Pins should be used plentifully while the fitting is being done, but
they should be replaced with regular basting as soon as they are
removed. Do not be afraid of taking up fullness in the lining by darts
crosswise at the top of the corset or where the fullness naturally falls
in front or back. Such darts should be basted, stitched and pressed
flat. If the lining is too short, it may be lengthened by letting out
the shoulder seams.
[Sidenote: Outside Cut by Lining]
After the lining is fitted, it is ripped apart, the outside cut, basted
to it and the seams are basted, beginning at the waist line. Never use a
long thread in basting and always use short, even stitches, especially
where any curved seams are to be stitched on the machine. This rule must
be followed invariably if puckering is to be avoided.
[Illustration: WAIST LINING BASTED, SEAMS OUT]
[Sidenote: Shoulder Seams]
The pattern at the shoulder seams should be shorter in front than at the
back. In joining this seam, pin the two portions so that the ends of the
seam meet exactly at the neck and arm's eye. In basting, stretch the
front piece to fit the back, holding it in or puckering it if need be.
Pressing will banish the pucker and give an easy seam that will hug the
curve of the shoulder, as in a man's coat.
[Sidenote: Fitting]
When the waist is on the figure, pull it well down to the waist line,
pin the front linings together beginning with the neck, then lift the
waist a little in front to give fullness and pin to the waist line. Mark
for the hem down the front, finish the edge with a well-fitted facing
under which is a thin bias strip of canvas interlining for buttons or
hooks and eyes. Marks showing the position of fastenings should be made
at this time.
[Sidenote: Fitting of Neck and Sleeves]
The neck and arm's eye should be fitted by making slashes in the
curve--never cut around the curve. For the collar or neck band have a
true bias of thin canvas or crinoline and draw it around the neck and
pin with the ends _out_, towards the worker. (Never lap any edges of
waist, belt or collar when fitting.) Mark on the waist where the lower
edge of the neck band touches. Draw the sleeve on the arm, pin and mark
where it sets right, seeing that the elbow fullness is in the right
place and that it does not twist at the hand.
As in the lining, all changes necessary in fitting should, if possible,
be made in the straight seams, as it is difficult to preserve the proper
lines of the curved ones. The shoulder seams should be the last one to
be basted.
After all faults are remedied, the seams are carefully stitched along
the line or basting, the bastings removed, the seams pressed and
finished. The last seam to be stitched securely should be the one at the
shoulder. By leaving this open, all fullness can be smoothed upwards and
any trimming can be let into the seam.
[Illustration: BACK OF WAIST, WELL MATCHED]
[Sidenote: Boning]
Sew in featherbone by cat stitching to the seam, first finishing the
ends by button-holing. All seams should be stretched well when sewing on
bones of any kind.
Curved seams should be notched every one or two inches at the curve and
bound or overcast. This allows them to lie flat.
[Sidenote: Draped Waist]
In a draped waist the lining is made separate and not stitched into any
seam of the outside except at the shoulder. In fitting the outside the
back is pinned on to the lining firmly, then the front and finally at
the underarm seams. The seams are then basted, the waist tried on again,
alterations made, if necessary, seams stitched and the bottom finished
with the lining, as desired.
Three eyes or other fastenings should always be sewed at the seams in
the waist line at the back to secure the skirt to the waist, thus
preventing it from sinking below the waist line.
[Sidenote: Finish of Bottom of Waist]
The finish of the lower edge of the waist is often a problem. If the
waist is to be worn under the skirt, just how to finish or whether to
finish it at all is a question. The first step is to trim the edges
evenly. A line of stitching and simple overcast will show less through a
close-fitting skirt of light weight material. When binding is used, it
should lie perfectly flat, twice stitched and pressed well.
If the waist is to be worn outside the skirt, a narrow bias strip of
canvas should be basted on the wrong side, the waist turned up over this
as directed for sleeve and collar finish. Over this a bias facing of
silk may be hemmed or cat-stitched.
[Sidenote: Fitting Irregularity of Figure]
In spite of careful measuring and all care in cutting, the waist may not
fit, owing to some deformity or peculiarity of the figure. Such figures
require especially careful fitting and the hollow place should be filled
out with wadding. This needs to be done with the greatest care and
nicety.
[Illustration: MAKING BIAS STRIPS FOR FACINGS]
Avoid too frequent fittings. The bias portions of the bodice are liable
to stretch out of shape and too much handling of the waist takes away
the freshness. This is one reason why it is advisable to make the
sleeves and collar first in order that the whole waist may be fitted at
once and all alterations made to fit both sides. A perfect figure is the
exception rather than the rule and the side that is not developed should
be well fitted, whether sleeve or bodice.
COAT OR TIGHT FITTING SLEEVES
[Sidenote: Altering Patterns]
If it is necessary to lengthen the sleeve, say two inches, cut the
pattern at right angles to the lines indicated by the dots, above and
below the elbow. The slashing should be done exactly at the same
distance apart in the upper and under portions of the sleeve in order to
retain the proper shape and size of the top and bottom. Separate the
parts, allowing one inch above and one inch below the elbow.
To shorten the sleeve, lap the slashed part or lay a fold in the pattern
instead of slashing. In either case, care should be taken that the fold
or lap is of even width all the way across, so that the original shape
of the sleeve will not be lost.
[Sidenote: Placing of Patterns]
Too much care cannot be taken in arranging the pattern of the sleeve
according to the thread of the goods. Especially is this the case in the
two-piece or coat sleeve. Generally the top part of the outside seam and
the lower part of the same side should be placed at the edge or fold of
the goods, so that the two run in the same straight line. In all cases,
the foundation sleeve or lining should be cut and fitted before the
outer portion is adjusted. Ample time should be given to the fitting and
basting of the sleeve. The "set" of the sleeve is very often
unsatisfactory because the cutting and original basting was done in a
careless manner. Remember that greater care is required in sleeve making
than in any part of the garment. Each sleeve is complete in itself and
one must not deviate from the other in size, arrangement or ornament,
or general appearance. They should be cut, basted and fitted alike and
if the arms differ in size or length the sleeves must be so adjusted as
to conceal the inequality.
The sleeves should be made at the same time and before the cuffs, then
the cuffs, puffs, or whatever special trimming is to be applied to them
should be put on both sleeves at the same time. If the second sleeve is
not made or trimmed until after the first is finished, it will be much
more difficult to secure exactly the same effect. If it is impossible to
complete both sleeves at one time, make the sleeves one day and the
cuffs or trimming the next day.
In making the coat sleeves the general methods are the same, but each
season brings out new styles which the maker will have to understand
before proper making and finishing can be acquired. Always master the
simple and standard patterns and the minor changes dictated by
fashion--new fancies and effects--will not be difficult to acquire after
a little experience has been gained.
The lining for both sleeves should be fitted and the outside cut by
them.
[Sidenote: Joining the Parts]
After economical cutting, trace the seams carefully, and baste the
outside to the lining, basting both uppers before the under sections.
Join the under and upper parts by pinning and basting, the outside seam
first, beginning in the middle of the sleeve and working toward each
end. The outside seams should be begun at the notch at the elbow,
working toward each end. Where the sleeve calls for gathering the
fullness should be distributed between the notches and the two portions
of the sleeve should be secured at this point, before or after basting
the upper or lower portions of each sleeve.
[Illustration: FINISHING OF SEAMS
Notched at Curves and Bound or Overcast.]
Stitch the seams just outside the basting, then remove the line of
basting along the seam and press. Trim off all rough edges. The inside
seam is opened and notched at the bend of the elbow and an inch or two
above and below and bound with silk binding ribbon or evenly overcast
with twist or mercerized cotton.
[Sidenote: Adding Cuffs]
If an elaborate cuff or trimming is to be added to the sleeve, whether
full or plain, it should be made separately and blind stitched to the
faced sleeve. In case the sleeve is gathered the fullness can be put
into a narrow band, the exact size of the cuff, the cuff then sewed on
the band.
[Sidenote: Putting in Sleeves]
In putting the sleeve in the armhole, be sure that both seams are at the
same point, that both have the same amount of fullness at the top, and
that the plaits or gathers are equally distributed from front to back.
The sleeve should be held next to the worker and should lie easy from
seam to seam at the under arm. Baste with close, even stitches or back
stitch with coarse cotton or twist the same color as the waist. Stitch
in the sleeves on this line of basting, keeping the armholes curved
while the stitching is being done. Trim off edges and finish with
binding or close overcasting. The most careful binding is clumsy
compared to the overcast finish. Turn the seam toward the shoulder and
hem to the lining over the shoulders. This will do away with the
stand-up look that sleeves sometimes have.
[Sidenote: Finish at Wrist]
For the sleeve finished plainly around the wrist, a piece of bias
crinoline should be fitted at the hand. To do this, turn the sleeve
_right_ side out and slip the crinoline in the sleeve over the left hand
and adjust by moving the fingers until the crinoline shapes itself to
the sleeve perfectly, then pin and baste at the top and bottom. In this
way the crinoline will be neither too short nor too loose and all
wrinkling will be prevented. Turn the sleeve inside out and cut off the
crinoline one-fourth of an inch from the edge, keeping a perfectly true
edge, turn the sleeve over the crinoline, baste the outside part of the
sleeve and cat-stitch to the crinoline, then cat-stitch the crinoline to
the lining. Remove the lower basting and press. A bias strip of silk
sufficiently wide to cover the crinoline is hemmed at the lower edge and
to the sleeve lining just above the interlining. Whenever it is possible
to do so use the cat-stitch. It is a neat finish, easily and quickly
done, takes less time than hemming, besides being less bulky.
If the bottom of a coat sleeve is to be left open at the back or
slashed, an interfacing of light weight canvas will be necessary. Turn
the outside portion of the sleeve over the canvas, care being taken to
turn all corners at the slash, and curves, press and stitch, face after
the stitching is done. It may be stitched better if the back seam is
left open.
[Sidenote: Pressing Sleeves]
In the coat sleeve both seams are curved and should be pressed on a
curved board. A rocking chair inverted, with the rocker covered with
soft cloth, makes a good board on which to press the curved seams of a
sleeve.
COLLARS
The shaped, standing collar is worn with waists of all kinds and is
always a popular neck finish. In a close-fitting collar made of heavy
material an interlining of canvas or crinoline is necessary. The
interlining should be cut one-fourth of an inch smaller all around if
the collar is to be blind stitched to the waist. If it is to be sewed
to the neck, in a seam, the lining should be the same size as the collar
at the neck. Baste this interlining to the collar material, cut out the
corners of the material, and hem the extended portion to the
interlining. The interlining should always be cut bias, whether the
outside is bias or straight. Hem the collar lining to the collar.
[Sidenote: Putting on Collars]
To sew the collar to the neck of the garment, first pin, beginning at
the back seam and baste towards the end. The lining may be left free at
the lower edge and felled over the neck edge after the collar has been
stitched to the garment, or the lining may be stitched in the seam, the
seam pressed open and a bias facing of silk or light weight material
hemmed on over the seam.
The beauty of collars and cuffs depends largely upon the exact turning
of corners and finish of ends. These should never be left bulky or
clumsy. If preferred, the lining and outside of collar may be seamed and
turned. Place the right sides of outside and lining together, the
interlining next to the lining, stitch around both ends and top of
collar, then turn and press. These rules may be followed in making
sailor or any lined collars. Collars made of all over embroidery should
be faced with tape on the wrong side before the trimming is applied to
cover the edge of ruffle or lace.
The plain or shirt waist pattern will do duty for many garments--corset
cover, night dress, dressing jacket, etc. The upper part of the waist
will answer for yoke pattern of different shapes.
SEAMLESS YOKES
[Sidenote: Pattern for Yoke]
To make a pattern for a seamless yoke baste together the shoulder seams
of the fitted waist pattern, place the upper part of the pattern on
cambric or stiff paper, with the front of waist on straight edge or fold
of paper, trace the shape of the neck yoke any desired depth below the
neck line. The lower edge can be cut in any shape, the neck either high
or low, round or square. This perfectly fitted yoke pattern can be used
for a foundation for lace, velvet, ribbon, net, or any thin material.
The circular yoke made of lace and ribbon or bias strips can be made to
open in front or back. The strips of inserting and ribbon should be
basted on the paper pattern and joined by fancy stitches or over sewed.
The parts next the neck will need to be held fuller than the outside
curve of the inserting.
All yokes to be worn under the gown should be made on a well-fitted
lining. Never trust to pinning, basting, or hooking the yoke to the
waist.
The finish of collar, cuffs, girdle and placket are hallmarks of good
dressmaking. Well finished ends and corners, the careful adjustment of
fastenings, shields carefully fitted to the arm's eye and caught
smoothly to the lining--all these are little things that count for more
than money spent in expensive ornament.
PRESSING
[Sidenote: Pressing Board]
The success of the finish of every garment depends upon the pressing,
whether the material be heavy or light, cotton or wool. Garments are
always pressed on the wrong side, when being made. The iron used should
neither be too hot nor too heavy and the work should be done on a
perfectly smooth, well-covered board. For pressing black or dark cloth,
the cover of the board should be dark and free from lint, while a
perfectly clean light cover should be substituted when white or light
goods are to be pressed.
[Sidenote: Placing the Iron]
The whole face of an iron should never be put down on a seam or any part
of a waist, but the side or point should be used, care being taken _not_
to stretch a curved seam. A small rolling pin, a broom stick, a chair
rocker, or any rounded stick well covered can be used for pressing
curved seams or sleeves. This lessens the danger of marking the seams on
the right side. These are only makeshifts; a regular half round sleeve
bound should be obtained if much work is to be done.
In pressing, the iron should never be shoved or pushed, as in ironing.
Only heavy materials require great strength. It is possible to press too
much as well as too little. Whatever the material, pressing is work that
requires to be done carefully and slowly. Allow the iron to touch only
the center of the seam, the edges of the seam will not then be outlined
upon the goods. Piled goods require infinite care. Uncut velvet, crape,
etc., should _never_ be pressed with the iron flat on the seam. The seam
should be opened carefully and over the rounded surface of the board,
covered with very soft cotton flannel into which the pile can sink
without being flattened. Run the iron with the pile, or the iron may be
placed on the side or flat end and the seams drawn slowly along the edge
of the iron the same way the pile runs--only the edge of the iron
touching the edge of the seam. Corded seams should be pressed in the
same way to avoid flattening the cord.
[Sidenote: Wet Pressing]
Very heavy cloths and chinchilla should have a small stream of water
carried along the seam, followed by the iron; or the seam may be
dampened by a soft cloth--very wet. This is the "wet pressing" used by
tailors, which is adapted to the requirements of materials used by them,
such as serge, tweeds, etc. Pressing on the right side under a damp
cloth is apt to give marks if the cloth gets too dry or if the iron is
too hot, but is necessary on finished wool garments.
Silk scorches easily and should be pressed very carefully with a cool
iron, light in weight.
Some light colors fade or change in pressing. Try a piece of the goods
before pressing the garment. If the color does not come back when cold
or when exposed to the light, do not use a hot iron on the garment.
CONSTRUCTION AND ORNAMENT FOR DRESS
[Sidenote: Principles of Ornament]
Many of the principles governing architecture and art apply equally as
well to art in dress. Both in architecture and dress, construction
should be decorated--decoration should never be purposely constructed.
It is by the ornament of a building that one can judge more truly of the
creative power which the artist has brought to bear upon his work. The
general proportion may be good, the mouldings accurate, but the instant
ornament is attempted, the architect or the dressmaker reveals how much
of an artist he is. To put ornament in the right place--where it serves
a purpose--is indeed difficult; to render that ornament at the same time
an added beauty and an expression of the desired unity is far more
difficult.
[Sidenote: Purpose of Ornament]
All decoration should be planned to enrich--not to assert. All jewelry
or ornament should form a note in the general harmony of color--a
decorative touch to add beauty and to be subordinated to the object
decorated. It should serve the purpose of seeming to strengthen the
whole or to protect the parts receiving most wear. Ornament is
everywhere attempted. We see ornament at every turn--good and bad
alike--in our homes, on clothes, linen, and kitchen utensils. Carlyle
tells us that "The first want of barbarous man is decoration." We have
no record of when this need was felt first. Primitive man after
supplying his actual needs, seemed to develop a longing for the
beautiful, so he ornamented his own body, scratched rude patterns on his
tools and weapons and gradually developed the artistic sense. This love
of ornament dates back to the beginnings of the human race and there are
no records of a race or a period devoid of it.
[Sidenote: Errors in Ornamentation]
We see gowns totally lacking in good results because too much has been
attempted. The wearer has not considered the effect as a whole, but has
gratified her liking for a multiplicity of ornaments and color which,
perhaps would be good in themselves, if applied separately, but which
becomes an incongruous mixture when brought together on one garment.
Garments which seem to have required great effort in the making and
which appear complex in construction should be avoided, for the effect
is not pleasing. The gown should set off the wearer, not the wearer the
gown.
To avoid committing errors against good taste it is essential first to
consider the use of any garment and see if it answers the purpose for
which it was designed. If any part appears meaningless, this is a sure
indication that it is wanting in grace and beauty. The ornament should
harmonize with the materials, use, and construction of the object to
which it is applied. The color must be massed with effect and detailed
with care.
[Sidenote: Embroidery]
There can be no ornamentation equal to that which is worked into the
material, such as embroidery. The design should be appropriate in form
and color and always conventional. Flowers are used most frequently for
embroidery and passementerie and the simple, single flowers are the
most effective, such as the daisy, the wild rose, and the flowers of the
lily family. These simple flowers are the best because they radiate from
a central point, have strong forms and decided proportions, can be most
fully expressed in a few stitches requiring the fewest shades of color,
and are admirably adapted for amateur workers.
[Sidenote: Flowers as Ornament]
Old Indian stuffs, jewelry, and enamels are rich in suggestions of
conventionalized flowers. The simple, single flowers are repeated
constantly, the daisy appearing to be the favorite in these beautiful
ornaments. The most beautiful of all conventional flower work, jewel
studded, is found in samples of work of the fifteenth century. They
simply suggest the forms of nature. The repetition of the same flower in
all its aspects is more pleasing and less tiresome to the eye than a
variety of flowers or figures.
[Sidenote: Geometrical Designs]
We find upon analysis that the simple forms are the basis of all
decorative art work. Geometrical designs and arabesques are the most
difficult, requiring the most exacting and careful work. Narrow bands,
braided, outlined, or chain-stitched in simple designs are effective,
easily done, and wear well. Braids and any of these stitches may be
combined, making durable and effective trimming for sleeves and neck.
These simple designs are also appropriate for children's frocks. The
French knots are ornamental and durable. All embroidery and
passementerie should be rich, close, and continuous. It should not be
cut up into pieces and sewed on where it does not serve, or appear to
serve, a purpose.
[Illustration: PASSEMENTERIE OF GOOD DESIGN]
[Illustration: POOR DESIGN, WEAK CONNECTION]
[Sidenote: Passementerie]
There is very little passementerie that is at all suitable for forming
edges, as it is not sufficiently substantial, but when it can be found
firm and of the right shade it is one of the most beautiful ornaments to
edge neck and sleeves. It may be allowed to extend beyond the dress
material, so that the flesh tints may show through the design, thus
gradually softening the outline. Often a narrow passementerie can be
found with one strong edge and a good border can be made by joining the
two. This cannot be done where the pattern is united by a band running
through the center of the ornament.
[Illustration: JOINING NARROW PASSEMENTERIE TO FORM A BORDER]
[Sidenote: Bands]
A band of velvet or cloth embroidered in outline stitch and French knots
of same shade as the garment is a satisfactory edge. Except for yokes,
the knots should always be held together with the outline edge.
The rich silk braids and passementeries are made of silk wound or woven
over cotton and should be used only on dresses which are not intended
for hard wear. Such trimmings are, of course, inappropriate on serges
and homespuns and soon become shabby if given much rough service.
[Sidenote: Use of Laces]
Laces, like all trimmings, have defined limits within which they should
be used, though they are often worn indiscriminately. Machine made
laces, often good in make and design, are now very common, but the best
machine-made laces are not cheap in price.
[Sidenote: Design of Lace]
Handsome lace should be applied rather plainly, as the pattern is often
lost in the gathers. Fine laces are out of harmony with heavy or coarse
materials. When lace is desired for flounces that with running patterns
which neither advance nor retreat, except in the folds which may be
made, will be found most pleasing. Distinct objects, such as baskets,
crowns, vases, etc., which suggest weight, are unsuitable patterns for
so light a fabric as lace.
[Sidenote: Placing of Decorations]
Attention to details is essential in the placing of these decorations,
as in the selection or making of them. The worker should take into
consideration the shape and size of the bands or pieces of trimming and
should note carefully the chief characteristics of the design and above
all the junction of leaves, flowers, arabesques, especially in the
finishing of the corners of collars and cuffs.
[Sidenote: Simplicity and Harmony]
Those at all skillful with the use of the needle can attain the most
beautiful and artistic results if right laws in color and design are
adhered to, even by the use of the simplest stitches, for the beauty of
dress lies not so much in the richness and variety of material used as
upon simplicity and harmony--a fact too often disregarded.
[Sidenote: The Bow]
Perhaps no ornament is more abused than the bow. In order not to appear
intrusive, ribbons require the most delicate handling. The only excuse
for a ribbon as an ornament is when it makes a pretense of tying. When
used as a sash where folds or gathers are confined, the tone of the
ribbon should, in general, vary scarcely from that of the dress.
[Sidenote: Fitness of Place]
Whatever the ornament used, whether embroidered band, a ribbon, a cord
that laces, a diamond pin, or a jeweled buckle, though it may possess
great intrinsic value and beauty, it cannot be considered of real worth
as an ornament unless it fulfills the most important condition--fitness
of place.
Although the art of dress admits of innumerable variations, like all
other arts it is subject to the three rules of beauty--order, proportion
and harmony.
Ornaments are appropriate on the hems or edges of garments where it
serves the purpose of strengthening and protecting the parts most worn,
and not simply where fancy or fashion dictates.
[Sidenote: Natural Centers]
The natural fastenings and fold centers should be along the axis or
center of the body. Any jewelry, buckle, brooch, or ornament used to
fasten, secure, or strengthen these centers or to hold bands of
embroidery, collar, or folds together should be sufficiently strong to
serve the purpose. There must be a reason for position and the purpose
of its use must be apparent to satisfy the eye. The eye is unconsciously
and irresistibly drawn to these natural centers and demands some object
there on which to rest--some substance from which the fold emanate--some
reason for their detention. If this ornament at the throat or waist
fastening collar or holding folds by a girdle or clasp is omitted, the
eye is disappointed. This does not mean that the ornament, jewel,
passementerie, or embroidery should always be placed in the axis or
central line of the figure--this may be carried too far. Slight
irregularities often give an effect to hat or gown that is charming.
[Illustration: PASSEMENTERIE COVERING FACING]
[Sidenote: Trimming]
Remember that trimming is not intended to cover up, but to beautify and
strengthen. When, for economy's sake, it is used to cover worn places or
other defects, it must be selected and applied with great care or it
will loudly proclaim its mission.
[Sidenote: Unity in Dress]
Trimming should mean something--whether jewelry or passementerie. Bands
that bind nothing, straps, bows, buckles, or pins that confine nothing
offend the taste. A girdle should seem, even if it does not, to belt
in fullness; it has no use on a close-fitting, plain waist. No draperies
should be invisibly held; supply some apparent means of confining the
gathers. To preserve the lines of the figure there should be unity in
the dress. A tight-fitting skirt below a gathered waist or a full,
gathered skirt below a plain waist gives the appearance of two portions
of the body instead of the oneness desired.
The figure should never be cut across, either above or below the
waist-line with contrasting colors, different shades of the same color,
or bands of different texture. Below the waist-line the figure should
suggest the elements of strength and these horizontal bands cut the
lines of the figure at an angle of opposition, destroying the rhythm and
grace of the lines.
Much experience is required in placing horizontal lines of ornament on a
skirt effectively. In general, rows of tucks or ornament should diminish
in width from the bottom towards the top. The plain spaces should be
greater than those ornamented. When ornament gives absolute evenness of
space division in skirt or waist the effect is apt to be monotonous and
unsatisfactory.
The natural places of support for garments are the neck, shoulders and
waist. Ornamentation which emanates from these centers or when used for
borders, if appropriate in design, is usually successful.
ORNAMENT OF TEXTILES
In addition to ornament added to garment, the ornament in the textile
itself must be considered.
[Sidenote: Appropriate Designs]
Textiles may be beautiful in weave, but spoiled by the design. Quite as
important as intrinsic beauty is appropriateness of pattern. How often
do we see woven on our curtains, carpets, and garment materials fans,
bunches of roses tied with ribbons--bows with long, fluttering
ends--landscapes, snow scenes, etc. Nothing is beautiful out of its
place. A fan suggests coolness and grace of motion, but woven in our
textiles it gives the same impression as a butterfly mounted on a
pin--something perverted, imprisoned, or robbed of its natural use.
Nothing is or ever can be beautiful without use--without harmony.
Decorations on textiles are not to tell stories. There is a difference
between landscape painting and using landscapes as a motive for
decorating textiles or pottery. In one case the aim is to annihilate
surface by producing the impression of distance; in the other, the
object is to glorify the surface only.
[Sidenote: Advantage of Plain Material]
For the woman of limited income it is wiser to select plain material of
good texture and weave. Such material is never conspicuous, can be made
over, and is always restful and may be interesting. Any good textile
must impress itself upon the mind by its suggestiveness and beauty of
color. There is a difference between what may be called artistic and
decorative embellishment of textiles. Each has its place in the world
of beauty, but one is the poetry, the other the prose of the art.
[Sidenote: Stripes]
There is a dignity and restfulness in plain material which is never
obtained by varied patterns. When a stripe is used to vary the material,
the style of the textile is changed, elongated if the stripe is
vertical, and widening if it is horizontal. If the main stripe is cut at
right angles with a second stripe, the textile appears more complicated
and repose is lost. The same is true of checks, but no pattern is more
distracting than large plaids, especially when used for waists, because
the regularity of the design renders very conspicuous any inequalities
in the shoulders or bust, and the great variety of colors detracts from
the dignity of the dress. With small checks and narrow, self-colored
stripes the effect is different, causing the texture to appear only
shaded and not destroying the unity.
[Sidenote: Conventionalized Designs]
On garment fabrics the ornamentation should be flat, without shadow or
relief. The pattern must enhance and not mar the figure. If flowers,
foliage, or other natural objects are used for the designs, they should
be conventionalized--not direct copies of nature. A figured textile
requires more careful planning than plain material. It may be beautiful
when used properly, but it will appear hideous if distorted in the
making. A conventional fleur-de-lis pattern, or a long dash which
appears and disappears when used in long, graceful folds, adds to the
apparent height. These same figures wrongly used spread out awkwardly or
become distorted.
[Sidenote: Size of Design]
The size of the design should be regulated by the material--small
patterns being used for close, thick fabrics and larger designs, with
more delicate colors, for thin material of open texture. Thick, heavy
fabrics require rich, warm colors and the pattern likewise should be
rich and decorative. Velvets, velveteens, and heavy cloths for dresses
are beautiful in themselves and should not be marred by patterns or
trimmings.
Spirals or curved lines running crosswise on textiles distort the
natural curves of the figure by making seeming undulations where none
should be and accentuating the prominence of hips and bust. Such
patterns should not be used in folds.
COLOR
[Sidenote: Texture and Color]
Much is to be considered in choosing colors and it is folly to suggest a
particular shade for a person without taking into account texture of the
textile. Though the color may be good, the weave may destroy what might
otherwise have been a success.
Not only must color in itself be studied, but quality of color in
textiles as well. A shade of red, for example, in dull silk or
lusterless material may be most unbecoming for a woman of a certain
type, while it may be worn successfully if made in rich velvet or glossy
silk.
Some women maintain that they cannot wear green, but nearly all can
dress becomingly in this color if the shade and texture is selected
carefully. The same may be said of other colors for the many variations
should be taken into consideration.
The average woman in selecting materials for gowns or house furnishings
is apt to be influenced too much by details, as she would judge the
merits of a fine piece of needlework, hence the value of good, broad
color schemes fails to appeal to her. The chenille curtain, perhaps,
suits her because it is full of complex decoration.
[Sidenote: Harmony Not Contrast]
After having determined the prevailing color of a costume, the details
should be in _harmony_, rather than in _contrast_ with it. Different
tones of one color are more satisfactory than striking contrasts, and
even strong patches of light and shade of the same color should be
avoided, as well as patches of crude and vivid color. The pleasing
contrasts found in nature cease to be happy when attempted in textiles.
Use few colors, avoid bright shades except in small quantities. All
bright colors should be placed near the face, rather than on or near the
bottom of skirts or the edge of sleeves. Avoid strong contrasts; the
brighter the color and the greater the contrast with other colors, the
louder and cruder will be the effect. "No color harmony is of a high
order unless it involve indescribable tints."
CHILDREN'S CLOTHES
[Sidenote: Infants' Clothing]
Plainness, purity, softness of texture rather than elaborate ornament
should be the main consideration for infants' clothes. The finest and
softest of French and Scotch flannels, French linen, dimity, nainsook,
and India silk are always dainty and they should be made up very simply
with little trimming, but that of the finest.
Hems and seams should be small and neatly done with, perhaps, the
daintiest beading inset by hand and feather stitched. Hemstitching is
always beautiful, but makes a weak spot which is apt to give out in the
constant laundering necessary for children's clothes.
The skirt and shirt made in one piece, with sleeves to slip into the
little outside garment, both to open down the back so that all may be
slipped on at the same time without worry to either nurse or baby, will
be found a great convenience.
[Sidenote: Stockinet Undergarments]
Stockinet or webbing, all wool, partly wool, or all cotton, is preferred
by many to the plain cloth. The cotton is non-shrinkable, easily made,
and finished. This garment fabric has reached such a high degree of
perfection that for infants and children of larger growth nothing better
can be desired for shirts, skirts, drawers, and tights. It may be had in
either light or heavy weight, is easily laundered and elastic, having
all the qualities desired in undergarments. Garments made of this
material in the manner described give perfect freedom for all organs,
besides evenness of covering for the body and lightness of weight--all
important considerations in infants' and children's clothing.
There should be the same simplicity in construction and material in the
garments of children of larger growth. The design should be smaller,
more realistic and the color brighter than for grown people.
[Sidenote: Children's Dresses]
For children's dresses, the pretty ginghams in small checks, chambray,
dimity, serge, flannels, cashmere are appropriate and serviceable.
In making up these simple materials nothing better can be suggested than
the plain, straight waist, fitting easily, to which a full skirt is
fastened. The sleeves may be of any fashion to add variety. Such a frock
is simple and dignified and has a certain archaic beauty and quaintness
that the huge, ugly collars and like ornament can never give.
With the plain body the grace of the childish form is not lost. The body
may be short or long, with the trimming at the bottom or edge of the
skirt. The gathers fall in long lines or folds, no element of opposition
destroying the rhythm and grace of the figure contour, when the trimming
is placed at the bottom of the frock instead of several bands dividing
the skirt.
The waist should always be wider in front than in the back. The
discomfort and injury caused by ill fitting garments, graded according
to age instead of according to size, thus restricting the expansion of
the chest and the play of the lungs, cannot be estimated.
With the proper kind of frock a child can indulge in any game without
becoming in the least disordered. Dresses for little girls may have
drawers made of the same material, thus permitting them the same freedom
as the boys. The life of the child is play. Unfortunate is the child
whose clothing is too good to play in. Of course there should be frocks
for gala occasions. Children are sensitive to color and receive much
innocent enjoyment from being prettily dressed. A child may be made
unhappy and timid by ugly clothes, but plainness need not mean ugliness.
There are many artistic and simple patterns now being put on the market
and many of the ready-made frocks found in the best shops are
satisfactory.
CARE OF CLOTHING
Ruskin says, "Clothes carefully cared for and rightly worn, show a
balance of mind and self respect."
[Sidenote: Little Attentions]
The freshness of gown or wrap may be preserved by the little attentions
bestowed upon it each time it is worn, which take but a few minutes and
mean so much in all departments of dress. By carefully brushing and
shaking into folds, removing all spots, hanging right side out, picking
and pulling straight flowers, bows, and ribbons as soon as removed,
adding buttons and taking up dropped stitches when needed,--all these
little attentions if given promptly will keep a wardrobe fresh and in
good order. New braid on the bottom of skirts, sponging and pressing,
little alterations and addition of new trimming to collar and cuffs,
will help to preserve the original freshness of the gown and cause the
wearer to appear well dressed.
Waists should be turned wrong side out when removed and allowed to air
near a window. Shields should be cleansed with alcohol and water.
Ribbons should be rolled up immediately when taken off and if treated in
this way will last much longer and look much daintier.
Clothing if moist and dusty and tossed into a dark corner of a closet or
trunk can never appear fresh again, and will betray the character of the
wearer. It is not the wearing of clothes which tells so sadly upon them,
but the manner in which they are cared for. A few garments nicely made,
well fitted and properly cared for are far preferable to twice the
number of inferior quality and make.
[Sidenote: Ruffled Skirts]
Skirts of thin material having ruffles around the bottom should be hung
upside down by loops sewed under the ruffles at the seams. By hanging in
the opposite direction from which they fall when worn, ruffles regain
their freshness.
[Sidenote: Packing Away Clothing]
All clothing for the season should be put away in perfect order to be
ready for any sudden emergency which may arise. No clothing of any kind
should be stored for the season without thorough cleaning and repairing
where necessary. Garments that are outgrown should be disposed of,
instead of packing them away. Wool garments should be carefully brushed
and hung in the sun to remove and destroy any eggs of moths which may be
present. They may be hung in tight cotton bags or packed in tight boxes
with all openings posted over as a protection against moths. Tailors'
boxes which come flat are not expensive and are useful for this. They
should be plainly labeled with their contents.
[Sidenote: Folding Garments]
To fold, lay all articles on the bed or table and fold on the seams if
possible. Particular attention should be given to sleeves and collars.
Coat lapels should be turned to lie flat, collars turned up, and the
coat folded directly through the center seam.
Skirts and coats with bias seams are not improved by hanging as the bias
parts are apt to stretch out of shape.
[Sidenote: Remove Pins]
No clothing should be put away for the night, even, without first
removing all steel pins, as the least dampness may cause rust spots.
[Sidenote: Hangers]
Clothes forms and hangers are so inexpensive that every gown and coat
should have its own. Skirts should be hung exactly on the form and no
part of the band should be allowed to sag.
If fancy waists are put in drawers or boxes, they should have the
sleeves filled with tissue paper and the collars and bows should be
pulled straight.
CLEANING
Large garments require the greatest care in handling and in order to be
done successfully, they should be sent to the professional cleaner.
[Sidenote: Fruit and Wine Stains]
All stains and spots should be removed as soon as possible. Fruit and
wine stains may be removed by stretching the fabric over a vessel and
pouring boiling water through the cloth from a height of a foot or two.
The water _must_ be boiling.
[Sidenote: Ink Stains]
Ink stains can be taken out of clothing by dipping the cloth in milk,
squeezing the blackened milk into one dish and dipping immediately into
clear milk until the stain has disappeared. Then finish by washing the
cloth in warm water and in soapy water to remove the fat in the milk.
[Sidenote: Iron Rust]
Iron rust may be removed from linen and cotton by using lemon juice and
salt. Wet the spot with the juice of a lemon, cover with salt and lay in
the sun, repeating the operation until the stain is removed, then rinse
out the lemon and salt thoroughly. This of course cannot be used on
colored fabrics, as it fades the color.
[Sidenote: Grease Spots]
Grease is one of the worst foes to garments and the greatest care is
needed to remove such spots from delicate fabrics. If not done at once,
the dust and grease together often prove ruinous. When the color and
fabric will not be injured by it, warm water and soap is the best agent,
otherwise absorbents may be used. French chalk or magnesia powdered,
placed upon the spot, and allowed to remain for a time will often absorb
the grease effectually. If the first application is not effective, brush
off, and apply again until the spot disappears. Where water can be used
without injuring the cloth, the chalk or magnesia can be made into a
paste and spread over the spot. When dry, brush off with a soft brush.
In removing fresh grease spots, blotting paper with a warm iron may
often be used effectively. If the heat changes the color of the cloth,
the iron should be held above the goods.
[Sidenote: Blood Stains]
Blood stains may be removed by making a paste of starch and applying it
to the spot. Several applications may be necessary.
[Sidenote: Solvents]
[Sidenote: Cleaning Garments]
[Sidenote: Soap and Ammonia with Gasoline]
Only the best and purest benzine, naphtha, gasoline, and turpentine
should be used for cleaning garments. For removing paints from coarse
cloth, pure turpentine is useful, while for silks, velvets and woolens,
benzine, naphtha and gasoline are to be preferred. The secret of success
in the use of any of these cleansing agents lies in immersing the
garments in _large quantities_ of the liquid. Not less than a gallon
should be used for a waist and two gallons will do the work far more
satisfactorily. An effort should be made to remove all the worst spots
before immersing the whole garment. Those which have not disappeared
should then be marked with white thread, colored thread may leave a
mark. It is a good plan to enclose the spot with a line of basting. Soak
the garment for some time in the liquid, then soap all spots thoroughly
and rub gently between the hands until they disappear. Finally wash and
rinse the garment in clear liquid and hang in the open air until all
odor has passed away. Soap may be used freely with gasoline with good
effect. Some professional cleaners use a little of the strongest ammonia
in their gasoline tanks. The goods should be shaken well and all folds
pulled out straight with the threads of the goods. Velveteen, corduroy,
and like piled fabrics can be cleaned successfully if not too much worn,
but no amount of cleaning will restore the pile that is worn off.
If allowed to stand until the impurities have settled and the clear
liquid poured into clean bottles, it may be used for a number of times.
This should always be done in the open air.
Chloroform may be used for cleaning the most delicate silks, though this
is rather expensive.
[Sidenote: Absorbing Pad]
Whenever any of these liquids are used to remove spots alone, the spots
should be placed upon a soft pad of several thicknesses of old cloth or
blotting paper to absorb the surplus liquid and the spot should be
rubbed from the outside towards the center. A hole may be cut in very
soft cloth or blotting paper and placed around the spot to absorb the
solvent around the stain and prevent the dark ring being formed. The
cloth should be rubbed lightly and briskly until it is dry. If the
fabric is light colored, a sponge or a soft piece of light cloth should
be used, while for dark fabrics, the cloth used for rubbing the spot
should also be dark and free from lint. The rubbing should be done
lightly so as not to wear or injure the texture of the fabric. The
blotting paper or cloth underneath should be changed frequently until
the spot has entirely disappeared.
[Sidenote: Cleaning Velvet]
Velvet hats and bonnets, after all trimming is removed, may be cleaned
by repeated dippings in benzine or gasoline. The vessel used should be
large enough to hold a sufficient quantity of the liquid to completely
cover the hat. Of course all dust should be carefully brushed off and
all folds ripped and loosened before putting the hat into the liquid.
The secret of success lies in having the article entirely free from dust
and using a large quantity of the benzine or gasoline.
[Sidenote: Before Sending to Cleaners]
Before sending out garments to be dyed or cleaned, be sure that they are
in good condition. All worn places should be mended carefully and all
buttons should be removed. Garments that are ripped should have all cut
threads pulled out and be free from dust. Dust silk fabrics with a piece
of clean flannel and woolen material with a brush or broom.
REPAIRING
[Sidenote: Economical Mending]
Fabrics are so much cheaper and so much easier to obtain that patching
has almost become one of the lost arts. The twentieth century woman
feels that her time is too valuable to be spent in mending the old
clothes and that she can better afford to buy new. However that may be,
no one disputes the utility of mending. Like so many other duties,
mending is half done when well begun. A well made garment of good
material should not be discarded when slightly worn, for a patch well
put in or a neat piece of darning detracts in no way from the value of a
garment and may even be a work of art. The children's clothes
particularly should be kept in good order, for they are made
uncomfortable by wearing garments that are out of repair, to say nothing
of the demoralizing effect upon their characters.
[Sidenote: Laundering and Repairs]
Laundering is the great ally to tears and not only doubles the size of
the hole, but pulls the threads apart so that it is impossible to make
the mended place neat and smooth, therefore all clothing should be
mended before washing. Stockings and woven underwear are much worn by
the rubbing on the washboard and thin places going into the washing
frequently come out as holes, so that it is true economy of effort and
time to "run" or darn the thin places before they are worn through. It
requires much less time and the garments last longer.
It is a good plan, especially in knees of stockings and knitted
underwear, to baste a piece of fine net over a worn or broken place and
darn over it. (See Darning.) Thread used for darning should be as near
as possible the size of the threads in the garment. Darning cotton,
linen, wool, and silk of all shades can be bought, so that the problem
of matching is no longer a difficult one.
[Sidenote: Boys' Trowsers]
In mending the knees of boys' trousers a round patch should never be
used. The seams should be ripped and the piece set in then, if the seams
are pressed well, the patch will scarcely be noticeable.
[Sidenote: Sleeves]
When bodices are worn under the arm, rip the seams and set in a new
"under arm" piece. A good plan for one whose dresses are apt to wear
through quickly is to have the under arm pieces and the adjacent parts
of the front made of two thicknesses of the goods; then, as the outside
wears through, the edges can be hemmed down or taken into the seam.
[Sidenote: Table Cloths]
When table cloths begin to wear in the middle fold or along the edge of
the table, a few inches cut off one end and one side of the cloth will
change the fold and the place where it falls over the table and give it
a new lease of life. If the hem is turned down once and cat stitched, it
will resemble the selvage more than a twice turned hem.
[Sidenote: Lengthening Garments]
In repairing or lengthening garments that have become too short, much
can be done by adding to the bottom of the skirt and sleeves material of
different texture. A cloth or serge skirt may be lengthened by facing
with velvet of the same shade, covering the line of sewing with cord,
braid, or passementerie of the same shade or black. There should be an
underfacing of light-weight crinoline to make the bottom of the skirt
firm and to give strength. The same facing and passementerie may be used
at neck and sleeves.
[Sidenote: Extension Hem and Tucks]
Thin gowns of lawn, dimity, etc., can be lengthened with a faced or
extension hem, the line of sewing to be covered with feather stitch or
any of the fancy stitches of white or colored thread. If the lawn or
dimity has a colored figure, the embroidery silk or cotton may match
this. Under skirts and drawers may be lengthened in the same way or rows
of tucks may be added.
[Sidenote: Waist Repairing]
In waist repairing, the sewing silk should match the material. Set the
patch into the seams when possible and trust to careful pressing. If the
material begins to wear near the end of the bones, cut off the bones an
inch and take in the dart or seam. If the silk wears off around the
hooks and eyes, move them along ever so little. Make a virtue of worn
out seams by taking them in and covering them with fancy stitching. If
the garment is lined, the outside should be carefully basted to the
lining before stitching to take in the seam. It has been said that silk
waists are serviceable as long as the upper parts of the sleeves remain
good.
If garments have not been well cared for from the first and beyond a
certain point, "making over" is poor economy. Never attempt cleaning
and making over old clothes unless the material is good enough to make
it worth while to do the work well.
[Sidenote: Mending Baskets]
The mending basket is an important adjunct of mending and should be well
supplied with darning cotton of all colors and sizes, good English tape,
black and white, of different widths, linen tape, bias tape, different
kinds and sizes of needles,--sewing, darning, shoe, carpet, and tape
needles.
[Sidenote: Use of Tape]
For repairing bands and facings, where buttons have been torn off by
wringer or iron, and for strengthening weak places, tape is invaluable.
It saves the time required to turn in the edges of the cloth and is less
clumsy and bungling.
[Sidenote: Use of Judgment in Mending]
The mender should use good judgment as to the amount of work to be
applied to each garment. She should substitute the machine needle
whenever possible and not put tiny stitches by hand into half worn
garments or in unseen places. Ripped tucks and bands can be sewed in a
few minutes on the machine. Serviceable darning can be done on the
machine.
Before putting away freshly laundered clothes it is a good plan to take
out the clothes already in the drawers and lay the ones washed last on
the bottom, thus all garments will wear alike, each article in its
regular turn.
BIBLIOGRAPHY
Home and School Sewing, Frances Patton, ($.60, postage 6c).
School Needlework, Olive C. Hapgood, ($.75, postage 6c).
Sewing Course for Schools, Mary Schenck Woolman, ($3.50, postage 20c).
Progressive Lessons in Needlework, Catherine F. Johnson, ($.90, postage
8c).
Sewing and Garment Drafting, Margaret L. Blair, ($1.25, postage 10c).
Manual of Exercises in Hand Sewing, Margaret L. Blair, ($1.25, postage
10c).
Dressmaking Up to Date, Butterick Pub. Co., ($.25, postage 8c).
Note: The above books may be borrowed, one at a time, by members of the
School. Send the postage given with request. They may be purchased if
desired.
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 III
READ CAREFULLY. To make this test of greatest value to you, write
fully from your personal standpoint and experience. Try as many
methods given in the text as your time will allow so that you may
ask for explanation if the descriptions are not clear to you.
Methods are many; if you do not agree with these given, suggest
better ones.
1. (a) What are the requisites for good dressmaking? (b) How does
dressmaking differ from white sewing in make, finish, and ornamentation?
2. From your point of view what do you consider a successful garment?
3. Give methods of altering patterns.
4. Give briefly the cutting and making of a wool garment from patterns:
(a) waist, (b) sleeve, (c) skirt, (d) collar, including methods of
stitching, pressing and finish, stating how patterns should be placed on
lining and outside materials.
5. How may pressing be done to give the best results? What garments
require little or no pressing, and why?
6. (a) State some of the principles and purposes of ornament. (b) What
is your idea of ornament applied to garments? (c) Give some errors in
ornamentation not named in text.
7. Cut from magazines illustrations showing your idea of good and faulty
ornamentation in dress. Give reason for your opinion.
8. Illustrate in some way, either by picture, drawing, embroidery,
braid, or stitching, some design appropriate for ornament work on neck
or sleeve.
9. Where should ornament be placed, and why?
10. (a) Give your idea of appropriate design on textiles. (b) The
advantage and disadvantage of plain materials.
11. Make a color card of silk, wool, paper or raffia showing colors that
contrast. (b) Colors that harmonize.
12. What colors do you find satisfactory for your own wear, and why?
13. What materials are best suited for infants' garments? (b) What can
you say in regard to children's clothing?
14. What is your opinion of the care of clothing? (b) What experience
have you had in cleaning (a) cotton, (b) wool, (c) linen, (d) silk, (e)
velvet?
15. Do you consider it economy to repair garments? Can you suggest
better methods than those given in the text?
16. If possible make some garment, shirt waist, skirt, or simple dress
while studying this lesson and describe in detail how you went about it,
the result, time taken, total cost. Tell why you selected the design,
the color, the material.
17. Have you found the ready made garments satisfactory in underwear and
dresses?
18. Tell of some of your failures in dressmaking and give the reasons
for your lack of success.
19. What methods, new to you, have you tried in connection with this
lesson? What questions have you to ask?
20. Can you add any suggestions that would be helpful to others in this
work?
21. Wherein have the lessons been of practical value to you?
22. _For Teachers._ Draw up an outline for a course in sewing to combine
two considerations: (a) adaptability to the child's interests and
capacities, (b) orderly sequence in the technical part.
Note: After completing the answers, sign your full name.
REFERENCES: ORNAMENT AND DESIGN
Bachelder--Principles of Design in America. ($3.00.)
Brown--History of Decorative Art. ($1.25.)
Carter, Mrs. H. J.--Historic Ornament in Color. (15c. a sheet).
Prang.
Clifford--Period Decoration. ($3.00.)
Crane--Claims of Decorative Art. (Out of print.)
Crane--Line and Form. ($2.25.)
Daniels--Teaching of Ornament. ($1.50.)
Day--Application of Ornament. ($1.25.)
Day--Nature in Ornament. ($4.00.)
Day--Ornamental Design. (Out of print.)
Day--Planning of Ornament. (Out of print.)
Day--Decorative Design of all Ages. ($0.40.)
Day--Ornament and Its Application. ($3.25.)
Day--Ornamental Design, Anatomy of Pattern, Planning of Ornament.
($3.00.)
Day--Some Principles of Everyday Art. (Out of print.)
Glazier--Manual of Historic Ornament. (New edition in press.)
Hulme--Birth and Development of Ornament. (Out of print.)
Jones--Grammar of Ornament. ($18.00.)
Prang--Art and Ornament in Egypt. ($1.50.)
_Note_--The books out of print may be found in some public libraries.
REFERENCES: HISTORY OF COSTUME
Earle--Costume of Colonial Times. ($1.25.)
Earle--Two Centuries of Costume in America, 2 vols. ($2.50 each.)
Evans--Chapters on Greek Dress. (Out of print.)
Fairholt--Costume of England, 2 vols. ($1.50 each.)
Hill--History of English Dress. (Out of print.)
McClellan--Historic Dress in America. ($10.00.)
Planchet--History in British Costume. ($1.50.)
Quegly--What Dress Makes of Us. ($1.25.)
Racinet--Costume. ($2.00.)
Rhead--Chats on Costume. ($1.50.)
Schild--Old English Peasant Costume from Boadicea to Queen
Victoria. (Out of print.)
SUPPLEMENTARY PROGRAM ARRANGED FOR CLASS STUDY ON TEXTILES AND
CLOTHING
MEETING I
(Study pages 1-59)
PRIMITIVE METHODS
Endeavor to obtain a Colonial spinning-wheel in working order, and
get some one to operate it.
If possible, obtain samples of weaving done on a hand loom.
Examine a hand-loom if possible. They may be seen at the
manufacturers of rag and remade carpets.
_References:_
Woman's Share in Primitive Culture, Mason, Chapter III, The Weaver.
($1.75, postage 16c.)
Colonial Days in Old New England, by Earle. ($1.25, postage 12c.)
TEXTILE FIBRES
Collect an exhibit of raw fibres and fibres in process of
manufacture. Send to the U. S. Department of Agriculture, Department
of Botany, Washington, D. C., for small samples; to manufacturers of
thread; to friends in manufacturing towns.
Test the various fibres by burning. Examine under a microscope with
a small hand-glass, if greater power cannot be obtained. Try warm
acid--sulphuric, hydrochloric, or oxalic--on the fibres; let the
fibres dry. Also try a solution of caustic soda on the fibres.
_References:_
The Textile Fibres, by Matthews. ($3.50, postage 16c.)
Textile Fibres and Cotton Fibre, pamphlets of the American School of
Correspondence. (50c. each, postage 4c. each.)
Send for all the Government Bulletins mentioned in the
Bibliography, page 104. Note that the _free_ bulletins are obtained
simply by addressing the Department of Agriculture, Washington, D. C.,
but _the sale_ bulletins only by sending coin or money order to the
Superintendent of Documents, Washington, D. C.
MEETING II
(Study pages 59-102)
MODERN METHODS
Visit a textile mill if possible, after studying the text.
Practice home dyeing. Read carefully the directions given by the
manufacturers of the dyes. See the booklet "Diamond Dyes," to be
obtained at many drug stores, or send for it to Wells Richardson,
Burlington, Vermont.
_References:_
Text-books of the American School of Correspondence--especially
Textile Chemistry and Dyeing. (Parts I, II, III, and IV, postage 4c.
each.)
The Dyeing of Textile Fabrics, by Hummell. ($1.75, postage 12c.)
Bleaching and Calico Printing (containing samples), by Duerr.
($4.00, postage 14c.)
WEAVES AND FABRICS
Show as many different kinds of weaves as possible. Separate the
threads and examine under a hand microscope.
Get the local dry-goods or department store to co-operate with you
in getting up an exhibit of samples of standard goods--cotton,
woolen, worsted, linen, and silk. Label each sample with the width
and price.
Test some of the samples of wash goods for fastness to washing and
light, by washing in warm water and soap (or boiling in the soap
and water) and expose to sunlight all day for three or four days.
_Keep a part of each sample for comparison._
(Select a composite set of answers to the Test Questions on Part I and
send to the School, with report on the supplemental work done and
Meetings I and II.)
MEETING III
(Study pages 107-123)
SEWING: PLAIN STITCHES
Send to manufacturers for samples showing the process of manufacture
of pins, needles, etc.
Demonstrate different ways of making the same stitches; discuss best
methods.
EMBROIDERY
Show how all the embroidery stitches are made.
Get up an exhibit of all kinds of embroidery, including Oriental,
Japanese, old samplers, etc.
Have members make Model I, First Series.
_References:_
Home and School Sewing, by Patton. ($0.60, postage 6c.)
School Needlework, by Hapgood. ($0.75, postage 6c.)
Manual of Exercise in Hand Sewing, by Blair. ($1.25, postage 10c.)
_Topic:_
Educational Value of Sewing in the Public Schools.
Methods. See "A Sewing Course," by Mary S. Woolman, Introduction
($3.50, postage 20c.), and "The Teaching of Domestic Science in the
United States of America," by Alice Ravenhill, pages 9-10, 43-46.
($0.75, postage 12c.)
MEETING IV
(Study pages 123-165)
HEMS, SEAMS, FASTENINGS, DARNING, PATCHING
Have all members make models II, III, IV, and V.
Previously assign members to furnish models or examples of all other
hems, seams, fastenings, patches, darns, etc., illustrated or
described in the text, and as many more as possible.
MACHINE SEWING
Get the local sewing machine agent to give a demonstration of the
workings of the attachments of the machine.
(Select models and answers to Test Questions on Part II and send them to
the School, with a report of Meetings III and IV.)
MEETING V
(Study pages 167-200)
DRESSMAKING
Get the local dry-goods or department store to lend different kinds
of dress forms.
Show how patterns are altered to suit the figure. (See text and
"Dressmaking Up to Date.")
As many as possible cut out and begin making a simple shirt-waist or
skirt. Show finished garment at next meeting, giving accurate
account of cost and time spent.
_References:_
Dressmaking Up to Date, The Butterick Co. ($0.25, postage 8c.)
Sewing and Garment Drafting, by Margaret L. Blair. ($1.25, postage
12c.)
MEETING VI
(Study pages 205-228)
CONSTRUCTION AND ORNAMENT IN DRESS; COLOR
Collect illustrations showing good and faulty ornamentation.
Procure samples of fabrics showing good and faulty ornamentation.
Make a color card showing contrast and harmony of color. (See Question
11.)
_References_: See list on pages 234 and 235.
CHILDREN'S CLOTHING
Get up an exhibit of simple and satisfactory clothing for children,
including color, material, style and make.
Discuss children's clothes in reference to laundering.
CARE AND REPAIR OF CLOTHES
Show examples of successful repairing.
Try some of the methods of cleaning. (See, also _Chemistry of the
Household_ pages 73-84.)
(Select answers to Test Questions on Part III and send them to the
School, with report on Meetings V and VI.)
INDEX
Adulteration of linen, 87
Alpaca, 90
Altering sleeve patterns, 194
Angora wool, 39
Aniline dyes, 79
Arrow heads, 123
Back stitch, 112
Basting, 108
Bibliography, 103, 229
Bleaching, 78
Bobbin, 19
Boning waist, 192
Bow, the, 208
Burling, 83
Bust form, 168
Button holes, 141
large, 145
making, 144
Buttons, sewing on, 145
Carding, 59
Care of clothing, 219
Cassimere twills, 73, 75
Cat stitch, 116
Catch stitch, 116
Chain stitch, 116
Checks, 213
Children's clothes, 216, 217
Cleaning, 59, 221
Collars, 198
putting on, 199
Color in dress, 214
Colors, mordant, 79
Combing, 60
Conventional designs, 213
Costumes, references, 234
Cotton, 29
boles, 32
fibers, 34
Cotton goods, 85
home of, 30
Nankin, 34
sea island, 30
upland, 30
Cross stitch, 120
Cuffs, 196
Cutting table, 168
Darning, 155
on machine, 158
over net, 157
Decorations, placing, 208
Distaff, 12
Double cloth, 77
Draped waist, 192
Drawing tapes, 140
Dressmaking, 167
Dyeing, 78
home, 80
Dyes, aniline, 79
Dyestuffs, natural, 80
Embroidery, 204
as ornament, 204
eyelet, 122
shadow, 123
stitches, 114
Extension hem, 227
Eyelet embroidery, 122
Eyelets, 149
Fabrics, 85
list of, 96-102
names of, 94
primitive, 27
width of, 93
Facing, bias, 141
skirt, 179
Fastening the thread, 109
Fastenings, 141
Feather stitch, 118
Fibers, 29
cotton, 29
flax, 43
silk, 53
wool, 37
Finishes, 139
Finishing skirt, 179
seams, 196
waist, 192
Finishing, woolens, 83
Fitting, 173, 193
sleeves, 190
waists, 190
Flax, 43
fibers, 47
hackling, 44, 47
Flocks, 83
Folding garments, 220
French hem, 127
knots, 119
seam, 131
Fulling, 83
Fur, 40
Gathering, 111, 138
Gathers, whipped, 127
Gauging, 112
Gigging, 83
Gingham, 86
Grease spots, 122
Hand sewing, 107
Harmony in dress, 215
Harness, the, 70
Heddle, 17
Hemp, 50
Hem stitch, 118
Hems, 123
bias, 124
faced, 124
flannel, 127
French, 127
folding, 123
Hems, rolled, 126
Herringbone stitch, 116
Home dyeing, 80
Hook and eyes, 147
Hydroscopic moisture, 42
Jacquard loom, 70
Joining lace, 160
Jute, 50
Knit goods, 72
Lace, design of, 208
Laces, use of, 207
Laundering, 225
Lengthening garments, 226
Linen, 86
adulteration of, 87
characteristics of, 47
Lining, cutting, 188
Loading silk, 56
Looms, 17
Colonial, 19, 21, 22
development of, 19
diagram of, 23
fly shuttle, 26
four harness, hand, 21
Jacquard, 70
Japanese, 20
modern, 25, 69
Navajo, 18
Swedish hand, 24
Loop stitch, 116
Madder bleach, 78
Machine darning, 158
sewing, 162
Mending, 83, 225
Mitering embroidery, 158
Modern methods, 59
Mohair, 90
Mordant colors, 79
Muslin, 85
Nankin cotton, 34
Natural dyestuffs, 80
Olona, 53
Ornament, 203
embroidery as, 204
fitness of, 209
flowers as, 205
of textiles, 212
Ornamental stitches, 108, 114
Ornamentation, errors in, 204
Outline stitch, 114
Overcasting, 114, 142
Oversewing, 113
Packing clothing, 220
Passementerie, 206
Patching, 149
Patterns, 171
altering, 173
cloth, 174
lengthening, 173
pinning, 176
placing, 176
selection of, 171
testing, 174
use of, 172
Picking, 59
Piled fabrics, 91
Plackets, 135
faced, 137
Plaids, 213
Plain material, 212
Plush, 77
Pressing, 201
board, 168, 201
wet, 202
Primitive methods, 3
Printing, 81
block, 81
machine, 81
warps, 82
Ramie, 50
Raw silk, 56
Reed, 19
Reeling silk, 54
Repairing, 225
Retting flax, 45
Roving, 61
Running stitch, 110
Sateen weave, 79
Satin, 91
stitch, 121
Scouring agents, 41
Sea island cotton, 30
Seams, 128
beaded, 131
felled, 128
flannel, 135
French, 131
lapped, 133
slot, 131
Serges, 88
Seven-gored skirt, 172
Sewing, hand, 107
machine, 162
Sewing machines, 162
care of, 162
types of, 162
use of, 164
Shadow embroidery, 123
Sheep, 39
Shirt waists, cutting, 182
plan for making, 183
Shuttle, 19
Silk, 53
artificial, 58
boiling off, 56
fiber, 53
loading, 56, 90
production, 53
raw, 56
twilled, 91
Silk, wash, 91
Silk worm, 54
Silks, 90
Singeing, 78
Skirt, 172
band, 179
Skirt binding, 180
braid, 180
making, 177
placket, 178
plan of making, 173
stiffening, 178
Sleeve making, 183
patterns, 194
Sleeves, cutting, 194, 195
finish of, 197
pressing, 198
putting in, 197
Slip-stitching, 125
Slot seams, 131
Speck dye, 83
Spindle, 6
whorl, 6
Spinning, 3, 59
primitive, 3
wheel, 12
with spindle, 6
Stains, 221
Stitches, 107
ornamental, 108, 114
plain, 107
Stockinet undergarments, 216
Stripes, 213
Stroking gathers, 111
Table linen, 87
Teazels, 83
Textile arts, origin of, 3
Textiles, 85, 212
design of, 212
list of, 96, 102
ornament of, 212
weaves, 72
Texture, 214
Trimming, 210
Tweeds, 88
Harris, 89
Twills, 74
Cassimere, 73, 75
uneven, 75
Tucked waist, 185
Tucking, 108
Tucks, 128
Unity in dress, 211
Upland cotton, 30
Velvet, 92
weave of, 77
Velveteen, 92
Waists, 185
lined, 186
plan for making, 187
repairing, 227
tucked, 185
Wash silk, 91
Warping, 69
Weave, 72
diagrams, 73
plain, 73
basket, 76
double cloth, 77
rib, 76
sateen, 76
twill, 74
velvet, 77
Weaving, 14, 69
Wet Pressing, 202
Wheel spinning, 12
Whipping stitch, 113
Whorl, spindle, 6
Widths of fabrics, 93
Wool, 37
characteristics of, 37
fiber, 36
quality of, 38
scouring, 40
sorting, 40
value for clothing, 37
Woolens, 88
Worsteds, 88
Yokes, 20
End of Project Gutenberg's Textiles and Clothing, by Kate Heintz Watson