Cotton Fiber.
Cotton Spinning. 5 parts.
Weaving. 3 Parts.
Textile Design. 5 Parts.
Woolen and Worsted Spinning. 4 parts.
Woolen and Worsted Finishing. 4 parts.
Textile Fibers $3.50
Mathews. Postage .16
Textile Fabrics .90
Rock. Postage .08
Dyeing of Textile Fabrics 1.75
Hummell. Postage .12
Bleaching and Calico Printing 4.00
Duerr. Postage .14
_Note._--Books may be ordered through the School or may be borrowed by
members for one week. Send postage with request.
U. S. Government Publication
_Free_ of the Department of Agriculture, Washington, D. C.:
Flax for Seed and Fiber, Farmers' Bulletin No. 27.
Cotton Seed and Its Products, Farmers' Bulletin No. 36.
Raising Sheep, Farmers' Bulletin No. 96.
The Angora Goat, Farmers' Bulletin No. 137.
Silk Worm Culture, Farmers' Bulletin No. 165.
Essential Steps in Securing an Early Crop of Cotton,
Farmers' Bulletin No. 217.
The Cotton Seed Industry, Reprint No. 239.
The Hemp Industry in U. S., Reprint No. 254.
Improvement of Cotton by Seed Selection, Reprint No. 279.
The Growing of Long-Staple Upland Cotton, Reprint No. 314.
Principal Commercial Plant Fibers, Reprint No. 321.
_For sale_ by the Superintendent of Documents, Washington, D. C. Send
coin or money order,--stamps not accepted:
Sheep and Wool, Report No. 66, Office of the Secretary.
Price 5c.
The Cotton Plant: Its History, Botany, Chemistry, Enemies,
and Uses. Bulletin No. 33. Office of Experiment
Stations. Price 60c.
Cotton Culture in Egypt. Bulletin No. 42. Price 5c.
OFFICE OF FIBER INVESTIGATIONS.
Uncultivated Bast Fibers. Report No. 6. Price 10c.
Cultivation of Ramie. Report No. 7. Price 10c.
Culture of Hemp and Jute. Report No. 8. Price 10c.
Flax Culture for Seed and Fiber. Report No. 10. Price 10c.
TEST QUESTIONS
The following questions constitute the "written recitation" which the
regular members of the A. S. H. E. answer in writing and send in for the
correction and comment of the instructor. They are intended to emphasize
and fix in the memory the most important points in the lesson.
TEXTILES AND CLOTHING
PART I
READ CAREFULLY. Place your name and address on the first sheet of
the test. Use a light grade of paper and write on one side of the
sheet only. Leave space between the answers for the notes of the
instructor. _Answer every question fully._ Read the lesson paper a
number of times before attempting to answer the question.
1. Give a brief outline of the craft of spinning, primitive and modern.
2. Outline the same for weaving.
3. Describe the hand loom.
4. Describe the cotton fiber. What kinds are there?
5. Who invented the cotton gin and how did this invention affect the
cotton industry?
6. Give the chief characteristics of wool. Name the wool and fur bearing
animals. How does wool differ from hair?
7. Trace briefly the preparation of wool from the fleece to the finished
product.
8. Describe flax and outline the method for the preparation of the
fibers. What is the name of the manufactured product of flax?
9. Name some other bast fibers and their products?
10. How do the textile fibers compare in the raw state in condition and
price?
11. Give a brief description of silk from the egg to the woven cloth.
12. (a) What is the chief constituent of the vegetable fibers? (b) How
does their affinity for dyestuffs compare with wool and silk? (c) How do
the alkalies affect wool?
13. Describe the principal weaves and give examples of each.
14. (a) How are cotton and flax bleached? (b) What is a mordant? (c) How
should material be prepared for dyeing? (d) State what you know about
old time methods of dyeing.
15. How are print goods made? Name some printed fabrics.
16. Define woolens and worsteds.
17. Describe the finishing of woolen and worsted cloths.
18. What is noil; shoddy; felt; flocks?
19. With what dress goods have you had experience, and with what
results?
20. What factors determine the use of fabrics?
21. Of what value is the study of textiles? What have you gained by the
study of this lesson?
_Note._--After completing the test sign your full name.
[Illustration: EMBROIDERED INITIALS
_W_ and _L_--Sewed on initials; _B_--Satin stitch in wreath of feather
stitches; _C_--Outline and seed work; _D_--Chain and French knots;
_H_--Cross stitch; _L_--Chain; _H_--At the right, and the cross stitch
_H_ are made over canvas and the canvas threads drawn.]
TEXTILES AND CLOTHING
PART II
HAND SEWING
Good sewing, good pressing, well finished ends and corners, lightness of
touch which holds the work without apparently touching it, thus giving
to the finished garment a fresh look--all these are important
considerations.
[Sidenote: Kinds of Sewing]
The sewing done on wool, silk, and dresses of all kinds differs from
that on underwear and white work. Muslin underwear requires frequent
washing and ironing, hence the first essential is durability; close,
small stitches, all raw edges carefully turned and stitched securely.
Seams that are to come close to the body should lie perfectly flat. A
round seam would wear out sooner by coming into frequent contact with
the washboard and iron, besides irritating the skin. In dressmaking,
unless the stitching is used for ornamental purposes, it should never
show on the outside.
Periods of beautiful and dignified costume have been periods of fine
needlework--one art leading to and helping on the production of the
other.
[Sidenote: Plain Stitches]
Stitches may be divided into plain and ornamental. The plain stitches
are the (1) basting, (2) running, (3) the running and back stitch, (4)
half back stitch, (5) back stitch, (6) overhand or whipping stitch, (7)
overcast, (8) hemming, and (9) blind or slip stitch.
[Sidenote: Ornamental Stitches]
The ornamental stitches most frequently used are (1) outline, (2) chain,
(3) cat or herringbone, (4) blanket or loop, (5) feather, coral or
briar, (6) hemstitching, (7) French knots, (8) button hole, and (9)
cross stitch. Excepting the cross stitch, these are all variations of
the plain and button hole stitches.
The plain stitches may be used for ornamental purposes. The basting
stitch is known as Queen Anne darned work. The back stitch, known as
"seed work," is used in embroidering letters and monograms. The overhand
stitch is used as an ornamental stitch for joining selvages and in
hemming. The chain stitch, besides being ornamental, makes one of the
best darning stitches, reproducing the stitch in knitting. The cat
stitch is also useful in binding down open seams for flannel hems,
patching, etc.
[Sidenote: Basting]
(1) Basting proper is used only in the preparation of work to hold the
stuff and lining, or any two or more parts of the work together while it
is being stitched, none being left in the finished garment. It is also
used as a guide for sewing, feather stitching, etc.
[Sidenote: Tacking]
The slanting basting stitch or "tacking" is used in dressmaking for
holding linings. The needle is pointed towards the worker. Even basting
is used for holding several thicknesses of cloth and if the garment is
to be fitted, the stitches should be placed rather close. Uneven basting
is used for hems and seams to be machine stitched. Several short
stitches with one long one are used to baste crape and wiry fabrics,
for this method holds them better than stitches of equal length.
[Illustration: BASTING STITCHES
_a_--Even; _b_--Uneven; _c_--For wiry fabrics; _d_--Tacking;
_e_--Overcasting; _f_--Double or tailor overcasting.]
[Sidenote: Fastening the Thread]
All basting should be fastened at start with a knot or knot and back
stitch and finished with two or three back stitches. The length of
thread may be broken or cut from the spool, but should always be cut
from the work. Breaking weakens the fastening and biting off soils
delicate work with the moisture from the breath, to say nothing of the
injury to the teeth. Basting for large work should usually be done with
the goods lying flat on the sewing table.
[Sidenote: Drawing Basting Threads]
For ordinary work, basting threads should be cut every few inches and
drawn out. In velvet, every alternate stitch should be cut and drawn out
on the right side with the pile of the goods. In the basting for velvet
where the slanting stitch is used, only one end of the stitch touches
the line of the seam--the rest is on the outside of the seam. Silk
thread should be used to baste velvet and gauze; the thread should be
used for basting.
[Illustration: POSITION OF THE HANDS IN RUNNING]
[Sidenote: Running Stitch]
(2) Running is closely related to basting. It is not used for any seams
that have to bear great strain, but for joining seams in this material,
gathering, tucking, making cords, etc. The stitches are usually of equal
length on both sides. Take one stitch in the seam and hold the goods
between the thumb and first finger of each hand, as shown in the
illustration, with the back of the thimble on the eye of the needle.
Then, with as free wrist motion as possible, run or shake the needle
through the material. The motion of the hand should come from the elbow
joint.
Gathering, gauging, casing, etc., are used for drawing up the fullness
of skirts, ruffles, flounces, etc., into a given space. The running
stitch is used for these.
[Sidenote: Gathering]
For gathering, the cloth is held in the same manner as for running. The
needle, ordinarily, need not be taken out of the work, the stitches
being pushed back over the eye as they are made; but for running long
skirt seams in delicate material which would crinkle at the line of
sewing and roughen the seam, the needle should be drawn through and the
line of sewing smoothed on the thread at each needleful of stitches.
[Sidenote: Stroking]
Never use a double thread for gathering, as it is apt to knot, but put
in two lines of gathering threads--one a full one-eighth of an inch
below the other--and slip the stitches along the needle as described
above. This method is a saving of time in the end. When the gathering
threads are in, remove the needle, place a pin vertically close to the
last stitch, and wind the thread around it a few times in the form of a
figure eight. Use a coarse needle for stroking. Hold the work between
the thumb and fingers of the left hand with the thumb on the gathering
threads. To place the gathers, put the point of the needle _under_ the
lower gathering thread and press the plait or gather under the thumb,
drawing the needle down, or simply pressing on the needle. Care must be
taken not to scratch or tear the material. Continue entirely across the
gathers, putting the needle under each stitch and holding the plait
firmly between the thumb and finger: turn the material and stroke the
_upper_ edge of the gathers.
[Sidenote: Gauging]
The gauging stitch is usually longer on the face than on the back, draws
the material up into distinct plaits, making it easy to dispose of the
fullness neatly, regularly and securely by overhanding the top edge of
each plait to the bottom edge of the band. The right side of the skirt
and the right side of the belt are placed against each other and each
gather oversewed to the belt. The space into which the material is to be
gathered determines the length of the long stitch. The succeeding rows
of stitches should be _directly_ under those of the first.
[Sidenote: Running and Back Stitch]
(3) The running and back stitch is made by taking a few running
stitches, drawing out the needle and making a back stitch over the last
running stitch to strengthen the seam. Care must be taken not to hold
the side next the worker too full and not to miss the under material,
but to take the stitches even on both sides.
[Sidenote: Half Back Stitch]
(4) The half-back stitch is made by taking one stitch and placing the
needle half way back, then bringing it out twice the length of the
stitch and placing the needle half way back each time from where the
last stitch ended. The appearance on the right side will be of regular
space as in the running stitch.
[Sidenote: Back Stitch]
(5) The back stitch is made by placing the needle back to the last
stitch, bringing it out once the length of the last stitch, then placing
the needle back into the last stitch, and so on, making the stitches
follow each other without any space between. This is used in all places
that are to bear great strain.
[Illustration: PLAIN STITCHES _a_--Running; _b_--Running and back;
_c_--Half back; _d_--Back stitch.]
[Sidenote: Whipping Stitch]
(6) Overhanding, oversewing, whipping, top sewing are one and the
same--small stitches taken over edges, to join folded edges or selvages,
for sewing bands on gathers, sewing lace and insertion, and for sewing
carpet strips together. The pieces for an overhand seam should be pinned
carefully, placing the pins at right angles to the edge. The folded
edges or selvages are placed together, the right side of the goods
being in. Do not use a knot to begin sewing, but leave the knot end of
the thread and sew it in with the first stitches, carrying the thread on
top of the seam. To finish off the seam, overhand back over the last few
stitches.
[Sidenote: Position in Overhanding]
In sewing this seam, the goods should be held between the thumb and
first finger of the left hand parallel with the chest, not over the end
of finger. Point the needle towards the left shoulder, thus giving a
slanting stitch. Care should be taken not to pucker or draw the seam.
When the seam is finished, it should be opened and pressed flat.
[Sidenote: Overcasting]
(7) Overcasting is a slanting stitch used to keep raw edges from
ravelling. This stitch, like oversewing, may be worked from right to
left or from left to right.
The hem stitch and blind or slip stitch will be considered under hems.
ORNAMENTAL STITCHES
Never use a knot in any embroidery, but start by running a few stitches
along the line which is to be covered.
[Sidenote: Outline Stitch]
(1) The outline stitch is the simplest of all embroidery stitches. Take
a long stitch on the surface, with the needle pointing towards the chest
in the line to be covered, and a short back stitch on the under side of
the material. The effect of the under or wrong side of the material is
exactly that of an ordinary back stitch. The beauty of this stitch
depends upon its regularity and in always keeping the thread on the
same side of the needle.
[Illustration: ORNAMENTAL STITCHES
_a_--Outline; _b_--Chain; _c_--Cat; _c'_--Catch; _d_--Single Feather;
_e_--Double Feather; _f_--Tripple Feather; _g_--Modified Feather;
_h_--Double Feather with Knots; _i_--French Knots and Outline;
_j_--Herring Bone; _k_--Fancy Feather; _l_--Cat Stitch with French
Knots.]
[Sidenote: Chain Stitch]
(2) The chain stitch when perfectly done should look like the stitch
made by a single-thread machine. This stitch is made by taking the
thread toward the worker, and before the needle is drawn out of the
cloth the thread is held by the thumb under the point of the needle, as
in a buttonhole, making a loop. The needle is inserted in the last loop
for the next stitch. The chain stitch is used in modern embroidery as an
outline and for darning, but in old embroidery, the outline and chain
stitches were used for filling as well. They are found in Persian,
Indian, and Italian Renaissance work. Like the feather stitch, the chain
stitch is worked towards the worker.
[Sidenote: Cat Stitch]
(3) The cat stitch or herringbone stitch is an alternate slanting back
stitch, the needle being placed first to the right and then to the left.
This stitch must be worked evenly to be effective. It is used to finish
flannel seams and hems, fasten down linings, opened seams, and canvas
facings and featherbone, in millinery--in fact, this stitch is one of
the most useful in sewing. The _catch_ stitch is a variation of the cat
stitch. Instead of pointing the needle towards the chest, the stitch is
taken parallel with the chest. It is used for about the same purposes as
the cat stitch. As with the outline stitch, the cat stitch is worked
_from_ the worker.
[Sidenote: Loop Stitch]
(4) Blanket or loop stitch, used to ornament the edge of blankets, etc.,
and for finishing the edge of stockinet or web material, is worked
from left to right, the edge of the material being held towards the
worker. Start with three or four running stitches along the edge so the
line of stitching will cover them. Insert the needle the desired width
from the edge, draw it towards you down over the thread, being careful
not to draw the thread too tightly over the edge of the flannel. Fasten
the thread by taking running stitches under the last blanket stitch on
the wrong side.
[Illustration: _HEM STITCHING_
_a_--Position of Needle; _a'_--Finished Hem Stitch; _b_--Ladder Stitch;
_c_--Example of Drawn Work Finished with Loop and Cat Stitches.]
[Sidenote: Feather Stitch]
(5) Single, double, and triple feather or coral stitches may be made
very ornamental and are used in all kinds of sewing and on all
materials. They are always made towards the worker, the stitches being
taken alternately to the right and left of the line of the design. The
thread should always be carried under the needle as in a buttonhole
stitch. The design may be varied by taking the stitches diagonally or
straight, by making them close or separated, etc.
[Sidenote: Hem Stitch]
(6) Hemstitching is used for ornament in making hems and tucks. The
first step in hemstitching is the drawing of threads. Rubbing the cloth
along the line of threads to be drawn will make the drawing easier if
the cloth is sized. After the threads are drawn, the hem is turned and
basted even with the lowest edge of the drawn space. Insert the needle
into the edge of the hem and material, taking up a cluster of threads
bring the thread under the needle to form a buttonhole stitch or make a
simple stitch in the edge of the fold. The number of threads drawn and
the number in a cluster must be determined by the coarseness or
fineness of the material, the greater number being drawn and taken in
fine material. There are several methods of hemstitching, but the
results are about the same.
[Illustration: EMBROIDERY STITCHES
Eyelet Embroidery, Embroidery Button Hole, Flat Satin Stitch.]
[Sidenote: French Knots]
(7) French knots are used in connection with other stitches for borders
enclosed in outline and chain stitches, in initials, centers of flowers,
and as a filling-in stitch. The simplest method is of taking a small
back stitch, bringing the thread from the _eye_ of the needle under the
point from right to left and drawing the needle perpendicularly from
the cloth. Place the needle back of the knot and bring the point out in
the place where the next knot is to be made. The size of the thread will
determine the size of the knot.
[Sidenote: Embroidery Buttonhole]
(8) The embroidery buttonhole stitch has many possibilities and many
variations. It is worked from left to right instead of from right to
left as in a buttonhole. The thread from the work is carried under the
point of the needle from left to right, just the reverse of the
buttonhole. This stitch is used on flannel and in embroidery of all
kinds; it may be padded or worked flat and the stitches may be taken a
distance apart or near together.
[Sidenote: Cross Stitch]
(9) The cross stitch is worked on linen, scrim, canvas, or any
open-meshed material. If done on a flat, smooth surface, it will be
necessary to work over canvas, afterwards drawing out the canvas
threads. The canvas should be well basted on the material, the warp
threads of the canvas lying _perfectly straight_ on a line with the warp
threads of the material on which the pattern is worked. The stitches
should always run the same way. If the first ground stitches are made
from left to right, from bottom towards the top, the cross stitches
should be made from right to left from the top towards the bottom. All
the ground stitches run one way and the cross stitches in the opposite
way.
This stitch is used for marking table linen, underwear, and embroidery
designs. When marking linen and unlined work, make the under side very
neat by running the thread under the stitches already made, instead of
taking a long stitch when beginning in another part of the letter or
design.
[Sidenote: Satin Stitch]
(10) The satin stitch is an over and over stitch and is used on
materials of all kinds for marking linen, etc.
The _padding_ is the first step and should be done in long even stitches
placed closely and over one another in the center. The size and
proportions of the figure or letters determine the size of the thread.
Fine thread gives the best results. The outline should be run twice;
this keeps the edge firm. An even darning or basting stitches, chain
stitches or outline stitch may be used if the space is not too small.
The padding may be worked in an embroidery hoop to keep it smooth and
even. Scallops may be padded in the same way or worked flat.
[Illustration: EMBROIDERY BUTTON HOLE AND BLANKET STITCHES
Scallops Outlined and Padded.]
In large figures the stitches are laid closely and exactly parallel the
entire length of the form. They may be straight across or at an angle,
but the one slant must be maintained throughout. In small curved
figures, the stitches may be placed more closely at the inner edge and
spread slightly at the outer edge. In flat work where the leaf or petal
is large, two or three stitches taken in the cloth, back of the face
stitch, holds them even and prevents misplacement in laundering. (All
embroidery should be ironed on the wrong side.)
[Illustration: ARROW HEAD, DOUBLE ARROW HEAD AND CROW'S FOOT.]
[Sidenote: Eyelet Embroidery]
Eyelet embroidery is a simple over and over stitch forming a smooth,
round edge. Like satin stitch, all outlines are run with an even darning
stitch, except the very small eyelet holes, made with a stiletto. Long
or oval openings must be cut through the center.
[Sidenote: Shadow Embroidery]
Shadow embroidery is worked on the wrong side of thin material, using
the cat stitch. The outline of the design only shows on the right side,
the body of the design being seen dimly through the material.
[Sidenote: Arrow Heads]
The arrow head and crow's foot are ornamental fastenings used in fine
tailoring as endings for seams, tucks, plaits, and at corners. They are
made as shown in the illustration.
Mercerized cotton, linen, or any of the embroidery silks can be used for
these stitches, in all sizes and colors, or they can be worked with
ordinary thread, cotton or linen, sewing silk, or twist. Cotton thread
wears better than linen.
HEMS
[Sidenote: Folding Hems]
A hem is a fold of goods twice folded to protect a raw edge. The first
turn or fold of the hem is the most important. It should be straight and
even, _folded to a thread_, for upon it depends the beauty of the hem.
The hem should always be turned towards the worker and creased firmly,
but never pleated along the fold. First crease the narrow fold, then
crease the second fold the desired width, marking by a measure and baste
not too near the edge. The first fold _along_ the _woof_ threads should
be at least one-fourth of an inch in width, as the woof threads give or
stretch more than the warp threads; otherwise it will not lie flat.
[Sidenote: Sewing Hems]
In sewing the hem, the needle should take up only the edge to be hemmed
down and just enough to hold on the cloth or lining. In white work the
stitches should be fine, showing as little as possible.
[Sidenote: Bias Hem]
All bias and curved edges should have the first fold basted. In cloth or
silk this first basting thread should match the material and not be
taken out.
[Sidenote: Faced hem]
A facing or faced hem is also used as a protection to the edge of a
garment. A true bias or fitted facing should be used for a facing if the
edges of the garment are curved. An extension hem is one in which the
whole width of the hem is used.
[Illustration: HEMMING
_a_--Shows method of cutting to do away with a clumsey corner.]
[Sidenote: Slip-Stitching]
Slip-stitching or invisible hemming is done on silk, wool, and thick
material. The hem is pressed with an iron, a stitch as fine as possible
is taken on the surface of the cloth and the needle slipped under and
through the first fold, drawing the thread lightly. The needle and
thread used in this stitch must be very fine.
[Illustration: MITERED CORNERS
Method of Folding and Cutting.]
[Illustration: ROLLED HEM AND WHIPPED GATHERS
_a_--Rolled Hem Gathered; _b_--Whipped Roll; _c_--Double Whipped;
_d_--Roll Hemmed; _e_--Gathers Sewed to Band.]
[Sidenote: Rolled Hem]
Rolled hem and whipped gathers are made with the wrong side of the
material next the worker. Make a tiny roll of the edge towards the
worker, using the left thumb and index finger, rolling an inch at a time
(and no more) before hemming. Make fine, even stitches in the roll and
goods. Keep the hem perfectly round, firm and not too large. This hem is
adapted only to fine material and the edge across the warp is the more
easily rolled.
[Sidenote: Whipped Gathers]
To gather, whip the rolled hem without hemming, making overcasting
stitches towards you, even and not too fine. Use coarser thread than for
hemming. This gathering thread is used to hold down the edge as well as
for drawing up the gathers and it not to be taken out, as is the
ordinary gathering thread. It should _not_ catch in the roll. Have the
thread the length of the plain space to which it is to be sewed and
regulate the gathers as you do the gathering. After the edge is rolled,
whipped and gathered, it is sewed to the garment by the little scallops
or raised parts made by the whipping. This is used only for making
ruffles or gathering on very fine hand work.
[Sidenote: French Hem]
The French hem is used for table linen. Fold as in an ordinary hem, then
fold the hem back on the right side and overhand the edge formed, taking
fine stitches. Press the hem flat from the right side.
[Sidenote: Flannel Hems]
Flannel hems should _not_ be twice folded, for there will be a ridge
instead of a flat surface after the garment has been laundered, owing to
the felting properties of the wool. Hems on flannel should not be
stitched by hand or machine, but cat stitched on the wrong side and
finished on the right side with any ornamental stitch.
Hems in infants' clothing may be turned on the right side and made
ornamental by feather stitching.
No selvage should ever be used on a hem. The selvage is more closely
woven and will draw or pucker in laundrying.
TUCKS
Tucks are folds made on thin material for ornament, to shorten or to
provide for lengthening a garment. If done by hand, a card measure is
preferable to a tape measure for marking the space and width of the
tucks. The folds should be creased to a thread, basted and sewed with a
running stitch showing but little on the face, or stitched on the
machine. Fine thread should be used.
SEAMS
A seam is the line of sewing that joins material; it may be plain or
ornamental. The most important are the overhand, felled, French, slot,
lapped, flannel, and beaded.
The overhand seam is described under the overhand stitch.
[Sidenote: Felled Seam]
A fell is a seam hemmed down to the goods to protect the raw edge. It is
usually made in night dresses, drawers, corset covers, etc. Baste with
the piece farthest from the worker extended one-eighth of an inch beyond
the other and sewed _with the grain_ of the goods, beginning at the
widest part of any bias. Press the seam with the nail on the right side,
turn the wide edge down flat to cover the raw edge and line of sewing,
and hem flat either by hand or machine. Care should be taken to keep the
seam flat on the right as well as on the wrong side. If the felling is
done with the machine hemmer, the wide edge must be on the opposite
side. The seam may be basted with both edges even if preferred, cutting
off one edge after stitching.
[Illustration: SEAMS
_a_--Full; _b_--French Screen.]
[Illustration: BEADED AND TAPED SEAMS
_A_--Tape basted on one edge, and the other edge turned and stitched;
_B_--Beading whipped to the folded edges; _a_--Stitched hem; _b_--Hem
finished with feather stitching.]
[Sidenote: French Seam]
A French seam is sewed twice--first on the right side as near the raw
edge as possible. Cut off all frayed edges, turn the material by folding
_on the seam_ or line of sewing, so the seam is folded inside and the
second sewing is on the wrong side below the raw edges. This is not a
good seam for underwear worn next the body, as it leaves a ridge on the
wrong side, but it is useful for skirts of thin material, etc. It is
more easily made than a fell.
[Sidenote: Beaded Seam]
Beaded seams used for fine white work have a line of beading overhanded
between gores, hems, or gathers. The hem along the seam should be folded
on the right side, leaving a perfectly flat surface to iron on the wrong
side, and finished with an ornamental stitch covering the hem.
[Sidenote: Slot Seams]
The slot seam, used in cloth dresses and jackets, requires exact basting
with silk or very fine thread with small, even stitches. If a coarse
thread is used, the material will be badly marked. After basting, press
the seam open as if it had been stitched, and baste the strap or under
strip of the dress material (which has been cut perfectly straight and
even) over the wrong side of the seam, having the center of the seam on
the center of the strap. Stitch any width desired beyond the center
through the three thicknesses. This will hold the seam in position. Now
remove the bastings from the seam and the slot effect is complete. If
desired, there may be a double row of stitching, an extra row on the
edge of the fold or plait. These seams may be finished at the bottom
with arrow heads or stitched designs. The lines of machine stitching
should not end without some ornament to _appear_ to hold the plait.
[Illustration: SLOT SEAM FINISHED WITH ARROW HEAD]
[Illustration: FLANNEL SEAMS AND HEMS
Finished with various Ornamental Stitches.]
[Sidenote: Lapped Seam]
In the lapped seam the edges are folded each within the other or one
over the other so that both sides are alike. If made of heavy material,
the raw edges are left unturned; in muslin or linen the edges are
inturned, lapped, basted and the hem stitched on both edges or hemmed
down on both sides by hand.
[Illustration: PLACKETS
_A_--Made by folding a wide hem over a narrow one; _B_--Tape faced
sewing for the purpose of a gusset. Method of folding the tape shown.]
[Sidenote: Flannel Seams]
Flannel seams should be stitched, opened and pressed _flat_, either on
the right or wrong side of the garment. If on the right side, taffeta
ribbon should be basted over the seam, so that the raw edges of flannel
will not show, and cat stitched or buttonhole stitched on both sides of
the ribbon, or any fancy stitch--not too long--may be used. This is the
Dorothy seam. For the seam on the wrong side, the edges should be cat
stitched with fine thread. Any ornamental stitch may be used on the
right side of the seam. Always press flannel seams and hems before
finishing. Flannel should never be hem stitched.
PLACKETS
A placket is an opening in a garment allowing it to be put on. The
simplest placket is made by cutting a slit and folding a wide hem over a
narrow one turned on the face of the goods; this makes a pleat below the
vent. There should be a double line of stitching across the bottom of
the hem to strengthen the placket.
[Sidenote: Tape Faced Placket]
The tape faced placket is stronger and may be used in children's
drawers, etc., in place of a gusset to strengthen the end of the
opening. A single piece of tape folded back as for a loop is stitched
along all edges, making an opening without a lap. This offers as much
resistance as a gusset and is more quickly done.
[Illustration: FACED PLACKET
_A_--Wrong side, opened, showing tape; _B_--Right side showing on-set
piece; _aa_ and _bb_ the same ends of the tape; 1-2 method of folding
and cutting end of on-set piece.]
[Sidenote: Faced Placket]
In a third kind of placket, the opening is faced with a continuous piece
of tape on both sides and finished with a piece of material on the
outside. See illustration. This makes a strong and simple placket. When
a tape cannot be used, a hem or facing may be made on the under side of
the opening and a facing on the upper side, over which the on-set piece
is stitched. The on-set piece and facing may be cut from one piece, but
the fitting is more troublesome. In figured goods, the piece set on
should match the pattern exactly.
[Illustration: SKIRT PLACKET WITH LAP]
A simple placket for underwear is made from a single strip of the goods
put on like an extension hem. On drawers it may be turned in at the
buttonhole end, but not stitched down except at the band.
The placket of a skirt should have an underlap extending well below the
opening.
SEWING ON BANDS
[Sidenote: Gathering]
Divide the top of unhemmed edge of the garment in halves and mark with a
cross stitch, notch or pin. Gather from the placket to the middle of the
front gore, if a skirt, apron, or dress. Take a new thread and gather
the remainder. Put in a second gathering thread one-eighth to one-fourth
of an inch below the first. Two gathering threads are better than one
and they should be longer than the length of space to be gathered.
Stroke or lay the gathers above and below the threads. Divide the band
and pin the middle to the center of the garment, placing the right side
of the band on the wrong side of the garment. Pin in the middle and at
each end, secure the gathering threads by winding around the pin, adjust
the gathers, and baste between the gathering threads. Stitch just below
the line of basting. Fold the band over on the right side, press, baste
over the line of stitching, press again, then stitch on the right side
after having turned in both ends and over-sewed. Turn the _top_ of the
band over on the right side one-eighth or one-fourth of an inch and
stitch securely. This upper fold keeps the edge from wearing and
stretching and is a stay for children's skirts and drawers where button
holes are used and serves as a finish for the top of the band.
[Illustration: FINISHES
_a_--Bias Facing; _b_--Band on Gathers; _c_--Corded edge.]
For flannel, pleating or gathers may be used to put fullness into a
band. Two rows of gathering threads should be used and the stitches
should not be too fine. The band should be made of cotton or at least
lined with it to avoid clumsiness and prevent shrinking. Ruffles are set
in hems, etc., in the same manner.
[Illustration: DRAW TAPE FINISH FOR UNDER SKIRT]
[Sidenote: Drawing Tapes]
In finishing the top of an underskirt, many like to dispense with the
placket and fitted band. This may be done by using drawing tapes at the
back. The upper edge is faced with a piece of material which should be
bias in front to accommodate it to the curve, but may be straight across
the back. Work a button hole at each side of the back, insert a tape
through one button hole and draw it over an inch beyond the opposite one
and fasten securely by two lines of stitching across the tape. A second
tape is put through the other button hole and fastened in the same way.
By pulling the tape on each side the fullness may be adjusted.
[Sidenote: Bias Facings]
All facings around curves, such as arm holes and neck, should be a true
bias which is cut by holding the warp threads diagonally across the woof
threads. These strips for facings, pipings, ruffles, etc., should be cut
exactly even in width. All bands, ruffles, etc., of serge, twilled, or
diagonal materials should be cut _across_ the twill and not with it, in
order to have the ruffle hang well.
FASTENINGS
The standard fastenings are buttons and button holes, hooks and eyes or
hand made loops, lacings through rings and eyelet holes, loops over
buttons, and fancy frogs, clasps, studs, ball and socket, "notta-hooks,"
etc.
[Sidenote: Making Button Holes]
Button holes should be carefully measured and marked before cutting.
They should be a little longer than the diameter of the button for flat
buttons and one and one-quarter the diameter for round buttons. Having
decided upon the distance apart they are to be placed, cut a marker from
a piece of cardboard and measure off the space, marking with pins,
French chalk, pencil, or thread. The distance from the edge (one-fourth
inch), as well as the length of the button hole may also be marked with
the card. The scissors should be sharp, the hand must be steady, and the
cut should be made with one firm slash, not with two or three jerks.
Great care must be taken that each button hole is of the same length.
The goods should be cut to a thread, for it is impossible to make a neat
buttonhole if it is improperly cut. In cutting a round end buttonhole
for thick goods, a punch may be used for the end, after which the
remainder of the buttonhole is cut directly on a line with the center of
the circle.
The same marker may be used to mark the position for the buttons. All
markings for buttons and buttonholes, or for hooks and eyes, should be
made at one time.
[Sidenote: Overcasting Buttonholes]
After cutting, the button holes are overcast. This should always be done
directly after cutting, especially if the goods ravels easily, otherwise
it will be impossible to work a neat buttonhole. Overcasting should be
done with very fine thread (No. 150 for white goods), split silk for
wool and silk. Three overcast stitches on each side are sufficient for
an ordinary size buttonhole.
A very good plan to follow in cutting a buttonhole in heavy material or
material that frays easily is to chalk the position and length of the
buttonhole, then stitch a row of machine stitching each side of this
mark, the two rows being a little more than one-eighth of an inch apart.
This holds all the thicknesses together and the buttonhole may then be
cut easily. It also serves as a guide in working the buttonhole
stitches.
[Illustration: BUTTONS, BUTTON HOLES, EYELETS, LOOPS]
The buttonholing is begun at the inner side of the slit. Always place
the knot on the outside of the garment a short distance to the right of
the buttonhole, leaving a long stitch underneath which can be cut off
when the buttonhole is finished. A buttonhole should be completed with
one thread if possible as it is difficult to mend the thread securely
and neatly. Letter D for twist is usually employed.
[Sidenote: Making Buttonholes]
Insert the needle in the edge of the material and when half way through,
take the two threads at the eye of the needle, bringing them towards you
at the right and under the point of the needle, and draw the thread from
you, making the purl or loop stitch directly on the edge of the
buttonhole. The stitches should be about the width of the needle apart
to allow for the purl. Be careful to complete each stitch with a uniform
movement so that the line will be perfectly straight and not wavy. The
stitches are placed more closely together in the rounded end of the
buttonhole where the chief wear comes.
[Sidenote: Staying]
Many workers, particularly tailors, always "stay" or "bar" around a
buttonhole before working. This may be done with several threads of
twist or with a cord so that the worked edge of the buttonhole will be
firm and distinct. Tailors usually use a cord as this makes the edges
heavier. It is always well to stay buttonholes in heavy material as it
strengthens them very much and improves their appearance.
[Sidenote: Bar Tack]
When the buttonhole has been worked all around, the end is completed
with a bar tack made by taking two or three stitches across the end of
the buttonhole, drawing the edges closer together. This bar is covered
with buttonhole stitches worked close together. The thread is fastened
securely on the wrong side.
[Sidenote: Large Buttonholes]
After very large buttonholes are finished, their straight edges should
be closely basted together by an over and over stitch and then pressed
under a damp cloth. Before they are dry, a bodkin or stiletto should be
pushed vigorously up through each eyelet until that opening becomes
perfectly round and the stitches on its edges are regular and distinct.
When the basting is removed, the buttonhole will be symmetrical in
appearance.
Buttonholes which are to bear a strain are cut in the direction of the
pull, but sometimes they are cut in the opposite direction, as for a
shirt waist. Such a buttonhole may be completed with a bar tack on each
end.
[Sidenote: Sewing on Buttons]
Ordinary buttons should never be sewed down tightly, but the thread
should be loose so that it may be wound around at the end, thus
protecting the holding threads from wear. The shank prevents the
buttonhole from being crowded out of shape. Loose sewing can most easily
be done by placing a pin or needle across the top of the button and
sewing over it. If a button is much concaved, the pin may be placed
underneath. The pin is removed before winding.
In sewing on a four-hole button, the stitches should be made
symmetrically, either parallel or crossed, but not both. If parallel or
in a two-holed button the stitches should run in the line of the
buttonhole. The thread should always be fastened at the beginning and at
the end of the work. Place the knot upon the outside of the garment
where it may be cut off when the button is sewed securely. The knot is
sometimes placed under the button.
[Sidenote: Cloak Buttons]
In sewing buttons on a cloak or coat an extra strip of canvas or silesia
over the canvas interlining should be placed the entire length of the
buttoning for strength. This should be applied before the work on the
garment is too far advanced and if cut sufficiently wide, will allow any
slight alteration. The sewing should go through the canvas facing and
stay, but not through the under side or facing of the material.
In sewing buttons on bodices a tape should be sewed over the front
basting for a stay. If sufficient material has not been allowed for a
lap, this should be added, as a lap is necessary under the opening of
such buttonholes.
Buttons may be sewed through lining having a small button on the wrong
side. This method prevents the cloth from tearing and makes an
ornamental finish as well as a substantial one.
Buttons which are supplied with wire shanks should be sewed down firmly
as the shank already provided permits the buttons to set up well from
the material. They should be placed in such a position that the wire
shank will run parallel with the buttonhole and not cross it.
[Sidenote: Hooks and Eyes]
The position for hooks and eyes should be marked before sewing on. The
simplest, though least desirable, method of sewing-on these fastenings
is to place the eye at the edge of the seam or facing and the hook
sufficiently far back from the opposite side to give a lap. A much
preferable method is to baste a bias strip of crinoline along the
positions to be occupied by the hooks and eyes; this gives strength to
the finish. Sufficient material should be allowed for folding over the
shanks after the hooks and eyes have been sewed on, or they may be
covered with silk ribbon, slipping the edge under the beak of each hook
and then catstitched in position.
The hooks and eyes are sewed securely through the crinoline and one
thickness, but the stitches should not show on the outside. Over and
over stitches are taken through the small rings in the line of the full
and again on each bar of the eye and on the shank of the hook so that
they may be held in position securely. In many cases, it is advisable to
have an underlap of the material. This should be slip-stitched in
position on the garment after the eyes have been sewed in place.
[Illustration: HOOKS AND EYES
Sewed on tape, Shanks covered with taffeta tape and with fold of the
goods.]
[Sidenote: Eyelets]
Eyelet holes are made with a stiletto which forces the threads aside,
but does not cut them. The edge is finished with over and over stitches
placed closely together, or with a buttonhole stitch making the purl on
the outer edge of the stitches. Loops are made by buttonholing very
closely over several foundation threads, making the purl on the outside
edge. The needle may be run under the loop eye first if preferred.
PATCHING
[Sidenote: Underset Patch]
With the underset patch have the part to be patched pressed smooth,
baste the patch on the wrong side of the garment before cutting out the
worn place. (If the garment or article to be mended is worn or faded and
shrunken by laundering, boil the piece in soap, soda and water to fade
the patch, if of cotton or linen.) After basting, cut away all the worn
cloth, making a square or oblong hole. Cut to a thread. Cut each corner,
diagonally, one-eighth or one-quarter of an inch, turn all four edges of
the garment towards the wrong side. Begin at the center of one side and
hem all around the square, taking slanting even stitches, not too close
together. Remove the basting, trim the edges of the patch, press the
patch on the wrong side and catch stitch to the garment. This shows less
on the right side and does not make a hard line as if the patch were
turned back on the edge. If the cloth has a pattern or stripe, match it
perfectly, having the warp threads of both running the same way. Cut
both hole and patch square. An oval or round patch is unworkmanlike
and does not wear well. Keep the corners square and hem down well. The
object of pressing is to keep both garment and patch flat and even.
Flannel patches should be cat-stitched on the right side. No flannel
edges should ever be inturned.
[Illustration: UNDERSET PATCH, RIGHT SIDE, EDGE TURNED AND HEMMED TO
PATCH]
[Illustration: WRONG SIDE OF PATCH, CAT STITCHED]
[Illustration: WRONG SIDE OF PATCH IN TABLE CLOTH--RAW EDGE OVERCAST]
[Sidenote: Onset Patch]
The onset patch is used on lined garments and linings. The patch should
be rectangular and larger than the worn place. Fold the four edges on
the wrong side of the patch, place the patch with its wrong side on the
right side of the garment directly over the center of the hole. This
will bring the folded edges of the patch between the two pieces of cloth
and both right sides towards the worker. Do not baste, but pin
carefully. After the garment has been folded back until there are two
folded edges side by side, overhand the seam with even slanting
stitches. See that the corners are well sewed, that warp and woof
threads run in the same direction, that pattern and stripes match.
[Illustration: LINEN PATCH; CROSS STITCH INITIAL]
[Illustration: RIGHT SIDE OF FLANNEL PATCH
Edge cat stitched but not turned, back cat stitched in the same way.]
The worn part of the garment under the patch is cut away, leaving
one-fourth of an inch on the three sides. Cut the corners diagonally and
turn back the edge quarter of an inch, overcast and press. If this patch
is sewed on a lining, the worn part is not cut away. If this patch is
used to repair skirts near the band, only three sides are oversewed, the
upper edge should be gathered into the band. A large patch is less
conspicuous than a small one.
[Sidenote: Patch for Trowsers]
An onset patch may be used for the seats of trousers by shaping the
patch like the pieces on the seats of bicycle trousers and stitching on
the machine. Heavy cloth will need no inturned edges. The same
precautions are necessary regarding warp and woof, pattern, etc.
DARNING
[Sidenote: Thread for Darning]
Darning is usually done with a running stitch, with or without a piece
of net or cloth underset. Thread for darning should be as near as
possible the size of the threads in the garment. Whenever it can be
done, a warp thread of the garment should be used. No sewing silk is
fine enough to use without separating the thread and using one of the
strands. Never use the thread as it is, as it is too hard twisted.
Cotton and linen thread of the finest quality, untwisted, should be used
for darning stockings and underwear. Linen may be darned with linen or
mercerized cotton. Cotton is preferable.
A long slender needle with a large eye should be used. Darning should
never be commenced with a knot, nor finished with a back stitch.
[Sidenote: Bias Darn]
A bias or diagonal cut and a three-cornered tear are the most difficult
to repair. If the place is badly pulled and frayed, a piece of the same
material should be basted on the wrong side of the material and darned
in even stitches. Always darning _parallel_ with the warp threads and
the woof threads. In the diagonal tear, as the threads are cut
diagonally, to prevent drawing apart, the darning threads must cross
each other.
The stitches around any darn should not end in a stiff even line; this
makes a hard edge which does not wear and is unsightly, and
uncomfortable if on underwear.
[Sidenote: Darning a Three Cornered Tear]
The three-cornered tear may be darned in two ways. Begin by darning
diagonally through the center, darning back and forth towards the end of
the tear until one-half has been finished; then begin at the center and
work in the opposite direction. At the corner, the stitches should form
the shape of a fan. The other method, which is the stronger, is done by
darning a square in the angle, first with the warp threads, then with
the woof threads and finishing each end across the tear.
Stocking darning may be done on the right side. Begin by picking up the
stitches and drawing the edges together. This should always be done in
any kind of stocking darning, but not so close as to make a wrinkle.
[Illustration: STOCKINET DARNING OVER NET
Interlaced Stitches and Chain Stitches.]
In knees and heels of stockings, or knitted underwear, a piece of net
large enough to extend beyond the thin part should be basted carefully;
then darn down the outer edges of the net and finally the hole or thin
place. This makes a strong, neat piece of mending. If the hole is large,
the net may be covered with the chain stitch, thus imitating the
knitting stitch. This should be done on the right side of the garment.
If the hole is to be filled in with the interlaced stitches, draw the
edges together, darn beyond the thin places lengthwise of the knitted
garment, making each line of stitches longer until the center of the
hole is reached, then decrease in the same manner, making a diamond in
shape. Darn across the hole in the same way, taking up every alternate
stitch as in weaving. Leave a tiny loop at the end of each row of
darning, so that the threads will not draw.
[Sidenote: Machine Darning]
Darning, satisfactory for some purposes, may be done quickly on a double
thread sewing machine. It is best done in an embroidery ring, first
drawing the edges together. Loosen the tension on the presser foot, use
fine thread with light tension. Sew back and forth, first along the warp
threads and then at right angles along the woof threads. The machine
will be sewing backwards part of the time, but if the pressure is light,
there will be no difficulty. For large holes, paper may be placed
underneath.
MITERING EMBROIDERY OR LACE
The mitering of lace or embroidery is often necessary in making collars
and in finishing corners. Before applying, plan carefully and select a
scallop or portion of the embroidery which will produce the best effects
when finished. This can be accomplished by folding the embroidery over
at various portions of the pattern until a suitable point is found.
Fold over at right angles and mark along the line to be mitered. The
triangle may now be cut, but an extra width must always be allowed for
the seam, as there is frequently a slight unevenness and one side may
have to be held a little full or stretched to make a perfect match. The
mitered seam is over-sewed.
[Illustration: MITERING AND JOINING EMBROIDERY
_A_--Finished with a stitched seam; _B_--Edge hemmed down and cloth cut
away underneath; _C_--Joined with lapped seam.]
After the corner is properly made, cut away the cloth of the embroidery,
allowing only enough for an inturned seam on the edge. This seam may be
stitched on the machine on both edges, or oversewed to the goods, or the
embroidery may be securely sewed on the plain part, after which the
underlying cloth may be cut away. This will make an almost perfect
corner.
Lace may be matched and mitered in a similar way.
MATCHING AND JOINING LACE
In joining lace, avoid a seam if possible. Select portions of the design
that will match, placing one pattern of the same design over the other.
Cut away a portion of the thick part of the pattern underneath and hem
the edges and inner part of the design down with fine thread.
Smyrna or Torchon lace is more difficult to hem or join when very open
or very fine. A small, felled seam is better than lapping and trying to
match the pattern.
Embroidery can be matched in the same way. Never let two heavy designs
lap over each other. The one on the wrong side should be cut out and
the edge sewed securely to the upper part of the design.
[Illustration: INSERTION WITH MITRED CORNER, TAPED AND FACED; EMBROIDERY
ROLLED WHIPPED AND GATHERED]
The plain material above the embroidery can be joined by a lapped seam,
turning first the right side and then the wrong side and hemming on both
sides of the seam.
MACHINE SEWING
The sewing machine has taken away much of the drudgery of home sewing,
but its use does not lessen the need of skill in hand work. No machine
can finish ends of belts, collars, sew on trimmings, fastenings, and
like work and the finish has much to do with the general appearance of a
garment.
[Sidenote: Types of Machines]
All the prominent makes of sewing machines were invented in the decade
following Howe's patent in 1846. The two chief types of machines are the
lock stitch, using double thread, and the chain or loop stitch, using a
single thread. Whatever the make of machine it should be run in
accordance with the rules accompanying it. The worker should familiarize
herself with the directions for setting and threading the needle,
winding the bobbin, regulating the tension and the stitch and all other
technicalities of the particular machine she has to operate. Agencies of
the various machines usually have skilled workers to give instruction to
beginners. While it is not always an economy of time to use the
attachments for hemming, tucking, etc., unless much work is to be done,
it is worth while to know how to use them if desired. As much or more
skill is required for neat machine work as for hand sewing. Results will
not be satisfactory without careful basting.
[Sidenote: Care of the Machine]
The machine should be kept well oiled, free from dust and gum and it
should he run evenly. In case it becomes "gummed" a drop of kerosene on
the parts that have been oiled will cut the gum. Remove the shuttle and
run the machine rapidly for a moment, then wipe off all the kerosene and
oil the machine carefully with good machine oil--only the best should be
used. A machine should always be wiped thoroughly before any work is
placed upon it.
[Sidenote: Needles and Thread]
As in hand sewing, needles and thread should be selected with care. A
blunt or bent needle should never be used, it should have a fine sharp
point and the eye should be sufficiently large to carry the thread
easily. The needle and thread should be suitable for the material to be
sewed. Glazed thread should never be used in a machine. The best quality
of thread and silk should be purchased but only enough for immediate
use, as it loses strength with age, chiefly because of the action of the
dyes and chemicals. Even white thread may become "tender" from the
chemicals used in bleaching it. Sewing silk and cotton should be kept in
a closed box to exclude the light and air.
For sewing cotton or linen the best cotton thread should be used.
Woolen, silk, and velvet should be stitched with the best machine silk.
The thread should match the material in color. Cotton thread fades or
loses its brightness when exposed to the light, therefore for stitching
that will show it is always better to use silk. The thread on the bobbin
should be wound evenly and carefully to insure an even stitch and the
tension of both threads should be equal, otherwise the stitch will not
be perfect. As a lock stitch machine requires two threads while in hand
sewing only one is used, the two need not be as coarse as the single
thread. For ordinary home sewing, underwear, thin gowns and the like,
No. 70 to No. 100 will be found satisfactory. Finer thread may be used
when the materials demand it, but no coarser than No. 50 should be used
in the machine and this only with the coarsest material.
[Sidenote: Fastening Threads]
Much time may be saved in fastening the threads at the ends of tucks,
hems on sheets, towels, etc., by careful manipulation of the machine.
For example, on sheets begin to stitch along the hem at the selvage, or
if the end of the hem is over-sewed, begin an inch from the edge and
stitch the hem towards the selvage, then lift the presser-foot so as to
turn the work, and retrace the bit of stitching, continuing across the
whole hem. When the end is reached, release the presser-foot, turn the
work, and stitch back for an inch or more in the same line, as was done
at the beginning of the hem. By this method the threads are fastened
much more easily and quickly than by drawing them through on to the
wrong side and tying or sewing them by hand and, of course, it is more
satisfactory than the "shop" way of cutting them off short. Tucks or
seams may be fastened in the same way. If fine thread is used the double
stitching at the ends is hardly noticeable.
[Sidenote: Bias Side Next Feed]
When stitching a seam having one bias and one straight side, let the
bias side come next to the feed, that is, on the underside. This is
especially important in thin materials. If the material is very sheer,
strips of soft paper--newspaper will answer for ordinary
purposes--should be sewed in the seam. This will insure a seam free from
puckers and when finished the paper can be pulled away easily.
[Sidenote: Stitching Gathers]
In sewing gathers on a band they should also come next the "feed," as it
takes up the side next to it a little faster than the upper side. When
the bias, or cross-way side of the seam, or gathers are next to the
"feed" the material runs along smoothly, but if the straight side is
towards it there is apt to be a pucker.
Stitching can be done more easily on the right of the presser foot with
the bulk of the material lying to the left. The tendency of the "feed"
or teeth is to crowd the work off the edge as well as forward and the
stitching may be guided better on the right side.
All straight seams should be stretched to the full extent of their
straight edge in stitching, as the work passes under the presser foot.
When a large amount of machine sewing is to be done--such as household
linen, sheets, pillow cases and underwear--it is a good plan to do all
the basting and hand work first and keep the machine stitching for a
rainy or a damp day, as the thread is then less apt to break. A current
of air or a breeze from an open window on a dry day will often cause the
thread to snap. For the same reason the machine should never stand near
the fire or radiator.
TEXTILES AND CLOTHING
PART II
READ CAREFULLY. This test consists of two parts,--answers to the
questions and the making of models. Both should be sent to the
School for inspection and correction. All models should be made
about 4 by 6 inches so that they may be put into the envelope
provided without being folded. Two series of models are given;
either or both may be made.
1. What instruction have you ever had in sewing?
(b) Has the subject any educational value?
2. What are the common basting stitches, and for what are they used?
3. Can you make the running stitch properly? How is it done?
4. For what purpose may the cat stitch be used?
5. Hems and Seams: Describe the different kinds for thick and thin
materials, including those for flannel and state when they should be
used.
6. Describe three kinds of plackets.
7. How are gathers made, and how sewed into a band?
8. What can you say of fastenings?
9. With what sewing machine are you most familiar, and what are its
peculiarities?
10. What stitches or methods described in this lesson are new to you?
Note: After completing the answers, sign your full name.
MODELS, FIRST SERIES
I. STITCHES. On a piece of cotton about 4 by 6 inches,
make with colored thread (1) a line of even basting stitches, (2)
uneven basting stitches, (3) tacking, (4) running, (5) back stitch,
(6) running and back, (7) half back.
With embroidery silk make a row each of (1) cat stitch, (2) single
feather, (3) double feather, (4) chain, (5) rows of French knots
with border of outline stitch.
Make your initial in one corner, using any stitch preferred.
Overcast one long edge of the model, double overcast the opposite
side, finish one end with plain loop or blanket stitch, and the
other end with some fancy loop stitch. Fasten all threads as
described in the text.
II. SEAMS AND HEMS. (a) Join two pieces of fine cotton
with a French seam at the long edge, about 2 by 5½ inches, with
warp running lengthwise. (b) Cut a piece of muslin on a true bias
and attach the bias edge to _a_ with a felled seam. (c) Trim the
model and hem all sides so that the finished model may measure 4 by
6 inches.
III. DARNING AND PATCHING. (a) In gingham or figures
cotton, make an underset patch of a square hole, matching the
goods. (b) Darn a three-cornered tear.
IV. FASTENINGS. The proper distance from the edge of
folded goods make (a) button hole, one end rounded and the other
finished with a bar tack. (b) Under it make a partly finished,
_barred_ buttonhole. (c) Below this make an eyelet hole, (d) below
the eyelet hole a loop, and sew on an eye.
On a second piece of folded goods opposite the first buttonhole,
(a) sew a four-hole button, corresponding in size to the
buttonhole. (b) Opposite the second buttonhole sew on a two-hole
button; (c) below, sew on two hooks corresponding in position to
the loop and eye. Make the two parts of the model so that the
corresponding fastenings will join.
V. APRON. Using fine muslin, make a doll's apron,
gathering into band at top. Above hem at the bottom, make two
clusters of tucks of three each.
MODELS. SECOND SERIES. FOR EXPERIENCED WORKERS
I. ROLLED HEM; HEM STITCHING. Make a doll's apron
of fine muslin, attach top to band with rolled, whipped gathers.
Make two clusters of tucks of three each at the bottom and hem
stitch the bottom hem.
II. SLEEVE PLACKET. Make a taped sleeve placket as shown
in the illustration.
III. MAKE A SLOT SEAM, using dress goods and finish with
an arrow head. (b) Make a large cloak buttonhole.
IV. MITRE EMBROIDERY and finish as shown in the
illustration. (b) Match and join the same.
V. EMBROIDERY: Make something small and useful--a doily,
stock, collar--illustrating some style of embroidery, or make a
model of the first series which will afford you the most new
experience.
[Illustration: MAKING MEXICAN DRAWN-WORK]
TEXTILES AND CLOTHING
PART III
DRESSMAKING
[Sidenote: Good Tools Necessary]
The greatest obstacle to home sewing of any kind is the failure to
provide suitable materials with which to do the work. To do good
work--to make attractive gowns--the simple tools which the work requires
must be provided. First, there should be needles and pins of the best
quality and make. They should be fine and well pointed. The needle
should be suitable to the material to be sewn and sufficiently large to
carry the thread easily. A blunt or bent needle should never be used.
Long or milliner's needles are preferred by many for basting.
[Sidenote: Thread]
A good supply of thread should be kept on hand--not too great a
quantity, but the stock should be added to as it is used. There should
be both silk and colored cotton, also twist for button holes, loops and
arrow heads and knitting silk to sew on and finish feather bone.
[Sidenote: Scissors]
Two pairs of scissors are required--one with long, sharp blades, and a
pair of medium sizes for snipping machine stitches.
Among the other necessary articles are a tape measure, cake of wax,
pencils or tailor's chalk, tracing wheel, emery, lap board.
Canvas, scrim, or any like material should be kept in the sewing room,
as these are invaluable for facings, linings of collars, cuffs, etc.
Hooks, eyes, buttons, tape, linings, featherbone and shields are
requisites not to be forgotten.
[Sidenote: Tapes]
Tape is constantly needed. Linen tape is thinner and makes a neater
finish for some purposes than cotton tape. The bias tape or binding now
kept by the larger stores is very useful for binding curved edges and
for other purposes.
[Sidenote: Cutting Table]
If a regular cutting table is not available, the dining room table
should be used. Skirts, bodices, ruffles, and bias bands should be cut
on firm, even, and large surfaces. If cut upon the floor or bed and
pressed on a coarse crash towel, the garment will have the undesirable
home-made look.
[Sidenote: Pressing Board]
A good pressing board should be provided and if possible a sleeve board.
In the process of garment making of any kind too much stress cannot be
laid upon constant and careful pressing.
The ironing board should have for its outside cover a _finely_ woven,
perfectly smooth cloth, tightly stretched, free from wrinkles, and
securely tacked.
Where there is gas, a small, portable stove should be kept near the
sewing table with a medium-sized flat iron. Lacking gas, one of the
single burner oil stoves may be used. An electric flat iron is
especially convenient.
[Sidenote: Bust Form]
A bust form is a great convenience in fitting and almost a necessity
for one who does much home dressing. These may be purchased at
department stores. Some kinds are adjustable, but it is always best to
make a carefully fitted lining for it and pad out to the correct shape
and size. The pattern should be one that extends well over the hips and
heavy unbleached muslin may be used. After padding firmly, the front
opening should be oversewed. Special care should be taken with shoulders
and neck and the neck band should be carefully adjusted on the figure.
[Illustration: PADDED BUST FORM
(From Dressmaking Up-to-Date, Butterick Co.)]
A padded sleeve lining is also very useful in making sleeves.
Dressmaking never should be begun until each needed article required for
the work has been purchased. The sewing room should be in order; the
machine well oiled and wiped before any work is undertaken.
[Sidenote: Skill and Taste]
If the finished garment is to be perfect, careful attention must be
given to _every_ detail of the cutting and making up. To possess
mechanical skill alone is not sufficient. A successful garment depends
not only upon the dexterity with which the worker manipulates the actual
tools of her craft, but upon all her faculties and her power of applying
them. She must have a comprehension of the laws of beauty in dress,
construction, ornament, color, selection, economy. The artisan knows the
technical part only, and looks upon each dress--each piece of lace and
velvet--as so much material to be snipped and cut and sewed, copying
from the fashion plate, making gown after gown alike. The artist, on the
other hand, makes the gown to suit the individual wearer, considering
each dress no matter how simple--and the simpler, the more artistic--as
a creation designed to suit the woman for whom it was planned.
People who study economy from principle will never adopt anything
extreme in weave, or color, or make. These extreme fashions are never
lasting; they are too conspicuous and are vulgarized by bad copies,
while a thing which is known to be good and beautiful once will remain
so for all time. Those who are beginners in the art of dressmaking
should select plain designs until skill is acquired. The making up and
finishing of new fabrics and new or untried methods are problems that
often dismay even the most experienced dressmaker.
PATTERNS
[Sidenote: Selection of Patterns]
The makers of good and reliable patterns are many. Always buy patterns
of firms that make proportion of figure as well as fashion a study.
These patterns state length of skirt, waist and hip measure and quantity
of material required in all widths. Buy a skirt pattern with correct hip
size, as it is much more difficult to change this than to alter the
dimensions of a waist. Adjust the pattern to the figure for which the
garment is to be cut and see that it is right in all of its proportions.
Always follow the notches indicated in the seams of the pattern, and
thus avoid putting wrong pieces together. Be sure that the pattern is
placed correctly upon the material with the _straight grain_ or warp
threads of the goods running directly on a line with the _straight
perforations_ indicated in the pattern. Lay the entire pattern upon the
cloth. This gives an idea just where every piece is to come out.
[Sidenote: What the Pattern Gives]
All patterns give one-half of the bodice and the skirt, from center of
back to center of front. The plain waist pattern consists of back,
curved side piece, under arm piece (sometimes these two pieces are in
one) front, upper and under sleeve, collar or neck band. Some patterns
allow for seams--others do not. Skirt patterns give only one-half of the
front gore. The _seam_ edges of front gore are marked by _one_ notch
near the waist line. The front or straight edge of the _first_ side gore
has one notch, and two on the back edge of side gore. All the gores may
be distinguished from the edges of the back gores by the lesser number
of notches. This is true of all skirt patterns. If the patterns are
studied carefully, all skirt cutting becomes very easy.
The object of goring a garment is to take out unnecessary fullness at
the top; reducing the weight, making the garment less clumsy, and giving
a nicety of finish which could not be done in heavy material if all the
goods were left to fit into a band. Skirts may be lined or unlined,
gored or full.
SEVEN-GORED SKIRT
The style may vary with the fashion, but a well-fitting skirt should
hang even around the bottom edge, should fit easily around the hips
without being strained or defining the figure too closely, or "ride up"
when sitting, should flare slightly from hips to the bottom of the
skirt, should not fall in between the feet, the back should fall well
behind the figure. For heavy goods, as little material as possible
consistent with the prevailing style should be used.
PLAN OF SKIRT MAKING
Shortening or lengthening of pattern if necessary.
Placing of goods.
Pinning on of pattern so there is no waste.
Cutting.
Removing and care of patterns.
Pinning, basting, or tacking of skirt to lining.
Joining of seams, fitting.
Stitching.
Pressing.
Finishing of seams and placket hole.
Making and putting on waist-band.
Marking length and finishing the bottom.
Fastenings, loops, braids, hooks and eyes.
[Sidenote: Lengthening or Shortening Patterns]
To lengthen or shorten a skirt pattern, measure the figure and regulate
the length of the patterns by making a fold in each gore two-thirds of
the way from the top of the pattern if too long. This is for the
simplest skirt pattern. The shape of the skirt may require two folds,
one two-thirds from the top and a small fold near the bottom to preserve
the outline.
If too short pin the pattern on the material, cut around the top of
gore and on each side two-thirds of the distance from the top of gore.
Unpin and draw the pattern down to the bottom and cut the required
length. Except for wash material, do not turn a gored skirt up at the
bottom to form a wide hem, as the fullness made by turning is hard to
dispose of neatly and the right curve at the bottom of the skirt may be
lost.
Another way to lengthen the pattern is to cut it in two, two-thirds the
distance from the top. See that all pleats or tucks are exactly the same
width and at the exact distance from the top or bottom of the gore, also
that all seams are of the right length. A shorter skirt must be
proportionately narrower.
[Sidenote: Testing Patterns]
It is well to test the skirt and waist patterns by using inexpensive
materials, such as calico, gingham, or cheap lining. Cut, baste, fit,
and make this as carefully as if it were the best cloth or silk. If the
skirt and waist are satisfactory, the pattern will do duty for several
seasons. The plain waist pattern is the foundation for _any_ waist and
many changes can be made easily with a well-fitting skirt and plain
waist pattern as a basis.
[Sidenote: Cloth Patterns]
As paper patterns soon wear out, after a waist and skirt have been
perfectly fitted, it is a good plan to cut an exact pattern of cambric,
both skirt and waist, tracing seams and notching the parts. This will
enable the home dressmaker to cut and make all ordinary dresses with
little trouble and with but one trying on. It is always well to try on
once, as materials differ in texture and a slight change may be
necessary.
[Illustration: PLACING PATTERNS
At the left, on plain or symmetrical designs; at the right, on figured
or napped goods. _a_--Half of front gore; _b_--Second gore; _c_--Third
gore; _d_--Back gore; _e_--Front waist; _f_--Under arm piece; _g_--Side
back; _h_--Back; _i_--Outside sleeve; _j_--Under sleeve; _c'
d'_--Piecing of gores _c, d_.]
[Sidenote: Placing Patterns]
If the material is plain, has no nap, or if the design is perfectly
symmetrical, the gores may be alternated, the top of one gore coming
opposite the bottom of the next. The half pattern of the front gore is
always laid on a _lengthwise fold_ of the goods. If the goods is wide,
the other gores may be cut double with the cloth folded lengthwise. With
narrow goods, the cloth may be folded end to end after the middle gore
has been cut out, and the other gores cut double. Care should be taken
that the line of holes in the middle of the gores runs exactly in a line
with the warp of the material, i. e., parallel to the selvage.
If the goods has a figure, the design should run upwards. Any nap should
run downward, except with velvet or velveteen, in which it should run
upwards. With such goods, the gores if cut double must be placed on a
lengthwise fold, with the lengths running the same way. If the goods is
narrow, the gores may have to be cut single, reversing the pattern
(turning it over) so that both pieces may not be for the same side.
[Sidenote: Pinning Patterns]
Pin the middle of the pattern to the goods and smooth towards each end,
pinning securely at top and bottom. Avoid too many pins and pin
carefully, otherwise the pattern will be displaced.
[Sidenote: Cutting Out]
After the pattern is securely pinned, cut out the gores, using long,
sharp shears. Care should be taken not to lift the material from the
table, not to have jagged, uneven edges, as both time and material will
be wasted in straightening them. Open the shears as wide as possible,
taking a long sweep of the material, and do not allow the points of the
shears to come together. Mark all notches with basting thread, tailor's
chalk, or notch the goods if it does not ravel.
The back gores should be cut in the same way. They are usually wider
than the front gores and may require piecing, which should be done along
the warp threads.
Now remove the pattern, pin carefully all pieces together and fold as
little as possible. The trinity--_pin_, _baste_, _press_--should be
written in large letters in every sewing room, for much of the beauty of
the gown depends upon these three.
[Sidenote: Joining the Skirt]
To join the skirt, pin the side gores to the front gores, beginning at
the top, with pins running across the seams, then begin at the top of
the skirt and baste downward, allowing all unevenness to come out at the
bottom. Baste straight and evenly, taking one stitch at a time. Several
stitches should never be taken at once on thick or piled goods, as the
side next to the sewer is apt to be fuller in that case. When all seams
are basted, try on the skirt and make all changes necessary before
stitching. Both the outside skirt and any under or "drop" skirt should
be fitted as carefully as a waist.
[Sidenote: Lined Skirt]
If the skirt is to be lined the lining should be made and fitted first,
then ripped and the outside carefully basted on the lining, being well
stretched over the lining, care being taken to have the warp of the
outside and the lining run the same way. This will prevent the lining
from drawing the goods.
[Sidenote: Stitching Skirts]
A stitch of medium length should be used on all seams whether white
goods or cloth. If the stitch is too long, the seam will "gap" and will
show the thread; if too short, the seam is apt to draw. The line of
stitching must be absolutely parallel inside or outside of the basting
or the curve will be ruined. Use silk or the best cotton for stitching
skirts and be sure that the needle is not too coarse.
[Sidenote: Finishing Seams]
After stitching, all bastings along the seams should be taken out by
cutting the thread in several places. Never pull a basting the length of
the skirt. The seams should be opened and pressed according to
directions. The seams may be finished with a taffeta binding, overcast,
stitched flat or notched, as the case demands.
[Sidenote: Stiffening]
If stiffening is used at the bottom of a lined skirt it should be fitted
to each lining gore separately and securely stitched. A light weight
canvas should be stitched to a heavy cloth skirt at the bottom, if
several rows of stitching or braid are to finish the bottom of the
skirt.
[Sidenote: Placket]
The placket may be finished before the two back gores are pinned to the
front, if preferred. If done before joining the gores the placket can be
pressed better and the front is not so liable to be crushed. On the left
side of the skirt sew an underlap of sufficient length to extend well
below the end of the opening. Face the right side of the opening with a
piece of the goods, or tape not too wide, hem or cat-stitch to the
skirt, and finish with hooks and eyes, loops, or any fastening that will
secure the placket.
[Sidenote: Putting on Band]
The skirt is now ready for the band, which should be narrow. Always cut
parallel with the selvage and the length of the underlap longer than the
waist measure, allowing for turning at the ends. The band should never
be thick and clumsy and not too tight. Try on the skirt and fit the band
carefully, marking the seam with pins, a line of basting, or chalk. Hold
the skirt easy on the band and baste with small stitches, then stitch on
the machine. If the skirt is too tight around the hips the plaits will
fall apart at the back. If the skirt is stretched on the band the seams
will not fall in a straight line. After the band is securely stitched
and finished with hooks and eyes adjust the length by turning under at
the bottom and pinning, after which baste all around and try on again to
make sure that the length is correct.
[Sidenote: Finishing the Bottom]
A gored outside garment should be finished with a true bias or a fitted
facing, carefully stitched on. It is possible to finish the bottom of a
simple house dress or thin skirt with a hem if the fullness made by
turning is disposed of in gathers or fine pleats. A bias facing,
however, is always preferable. If of heavy or lined goods the finish
should be velveteen or braid the same color as the skirt. These bindings
come in different widths and grades. Braids should always be shrunken by
wetting and drying thoroughly; one wetting is not enough. Velveteen
should be applied loosely, so as not to shrink or draw after it becomes
damp on the skirt.
[Sidenote: Applying Velveteen Binding]
The right side of the velveteen should be carefully basted with small,
even stitches to the edge of the facing. It may be hemmed to the facing
or machine stitched just inside the basting, which need not be removed.
It is then turned, allowing a very narrow portion to show below the
edge, and basted with close stitches, pressed, hemmed down to the facing
by hand, or cat stitched without turning the edge. Be careful not to let
the stitches show on the right side, nor let the binding twist or
pucker. The joining of the velveteen should be near the seam in the
back.
Another method is to cut off the bottom edge of the skirt a quarter of
an inch from the turning line; apply the wrong side of the velveteen to
the right side of the skirt, baste carefully close to the edge and
stitch on the machine through velveteen, cloth, and lining (or facing)
just inside the basting which is left in. The bottom of the raw edge is
turned up, basted close to the edge allowing the velveteen to show a
very little. The upper edge of the velveteen is secured as before by
turning and hemming or catstitched without turning. The illustration
shows this method of applying the velveteen which is first stitched to
the lining and turned with the edge. This makes a firm, rather stiff
finish.
[Sidenote: Braid]
Braid is stitched on to the bottom of a skirt with a narrow edge
showing, or it may be applied like the velveteen, with a doubled edge at
the bottom. The doubled edge will wear better.
[Sidenote: Finish of Wash Skirts]
Skirts that are to be washed and therefore which are very likely to
shrink must be finished at the bottom with a wide hem--at least six
inches--the fullness made by turning being disposed of carefully in
pleats or gathers.
[Illustration: APPLYING VELVETEEN BINDING]
If desired, the bias seam down the back of the skirt may have a narrow
woven tape or selvage of thin goods stitched in with the seam. This
strengthens the seam and prevents dragging. The skirt when finished
should always be longer in front than in the back.
All cloth dresses demand every detail of finish to make them complete
and able to stand hard usage, but simple house dresses and thin summer
dresses do not require such careful finish.
SHIRT WAISTS
[Sidenote: Trace Seams]
In planning a waist the same rules should be observed in placing
patterns, etc., as described for skirts, except that the lines and seams
should be traced with a tracing wheel or marked carefully. In making a
waist of any kind care must be taken to cut all the pieces the proper
way of the material.
[Sidenote: Baste Lavishly]
The difficulty of putting garments together after they have been cut
properly is due to undue haste, lack of care in details and insufficient
pressing. The apparently simple act of basting is really of primal
importance, particularly in the making of a waist. One need never be
afraid of basting too much or too carefully. Economize cloth and time in
cutting, but use basting lavishly.
[Sidenote: Altering Waist Patterns]
The waist pattern may be made shorter by laying folds across both back
and front. The fold across the back should be two inches above the waist
line and across the front two inches below the arm's eye (in the back).
Securely pin or baste the folds in the pattern. If the pattern is of
nearly the correct size it may be only necessary to make the waist
shorter and smaller. The neck and arm's eye will seldom need altering.
The sleeves may be shortened in the same way by laying folds in the
pattern, above and below the elbow.
PLAN FOR MAKING A SHIRT WAIST
After the waist is cut, remove and care for the patterns.
Make the sleeves, cuffs and collar band first.
Make box plait on right or left side as liked by the wearer and hem
on the other side or face.
Baste shoulders and under-arm seams.
Try on the waist, making all changes necessary by enlarging or
taking up seams.
Pin for neck band and mark for seams.
Fit sleeves and mark places for seams.
Arrange fullness and place tape at back of waist line.
[Sidenote: Making Plain Sleeve]
If the pattern is for a plain, one-seam sleeve with the cuff opening at
the end of the seam, hem each side of the opening one or two inches from
the bottom, gather the bottom between the notches, lay the gathers,
baste the right side of the sleeve band or cuff to the wrong side of the
sleeve, stitch and _press_, fold in a hem on all edges of the cuff, fold
the cuff over on the wrong side of the sleeve, baste, oversew the ends
of the cuff, _press_ and stitch the cuff close to all edges. After thus
attaching the cuff, baste and stitch the long seam of the sleeve and
gather at the top between notches. The cuff is usually cut in the
direction of the warp of the goods.
The sleeve described is the simplest that can be made. If the sleeve is
to open at the back and finished with a tape, with a placket, strap or
fancy lap, the seam in the sleeve is stitched first and the cuff
afterward adjusted.
[Illustration: PLAIN SLEEVE WITH CUFF, SHOWING GENERAL METHODS OF SEWING
ON BANDS]
The box plait is made if desired and the under arm and shoulder seams
basted when the shirt waist is ready to try on. Make any change in the
seams necessary. The neck band is put on in the same way as the cuffs,
sleeves sewed in, fullness arranged at the back and a tape placed at the
waist line. Three hooks or other fastenings should always be placed at
the back to attach to corresponding fastenings in the skirt band. The
bottom edge of the waist may be finished by overcasting.
[Sidenote: Bottom Finish]
If it is desired to have the fullness cut away at the waist line in
front, determine the length, allowing sufficient for a blouse, gather
the waist at the bottom and sew the fullness on to a band. Sometimes
this band is carried entirely around the waist.
[Sidenote: Fit of Collar]
The fit of the collar or neck band is very important in any kind of a
waist. Both the front and the back may be cut higher than the pattern,
as it is easy to cut off in adjusting and more goods cannot be added.
To the unskilled the simplest garment is sufficiently difficult. It is
wiser to make two or three perfectly plain garments before attempting to
make an elaborate one.
After the pattern has been tested, fitted and all necessary changes
made, cut a pattern from the fitted waist of cambric or cheap _new_
muslin and mark or trace all seams. (Never use old, worn-out sheets from
which to cut a pattern.) After this permanent pattern has been made, do
not change a single line.
[Sidenote: Tucked Waist]
[Sidenote: Full Busted Waist]
If a plaited or tucked waist is to be made, all plaiting and tucking
should be done first, after which the same order of making is to be
followed for a plain waist. No waist should draw or strain across the
bust. This is especially important in tucked or pleated waists. To guard
against this tendency, a graduated tuck can be pinned on either side of
the front, beginning with nothing at the shoulders and widening at the
waist line. This is done before the pattern is cut and will allow for
especially full bust. The fold should be _on a thread_ of the goods.
LINED WAISTS
The plain, closely fitted, lined waist, with the curved back and side
forms is the most difficult to make and requires the greatest nicety in
handling from beginning to finish.
[Illustration: TYPICAL BODICE PATTERNS
(_a_) Front. (_b_) Under Arm Piece. (_c_) Side of Back. (_d_) Back.
(_e_) Collar. (_f_) Outside Sleeve. (_g_) Inside Sleeve.]
The pattern for a bodice of this kind should be of such a shape that in
each part the woof threads will go as straight around the waist as
possible. This makes the warp threads perpendicular and will give almost
a perfect bias on the current seams in the back. Do _not_ cut the side
forms out of _any_ piece that is big enough, without regard to the warp
and woof threads. If this is done, the threads in each will run
differently and all ways but the right one. In a well-designed pattern
the back forms should be nearly as wide at the arm's eye as they are at
the waist line. The swell of bust and shoulders should be accommodated
by the back and front forms.
When material is to be cut on the bias be careful to have a _true_ bias
(the diagonal of a square) around the waist and up the front and back
seams.
PLAN FOR MAKING FITTED, LINED WAIST.
Pin pattern to lining, cut out trace seams.
Baste all seams on traced lines.
Try on lining. Make changes.
Rip lining, baste on outside and cut by fitted lining.
Baste seams and try on. Make changes if necessary.
Mark the turn for hem down the front, face and mark for fastenings.
Stitch and finish seams. Put on featherbone.
Put on collar; sew in sleeves.
Finish.
[Sidenote: Finish Lining First]
In making a lined waist, the lining is cut, basted, and fitted before
the outside is cut. After fitting, the lining is ripped apart and the
outside cut by it. For all firm, heavy materials the lining should be
slightly fuller than the outside, that is, the dress goods should be
well stretched over the lining, just as in a lined skirt, and basted
closely and evenly, the warp and the woof threads of the outside and
lining corresponding.
In laying the pattern for cutting the lining, just as much attention
should be paid to the direction of the threads as in cutting a striped
or figured goods.
[Sidenote: Marking Seams]
All seams should be traced on the lining with the tracing wheel, with a
slow backward and forward movement, making the perforations clear and
distinct. Soft spongy goods that cannot be traced may be marked with a
line of basting, tailor's chalk or by taking stitches with a pin along
the line to be marked and twisting them in the goods. This will make
holes that can be seen, but the twisting does not harm the goods. Always
trace or mark the waist line, as this is the starting point from which
to pin or baste. Bodice seams should never be begun at the top or
bottom, but at the marks or notches that show the waist line, working
towards the top and bottom.
After the lining is cut out, the seams should be basted exactly along
the traced lines, with seams out, when it is ready to be tried on.
[Sidenote: Making Changes in Straight Seams]
If the pattern has been cut or drafted by the correct bust measure, the
back seams should never be changed. If possible, make all changes
required by letting out or taking in on the straight under-arm seams,
leaving the curved ones and the darts untouched.