Work. Columbia Book of the Use of Yarns, Wm. H. Horrtman Co., Philadelphia. 94 SUGGESTIONS FOR OPTIONAL MODIFICATION. TOBOGGAN CAP. No. 1. This cap is crocheted of yarn. Beginning with a ring of stitches in the center, each succeeding row is increased until the cap is the size desired for the head, then it is crocheted straight around several inches to form the border. CROCHETED CAP. No. 2. This cap is made of wool yarn crocheted with any stitch desired, in a long strip. The strip is folded and joined on the edges with slip stitches. Crocheted buttons fasten down the corners. CROCHETED BREAKFAST CAP. No. 3. A band of filet crocheting forms the brim, and squares of chain stitches form the crown of this cap. It is lined with silk; the beading at the edge is interlaced with ribbon to match. LACE BREAKFAST CAP. No. 4. The crown of this cap is made from all-over lace; lace edging about 2" wide forms th.e rulTle on the edge. The rufile and crown are joined VNilh hicc heading interlaced with ribbon; the crown is lined with Chir.a silk. 95 WORKING DIRECTIONS FOR CROCHETED TURBAN This cap is made of a strip of crocheting 15" long by 18' wide, as shown in the illustration. CROCHETING THE CROWN PIECE. To make the crown piece, crochet 85 chain stitches loosely (Chap. II, Par. 155). This should make a chain 15" long. Increase or de- crease the number of stitches if necessary. On this row of stitches you are to make a row of stitches resembling stars. To do this, turn over work, skip first ch. st. draw a loop (1) through each of the next 4 ch. sts., then draw a 1 through the 5 loops on the hook all at one time; to complete first star ch. st. one. To make second star, draw a 1 through the eye of the star just made; a 1 through back of last 1 of same star, then one 1 through each of the next 2 ch. sts. Finish the same as first star; continue making these stars to end of row. To make the second row, which is to be the same as the first one, turn the work over; ch. st. 3, take up two Is on this ch., one 1 in eye of star below, one 1 in the back of upper 1 of same star; finish star as usual. Take up one 1 through eye of star just finished; one 1 through back of last 1 of same star, one 1 through eye of next star below, and one 1 through back of upper 1 of same star; finish star as usual. Continue to end of row. Continue making each succeeding row like second row until the work is 8^2" wide. On the next, or center row of crown i)iece, you are to begin to divide the lower half in two pieces. To do this make star stitches half the length of crown piece (about 20 stars), then 96 continue with ch. sts. (about 45) the remaining length of the strip; turn and work stars upon the ch.; continue to end of row. Continue the worli as before until the second half of crown piece is 8V2" wide. Fasten the thread by breaking the yarn and pulling end of last St. made, thus tying knot. A beaded edge may be made on the two long edges as follows: Begin by making 3 ch. sts., draw a 1 through first st,, and a second 1 through the next st. on the same ch. Skip 2 sts. on the edge of the st. below, draw the yarn through edge of third st., then draw a 1 through the 5 Is. on the hook, all at once. Continue to end of row; fasten thread. FRONT BAND. This is to be made separate and fastened to the end of crown piece. To make it, crochet a ch. of sts. 10y2" long; turn and make a double crochet (d c) in each ch. st. The model has 57 d cs (there should be an uneven number of sts). To make a second row, turn work over and return, making a d c in front thread of first st., then a d c in back thread of next st., continuing to end of row. Continue crocheting back and forth the same as you did in this row until the work is from one to four inches deep, depending on the width you desire the band. To round the ends of the band, in the next row crochet d cs to within 10 sts. of end of row; fasten in edge of next d c with a slip stitch (si st), (Chap. II, Par. 156), return and d c to within 10 stitches of end of this row, fasten last d c with si st ; be careful to keep the pat- tern even when working over the ends of short rows. Make one row of d cs entirely across, then a final beaded edge similar to one on edges of crown piece. To set band on crown piece, d c closely across the end of the crown piece, skipping sts on the edge sufficiently to gather it into a IOV2" space (the length of the band). Join gathered end of crown piece to straight edge of band with si sts. Turn band double and si st open ends together. FINISHING THE ENDS OF CROWN PIECE. Lay each end in pleats to a space of 2" or less; work across the pleats with two rows of tight si sts. Cover two elastic bands, or heavy strings tied in loops large enough to slip over the buttons with d cs and sew to the pleated ends. To cover the button molds, ch 3, join in a ring (r), work 8 d cs in the r; continue to work round and round without joining rows. The second row is made larger by placing 2 d cs placed in every third St. Continue increasing enough to keep the work Hat until it is same size as mold, then work one row plain. Make next round, skipping every other st. Slip in mold and work 3 or 4 more sts, skipping every other st to make it narrower. Sew in place at ends of band. 97 DARNED TOWEL MATERIALS. Huckaback Toweling (Chap. I, Pars. 20 and 47). 11/4 yards huckaback. San silk, or mercerized em- broidery cotton in two shades. Blunt pointed needle to cor- respond. INTRODUCTORY STATEMENT. Towels are such a common household necessity that one is not likely to get too many on hand. While a plain towel answers the purpose for which it is needed, most home keepers enjoy having a collection of towels finished in a more ornamental fashion. The two edges are selvage and need no other finish, but the ends must be finished with a hem, either plain or hemstitched, embroidered scallops, or a crocheted edge of lace. Other decor-ations for a towel may consist of a design worked above the hem in embroidery stitches, or set-in strips of handmade lace insertion. Darning with colored embroidery cotton under the loose threads of buck toweling is a very simple and efTective method of decorating a towel. A great variety of darning designs can be worked out by using different colored threads and weaving them into the buck in different patterns. The towel in this lesson shows a simple design darned in the huckaback in two shades of color, forming simple borders and small diamonds across the ends of the towel. It would be interesting to plan and work a design of your own. References: Manufacture of Linen, Great Industries of U. S. Huckaback, Textile Desisn, Woodhousc & Milne. 98 SUGGESTIONS FOR OPTIONAL MODIFICATION. 1 XX30^«%^%^^^H 1 DARNED TOWEL. No. 1. In this towel, made of huckaback, a design is darned through the threads of the huckaback in such a manner as to produce a rickrack effect. Notice that the second row of stitches is parallel with the first. DARNED TOWEL. No. 2. This towel is also made of huckaback with a more elab- orate design. Three colors of thread are used but the design is easily worked as each succeeding row of darning stitches is parallel with the one preceding it. DARNED TOWEL. No. 3. This towel offers another suggestion for a design that may be made by darning under the raised threads of buck toweling. WATER LILY TOWEL. No. 4. In this towel a design is transferred to the towel; it is outlined with the outline etching stitch, the satin stitch being used in a few places on the petals of the flower. The inside of the design is filled with stitches darned under the raised threads of the toweling. 99 WORKING DIRECTIONS FOR DARNED TOWEL PREPARING MATERIAL. This towel is to be finished with hemstitched hems one inch wide and decorated by darning under the raised threads of the huck- aback with colored thread. Straighten the raw edges on the end of the towel (Chap. II, Par. 102). On one end of the towel measure in 2Yi" from the edge; draw a thread, fold, baste with even basting (Chap. II, Par. 103) and finish a one-inch hem with double hemstitching, drawing the remainder of the threads and making the stitches as directed in Chap. II, Par. 116. Finish the opposite end of the towel in exactly the same manner. Overhand (Chap. II, Par. 109) the open ends of the hems together, if desired. Remove basting threads. In finishing the ends of the towel, be careful to keep the side on which the raised threads run lengthwise for the right side, so the needle will slip under them easily when darning in the design. THE DESIGN. While the working directions in this lesson are given for the design shown in the illustration, it is advisable and will be found much more interesting for each girl to plan her own design and de- cide on the colors to use in working it. The two rows of parallel stitches forming the border of the de- sign in the illustration are placed Vi" above the hemstitching. Use the dark thread for the border. To make the first row, insert the needle on the under side of the cloth, run it under two or three of bucks or raised threads gn the under side and bring it through to the right side even with the selvage edge; make a straight row of running stitches under the bucks, or raised threads of the toweling, to the selvage on the opposite edge. Bring the thread through to the under side and fasten it the same as in the beginning. Skipping one row of bucks, begin the second row in the same manner as first and make this second row parallel with the first row. The diamond shaped design in the center you will notice in the illustration is placed parallel with the border. Use thread of an- other shade for this. To make this part of the design, measure up one inch from the second row of parallel stitches forming the border, beginning at the right-hand edge; fasten the thread as before and bring the needle through to the right side of the material close to the inside of the selvage; slanting the needle upward, take 3 hucl" for underturnings) over this with its straightened edge even with the end of the towel. Baste, and using a loose top tension on the sewing machine, stitch the two edges together (stitching through the material and the blotters) with a Vi" seam (Chap. II, Par. 164), remove bastings, trim the blotter very close to the seam, or bend it and tear it away along the line of stitching. Pull the other edge of the blotting paper away; this will leave the two materials sewed together with very loose stitches. Turn the raw edges back from the stitching onto the material, pulling the loose stitches between the two pieces of material straight. I'inish the raw edge turned back on the towel by turning it under and sewing it down with hemming stitches (Chap. II, Par. 114). Turn in the outside raw edge of the colored piece and fold it over to the hemstitched edge. Baste it in place and hem down or stitch on the edge with the sewing machine. 180 THE INITIAL. An Old English letter was used for the initial on the towel shown in this lesson. For your own towel you may select any style initial you desire (the initial should not be more than 11/2" long). It should be placed above the hem about 1" in the center of the towel. If you have designed your own initial, transfer it with carbon paper. To do this, cut a piece of carbon paper a trifle larger than the initial, place it carbon side down on the towel, pin the pattern for the initial over this and draw around it with a lead pencil. Remove the carbon paper and pattern and work the initial. If a commercial pattern is used transfer it to the towel by laying it rough side down in the position desired on the towel and pressing it with a hot iron. Pad this initial, before working it, rounding it a little in the cen- ter. Work it with the satin stitch (Chap. II, Par. 131). 181 BUNGALOW APRON MATERIALS. Gingham (Chap. I, Par. 19) or Percale (Chap. I, Par. 31), or Chambray (Chap. I, Par. 9). 3 yards of gingham, 30" or 36" wide. 1 2/3 yards rickrack. Thread No. 70. Needle No. 8. Pattern for kimono night gown (drafted or commer- cial). INTRODUCTORY STATEMENT. The over-all or bungalow apron is very desirable to put on over the Sunday dress, or it may even be worn as a house dress. This apron may be made of calico, percale, gingham, or similar wash materials. If it is to be worn in the kitchen when doing work which would soil a light colored apron, dark colored material will be most serviceable; light colored aprons may be saved for ironing day, baking day and meal time when you wish to look particularly fresh and clean. In dark colors there are many good patterns which may be selected. The small blue and white checked, black and white striped materials, the plain blue chambrays or ginghams will make up at- tractively in the design given in this lesson. Rickrack used to finish the neck and sleeves of the apron will brighten it and add to its appearance. References: Textiles, Dooley. D. C. Heath & Co. A Dictionary of Calico Printing, O'Neill. Baird & Co., Philadelphia. 182 SUGGESTIONS FOR OPTIONAL MODIFICATION. BUNGALOW APRON. No. 1. This apron is made by combining a kimono waist with a plain gored slvirt, at the waist. A belt made long enough to tie in the back is stitched across the front of the waist line. The apron is trimmed with bias bands of a contrasting color. This apron may be made from a commercial pattern; patterns drafted from the upper part of kimono night gown and the plain three or five gored skirt may be used. BUNGALOW APRON. No. 2. This apron is very similar to the one described in the lesson, except that it is opened in front and the neck is finished with a plain rolled collar instead of rickrack. It may be made from a kimono night gown pattern. It is trimmed with bias tape of a con- trasting color and the front opening is laced together with cotton tape. 183 WORKING DIRECTIONS FOR BUNGALOW APRON PREPARING MATERIAL. Shrink the material before making. To do this, wet it thoroughly, allow it to partially dry then iron until thoroughly dry. CUTTING OUT THE APRON. Use a drafted pattern for a kimono night gown (Chap. IV); or if desired, a commercial pattern may be used. If a conunercial pattern is used, study carefully the guide chart and all directions w^hich accompany it. This apron is made without seams on the shoul- ders, the back and front being cut alike, hence one-half the pattern for the front of the kimono night gown will be sufficient to use in cutting it out. To prepare the material for cutting, fold it lengthwise in the center, making the selvages even; fold it crosswise in the cen- ter. Lay the straight edge, or center front of the pattern on the lengthwise fold of the goods with the top of the shoulder even with the crosswise fold. Pin it in several places to keep it from slipping. Cut out the apron. (Do not cut the cloth at the top of the shoulder, or on the center fold). Remove the pattern. JOINING SEAMS. The only seams in this apron are the under-arm seams. These may be made French seams. To make them, baste the edges of the material together on the right side and follow directions for making a French seam (Chap. II, Par. 137). FINISHING NECK, SLEEVES AND BACK. As this apron is opened in the back, you may cut the back piece in two on the center crease. Lay a hem Vo" wide on each edge; baste and stitch in place. (If necessary face it by sewing a strip 1" w^ide on the edge and, turning it back on the wrong side like a hem, finish it in the same manner). Try on the apron; pin it together at the back; cut out the neck the desired shape; see that the sleeves are the proper length. (If they are too short, lengthen them by setting on an extra piece of material; if they are too long, cut them off to the length desired.) While you have the apron on, it may be hung, that is, evened around the bottom. To hang the apron, decide on the dis- tance you desire to have it from the floor. Stand on a table and have someone turn up the bottom of the apron exactly even all the way around using a skirt gauge or a yard stick. Remove the apron, lay a narrow hem around the neck and around the bottoms of the sleeves; 184 baste in place but do not stitch. If rickrack is used to finish the edge, baste it on the wrong side, over the hem. Join it on the sleeves with a felled seam. Turn under the ends in a narrow hem at the neck and stitch it in place with two parallel rows of machine stitching. THE HEM. The hem at the bottom may be made the width desired; about 4" is a good width. Fold the hem on the line marked when the apron was hung. With a cardboard gauge (a strip of cardboard Vz wide and the length that you desire the width of the hem) used as a guide trim off the material of the hem making it exactly even; turn under the raw edge, pin and baste in place. Extra fullness at the top of the hem may be removed by laying small pleats in it. (Turn all the pleats in the same direction.) Stitch the hem in place. THE BELT. To make the belt, use the material cut from the sides; if nec- essary, to make the belt long enough, piece it in the center. It may be made long enough to allow the ends to lap in front, or it may button together in the back. Make it about 3" wide. It may be made double, or the edges may be finished with narrow hems and rickrack, the same as the neck and sleeves. It should be fastened to the apron with a vertical row of machine stitching. FASTENINGS. The apron is fastened in the back with buttons and buttonholes- (Chap. II, Par. 135-136). These may be placed about 4" apart and may- extend about 6" or 8" below the waist line. The belt should be fastened together with one button and button- hole if lapped in front; if lapped in the back, it should be fastened together with two. 185 COOKING APRON F ( \ ^^^^^^H| \ ^^^^^^^^^^^^^^^^1 ^m ^^^^^^^^^^^v ^^^^1 1 M f «|Bmk*.'! ^^^^^v H 1^^^ ,. if HI MATERIALS. Long Cloth (Chap. I, Par. 24). 1 piece long cloth twice as long as Thread No. 70. the skirt length plus 1 yard for 4 pearl buttons, bib and 9 " for hem. 1 yard drafting paper for pattern. INTRODUCTORY STATEMENT. In order to protect their dresses while at work in the cooking Iaborator5% teachers usually require the girls to wear some sort of cooking apron. As white gives a pleasing impression of cleanliness, it is most commonly chosen for this purpose. White cambric, percale or any smooth finished, firm white material may be used. There are a number of different ways of making cooking aprons, but if a uniform pattern is chosen it gives a most attractive appearance to the class. References: Hints on Choosing Textiles, Cornell Bulletin, Ithaca, \. Y Saving Strength, Cornell Bulletin, Ithaca, N. Y. 186 SUGGESTIONS FOR OPTIONAL MODIFICATION. GORED COOKING APRON. No. 1. The skirt of this apron is gored. It may be made from a five gored commercial pattern or a drafted pattern. The band is made 2V2" wide, and the straps, which cross in the back and button at the band, are made 2" wide. This bib is finished with an inch hem; it is made TVo" wide at the top and QV^" wide at the bottom. COOKING APRON. No. 2. The skirt of this apron is made the same as in No. 1. The bib is made of one piece of material, a half pattern for which may be cut free-hand. To do this, place the straight edge of a piece of paper on the center front of the waist, curve the neck and shape the pattern on the sides and back as in the illustration. When the pattern is made, the front edge should be gored ofT about W at the top, other- wise the neck of the apron will fall forward in a pleat. When worn, the back of this apron may be pinned in place with a beauty pin to keep it from slipping up on the neck. 187 WORKING DIRECTIONS FOR COOKING APRON PREPARING MATERIAL. Shrink the material. PATTERN FOR BIR. Although a commercial pattern may be used for this bib, a free- hand pattern may be cut. To do this, take a strip of paper one yard long and the width from the center front of the waist to the shoulder. Hold it up to the person for whom intended with the straight edge on the center front of the body; pin it in front and curve out the neck the width desired. Pin it smoothly on the shoulder and, making it about 5V2" wide at the bottom, cut a curved line up to within about 6" of the shoulder, as in the illustration. To make the back of the pattern, crease the edge of the paper so it will make a straight line down the center back (this will make a bias edge); cut ofT extra paper %" outside of crease to allow for seams. Curve the back of the pattern up toward the shoulder as in illustration. Trim ofT even with the waist line, both back and front. THE SKIRT. Make your apron the same length as your dress skirt allowing 41/2" for hems and fitting. Tear off two strips the desired length. Use one strip for the front gore. It is necessary to make this apron nar- rower at the top than at the bottom, in order to remove some of the fullness. To do this, fold the strip lengthwise in the center, pinning it to hold it in place. At the top, measure in from the selvage to the center fold, 4". Mark with a pin. Fold over the two selvage edges forming a slanting fold from the pin to the bottom. Crease firmly with the thumb nail ; cut on the crease. In order to make the front gore fit smoothly on the belt it should be curved out slightly in front. To do this, measure down on the fold from the top %". Cut an inward curved line from this point to the top outside edges of the material. Remove pins. The back pieces of this skirt are made from the other strip of material. Tear the material in the center, lengthwise. Sew the torn edges of the back pieces to the front gore with French seams (Chap. II, Par. 137). (Be careful to make the pieces even at the top.) The back edges of the apron may be left with the selvage edges for the finish, or, a 1" hem may be made if preferred. 188 THE BIB. As you are to use a half pattern for the bib, it must be cut from a double thickness of material. Fold the remaining material on a warp thread, making a strip the width of the bib pattern ; lay the cen- ter front of the bib pattern on the fold of the goods; pin in place and cut out. Finish the outside edges and the neck of the bib with a narrow^ hem stitched on the sewing machine. Gather the bib across the bot- tom (Chap. II, Par. 141). Make a V2" hem on each edge at the back. THE BAND. Cut or tear two strips of material 2y2" wide and the length of the waist measure plus 2" for lapping and underturning. Set the gathers on the skirt of the apron on the edge of one piece of the band (Chap. II, Par. 142), allowing the band to extend beyond the gathers about IV2" at each end. Baste one edge of the other piece of the band on the opposite side of the gathers making the ends and edges even with the first piece. Stitch the ends together with a Vi" seam. Remove bastings. Turn the band right side out and baste. Turn in the raw edges, adjust the gathers and insert the bib between open edges of the band, being careful to have center of bib on center of band. Pin and baste in place. Put the apron on and insert the back pieces of the bib in the apron band even with the ends, pin in place and remove the apron and baste the bib in place at the back. Stitch entirely around the edges of the band. Place buttons and buttonholes on back of apron as shown in illustration (Chap. II, Par. 135-136). Put on the apron and have someone even it around the bottom. Remove apron, baste along the folded edge of the hem, even it to the desired width (use a strip of cardboard as a gauge), turn in the raw edge, stitch in place. 189 BASE BALL SUIT MATERIALS. Flannel (Chap. I, Par. 59). Muslin (Chap. 1, Par. 27). Amount of material called for in the pattern used. 1 yard of 2" linen belting. About %" yard of Vz" elastic. Commercial pattern for base- ball suit. Silk thread to match ma- terial. Buttonhole twist. INTRODUCTORY STATEMENT. Baseball is a popular form of athletics in high school. In play- ing this game it is quite necessary that the boys have suits specially made for the purpose. Although these suits can be purchased ready made they may be made much more cheaply at home; they can also be made very acceptably by the girls in the sewing class. These suits are generally made of flannel trimmed with a contrasting color; col- ored outing flannel may also be used. While they vary somew^hat in a few details, such as the length of the sleeves or the shape of the collar, the general style of these suits is about the same. Of course the lettering on the suits will depend on local conditions; the name of the school, the club or team will usually suggest suitable initials or monogram. The suit shown in this lesson is made of gray flannel trimmed with a similar material of navy blue. References: Textiles and Clothing, Watson. American School of Home Economics. Clothes Moths, U. S. Bulletin, 659. 190 SUGGESTIONS FOR OPTIONAL MODIFICATION. No. 1. Athletic Shirt. No. 2. Track Trousers. No. 1. Girl's Swimming Suit. No. 2. Girl's Gym. Suit. 191 WORKING DIRECTIONS FOR BASE BALL SUIT CUTTING OUT SUIT. As the drafting of a pattern for this ball suit would be rather difficult, you should use a commercial pattern. As the pattern may vary somewhat in style from the suit shown in the illustration, the directions given here should be used merely as suggestions. Before cutting out the suit, carefully study the guide chart and directions accompanying the pattern. Pin the pattern to the goods to keep it from slipping. Lay all the parts of the pattern on the material before beginning to cut. Cut out the entire suit. (If there is no separate pattern for the lining the pattern for the trousers may be used.) JOINING SEAMS ON THE SHIRT. After basting the shoulders and under-arm seams of the back and front together on the right side, finish them with felled seams (Chap. II, Par. 138). Baste the seams of the sleeves together on the right side and finish with French seams (Chap. II, Par. 137). Set the sleeves, in the armhole with lapped seams (Chap. II, Par. 139). FINISHING THE PLACKET, NECK AND SLEEVES. As this shirt opens only part way down the center front, the opening should be finished with a placket; use the extension placket (Chap. II, Par. 162); make it lap from left to right. Trim the outside of the placket %\'ith a strip of flannel 2" wide and 2" longer than the placket; make it pointed at the bottom. Place three buttons and but- tonholes as in illustration (Chap. II, Pars. 135 and 136). The neck in this suit is finished wath a double band of llannel 1" wide. The bottom of the sleeves are finished with a strip of llannel iy2"' wide stitched on the right side of the edge of the sleeve. JOINING SEAMS OF THE TROUSERS. Make the lining first. Join the parts of each leg, then sew the two legs together, leaving an opening for a placket about 4" long at the front end of the seam. Join the trousers in the same way. Place the lining inside the trousers, with all raw edges inside and baste the two together along the outside seems of the legs; stitch them together on these seams with two rows of parallel stitching, about Vi " apart. Baste and stitch a hip pocket in place. 192 PLACKET FOR TROUSERS. To finish the opening on the front of the trousers, sew an ex- tension 1 " wide on the right-hand side of the opening (Chap. II, Par. 162); face the left side with a piece of lining iy2" wide at the top, tapered ofi" to %" at the bottom; this should extend from the top of the opening to the crotch of the trousers. To provide an extra flap for the buttonholes (which do not show on the outside) a piece of flannel the same size and shape as the facing is first lined, then stitched with the facing to the trousers. Three buttonholes are placed crosswise in the facing at regular intervals, the last one being placed 2" from the top. A button should be sewed on the under side of this facing at the top. Buttons to cor- respond with the buttonhole should be sewed on the extension piece and a buttonhole worked at the top to correspond with the button opposite. TO FINISH THE TOP AND BOTTOM. To pro\ide a place through which to run the leather belt, five straps about %" wide and 3" long should be sewed perpendicularly (at suitable distances) to the top edge of the trousers. Face the top of the trousers with some very strong material. The bottom of each leg is finished with a V-?" hem, containing an elastic band. 193 PLAIN PETTICOAT MATERIALS. Long Cloth (Chap. I, Par. 24). 1 piece long cloth or rep- plette, twice the length of the skirt plus twice the width of the hem. 1 piece bias tape the length of waist measure plus 1". Thread No. 70. Needle No. 8. Pattern for 3 piece skirt (commercial or drafted). INTRODUCTORY STATEMENT. Whether a petticoat is worn for warmth in winter or for appear- ance sake in summer, a good fitting petticoat is absolutely necessary to the well dressed woman. The style of the petticoat varies with the constantly changing styles in dress skirts. When the dress skirts are narrow, the petti- coats must necessarily be narrow; as the fashion changes to the full outside skirt, the petticoat must be made wider. The material used in the under skirt depends upon the purpose for which it is to be used. In the winter when a plain skirt is worn under a wool dress skirt, dark colors in materials like silk, moire, sateen, percaline or similar materials are very desirable, while crepe cloth, nainsook, long cloth and similar materials are used for sum- mer skirts. The skirt shown in this lesson is designed for every day wear and for this reason is made of repplette, which is easily laundered; it is made without a rulTle, a plain hem at the bottom edge forming the only trimming. References: Domestic Art in Woman's Kducation, Cooley. Scribner's Sons. Text Book on Domestic Art, Ingalls. 194 SUGGESTIONS FOR OPTIONAL MODIFICATION. SCALLOPED PETTICOAT. No. L This petticoat is made of heavy repplette cloth, the same as the one shown in the lesson, except that the bottom is finished with scallops instead of the plain hem. These scallops may be drawn directly on the skirt, in the following manner: Fold the skirt in halves lengthwise, then using a tape measure, divide the bottom edge in thirds marking each division with a pencil or pin. Cut a rounding curve on a piece of cardboard to lay ofT the scallops on the skirt. Cut out the scallops and face the skirt with a fitted facing about 5" wide. SKIRT WITH EMBROIDERED EDGE. No. 2. This is a plain three-piece skirt made as in No. 1, except that the bottom is finished with scallops embroidered by hand. These scallops may be transferred from a commercial pattern; or they may be laid out on a strip of Manilla paper, using a quarter to outline the lower edge and a dollar to outline the upper edge. (Any circular object corresponding in size to these coins may be used.) The scal- lops are worked with the loop stitch, with coarse embroidery cotton. 195 WORKING DIRECTIONS FOR PLAIN PETTICOAT PREPARING MATERIAL. Shrink the material. To do this, wet it, hang it straight on the line until partially dry, then iron until thoroughly dry (the repplette may be allowed to dry on the line without ironing). CUTTING OUT THE SKIRT. You may use a three-piece skirt dratted according to directions in Chap. IV; or, if desired, you may use a commercial pattern. If a commercial pattern is used, study the guide chart for the pattern and place it on the goods according to the directions given. If you use a drafted pattern, place the center front of the front gore on a length- wise fold of the material; pin in place. Place the straight edge of the pattern for the back gores on the goods parallel with the warp threads (plan your material as economically as possible). Remember you must make two back gores. Pin all of the parts of the pattern in place before cutting the material ; cut out the skirt, allowing seams if necessary. The notches which indicate the places where the seams are to be joined should be made very small, or simply marked with a pencil. JOINING THE SEAMS. Felled seams should be used to join the seams of this skirt. Keeping the gores even at the top, pin together the edges with cor- responding notches (put the pins in crosswise); baste the seams to- gether with even basting (Chap. II, Par. 103), making the stitches small at the top of the seam (it is well to hold the gored edge toward you when basting to avoid stretching it). When basting the back gore, leave from 10" to 12" at the top unbasted for the placket open- ing. After the skirt is basted, remove the pins and fit it carefully, marking the necessary alterations with pins. Be careful that the seams over the hips do not slant forward or backward at the top. See that the skirt hangs straight down the front. If it falls forward at the bottom, raise the skirt at the back waist line. Be careful not to make the skirt too tight across the hips. Sit down and see that it fits easily around the hips when seated. Remove the skirt and baste again along the line of pins. Remove the pins and try it on again to see that your alterations are correct. Make the felled seam (Chap. II, Par. 138). Finish the placket opening with a bound placket (Chap. II, Par. 161). 196 FINISHING THE TOP. A skirt may be finished with a belt, but as there are no gathers in it and the belt is likely to increase the size of the waist line, this skirt is finished with bias tape. To sew on the bias tape, lay one edge even with the top of the skirt, baste the edges together in a narrow seam turned toward the wrong side; fold the tape over to the WTong side and baste along the turned edge, turn in the other raw edge and the ends of the tape at the back, baste and stitch entirely around the edges of the tape. The tape may also be stitched in the center, to keep it from stretching. Sew hooks and eyes on the placket about 2" apart, placing one at the top of the placket to fasten the skirt around the waist (Chap. II, Par. 133). THE HEM. Try on the skirt again and have someone turn up the hem, using a yard stick, or a skirt gauge to make it even. Remove the skirt, baste the hem near the bottom edge, remove the pins and using a gauge (strip of cardboard the desired length) as a guide, make the hem even; turn under the raw edge, baste the hem in place, laying in small pleats to take up the extra fullness. Stitch the hem on the sewing machine. Remove bastings. 197 REVIEW QUESTIONS AND PROBLEMS. 1. For what rooms al home are sash curtains particularly suitable? 2. What kind ol" material would you select for sash curtains? What is the price per yard at your local stores? 3. What is the function of a laundry bag? About what size would you make it? 4. What kind of material is generally used for pillow cases? 5. Describe a simple way of making a pillow case, giving only the points absolutely necessary. 6. Describe a more elaborate way of making a pillow case; name four or five stitches and processes which may be used to ornament it. 7. Design and explain how you would make a fancy table cover. 8. What ornamental stitches are often used on guest towels? 9. Work out an original design for an embroidered guest towel. 10. What is a gored apron? 11. What kind of material is suitable for a boy's baseball suit? About how much material is required? 12. What method may be used to make a name or monogram on a baseball shirt? 13. Find the cost of a ready made baseball suit as given in any catalogue of athletic goods and estimate how much you may save by making it. 14. What kind of material is used for petticoats? 15., What points must be considered in making a petticoat? 16. Name and explain how to make at least four stitches which you have used most. 17. Do you know of any home work upon which you might use some of the processes learned at school? Explain. 198 SUGGESTIONS FOR HOME APPLICATION. 1. Examine the window shades at home; notice whether any of them have become worn at the bottom, or badly cracked from switching against the window casing. The part which has been rolled most of the time will be less worn, so by turning the shade opposite end up the worn part will be hidden when the shade is rolled. Re- move the shade from the roller; trim off the end if necessary and turn a hem wide enough to allow the curtain stick to slip through it easily; cut the hem off at the bottom and tack this end to tLe roller. 2. The life of muslin window curtains, which have become worn at the lower ends, may be prolonged by cutting off the worn parts and hemming the good portions for sash curtains. These curtains may then be used to replace others that are worn out. See if any of your curtains at home can be used in this way. If they can, ask permission to do the work. 3. Stenciling makes a very pretty decoration for bedroom cur- tains, as the design may be worked in colors which will harmonize with the wall paper or general color scheme of the room. Make a pair of curtains for your bedroom, or any room at home; decorate them with a stencil design. 4. Find how the soiled clothes in your home are cared for before they go to the laundry. If your room is not already provided with a laundry bag, make one and see that it gets systematic use. 5. Make a set of pillow cases for your room, or embroider an appropriate initial or monogram on a pair which you already have, 6. A very serviceable pillow cover may be made, finished with a ruffle of the same material. Make such a pillow, using the hemmer on the sewing machine in hemming the ruffle. 7. Work out an original design and make a guest towel that would be suitable for a birthday or holiday gift. 8. Sort over the garments left from the wardrobe of previous seasons and see whether there are any wash dresses which have been discarded because they are out of style. The expense of buying new material may be saved by making over some of these dresses into aprons. NOTE: You should use judgment in making over garments, as it does not pay to spend a lot of time making over a garment which is badly worn or in which the material is not strong. 9. Our grandmothers would utilize all the worn and discarded 199 garments in making carpet rags which were woven into rugs and carpets. While this is not done so commonly now-a-days, you may make a very useful and attractive rug for the bathroom or kitchen by simply braiding carpet rags and sewing the braids together to form circular, oblong or oval rugs. To do this, cut cotton material into strips about 2" wide, or wool material into strips about 1" wide; sew the ends of the strips together and wind them into balls. Braid the strips together in a three-strand braid (the braid should be about 1 " wide). Use coarse thread and sew the edges of the braid together shaping the rug as you sew. 200 INTRODUCTION TO SECTION V THE projects of this section deal almost entirely with garment making beginning with some of the elementary ones and leading up to the more advanced garments which are more fully dealt with in the next section. The paragraph references dealing with the elementary stitches, and with the early processes of sewing are not given throughout this section; such references are given which present processes that have occurred only rarely in the preceding sections. Most of the projects call for the use of patterns. Satisfactory patterns may be drafted by following the instructions given in Chap- ter IV, however, it may be found advisable to purchase commercial patterns for most of the garments. This does not mean that the subject of pattern drafting may be ignored; it should be taken up and carefully studied so that every student may get a clear conception of how patterns are made, what measurements are necessary and just how they are applied. A careful consideration of this subject is very essential in order that the girls may be prepared to alter and modify various commercial patterns from time to time. Styles are continually changing, but such changes deal for the most part with minor details; the fundamental principles of pattern drafting and garment making remain unchanged. It is not desirable to teach girls a set routine of mechanical operations whereby they may produce a certain pattern, indeed the garment may be out of style before they can learn to make it. If they learn that the pattern is merely a means to an end — that judgment and good taste are always the all important matters — that they are striving to acquire ability which wall enable them to take the means at hand and produce satisfactory results — there need be little uneasiness as to whether patterns are bought or made. 201 COMBING JACKET MATERIALS. Turkish Toweling (Chap. I, Par. 35). 1 turkish towel, 22" wide, 48" long. 2^2 yards ribbon (color de- sired). Rope embroidery floss to match ribbon. INTRODUCTORY STATEMENT. A combing jacket, as its name indicates, is a small, loose garment which can be slipped on and ofT easily during the preparation of the toilet; many girls and women prefer it to the kimono. It should be loose and comfortable, as it is w^orn only in the privacy of the girl's room. If an elaborate garment is desired, dainty shades of crepe de Chine or wash silk may be used, and many of the decorative stitches may be employed, but the art of making exquisite materials from cotton has reached a stage where we no longer have to use expensive silk to get beautiful effects. Sheer cotton material may be used and trimmed with lace, or, if a more serviceable jacket is desired, heavier cotton materials may be used. The combing jacket in this lesson is made from a piece of towel- ing, it is therefore inexpensive, but when carefully and neatly com- pleted will be found very dainty and attractive. References: Textiles and Dress, Ohio State Universitj' Ex. Bulletin. Pattern Miakins; by Paper Folding, Heath. London. 202 SUGGESTIONS FOR OPTIONAL MODIFICATION. SILK COMBING JACKET. No. 1. This combing jacket is made of a strip of bordered silk cut like the one shown in the lesson except that the neck is rounded out instead of having the flaps turned back. The silk is joined in a seam at the back; the edges are finished with embroidered scallops. It is fastened together under the arms with bows of ribbon and in the front with two snaps over which bows of ribbon are sewed. WOOL CHALLIE COMBING JACKET. No. 2. This combing jacket may be cut from the pattern of a kimono night gown. It should be flared under the arms a trifle more than for the gown. The back is pointed at the bottom like the front. The neck is finished with a rolling collar. The bottoms of the sleeves and the body of the combing jacket are finished with a hem, the top of which is outlined on the outside with featherstitching. There are six eyelets worked in the edges of the front hem through which nar- row ribbon is laced to hold the garment closed in front. 203 WORKING DIRECTIONS FOR COMBING JACKET PREPARING MATERIAL. The size of the towel used in making this combing jacket will depend on the size of the girl for whom the jacket is made. As these towels may be purchased in different sizes, it will not be necessary to cut one narrower for the jacket. However, if desired, and the towel is long enough, the smoothly woven border usually found on the end of these towels may be cut off. In the combing jacket shown in the illustration the border on the end of the towel used for the front of the garment was cut off. When finished the jacket should be long enough to reach below the waist line in the back and front. CUTTING OUT THE COMBING JACKET. No pattern is required for this combing jacket. It is made by cutting the towel lengthwise in the center, a trifle more than half its length; for the neck opening, it is cut crosswise a short distance from the center toward each side near the shoulder line. To make a jacket for a girl or woman of medium size, fold the towel in the center, lengthwise; measure up on this fold from the end of the towel which is to be used for the front 22"; mark with a pin, cut on the crease up to the pin for the front opening. To make the opening for the neck, measure up from the same end 17", mark with a pin and cut a line 2" long perpendicular to the crease through both thicknesses of the towel. FINISHING THE EDGES. On all the cut edges of the towel, fold and baste a hem the same width as the selvages on the outside edges of the towel (do not make a first turning in the hem as the edges of the hem will not ravel after it is blanket stitched and the extra turnings will make it too heavy). Using rope embroidery cotton, which is very coarse and heavy, blan- ket stitch entirely around the edges of the combing jacket, making the stitches about 1/4" deep and 1/4" apart (Chap. II, Par. 128). Fine stitches and fine thread would not be effective on this rough, heavy material. Turn back the points at the neck far enough to make the jacket set nicely and sew them in place with three or four stitches taken up and down through both the material and the flaps. 204 JOINING UNDER ARMS. This combing jacket is made without any seams and is held to- gether under the arms with ribbon tied in bows. To put on the ribbon, measure up from the bottom of the combing jacket on one edge 9"; mark with a pin; turn in the end of a piece of ribbon about 14" long and 1" wide and hem it to the wrong side of the combing jacket (allow it to overlap the edge about V2"). In the same manner sew another piece of ribbon the same length on the opposite edge of the jacket. On the other side of the jacket sew on two ribbons in the same manner. On the front opening find the place where you desire the jacket to be fastened; sew^ two ribbons each Y2 yard long on the opposite edges of this opening in the same manner. 205 NIGHT GOWN MATERIALS. Nainsook (Chap. I, Par. 28) or Long Cloth (Chap. I, Par. 24) or Muslin (Chap. I, Par. 27). 1 piece of Nainsook twice the length of the measurement from shoulder to floor, plus 5" for hems. INTRODUCTORY STATEMENT. -Not many years ago^ before the manufacture of cotton had reached its present high degree of perfection, girls were very glad to have plain, substantial night gowns made of unbleached muslin in summer and outing flannel in winter. Now, however, most girls take almost as much pride in their night dresses as they do in the selection of their outer garments. Each girl's wardrobe usually con- tains two kinds of night gowns; some which will stand service and laundering and some lighter ones for special occasions. The kind for service should be made of firm wash material, such as cambric, long; cloth, or repplette which is easily cared for because it requires no ironing. The project given in this lesson is an excellent one to precede dressmaking work in which straight seams are absolutely necessary to give a fine appearance to the garment. The night gown has long seams and gives good practice in machine stitching. The design shown above is made along simple lines with kimono sleeves. If set-in sleeves are preferred, they may be used. References: Sewing Club Bulletin. Kx. Division. Kansas State Agricultural College. Suggestions for Sewing Schools, Patterson. 206 SUGGESTIONS FOR OPTIONAL MODIFICATION. OUTING FLANNEL NIGHT GOWN. No. 1. As this night gown is made for warmth, it has long sleeves and a collar which fits closely around the neck. The yoke, into which the body of the night gown is gathered, is made double. CHEMISE. No. 2. This may be made from a kimono night gown pattern by curving it in at the armholes and allowing extra fullness in the front. It is finished at the top with a curved band of all-over embroidery. HANDMADE NIGHT GOWN. No. 3. This illustration shows an elaborate gown with a lace yoke and sleeves. Tlie ribbon is run through long eyelets just below the armholes. HAND EMBROIDERED NIGHT GOWN. No. 4. This night gown is trimmed with set-in lace insertion and embroidered scallops around the neck and sleeves. The ribbon is run through long eyelets. Such a garment presents an opportunity for the employment of a great deal of beautiful handwork. 207 WORKING DIRECTIONS FOR NIGHT GOWN PREPARING MATERIAL. Shrink the material by wetting it, partially drying it and ironing it until dry. CUTTING OUT THE NIGHT GOWN. Draft a pattern for a kimono night gown (Chap. IV), or, if de- sired, you may use a commercial pattern. If a commercial pattern is used, study carefully the guide chart and all directions which accompany it. This night gown is made without seams on the shoul- ders, the back and front being cut alike, hence one-half the pattern for the front of the night gown will be sufficient to use in cutting it out. To prepare the material for cutting, fold it lengthwise in the center, making the selvages even; then fold it crosswise in the center. Lay the straight edge, or center front of the pattern on the lengthwise fold of the goods with the top of the shoulder even with the crosswise fold. Pin it in several places to keep it from slipping. Cut out the night gown (do not cut the cloth at the top of the shoulder or on the center fold) ; remove the pattern. JOINING SEAMS. The only seams necessary in this garment are the ones under the arms. French seams may be used. To make them, baste the edges of the material together on the right side and follow the directions in Chap. II, Par. 137. To keep the seams from puckering under the arms, make tiny crosswise cuts on the edge of the first seam around the curves, FINISHING THE NECK AND SLEEVES. The neck and sleeves of this night gown are to be finished with lace beading. You may finish the raw edges with narrow hems. Stitch on the sewing machine or hem by hand. Overhand the lace on the edge of the hems. Join the lace as in Chap. II, Par. 148. If desired, the neck may be finished with bias tape. To sew on this tape, lay the right side of the tape on the wrong side of the material, with one edge even with the edge of the neck. Baste with short stitches along the line of the crease, turn it to the right side, baste it down and stitch on both edges. Overhand the lace on the edge and join it as suggested above. If embroidered beading is preferred, sew it on the neck and 208 sleeves with a lapped seam (Chap. II, Par. 139). Make tiny crosswise cuts in the turned edges where the seam curves (if this is not done the seam is likely to pucker around the curve). FINISHING THE BOTTOM. Have someone even the gown around the bottom (the night gown should just clear the floor). Make the hem about 2" wide. Even it, using a gauge as a guide (a strip of cardboard the width desired for the hem), baste the bottom of the hem even as turned. Turn in the raw edges, pin and baste in place removing the extra fullness at the top of the hem by laying small pleats in it. Sew the hem in place with machine, or with hemming stitches. 209 KIMONO MATERIALS. Outing Flannel (Chap. I, Par. 30), or Silk (Chap. I, Par. 70). About 3 yards of 30 " or 36" material. About 4 yards of narrower material. INTRODUCTORY STATEMENT. While the kimono is worn by the women of Japan on all occa- sions, the women of America use it as a negligee gown, as its long, loose flowing lines make it very appropriate for that purpose. It should not be worn as a house dress for it gives an untidy appearance instead of the look of comfort w^hich it has when worn properly. The kimono, like the combing jacket, may be varied in many ways to suit the taste of the wearer. Silk, crepe de Chine, cotton crepe, hand embroidery, beautiful lace and ribbon, all play an important part in beautifying kimonos, but just as in other styles of dress, judg- ment must be used in selecting the proper material so in selecting material for a kimono, careful thought should be given to the use for which it is designed. Cotton crepe in the plain colors, also in figured materials, is one of the most common materials used for a serviceable kimono. Where a thinner garment is desired, figured lawn and dimities are used. The kimono in this lesson is designed for a school girl and the material is suggested with that idea in view. References: Art ;is Applied to Dress, Iliggins. Color, Dress and Needlework, Crane. 210 SUGGESTIONS FOR OPTIONAL MODIFICATION. ■' He'" ^■^iF'''^' J>''* ' *?: \^ ^''. "^ ' OUTING FLANNEL KIMONO. No. 1. This kimono is made with a shawl collar and turned back cuffs finished with ribbon binding. It may be made the same as the one shown in the lesson. CREPE KIMONO No. 2. This kimono is made with a yoke on which the body of the kimono is shirred. The upper part of the kimono may be made from the kimono night gown pattern; the other part is simply made of three straight pieces of material sewed together and gathered at the top. More decorative effects can easily be worked into this design if desired. 211 WORKING DIRECTIONS FOR KIMONO CUTTING OUT THE KIMONO. As this kimono is made like a kimono night gown with the ex- ception of the neck, you may draft a kimono night gown pattern or if desired, you may use a commercial pattern. If a commercial pattern is used, study carefully the guide chart and all directions which accompany it. This kimono is made without seams on the shoulders, the back and front being cut alike, hence one-half of the pattern for the front of the kimono will be sufficient to use in cutting it out. To prepare the material for cutting, fold it lengthwise in the center, making the selvages even. Fold it crosswise in the center, lay the straight edge or center front of the pattern on the lengthwise fold of the goods with the top of the shoulder even with the crosswise fold. Pin it in several places to keep it from slipping. If the material is not wide enough at the bottom, extra pieces should be pinned to the edge of the goods to make it the desired width. If the material is very narrow, as is sometimes the case with silk, it may be necessary to use two widths of cloth for the front and two for the back. This will make a seam down the center back. JOINING SEAMS. If it is necessary to piece the material under the arms, sew the extra pieces to the proper edges of the material with a plain seam if the edges are selvage, or if the edges are raw, use a French seam. If necessary to place a seam in the center back, use a plain seam to join selvage edges or a French seam to join raw edges. FINISHING THE FRONT AND NECK. The edges of the opening in this kimono were faced with length- wise strips of the material cut IV2" wide, turned to the wrong side. Ribbon may be used very satisfactorily by turning the raw edge Yi" toward the right side and basting the ribbon over it even with the folded edge. It should be stitched on both edges. This facing should extend about IW above the point where the collar begins. The collar for the kimono is made of a contrasting color and should be made double; it may be cut freehand or from a commercial pattern. To sew it on, place the center back of the collar and the kimono together, with the under side of the collar on the right side of 212 the kimono and its edges even with the neck of the kimono at the back. Baste them together with V4" seam. Stitch, remove bastings. Turn the seam inside of the two thicknesses of the collar. Turn in the edge at the top of the collar enough to allow it to cover the stitching; baste and hem in place. Be careful to finish the end of the collar neatly, also the ends of the facing. CUFFS. The cuffs are made of the same material of which the collar is made. To make them, cut two strips of the material 5" wide, the width of the bottom of the sleeve plus 1" for seams. Join the ends of each piece with a plain seam; sew a piece on the bottom of each sleeve in the same way that you sewed on the collar, making it double. Turn the folded edge back over the sleeve of the kimono to form a sort of cuff. THE HEM. Put on the kimono, have someone even it around the bottom the distance desired from the floor, and pin the hem in place. Baste it around the bottom edge; trim it off even the desired width, turn in the raw edge, baste the top in position removing extra fullness by laying small pleats in the top of the hem; stitch in position, unless the material is silk; the hem on a silk kimono should be hemmed by hand. Overhand the open ends of the hems together. This kimono, when worn, may be fastened with a fancy pin or with two or three snaps placed below the end of the collar (Chap. H, Par. 133). 213 PRINCESS SLIP MATERIALS. Nainsook (Chap. I, Par. 28), or Cambric (Chap. I, Par. 6), or Long Cloth (Chap. I, Par. 24). Nainsook, the amount called for in the pattern. Thread No. 90. Bias Tape. Snaps or buttons. Lace beading, the amount called for in pattern. Ribbon or lingerie tape (about 2y2 yards). INTRODUCTORY STATEMENT. Every well groomed woman is very particular to see that outside garments fit without wTinkles and with a glove-like appearance across the hips and back. There is only one way to accomplish this result, and that is to have the under garments without fullness or wrinkles. If there is a tendency towards a large waist in proportion to the size of the hips, all bands around the waist must be fitted to avoid increas- ing its size. The fitted princess slip has come into use to overcome this difficulty for it is so made that the under skirt and corset cover make a continuous line from the shoulder to the bottom of the skirt. The trimming for the upper part of the waist may be made as elaborate as desired because the slip takes the place of the regular corset cover. The bottom of the slip may be trimmed with ruffles, with lace, with rows of insertion sewed together to make a llounce, with embroidery, with beading and insertion, or may even be left plain. Young girls who are wearing gathered or pleated skirts often prefer a slip made similar to the slip-over night dress, without sleeves, but this garment is not very satisfactory where smooth, fitting skirts are worn on the outside. References: The Dressmaker. Buttcrick Publishing Co., N. Y. The Sewing Book, Anne Jessup. Butterick Publishing Co., N. Y. 214 SUGGESTIONS FOR OPTIONAL MODIFICATION. PRINCESS SLIP. No. 1. This princess slip may be made from the same kind of pattern as the one in the lesson. The upper part is finished with a band of insertion set in with lace; the neck and armholes are finished with lace beading. The band of insertion in the bottom of the skirt is stitched or overhanded to the lace insertion, which is in turn stitched to the material in the princess slip. The material is cut out under the trimming. FANCY PRINCESS SLIP. No. 2. This shows the back view of a princess slip made very much like the one in the lesson. Tlie hand crocheted yoke makes a handsome trimming for the top of the garment. The yoke is hemmed onto the garment and the material is cut away to about Y^," ; this edge is turned under and hemmed making a very narrow hem. 215 WORKING DIRECTIONS FOR PRINCESS SLIP PREPARING MATERIAL. Shrink the material by wetting it, partially drying it, then ironing it until thoroughly dry. CUTTING OUT THE PRINCESS SLIP. , As the pattern for a princess slip is difficult to draft you are to use a commercial pattern. Carefully study the guide chart and directions which accompany the pattern. If a ruffle is to be set on the bottom edge of the slip, turn up the pattern at the bottom the width of the ruffle you wish to use (always allow at least 2" extra length for making). Cut the strips for the ruffle the desired width, making it one and one-fourth to one and a half times as long as the skirt is wide at the bottom, JOINING SEAMS. Either French or felled seams (Chap. II, Par. 137-138) may be used to join the seams on this garment. With this in mind, baste the seams together, put on the garment and have it fitted, marking the lines of the fitting with pins. The garment may be hung, or evened, at the bottom at this time. Remove the princess slip, baste along the lines of the fitting and finish the seams, leaving an opening at the top of the center front or back seam long enough to allow the garment to slip over the head easily. PLACKET. Finish the placket opening with an extension placket (Chap. II, Par. 162). To fasten it together, sew about 6 snaps (Chap. II, Par. 133) on the placket or work the same number of buttonholes and sew on small pearl buttons to correspond with them. ARMHOLES. Finish the armholes with bias strips of the material cut about 1" wide (Chap. II, Par. 143). (In joining the strips, follow directions in Chap. II, Par. 144), (a fitted facing made a little wider at the bottom than at the top may be used). Overhand lace on the edge of the arm- hole after it is faced (Chap. II, Par. 112), joining the lace carefully as directed in Chap. II, Par. 148. 216 FINISHING THE NECK. Make a narrow hem around the curve in the neck and overhand lace beading on the edge. Finish the ends of the lace with narrow hems and run ribbon through them. PUTTING ON THE RUFFLE. Sew the strips of the ruffle together, using plain seams to join the selvage edges and felled seams to join the raw edges. Make a narrow hem on one edge, using the hemmer on the sewing machine; if desired you may baste the hem and stitch it. Divide the bottom of the skirt in four equal parts (this skirt should be cut off even as marked when it was hung). Gather the ruffle and baste it onto the edge as directed in Chap. II, Par. 141 and 142. The raw edges may be finished with a bias tape or French seam. If a French seam is used, there should be two rows of gathering threads in the rufTle so the second row of stitching can be made through the second row of gathers. If bias tape is used, lay it on the right side of the gathers with the edges even, baste in place along the crease; turn it over making it lie flat over the raw edges of the skirt and rutfle; baste it in place and stitch on both edges. Remove bastings. 217 RUFFLED PETTICOAT MATERIALS. Long Cloth (Chap. I, Par. 24). 1 piece of long cloth twice the length of the skirt, plus the width of the hem. About 21/i yards embroidery (amount will depend on fullness of ruffle and width of skirt. Lace (about 2 yards) for bot- tom of skirt. Thread No. 80. Pattern for 3 or 5 gored skirt (commercial o r drafted pattern). INTRODUCTORY STATEMENT. While plain petticoats are necessary for everyday wear, the summer dress, party dress, or silk gown calls for a trimmed under- skirt. The body of this skirt may be made of white percale, nainsook, long cloth or cambric. The style of the ruffled petticoat, the same as the plain, varies according to the style of the outside skirt. Wide petticoats with full ruffles come into use with the fuller dress skirts, while narrow petti- coats with scant ruffles are desirable with the narrower dress skirts. The ruffle on the skirt may be made of rows of lace and insertion sewed together by hand, or lapped slightly and stitched on the ma- chine and finished with a lace edge; or it may be made with lawn or fine cotton material trimmed with a lace edge, or one or more rows of lace insertion, depending on the desired width of the ruftle. The petticoat presented in this lesson is trimmed with embroidery flouncing, care should be taken to select embroidery with a firm edge, otherwise it will not wear well. References: Textiles. Woolman and McGowan. Macniillaii Co. Goodwin's Course in Sewing. Beattys Co., N. Y. 218 SUGGESTIONS FOR OPTIONAL MODIFICATION. ■f'Tt^l'" . } liii II No. 1. Fancy Petticoat No. 2. Child's Petticoat. FANCY PETTICOAT. No. 1. This petticoat is finished with an under ruffle edged with lace. The top ruffle of the skirt is made by joining rows of lace in- sertion with strips of lawn. The easiest way to do this is to stitch the lace in rows equally distant from each other on a strip of lawn or nainsook the width desired for the ruffle. The lawn is then cut out under the insertion and the edges are turned back and stitched in a narrow hem. While a band or fitted top is preferable in a petticoat, a draw string is sometimes used to make a skirt adjustable to different sized waists. This skirt is provided with such a draw string. CHILD'S PETTICOAT. No. 2. The upper part of this skirt may be made by using a waist pattern which fits the child. The armholes and neck are faced with bias strips of the same material. The bias ruffle is set on with a bias band of the material. The ruffle is hemmed with the sewing machine. A child's skirt should have tucks so placed that they may be let out to provide the length which- is needed as the child grows. 219 WORKING DIRECTIONS FOR RUFFLED PETTICOAT PREPARING MATERIAL. Shrink the material. CUTTING OUT THE SKIRT. You may use a three or five gored skirt pattern drafted according to directions in Chap. IV, or, if desired, you may use a commercial pattern. If a commercial pattern is used, study carefully the guide chart and directions which accompany it. If you use a drafted pat- tern, place the center front of the front gore on a lengthwise fold of the material. The other pieces may be cut two at once, as a rule. You should be careful to have the straight edges of the pattern parallel with the warp threads of the goods. Any notches which indicate the places where the seams are to be joined should be cut very small, or marked with a pencil. JOINING SEAMS. This skirt should be joined with felled seams. Pin and baste the gores together, matching them according to the notches; keep them even at the top, leave an opening 10" or 12" from the top of the back seam for the placket opening. Try on the skirt, make the necessary alterations, mark them with pins placed close together lengthwise. NOTE : Be careful that the seams over the hips do not slant forward or backward at the top; see that the skirt hangs straight down the front, if it falls forward at the bottom, raise the skirt at the back w^aist line, be careful not to make the skirt too tight around the hips; sit down and see that it fits easily around the hips when seated. Remove the skirt and rebaste, finish the seams. Finish the placket opening with a bound placket (Chap. II, Par. 161) or an extension placket (Chap. II, Par. 162). FINISHING THE TOP. As the material in this skirt is not heavy, a band is used to finish it at the top. For the band, tear ofT, or cut a strip of material 21/2" wide and 2" longer than the waist measure. Turn in one raw edge; put on the skirt; place the center of the band on the center front of the skirt, the folded edge overlapping the top edge of the skirt. Pin the band in position, turning in the ends even with the back opening. (The skirt should be made even around the bottom while you have it on). Remove the skirt and baste on the edge of the band, fold the 220 other edge of the band over to the wrong side exactly opposite the edge on the right side, pin, baste and stitch all round the edges of the band. Sew one hook and eye on the ends of the belt and three snaps on the placket (Chap. II, Par. 133). FINISHING THE BOTTOM OF THE SKIRT. Make a narrow hem in the bottom of the skirt and overhand narrow lace on the edge, joining the ends of the lace as in Chap. II, Par. 148 or, if desired, a narrow embroidery may be sewed on the edge with a lapped seam (Chap. II, Par. 139). Join ends of em- broidery with a felled seam. THE RUFFLE. Join embroidery with a felled seam (stitched or hemmed). Di- vide the ruffle in four parts, marking each part with a pin; gather each part. Divide the skirt in four parts, place it over the end of an ironing board (if possible); pin the quarters of the ruffle to the corresponding quarters of the skirt; adjust the gathers, baste the ruffle on the skirt, making the bottom of the scallops of the embroidery even with the bottom of the skirt. Baste bias tape smoothly over the gathered edge of the ruffle making one edge even with the gathering threads. Join the bias tape (Chap. II, Par. 144) and stitch it on both edges. 221 CAMBRIC CORSET COVER MATERIALS. Cambric (Chap. I, Par. 6), or Long Cloth (Chap. I, Par. 24) or Nainsook (Chap. I, Par. 28). About 1 yard of cambric. About 2^2 yards of embroid- ery beading. Thread No. 70. 1 hook and eye, or 3 buttons. 2^2 yards lingerie tape. INTRODUCTORY STATEMENT. The corset cover, as its name implies, is primarily worn to pro- tect the corset; it also serves to improve the appearance of the outside waist. There is practically no end to the styles in corset covers; in fact, there are almost as many as there are women to wear them, but in the end they all serve the purpose named above whether they are made of beautiful lace flouncing, embroidery flouncing, lace trimmed nainsook, lawn, hand embroidered linen or delicate shades of crepe de Chine. The corset cover shown in this lesson is designed for service and for that reason is made of substantial cotton material consisting merely of long cloth trimmed with a simple edge of embroidery through which tape or ribbon is run to draw up the fullness at the top. It is cut after a pattern which makes but few gathers necessary in the band at the waist line; this is very desirable, as it gives plenty of fullness at the top without the bulging, clumsy appearance at the band. It is desirable to attach a peplum to keep the corset cover from slipping up and leaving a gap at the waist line; if preferred it maj be attached to a pair of drawers thus forming a combination suit. References: Household Arts, Bulletin Missouri Stale Board of Agriculture. The Modern Household, Talbot and Breckcnridge. Manual .Arts Press. 222 SUGGESTIONS FOR OPTIONAL MODIFICATION. CAMBRIC CORSET COVER. No. 1. This corset cover is made like the one shown in tlie illustration, except that the fullness at the top is gathered in and lin- ished with bias tape. The neck and armholes are trimmed with tatting. It is a very plain serviceable garment. HANDMADE CORSET COVER. No. 2. This corset cover is decorated in rather a novel way. Half inch square openings are cut and the raw edges turned back to form the design shown. Net is sewed on under the squares. HAND EMBROIDERED CORSET COVER. No. 3. This corset cover is embroidered with the satin stitch and eyelets. The lace sleeves are made by sewing together several rows of insertion; lace beading finishes the top of the corset cover. FANCY CORSET COVER. No. 4. The hand crocheted yoke which finishes the top of this corset cover makes it very elTective when worn under a thin waist. There is almost no limit to the application of fine handwork which may be used in this garment. 223 WORKING DIRECTIONS FOR CAMBRIC CORSET COVER PREPARING MATERIAL. Shrink the material. CUTTING OUT THE CORSET COVER. A commercial pattern may be used for this corset cover, or you may draft your own pattern according to directions in Chapter IV. If a commercial pattern is used, study carefully the guide chart and directions accompanying it. As the two pieces forming the front should be cut out together, fold the material lengthwise to form a double strip as wide as the front of the pattern. Lay the edge of the center front of the pattern even wdth the unfolded edges of the goods, pin it in place and cut out the fronts. To cut out the back for which you have a half pattern, fold the remaining material lengthwise to form a double strip as wide as the back pattern. Lay the center back of the pattern on the fold of the material, pin it in place and cut it out. Cut out the peplum, laying the center back of the peplum on the warp thread of the goods. Tear out, or cut off a strip 3" \Ndde, the length of the waist measure, plus 2" for under turnings and lapping. JOINING SEAMS. This corset cover may be joined with felled or French seams (Chap. II, Par. 137-138). With this in mind, baste together the under- arm and shoulder seams of the corset cover. Baste the peplum to- gether in the back, if necessary. Try on the corset cover; make any alterations necessary. If it is too low in the neck or too full in the lower curve of the armhole take up the shoulder seam; if it is too loose under the arms take up the under-arm seams. Pin a tape or a strip of cloth around the waist over the bottom of the corset cover, adjust the fullness and mark the waist line with pins or trim off the extra material ^^^th the shears. Rebaste on the line of fitting; finish the seams. Remove bastings. PUTTING ON THE BAND. Gather the corset cover across the lower edge of the back about 2V'2 " inside of the under-arm seams (Chap. II, Par. 141), draw up the gathers to make the back 9" or 10" wide; about 2^/3" from the under- arm seam gather across the lower edge of the front pieces and draw up the gathering thread until the bottom of the corset cover is the same size as the waist measure, plus 1" extra for lapping at the front. 224 TO SEW ON THE BAND. Lay it on the under side of the corset cover with the center even with the center back, and the edge even with the gathered edge of the corset cover. Pin and baste in place (be careful to turn in the ends of the band V-i" making them exactly even with the front edges of the corset cover). Adjust the gathers, pin and baste the band to the corset cover. Stitch along the line of basting; remove bastings and gather- ing threads. Turn in the raw edge on the other side of the band and fold it over to cover the stitching; pin and baste in place. Remove pins. Cut open the lower edge of the band to receive the peplum. Turn in the raw edges and crease them. THE PEPLUM. Finish the lower and front edges of the peplum w^th a narrow hem. With the center backs of the peplum and the band together place the wTong side of the peplum on the under side of the band, with the edges even; pin and baste in place; remove the pins and stitch. Turning in the edge of this seam fold over the edge of the upper part of the band enough to cover the stitching; pin, baste and stitch in place. (Both sides of the band should be perfectly smooth.) FINISHING NECK AND ARMHOLES. The embroidery beading should be sewed around the neck and armholes with a lapped seam (Chap. II, Par. 139). To keep the seams smooth, make tiny crosswise cuts in the underturned edges around the curves. Finish the ends of the embroidery on the neck with narrow hems; join the ends in the armholes with felled seams ((>hap. II, Par. 138). Run ribbon through the beading. FASTENINGS. Fasten the corset cover together with snaps on the front hems and a hook and eye on the band (Chap. II, Par. 133) or with buttons and buttonholes on the hems and also the band (Chap. II, Par. 135-136). 225 DRAWERS MATERIALS. Cambric (Chap. I, Par. 6), or Long Cloth (Chap. I, Par. 24), or Nainsook (Chap. I, Par. 28). iy2 to 2 yards of material. Embroidery (l^A times width of the two legs). Thread 70-90, depending on fineness of material used. INTRODUCTORY STATEMENT. There are some things in a girl's wardrobe that are counted as luxuries and there are others which are absolute necessities. This garment is one of the necessities. Whether they are joined to a corset cover in a combination suit, or made in one piece as a sort of princess slip, makes no particular difference except in the amount of gathers at the waist line, but they are usually made to conform to the prevailing style in their shape at the bottom. In the days of full skirts the wide, circular ones are very popular, while in the days of tight skirts they are narrowed down and even fastened into a band of some sort at the knees to make them fit closely. The material used, as in other garments, will depend on whether they are to be worn daily or occasionally. For service, long cloth or cambric is generally used; the softer nainsook or linen may be used for the finer ones. The garment in this lesson is made along standard lines. Some of the details will have to be decided upon by the wearer, as each girl will probably have ideas of her own which can be easily intro- duced. Embroidery trimming may be used (to match the embroidery on the under skirt) for the bottom of the legs, or they may be finished with a ruffle made of the goods, of lawn, or of barred muslin tucked and trimmed A\ith lace and insertion; lace is often sewed on the bot- tom for trimming. References : The Complete Dressmaker, C. E. Laughlin. Hints on Dress, E. C. Gale. 226 SUGGESTIONS FOR OPTIONAL MODIFICATION. LACE TRLMAIED DRAWERS. No. L These drawers are made open. Notice the fitted facing which finishes the inside of the legs. The lace is sewed on the edge of a narrow machine made hem. CHILD'S DRAWERS. No. 2. These drawers are made bloomer style; the fullness at the bottom of the leg is gathered into a band of embroidery beading, which is sewed on with bias tape. The openings on the sides are finished with bound plackets. READY-MADE DRAWERS. No. 3. These drawers which are ready-made, have gathers across the back to make them fit at the waist line. The openings on the inside of the legs are finished with bias tape. The embroidery trimming on the bottom of the drawers is set on with embroidery insertion. DRAWERS. No. 4. These drawers are made of fine material (nainsook) ; they are finished on the bottom with dainty lace set on the bottom of the legs with insertion provided with eyelets through which narrow ribbon is run. 227 WORKING DIRECTIONS FOR DRAWERS PREPARING iMATERIAL. Shrink the material. CUTTING OUT THE DRAWERS. You may use a commercial pattern for these drawers, or draft a pattern according to the directions in Chap. IV. If a commercial pattern is used, study carefully the guide chart and directions accom- panying it. If you use a drafted pattern for plain drawers, lay the side edge of the pattern parallel with the warp threads of the material which may be doubled crosswise so that both legs may be cut at the same time. Pin the pattern in place and cut out the drawers. JOINING SEAMS. Each leg should be joined with a felled seam (Chap. II, Par. 138). If the drawers are to be made closed, join the two legs with a felled seam extending from the top of the back to within 10 " of the top of the front. Finish the opening at the front with an extension placket (Chap. II, Par. 162). NOTE: Children's drawers are usually gath- ered onto a band in front and to another band in the back, with an opening 4" to 6" long on one or two sides. These openings are fin- ished with a bound placket, or bias tape. If the drawers are made open, the edges on each leg should be finished with a fitted facing about 1" wide. This facing is usually joined opposite the seam in the leg, the raw edges of the seam being turned inside. If the drawers are to be opened in the back, they should be lapped in front the width of the facing. If the drawers are to be opened in front, they should be lapped the width of the facing in the back. After they are lapped, stitch them together about 6" from the top in the back, or about 4" in the front. FINISHING THE TOP. The top of the drawers may be inserted in the lower edge of the band of the corset cover and made to form a combination suit; or, they may be finished with a straight band. The drawers in the illus- tration are finished with a bias facing. Cut a bias strip 1 " wide and long enough to reach around the waist, sew it on the top edge of the drawers; turn the seam to the wrong side, fold it over to the wrong side; baste along the stitched edge, turn in the opposite raw edge and the ends, baste and stitch in place, or hem by hand. 228 FINISHING THE BOTTOM. The bottoms of the drawers in this lesson are finished with an embroidery ruffle. You will notice that this rufTle is gathered and the embroidery is left open at the sides of the legs. To put on the ruffle, cut the embroidery in two equal pieces. On each end, miter the embroidery the same as you would lace, except that it should be joined with a felled seam (Chap. II, Par. 147). TO SEW ON THE LACE. Divide each drawer leg in halves and mark it with a pin; divide each piece of embroidery in halves and mark with a pin. Gather each half and adjust it to the half of each leg. As the embroidery is to be sewed on with a felled seam, place the wrong side of the em- broidery on the wrong side of the drawer leg, allowing the edge of the drawer leg to extend about ^A" beyond the edge of the gathered embroidery. Baste and stitch the embroidery in place, making the mitered ends meet on the side of the drawer leg. (Be sure to stitch through the gathering threads.) Finish sewing on the embroidery with a felled seam (Chap. II, Par. 138). FASTENINGS. If the drawers are closed, place three buttons and buttonholes on the placket and one on the end of the facing. If the drawers are made open (open in the back) sew one hook and eye on the end of the bias facing at the back, or use a button and buttonhole if you prefer. If they are made open and are to be fastened in front, sew one hook and eye on the ends of the facing and about three snaps down the edge of the opening. 229 PAJAMAS MATERIALS. Outing Flannel (Chap. I, Par. 30). Nainsook (barred) (Chap. I, Par. 28). Amount of material called for in pattern. 4 buttons. 11/2 yards cotton tape. INTRODUCTORY STATEMENT. Pajamas are usually thought of as distinctly a sleeping garment for men and boys, but they are growing in popularity particularly for children and even women; they are especially suitable for winter. They fit closer to the body and for that reason are much warmer than the night gown. When made of outing flannel in the dainty shades of pink, blue and lavender, with white trimmings they are really very attractive; when made with feet they are exceedingly warm and comfortable. Pajamas are used a great deal by people who sleep out of doors; when so used they are often made with an attached hood which keeps the cold air from the neck. This garment is usually made in two pieces, with the coat sep- arate, but some are made with the trousers attached. The garment in this lesson is made in two pieces and although outing flannel is designated as the material, if a summer garment is desired, seco silk or cotton poplin in dainty colors may be used instead. A very at- tractive garment can be made of delicate color of crepe de Chine, but this is more expensive. References : Needlework and Cutting Out, Rosevear. Book of Needlework, S. O. Beeton. Macmillan Co. 230 SUGGESTIONS FOR OPTIONAL MODIFICATION. CHILD'S PAJAMAS. No. L These pajamas should be made from a commercial pat- tern. They are made just like the pajamas in the second illustration, except that the feet have been omitted. They are suitable for a child from 2 years to 8 or 10 years of age. The extra fullness across the back is gathered into a band which is buttoned to the upper part of the garment, as shown in the second illustration. CHILD'S PAJAMAS. No. 2. These pajamas are made of outing flannel for winter wear. The feet which are made as a part of the legs, keep the gar- ment from slipping up. A pattern should be used in making this garment. To make the feet, sew a seam across the bottom of the heel, then inserl the gusset which is to form the sole of the foot. Finish the raw edges of the seam with overcasting. 231 WORKING DIRECTIONS FOR PAJAMAS PREPARING MATERIAL. Shrink the material. You are to use a commercial pattern in making this garment. Study carefully the guide chart and directions accompanying the pattern and cut out the garment. MAKING THE COAT. As you will notice in the illustration in this lesson, the pajamas consist of a loose fitting coat and a pair of drawers. Join the shoulder and under-arm seams of the coat with felled seams (Chap. II, Par. 138), finished on the right side. Join the seams of the sleeves in the same manner and set them into the armholes of the jacket with lapped seams (Chap. II, Par. 139). Finish both edges of the front opening with a facing 3" wide. Using a flat, mercerized braid make four "frogs" on the left side and place them at equal intervals along the edge of the garment. (A "frog" is a design made of braid to ornament the buttonhole. It is sometimes made with a loop ex- tending over the edge of the garment to serve as a substitute for a buttonhole.) To make each frog, place one end of the braid about iy2" from the edge of the opening (on the left side); bring it around to the front edge in a loop large enough to enclose a buttonhole. Make additional loops of braid around the end to resemble a clover leaf. Turn in the ends and fasten the braid in place with small running stitches. Sew the buttons (on the right side) to correspond with the buttonholes. Finish the neck with a fitted facing about V2" wide. Finish the bottom of the sleeves and the bottom of the jacket with a V2" hem. Place the pocket on the left-hand side of the jacket. NOTE: if these pajamas are made for a girl or woman place the frogs and buttonholes on the right-hand side and the buttons on the left-hand side. MAKING THE DRAWERS. It will probably be necessary to piece the drawers at the crotch. This will depend on the width of the material. If this is necessary, pin extra material to the selvages in the place desired, when cutting out the garment, and stitch the pieces on with the same kind of seams used on the other parts of the garment. Join each leg with felled seams finished on the right side. Join the two legs in the same manner leaving an opening in the front about 11" long for the placket. Finish this opening with an extension placket (Chap. II, Par. 162). 232 If you desire to fasten this opening together with buttons and button- holes, make the facing on the extension placket twice as wide as you otherwise would, and fold half of it back to the edge to form a flap in which to work the buttonholes. If buttonholes are used, sew on buttons to correspond with them on the extension piece of the placket. Snaps may be used satisfactorily for this purpose, excepting for the top fastening, which should be a hook and eye. If snaps are used make the extension placket without the extra flap. If the top of the drawers are fitted, finish with a 1" facing. If it is not fitted, it may be finished with an inch hem, through which a cotton tape is run. Where the tape is used, make buttonholes in the outside of the hem, even with the inside edge of the extension piece of the placket and bring one end of the tape out through this (if the tape is brought out through the end of the hem, it will make the pajamas close awkwardly in the front). Finish the bottom of the drawers with ¥2" hems. 233 BOY'S SHIRT MATERIALS. Madras (Chap. I, Par. 25), or Percale (Chap. I, Par. 31). Amount of material called for in pattern. Commercial pattern. 9 pearl buttons. Thread No. 70. INTRODUCTORY STATEMENT. While many styles of garments come and go, particularly in women's wear, yet the shirt remains as a standard piece of apparel for men and boys. The style of collar and cuffs may vary from time to time, but the general principles of the garment are so nearly un- changed that a standard pattern can be adapted easily to the kind of shirt desired. Percale is the most common material for shirts, it stands wear, holds its color well, and launders beautifully. The shirt shown in this lesson is designed for a boy, it is there- fore set on a band at the waist line; the collar is attached to the shirt. Either of these features can be easily altered if desired. In undertaking to make a shirt a commercial pattern should be used. References: Handicraft Bulletin, Ex. Division Kansas State Agricultural College. Household Sewing, Bertha Banner. 234 SUGGESTIONS FOR OPTIONAL MODIFICATION. MAN'S SHIRT. No. 1. This shirt is made very similar to the one shown in this lesson; its particular features are the soft cufTs and collar. Instead of being finished with a band at the bottom, it is allowed to extend below the waist line several inches and is curved off toward the under- arm seam. It should be made from a commercial pattern. The guide chart and directions which accompany such a pattern should be studied carefully. MAN'S SHIRT. No. 2. This shirt is made like No. 1, except that it is finished with a collar band at the top instead of a collar. The open cuffs show the placket opening which is necessary in all shirts of this character. This opening is finished with a bound placket. Usually a strip with a pointed end is sewed along the upper edge of this placket for trim- ming. A commercial pattern should be used in making this shirt. 235 WORKING DIRECTIONS FOR BOY'S SHIRT PREPARING MATERIAL. Shrink the material. CUTTING OUT THE SHIRT. You are to use a commercial pattern to make this shirt. In select- ing the pattern choose one in which the lower part of the waist is fitted into a band. The tape sometimes used to gather the fullness in at the waist line does not make as neat a finish as the band. Carefully study the guide chart and the directions accompanying your pattern. Cut out the shirt accordingly. JOINING THE SEAMS. Finish the seams under the arms and on the sleeves with felled or lapped seams (Chap. II, Par. 138-139). The shoulders may be finished in the same way, but they will look very neat finished with a lengthwise strip 1" wide. To put on the strip, baste the seams as usual and place a lengthwise strip %" wide over the seam on the right side, letting the center of the strip lie on the basted seam. Turn in the raw edges, baste in place. Trim off the extra material under the strip; baste a strip the same width exactly opposite this on the wrong side. Stitch the strip on the right side along the edges, sewing in the strip on the wrong side at the same time. To finish the front edge of the shirt, hem, or face the right-hand edge with a hem, or facing, %" wide. Finish the left-hand edge by turning the raw edges toward the right side and stitching a l^A" strip over it; place the stitching about I/4" from each edge. Place four buttonholes cut lengthwise of the material in the center of this strip. Place buttons on the right side to correspond with the buttonholes. THE COLLAR. The standing collar on a boy's shirt is made of two parts; one part forms a band which fits around the neck and is made lengthwise of the material; the other part which turns back over the bands to- w^ard the right side is frequently cut crosswise of the goods, especially if the material is striped. The collar should be made with a double interlining of the goods itself, or some heavy white material like Indian head. If your pattern calls for a two-piece collar, make the turn-over part complete, stitching it around the edge on the outside; then placing the centers of each part together, lay the raw edge of 236 the turn-over part between the raw edges of the top part of the band and stitch them together, continuing the stitching around the ends of the band. To sew on the collar, stitch the under side of the band and the interlining to the neck of the shirt turning the seam out toward the right side. Turn in the raw edge of the outside of the band to cover this stitching, baste and stitch in place (it is advisable to pin the collar on the neck of the shirt and baste from the center back toward the front.) Fasten the band together at the ends with a button and but- tonhole, placing the buttonhole on the left side. Near the bottom of the front ends of the turn-over part, work two buttonholes opposite each other, crosswise of the material (to hold the collar link). THE SLEEVES. Join the sleeves with felled seams. Finish the opening with a bound placket (Chap. II, Par. 161); place a few gathers in the back of the sleeve (on the under side). The cuffs should be interlined the same as the collar and may be sewed to the sleeves in the same way that you sewed the collar band to the neck of the shirt; if the cufTs are to lap, sew them around to the edge of the extension side of the placket. If the cuffs are to be held together with cuff links, turn under the extension of the placket and sew it into the cuff with the bottom of the sleeve. If a lapped cuff is used, place a buttonhole in the upper side, with a button to correspond, on the lower side. If cuffs are to be held together with cuff links, work a buttonhole in each end of the center of the cuff, making the buttonholes exactly opposite each other. NOTE: It may be necessary to trim off some of the material at the curves of the armholes to make the sleeves fit and hang properly. Sew the sleeves into the shirt with lapped seams. Make tiny cross- wise cuts in the under turnings around the curves to make the seam lie smoothly. FINISHING THE BOTTOM OF THE SHIRT. Finish the bottom of the shirt with a facing cut lengthwise of the material 1" wide (turn the facing toward the right side of the shirt to give it the appearance of a band). Work a buttonhole in one end; sew a button on the other end to correspond. 237 EMBROIDERED LUNCHEON SET MATERIALS. Linen (Chap. I, Par. 40). 1% yards plain woven linen, 36" wide. Embroidery cotton (dell" blue, brown, pink, green). Embroidery needle. Thread No. 80. INTRODUCTORY STATEMENT. Most housekeepers take great pride in having on hand a bountiful supply of attractive table linen. Many girls enjoy making a collection of pretty embroidered towels, table linen, doiles, etc. Luncheon sets are particularly attractive on a polished table and many prefer to use them in place of the large table cloths; they are also much more easily laundered. The luncheon set shown in the lesson would make a very attrac- tive addition to any home supply of linen or to a girl's "Hope Box." Such a combination of attractive work in a serviceable article is par- ticularly suitable for a Christmas gift. In undertaking a complete set of this kind it would be well to finish one or two pieces in the class and make the remaining pieces at home. The optional modifications off'er suggestions for embroidery designs that, no doubt, will appeal to difl'erent members of the class. References : Students' Textbook on Color. O. N. Rood. Principles of Science of Color, Wm. Benson. 238 SUGGESTIONS FOR OPTIONAL MODIFICATION. SCALLOPED LUNCHEON SET. No. I. This set consists of a round center piece with six plate doilies and six tumbler doilies. It is made of ecru colored linen. HEMSTITCHED LUNCHEON SET. No. 2. This set consists of one luncheon cloth and six napkins. The edges are finished with hemstitched hems. It is made of damask linen. CROCHETED LUNCHEON SET. No. 3. This luncheon set consists of a square center piece and three sets of square doilies. The edges are finished with crocheting CRETONNE LUNCHEON SET. No. 4. This set consists of two runners which cross in the center, two oblong pieces, and two sets of doilies. These cretonne sets may be purchased in an art needlework department and the edges finished to suit the taste. The edges of these doilies are finished with cro- cheted lace. 239 WORKING DIRECTIONS FOR LUNCHEON SET PREPARING MATERIAL. Straighten one edge of the material; measure down on the selvage 36" to form a square for the lunch cloth. Draw a thread crosswise, cut on the line (the remaining material is to be cut into six 12" squares, which are to be used for the napkins). For the straight edge measure down on the remaining piece 12"; draw a thread crosswise; from the line formed, measure down 12' on the selvage; draw an- other thread crosswise. Measure out on the straightened edge 12"; draw a thread lengthwise; from the line formed, measure out again on the straightened edge 12", draw another thread crosswise; cut on the lines formed. FINISHING THE EDGES. Make a hem Yi" wide around the edges of the lunch cloth and the napkins. On the selvage edges, before turning them under, make tiny crosswise cuts about 3" apart to keep them from puckering when laundered. You will observe in the illustration that the hems are dec- orated with cross-stitching. (Delf blue embroidery floss was used very effectively for the work in this luncheon set). Any mercerized embroidery floss may be used, but it should be rather coarse. No attempt is made to give the size of embroidery cotton to use, as there are several different brands on the market and the numbers of the sizes in the different brands vary considerably. To make the cross-stitched border on the luncheon set, overcast the edges over the hem working from left to right on the right side of the material; make the stitches V^" apart. Return and overcast the hems again, placing the stitches half way between the stitches made the first time. The threads should cross in the middle of the hems in the front and back. THE DESIGN. The design used in the luncheon set in the illustration may be purchased in almost any pattern department. This design is worked in cross-stitch. NOTE: It is difficult to make an original cross- stitch design because it is not only necessary to draw the outline, but it is also necessary to draw each stitch in its proper position. Any other design may be used to suit the taste, although you will find that this design carefully worked out makes a very attractive lunch- eon set. 240 Transfer each design to the corner of the luncheon cloth and napkins by placing it rough side down and pressing it with a hot iron. Remove the patterns and work the designs. The basket should be worked with brown embroidery cotton; the flowers in the basket should be worked with dark green, light green, pink and blue, the colors being combined to suit the taste. (Do not use knots in beginning the stitches, as you are working on an article which will not be covered with other material on the wrong side.) Small backstitches or running stitches may be used in starting a new thread. This lundh cloth consists of the center piece and napkins only, but if desired, different sized sets of doilies may be made instead of the napkins. They can be made circular in shape as well as square, although it would be more difficult to make the hems even. 241 REVIEW QUESTIONS AND PROBLEMS. 1. What are the essential points in designing a combing jacket? 2. Design a combing jacket and explain how it should be made; be sure to discuss each process and state the ditlerent kinds ot stitches used. 3. Why is a night gowTi considered rather an easy garment to make? 4. What sort of material would you select for a kimono? Why? 5. Why is silk such an expensive material? What materials are sometimes used as a substitute for silk? 6. What kind of material is suitable for undergarments? 7. What is a ruffle? Name some garments on which the rutlle is frequently used. Explain. 8. Of what material should pajamas be made for very cold weather? 9. Design and explain how you would make pajamas for some- one who expected to sleep out of doors in cold weather. 10. W^hat is a placket? Name four or five garments requiring plackets and explain how the placket should be made in each. 11. Of what material should a boy's shirt be made? 12. Why is linen particularly desirable for table cloths and napkins? 13. Design an embroidery luncheon set. Calculate the cost of all the materials, estimate the time that it will require to complete it. Counting your time worth 20c per hour, what would be the worth of the complete set? 14. How would you undertake to remove an unknown stain from a white linen towel? 15. How would you prepare a good general purpose cleaning fluid? 16. W^hat precautions are particularly necessary in doing any kind of garment cleaning? 17. What cleaning and pressing of garments have you tried at home? 242 SUGGESTIONS FOR HOME APPLICATION. After you have completed the work of this section you should be able to do a great deal of your own sewing. However, you will likely meet many problems which, on account of lack of space, were not dealt with in this text. The following suggestions may assist you in some of your home problems. 1. The ruffle for a petticoat may be gathered very satisfactorily on the sewing machine, using the special attachment which accom- panies the machine. The greatest difficulty found in using a machine gatherer is in adjusting it to the proper fullness, so that the ruffle may fit the part of the garment where it is to be placed without re-adjusting the gathers. When you are gathering a ruffle on the machine try the following method of adjusting the ruffle to the goods: Divide the garment where the ruffle is to be placed, in halves or fourths; divide the ruffle in a corresponding manner. Measure one division of both the skirt and the ruffle; find the proportion existing between them. For instance, if the space on the garment is 18" and the length of the space on the ruffle is 24", the proportion will be 18" to 24" or the gathered ruffle is to be 18/24, or % the length of the ungathered ruffle; take a piece of cloth and adjust the gatherer until it will gather this piece to % of its length ; that is, if the piece is 8" long, adjust the attachment to gather it to 6". When the attachment is properly ad- justed, gather the ruffle. 2. Tucks make very attractive trimming for drawers; they may be made quite easily on the sewing machine with a little practice by using the tucker attachment. This adjusts the width of the tucks and the spaces between them. Do not attempt to make tucks on a garment until you have practiced making them on another piece of cloth. Be careful to study the instructions given in the book of direc- tions which accompanies your machine. If the tucks are made before the seams are joined, you must be very careful to make them even in width and spacing (particularly at the ends where they are to be joined). If the tucks are made after the seams are joined, they will be continuous and for that reason will make a better appearance. It is a little difficult to tuck over the seam however, and where this is to be done, the seams must be very small and flat. Very narrow lucks may be made successfully without using the tucker, in the following manner: Fold and stitch the first tuck in the 243 desired position. With a tape line or cardboard gauge, measure from the fold of this tuck to the place where the fold of the next tuck is to come. Crease on a thread and stitch the second tuck in place. Con- tinue in this way until all the tucks are laid. 3. Embroidery used for a ruffle on a petticoat usually wears around the bottom while the upper part is still in good condition. If you have any petticoats which have become worn in this way, try this method of repairing them: Trim off the worn portion of the embroidery and the drop ruffle. Hem them with narrow hems and sew lace around the bottom of the embroidery wide enough to reach the bottom of the under part of the skirt. Sew lace on the drop ruffle also, if it is needed to make the skirt a little longer. 4. If you have a plain narrow petticoat, a simple way to make it wider is to cut it between the gores with a straight cut from the bot- tom towards the top a distance of about 12". Lay a piece of material under the opening, spread it open like a V and stitch in the extra piece with lapped seams. A ruffle may be put on at the bottom if desired. 5. Tf the prevailing style calls for narrow petticoats and yours are all full and wide, rip the ruffle off the back gore, cut out the gore, making the skirt as much narrower as desired, cut a piece out of the ruffle to make it fit the skirt, join the ruffle again with French or felled seams and sew it back in place. The ruffles may be removed from the skirt and the fullness taken off each gore, the ruffle made smaller, as suggested above, and replaced. The condition of the garment should govern the amount of work that you use in re- modeling it. 6. A boy's shirt usually wears out first around the neck and cuffs. If you can find any shirts at home in this condition cut off the collar bands and cut the necks to a V shape in front and face the opening. Cut the sleeves short enough to reach just (o the elbow and hem \\'ith W hems, make any other repairs necessary. These shirts will be very comfortable for summer, 7. Luncheon sets instead of table cloths may be used in the summer time to great advantage, as they are easily laundered and give a cool appearance to the table. Examine the table linen at home and select a table cloth which is beginning to wear out. Cut out the good part and make a luncheon set, stitching the hems on the machine and finishing them with double overcasting used in the last lesson of this section. 244 INTRODUCTION TO SECTION VI THE work of this section is intended only for students who have completed the elementary processes set forth in the earlier parts of this book. The undergarments and others which may not be rendered worthless by a slight inaccuracy in cutting and fitting were presented in Section V; students who have completed the work of that section should be able to undertake the work of this section wihout difficulty. Before beginning any of these projects the class should make a careful study of Patterns and Pattern Drafting as presented in Chap- ter IV, of the supplement. Whether or not pupils are to draft their own patterns, they should by all means become familiar with the function of patterns. They need also to know something about how to take measures and to apply them in working out a pattern. The illustrated pages of Suggestions for Optional Modifications are not used in this section; by this time students should be able to design and work out modifications to suit individual taste. The working directions are not so detailed, neither are the references given for the fundamental stitches, it is supposed that girls who are able to undertake this work will not need help on the elementary processes. The garments presented in this section are all very conservative in style; they deal with foundation principles and the effort has been to present them in such a way as to leave considerable latitude for adaptation to local style or personal taste. A student should not be taught to make any particular style of waist or skirt, for the sake of the garment alone, but she should be given a comprehension of all that is fundamental in waist or skirt making; this sort of garment making together ^^^th the the proper conception of pattern drafting will result in real educational garment making which will enable the girls to alter, adapt, modify or even ignore the dictates of undesirable styles and exercise judgment, artistic taste and real personality in handling their sewing problems. 245 MIDDY BLOUSE MATERIALS. Indian Head (Chap. I, Par. 21), or Galatea (Chap. I, Par. 18). 2^2 to 3 yards of material above. V2 yard material for collar and cuffs. 4 yards braid. Tie. Thread No. 70. INTRODUCTORY STATEMENT. For out of door sports like tennis, golf, etc., loose fitting gar- ments which will give free play to all the parts of the body are very necessary. The middy with unconfmed waist line makes a very appropriate garment for this purpose. The middy is especially pop- ular at the summer resort, but it is hardly suitable for wear in a business office. As it usually has to stand hard service, the favorite materials used in making the middy are the heavy cottons, like Indian head, and galalea cloth. The project introduced here embodies most of the principles em- ployed in making an unlined waist with a low collar; it gives good practice in simple fitting, and in setting in sleeves which is one of the important problems in dress making. The middy generally has very little trimming consisting usually of flat braid on the collar, pocket and cuffs. The collar gives individuality to the middy so different colors are used, even flannel collars are sometimes used. The favorite colors are red, blue and black. Care should be taken to select these in fast colors only. The middy shown here is made with a red collar trimmed with white braid. References: A\'*hat Dress Makes of Us, Dorothy Quigley. Dutton & Co., \. Y What to Wear, Elizabeth Stuart Phelps. Houghton. 246 WORKING DIRECTIONS FOR MIDDY BLOUSE PREPARING MATERIAL. Shrink the white cotton material. If colored material is used, soak it in a strong solution of salt water, to set the color. NOTE: When colored material is used for the collar and cuffs of the middy, be careful to select material which is dyed with a fast color. Red is very likely to run; that is, the color comes out in the washing and discolors the white material in the waist. PREPARING THE PATTERN. As commercial patterns in varying styles of middies may be purchased, in sizes that will fit the average person, it would be desir- able for you to use one in making this middy. However, you may use a drafted pattern by modifying the draft for the shirt waist given in Chap. IV. For a plain middy, allow the pattern to extend about 6" below the waist line. (Do not shape it in at the waist line). If you wish to have a yoke in your middy, plan the depth and the shape of it and draw it on the upper part of your waist pattern. Cut the pattern in two on the line, and when you cut out the waist, allow extra material on the edges for seams. As a middy usually has a pocket in it which is set in on the wrong side you may measure down from the shoulder 8Y2" and make an opening for the pocket about 2V2" long perpendicular to the front edge of the pattern; place it about half way between the armhole and the front edge. Use the draft for the shirt waist sleeve, without fullness at the top. Cut off to the length desired. CUTTING OUT THE MIDDY. After modifying the pattern, place the center front of the yoke and the lower part of the middy on a fold of the material, wide enough to cut the front in one piece. Place the center back of the pattern on a fold of the material in the same way. Place the sleeves with the crease in the center of the pattern parallel with the warp threads of the goods. Pin all the patterns in place and cut out the middy. Use a commercial pattern for the collar. If the collar is to be made double, cut out the upper portion from the colored material and the under portion from the white material. Cut the cuffs the same length as the bottom of the sleeves, making them about 21/2" wide at the ends and 3 " wide at the center. 247 JOINING SEAMS AND SETTING IN POCKET. If the middy is made with a yoke, join the yoke to the lower part of the waist with lapped, or felled seams, before joining the back and front (make short crosswise cuts on the underturned edges of all lapped seams around curves, to prevent puckering). Cut the front yoke down the center front as far as you desire to have it open at the neck. Fold back and cut away the extra material. Set in the pocket before closing the seams. Cut one piece of white material for the pocket 4"x5". Gut another piece 3y2"x4". On the end of each sew a strip of the colored material 2"x4"; turn over the faced ends about Vk" and turning in the raw edges of the opening cut for the pocket, lay these ends over them on the wrong side, letting them extend so they show as the piping on the right side. Stitch along the edge of the opening; continue the stitching on the ends and make parallel rows of stitching 1/2" each side of the opening for the pocket. Turn the material to the wrong side and stitch the two pieces together to form the pocket on the under side. Felled seams may be used to join the shoulder and under-arm seams. French seams may be used to join the sleeves. Pin and baste the sleeves together on the right side. (If single cutTs are to be used sew them on before basting sleeve as directed below.) After the seams are basted, try on the middy. Fit it according to general sug- gestions for fitting a waist in Chap. IV. Remember this garment should not be fitted in at the waist line and should be rather loose fitting in every way. Pin in the sleeves, adjust them to the proper length. Remove the garment, rebaste on the line of fitting and finish the seams. Sew the sleeves into the armhole with lapped seams. THE CUFFS. If the cuffs are turned back, separate from the sleeve, they should be made double. To make them, first sew three parallel rows of braid (as in the illustration) on the colored piece. Stitch the colored material to the w^hite material along the top edge, open the materials and stitch across the end, thus making a circular culf. (^When this is stitched it should be the same length as the bottom of the finished sleeve.) Turn it right side out. To sew it on the sleeve, place it so the seam is even with the seam in the sleeve, with the right side of the cufis on the wrong side of the material of the sleeve. Stitch the two edges together. Fold the edge of the wrong side of the cutt until it covers the stitching, baste and stitch on the sewing machine, or hem by hand. Turn the cufi" back over the seam. 248 If you wish to make the cufT single, it should be made and joined to the sleeve before the sleeve is sewed together. To do this, place the straight edge of the cuff on the edge of the bottom of the sleeve. Baste and stitch in place, turn in the raw edge of the top of the cutf, and baste and stitch it to the right side of the sleeve. Baste and stitch three parallel rows of braid near the top of the cuff, as in the illustration; then make the seam in the sleeve, joining the ends of the cuff in this seam (be careful that they are exactly even). SETTING THE COLLAR. Sew the lining and the top of the collar together, leaving the edge around the neck open; turn to the right side, stitch on the braid in parallel rows as in the illustration (if desired, emblems may be used instead of braid). Place the center back of the neck of the collar on the center back of the neck of the waist. Let the ends just cross each other in front. Baste the collar to the neck of the waist, turning the seam toward the wrong side. Trim the seam close and finish with bias tape, stitched on both edges. FINISHING THE BOTTOM OF THE MIDDY. The bottom of the middy may be finished with a facing turned to the right side and stitched in place, or, it may be finished with a double piece about 4 " wide, sewed to the bottom of the middy, turned up to the top and left loose. A middy is sometimes finished with a hem; use a wide or a narrow hem as desired. 249 TAILORED WAIST MATERIALS. Dimity (Chap. I, Par. 15) or Lawn (Chap. I, Par. 23) or Madras (Chap. I, Par. 25) or Percale (Chap. I, Par. 31). 2V2 yards of 36" material. 4 buttons. Thread to correspond with. material. INTRODUCTORY STATEMENT. The wearing of tailored suits has made the separate blouse a necessity. The style of this separate blouse varies from the beautiful lace, chiffon, net and fancy silk waists to the semi-tailored and the strictly tailored or mannish shirt waists. While the strictly tailored waist is worn with stiff collars and cuffs, it may be modified by changing the shape of the collar and the style of the cuffs into a much more comfortable and becoming garment. The heavier materials used in making the shirt waist are linen^ percale, and similar materials. Lawn, voile, crepe de Chine, China silk, dimity and organdie are some of the thinner materials fre- quently used. The white dimity waist shown in the illustration is a simple modification of the regular tailored waist. The rolling collar takes the place of the collar band, and the fitted cuffs take the place of the stiffly starched cuffs which are usually fasten with links or cuff buttons. References : Principles of Correct Dress, F. H. Winterburn. The Well Dressed Woman, H. G. Ecob. Fowler & Wells Co. 250 WORKING DIRECTIONS FOR TAILORED WAIST PREPARING MATERIAL. Slirink the material if cotton goods is used, CUTTING OUT THE WAIST. A commercial pattern may be used for this waist. If it is used, carefully study the guide chart and directions accompanying it. Or, if desired, patterns for the waist and sleeves may be drafted accord- ing to the directions given in Chap. IV. If a drafted pattern is used there is no allowance made on the front pieces for finishing, or lapping; these edges should be finished before the waist is cut out; then the center front of the pattern should be laid on the line where buttons and buttonholes are to be placed. The front edges of the waist shown in this lesson are finished on the wrong side with a facing or hem about 'SV2" wide, as shown in the illustration. The front of a shirt waist may be finished on the right-hand side with a hem about IV^" wide, turned to the right side and stitched 1/4" from each edge, if the material is the same on both sides. If the material is different on the wrong side, this edge may be finished with a facing turned to the right side and finished as suggested for the hem. The left-hand edge may be finished with a hem V2" or %" wide. If the waist is to be tucked, it may be tucked before laying on the pattern, then cut out in the same manner as a plain shirt waist. JOINING SEAMS. A yoke should be fastened to the body of the waist with lapped seams. The sleeves and under-arm seams may be joined with French seams, while the shoulders should be joined with felled or lapped seams. After the waist is basted together it should be tried on and fitted (see suggestions for fitting a waist. Chap. IV). The bottom of the waist is to be finished with a band or peplum, the extra material below the waist line may be trimmed away at this time ( be careful not to cut the waist too short). After fitting remove waist, rebaste it if necessary and finish the seams. FINISHING THE NECK. With collar as shown in illustration. Cut a doubled strip of material 3" wide at the ends and 21/2" wide in the back (cut this collar out of scraj) material first and see that it sets properly before you 251 cut it from your waist material). Baste the ends and top edges to- gether, with the center backs even, baste the under side of the collar to the right side of the waist, letting the ends come out exactly even with the front edge of the waist, as in the illustration (the neck curve should be trimmed off the ends of these front pieces). Stitch in place; turn the upper side of the collar over until it covers the stitch- ing. Baste and stitch in place. With collar band. Sew the two pieces of the collar band to- gether on the top edge; baste the outside edge to the neck as pinned in fitting; turn in and baste the inside edge over the seam formed; keep it just opposite the outside edge. Turn in the ends and stitch all around the collar band. CUFFS. Cuffs shown in lesson. Cut a strip for each cuff 6V2" wide and long enough to allow the hand to slip through easily when the ends are joined. As the cuff is made double, sew one edge onto the bottom of the sleeve, which may be gathered a trifle if necessary. Turn in the raw edge on the opposite side and fold it over to cover the stitching; pin, baste and stitch in place. Sew the ends together with the seam of the sleeve, tapering it off toward the hand. Tailored Cuffs. Up from the bottom edge, cut an opening 41/2" long 1" from the center back of the sleeve. Finish this opening with a bound placket (Chap. II, Par. 161), varying it as follows: Before stitching the second time trim off the inside thickness of the placket to within V^" of the edge on the upper side; baste and stitch it flat on the sleeve on the long edge and across the end at the top of the placket opening. To finish placket on the outside, cut a strip IVo" wide, and 2" longer than the placket opening; make it pointed at one end, turn in the raw edges; make the straight end even with the bottom of the sleeve and one edge even with the upper edge of the placket. Baste and stitch it in place. At the end of the opening make two parallel rows of stitching across the placket. For the cuffs, cut two strips of material 10" long and iS" wide; cut two strips of heaiy cotton material the same length and half the width (for interlining). Baste the piece of interlining to the wrong side of each cuff, making it even on the edges. With the interlining on the outside, fold the cuff double and stitch the two ends together. Turn right side out and baste around the folded edges. Place the edge of the interlined side on the bottom of the sleeve, making the 252 ends even with the edge of the placket. (If the cuffs are to be lapped, allow the end of the cufT to come to the edge of the extension on the under side of the placket; if they are not to be lapped, but joined with cuff links, turn the extension piece back on the under side of the sleeves and sew it in with the cuff). Baste and stitch the cuff in place, gathering the sleeves into the cuff on the under side, if neces- sary. Turn in the opposite edge of the cuff; pin, baste and stitch in place on the right side of the sleeve. In the center of each end of the cuff, V^" from the edge, work a buttonhole for the cuff link. FINISHING THE BOTTOM OF THE WAIST. With band. Gather the bottom of the back edge of the waist to about 10", starting and finishing the gathers 2^2" from the under- arm seams; gather the lower edge of the front pieces and draw them up enough to make the bottom of the waist fit the band. Sew on the band the same as directed for the tailored cuffs (omitting the inter- lining of course). The band may be made loose and have a piece of elastic run through it. With tape. Baste and stitch a tape about W wide over the gath- ers at the waist line in the back. Let the bottom of the waist hang loose and extend about 4" below the waist line. FASTENINGS. Join the waist in front with buttons and buttonholes worked lengthwise and barred at the ends (Chap. II, Pars. 135-136). 253 TAILORED SKIRT MATERIALS. Linen (Chap. I, Par. 40) or Galatea (Chap. I, Par. 18) or Indian Head (Chap. I, Par. 21). Amount of material called for in commercial pat- tern, or if drafted pattern is used, plan from the pattern (the amount will vary with the style of the garment and the size of the person). Belting 2" longer than waist measure. 6 snaps. 2 large hooks and eyes. Thread No. 70. INTRODUCTORY STATEMENT. The tailored skirt is given in this section because it is the foun- dation of all pleated or draped skirts. The principles involved in its making must be mastered before one can hope to make the more elaborate skirts. The beauty of the tailored skirt lies in the good lines, careful machine stitching, and perfect fit of the garment. The skirt in this lesson is made of Indian head, a smooth finished material. Ratine or other rough finished goods should be reserved until one has had considerable practice in sewing for it is very diffi- cult to stitch the rough material. If you succeed in making your skirt so it fits well, has the lines of the seams running properly, is stitched nicely, and hangs evenly, you may feel that you have laid a good foundation in j'^our training for some of the more difficult problems of skirt making. References ; Needlework and Cutting Out, Kate Stanley. Costume, Arden Holt. 254 WORKING DIRECTIONS FOR TAILORED SKIRT PREPARING MATERIAL. Shrink the material and the belting. CUTTING OUT THE SKIRT. A drafted pattern may be used for the style of skirt shown in the illustration (See Chap. IV). If you desire to vary this skirt from the plain skirt by pleating it, it is wise to use a commercial pattern. If the commercial pattern is used, study carefully the guide chart and directions which accompany it (it is a good plan to pin the pattern together and fit it before cutting out the material). If the drafted pattern is used for a skirt finished with a pleat in front, as shown in the illustration, fold over the edge of the goods lengthwise and place the center fold of the pattern as far from the folded edge of the material as you desire the width of the pleat. The other side of the front should be allowed to extend beyond the edge of the pattern the distance which it will lap under the pleat. Remem- ber, in cutting the back gores, to have the straight edge of the pattern laid parallel with the warp threads. SEAMS. The seams on a tailored skirt may be finished in a variety of ways. Heavy material is often stitched together in plain seams, the seams being finished with overcasting. A neat way to finish such seams on the right side is to press the raw edges on the under side of the seam flat on the skirt; baste and stitch through them Vg" to V^" from the seam on the right side. To give a pleated effect at a seam, baste it in the usual way; lay both raw edges of the seam flat against the wrong side and stitch through them from the right side, making the row of stitching par- allel with the basting; remove the basting and a pleat wall thus be formed on the right side. In basting seams, be careful to have the parts of the skirt exactly even at the top; pin them together before basting and use small bast- ing stitches near the top so they will not pull apart when fitted. It is a good plan to hold the bias edges toward you when basting. When fitting the skirt, follow the suggestions given in Chap. IV. 255 PLACKET. For the placket opening under a pleat like the one shown in the illustration, use a faced placket (Chap, II, Par. 163). For a placket opening at the end of an ordinary seam, use the extension placket (Chap. II, Par. 162). If the skirt is gathered, a bound placket (Chap. II, Par, 161) may be used. Use hooks and eyes, or snaps, to hold the placket closed. Large buttons with buttonholes are sometimes used to fasten the placket and to form a trimming for the skirt, FINISHING THE TOP, The top of a tailored skirt is usually finished so it can be worn outside of a shirt waist. Belting is used for this purpose. If the skirt extends to the waist line, a narrow belting about 1" wide should be used; if it is to be raised above the waist line, wider belting should be used (the width of the belting will depend upon the distance the skirt is to be raised). Before sewing on the belting, fit it to the waist, turn back the ends about 1", and sew on at least two strong hooks and eyes (use a rounding eye and allow it to extend over the end of the belt as shown in Chap. II, Par. 133). The belting should be hooked around the waist allowing it to open at the same place the skirt is to open. Put on the skirt and pin it to the belting near the center, or bottom edge so the raw edges at the top of the skirt may be turned in at the top of the belting. Remove the skirt; if necessary trim off the top of the skirt, turn in the raw edges, letting them extend about Vs" above the edge of the belting; baste and stitch the skirt in place near the top edge of the belting. (It maj'' be necessary to trim off the end of the extension piece on the placket to make it fit in between the upper side of the placket and the belting when the skirt is fastened together). The raw edges at the end of this piece may be turned in and overhanded together. FINISHING THE BOTTOM. NOTE: After the belt is adjusted, the skirt should be evened around the bottom, using the skirt gauge or a yard stick as a guide. The extra material may be turned back on the wrong side of the skirt for a hem. Baste the hem in place, as pinned, around the lower edge; make it the width desired, using a strip of cardboard, or gauge, as a guide in making it even. Turn in the raw edges, take up the extra fullness in small pleats, baste and stitch the hem in position (the quilter 256 attachment on the sewing machine may be used as a guide in stitch- ing this hem parallel with the bottom of the skirt). A second row of stitches about ^A" from the first row is often used as an additional decoration. If there is not enough material on the bottom of the skirt to form a hem, it may be faced by sewing a bias strip the width desired, to the bottom of the skirt, turning it back and finishing it like a hem. A fitted facing may be used if desired ; it may be sewed on in the same manner as the bias strip. 257 HOUSE DRESS MATERIALS. Gingham (Chap. I, Par. 19) or Percale (Chap. I, Par. 31). Amount of material called for in pattern, if commercial pat- tern is used. If drafted pat- tern is used, figure from the pattern the amount of ma- terial you will need, as it will vary with the style of the garment, the size of the per- son, and the width of ma- terial. 8 buttons. Thread No. 70. INTRODUCTORY STATEMENT. Every girl should try to dress in keeping with the work that she is doing. It would look very inappropriate to see an otlice girl at work in an evening dress. It would look just as inappropriate to see a woman or girl at work in the house dressed in worn-out finery. As housework generally soils the clothes very quickly and a wool dress is more or less difTicult to clean, house dresses made of wash ma- terial which can be laundered as fretiuently as necessary are much preferable. A house dress should be made of good fast colored material, pre- ferably in one piece, with very little trimming. White collars and cuffs made of piquet, lawn, embroidery or a lace edge on the collar made of the material of which the dress is made, or pipings or bands of white piquet or contrasting color, make attractive trimmings on a house dress. A nicely made house dress for a young girl would also be appropriate for school wear. The house dress in the illustration shows one type of the tailored skirt combined with a simple shirt waist. This waist involves prac- tically the same principles as are found in the middy except that it is gathered into a belt at the waist line and is made with a different style of collar and sleeve. References: Practical Drcssniakiii};, Mrs. J. Hoiifihten. Home Dressniakinij, Annie Myers. 258 WORKING DIRECTIONS FOR HOUSE DRESS PREPARING MATERIAL. Shrink the material. CUTTING OUT THE HOUSE DRESS. For the house dress shown in the illustration, the drafted patterns for the shirt waist, sleeves and plain gored skirt may be used (see Chap. IV). As this is a four-piece skirt with a side front opening it will be necessary to cut the front gore of the pattern double. To make the side opening, measure from the center front 2" to the right; fold the pattern, cut it lengthwise on the crease. The back may be made in on piece by placing the center back of the back pattern on a fold of the material; or, it may be cut in two pieces with a seam up the center back. Be careful to allow for seams or pleats in cutting out the skirt, if they have not already been allowed on the pattern. Finish the front edges of the waist as desired before cutting out the waist with a drafted pattern. The right-hand side of the waist in the illustration is finished with a wide hem turned toward the right side and stitched i/4 " from each edge. The left-hand side of the opening is finished with a y2" hem turned toward the wrong side. A commercial pattern may be used in making the house dress if desired. If one is used, carefully study the guide chart and directions which accompany it. THE SEAMS. The waist may be joined at the shoulder with lapped or felled seams, finished on the right side. The under-arm seams and the sleeves may be joined with French seams. The gores of the skirt may be joined v^ith plain overcast seams if the material is firm, like ging- ham, percale, or linen. French seams are used in gathered skirts, or on thin material. FITTING THE HOUSE DRESS. Follow the suggestions given for fitting a waist and skirt in CJiai). IV, (be careful to mark the waist line on the waist with pins). SETTING IN SLEEVES. The waist should be tried on, the edges of the armholes turnefl in and the sleeves pinned in position so the top will hang straight from the shoulder to the back of the hand, and so the under-arm seam will hang straight from the arm's eve to the wrist. The waist 259 should then be removed and the sleeves basted and stitched in place with lapped seams. Set-in sleeves with gathers at top. Join the seams of the sleeves, fold the armholes so the shoulder seams and the under-arm seams lie together. Crease the fold formed on the back and front of one arm- hole; place the seam of a sleeve in the armhole 2i/4" to 2^2" in front of the under-arm seam. Pin the under part of the sleeve to the arm- hole from the crease on the front to the crease on the back. Gather the top of the sleeve between the two creases. Adjust the gathers allowing the greatest fullness at the top of the sleeve. Baste it in place. Try it on, see that it hangs as suggested for the plain sleeve, stitch in the sleeves and finish with overcasting, or binding. To bind the sleeve. Cut bias strips about "34" wide, stitch in one edge when you stitch in the sleeve, trim the seam to about Yi" ; turn in the raw edges of the binding on the other side and hem or stitch in place. The bottom of the sleeves in this lesson are finished with a double lengthwise strip of the material. Sleeves are finished in such a variety of ways, however, that no attempt is made here to explain any one method. FINISHING THE NECK. The simple turned-over collar shown in this lesson should be cut from a commercial pattern and sewed together around the outside edges. With the center back of the waist and center back of the collar together, pin, baste and stitch the neck of the collar and the waist together. Fold the upper edge of the collar over and turn under the raw edges until it covers the stitching; pin, baste and hem or stitch in place. These directions are suitable for any double collar. If a single collar is used, sew it to the neck with bias tape. JOINING WAIST AND SKIRT. The dress in this lesson is joined with a band of material like that used in making the waist. After the waist and skirt are completed (with the exception of the bottom of the skirt) put on the waist, which should be gathered at the waist line; adjust the gathers in the waist; trim off extra material below waist and put on the skirt. With both edges of the band turned under, i)in the lower edge to the skirt an;o .-,j:-^i citable textiles that fiber must be possessed of sufficient s'rength to be spun, and it must have a physical structure which will permit a number of fibers, when spun, to cling so securely as to produce a continuous thread of considerable tensile strength. /. :: tiie v.-:rieties of cotton have these requirements. Cotton fibers ccisist oi .^ced hairs; the cotton plant reaches ma- turity varying from three to si:^ feel in height and produces a cotton boll which contains the 'teds. This seed boll splits open and presents a white mass of seed hairs, each being attached at one end to a tiny seed. The seed is picked and run through a cotton gin for the purpose of separating the reed hairs from the seed. The seed is preserved for the oil which U possesses, while the fiber is taken through the various processes of producing cloth. When the cotton liber is dried it is perfectly smooth and each tiny fiber is ribbon shaped, but as it dries it twists in an irregular spiral or screw-like band, having from three to five hundred twists per inch. It is this peculiar twist that makes the cotton fiber valuable for textiles, for this is the property which makes it possible for cotton fibers to be woven into a strong thread. The other spinning qualities of cotton depend upon the length as well as the fineness of the fiber. Cotton produces a very strong thread but not as strong as silk, or even linen, although it has greater strength than the same sized thread made of wool. Cotton is used more than any other material because of its cheap- ness, and because it is so serviceable for a great number of practical purposes. It will stand rather high temperature, and is not harmed by strong alkali, soap and other cleaning materials; it can be bleached, scrubbed and cleaned in various ways without suffering damage. It wears well under hard use, and looks neat and clean when laundered. 292 Cotton takes dye readily, thus making it possible to produce pleasing color effects in various kinds of cotton cloth. It does not retain its color, however, as well as wool. In order to add to the appearance of cotton it is sometimes mer- cerized to produce a glossy silk-like finish. There are a number of ways in which this mercerizing process is carried out; the cloth is usually treated with a strong caustic alkali and then carefully dried, stretched and pressed. The following kinds of cotton cloth are in most common use. BATISTE. Paragraph 2. Batiste is a very light cotton fabric, woven of fine threads. It varies considerably in quality. There are some coarser forms that are used for linings while the finer forms are found in shirt waist and dress goods. It is made principally in white though sometimes in a few colors. Most common width 32" to 45". Price per yard from 15c up. BUCKRAM. Paragraph 3. Buckram is a very cheap cotton fabric not used much in the manufacture of clothing except for interlinings where some stiffness is required. It is very coarsely woven, usually in plain colors. Most common width 36". Usual price per yard, 10c up. BURLAP. Paragraph 4. Burlap is a very coarse cloth made of hemp or jute, though some of the finer varieties are made of cotton. The coarser kinds are used for wrappings, under portions of upholstery, or where great strength is required. The finer weaves are used for wall cover- ings, curtains and draperies. Most common width, 42" to 57". Usual price per yard, 35c to $1.00. CALICO. Paragraph 5. Calico is the most common of all the cotton fabrics. It was originally made in Calcutta, India, from which the name calico is derived. It is first woven plain, after which a color or print is stamped on one surface. This explains why the figure in calico is not found on both sides. It is used for house dresses and other gar- ments which call for inexpensive material. Most common width, 24" to 36". Usual price per yard, 5c up. 293 CAMBRIC. Paragraph 6. The name cambric was originally applied only to a very fine linen cloth. A fabric by this name is now made of cotton, however, though not so good in quality as that made of linen. It is a plain weave with very smooth surfaces. It is sometimes spoken of as cambric muslin. It is used for linings and underwear. Most common width, 36". Usual price per yard, 10c to 30c. CANTON FLANNEL. Paragraph 7. Canton flannel originated in Canton, China. It is a very common cotton fabric and may be easily recognized by the twilled surface on one side and the long smooth nap on the opposite side. It is a very strong material commonly used for children's under- wear and interlinings. Most common width 27 " to 30". Usual price per yard, 10c to 12c. CANVAS. Paragraph 8. Canvas is a strong coarsely w^oven cloth very similar to duck. It is used for tents, awnings and various coverings which must be exposed to weather. Art canvas is a name applied to many open, varied and ornamental weaves of canvas. It is not used to any extent in clothing, but is rather important in art needle-work. Most common width, 18" to 36'. Usual price per yard, 25c up. CHAMBRAY. Paragraph 9. Chambray is a very common cotton fabric, strong and serviceable and used for house dresses and other inexpensive purposes. It is generally found in plain colors with white selvages. This is caused by the fact that the warp threads are colored, while the woof threads are white. Most common width, 32"". Usual price per yard, 20c to 25c. CHEESE CLOTH. Paragraph 10. Cheese Cloth is a very cheap cotton fabric, de- riving its name from the purpose for which it was first used, to wrap cheese. It is not a very strong material, plain weave, very sheer. It was formerly made almost entirely in white, but now may be had in various colors. It is used frequently for cheap decorations. Most common width, 36". Usual price per yard, 5c to 10c. CORDUROY. Paragraph 11. Corduroy is a very strong cotton material recog- nized by its half-round ridges running lengthwise of the cloth. These 294 ridges or ribs resemble velvet very much, due to the soft cotton pile. Corduroy is used in making garments which must stand considerable wear, particularly trousers. Most common width, 22" to 36". Usual price per yard, 50c to $3.00. CRETONNE. Paragraph 12. Cretonne is a strong cotton cloth, rather well known for its large designs and attractive colors. The design is printed after the cloth is woven, hence the design is found only on one side. It is used principally for curtains, draperies and other decorative purposes. Most common width, 25" to 36". Usual price per yard, 15c to 75c. DAMASK. Paragraph 13. The original damask was a fine linen fabric, deriving its name from Damascus. A very good imitation is now made of cotton. It is woven smooth like sateen with a distinct twill in a conventional or floral design. Most common width, 1 to 2 yards. Usual price per yard, 25c to 75c. DENIM. Paragraph 14. Denim is a coarse, strong cotton fabric, generally woven in plain colors, presenting a fine, uneven, twilled weave. It is most commonly used for floor coverings, upholstering purposes or coarse garments which must withstand hard wear. Most common width, 36". Usual price per yard, 18c to 25c. DIMITY. Paragraph 15. Dimity is a sheer cotton fabric, woven so as to present the appearance of cords or ribs. It is made in white or colors, sometimes printed with figures. It is a very light weight material and is frequently used for summer dress goods. Most common width, 36". Usual price per yard, I2V2C to 20c. DUCK. Paragraph 16. Duck is a very familiar cotton fabric. It is a strong, heavy material used for tents, awnings and ship sails. Some of the lighter weaves are used for wearing apparel. It may be had either in colors or plain white. Most common width, 27" to 36". Usual price per yard, 25c to 75c. 295 FLANNELETTE. Paragraph 17. Flannelette is a very soft cotton material woven so as to present a slight nap on both sides. It may be had either plain or printed in colors. It is used in making garments that require soft surfaces as kimonos, wrappers and the like. Most common width 27". Usual price per yard, 8c to 15c. GALATEA. Paragraph 18. Galatea is a very heavy cotton fabric which may be had either in plain colors, figures or stripes. It is very strong and serviceable and is particularly suitable for children's clothing. It will stand a great deal of laundering without showing the wear. Most common width, 27". Usual price per yard, 12y2C to 25c. GINGHAM. Paragraph 19. Gingham is probably the most common and serv- iceable of the cotton fabrics. It may be had in plain weave or in almost any combination of warp and woof threads. The fact that the design is woven into the cloth explains why the ginghams may be known by their figures appearing on both sides. This distinguishes them from calicos and other prints. Gingham is used for dresses, shirts and almost innumerable purposes. Most common width, 24" to 30". Usual price per yard, 10c to 50c. HUCKABACK. Paragraph 20. Huckaback is a material generally used for towels. It may be had either woven entirely of cotton or of linen. It is also sometimes made in combination of cotton and linen. It is so woven as to present a rather rough surface which gives it absorbing qual- ities particularly desirable in towels. Most common width, 18". Usual price per yard, 20c up. INDIAN HEAD. Paragraph 21. Indian Head is a cotton fabric, very much resemb- ling duck, although of much finer weave. It is used for very much the same purposes. Most common width, 36". Usual price per yard, 15c. KHAKI. Paragraph 22. Khaki is a heavy plain woven material, very similar to duck, usually brown or dust color. It is used for men's rough garments and outing suits. Most common width, 27". Usual price per yard, 25c to 50c. 296 LAWN. Paragraph 23. Lawn is a very fine, sheer cotton fabric which may be either plain white or colored. It is very commonly seen with dainty flower designs of delicate colors. It presents a very soft, smooth finish and launders well. It is used principally for aprons and dresses. Most common width, 36" to 54". Usual price per yard, 5c to 25c. LONG CLOTH. Paragraph 24. Long Cloth is a fine cotton fabric made in a great many different qualities. It is very soft, coarsely woven and is used a great deal in making underwear and infants' clothing. It closely resembles cambric and muslin. Most common width, 36". Usual price per yard, 10c to 25c. MADRAS. Paragraph 25. Madras is a very common cotton fabric. It may be found either in white, striped, figured or plain colors. It is often used for dresses and shirts. It probably originated in Madras, India, from which it derived its name. Most common width, 27". Usual price per yard, 25c. MULL. Paragraph 26. Mull is a very fine quality of soft muslin which is used in dresses. It may be had in plain white or colors. It was originally a combination of cotton and silk. Most common width, 32". Usual price per yard, 30c to 40c. MUSLIN. Paragraph 27. Muslin is one of the most common of the cotton fabrics. It is made in a great many different qualities, both bleached and unbleached. It is used for pillow cases, sheeting, linings and underwear. Most common width, 36" to 72". Usual price per yard, 5c to 15c. NAINSOOK. Paragraph 28. Nainsook is a light cotton fabric which is very soft. It does not have as much body as the finer lawn or batiste, but is made in various grades. It is frequently used for infants' clothing. Most common width, 27". Usual price per yard, 15c to 45c. ORGANDIE. Paragraph 29. Organdie is a very fine, almost transparent, muslin of plain weave. It is sometimes stamped with figures or designs. It is used for dresses. Most common width, 1^" to 60". Usual price per yard, 15c up. 297 OUTING FLANNEL. Paragraph 30. Outing Flannel is a very common cotton fabric, very similar in appearance to flannel, having the nap on each side. It may be had in plain colors or stripes or checks. It is used in making shirts, petticoats, pajamas and sometimes used in infants' clothing. Most common width, 36 ". Usual price per yard, 10c to 15c. PERCALE. Paragraph 31. The original percale was probably made of linen, although a great deal of percale is now made of a good grade of cotton. It is closely woven, with the figure woven into the material, somewhat similar to gingham. It is used for shirts, dresses and aprons. Most common width, 36". Usual price per yard, 12y2C to 15c. SATEEN. Paragraph 32. Sateen is a cotton imitation of satin. On one side it presents a twilled appearance, on the other side it has a lustrous appearance very much like satin. It is used principally for linings and underskirts. Black is the most common color. Most common width, 21" . Usual price per yard, 25c. SILKALINE. Paragraph 33. Silkaline is a soft cotton fabric which bears a slight resemblance to silk, due to its peculiar glazed finish. It is usually found in attractive colors which are printed after the material is woven. It is used for draperies and household furnishings. Most common width, 27". Usual price per yard, 15c. TICKING. Paragraph 34. Ticking is a very strong cloth of excellent wearing qualities. As the name suggests, its principal use is for mattresses, pillows or various other ticking purposes. Most common width, 27". Usual price per yard, 15c. TURKISH TOWELING. Paragraph 35. Turkish Toweling is a coarsely woven cloth in which, by a special method of weaving, the woof threads are continu- ously thrown up on the right and wrong sides in short loops. It is used for towels, wash cloths and bath mats. The loose threads make it particularly valuable for bath towels, as they give it a decided ab- sorbing quality. It is usually found in white, but sometimes in plain 298 colors. Most common width 15" to 24". Usual price per yard, 25c to 50c. VELOUR. Paragraph 36. Velour is woven in several widths, presenting a smooth surface, due to the pile, somewhat similar to velvet. The lighter weights are used for dress trimming while the heavier weights are used for upholstering purposes. It may be had in attractive and pretty designs. Most common width, 36" to 42". Usual price per yard, $1.00 up. LINEN. ' Paragraph 40, Next to cotton, the most important vegetable fiber comes from the flax plant. This fiber is not a seed hair like cotton, but is a bast fiber; this is the tough thread-like substance found just beneath the bark of the flax plant. Flax is raised in a great many different countries but it varies in the fineness, length and quality of its fibers. The flax plant is cut when ripe, and the stalks are then allowed to lie in a damp place, usually a swamp or an artificial pond, in order to soften the outside layer of the bark. This process is called "retting." There are a num- ber of artificial means now adopted for the retting of flax. After this process is completed the flax is broken and by a proper machine the bast fibers are separated from the w^aste material. These fibers are properly cleaned, combed and spun into linen thread. This thread is very much stronger than thread spun from wool or cotton. The strength of linen thread is due to its very long fibers, varying from a few inches up to several feet. Each fine fiber is a long filament composed of small cells. Linen is used in a number of the finer fabrics for domestic use. It has been employed for various home uses for many centuries, in fact, it is almost impossible to study the history of the very earliest people without finding the use of linen. It probably came into use long before cotton was introduced. Linen does not stand the action of alkali and soap as well as cotton; it is more difficult to dye than cotton, but is usually treated with about the same process. Linen fibers are very smooth and rather gray in their natural color, although they readily bleach to a beauti- ful white. This is why linen is so popular for table cloths, napkins and fine towels. Linen absorbs moisture very rapidly. In fact, one of the common tests for linen is to touch it with a moistened finger to see whether it will immediately absorb the moisture. This test is not always accurate, however, due to the fact that cotton may be so woven as to absorb moisture in almost the same way. A surer test 299 is to moisten it with a drop of glycerine which will be readily ab- sorbed by linen, but will not be so readily absorbed if the cloth con- tains cotton. Linen burns freely in the air, almost entirely without disagree- able odor; it leaves but very little ash. Linen may usually be iden- tified by the long slender point which is left when the thread is broken. Cotton thread usually breaks more abruptly, leaving a ragged end. There are a great many chemical tests that are used to detect the presence of cotton or other adulterations in linen, these however, are so technical that no effort will be made to present them here; they may be found in some of the references given in this text. The following kinds of linen cloth are most common. BATISTE. Paragraph 41. Batiste is a fine, soft linen fabric. It is very sheer, somewhat similar to, but much finer than cotton batiste. It is used for waist and dress material. Most common width, 36". Usual price per vard, $1.00. BUTCHER'S LINEN. Paragraph 42. Butcher's Linen is a very heavy, closely woven material, somewhat resembling canvas though finer and stronger, it is used for aprons, dress skirts and for butchers' aprons from which the name is derived. Most common width 27" to 44". Usual price per yard, 35c to $1.50. CAMBRIC. Paragraph 43. Cambric is a very fine, thin linen material, sim- ilar to, but much finer than cotton cambric. It is used for dress goods and handkerchiefs. Most common width, 36". Usual price per yard, 50c. CRASH. Paragraph 44. There are a great many different qualities of crash. Some are made entirely of linen, others of cotton and some of mixed materials. Crash is made principally for towels, though some- times used for upholstering purposes and the finer grades for dress goods. Most common width 18" to 36". Usual price per yard, 25c up. DAMASK. Paragraph 45. Damask is one of the best known of linen fabrics. It is a very fine material used for table cloths, napkins and fine towels. It is usually woven in figures and designs. Most common width 16" to 54." Usual price per yard, 35c to $2.00. 300 HANDKERCHIEF LINEN. Paragraph 46. Handkerchief Linen is a plain, fine, smoothly woven fabric designed for handkerchiefs. It is sometimes used for dress material. Most common width 30". Usual price per yard, 50c to $2.00. HUCKABACK. Paragraph 47, Huckaback is a loosely woven linen fabric, being so woven as to expose much of the surface of the woof threads, it is so designed in order to give it a greater absorbing surface. It is sometimes made entirely of cotton, other grades are mixed, though the finer qualities are of pure linen. Most common width 18". Usual price per yard, 25c. 301 ANIMAL FIBERS WOOL. Paragraph 50. Of the animal fibers, wool is by far the most plentiful and the most important. Wool is the hair of a certain class of animals, of which the sheep is most common. There are a great many kinds and varieties of wool which vary principally in the length and fineness of their fibers, however, they are all very similar in their general characteristics. Wool fiber, if carefully examined with a magnifying glass, will reveal a surface covered with scales some- what similar to the shingles on a roof or the scales of a fish. It is the presence of these scales, which cling to each other, that makes it possible to use the short wool fibers in spinning and weaving valu- able fabrics. W^oolen fibers are very elastic but do not present as great strength as cotton or linen. The soft, loosely twisted and loosely woven fibers produce the woolens or the kinds of cloth which have considerable nap or pile. These woolen fibers are sometimes combed until they lie almost straight and parallel; they are then twisted into a rather hard glossy thread of regular, even size. Such treatment of wool produces the line worsteds, so well known in clothing, particularly in men's suits. Wool absorbs and retains coloring matter very readily, it does not fade or lose its color when exposed to sunlight and other condi- tions to which clothing must be subjected. This is one property which makes wool very valuable for fine clothing. There are a great many kinds of cloth made from wool. On account of its many excellent properties it is used in a greater variety of ways than any other textile. The most characteristic and peculiar quality of woolen fiber is its tendency to "felt." Tliat is, the woolen fibers may be brought so close together that their scales seem to mesh and form a continuous fabric without weaving. There is no other textile fiber which has this property. Wool is very sensitive to alkalies; this explains why in laundering all-wool garments they should not be treated with strong soap or other caustic alkalies. Wool is very frequently adulterated with cheaper fibers, especially cotton. While the introduction of a certain amount of cotton in a woolen fabric may give it added strength, yet such material will, for the most part, be inferior and should be less expensive than all-wool material. It requires a great deal of training and practice to be able to determine the presence of cotton in so-called "wool cloth." A great many difterent tests have been devised but they belong to tech- nical lines of work. There are, however, a few simple tests which are 302 easily made and are therefore pretty generally known. The burning test is quite common; woolen material burns very slowly and leaves a distinct ash, usually curled or rounded in a bead-like end. The burning of wool is accompanied by a very disagreeable odor some- what resembling that of burning feathers. This odor is due to the presence of the animal oil found in the woolen fibers. By picking a small sample of cloth to pieces and examining the different threads, the presence of cotton can usually be detected. (This can often be done on underside and exposed seams). Some- times by setting fire to a piece of mixed goods, the cotton, which burns rapidly, can be readily burned out, while the woolen portion, which burns more slowly, is left. While it is not always convenient to make these tests, by careful practice one can become sufficiently acquainted with the general appearance of various woolen inaterials to identify them with a reasonable degree of certainty. The following are the most common kinds of wool fabrics. ALPACA. Paragraph 51. Alpaca is a fine woolen fabric, which somewhat resembles silk; it is very beautiful on account of its glossy appear- ance. It combines well with cotton and is often so found. It is used extensively in dress goods and men's clothing. Most common width 36" to 45". Usual price per yard, 75c to SI. 00. BLANKETS. Paragraph 52. Blankets are a very common woolen fabric, known for their soft covered surface. They are usually purchased in full size ready for use. They are woven without any seams and may be had in almost any color, with attractive designs. They are frequently woven with part cotton. Genuine all-wool blankets are usually sold from $7.00 up. BROAD CLOTH. Paragraph 53. One of the finest of our woolen fabrics, and probably one longest known as a standard for fine suits is broad cloth. It has a very soft smooth finished surface. It is so closely woven that the separate threads do not show. It is used for various kinds of dress goods and suiting. Most common width, 50". Usual price per yard, .$2.00 to $7.00. BUNTING. Paragraph 54. Bunting is a very coarsely woven woolen fabric. 303 It is used in making the better grade of flags. It may be had in colors. Most common width, 24". Usual price per yard, 35c to 50c. CASHMERE. Paragraph 55. Cashmere has a distinct twilled weave that is very soft. It derives its name from the cashmere goat. It is used principally for dress goods. Most common width, 36" to 45". Usual price per yard, 75c to $1.50. CHEVIOT. Paragraph 56. Cheviot is a strictly woolen cloth made both with a rough surface and a smoother finish. It is very much like serge but somewhat heavier. It is woven both plain and twilled. It is used principally for suiting. Most common width 42" to 48". Usual price per yard, 75c to $3.00. EIDERDOWN. Paragraph 57. Eiderdown is a heavy woolen fabric, though it presents a very soft surface on account of its long pile. It is used principally for wraps. Most common width 27" to 44". Usual price per yard, 75c to $1.50. FELT. Paragraph 58. Felt is a very peculiar woolen fabric which is made without being woven at all, but simply by pressing the wool fibers so as to form a cloth; no other textile fiber has this property of felting. It may be had in almost any of the plain colors. It is used for banners, pennants and table covers. Most common width, 24" to 52". Usual price per yard, 50c to -$2.00. FLANNEL. Paragraph 59. Flannel is a soft finished loosely woven material which may be had in plain or various colors, slightly napped. It is used for dress goods, shirts, petticoats and infants' wearing apparel. Most common width, 27" to 36". Usual price per yard, 50c to $1.50. HENRIETTA. Paragraph 60. Henrietta is a soft woolen fabric very much like cashmere. The original henrietta cloth was made partly of silk and partly of wool. It has a distinct twilled weave. It is used in making dresses and suits. Most common width 38" to 45". Usual price per yard, $1.00 to $2.00. PANAMA. Paragraph 61. Panama is a soft fabric made with a distinct ^weave in plain colors. It is very serviceable, being used principally 304 for dresses, suits and skirts. Most common width, 42" to 54". Usual price per yard, 75c to $2.00. SERGE. Paragraph 62. There are many different kinds of serge which are named according to their finishes. Some serges contain consid- erable silk; they usually present a smooth, firm surface due to the hard iinished yarn. Serge is very serviceable. It is a suitable material for men's clothing, also very commonly used for women's wear. Most common width, 42" to 54". Usual price per yard, 75c to $8.00. VOILE. Paragraph 63. Voile is one of the thinnest of the woolen fabrics, coarsely woven, even showing space between the warp and woof threads. It is used for fine dresses. Most common width 42" to 45". Usual price per yard, $1.25 to $2.00. SILKS. Paragraph 70. Silk is the most valuable and the most wonderful of all the textile fibers. It was first used by the Chinese, probably as early as 1700 B. C. The origin of silk was kept a secret among the Chinese until about 550 A. D. About that time it became known in Europe. Silk is by far the strongest of the textile fibers, being almost equal in tensile strength to an iron wire of the same diameter. This great strength is due to the nature of its fibers, being composed not of short interwoven fibers, as is the case with wool or cotton, but consisting rather of one long and continuous filament, ranging from four to thirteen hundred yards in length. Each of these fila- ments is the product raveled from a single cocoon. These cocoons are made by what is commonly known as the silk worm. It is a peculiar kind of caterpillar which spends about three days wrapping itself in a silk covering or cocoon. The material from w^hich the caterpillar spins its thread is an excretion from its body. After the caterpillar is surrounded by its cocoon, it undergoes a very remarkable change, and would in due time break open the cocoon and emerge in the form of a butterfly. This would rend Hie cocoon and practically destroy the silk fibers, therefore men engaged in the culture of silk, kill the pupa by subjecting it to heat or steam. It is then possible, by skillful handling, to unravel the silk fiber which has formed the covering of the caterpillar. These are the fibers which are spun into thread. Silk fiber has another peculiar property which is distinct from all other textile fibers. That is, its very high luster. Just why silk 305 has this property is not fully understood. It is this property which makes possible the beautiful sheen of the fine silks and satins. Silk may be dyed with various colors, in a manner similar to wool. Silk also acts under alkali tests about the same as wool; how- ever, it will stand a very much higher temperature. It is not so sen- sitive to alkali as wool, neither is it so quickly destroyed by acids. On account of the many attractive properties of silk, also on ac- count of its scarcity, it is quite frequently adulterated by the addition of other fibers such as mercerized cotton or linen. A great many tests have been devised by which one may determine whether a so- called silk fiber is adulterated. Most of these tests are too complicated to be introduced here. You can, however, generally recognize silk by its very soft pliable nature. If you are in doubt, a few threads may be drawn and examined separately. If examined under the microscope these threads will reveal the perfectly smooth surface of the fiber, showing that it is made up of the long filaments already described rather than of short fibers like cotton or linen. If the threads are given the burning test, the peculiar odor similar to burning feathers will be evidence of genuine silk. While silk is not a common fabric in everyday wearing apparel, yet it is sufTiciently common that its general properties should be understood. The following are the most common kinds of silk fabrics. CHIFFON. Paragraph 71. Chiffon is a very thin gauze-like fabric, usually found in plain colors. It is used extensively for trimmings in mil- linery, also for A'eils and dress goods. Most common width, 46". ITsual price per yard, 75c to $2.00. CHINA SILK. Paragraph 72. China Silk, as the name suggests, is made in China. It is a plain woven material, but has irregular threads and is distinguished by its softness. It is a very durable material and is therefore used for dress goods. Most common width, 24". Usual price per yard, $1.00. CREPE DE CHINE. Paragraph 73, This is a very beautiful silk material, having a smoother surface than most of the crepes; it is very soft and lustrous. Although it is a plain weave, it is frequently changeable, due to the twist of the warp threads; it may be had either in plain colors or prints. It is used for dress goods. Most common width, 22". Usual price pel' yard, 60c to •'i'l.SO, 306 FOULARD. Paragraph 74. The Foulard is a French silk, originally used for handkerchiefs, now used for dress goods; it is made both in the plain and woven designs. Most common width, 24". Usual price per yard, 60c to $1.50. PLUSH. Paragraph 75. Plush is a very common heavy silk fabric, used principally for trimmings or for heavy coats; it is also used some- what in upholstering. It is very similar to velvet, but has longer and more shaggy pile. Most common width, 24". Usual price per yard, $3.00. PONGEE. Paragraph 76. Pongee is a common silk fabric, used for coats and dress goods. It also originated in China where it was hand woven. Originally it was probably made from the silk of wild silk worms. It is a soft fabric, very serviceable and washable; it is com- monly found in unbleached form also in plain white and colors. Most common width, 27". Usual price per yard, ^1.00. SATIN. Paragraph 77. Satin is a very common but expensive form of silk. It is used, not only for clothing, but in many forms for fancy decorations. Some of the better qualities are employed in the con- struction of fine gowns. It is known by its very smooth surface, upon which much of the woof thread is exposed, giving it its char- acteristic sheen. It is a material that is frequently adulterated with cotton and linen, which explains its variation in price. Most common width, 21" to 54". Usual price per yard, $1.00 to $10.00. TAFFETA. Paragraph 78. Taffeta is a very thin glossy silk, usually of plain texture and plain colors, although it is sometimes made with woven figures. It is used for gowns and linings. It is not so strong and serviceable as some of the other silks. Most common width 21" to 54". Usual price per yard, 60c to $2.00. VELVET. Paragraph 79. Velvet is perhaps the finest of the silk fabrics. It is so woven as to present a rather long pile which is so cut as to form a continuous smooth surface. It is used for trimmings and also for very fine gowns. It is frequently woven partly of cotton or linen in the body. Most common width 18" to 42". Usual price per yard, $1.00 to $10.00. 307 CHAPTER II. SEWING PROCESSES INTRODUCTORY SUGGESTIONS. Paragraph 100. One of the first things to think of when beginning to sew is the position in which you should sit. Sit erect, in an easy position with the work near enough the eyes so that it can be easily seen. Observe the cor- rect position shown in Figure 1. Sit with both feet flat on the floor so as not to tire the mus- cles of the back; whenever it is necessary to look at the work very closely, lift it to accommo- date the eyes and thus avoid bending the back, neck and shoulders in the undesirable position shown in Figure 2. The needle should be threaded mm '-^^ MjPVi 1 ^ 1 -^^\ m • Figure 2. Incorrect Position. Figure 1 Correct Position. with thread about 20" to 25" long, that is about the length of the arm. Tying the knot is one of the first things necessary in sewing. Be careful to have a tiny round ball instead of a bundle of loops at the end of the thread. To tie the knot, hold the needle and thread in the right hand, wrap the end of the thread around the front of the forefinger of theleft hand; roll it with the thumb, and as you pull it off the finger draw it down to a small knot with the nail of the second finger and the thumb. It will require a little practice to be able to do it skill- fully. A thimble should always be 308 worn on the second finger of the right hand to protect the end of the finger or the finger nail. The side of the thimble is generally used. STRAIGHTENING CLOTH. Paragraph 101. While cloth is always woven so that the threads run perpendicular to each other, that is, the woof threads ( those that run from selvage to selvage) cross the warp threads (those that run lengthwise of the goods) at right angles, yet it is often stretched out of shape after it is woven. It may be straightened by pulling it diagonal- ly at opposite corners, and then pulling it straight on the warp threads. STRAIGHTENING THE EDGE OF CLOTH. Paragraph 102. The edge of a piece of cloth which has been cut unevenly may be straightened as follows : Pull out a thread entirely across the uneven edge, starting to draw it at the point where the deepest cut has been made in the edge of the cloth; a line will be formed where the thread is drawn. With a pair of sharp scissors, cut on this line. See Figure 3. Figure 3. Another method sometimes used is to ravel off the threads on the uneven edge until you come to one thread which runs entirely across the cloth. Trim off the fringe so left on the cloth until the edge is perfectly even. EVEN BASTING. Paragraph 103. Insert the needle on the right side of the cloth. This will leave the knot on the right side, where it should be, for the basting is only a temporary stitch and will be removed when the per- manent stitches are done. Let the needle extend (in the de- sired direction) under the cloth and come up again at about V2" from where it first entered the cloth. Put it through the cloth Figure 4. to the under side again at a space of about ^-2", making a stitch V2' 309 long on the right side. See Figure 4. Continue the process making the stitches all of even length on both the right and wrong side of the material. Fasten the thread with three or four small stitches sewed over one another. This stitch is used in basting hems and seams that are to be fitted. Its lengUi may be varied according to the amount of strain that is to be placed on the basted pieces before they are permanently stitched. UNEVEN BASTING. Paragraph 104. The uneven basting stitch is made the same as the even basting stitch (Par. 103) except that the stitch on the upper side of the cloth is made about two or three times as long as the stitch on the un- der side of the cloth. (See Fig- ure 5.) Uneven basting is used in fastening together two or more pieces of cloth where there is to be no strain on them before Figure 5. the permanent basting is done. For instance, in holding together the lower part of a full skirt, basting the seams for cuffs or holders and things of that sort. TACKING. Paragraph 105. Tacking is a modification of the uneven basting stitch (Par. 104), except that the short stitches are usually made slanting or vertical. Tacking is used to fasten linings and inter- linings to dress or suiting material. Tie a knot in the thread; insert the needle from the right side of the material ; take a ver- tical or a slanting stitch about one-fourth inch long on the un- der side of the material. Set the needle forward in the de- sired direction one-half an inch or more, (See Figure 6.) Re- peat until you have completely fastened the two pieces togeth- er. Fasten the thread by sew- ing over and over a short stitch Figure 6. at the end. 310 THE RUNNING STITCH. Paragraph 106. The running stitch consists of very short even stitches, always the same length on the right and wrong sides of the material. To make this stitch, tie a knot in the thread, bring the needle through from the un- derside of the cloth (to place the knot on the under side); take a very short stitch on the upper side of the cloth, then one of equal length on the under side. See Figure 7. Continue this process keeping the stitches even Figure 7. and straight. Instead of using a knot in the thread you may begin this stitch by taking two or three small stitches one over another. Before the days of machines the running stitch was in common use for many of the seams now made with machine stitching. This stitch is still used to fasten two pieces of material together in a seam where great strength is not required. It is used for the first row of stitching in a French seam; it is also used in gathering. THE BACKSTITCH. Paragraph 107. The backstitch, as the name implies, is made by setting the needle back on the right side of the material half the length of the stitch just made on the underside, thus making a continuous line of stitches re- sembling sewing machine work. First sew over and over with a small stitch to fasten the thread. Insert the needle where you be- gan the first stitch and take a stitch forward under the cloth the length of two stitches, bring Figure 8. the needle through and insert it where the first stitch ends, bringing it under the cloth the length of the two stitches again. See Figure «. Repeat, keeping the line straight and the stitches even. Fasten by sewing over the last stitch two or three times. This is a strong stitch which may be used any place where ma- chine stitching Mould be desirable or where particularly strong hand- made seams are required. 311 Figure 9. on the needle. See Figure 9. COMBINATION STITCH. Paragraph 108. This stitch is a combination of the running stitch and the backstitch. To begin it, sew over a small stitch two or three times, then insert the needle as if to sew over again, without removing the needle, take two short running stitches forward, draw the needle through to the right side. Set the needle back at the beginning of the last stitch, bring it through at the end of that stitch and again take two running stitches Continue this process. OVERHANDING. Paragraph 109. Overhanding consists of very small stitches whipped over and over edges of material, not for the mere function of preventing raveling, as is the case with overcasting, but to bind the two edges firmly to- gether. To make this stitch, begin by concealing the knot in a fold ot the material or by sewing over Va" of the thread along the edges of the material. Insert the needle at the back of the edge and bring it through, pointing directly to- ward you. See Figure 10. Insert again at the back about Vs" to the left of the first stitch and ^''-"'•^' J"- bring it through again. Continue this process barely catching the edge of the material each stitch. This stitch will slant across the top edge of the goods, but the needle should be put through straight across. The stitches should be very shallow so the work may be pressed with thumb and finger without leaving a ridge. Finish by sewing over the last stitch two or three times to fasten the thread. Overhanding is used in sewing lace on the edge of material and in fastening two selvage edges together in a seam, or two folded edges as in the bottom of pillow cases; it is also used in making a French hem (Par. 111). 312 OVERHANDING A SEAM. Paragraph 110, A seam may be made by overhanding together two selvage edges or two raw edges turned under. To avoid using a knot which would be difficult to conceal, you may fasten the thread by sewing over the end of it in the first few stitches. A knot may be used in overhanding seams which have the raw edges turned under. This stitch is most commonly worked from right to left although some prefer to work from left to right. Hold the two edges together and overhand as explained in Paragraph 109. The overhand seam is used in sewing any kind of seams where flat smooth work is desired as in the overhand patch (Par. 150) and seams of pillow cases. OVERHANDING A HEM. Paragraph 111. The overhanded hem is made by sewing the folded edges of a hem to the body of the material with the overhand- ing stitch instead of the hemming stitch. To do this fold down the desired width with the raw edge turned under, crease firmly and baste if necessary. Fold the hem back against the right side of the material so the edge of the hem will lie parallel with one thread of the material. Overhand (Par. 109) the parallel threads together. This makes the so-called French hem. This hem is used to finish the ends of towels, table cloths and napkins. OVERHANDING ON LACE. Paragraph 112. In sewing lace to the edge of material, it is overhanded or whipped on to make it lie flat on the edge of the material. To sew on the lace, lay the edge parallel with the edge of the material with the lace to- ward you, and overhand the two edges together. See Figure 11. Full the lace slightly as you sew by pushing it toward the needle with the thumb. Lace is overhanded on the edge of handkerchiefs, underwear, sleeves, or any place where lace is used for trimming. Figure 11. 313 Figure 12. OVERCASTING. Paragraph 113. Overcasting^ is a loose slanting stitch used to i)revent raveling of edges. To make this stitch, trim off the material which is to be over- casted. This stitch is usually worked from left to right al- though some prefer to work from right to left. Tie a knot in the thread, in- sert the needle from the under- neath, about Va" below the edge of the material; bring it through to the right side, insert it again on the under side ahead of the first stitch the same distance as the depth of the stitch; bring the needle through and draw the loop of thread down until it lies smoothly, but loosely, over the edge of the material. See Figure 12. Continue this process. This will make the stitches lie at an angle across the edge of the cloth. The depth and width of the stitches will vary according to the width of the seams being overcasted. HEMMING. Paragraph 114. A hem is formed by folding over an edge of material, usually with the raw edge slightly turned under, and sewing it down securely to form a neat, strong edge. After the hem is folded and basted in position, tie a knot in the thread, insert the needle between the hem and the cloth near the beginning of the hem; bring it out through the edge of the hem. Pointing the needle toward the left shoulder, take up a thread of the material very near the hem, and a short distance ahead of the first stitch; push it through the edge of the hem, making the needle form a V with the thread as shown in the illustra- tion. See Figure 13. The stitches should be slanting, even, and close together. Continue in this same manner repeating the stitches until Figure 13. 314 the hem is sewed in place. Fasten the thread by sewing over the last stitch three or four times. Hemming is so common that there is scarcely a garment or piece of needlework that does not employ some form of the hem in its construction. It is used in handkerchiefs, curtains, draperies, and wearing apparel. HEMSTITCHING. Paragraph 115. Hemstitching is an artistic method of making a hem by drawing a certain number of threads from the body of the material, and catching the remaining threads regularly in the hem- ming procss. To make the single hemstitch first plan the width of the hem, then from the edge of the material measure up twice the width of the hem plus the first turn and draw a thread. Draw four or five more threads toward the body of the cloth. The number of threads to be drawn depends upon the fineness of the material and the width you desire to have the hemstitching. Fold the hem in place, making the edge of the hem exactly even with the first drawn thread; crease firmly and baste with even basting. Tie a knot in the thread, insert the needle in the hem, near one end, so as to conceal the knot, bring the needle out through the edge of the hem. With the thumb of the left hand hold the thread in a loop, set the needle under three or four threads (depending on the size of the threads). Keep the needle over this loop of thread, then take a hemming stitch into the hem, then with the thumb hold the thread in a loop as before and take the same number of threads as before. See Figure 14. Continue until the hem is completed. The stitches should all be even and should all slant in the same direction. Fasten the hemstitching by bringing the needle through to the wrong side, sew over the last stitch two or three times. This stitch is used to finish the hems of napkins, table cloths, handkerchiefs, towels, ruffles on dresses, or, in fact, in any place where a fancy hem is desired. DOUBLE HEMSTITCHING. Paragraph 116. Double hemstitching is very similar to the single Figure 14. 315 Figure 15. I hemstitching except that it repeats the process on the opposite side of the tinj'^ space from which the threads are drawn. To make this stitch, prepare the hem as for the single hemstitch (Par. 115). Hem- stitch across one edge (Par. 115), then turning the material around begin on the other edge of the drawn threads where there is no hem turned and hemstitch across catching up the same groups of threads that you did wlien stitching across the first time. See Fig- ure 15. This may be varied by tak- ing half the threads in one group and catching them in with half the threads in another group. It will thus give a sort of V shaped ap- pearance to the hemstitching. Double hemstitching may be used in any place where single hem- stitching would be appropriate. (See Par. 115.) DAMASK HEMSTITCHING. Paragraph 117. The damask hemstitch is a modification of the ordinary hemstitch, the threads being wrapped to pro- duce an artistic effect. To make this stitch, first plan the hem, draw the desired number of threads, crease and baste the hem just as in single hemstitching (Par. 115). Knot the thread and insert the needle in the lower edge of the hem; bring it out through the edge Figure 16. of the hem. Place the needle under three or four of the drawn threads and sew over and over the threads five or six times or until they are completely covered. Put the needle under the covered threads with three or four more uncovered threads, wrap the thread around them once, drawing it tight so the threads thus wrapped form the bottom of the V. See F'igure 16. Wrap the loose threads completely up to the hem. This will complete the V, Take a hemming stitch (Par. 316 114) between the two bundles of wrapped threads into the edge of the hem. Bind the threads wrapped last, and the next three or four un- wrapped threads together and continue across the hem. The damask hemstitch is used to finish edges of table linens. ROLLED HEM. Paragraph 118. The rolled hem is a very small round hem. As the name suggests, it is rolled rather than folded on the edge of the material. To make a rolled hem, hold the edge of the material between the thumb and forefinger of the left hand, and with a twisting motion roll under the edge of the material until you have a small hard roll. Knot the thread and insert the needle under the roll, to conceal the knot. Insert it again at the front about 1/16" ahead of the other stitch, thus wrapping the thread over the roll, very much like overcasting. Continue the sewing as you roll, thus making a rounded edge. See Figure 17. It requires care and some practice to keep it even. After the hem is rolled, lace is usually overhanded on the edge. Some prefer to sew the lace on as they roll the hem; this saves time but does not make the work look quite so neat. Fasten the thread by taking two or three small stitches over one another on the wrong side. The rolled hem is used on handkerchiefs, baby dresses or fine waists, in hemming the top of dainty lingerie, or in fact, any place where a very dainty hem is desired. Figure 17. FRENCH HEM. Paragraph 119. The French hem is the same as the overhanded hem discussed in Paragraph 111. CATCH STITCHING OR HERRINGBONE. Paragraph 120. Catch stitching consists of short, even stitche* alternately taken in Uxo parallel lines. (This can best be seen by examining the underside of the material after a few stitches are completed.) In crossing over from one line to the other the thread 317 Figure 18. falls on the right side of the cloth so as to form the crosses or herringbone effect at the ends of the stitches as shown in the illustration. See Fig- ure 18. By studying the illustration carefully you will see that the amount of cloth picked up on the needle each time to form a stitch is just equal to the distance between stitches on the other line. Watch this carefully; also keep the lines of stitches exactly the same distance apart so the work will be even. The manner of turning a corner is shown in Figure U). This stitch may be worke i from you, or from left to right ; this is unimportant, but ob- serve carefully that the stitches are always so taken that the needle points back over the finished stitches. Catch stitching is used in a decorative way for finishing Hannel seams, flannel patches and infants' garments. It is also employed in fancy needle- ^'O^^^- Figure 19. SINGLE FEATHERSTITCHING. Paragraph 121. Single featherstitching consists of a series of even slanting (or bias) stitches so taken alternately on right and left sides of a central line as to form an ornamental row or border. NOTE: Your first effort at featherstitching should be on the edge of a hem, a seam, or a well marked thread in the material which will serve as a central line for your stitches. After some practice you will be able to follow an imaginary line. To make this stitch, first conceal the knot by bringing the needle through from the under side of the material slightly to one side of the central line. With the thumb of the left hand, hold the 318 thread down in front of the needle and take a slanting stitch on the opposite side of the line. Make the needle point toward the central line (See Figure 20) slanting at the true bias (45°). Hold the thread down in front of the needle as before and on the other side of the central line, and slightly ahead take a similar slanting stitch. Continue the above pro- cess using great care to make all stitches the same size and slant. This featherstitch is used considerably for decorative purposes on infants' garments, wraps and blankets. It is also employed in a great many ways in artistic needlework. Figure 20. DOUBLE FEATHERSTITCH. Parasraph 122. The double featherstitch is started in the same manner as the single featherstitch (Paragraph 121) except that instead of crossing to the opposite side of the cen- tral line after completing one stitch, two parallel stitches, ex- actly the same length, are taken on each side of the cen- tral line before crossing. Study the position of the needle shown in Figure 21. Note that one of the small '^"'^^ stitches has been completed just as in the single featherstitch, and that the needle is inserted and the thread is lying in the loop un- 319 Figure 22. tier the point of the needle for the second stitch. When this stitch is finished, the next stitch will be taken as shown in Figure 22; it will be followed by a second stitch parallel to it, completing the two on that side. Continue the process. Double featherstitching may be used anj'^where that single featherstitching would be ap- propriate. TREBLE FEATHERSTITCHING. Paragraph 123. Treble featherstitching, as the name suggests, consists of three stitches arranged in featherstitching. It is started in the same manner as the single featherstitching (Paragraph 121) a sec- ond stitch is added making it a double featherstitch (Paragraph 122), a third even parallel stitch is added which completes the treble feath- erstitch as shown in the upper portion of Figures 21 and 22. Treble featherstitching is used very much the same as single or double featherstitching. CROSS-STITCH. Paragraph 124. The cross- stitch, as the name indicates, is so made that the threads lie in the form of a cross; it may be slightly modified to suit the par- ticular style of design on which it is applied. The instructions in this paragraph present the method of making the simple cross-stitch in a straight line. Usually the design for cross- stitching is stamped on the ma- terial in small squares, parallel lines, or dots. Sometimes regu- lar cross-stitch canvas is used. Figure 23. It will be observed from the illustration (See Figures 23 and 24) that 320 Figure 24. 'cacli stitch outlines the diagonal of a tiny square. These squares may be gauged by counting the threads or merely by sight. To make this stitch, tie a knot in the thread, bring the needle up through from the under side of the cloth at a point representing the forward upper corner of an imaginary square. Insert the needle again at a point representing the farther lower corner of the same square bringing the needle out at the farther upper corner of the same square. See Figure 23. This stitch when drawn down will form the first diagonal, and will bring the thread in position to start the second one; insert the needle at the forward lower corner of the square and taking a bias stitch on the under side bring it out at the forward upper corner of the next square as shown in Figure 24. When drawn down this will form the second diagonal, thus completing the cross-stitch in the first square. Study the illustrations carefully and continue the process. It will require careful work to make these stitches perfectly even for each time the stitch is made the outline of the little square must be clearly imaged. After completing one line of stitches, additional lines may be added until the design is completely worked out. Fasten the thread by taking two or three stitches over one another on the wrong side. The cross-stitch is used for ornamental purposes. Sometimes different colors are combined and the work is varied to suit different designs. OUTLINE ETCHING STITCH. Paragraph 125. The outline etching stitch is worked on a line; it has the appearance of running stitches with their ends slightly overlapping somewhat like backstitching. To make the stitch, tie a knot in the thread and bring the needle through from the under side to conceal the knot. Set the needle forward the length desired for the stitch (usually from %" to 3/16") and bring the point up through the material (with the needle point- 321 ing back toward the stitch just made) about one-third the length of the last stitch. See Figure 25, (The upper portion of this figure shows the appear- ance of the stitch very much enlarged; from this view you may see just how it is made.) Again set the needle forward, making a stitch of the same length as the first one and bring the point back through as be- fore. Continue until finished. Fasten the thread on the wrong side by sewing over and ^"'^"'' ^^- over the last stitch. This stitch is used to pad the satin stitch in embroidery work, to outline the stems and leaves of designs in embroidery, also for general outlining of figures in art needlework. THE CHAIN STITCH. Paragraph 126. The chain stitch is rather simple consisting of continuous loops which give the finished line of stitches the appear- ance of a chain. To make this stitch, tie a knot in the thread, bring the needle through from the under side of the cloth so as to conceal the knot. With the thumb of the left hand hold the thread in a loop, take a small stitch forward allowing the needle to come out over the thread as shown in Figure 26. Pull the needle through draw- ing the thread just tight enough to form a neat "link." For the next stitch, hold the loop of thread down as before and starting the point of the needle just inside the last "link" (just where the thread comes out), take another forward stitch (over the loop) thus forming the next link. Continue this process making all the stitches exactly the same length and drawing them equally so as to form an even chain. The chain stitch is used for simple decoration. Figure 26. 322 SEED STITCH. Paragraph 127. The seed stitch is a very simple ornamental stitch consisting of small backstitches (Par. 107). To make the stitch, the knot is tied and left on the under side, or two or three stitches may be taken over each other to fasten the thread, then make the first row of backstitches, with small spaces between them, follow the outline of the design; the second row of stitches should be so placed that they alternate with the stitches in the first row. See Figure 27, The thread is fastened at the end with two or three small stitches. The seed stitch is often used as a substitute for French knots (Par. 130) and for filling in the centers of leaves and other designs in embroidery work. Figure 27. BLANKET STITCH, LOOP STITCH OR SINGLE BUTTONHOLE STITCH. Paragraph 128. The blanket stitch consists of even parallel stitches on the edge of material so looped as to cause a continu- ous line of thread to lie along the extreme edge of the goods. To do this, fasten the thread by inserting the needle about V4" from the edge of the material, and taking two or three running stitches to the edge, insert the needle again where the first stitch was taken and bring it out under the edge of the cloth over the loop of thread as shown in Hgure 28; this will cause the first blanket stitch to fall so as to hide the running stitches first taken. About V4" to the right, insert the needle in the cloth again making it exactly even Figure 28. 323 Figure 29. with the first stitch; bring it through under the edge of the material over the loop of thread as in the first stitch. Repeat until the edge is completely blanket stitched. In turning the corners take three stitches in one hole, making the stitches Hare around the corner. In finishing the stitch fasten the thread by taking two or three running stitches under the last vertical stitch, as in Figure 29. A new thread may be started in just the same way that the beginning thread was started except that the running stitches are taken under the last blanket stitch made, so it is not necessary to make another stitch over them. These stitches may be worked close together and used in making a scalloped or embroidered edge. They may be varied in width by making one long stitch with one shorter stitch on each side of it or by following the curves of the scallops. The blanket stitch is used to finish raw edges. It is particularly desirable for finishing the edges of white flannel jackets and capes for infants. Worked with yarn, it is used to finish the edge of com- forters. It is sometimes used in working buttonholes, but since it does not make as strong an edge as the regular buttonhole stitch it is not desirable. THE COUCHING STITCH. Paragraph 129. The couching stitch is made by sewing a heavy cord neatly in place on the lines of a design; the design should be drawn on the material before the couching work is begun. The cord usually consists of several strands of floss twisted together. To make the couching stitch, tie a knot in the thread, insert the needle from the under side of the cloth so as to conceal the knot. With the thumb and finger of the left hand hold the cord in place and bring the needle through to the right side of the cloth very close to and above the cord. See Figure 30. Figure 30. 324 Set the needle forward slightly, insert the point just under the cora. and take a slanting stitch, about 1/4" long into the material; this will cause the stitch to surround the cord and hold it in place. These stitches should be evenly taken so as to form part of the decoration. Again bring the needle through just over the cord and continue until the cord is completely sewed in place. Fasten the thread on the wrong side by taking three or four small stitches over one another so that they will not show on the right side. This stitch is used in sewing braiding or the rope floss on sofa pillows and tablecovers or for other purposes for which this sort of decoration would be suitable. Figure 31. MAKING FRENCH KNOTS. Paragraph 130, The French knots consist of artistic knots or bunches of thread arranged on the surface of material for decorative purposes. To make the French knot, tie a knot in the thread and bring the needle through from the under side of the cloth, hold the needle horizontally with the thumb and forefinger of the right hand and with the left hand wrap the thread nearest the cloth around the needle two or three times according to the fineness of the thread and the size of the knot desired. See Figure 31. Hold the thread in place on the needle while you insert the point of the needle in the cloth again, very close to the place where it came through, still holding the thread tight, see Figure 32. Push the needle through the cloth to the wrong side and draw the thread through until it fastens the bundle of loops onto the cloth in a knot form. Set the needle forward under the cloth to the place Figure 32. 325 Figure 33. desired for the next knot and repeat. When all the stitches are fin- ished bring the needle to the under side of the cloth and sew over the last stitch three or four times to fasten the thread. THE SATIN STITCH. Paragraph 131. The satin stitch consists of over and over stitches taken very close together so the threads will lie one against the other. When the satin stitch is to be made with fine thread the design is usually padded, that is, the in- side portion or ground work of the design is filled with rows of running, etching or chain stitches, to give a rounded ap- pearance to the finished work. The beauty of the work de- pends much upon the evenness and closeness of the stitches. Before undertaking to make this stitch study carefully Fig- ure 33, which shows the top leaf in the design completed, one simply outlined, and the next one two-thirds padded and partially satin stitched. To make this stitch, fasten the thread by taking two or three running stitches under the padding on the wrong side, then bring the needle through to the right side of the material on the line at the left-hand side of the bot- tom of the design. Insert the needle on the opposite side of the design bringing it through on the line very close to where the first stitch came through; allow the thread to fall smoothly over the design; see Figure 33. Repeat, simply sewing over and over keeping the stitches very close together. It will be necessary occasionally to take the thumb of the left hand and smooth the stitches. The beauty of this stitch lies in its satiny appearance when completed. This stitch is used for embroidery work. Made with fine thread it is called French Embroidery, and is used on dainty waists, lingerie and baby garments. Made with coarser thread, it is used in a great variety of designs, to decorate sofa cushions, table runners, heavy dress materials and any material which is embroidered with coarse thread. LAZY DAISY STITCH. Paragraph 132. The lazy daisy stitch is simply a loop of thread fastened with a running stitch at the top. It is worked over a design. To make this stitch fasten the thread by taking two or three tiny 326 / Figure 34. stitches one over the other on the under side of the material and bring the needle through at the center of the design. Insert the needle again very close to the point where the thread just came out, thus forming a loop of thread on the right side of the material ; draw this loop down until it is just long enough to cover the ellipse or design marked on the cloth. Without pulling the loop any closer, bring the needle up through the cloth at the outside edge of the design. Allow the needle to pass through the loop previously made, and draw the thread down carefully to fit the design; fasten this loop in place as shown in Fig- ure 34, by inserting the needle again just outside of the top of the loop thus making a short running stitch over the loop. Bring the needle up again at the center of the design, and repeat until all the loops have been worked. Fasten the thread on the under side by taking two or three stitches over and over. The center of the design is usually filled with French knots (Par. 130) or with the seed stitch (Par. 127). The lazy daisy stitch is used in fancy work. It is an attractive stitch as it is generally worked in colors; it is used principally in making leaves or the petals of llowers like the daisy. SEWING ON HOOKS. Paragraph 133. In sewing on hooks and eyes, the hooks are usually sewed on first. Place the hook in the position de- sired, setting it back from the edge of the hem at least Vs". Knot the thread and insert the needle about ^2" from the hook; bring the needle through between the two thicknesses of cloth and bring it up inside of one of the eyelets of the hook; sew over and over this eyelet until it is well filled with Figure 35. stitches; fill the opposite eyelet in the same manner. See F'igure 35. Slip the needle between the two 327 thicknesses of the material to the end of the hook and sew over and over, under the curve of the hook until it is securely fastened. Insert the needle in the material near the hook and bring it out between the two thicknesses of the cloth about ^2 " distant. This leaves about ¥2" of thread in the cloth which will be sufficient fastening for the stitches. A neater and firmer, but more difficult way of fastening on hooks and eyes is to buttonhole around the eyelets as shown in Figure 36. Figure 36. SEWING ON EYES. There are two kinds of eyes that may be used with the hooks, one curved and the other straight. The curved hook is used on fitted dress linings and should be sewed on as in Fig- ure 36, letting the eye extend beyond the hem the same dis- tance that the hook has been set in from the edge of the op- posite side. Sew around the wire loops in the eye just as you did the hook. Sew over and over the loops of the eye on each side to hold it firmly in place. Fasten the thread at the beginning and end the same as in sewing on the hook. To sew on a straight eye, place it in the proper position opposite the hook as in Figure 35. Sew around the loops with the same kind of stitch used in sewing on hooks. SEWING ON SNAPS. Place the smaller part of the snap on the upper edge of the hem being careful that the little projection in the snap is placed out. Sew over and over the outer rim in the small holes made for this purpose. In sew- ing on the under part of the snap, be careful to set it so as to receive the other portion of the snap correctly. A good way to insure its being exactly right is to keep the snap together un- til you are ready to sew it on, ^R^^^ m^ ^^K- '*^'% I ft /^'I'^H ^^■^"-'T^' ^ '^^^^^1 Figure 37. 328 unsnap it to sew on the upper part. See Figure 37. Snap it again, hold the material in the position which it will take when the snaps are closed; unsnap it without removing it and sew it securely in place. Hooks and eyes are used any place in a garment where an open- ing is to be kept invisibly closed. The hooks and eyes used on skirt bands should be large; those used on thin dress materials should be small. They should harmonize in color with the material used, that is, the white ones should be used on light material and black ones on dark material. Snaps are also used on plackets and on any openings in a garment where there is little strain. FORMING A LOOP. Paragraph 134. A loop to serve the same purpose as a steel eye may be formed of thread. It should be made in the exact place where you would sew on a steel eye to receive the hook. Tie a knot in the thread, insert the needle on the upper side of the cloth about Vz" from the place where you are to form the loop. (When the loop is com- pleted cut off the knot.) Bring the needle up through the cloth and take about four or five stitches over one another (the number of stitches may be varied according to the size of the thread), make them the same length that you desire the loop; this will depend on the size of the hook. As these loose threads would not make a very satisfactory loop to receive the hook, they must be securely bound together or "worked" as it is usually called. To work the loop begin at the left-hand end of the loop of threads and fill them with blanket or loop stitches (Par. 128). As the point of the needle would be likely to catch in the cloth, you may use a blunt one, or turn it so the eye will pass under the loop first, as shown in Figure 38. To fasten the thread, bring the needle through to the wrong side of the cloth at the end of the loop, and take two or three stitches over one Figure 38. ,, another. The loop is used as a substitute for the steel eye on lace yokes, plackets or other openings in sheer cotton materials, also for silks or even woolen garments where the steel eye is likely to show. It 329 Figure 39. should be made with thread to match the color of the material on which it is worked. SEWING ON BUTTONS. Paragraph 135. Fasten the thread by taking two or three small stitches on the under side of the material or, if a knot is used, insert the needle about ^o" away and running it between the thicknesses of cloth bring it up at the place where the button is to be sewed. A button should have a shank of thread under it to raise it from the goods. Such a shank may be made by slipping a pin under the threads and sewing over it in the manner shown in No. 3, Figure 39. If the button has only two holes as shown in No. 1, Figure 39, bring the needle up through one of them and down through the opposite one, then slipping a pin under the thread continue in the same manner until the holes are filled with thread. If the button has four holes, bring the needle up through one of them, down through the second, up through the third and down through the fourth, slip the pin under the threads as in No. 3, Figure 39, and continue in the same manner until the holes are filled. (Sometimes the stitch is crossed by sewing diagonally from the first to the third hole and from the second to the fourth, but this method is not usually considered as neat as the method shown in No. 2, Figure 39.) When the button is securely fastened, remove the pin and wrap the thread several times around the loose threads under the button. Fasten the thread by running the needle through to the wrong side and making two or three small stitches, one over the other. Nos. 1 and 2, P'igure 39, show a two-holed and four^holed button completely sewed on. A button with a cotton shank is sewed on by sewing through the shank then through one or two thicknesses of the material, without sewing entirely through the garment. In sewing buttons on tailored garments the thread is not carried entirely through the material. On heavy material where the buttons are to have hard wear, they should be sewed on with coarse thread. The thread is sometimes waxed to make it stronger and to make it lie in the button smoothly. Shoe buttons are often fastened on with steel fasteners, but some- 330 times it is necessary to sew them on at home; extra heavy linen thread should be used making an over and over stitch as shown in No. 4, Figure 39. MAKING BUTTONHOLES. Paragraph 136. A buttonhole is a slit made in at least two thick- nesses of material finished with the buttonhole stitch, to receive a button. The hems of thin material are sometimes interlined to give them more body before working buttonholes in them. The two thick- nesses of heavy material are often basted together and two parallel rows of machine stitching or running stitches are made around the place where the buttonhole is to be. The buttonhole is cut inside the stitching. Lace may be strengthened by basting a piece of lawn under the place where the buttonhole is to be and trimming it off close to the buttonhole after it is worked. Dried glue if moistened and rubbed on both sides of wiry material in the place designed for the button- hole and allowed to dry again will enable one to cut and make a much neater buttonhole on this sort of material. Placing the Buttonhole. Buttonholes are usually placed about Vi" from the edge of th& material, the distance apart depending upon the strain, the kind of buttons used, and the prevailing style. Where there is much strain on them they should be cut at right angles to the edge of the material,, but they may be cut parallel with the edge in the pleat of a tailored shirt waist or the placket of a sleeve, or any place where there is little strain. The buttonholes are generally placed on the right-hand side of the opening in ladies' garments. There are two kinds of buttonholes, the light buttonhole (used in light weight material) and the heavy buttonhole (used in heavier material like coats and suits, and on the bands of children's garments, or where there is likely to be considerable strain). The light button- hole is simply overcast and worked with the purling or buttonhole stitch. The heavy buttonhole is stranded, overcast and worked with the buttonhole stitch. Directions are given here for the heavy button- hole only, because the steps in the light buttonhole are the same omitting the stranding. In making the buttonhole the first thing to consider is cutting it. It may be cut with buttonhole scissors, or with ordinary scissors. A buttonhole should be cut on a thread of the cloth to avoid raveling and unevenness on the edge. Accurate measurements should be made before cutting each buttonhole, to make sure they are all equally distant from the edge. The buttonhole should be cut large enough 331 to receive the button for which it is intended. By cutting one button- hole at a time, and working it before cutting another, raveling of the raw edges may be avoided. To Cut a Buttonhole With Buttonhole Scissors. Set the buttonhole scissors and make a trial cut on a separate piece of material; test it with one of the buttons which you intend to use, reset the scissors if necessary. When the scissors are properly set, cut a buttonhole carefully on the thread; keep the buttonhole scissors set in the same position until all the other buttonholes are cut. To Cut a Buttonhole With Ordinary Scissors. When the buttonhole is to be placed across a hem, measure the diameter of the button and, using a pin to mark the front end, place a second pin to indicate where the back end of the buttonhole should be, then fold the hem lengthwise and cut a small slit (crosswise) in which to insert the point of the scissors; open the hem and cut on the thread first to one pin, then to the other. When the button- hole is to be placed vertically on the hem, mark the ends with a pin, fold the hem crosswise and cut to the pins as already explained. Figure 40. 332 Stranding the Buttonhole. Buttonholes are stranded by taking two long running stitches over each other as close to the edge as possible (beginning at the back end and lower edge); two short backstitches should be taken at each end of the buttonhole as in No. 1, Figure 40. As the stranding process adds considerable difTiculty it is often omitted. Overcasting the Buttonhole. After stranding the buttonhole, begin at the lower edge of the back end and overcast the edges, making very shallow stitches (about three threads deep, just covering the strands) about V^" apart. See No. 2, Figure 40. When the buttonhole is overcasted you are then ready to finish it with the regular buttonhole stitch. You should con- tinue this work without breaking the thread used in overcasting. To Work the Buttonhole. Figure 41. Figure 42. To make this stitch, hold the raw edge of the buttonhole over the forefinger of the left hand, insert the point of the needle through the buttonhole (at the back end) bringing the point through toward you four or five threads below the edge of the buttonhole. From right to left bring the doubled thread from the eye of the needle around the point of the needle as shown in Figure 41 ; draw the needle through, forming a purling stitch on the edge of the buttonhole as shown in Figure 42. Working from right to left, take the next stitch in the same manner, making it the same depth and very close to the first stitch. Continue across the buttonhole. When you come to the front end of the buttonhole, it may be fanned by Haring the stitches as 333 shown in No. 3, Figure 40, taking about seven stitches to form the fan (if desired a barred or straight end may be made as shown in No. 4, Figure 40); continue the work on the other edge. The back end may be either barred or fanned like the front end. Fasten the thread by slipping the needle through the first purling stitch, carrying it under two or three buttonhole stitches. When working the button- hole it is difficult to introduce a new thread, so care should be taken to have the thread long enough (about 27") to work the entire button- hole. However, if the thread breaks or is too short, fasten the new thread as in beginning to work a buttonhole, bring the needle up through the last purling stitch and continue to work the buttonhole. To Bar the End of a Buttonhole. The back end of a buttonhole is often finished with a bar as shown in No. 5, Figure 40. To do this, when you have finished working the second edge of the buttonhole, slip the needle through the first purling stitch, drawing it up close to the last stitch, then slipping the needle under the edge of the buttonhole, bring it out close to the bottom of the first stitch. Insert it at the bottom of the last stitch and sew over the end of the buttonhole three or four times. Work over these threads (with the buttonhole or loop stitch), catch- ing the needle in the material and turning the purl toward the but- tonhole. Fasten the thread with two or three running stitches on the wrong side. The buttonhole with the bar at each end is frequently used in vertical buttonholes. They are sometimes finished with a fan at each end as shown in No. 6, Figure 40. No. 7 shows a heavy button- hole. FRENCH SEAM. Paragraph 137. A French seam is one very commonly used, in which the raw edges are sewed together and turned inside the final sewing. Baste together with a %" seam using even basting (Par. 103), sew about i/s" to 14" outside of the bastings so as to allow for the second seam. Trim off the extra material, as in No. 1, Figure 43, to within 1/16 " or Vs" of the stitching (this depends on the fineness of the material and the width of the seam desired). Press the material flat along the line of stitching, turn it wrong side out and carefully press a new seam, thus turning in the raw edges (the material will then be folded over as shown in No. 2, Figure 43), baste with even basting (Par. 334 1 i ml ^^^^^^^^H ■■■J" "" Figure 43. 103) and stitch from y%" to Vk" from the edge; or if the seam is made by hand, sew it together with the combination stitch (Par. 108). This seam is used to join the seams of underskirts, princess slips, night gowns, shirt waists, lingerie waists and light weight wash dresses. THE FELLED SEAM (HEMMED). Paragraph 138. The felled seam is a very tlat seam made by turning in and hemming, or stitching flat, one overlapping edge of a seam. It is made as follows: Baste and stitch the material with the machine, or sew with the combination stitch, on the wrong side; trim off the raw edges to the width desired, from 3/16 " on fine under- wear, to %" on tailored skirts. Trim one edge of the seam to within about Vs " of the stitching; with its raw edge slightly turned under, turn the wider edge over toward the trimmed edge. Baste neatly in place, being careful that the seam lies perfectly flat. See No. 1, Figure 44. Sew in place with fine hemming stitches (Par. 114). The Stitched Fell. This seam is made the same as the hemmed fell except that the second edge is stitched as shown in No. 2, Figure 44, instead of being hemmed in place; it is sometimes made on the right side of a garment. 335 Figure 44. The felled seam is used any place where a flat seam is desired. It is particularly desirable in under garments, like drawers and combination suits. Any garment which is worn next to the skin should be finished with this seam. Paragraph 139. LAPPED The lapped Figure 45. SEAM. seam is a very strong smooth seam which lies perfectly flat. Its strength is due to the fact that it is sewed with two rows of stitching. It is made on the right side of the garment. To make this seam, turn up the edge of one piece of the ma- terial about Vs" and turn down about Ys" on the edge of the piece to which it is to be joined. Lap the two seams Vi" to Vo", as desired, baste them together down the center. If they are fitted, it will be necessary to turn in the edges according to the line marked in fitting. Stitch on the right side, as in Figure 45, stitching close to the 336 edge ol Ihe material placed on top. Stitch as near the edge of the other as you can from the right side, but be careful to keep the two rows of stitching parallel, even though the second row^ does not stitch the edge of the under lap as evenly as it does the upper one. This seam is used principally in finishing the seams of tailored garments. OVERCAST SEAM. Figure 46. Paragraph 140. The overcast seam consists of an ordinary seam with the raw edges overcast to prevent raveling. To make this seam baste (Par. 103) and sew^ two edges of the cloth in a seam, on the wrong side, the width desired. Press open the raw edges and overcast each edge separately as in No. 1, Figure 46, or leave the two edges together and overcast both at the same time, as in No. 2. This seam is used on heavy linen, wool, and silk materials where it is desirable to have the seam show as little as possible. GATHERING. Paragraph 141. Gathering is a very common process in sewing. It consists of running stitches drawn through the material tightly enough to produce a fullness which may be evenly divided when it is sewed on another piece of material. Gathers are generally placed V4" to V2" from the edge of the material. Fasten the thread by sewing over a short stitch two or three times. Fill the needle with 337 running stitches; when the needle is filled with stitches do not remove it from the cloth, but as you take up more stitches, push the extra ones off the back of the needle onto the thread, as in Hgure 47, con- tinuing until the cloth is gath- ered. To fasten the gathers until you are ready to sew them on another piece of material, put a pin across the stitches, vertically, and wrap the re- maining thread around the pin a number of times to keep the gathers from slipping off the thread. Stroking the gathers (as our grandmothers did) makes them lie in small pleats. This method is not used as much now as formerly. However, practically the same results can be obtained if you draw the gathers up tight on the thread, wTap the thread around a pin to hold the gathers in place, then (with the thumb and forefinger of the left hand holding the cloth above the gathers) hold the cloth below the gathers with the right hand and pull the gathers out straight and pinch them tightly with the left hand. When you are ready to sew them to another piece of material loosen the gathers until they fit the place for which they are intended. Figure 47. GATHERING ON TWO THREADS. Make the first row of running stitches just as stated above, without drawing up the gath- ers. Make a second row of run- ning stitches about i/4" below, with each stitch directly under the stitch in the first row. Draw the two threads and adjust the gathers, as desired. See Figure 48. The two rows of stitches will hold the cloth in little pleats without stroking or pinching. Gathering may be used any place where one piece of a garment is to be set on another piece with Figure 48. 338 dullness, as in setting a full skirt on a band, ruffles on dresses or underwear, or fulling the top of a sleeve into an arm hole. Figure 49. SETTING GATHERS ON A BAND. Paragraph 142. After care has been taken to give the gathers an even pleated effect, they should be sewed carefully to the band, or to whatever part of the garment they are to be attached. Before drawing up the gathers the ma- terial should be di\ided into halves or fourths, according to the length of the strip which is to be gathered. If there are to be comparatively few gathers, divide the material in halves. If there is to be a long strip of gathers, divide the material into fourths and mark each di- vision with a pin set in ver- tically. Then divide the band or edge of the garment to which the gathers are to be sewed into the same number of divis- ions. Pin the materials together where they are divided. Gather the material in each division on a thread, adjust the gathers and fasten the extra thread around a pin and baste the gathers carefully on that division with very small stitches. See Figure 49. Continue until «ach division is gathered, then stitch the gathers on to the material with a sewing machine, or with the combination stitch, being careful 1o sew on the line of gathering. Very satisfactory gathering may he done on the machine. You should study the method of using the attachments for the particular kind of machine which you have at Tiome. CUTTING BIAS STRIPS. Paragraph 143. There are two kinds of bias strips, true bias and untrue bias. A true bias is cut at an exact angle of 45 degrees by folding the warp threads of the material over on the woof threads and cutting on the diagonal formed. An untrue bias may be cut at .any angle smaller or greater than the perfect diagonal. Bias strips are sometimes cut by folding the material in such a way as to cut through several thicknesses at a time; this method is rapid, but not so accurate as the method just given. 339 Bias strips are used to face curves, to bind seams, to finish the raw edges of embroidery ruffles, in place of embroidery insertion, to finish embroidery beading on the edges of corset covers, as piping for dress trimming and in a variety of other ways. JOINING BIAS STRIPS. Figure 50. Paragraph 144. Be sure the ends to be joined are cut on the bias; lay these ends together so the threads will run parallel (the strip will thus form a V shape), allowing the points to extend over each edge as shown in No. 1, Figure 50. Stitch together being careful to do it just as shown in the illustration. Straighten the strip, and press the seam open as shown in No. 2; trim off the points even with the edges thus forming a straight continuous strip as shown in No. 3, Figure 50, SQUARING A CORNER. Paragraph 145. Where the hems on the corners of adjoining edges cross, the neatness of the work may be improved by cutting away some of the extra thicknesses. This may be done by squaring the corners so as to leave the ends of the hems square. To do this, after the hems are folded, crease the hems at one corner sharply as shown in No. 1, Figure 51, and with a pin mark the place on the under hem where the edge of the upper hem folds over it. Unfold the upper hem and cut out an oblong piece from the under hem about V4" 340 _. ^^|_ 1 f f\ ,- I 4 1 '■—« 3 1 Figure 51. from the edge, as in No. 2. Fold the hem in place again, as in No. 'S, and finish with hemming (Par. 114) or hemstitching (Par. 115) as desired. MITERING A CORNER. Paragraph 146. Where two hems overlap at a corner, it is often desirable to remove some of the extra thicknesses of material. Figure 52. 341 This may be done by mitering the corner. To do this, lay the hem the width desired, fold and crease in place. The corner will form a square, as in No. 1, Figure 52. Keeping the hems creased, lift the corner of the material and pull it up until it forms a V, as in No. 2, Figure 52; crease sharply on the diagonal lines thus formed. Cut this piece off slightly above the crease (allowing Vs " above crease for turning under the raw edges) so the ends of the seams will meet at an angle of 45 degrees, thus forming a perfect mitered corner. Turn under the raw edge of the upper hem and fold it over the other one, making it form a perfect diagonal across the corner, as in No. 'S, Figure 52. Baste in place with even basting (Par. 103) and hem neatly (Par. 114). MITERING A CORNER OF LACE. Figure 53. Paragraph 147. In sewing on lace around a corner it is necessary either to gather the lace on the inside edge sufficiently to keep it from drawing on the outer edge, or to remove this fullness by miter- ing. Lace may be mitered at almost any angle, but since the methods are so similar, directions are given here only for a square corner. To do this, draw one edge of the lace together until a square corner is formed on the oposite edge, leaving a triangular piece extending the same as in mitering a corner of material explained in Paragraph 146. When this triangular piece is cut off', the edge of the lace will form a perfect miter, or an angle of 45 degrees. Before cutting off 342 this triangular or V shaped piece, baste the lace together along the diagonal line running along one edge of the V to the corner; trim the lace to within 1/16" of the basting and buttonhole (Par. 136) the edges together on the wrong side, as shown in Figure 53. Another very satisfactory way to do this is to buttonhole along the line of basting threads on the wrong side and trim off the lace close to the buttonhole stitches. This method makes a narrower seam than the first. Lace may be mitered any place where it is sewed around a corner, as in handkerchiefs, collars, square table covers or dresser scarfs. The fullness in the edge of the lace in lace yokes is often removed by mitering. JOINING LACE. Paragraph 148. It is often necessary to splice a piece of lace. An ordinary seam would show^ plainly and mar the appearance of the work. Lace may be spliced so the joining will show but very little. To do this, place the ends to be joined so the pattern exactly matches; on the wrong side, buttonhole from one edge of the lace to the other on a diagonal thread. If necessary follow the pattern of the lace wath the buttonhole stitch. Trim very close to the buttonhole stitches on both the right and the wrong sides. HEMMED OR SET-ON PATCH. Paragraph 149. A hemmed, or set-on, patch consists of a piece of material (with the raw edges turned under on all sides) sewed over a hole in another piece of material. Before beginning to mend the hole, trim away all the worn material around it, preferably along the warp and woof threads of the material. If the material is un- figured it is sometimes desirable to make the patch circular (as in a corset cover) or triangular if the hole is three-cornered. If the hole is longer than it is wide the patch should be made oblong; a three- cornered tear on figured material can be mended more neatly with a square patch than with a triangular one as it is usually difficult to match figures along a diagonal. To make a patch show as little as possible, it is necessary to match the figures in it very carefully with the figures in the garment. If possible, select for the patch a piece of material that has been worn as much as the garment, because a new patch set into a worn garment shows plainly. A new piece of material may be washed and hung in the sun to fade if there are no worn pieces on hand. 343 Figure 54. and turn back the edges about ^A " all the way round (turning the material on the thread). Be sure that no raw edges are left at any of the corners. Place the right side of the patch on the under side of the opening, see- ing that the figures in the patch exactly match the figures in the material. Pin the edges of the opening to the patch in several places, baste carefully with even basting (Par. 103) and Figure 54 shows a hole torrr in a piece of cloth as it might be snagged in a garment; Fig- ure 55 shows the torn portion cut away to a strong place in the material. The opening in this case is cut about square; Figure 56 shows the completed patch in which you will notice the checks in the patch exactly match the checks in the material. To set-on such a patch, first cut away the frayed edges, then make a small diagonal cut into each corner of the open square Figure 56. Figure 55. sew with fine hemming stitches ( Par. 114), (A patch on a kitch- en apron or a garment that re- ceives a great deal qf hard wear might be stitched along this edge with the sewing machine.) To finish the wrong side of the patch (as the outline of the edges will show on the right side, trim them evenly), turn under the raw edges on a thread all the way around: baste in position; hem neatly in place. Remove the bastings and press the patch. 344 OVERHAND OR SET-IN PATCH. Paragraph 150. The over- hand, or set-in, patch consists of a piece of material (with its raw edges folded back on all sides) set into another piece of material. To make this patch, cut away all of the worn material, pre- ferably along the warp and woof threads, leaving an ob- long or square opening. Select a piece of material for the patch as nearly as possible like the garment to be patched. Match the design carefully, laying the patch on the wrong side of the ^^^1 ■ I ■ 1 1 ■ <« f ■ r <> « ■r * 1 « ■^ «< * *• ■ 1 ')t ■«* * t «, 1 ■ - ■r <■ 1 ^■^■^ ■ Figure 58. of the opening together with very shallow stitches as in Fig- ure 57; sew well into the cor- ner, then turning the material half way round, fold the second edge of the patch to match the figure along the second edge of the opening and overhand along this edge as you did the iirst. Continue folding the patch and overhanding the edges together until all four sides of the opening have been overhanded to the patch, as in Figure 58. Figure 57. material with the right side turned toward the right side of the material. Make small diag- onal cuts in the corners of the hole and turn the edges back on a thread about i/4" all around the opening. Turn back the ma- terial along one edge of tht patch (follow a thread if pos- sible), where the design exactly matches the design in the torn place. Beginning a little way from one corner, overhand the edge of the patch and the edge Figure 59. 345 The patch may be overhanded on the wrong side, but this method makes it much harder to match the figures. The under side of the patch should be finished neatly. To do this trim the under edges of the material until they are ex- wide. Overcast all the edges with neat overcasting stitches (Par. 113). See Figure 59. This patch is not as strong and serviceable as a set-on patch, for it is joined to the opening with only one seam and the corners are held merely by a single thread. It may be used very satisfactorily, how- ever, on thin goods like lawn, organdie, dimity or other very light materials in garments which are laundered only oc- casionally. THE WOOLEN PATCH. Paragraph 151. The material with the hole in it, as shown in No. 1, Figure 60, is a part of a boy's pocket which had worn through because of the load of marbles carried in it. The patch used to mend it is made the same as the hemmed patch pre- viously described, except that the wrong side is catch stitched (Par. 120) in place without turning in the raw edges. The material is cut away to a strong place, as shown in No. 2, Figure 60, then a patch which matches the material as nearly as pos- sible is basted under the hole. The diagonal stripes of the ma- terial should be matched care- fully, the corners of the open- Figiirt' (10. 346 ing cut in slightly, the edges turned in, basted and hemmed in place. To finish the wrong side of the patch, trim the edges about %" from the hole and without turning under the raw edges, catch stitch them in place. In patching the seat or knees of a boy's trousers, or any place where there is likely to be considerable hard wear, it may be desirable to let the edges of the patch extend farther beyond the hole. If the material in the patch ravels easily, the edges may be turned under, and hemmed down. On material which does not ravel easily the patch may be basted on the wrong side of the material and the raw edges of the hole darned smoothly onto the patch; the wrong side of the patch is then finished as already described. The woolen patch is used in mending holes worn or torn in woolen garments in such a way that they cannot be darned, or mended satisfactorily with mending tissue. RIGHT SIDE W^RONG SIDE Figure 61. MENDING WOOLEN GOODS WITH TISSUE. Paragraph 152. When a woolen garment is torn and the edges are not badly frayed, and none of the material is out and gone, it may be mended very satisfactorily with mending tissue, a rubber-like material used by tailors. To mend the tear, turn the garment to the wrong side, place the mending tissue over the hole so it completely covers it and extends at least 1" beyond the edge of the hole on all sides; lay a patch the same size as the mending tissue over it as shown in wrong side view. Figure 01. As the patch does not show, it is not necessary to match the figures or even the material in the garment. (The mend- ing tissue has been allowed to extend from under the patch merely to show that it is there, this is not necessary in doing the work). Set 347 an iron (hot enough to melt the mending tissue, but not hot enough to scorch the material) on the patch; hold it there (perfectly still) a short time, turn the garment right side out and examine the repaired spot, it should be unnoticeable as shown in the right side view, Figure 61. Figure 62. DARNING WOOLEN GOODS. Paragraph 153. Oftentimes a tear in a garment can be darned more satisfactorily than it can be patched. No. 1, Figure 62, shows a three-cornered and a diagonal tear in a piece of woolen goods. No. 2, Figure 62, shows the same piece with the holes repaired by darning. In this kind of work a tear may be darned with thread raveled from the edge of a piece of the material (if it is strong enough) or with silk thread to match. To darn a straight tear, begin about V2' away and sew across it with fine running stitches (Par. 106) concealed in the cloth as much as possible; continue to sew about ^2 " on the opposite edge following thef weave of the cloth (sew over one edge and under the other). Inserting the needle very close to the last stitch, make a second row of running stitches very close to, and parallel with, the first row, going over the edge of the tear where you went under the first time. Continue in this manner until the tear is mended. Be careful not to draw the thread tight, as this will give a puckered appearance in the darn. If this work is carefully done it will be almost impossible to detect the darn. As a rule it is advisable to lay a piece of material ( the same as the goods in the garment) rn the under side of the tear before darning; it may be caught in place with the darning stitches thus making the darn more substantial. The raw edges of the patch may be catch stitched (Par, 120) in place or trimmed close to the darning. 348 DARNING A STOCKING. Paragraph 154. Stockings should be repaired as soon as a small hole appears in them, as a small hole is easily darned but a large one presents a difTicult task. Ordinary darning cotton is used to darn lisle and all kinds of cotton stockings. A finer mercerized darning cotton is used for silk hose. Figure 63 shows a ragged hole in a piece of stocking as it might be made by ordinary wear. Figure 64 shows this hole trimmed ready to be darned; you will notice that the ragged edges have been cut away. After the ragged edges have been trimmed away as inuch as necessary, place the darner (an egg-shaped wooden ball or cardboard) under the hole and lay all the threads in one direction (shown in Figure 65) as follows: Beginning about lo" from the opening, take a few running stitches in the stocking, making the last stitch come over the edge of the hole; take a long stitch across the opening on the opposite edge continuing with running stitches in the stocking about y^" beyond the hole. Inserting the needle very close to the last running stitch make another row of stitches parallel with the first in just the same way (be careful not to draw the stitches tight enough to give a puckered appearance to the darn). Continue reenforcing the edge and running long threads across the opening un- til it is filled with threads as illustrated. Insert the needle at right angles to these threads, weave under one thread, over one thread across the threads first put in, taking a few running stitches into the edge beyond. To return, insert the needle very close to the Figure 64. 349 last stitch, take a few running stitches to the edge of tiie hole, weave back across as you did before. Continue weaving back and forth until the hole is filled with woven threads. In a very neat darn every thread is properly woven and the work is smooth and even without any puckering. This gives the hole the appearance of woven cloth as shown in the lower portion of Figure 65. NOTE: In this illustration white darning cotton was used in order that the stitches might show distinctly. In actual work use thread to match the stocking. Where a ribbed stocking has a run in it, it may be repaired by sewing over and over the run with thread to match. A silk stocking may have the dropped stitch cro- cheted back in place. A large hole in the knee of a child's stocking may be repaired with a hemmed patch (Par. 149) instead of a darn. CROCHETED CHAIN STITCH. Figure 65. Figure 66. Paragraph 155. The crocheted chain stitch is the foundation stitch in most crochet work. It consists of a series of loops drawn through each other in a continuous chain. The chain stitches in Figure 66, are made of yarn with a bone crochet hook. To begin the chain stitch tie an ordinary slip knot in the end of the yarn; insert the end of the hook in the loop and draw it down tight on the hook. With the crochet hook still in the loop, push the hook forward 350 and catch it around the loose strand of yarn (see Figure 66) and draw another loop through the one already on the hook. Continue drawing a new loop through the last one made until the chain of stitches is as long as desired. ( ch, st. is the abbreviation used in working directions for chain stitch; 1. is the abbreviation used for loop). Linen, cotton thread, or wool yarn are used in crocheting. A small steel hook is used for thread, a bone or amber hook for yarn. The directions given here for crocheting are very elementary. More detailed instruction, with a great variety of patterns, can be tound in books dealing especially with crocheting. Figure 67. SLIP STITCH CROCHET. Paragraph 156. The slip stitch, which interlocks other crochet stitches, is made by passing a hook through a completed loop and drawing the yarn through that loop before drawing it through the loop on the hook. The slip stitch in Figure 67 is made of yarn with a bone hook. First crochet a chain as long as desired, then go back over it, picking up each stitch and making a parallel line of chain stitches with all the stitches interlocked. To do this, hold the last loop of the chain stitch on the hook, insert the point of the hook through the next loop in the chain, and catching the yarn, as in Figure 67, draw it through the completed loop of the chain stitch and continue drawing it until it also passes through the loop which is on the hook. This forms a new loop on the hook; draw this loop tight and inserting Ihe hook through the next completed stitch, repeat the process until you have made the number of stitches desired. The abbreviation for the slip stitch is si, st. 351 This stitch is used in filet work, or any place where a solid crochet effect is desired and in fastening other crochet stitches in place. Figure 68. DOUBLE CROCHET. Paragraph 157. This stitch consists of a loop of yarn or thread drawn through a chain stitch forming two loops on the hook through which another loop is drawn. To do this, make the chain as long as desired, then crocheting back over the chain, insert the point of the hook through the next loop in the chain; draw a loop of loose yarn through this chain stitch, thus forming two loops on the hook. Catch the hook in the loose strand of yarn again, as in Figure 68, and draw another loop through the two loops on the hook, forming a new loop to begin the next double crochet. Continue as far as desired. The abbreviation for double crochet is d. c. This stitch is used in a great many kinds of crochet. TREBLE CROCHET. Paragraph 158. In treble crochet, there are three loops on the hook at one time instead of two loops, as in double crochet. These loops are drawn ofT the hook in groups of two. To make the treble crochet, chain stitch as far as desired, then working back over the chain stitch with the last loop of the chain on the hook, wrap the loose strand of yarn around the hook once. Insert the hook in the next loop of the chain and catching it in the loose strand of yarn draw a loop through the chain stitch, thus forming three loops on the hook; draw the thread just caught through the first two loops on the hook; this will leave two loops on the hook. Draw another loop of the yarn 352 Figure 69. through these two loops, leaving one loop on the hook ready to begin the next treble crochet. See Figure 69. Continue as far as desired. This stitch is used in crocheting where a wide stitch is desired, as in scallops. A half treble crochet is made by wrapping two threads around the hook, making four loops on the hook at one time. These loops are taken off the hook in groups of two with three stitches instead of two, as in treble crochet. PLACKETS. Paragraph 159. A placket is an opening left in a garment for convenience in putting it on, the raw edges being finished to keep it from tearing or raveling. Plackets are made in skirts, in the bottom of men's shirt sleeves and in the sleeves of ladies' tailored waists, for convenience in laundering. A skirt placket should be sufficiently long to allow the skirt to slip easily over the head. As a rule, 9" to 12" are allowed, depending on the size of the person wearing the skirt and the fullness of the skirt, that is, the smaller the person or the narrower the skirt, the shorter the placket may be. Generally in a skirt, the upper end of a seam or pleat is left open for the placket, although in a gathered skirt or the bottom of a sleeve the opening is usually cut in the ma- terial. When the placket finishes the opening at the top of a seam, or pleat, it should appear to be a continuation of the same. A placket should open from right to left. It is usually held together with hooks and eyes, or snaps, the hooks and small parts of the snaps being sewed on the right side, the eyes and large parts of the snaps on the left, or under side. 353 HEMMED PLACKET. 1 2 ^ Figure 70. Paragraph 160. The hemmed placket consists of a lengthwise opening finished with a wide hem on the right edge lapped over the left edge wliich is finished with a narrow hem. To make this placket (Par. 159), if there is no opening, make a cut the length desired being careful to cut on a thread. After the opening is made, lap the right- hand edge over the left-hand edge about %" and crease the fold formed. Turn in the raw edge, forming a hem about %" wide; baste with even basting and sew in place with the hemming stitch (Par. 114). The under side of the placket is simply a narrow hem turned toward the wrong side of the cloth. Make this hem about 3/16" wide at the top and about 1" from the bottom of the placket; begin to narrow it down to the fine point shown at the bottom of the hem as in No. 1, Figure 70. To finish the bottom of the placket, turn the garment right side out and sew across the bottom of the hems with two parallel rows of backstitching, or machine stitching. No. 'J shows the finished placket. It is usually unnecessary to sew fasten- ings on this style of placket, as there is but little strain on it This placket is used in a gathered skirt, principally in children's dresses or in night gowns made with a yoke. 354 BOUND PLACKET. |MHMgMB|flH^^^^^H , . ^^^H Figure 71. Paragraph 161. The bound placket (Par. 159) consists of one strip of material the same as the garment, which is sewed on the placket opening double, in such a way as to bind the raw edges. To make it, cut a strip of material like the garment 2" wide and a tritle longer than twice the length of the opening left at the top of the seam. Lay the right side of the strip on the right side of the material with the long edge even with the edge of the opening. If the placket is made at the end of a French seam, cut almost across the top of the seam, being very careful not to cut too far. Baste the edge of the strip to the edge of the opening making the end of the stitching in the seam just touch the line on which the placket is to be stitched. (No. 1, Figure 71, shows the strip basted in place.) When you sew across the top of the seam the needle should barely catch the edge of the cloth at the seam. On an overcast or plain seam it is often nec- essary to drop the edge of the binding strip below the edge of the placket opening, beginning about 1 " each side of the seam in order to keep the stitching even on the strip and still catch in the end of the seam. If too much of the cloth at the seam is sewed into the binding strip, the bottom of the placket will pucker. Continue to baste the strip around the opening, running the two edges together again, if necessary. Stitch in place or sew on by hand with the combination 355 stitch (Par. 108). Turn the edge of the strip over about Vs" toward the wrong side (see No. 1, F'igure 71), then fold it over again until the edge Hes just over the line of stitching. Hem neatly in place, or stitch on the sewing machine. As it is difficult to stitch this edge so that both sides will look equally well, when the last turning of the binding strip is stitched in place by machine, instead of by hand, the seams are generally turned toward the right side. Trim the top of the strip even with the top of the skirt. No. 2 in Figure 71, shows the completed placket open. EXTENSION PLACKET. ^ 1 • I 1 : i ♦ ...1 1 2 ^ 1 rii^ure r^. Paragraph 162. The extension placket (Par. 159) consists of two narrow strips of material of the same goods as the garment in which the placket is to be made. One strip which is twice as wide as the first, is used to face the upper edge of the opening; the other is used to make an extension on the under edge of the placket. The seam should be left unsewed the desired distance at the top of the garment, To make the placket, first cut one lengthwise strip "s" wide, about 1" longer than the opening, to face the upper edge. Cut the second lengthwise strip l^o' wide, the same length as the opening plus 1" for the extension under the edge of the opening. To put on the upper facing, lay the right side of the ~W strip on the right side of the skirt, with the edge even with the edge of the 356 opening, allowing the top to extend slightly above it. Baste with even basting (Par. 103) and stitch in place with 1/4" seam, being careful to have this seam in an exact line with the stitching in the seam of the skirt. Turn the long edge of the facing under Vg" and turn under the bottom as much as is necessary to make it even with the top of the seam. Baste with even basting and hem in place (Par. 114), or, if the placket is made on an under garment, it may be stitched on the sewing machine. No. 1, in Figure 72, shows the facing and the ex- tension piece partially basted. To set on the extension piece, lay the right side of the IW strip on the right side of the material allowing it to extend slightly above the top with the edge even with the long edge of the opening. Turn up the bottom end until it is exactly even with the facing on the upper edge of the opening. Sew the two edges together (with machine stitching or the running stitch. Par. 106), with a Vi" seam, which should continue the line of stitching in the seam ot the skirt. Turn the extension piece back even with the stitching on the wrong side, first turning the lower edge in about ^A". Baste carefully in place and hem down by hand, or stitch on the right side, with the sewing ma- chine if the skirt is an undergarment. Overhand the bottom edge of the extension piece to the bottom edge of the facing, and trim the top even with the skirt. Turn the garment right side out and stitch across the bottom of the placket pieces with two parallel rows of machine stitching, or backstitching (Chap. II, Par. 107). No. 2 in Figure 72 shows the right side of the completed placket, FACED PLACKET. Paragraph 163. The faced placket (Par. 159) is a combination of the hemmed and extension plackets, the upper, or right edge of the opening being turned under in a hem, or faced back with silk or percaline, while the under, or left edge is finished with a double or faced strip extending under the upper edge. In making this placket, finish the upper or right edge first by folding under the material along its edge so it forms an exact line with the edge of the material in the remainder of the seam, and continue any stitching that appears in the seam. Baste along the fold with uneven basting (Par. 104), trim it down to 1" in width and if the material is light weight, finish the raw edge by turning it under, basting and hemming it in place, using very fine hemming stitches, which may be placed about 1/4" apart (the stitches should scarcely show on the right side of the material); or if the material is of heavier weight, the edge may be finished with overcasting, blanket stitching, bias tape or binding 357 Figure 73. ribbon. When the placket is completed, the hooks are sewed on about y^" from the edge. The ends of the hooks may be covered as in Figure 73, by placing a piece of binding ribbon, or mercerized dress braid over them and hemming it down on the edges. To finish the left or un- der side of the placket, put on an extension piece the same as in the extension placket (Par. 162), or cut a piece of material and a strip of lining or silk with which to face it, making each IV2" wide and at least Vi longer than the opening. Lay the right side of the strip of material on the right side of the skirt, baste and sew to the edge of the opening with a Vi " seam, making this seam come in direct line with the skirt seam (trim olT the edge of the opening if necessary). Press open the seam with the fingers and face this strip with the lining by stitching the edges together, turning the facing under and hemming it to the under side of the material where the extension piece is stitched on. If the placket comes under a pleat it is necessary to allow this facing to extend beyond this stitching to make it come under the eyes when they are sewed on. Then turn in the edges at the bottom, baste them together and stitch around the bottom and the other edges with machine stitching. Sew on the eyes opposite the hooks. This placket is used on silk or wool goods. It is especially de- sirable to use where a tuck or pleat finishes the seam. SEWING ON MACHINE. Paragraph 164, As the sewing machine is a great time saver, every girl should know how to use it. Before trying to sew on the machine you should study the general directions that are given in the book which accompanies the machine. Do not try to learn to use any special attachments until you have learned to use the machine for ordinary work. . You should be able to thread the machine correctly, to oil it, to adjust the tensions and the length of the stitch. Learn to tread the 358 machine evenly, turning the wheel in the right direction. Before stitching on a garment, it is advisable to practice stitching on a piece of striped material, using the stripes as a guide. Be very careful to keep the fingers from under the needle. Hold the material which you are sewing smooth and Hat, with the bulk of it on the table of the sewing machine. Do not pull the work under the presser foot, but let the feed of the machine work it through. If the feed of the machine does not do this properly, it probably needs to be raised. (It is sometimes necessary to pull the material slightly when sewing over a heavy seam.) When stitching hems, the edges of bias tape, or bands, stitch very close to the edge. When stitching basted seams, sew just outside of the basting threads as it is difficult to remove the bastings after you have stitched through them. Remember that a sewing machine, like any other machine, will last longer and do better work if it is kept clean and well oiled. If it becomes gummed, oil it with kerosene, run it rapidly, wipe off all the kerosene and oil it with sewing machine oil using only a drop in each place where it is needed (be careful to use a good grade of oil); then wipe the oil from the needle and sew through a piece of scrap material (without having the machine threaded) until the oil ceases to soil it. 359 CHAPTER III CARE, REPAIRING, CLEANING AND PRESSING OF CLOTHING THERE probably never was a time in the history of civilization when so much attention was given to the matters of dress as in the present day. To be sure there have been periods in which the wealthy and royal classes were clad in extravagant finery, but during those same periods the peasants and laboring classes were known by their garb which was barely sufficient to protect them from the elements. In our modern civilization when so much thought is being given to efficiency in all lines of work, we are coming to realize that our consideration of efficient management should also apply to our habits of life. This is especially true in matters of clothing. Aside from the attributes of gentleness and kindness there is perhaps nothing which is so indicative of personality as ones clothing. This is sometimes interpreted by the superficial thinker to mean that costly clothing and striking effects are marks of good taste. How- ever, this is not true. The really well dressed person is the one whose apparel does not detract from his personality. Clothing should not be designed to attract attention by its unusual or gaudy appearance. A fairly good quality of material neatly made up, well fitting, care- fully pressed and always immaculate gives the impression of refine- ment and good judgment on the part of the wearer. CLOTHING AND PERSONALIIT. It is not unusual to hear the remark that Miss Blank always looks well dressed in whatever she puts on. If this is carefully analyzed you will find that Miss Blank's attractive appearance is many times due not so much to the expensiveness of the clothing she wears, as to the manner in which she cares for every detail of her dress, and to the impression of neatness and carefulness which her appearance conveys. It does not require expense to be clean, neat and well groomed. The opposite of these conditions is indicative of careless- ness, neglect and a lack of culture. Many a person has been refused a position of responsibility on account of the marks of carelessness and lack of taste which were evident in the personal appearance. ECONOMY IN DRESS. On every hand, we hear expressions relative to the high cost of 360 living and the unusual expense of the things required in daily life. While this is true, yet there are many ways in which economy may be practiced without depriving one of real necessities. Our present high cost of living is due, almost entirely, to an over development of people's wants; their needs remain the same as in generations gone- by. It is a wise person who can determine between his needs and his wants and can adjust this matter in due proportion to his financial income. By giving some thought and attention to matters of clothing much of the so-called necessary expense can be saved. It is not un- common in many homes to find garments discarded for want of a little repair, or simply because they are not made according to the latest fashion. It is also common to find excellent clothes badly abused. Children and young people in i)articular are often thought- less about the matter of caring for their clothing. Hats and caps should always be hung up, rather than carelessly thrown in the first convenient place. Wraps and coats should be hung on suitable hang- ers. This is especially important if these garments happen to be damp. Perhaps you have noticed a fine overcoat with an ugly hump and wrinkle in the back just below the collar, indicating that it had been hung on a hook or a nail. Suitable hangers for coats and skirts are not expensive, in fact they are often given with the purchase of the suit. They can easily be made, however, by taking a piece of wooden hoop 16" to 18" long, wrapping it with cloth, covering it with cretonne or some other attractive material, and providing a piece of tape for a hanger. Any number of such hangers can be provided with but little work. CARE OF CLOTHING. Ones bedroom should be provided with a good roomy wardrobe. Sometimes such wardrobes can not be had. This, however, is no excuse for neglecting to care for ones clothing. The dresser should serve the purpose of caring for some of the garments. A large dry goods box can easily be supplied to suit the need; it can be fitted with shelves and hangers at almost no expense. If properly covered with cretonne or some other attractive material and fitted with curtains, it will serve the purpose of the much needed wardrobe and will not be unattractive in the room. The laundry bag should have its definite place and should re- ceive all soiled clothes immediately. Because clothing is on its way to the laundry is no reason why it should be abused. A soiled gar- ment may be damaged by bad treatment. Clothing when removed at night should be carefully folded or 361 properly hung so as to keep it in good condition. Underclothes and in fact all garments that have been worn should be hung in such a way as to receive free circulation of air. It is not uncommon — par- ticularly in a child's bedroom — to find the removed clothing either scattered about the tloor or thrown in a heap, waiting to be worn the next day. Such treatment is not only very damaging to the clothing, but is detrimental to the health of the wearer. CARE OF CLOTHING BETWEEN SEASONS. The care of the clothing between seasons is an important matter. Before clothing is laid away it should be very carefully brushed to remove all dust. Spots and stains (if there are any) should be re- moved and the clothing should be hung on a line exposed to plenty of fresh air and sunshine (unless the material is of such a nature that sunshine will damage it) in order to make sure that it is thor- oughly clean before laying it aw^ay. Garments should be neatly folded and carefully packed away in drawers or boxes provided for the purpose. If one is fortunate enough to have a cedar chest, it will be particularly valuable in laying away the furs and woolen garments, for it will keep out the moths. Where one does not have a cedar chest, any tight fitting box may be used. A dry goods box or trunk will answer the purpose. Such a substitute can be made moth proof by lining it with tarred paper and putting some camphor gum or a few moth balls in with the clothing. Tobacco leaves are sometimes used for this purpose. It is an excellent plan to remove garments from their packing occasionally and give them a thorough airing. The amount of atten- tion given to the packing away of clothing will, of course, be gov- erned somewhat by the value of the clothing, but any garment which is to be worn the following season should have careful attention. ALTERING GARMENTS. It is frequently good economy to remodel a garment which has been left over from the previous season. This is especially true if the material in the garment is of a fine quality. Matters of readjust- ing sleeves, putting in new yokes, trimmings, and the like are so simple and yet so important in the appearance of the garment that they should have some attention. No specific rules can be given for altering garments, but a few general suggestions have been set forth throughout this text in the Suggestions for Home Application. This kind of work calls for considerable judgment, but if one will give thoughtful attention to the subject of altering, remodeling, retrimming 362 and the innumerable ways in which left-over clothing may be util- ized, the results will be very gratifying. DYEING. The matter of dyeing or coloring garments was given a great deal of attention by our grandmothers, but most of this class of work is now done by professionals. It is impossible to give specific direc- tions for dyeing cloth; different kinds of materials require different treatment. Many different dyes, varying so widely in nature and use, have been made that it is best, if one expects to do any dyeing at home, to follow accurately the directions furnished with the package. CLEANING. The subject of cleaning garments is a very broad one covering every line of work from that of the simple principles employed by the washerwoman to the most technical work done by the professional cleaner. Regardless of what the science of chemistry has taught us, the greatest cleaning agent known to the world is water. Without its use it would be impossible to keep our clothing in a condition suitable for wear. Although the use of hot water and soap is familiar to everyone, you will find it extremely interesting to talk with your mother relative to the treatment of different kinds of clothing in the laundering process. LAUNDERING COTTON OR LINEN. The matter of laundry may seem perfectly simple when you see the great basket of clothing going to the weekly wash, however, if you will ask a few questions you will probably find that certain garments require special treatment. The process of laundering ordi- nary cotton material is perhaps the most simple. Cotton will stand almost any amount of hot water and soap. It is not damaged by boiling soap suds, in fact the boiling of white clothes has been a standard process for many years in home laundering. LAUNDERING COLORED GARMENTS. Colored garments should not be laundered in the same water with the white clothes; they must be carefully treated to avoid fading or otherwise changing the colors. The treatment of delicate colors is too technical for this discussion; it requires an understanding of the chemical nature of dye materials to be able to prevent fading in some of them. Different substances, or mordants as they are called, are used to "set" or fix the colors so thev will not fade. There are a 363 number of chemicals used for this purpose, but they are not com- monly applied in the home laundry. Common table salt dissolved in water is often successfully used to set the color in a new wash garment before putting it through the regular laundry process. Colored clothes should be dried in the shade for if exposed to the bright sunlight while drying there is great danger of the color being faded. LAUNDERING WOOL. Wool is much more sensitive than cotton and for that reason wool garments can not undergo the same process of laundering through which the cotton materials are taken. On account of its peculiar scaly surfaced fibers, wool has a tendency to "felt," as has been ex- plained elsewhere in this text. Extremely high or low temperature or strong alkali will bring about this felting process and thus destroy much of the soft elastic nature of wool. If an all-wool garment such as a sweater is wrung and twisted, in the manner in which cotton clothes are handled, there is great danger of giving it a hardened almost board-like nature. If such a woolen garment is hung out of doors on a very cold day, or if it is washed in strong alkali soap, or dipped in boiling water, or pressed with an extremely hot iron, the results will be very similar to those mentioned above. It is therefore recommended that wool be washed in moderately warm soft water with especially prepared wool soap (free from strong alkali). It should not be wrung, but the surplus water should be pressed out of it. It should then be hung in a room of moderate temperature and allowed to dry slowly. After such treatment wool garments will be soft, fluffy and elastic like new. REMOVING SPOTS AND STAINS. The matter of removing spots, stains and various discolorations from garments is an extremely difficult one. In order to advise as to how a spot may be removed, it is necessary to know what caused the spot and also to understand the nature of the cloth. (Give the spot a hard brushing with a stiff brush to remove all dust and loose dirt). Where the nature of the spot is not definitely known it is a pretty good plan first to try moderately warm soft water and a mild wool soap. (Ivory soap has been recommended for this purpose). It is a good plan to place a clean white blotter under the spot, this will absorb the moisture; then work from the outside of the spot toward the center in order to avoid spreading it and making an ugly circle around the original spot. This in fact is the most difficult rportion 364 of the work for unless the cleaning is carefully done the spot may be enlarged. If working on white material use a piece of white cloth to do the rubbing; if working on dark material a piece of dark cloth may be used. Select for this rubbing process some kind of cloth which will not leave lint. It is best to use water rather sparingly, but to use the soap freely; the soap can be gradually worked out of the material by continuing the rubbing with a clean rag and more water. If soap and water will not remove the spot some other method must be tried. A number of different liquid preparations have been made for the purpose of removing spots, particularly from the finer materials like the worsteds and the woolens. There is, however, no liquid which can be recommended for all kinds of materials and ail kinds of spots, as has been previously explained. If the spot is caused by grease of some kind, it can usually be removed with the soap and water process, or with gasoline. Another liquid which is highly recommended, and is used by tailors, is a mixture of equal parts of ether, ammonia and (grain) alcohol. It should be mixed in a bottle so it can be well shaken before using. As it evaporates rapidly, it should be tightly corked when not in use. Before applying this liquid to a spot on a fine garment first try a little of it on the wrong side on the surplus material in a seam, in order to determine whether the liquid will damage the color of the goods. It is never safe to apply any cleaning fluid on the right side of a fine garment until after you have tested it. There may be some chemical with which the cloth was colored that will be destroyed by the cleaning fluid, thus making a worse spot than the original. Apply the cleaning fluid in the manner described for the use of water and soap. Tailors who have a great deal of cleaning to do make a con- venient rubbing rag or "spotter" by rolling a strip of woolen cloth about 2V2" or 3" wide into a tight roll and tying it. The ends of the roll furnish an excellent rubbing rag because it will absorb the dirt as it is dissolved by the cleaning fluid. Sometimes a small stiff brush is used to rub a spot. A brush is particularly serviceable if the spot is on a coarsely woven material. The three-part cleaning fluid rec- ommended here will be serviceable not only in removing grease but also in dealing with a great many spots which can not be removed by gasoline. It is superior to gasoline because it will also remove dirt, carbon dust, and other impurities which may be contained in the grease. Gasoline is effective only on grease or oily substances. 305 CAUTION. In using gasoline or, in fact, any kind of cleaning liquid great care must be exercised to avoid explosions. Cleaning should never be done near a fire or a lighted lamp. In fact if the room is closed there should be no fire or lamp even in the same room where the cleaning is being done. You should never attempt to dry the ma- terial or your hands over a fire if they are moist with cleaning lluid. Gasoline, and in fact all cleaning fluids, are very inflammable and the greatest precaution must be used. It is sometimes necessary to clean an entire garment, such as a silk waist, or a thin dainty wrap. This can be done by washing the entire garment in a vessel of gasoline allowing it to soak long enough to remove grease spots. Sometimes when an entire garment is to be wet it is well to mark the worst spots by sewing around them with a basting thread; this will enable one to select the spots when the garment is wet and give them special attention, A garment so washed in gasoline should be dried in the open air. In fact to avoid danger, all of this work should be done out of doors, if possible. The odor of gasoline will soon leave the garment if it is left in the fresh air. It is not advisable for inexperienced cleaners to attempt to wash a large padded garment such as a coat or overcoat in gasoline; it is better to deal simply with the soiled spots as previously explained. Gasoline in which a garment has been cleaned may be poured into a tight fitting vessel such as a fruit jar or jug and kept for future use. The dirt and impurities washed out of the garment will soon settle to the bottom of the gasoline; the clean liquid can then be poured off and used again. A FEW OF THE MOST COMMON STAINS AND THEIR TREAT- MENT, ALPHABETICALLY ARRANGED. 1. Blood Stains. Blood stains can usually be removed by wet- ting with cold water, afterwards washing with luke warm water and soap. The addition of a little ammonia will assist. Hydrogen Per- oxide to which a few drops of ammonia have been added will remove blood stains readily. 2. Chocolate and Cocoa Stains. Rub the spot with borax and soap, wash in cold water. 3. Coffee Stains. From ordinary wash goods spots of coffee and tea may be removed by i)ouring boiling water through the stained spots, afterwards washing with soap. If this does not prove effective, gasoline may be used to dissolve the stain. A few drops of anmionia added to the gasoline will make it more effective, if the color of the 366 garment will permit the action of ammonia. When the spot is com- pletely absorbed the gasoline may be washed out with warm soapy water. Washing soda will often prove effective in removing stains of tea and cofTee. 4. Fruit Stains. Most fruit stains can be removed from white material by the application of boiling water. Peach stain is not so easily removed as other fruit stains. It will generally require some sort of bleaching process. Stretch the fabric tightly over a bowl and pour the boiling water through it, allowing the water to fall from some distance. Hydrogen Peroxide with a little ammonia added will usually be effective. A little powdered borax rubbed on the stain when boiling water is being poured through will also assist in re- moving most fruit stains. If the stain is on an expensive colored garment it is safer to send it to a professional cleaner. 5. Grass Stains. Grass stains can usually be dissolved with milk. If this is not effective try alcohol or ammonia. Hydrogen Peroxide with the addition of a few drops of ammonia will be effective, al- though it should be carefully tested before applying to a fine garment of dainty color. 6. Ink. Ink spots are extremely difficult to remove due to the fact that so many different chemicals are used in the composition of ink. If one could know exactly of what the ink was composed, it would not be difficult to remove it. Most ink removers are so strong that they also remove the other color from the material. As most ink contains acid it can often be dissolved by application of an acid of some sort. Lemon juice and salt will usually be effective. Strong sour milk will sometimes give good results. If these remedies fail and if the garment is a very expensive one it should be entrusted only to the professional cleaner. 7. Iron Rust. Iron rust is a very common stain, but can be easily removed with acid. Hydrochloric (Muriatic) acid is most fre- (juently used. A few drops of acid can be dropped on the spot with a medicine dropper or applied with a glass tube. The acid should be applied and the spot rinsed in water. This process should be repeated over and over until the spot disappears. The repeated dopping is very much better than allowing it to soak in the acid. 8. Mildew. Mildew can usually be removed by dampening the spot repeatedly and exposing it to strong sunlight. It may be neces- sary to use some soap solution in washing the spot. Sour milk, which contains considerable acid, is also effective in removing moulds and mildew stains. 9. Milk Spots. Cold water and pure white soap will most gen- erally remove a milk spot. If this is not effective apply glycerine and 367 rub it with a stiff brush. When thoroughly soaked, wash it carefully with luke warm water and soap. Any stain made by milk or anything containing considerable protein should be treated with warm or luke warm water and soap. (A protein stain should not be cleaned with boiling water.) If stains caused by different fruit juices can not be removed by luke warm water they should be treated with boiling water. 10. Oil. Oil stain may generally be removed by washing with cold water and plenty of soap; as it is a protein stain it should not be treated with boiling water until after it has been thoroughly washed. If the soap is not effective the spot might be saturated with kerosene and allowed to soak. This will usually be effective. 11. Paint. Paint or varnish are usually rather difficult to re- move. If the stain is taken when fresh it may usually be removed by dissolving with turpentine or gasoline. Either of these treatments will dissolve the oil and the colored matter can be brushed out when dry. After a paint stain has become thoroughly dry it is very diffi- cult to remove and probably should be undertaken only by a pro- fessional. 12. Scorch. A scorched spot can be removed by dampening it and exposing it to bright sunlight. Of course the scorched spot can be removed only when it is very slight and the fiber of the goods is not seriously burned. There is no remedy if the material is badly burned. 13. Tea Stains. See No. 3 and follow same method. 14. Unknown Stains. The treatment of unknown stains is nec- essarily a matter of experimenting. One should try only the milder remedies first in order to avoid damaging the goods. A great many stains can be readily removed by being moistened and exposed to sunlight. This bleaching process should be used wherever possible for it is both cheap and safe. Never attempt to remove an unknown stain with a remover which is likely to damage the color of the garment, until the remover has been tested to make sure that it is perfectly safe. 15. Varnish. See No. 11 and follow same method. PRESSING. Everyone is more or less familiar with the simple processes of ironing clothes for the purpose of making the surface smooth and attractive. While there is much that can be said regarding the treatment of different fabrics in ironing, yet most of this information can be acquired by talking with your mothers at home. The subject of pressing garments is very important. As the term 368 is generally used it refers not to the common process of ironing connected with laundry work, but to the process of dealing with woolen and worsteds and other line fabrics to bring them back to their original shape and appearance when new. In order to under- stand the matter of clothes pressing, it is well to think of the processes through which the woolen goods are taken at the factory. There are a great many difTerent treatments given to line fabrics to product- special finishes, but most of them include dampening the cloth (usu- ally with steam) in order to soften the woolen fibers and make them perfectly pliable. The cloth is then stretched straight and smooth and held in this position until it becomes thoroughly dry. Different special finishes are also given whatever treatment is necessary to bring about the desired effects. Woolen material so dampened, stretched, and dried will retain its shape and smoothness for a long time. In order to do home pressing properly, woolen materials must be taken through pretty much this same kind of treatment. As it is not convenient to steam a garment before pressing it, a simple way or getting the same results has been devised. GENERAL SUGGESTIONS FOR PRESSING. Before beginning the actual pressing work on any garment all loose dust and dirt must be brushed out of the cloth, spots and stains must be completely removed by some of the methods already de- scribed. If dust and dirt are left in the material the steaming process may cause the cloth to look dingy. Sometimes a garment has a shiny appearance which needs to be removed. There are a great many ways in which this can be dealt with. A hard brushing with a stiff brush will often prove effective. Sometimes it will be necessary to rub the spot lightly with very fine sand paper, other times such an effect can be removed by sponging the spots before finishing the pressing. Any garments to be pressed should be laid perfectly straight and smooth in the desired shape. Pressing is sometimes done directly on the wrong side of material, this, however, is not a good practice for beginners. You should work on the right side according to the following directions. A piece of wet cloth (a soft well worn piece of canvas or un- bleached muslin is satisfactory) should be placed smoothly over the garment. This wet cloth should be covered with another perfectly dry piece of heavy material (a piece of canvas would be suitable for this purpose). The hot iron is then applied to the dry cloth. The 3()9 heat of the iron produces steam from the wet cloth and causes it to pass into the garment which is being pressed. The dry cloth on the top serves to hold the steam and thus forces it into the garment. In order to prevent wrinkling it is well to jiress with a straight downward pressure, as much as possible, rather than v>ilh a rubbing motion. The pressing cloths should be removed, and while the garment is soft and pliable from the dampness of the steam, it should be stretched, smoothed, or pulled into its proper shape. This is par- ticularly true in pressing garments like men's trousers or a skirt which may be considerably out of shape. The damp cloth should be again applied and covered with a dry one; the pressing should con- tinue either until the damp cloth is perfectly dry, or the damp one may be removed and the final pressing done with the dry one alone. The pressing should be continued until the garment is perfectly dry. The most important point is to make sure that the garment is absolutely dry before the pressing ceases. If a garment is left damp, all the tiny fibers of the wool being soft and pliable, it will not hold its shape long. However, if the pressing is done until the material is absolutely dry, the garment will remain in fine condition for a long while. PRESSING EQUIPMENT. HiHiie Pressing Outfit. 370 No special equipment is required to do home pressing. Tlie work may be done on an ordinary ironing board, although a table will usually be found more convenient. If a table is used it should be protected with several thicknesses of cloth or blanket covered with a piece of muslin. It should be of sufficient thickness to form a pad. The accompanying illustration shows the work being done on an ordinary kitchen table. You Mill notice that a very large iron is used. Such a large heavy iron is particularly desirable, however, if you -do not have one the small flat iron with which the family ironing is done will be satisfactory. A good stiff clothes brush, a brush broom, a bottle of cleaning liquid and a pan of water constitute about all the equipment neces- sary. On the rear of the table in this illustration you will see a press- ing board. This is especially desirable in pressing garments like coats and vests for it is convenient in working around the shoulders, the collars and the sleeves as explained in a following illustration. For the pressing cloth you should be provided with a large piece of heavy unbleached muslin or a piece of toweling may be used. TO PRESS A PAIR OF TROUSERS. Trousers are not difficult to press. They should first be carefully cleaned as already explained. One leg should be pressed at a time, the other being folded back out of the way. It is usually found more convenient to press the inside of the leg first then turn it over and press the opposite side of the same leg, always keeping the other leg folded back out of the way. Trouser legs should be so pressed that the inside and the outside seams come together. This will make a straight crease down the front and also down the back of each leg. Trouser legs should be pulled perfectly straight to remove the full- ness or bagging tendency at the knee. Lay the trousers flat on the table making sure that the seams are placed as above described. Wet one of the pressing cloths and lay it smoothly over this leg. Lay a dry pressing cloth over the wet one and apply the hot iron. It is well to remove both cloths and pull the leg straight and see that the seams are properly placed before completing the pressing. The material will be found very soft and pliable after the steam from the cloth has entered it. After getting a leg properly shaped and all wrinkles smoothed out, lay the pressing cloth again in position and continue the pressing. The damp cloth may be removed and the work completed work- ing with a dry cloth alone. Carefully turn the trouser leg over and press the opposite side of the same leg. The second leg should be 371 pressed exactly like the first. Do not forget to continue pressing until the garment is perfectly dry. PRESSING A VEST. A vest is a very easy garment to press. It should be pressed on a pressing board in the manner shown in the illustration. If you do not have such a pressing board, it may be pressed on the corner of the table in a satisfactory manner. The process of pressing with one wet and one dry pressing cloth is the same as pressing the trousers. PRESSING A COAT. A coat is much more difficult t o press because of its irregular shape and heavy padding. A beginner should not undertake to press a coat, but should practice on some of the easier garments such as trousers, skirts or a vest. The accom- panying illustration shows the position p„^iti^„ ^^^ Pressing Lapel. I'nsition for Pii-ssiiii;; IJack of the coat on the board ready for the lapel and the front to be pressed. The coat is then shifted about on the board to convenient posi- tions for pressing the other parts. The next illustra- tion shows the pos- ition of the coat ready for the back to be pressed. A little experimenting and practice will enable vou to find 372 a position in which you can press the difTerent parts of the coat very satisfactorily. As a coat is heavier on account of the padding, it will require more time to press it thoroughly dry. All the while you are pressing a fine garment it is well to keep in mind the fact that it is very valuable and that a title carelessness might ruin it by scorching. You will find the pressing of clothing very interesting and it will be well worth your while to practice it in your home. A moderately expensive suit of clothes kept clean and well pressed always gives a much better appearance than a very expensive suit which is more or less soiled and neglected. Much can be added to the life of a suit by the careful cleaning and pressing explained in this chapter. TO PRESS A WOOL DRESS. The dress should be thoroughly dusted and all spots removed before pressing. To press a plain skirt, lay it over the ironing board, with the bottom of the skirt on the wide end of the board; stretch it smooth and place a piece of cloth wrung out of water over the skirt. Cover this piece with a dry piece of heavy cotton material (the second cloth may be omitted but the pressing is more easily done with it). Apply a hot iron with a straight downward pressure; iron until the skirt is well steamed, then remo\'e the wet cloth and iron on the dry one until the material is dry. Continue this process until the entire skirt is pressed. Before pressing a pleated skirt, baste the pleats in proper posi- tion, or stretch the skirt on the ironing board until the pleats are straight and pin them at the bottom. If the pleats are not basted, straighten and pin them as you continue to press the skirt. A wool waist is usually pressed on the wrong side; it is dam- pened by rubbing a wet cloth over the wrong side of the material. (Be very careful not to scorch the material). In pressing a sleeve where no crease is desired turn it wrong side out, dampen by rubbing with wet cloth and press it over a magazme which has been rolled and slipped inside of the sleeve. TO PRESS A SILK GARMENT. Silk is very susceptible to heat; therefore, in pressing silk gar- ments care should always be taken to see that the iron is icanii, rather than hot. Turn the garment wrong side out, and if necessary dampen it by rubbing a slightly dampened clolh over its surface, then press with a warm iron. Wash silks and ribbons when washed should be rolled in a towel and allowed to remain there a while to remove the excess of 373 moisture; then they may he ironed hy phicing a cloth over them and pressing until the silk is partly dry, then remove the cloth, turn wrong side out and iron until perfectly dry. You should experiment on some of your older and cheaper garments until you have become sutficiently acquainted with the methods of cleaning and pressing clothes to enable you to take good fare of your garments; you can thus not only save considerable ex- pense in matters of wearing apparel, but you will also convey the impression of carefulness and good taste in dress. 374 CHAPTER IV PATTERNS AND PATTERN DRAFTING GENERAL DISCUSSION. JrST how much should be undertaken in the matter of pattern drafting in public school work has been a question of consider- able discussion. There is no doubt that the technical considera- tion of the subject belongs to the vocational school; as it is usually taught it has little or no place in the average secondary- or elementary school. This is the decision of most educators who have given the subject much thought. Their opinions have probably been formed largely on account of the manner in which the subject of pattern drafting has been presented. Too often the subject is approached with only one idea in mind, that of producing the most satisfactory pattern for a particular garment, with but little consideration of the underlying principle by which the pattern is constructed. In such teaching the making of the pattern is the desired end in itself rather than merely a means. A great many patent methods have been devised for the laying out of patterns. They are accompanied by their own rules, squares, angles, and peculiar instruments for the development of curves, pro- portions, etc. Such purely mechanical effort is out of place in edu- cational work. It is not desirable that the public schools should undertake to do much in pattern drafting as a professional subject. There are, however, a few points which can be intelligently ap- proached and which, for that reason, should not be ignored. Students who are studying sewing to the extent of garment making should certainly understand taking measures and applying those measures in lading out and constructing simple patterns. In presenting the subject of pattern drafting and garment making there is always one almost insurmountable difficulty. With each change of season and, in fact, even oftener the styles vary so much that the particular cuts and proportions which were considered good taste at one period are soon cast aside as out of style. Throughout this text it is the purpose not to cater to particular styles and fancies, but to present only fundamental principles which should form the basis of all styles. The human form is the same from generation to generation and therefore the essential principles involved in fitting the human form do not vary materially. These are the ideas which this discussion in pattern drafting attempts to present. Care has been exercised to avoid anv hard-and-fast set of rules to be 375 followed mechanically for such procedure fails to develop inde- pendence of thought and judgment which should be brought to bear in every step. Pattern drafting will thus be treated not as an end in itself, but as a means toward a clear comprehension of the art of making garments. Skillful dressmakers do not rely upon some memorized set of rules for drafting. They must be sufficiently in command of the subject to be able to make their own patterns intelligently, or to use conunercially prepared patterns and to alter them and adapt them to the figure at hand and to the particular style to be presented. In set- ing forth any single set of rules for pattern drafting there is great danger of enslaving the student to the mere detail of the system rather than to give that student a broad conception of the function of the work which is necessary to the development of independent thinking. If a student develops a keenness of taste and appreciation, learns how to utilize commercial patterns, and how to adapt them to different figures and styles, from an educational standpoint the work must certainly be pronounced a success. Freehand drawing is exceptionally beneficial in connection with this work. Students should learn to draw the various curves incident to pattern construction freehand rather than to attempt to follow definite or specific rules. After all it is a matter of developing the judgment which the work seeks to bring about. Any little girl who has ever attempted to make a doll dress has some appreciation of the necessity of a pattern. In fact there would be no better way of impressing the general function of patterns than to drape some cheap material or paper about a dress form, and then by freehand cutting remove the surplus parts and develop the material into a pattern which could be satisfactorily joined into a fitting garment. The problem of fitting the human form neatly and gracefully is always the problem to be considered when patterns are being developed. It is sometimes thought that on account of the many changes brought about by styles — the fact that sleeves are sometimes large at the bottom while the next style may call for the fullness at the top — the skirts are sometimes full at the bottom and other times narrow — would make it impossible to present any definite instructions for drafting. Such is not the case for, as was previously set forth, the human form does not vary, therefore, the foundation plan uj)on which all patterns are drafted remains identical. The commercial companies that prepare patterns are able to use their foundations to develop whatever patterns are required to meet the passing styles. In this discussion an effort is made to present a simple straight 37G line method whereby patterns for typical garments may be drafted. There are really only a very few general types or shapes of garments; for illustration, the waist represents the fundamental principles from which an almost innumerable host of modified garments have been devised; the variation in shapes of necks, collars, sleeves, shoulders, etc., etc., are but minor points in the art of waist making; the scientific principles — the foundation elements of the garment — are scarcely disturbed. For illustration, the pattern of the tailored waist makes no elTort to follow any set style, for it can readily be appreciated that this drafting could not change from time to time so as to keep in line with the small variations in details which may be brought about in those garments. Definite instructions are, therefore, given for making a foundation waist pattern, and suggestions are offered showing how this foundation pattern may be altered to meet the variations of style. The standard skirt is the type from which almost unlimited modifications are developed to suit the dictates of fancy; petticoats, under skirts, princess slips and all their kindred are outgrowths of the one foundation. A skirt pattern is, therefore, presented in a manner similar to the waist pattern. Whether a skirt should be made of five, seven or any number of gores is a matter to be dictated by fashion, but the founda- tion principles upon which this skirt is constructed do not vary, therefore, in this discussion, directions are given for the drawing of a foundation skirt pattern. It can then be constructed of any number of gores, and made with any other minor details which fashion may dictate without violating any of the principles herein presented. In each type garment presented in this chapter, an elfort is made to carry out this same idea. From these type garments practically all of the common garments can be developed; this is explained some- what in detail in connection with the presentation of each type i)attern. EQUIPMENT FOR DRAFTING. For drafting patterns according to the straight line method you should have the following ecjuipment: one yard stick, pencil, tape measure, ruler, drafting paper (Manilla wrapping paper 30" to IW wide; the wide paper is more desirable). TAKING MEAS11RP:MENTS FOR A FOUNDATION SHIRT WAIST PATTERN. The success of your pattern drafting will depend very greatly on the accuracv of vour measurements. The measurements mav be I 377 taken over a thin waist, preferably with set-in sleeves. It is diflicult to take the measurements accurately over a waist made with kimono sleeves, but it' such a waist is worn when measurements are taken the shoulder seam and armhole should be indicated wilh a row ot pins. Locate waist line by pinninj,' a piece of tape, or a tape measure around the waist. The following measurements are necessary in order to draft the shirt waist pattern illustrated: Neck. A close measurement around the lower part of the neck. Shoulder. The measurement from the base of the neck to I lie end of the shoulder. Depth of Armhole. Locate the line for this measurement by j)inning a tape measure around the body, close under the arms. For front depth of armhole, measure from the base of the front of the neck to the top edge of the tape measure. Be careful that this measurement is not too long; it should be about 4" to 5^2 "• For the back measurement, measure from bone at base of neck to top edge of tape measure. This measurement should be longer than the front measurement. Bust. An easy measurement across the fullest part of the bust with the tape measure placed about 1" below the armhole and ele- vated slightly in the back ( stand behind the person to take the measurement); add 3" for fullness. The Back Bust. Measurement from one under-arm seam to the other across the back. The Front Bust. The ditTerence between the entire bust measure- ment and the back bust measurement. Under Arm. Measurement from close under the arm down to the waist line indicated by the bottom edge of the tape measure. Length of Front. Measurements from base of neck in front to waist line as indicated by the bottom edge of the tape measure. The Length of the Back. The measurement from the large bone at the back of the neck to the waist line indicated by the bottom edge of the tape measure. Width of Chest. Measurement made 2" below the base of the neck across the front of the body from the place where one arm joins the body to the same place on the other side. Waist Measure. A tight measurement around the waist. 378 DRAFTING A FOUNDATION SHIRT WAIST PATTERN. THE FRONT. NOTE: You should make a careful study of the illus- tration given here, locating each point and thinking through every operation con- nected with making the pat- tern. Most students who have difficulty in drafting patterns can trace their un- satisfactory work to the hahit of trying to follow directions hlindly, without considering the reasons, or exercising judgment in the various steps. You will also find it very profitable to secure a plain waist and skirt pattern of any reliable pattern company and study them piece by piece until you know in general about what shaped pieces you are attempting to draft. As this pattern is drafted for only one-half the waist, you will use measurements for half of the chest and half of the front bust in drafting it. For construction lines draw line AB 2" from the right-hand edge of the paper; draw line AC at right angles to it. To Draft the Neck. To lay out the neck at the shoulder, measure 2" from point A on line AC and locate point L; to lay out the neck at the center front, measure down 2" from point A on line AB for a neck measuring 12" (increase this measurement Vs" for each W increase in neck measure, for instance for a neck measuring 13", measure 2i/4", etc.).. This locates point M; connect points L and M with an easy inward curve as in the illustration. To Draft the Shoulder. From point L, measure out on line AC the measurement for the shoulder, locating point N; drop a perpen- dicular line IW (if the shoulder is very sloping drop this line 2"). Draw a line from point L through the end of the perpendicular line. (This is shown by a dotted line in the illustration.) Lay out shoulder measure on this line, measuring from point L, thus locating point O. 379 To Draft the Armhole. As the chest measure is taken 2" below the base of the neck, locate the place for the chest line on the pattern by measuring down from point M 2" on line AB; call this point P; from point P draw a line parallel to the line AC. Lay out one-half the chest measure on this line, locating point Q. To locate the under- arm seam and base of armhole, measure down the depth of front armseye from j^oint M on line AB and locate point R; draw the line RS parallel with line AC and equal to one-half of front bust measure. Connect points OQ and S with a curved line, allowing it to drop 1/2 " below the line RS, as in illustration. To Draft Under-arm Seam. From point S drop a line parallel to line AB the length of the under-arm measure and locate point T; measure 1" to the left, locating point U, and draw a slanting line from point S through this point. Line US should equal length of under- arm measure. The pattern should be made to extend about 4" below the waist line, forming a tail, or skirt, as it is sometimes called. The under-arm seam must slant out below the waist to allow for extra size at the hips. To obtain the slant for this line, lay the yard stick so it touches the points L and U and draw the line UW 4 " long. For a person with extra large hips place yard stick on points M and U to draw the line UW. From point M measure down on line AB the measurement for length of front; locate point V. Draw line UTV (this is the waist line), extend it beyond line AB to the edge of the paper. For the bottom of the skirt, draw the line WX parallel to line UV, allowing it to extend to the edge of the paper. To give extra fullness to the bottom of the waist, draw a slanting line from point M to point X. To Draft the Seams. Draw lines parallel with and ^o" outside of the shoulder and under-arm seam. THE BACK. The back pattern also is drafted for only one-half the waist, therefore, you will use measurements for one-half the neck and back bust. Draw a construction line AB parallel with the left edge of the paper; draw line AC perpendicular to it. To Draft the Neck. To lay out the center back of the neck, from point A measure down on line AB ^2" for a neck measuring 12" to 14" (measure down %" for neck measuring 14" or over); mark point L. To lay out the neck at the shoulder (the size of the neck on 380 the back of the waist should be Vs of the entire neck) measure out from point A on line AC yi of V2 the neck measure. Mark this point M. Draw a curve connecting points L and M. To Draft Shoulder. From point M on line AC, lay out the shoulder measure, locating point N; to make the slope on the shoulder, drop a perpendicular line from N 2V4" for an ordinary shoulder (for a very sloping shoulder make this line 2V2" long). With a ruler on the end of this line, draw the slanting line MO, the length of the shoulder measure. To Draft Armhole. On the line AB measure down one-half the depth of armhole measurement and locate point P. At point P draw a line parallel with line AC. From point O, drop a perpendicular to this line. As the armhole curves in slightly from the shoulder, measure in Yi" locating point Q. To locate the bottom of the armhole and the top of the under-arm seam, measure down from point A on line AB the depth of armseye meas- urement and draw the line RS parallel with line AC, equal to one- half the back bust measurement. Connect points OQ and S with a curved line as in the illustration. To Draft Under-arm Seam. From point S drop an indefinite perpendicular line. On this line from point S lay out the under-arm measurement and mark the point T. As the under-arm seam should slant in toward the center back at the waist line to remove fullness under the arm, measure in and up slightly from point T locating point U; draw a line from point S to point U. This will be the under-arm seam and should be the length of under-arm measurement. To form the line for the center back, measure down from point A on line AB the length of back measure. One-half inch in from this point, locale jioint V; draw the line AV, allowing it to extend at least 4" beyond point V. Draw the line W for the waist line. To Draft Skirt of Waist. To allow for the extra size over the hip, the under-arm seam nmst slant out below the waist line the same as for the front pattern. To draw this line, lay the yard stick on 381 points M and I' and draw the line UW 4" long. For an extra large hip place one end of the yard stick on i)oint L instead ot point M. Dra\v the line X\V parallel with AC for the hottom of the waist. To Draft Seams. Draw lines parallel with and ^ ■_>" outside of the shoulder and under-arm seams. DIRECTIONS FOR USING SHIRT WAIST PATTERN. For a waist which is to be opened in the center front, lay the center back represented by the line AX on a lengthwise fold of the material, thus cutting the back in one piece. For a waist which is to be opened in the center back, lay the hems the width desired and place the center back of the pattern on the center of the hems. As no allowance is made for finishing the hems on the center front of the pattern, the center opening of the waist may be tinished as desired and the center front of the pattern rejiresented by line MX may be placed in the line where the fastenings are to be sewed. If a tucked waist is desired, the tucks may be laid in the material, the pattern j/laced over them and the waist line cut out the same as for a plain waist. If a yoke is desired, the shape may be marked with a pencil on the upper part of the pattern. Extra allowance should be made for seams along this edge when the waist is cut out. If fullness is desired in the waist below the yoke, lay a pleat in the material lengthwise, wide enough to allow for the fullness desired. ONE-PIECE FOUNDATION SLEEVE. MEASUREMENTS. Length of Arm from Shoulder to Wrist. Measure from end of shoulder to the wrist. Armhole, Measurement around the arm where it joins the shoulder (an easy measure), about the size of the armhole of the waist. Shoulder to Elbow. Measurement from the end of the shoulder to the ])end in the elbow. The Hand. With the thumb closed over the palm of the hand, take this measurement around the broadest part of the hand. DRAFTING THE SLEEVE PATTERN. Study carefully the accompanying drawing. This j)attern is to be drafted on a double fold of the paper; use the folded edge of the 382 paper for line AB; draw line AC at right angles to line AB. To Draft the Top of the Sleeve. For a smooth fitting sleeve, 4" is allowed for the height of the curve for the upper part of the sleeve; this measurement should be increased if the sleeve is made wide enough at the top to be gathered in the armhole of the waist. Draw the line LM 4" below Tnd par- allel with the line AC, making it equal to one-half the armhole measurement, plus Vo". To locate the point where the under-arm curve should cross this line, measure in from point M one-fifth of the armhole measurement and locate point N. To locate the point where the top curve of the sleeve should begin, measure from point M on line ML two- fifths the length of the armhole measure- I ment and locate point O; erect a per- pendicular line to line AC; measure down on this line % " locating point P, which will aid in drawing the under-arm curve the right shape; draw line AM for the top curve and line APNM for the under-arm curve of the sleeve. To Draft the Remainder of the Sleeve. Locate point S at the bottom of the sleeve by measuring down on line AB the length of the shoulder to wrist measurement. At point S draw a line at right angles to line AB. Draw the line QR parallel with and equal to line AS. To lay out the width of the sleeve at the bottom, measure in 2y2" to 3" (depending on fullness desired) from point R on line SR, locating point T. Draw the line MT. To allow for the bending of the elbow, the bottom of the sleeve should be a trifle lower on line AB than at point T; H" from point S on line AB locate point S2; draw a slanting line from point S2 to point T. This forms the bottom of the sleeve which may be gathered into a narrow band to fit the wrist. To shape the sleeve on the seam where the elbow bends in, measure down from point A on line AB the shoulder to elbow measurement; locate point V; from point V draw a line parallel with line AC, locating point W where it crosses line MT; measure in from point W on line VW ^2", locating point X; draw lines MX and XT. These lines form the under-arm seam on the sleeve. 383 If the cufT is to be used on the bottom of the sleeve, measure up from point S the width desired for the cuff and draw line YZ parallel to line ST. Measure down 1/2" from point Y and locate point Y2; draw the slanting line Y2Z (a tailored cufT is made 2y2" wide, as a rule). The placket opening for tailored cuff may be cut on the line AH. If this sleeve is to be fitted in at the wrist without a band, or cull, line ST should be made equal to one-half the hand measurement. To allow for a seam on the sleeve, draw lines parallel with, and V2" outside of lines MX and TX. With the paper folded cut out the pattern on the heavy lines around the top curve, on the under-arm seam and the bottom of the sleeve. Open the pattern to cut out the under-arm curve. Laying Pattern on the Material. Both sleeves may be cut out at one time by laying corresponding sides of the material together so you will have a sleeve for each arm, instead of two for one arm. Open the pattern and place line AB parallel with the warp thread of the material. Modification of the Sleeve Pattern. The sleeve may be made full at the top by increasing the length of lines AL and LM. It may be made wider at the bottom by increasing the length of line SR. It may be made any length desired by drawing a line parallel with S21' any length desired on the sleeves. If tucks are desired, either cross- wise or lengthwise of the sleeve, they may be made first, after which the sleeves may be cut out the same as a plain sleeve. DEVELOPING OTHER PATTERNS FROM THE SHIRT WAIST . PATTERN. CORSET COVER. A corset cover pattern may be developed from the shirt waist pattern in the following manner: For the front, measure up from the end of the shoulder line of the waist pattern one-third the length of the shoulder. Measure down from the base of the neck of the pat- tern 3" or 4" to the point desired for the top of the corset cover. Allow 2" extra on front of pattern for fullness; connect top of front and shoulder with an inward curved line. Cut off the pallorn at the waist line. For the back of the corset cover measure up from the end ot the shoulder line one-third the length of the shoulder; measure down from the center of the neck to the point desired for the top of corset cover; connect this point and shoulder with curved line. Cut off' the pattern at the waist line. 384 CHEMISE. Eor the front of the chemise, measure up from the end of the shoulder of the shirt waist pattern one-third the length of the shoul- der; measure down from the base of the neck of the waist pattern to the point desired for center front of neck of chemise, allowing 2" on the center front for fullness; draw a curved line and connect the point marked for the top of the shoulder with the center front of the neck. Measure down from this point the length desired for the chemise. Continue the under-arm seam of the waist down the length desired for the chemise. Connect the center front of the bottom with the under-arm seam, allowing the line to curve up a little (about P2") for the bottom of the chemise. For the back, measure down from the center back of the neck on the pattern to the point desired for the top of the chemise, allowing 2" on the center back for fullness; measure up from the end of the shoulder seam one-third the length of the shoulder; draw the curve for the neck, connecting the shoulder and center back. Make the chemise the same length in the back as the front. F'rom the perpen- dicular line at the under-arm seam in the shirt waist draft, measure out IV2" at the waist line and draw the line for the side seam of the chemise through this point, making the seam as long as the seam on the front of the chemise. Lay the center front of the chemise pattern on a fold of the material when cutting it out. Do likewise when cut- ling out the back of the chemise. NIGHTGOWN. A nightgown pattern may be developed from the shirt waist pattern in the same manner as suggested for the chemise, except that the nightgown is made long enough to touch the lloor. When the length is laid out on the center front a line is drawn perpendicular to it at the bottom and one-fourth the desired width of the nightgown is measured out on this line. This point is connected with the top of the under-arm seam of the waist. The back of the nightgown is laid out in the same manner. SUGGESTIONS FOR FITTING WAIST. Put on the waist right side out and pin it together. Place a tape measure, or piece of cotton tape over the garment at the waist line and adjust the fullness at the bottom of the waist. If the shoulder seam lies straight along the top of the shoulder from the base of the neck to the end of the shoulder, if the under-arm seam runs from the center of the under-arm to the waist line slanting a tritle toward the 385 back and the waist is tree from wrinkles of any kind with sufficient fullness across the bust, your waist will need no alterations. If the waist wrinkles from the neck to the bottom of the arm- hole, the shoulder seam slopes too much. Re-pin it, makinj- the seam narrower at the end of .the shoulder. If the waist wrinkles crosswise at the top of the back, or front, it should be altered at the neck and shoulder; cut out the neck a trille (it is a good plan to make short crosswise cuts across the curve of the neck before cutting out the material) and make the shoulder seam narrower at the end of the shoulder. Where the waist wrinkles down at the curve of the armseye it should be cut around this curve. It is advisable to make crosswise cuts in the edge, as suggested for the neck, before cutting out the material. If the waist is too loose at under-arm seam, the seam should be taken up until the waist fits smoothly. (Be very careful not to fit it too closely at this point.) If the waist is to be finished with a peplum or band, trim it otT the width of a seam below the waist line (be very careful to leave the waist long enough so it will not pull U]) above the belt of the skirt when the arm is raised). SLEEVE. Place the sleeve in the armhole of the waist with the under-arm seam about 2Yi" to 2^2" from the under-arm seam of the waist. See that the seam of the sleeve hangs straight to the front of the wrist and that the top of the sleeve hangs straight to the back of the hand when the arm is dropped straight down at the side. Pin the sleeve in the armhole, being careful that neither the waist nor the sleeve draws in any place when the arm is raised or lowered. Bend the elbow and see that there is sufTicient room to do this without straining the seam of the sleeve at that point. Pin the sleeve up at the bottom to make it the desired length. A sleeve should fit easy on the arm, otherwise it will be uncomfortable and will be likely to pull out at the seams. FOUNDATION SKIRT. MEASUREMENTS. Waist Measure. A close measurement around the smallest part of the waist. Before taking the other measurements, pin a tape measure or narrow strip of muslin around the waist; let the bottom edge indicate the waist line. Hip Measure. A loose measure taken over the fullest part of the hip about (>" below the waist line at the hip. If the skirl is to be narrow at the bottom add 2' to the hip measure. 386 Length of Front. Measurement from the waist line at the center front to the floor. Length of Side. Measurement from the waist line over the hip to the floor. Take the measurement of both hips; if one hip is larger than the other, use the longer measure. Length of Back. Measurement from waist line at the center back to floor. Construction of Skirt. A gathered, or pleated skirt made as wide at the top as it is at the bottom should not be curved out at the waist line in front, as the gathers will take up the extra size at the hips. In making such a skirt, straight strips of cloth may be sewed together. When a skirt fits smoothly around the hips, it must be wider at the bottom and narrower at the waist than at the hip line. This is done by slanting the strips of material from the bottom to the top sufficient- ly to make it fit the figure. When a skirt is made to fit the figure, it is always necessary to raise the waist line at the back to make the top of the skirt fit smoothly around the waist line. Two pieces of material may be slanted off on one edge, raised at the waist line and fitted in with darts. As a rule the skirt is divided into several sections, or gores; the number and size, however, is dic- tated entirely by the prevailing fashion. A skirt pattern made of two pieces, like the one shown in the illustration, may be divided into any number of gores desired; the width at the bottom may be varied to meet the requirements of changing styles. DRAFTING THE FOUNDATION SKIRT PATTERN. Study carefully accompanying drawing. Use a piece of drafting paper several inches longer than the back measurement and a trifle wider than one-half the skirt measure; if the paper is not wide enough, an extra strip may be pasted, or pinned, on one edge. Let the long edge of the paper represent line AB; draw line AC at right angles to it 7" or 8" from the end of the paper; let point A represent the center front of the waist line. As you are drafting one-half of the pattern, you will use one-half the waist measure and one-half the hip measure. To Locate Points with Which to Draft Back of Skirt. Measure out from point A on line AC one-half the hip measurement, locating point L. Measure down from point A on line AB the length of front measure- ment; locate point M. To locate point at bottom of skirt through which the center back line must pass, put a pin or thumb tack through the 1" mark on a tape measure and place it on point M; with a 387 pencil on the edge of the tape opposite the figure which indicates one-half the width of the skirt de- sired, describe an arc of a circle (a small part of a circle), slightly above point M; in the same manner, with point L as a center, describe another arc with a radius (measurement from center to outside of circle) the same length as line AM letting it cross the first arc at point W; draw a line through points L and W (this makes a temporary back line). To Draft Top of Skirt. The waist line of a gored skirt always curves up from the center front to-'/ ward the center back. The slant varies with the width of the skirt at the bottom; the wider the skirt is, the higher the waist line will be raised at the back. By experimenting with many different skirt measurements it has been found that the height of the curve in the center back above the center front is about 1/10 the width of the bottom of the skirt. At right angles with line AC draw line ON which represents 1/10 the bottom of the skirt measure so it will intersect the indefinite line LW at point N. Draw a slanting line AN (the curve for the waist line will be drawn under this line after the point for the hip dart is located.) To Locate Hip Line. The hip line at hip is about 6" from waist line. The hip line at center front will be shorter than at the side because the waist line curves down in front. The hip line at center front equals 6" minus the difference between the length of front and side length. Tlie hip line at the back equals 6" plus the difference between the side length and back length (if the back length is shorter than the side length, the hip line will equal 6" minus the difference between the side length and back length.) To locate the position of the hip line, divide line AN in the center, locating point P; with the end of ruler on line AN draw line PR H" 388 long and place point U for side length of skirt. To locate the hip line at center front, measure down length of center front hip line and locate point Q. From point N measure down on line NW the length of back hip line and locate point S; with the tape measure, measure the length of the hip line QRS. If this is longer than half the hip measure, locate the point on line QRS and draw a new line \W through this point without changing the width of the skirt at the bottom; from point V measure down on line VW the length of the back, locating point T. Curve the waist line, as shown in the illustra- tion. (It is curved up at point P to shape the top of dart prop- erly.) To Draft Dart at Point P. Subtract one-half the waist measure from the length of line AY. Measure out on line AV each side of point P one-half the difference and draw the slanting lines to R shown in illustration for the hip dart. If a skirt is very narrow at the bottom it may be necessary to take up some of the waist line at the back with gathers, or by slant- ing in the back line from the hip to the waist line. LAYING THE PATTERN ON THE MATERIAL. This skirt pattern may be used for a two-piece skirt. Place the center front of the pattern far enough from the edge of the ma- terial to allow for a pleat or seam in front if you desire the skirt to open in front. Cut 1" outside of line VT for the center back of the skirt; or, place line AM on the center fold of the material and line VT on a fold of the material and join the skirt at the hips instead of the center front and back. (Have the placket opening at the top of the left hip seam.) This pattern may be used for a three-piece skirt by placing line AM on fold of goods and having seams on the hips and center back. One style of four-gored skirt may be made in the same manner as suggested for the three-piece skirt, except that the skirt opens under a pleat in the center front. If you desire to open the skirt on the side of center front, cut a new pattern of the front gore on doubled paper, calling the folded edge line AM. Measure the distance to the right or left of this line that you desire to have your opening. Cut the paper open at this point parallel with the folded edge. REMEMBF:R seams must be allowed in cutting out the material. DIVIDING THE FOUNDATION SKIRT IN GORES. The number and size of gores in a skirt change so often with the l)revailing styles that it is not deemed advisable to give in this text 389 a detailed discussion for dividing the foundation skirt into its many possi- ble divisions or gores. However, in order to give a general idea of the man- ner of dividing a founda- tion skirt, the accompany- ing drawing shows the skirl divided into five gores. This drawing will be suggestive of the prin- ciples which may be em- ployed in making any de- sired number or style of gores. Before dividing the skirt into gores, study a commercial pattern and notice the relative width of the gores at the hips and bottom and divide your skirt accordingly. The following figures were used in dividing this skirt: Front gore at waist equals 1/6 waist measure. Front gore at hip equals 1/6 waist measure plus 1". Front gore at bottom equals 1% times size of hips. Side gore at waist equals V^ waist measure. Side gore at hip equals ^4 waist measure plus 2^2". Side gore at bottom etjuals twice the size at hips. Slant the side gore in from each side of the hip line 1^4" to the waist line. Back gore at waist line equals 1/12 waist measure. Back gore at hip ecjuals remaining half hip measure. Back gore at bottom equals remaining half skirt measure. Take up remaining top of pattern in a dart in the center of the side gore. SUGGESTIONS FOR FITTING SKIRT. Put on the skirt right side out and pin it together. If the seams over the hips do not slant forward or backward at the waist line, if it fits smoothly around the waist and hips, if you can sit down in it comfortably and the lines of the seams are good, your skirt will need no alterations. If the skirt is pleated, the pleats should hang as 390 indicated in the pattern. The skirt should be evened around the bottom after the band is put on. It is an excellent plan to put on the skirt (after the seams have been stitched and the placket opening finished), pin the band in place and make it even around the bottom. A good way to even the skirt around the bottom is to have the person whose skirt is to be hung stand on a table, holding a yard stick straight beside her, with one end resting on the table; the hem of the skirt may be turned up evenly at any length desired, moving the yard stick as you turn the hem. If the skirt hangs forward at the bottom front, raise it at the back w^aist line. If it draws across the hips, let out the seams at the hips, and if necessary, at the center back. If the seam at the hip slopes for- ward, or backward, near the waist line, pin it straight. Be careful that the seams all have a general direction straight toward the floor. KIMONO NIGHTGOWN. MEASUREMENTS. Neck Measure at Shoulder. Measurement from bone in center back of neck out on the shoulder far enough to make the neck of the gown as low as desired at this point. Neck Measure at Center Front. Measurement from base of neck down the center front the depth desired for neck of gown in front. Bust. A loose measurement around the body over the fullest part of the bust close under the arms. Shoulder and Sleeve Measure. Measurement from base of neck along shoulder to bend in elbow, or length desired for sleeve. Width of Sleeve. Measurement around the arm above the elbow plus 6" or 8" (this depends on the size of sleeve desired). Length of Nightgown. Measurement from highest point of shoulder to the floor. Width at the Bottom. Measurement desired (from 2 to 2^4 yards.) DRAFTING THE PATTERN. Study carefully accompanying drawing. You are to draft one- half of the front pattern, which will also be used to cut out the back of the nightgown, thus making this pattern one-fourth of the entire gown. For this reason you will use one-fourth of the bust measure and one-fourth of the skirt measure in drafting your pattern. Draw line AB parallel with the edge of the paper; draw the line AC at right angles to line AB. 391 To Draft the Neck. Meas- ure out from point A on line AC the neck measure at the shoulder; locate point L; measure down on line AB from point A the neck measure at center front; locate point M; draw an easy curve, as in illus- tration, connecting points L and M. This neck may be made square by drawing a line from point L parallel with line AB to form a right angle with the line drawn from point M parallel with line AC. A straight slant- ing line drawn from point L to point M will make a V-shaped neck. To Draft the Sleeve. On line AC measure out from point L the length of the shoulder and sleeve meas- ure, locating point N; meas- ure down on line AB one- half the width of sleeve measure and draw line OP parallel with and 1" shorter than line AC; connect points P and N with a slanting line. To Draft the Body of the Nightgown. From point A measure down on line AB the length of nightgown and locate point R. From point R draw line RS at right angles to line AB, making it equal one- fourth the width of the bottom measure. On line OP measure out from point O one-fourth the bust measure plus 2" for fullness and locate point Q; draw a slanting line from point Q to point S; from point Q measure down the length of line OR on line OS; locate point T; half way between the points R and S begin to draw the curved line RT for the bottom of the nightgown. Make a curved line at point Q, as shown in the illustration. ^PT^ \N C M \ \r R. - -^5 & LAYING THE PATTERN ON THE MATERIAL. Fold the material lengthwise in the center, then fold it crosswise in the center; pin the center front of the pattern (represented by 392 the line MR) even with the lengthwise fold and the line LN even with the crosswise fold of the material; cut out the back and front of the nightgown at the same time. ADAPTING THE KLMONO NIGHTGOWN PATTERN TO THE MAKING OF OTHER GARMENTS. By cutting the kimono nightgown pattern the desired shape at the neck, opening it down the center front and cutting it oil" the shape desired below the waist line, it may be used as a pattern for a comb- ing jacket. By opening the kimono nightgown pattern in the front it may bs used as a pattern for a kimono. If a yoke is desired in the kimono, cut off the upper part of the pattern the shape desired for the yoke and allow for seams at the bottom edges when cutting out the material. If fullness is desired in the body of the kimono, set the center front of the pattern over from the edge of the material far enough to allow for the fullness. In the center back, do the same, setting the pattern over from the folded edge of the goods the width of a seam if two widths are used to make the back. DRAWERS. MEASUREMENTS. Waist Measure. Measurement around the smallest part of the waist. Hip Measure. Loose measurement around the fullest part of the hips about (V from the waist line. Length of Side. Measurement from waist line over hip to the bend in the knee (take rather a short measurement). DRAFTING THE PATTERN. Study carefully the accom- panying drawing. The i)attern for these drawers is drafted on double paper which is folded along the side of the drawers. When the drawers are cut out, the pattern should be opened and the crease laid parallel with the warp threads of the material. Consider the fold of the paper line AB and draw a line AC at right angles to it. To locate the toj) of the side of the drawers, measure down 393 from point A 3" on line AB and locate point L; to locate the top of the front of the drawer leg, measure down 4" from point A on line AB and locate point M; draw a line MN one-fourth of the hij) measure; to locate the crotch of the drawer leg, measure down from L two-thirds of the side length and locale point O and draw a line OP parallel with AC, making it equal one-half the hip measure, minus 2". To lay out the length of the drawer leg, measure down on line AB from point L the side length and draw a line QR the same length as OP and parallel to it. To shape the front of the drawer leg, measure in 2" from point P on line OP and locate point S. One inch in from point S on line OP locate point T; draw^ a line from point N with the yard stick on points N and P within about 2" of point P; curve the line to point P; draw a line from point L to point N. TO SHAPE THE BACK. Measure in 1" on line MN and locate point U; with the yard stick on points S and U draw a line from point S up to line AC, locating point V; leave the line dotted where it falls under the front of the leg; curve the lower end of the line off to point P. With the paper folded, cut out the pattern on the heavy outline around points LVNPK and Q; fold back the upper part of the paper on the dotted line be- tween points U and P and cut the back of the drawer leg even with the crease; open the paper and cut out top of front leg on line LN, also the part left uncut between points P and N.