Home Dressmaking

Qass.
Book.
COPYRIGHT DEPOSIT
(^J
HOME DRESSMAKING
Sewing Room
HOME DRESSMAKING
A COMPLETE GUIDE TO
HOUSEHOLD SEWING
BY
^
MYERS
ANNIE
E.
Fully Illustrated with more than One
Hundred Engravings
"^7
y
CHARLES
H.
CHICAGO
SERGEL & COMPANY

MDCCCXCII
,
Co
.-\'^
t^>
Copyright, 1892. By Charles H. Sergel & Company.
f'3ff^/
PREFACE.
In undertaking this
work there has been a higher
object than merely adding another to the long catalogue

of books.
My
great ambition has been to help
who are trying to who wished to be

allowed,
I
help themselves.
as well dressed as
As
women young woman

means
Again,
to study
my
limited
had
to
work out
for myself the principles of
planning, cutting and making
my own
gowns.
I
as a writer for newspapers and magazines,

to formulate into
had
words the knowledge
had gained by
the
practical
work.
Many and many were

to help
in
times
wished
for
some book
both
my hand work
To
I
and
my
writing.
There was none

the help
I
in the market.
offer
other
women
to
vainly craved
present this
book
the public.
Annie E. Myers.
CONTENTS
CHAPTER
Training for Hand-sewing
I
TOOLS FOR THE WORK
The
Shears
Tools
for Pressing.
,...'....
CHAPTER H
dressmakers' findings
.
.
The Sewing-room Tools for Cutting for Sewing Tools for Fitting Tools
ii
Linings
FacingsWadding and Canvas FasteningsWhale.21 bones and Casings Shields Yokes.

.
.
CHAPTER
HOW TO MAKE
III
DRESS SKIRTS
Skirt Skirt Reeds.
.
The Modern Gored Skirt The Foundation eries The Kilt Skirt The Trained Skirt
Drap
.
29
CHAPTER
HOW TO MAKE
An Ordinary Basque
ing the Lining
IV
A BASQUE
The Pattern First Step in MakingBast Fitting the Lining Fitting the BasqueCuting out Stripes and Plaids Stitching Seams Finishing Seams Pressing Seams Finishing Closing Edges.
...
.
47
CHAPTER V
HOW TO MAKE
Boning a Basque
A BASQUE
To Finish a Tailor Garment Lead Weights.

CHAPTER
Dress Sleeves
lars
Scale for
Placing the Bones
CONTINUED Finishing Edges

.
64
VI
SLEEVES AND COLLARS
Making
Collars
a Coat Sleeve
Jacket and Cloak Sleeves
Sewing in a Sleeve Standing CollarsTurned-over Colvii
Revers
Plastrons.
.....
78
via
CONTENTS
CHAPTER
VII
JACKETS AND CLOAKS
Ladies' Tailoring
Cutting
Cloth
Difi&cultyThe Pattern Sponging Cloth Lining a Wrap Finishing Seams.

Its
.
89
CHAPTER
Over-hand
VIII
PLAIN SEWING AND FANCY STITCHES
Sewing Fine Stitching Running Seams Back Hemming Hem-Stitching FellingFrench Fell Gathering Shirring Overcasting Tucking GussetsPatching Sewing on Strings
Stitching
96
CHAPTER IX
Slip-Stitching
CONTINUED
Whipping Binding Cording PipingDarning Chain-Stitch Cross-Stitch Herring-Bone Stitch Loops Button-holes Sewing on Pearl and Similar Buttons.
.
no
CHAPTER X
UNDERWEAR
Materials
Cut, Fit and Making Chemise DrawersCorsetCovers NightgownsPetticoats Dressing-Sacques Wrappers Aprons. .125
.
. .
.
CHAPTER
How
to
XI
INFANTS' WARDROBES
Dress Baby
A Simple
Suits.
Layette
and Cloaks Nurses'
......
How
to
make
it
Caps
140
CHAPTER
American Mothers
for Girls
XII
children's CLOTHES
Short Clothes Small An Apron.

CHAPTER
........
Boys' Clothes
Dress
148
XIII
DRESS TRIMMINGS
Bias Bands
Cord-edge
Plain Binding and French Hem -Round Piping Double Cord-edge Straps and BandsFur Trimmings Flounces Pleating.
157
CONTENTS
CHAPTER XIV
SPECIAL COSTUMES
ix
Riding Habits Cycling

Business
the Photographer.
Women Artistic
Costumes Bathing Suits Dress for and Reform Dress To Dress for
167
CHAPTER XV
DRESS FOR HOME AND FOREIGN TRAVEL
Dress for
Home
the far East
Travel Dress for Southern Travel Dress for Dress for Ocean Travel.
....
.
.
.
189
CHAPTER XVI
MOURNING
Mourning
Mourning for a Parent, Child or Sister Children's and School-girls' Mourning Complimentary Mourning Second Mourning For the Neck.
for
Widows
200
CHAPTER
Seasonable
XVII
BRIDAL OUTFITS
Gowns The Veil Weddings The Best Date

General Trousseau.
........
XVIII
Color
.
Bridesmaids' Dresses For Quiet Brides' Traveling Dresses The

206
CHAPTER
Materials for Stage Dresses
FANCY AND THEATRICAL DRESSING
Some Fancy Dresses,

Correct Taste
Colors.
Effect of
. .
Waists and Skirts

.
. .
.215
CHAPTER
XIX
HOW TO BE YOUR OWN MILLINER
To Trim a Hat How Make a Crowned Hat or Bonnet Making Drawn Bonnets or Hats Taste
to
Stiff
..........
CHAPTER XX
THE DRESSMAKER AT HOME
in
227
Three Methods Preparing Making Over Dresses.
.......
for the
Home Dressmaker
Hints for
240
CHAPTER XXI
FABRICS, LACES AND EMBROIDERIES
Vel vet
Silk Linen Cloth Laces Embroideries Ostrich Feathers Widths of Dress Fabrics.
,
....
249
CONTENTS
CHAPTER
XXII
THE HOUSEHOLD LINEN
In what
it
must consist
Darning
Table and Bed Linen
The
265
Linen Closet
CHAPTER
XXIII
LAWS OF CORRECT DRESS

Considered from the point of Economy Considered from the point of Beauty Dress for Slender Women Dress for Stout Women Individuality in Dress Dress for Red Hair Dress Dress for Brown Hair Dress for Black Hair for Blonde Hair
Dress for Gray HairJewels General Remarks.

CHAPTER XXIV
THE ETIQUETTE OF DRESS
Incongruities
273
Correct Dress for the MorningCorrect Dress for Teas, Matinees and Afternoon Receptions Correct Dress for Dinners Correct Dress for Lawn Parties Correct Dress for Driving and Coaching Correct Dress for Weddings and Wedding Anniversaries Correct Dress for Dancing Parties Correct Dress for Mourning Correct Dress for Servants.
.
295
CHAPTER XXV
TERMS USED
IN
DRESSMAKING
31O
CHAPTER XXVI
TO CUT A BASQUE PATTERN BY MOLDING
The Front Back and Side-Bodies Embellishments The Sleeve
318
CHAPTER
Introduction
XXVII
CUTTING-OUT BY MEASUREMENT
Measurements How take Measures Verification of the Measurements Variable Measurements Draft of Pattern of a Dress Verification of the Patterns for a Body Pattern for Basque Dressing Gown Low, Round Waist Transposing Measurements Drawers for a Woman Drawers for a Girl Princess Apron Apron with Straps Apron for a
to
Child
325
HOME DRESSMAKING
A Complete Guide to Household Sewing
CHAPTER I TOOLS FOR THE WORK

TRAINING FOR HAND-SEWING THE SEWING-ROOM FOR CUTTING THE SHEARS TOOLS FOR SEWING FOR FITTING TOOLS FOR PRESSING
TOOLS
TOOLS
TRAINING FOR HAND-SEWING
When
woman
attempts to make a dress, we natur-
ally conclude she
knows how
to sew.
Let us hope she
has practiced running up long seams, both by hand
and machine, that she knows how

gather,
fell,
to
hem, blind-stitch,
and,
above
all,
to
baste.
Our grand-
mothers served their apprenticeships piecing patch-
work together.
Nothing could be a better schooling.

said,
There has been much
and with good cause, against
the waste of time and talent over patchwork.

skillful
A woman,
She might
and intelligent, spending days and weeks over

is
a bedquilt,
not an ennobling thought.
do
something more important, do much that would
12
TOOLS FOR THE WORK

would seem.
is
make her world wider and those around her more comfortable,
girl,
it
But, for
child
or
young
there
no better training for the hand, the eye
and the contriving, accurate intelligence than to neatly

join pretty pieces of cloth into symmetrical designs.
In later chapters will be found
complete and clear
explanations of plain sewing and the clever but inexperienced
woman
will find therein
many
assistants to the
proper and effective use of the needle.
But
just here
we must
is
start
out with the idea that
the dressmaker
capable of doing plain sewing.

to
We
would pause here, however,
comment upon
the
value of hand-training for woman.

the hand
is
skillful
use of
alwa5^s
conducive to a well furnished
and orderly mind.

touch and the sight.
the beautiful.
It calls into It
more perfect use the
tends to
make
the useful also
slowl}' but surely disappearing.

is
The prejudice against manual labor is The little girl who

for
now being educated

is
any
field of intellectual
and
administrative work,
not well equipped

to
unless her
hands have been trained
do dainty needlework and

This physical developaccording to nature's
are skilled in other handicraft.
ment along with the mental
is
method of preserving a balance of power and a proper

equilibrium between the brain and hands.
THE SEWING-ROOM
With
the hands trained, the
dresses must furnish herself with the proper tools.
woman who would make To
TOOLS FOR THE WORK

begin with, she should have a sewing-room.
the
If,
13
in
economy
of the
house, there
is
no room she can
devote exclusively to that purpose she must have one

that
is
given up to that occupation for the time being.

absolutely necessary to have such a room to do
it
It is as
good dressmaking as
to
in.
is
necessary to have a kitchen

in, a
cook
in,
a studio to
paint
sanctum
to
write
If it is at all
it
possible, she should close herself
up
in
with her tools and fabrics and forbid interruption.

well,
To do anything
tion, one's
one must give one's entire attento

it.
whole mind,
This
is
true
in dress-
making
tools
just
as in
everything
else.
is,
Another reason why

that
all
one should
liave
such a room
materials and
may be kept
there together in their places and
where the hand maybe put upon them the instant

And, when such a room
is
they are needed.

to that
devoted
undis-
purpose, pieces of fabric

If
may
be
left
turbed and ready for use.

up, they are often thrown
they must be
gathered
away and
are missing
when
they are wished for afterward.
This room may be furnished as simply as can be

imagined, yet
it
must have two

of
chairs, an
ordinary
cane-bottomed square chair
medium
height and a
low one.
to
We
would not recommend a rocking chair

is
sew
in,
but a low rattan chair without rockers
just the thing.
footstool
is
also
a very convenient
thing to have in a sewing-room.
her work to her knee
A woman who when she sews should have
pins
that
14
TOOLS FOR THE WORK

This relieves the back
of
foot on a stool.
much bend-
ing and back-aches are less frequent.
TOOLS FOR CUTTING
For cutting ample provision should be made.

table
The
upon which material
is
laid preparatory to cutof sufficient
ting should be perfectly
smooth and
dimen-
sions to permit the largest patterns to be laid out

entirely.
For such pieces
as a trained
or kilted skirt
this is often not practicable but the
worker must then
exercise her most careful ingenuity and judgment.
The
can
home dressmaker
is
often led into the most expensive
mistakes by cutting out on the floor or bed.

not be too urgent against such a proceeding.
We
Therefore in our sewing-room there must be a table

at least four feet long out.
and three
is
feet
wide
for cutting
The
best table
the
substantial ordinary one
of
wood, with a
If this
is
smooth, even surface and square

not available, one of the folding
is
corners.
tables
of at least that size
reasonably convenient.
They are certainly entirely satisfactory for cutting but a more substantial one is better for pressing, and there is no reason why the same table should not be used for
both purposes.
When
working
at the
table, either
sit,
cutting, basting
or pressing, one
should
not stand.
When
sitting
one can easily reach across three

feet
feet of space
and two
on either side.
This saves much tiresome bend-
TOOLS FOR THE WORK

the season of sewing.
15
ing of the body and wearied feet and legs at the end of
This table
in the
sewing-room will be used
for all
sorts of other purposes beside cutting out the original
garment.
provided.
But an ordinary lap-board should

It
also
be
will often
be used when
cutting small
flounces
pieces like collars and facings and
when putting
it
or pleatings on the bottoms of skirts
will be
found
indispensable.
the sewing-room
Perhaps
is
the most important tool in

In dressmaking
a pair of shears.
much depends
edges.
in the
beginning upon clean, evenly cut

is easily,
In basting or stitching seams the eye
although often unconsciously, influenced by the outlined edges and where
they are rough or uneven the
seam
is
wavering and inaccurate.
Clean cut and even edges also influence the stitcher

to finish the
seams
in a neater
manner.
She
will with-
out thinking execute that part of the work with greater

precision.
THE SHEARS
Long, slender and sharp blades should characterize
the shears used.
Never attempt
garment with
dull,
rough or rusty ones with a loose

little
rivet,
nor with dainty

of
embroidery
scissors.
Use shears
good metal
not less than eight inches long with bent handles, with
well sharpened ends and riveted just tight
enough that
no resistance will be noticeable when opening and

closing them.
in use.
Take care
of
them when they are not

let
Keep them from dampness and do not
TOOLS FOR THE WORK

fall
them
as that will often impair the
nicety of their
adjusted blades.
TOOLS FOR SEWING

Ever}' sewing
light running
room should have

of
machine that
is
and capable
It
sewing from the heaviest
to the lightest fabrics.
should be kept well oiled
and
in order.
It
should also be kept perfectly clean.

or old
oil.
it
Do A little
not let
it
become clogged up with dust

all
kerosene will clean

off
this
away, when
in
turn must be wiped
and the machine properly oiled

oil.
with the best machine sperm
It
is
pleasant to
have
all
the attachments invented with the machine,
but for dressmaking one must have the hemmers, the

tuckers and the gatherer.
At the side of the machine
provide a scrap bag
in
which can be stowed away usebags are not too many
less pieces, and thus save the bother of picking them

off
the floor later.
Two
one for
absolutely useless pieces, the

that
other for larger scraps
may be found useful There are many minor

will
later on.
details of the sewing-room's
furnishings which
gradually be
provided
and
accumulated as the sewer prosecutes her work.
But
her sewing basket must be well stocked to commence.

It
should be a strong basket or box sufficiently large
to
meet
all
ordinary requirements.
sizes
It
must contain
needles of
quality.
all
and chosen from those of good

are the easiest to
Those with egg-shaped eyes
thread.
They should have long taper

stiff
points, as
it is
impossible to sew on
material with a conical-pointed
TOOLS FOR THE WORK
17
needle without pricking one's fingers at every stitch.

Tn every case the needle must be large enough to draw
the thread through the fabric without the least effort.
There must be pins

silk
in
in plenty, cotton thread
and spool
both white and black with a good large spool
of coarse basting cotton.
There must be an emery bag,

in
which should be home made, as those bought

dise stores
are
merchan-
generally filled with anything rather
than good
filings.
There should be a square
of to
hard
white soap.
linen
seam
If
is
a difficult
seam
sew
it
by hand or machine.
before commencing,
all
you pass the soap over

is
the difficulty
instantly re-
moved.
There must be
in this basket a well
it
fitted
thimble.
Two
tarily
thimbles are even better, as
is
very provoking
to be forced to stop
and hunt a thimble that has momenit.
disappeared just when you most need

fit
They
must exactly
to
the finger.
It is ver}'
uncomfortable
finger;
it
if
work with a thimble which turns on the

is
the extra space
filled
with paper or rag,
renders
catch.
the thimble too heavy and the thread
is liable to
There must be a lead pencil and
good tape
line
and
a pair of button-hole cutters with a gauge are a great
convenience.
Equally pleasant to have
at
hand are
sharp steel punch or chisel and a perforated bodkin for
drawing
a cord or tape
through clings or hems.
This basket should be provided with a cover to keep

its
tools free
from
all
but ordinary dust.

its
piece of
silk as long as
the basket around
top and about
TOOLS FOR THE WORK

wide makes
a
six inches
good cover.
Join
its
ends and
a
sew one
of its
edges to the basket top.
Then run
casing in the other edge of the silk and pass a drawing-string through
it.
Thus the cover may be opened

is
and closed
at pleasure.
A medium
to
size leaded pincushion
extremely con-
venient for use in pinning the work.

the
Pinning the cloth

account
of
knee
is
very poor policy, on

it
the
fatiguing stoop
is at
causes.
is
When
the leaded pincushion
hand, the cloth
so easily attached, and a
woman
without
who has become accustomed to one will never be it. They are easily made, the heavy piece
hidden
in
of lead being securely

fill
the sawdust used to
the cushion.
TOOLS FOR FITTING
There
is
an absolute necessity for a mirror in which
the entire figure
may be
surveyed.
Even
effect
in
fitting a
bodice or short
wrap the general
should be the
thing considered.
Their lengths can only be decided
correctly in reference to the entire length of the figure.
The
best mirror
is
one that swings in a frame.

is
Such
these
a one in a dressing-case
very convenient, and there

If
are less expensive ones called easel mirrors. are
beyond the means

floor
at
at
hand, place any ordinary mirror
on the
an angle Avhere a view of the entire
figure can be obtained.
The gown must harmonize
with the wearer.
In other words, you must adapt the
materials to yourself, and this can only be done by see-
ing yourself as others see you.
TOOLS FOR THE WORK

The
an
next best help one can have for this purpose
adjustable wire
19
is
form.
The forms
if
that
may be
adjusted to correspond with neck, waist and bust measure are few and expensive,
all,
they are of any value at
but there are skirt figures that
may
be bought for a
couple of dollars
eries
they are a capital investment.

TOOLS FOR PRESSING
Drap-
may
be adjusted with the greatest ease
when they
are used.
Among the most importanttools are aflatiron and some

means
there
of
heating
it.
In this day of steam radiators
is
often no such
means
at
hand.
There have been
many
lic,
inventions given an aggrieved and credulous pubto gas jets, alcohol
such as attachments
but the best thing
it
burners,
etc.,
is
is
little
kerosene stove.
;
There
no reason why
should be dangerous
it
nothing but
it
the grossest carelessness makes

flatiron in a
so,
and
heats a
few moments.
there
is
Remember
everything
in the
proper pressing
of the garment.
This applies
to
the skirt seams, the

to the sleeves
hems, the bodice seams and facings and

as well.
A good
investment
is
a couple of press boards,
one for skirts and a smaller one for bodices and sleeves.
Any carpenter
trifle,
will
make them and
the cost
is
but
while the convenience will more than repay an
even greater expenditure.
skirt
board
should be
about forty-four inches long, the length of an ordinary

skirt
and nine inches wide.
The
sleeve board should
be
five
inches in width and twenty-seven inches long.
20
TOOLS FOR THE WORK

at least
Give them each
one thickness of flannel and

these and a couple
of hot
add a cotton cover.
With
flat-irons and plenty of strength, the
homemade
dress
may be made
a very presentable affair-
CHAPTER
LININGS
II
DRESSMAKERS' FINDINGS
FACINGS WADDING AND CANVAS EASTENINGS WHALEBONES AND CASINGS SHIELDS YOKES
LININGS
Those who undertake
to learn the trade of
dressmak-
ing find that silesia, braid and canvas represent the
C's of the art.
The novice
will
do well
but
to try every
pattern or idea in the smooth, firm

silesia.
It is
inexpensive
frequently
all
the amateur dressmaker

of
who
makes the mistake
plunging
at
once into
the per-
plexities of silks, velvets and furbelows.
Such experi-
ments are pretty sure

liable to
to result disastrous!}'.
She
is
waste
great deal of material and to expend
so
too
much time and patience in several thousand times many stitches that she gives up trying to sew at all. How much better to begin with the anatomy of the
Master the
fit
dress.
in the linings,
which
is
reall}-
essential
to the successful fabrication,
and then suc-
cess awaits further along the line of experience and a
garment
proud.
is
achieved of which the maker
may
well feel
22
DRESSMAKERS FINDINGS
"But what kind
of linings
should we use?" do you
ask?
In the
first
place, don't
use old linings.
Such
course
is
not
economy
at all.
For with linings that
have lost their firmness and body no waist can be made

to
fit,
no
skirt
made
to
hang properly.
The same may

be
be
said
of whalebones, hooks and eyes, braids and of buttons, although the latter can again
sometimes
used more frequently.
Yet cloth buttons are usually

are tarnished.
worn shiny and metal ones
Have
fabrics,
plentiful
and good lining materials.
Ail dress
to
except some cottons, require a foundation
protect
them from
strain
cloths and woolens stretch,
laces and sheer woolens tear and silks cut and split with-
out a good under foundation.

Silk,
cambric and
its
silesia
are each
in
turn
used.
is
Each has
are
recommended
to
qualities
and each again
entirely unsuited
certain purposes.
Silk linings
by
all
odds the most elegant and comfortable.

little
To
be sure they are a
expensive in the
first
outlay
but they wear so well and are so light in weight, perfect in

fit
and generally elegant
in appearance, they are
favored by our leading and best modistes.
For dresses intended
for
general wear the soft fine
French cambric can not be too highly recommended.

Silesia is also an admirable lining material for almost
any dress and

its
for all its
parts.
For the waist and
sleeves
it is
unsurpassed, and for the skirts of dresses
as well.
The purpose
ladies will tell of
23
It
is
a dress
lining
is
twofold.
necessary as a neat finish and as a foundation.
Some
you they use good, perhaps the best good

for the sleeves,
linings for the waist, not quite so
and that anything
Avill
do
for the skirt of a dress.
These
strain
are mistaken economies.
There
is just
as
much
and wear on the sleeves
of a dress as
upon the waist and

difference
the linings should be the same.
The only
skirt,
which may be made

and
is
for the
where a lighter
it
less strong material
can be used, as there
is
only
the neat finish and protection,
and really no strain
upon
it.
FACINGS
Beside the linings proper

accessories which
for skirts there are several
must be provided, that must be
classed with them.
The
is
facing for skirts comes

quite a diversity of
first
among them.
as to
There
opinion
which
is
preferable of
some three
or four which
are all in general use.
Perhaps we are safe in saying a majority

sional dressmakers
of profes-
face
their
skirts first with crossit
barred
crinoline, afterward
covering
with alpaca.
but also
extreme-
This certainly makes a

one which
ly
is
soft finish to the skirt

is
thick and clumsy and one which

to gathering
addicted
and holding dust.

is
is
Equally
objectionable for the same reason
the use of canvas

yet another objec-
covered with alpaca.

tion
And
and
there
that
is
we may
urge,
such facings do not
24
of
wear well and are very hard upon the shoes

wearer.
the
Ladies who have their skirts finished in this manner

find themselves in a very short
time forced to trim
off
rags and
tatters
feet,
or
look untidy with them hanging

if
around their
and,
the dress
is at all
durable, the
its exist-
facing must be renewed at least twice during

ence.
Very much
better,
for
durabilit)^,
cleanliness
it is
it
and
the
soft finish is the cotton
padding.
When
used,
work
of facing a skirt is greatly simplified,
being
easily put on as will appear in our extended directions

for facing a skirt in a following chapter.
Every
skirt
must be finished with a braid

required, but
or a vel-
veteen band.
Pleated braids are sometimes used

is
when
it
a little extra finish
when an ordinary
to
braid
is
used
it
should be one of the best and then
will not be a narrow one, but
wide enough
cover
all
edges.
WADDING AND CANVAS

Findings
First
is
for the waists of dresses are
the lining proper, which as
more complex. we have suggested be-
fore should be either silesia, cambric or silk.

is
Whichever
it
used, let
it
be the color of the dress unless
be a black
dress.
Black lining should never be used
for waist or
still
sleeves and dark gra3MS better for black skirts too,
black
may be sometimes employed

silesias
for
them.
It
is
quite likely to soil the underwear.
There are many
good
woven black on one
side
and dark gray
25
on the other, which will be found useful for some purposes.
There are but few women
or
men
either
whose
dress-
forms do not require some "building up".
Many
makers place a
lajêr
of
wadding between the lining
and the dress fabric reaching from the shoulders to the

top of the darts.
This certainly gives a smoothness

is
over the bust, that

the warmth.
desirable, still
it
greatly increases
One
the
thickness of light quality of canvas
accomplishes
of the sleeves,
same end and
is
cooler.
The
is
tops
from the shoulder
to the
elbow should
not
the form
thick-
be given the
same treatment when the form
plump and bones make unevennesses.

is
When
inclined to be too large below the waist, one
ness of canvas placed

dress fabric below the
between the lining

tops of the darts
in shape.
and
the
assists in
keeping a basque or polonaise
FASTENINGS
When
buttons are used, the button-holes are a seri-
ous question for the dressmaker and must be neatly
worked with good

will be
twist, or the
garment
is
not beautiful
even when handsome fabrics are used.
In Chapter IX.
found
full instructions
concerning button-holes.
When
hooks and
ejês
are used for closing, the
amathose
teur dressmaker should
ask
for
bent hooks, as
slightly bent near the point stay fastened.

it is
Otherwise
necessaray to sew them on alternately, which makes

for
them very inconvenient
closing.
Small
rings
used instead of eyes on the outer part
of dress waists
26
in
should be covered with silk
button-hole stitches.
The very
skirt
large hooks and eyes used as cloak and
wrap
heavy
fastenings are also excellent for keeping

:
up
four of the hooks being set on the waist just

belt,
below the
two
on the seam joining the back and

;
side-forms and one on each under-arm seam

are placed
the eyes
on the
skirt
band
to
correspond and the
wearer hooks them before fastening the inside belt of

her dress.
WHALEBONES AND CASINGS
The use
sider.
of
whalebones
is
an important item to conIf
Most ladies require every seam stayed.

it
the
seams were curved absolutely perfectly

be necessary, but this
art is
would not
seldom encountered.
the
best wht^lebones
When
only.
elasticity.
stays
are
needed, use
Nothing
else wears so well nor gives the proper

tin, steel
Horn,
either
and rubber have

or
all
been
used, and
rust,
break
twist unpleasantly.
Galloon must be provided

run the stays. seams.
for
casings in which to
Casings of lining material make clumsy
Ribbon
seams
for binding the edges of the waist
and sleeves
finish the waist in the
most acceptable manner.
With loops
to this
to
go in each armseye of the same by which

waist, a neat finish
is
is
hang up the
given.
However,
ribbon binding
repudiated by some ladies

fits.
who
delight in the snuggest
They
insist the
binding of
edges draws the seams and demand rather they shall

be loosely top sewed and pressed.
must be provided
27
In any case a sufficient length of binding tor an

inside belt
to
attach at the back
seams
It is
at the waist-line to take the strain off the front.
usually fastened in front by
medium
sized hooks
and eyes.
SHIELDS
Dress shields must be provided, large ones in the

armseyes, and ladies
who
perspire profusely use small
ones in the sleeves at the elbow curve.
Some
ladies abominate
cheap shields
for dresses.
They buy the wash them in

It is also
best and take
them out
This
at intervals
and
clean soap suds.

to
is
not a bad idea.
good practice
often.
purchase cheaper ones and

are perfect and
change then
None
neatness
requires they should be changed as soon as the slightest
odor can be detected.

to
In any case
it
is
good policy
buy shields by the half dozen pair and so have them

A RESUME
always at hand.
For
medium
sized
woman's ordinary costume, con-
sisting of a
walking length skirt and a basque with
coat sleeves, the following findings will be found necessary

:
If silesia is
used
five
and one-half yards

for the waist
for the
skirt,
one and one-half yards
and one yard

If
for the sleeves, or a total of

silk is
eight yards.
ordinary
used ten yards will be found
sufficient.
For the
of alpaca,
skirt facing
one yard of canvas, with one yard
or one yard of
padding alone,
if
the latter
is
preferred.
Add
to these three long
whalebones, one boltofbraid,
28
to
one bolt of ribbon

for
bind seams, one piece of galloon
whalebone casings, one card of hooks and eyes or

of
one and one-half dozen
medium
sized
button,
two
spools of twist, one of sewing silk and one spool of
basting cotton.
The
of all
to
findings required for jackets and outside wraps
kinds will be fully treated in chapters devoted
such garments.
To conclude and
pay.
false
at the
same time be
findings.
would say do not buy cheap
explicit we They do not

It
is
Do
not use old linings or whalebones.

in
economy. Findings do not show

tell
one sense
of the
word, but they

comfort.
every time in wear and general
YOKES
word
as to
keeping the whole gown

'
in
shape and
doing away with wire yoke such
closet wrinkles.
tailors
"
Buy
wooden
or
as
use for suspending coats,
and
after turning the dress
wrong side out
fasten the
It
waistband and slip the whole over the yoke.

the folds of the drapery, preventing
spreads
them from being
crushed into an unshapely mass, and keeps the founThese dation from stretching down at the seams.
yokes are inexpensive, and
may
be found at any dry-
goods store.
CHAPTER III HOW TO MAKE DRESS SKIRTS

THE MODERN GORED SKIRT THE FOUNDATION SKIRT SKIRT DRAPERIES THE KILT SKIRT THE TRAINED SKIRT REEDS
THE MODERN GORED SKIRT
The
size
and st3de
of skirts vary
with each edict of

styles
fashion.
However,
tliere are
two general
upon
skirt
which the changes are rung, the short walking

and the trained
into the
is
skirt.
Walking
skirts
may be
;
divided
round
full skirt
and the gored
skirt
the former
a gathered
mere matter
of straight seams, a
hem, and
top on a band,
tliat
anyone can make.
But the shapely
gored skirt
is
a different thing.
The modern gored skirt is the work of an artist. Some one has said "the making of one is like singing an old ballad. A novice may sing a grand operatic aria
but
it
takes a genius to sing 'Comin' thro' the Rye,'
and
to
make
a gored skirt.
difficult of
Both are most simpte

construction."
to
in
design but most
There are three things which go

skirt
;
make
perfect
first
an accurate cut, second a neat finish and

29
third a thorough pressing.
30
HOJV TO MAKE DRESS SKIRTS
The walking skirt most used is rather narrow in its proportions. The only skirt less ample was the one
which showed
its
back breadth gored
at
the top to
fit
as close as the present front and side-gores do.

ZÎnches.
7 Inches.
18 Fnches.
<
CD
18 Inches.
THE FOUNDATION SKIRT
Every
skirt should be
It
made with
It is
perfectly fitted
foundation.
erly gored
should be of easy walking length, propusually cut with
and not too wide.

two side-gores
of
one front-gore,
breadth.
and a straight back

size
For a lady
medium
who
will
measure
twenty-four inches around the waist the following are

the correct measurements for each part.
The
front
gore will be fifteen inches wide at the top with a dart
two inches wide allowed
for
on each side of the mid-
HOU^ TO MAKE DRESS SKIRTS

die of the front.
It is forty
31
inches in length in front
but
is
sloped to forty-one inches in length at the sides
and
at the
bottom
is
twenty-two inches wide.
The
side-
gores are each forty-one inches in length at their front

sides and forty-two where they are joined to their back
breadth.
They
are seven inches wide at the top with
two inches allowed for darts and are gracefully curved

to sixteen inches just in
width
at the
bottom.
The back
is
one yard in width
its entire
length, which
is forty-
two at its sides

middle.
sloping to forty-four inches in the
When
quarter-inch-wide
seams
are
taken,
inches,
the back has
all its
fulness gathered
into five
which
is
the correct proportion.

it
For home dressmakers
is
much
the best plan to
use a good pattern for this skirt, as no rule given in

figures can explain the graceful curves
which each gore

skirt that
should show to give the best

ill
effect.
hangs
is
always dowdy
looking.
No
matter
how
elabor-
ately draped or trimmed, a badly shaped foundation

skirt ruins all.
The
materials used for the foundation skirt vary with
the fabrics
employed
for drapery.
We
will for
examshould
ple suppose
we
require one for a dress of

silk.
cashmere,
serge, cloth or
In which case the
skirt
be of lining silk the same color or a shade harmonizing with

it.
However, good
silk linings
(poor ones are

there
are
an abomination) are expensive, and

materials
other
which make admirable
linings.
By some
sateen and silesia are preferred and the latter cannot be
32
HOW
TO MAKE DRESS SKIRTS

in the matter of weight.
too highly
It is
it is
recommended except
always heavier than any other skirt lining,

not too weighty.
Yet
French cambric
is
also an excel-
lent material for skirts.
Whatever the material chosen, cut the
front and back
breadths on a lengthwise fold of the goods and the sidegores with their front edges on straight edges of
it,
The seams
of
this foundation
skirt
are
of
course
sewed up separately from the outside or draped portions.
They may be sewed
so that the
smooth sides
of the
seams are on the underside
of the skirt
and their rough
edges next the draperies. The facings in that case should

all
be cut to
fit
the skirt after

it
its
seams are
closed.
For heavy
skirts
is
better to slash the front-gore

its
is
for four inches at least
on
lower edge to give greater

a great saving to shoes,
is
freedom in walking.
This
whose leather over the instep
otherwise
intact.
often
worn
through while the other parts are

is
tight braid
very wearing in that respect.
The foundation
the drapery.
skirt with its
of
most
skirts
is
faced on the upper
side under the draperies, four inches with material of
This facing
is laid
on each portion of the
upper edge turned under and stitched down
on the lining, before the skirt seams are sewed.

to
Begin
sew each seam (and there
will be four in all) at the

fall at
top, allowing all
unevenness to
the bottom.
If
Be
careful not to
stretch any bias
edges.
you are an
entire novice
it is
the best plan to both pin and baste the

It will
seams before stitching them.
often save hours
I/Of!^
of
TO
MAKE DRESS
When
flat,
SKIRTS
33
worry and ripping.

each one down
the seams are stitched,
press
turning them alwa3S toward

better than laying the
the back, this
method
is
seams
open.
In either case the edges should be overcast or
top-sewed, and thoroughly pressed, with a
warm
iron.
Then
front
lay the skirt folded
down
the middle at the
and back portions so that the corresponding

a table.
seams are together, on

the top, and then pare
Let them be even

at the
at
off
any unevenness
is
bottom.
The
matter of inside facing
a very important
is
one
and also one upon which there
almost
as
diversity of opinion as there are dressmakers.

ever,
much Howis
when we
resolve
it
the question
down
is
to
what
really required,
is a simple thing to
decide
how
to
face
your walking
skirts.
facing
required to
a facing
is
neatly finish the bottom
of
a skirt, and
required to obviate any luipleasant clinging about the
limbs when walking.

requirements
is
What
will
best
cover
both
what we want.
that
this
is,
Some dressmakers contend

alpaca.
first
a five-
inch piece of crinoline or canvas and tlien a piece of
Another will demand a hem lined

hair
cloth, still
for twelve
inches with horse
another demands
In most things the
canvas or buckram in like width.

simplest
way
is
the
best way, and
we
believe
it
is
especially true in putting on a skirt facing.
Much
is
practice and experience convince us that skirt

is
padding used alone

the cheapest.
the best thing and

localities
it
certainly
is
In
some
this
material
34
HO]V TO MAKE DRESS SKIRTS

But
it is
called by other names.

ric
It
moderate weight fabflannel
glazed on one side and likecanton
on the other.
possesses sufficient stiffness but at the same time

pliable
it is
and does not render even the lightest

It is also
is
skirt
ungraceful.
a fabric
which sheds the dust,

off
and when
cloth.
tion:
it
it
required
its
may be wiped
is
with a
damp
Again,
durability
great
recommendaafter the
will last as long as
any
skirt.
The
neatest
manner
of putting
on a facing
is,
lower edge of the skirt has been properly pared, tocut the
facing eight inches deep and to
fit
it
exactly.
Then
should
it
seam the
skirt
and facing's lower edges together on the
inside and turn.
The upper edge

Then
it
of the facing
be cut in fine notches and just below them stitch
down on
the skirt lining.
finish
the
smooth
edge with the customary braid.
Always use the best

in water
braid,
receives the hardest

It
usage of any portion of the
skirt.
should be dipped
it
and allowed
to
thoroughly dry before
is
stitched on the skirt.
Otherwise, even the "warranted
not to shrink" braid will draw up on the skirt foundation.
The above
tom
tern and the
directions are ample for finishing the bot-
of a skirt
when you have

is
it
cut over a perfect pata skirt design

its
is
padding
used.
When
used that has not the proper spring given

resources must be called upon.
gores, other
Every woman knows
how
foot
disagreeable
is
it is
to walk,
when
at
every step the

is
pulled back by the
skirt.
This
obviated by
HOll' TO
MAKE DRESS SK/RTS

the
foot
35
twice slashing for four inches
of the skirt's
front-gore and covering the slashes with pleating.
Some
are not
silk.
dainty imported dresses for wear in the house
bound with
braid, but are simply faced
with
is
Attached to this facing inside the skirt

frill
pinked
of silk instead of thelace balayeuse
some-
times formerly employed.
To
are
to.
protect the extreme lower edges of skirts which
of
extra length,
At the
many expedients shops many new"protectors"
are
resorted
are found and
at
once recall those used for a similar purpose some years
ago.
The new
ones, of course, have the advantage of all
the improvements of progression.
Several kinds are of
buckram, which
is
widely bound with rubber cloth and
either pleated to a binding
which curves the protector
to
the shape of the train, or
is
sewed
to a jôke-like piece
shaped
like the
bottom
of the skirt at the back.
These
protectors extend across the sweep of the skirt only.
Others, however, are in the nature of a facing.

ing material
is
The
and
is
fac-
a strip of blacksilesia orserge,
long
enough
For a
at the
to pass
completely round the skirt foundation. extend around the sweep

again
faced with a stirp of
sufficient distance to
back this facing
is
rubber cloth securely stitched on, and as this comes

next the surface on which one
the edges of the skirt
is
walking,
it
prevents
and
its
foundation
becoming
worn, soiled or damp.
braid
is
it
.also supplied
for a
which has
portion of
a rubber strip
its
Stitched to
sufficient
length to
36
JJOIF
TO MAKE DRESS SKIJRTS

;
protect the sweep of the skirt
and folded rubber
strips,
which look like pipings, are made to extend entirely

round the skirt and are very satisfactory
ity of protector.
in the
capac-
Most
of these protectors
may be found
in gray,
brown and
black.
When
the
the lower edge of

skirt
is
foundation
it
completed,
should also
be finished at the top before

its
draperies are ad
justed.
A placket-opening
at
must be provided either

the back
or
at
one
side.
This
is
done by making an
in a
opening either
seam or
from the
by cutting the material the

depth
top.
of ten inches
Face the upper or

side
INSIDE OF FINISHED SKIRT
Overlapping
with a
two-inch-widestrip of the material of the draperies.
Then
sew
in a
seam
to the
let
opposite side a double flap of the

it
same material and

tacking
it
extend under the faced side,
fast at its
lower end to the opposite facing.
pocket should then be put in along the second

It
right-side seam.
may be made
of either silk or siiesia
and must be faced with the material of the dress each

side of its opening.
When
skirt
these preliminaries are completed the entire

skirt
must be most thoroughly pressed on the long
board with a hot iron.
HOW
hips of
matter.
a
TO MAKE DRESS SKIRTS

of the foundation
skirt,
37
the
The adjustment
small
about
a
woman
is
comparatively
the
simple
The
darts in the front and in
side-gores
is
are stitched and

gathers.
the fulness at
the
back
held in
The band
of
of the required size ma)'

First, the
be added in one
two ways.
edge
of
the
band may be
skirt,
basted on the under or wrong side of the
tacking
the middle of the band to the middle of the front and the tops of the seams on either side at corresponding distances on the band.
yourself that
it
Then
tr}'
on the
skirt,
and
satisfy
hangs perfectly even and easy.
The
re-
mainder of the work will be done on the machine,
which
is
difficult
to
rip,
consequently
all
changes
should be made now.
When
satisfied, stitch the
band
and the upper edge of the
skirt
together.
over the band with the seam inside and stitch
Then turn it down

all
on the
skirt.
is
This process does away with

a very neat finish.
hand
sewing and
The second manner

with a band,
size.
of finishing the top of the
skirt
is to first
(A piece
of
make the band of belting may be used.) Then

band
the required
Then
turn
under the edge of the skirt a quarter of an inch, securing

it
with a running stitch.
tack the middle of

in their respective
the front and the seams to the
positions and lay the fulness of the back in pleats or

gathers.
After which fell the band to the skirt edge by
hand with a strong thread.
38
HOW
TO
MAKE DRESS SKIRTS

To sew
the
belt,
the gathered portion to

see
illustration.
The
with a
portions sewed to the belt,

close
over-casting stitch, are the

of
stitches
the
gathering
them-
selves, the intervals

Sewing Skirt Gathers
between them
Supplying the deep pleatS which
are secured
in
place
inch
a
by
row
the
of
strong
of
stitches
about one-half
below
line
gathering.
When
there
is
great deal of material to gather into
a small compass, the
gathering stitch has to be disthe the

stitches being too
carded, the intervals between
wide
to
sew
across.
Then
material
is
evenly
in
pleated up and sewed as pleated to the belt,

the uncompleted portion. ering over real pleats
upright,
is
shown
The advantage
of this gath-
that the gathered pleats are

freely,
and the material below hangs

are
while
pleats
sewed
flatly into
the belt and confine the
material more.
For stouter women a

bodice worn over
it,
skirt
it is
band mars the

a good
fit
of the
and
practice to face
the entire top of the skirt, gathering the fulness of the
back on tapes and so use no band
at all.
SKIRT DRAPERIES
Before the draperies are added, the best skirts are

given a pleating of the dress material.
This pleating
should be five or six inches wide and should be stitched

fast to the
upper side
of the
foundation
skirt.
HOW TO MAKE
The
ities
It
DRESS SKIRTS
39
draperies of skirts are so varied and often so
complex, according as fashion dictates, only generalcan be considered in this work.

requires great skill to cut skirt draperies without a
pattern.
it.
To do
Only experienced dressmakers should attempt so generally results in much worry and a
waste of material.
ies
When
cut in
it
is
attempted, the draper-
should be
first
soft
paper or some cheap
cloth,
and
this
used as a guide in cutting the more
expensive dress fabric.
When
the
draperies are cut, stitch
all
the breadths
together and press the seams.
Then
turn up the lower
edge in a medium sized hem.

silk
For bordered materials,

best to secure this
cloths
and cotton
fabrics,
it
is
hem
with a fine
blind
stitching, but
and
suitings
may
often be enhanced by
is
machine stitching the hem.

in quality
it Is
Unless the material

best to stiffen this
heavy and firm
hem
with crinoline before stitching.
The edge
of draperies are of-
ten best finished by a false
hem
of the foundation material, (C)
about six inches wide, (B) after
having overcast an interlining

muslin (A) to the lower edge of
the skirt.
finished
The
as
false
hem
being
illustrated, place
A FALSE
HEM
^raid at the lower edge, not in
the ordinary binding style, doubled in half and conceal-
40
HOJV TO MAKE DRESS SKIRTS
ing the whole edge, but sewed inside the skirt and left
quite
fiat.
For cloths and other heavy woolens the
tailor
hem
makes the neatest
finish.
The
of the
stitches of the tailor
hem
are invisible from the

to
right side.
Thin paste
is
employed
make
the halves
hem adhere
which
together, and to facilitate flattening
in with the iron.
Three inches from the edge tack a

is to
straight line
be the edge of the

at hand.
skirt.
Have
the paste and a
hot
iron
Apply the paste
inside with a brvish, not too thickly, where the

to
hem
is
bend over, on the three inches below the tacking.

paste, turn over the
As you
iron
safety,
hem
at the
tacking, and
for greater
it flat
and smooth.
Tack down the hem

it
and then hem
invisibly, passing the needle
only half through the cloth, so that no vestige of the

stitch appears
on the right side.
Now
remove the tackin spite of the

fiat,
ing and iron a second time.
Your hem
thickness of
beautifully
the
cloth, should
be perfectly
and
the
smooth and even.
Sew with
silk
silk
of
cloth color, not cotton.
The
must be strong and
of excellent quality, as the constant in
damping necessary
silk,
tailoring injures the color of
cheap
which
is
also not strong
enough
tunic
to
is
hem and
is
stitch thick cloth.
When a skirt or
edged with one or more rows

not necessary, although
of stitching, the tailor
hem
the pasting and ironing are advisable before the

is
hem
put under the machine to be stitched.
When
this
hem has been
carefully pressed, turn
no IF TO MAKE DRESS SKIRTS

under half an inch
at the top of the draperies
41
and
fell
them into place on the foundation

Cover this edge with a
fiat
skirt, at the waist.
galloon or braid.
It is as
Now comes
venience
;
into use the skirt stand.

it is
neces-
sary as the sewing machine;

it
a comfort and a conresults
facilitates the
work and much better
can be produced by arranging the draperies and sewing them into place while the foundation skirt
stand.
at
is
on the
Draping
is
too changeable in style to be treated
length here.
It is
ornamental and must be an expres-
sion of the existing fashion
and the
taste of the wearer.
To
finish the skirt,
along the
belt,
tack on two braid
loops by which to hang up the skirt.
Use two hooks
and eyes to close the waistband and add two large

hooks
to
correspond with two large eyes placed on the
bodice at the waist-line to join the two.
THE KILT SKIRT
The
It is
kilt skirt is
but a variety of
is
the draped skirt.

the gored skirt.
it.
made with
a foundation as
The The
if
same proportions prevail as are mentioned for

strictly followed.
kilted or pleated portion, is not difficult to adjust
two simple rules are

first,
These rules
are
its
the outer edge of each pleat must be folded

tlie
entire length along the straight thread of
cloth
second, each pleat must be laid to hang in a straight

line
from the waist

first
to the
bottom
of the skirt.
many women would declare this to be impossible but it is not. The easiest way to accomplish these results is to make the foundation skirt as
At
glance
42
I/OJy
TO
MAKE DRESS
SKIRTS
it
directed in the preceeding pages.
Finish
complete
with an upper facing of the dress material and the usual

under-facing,
braid
and waistband.
Then put
it
on
the skirt stand.

kilted
Prepare the straight breadths to be
by sewing and pressing the seams, joining the
breadths and finishing the lower edge with a hem,
machine or blind
stitched.
Enough breadths muSt be

the foundation skirt.
provided to make the portion to be pleated three times

as
wide as the bottom
of
Then
divide the breadths at the

five
hem
into
spaces of about
inches and crease
the
goods the length of the This crease will be the
skirt
each
five
inches apart.
outside fold of the pleat.
These creases may be basted
with a thread their entire length.
Pin
all
the pleats into position round the bottom of
the foundation skirt and
draw the creased edge

it is
of
each
up
to the waist-line, so
in straight line
and the
extra width will arrange itself into an easy graceful pleat
underneath.
skirt baste
When
it
this has
been done
all
around the
the kilted
of
the pleats securely and remove
drapery.
Press
on the under side.
Then take tape
medium width and
tack one length to the under crease
of the pleats about nine inches
below the waist-line
and another about eighteen inches above the bottom.
The pressing and tapes

tion
it
will hold the pleats in

it
posi-
permanently.
When
has been done, again put

fell
on the skirt stand over the foundation skirt and
it
on to the
Tf
latter, at the waist-line.
any ornamentation of stitching, braid or embroid-
HOW
ery
is
TO
MAKE DRESS SKIRTS

it
43
given the
skirt,
must be done before the

foundation
to
pleats are laid.
For some
kilt skirts the
skirt is
omitted
but they can not
be made
wear
satisfactorily or to
look so well even in the beginning.

braid tacked on
portion, so
flat to
An
ordinary skirt
the
the under-side
of
pleated
that its
edge extends only just below the

edge of that hem.
hem
will protect the
TRAINED SKIRTS
A
an
pattern must
be provided
it
when
trained skirt
is
is
to be
made and when

It
has
been
cut, the
making
art in itself.
must be lined with
material to
correspond with the fabric employed for the trained

skirt.
That
is
with silk of a contrasting or harmonfinish of
izing color.
Nothing but the neatest
the
it
under-side of a trained skirt will be satisfactory, as

is liable to
become
visible at any
of
is
moment.
or
For
trains
made
heav}' silk
woolen materials,
for soft silks, soft
it
no extra stiffening
crinoline
required, but
may be used
as an interlining to give
it
the
requisite body.
However,
should be used with the

is
greatest discrimination, as the soft train

taste
in the best
and an undesirable stringiness
is
all
we wish
to
to
avoid.
Tapes must be adjusted on the under-side

front
to hold the fulness of tlie
draw the
and sides back into their proper places, as well as

back
together.
Our
illus-
tation on
page 36 shows
this finish.
44
HO IV TO MAKE DRESS SKIRTS

THE BALAYEUSE
balayeiise is a flounce
The
sewed under the edge

It
is
of the
skirt, instead of
itself, or to
above
it.
can be sewed to the skirt

then sewed to the
skirt.
band which
little
time ago the
white
halayeiise
was uniindoors,
versally
worn
but of late this has been
superseded by the
flounce of taffeta or any
soft
silk,
cut
on
the
straight or the cross,
and on
TO MAKE THE BALAYEUSE

to the
pleated
or gathered
hem.
Dressmakers should learn

it is
how
to set a
balayeusc well, as
never entirely put aside, and has
lengthened periods of great popularity.
REEDS
Extenders, or bustles
pleasure.
flat in
come and go
at
Fashion's
are
There are ladies, however, who

it is
very
the back below the waist-line and
an improvethe
ment for them to always use one

skirt
reed or steel in
about ten inches below the waist-line.
casing
must then be run as indicated by A, B, (See illustration
page
30, )
through which the reed
is
passed. At
its
ends on either side a
tape must be fastened and when
tied the reed is distended
and the back drawn together.
Trained skirts seldom require this reed.
There are a few most important points
it
seems well
HOW
to recall
in the
I
TO
MAKE DRESS SKIRTS

order to
fix
45
more
briefly, in
them more firmly
mind.
that
St,
you should pin or tack together the breadths
of the skirt, at the top, before
you begin, that you may
not chance to put in more gores on one side than the

other
(if
there are gores), or find that the back-breadth
comes
to
one
side.
2d, that
you should, while thus arranging the breadths,

is
look very carefully that no one

out,
if
turned wrong
ide
there are two sides
or, if
figured, with the pat-
tern upside
down,
3d, that, as the
uppermost edge takes up the most,

over your finger, and as the cut edge
as your
work
lies
stretches
more than the selvage, you should, pin from

begin
to
top
to
bottom, before you
join
them, the
is
breadth on which you are employed.

sure
This
the only
way
of
avoiding puckering.
4th,
that
you should, as often as possible, begin your

top, that,
if
run
at the
off at
there
it
is
any
is of
left
over,
it
may
go
the bottom, where
the least
conse-
quence.
You can do
at the
this in every case
but
when you
have
to
join a cut edge and a selvage, and then you
must begin
uppermost.
5th,
bottom, in order to have the selvage
that
you must remem.ber that gored

turning in of the
the
skirts
hang
lower at the bottom of the gores than either before or

behind, and that the
be, therefore, laid
skirt.
first
hem should
of
rather deeper at
sides
the
46
MO IV TO MAKE
may wear
DÊ.^S SKIRTS
6th, that
you should make your fastenings so good

out before they give way.
that the dress
This
is
particularly important with regard to the pocket-
holes and the placket opening, which should be well
secured by stitching, or a bar at the turn.

trying to a lady to find her skirt
first slit
It is
very
the
down behind,
time she slips her gown
over her head, or
her
pocket-hole give wa}' before she has put her hand into
it
half a
dozen times.
CHAPTER
IV
HOW
ING
TO MAKE A BASQUE
THF,
AN ORDINARY BASQUE
PATTERN
FITTING
FIRST STEP IN MAK-
BASTING
THE LINING
THE LINING FIT-
TING THE BASQUE

STITCHING SEAMS
CUTTING OUT STRIPES
AND PLAIDS
FINISHING SEAMS PRESSING SEAMS
FINISHING CLOSING EDGES.
AN ORDINARY BASQUE
The
best advice to
is
be
offered a beginner in dress-
making
to practice
fit.
on round waists.
Thej' are not

of darts
so difficult to
The proper adjustment

cutting and fitting of
and
seams extending only

ing.
to the waist-line, is not perplexits collar
The proper
and
sleeves need not drive her to desperation.

in this
to
However,
instance time and space will

as the hints
not be devoted
them alone
on basques properly include
round waists.
THE PATTERN
Few
ladies have the time

of dress
or
inclination
to learn a
good system
cutting, consequently they

of greater or
must
depend usually upon patterns

47
less excel-
48
ence.
HO]V TO MAKE A BASQUE

A
very good pattern ma}' be secured by going to a
first-class
dressmaker and having a basque

fit.
cut, insisting
upon
a perfect
This may cost

it
$5, but the pattern
you may cut from

and
will cost only a little care.

of teachers of
Again there are plenty

will cut
fit
systems who
after
a lining
which will ever
serve
as a pattern.
However, there are many sewers who

These are cut
possess them.
can not afford to pursue this course and for them there
are
the tissue paper patterns.
to
fit
perfect forms and but few
women
The
3'ard,
same
used.
difficulty
appears when marked waist linings are
These linings may be purchased by the

is
on which
traced the entire waist and
it
can soon be
cut out and basted together and alterations

If
made
fit
in
it.
the latter are numerous,
when
it
a perfect
has been
obtained, cut a pattern from a
for
future
use and cut
new
lining.
THE FIRST STEP
IN
MAKING
is to
The
lining
first
step in
making
basque
lay out the
smooth on the
cutter
table.
On
this lay the pattern.
An economical
will lay
out the entire pattern
before cutting one piece.
In laying on the pattern the
grain of the cloth must be carefully considered.

perfect
fit
The
of
the
basque,
sleeve,
or collar
depends
greatly
pattern.
upon the weave being

Never attempt
fit
just as indicated by the
to
economize by twisting the
pattern into spaces to
the piece of lining.
How
TO
MAKE A BASQUE
49
HOW TO LAY ON
A BASQUE PATTERN
50
HOW
The preceding
TO
MAKE A BASQUE
manner
of
illustration gives the best
laying a basque pattern on the cloth, forty inches wide.
Pin each piece securely in position as soon as they are

all
arranged.
perfectl}'
Then with
the sharp shears cut them out
with
smooth edges.
Mark with
a pencil
any
perforations or notches in the pattern.
When
is to
this
lining has been cut
out, the
next step
carefully baste the pieces
together, as the mate-
rial of
the dress proper should not be cut until the lining

fitted.
has been carefully and perfectly
BASTING THE LINING
Basting
is
the foundation of good dressmaking.
Its
importance can not be too highly appreciated.

ably only one dressmaker in
properly.
ten can
Prob-
baste a basque
The
first
rule
is,
do not be afraid of stitches.
Run
first.
a basting thread along the waist-line of each piece,
In joining the different parts of the basque
which there are generally eight

the waist-line.
of always begin to baste at
This will prevent the the basque from

First join the sidebody to the back.
being lop-sided.
Begin
at the waist-line
and sew down and again sew

careful
in
from the waist up.
Be very
its
handling the
sidebody not to stretch
edges.
Join the under-arm
gore to the front by beginning again at the waist-line
and basting
first
down and then
up.
Join the sidein the
body and under-arm gore, proceeding

ner.
same man-
The
curves of the darts in the front of a basque in
HOW
TO
MAKE A BASQUE
all,
51
a
themselves show the
artist, therefore,
when you have make
pattern 3'ou will use at

indicating the darts.
adhere
is
closel}' to the lines
If it
necessary to
alter-
ations to secure a perfect
never change the darts.
the waist-line
fit make them in some seam, The darts should be joined at and basted down and then up as are the
seams.
Join the backs together
close the shoulder seams.
tight
in the
same manner and then

all
Fasten
basting threads
if
enough
to
stand
fitting.
Before fitting
the
lining does not
seem entirely
firm run a basting thread
along the edges of the neck and armseyes.

FITTING THE LINING
Now
you are ready
for the
fitting.
upon the manner
of underclothes worn.
Much depends Some women
wear such shocking underwear, misfitted corsets and

so
many knots and bunches of gathers, no one could make the modern dress fit over them. Well fitted corsets, a
smooth vest or corset-cover

fit.
will greatly assist
in a perfect
Put on the basted basque with the edges
of the
seams
outside, pinning the fronts together, not over each other.
The novice
She
will
in
fitting
must not grow wearied

off
easily.
probably have to put on and take

or ten times.
of a
the gar-
ment eight
There are several sacred seams

alterations should
basque in which
First
never be
made.
the
darts
should never be touched and second the seams joining
52
HOJV TO MAKE A BASQUE

These
in
the sidebodies to the back.
good pattern
hair's
are given perfect curves and to
change them a
breadth
is fatal
to the gracefulness of the basque.
Some
dressm.akers hold the
same regarding the middle-back

to
seam.
mal,
Unless the form

all alterations
be
fitted is
unusually abnor-
can be made in the under-arm and

of the fronts
shoulder seams.
The curve
is
may
also be
made
to
conform
to the figure's outlines.
When
if
the basque
pinned on,
if
there are wrinkles,
work them out

possible.
is
into the shoulder
and under-arm seams
If
the back wrinkles between the should-
ers, it
too long.
Loosen the shoulder seams and

If it
take up the length there.
wrinkles at the waist

let
loosen part of the under-arm

there.
seam and
them escape
of
Wrinkles also come from an insufficiency
notches.
Have plenty along
the sides of the seams at
the waist-line and cut them as deep as possible with-
out cutting the threads of the stitching.
When
of the
the figure fitted
is
slightly stooped or round
shouldered, which
often occurs, the curves at the top
back pieces must be omitted and the neck there
be cut straight across to prevent the collar drawing

out from the neck.
fronts around the
In such
case the curve of the
arm must
be altered to allow a free-
dom
for the arm.

it
In fitting the lining allow
to
be at least one-half
inch too long at the waist-line.

a
This may be laid in

fitted
pleat while
it
alone
is
being
but
must be
lin-
arranged in fine gathers along the seams when the
HO IV TO MAKE A BASQUE
ing
is laid
53
fine lines
on the dress
fabric, as is
shown by
in the
space between
and B, shown
in the illustra-
tion on page 54.
Alterations should
be made with the utmost care.

in
Very often the shape and style are ruined

them.
making
Remember
is
that in taking in a seam, an-eighth of

if
an inch
frequently sufficient whereas

troubles are produced.
a half inch is
made new
lies
Patience must be
of
used to strike that happy
medium
correction that
between perfectness and utter

the lining has
it,
ruin.
FITTING THE BASQUE
When
Then
half.
been
fitted,
trim
off
even
all
edges of one-half of
rip
before taking out the bastings.
the entire basque apart and cut the second
half to
exactly correspond with

It is
the
fit
first
or
trimmed
exceedingly risky to
and trim either side
independently of the other.
There are very few forms but require some padding

into perfect shape.
bust,
Perhaps
it is
onl}' a little
over the
perhaps a hoUowness under the arms or over the

filled in.
collarbones must be
to give a
Wherever
it is
required
smooth
surface, baste cotton-batting into place

its
on the
is
lining,
with
edges uneven, before the lining
laid
on the outside dress material.
Afterward lay each piece of the lining on the outside with the cotton-batting between.
It will
be found
economical to lay
all
the lining pieces on before bastIn laying the lining
ting or cutting any one portion.
on the outside material attention must be given to the
54
HOW
of
TO
MAKE
A BASQUE
of
grain of the
cloth.
The threads
not done the
the
lengthwise
of
weave
one should correspond exactly with those

If this is
the other.
bodice
is
likely to
twist to one side or the other.
When
tration.
this has
been done, run a thread basting them

illus-
together at the waist, the line marked L. in the
Then ran
a line of
basting from
the top of
each front dart straight to the lower edge of the basque,
holding in the extra length of the lining in
fine gathers.
There are
ric
tricks in basting the lining
SHOWING GATHERS IN LINING and dress

all
fab-
together peculiar to different workers,
agree,
howit
ever, in basting tailor-fashion

is
on the
table,
because
the simplest.
Stitch the dress goods well and baste

lines,
through the dotted

over but not
full
keeping the lining easy
all
any place except between the lines
and B.
wearing.
This easy allowance provides
for the strain in
no IV TO MAKE A BASQUE
To
From
baste the front, run
first
55
line
the basting
down
the middle of the darts, then along the lines
and B.
the line
to the
bottom
of the basque, pin the

it.
lining straight but do not
stretch
In basting the
lines
to the
remainder
of the fronts follow the dotted
hair's width,
ric
making the
lining.
stitch short
on the dress fab-
and long on the
Be
careful in taking
up the
down.
fulness between the lines

It
T and B
It is
not to pleat
it
must be equally divided and taken up more

above the line
as gathers
little
or shirring than as pleats.
usual to have a
more
of this fulness
than below
it.
The
space between
and
should be about three inches.

portions.
The same rules should prevail for the other The material for the sidebodies should not be
as
it is
stretched
partially bias
and
if
pulled, will wrinkle
when
made
up.
all
When
the lining pieces have been basted onto
the outside, carefully cut them
out of the cloth with
even edges.
That done,
baste, using No. 60 cotton.
Baste close
lap.
and baste on the table
never
number
in
your
Many
profess
women, and among

to
that
are those
who
understand the business, baste over their fingers.

result is ruinous, for that
The
makes the upper piece

becomes lopsew anything
shorter than the under and the garment

sided.
To
repeat former advice, don't
over your finger.

In joining the six gores of the basque together,
ber to begin
all
rememsew
the basting at
the waist-line and
56
HOW
TO
MAKE A BASQUE
to the waist-line
down
to the bottom,
to the top.
and then return
and baste
This will prevent the garment

In a basque properly
from being lop-sided.

basting of
all
made
the
seams
will
run just inside or just out-
side the line of stitching.
This avoids the possibility
of catching the basting thread in the stitching and of
breaking the thread used in stitching when the bastings are
drawn
out.
Start
with the front-gore, pin
the darts together at the waist-line and baste
the bottom
then, beginning at the top, baste
down down
to to
the waist-line.
Join the under-arm to the front by pinning the waistlines
together
begin
at this
place and baste

first.
in
the
basting threads, sewing
down
Then commence
again at the waist-line and sew up, stretching the under-
arm a
trifle at
the waist.
Join the sidebody to the back, beginning at the waistline,
sewing down, and again from the waist up.
Be
very careful in handling these gores not to stretch che

edges.
Next join the sidebody and under-arm by pinning

the waist-lines together, keeping the edges even
and
basting the traced line, sewing

the waist up.
to hold for a
down and then from
Fasten the basting stitches strong enough

fitting.
if
Try the basque on and

you are ready
no alteration
if
is is
necessary
and there should be none

fitted,
the
lining
properly
to stitch the seams.
CUTTING OUT PLAIDS AND STRIPES
57
When
rial it
cutting a bodice from striped or plaid mate-
requires a great nicety of adjustment to get the

fit
different parts to
neatly and properly together. There
are several rules
which must be followed exactly or

First the
the bodice will be absolutely unpresentable.

stripes or
plaids
must exactly correspond on either
side of the middle-back

front closing.
seam and on
either side of the
M^
m m
TO CUT PLAID GOODS
They may be
come together
cut on the bias of the goods or
in the
usual straight up and
their lines
this only requires care
down manner, but where they must exactly match. To do and attention. The lining must
58
exactly
it.
be
fitted
and
the
seams distinctly marked
upon
ric
Then
lay each piece of lining

lines
upon the
the
fab-
and see that the
of
one piece of the back

lines
of
exactly
piece,
correspond with
the
opposite
when they
are laid with their right sides
upon
each other.
Our illustration indicates as nearly as we can the manner of laying one-half the lining pieces on a plaid material. The other half must correspond.
In the fitting the lining the exact waist-line should
be indicated by a creased line in each portion.
In layis
ing the portions on the cloth one line of the plaid
followed by this crease.

line just
In this instance
it is
the white
below
B.
its
First lay the back lining on the fabric with

line just
waist
below
B.
Baste
its
it
in
place
all
around.
Then
lay the sidebody with
creased line just below
A B
also, taking care that the top of the
armseye cor-
responds with the part of the

reaches lines
back's
armseye, which
F.
Perhaps
will
at first the curves of the
back and side-back

the
fabric
not
exactly correspond
but
may be
turned and even slightly twisted on to the lining until

they
fit
together exactly.
When
this has
been carefully
is
adjusted, the under-arm piece of the lining
laid
on
the fabric with

line
its
creased waist-line also just below
B.
The
it
line
D
the
must also come
in
the
same
position for
as that line does for the sidebod}-.

fabric so
Place the front on
the
cross
stripes
HOW
TO
MAKE A BASQUE
The
stripe
59
at the
correspond with those of the under-arm piece

waist and armseye lines.
down
the
front
must also be taken

It
into consideration.
looks best of course, to have this stripe curve par-
allel
with the front closing line but with
full
busts
this is impossible.
However,
for
ladies
of
moderate
development the stripe may be curved

without injuring the
fit
sufficiently
of the bodice.
By
following these directions the plaid will match
exactly excepting at the darts, under-arm and shoulder
seams.
In cutting a bodice from striped material the work
is
less
difficult.
Still
great care
in
must be taken
to
have the lines match

the sidebodies
stripes hitting
fit
the middle-back
seam and
the front
into the curved
back seam with the
exactly.
The
stripes
down
closing should be curved as suggested above, in every
possible instance.
twisting effect will
It is
If the .lining is
all
properly fitted the

in
disappear
the dart seams.
best where
it is
possible, to have a stripe to

It
run
only
down between
nearly the
the darts.
is
looks better than
if
one side of the stripe
shown.
By keeping
the darts
same
size, the bias effect often
seen in the
second dart back will be overcome.

STITCHING SEAMS
The seams
will
of the
;
basque must be stitched
in
abso-
lutely straight lines
wavering, irregular machine work

fit.
ruin the otherwise perfect
In stitching the
curved seams joining the side-back and back portions,
6o
HOW
"
TO
and
MAKE A BASQUE
it
always nave the back underneath and the side-back next

the "presser-foot,
is
well to hold the piece well
up
at
each end of the "presser-foot," otherwise the sideis
back
likely to pucker in the sewing.
When
stitching
the shoulder seams, have the front above and the back
beneath
as, if
there
is
any difference, the front should
be stretched on to the back.
Leave the shoulder and under-arm seams

last to
until
the
be stitched.
before.
The front closing should be finished The garment may require a slight loosening or
it is
tightening at these seams before the collar and sleeves

are
added
much
easier to
make such changes

Beside such altera-
before the}' are machine

tions leave
sewed.
marks which can not always be removed,

FINISHING SEAMS
especially from silken fabrics.
Finishing the seams of a basque
is
a matter of time
is
and
taste.
Although the modern dressmaker

embellish
good
enough
busy
to
them with bright ribbons, the

and running the
woman
will find that turning in
edges will make quite as neat a seam, wear just as well,

take less time and answer every purpose.
lial If
the mate-
used
is cloth,
silk or
any other fabric that will not
ravel, the
edges can be notched or pinked, a finish

tailors.
popular with
In
thin
or
wash
fabrics
the
is
French
fell
is
used for most seams.

the
This finish
made by placing
wrong
sides of the parts together
and stitching them
in a
narrow seam.
oft
Then when
the
edges have been pared
even, turn the
parts at the
another seam.
in
6i
seam, so that the right sides are together and make
This leaves
all
the raw edges turned
and firmly sewed.
Another way
of finishing
such fabrics
is
to
make
the
ordinary quarter-inch seam, but at

in a
the same time sew
narrow bias binding-strip

is
of the
goods.
When
binding
the seam
made, pare it down

it,
closely, turn the
strip over
and also turn under the loose edge of

fell it
the strip and
down along
the seaming.
In gar-
ments made
process
is
of partly
embroidered fabrics this binding
used along the seamed embroidered edges,
even where a French

edges
;
because
it is
made along the almost impossible to make

fell
is
plain
a suc-
cessful
French
fell
along an embroidered edge.
PRESSING SEAMS
After the basque
it
is
stitched and the seams finished,

little,
must be pressed, not a
nor in spots, nor with
a cold iron, but all over, with strength and with irons
as hot as can
be used without burning.

goose, the
Tailors are
adepts in the use of the
needle
and the
shears and should be regarded as the

er's
home dressmakyou
(if
models.
If
you follow
their example,
will take
a press cloth of clean muslin,

fabric is
dampen
it,
the dress
woolen) will lay
it
along each seam in turn

perfectly dry.
and press until the cloth
is
Afterward
press the bare seam, running the iron under the edge
to
prevent outlines on the outside.
The shoulder and
dart seams are also treated in this
62
When
fit
manner, the greatest care being taken to retain their

desirable curves.
all is
done the basque should

are used
be tried on and should

smooth.
only to
without a wrinkle, absolutely
The bones which are added later make permanent that smoothness.
FINISHING CLOSING EDGES
The
closing edges of a basque are finished either for

or
for
buttons or hooks and eyes
lacing.
In
each
instance a special finish must be used.
When
the closing of the edges

its
is to
be effected by
buttons, the left side must have
curved edge finished
by a deep
facing.
of
This should be a quarter-inch wider

the button-holes, and
it
than the size
should not
of
be
cut bias but show the same grain
cloth
as
the basque edge.
The
facing should be turned and
basted over evenly and

side.
hemmed down on
the wrong
The
is
right closing edge should
be cut an inch
wider so as to extend under the button-holes when the
basque
closed.
tape stay should be stitched on
the under side along the line for the buttons.
When
left side,
hooks and eyes are employed for closing, both

only the hooks and eyes should be sewed on
edges should be finished as described above for the
so
as to just touch the outer edges
and a neat facing
then sewed on over them, to finish.
Thousands
of
nicely drafted
basques are spoiled
because the fronts are uneven.
They
will
measure the
same, but the hooks and eyes not being opposite, the
HOW
collar is
TO
MAKE A BASQUE
It is
63
made crooked,
unbalanced.
the dress gaps and the whole
waist
is
not an exaggeration to say
that not one

erl}^
woman
in fifty
can button a dress prope3'es

it,
and not one
in twenty can sew hooks and
directly opposite each other.

it is
There
is
no trick about
simply a matter of
correct measurement.
Use a
piece of chalk or a colored pencil and

at regular intervals
is
mark
off
each side
the waist
with an inch measure.

it
If
pinned down so that
will not slip, the spacing can-
not be inaccurate.
These are some
of the little points
in the finishing of a dress that are so
perplexing and
on which so much of the style depends.
An
extra
It
facing of the cloth of the basque must be added.

is
attached to the right side and should be wide enough
to
extend well under the line of closing.
When
for
a cord lacing
e3ês,
is
used the edges are finished as
hooks and
except that eyelets are worked

care
instead.
The same
must be taken
to
have the
eyelets even and opposite.
The
extra facing should be
attached on the right side and extend under the lacing.
CHAPTER V HOW TO MAKE A BASQUE

(Continued)
BONING A BASQUE ISHING EDGES WEIGHTS
SCALE FOR PLACING THE BONES
FIN-
TO
FINISH A TAILOR
GARMENT
LEAD
BONING A BASQUE
The boning
of a bodice is a particular
matter and a
tedious one as well.
Few
dresses are properly boned.
Some good
rules followed,
remedy
is
all
mistakes usually
made, and when the work
properly done the bones
or stays add a great deal to the beautj^ of any bodice.
They
are generally added before the collar and alwa3's
before the sleeves are attached.
A bodice is likely to
the work
be
twisted and handled a good deal in inserting the stays
and that
is
the best reason
why
should
be
done as soon as the seams are otherwise finished and

before
facings, collar or sleeves are added.
in
Covered steels and whalebones

stays in vogue.
casings are the

in
There
is
a great deal of difference
the varieties of each to be purchased.
The
is
best will
be found the cheapest in the end and

64
it
pretty gen-
IfOJF TO
erally
MAKE A BASQUE
65
conceded that the old-fashioned whalebone can

Before using
water for a
not be excelled for either wear or grace.
whalebones they should be soaked

couple of hours.
in hot
This process makes them pliable
and easily cut and pierced.
They
also
need shaping
and this can then be readily done.

will reveal
A moment's thought
reveal
the presence of curves described by the

It will also
lines of the figure.

of putting straight
the absurdity
bones or steels in a garment intendlines.
ed to follow these exquisitely curving
To be
They
sure, being flexible, they will to a certain extent shape
themselves
to
the figure, but not accurately.
must be shaped beforehand.

are a part of the
In other words, the stays
garment and the garment must be
given the
fit
it
must make the

put on.
figure
whether
the
fit
woman
in
is
shapely or shapeless.
it
You should
see the
the basque before
is
Consequently, when the whalebone has been soaked
and cut the right length,

iron, to follow the
it
must be curved with a hot

For some seams when they
seam.
run on bias lines,
it is
not always possible to get the nice
curve with wide bones and they must be whittled down.
This should not be done with a knife or shears, they are

likely to split the
bone which
if
good
is
very fibrous
but a piece of ordinary glass should be used and with

its
sharp edges the bone can be neatly shaved into
shape very rapidly.
There should also be bored or

bone
in three or four
punched holes
5
in the
places to
66
HOW
TO
at
MAKE A BASQUE
each
sew through, those

ant.
end being most import-
When When
inserted.
steels are
used they always come covered and
are easily bent into the proper curves.
bones or bare steels are used,
it
is
necessary
to stitch along each
seam casings
is
in
which they can be

Galloons
Whatever
fulled
for
used for these casings they

in gathers.
must be
on almost
may be
purchased
these casings, which answer every pur-
pose, and are neat in
appearance
however,
hemmed
muslin or silk like the lining used, makes very good

casings.
Full them on by hand, stitching them close
on each side over the seam.
The
casings full and the

of
bones tight will straighten the seams

defy wrinkles at the waist.
any bodice and
In sewing bias strips of
lining to the seams for casings several
methods may be
Cut
are
employed, one or two of the best being here given.

the strips just wide enough so that-
when they
far
sewed on they
will
tightly hold
the bones or stays.
One plan make the

it
is
to
turn under the edges
enough
to
casing of the desired width, and then crease

latter
through the center so that the

to follow the
may
easily be
made
seam
then
fell
or neatly run
the
sides of the casings to

catch-stitch
position, or, with fancy silk,
them
in place.
The
latter
method produces
a very neat effect.
Or, after the casing has been folded

it
and creased, run

turn
it
along the crease at one side, and
over the seam
and
fell it
down on
the other
side, taking care to
keep the center over the seam.
Where
putting
galloon
it
67
a casing
is
bias there will be no necessity for

as in the straight casings
it
on very
full,
when
is
used because
will give with the
seam and
for that reason will neither
bind nor draw
it.
SCALE FOR PLACING BONES
Here
is
scale for
the
correct
is
placing of bones.
In
the
The one up
the back
seam
not necessarj*.
a half
;
side seams let the bone run
up four and
inches
above the waist-line and two inches below
the bones
under the arm must not come nearer than two inches of
the sleeve.
In the darts have the bone end one inch
below the casing.

basque and tack
it
Run
the bone to the bottom of the

at five different
by sewing through
places above the waist-line and two places below.
Of
these seven sewings have two one-half an inch on either

side of the belt. At the top of the casings tack the bone in
place, half
an inch or so below, so as
to
prevent
it
breaking or pushing through.

will be
it is
If properly soaked there
no difhculty
in
sewing though the bone, and
this
sewing that will support the figure and sus-
tain the shape of the bodice.

If
hooks and eyes are used, bone both front closings.

a
Run
it
stitching
along the edges the
width of the
linings,
bone and insert the bone between the

as high
as
having
to
the darts and extending
down
the
bottom
oi the facing.
As before
stated,
if
properl}^ cut
any waist will
fit
if
abundantly and tightly boned.
The bone must be
68
to
whole
afford
the pliability desired and
must
be
securely fastened by strong sewing.
There is a use to which steel stays are rarely put, but one which deserves general adoption
or evening waists having no front and, also those
in finishing
low-necked
of the
seam
at the center
whose upper edges do not closely

of the wearer
at
enough follow the

of the top.
figure
is
the center
The waist
boned
sta3's
in the usual
manner,
except that no bones or
are added to the front
darts, as their addition is liable to

effect
produce a bulging
where the other stays

is
join.
these darts
held smoothly to the figure by this

steel stays.
at the
The waist between new

enough
to
arrangement of
Two
stays, long
extend from the point

to
lower edge of the front

to the
little
more than half-way
tops of the
at
darts,
have their adjacent edges fastened together
the point, and are spread so that they will extend to

the dart and are felled to position on the lining after the latter
is
well stretched
under them.
Two
other
stays are joined to the upper ends of the lower stays
and are felled
to the waist-lining
and reach the top
of
the waist about an inch from the center at each side,
where they are firmly secured
to
short stay extend-
ing along the top of the waist over the space between
the front darts.
The top
of
the waist
is
turned
over this short stay, from which the covering
down may be
removed, and an extra facing
is
added
to
give a neat
and firm
finish.
It will
be at once understood that a
waist thus fortified will present a close, smooth effect
HOW
and
of
at the
TO
MAKE A BASQUE
for the
tlie
69
same time secure
wearer that peace
mind which comes with
consciousness that her
waist will
follow the outlines of her figure as closely
when she is seated as when she is standing. Whalebone may be used for the diamond-shaped arrangement
of the stays in
at the
place of steel, but for the

is
cross-piece
top a steel stay
decidedly preferable, though

if
whalebone will serve the purpose fairly well

after being
bent
heated in water.
MODE OF FASTENING
IN A
WHALEBONE
of
Our
illustation
shows two modes

is
fastening
in
whalebones.
ence for stays.
The fan-shaped mode
used in preferpiece of whaleto-
hole
is
bored
in
bone with a strong bodkin, previously
slipping
it
in
and the stitches are put in so as to form a fan both on

the right and on the
wrong
also
side.
The cotton
or silk
used must be thick and of excellent quality.
The other mode

on the right side as
is
used.
not bored, and the stitches take
The whalebone is just as much material

firmness, but no
will insure their

little
more, for they must be as

long sitches being
all
seen as possible, the

side.
on the wrong
70
HOW
The lower edge
TO
MAKE
A BASQUE
FINISHING EDGES
of a
basque should always be given

It is
a silk
facing, cut bias.

silk,
absolutely necessary to
provide
no matter what the material of the garto line its
ment, for facing the bottom of a basque and

collar.
Any
other goods will produce a clumsy finish.
INSIDE OF A FINISHED BASQUE
When all seams have been sewed,

of the basque,
if it is
pressed and finished
and the closing edges also completed, the lower edges

a plain one, should be turned
HOW
is to
TO MAKE A BASQUE
If a
is
71
over and neatly basted.
simple machine stitching

often found desirable, that
be given this edge, as
should be done and then attach the facing by hand.
Cut the silken the bias and hem

it
it
on the bottom holding

its
easy.
Gather in the fulness of

it
lower edge rather

rather
than pleat
down.
than loose as the strain otherwise
The sewing should be firm may break it.

In
But the facing
of the
bottom varies in depth with

deeper round
the length of the basque's skirt.
basques the facing should be cut wide enough to reach

the belt, that
is five
inches wide perhaps.
The
in
habit
front
basque, which
is
short on the hips, pointed

tails, calls for
and finished with
a special facing, nar-
row
all
around, with the tails faced to the waist.

it
Cut
the lining on the bias and don't pleat

If
in any place.
to
5ôu
hold
it
properly
it
will
adjust itself
the
as
its
edge of the basque.
Silk also for these while not

is
durable as farmer's satin,

softness.
preferable on account of
The
sleeves and collar of a basque are treated of
at
length in the next chapter, so
we
will
only add
here
that the neck and armseye edges should always be fin-
ished by a narrow bias facing or a

preferred.
ribbon binding
as
TO FINISH A TAILOR GARMENT

It is
when we come
rises
to the finishing of basques that
tailoring
to
such pre-eminence over
ordinary
dressmaking methods.
Every means
is
followed to
72
JIOIV
TO
MAKE A BASQUE
will
overcome wrinkles, which
appear in the most per-
fectly fitted dressmaker's garments.
When
the seams have been stitched, before touchis is
ing the lining, which
tacked to each piece well away

a great deal to be done.
from the seams, there
The
seams must be notched where they describe an inward

curve, for each
seam must be ironed open and

perfectly
flat.
They must be pressed very smooth and notched

into
well
the seam until they will

is
la}^
flat.
As
cloth
very stubborn, a very hot and heavy iron must

it.
be banged on the cloth, not merely passed over

facilitate flattening, the cloth
To
may be smeared
before
ironing with a piece of dry soap, on the parts where

the notched edges of the seams fold back on the inside
of
the
bodice.
With
thick very stubborn

tailors
cloth
the
soap
is not sufficient
and then
use thin paste
of flour
and water, which they lightly apply with a small
brush in minute quantities as described for the soap.
With
the paste the seam flattens perfectl}-.
You
will
probably crease the lining in

as each
ironing the seams
but
seam
is
pressed, iron afterward the two pieces
of lining into place smoothly over each other.
When
the bodice
is
ironed and boned, turn in the edge of the

of
upper portions
lining, tack
each neatly and easily

together, taking care
to
on the under part, and

to
hem them
and not
all
sew the lining
only,
interfere with the
cloth in any way.

iron
When
make
the
hems
are complete
them
flat,
putting a cloth over each seam, so that

the lining shiny and unsightly.
the iron does not
Before boning and hemming your seams
advisable to finish the fronts of the basqiie.
it
73
would be
direcof
Our
more
tions are for a double-breasted corsage, with a
row
buttons up each side, because

It
it
requires
the
finish.
hooks down the centre

buttons
the
of
front,
left.
and then
the right front
over on
of
the
There
is
seam
down
center
fit
the
double-breast
or
plastron to render the
perfect,
and the space between

to-
the two rows of buttons
must be lined with packing

as a board.
is
make
fit
it
as
smooth and
stiff
Hence
in
it
must
perfectly.
The packing
kept
place
by the
left,
buttons on the right, and the button holes on the
and
its
two portions are tacked firmly down the center

plastron.
over the seam of the
Down
this
line
the
hooks are used.
The basque must be

It will
lined with packing, from
one
inch of the lower edge to an inch above the waist-line.
have to be done
is
in small
pieces because no
crease
permissible as the packing follows and accen-
tuates the curvings of the basque, and the pieces
must be
securely sewed together
packing tacked upon

ing,
it.
when the whole basque has the You must leave an inch f orturninside over the packing, notch-
along the edge of the basque and up the edge of
the plastron.
Turn
this
ing the edge of the turned-in
portion where
this
of
it
shows
any tendency to
stitch
it
pull.
Tack
edge smoothly, and
down with two rows
machine
stitching.
This will make the

firm
basque and plastron
beautifully
and smooth.
74
HOW
Now
you have
TO
MAKE
A BASQUE
and basque with
silk
to line plastron
tack pieces of silk in place, very smoothly, and

a tiny round hole above
make
tooth
each hook, so that

cut
flush
to
its
can emerge.
The edge must be

nearest
with the
it
machine
closely
stitch
the
edge, on
silk.
which
is
and neatly hemmed with
The
lining of the
plastron must be in two pieces, that of the basque at

least in four, as
it
would be endless trouble

;
to cut the
left
exact shape in cloth on the cross
and the edges,
raw but
neatl}' cut,
must be hemmed over each
other.
INSIDE OF FINISHED TAILOR-MADE BASQUE
When
the cloth
is
adjusted and seamed,
the bones
must be inserted, the tapes being sewed to the inside

of the seams.
Except the bone
in the
middle of the back,
MOJV TO MAKE A BASQUE

all
75
bones cease
at the waist-line,
and the upper end cased
in tape is left free
from the seam for about an inch to
avoid indicating from outside the exact spot where the
bone ceases.
The boning done, hem over your
lining
and hem the lower edge over the cloth basque just above the waist-line so that the belt when sewed carefully inside
above each bone, conceals where the lining
of the corsage
and the cloth lining

neatly
of the
basque meet.
The
lining
is
hemmed
over the plastron lining.
Press the finished basque with a very hot iron, covering the inside with a cloth as above described.
is
This
will
a delicate operation, for
if
you crease them you
have to replace the packing and do your work over Now sew on the buttons and make the buttonagain.
holes,
which
last is not
easy to do well through the two
thicknesses of
cloth and packing.
The
sleeves are lined like the corsage, independently
of the cloth,
and when the sleeves are sewed

is
in,
the
upper edge of the lining
neatly
hemmed
are
over the
in.
;
seams before the
dress preservers
put
The
parements are simulated by rows of stitching they button up at the elbow seams, and are stitched, lined
with packing
first,
and then with hemmed-over
cloth,
exactly like the plastron.
The
are
collar
is
similarly made.
The packing and lining Then the to the neck.

of the corsage.
seamed inside the corsage

of
cloth
is
the collar
itself
is
drawn over the seam, and
hemmed
to the silk lining
76
JIOIV TO
MAKE A BASQUE
CLOSING WORDS
It is
customary with French modists, who are so very
successful in
making
silks
and light woolen
fabrics, to
use two wide steels of nine or ten inches to hold the

front and back of a basque down.
These steels which come

Although not
covered with soft white kid, are incased in ribbon and

felled in the dress
along the two seams.
very flexible they are wrinkle-proof and hold the waist
down
tic of
as nothing else will.
They were introduced
after
the lead weights were retired and they are characteris-
the French system modistes.
Every basque should be provided with an inside

belt secured to every
seam (but not
to the front darts).
This holds the garment in place on the figure, prevents
drawing up
in
the back and takes the strain
off
the
front portions.
belt ribbon,
This belt
is
best
made
of the
regular
which ma}^ be purchased
in
any shop, by
Inside
the yard.
belts
The best
of
quality has a corded edge.
made
lining goods and the material of the
dress stitched together are cheaper, but their clumsi-
ness can not be denied and the ribbon will be found
more economical
in the end.
They should be
finished
to fasten in front with
two small hooks and
eyes.
LEAD WEIGHTS
When
the basque
is
postillion in shape
at the
back
it
or is given
long tails of any other description
is
almost absolutely necessary to weight their lower edges

to
keep them
in place.
Nothing
is
more disfiguring
than to have the lower edge of a basque at the back
HOW
sta)'s
TO
MAKE A BASQUE
down
in
it.
77
or front turned up always after sitting
The
used
in
the
fronts
of
basques usually prevent

weights will be found
this there, but in the back, lead

its
best remedy.
of different styles
They can be purchased for a song, and sizes. They should always be
carefully covered with silk and then slipped under the
facing and securel}^ tacked so they can not get out of
place with wear.
Tabs on the sides
of
basques or
bodices of any style, should be leaded also on figures
where the hips have any tendency
to
push them up.
CHAPTER
VI
SLEEVES AND COLLARS

DRESS SLEEVES MAKING A COAT SLEEVE SEWING IN A SLEEVE JACKET AND CLOAK SLEEVES STANDING COLLARS TURNED OVER COLLARS REVERS COLLARS PLAS-
TRONS
DRESS SLEEVES
The proper
for
fitting of a sleeve is
almost as intricate
is
as that of a bodice.
a
tight, plain
affair
Whether
the sleeve
is
fashioned
arm covering, or
matters but
little
a voluminous,
ornamental
done.
in the
work
to
be
In a tight fitted coat sleeve there are takes to be avoided

if
several mis-
a perfectl}^ fitted sleeve is desired.
To make such
the dress
is
a pair of sleeves for a dress, the lining for

fitted before the fabric of
each sleeve should be cut and

touched.
This will be found a great saving

at
of time, patience
and material just as when
work
upon the basque.
When
the sleeve
it
is
one
78
for
a jacket
or cloak and
requires no lining
will always be
found good policy
SLEE VES AND COLLARS

to cut a sleeve in
79
fit
some inexpensive material and
it
over the arm into the garment.
When
it
this sleeve has
been made
to
fit
the
arm properly
should then be
be really
used as a pattern by
used.
vi^hich to cut the cloth to
This course will be found truly economical.

cloth
or
Expensive, wide
even
narrow, but
equally
costly velvets and plushes

rials
which are usually the matetoo valuable to
used for jackets and wraps are
try
experiments upon.
lining
In cutting this
the
greatest
care
must be
taken to lay the pattern upon the cloth with the weave
or grain of the latter running correctly.
Ladies cut
out sieves with their outline edges just like the pattern,
they declare and yet the sleeve does not
fit.
It
twists on the arm.
The
inside
seam
top of
in
some mysteThis
rious
way
will crawl over the
the arm, or de-
scribe a spiral curve from the elbow to the wrist.

is
only because the straight
line,
always found in good

to lay
it
patterns given to indicate
how
on the goods
is
has not been followed.
Sometimes there
strong
temptation to deviate from this rule, when you find

that
by moving the pattern over just a half-inch further

right,
to the left or
you can save several inches in

so.
length, but
it is
an economy never to do
The
entire
sleeve will be ruined

f^nd.
nine cases out of ten, you will
However, these rules need only apply

of a sleeve.
If it is
to
the lining
cut correctly the outside
may be
8o
cut bias
tion.
if

desired and the lining will hold
it
in
posi-
Another error comes from taking

sleeve too deep.
in the
seams
of a
There
is,
of course quite a strain
on
the seams of a sleeve and they must
be
made wide
in
enough
to
withstand that.
at
Wide seams
sleeves
must be notched
seams require
it
the elbow, however, just as waist
where they introduce curves.

a
The seams same manner
of
sleeve
should be finished in the

If
as those of the waist.
the
latter are
;
bound with ribbon, bind the sleeve seams

are overcast only that
will
also
if
they
answer
their
for the sleeves
and
sleeves always
fit
well
when
seams are
laid
open
and the edges loosely tacked
to the lining.
It is also very important that all
seams and facings
should be thoroughly and carefully pressed with a hot

iron.
large strong bottle
wrapped with smooth

for
linen,
makes an excellent ironing board

between
and the hot
iron.
sleeves.
Press
on the right side of a sleeve, with a

it
piece of cloth
The
that
is
fit
of a coat sleeve for a small

is
arm, or an arm
a
not smoothly rounded

of
much improved by
to
layer
wadding extending from the elbow
the
shoulder.
Some good dressmakers

it
use
it
for all lined
sleeves as they find

set of the sleeve.
gives a desirable firmness to the
For
all
long close sleeves which
fit
the
it
arm
is
tight
below the elbow and extend to the wrist,

leave either one or the
best to
other seam open at the wrist
SLEEVES AND COLLARS

for
8i
two or three inches.
This
finish
at
will
be found
convenient and quite ornamental

It is
the
same time.
often found comfortable to
turn back the sleeve
by
this
means
as a cuff,
when long
gloves are put on
or bracelets added to the toilette
itself.
The
sleeve must always be faced up to a line above
this opening.
MAKING A COAT SLEEVE
When
trimmed
all
the
off
lining
to
has
been
fitted
and
the
edges
correspond with any changes, rip out

tack on the wadding
(if it is
bastings.
Then
used).
four
Lay
them
the lining on the outside fabric and baste

sleeves into
is
all
pieces of the two

out.
If
place
before
cutting
the fabric
striped or figured see that
the opposite upper portions correspond.
Then
cut each out accurately.
Join the edges along
the inside seams, and finish them with ribbon, or overstitching as has been decided upon.
Then
press these
seams
flat
with the hot iron.
Afterward lay the wrist

flat
of the sleeve
with the right side
upon the material
provided for facing the sleeve.

inches deep and to
fit
Cut the facing four

of the sleeve.
this
end
Stitch
them (the
lining and sleeve) together across the
whole
lower edge and along each side for three inches.

join the edges of the
Then
outside seam terminating the
seam
at
the
seams made by joining on the facing.

it
Turn over the facing and tack
down by hand.
When
the edges of the outside seam are finished and pressed
82
SLEEVES AND COLLARS

entire sleeve is
of
over the bottle, the
finished.
It is a
most simple and neat piece

desired
work.
Any trimming
may be added
after the sleeve is turned.
SEWING
IN
THE SLEEVE
garment
is a
Sewing the sleeve

must be placed
into the
too.
thing which
the sleeve
must be done caretuUy

in
The seams
of
their positions and then extra ful-
ness can be laid in pleats or gathers according to the

prevailing fashion.
While basting the sleeve

very good as a
into the
armseye hold the sleeve toward you always.

the sleeve in by hand
is
Sewing
will
machine
often disarrange the gathers or pleats.
Tailor-made dresses
sleeves with
linings
of
the best style
have their
ail
is
made
separately and
seams
turned inside.
into the
In such cases the lining only

full
seamed
sewed
armseye while the
outside fabric
is
on
to
the waist by invisible stitches.
Such sleeves
require
considerable
skill
to
make properly and we

first
would not advise
a novice to attempt them.
In any case the sleeve must ing the sleeve towards you.
be basted
it
in,
hold-
Fasten
into
the arms-
eye by pinning in their correct places the front and the
back
there
(if
is
there
is
one) seams and arrange any fulness
over the shoulder.
Try the garment on before
machine
stitching the sleeve into place.
JACKET AND COAT SLEEVES

It is
advisable to line even the heaviest cloth sleeves.
Even
when
the
remainder
of
the
garment
is
not
SLEE VES A ND COL LARS

lined, a
83
smooth
silk or silk finished lining
can not be
too highly
recommended
is
for the
sleeves.
Aside from
the
fit its
omission
very trying upon the patience of

lining allows the garment to
off.
the wearer.
The smooth
be so easily slipped on and
Then
light colored
dresses are not exposed to the dye of the cloth that

soils in
even the best woolens.
The smooth
the
lining
of
prevents straining and stretching

sleeves and shoulders.
seams
the
These linings should be cut the same

cloth but
size
as the
must be made and pressed separately.

together with
their
They
seams
should be put
inside and
respective
the
armseye seams should be covered by

it.
felling the lining of the sleeve over
At the wrist
the sleeve should be cut long enough to be turned up

inside an inch and the lining
that
is
also felled
down
over
raw edge.
STANDING COLLARS
For an ordinary round standing

a waist should be
collar, the
neck
of
neatly bound by a narrow piece of

it
bias silk.
In other words
if
should be completely
fin-
ished just as
there were to be no collar added.
Howwill
ever, this is not always
done and other methods
be explained further along in the chapter.
A STANDING COLLAR
The above
illustration
shows the correct proportions
for a standing collar.
It
must be cut out
of straight
84

lining
or
cloth, that is the
foundation must
be
the
outside
may be
cut bias or in any fashion desired.

for the interlining
Canvas or buckram must be used

or foundation
lighter
ness.
stiff
of all
standing collars.
Crinoline or
materials will
nut give the desired firmstiff it
standing collar should be so
will not
inter-
with ordinary wear wrinkle or crease.

lining
first
Cut the
and baste
it
firml}^
on the outside
fabric.
The width
of the collar
must depend upon the

taste of the wearer.
style
in present fashion
and the
There
must, in cutting, be an allowance
made
of a quarter of
in.
an inch
all
around the collar for seams or turn
Every
with
silk,
collar unless a very thin one should be lined
This should be cut
to
correspond in size
inter-
with the interlining.
Turn down together the

of
lining and outside (which have previously been basted
together)
all
around the depth

place.
:
deep seam and
baste this fold in
Then baste upon the underits
side the lining of silk

fell
turn in
edges
all
around and
them down
neatly.
This makes a much neater
collar than to
seam the three pieces together and turn

which process also wrinkles the canalmost impossible to press the collar
them inside
out,
it is
vas so badly,
into shape and
smoothness again.
Every
collar
must be thoroughly pressed with
a hot
iron with a cloth between.
When
this has
been done
place the middle of the collar at the middle-back waist
seam and sew
it
on from that point toward each
front.
Use strong twist and back-stitches on the under-side of

lining of the collar but
85
the waist. These stitches should pass through the inter-
must not be seen on

the edge
its
outside.
Under no circumstances must
of
a collar
be stretched but sometimes the neck
may be given an
fit
imperceptible extension and a more perfect
in the
curves of the neck and shoulder be secured.

this is
However
after
hazardous and should only be practiced

experience
in
considerable
acquired.
dressmaking
has
been
Another method
of
making
a standing
of the
collar is
to
seam the ends and upper edges

ing
cloth, interlin-
and lining altogether and turn them, and press.

joining the middles of the cloth and
interlin-
Then
ing at their lower edges to the middle back

the waist at
fell
its
seam
of
neck, seam the
collar
on.
Afterward
the raw
the lining of the collar

It
down covering
edges of the seam.

with the hot iron.
must then be thoroughly pressed
Either of the above methods of sewing on a standing collar

is
preferable to the old one of sewing on
all
lower edges of the collar to the neck of the waist and

a bias
felled
facing
in
seam
after
down over
the raw edges.

all
which the facing was This was clumsy
fashion and not at

fect
permissible in these days of per-
and close
fitted bodices.
TURN-OVER COLLARS Both jackets and basques are frequently finished

the neck by turn-over collars.
at
They
are
cut
in
two
portions with their front edges on the straight of the
goods.
86

This illustration shows a turn-over
collar.
to the
first
It
should never be sewed on

of a waist but
to
it
neck
should be
straight
joined
band
of
cloth
and
all
attached to the neck.
When
the seams have been sewed
and pressed and the
waist put on,

it
turn over the collar and press
with
TURN-OVER COLLAR ^^^ ^^^^ ^^^^

than pressing
it
^j^^p^^
^j^-^ j^ ^^^^^^
before
it
is
put on.
This style
of collar
in color
should be given a lining of silk with the cloth and an interlining
harmonizing
of canvas.
if
Crinoline
may be used
instead
is
of canvas
found more convenient, as there
not so
much
firmness required for this style of collar as a standing

one.
Where
the turned over collar
is as
wide as as the
fin-
one illustrated, the ends and lower edge are often

ished with a wire.
The
turn in the front
is
thus kept
in its upright position.
REVERS COLLAR
This collar
to
is
the most difficult of
all
make.
Some
authorities go so far as
a
to say
no one, but
good
tailor
should
double-
ever attempt one. But for
many
no
breasted jackets and basques they are
indispensable and
we
see
reason
why with care and good rules to follow' a woman may not accomplish even this
collar.
REVERS COLLAR

When
seams
is
87
joined
the
collar
is
cut in
it
three
pieces
by
at the
notches,
is
easily made.
a
The
cloth
joined at these seams and
lining of silk
and an
interlining of canvas is provided
and they are seamed

cloth
the
is
together at the outside edge.
Then the
seamed
After
the
along the edge of the cut-away neck of
garment,
with the seam on the right side of the
latter.
which the lining
of the collar
is
felled
down over
raw edges of the seam.
But more often the three-cornered part

which comes down over
the front of the garment
over.
of the collar
the
itself.
bust
is
continuous with
the front turned
It is
This makes the collar more

first
intricate.
In such
case the
thing to do
is
to
baste over this part a

it
layer of canvas and then top face

that is used for
it
with the material

Join to
the remainder of the collar.

of
the cloth of the back portion
the collar in the
short seams and join that portion to the neck of the gar-
ment
itself.
When
all this
is
done and thoroughly
pressed by the hot iron nothing remains to do except

fell
on a lining with a canvas interlining
for the
back
portion of the collar.
PLASTRONS
But
owing
little
can be said on the trimming of bodices,

fluctuations
in
to
the
fashion.
it
Full
draped
to
bodice fronts are very pretty but
requires skill
it
handle a folded piece of cloth and lay

pleats.
in
artistic
The
aspirant
is
cautioned against attempting
88

too
much.
Even
to
copy a fanciful design

can be more
requires a long and faithful apprenticeship.
But plain plastrons and

isfactorily
cuffs
sat-
managed.
a
double-breasted
to a
front gives
desirable
style
basque,
whatever the prevailing fashion.

illustrated
The one
It
may
serve as a guide.
can be
cut
on
three sides over the outlines of the

It is
button-hole side of the basque.
joined
along the one side

A PLASTRON
of tlic
it
to
the button-hole side

length.
basque
its
entire
Along
its
outer edge
may
be finished in scollops, or simply
completed straight, slanted or narrowed toward the bot-
tom
of the basque.
It
may be
fastened
down along
that
edge bv buttons or by hooks placed on the under-side. But as that edge must be necessarily bias, hooks and
eyes do not close
it
securely.
Pieces
like
this or
other
revers
and sleeve
at the
cuffs
should always be lined with silk and
same time
be given an interlining of crinoline.
CHAPTER
VII
JACKETS AND CLOAKS

ladies' TAILORING
ITS
DIFFICULTY
THE
PATTERN
SPONGING CLOTH FINISHING SEAMS
CUTTING
CLOTH
LINING A WRAP
ladies' TAILORING
Tailoring varies from dressmaking principally in the
methods
of cutting
and finishing.
In cutting a gartailor
ment (always done by measurements) the

the pattern on the material
tern,
itself,
draws
using no paper patIn tailoring,

finish
;
and
cutting the lining

is
Afterward.
as
the lining
merely put
in
a
fit
neat
of the
it
has
it
nothing to do with the set or
garment;
is
seamed when the garment

neatly
is
sewed and boned, by being
hemmed
over on
itself.
Hence
tailoring only suc-
ceeds for cloths and heavy materials, because light fabrics
need the support of a lining
to give
them firmness
lining and
and substance.
On
fit
the
other hand,
when
material are seamed together, as in dressmaking, the

tailor's exquisite
is
nearly impossible.
be, the
No
mat-
ter
how
careful
we may
lining and
material
go
will
JACKETS AND CLOAKS

never exactly correspond, and then one
may
give
or stretch
more than the other;
in either case wrinkles,
no matter how small they may

Tailoring
is
be, are inevitable.
marked by
its
perfect accuracy, its firmIt

it is
ness, strength
and durability of workmanship.
is
naturally heavier
style of
work than dressmaking, but

for
work adapted, and indeed requisite
heavy
inces-
materials.
The home
of
tailoress
will
find
an
sant need of hot, heavy irons in the course of her work,

die
work
the iron being assisted by the action of
soap,
water,
is
and even paste as
is
elsewhere shown.
But there
for
it
something satisfactory about the work,
looks so beautifully neat and firm

ITS
when
finished.
DIFFICULTY
that the
The novice should understand

task a sewer can undertake
is to
most
difficult
make
a jacket or cloak.
The ordinary dressmaker
is
not usually modest regard-
ing her ability but she has been forced to confess she
can not handle cloth like a

for this
is,
tailor.
The only reason
she does not understand the value of bast-
ing and pressing as he does.
Did you ever

upon
it?
It
is
see a coat while a tailor
is
at
work
always absolutely covered with white
bastings and he works with his hot goose within reach

of his hand.
The
tailor also
cuts by the square and
rule but certain systems of dress-cutting are modelled
on the same principles and there are patterns that will
answer every purpose.
JA CKE TS AND
What makes
is
CL OA KS
the contract also a very serious matter

it
that usually
is
expensive material that must be

little
is
risked.
Unless you are a

tried pattern
experienced in cutting
a
and have a
tailor a
it
good plan
to
pay a
If
couple of dollars to cut the garment.
the
cloth
is
not cut with the correct curves and outlines

it fit
no power on earth will ever make
properly.
THE PATTERN
However,
perfectly
it
if
yoM have
basque pattern that
fits
you
will
answer for a jacket with modifications.

cut a half-inch wider than for a
The seams must be

a dress waist.
dress and the armse5'es cut one-half inch lower than
This extra allowance
is
required because
of the thickness of materials used
and because the
garment
is to
be worn over another waist.

is
For basques two darts are used but a jacket

supplied with only one, and
half-fitting or loose,
if
usually
the jacket
is
cut tight,
one dart
is
usually indispensable.
However,
are better.
line.
for
women
tending to Embonpoint two darts

lines tend to lengthen the waist-
The seam
this is
Further along suggestions are given for lining
wraps but
seldom done, and the

it is
fitting
can not
if it
be done in that as
for dress waists.

fit
Consequently,
of the pattern
there are an}^ doubts of the perfect

is
the better plan to take
some inexpensive muslin and
first fit it
after the pattern.
When
that has been done
use this muslin as a pattern for cutting the cloth. This

will often save
tion.
you many dollars and much
mortifica-
92
JACKETS AND CLOAKS

SPONGING CLOTH
There are very few woolen cloths but require sponging before being used.
Perhaps the salesman from whom

does not need sponging,
authority.
you purchase
but
it is
it
will tell you, it
not safe to trust so unreliable an
All cloths
showing
gloss on
the
surface will
spot
will
with the least drop of water.

ruin a jacket
light rain
shower
made up
in
it
without sponging.
Some women
selves.
think this sponging of cloth a most
mysterious process and a thing they can not do for them-
And when
the cloth
is
taken to a dye or cleaning
house, there will be a charge of twenty-five cents per
yard for the sponging.

for the service.
This
is all
out of proportion
The work can be

of
easily
done
at
home.
Before cut-
ting the cloth, wring out of clear water a sheet or a strip
muslin and lay
it
between the folds

not
of the right side

lint
of the cloth.
Towels, that do
shed
may
be
used for the same purpose.
Roll up the cloth in these

to wait a half
wet cloths and allow
it
hour and then
remove the muslin and press the cloth on the wrong

side until
it
is
perfectly dry.
The wet
be done
cloths should
be wrung out
as
drv as can
b}'
hand before
will take
being placed on the cloth.

off
This sponging
the objectionable gloss and at the
same time
yet
will
sufficiently shrink the cloth.
Some
is
wait until a
damp lowering
da)',
when
it
not raining and then
they hang out in the air for
two or three hours, the cloth they want sponged.
This
JA CKE TS AND
plainly
the
is
CL OA KS
Another way
it
93
is
not a safe expedient.
to lay
damp muslin on
it is
the cloth and iron
with a very
hot iron until both are dry.
This
is
certainly a safe
method but
also a very laborious one.
CUTTING CLOTH
Upon
there
is
the surface of the

of velvets,
smoothest woolen cloth as

plushes and similar fabrics
well as that
always a nap.
By brushing
its
the
palm
of the
hand lightly along the surface

can be readily detected.
the cloth,
it
general direction
In laying the pattern upon
should be done in such a manner that the
nap always runs or turns down.
This rule should be
followed even at the expense of the quantity of cloth

used.
These rules hold good with regard
to velvets
and
plushes used for the same purposes, although there
have been those who held that their nap should run
in
the other direction, to give them a desirable full look.
But the best authorities do not agree
to
it.
When
fit,
you
are sure
the pattern at hand
is
good
fit
cut your cloth but never before.

first.
As suggested,
cheap muslin
Then
lay all the
portions on the
cloth before cutting out one of them.

that the
Lay them on
so
weave
of the
cloth
corresponds exactly with

the nap of the cloth
the weave of the pattern.
Then
must
all
run downward.
allow for generous seams.
In
Alwaj^s
an
experi-
mental garment they are safeguards.
The only change
94
JA CKE TS A ND
Is
CL OA KS
the length
of the
which
waist.
likely to be required is in
If it is
too long
it
may be remedied by
be cut down.
taking
up the shoulder seams when,

armseye seams will have
fitting
of course, tlie collar
and
in
to
However,
in
make
away
as
few changes as possible
the cloth.
To
cut
a half inch before
you are absolutely sure
the change
is
required will often ruin the whole garLINING A WRAP
ment.
Lining a jacket or cloak and lining a dress are two

very different and
distinct
things.
For
a bodice the
dress material and lining are seamed together.

jacket or cloak two distinct garments are made.
is
For a
One
of
the cloth and the other the lining of silk
or satin.
The only
the edges.
are
points of connection are along the lines
The
sleeves of the wrap,
if it
require sleeves,
made
in the
same manner.
inter-lining
Their cloth and lining
are only joined together at the wrists and the shoulders.
For cloaks an
is
frequently used.
It
gives the garment a certain desirable style to place can-
vas over the chest and across the shoulders and makes
it
set well.
Again
for
flannel is sometimes, introduced in
the same
ate
way
extra warmth.
These inter-linings
silk
sewed together with the cloth seams, but the

always remains separate.
lining
The seams
of
each
flat
portion must be laid open,

before they are laid together.
Pock'^ts are
notched and pressed
among
the most difficult things to
man-
age in making a jacket or cloak.
Their openings are
JACKETS AND CLOAKS

cut in the cloth and they themselves are cut and
to lay flat.
95
made
They
are always put in before the lining is

it
attached and do not appear in
at
all.
The pocket
There
is
welt or opening must
always be stayed.
no
cloth,
no matter how excellent that will
stand the strain of a pocket welt without a stay.
strip of canvas or silesia sewed in the fold of the welt

is all
that
is
required.
FINISHING SEAMS
In heavy woolen garments, such as cloth jackets and

cloaks,
where the seams are
to
be bound with satin,

is
silk or farmer's satin,
and the garment
not lined, the
binding
is
sometimes
is
put on before the
seam
is
stitched and
cut wide
enough
to
extend
just a trifle
beyond the basting of the seam.

stitched through
It is
applied by the
usual binding process at each side, and then the seam

is
the binding as well as the fabric.
Seams
row
finished in this
way
are not pressed, of course,

;
until the binding has
been added and sewed in

be
and a
of stitching
may
made along
the rolled edge of
the binding on the upper side of the
seam edge.
A safer
way
is
to baste
the binding on, after the seams are
pressed, by the rolled
method
just
described, turning
the binding under on the

of
under-side, so that one

it
row
machine-stitching will hold both

Silk, satin
and the
roll of
the basted edge in place.

cut in bias strips are
and farmer's satin

kind of binding.
employed
for this
CHAPTER
VIII

OVER-HAND SEWING
BACK-STITCHING
FINE STITCHING RUNNING HEMMING HEM-STITCHING
HAND-SEWING
SEAMS
FELLING
FRENCH FELL GATHERING SHIRRING OVERCASTING TUCKING GUSSETS PATCHING SEWING ON STRINGS
Since the advent of the sewing machine, stitching
by hand
is
considered a sad waste of energy.

of
At the
same time the beauty and delicacy
sewing done by
hand can not be equaled by the best machine work.

Dainty linens and cambrics hemmed, felled and tucked
by hand
will
always be preferred and,
in
the market,
demand a better price from purchasers. Our grandmothers were taught needlework
were taught
their
as they
A, B, C's and every
little girl
and
woman
work.
to-day enjoy knowing the rules governing such
For hand-sewing the foremost need

is
of the
work-basket
of needles
a needle-book well stocked with
all
sizes
of the very best
make.
They may be long

96
or short as
PLAIN SE WING AND FANCY STITCHES

and good large eyes.
97
the worker prefers but they must have sharp points
The
off
best needles have eyes

to their size.
as
large as possible in proportion
When
it
a
it
needle's point
breaks
or
becomes bent throw
away
at once, there is
no econom}^ in preserving
for
possible emergencies.
The work-basket should also be supplied with cottonthread of each number. Then in sewing be particular
to use the sizes of needle
and thread best adapted

be
sewed.
to
each other and
to
the
fabric to
large
needle carrying fine thread will pierce a hole too large

to
be
filled
by the thread, thus, making
an
uneven
stitch.
thread too coarse for the needle or fabric

hole
or will
will
make an uneven ragged

is
draw the
weave
of the fabric out of place.
An emery bag
sory.
also a requisite work-basket acces-
This
trifle
is
best
homemade
as the fascinating straw-
bery
sold
under that name often contains a spuri-
ous
filling.
However, when sewing by hand, when the

its
needle loses only
smoothness, running
it.
it
through
your hair once or twice restores

the hair
is
The
natural oil of
refractor}'
powerful lubricator for both
needles and pins.

flexible a piece of
For making the thread smooth and

good white wax
is
always valuable.
OVER-HAND SEWING
Our grandmothers spent

weaving narrow widths
of
their youths
spinning and
linen
they afterward fash-
ioned into sheets requiring a torturing seam their entire lengths.

7
It
was upon these overhand seams
little
98
girls

were given their
first
sewing lessons.
We hope
it
will
be upon shorter seams our reader will learn the task.

will
Overhand sewing
if
be found a very simple lesson,
you avoid "puckering".
That word
is
the
synonym
of
woe
to
many
a spectacled
dame
girl.
of to-day.
pucker
in her
seam meant ripping and doing over many a long

little
seam, when she was a
OVER-HAND SEWING
Two
from
selvage
edges
for
overhanding are
basted
together and the sewer must stitch them over and over
left to
right.
The
stitches
in
is
seam
of
this
kind must be even in depth; that

of threads
the
same number
from the edge must be taken up by the needle
in each stitch.
To make
whether
the
seam perfect the worker

at
must always introduce the needle

It
the
same
angle.
matters
little
it
be continuously straight
or slanting as
desired.
If
over and over as in the

in the second.
first illustration
is
Uniformity
the
thing
this is followed persistently, precision soon
becomes
so natural as to require no effort.
The
fabric should be
pinned to the lead pincushion

in
or table and held, straight
the
hands, not
drawn
over the
first
finger of the left hand.
The thread should
not be drawn too tight over the selvage edges to allow

the seam to press out smooth
in the third illustration.
99
when
finislied, as
shown
same
first
Seams with raw edges may be sewed

manner.
be turned down on the wrong side.
FINE STITCHING
in
the
In such cases, however, the edges must
The orthodox method

needle
is
to
sew
the fabric together by putting the
back
of
it
two threads behind

its
the place
last
insertion,
STITCHING
bringing
latter.
out two
this
threads
in
in
advance
of
the
Continuing
line of
makes each
the fabric.
stitch
only the length of
two threads
Our
illustration
shows more plainly than

sewing, but
any explanation the way the needle must be inserted.

This
is
is
the most exquisite of hand
it
seldom done, never except on the
finest of infants'
clothing and then stitches guided by the eye are dainty
enough, without the strain of the exactness of counting threads.
KUNNING SEAMS
Running
needle
is
similar to stitch-
ing with the difference that the

is
never put backward.
Several stitches
may be
taken
the
RUNNING STITCH
thread
is
upou
the
needlc
before
drawn through the
fabric.
Two
threads of the
fabric are taken
up by the needle and two threads passed
06

This does not make a seam
of
over.
any great strength,
but
it is
used for skirt breadths and tucks sewed by

materials do
hand.
All
not allow of a thread being
drawn out
easily to guide the needle, as is indicated in
our illustration.
Even when
taught
thej^ do, it
would often
be a considerable waste
ing must early be
of time,
and children learnto
never
waste time.
piece of light cardboard or thick paper folded double
and cut
of the exact
width
of
the
seam
will serve the

of
same purpose.
the left
Being held firmly under the thumb

it
hand and slipping with
along the edge as
the
seam goes on, the needle being always carefully

its
inserted by the side of
lower corner, the straight
line will be quite correct.
BACK-STITCHING
Back-stitching must not
be confounded with fine

stitching.
They
are alike
with the exception that the
number
BACK-STITCHING
er stitch is twice the
of threads
,
taken
r
up
m advance of the form.
number taken behind

in
it.
Or the
needle
tion
is
inserted two threads behind the former inser-
and brought out four threads
advance, or six
threads are taken up, on the needle.
There
is a
seam which
It
is is
much used made up

For
this,
of
back-stitch and a run.
not a very artistic seam

four or five
but
it is
stronger than a
run.
running stitches are taken, the thread drawn through

and then the needle
is
loi
inserted two threads back and

five stitches is
another run of four or
made.
HEMMING
The preparation
for
of
hem
be
sewing
is
very important.
first
The raw edge must

HEMMING
which conccals
turned under and the extra fold

it
must be
laid.
These folds should not be crimped between the

but pressed together smooth and even.
usuall}^ pressed into position
fingers
The
folds are
by the thumb, while others
rub them up and
The
of
stitching of
down against the edge of a table. hems seems like a very simple form
is
sewing but carelessness

is
only too
in
common and
nice garment
often
cheapened
appearance, by
to left, the
slip-shod
hemming.
Working from
right
stitches of a
of the fabric.
hem
should be taken up every four threads

be. too long
They should not
but only
enough
of both parts of the
hem should
be taken on
the needle to secure the hem.
Cloth and thick materials are often finished by being

turned over and stitched down.
If
hand-stitched, this
kind of
hem need
is
not be tacked, but for sewing machine
work
it
best to do so.
Few
hem
is
finishes for muslin dresses are prettier then the
stitched
hem.
For children's
dresses,
the
stitched
in color,
often worked with a silk

effect
contrasting
which gives the
of a
Russian braid.
Tarletan
02
PLAIN SE WING AND FANCY STI TCHES

look admirably, and are thus trimmed at trifling
ball dress flounces, stitched with white, or with colored

silk,
expense.
Another mode
of
hemming used by dressmakers

is
is
called by French dressmakers "half hem," and

for
used
the
is
keeping
the
lining of dresses
apart,
in
position;
stitches are
taken very far
and the needle

least
inserted slanting so as to take

time, in order not to
is
up the
piece at a
side.
show on the
on thin
right
This
easy enough on thick fabrics, as cloth, serge, rep,

difficult
silk,
and poplin, but very

is
when, as
it
not possible to prevent the stitches
from showing
on the right side, the stitches are much closer together,
and
set at exactly
even distances.
HEM- STITCHING
Hem-stitching
at
one
time entered largely into

fanc3'-work
only,
but to-
day
it
is
used for hem-
ming, sheets, pillow cases,

towels
and
some
table-
HEM-STITCHING
î^^j^g^
UapkiuS,
doilieS
and
other
household
linen.
For
hem-stitching,
measure from the edge of the fabric the space the

will require.
hem
Then draw
out at that distance from the
edge
Then turn under a fold of the edge and baste the hem down to the drawn threads. Holding the wrong side of the hem towards
five
threads of the fabric.

you work
in regular
103
left.
hemming
Repeat
stitch
from right to
five
At each
stitch run the needle
under
this
of
the cross
threads of the fabric.
the
second time,
passing the needle through the edge of the

In this
hem
also.
way you
will find the ravelled
stripe
of cross
threads of the fabric
are
is
divided into strands at the
same time
that the
hem
sewed down.
is
When
only
a few threads are
drawn out the hem

a
worked on
it
one side only;
if
number
of
threads are drawn
should be worked on both sides.
FELLING
Felling
It is
is
hemming
a seam.
used for finishing a seam
with neatness
It
is
and [strength.
seldom used except for

linen or silk
,
cotton,
muslin
.
FELLING
derwear.
first
when they
for
are
made
into un-
The seams
shirt
or night-gown are
sewed together
in a
seam by hand or by the maedge.
chine,
is
allowing a good
The under raw edge
then cut one-half narrower than the other and the

is
wider
turned under like a fold of a

flat.
hem and
afteris per-
ward hemmed down

fectly neat
To make
in of the
seam that
when
felled, the
edges must be seamed even
and narrow and the turn

pressed
wider
edge neatly
down on
the fabric.
FRENCH FELL
The French
fell is also
much used
for
muslin under-
04
FLA IN SE WIN G A ND FANC V S TI TCHES

wear.
It
has the great recommendation of
being
quickly done, either
by hand or
machine.
together
The edges
first
of a
seam are run
with the raw edges coming
on the right
FRENCH FELL
side.
When
they have been

as will be
it
trimmed even and
as narrow
consistent with strength, turn the seam and run
together on the wrong side taking in the raw edges.
This manner
of
closing a seam has been called the

If
"pudding-bag seam."
are
the seams, as in other felling
result.
fine
made even and narrow, a neat, strong seam is the All ready- made underwear, unless especially
has
its
seams finished by the French

GATHERING
fell.
To
gather a
ruffle correctly,
the old rule was to take

of the
to
up on the needle two threads In these days it means three.

ric in
it
fabric
and pass
simply run the fab-
an even line with a thread strong enough to draw
together.
When this has been done,
push the needle
through the fabric at the end of the gathers and wind

the thread back and forth over the needle securing the
gathers.
Then
fastening
the end of
the cloth to a
leaded pin-cushion, with a coarser needle stroke each

stitch into position,
pushing the straightened stitches
between the
first
finger
and thumb
SHIRRING
of the left
hand.
For
shirring, the line of
gathers
is
repeated again

and
again.
105
These
lines
of
should be an eighth
inch
apart.
It
is
an
not re-
quired to stroke the stitches

for shirring.
SHIRRING
OVERCASTING
Every seam should have
its
raw edges finished

several
in
some manner. Chapter IV. gives

mentioned as before indicated
are
ways
for finish-
ing dress waists and the ordinary and French fells are
in this chapter, but there
many seams
This
is
requiring only a neat overcasting as a

the term used for the far apart
over-
finish.
hand stitching which binds together raw edges. Care must be taken not to draw the thread too tight in overcasting.
TUCKING
The
great
Benjamin Franklin once gave
this rule for
io6

to
measuring a tuck
tuck so as to
all
his
its
daughter.
"In measuring a
at
make
width mathematically even

is
points, the best
way
to cut a
piece of
stiff
card
the
depth needed
for the
tuck,
marking the space
between the tucks.
Little triangular nicks in the card
can be cut to indicate these measurements.

card in the
right,
left
Hold
the
hand with the notched edge toward the
and move it along as you baste or mark. The tuck must be folded and basted. Machine stitching is best for tucks, but some will use only hand run
tucks for infants' dresses.
In cutting cloth to be tucked
twice the depth of each finished tuck must be allowed

in the length.
GUSSETS
There are two kinds

illustrate
is
of
gussets.
One which we
let in
square piece of fabric
to
give
more
fulness to a sleeve or any other part of a garment.
A GUSSET
gusset of this kind
is
always
cut
square.
It
is

first
107
joined on one side to the side of the sleeve by a
felled seam.
Then the other

to the gusset
side of the sleeve
is after-
ward joined
and felled like the
first.
The
gusset thus apears cornerwise in the upper part of the

sleeve, as is
shown.
of gusset
is
The other kind
alwa5's small
and cut
It is
square or three-cornered (a square cut in two).
placed in the opening of sleeves, of nightgowns, blouses,

etc., to
prevent the tearing-open of the seams.

these gussets are not cut square, the edges
When
are turned in
on
all
the four sides, then the gusset

a
is
folded in two, so as to form
three-cornered
overcast
piece
which
is
sewed
in
its
place, in
stitch, the
needle taking together, at each stitch, both turnings-in

of the piece
is fitted.
and the side
of the
opening
in
which
it
If
the
gusset
had been
cut three-cornered,
all
turn-
ings-in are also folded
down on
sides of
is
it
the corin over-
ner which forms a straight angle

cast stitch, half-way
sewed
in,
up each side
then folded
of the
patch. the
The
wrong
remaining part
of
it is
down on
side of the garment and
hemmed around
neatly.
PATCHING
Patching must be done with great care, for
be as invisible as possible.
the fabric which
All the
it
must
of
worn out part

shape
may surround
the rent, must be cut
away
into
square
or rectangular
following
exactly the thread of the fabric.
The patch
is
then cut of the same dimensions
as
io8

or
half-
the cut-out piece, allowing an extra quarter

inch, according to the fineness of
the
fabric, for
the
turnings-in.
PATCHING
At each corner
a slanting stitch
of the space cut out of

is
the material
made
just half as
deep as the extra

in.
space given to the patch, and the edges are turned
The
of the
material
is
then folded
is
down
all
round the edge
patch which
sewed
in in fine overcast stitches.

fit
(See illustration.)
for
so.
it,
It
must exactly
the space left

to
and neither pucker nor cause the material

surely
fit
do
It will
in
if
care
is
taken
to
give to all
the turnings-in.
If
the patch has been put in woolen material

is
or in
a dress, there
nothing to do but
\
to flatten the
seam
with a
warm
iron
but
if it
has been put in linen, the
turnings-in must be neatly
hemmed down.
is
For linen there

neater
still.
is
another kind of patching which

is
The patch
put in with a felled seam,
the felled part of the seam being ahoays formed by the

patch, but the corners are very difficult
to
make
per-

fectly straight
109
and even
none but experienced needle-
women
is
will
is
do them neatl)\
another
There
mode
is
of
patching cloth.
of the piece
The patch
which has
It is
cut of the exact dimensions
been cut out, as there

the needle never going
no need of turnings-in.
fine
sewed in on the wrong side with

tli
silk
or cotton,
rough the cloth, but taking in
only half
its
thickness.
When
the patch
is
entirely
sewed
in,
the nap of the cloth
must be slightly raised

of
on the right side of the

needle.
will
If
seam with the point
the
the
work has been neatly done the patch
be quite invisible, especially after having been
ironed down.
SEWING ON STRINGS
We give two illustrations

to plainly indicate the
two
ways
the
of
sewing on strings!
first
shows
string
sewed on
No.
I
in the plain cloth
where
it
can not be seen
on the right side
of the
garment and
it is
No. 2 simply stitched on with as unobtrusive the second shows the string stitches as possible
;
attached to a
hem
or
seam on the edge
of the material.
CHAPTER
IX

(Continued)
SLIP-STITCHING
DARNING
STITCH
WHIPPING BINDING CORDING PIPING CHAIN-STITCH^CROSS-STITCH HERRING-BONE

LOOPS
BUTTON-HOLES
SEWING
ON PEARL AND
SIMILAR BUTTONS
SLIP-STITCHING
Slip-Stitching
is
so
termed because the needle must
be slipped under the right side of the material without

getting through
it.
The work
is
held in the hands as
when hemming
or sewing a seam, but the
way
of insertstitch.
ing the needle resembles
more an overcasting
ii"iilMliiti|.iHiMiiiiinniiii)
[
Slip-stitch
Slip-stitch Finished
This
is
much used
the
in
in
dressmaking
millinery
entirely no
it
for
is
fastening on
made trimmings and
indispensable.
the thread
To make
stitches
invisible

should be drawn as tight as
ing the fabric to pucker.
silk
it
1 1
is
possible without caus-
This stitch may be used on

is
and other thin materials but
more
easily
on a
thick fabric like velvet.
WHIPPING
Whipping much used,

net,
is
not
but for
gathering fine muslin
gauze
or
soft
it
woolen
is
materials
found convenient
and neat.
WHIPPING
is
As shown
in the illustration, the
edge of the material
rolled
down by
the
thumb
of the
left
hand
as the
work proceeds;
it is
sewed
in overcasting stitches
with
cotton strong enough to force the

ers
material into gath-
when
it is
drawn straight through.

BINDING
There are two ways
of
binding.
One, chiefly used
in plain sewing, consists in
simply folding the bind, as
the braid or ribbon the material and

to insert
is
termed, in two over the edge of

or stitching
it,
hemming
taking care
the needle through both sides of the braid.
(See illustration).
The
down,
other, used in
dressmaking and for thick matefirst
rials, as it
is
must be
sewed on and then turned

is
more elegant and
often used
as
a sort of
112
PLAIN SE WING A ND FANCY S TITCHES

For
this
ornament.
way
of
binding, the braid
is
laid
on the right side of the material as low under the edge

as the binding
is in-
tended to be broad.
It is
run on just
at
the edge then turned
down and hemmed

on the
other
side
No
ble,
stitches are visi-
and
it
forms
neat edge.
In bindcare
suffi-
BiNDiNG
ing
scollops,
must be taken, when running the

scollops would curl should
tight.
braid, to
make
cient allowance for the subsequent turning over, as the
the braid
be drawn too
good precaution, when using woolen braid, conpreviously soaking

it it
sists in
in
hanging
it is
out to
dr}'.
It will
warm water and then shrink then as much as
liable to do,
it
and
will
will
do so no more. remain
flat,
When
sewed
on afterward
always
and will not
cause those puckerings which are so great an objection

to braid bindings.
CORDING
Cording
is
generally
used
to
prevent
it
stretching.
Around the armhole and whenever

two pieces
is
placed between
carefully
of material, the strips of material
cut on the bias, are folded just in two, a piece of piping
cord
is
slipped
in
and the
strip is neatly stitched in

together with both pieces of material.
When
the cordstrip
ing
is
placed on the
edge of the material, the
must only be folded half-way

insei'ted
down, and the

hem.
cord
within
this allows for the
Beginners had best tack
down
terial
the fold of the ma-
over the cord, but

is
that
unnecessary for
hands.
practised
The
strip nuist then be placed
CORDING
side of
on the edge
the corded side
of the right
the
material,
downwards,
strip is
and be stitched close under the cord, then the

turned
down
side.
so that the corded
edge alone shows on
the right side of the material, and
hemmed on
is
the
wrong
the
When
the garment thus corded
lined,
hemming must be done with

first
slip-stitching, so that
side.
no stitches are visible on the right
Our
ing
illustration
shows cording put on
at the
edge
cordin
and partly
is
hemmed down.
Another variety
It is
of
frequently used as a trimming.
shown
our second illustration and

sists in
con-
inserting
between
two
of
materials one or more rows
DOUBLE CORDING
cord more or less thick and stitch-
ing them down, forming in this way a series of orna
mental
ribs.
PIPING
Piping
is still
another style of cording that has, under

name, been often in great favor
dresses.
for
It
is
that
trimming
put
on
is
plain or double
and
generally
employed
or
to
edge
bias
straight
te
^^^-x.^>&xv^_^vv^.^ws.<i..^.^^_^^
bands
of material.
The
illustration
ly the
shows piainof
PIPING
manner
making
and putting on pipings.

DARNING
Darning requires
tion.
It also
a great deal of patience
and
atten-
requires neatness, and a little practice

it
will soon render

ing.
easy,
is
if
these qualities are not want-
When
the darn
required
to repair
an acci-
dental tear or hole, great care must be taken to render

it
as nearly invisible as poscible.
For
linen, cambric
or any other material of
which the ravelled threads are
strong enough.
It is
best to darn with them.
The needle
the needle.
tle
is
inserted in and out of the material
taking alternately one thread over and one thread under
At the end
of
each row of stitches a

left,
lit-
loop of cotton must be
and the thread must
never be drawn very tight, otherwise the darn would be

puckered.
ular,
If
the edges of the hole are jagged and irreg-
they must be neatly cut out.
Great care must be
taken on continuing the darn on the other side of the

hole to insert the needle between the very same threads
of the material.
is
When
work
one side
is
is
completed the cotton
cut
off,
and the
begun
in the opposite direc-

tion, also
beginning some distance from the torn place,
taking care never to miss one thread or to take two at

once.
In the next row, the threads missed in the pre-
ceeding are taken up, and those which were taken up
must be missed
in their turn.
This rule must always
be observed, as well when working over the material as
when
actually darning
the
hole.
loop of cotton
must, as before, be left at the end of each row.

transparent materials, such as muslin or cambric,
these loops must be cut
off
On
all
when
the darn
is
completed.
The
great art of darning
is to
repair the darn by lay-
ing the threads very equally and regularly, not loose
nor tight but just even, and then to take these threads
up with perfect regularity so
as to as
much
and
as possible,
restore the material to its orijinal state.
To darn
cloth, silk thread is used
it is
run along
It is
in the cloth,
without any stitches showing.
very
easy to darn cloth in a neat manner.
CHAIN-STITCH
F
"
Regularity
chief
is
the
the
beauty
in
chain-stitch.
[
'
quantity
....
01
The same
material
il^^r^^^:>V^.j::..,i^
should be taken on the

needle
at
CHAIN-STITCH
each
stitch.
The thread must be kept under the needle at each stitch, the left-hand thumb being placed upon the loop formed by the thread when the needle is in-
1 1

in
serted
the
ver}'^
hole from which the thread came
out
for
the
last stitch.
Care must be taken

otherwise the
is
not to
draw the
marking
thread
too tight,
material
will be puckered. of
cloth.
This stitch
the simplest
manner
Take
a pencil
and draw on the ma-
terial the initial
and work over with the chain-stitch.
CROSS-STITCH
Cross-stitch is the best stitch for marking cloth and
it
ma}' be done in silk, cotton or woolen thread.
Experi-
enced workers become able to

out, but
it is
outline an initial withof
better to use
a piece
coarse canvas
when marking, after which it may be drawn out by threads. To make the cross-stitch as shown in our
illustration the needle
must be inserted upwards from

a
under the material,
knot having previously been
made
other,
at the
end
of the cotton.
Each
stitch is double,
being composed of two slanting stitches crossing each
and must cover the threads of the material in

All the other stitches
each direction.
in the
must be crossed
same
direction, and the crossing go slanting
up
from
rie:ht to left.
When
two or more stitches have

to be
made
in a row, half of
all
each stitch must be made
at a time,
then they are
crossed at once.
HERRING-BONE STITCH
This stitch
is
often used in dressmaking for fasten-
ing into place pieces of the linings or for tacking in
place a seam's edges.

facings are
also
The seams
of skirts
and
skirt
It
is
often
finished by
flannel
herring-boning.
much used on
worn not
lined.
of
and cloth garments which
are
The edge
are
the material being folded
down
ojue
small straight stitches (the stitches used for running)
made
alternately above
and under the edge.

stitch
Workcrosses
ing thus, and always backwards, each the preceeding one.

stitches
It is
superfluous to say that the

of the
must be made very regular,
same length
and with the same interval between them.

LOOPS
Loops
are in
many
cases
used instead of button-
holes, especially for the smaller articles of apparel.
They should be made

for
rather thick,
they break easily, and should be
fastened firmly on the edge of the

material.
Like
button-holes,
the
loop must be
made
of a size exactly
A LOOD
exactly the
corresponding with that of the button

it
is
meant
for.
The
stitch
is
same
as the
button-hole stitch
described
below.
1 1

BUTTON-HOLES
There have been many inventions presented the sewing world, for cutting button-holes, but nothing has
been found
of
to
be better for general

sized
scissors.
utility,
than a pair
sharp
medium
For cutting rounda
ended or eyelet button-holes a cutter having

and sharp blade combined
with a sharp bodkin and
are
at
is
punch
sometimes preferred but
a pair of scissors better results
generally obtained.
right
Button-holes are usually cut
angles with
the
edges they close and they
should always be properly spaced and marked before
being cut.
tape-line
is
the best
measure that can
be used for spacing, although some prefer a card of

the size of the
space between the button-holes.
By
placing the edge of the card even with the edge of the
basque the button-hole can be marked with chalk or a

pencil, or
even cut immediataly, along
its
edge.
The
proper distance from the closing edge to the front end

of the button-hole a perfectly
may be
indicated on this card and

is
marked button-hole
front
the result.
size
of the
This disbutton to
set
tance varies
somewhat with the
be used.
While the
end should always be
back one-half inch from the closing edge, when a large

button
is
used, the distance
must be a few threads
more than one-half the diameter of the button. When button-holes are worked in cross-barred or
plaid
fabrics,
they should
be cut to follow parallel
with the cross bar or plaid, even when a slight deflection from a right angle to
the closing edge
is
made.

The same thing may be permissible when
edge
is
19
the
closing
considerably curved.
cutting a button-hole which
is
When
three or
to
be made over
more thicknesses, there
is
great difficulty in
getting
are
them
and
all
cut exactlj' alike;
when
the fabrics
thick
elastic they are likely to
slip.
There
have been various methods tried to prevent

best
lines
is
this.
The
to baste
them
all
firmly together along the two
made by
the front and back ends of the button-
holes, before they are cut.
Another method, which, however, has

able features
is to
its
objectionof shellac
take a mild mucilage

this
made
dissolved in alcohol and with
paste the fabrics
together where the button-holes are to be worked.

alcohol soon evaporates,
still
The
fabrics are very likely to
become smeared
or
their
colors will
run
together
when the pasting is done. Another way of holding fabrics together while cutting and working button-holes, is to mark the button-hole
on the cloth and machine stitching though
thicknesses on each side of the mark.
all
the
These stitchings
allow the cutting
should be just
far
enough apart
between.
is
to
of the button-hole
Whatever method
chosen, as has been before stated,
in cutting a button-hole great care
must be taken
to cut
the underside exactly like the upper.
To do
this
where
there
is
is
it
any thickness
is
is difficult.
When
the
punch
the
used
pushed through sharp and direct at one end

rest
and the sharp pointed scissors make the
of
20
PLA INSE WING AND FANCY STITCHES

when
the scissors alone are
cutting a simpler matter, but
used, one sharp point must be depended

as
upon
a
to
do
good work as the punch, but
this requires
very
steady hand.
No.
No.
1
No.
BUTTON-HOLES
We
I,
illustrate the three kinds
of
plain
button-holes
first,
used in ladies' and childern's garments.

illustrated is the button-hole
The
or No.
lin-
made
2, is
in cotton
and
en fabrics, the second, or No.
the customary but-
ton-hole for dresses and similar garments, while the

third, or
No.
3,
is
the cloak or
wrap button-hole.
must be stayed.
like
When
For
the button-hole has been cut, before proceedit,
ing to work
as
it
is
called, its edges
a button-hole like
No.
i,
a single thread run
a bar along each side will be sufficient.

at
single stitch
each end of the button-hole^will give you this bar.
When
you commence
to
work the button-hole begin

No.
at
the back end and
work
to the front edge of the

in
i
garment
always.
The button-hole shown

This
is
is
barred at
bit of the
each end.
done by taking up a tiny
material on the needle for five or six stitches across the

end, then turning the goods and working to the other
edges of the button-hole back

a similar bar
holes, Nos. 2
is ?*-itched
to the
other end where
as a finish.
is
For the button

barred.
and
only the back end
For No.

2,
121
which
is
hole
used for dresses the front end of the buttonjust simply worked around in regular stitches.
is
The loops along

should be regular
If
the opening
are, of
course
of
closely
stitches
crowded together, but the intervals

at their outer edge.
is
the
one round end

is
required as
is
shown
in
No.
3,
punch
the best thing to use and in connection with
the sharp scissors, but
when
the punch
is
not at hand,
the circular
cir-
take up one or two threads on a pin at
end and cut the pin

cular place to
out.
This will leave a small
work around with the same
stitch used
on the
sides.
All button holes should be

will permit) after
dampened, (if the material they are worked and then thoroughly
Large ones
like
pressed through a cloth.

in stiff lined cloth
No.
3,
worked
should have their edges drawn together

After the press-
with a basting thread before pressing.

ing
is
done, the round punch should De run up and

the eyelet or round end to give the proper shape.
down in
After which the bastings of the
button-holes
may be
removed and the appearance

It
will
be as above. go into the details
seems almost unnecessary
to
used in working button-holes, but for the benefit of any reader who has never seen it done we
of the stitch
give a minute description.
Draw
at the
the
needle with a
single thread through the cloth from
the under to the
upper side
ton-hole.
of the cloth
and
back end of the but
In ordinary cloth the stitch should be taken-
about three threads in from the cut button hole edge.
122
PLAIN SE WING AND FANCY STITCHE

stitch
out.
About two threads further along take another

This gives a twirl
to the thread of the stitch
holding the thread below where the needle comes
and
this
must be held
in place along the button-hole's edge.
The
repetition gives the
desirable cord-like finish to

is
the button-hole which covers raw edges and
very
durable.
Care must be taken to make the stitches the
same
to
size
and the same distance apart.
It is
best not
draw the thread too
tight at each stitch.
THE BOUND BUTTON-HOLE
The bound button-hole is much vised for heavy cloths and for garments made with interlinings, as well as
ordinary lining.
Our
illustrations give
a
making
one an idea bound button-hole and again
of the process of
just
how
it
looks
when
finished.
When
the garment
demanding
bound
A FANCY BUTTON-HOLE
button-hole
all
is
lined and interlined,
it is
best to baste
around where the button-hole
is to
be cut so as to

hold
all
123
the parts firmly in one position in relation to one
another.
In cutting the hole use your sharpest scissors,
or the sharp chisel can be

to advantage, for
a
employed
in this
instance
is
clean even cut clear through

a
most
essential.
Then take
whatever
it
narrow piece of
silk,
satin, lasting or
is to
be used for binding the

all
button-hole, and sew

ing.
securely
around the open-
Draw
the binding as tightly around the ends of
the hole as possible in this sewing.
Then
flat
fasten the
it
two ends
of the
binding together and turn

its
through
the hole and
hem
other edge
down
on the under
side of the garment.
A FANCY BUTTON-HOLE
We
also illustrate
two button-holes which are worked

are simply ornamental but can
in fancy stitches.
They
be readily worked from the plain pictures presented.
HOW TO SEW ON PEARL AND

Insert the threaded
SIMILAR BUTTONS
needle on the wrong side of the

is
cloth to
which the button
to
be attached,
at
about
three-quarters of an inch from the place for the button
and
slip
it
between the goods
to
the required spot.

side,
Then bring
the needle out on the
wrong
and
after
124

through to the right
side.
fastening the thread securely by two or three stitches,
pass
it
From underneath
hand lower hole
put the needle through the right
of the button
and then through the
left-hand upper one and through the cloth, thus mak-
ing an
place.
oblique stitch
and drawing the button into

of
From the under side

through
the left-hand
the cloth
pass
the
needle through the right hand upper hole and put

it
thence
it
lower
hole
and draw
so
out through the cloth on the wrong side, and
complete the cross-stitch.

four or live times more.
right-side of the
This should be repeated

the needle to the
Then pass
cloth under the button and wind the
cotton several times around under the button to form a

stem, which raises
it
a little
from the cloth and also
strengthens
it.
Fasten the sewing on of the button

of
by three or four repeated stitches on the wrong side
the cloth and, then slipping the needle to the right side,
cut
off
the thread.
CHAPTER X
UNDERWEAR
MATERIALS CUT, FIT AND MAKING CHEMISE DRAWERS DRESSPETTICOATS NIGHTGOWNS CORSET-COVERS ING-SACQUES WRAPPERS APRONS
MATERIALS
The
articles
composing
must
of a
suit of ladies'
underwear
vary according to the dictates of fashion.
The
stjde
and make
the style
of a dress
to a
certain extent control

it.
and make
the garment worn beneath
For instance, under
basque made to
fit
the form as
close as the skin of the wearer, a full chemise gathered
on to a band and with

not be worn
in the
is
;
full
puffed
short sleeves, can
neither can a full round dress skirt hang
most desirable manner when a petticoat beneath

fit
gored to
tight over the hips.

'8o's a set of ladies'
Before and up to the
underwear
consisted of drawers, chemise, petticoat and skirt with

the addition of a
are
still
gown
for night wear.
These
articles
and will always remain

125
in vogue,
but they
as then.
are not so absolutely
worn by every woman
126
UNDERWEAR
of
The wholesale manufacture

neatness of their
their
fit,
woven
underwear
revolutionized the fashions in such
garments.
The
their admirable wearing qualities,
comparative cheapness and their unlimited variety,
quality, design
and size appealed to every women.

to stay
They have come

year.
most probably.
Indeed
it
seems they only continue
to increase in favor year after
They come
sorts
of
in
silk,
woolen, linen and cotton.
In
all
shirts or vests, long
and short sleeved, high and

In
low necks.
drawers
in
of
different
sizes,
shapes and lengths and
the combination garments
which
var}^ as
much
in style
and make.
Even
the
much
abused tights are
in the highest favor
among
the most
modest and best dressed women.
These woven garments mean

in clothing
minimum
of
weight
of the of
and the
freest use
and development
muscles
the
of the entire
body.
For the development
trul}^ artistic in
dress they are of the highest import-
ance.
They do not destroy
the outlines of the
human
form but are made and conform to the rules which are
in
accordance to the truest
lines.
The
care
to
greatest obstacle
is
reformers
of
woman's dress
do not
encounter,
that the majority of their sisters
be conspicuous by any innovation.

of this elastic
so.
But the
wearing
and well
fitted
underwear does
not render them
However,
of,
in connection
with and often independent

if
these
"first
principle garments,"
we may term them
UNDERWEAR
so, are the additional pieces that
127
for
must be provided
every well dressed
woman
viz
the drawers, chemise,
corset, corset-cover, petticoats
and the night-gown.
For
these, silk, linen, lawn, percale, cambric,
mus-
lin, flannel
and other similar fabrics are used according and taste of the wearer.
to the season, climate
Fashion
by way of
sometimes seems
to exhaust itself in novelties for underin

it
wear and then she suggests colors
variety, but, the best taste never accepts such an edict
and
it
as regularly dies a natural death, without a ripple of consideration.

is
much
|
more than
The
first
law that
should govern underwear
purity,and dyes even of the
best quality do not give this nor do garments dyed even

in the
most delicate shades
of color suggest purity.
The
fad at one time prevailing of entire suits of black under-
wear was certainly revolting and anything but wholesome.
The
most
use of the delightful China silk
is
responsible for
of the best qual-
of our colored underwear.
When
even
ity this silk
washes
like cotton,
in the
most
fragile
colors as well as the white.
Some
fabric,
fastidious
women
and
prefer silk to
any other
even
fine linen,
tell
for all the
different pieces,
for
while others will
you they can only use linen
everything except nightgowns,
when they choose

is
the
China
silk.
Cotton cloths in turn have their devotees.

thej^ are
Of course
cheaper which
recommendation
silk
and they certainly do possess equal softness with
when
as fine,
and they wear as well as good
linen.
128
UNDERWEAR
CUT, FIT
AND MAKING
fit
Whatever
the material, the cut and
of these gar
ments are usually the same.

cut and sewed in just the
is
That
is,
a silk
chemise
is
same way
cotton chemise
done.
In the long ago,
when our grandmama's made

and
their chemises, they used all the material possible

fulled
it
on to bands around the neck and arms, with

the waist.
about two yards width around
Drawers
and
skirts
were equally voluminous.
well dressed
woman
snugly
should have her under garments as neatly and

fitted as
those worn over them.

is
In cutting out the garment, a good pattern
about as
indispensable as one for a dress.
Still
if
another gar-
ment that
cises care
fits
well can be utilized,
the cutter exer-
and
common
sense.
Each garment should be basted together, tried on and alterations carefuU}' made unless the pattern used The daintiest underwear has often been used before.
made by hand but very good garments and very made hy machine entirely. The chief objection one can make to machine made underwear Too is that it is usually over trimmed and too fussy.
is
pretty ones are
much tucking and ruffling is vulgar. Delicate daintily made pieces of comparative plainness are to be alwaj's Whether preferred to over decoration poorly done.
done by hand or machine
are stitched and felled.
all
seams with raw edges
In the chapter immediatel}^ preceeding both plain and
French
felling, as well as other stitches are
explained
UNDERWEAR
at length but for
129
tlie
the convenience of
reader
flat fell
we
is
repeat.
to
The
best
way
to
make
the ordinary
sew the two edges together

off
in
an ordinary seam and

its
cut
the edge of one side one-half
depth
then
turn the uncut edge over the cut or narrower edge and
then fold them
down
flat
and stitch them into position.

is
Ready-made underclothing
the French
as neat and
is fell for all its
usually
It
made by using
which
seams.
does not provide
smooth
flat,
a finish as the ordinary fell

is
perfectly
but
a trifle
more rapidly done and
wears very well.
To make the French
fell
lay the
wrong
side of the pieces

off
together and stitch them in a narrow seam, pare
the edges smooth and close to the stitching, then turn

the pieces at
the
seam so that the
right sides
are
as
together and on the wrong
^de make another seam

This makes
all
deep as the edges enclosed.

covered and firmly sewed.
raw edges
THE CHEMISE
The chemise
will
probably never pass entirely out of

it is
style although at times
not generally worn.
They
are certainly bidky garments unless neatly fitted and
made.
They
are
made with
what
is
the fulness required in
the skirt, gathered into a band over the shoulders or
they are
made
in
known
as the
sacque shape,
which
is
a very neat,
comfortable undergarment
and
adds nothing to the size of the wearer.

shapes are cut to
front
fit
These sacque
without fulness over the back and

to
and four darts are introduced below the bust
130
UNDERWEAR
it
shape
into the waist
there.
The armseyes
are not
supplied with sleeves and only finished by embroidery

or lace.
ton on and
Some chemises have shoulder straps that butmay be removed when worn under a low
corsage
it
the garment being so closely fitted by darts
does not need to be suspended from bands over the
shoulders.
The trimming
itself is
of the
chemise must be limited to the

of
neck and the end.
Embroidery done
the
material
the most durable trimming but
Hamburg and
of the chemise
Russian embroideries, Valenciennes, and Torchon laces

trim in an exquisite manner.
The end
to
may be
or
finished
by a
to
hem two
six
four
inches deep
by
ruffles
two
inches wide, which
may
be
edged with
lace, tucks or
embroidery according
to the
material and the taste of the wearer.
Ribbons add a great deal

wear.
to
the beauty of under-
They
are used in
narrow widths run through

itself or
casings of the material

ings which
through woven headlace
may be used with both
and embroidery.
Then narrow ribbons are drawn through and tied in Bows and rosettes of wider ribbons coquettish loops.
are set about on the shoulders or in front on chemises
at the will of the wearer.
In making a chemise
the seams and,
if
when
it
has been cut, baste up
there are
darts try the
garment on
and
before
fell
stitching.
Then sew up
the
side seams
them down.
Then hem
or trim the end after
which
finish the
neck and armseyes.
UNDERWEAR
DRAWERS
If
131
any difference
is
shown, drawers should be made

than any other
strain
of heavier linen,
cambric or muslin
is
piece of underwear, as there
more
upon them.
When
closed drawers are used they should be
made
the
best
with a deep yoke
over
the
hips, thus
stiff
bringing
closing at the back below the
corset.
The
patterns for open drawers have an overlapping

at the
band
draw
back and the seat

not
is
cut longer
in proportion.
If this is
done the drawers are likely
to
apart and not give the needed protection.
The lower
part of the drawers admits of considera-
ble trimming.
Clusters of tucks separated by feather
stitching, insertions of lace or
embroidery and lace or
embroidered
ruffles will all

first
be seen on one pair.

all this
In making drawers,
do
trimming on each
If
leg and then stitch together and fell each leg. are closed drawers,
they
seam and
are
fell
the legs together and
then put on the yoke or band.

ers, after the
If
they are open draw-
legs
closed, face
each side with a
straight piece of the
material and then join to the

flat
band.
Use medium sized
pearl buttons
for
the
closings.
CORSET-COVERS
corset-cover should
fit
as
perfectly
for
as a
a basque
and no better pattern can be found
corset-cover
than a tried and true basque pattern.

Corset-covers are cut high or low neck as the wearer
chooses and a great number are high behind with open
132
UNDERWEAR
front.
V-shaped or square-necked
Sometimes
very
small sleeves are added or else the armseye isfaced, or

scolloped or a narrow embroidered or lace edge finishes
them.
over
is
The
a
corset-cover can not be comfortably worn

silk,
lisle
chemise, the woven
or
wool vest
its
proper accompaniment.
It
should be cut in the same number of pieces as a
plain round basque;
which
consists, for a
medium
sized
woman,
extra
of front,
back and under-arm gores.

is
When
an
side-body piece
required to give the proper
curves at the waist to a basque, they must be added to

the corset-cover
It
its
worn under
it.
should be basted together
neatl}'
and
fitted before
seams are stitched.
During
this
fitting
if it is
the neck
should be cut into the desired shape,

a high-neck cover.
not to be
After a good
fit
is
obtained, stitch
flat fell
the seams and

or the
fell
them.
Either the ordinary
French
fell
ma}' be used the former being decidit is
edly the better method, because
a flat finish.
The
This
front closing edges should be curved like a well fitted
basque and will in that case require to be faced.

facing should be
made wide enough
to take a
button-hole
and the cover should be closed with small pearl buttons and button-holes to correspond, about two inches
apart.
The bottom
of
the corset-cover should
be neatly
finished by a narrow half-inch
hem and
the neck should
be given a half-inch facing unless the trimming gives

the necessar}^ stay.
When Hamburg
embroidery
is
UNDERWEAR
half inch
133
used, the top of the corset-cover can be turned over a
and then stitched down on the embroidered

the same as a facing but
edge.
This
is
when
lace is used as the
to trim, the facing of the
same material
cover
must be supplied.
NIGHTGOWNS
The
style in
nightgowns varies more than any other

but
the
under garment,
gown made with

is
the
long
breadths gathered into a yoke

square, round or pointed yoke
always in favor.
The
For
may be
cut over a basque

fit
or high-neck corset-cover and a good
obtained.
serviceable and inexpensive gowns, fine muslin simply
trimmed with tucks and

passed.
a lace
edging can not be sur-
on the
The yoke should be made double with seams shoulders and a closing in front. The shoulder
should be stitched together so
seam
of four thicknesses
that the
seam
is
within.
felled.
gown should be
in this case
The seams of the skirt of the The French fell can be used
without inconvenience. The sleeves should made and completely trimmed before they are inserted in the armseye. The front of the gown should
be
be closed with small pearl buttons and button-holes
four inches apart.
are used
Silk,
For more luxurious gowns ribbons

of buttons
and tied instead
and button-holes.
batiste,
cambric, mull
and other materials are
make very luxurious nightgowns. Ladies who suffer from cold, wear gowns made of fleeced muslin or piqu^ which are made with but little fulness
used
and
134
UNDERWEAR
ruffles in
and with only scolloped

sleeves.
the neck, front and

are
The sacque-shaped gowns

pointed yoke
best for these
with
placed as an under-facing for

PETTICOATS
fitting
extra warmth.
Short petticoats are usually made with a yoke

perfectly over the hips and
stomach and closed with

breadths
fall
buttons at the back.
The
straight
just
below the knee and whether made

or silk have but little fulness. are
of flannel,
muslin
The
best flannel skirts

as
to
it
made of flannel which is half cotton shrink when washed. These seams are
cross-stitch
skirts
will not
be sewed
by hand and laid open, tacked into place by the simple
done
in silk thread.
The bottoms
of these
are
usually embroidered.
Scolloped edges of
embroidery do
not wear well
and the hem-stitched

little
flannel edges with
embroidery above and a

is
lace
full
run along beneath

part of the skirt
is
the prettiest finish.

it is
The
gathered where
joined to the
yoke.
Short cambric petticoats are sometimes made with

a
yoke
also,
but
not always.
They
not
are
often elabor-
ately trimmed with lace, embroidery and hand-stitching.
This
is
permissible as they do
receive
the hard
usage the longer petticoats must.
Trained petticoats should never be worn
they soil
immediately and never follow the train of the dress
and are generally

for
all
around nuisances.
The
petticoat
wear under the ordinary walking
skirt is cut three
UNDERWEAR
inches
It is
135
shorter than
the
dress-skirts
worn
over
it.
made with front and side-gores and straight back The top is finished by a yoke when the hips breadth. The seams should be are large enough to require it.
stitched and
finished
over-cast
and the bottom of the
skirt
by a two-inch hem.
The
petticoat
should
measure around the bottom two and one-half yards, for

a
medium
sized
woman.
The trimming
of these skirts
should be done on deep flounces of scanty fulness

tucks, lace
alone.
and embroider}^ being used together and

is
The same ornamentation
applied to
silk,
cambric and to cloth walking length petticoats.

DRESSING-SACQUES
A
that
dressing-sacque
is
best
made with
pattern for
close fitted
back and a loose

fits
front.
An
ordinary basque pattern

tliese sacques.
may be used
as a
However,
in cutting the front parts
do not curve
the
closing edges and the darts
need not be cut out or This gives the desired

Neverthe-
taken into consideration at
all.
freedom
less
for the
arms and body generally.

first
some
ladies use the
dart to
draw the garment
in a little to the figure.
Whatever the
as
style
desired in that respect, cut the

silk,
sacque out of 5ôur material,

it
wool, cotton or lace
may
be,
and baste up the seams and lay the hem
down each
side of the closing in front.

if
Try the gar-
ment on and
sewed,
alterations are necessarj^,
make them
fell
before stitching the seams.

if
After the seams are tightly

a
the material
is
cotton or linen fabric,
136
UNDERWEAR
neatly.
If heav}' silk or
is
them
some similar material
that will not fray
used, the edges of the seams
may
be notched in fine notches and the seams themselves
should then be pressed

flannel and
open
flat.
Cloth, cashmere,
in
most woolen fabrics are finished

the sacque
is
this
manner.
When
made
of
China
silk the
seams should be finished

Generally
full sleeves
as are
cambrics
and mull.
held in by a band
at the wrists,
or simply flowing sleeves complete these garments.
Perhaps the daintiest dressing-sacques are made

white
of of
nainsook and
are
trimmed with insertions

laces
in
both lace and

gathered
lace.
nainsook embroidery and an edge of
Torchon and Valenciennes

Ribbons
are
always the prettiest and wear best.

or some bright becoming shade
of
white
color are knotted
and tacked on according to the taste of the wearer.
Sometimes
gives too
belts of these ribbons

to
are
added but this
much primness
garment which should
be free and loose to be a typical dressing-sacque.
WRAPPERS
The garment
fering
called a wrapper conveys so widely difit is
meanings that
difficult to
give definite sug-
gestions concerning
fitted
its
development.
is
The comfortably
the best
t3'pe
princess
dress, however,
of
wrapper and upon this the various changes
of
loose
fronts, Watteau backs, long and walking length wrapThere are two faults into which wrappers are rung.
pers
may
fall,
they may be
made
to
be entirely too
negligee to be worn except
as a dress for the
bedroom
UNDERWEAR
and they
dinner
137
may be made as elaborate as an evening or gown and so lose all characteristics of comfort.
is
But there
no prettier house
toilette a
woman
can
provide herself than a neatly
fitted
princess wrapper
made
to
fit
to touch the floor several inches at the
back and
neat.
A pretty becoming
it
color and
enough trimall
ming
to give
certain
daintiness are
that are
required.
Cotton cloth wrappers are seldom lined and the seams

are
long
and often
bias,
consequently they must
be
securely stitched and stayed.
French cambric makes the best lining when the

wrapper
is
made
is
of silk
or woolen
fabrics.
The
bot-
tom
of the skirt
may be
required.
faced with the same.
Nothare
ing heavier
The
sleeves and neck

If
finished just as a
basque should be.

to
fit
the front of
the wrapper
is
made
it
snug, then
its
closing edges
should be curved as those of a basque, and must be

faced, but
when
falls
loose, the
straight
hemmed
for bath-
edges are easily finished.
For invalids and
robes there are blanket wrappers

fine colored blankets,
made
is
of
thick and
with the woven border serving as
the only trimming.
The border
usually only
suffi-
cient to appear on the lower edge and as the pockets,

cuffs
and
collar.
very thick woolen cord and tassel

robe in
at the waist.
are
is
added
to hold the
This wrapper
usually cut with as few seams as possible.
APRONS
The simplest cooking apron one can make
is a
long
138
UNDERWEAR
hemmed on
the bottom, gathered at the
square apron
top and fastened
around the waist by a narrow band
which ends
in strings
which are
tied at the back.
Two
it.
widths of gingham
or linen are
required to
make
To make
the apron one yard long, two and one-quarter
yards of gingham are required.
Cut
off
two lengths,
each thirty-nine inches long and gore one of them,

so
that
it
makes two gores out
of
the
one.
As
gingham
is
alike on both sides, this will give a side-
gore on each side of the other width which will be used

for the front of the apron.
Join the gores at the
top
to the straight breadth,
with their respective bias edges,
thus leaving their selvage edges for the back edges of

the apron.
Stitch the two seams and over-cast them,
off
then pare
even the lower edge of the apron.

stitch
Afterit
ward baste down a three-inch hem and

place.
in
Gather the top of the apron, make a band of
the six inches of cloth remaining and join the gathers

to
it
it,
for eighteen inches in the

all
middle
of
it
and
fell
down over
rough edges.
This apron can be made

If a
with a sewing machine in an hour's time.

is
pocket
added on the front
of
the apron
and a square bib

of material
above the waistband, another half yard
must
the
be provided and then a most complete apron

result.
is
Narrow, straight aprons made

cambric, silk or
of
one width of
linen
mohair are often made into and edges of

Dainty
little
quite dressy affairs by adding insertion

lace or bands
and edges
of
embroidery.
aprons made of fancy towels and large sized handker-
UNDERWEAR
chiefs are
also easily concocted,
139
and the lace-striped
Swisses and piques,
knots of bright
make most bewitching aprons when ribbon are given them on the bibs
and pockets.
CHAPTER
INFANTS'
HOW TO DRESS BABY
IT
XI
WARDROBES
HOW TO MAKE
SUITS.
A SIMPLE LAYETTE
CAPS
AND CLOAKS
NURSE s'
BABY
is
HOW TO DRESS
In dressing baby the best
rule
the golden rule
every time.
dressed
if
Dress the bab}' as you would like to be

little
you were a
one.
Heaven
lies all
it
about us
in our infancy,
to
we
are told, but
how can
two
be seraphic
a
be put through a summer, bound up

diaper,
a
in
bandage,
pinning blanket,
skirts with
It is
bands
no use
like
bandages and a long double* gown.
talking, a
baby can not be angelic when he can not kick

toe.
one pink
it is
In such rigging as
enumerated above,
no wonder he protests with his lungs.
It
seems strange that
in
everything else but dress-
ing baby,
but when
ation
we have progressed beyond our grandmothers, it comes to that, we find our bump of venerenlarged.
wonderfully
in
Grandmother
flannel,
dressed
mother
bands and loads of

140
hence the new
baby must be made uncomfortable.
INFANTS' WARDROBES
All
141
honor
to our
grandmothers, they did admirably
in the light
girls of
they had, yet
to-day can do
tight
better.
we must protest, that our Grandmother dressed
baby too
"But,
"
and too much.
says the old lady, "the baby must be bandaged
or he will be out of shape.
AN INFANT'S WARDROBE
Trust the shape of baby to nature.
her work in a careless way.
tic
She never does

wall
is elas-
The abdominal
and
if
and intended
to distend,
allowed to expand
evenly there can be no rupture.
Then
skirts.
confiscate the
pinning blanket and so
many long
The
objec-
tion to these is that they clotlie the chest
and legs too
142
INFANTS' WARDROBES
Avith
warmly and leave the shoulders and arms

nothing.
In our changeable climate
it
almost
is
a difficult
thing to
of cool
dress the babies properly to meet the
demands
nights succeeding hot days, and sudden changes within
an hour.
However,
if
they are
neither over-dressed
nor under-dressed,
It is
much can be
all
done.
lovers of babies note
with genuine pleasure
the increased enthusiasm on the subject of comfortable by clothes.
The
idea of "Reformed
clothes for
Babies" has taken as firm hold of the feminine com-
munity as has the "Reformed Dress

mothers are putting their
while they buy
for
Women," and
the
rest
common
be.
sense to work and,
many
pieces, they
make
or
have them made as they should
The
It
is
principle of such dressing

to
is
extremely simple.
the
have nothing that

is to
frets
or binds
It
is
small
bunch
that
be kept warm.
innumerable colics and griping pains

tight pressure of the flannel
now held that are made by the
bands about the tender body,
which
really also occasion too
much warmth, and which

good
for
the old-time nurse thought
nothing
if
not
if
bound with
they would
strength.
a grip of iron about the little bowels, as

fall
to
pieces but
for
its
maintaining
can no doubt
Many
a rupture in later life,
be traced to the use of this heathenish garment, which,

if
it is
not yet abolished altogether,
is
treated in a very
of soft
different fashion, being

elastic
more frequently knitted

stout
wools,
than
stitched in
flannels,
and
INFANTS' WARDROBES
allowed to
support.
143
to
give
warmth and not expected

in the
yield
The long skirts, too, who are more careful

vanities, are
it
hands
of those
mothers
of their
of
their
babies
than
going the way of the old fashions, and
is
no longer demanded of the tiny limbs that they

uphold
all that
shall
hanging weight of embroidered
flannels
little
and tucked cambrics and wrought work

still
poor
the
limbs that have often been
futher maltreated
by never being allowed temporarily to support do so when the child has become so heavy as
weight of the child, until they are suddenly called upon

to
to
almost
surely
bend them by the weight.
Nowadays
the petis
ticoats are shortened very early
and the baby
never
its
found less lovely nor less able to rule the house in
pretty shoes and stockings than in its cloud of draperies.
A SIMPLE LAYETTE
Every baby should have provided
wool
shirts.
for
it
at least three
These are now

of
to
be purchased woven
in fine ribs,
excellent shape, with close neck and

are very elastic
long sleeves.
easil3\
They
and
slip
on and
off
They
are long
enough
to
the body and provide
sufficient
come warmth and protection

well
at
down over
from stray
drafts.
Two
soft flannel
skirts with
bands fastened
the
back and straps over the shoulders and as many cambric skirts
must
also be provided.
Six slips of cambric, cut sacque shape, are properly
144
for night
INFANTS' WARDROBES
wear but likewise serve
at first for
day dresses.
fine flannel
wrapper and two
soft
cashmere sacques
shcul-d also appear, as well as

a )ôke.
one cambric dress, with
dozen squares of linen diaper and a few pairs

or boots
of knitted socks
layettes.
complete
the simplest
of
HOW TO MAKE
The
flannel skirts are
IT
made
of
two lengths
of
white
flannel, seven-eighths of a
yard long.
They
are
seamed
together with silk thread, the seams neatly pressed
open and catch-stitched down.
A deep hem
secured
b}'
a pretty fancy silk stitch should finish the bottom.
At
the top the breadths should be neatly shirred and joined

to
band twenty inches around the
bod}''
and four
inches deep.
This band should be provided with two tape bands

pass over the
it
to
little
arms.
Safety pins are used to close
at the back;
buttons and button-holes can not be used

of the tiny
to
advantage as the size
body
will vary-ever}^
day.
The
little
cambric skirts are made
in the
same way,
top of the
except that the hems are felled into place and a row
of gathers
is all
that
is
required
at
the
breadths.
The slips are made open in the front the entire length. The four seams, two shoulder and two under-arm seams,
should be neatly
small and
soft.
felled.
These
fells
must be "made
finish the fronts
narrow hem should

as
and bottom
of the slip as well
the
small
sleeves.
INFANTS' WARDROBES
The neck must be
cambric and a
it.
145
faced with a narrow bias piece of the
fine
drawing-string should be run through
Four small pearl bottons with corresponding but-
ton-holes, placed two inches apart beginning at the neck

are all the closing required.
Below them the

skirt beneath.
is
all
slip
may
hang
free over the
cambric
little nar-
row lace on the neck and sleeves

allowable.
the
trimming
These
slips should be,
however, made with
the daintiest
neatness.
When made
by hand alone
they are most in keeping with lovely bab3'hood.
The flannel and cashmere wrapper and sacque are made with as few seams as possible and they should
be pressed open and catch-stitched with silk.
Their
edges should be button-holed or pinked in small scollops.
The wrapper should be sacque shaped and one

the
yard in length only.
Some mothers make

even the lightest
tints.
mistake of using colored

Don't use
stain
flannels or cashmeres for
these garments.
The dyes
is
are
likely to
the tender flesh and white
the on/y thing for baby-
hood.
The
first
cambric dress should have a yoke

it.
of
fine
tucks and a skirt one yard long gathered on to

tucks and
skirt
Fine
lace-edge should
finish
the bottom of the

It
and sleeves and the neck
of the yoke.
should
be closed at the back by knots of white satin ribbon.
The cambric sash sometimes added

appropriate.
is
not pretty or
The
finest
cambric, lace and needle-work
146
is
INFANTS' WARDROBES
much work
not out of place on this garment, but too

are.
and lace
The
linen squares are simply squares the size of diaper
width.
They
will
have two selvage edges and the

flat,
other two must be finished with
soft
hems.
If
is
Always keep
soft socks
on the baby's
feet.
allowed
liable to
to rub his bare feet together constantly,
he
have crooked or bow-legs.

tendency
is
If
already so inclined, the
greatly increased.
or bootines
These socks
in
may be made
they
of
cashmere, cut
one piece with a felled seam running along the sole

toes, or
and up over the
may be
knitted or
cro-
chetted in Saxony
wool.
In every case let them be
pure white.
CAPS AND CLOAKS
Caps
for infants to
wear outdoors are made
of
muslin
or of silk.
They should never be worn indoors. Pretty French caps are made of fine India muslin with tucks in the center and shirrings to draw them into shape
around the face and head.
Simple
little frills
of
the
muslin edged with lace are the trimmings, with a

rosette
made
of the
same, placed on top.
These are
made quite warm by adding a lining of China silk, or still warmer by a quilted silk lining. Cloaks are made in both cape and sacque shapes. The sacques with round or square yokes are perhaps
most
popular always.
Silk,
cashmere,
flannel
and
repped piqud are the materials used and lace or embroidery are the appropriate trimmings.
Knots and
INFANTS' WARDROBES
ties of
147
dainti-
white satin ribbons add
much
to their
ness, whatever the material used.
nurses' suits
nurse's suit consists of a cap, apron and cloak to
be worn over a plain dress.
The cap has
mob crown
of a white swiss or India muslin, plain or embroidered.
Some
row
erect frills of the
same material placed across

is
the front are the regulation style, but a gathered narruffle
on
all
the edge
also used as
a finish and
strings to tie behind are

is
added generally.
of
The apron
made
of
two straight breadths
wide Victoria lawn
with two or three broad tucks across the bottom, or
some wide
a
It
embroidery may finish
the
edge.
The
breadths of lawn are gathered at the top and joined to
band that has ordinary strings

should
to tie
at
the back.
always
be long enough to reach to the
bottom
is
of the dress over
which
in
it is
worn.
The
It
cloak
made
of cloth or flannel
is
brown, maroon or gray

should
generally, and
of
deep circular shape.
be as long as the dress and shirred from the neck to

the shoulders or gathered on to a round yoke.
It
should
be completed
or neck-tie,
at the
neck by a
a
full
white muslin scarf
Hemmed by
narrow hem along the sides
and
deep hem-stitched hem on each end.
CHAPTER
XII
CHILDREN'S CLOTHES
AMERICAN
MOTHERS
SHORT
CLOTHES
SMALL
BOY's
CLOTHES
DRESS FOR GIRLS
AN APRON
AMERICAN MOTHERS
In no country
to the dainty
ica.
is
so
much
attention paid by mothers
costuming
of their little
ones as in Amer-
French women are
as a rule too vain
and
frivo-
lous to care
how
their children are dressed,

it,
and when
impossible
they do think of
they array them
in
garments often low-necked and short-sleeved and with

ballet like
skirts
little
reaching
to
the
knees,
and their
unformed
bodies are cramped into tight-fitting
spider-waisted bodices, the counterpart of the whale-
boned ones
of their
is
mammas.
In England, where the

in
rising generation
kept strictly
the
background,
is
sensible but homel}^ and

rule,
inexpensive dressing
little
the
and English children are generally

stuff
frights
in
brown Holland pinafores and

is
148
gowns.
In Ger-
many economy
paramount, and a dark woolen or
CHILDREN'S CLOTHES
linen garment which will not "show dirt"
is
149
the ordi-
nary attire of the flaxen-haired

of this
little
maiden.
In spite
marked tendency
to
simplicity,
we owe much
of the picturesque
beauty of the modern child's dress
to
the clever English
woman, Kate Greenaway, the

nursery rhymes.
illustrator of the familiar
Dress the
children prettily, but do not

refers
make
;
dolls of
them
(this
mostly to
is
little
girls)
childhood, like "beauty
unadorned
adorned the most."
child that
is
be-
decked with silks and rare laces loses that chief

of childhood, simplicity, of
charm
Jenny
and one ought as soon think

of
dyeing the
russet
gown
the dear
in
little
Wren.
but
taste
Few children are unattractive many are made so by the lack of

shown
in their dress
themselves,
good, sensible
in
by those having them

child
silks
is
charge.
neatly-dressed
pleasant sight,
is
but one loaded
down with
and laces
really to
dress,
be pitied.
it is
To
be sure, for a best or
company
is
allowed to have as rich a material as

the parent, but
it
consistent
with the purse of
is
this over-dress-
ing during play or school hours that
is
harmful to the
child both physically and morally.
Physically, as she
of
can take but

ions
little
is
part in the
games
her compan-
when she
;
afraid of
soiling
or rumpling a nice
dress
consequently, she loses that exercise the lack of

effect
which, in after years, will have so damaging an
upon her constitution, leaving
it
fragile
little
and
girl,
delicate.
We
in
have
in
mind
the case of a
beautiful
both face and disposition, who, having lost both
I50
parents
CHILDREN'S CLOTHES
when she was but two
to
years of age, and not
having any near relatives,

to
at least
none that appeared
want
take the
care
of
her,
was adopted by
wealthy lady.
This
woman
never had any children of
her own, so she could scarcely be blamed for trying to
make
the child happy, as she thought, by clothing her
in the richest
kind of fabrics, trimmed with rare laces
and ornamented by broad, heavy sashes.
During the
in cool,
summer months, when
other
little
ones, clad
loose-fitting garments, played about, she sat or
walked
with the nurse-maid in the shade, and watched them

wistfully.
She could not take any part

her clothes, and after a
join
in their
merry
games, for she was loaded with finery and must not
crumple or
soil
little
while she
had no desire
to
them, but would walk by them

gait, in
with uplifted head, manner and
imitation of
some popular
sensibly.
society belle.
Yes, dress the children

for
The world has no place

j
miniature socichildren.
ety belles
it
wants natural, lovable
little
SHORT CLOTHES
The first short dresses for boys and girls are usually made alike. They are yoke slips just long enough to The same reach to the ankles when the child stands. materials may be used for them as are used for the long dresses of infants. These are put on when the
child
is
six
months
of age.
When
it is
eighteen months
dresses although
child
is
old, belts
may
be inserted in these
little
the slips are often continued until the
three
years of age.
CHILDREN'S CLOTHES
or short but just here a protest
151
Fashion dictates whether their skirts shall be long
may be
entered against
the long ones.
There
is
nothing more conducive to the health and
happiness of children than the free use of their limbs.
When
the long
unfolding
skirts are
worn they are

not kick, the
hampered
in every way.
little
The baby can
two year-old
ones have their motion impeded and
the four-year-old child can not run because her clothes
hold her back.
SMALL boys' clothes

Bo3's should wear trousers as soon as
they begin
to run easily.
The Knick-
erbocker skirts must be retained until

they are large enough to run around out
of doors but after that time
small boys
should be given
all
the freedom of move-
ment
consistent
with
the
necessary
fear listen
warmth. Mothers may without

to the requests
of
the little fellows to

It is, of
give up the kilted skirts.
course,
from the commendable desire

boys beg for trousers, but
are bothersome.
to
be
men
that the small
it is
also because their skirts
The
which
tical
pretty little sailor suits with the long

fit
trousers,
snugly above the knee and are given a nau-
spread at the ankle, are the more sensible and
the prettiest suits for small boys.
The union
suits of
152
CHILDREN'S CLOTHES
obtained
in qualities to
underwear, can be
suit
the
various seasons and are the best underwear that can
be provided.
give with every
They are as pliable as Jersey cloth and movement of the body. Long stockings
held by straps which pass over the shoulders and broad
spring-heeled shoes are the proper covering for the

feet.
Little boys' overcoats and hats or caps
should corgiven a cape
respond.
The smaller
boj^s are generally
over the shoulders of their overcoat but boys from nine

to twelve discard this
and wear long sack coats but-
toned up in single-breasted fashion.
As regards dyes
are
for either
boys or
girls light colors
more healthy than dark, since they contain

matter,
less
coloring
and
fast
dyes are safer than those

is a
which fade rapidly.

and
is
Indigo-black
very "fast" dye,
therefore better than blacks obtained from log-
wood.
Logwood has
it
a peculiar effect well
known by
there
is
dyers, in that
ing.
deprives the skin of the sense of feel-
Dyed
materials are least injurious
when
least perspiration
for dresses to
and they should be
especiall}^
avoided
be worn during exercise. White, therefore,

is
besides being the prettiest,

for
the most healthy color
summer and
other dresses.
color, applies particularly
all
This matter, with regard to

to
underwear, but where
it
can be done economically
children's clothing should be white.
The
little sailor suit
shown on the preceeding page

white serge or flannel,
as
is
is
very pretty
made
in
also the little girl's dress
shown
opposite.
CHILDREN'S CLOTHES
DRESS FOR GIRLS
In choosing materials for
ing
care should be
153
girls' cloth-
taken
to
secure
warmth without adding weight.

so that the child
They
should also be inexpensive and strong,
may
not have to be
its
forbidden healthy play lest
clothes
should be spoiled.
No
really
loving
mother
will
prefer the welfare of the
clothes to the welfare of her child.
Woolens
according to the
children's dress.
of lighter or greater
weight
for
season
are
the
of
best
materials
Aprons made
white cambric and

dirt.
pretty ginghams afford all

Girls
needed protection from

twelve
years always
and
misses
up
to
look
well and sufficientl}^ fashionable in dresses
made with
full or
round
full
skirts
and round waists with long

are
coat-sleeves.
They
a
easily
made
quite
and
readily
laundered.
For such
together.
dress
the skirt
is
straight,
com-
posed of two or more widths of material firmly run
The bottom
of
it is
finished
it
b}'
hem about
number
of
at the
four inches deep, and

tiicks,
above
may
in
be a
grouped according
deep,
is
to taste.
The opening
the
back, six inches
made
midde
of the
width, hemmed and wrapped right over
left in
the
ordinary way.
The top
of
the skirt
is
gathered and
sewed oh
to the
waistband of the
body.
The body
consists of five pieces, viz., one front, two backs, and
154
CHILDREN'S CLOTHES
The seams on
scissors,
two sleeves.
the are
the
shoulders and under

stitched, the
arms are neatly and thickly
raw edges
trimmed with the
and overcast either singly
or in the double.
The backs
as
are strenghened by a one-inch deep hem,
and fastened with excellently worked button-holes and
many
little
buttons.
The bottom
of fulness
of the front
is
gathered for a short distance on each side of the middle to give a small
amount
over the chest.
The neck and
the waist
are
finished
by a half-inch
band, often put on with a piping, which greatly adds

to the strength as well as to the neatness.
These bands
may form
up so as
to
cases for tapes by which to draw the body

fit
each individual wearer.
The armeyes
The
are
carefully curved and roomy.

to
They measure
large around
permit free movement of the arms.
sleeves
if full,
are gathered both at the
top and bottom, and

at the
form a pretty
into a
puff,,
and the fulness
bottom
is set
narrow band.
They
are firmly stitched into the
armeyes, the
overcast.
raw edges are pared and then thickly

AN APRON
A
or
child for
all
ordinary occasions never looks neater
more
attractive
than
when wearing
dress.
It
a pretty little
is
pinafore
pretty in
apron
over
her
is
simple
It
yet
shape and
easily arranged.
may
be
made
They
of
print, cambric,
checked muslin, diaper, holabout

at
land or any similar

are always
fabric
to
thirty inches wide.
made
button
the
back.
They
CHILDREN'S CLOTHES
are
155
hemmed
in a
narrow
hem
all
around and tied with
strings fastened in at the sides, in a
bow
it
at the
back
which forms a modest

trimming sewed on
sash.
little
strong lace or other

neatly.
all
edges finishes
SUMMARY
The choice
left to
of
children's
outfitters
;
clothing should never be
nurses
or
but
the
mother, be
she
it
never so rich and

herself, so as to
fashionable, should
that
superintend
be sure
every garment worn by
her
little
ones
let
is
both
healthy and comfortable.
We
out-
must never
grown.
children wear clothes
they have
to
fit,
Boots must always be made
by good
makers, and of the expensive material called glove-kid,
and each child ought
to
have two
in
pairs,
which should be
worn on alternate days,

boot,
order to prevent that mold-
ing of the foot to any peculiarity in the shape of the
which may happen

little
if it
is
worn constantly.
The
ones must have clothes suitable for every

so
that
kind of
weather,
they
may never be kept

fit
indoors because they have nothing
to
go out
in.
They must have changes of clothes in case they come in damp. And last but not least, however great the damage may be to clothes, nothing must induce us to
interfere with the little one's
romping
play.
From
to
the foregoing
it is
clear that the first principles
be obeyed in the clothing of children are the preven-
tion of
undue
loss of animal heat b}^ the use of apparel

it
so contrived that
shall not
hamper
their
movements
and cleanliness.
Both these principles may be obeyed
156
CHILDREN'S CLOTHES
:
equally by rich and poor
for
clothes
may be made
in
even more
easil}'^
on a rational plan than
the com-
mon
sive
;
way, and soap and water are decidedly inexpenbut people must devote time and thought to the
subject.
CHAPTER XIII DRESS TRIMMINGS

BIAS
BANDS
PLAIN
BINDING AND FRENCH
HEM
ROUND AND
PIPING
BANDS
CORD-EDGE DOUBLE CORD-EDGE STRAPS FUR TRIiMMING FLOUNCES PLEATING

BIAS
BANDS
Bias bands and rouleaux are modified or perfected
bindings and cordings.

cross, or bias,
They
are
always cut on the
and form very neat and eleganttrimmings

silk materials, but they are not at all nice
for for
woolen and
washing materials, because they
and always be flattened out

ing.
will often shrink, * of all elegance in the iron-
Very great care must be taken

for
to
cut
the
material
the
bias
exactly on
the
cross,
folding
together
selvage
and raw
edge of the material, then cutting

care
to
along the corner piece thus formed, taking
measure accurately
This can
all
along the width of the
first bias.
afterward be pinned over the material as

as there are strips
157
many times
wanted
they will thus
158
DRESS TRIMMINGS
exactly alike.
be
all
The
strips are next
sewed together
flat.
along the selvages and the seams ironed
beginners,
The sewing on of bias is no easy task, when the material is soft and
puckering or stretching.
is
especially to
limp.
It is
then necessary to pin or tack the bias very carefully

to avoid its
When
must be
the bias
laid
meant
as
border or binding,
it
upon the
right side of the material

it
wrong
neces-
side uppermost, as low under the edge as
is
sary for the intended width of the bias.
It
is
must be
turned
side.
run very straight and even, then
the
bias
down and hemmed

taken not to stretch
allow
itself to
in slip-stitch
on the wrong
In sewing the bias band on the dress, care must be

it,
for
being on
the
cross
it
will
be stitched
It
entirely out of shape with
the slightest pulling.
must be eased
in
sewing
enough
to
make
it
lie
easily but without puckering.

its
Lay
the band with
right
side
against the
it is
right
to be
tc the
side of the skirt or tunic, just above where
when
finished.
Run
the ôwer edge of the

straight,
band
garment
the band.
evenly and
and
without pulling
When
this is done, turn the the

in
band over,
tack
it
smoothly
place, and
hem
the second edge
(now
the lower of the
two) under, on the wrong side

illustration,
of the garment.
site page,
The second
on the oppo-
shows the band run
to the skirt
and turned
over in place.
The lower edge must be turned under
and
hemmed
at the back.
DRESS TRIMMINGS
The
stitched bias band
is
159
made
of a bias
band with
its
two edges
turned in and
Stitched Bias Band
tacked together
It is
one below the other.
then
sewed
to the
garment with the
machine, the mathine stitching following the line of

tacking.
Anothervariety of stitched
bias trimmingis illustrated,
made
Bias Band IN
in
two
half
tO
materials.
is
The upper
Two Materials
doubled
and tacked
of the
the garment.
is
Over
this the
upper edge
second band
tacked
wrong
over,
side upwards.
its
Afterward this band
is
turned
lower edge turned under and tacked in place
as illustrated.
As
a rule, bias
trimmings should be made
of
differ-
ent material than that used for the garment trimmed.
Velvet and silk
make
beautiful trimmings on woolens.
Velvet should never be put on velveteen and woolens
do not look well on woolens, unless they are of vivid

contrasting color or elaborately figured or embroidered.
PLAIN BINDING AND FRENCH
HEM
To make
on the
ing.
plain-binding, you must cut a strip of silk,
bias, of twice the

it,
width you want for your bindit
Double
and run
on the right side of your

to
flounce or
cuff,
keeping the raw edge of your binding
the raw edge of your flounce.
Then
turn the binding
i6o
over,
let
DRESS TRIMMINGS
and
fell it
down on
the
wrong
side, taking care to

side.
no stitches be seen below the run on the right
PLAIN BINDING (nO. I)
The reason why

it
this
binding
is
made double
flounces,
is,
that
so
stands
is
off
with a
for
handsome roundness.
bows and
This
binding
light
most used
and other
trimmings,
while the French hem

i|flfPîfif
suits better
PLAIN LIXDING FINISHED (nO. 2)

for finishing a
dress at the
of
bottom, or for edging a
cape, or the
front
plain cloak.
that
it
French hem
has a cord
is
made
side
like plain-binding, except
at
the upper edge.

of
This cord
is
run
in,
on the right
is
the article to be trimmed, and the strip
then turned over, and felled
down
at the back.
>/^SS
TRIAIMINGS
ROUND PIPING
Round piping
ter IX.
It is
looks simple enough
but
it
is
far
from easy to make properly.
It is illustrated in
Chap-
made
of a
strip
of bias about
an inch
till it is
wide, doubled and folded, and
folded again
round,
when
the edge
must be hemmed down.

twisting, so that the
The
difficult}' is to
prevent
its
hem winds
and
of
round and round the pipe.
This can be prevented only
by carefully cutting the

This kind
silk
on the right
it
bias,
an even width, and by folding

of
with great regularity.

for
trimming
is
sometimes convenient
at
covering hems and joins, for finishing sleeves

wrist, etc.
the
Sometimes
it
is
used for embroidering the
bottom
of the skirt, or the front of the
body
of a
gown
or cloak.
CORD-EDGE
The
cut on
strip of silk or satin of
which cord-edge
called
:
is
is,
made
is
the cross, or
bias, as it is
that
neither
straight
along
by the selvage, nor
off
the breadths,
but between the two.
Cut
in
this
manner, the strip

this
stretches easily, and can be turned
way and
It
that,
without
puckering, as
is
straight
piece
never does.
This strip
generally about an inch wide.

;
should be
quite evenly cut
and several lengths should be joined,
before you begin to
make
silk
the cord-edge.
is
The black
or
white cord, of
the
<si
length required,
;
laid along the

is
middle
folded
of the strip
the upper half of the silk
down over
the cord, and the two thicknesses of
62
DRESS TRIMMINGS
tacked
together, so
as
to
silk are
enclose the cord

to
between them.
that
What you
are
have chiefly
look to
is
your joins
neatly
made, so that they will

an}^ of
neither give way, nor
show
the white
of
the
selvage
and that the two edges
of the silk are
kept so
even as that the cord shall never be

the upper or under side.
left bare, either
on
You
will also avoid leaving
long thread-ends, which will annoy those

the cord-edge.
who
are to use
Cording edge
is
is
illustrated
on page
of
113.
When
or
of
the cord-
to
be
made
merino,
to
any twilled
material,
care
must be taken
running
cut
the strips
on
such a bias or cross, as that the twill

the
may
it.
lie
across
first
cord
instead
of
along
The
looks neat, the latter particularly ugly.

tation,
It is a
temp-
when small
of
bits of silk are lying about, to take

for
any that are on any cross,

the
making cord-edge.
one cut from
left,
But
same piece
cord-edge should be made of strips

cross.
cut all on the

to right,
same
Two
bits,
left
and the other from right
to
may have
if
quite a different shade
they did not come
off
the
when joined, so same piece.
as to look as
DOUBLE CORD-EDGE
learner does this by tacking

a
little
together two single
cord-edges, leaving one
below the other,
more experienced hand makes double cord-edge with

less waste of
time and of
silk.
She cuts the
strips
rather wider than for a single edge, runs
a cord into
each edge, and then, in using the edge, sets the two
DRESS TRIMMINGS
cords on together.
i6j
illustrated on
Double cording
is
page
113.
STRAPS AND BANDS
Straps and bands have

piece of buckram
the silk
;
commonly
on
at
to
be stiflened.
is
therefore cut of
the
same
size as
a cord-edge is set
both edges, and turned

then to be lined with
straps, intended
down on
the
wrong
side,
which
is
a ribbon, or bit of silk.
Some corded
and from
to confine the fulness of the sleeve or
body
this,
of a dress,
are
made without
difficult
stiffening
from being
very narrow, and from being always on the cross, are
more
to
make than waistbands,
which are
always stiffened, always cut the selvage way of the

sil'k,
and sometimes made without cord-edges.
Broad
or narrow,
you must be careful
to
keep your strap or
band
of exactly the
same width throughout.

FUR TRIMMING
The
a
fur
which
is
used to trim the different parts of
dress, cloak, or shawl,
comes
into
the dressmaker's
hands so prepared, that she has

on.
It is
little to
do but
to fix it
sold by the furrier in the proper shapes and
sizes for collars, flouncing,
and bordering.
only at
its
A
If
fur
flounce
is
fixed
upper edge,
b}'
being felled
down,
the lower edge remaining
free.
it is
the fur be in the form of bordering, for edges,
felled
down
fur
at
the
inner edge, like

is
flouncing, and
the lining of the garment
run against the other edge.

lined with
silk,
collar
has
generally to be
164
before
it is
DRESS TRIMMINGS
set on.
It
is
slightly
wadded,
to preserve
the silk from being rubbed
and worn by the leather.

in,
The raw edge

is
of the silk
being turned
the
lining
then run with a double running, against the back
of the fur.
The
collar is
then stitched to the cloak,

is
and the lining felled down, or the join

stout ribbon.
backed by
FLOUNCES Flounces form such

skirts,
a pretty
becoming trimming
for
they
are
alwa5's
regaining lost ground

for
some newer fashion has turned them

from the
possible^
field.
when moment
pinked
There
in
is a
great variet}' of
or with
flounces
trimmed
various ways,
edges
if
the fabric admits.
Gathered flounces on the cross can be
hemmed
or
edged with
of
a bias
band
of another material.
flounce
cashmere cut on the cross looks very pretty edged

silk to
with a bias band of

shade.
silk.
match, or of a contrasting
of
is
The
bias
band could be
bands
striped or fancy
This ornamental binding
put on exactly in
the
manner
of the bias
as explained above.
Flounces on the straight, gathered or pleated, are

very effective bound with braid, a method often pur-
sued for serge dresses.
Gold braid on white cashmere
and
silver braid
on pale blue or pink, has also the

evening dresses.
PLEATINGS
happiest
effect for
Pleatings of
all
kinds must be cut on the straight
of
DEESS TRIMMINGS
the
fabric.
165
material
will
No
pleats
made
of
bias
remain
in their folds.
Cut the strips
for
the
pleating
as
wide as desired
long as the
if
across the goods, and three times as
fin-
ished pleating will be.

ing
is to
In
other words
the pleatthe strip
be one yard long
when completed,
for pleating
in
must be cut throe yards long. Join together

seams,
the
narrow
breadths of goods required to
give this length.
The lower edge

a
of the pleating
may be
or
finished
by
hem,
either
machine stitched
blind
stitched
according to the material.
Silk pleatings should never
be machine stitched, while some woolen fabrics look
much better finished may be hemmed or

of a neat heading.
in that
it
manner.
The upper edge

to
may be
overcast
keep
its
threads from fra3'ing and then turned under the width
There are many patented contrivances by which
made in a very exact and rapid manner, but when they are made by hand, the way is simply and
pleatings are
easily learned.
When
the seams joining the breadths
are stitched they should be pressed
open
flat.
Then
the
hem must
be laid and stitched and the upper edge
turned over and basted.

flat
These should then be pressed

iron.
with a mediumly
warm
Then
"treat
lay the lower
edge
in regular pleats the desired size
and baste them

the upper edge
in place
with
finer
thread.
Then
its
in the
same manner making
pleats correspond with
those of the lower edge.
For pleatings narrower than
66
DRESS TRIMMINGS
all
eighteen inches these two bastings will be

necessary.
that
is
When
this is
completed the
final
and
all
important
is first laid
it,
pressing follows.
A damp
piece of muslin
on the pleating and the hot iron passed over

dry pieces of thin muslin
is
then a
laid
is
on instead
and the
iron used until the pleating
pressed perfectly dry.
The bastings
ment.
It is
of the pleating
is
should not be drawn
out until the trimming
secured in place on the gar-
the best policy to leave the basting in the

is
lower edge until the garment
about to be worn.
pleatings.
There are many
varieties
of
The
fine
knife-pleating, the ordinary side-pleating and the different sized box-pleats are all familiar trimmings and
they are
all
treated
in
the
same manner.
often caught together in fanciful
They are ways and make novel
garnishments, but as these vary with prevailing fashions,
we can
not give space to them in a work of this
kind.
CHAPTER XIV
SPECIAL COSTUMES
RIDING HABITS
CYCLING COSTUMES
BATHING SUITS
DRESS FOR BUSINESS WOMEN

DRESS
ARTISTIC
AND REFORM
TO DRESS FOR THE PHOTOGRAPHER

RIDING HABITS
Many improvements have

dress
for
taken
place
habits
in
ladies'
horse exercise.
The long
when
formerly
:
worn were
alike objectionable
and dangerous
for they
become
soiled and splashed

;
riding on wet roads or
across country
and by catching against chance objects
frequently led to the rider's being thrown or injured.
In case of accidents, also, they were very
much
in the
way, entangling the rider's limbs,

the horse's
and embarassing
movements
if it fell.
The
feet
sible.
skirt should be longer
than just to cover the

light as pos-
and the material chosen should be as
habits
From tweed or serge, much more comfortable can be made than from heavier cloths, and the
is
waist
thus saved from the drag of a

167
heavy
skirt.
68
SPECIAL COSTUMES
of the skirt
For the same reason the upper portion
and
trousers should be well shaped to the figure.
The
wool.
flannel,
tailors.
best authorities declare
that
for riding, as for
other exercise, the body should be clothed entirely in
The The
habit
should
is
invariably be
lined
with
and this plan
successfully adopted by
many
thus
trousers as well as the jacket
may be
lined throughout, and
when
is
it
is
done,
all
the undersuit.
clothing that
is
required
woolen combination
There are many styles of riding habits but

short,
in all, the
scant skirt
is
used,
as
is
also
the
extremely
plain bodice, and the trousers are long enough to strap
under the boot or else short knee-breeches are used

with top-boots.
The bodice
throat, or else
of a habit that will
be always
in fashion
ma)^ have high standing collar

it
buttoning close to the
may have
the "step collar," notched

a man's
and open
at the throat (precisely like that of
morning
coat), for
wearing with a white chemisette

are perhaps
and necktie.
What
the
most acceptable
are
bodices, button ciosel}^ up to the throat, and
can-
vassed throughout, the front edges curve outward, are

double-stitched, and are further rounded
out or fash-
ioned by the tailor's iron.

the cloth of the bodice
is
When made
fitted to
in tailor fashion
is
the wearer, and
bound
in all the
is
lengthwise seams.
The
satin or flan-
nel lining
then
made up
separately, and all its seams
are concealed, as they are set inside.

to
A good
in the
plan
is
add a "corset belt"
in front,
sewed
under-arm
SPECIAL COSTUMES
seams
at
169
at the waist-line; this is
pointed like a girdle
top and
is
bottom
in
front,
has several whalebones,
and
laced closel}^
The
at
close coat sleeves have two
[)uttons
and button-holes
the wrist.
The high
col-
lar is stiffly interlined.
Two
buttons define the waist
line in the back.
The
when
habit skirt
is
about eighty inches broad

fit
at its
greatest width, and the top should
without a wrinkle
the rider
is in
the saddle;
it
drops within two

It
is
inches of the floor
when she
fit
stands.
shaped by
curves and cross cuts to

to
over the right knee, and

Inside the under half
allow room for the pommel.
of the front is a
loop in which the right boot of the

;
rider is thrust just to the toe

is
on the back
of the skirt
another loop, which

;
is
fastened under the heel of
the left boot

liold
it
these loops keep the skirt smooth and
in
place.
The long
trousers are
seated with
chamois, and are attached to a wide satin waistband
shaped out over the hips, which laces

give greater latitude.
in the
back
to
Short breeches have a similar

to
waistband, and are
made long enough

buttoning
button just
below the knees, each leg
differently, that
worn on the right
leg buttoning inside, while that
on
the left leg fastens outside, so as not to

the limbs and the saddle.
come between
and V,
the
reader
will
By referring to Chapters IV. find many suggestions which
will be helpful in adjusting tailor-made habits.
The tweed
weight, and
habits for the country are very light in

cooler for
made
midsummer by having
the
I70
SPECIAL COSTUMES
;
open-throated notched collar

postilion at the back.
they also have a pleated
School-girls have tweed habits

of
made with a Norfolk jacket

the
stiff
narrow
pleats, instead of
bodice worn by ladies.
plain linen collar and simple brooch
accompany
worn
in the
the riding toilette.
The high
of
is
it
silk hat
felt
is
Park, but Derby hats

country.
black
are
worn
in
the
The
hair
arranged in a very small twist or

is
coiled knot or else
in slender plaits placed
round
and round close against the head.
The
thick double-
stitched gloves have gauntlets added, or else they are
closed at the top and buttoned at the wrist, or they
may
be the loose glove, which
is
drawn on the hand

of heavier cloth
easily,
worn large and
is
without buttons.
Hunting habits are made
and should
be especially thick and strong enough to carry the rider
through brambles and over fences without a
tear.
A
is
gay collar and vest

bright scarlet
of
"English pink" cloth
which
are
sometimes added
CYCLING COSTUMES
to hunting-habits.
Cycling
dress of
is
having a salutary
for to ride
effect
on the general
women,
comfortably the dress must
be light and easy in every part.

ing
Heavy
skirts
hang-
from the waist would inevitably produce back-
ache, and tight stays
would be too painful
to
be borne.
Neat, dark cloth costumes, ulsters or jackets, with small

felt or
cloth hats to match, are suitable for cycle
wear, or dresses of those brownish materials which do
not show the dust of the road.
Until cycle riding has
SPECIAL COSTUMES
become more common
will hardl}' care to
for ladies in
171
great towns, tliey
go about in such bright costumes

carriage wear, as by so
as
one uses
for
doing they
would obtain more notice from passers-by than would

be altogether agreeable.
There have been many inven-
tions presented of costumes peculiarly adapted for cycling.
They
refer
almost always
to
modifications in
skirt, the object

all
being to have a skirt which will look

or walking but
right
when standing
which
will also
allow extra fulness over the knees
when
of
seated
and
at
running a wheel.
the right side of
these,
The
the
first
of
these
dresses
show
skirt
is
some bows
ribbon, and
when
the wearer
walking, hide the secret of

all
the dress.
When
is to
she mounts her iron steed,
she
has to do
unfasten some buttons which are cun-
ningly concealed
beneath
the
bows, and at once she

for
C3'cle riding.
It is
has a skirt
perfectly adapted
constructed on the same principle as the riding-habit
now worn, with room

skirt
for the raised knee, so
that
the
does not draw up with the movements necessary

the wheel.
to
propel
is
The
part
which
is
buttoned
over
cut with a deep curve, so that
when buttoned,
in
the bows, which are seen on the right side are
the
center of the
skirt.
The
it,
part
that
was folded over

is
gives extra width to
and the curve which

it
now
in
the middle accommodates the knee as

the riding habits
rises.
Like
lined
is
mentioned, these dresses are
with flannel,
and the ideal way of wearing them
with woolen combination suits next the skin, a stayed
172
SPECIAL COSTUMES
body, fitting closely to the figure to take the place of

stays,
and buttoned on
to this a pair of
knickerbockers
or trousers of cloth to
match the
dress.
;
Of course,
these unmentionables do not

in this
show
but a lady clothed
way
is
better able to
face the risks of accident
than one in petticoats, which are liable to hamper her
movements.
Moreover, this method of clothing gives
a sense of lightness
and freedom which can never be
enjoyed by one dressed in the ordinary way.
Another wheel dress

upper part
plain skirt
of
is
it is
is
more
like a cloak or wrap.
The
made
like a Norfolk jacket to

;
which a
attached
deep kilting
is
inserted the
whole length
of the skirt in front.
When
chic
the wearer
is
seated the pleats are free and

knees.
allow extra room for the
There
is
something very
about this dress,
and
it
it is
suitable for rather cold or wet weather,
when
may be used
as a winter mantle, or to take the place
of that valuable
but ugly contrivance
the waterproof.
dresses are
Although so
all
different in appearance, these
made with
the
same design, that
of providing
com-
fortable and healthy costumes for lady riders.
Tight-lacing must be banished from
the
mind and
;
body
of the
woman who would
ride the iron steed
but
since dresses for cycling should be

as
becoming as well
be
healthy and
comfortable, although room must
allowed to give perfect freedom to every movement, a

really accurate
fit,
such as can only be given
b)^
great
care
is
required.
dresses, while suitable for cycling
These
when made
SPECIAL COSTUMES
in
173
riding,
becoming colors answer as well

Boots or shoes
for
walking
tours and travelling.

for C3'cling should be
made
to
fit
the
shape of the
foot, so
as
to
be perfectly comfortable,
not according to the present absurd fashion, which,

instead of allowing that
movement
in
the toes which
should take place in walking, cramps them together into

a
mangled and deformed mass.
The
chief points
to
be observed in getting boots or shoes are that the toes
should be broad, to allow

foot
;
fidl pla}^ to
the toes of the
the heel,
if
any are worn, should be low and
broad, and under the natural heel, instead of being a

sort of
peg pushed forward right
in
to
the middle of
of the
the foot, like the fashionable heels.
The waist
it
boot, answering to the arch of the foot, should be to a
certain extent, elastic
and the boot, though
should
not press in the slightest degree upon any part of the

foot,
should not be too
large, or
it
will
chafe both
stocking and skin.
BATHING SUITS
Nav}' blue flannels or serges that do not hold
waterare thefavorite materials for bathing

flannels
suits.
much White
and serges are also used, and there are comand revers-colpale blue
bination suits that have a skirt, vest,

lar of striped
flannel, especially pretty in
and white
stripes, or else
dark blue and red, but dark

suit in
sea-blue flannel
is least
makes the quiet
which the bather
disagreeably conspicuous.
Rows of mohair braid,

for
a fourth of an
inch wide, are put on
trimming
in
174
SPECIAL COSTUMES
Four or
six
white, pale blue, or red.
rows are placed

Still
around the
collar, cap, belt, skirt,
and drawers.
is
another pretty trimming for a blue suit
a border of
white flannel two inches wide, with a fence row pattern stitched above this,
of
and
still
higher up are blocks
the
flannel
two inches square.
Sometimes the
edges of the skirt and drawers are cut out in squares,
piped around, and made

contrasting
color,
to
fall
over a pleating of
or white imder blue.
such
as
red
The Breton
vest and revers are
much used with rows

Sometimes
suit,
of white or red braid in clusters across the vest, while
the revers are braided in lengthwise rows.
the entire vest
is
of white or of red wool in a blue
and the belt
is of
a color to match.
The
a belt
favorite bathing suit consists of a long
garment
with the waist and drawers in one, joined together by
on which the
skirt is buttoned.
The neck
is for
is
cut
high, with a sailor collar, but the preference
short
sleeves that leave the arms free for

is,
swimming.
in the
There
sleeves
however, the
choice
of
several kinds of
given with most suits,
viz., the
mere cap
armto
hole, the short sleeve, the half-long,
which reaches
the elbow, and the long coat sleeve extending low on

the
hand
to protect
it
from the sun.
The cap
sleeves
are narrow at the top and lapped
there, but are wider
underneath, and turned downward, so that no matter
how the arm is lifted the armpits are well covered. The waist with a yoke and box-pleats extending
a belt is
to
one
of the
best designs, with
ample fulness
SPECIAL COSTUMES
for concealing the figure.
175
cut \ftxy deep
The
3'oke
is
and
to
square
the
front
across
of
to the
arm and may be confined

while the back has
to
the
garment,
three wide box-pleats from the neck

is
the belt, and
covered at
the top
by the large square-cornered

are
;
sailor collar.
The drawers
sewed
to
the
lower
edge
of the belt of the waist
the front, and are
knee, and plainly

to a
down made large and quite straight at the hemmed, instead of being gathered
they are buttoned
band as they formerly were.

falls just
The
skirt
is
about
two yards wide, and
below the cap of the knee,
and the drawers extend two or three inches below the

skirt.
There should be an inside belt lining
to the
skirt (like that in children's kilt skirts) supplied with
button-holes for the buttons on the belt of the waist.
The outside of the belt does not show the buttons, and may be made of a contrasting color of flannel, or else
trimmed with rows
of braid
;
and
this is so prett}^,
it
and
so effectually holds the skirt, that

to
is
not necessar}^
indis-
wear the canvas belt sometimes considered
pensable.
Beside
the
suit described, bathers
who
are
are
well-
dressed, wear long stockings, either black or matching

in color the suit.
Striped or fancy hose
never in
the best taste.

for those
Ordinary bathers wear no shoes, but

feet
whose
are
tender or
who
desire
to
be
shod, regular bathing shoes
made
of
duck and similar
materials are always to be purchased in cities near the

sea.
The
oilskin cap,
which
is easil}^
procured,
is
the
176
SPECIAL COSTUMES
for ladies
this,
proper head covering

hair to get wet.
of hat or
who do
not wish their
Beside
one requires some sort
cap that will shade the eyes and face.

flat tied
pretty straw
under the chin but with no trimand

is
ming does
water.
this
effectually
not injured by the

prettj^
Ladies
sometimes show very
muslin
bonnets shirred on reeds for the front and with short

capes
and
full
crowns that are very pretty.
These
require to be rinsed out and ironed after each wearing

to be
really presentable.
large full circular cloak
of cloth or flannel
a
should also be provided to complete
bathing
outfit.
This necessarily need not be exactly

suit
itself in
like the bathing
color,
although
is
if
they
correspond,
it is
in better taste.
is
This
worn on the
beach when the bather

aside from
all
not really in the water and

is a
questions of modesty
desirable pro-
tection from
undue exposure and

and
chill.
ver}'^
Little girls wear bathing suits

of the ladies in
similar to those
material
make.
Some machine
embroidery, or else rows of bright braid, trim them.
For boys and very small row
girls, are
one-piece suits with

of stockinet in nar
waist and trousers together,
made
stripes, or else of flannel.
DRESS FOR BUSINESS
WOMEN
engaged
of
in
So
large a
number
of
women
are
daily
commercial pursuits, that the question

has become an important one.
is to-daj^
their
dress
The
it
practical tendency
is
strong in
all
women and
forcibl}- illus-
trated by the popularity of the tailor-made gown.
The
SPECIAL COSTUMES
needs of
177
women engaged
in professional
and commer-
cial pursuits
have undoubtedly been prominent factors

introduction
of this
in the successful
style
of
hand-
some, practical garments.
The tailor-made dress has really been a boon to Its neatness and its durability have business women.
been the greatest possible good to them.
A woman
furbelows.
who
goes to a place of business every day needs to be
well dressed, yet she can not bother with
She needs the assistance of looking well, yet her dress
must not monopolize too much

and strength.
and
ter.
of
her precious time
Consequently,
it is
best for her to adopt
certain set features

it
which
will individualise her dress,
then becomes a very
much
less perplexing
mat-
There are a few general rules which must alwaj'S

:
be adhered to
in the first
place, a
;
business woman's
;
dress must not be easily soiled

it
it
must be well made

in
must
it
fit
it
must not be obtrusive

ver)^
cut
or color,
and
should be of
of
good quality.
There are some
features
so
called
dress reforms that
advantage be adopted, but we can not advise
may with women

is
who
are busy earning their bread to
make themselves
a
conspicuous.
The
first
law
for
sucli
woman
to
be conventional, and assist in reform movements simply

as side issues.
First of all she should decide
upon one color

This
for the
prevailing tint of her whole costume.
IMany do already
is
go to the extreme and always ^\ear black.
not
178
SPECIAL COSTUMES
itself,
an objectionable thing to do in
although one can
be as truly economical and tasteful in browns, grays,
greens or blues, and at the same time not so somber.
The
idea
is,
always wear different modifications and

color,
harmonies of one
as will
and select only such accessories

it.
combine and blend with

Let
it
Let us take brown
as an illustration.
be so arranged that the long

can not do
better
wrap
for
business
woman
than
wear a long wrap, summer and winter

the hat are
the
be
dress and
brown.
Then never
it
let
her
tempted
into buying a color in gloves
that will
not look well
with brown.
When
let
comes
to
underwear, brown hose,
brown
ters.
flannel, cloth or silk
petticoats and
brown
gai-
Never
her forget,
when making
is in
a purchase
or giving an order, that she

find herself
brown, and she will
equipped
for
any emergency.
Then when
she comes to hurriedly dress she can proceed almost
haphazard, and will not in the end find she has arrayed
herself in all colors of the
rainbow, because she has

a heterogeneous
not had time to

lot of clothing.
make
selections from
There
is
another
idea
some
ladies
is
have adopted
always
to
with comfort and pleasure, and that

the
wear
same st3de of dress, with little or no variation This we can not recommend. It is too likely to grow tiresome to both the wearer and her associates, although
one
little
woman
looks well in a round skirt and waist
tied with a ribbon sash,
and another, who-happily has
SPECIAL COSTUMES
beautiful figure, has
179
worn
a princess style of
first
gown ever
since the princess
dress
came
are
in.
There
and that
is
is
one idea we should like

that
to
see exploded,
women who
Trim
out
almost
all
day
should wear
"good, heavy shoes."
They should do
weight
fine
quite the reverse.
fitted, neat, light
boots are what every
woman who works

day in a pair
should wear.
To
too
be in an
stiff
office all
of thick soled shoes,

is
to
allow the natural bending of the foot,

;
too harrowing
and when
it is
it
comes
to
walking six or
eight hours in them,
quite enough to exhaust the
strength of
an
Amazon.
To keep up
her spirits a
woman
a well
should be light and sprightly in her step, and
she can not be that in cork-soled boots.
Let her get
made boot
of
fine
kid with
in
lighter soles,
and
she
her.
wear rubber "footholds"

will see
damp
weather,
and
how
light hearted her light steps will

is
make
A
wear
bonnet
;
scarcely adapted to
It
a business
woman's
a hat is far preferable.
protects the eyes and
complexion, and can be made handsome, though plain.
For wear
dially
in cold
weather a bonnet can not be too corfor

it is
condemned,
so slight a protection
for the
that
it is little
more than the cause

and catarrh.
ARTISTIC
twin afflictions
of neuralgia
AND REFORM DRESS

are
The earnest efforts of would-be dress reformers now directed after a method that begins to tickle
fancy of
ers or
the
women.
Prett}^
women
never took to Bloomin
Dr.
Mary Walkers, but when reform comes
i8o
SPECIAL COSTUMES
No woman
it
the shape of becoming, naj', even enhaacing garb, they
stop to consider
it.
pines to have the

limits,
backache or to only breath within tightened

but any of them will endure
rather than to be a fright.
There are some very dreadful things said about
women
to-day,
and perhaps most dreadful ones about

and corsets.
their petticoats
We
often feel
like chlo-
roforming some of the cranks who prate in regard to
how women
dress.
Take away her

some awkward
corsets
waist,
and she has
to
substitute
stiff
which
is
simply murderous.
left to
Take away her

but trousers?
petticoats and
what has she
wear
She
is
is
likely to get a right to the ballot-
box before she
given the right to appear in them.

agitation will probably end in the
However,
all this
adoption of some modern dress reform, and the giving
up
of Parisian modistes' concoctions.
It is in
the
new tea-gowns
there
or house dresses that
we
see
the influence or fore-shadowings of these newer reform

robes.
Even
we do not
controlled
find
decided indices,
only premonitory symptoms, most evident only in contrast.
The gown
is
by the old established
rules
long-waisted and tight, and witli beautiful long
lines decorated in braid
and cord.
The reform
points
appear
hiding,
in loose, languid folds over the chest
and limbs,
waist-line.
while suggesting, the unconfined

are treated after the
The limbs
same methods, no tapes

delicious
or tie-backs being allowed.

cotton, wool or silk
Soft, clinging materials like
crape in
mauve,
terra-
SPECIAL COSTUMES
cotta or marine hues delight in a reposeful
i8i
manner the
observer's
e5'e.
"We
women
cannot dress artistically," on every hand, plump

are heard deploring.
There never was a more

the beautiful in
is
mistaken conclusion.
While studying
to
dress one soon learns that lean

the art.
estheticism
not
all
You have but
glance at the
women and
to paint
their costumes that

to
Rubens and Titian loved
be convinced there
may
be refined grace in ample
proportions.
A woman
above the average weight and

to
below the medium height need never aspire

a sylph,
appear
but her attire

if
may
strike the
educated eye
pleasantly,
effects,
she adopts tunics showing longitudinal

esthetic colors, and preserves pleasing
is
uses
dim
outlines.
But there
if
one assured
fact,
she will never
please artistically
she squeezes the flesh about her
waist into heaving billows around her hips and shoulders
and pushes her arms into sleeves that remind you
of stuffed sausages.
London struck the new note in the esthetic moveof some years ago. It was pilloried by ridicule at the time, and in some sense it deserved it. So
ment
grotesque and exaggerated were
that
many
of
its
phases,
untid}',
whatever in women's clothing was loose,
ill-fitting,
and of no particular color, was claimed as
"esthetic" and laughed at as the result of diseased or

erratic
imagination.
The power
at its
of the
small school
of worshippers
was
height several j-ears ago, but

After awhile
was then confined
to a very small school.
82
SPECIAL COSTUMES
who
it
ceased to attract attention, and the Philistines,

if
are nothing
that
it
not orthodox and conventional, believe
has been sneered and ridiculed out of existence.

;
But an idea can not die

flourish
if
it is
bound
to
it,
live
and
it
has
spark
of vitality in
and the
it
esthetic idea flourished to
such an extent that
has
created a revolution, and
now dominates every

divides
or
other
fashion in women's clothes, except one, and with that,

the "tailor-made" idea,
it
the honors.
Both
by
these
predominant
lines,
veins,
were
struck
English enterprise
tially
and originality.
the
Nothing essen-
new has come from

is
French since Worth

it
invented draperied dresses, and he,

bered,
must be rememFashion
an Englishman.
has been the lack of ideas.
to
The
difficulty
must have ideas
work upon
to
produce novelty,
to
and others not being forthcoming, was obliged
adopt
the tailor-made idea and the esthetic idea, and b3'experi-
menting upon them, adapting them and applying them,
produced wonderful
results.
By
The
the
new system
of esthetic reform, four
garments
are to be worn, instead of fourteen under the old system.
four articles of apparel are the tights, the vests, the

It
combination garment and the dress.

ments.
line of
It
means fewer
gar-
means garments
body, but
are
that do not destroy the out-
the
It
made
means
in
accordance with
use of
them.
means garments
necessary for
that will allow free

It
the muscles of the body.

of clothing
minimum weight
It
warmth.
means dresses
SPECIAL COSTUMES
suited to varying conditions
ing, traveling, walking,
183
and occasions, as climbfishing, etc.
promenading,
The
are
beauty and advantage claimed for the

that
tlie
new system
is
four garments can be purchased in
dry goods
stores,
and can be easily washed.
There
no band
about the bodv, and constriction from corsets or collars is out of the question.
The weight
freedom
of
is
distributed
in
evenly, and there
is
perfect
movement
every part of the body.
The
They
tights to be
worn with the reform dress cost

each, and
about ten
breaks.
dollars
are not like silk hose,
should last two years. which ravel when a thread

is to
In winter a
lisle
thread sock
be worn
The second garment is a little black silk or inside. The combination garment resemlisle thread vest.
bles the
ordinary drawers
is
and vest sewed together.
The
in
dress
not so great a departure from the con-
ventional ordinary dress.

the evening dress, as
The problem is not so much in the home dresses and street

is made The weight
dresses that will not be too great a departure from the
conventional.
Roughly described, the dress

like the
up something
is
Mother Hubbard.
on the shoulders and not on the hips.
In winter
equestrian tights of
wool are
to
be worn like the old-
fashioned leggings, only that they extend to the waist.
With
thin dresses in
slip,
summer
is
to
be worn a simple
of
white or black
which consists
waist and
Some may wear ecru equestrian five breadths of silk. tights, to which black stockings may be attached.
84
SPECIAL COSTUMES
things are helping this
art
"Two
the
movement
greatly
study of
and
the
study of science," says an

are beginning to understand
all
ardent advocate.
"Women
and apply more broadly the principles underlying

art.
The second cause is the greater demand that is being made to-day upon woman's strength and the
public
character, so
to
speak, of her work.
She
is
coming
she can
into direct competition with
men, and she
finds
that, in order to
keep up with her stronger brother,

herself unduly.
not
hamper
is
Our
first
and
strongest point
the appeal
to the esthetic
and the
to be.
endeavor
to
educate
their
women
for
as to
what ought
We
next
call
attention
to the
manufacture of
First, that
undergarments,
working
two points.
garments should be manufactured so that we could
buy them
as
man buys
to
his
garments and not be
troubled by having them individually
made
at
home.
will
And then we endeavor

Our
third endeavor
have garments that

of
more nearly follow the outlines

was
development.
health side.
the
of
human
figure.
in the line
better ph3^sical
We
The
have not ignored the hygienic, the
fashions of the past have been fully

ugliness
discussed
and special
pointed
out.
That
which was good

upon, and
it
in fashions of the past
has been dwelt
has been shown

the
sistently applied to
how such could be conThe most dress of to-day.

difficult task to
important and perhaps the most
accom-
plish has been the education of the dressmakers."
SPECIAL COSTUMES
TO DRESS FOR THE PHOTOGRAPHER
First decide
185
upon the
style
of
full
photograph you
length.
will
have, bust, three-quarters or a
The
must
larger
the size the

full
more elaborate the

picture
requires
a
toilette
be.
length
fresh,
perfect
gown.
Wear and hard usage show

graph.
very plainly in a photo-
The gown need not be

it
of expensive or
handsome
material but
must be comparatively new and unworn

photograph.
it is
to get a satisfactory
So
far as color is
concerned
rather unimportant.
Black, dark
nearly the
green, crimson,
brown and yellow take

light shades of
same shade and white and
color reproduce in a similar manner.
The photographer
circle,
will probably request
you not
to
dress the neck too high or too tight, or in an exact
with the fore part of

for,
it
lying
close
under the
chin,
of
is
all
things, the
to
high mode of dressing
the
It is
neck
distressing
an artistic photographer.
a short
done because the lady has

it is
neck or a long
It
one, or
is
thin and the cords must be concealed.

it is
done, for
the fashion.
This
is
all a
mistake.
it,
You
there
are surprised
is
when
the photographer says

tone.
of
for
a touch of bitterness in his
He
illus-
trates his
meaning by winding the lapels
his coat
tightly around his neck.
"You
It
see,
madam,
the effect
on a long face like
my
own.
overhangs and becomes
almost deformed, while a round face becomes buttonshaped, and none of the
or expression can
little
it.
tricks
of
hair-dressing
a
remedy
No;
it's all
mistake.
86
SPECIAL COSTUMES
is
If
your neck
short, as
you
say,
do not lose what

judicious bor-
you have, lower the drapery, do a

rowing, and, presto
oval.
all
!
little
the face that was round becomes
In any case the neck must not be hidden, for
the action and grace of position in a bust portrait
centers there."
dress cut low in the neck always
seems much
higher in a photograph than to an observer.

is
masculine face
softened
of
and refined by a
soft
neck dressing, a bit

stiff
lace
being preferable to the
standing collar.
It is
always best to secure in advance a time
for
your
the
it
sitting,
when making
to
the
appointment
consult
photographer as
is to be.
your
dress.
Let him know what
use.
It
He
of
will
You may be undecided which of several to then may be a choice in color or in cut, etc. you at once which is best. He may tell
request you to try more than one, and in the absence
such invitation, you will be expected to pay extra
for the experiment.
While you
he
also
are talking with
him
about dress, he
is
studying your face, expression, and be an

artist
form generally.
enced,
If
and expericustomary
strange
he
may
see at
a glance that your
way
as
it
of dressing the hair is
not becoming,
for,
may seem, comparatively few women have the ,knack of arranging their hair in the mode demanded
by their
face.
While he knows
that the portrait

in
must
not be ruined by the hair being done up

miliar way, he
gestions.
an unfa-
may
yet give you a few invaluable sug-
For
instance,
he
may
request
you
to
be
SPECIAL COSTUMES
more
careful in dressing the left side
left
187
than the right,

is
thus signifying that the

ter.
side of the face
the bet-
Few have both

or a little
lid
sides alike.
There
is
often almost
as
is
much much
difference as between
to
two persons.
;
The nose
is
one side
;
one eye
is
smaller,
because one
droops more
there
depression
over that spot where a tooth has been extracted.
The
uneven shaping
side of the face
of
the lips alone
may
decide which
should
be
prominent.
there
You laugh
is
rather to
one side
and
by-the-bye
always
something pretty about such a laugh
and
of him.
you have
But, as
developed a dimple, which, sad experience teaches

the photographer, will be
it
demanded
fail to
happens sometimes, he may
detect the slightleft,
est difference
between the right and
but he
still
requests you to take special pains with a certain side

of the hair, as
he prefers to show that side of the

in
face.
This
is
because
every atelier the light

at the other,
is
better at
is
one end
of the
room than
and he
accus-
tomed
to place his sitters there. to

sit, is
Now, and not when
you come
you prefer.
the time for you to tell him what

a three-quarter face, or a front
You wish
;
view, or a profile
of
jôu
have studied the idiosyncrasies
your face for years, and have so decided.

searched out
He
all
lis-
tens respectfully, but his eye has

little secrets of
the
anatomy, and fathomed your hidden

so.
reasons for thus and
In keeping your appointment be punctual.
few
late.
minutes too soon
is
better than
one minute too
88
SPECIAL COSTUMES
yours, strictly, until you return from
justified in locking the
The toilette-room is
your
sittings,
and you are
door
with
and retaining the key.

you, but do not use
it,
Take your own powder
unless you have studied "mak-
ing-up" for the stage.

will
good theatrical "make-up"

trifle
photograph well
rouge and a
of
darkening
in bring-
around the eyes, especially the eyebrows, aid

ing out the features, and do not show.
Under ordinary
will
circumstances,
however, the
better than
photographer
use
your powder
it
much
you can.
If
he uses
at all,
it
will
be upon the hair alone, which generally

it
takes several shades darker than
is,
particularly with
yellowish or auburn casts.
Remember
you can have
that a bright sunlight

for a
is
the worst light

if
photograph.
;
Choose,
possible,
excellent.
a day with an overcast sky
snowy day
is
The
early part of the day

a.
is to
be preferred, say between

then the light
is
the hours of lo and 12

actinic,
m., as
more
and the photographer has not been wearied.
CHAPTER XV
DRESS FOR HOME AND FOREIGN TRAVEL
DRESS FOR HOME TRAVEL DRESS FOR THE FAR
DRESS FOR SOUTHERN TRAVEL EAST DRESS FOR OCEAN TRAVEL

for
DRESS FOR HOME TRAVEL
traveling costume
wear
in
the north, east or
west of the United States, has long since ceased to

differ
from one's shopping

seen
gown.
The fashionable
are
woolen dresses
on
our
streets
admirably
adapted to ordinary traveling.
The most important matter in regard to a travelinggown and which is often overlooked is a comfortable fit. The bodice should be especially easy fitting. The arms-
eye and the sleeve should be sufficiently large and roomy The linings of both bodice and not to bind the arms.
skirt should
silk
be of the lightest weight, and consequently

are
linings
especially
desirable
for
traveling
dresses.
The
what
color of such a costume
should be governed by
is
becoming
to the wearer's
complexion, although
go
DRESS FOR HOME
dark shades of gray and blue have been found to stand

the dust and moisture better than other colors.
Brown we
are told,
it
is
a most serviceable
color but
of pleats in
experience declares
grows faded on the tops

of
and spots with a good deal

finest
alacrity even
the
and most expensive
fabrics.
Black, except in silk does not

ing dress
;
make
good
is
traveltryis
it
grows dusty and rusty and
most
ing costume to a tired

the freshest.
woman, unless her skin
of
Women
with chestnut hair and fair complexions can
always wear the pretty shades of blue.

very serviceable.
This color
is
In darker shades shot with lighter

it is
color or striped with hair lines in clusters,

lent choice.
an excel-
Sand grey
and
is
is
another color which wears admirably
usually becoming.
it is
With
bag, strap and belt
of russet leather
an elegance.
DRESS FOR SOUTHERN TRAVEL
Unless one goes out prepared for certain peculiarities

of the
Southern climate and customs, she

to grief.
is
sure to
come
This
very
cold
There prevails
in the
North
a poetical
notion of the South as the land of sunshine and flowers.

is
true in
summer, and
in winter the
South has
warm days but it has intervals of cold. These days are so damp and so pervasive in their
to bear
dampness, they are harder

of the
than the cold days
North that are so brisk and sharp.

is
There
no Southern climate which
is
continuously
ND FOREIGN TRAVEL
191
as a whole, the
and evenly warm during December and January. Taken South during those two months and
first
the
half of February is rainy, chilly,
foggy any-
thing and everything but "sunny."

olinas,
Georgia, the Car-
and the
rest of the
middle Southern States have
nights almost every winter
below thirty-two degrees.
when the mercury drops The spring months from

are ideally pleasant
;
March
to the
middle of
May
warm
but
for
the Northerner going South should be prepared

cold, carrying plenty of to ers
clothing.
It is
well also
have a few rugs

are very frugal
in a party, for
Southern hotel-keep-
with their blankets and but few Southern houses are provided with chimneys, so that one could have a fire in her room. Consequently, the traveler South wants to be supplied with extra flannels
and with light weight woolen dresses and fur wraps. Cashmeres and light weight cloth, in light colors and
white make the most tasteful and comfortable dresses, and soft India and other silks are among other fabrics,
tourists in that part of the
country have found most
useful and popular.
One has always

are
to consider
that stout, loose
shoes
of the
it
most needed
is
in
Southern
travel.
The land
it
orange
is
the land of sand.
Where
is
not sandy
muddy.
DRESS FOR THE FAR EAST
We
in
are indebted to one

for
who has been long
resident
China and Japan

for the
an extended account of dress
required
far
Eastern countries.
"Few," she
192
DRESS FOR HOME

have spent some time
in
says, "unless they
China and
Japan, realize the difficulties attendant on the selection

in
America and Europe
of a suitable
wardrobe
for the
peculiar cliniates of those countries.

is
The
difficulty
much enhanced by
the variety of climate each of the

hints
foreign settlements offer, but a few general
may
prove useful.
are brides,
Generally new-comers
bring from
at
who
among the ladies home such a trousseau as

to
they
would require
home, only
learn
by sad
experience that
less.
many
of their prettiest things are use-
In
Shang-Ha'i the winters are cold, also in Yokofind
ama and Kobe, where one woidd

Indeed, the winters
of
furs
agreeable.
may be
fairly
compared with those

in
Baltimore
and Washington
temperature.
In
Canton, Hong-Kong, and the south of China heavy
autumn clothing only

more feeling
of cold
of the country than
will be necessary
hardly
that
coming from the great dampness

from the temperature.
In Japan
furs are always agreeable in the winter, although
snow
and ice are exceptions.
The spring and autumn need not be considered, as, like the dawn and twilight, Nature has omitted them
from her time-table.
For summer
number
of
washable lawns, muslins,
nainsooks, or batistes and ginghams, simply
made and
without linings, are the best.
Any
it
dress that can not
be done up by the
unless the lady
is
home
laundress must be omitted,

herself; and for the
willing to do
AND FOREIGN TRA VEL

same reason
fine laces
193
should be avoided, embroidery
being the most serviceable trimming.
Again one needs a much larger
suppl}''
than at home,
as the intense heat renders frequent changes of dress
necessary.
These washable white dresses are usually

all
worn
in
the smaller settlements at
dinners and
;
evening entertainments in the hottest weather

larger settlements all
in the
entertaining
is
abandoned because
and comfortabl}'.
of the difficulty of dressing elegantly
One
needs several light white, pink, or pale blue nun's
veilings or cashmeres for cool weather tennis and calling, or afternoon
teas
ball
some
ladies
wear nothing
else.
For evening or
or grenadine,
dresses one or two lace, gauze,

silk or velvet for winter,
and one heavy
are all that are needed.
Dinner dresses should form

other
the pieces de resistance of the wardrobe, as dinner-giving

is
by
far the
most general way

between.
find
it
of
entertaining
entertainments, with the exception' of tennis

are few
parties,
and
far
Most ladies
ones, to
advisable, especially
the elder
make
the dinner and ball dresses mutually
convertible.
In the large ports, such as

is
Hong-Kong,
and gay
Shang-HaT, and Yokohama, there

society,
a large
and there one needs as elaborate a wardrobe

will allow, but
is
as her
means
in
the smaller ports an

;
extensive wardrobe
mere
folly
and
most ladies
confine themselves to two or three simple evening or
dinner dresses, and wear them continually until worn

out
;
for in a small place
one meets the same people
194
DRESS FOR HOME

so, as in a family, little
morning, noon, and night, and

regard
is
paid to
the number and
variety of dresses.
As there
are few or no concerts, theatres, etc., and

the}' are
when they occur
attended in
full
dinner dress
without bonnet, the number of street dresses should be

limited, one or two
for
the
season
being
an
ample
supply.
It
should be remembered in making selections that
such conveniences as the professional cleaner and dyer

or the fine
French laundress are not
to
be had, and
that the freights to and from America and
Europe are
too high to admit of sending anything but gloves

to be
home
done over.
is
In hats for winter wear one's choice
unhampered,
the wearer,
and only governed by the suitability

but the choice for
to
summer
is
not so
all
free,
owing
to the
great heat and glare, so that

as
much
as
possible large
who can should wear brimmed or sailor hats.

is
Curled plumes should be avoided, as the hot

the
always
damp
season, and the plumes soon lose their crinkle.
large
supply of pretty fancy ribbons for dress
loopings, and sashes for

useful and necessary.
wash
dresses, hats, etc.,
is
very
Gloves are one
of the
bugbears of the far East, the
climates as a rule being so

not stiffen and crack,
it
damp
that
if
the kid does
is
apt to mould.
Great care,
however,
will
avoid
both
misfortunes.
for
The
writer
in
having kept gloves successfully

following way, can confidently
two years
the
pre-
recommend these
A ND
cautions
of
:
J'
ORE J GN TRA
'1
95
Wrap
the gloves in tissue-paper, with a layer

its
paper separating each glove from

sunning them well.
fits
it
mate or neighin a tin
bor, after
Then put them
case the cover of which

inches, and so
over the box about three
closes
lid
air-tight,
having previously
all
baked the box and

insects or fungus
in
hot oven to destroy
germs
the}'
may have
contained, and
allowed them to cool open.
Close the gloves in this
way, and repeat the operation
once in six months,
and gloves will keep.
One needs a selection of street and evening Suede kid gloves, some dog-skin walking gloves, for mountain
or country
wear
chamois-skin
of silk
gloves are equally good
and
to
good supply
and evening.
gloves for
it
summer wear
is
in street
After wearing,
better
to
keep gloves
in a light basket, unrolled, as
they are apt
mould
in a close
box or drawer.
of life in
Shoes are among the weightiest problems

the East, and the
'welly
number
is
of
Chinese who can make a

light
of
good shoe'
astonishing in the
the
universal complaint.
boots, house
A good
supply of strong walking
and dancing shoes, and slippers, can not

as
be too strongly urged, as well
the
precaution of
leaving one's measure with a competent shoemaker at
home.
The measure
as
all,
left at
home should be made

warm months
is
for
loose shoes,
feet swell so
without exception, find that the

of the year as
during the nine
to
make
a formerly good-fitting shoe extremely
uncom-
fortable.
Strange to say, the swelling
more notice-
196
able the second
DRESS FOR HOME

summer than
in
in the first.
All
unworn
shoes must be kept

described.
the
tin-lined
chest
hereafter
Anything
pretty
in
stockings
and handkerchiefs
forms an untold addition to one's comfort, as only the

simplest of those articles can be bought in these countries at
anything but extravagant prices,

at all.
if
they can
be had
Fans, parasols, and umbrellas should be chosen as

unlike as possible to the Japanese styles, as the old
adage regarding the "honor
of a
prophet in his
own
country" was never more forcibly illustrated than in

this matter.
One should
strictl}^
avoid
all
pseudo-Chinese or Jap-
anese styles in selecting the wardrobes, for the important

reason that living in a country with as marked schools
of decorative art as the
Chinese and Japanese, one

b}'
is
inevitably and unconsciously strongly influenced
the
all-pervading stvle, and so anything which differs from

it
forms a pleasing and refreshing break

Again,
it
in the
monot-
ony.
styles,
if
one must have Chinese and Japanese

until
is
better to wait
the articles can be
chosen in the best markets, where varieties and beauties
undreamed
of in
America and Europe can be had
at half price.
Owing
to
the
intense
is
heat, a
dozen, at
least, of
everything in underwear
advisable.
Muslin or linen
;
for the drawers, chemises,
and petticoats
heavy merino
AND FOREIGN TRA VEL

vests
197
and drawers
for
for winter,
and the thinnest wool
gauze vests
summer, are required.

is
For summer under-skirts, nun's veiling

material.
the best
is is
In
all
under-clothes fine lace or puffing
troublesome to have done up.

cheap,
it is
Although washing
hard to get
is urgentl}?'
fine
work done.
;
One
to find
thing
recommended
that each lady

It
is
bring witli
her a well-fitted waist-lining.

tailors
easy
the
native
everywhere who
sailors'
will, like
Chinaman who copied the

utterly unable to
breeches even to the

3êt
patch in the seat, copy a dress exactlv, and

fit
are
a person without a pattern.

care, as
all
Rubber goods should be chosen with

a very short time.
some-
thing in the atmosphere rots and cracks
rubber in
Every lady must expect

her
arrival
to provide herself
soon after
with
a tin or
to
zinc
lined
camphor-wood
from
chest, long
enough
hold her best dresses unfolded.

for
Such boxes can be made by native carpenters

seven to twelve dollars (silver).
From
ders,
is
the wardrobe to the toilette

for
is
but a step, and

of
the recommendation
good supply
face
if
powone
soaps, cologne, and perfumes, especially

to use
onl}^ special
accustomed
kinds
may
;
be par-
doned, as well as the following.

Stationary,
is
much and varied,

or, as
is
a necessity
everj^thing
done by notes,
unlimited
they are called, "chits;

of
hence
an
number
notes,
invitations,
regrets,
acceptances,
inquiries, thanks,
etc., are
always being
ig8
DRESS FOR HOME

;
exchanged even the orders

those
is
;
to trades-people necessitate
so that a varied assortment of papers and cards
a comfort.
Most notes are sent by private messen-
ger in a chit, or receipt-book,
which
is
returned.
it
Custom-house duties being merely nominal,

easy to
France,
is
import
all
that
one wishes from England,

the
Germany,
and
United
States
by
the
steamer lines running

rials for
to those countries.
oil
All the mate-
drawing, painting in
or water colors or on
china,
embroidery or fancy-work, and music of any
kind, must be imported."
DRESS FOR OCEAN TRAVEL
Woolen
with as
rect
dresses
made
in the prevailing
fashion and
the cor-
little
ornamentation
ocean
travel.
as
possible are
is
gowns
it
for
If cloth
used for
the
dress
should be more than carefully sponged before

that
making up, so
dampness can not

is
affect
it.
Flan-
nel treated in the
same manner
also an excellent fabcloth,
ric for these dresses,
Tweed, cheviot and suiting
in not
too heavy quality,
make
the
finest
and most
dressy ones, however.
The
best dressed ocean traveller will provide herself
with a wrap of the same material as the dress.
This
may be
a long close
fitting
coat
or
it
may
be only a
jacket just as the wearer considers most
becoming and
be required
all
most fashionable.
Other heavy wraps and rugs
for the V03'age,
if
will also
the voyager
is
not confined
the
trip to her state-room.
But
for pleasant bright
days
AND FOREIGN TRA VEL

the jacket or coat, as tbe case
is
199
may
be, will be all that
required for the daily promenade on deck.
soft
felt
hat or Tarn
o'
Shanter cap
makes the
at
proper headcovering.
This can be thrown aside
will, or drawn over the eyes, to one side or the other
of the
head as the sun or wind demands. An ocean steamer is not a good place to indulge
boots.
in
worn
Neat, snug fitting ones are quite neces-
sary, as the feet are as

ter as the tidiness of
much an index
revealer
of
to
your charac-
your hands, and the deck of an

them.
afford
ocean steamer
is
a great
Woolen
the
underwear and black
silk petticoats
most
protection during the voyage and do not soil easily.
There
is
no need
for
on board ship.
regular
traveling
One gown
it
other dress
to
many changes of dress while may be added to the

be carried in
the
little
steamer trunk, but
will probably never see daylight,
as ladies are not expected to

toilets.
It
make dinner
or evening
need only be carried for use

first
in case of seri-
ous accident to the
gown.
A pretty dark woolen wrapper or tea gown will be required for use in your state-room only, and be sure
have a large number of fresh handkerchiefs and your full supply of toilet appointments.
to
When
little
traveling in
is
variation
England or on the continent very made in dress. It is the same one

However, the matter
matter.
of
requires in America.
is
luggage
those
much more important

baggage
are
The charges on
to
extra
enormous compared
in
America, and the traveller should be governed thereby.
CHAPTER XVI
MOURNING
MOURNING FOR WIDOWS MOURNING FOR A PARENT, CHILD OR SISTER children's AND SCHOOL-GIRLS' MOURNING COMPLIMENTARY MOURNING SECOND MOURNING FOR THE NECK
MOURNING FOR WIDOWS
The mourning worn by middle aged widows

deepest worn by any woman.
rials
is
the
Fashion dictates mate-
from season to season, but lustreless cloth heavily

is
trimmed with crape

families
the orthodox fabric used.

is
In
where
stuffs
crape
considered
unwholesome
woolen
without lustre, such as serges and camels-
hair cloths, are used.

either.
They
are not so costly as crape
For winter these serges and cloths are deep

for
mourning, while
veiling and
warmer seasons, tamise
cloth, nun's
iron-frame grenadine are proper fabrics.

this
Widows wear
years,
deep mourning for one year, two

according to circumstances and
and often
for life
their
own feelings on the subject. The severe designs denominated tailor-made are The plain especially suitable for mourning costumes.
MOURNING
round
is
201
to
fit
skirt
and pointed basque, made

style.
perfectly,
the design always in
Around
the
bottom
of
the skirt deep folds of crape are added.

this fold or
For widows
introduced on
band
is
sometimes as wide as half the

Folds
of crape are
depth
of the skirt.
the bodice and sleeves

to the taste
more
or less profusely according
and age
of the wearer.
The more
ings.
elegant of mourning dresses arc
made
lin-
over silk foundation skirts
and with
silk
bodice
Wraps
made
to be
worn with
first
mourning dresses are

Jackets, long
of the
same material
as the dress.
cloaks or short mantles are alike in good taste for such
garments.
For winter they must be warmly wadded
and lined.
taste.
Any trimming except

of
crape
or
is
not in good
Fur or embroidery
silk
passementerie
should never be used.
In the coldest climates of the
United States fur garments are absolutely required but

fur-lined cloaks are to be preferred to sealskins in such
instances.
The widow's bonnet
varies
in
shape as
do other
.'ashions l)ut its characteristics
should always include

in
small size and the utmost simplicit}'
make and
of
ornamentation.
front to
The widow's
veil
is
long enough in
the
come
to within eight
or
nine inches
bottom
behind.
deep.
of the dress skirt
and to hang half
this length
The hem The most
sliould be fifteen to eighteen inches
costly and
handsome
veils are of
crape, but they are not the
most durable.
Nun's
veil-
202
ing
is is
MOURNING
liked and
much
used.
It is
much
lighter
and
not so easily affected by dampness and dust.
MOURNING FOR A PARENT, CHILD OR SISTER

For mourning
the
as
for a parent, child, brother or sister
for the first
same materials are employed

use.
It differs
mourning
widows
it
from the widow's dress in
that
may
follow prevailing st3des in cut and trimis
ming.
terie is
Crape
used as velvet, ribbon or passemen-
on colored costumes.
The mourning bonnets
should not be so severe in shape and the veil worn

will be
much
shorter than for the widow's mourning. In
these cases the veil extends only to the knees in front
and
to the waist at the back.
This mourning for a parent,
brother,
or sister
is
worn
for
one year when
it is
lightened by black silk
without crape.
child
it
When
it is
mother mourning
for a
should only be worn nine months, and during
only three months of the nine should the crape, less
deep than
for
widow, be worn.
Then
for
the six
months following black dresses only should be worn.

children's AND SCHOOLGIRLS' MOURNING
School -girls in their teens have seldom more than

the
first
dress
trimmed with crape and afterward wear trimmed with

braid.
It is
flannel, serge or cloth
always
most deplorable when childhood must put on mourning

and
it
should
at all
times be
made
as light
and
of as short
duration as possible.
of
Their dresses are simpl}' made
serges and homespuns, without the fragile crape
MOURNING
unsuitable
for
203
trimmings that are so soon defaced and are always

children.
Their black hats of
felt or
straw are always trimmed with black feathers or jaunty ribbon knots in as coquettish a manner as their little
friends wear in colors.
or jackets should
Custom demands
their cloaks
little
be black and with very
orna-
mentation.
COMPLIMENTARY MOURNING
The mourning worn

nections
for distant relatives or for
conis
by marriage, complimentary
all
mourning,
merely
black garments \\orn ordinarily by those
who
kind, cashmere
mourning at all. For dresses of this trimmed with braid or silk, grenadines and lace or silks trimmed with jet ornamentation, are
are not in
mourning by wearing pure white dresses for pretentious occasions. Rich lustreless silks are those perferred by elderly
this
used.
The younger women vary
women for
the
same purpose and trained

such
toilettes.
skirts
add much
to the dignity of
The same
rules hold
good
this
in regard to the hats
and
bonnets worn during
period.
Felt
and
straw-
shapes with lace, feathers and other fashionable accessories are permissible, although black must always be
their hue.
it is
Crape
is
not used in such instances unless
otherwise fashionable.
SECOND MOURNING
Strictly speaking, second
mourning consists
of the
same mourning assumed
for
complimentary, but the
204
MOURNING
Is
dead black
soon relieved by the adoption
of
gray,
purple, lilac and heliotrope.
These colors are more
generally preferred to combinations of black and white
which are also
in
accordance with the
strict
rules of
second or half mourning.
For very elegant second mourning
toilettes, jet
is
and
embroidery are sometimes introduced but lace

second mourning when lace
never
considered mourning in any sense of the word.

in light
it is
Even
is
used over white,
not in the truest idea mourning.
Gold ornaments
should never be worn with any kind of mourning.
While we can not sympathize with those who demand

black underwear as necessary to complete deep mourning, still
it
is
in the best taste to discard
white petti-
coats, substituting black silk or worsted ones.
FOR THE NECK
White
is
often
worn
at the
it
neck and wrists in the
deepest mourning, as
is
considered by some very
unwholesome
small
flakes
for black crape to

its
come
in contact
with
the
a
the skin, on account of

that
dye, and because

it.
of
escape
from
Widows wear
Byron collar and deep outside

with a
cuffs of
white organdy
hem
an inch deep
in
these, with a small white
tarletan cap
only.
Fanchon shape,
worn by those
are used
by widows
Two
or three bias folds of white canvas or of

are
in
crepe lisse
mourning
for parleaf
ents, brothers, sisters, or children.
There are also
scollops of lisse in two

folds.
or tliree
rows, and plain piqud

for the neck,
Those who
insist
upon black
how-
AWURNING
ever, use bias folds of canvas grenadine or of silk
lin in preference to crape.
205
mus-
Common-sense and decency should

gradual discarding of mourning.
characterize the
lisse
at
Crepe
the
neck and wrists leads the way to second mourning.
lighter veil succeeds the heavy crape one, before the

veil
is
absolutely discarded.
And
in
such
gradual
transition the changes should
be effected.
CHAPTER
XVII
BRIDAL OUTFITS
SEASONABLE GOWNS THE VEIL BRIDESMAIDS' DRESSES FOR QUIET WEDDINGS THE BEST DATE BRIDES' TRAVELING DRESSES THE GENERAL TROUSSEAU
SEASONABLE GOWNS
The morals
of fashion in
taste. at a
weddings should always be
governed by good
There should never be anymarriage ceremony which can
thing done or worn

in
any way make the ceremony light or ridiculous.
The
dress and attendants of the bride should be in

in society.
keeping with the season and her position
At a June wedding the dress of the bride should be

of the thinnest
and lightest material.

it
If
she has a
great deal of real lace, let
be put over
the thinnest
white crape or gauze, and her veil should be pinned
on so that
it
will not be too
heavy on the head.
As
laces
for the bridesmaids,

;
they can not have prettier
dresses than white lace
the white dotted or imitation
which can be washed make very pretty and not
too expensive dresses.
BRIDAL OUTFITS
But the fashion
country,
is
207
in the
for
June weddings, especially

eccentric, and
always
somewhat
permits
dresses of percale, brilliantine, muslin, and other sum-
mer
tier
materials.
Round
hats crowned with flowers and

in order.
little
bonnets are also
Nothing can be pret-
than a bridal group arranged by an artist so that
every bridesmaid makes a picture by herself.
The
old
fashion of hiding a silver coin, a thimble, and a ring in

the cake has been revived.
will be
is
first
married; the
The one who gets the ring one who gets the thimble
assured of single blessedness; the fortunate possesor
of the coin will
have great wealth.
At a December wedding the bridesmaid carries a

large
bunch
of holly with glossy leaves
and red
berries,
sister of
the flowers then in season, just as the eldest

this bride
might choose Easter
lilies for
her maidens, in
Easter week.
For the midwinter wedding the ten ushers

for
might wear white hyacinths

satin scarfs,
bcutonnieres, white
and pearl scarf-pins; their pearhcolored
gloves have wide stitching in pearl-color, and are precisely like tnose
a
worn by the groom.
The
bride carries
prayer-book with soft white leather cover and a "posy"
of
long-stemmed Parma
violets.
Her gown being
of
a
white silk muslin over
satin,
the tulle veil
may have
for
wide lace border.

Satin, soft repped
silk
and lace are used
the
in
most luxurious wedding dresses.

her
life
At no other time
docs a
woman want
if
to
be better dressed than
on her wedding day and
she has wealth and social
2o8
position,
it is
BRIDAL OUTFITS
perfectly proper to wear as elegant
as
and
beautiful a
gown
money can
it
provide.
Yet an extravais
gant display, where
cannot be afforded,
in social life.
one of the
most unseemly spectacles
However,
costliness
in
dress does not alone
make
beautiful bride, there are

tiful fabrics that
many simple, yet most beaumay be used for her robe. Mull and
Tulle dresses are often sug;
crape are both available.

gested for the
costly and
crape.
same purpose
but
if
well
made
either
the}' are
more
is
easily spoiled
than
mull or
belongs
Where
its
there
a lace flounce in the family,
it
to the bride, as a matter of course, but for
young women,
omission
is
never noted.
THE VEIL
Tulle veils are preferred for very young brides.
veils are
if
it.
Lace
seldom becoming, but,
like the
lace flounce,
there
is
one in the family, the bride generally wears

yards and one-half wide
The
tulle for veils is three
and should be long enough

train.
Its
to reach to the
end of the
If
edges are evenly cut and not hemmed.

is
the train of the bridal dress
cut rounded, that end of

train.
the veil
is
curved to follow the outlines of the

the veil
is
small piece of
generally worn over the

of
is
face until the
ceremony iscompleted when, the maid

in raising
it.
honor assists
The
fulness of the veil
massed
It is
in a small
space just over the bride's coiffure.
fastened by either jeweled or simple long pins.
In
Germany
the tulle veil
after
the
ceremony
is
BRIDAL OUTFITS
divided up and carried away
to
b}^
209
the
unmarried guests
in
dream
on, as
we do on wedding cake
bridesmaids' dresses
America.
A
style
It
bride alwa3^s suggests the dresses for her bridesis
maids, and the greatest latitude
allowed in their
and material.
may
be she will decide to be accompanied
b}'
two
small girls,
who walk just
before her to the altar.
They
Or she
should be dressed in quaint and picturesque fashion
and be supplied with
fresh, delicate
little
flowers.
may have
to
instead,
two
boys, dressed as pages,
either to walk immediately behind as train-bearers, or
precede her, as
if
to
make way
for the bride.
But the
importance.
is
stately
grown-up bridesmaids are of more

finely dotted net called point d'sprit
The
a beautiful material for
their
dresess, at
least
for
the skirts, while the waists
may be made
This net
in silk, satin or
some other heavier

sive
fabric.
is
very inexpen-
and
is
very effective trimmed with either lace,
ribbon or flowers.
China
silk
and the China crapes which always drape so
beautifully are delightful
gowns
for bridesmaids.
it
Where
colors.
there are six, eight or ten maids

ion to have
is
an effective fashdifferent
them assume
violet.
in
couples,
For instance two maids

two blue and two
ma}''
wear pink, two yellow,

carry flowers of
They should
their respective hues.
Large hats or picturesque bonnets are sometimes
worn by the bridesmaids with beautiful

14
effect,
and again
2IO
BRIDAL OUTFITS
the bridesmaids prefer demi-trained dresses, short
of
tulle are
when
veils
skirt.
worn reaching
half
way down
the
They
are usually fastened on with pins and no

hair.
flowers are
worn on the
of the
Fashions
day must dictate regarding the gloves

an'd
and shoes worn both by the bride

slippers
her maids.
Still
made
of the material of
the dress worn and
undressed white kid gloves will alwa)'s be unobtrusive
and elegant
in their effect.
Slippers
made
of the dress
material are not expensive and any city shoe shop will
get
them up
for less than five dollars.
FOR QUIET WEDDINGS
For
brides,
whose
tastes
are
more subdued, when
no maids are
is of
to
be in attendance, the question of dress

solution.
much simpler
She may wear her
trav-
elling dress, or a simple light house dress and be pro-
nounced a most beautiful bride.
Widows who
are again marrying, also seek something
not ostentatious.
There
is
no law against young widis
ows being accompanied by maids but society

erned by unwritten edicts often and this
is
gov-
one of
them.
Brides
who
are in mourning, should cetainly throw
aside black
for
the marriage at least, even
when they
con-
resume
it
soon afterward.
ladies
Young
sider
dress.
better.
it
who marry widowers, sometimes

not very young, this
is
etiquette to be married in a
If
bonnet and high

perhaps
they are
BRIDAL OUTFITS
THE BEST DATE
211
Romans, June was considered the most propitious month for a wedding. Whether the marthe
riage of
Amongst
Juno
the
to
Jove gave them any great reason
to
think so or not
true to
we cannot
of
ascertain.
But they were

paid her
all
Queen
Heaven, and
the
honors.
Nothing can be more
lovel}'
than a June wedding in

is
England on
house.
a great estate,
where the church
near the
First
come
the singing boys out of the church
chanting an epithalamium.
tor and his
assistants, all
They walk before the

to pass.
rec-
robed in white, to the door

is
through which the bride
Then out
of the
;
house come
the child bridesmaids, scattering flowers

;
then the stately grown-up bridesmaids

;
then the bride
then the boys strike up a new on her father's arm song, and precede the whole party to the church. After
the ceremony the bride comes out
first,
and the
girls
of the Sunday-school, all dressed in white, precede her
with songs, to her door scattering flowers

the party follow.
the rest of
is
And then
the
reception
held in
her mother's favorite room, generally where the old
family portraits are hung.

brides' TRAVELING DRESSES
It is
not at
all
necessary a bride's
;
travelling
dress
should be fine and rich

really unsuitable.
fitting
It
a splendid
dress would
be
should
be only fresh and well

better.
and the simpler always the
212
BRIDAL OUTFITS
the consolations of religion
That famous or infamous young woman who declared

she found nothing in
all
equal to the comforting consciousness of being well

dressed, might insist
upon a splendid
toilette,
but her
followers are rare.
Traveling dresses for brides in

often very elegant.
England are
also
Velvets, satins
and embroidered light woolens are often used.

their railway trains are less dusty than ours
But
and more
secluded and then there,

the bride in
country-seat,
fine carriage,
the
groom generally drives

to
his
own
carriage
some neighboring
where they spend the honeymoon.

with four horses,
all
decked with white

in light col-
favors
ors in
is
it
a pretty sight
and the bride dressed
with the happy groom makes

in
it still
prettier.
However,
America,
our railway coaches

regard
for
to
have
become
so perfected with
a
toilette
ventilation, one
may wear
suitable
the drawing-room.
Indeed, the days of taking a worn out dress in which

to travel are past
and one's station

by the clothes
mined quite
eling.
nearl}^
may be deteryou wear when travin life

is
Consequently the going-away gown of the bride

generally
tailor-made
for
it.
and some
fine,
dark cloth
or
is
employed
For
a winter bride, velvet

in
some
the
similar fabric
may
be employed
combination, but
neat stitching or plain well pressed edges

cloth
make
gown
in the best
fashion
for Fall
and Spring
seasons' purposes.
The
hat should be a small fash-
ionable shape, just sufficientl}' handsome to correspond
BRIDAL OUTFITS
with the gown.
213
The
traveling hat
is
frequently
made
in part or altogether of the material
used for the gown.
The
traveling toilette
If
is
never complete without a
seasonable wrap.
long coat
the weather permits, a jacket or
made
of the
same material
as the dress
is in
excellent taste but in winter, the sealskin or cloth
wrap
provided for general wear
is all
that is necessar)'.
THE GENERAL TROUSSEAU
The
enough
old fashion
of
stocking
bride with
of
clothes
life
to last her the
remainder
her
natural
is
haspassedinto history.
That foolish idea
banished.
A young woman
complete and good
have
at
should only provide herself with a

outfit of clothes
life.
such as she should
hand
all
her
This
outfit
should be fresh and well made
and
not
lacking in necessaries, but that does not
mean
a dozen
dozen
filled
of
each piece of underwear and a dozen trunks

It
with frocks.
means rather
just
enough
cloth-
ing to last the bride one year, at the furthest.
No woman
with real womanly pride wants her pros-
pective husband to provide her trousseau, and no
wishes her husband to be put to

diately.
woman much expense immeit
Yet
it is
not best to leave
too long before
allowing him to provide something for
her comfort
it
and adorning.
He
will
take a pleasure in doing
and such harmless pleasures should not be denied him.

It
is
difficult to
discriminate or to
make
positive
general rules that will be useful but for a young

in
woman
circle
moderate circumstances, moving
in a
modest
214
BRIDAL OUTFITS
may be given and from
that others
of society, a hint
ma}^
draw information.
a bride will require but
Such
one half-dozen night
dresses, the
same number
of petticoats,
of drawers, undervests, cor-
set-covers and
dressing sacques.
She
will
want the
same number
with two flannel short ones,
one white and one colored.
A
six.
long black silk petticoat should be
among
of
the
first
She
will
need the same number
hose, two
pairs of walking boots and as
many house
and lace
shoes.
She
should have six to ten pairs of gloves and plenty of

collars and pieces of ruching
for her dresses.
Handkerchiefs may
sufficient.
be unlimited but one

a winter
dozen
is
There must be
wrap and one

will
for
spring and autumn wear.
Three hats
be required,
for even-
one for the best, one

ing wear.
for general
and another
By way
dresses, as
of
gowns, she must have two woolen street

silk visiting
many
or
dinner dresses, one
evening dress
if it is
at least
not too
her wedding gown will answer, elaborate two simple and pretty house
for
dresses and a heavy and a lighter wrapper or teagown.
She should be provided with good brushes

toilette
the
and
all
the other necessaries for the same.
CHAPTER
XVIII

MATERIALS FOR STAGE DRESSES EFFECTS OF COLOR WAISTS AND SKIRTS SOME FANCY DRESSES
MATERIALS FOR STAGE DRESSES

Materials
for
stage
dresses
are
almost
limitless.
There was a time when actresses wore gaudy gowns made of the cheapest and flimsiest materials. But the
circus
of
the
nineteenth century would not
tolerate
them now.
Indeed, in these days of luxurious stage
dressing, the richest fabrics are often employed.
Perhaps there
shop,
is
no better department
to visit
in a
when hunting
for materials for stage dresses than
the upholstering department.
the heavy brocades and the

for
The soft drapery silks, handsome trimmings used
draperies
for
effective
and furniture coverings are found very Miss Ellen Terry was stage dresses.
among
the
first,
we
believe, to patronize these departartistic
ments and no actress has worn more

than she.
gowns
They
are
always remembered as distinctly elegant

215
2i6

These
fabrics
and appropriate.
make
picture dresses
that belong to the "impressionists" school rather than

to Meissonier's
where
detail
is
more thought
delicate
of.
But
one
soon
finds
that
fabrics, refined
"arrangements" of lace and minute details, that would

be appreciated in the drawing-room are lost sight of
and wasted
in distant stage effects.
For instance, not long since
Spanish g3'psy dress

opera "Carmen."
was required
for a cliaracter
in the
A dainty
rose silk was elaborately
trimmed with black

exquisfor the
lace of fine quality
and cut
jet.
itely beautiful off the stage.

first
The dress was The lady wore it

a
time with her sister in the audience to take notes.

failure.
It
She immediately recognized the dress

was not ugly but
all.
it
was inane.
It
it
would never do
was treated
at
Before
it
was worn again,

gilt.
to a
strong dose of red and
wide sash of
of
soft red silk
was draped over the
hips.
The ends
the sash were
plentifully ornamented with loose gilt sequins.
Pendent
and the
loops of red ribbon finished like the sash ends were
mingled in the black lace flounce
of the skirt
bodice and sleeves were trimmed past recognition in

the red and
gilt.
The
dress then proved most effective
while not at
ienced
all
too gaudy.
However,
if
one
is
an exper-
purchaser, there are cheaper materials which

fine effects
produce
and many actresses employ them,

runs
for pla5's
of
short
and
for incidental occasions.
Foreign draperies make

but no intrinsic worth.
artistic fabrics of great
beauty
They
are,
however,
difficulty
FANCY AND THEA TRICAL DRESSING

to find,
it
21
takes time and patient shopping to unearth
them generally.
But stage wear
goods which are
is
very hard upon
materials, and
frail
and easily wrinkled are scarcely
worth purchasing and making up.
The simple wear

it is
on the stage
is
not worth mentioning, but
the put-
ting on and off every night for weeks and the packing
in trunks for traveling that
make
stage clothes
grow
passe.
little
The
it
actress' life is a
busy one and she has but

in
time for repairing or freshening up a gown

really often requires.
use, as
EFFECTS OF COLOR
Select your colors in a strong gas or electric light.
Bear
in
mind those
garden
to
be worn by others in the same
scenes with you, as well as the scenes themselves.
For
the
wood
or
scenes,
where
a vivid
green
is
prevailing tone, your costume should be of dull neutral

tints that will
be restful to the eye.
No
greater mis-
take can be
made than employing very

as
vivid colors and

;
glaring effects on the stage of the present day
colors
may be
ball or
to
as carefully chosen
though for a private
boudoir tea gown, but certain conditions have

criticall}'
be
considered, which in a drawing-room
would be
of
no consequence whatever.
effect of paititcd scenery is to
For example, the
change
the tone of certain yellows, blues, and greens.
A
off
;
more
those
intense yellow can be worn on the stage than
yellows inclining to
/5;7y7t'//
requiring something to light

lost
;
them up, or the yellow tones are
deep damask
2i8

and blue in
will bring these out, white nullifies them,
any shade must not approach them.

to best advantage with a clear
Brocades show
ground and some pre-
dominant
color, but in
such a case there must be a

is
"rule of three" observed, which, indeed,
useful in all
costuming.
For example,
if
red predominates in a
let
brocaded over-dress or polonaise,

be employed twice
at least in the
us say, red must
remainder of the cosin a
tume
as a lacing
which shows occasionally,

in
knot
of ribbon
on the shoulder or elsewhere,

;
frilling,
or even in the stockings a rule very generally to

stockings
and here we might say that

be remembered
in the
is
that
the
ought to repeat some color
upper part
of the dress.
It is
impossible to say why the following of these

be
productive
of
is
rules
should
it
harmonious
effect.
Subtle as
seems, the fact
indisputable, and will professionals
repay
are
attention.
in
Many costumers and

habit,
most careful
of
following these unwritten laws from but by studying

the
mere force
question
many new
ideas suggest themselves to the mind.
Incongruities in the color of such articles as jewelry,

fans, parasols
and flowers are
to
be carefully avoided
is
and
in this
connection remember that whatever
car-
ried in the
hand
is of
the
first
importance.
fix
The move-
ments
of the
hands
attract
and
the e3ê unconsciously

its
on the object held within them and
form and color
are for the time, the key-note of the general effect.

particular
is
So
one
one actress about
this point, that of
FANCY AND THE A TRICAL DRESSING

of her
21
most famous costumes she sent back the handker-
chief-bag, she
was
to
have carried, because
it
was lined
with green plush similar to that of her dress.

"But, mademoiselle,
ing matches precisely.
"
pleaded the modiste, "the
lin-
"That
see?
little
is
exactly
it,
"said the actress.
"Do you not
The eye
bag, and
will fasten itself

poiif!
on
is
the green of m)'
where
It
then
it
the effect of the

nothing.
greoi in
my
dress?
reduces
is
to
Line
the
the bag with whatever color

skirt,
most becoming to
it,
so
when
stand and
open
then
the
effect
will be
delightful."
And
the result proved as she predicted.
The
it
lining
of rich old
gold gave a starting-point, as
were, to
the impression of her green plush gown, and she certainly
opened her
is
little
bag with admirable
effect.
There
no question, perhaps, connected with thethat of costumfind

it
atricals so perplexing to beginners as
ing for stage
effect.
Old professionals
;
diffilit-
cult to be sure of results

tle details
so
much depends upon
and
to secure successful results, not only is
some technical knowledge indispensable, but judicious

criticism "from the front"
is
absolutely required.
is
For private theatricals where the stage

adjoining room or a small
raised and
simply an
screened platStill to
form, the difference need not be so marked.

dress for an audience as
one would
for
a drawing-
room
is
impossible even in society comedy parts.

this
No
clearer evidence can be given of
than seeing an
220
FANCY AND THEATRICAL DIÊSSING

the
actress in an evening company/, dressed just as in
scene she has quitted.
The costume
maj^ have seemed

in
very simple behind the footlights but
the drawing-
room
its
strong points are decidedly too marked; the
touches which has been so effective on the stage look

coarse and outre in the social scene to which she has
hurried.
WAISTS AND SKIRTS
For the professional stage there
is
no one
article
more
necessar}^ in the
wardrobe than the white waists

as "ballet shirts."
known
to slip
in the profession
They
is
is
are
used with
many costumes and

when
a
are a
great protection
fre-
en under a hired costume, which one
quently forced to don
change
of
bill
sud-
denly made.
The
ballet shirt is
silk.
made
of fine
white cambric, mull
or China
It will
require
of a
frequent washing
and
needs to be well made and

fabric.
It is
good quality
blouse
of either
simply a loose
full
made with
a drawing-string along its lower

it
edge which will held
in at the waist.
At the neck
it
may be
it
either finished
by a medium sized turn-over collar or

ered with
an edge on a
full
silk
tape also.
may be gathThe sleeves

to reach
should be very
the hand.
and
large, cut long
enough
at
They should be gathered
the
top
and
sewed
in to the
waist at the armseye, but gathered on
another drawing-string at the wrist.
With
this arrange-
ment, the sleeves
may be worn
drawn up
flowing, free
close
to the
from the
wrist, or
arm
they
may
be
FANCY AND THEA TRICAL DRESSING

they
221
may be
a
tied
up on the arm
half-length
just
below the elbow

Jackets
forming
puffed
sleeve.
and
pointed bodices
are
very
effective
worn over them,
indeed much more effective than when worn over closa

fitted waists.
The length
of skirts is
another
important factor in
stage dressing.
The
effect of distance
and the raised

If
stage changes the

short skirt
is to
effect
of
it
the
skirt's length.
be worn
should be short enough to
show the upward curve

there should always be
in the
limb above the ankle;
otherwise the limb looks awkward.

a
lace
With
soft
sliort skirts
or
mull
flounce
tacked on to the under-side of the skirt with the lace
edge falling
Skirts
jvist
below the
skirt's edge.
worn on the
street or in the
at the
house are always cut

in the front.
two or more inches longer
back than
But
for short skirts
on the stage, this should never be

the front
of
done.
The back always appears longer than when seen from "in front" when they are
a
even
length and an added half inch makes the skirt hang in

very objectionable
manner.
This
applies
alike to
petticoats and dress skirts.
As
rule
drawing-strings are used in stage skirts,
although yokes are preferable on stout figures.
The width
is
of
fancy and stage skirts and petticoats
also a trifle
arbitrary as they sluiukl be

a
made
quite
scant,
much more narrow than

is
round short
skirt for
a miss
usually made.
222

SOME FANCY DRESSES
following are a few fancy dresses designed by
The
one
of the cleverest
French genre-painters
It is
The
first
represents a panther.
composed brown
of a short skirt
of yellow moire, striped with

tern,
in a
zigzag pat-
and
is
fastened on the hips with panther claws.

is
The low
sleeveless bodice
of
sealskin
and adheres
real
tightly to
the
is
figure.
court
mantle made of
panther skin
attached to the shoulders with diamond

of
clasps also in the shape
claws.
Brown
silk stock-
ings and shoes
made
in the
form of the animal's paws
with onyx heels and claws are worn with this dress,
and the
coiffure consists of a tiny panther's

flat
head with
emerald eyes, placed
on the slightly waved hair.
The second
is of
is
Greek shepherdess.
The
loose
gown
white crepe de chine, edged with silver arabesque.

galoon gathers the flowing soft folds of crepe
silver
in spirals
around the waist and
is
tied
on the
left side.
The hat made of
is
silvered straw, with a garland of wheat-ears
coral
around the low crown.
Flesh colored
silk stockings and silver sandals with pink coral heels
complete this simple but pretty costume.
The North Pole

site
is
another of the great

2^
artist's exqui-
compositions.
It is
four e a of shimmering pearl-
colored satin over which are gathered folds of soft and

extremel}' transparent silk gauze;
crystals cover almost every part of
diamonds and rock

the skirt and cor-
sage,
which are edged with swans-down powdered with

dust.
diamond
long square court-mantle of cloth of
FANCY AND THE A TRICAL DRESSING

silver
223
hangs from the
left
shoulder, where
it is
fastened
by
a dazzling
diamond
star.
Scattered
all
over this
mantle are snowballs made of swans-down and icicles

of rock cr5'stal
The
hair
is
powdered and
a scarf of
is
thinnest
white
it.
gauze spangled with silver
airily
thrown over
sapphires
is
great crescent
of
diamonds and
placed above the forehead and a chaplet of
icicles encircles the waist.
Last but not least comes a most ethereal mixture of

primrose velvet and
ros}' tulle
is
representing "Dawn."
of pale a
The
skirt
is
very short and
primrose velof
vet and rosy tulle
powdered with
shower
peach
blossom petals and buds, and
hemmed by
of
a thick gar-
land of peach-blossoms sparkling with dewdrops.

bodice
is
The
entirely
composed
peach-blossoms, over
tulle is draped.
left
which a delicate
veil of
dew-bespangled
A wood dove
with outspread wings clings to the
hip and another nestles in the powdered hair, forming

a delightful and novel coiffure.
Then, there
is
the
Polish
girl,
who must wear

blue
corselet with a slashed skirt of ruby velveteen, bordered
with
white
fur,
over
dress
of
vicuna cloth
wrought with gold thread about the edges.

with
its long ostrich feather, and
Her
hat,
her high boots are

fur.
also in ruby velvet
trimmed with white
ba3'adere
scarf
is
knotted about her waist, a necklace formed of

of gold
two rows
there
hair.
is
beads
is
clasped about her throat, and
bow of
blue ribbon fastening her long braided
224
FANCY A ND THE A TRIGA L DRESSING

will, of
The Roman contadina

merino
skirt,
course, have a black
and
a black velvet corselet,
above which
there rises a white linen chemisette elaborately woven

or
embroidered
in
many-colored threads, as
is
also the
square apron confined to the waist with a bright ribbon.
There are coral beads round the neck

is
the white
muslin head-dress
to the
trimmed with lace and fastened
head with small gold pins.

dress of the
The
Roumanian peasant made with

and flowing sleeves
is
straight
skirt, full waist,
all of
white linen embroidered in intricate designs with colored cottons and tinsel.
The
belt
is
is
of figured gold
galoon, with tassels, and the cap

ately embroidered to
of linen, elabor-
match the
dress.
The stockings
striking of
are cotton of
some striking color. The Albanian maid is perhaps the most

She wears
txmic
is of
the group.
silk.
full
knickerbockers in soft red
Her
is
blue beige crossed with inser-
tions of embroidery
fines
it
and the fringed scarf which con-
striped gauze of varied hues.

is
Over
of
a blouse
in tinsel
muslin
thrown a loose jacket
deep red
velvet.
The
daint}^ feet are incased in
red silk stock-
ings and little Turkish slippers in red morocco.

fez,
The
is
which completes
Tunisian
this
picturesque
costume,
thickly covered with gold sequins.
is
alwaj^s
an attractive member.
Over
rows
a short skirt of black nun's veiling, bordered with of gold braid, this
young person wears
a
of
blue cloth
revers
frock
made with
a bewildering
number
and
FANCY AND THEA TRIGA L DRESSING

lapels and
long, loose
tabs, all
225
wrought with gold thread.
The
sleeves are ver}' like the flowing "angel"
sleeves that
everybody wore twentv years ago. costumes belong
On
her
fluffy
hair rests a blue and gold cap.

to the peasants
Two
of
is of
pretty, bright
Provencal and Flanders.
The
frock of the
former
gray delaine or cashmere, edged with gold cord.

is
About the neck
stiff
collarette of lace
and muslin,
two pockets
the circular,
while the sleeves are trimmed with a double row of

lace.
is of
The coquettish
little
apron with
its
;
black silk edged with a lace frilling

is
somewhat forbidding cap

est of
"built" of black wired net,
with a goffered brim and a pleated aigrette.

stockings, blackest
of
The
a
whit-
shoes, and
a bit
of
tiny gold
cross
hung about the neck on

this costume.
black velvet
complete
is
even more elaborate.
The Flemish peasant's dress The frock itself is of maroon
serge trimmed with rows of narrow black velvet ribbon.
The
sette
tunic and the corselet, fastening over a low chemiof
white
muslin, are
of
cedar
is
brown wool
lace,
is
embroidered with gold.

as is
The apron
of
edged with
also
the
coiffure
tambour muslin, which

the Dutch
fastened with small gold pins.
quaint
little figure is
girl,
who
a
is
sure
to carry her
welcome with her

skirt of
into wherever she goes.
She wears a sober
brown beige, with
black
velvet stay laced with silver braid, rows of which also
appear upon her black

white muslin
15
silk apron.
Her chemisette
of
is
very simply made, and fastened with
226
FANCY AND THE A TRIGA L DRESSING

On
her yellow hair
is a
gold linked buttons.
wonderful
muslin cap secured with bristling cork-screw pins in

gold.
CHAPTER XIX
HOW
TO BE YOUR
OWN MILLINER
CORRECT TASTE TO TRIM A HAT HOW TO ISIAKE A STIFF CROWNED HAT OR BONNET MAKING DRAWN BONNETS OR HATS TASTE IN COLOR
CORRECT TASTE
It
would be interesting
to
discover
of to-day
how
man}^ of
the charmingly dressed
women
whose becom-
ing and stylish hats and bonnets constantly challenge
admiration in churches, theatres, in the Park, and upon

the streets, are actually their
own
milliners.
difficult
But
correct census would be extremely
to obtain.
Undoubtedly a number
authors of their
as a rule,
of
women
of fashion are the
own
dainty head-gear, but they do not,

their
to
acknowledge
handiwork.
their
While some
skill,
even take great pains
conceal
as for
example, when a hat-band bearing the name of some
London, Paris, or
fully cut
New York
house
of
vogue
is
carein the
all
from a discarded bonnet and inserted

article.
home-made
This silent witness

227
removes
necessity for repeated prevarication.
Even privileged
228
HO W TO BE
who
are
YO UR O WN MILLINER
admitted
to
intimates
the
sanctity of
my
new
lady's dressing-room, and see
the inside of
her
bonnet, can thus read for themselves where the "creation" hails from.
The woman who can do

of color
this
must have the sense

"
and form
of an artist,
and of an "artist-artisan.
She must be
gifted specially
who can produce

of the
beautiful
bonnets entirely on the strength of her own inspirations and without any
knowledge
technique of
the trade.
Some women
bons,
laces,
are born with a
knack for putting
rib-
and
feathers
together,
making
lovely
headgear out of almost any materials. They are born milliners and instinctively go to work the right way.
Others must learn the trade or not attempt to do the
work.
Nothing
materials
definite can be said
as to
the
amount
the
of
required.
This depends
upon
shape
chosen, the
used.
way
is
it is
made, and the kind of material

in a
Of crepe de chine three yards can be put

it
bonnet,
so
soft
and filmy.
The same amount
could be crushed in your hand.

a proportionate less
Of heavier materials
generally needed, but
amount
That
is
no rule can be given.
Do
of
not over trim.
is
one of the worst faults

taste
inartistic
millinery.
Nothing offends good

ornament
in
more than
tion.
a too lavish use of
any direc-
Every
artist seeks simplicity,
and you will find
HO IV TO BE
it
YO UR O WN MILLINER
stylish
229
true that the
most
chapeau
is
always one that
is
not greatly trimmed.
That American women are supremely endowed in At the same time this direction can not be denied.
the
thought occurs that
if
some
bit
of these
home bon-
net-makers would only be a

finish of their
more careful about the
work
if
they would only guard against
a certain carelessness of detail
which imparts an unmis-
takably "homemade" appearance to their efforts slight extra trouble thereby incurred would be
the
fully
atoned for, by the exquisite perfection of the result.
Neatness and not primness

however,
is
the thing to practice;

is
a hat or bonnet which

is
given too
many
but
stitches or
sewed
too
tight
is
never
artistic,
carelessness or rough unfinished work can ever be artistic either.
TO TRIM A HAT
An amateur
will not be wise to
commence by attempttrimming
a
ing an entire hat, but will begin with simply

a straw or felt shape.
to do.
This
is
much
simpler thing
felt
;
Let us take for example a round straw or

is to
hat that
that
is
be trimmed with velvet and a bird's wing
as simple as the making of any hat can be.
"The design, should always be thought out before

trimmings are handled;
said a milliner lately.
"I
that, at least, is
my
method,"
know
exactly
tell
before
give
my
orders and can
just
how it is to look how much of

is
each kind of material will be required.

to use
My suggestion
to
as
little
material as possible
produce the
230
HO W TO BE
effect.
;
YO UR O WN MILLINER
useless ends turned under or
effect.
desired
Have no
folded out of sight
they spoil the
Cut
off all
that is not needed and discard everytliing that is not a
part of the design.
There should be as
ends or coming
is
little
sewing as possible, but

that there shall be
all
must be firmly fastened, so

to pieces.
no loose
Nothing can look neat that
insecure.
On
stiff,
the
other hand, too

effect, so
much sewing
will
make
awkward
be careful to place
for securit)\
stitches only
where they are needed

place, in
In the
first
trimming a
hat, the velvet should
be purchased cut on the bias of the goods.

will sell
it
Every clerk
vel-
in that wa3^
Cut from one edge of the
vet a length one and one-half inch in width, as a binding

for the
edge
of the hat brim.

its
Lay
this along the
edge of
the brim
out.
upon
under-side with the velvet's wrong side
Stitch
it
on with a strong cotton thread taking
long back stitches, holding the velvet tight.

turn under the other edge of the edge of the brim and
joined,
will
fit
Then
it
the velvet
and
over
if
the ends of the velvet are
no further sewing
tightly in place.
is
required as the binding
If tlie
crown
of the
round hat
laid
is to
be trimmed with
it,
smooth band
on each
of velvet
around
cut the band
the required width allowing a good half-inch to turn

in
side.
Cut
it
bais the
same
as the binding.
fine
Baste in place the turn-under on each side with

cotton in long stitches and fasten
the crown of the hat.
tlie
band tight around
Then draw
out the bastings.
HO W TO BE YO UR
When we
tight
O WN MIL L INER
or
23
say
to
draw the bias bands

too tight, but close
binding
to
we do not mean
enough
make them lay close to the shape. Then come the loops, bows or knots
which the
stiff
feather
is
attached.
among These vary much

of velvet
in,
is
according to fashion's edicts but the loop about three

inches wide, and about as long when doubled
almost alwaj'S a part of the ornamentation.
It is
made
and
also of the velvet cut bias with its edges turned in
held in place by long slip-stitches.
When
they are
wanted
to stand erect, a
bonnet wire must be inserted

the
in the fold
and tacked
fast to
hat in the desired
position.
The application
or
a
flaring
of a facing to a
broad-brimmed
hat,
bonnet, presents the next difficulty for

learns to cut carefully from
felt,
conquest.
The apprentice
which
is
the frame, or shape, of straw or

in paper,
an exact pattern
then laid upon the material and the

it.
facing fashioned according to
This insures accur-
acy and prevents waste of material.
When
of
these
merely mechanical
parts of
all
millinery
have been mastered, then comes
the
adjustment
bows and
it
folds, frills, feathers
and other fripperies

of
and
is
best to learn
the knack
adjustment by
copying the work of others.

soon turns her
is
Then
the young milliner

if
own
graceful fancy loose, when,
she
the least bit of an artist in her trade, she will pres-
ently begin to produce original arrangements.
232
HOW TO BE
YOUR O WN MILLINER
HOW TO MAKE A STIFF CROWNED HAT OR BONNET Those who undertake to learn the trade of millinery,
find that wire
and buckram and foundation net repreC's of the art.

six
sent the
A B
The novice
to
in the
trade
must spend a good
months learning
and
form shapes from oth-
with thesematerials. She copies them at

er frames, then from plates,,
finally,
is
first
carrying out
able to
some written
or verbal description, she
model
the hat or bonnet without a pattern.
But there are shops where the most desirable "shapes"

or "frames" can be purchased ready
made and
it
is
pure waste of time to make them oneself.

the exact shape wanted
Perhaps
may
it is
not be obtainable, but

it
something very near
to
generally, and
will be
found by experience, a very easy matter to make alterations in

it.
For instance
if
the brim
is
too wide, rip
off
the wire
off
;
cord which finishes the edge and carefully trim
the
buckram or
to the
stiff
net of which the frame
is
made
is
then
in the long over-casting stitch, fasten the wire
on again
too narstiff
new and
is
shorter edge.
If
the brim
row,
it
almost as simple a matter to take some
crinoline or
buckram and lay
it
on the present brim
allowing
it
to extend to the desired size.

If
An
extra wire
is
should always finish this new edge.

found too small,
it
the crown
can be slashed
is
at the
back or side
where the greater room

all
it
required and a wire sewed
around the crown and over the opening will hold

in place.
Of course
it
is
well
understood that the
HO IV TO BE
YO UR O WN MIL L INER
233
frame or foundation can be bent, fastened up or down
on one side or the other and generally changed as taste

or fancy
may
is
dictate.
in a
There
fit
no comfort
bonnet which does not
easily and exactly to the head,
which
either hurts
first
the temples of the wearer, or falls back with the

puff of
wind.
You
make
will
learn
by practice how
to
judge of the size of the crown, and
the bend of the

the
frame so as to
wearer.
the bonnet
comfortable to
or
However,
all
enlarging
making smaller
must be completed before beginning

with the outside material.
to cover the frame
But when the "anatomy"

been mastered in
this
of the hat or
bonnet has
cloth
it.
way
the next step
is to
pattern must be cut for each part.
First, a pat-
tern for the top of the crown, another for
the sides,
another for the top of the brim and yet another for
the under side of the brim.
to cut patterns for the
It
may seem
superfluous
upper and under sides of the

will be found
brim separately, but
it
on the whole the
better course to pursue.
These patterns should be cut

stiff
by laying smooth, not too
paper, on
each
part,
and creasing
it
until
is
it
fits
the frame exactly.
The crown
paper
as
top
easily cut, but the brims
demand
piece
of
more patience.
gradually lay
ing pleats to
For them
take a
straight
wide as the
it
widest part of
the
brim and by
lay-
around the brim until

it
it fits,
make
do
so.
Fasten each pleat in

off
place with a pin.
After this has been done, trim
234
its
HO W TO BE YO UR
it
O WN MILLINER
edges to correspond with the edges of the brim
and then lay
on a large square
of
smooth paper and,

on the brim so as
allowing for seams on each edge, cut out another pattern without pleats in
to be sure
to cut the
it.
Lay
this
no mistake has been made.

under
Then proceed
brim pattern and
the sides of the
crown
in the
same manner.
all
When
the patterns are prepared lay them
on the
hat.
velvet, silk or cloth to be
used for making the
By doing
this,
much
front,
material
may be
saved.
It is
canon in milliner}^ to make coverings of brims and
crowns bias
in
even
if
they slope until quite
straight at the back.
When
the parts have been cut,

;
first
lay the
crown
on the frame smoothly
tack
it
in place with pins stuck

it
through just once and then stitch

with long
better
fast
permanently
these parts
back
stitches.
Cotton
holds
lay
than
silk thread.
Then
the
two brim
covers together with their right sides next each other
and seam their outer edges together.

over-lapping edges should be pared
possible.
All
off
seams and
as narrow as
Slip these covers over the brim, which will

little
require a
easily
bending of the brim
to
do, but
it
will
bend back into the proper shape.
very
much simpler way would be

is
to take a bias
piece of the material twice as wide as the brim and
almost twice as long as the brim
around, gather
it
on each edge and draw
it
over the brim, making what
HO W TO BE
is
YO UR O WN MILLINER
These
are
lis
called a fulled
brim.
always becoming
and
soft against the face.
For
this fulled brim, a roll

is
of soft
tissue
paper, as
large as your finger
tacked on the edge of the brim

is
before the gathered material
drawn over
it.
This
gives a desirable extra softness to the edge.
Let the inside edges
of these
brim covers extend up on
the crown and notch those edges until they set into the
frame properly.
After this
la}'
the covering around the

of
sides of the crown.
This must cover the raw edges
both crown and upper brim cover. Baste a turn-over on each side of this cover for the sides of the crown and
draw
it
tightly around the crown.

its
After
it is
fastened
together at
ends, the bastings

all
may
be clipped here
and there and
drawn
is
out.
The
gauze
last
is
touch
crown
lining, a
at the
double piece of
sewed by long stitches

exposed
edge of the crown

a
and then drawn tightly up

shred of frame
is left
at the center so that not

to
catch and
ruffle
the
hair of the wearer.
MAKING DRAWN BONNETS OR HATS
The
front of a
drawn bonnet
is
made
of a length of silk
cut the straight way;
that
is,
with the selvage going
round the outer edge of the front, to prevent the necessity of any joining, A broad hem is made, in which
there are three, four or five runnings, forming casings for
the wire or cords which are to be slipped

the outermost of these casings, a
stiff
in.
Through
is
wire
run, to
of cas-
give the right shape to the front.
Other
sets
236
HOW TO BE
of
YO UR O WN MILLINER
ings have to
be run in the front, according to the
number
drawings intended.
been slipped into
The
cord, or whalebones, having
The silk is the casings, must be fastened at one end. then drawn into shape, and the whalebones are fastened
at
the other end.
Whalebones
are often
purchased
is,
ready prepared for white bonnets,

with white paper.
silk the
that
covered
Supporters of wire, covered with

as the bonnet, or covered silk wires
same color
manufactured for the purpose, are fixed from the outer

to the inner in its
edge of the front to keep the whole firmly
shape.
the front,
The crown is drawn in the same way as and is made circular by being fixed to a
wired net.
Not infrequently the amateur milliner trims her bonIt is often the finest art which lets nets too much.
them
alone,
and a pretty velvet hat or bonnet, the
curves of
which crown or frame the face becomingly
gather up the brightness of Goldilock's tresses or rim

the dusky masses of a dark beauty's hair
slight adornment.
Still this
requires but
by prevailing
little
must be governed
in
a great deal
It
stjdes,
and practice
trimming.
takes a
time
to learn just
how
to twist the wires of flowers to
them lay close
to the hat,
and much patience
to
make make
an ostrich plume curve just the right way.
The hat-amateur
often
skips the preliminaries of

all
the trade and plunges at once into

of velvet, tulle, flowers, feather?
the perplexities
and furbelows.
Not
HO IV TO BE
YD UR O WN MILLINER
237
infrequently her experiments prove expensive failures.
She
is
pretty sure to waste a good deal of material,
and she
invariably takes several thousand times the

of
number
stitches
which are
really essential
to the
successful fabrication of the attempted headpiece, but
success awaits
her further on along the lane of her
experience, and she finally achieves a bonnet to feel
proud
of,
and acquires
degree of
skill
which
is
sur-
prising in one entirely self-taught.
But
if
she will carefully read the above suggestions
she can not go far astray.
We
ma}^ mention here that

to
milliners and dressmakers are subject
two troubles
but which
the
which would be
of the hands, in
trifles
to
any body
else,
is
are serious inconveniences to them.
One
is
warmth
summer
;
time, and in
all
seasons of
hurry and over-fatigue
and the other
the roughness
of the forefinger of the left
hand, from the skin being
perpetually broken with the needle.
The
heat of the
hands may injure some delicate colors, and take out

the stiffness from net or ribbons the fore finger
:
and the roughness

fine
of
may
If
fray satin
and
muslins, and
catch disagreeably at the blonde or net that you are
employed upon.
ever,
you have been well taught, howof
you
will have acquired a habit
holding your
touch more
If 3'ou
work
grasp
lightly in your fingers, so as not
to
of the material at
it
one time than

of
jôur
is
necessary.
it
in
the palm
hand,
is
impossible
that any look of

rial
newness should remain

is
in
your matefor the
when your work
done.
The only remedy
238
HO \V TO BE
warm
YO UR O WN MILLINER
is
inconvenience of
quently in
warm hands
water.
dipping
will
them
fre-
Pumice stone
smooth
off
the forefinger perfectly.
TASTE IN COLORS
Our success
as
milliner will
much depend on
the
knowledge and
arrangement of
sar}' in
taste
we acquire about
the choice and
colors.
good eye
it is
for colors is necesfirst
the dress-maker, but
perhaps the very
professional requisite for the milliner.

ft is
certain that
some
colors are naturally
more agreeinstance,
able
to
eyes
than
others.
Everyone,
for
relishes the bright green of the
meadows, and the shaded

of reds,
It is
greens
of
the
woods,
more than any kind

other colors.
colors are
to
of
unless the reds are mixed with

less true that
all
no
some mixtures
pleasing to
eyes,
and others displeasing
most.
;
Every one
lilac
likes to see lilac
and green together

;
and
and
primrose
red and dark green
fawn color and blue
brown and yellow and pale blue and pink.

blue and green
On
the
other hand, every one sees ugliness in a mixture of

red and yellow, yellow and pink,
If
lilac
and blue, and many others.

teach you this
your eye does
not
much
at the outset, in the
we should
If,
fear that
you would hardly excel

of the
more ornamental parts

however, your
work you
will
have
to do.
natural taste be ever so good, you will find that you
may
refine
and improve
If
it
exceedingly by observation
and study.
beautiful
you are
in earnest, every object in the
kingdom
of Nature,
every flower in the fields
HO W TO BE YO UR O WN MILLINER
and gardens, and every cloud
in the
239
morning and evenstudy of
ing sky, will give you lessons in the blending of colors.
And what
beauty?
lessons can be pleasanter than the
One
cle,
plain rule on this subject

it is
is,
to
make
the arti-
whether
among
gown, bonnet, or cap,
of
one preit.
vailing color, keeping the trimmings subordinate to

It is
unsatisfactory and painful
to the
eye to be dis-
tracted
a variety of colors,
If a
no
is
one prevailing
of a striped
for the e3ê to rest upon.
dress
made
or
checked
material, where
of
no
color
prevails,
the
trimming should be made

and one
of the soberest
;
one only of the colors,
so as to give to the dress the

is
predominance
of
hue which
is,
wanting
in the material.
Another plain rule

and
to arrange
is
by daylight the
col-
ors of a dress or a hat
which
to
be worn by day-light
to wait for gas-light to
choose the trimmings of
a winter
fully at
evening dress.
noon, sometimes
Colors which agree beautifail
miserably by gas-light,
or looking positively
is
either producing no effect at

ugly.
all,
Even
in matching, this
precaution
in
required.
That which
is
perfect
match
the morning
may
turn out something quite different in the yellow light of the drawing-room.
Such nicety is particularly necessary in matching black. The handsome appearance of mourning mainly depends on the entire dress being of a uniform black. Mourning, however new and costly, looks shabby if the gown be of "jet" black, the drapery" of "medium," and the trimming of "purple" black.
CHAPTER XX

THREE METHODS
PREPARING FOR THE HOME DRESSMAKER HINTS FOR MAKING OVER DRESSES
THREE METHODS
The woman who can with her own fingers make her own gowns is a very independent woman, and need
never look dowdy.
this
It is
to
furnish such knowledge

if
book was written.
Even
woman does
should
not
of
need or wish to devote her time to the business
making her own
or
other's
clothes, she
be
to
( possessed
of
the knowledge in
order to
know how
is
obtain good work from others.
Every woman who presides over

fortable
house that
comof
and homelike must understand the principles

dusting although she
cooking and sweeping and
may
never be required to actively engage in them.
There are only three ways

in order; first a
of
keeping ones wardrobe
woman
ma}'^
go to a dressmaker
it is
and
give an order for the
gown and when

240
decided that
THE DRESSMAKER A T HOME

it is
241
a street or
house dress that
it is
to
be blue, brown
of
or
some other
to
color, she
leaves the details

is
finish
and cost
madame.
This
it
alwaj's an eas}^
way out
of the difficulty
although
is
not alwa3's an entirely
satisfactory one.
In the second place, a
woman may bu}',
cut and
to
make
so,
her
if
own gowns.
This guide will enable her
do
she has
the time at her disposal and the

faculty
of
woman
own
who has
this enviable
is
fashioning
her
simple gowns
usually a better
dressed individual
twice the
than the helpless creature
who spends
money
on the gowns her dressmaker plans and makes
for her,
and which have
little
individuality or originality in
their arrangement,
and might be worn by twenty other

the one
women
In
as well as
who
pa3's
such enormous
prices for them.
the
third
place, a
woman may
secure
home
its
dressmaker and personally supervise the work in

detail, for
is
women who
to
can not do
half
all their
sewing, this
to
good thing
do when
worn garments are
be made over.
PREPARING FOR THE HOME DRESSMAKER

In such case to economi?ê time and expense,
sible preparations should be
all
pos-
made
be
for
the dressmaker
apart,
before
she
comes.
Gowns
new
ripped
cloth
sponged and pressed,

freshened, and
all
silk cleaned, laces for
trimming
materials to
be used bought
and
in the house.
Linings, sewing-silk, thread, twist,
whalebones, reeds,
16
hooks and eyes, braid, buttons,
242

all
should
be provided,
that
when
for
the
her,
dressmaker
arrives her
work may be ready

a stand-still.
and no time
need be wasted in sending for articles

everything
is
for lack of
which
at
All
goods to be dyed
least
must be sent
to
the dye-house at
three weeks
before they are wanted.
A
tcT
word
be amiss with
nicely, but
stiff
it
regard
dyeing.
never pays to dye a

to
it
caution may not Some woolens dye The crackling, silk.

of
it
quality imparted
by the process stamps
unmistakably.
Even
a fine silk looks cheap and com-
mon
after dyeing.
Garments may often be dyed without being ripped.

Waists are apt
but a skirt
is
to
shrink and stretch out of
shape,
not seriously altered.
Every grease spot

it is
must be sponged from the

dyers.
is
fabric before
sent to the
later,
If
not,
it
is
certain
to
appear
and
then almost impossible to eradicate.
The
task of ripping can be taken up at odd moments,
and a great deal thus be accomplished.

be a roomy receptacle for
or a large drawer
all
There should
Either a trunk
if
scraps.
may
be set aside for pieces, or
both
of these are out of the question, there
should be sevfor
eral piece-bags provided,
one
for
linings, another
for
wash goods, another

velvets,
for woolens, another
silks,
and plushes.
The remnants
of each kind
and
color should be
Smaller bags
made into neat rolls, pinned or tied. may hold buttons, hooks and eyes, etc.
The
habit of keeping but-
By
the practice of such a system as this, infinite time
and trouble may be saved.

tons from year to year
that has been
is to
243
be commended, as a set
a
street
worn one season on
costume
may do duty
later,
on a house-gown or a wrapper.
is fairly set-
When
tled at
the dressmaker has arrived, and
her work, the house keeper's period of
trial
begins.
to
She
all
is in
a strait
betwixt two.
She wishes
In
the
spend
the time she can with the seam tress.

it
addition to this,
is
an indisputable
fact,
be
reason what
it
may, that even the most conscientious

the
assistance
dressmaker, apart from
she
receives,
accomplishes more when she has

with her than when she
wife realizes this, and
of
is left
some one sewing
to herself.
knows
that to lessen
The housethe amount
time she must keep the "necessarj^ evil," and pro-
portionately diminish the bill for services rendered, she
should
brance
offer all the

is
help in her power.
Yet the remem-
fresh in her
mind
of the
masculine animadthe larder during
version upon the prevalent state of

the period of "making over."
To
achieve her desire

will
she
should
so
arrange
her
work that she

dressmaking
side
have few extra duties while her
is
on hand.
She should make no outShe

such
of
engagements that can possibly be avoided.

also
should
exercise
judgment
lie
in
selecting
dishes for the table as
within the
capabilities
her work, and yet guard against a plainness of food in

too
marked contrast
of
to the ordinary
mode
of
living.
There are plenty

fruit,
pretty desserts, notabl}' those of
that are
simply made, and do not demand the
244

in the kitchen.
presence of the mistress
Now,
too, is
the time to call upon the resources of the grocer, and

to
purchase potted and curried fowl, game, sausages,

fish,
kippered
and the many nice prepared puddings.

her work
As
well, the
housewife should guard against permitting

to cause
her absorption in
her
lapse
into
carelessness of house or person.
HINTS FOR MAKING OVER DRESSES

All through our preceding chapters on
sewing, the
necessity of careful, painstaking pressing with a hot

iron
is
emphasised, but
in
making over garments
it is
even more indispensable.

apart
When
the garment
is
ripped
each piece should be pressed and when
new
seams are sewed or new hems and facings made, the

pressing into final shape must be thoroughly done.
But before beginning these
details one
golden rule
may be
It is
laid
down
:
as appliable to every department of
dressmaking
this is simplicity.
quite
probable that the sewing-machine did

dress
its
;
much
to introduce fussiness into
but the
first
all
wild impulse, which rose with

the stitches possible
advent, to
put
on a garment, long
its
ago died a
then
natural death, though

to
ghost rises up
now and
of
haunt
us.
The ancient Greeks had no sewingmodels

artistic
machines, and their costumes are

beaut}^
fice
With them
the
there
was no temptation
to sacri-
grace to stitching.
It is
to put too
common fault much work on
of
a
the amateur dressmaker
garment.
fussy
gown
is

never a tasteful one
;
245
and a costume
is
often marred by
meaningless
details.
When women
sometimes spend
days or weeks on some elaborate design, which when

applied to the costume artistically ruins
sents time, strength, patience
it,
it
repre-
and perhaps
ingenuit}',
but not taste.
Hence
a great deal of strength is spent
without good results.

It is
There
is
safety in
plainness.
not so bad a rule to begin a dress with the idea

the trimming.
of leaving off
Though
it
this
at
may seem
result
to point to the in a
other extreme,
will
least
simple garment.
Coquetry
is
allowable in dress,
but fussiness, never.

In
combining two materials that have been used
before in a dress, the
home dressmaker
is
advised to
parts,
select a plain fabric for the
most important
and
also
figured stuff or stripes for the accessories.
She
is
warned not
to use too
much
of the figured goods, as a
preponderance of what should be the subordinate fabric detracts
from the elegance of the gown.
Three
effec-
yards of the contrasting material can be far more

tively arranged than
if
six yards
were used.
The home dressmaker

front of a partly
wlio wishes to furnish up the

is
worn corsage
advised that soft vests

are generally
or plastrons are easily put on, and

stilish than
is all
more
smooth
vests.
A single breadth of
may be used
of the
surah silk
that is needed, and this

dresses, and
alike for silk
or wool
may be
same
color or in
bright contrast.
Red
or white soft vests are

it
seen on
here
dresses of almost any color, and
may be added
246

is
that the crinkled silk Japanese crape
chosen for very

is
handsome vests instead

of the dress in front,
of
surah.
is
The breadth
fit
shirred across the top, which
curved to
the neck
of
and
is
sewed on three inches

neck,
the right side of the
dress
is
making the middle
reach the buttons, and
then lapped the same distance

disappears under a revers of
on
the
the left side,

dress
to
where
it
goods or velvet.
extend to
This vest may be long

even to drop
or else
enough
below
it
the waist-line, or
it
in a puff, or
may be
a short square
pointed to stop at the top of the darts, where a stomacher
may meet
it,
or the fronts
of the
dress
may
be
laced below or simply buttoned.
A
the
high velvet collar also freshens up a dress, and

the vest just described, should lap to
when made with

left side,
and be cut in a point there, or else held
by a small bow of ribbon.
bright yellow or
poppy red Japanese crape vest
is
liked for black silk or grenadine dresses, and with this
may be V
and
filled
spaces cut between the vest and sleeves,
with a puff of the crape.
The
sleeves are
then completed with a puff of the same, coming out

like an under-sleeve,
of ribbon.
which
is
gathered on a wrist band
A yard
of
beaded passementerie can be made
to retrim
a plain waist
and sleeves prettily by putting a row
down each
front from neck to darts, beginning an inch
below the button-holes.

with a point or a
tassel.
The lower end
is
finished
is
A row
of
the trimming

placed on the upper side of the
sleeve
at
247
the wrist,
and below
this is a gathered scarf of

is to
the dress goods.
If a dog-collar
be covered with the beaded trim-
ming, a yard and a half will be needed, and galoon

with straight edges should be chosen in preference to
the
vine patterns
of
passementerie.
Beaded
fringe
two inches wide
may be
cut in short strips and placed

If
crosswise each side of the buttons of a corsage.
the
lower edge of one row laps over the top of that below
it,
it
makes
a very effective trimming.
A
net,
black surah or gros grain basque can be tastefully

of a
full
trimmed anew with three-eighths

which
is
yard of jetted
plastron, square
left
gathered up as a
or in
shape, and there will be enough

cuff.
for
gathered scarf on each sleeve as a
Now,
in the
making over
they are
of
house dresses
it
must
be remembered that they are alwa5^s most attractive
and charming
particularly
if
made
in
light dainty colors,
the
for
woman who wears them would please if man she likes, and what woman dresses at home any other purpose? Men are the most gullible
the
creatures about dress.
They
street
are caught with
a color
in its
every time.
quiet,
Your new
gown comes home
refined
elegance, for which
you have paid a
perfectly scandalous amount, and the
man
for
whose
and
opinion and admiration you care

lordly nasal organ
to
most elevates his

angle
a very disagreeable
thinks the
tinted
gown is well enough. You wearsome lightgown that has been cleaned and turned and
248

made
yourself, or that a
dyed, that you
cheap home
it
dressmaker toggled together for you, you give

dash of gold somewhere, and, behold, the
man raves, and will have you wear nothing else. And so these simple gowns that the clever woman can make herself
will
be sure to satisfy the husband when he comes

to dinner,
if
home
lover
there are no formal
guests, or the
who drops
in unexpectedly in the evening.
CHAPTER XXI FABRICS, LACES AND EMBROIDERIES.

EMBROIDERIES LACES VELVET SILK LINEN CLOTH WIDTHS OF DRESS FABRICS OSTRICH FEATHERS
VELVET
Velvet
in
is
the handsomest
first
among handsome
materials
it
Europe, since the
centuries of our era,
was
considered as a sumptuous fabric and was called Samit.
About the year
800, the
famous
Caliph
Haroun-al-
Raschid presented the emperor Charlemagne with several pieces of beautiful Samit manufactured in Persia.
At a
later
period M^hen the city of Antioch was pil-
laged in 1098, the Crusaders seized upon such an enor-
mous quantity of Samit that many chiefs and made considerable money by selling pieces
precious material.
soldiers
of
that
Velvet was always called Samit

as,
in the eastern
countries
according
of
to
tradition,
it
was believed that the

the special kind
island
Samos only would produce
of silk purposely and exclusively employed for
manu-
facturing the Samit.

249
250
FABRICS, LACES AND

first
EMBROIDERIES
was reserved
in Saiiiit
At
dead
the
beautiful
texture
for
the
illustrious persons were wrapped

pall of
shrouds
coffin
and a
but,
the
same was thrown over the

a
some Mussulman princes took

it
fancy to Samit
turbans, and, henceforth,
was considered the richest

turbans.
material for
handsome garments and

taste
In Europe our great grandmothers of the eleventh

century,
whose
and elegance were equal
to
our
own, wore Samit costumes; these dresses were more

elaborate than the present costumes: the style consisted
of
a species
;
of long tunic
with large funnel-shaped
sleeves
this
had
a broad border richly
embroidered in
gold and pearls and worn over a narrow skirt

silk,
all
made with
and edged with heavy gold fringe
this skirt set off
the beauty of the Samit tunic.
During the thirteenth and fourteenth centuries the

nobility of both sexes
had their coat-of-arms embroid-
ered on the dress
the various bright colors and gold
and
silver threads
employed on those emblazoned
gar-
ments produce
of the Samit.
a magnificent effect
on the rich ground
About the same epoch Samit was given another name

in
it
Europe, and called Velux,
Veloiix,
Velvet,
Velluyan;
was also adapted
to
other various usages, such as

for
hangings and coverlets

tresses
;
beds, also covering mat-
this
was an Eastern custom greatly apprecicentury Sainits were

cities in
ated by Sybarites.
Some time about

manufactured
in
the twelfth
Palermo and some other
FA BRICS, L A CES AND

Italy;
at the
EMBR 01 DERIES
25
Lucca was celebrated
for its velvet manufacture,
same time ornaments and
rich garments for the
church were made
with the utmost success.

right, could
"Knights alone, in their own

vet."
wear Vel-
A
Bold
dress reported
as
magnificent was worn by Mar-
garet of York on her marriage with

of
Duke Charles
the
Burgundy; she was
attired in a splendid robe
of white Samit edged with a very deep band embroid-
ered with gold, rubies, pearls
and emeralds; and
this
dress, very becoming to her style of beauty, fitted her

to perfection.
The end
fashion
of
of
the
fourteenth
century introduced the

series
blue velvet with
of gold fleur-de-lis;
history describes Charles VII. dressed in blue velvet;
even his saddle-cloth was to match.
Agnes
king,
Sorrel, the
"Dame deBeaute, "

of velvet
;
favorite of the
was particularly fond
in all portraits
;
she is represented attired in black or blue velvet robes

the shape being a kind of princess dress
trimmed with
she dressed
ermine; the corsage was laced
in
front;
always superbly and the ladies of the Court followed

her example.
At a
later period,
and
well worth
mentioning, was
the superb and immense court-mantle of royal purple

velvet, lined
and bordered with ermine and fastened by
wonderful diamond clasps, worn by Eleanor, the sec-
ond wife
of Francis
I.,
of France,
when she entered
in
state the city of
Bordeaux.
252
FABRICS, L A CES A ND
bridal dress of
EMBR OIDERIES
of Scots,
The
Mary Queen
when she
married Francis, the dauphin of France, was greatly

admired, her robe and court-mantle being of white velvet embroidered in white silk and precious stones.
It
was
in 1470 that the

at
first
manufacture of velvet
Six 5êars later,
was establishd
the
Tours
in France.
Duke
of Brittany, Francis II., sent. for
some Flor-
entine mechanics, very skillful in their
art,
who took
by the
charge of a manufactory established

duke.
in Vitre
Subsequently, in 1536, Stephen Turgucti
?i.\\d.
Bartholb}^
omew Nariz, both from Genoa, were authorized,

ial
spec-
license of king Francis
I.
of France, to establish a in the city of
manufacture of silks and velvets
Lyons
from that time
to this present day, the
Lyons manu-
factures have maintained their unrivalled celebrit}^
The
of silk.
best velvet
is fine
soft
and pliable, made entirely
The nap
is sliort,
thick and even.
For
milli-
nery the narrow widths cut to the best advantage, but

for
dresses and wraps the wider varieties should be
chosen.
This because the
ble the better.
There
is
number of seams possino way of making them less

less
apparent, as can be done in manj^ other fabrics hy thor-
ough pressing.
To
dent.
be didactic, a study of texture will pay the stuIt is all
nonsense to buy cheap

nice.
stuffs.
The}' do
just
not pay.
They never look
They wear
as
long as a good fabric, but they are shoddy to the end.
cotton handkerchief will last as long as a linen hem-
FABRICS, LACES
stitched
AND EMBROIDERIES
with economy, and
253
and so
will
cotton towel, but one has to

the vio-
take the
shower of
fluff
lence done to taste and the loss of personal

vastly outweigh the gain in nione}'.
comfort
Don't buy velvet or any other fabric unless you can

afford
at
it.
If
you get a cotton back, the warp

night.
will stare
you day and

it
The frequency
of special sales
makes
possible for a
dress pattern
woman to get a very excellent now and then for a reasonable price.
SILK
of
silk
The manufacture
was
first
introduced
into
it
England during the reign

was an important industry
period.
far
It is
of
in
Henry VI.
China from
that
However,
a very
remote
spoken
of
in
country's records as
their
back as 2640 B. C.
But the Chinese guarded

most jealously.
Great,
it
secret of its manufacture
Still before
the time of Alexander, the island of Cos.
tlie
had penetrated
to
We
are
informed that Famphile,

first to
the daughter of Plates
was the
spin the wind-
ings of the cocoons, and subserve the labors of the silk
worm
to the
adornment
of
beauty.
Persistent efforts
have been made

Britain and
to stimulate sericulture in
little
both Great
America but with

and
Italy are
success.
The
silk
looms
of Persia
celebrated, but China,
Japan and the Levant continue the markets where

is
manufactured abundantly and permanentl)'

Silks that are weighted by dye do not wear well and
are never cheap no matter
how
small their price.

to
simple way of testing a black
silk's purity is
burn
254
^^-i
BRICS,
LACES A ND EMBR OIDERIES

Pure
;
a small quantity of its threads.

crisp, leaving a pure charcoal
silk will instantly
heavily dyed silk will
smoulder, leaving
yellow greasy ash.

of testing silk.
If the filait
There are two methods
ment
If for
of the cocoon can

it
be unwound from
and
is
as a con-
tinuous thread
is
reeled
called "raw silk."

it
any reason the filament can not be reeled

before
it is
must
called
be
in
The raw material spun. commerce "waste silk."
spun
is
LINEN
That mummies are frequently found wrapped

is is
in linen
sufficient proof of
its
antiquity.
In
it
fact its
origin
so ancient
it is
unknown.
But
is
most useful
It
and necessary addition to the clothing of mankind.

is
more cleanly and cool
fabric
than cotton, for the

dust and
latter presents a woolly surface that catches
absorbs moisture.
Linen cloths present

is
glossy smooth
is
surface that
as lustrous as satin, and that

it is
as pure,
and
deli-
cate as
healthful and pleasant to the touch.
Plain linens of heavier weight are used for shirts,

collars
and for bed linen, but the twilled linen includes
the dimity and
damasks
for the table.
There are also
the finest linens which
are used for handkerchiefs and
are called lawns and cambrics.
Very few linens
are
dyed or printed, although they

given
take colors perfectly and wear beautifully. In
Chapter XXII.
further
information
is
FA BR I CS, LA CES A ND
regarding household linens,
EMBR 01DERIES
accompanied with
keep them
in repair.
255
their
approximate cost and how
to
CLO'J'H
Under
the
the head of cloths used
for
dress
range
and variety
is
exceedingly great.
purposes Broad-
cloths are considered the most beautiful in quality and
appearance.
Some much
find
ties
of the
is
handsomest
as fine
street dresses are
made
of
cloth which
and supple as French kid and not

is to
heavier.
The
stiff
greatest beauty of broadcloth
it soft,
not
and board-like.
The
latter quali-
some
of the
most expensive cloths once possessed

wear
and they brought broadcloths as a class into disfavor

with
that
many women, who

wear
out.
will not
stiff
heavy gowns
have no other recommendation than that they
will not
But when the thin
fine varieties
were introduced ladies accepted them and

it is
unanimously
not likely the}^ will ever grow less popular.

camel's-hair cloths also form
fabrics.
Tweeds and
fine
some
of the
most popular dress
They
are
made
of equally
wools often but they are more loosely woven and

a rougher surface than broadcloth.
is
show
There
also another division
made
in cloths,
which
has been designated as worsted cloths.

the fabrics well
They embrace
known
as serges, merinos, delaines,
Russell
and
Bedford
cords, tartans, camelets, repps
and woolen sateens.
The woolen and process of making
the worsted
their
cloths
differ
in
the
respective
thread, they are
256
FA BRICS, LA CES AND EMBR OIDERIES

Felt cloth
is
both woven. ning

of the
made without
either spin-
or weaving but
simply by the mutual adhesion
woolen
fabrics.
LACE
Italy claims the
honor of
the
first
record
of lace,
when
to
in 1493
we
find in a
wardrobe
list
which belonged
piiiito
two
first
high-born
knotted
sisters,
mention
of
gropo
of that
the
lace
known.
The convents
it
country for a long time manufactured
exclusively,
and the making of lace in Italy has always been more

or less under the patronage of the church.
ro3'alty
Else where,
consideration
had considered
time to
it
not beneath
its
and from
time, kings, queens and princesses

it
have encouraged and fostered

their
with their time and
money.
is
Point lace
laces,
recognized as the most precious of

are eleven different
all
and there
are,
point laces made.
They
Venetian Flat Point, Venetian Raised Point,
Venetian Grounded Point, Spanish Flat Point, Spanish
Raised Point, Point de France, Point d'Ale9on, Point

d'Argentan, Brussels Point a I'Aiguille, Brussels Point
Gaze, Brussels Point Gaze Appliqu6.
Of
these, the art of
making Point I'Argentan

gaze.
is lost
and Brussels point a I'Aiguille has given place
to the
is
more modern point
The
point de
France
only produced by a few workers,
who endeavor
to pro-
duce the old patterns, and the Venetian, Spanish and

point de France are very limited.
Consequently there
are but three kinds of point lace in the market.
These
FABRICS, LACES
are point gaze, point
AND EMBROIDERIES
d'Alencon
257
point
and
Brussels
gaze and they rank in value in the order mentioned.
The great rivals of point lace, are the pillow laces. They are made by twisting into set patterns threads wound on bobbins. Point laces are made entirely with the needle. The most important pillow laces are Valenciennes, Duchesse, Point de Venice, Point de Flandres,
Genoa
Point,
Point
de Medici,
Old Brussels
Plait, Plait
Applique, Mechlin, Maltese, Cluny, Tor-
chon, Lille, Russian, Honiton, Trolly, Regency Point,
Baby Lace, Breton, Point

mont, Blonde, Guipure,
d'Esprit, Chantilly,
Gram-
Llama, Cashmere and Yak.
Of these
laces
of
many more
many remain always in use while very them come in for a time as very fash-
ionable and then comet-like disappear from use.
There are many beautiful laces made with lace braid
which are sometimes confounded with

real point laces are all
real
point, but
made
is
entirely with the needle.
Machine made
tated
lace
an important factor in our
markets as every kind of pillow lace has been imi-
by the loom.
Indeed they have almost super-
seded the cheaper productions of the pillow, but they

only add to the rarer varieties of
all
hand made
is
laces.
The machine made
lace
called
Nottingham
made
extensively in the United States.
EMBROIDERY
Embroidery
is
a very ancient
invention.
From
The
the
testimony of the old testament,
Homer and
antiquity.
Josephus,
best
we
find
17
it
was
of
the
greatest
258
FABRICS, LA CES AND
EMBR OIDERIES
first
authorities suppose the Phrygians
discovered and
for
employed colored
silk
threads
and golden wire
ornamenting their clothing.
The book
hand
of
Exodus
tells of the curtains of the tabits
ernacle and the garments of
priests
wrought by
describes
beautiful
needlework.
Homer
Penelope throwing
over Ulysses on his departure an

inci-
embroidered garment, on which she h^d worked

dents of the chase.
era embroidery
In the
first
ages of the Christian

to the highest degree
was early carried
of perfection for use in the
decoration of the churches.

of royal
From
that time on
it
was the boast
dames
that
they were skilled in handsome embroidery.
The royal Kensington school in England has done much to revive the interest in the truly artistic embroidery of to-day.
America has had the advantages

beneficient influence to-day.
of its
best teachers and her schools are well patronized
and
her
homes show
its
Egyptian embroideries are often a marked feature

in dress garniture.
These embroideries,
as given
us,
though
perfectl}^ in
accordance with the true scheme of

,
Oriental design and workmanship are, as regards form
and
color,
planned to meet the requirements
of
the
prevailing fashion of ladies' wearing apparel.
The Egyptian embroidery

and has the appearance
is
peculiar in character,
a
of being almost
solid
mass
of gold or silver work, graceful
designs of a conven-
tional style
being traced over cloth until the whole
surface
is
practically covered with the glittering threads.
FABRICS, LACES AND

Only the best quality
being untarnishable
of metal
EMBROIDERIES
is
259
used, and, indeed
we
are informed that the Cairo firms guarantee the gold as

;
the silver, though of the finest
make
procurable,
is
always more or less susceptible to
atmospheric influence, but under ordinary conditions will wear well, and the effects produced by its use
upon white, pale cinnamon, mouse grey, and smoke

blue cloth,
etc., are
so excellent that no doubt,
many
ladies will be tempted to run the slight risk
incurred.
In the beautiful embroideries produced by Japanese
found that almost invariably some one or more masses of closely laid gold thread are
it
workmen,
will be
introduced into and become an important feature of the

design, and no other nation has ever excelled the perfection with
which the craftsmen

In the
of
Japan manipulate
this material.
Kimonos and Fukusas, which

opportunity of studying
is
afford us
such an excellent
Japanese needlework, the precious metal
practically
ever present, even the painted crape robes, which are
ery,
merely touched up here and there by reliefs of embroidhaving a certain portion of their patterns filled
in with gold thread,
and Fukusas, the major portion

silk,
of
the design of which will be in

a
are yet sure to have
mass
of gold introduced.
OSTRICH FEATHERS
The
ed.
trade in ostrich feathers

of years the
is
almost unprecedentso small

to
For a number
the
raising
demand was
decreased
that
of
the
ostrich
the
extent of forty per cent; and
feather-workers had to
26o
FABRICS, LA CES AND
EMBR 01DERIES
But
turn their attention to other channels of industry.
now
the
demand
for skilled labor far exceeds the supply.
glance at women's toilettes, for the last few years,

explain the unusual demand.
is sufficient to
Hats are
boas and
are
piled with
feathers.
Bonnets are edged with bands

sizes,
and trimmed with clusters of varying

collarettes
of
&y^xy length, thickness
and color
shown
in all
the millinery, dressmaking and and dry

fact that not
goods houses, and costumes disclose the
only are cloaks, wraps and jackets trimmed with feathers,
but gowns also.
Carriage cloaks have huge yokes,
collars
and
cuffs of feathers,
supplemented with wide

front
bands
of the
same bordering the

with ostrich
and lower edges.
Frequently they are faced inside, some distance from

the front edge,
feathers,
the
fronts
be-
ing rolled back.
Even
in
ball dresses
the delicate
to
fabrics are festooned aroimd the foot
and fastened
of
other parts of the
skirt with
bunches
tips
of
long
plumes are coiled about the upper part

to take the place of a sleeve,
the
arm
while others garjiish the
corsage.
The garments
for little folks
also
often have their
share of the popular trimming, and faces are almost
hidden under huge
felt
and beaver
ruffs.
flats
covered with
plumes and with the feather

feather fans by the
Besides, there are
thousands, and countless pretty
conceits for the decoration of the hair.
Probably more than one-half
of the feathers
used in
America are imported
in the natural state
and prepared
FABRICS, LACES AND EMBROIDERIES

here.
261
South Africa
and
is
the principal breeding place of
the ostrich.
tralia in
Ostrich farms have been started in Aus-
San Diego county, California, but the

to the
supply of feathers from these sources sent
New
York markets
is
scarcely perceptible.
is
The
great dis-
tributing market
London, where auction

Feathers
fifty
sales are held
every other month, and are attended by buyers from

all
parts of the world.
sell
from
fifteen dol-
lars to
one hundred and
dollars a pound, the high-
est price
representing "blood primes"

tail of
feathers taken
when
four or
is
from the wings and

five
the male bird

of the
years old.
The plumage
all
female bird
con-
sidered less choice than that of the male.
At the pres-
ent time value in
grades are
fifty
per cent in excess
of those prevailing for several years.
Some
past seasons have been so prosperous that
many
five
manufacturers employed between four hundred and
hundred hands most

tory
is
of the time.
feather manufac-
not
floors,
very inviting
intense
place, with
great vats,
sloppy
is
heat and steam, but the work-
interesting through the heroic measures necessary to

its
evolve from the feather in

thing of beauty.
feathers are
of a
natural state the dainty

state
Tn
the
natural
most
to
of
the
dirty gray color, shading
black,
and of
all
lengths
from
quill
three
is
to
perhaps twelve or
more
inches.
The
thick,
and the flew (the
curly part) straight and lustreless.

are sorted for black feathers,
of colored tints, tied in
The darker shades

for those of
and the lighter
bunches
about two dozen,
262
FABRICS, LA CES AND EMBROIDERIES

in
and strung a few inches apart
sections about one
and one-half
yard in length.
To remove
the natural
in a strong
oil the feathers are
soaked for several hours
solution of soda and soap, and then scrubbed and thor-
oughly rinsed.
Those
for
light
colors
are
bleached
with chemicals before being dyed, but those for black

are only subjected to a triple dip in jet dye.
Shaded
feathers are
made by enclosing
color has
parts in rubber shields
after the solid
been acquired, and dipping

while
if
them
in a contrasting
dye and combing
wet.
They
or
in
are dried out of doors and in the sun,

a
possible,
room where the thermometer

fifty
registers
one
hundred and
degrees.
After
the starching and

is
another drying, each string of feathers
beaten against
wooden
starch.
tables,
or
partitions, to
is
remove superfluous
one expects to
So violent
this process that
see the plumes fall apart in a hundred or
more
pieces.
The only effect, however, of the rough usage is to make them look clearer and fluffier than ever. At this
point the work, which thus far had been done by men,
is
turned over to women, who, in another part of the
factory, begin the of

all
more delicate operations.
Feathers
hues, in different
stages of development, are
scattered over long tables.
The bunches
is
are separated,
and the
of glass.
quill of each feather
scraped thin by a bit
Afterward, they are sewed together to form
the various designs, steamedover boilers having numer-
ous spouts, and
curled with
an implement like the
blade of an ordinary jack-knife.
Although apparently
FABRICS, LA CES AND

simple, the task requires
EMBR 01DERIES
263
considerable skill to avoid

boas, and collarettes
breaking the flew.

are
Long plumes,
only slightly curled, the
ordinary tip
more
so,
while those called "Princess," and the narrow bands

for the
edges
of hats
and bonnets, are curled
in
fine
tight curls.
Preparatory to boxing, the tips are bunched

etc.,
and marked, the longer feathers, boas,

separate boxes.
having
WIDTHS OF DRESS FABRICS

Materials for dresses vary so
much
are,
in
width that the
beginner needs especial directions respecting the dimenions of

each.
Fancy names
however, given by
in
drapers to
certain
fancy goods
is
each season, and
man}' cases the same fabric
sold under
less
four or five
high-sounding
and more or
applicable names.
Special widths, too, in silks, cashmeres, velvets, etc., present other difficulties.
Yet there are certain time-
honored dress materials, the widths of which are un-
changed from year
to year,
and as these are also the

for
most useful and durable materials
dressmaking,
we
will confine our attention
mostly to them.
velveteen,
Silk,
poplin,
merino, cashmere, alpaca,
muslin, print, serge and vigogne form a sufficient
num-
ber of materials to learn to cut out upon.
Nearly
all
patterns are calculated for dress materials
of twenty-seven
inches wide, this being the ordinary

fabrics.
and accepted width for dress
As
a matter of
knowledge, the following table of widths of various

fabrics has been
drawn up
it
will,
we
hope, be useful
264
to
FABRICS, LA CES AND
EMBR OIDERIES
many, as even when rich fabrics
velvets,
list.
for in-
stance
are not
are
required often for dresses, yet small

often wanted for trimmings, and so
to
quantities
we
add
this
and other rich fabrics
our
Table of Fabrics and the Various Widths of Each

INCHES.
Alpaca
Batiste
30
36
30 28
27
25
Beige
Black and Colored Silks
22 36
38
26
54
Cashmere Cloth and Tweed Crape Gauze

Grenadine Merino
Mousseline de Laine
23
44 26
45
26
33 16
Muslin Plush Plush (Seal)

Poplin
54 30 24 18
Sateen
Satin
Serge
Velvet
28
18
Velveteen
27 27
(average)
Vigogne
Woolen Materials
27
46 21 24 32 27 30 27 32 20 24 28 44
42 less,
54
72
We have not considered

than 27 inches.
fancy materials like broches

all
pekins, crepe de chine, which are
very narrow,
CHAPTER XXII
THE HOUSEHOLD LINEN

IN
WHAT
IT
MUST CONSIST DARNING TABLE- AND LINEN THE LINEN CLOSET
BED
IN
WHAT
IT
MUST CONSIST
One can
collection
not help remarking upon the often meager

of
linen
in
households where
money
is
plenty for other expenditures; and yet exclusive of real

linen, which,
as
far
as
bed-linen
is
concerned, can
easily be dispensed with, a ver}^ fair collection can be
made
wife's
for
sixty dollars
and one hundred dollars
will
stock a large closet with excellent linens.
The house-
mother
is to
blame
for this
meager supply.
In this country the

their
majority of the
women consider
sufficient
daughter's
trousseau
complete when
personal apparel
cies of
has been provided for the exigen-
one or more years.

of
They do not
or
of
follow the
Conti-
customs
their
grandmothers,
give
the
ever}'
nental mother, and
daughter about to take

linen
for every
charge of a
new household
sufficient
emergency,
With
a collection dating from the nucleus

265
266
THE HOUSEHOLD LINEN

in a trousseau,
provided
and never deviating from the

is
rule of immediately replacing whatever
drawn from
the reserve stock, the shelves are always moderately
well supplied.
Exclusive of real linen, and more or less elaborately
embroidered sheets and pillow-cases, the amount of
money required
cost; and
if
to
make such
is
a nucleus
is
not large.
Of course the size
of the reserve stock will
govern the
the collection
but modest, no doubt a

to
scanty reserve will often

cover the
have
be
drawn upon
to
demands made by
making
sickness, or by the
pres-
ence of "strangers within the

deter no one from
a
gates;" but
this
need
a beginning.
We
to
here give
rough estimate of the amount required
purchase a
moderate stock of good quality;

else in the household,
for here, as
everywhere
cheap and coarse material prove

are
dearer in the end, and
unlovely while they last

;
six table-cloths (varied lengths), eighteen dollars
two
dozen napkins, four dollars

dollar and a half
;
one dozen tea napkins, one
two dozen towels, four dollars and a

six
half; six
sheets,
honey-comb spreads,
and
three-quarter
dollars
dollars;
eighteen
two
yards
;
by two
and
one-half, thirteen
pillow-slips,
dollars
;
and a half
two dozen pair

seven
three-quarters
by three-quarters,
one dozen dish towels, one dollar and one-half;
one dozen glass towels, one dollar and a half; onehalf
dozen bath towels, one dollar and a half; one-half

;
dozen kitchen hand towels, ninety cents
four roller
THE HOUSEHOLD LINEN

kitchen towels, one dollar and a half
sixty-one dollars and forty cents.
267
in
all
making
Of course with the above estimate a household, say

of four
persons and a servant will be able to lay aside
only a small reserve stock.
On
the basis of three beds,

quilt,
each requiring a honeycomb
two sheets, and
two
pillow-cases,
six
sheets and twelve pairs of

;
pillow-slips can be
reserved
two bath towels
(for the servant will use
probably six towels and the kitchen

;
hand towels
in her
room) can also be spared
while
two table-cloths, a dozen napkins, half a dozen glass and half a dozen dish towels would make a good showing on the upper shelf. You think the reserve
stock too insignificant to be called such?
We have
not
taken into consideration the fact that most households
have already some stock on hand, and in such cases more of the linens can be added to the reserve or if
;
it
be a
new household
just
sprung into existence, and

alone, less linens
the family consists of
Adam and Eve
are required in use, and the reserve

increased.
is
correspondingly
And
that
it
granting that the reserve be small,
remember
can be gradually increased, and an

bill,
occasional five-dollar
judiciously
invested, will
shelf.
make
a respectable addition to a scantily filled
Perhaps you have noticed that we have made no allowance for seamstresses' charges?
We
have taken
it
for
granted that the housewife, for the sake of enlarging

her stock,
is
willing to save that expense and do the
sewing
herself.
The saving by
this
means
is
quite an
268
THE HOUSEHOLD LINEN

;
item
though the seamstress ma}' charge only a few
cents for
hemming
napkin or a table-cloth,
the bill
}'et
when
the pieces
number dozens
counts up rapidl3^
DARNING TABLE AND BED LINEN

Chapters VII and VIII give
full directions for
hem-
ming and marking linen and there is no daintier

pleasant work for a
or
more
woman
to
than
this.
Articles of wear-
ing apparel are best repaired by neat patching, but bed
and table linen ought

it
be carefully darned.
time,
it
When
be
fre-
has been in use for some
should
quently examined, and the thin places strengthened to prevent their becoming holes.
It
often
happens that
taking them
sheets and pillow-cases are either torn at the wash or
by being caught on hedges or bushes

in after drying,
in
and table cloths are sometimes cut by

It is, of
the thoughtless use of knives at meals.
course,
desirable
that
such
injuries
should
be
so skilfully
mended
ble.
as to
make them
way
to
as little observable as possi-
very simple
mend
a hole is
by a darn.
It
all
should extend for

sides,
It
at least
an inch beyond the hole on

of the
it
and the loops everywhere must be
same
is
size.
ought not to be made square, because

if
much
stronger
the edges be either

a
irregular
or wavy.
diamond
is
good shape
to
form.
Of course small
holes only are
mended
in this
way, larger ones should
be patched.
First carefully cut
away the rags from the edges

hand
of
the hole and beginning at the left
side, thickly
THE HOUSEHOLD LINEN

darn across
it,
269
drawing the needle out gently each
time to avoid pulling up the threads of the material.
Changing the position

before the bottom
cross
it,
of
the work, so
that
what was
left side,
of
fill
the
darn
is
now
a
the
and thus
the hole with
thick lattice of
threads, which
closely correspond with
those of
the
surrounding
fabric.
To darn
a three-cornered or
hedge
tear
is
rather a
te-
dious thing to do, but careful!}' tack upon a card,

distance of an inch on
all
at the
sides of the tear and with
some
sewing cotton gently draw the edges as nearly as possible into their original position.
Then darn backwards

about double the length
and forwards from

and width of the
threads
flat
left to right,
rent, taking pains to
keep the broken
under the cotton during the whole time.

as
Then
turn the work round
before,
and repeat the

complete,
of
If
process in the
opposite
direction.
When
the tear will form
two sides of a square

it
crossed
darning.
Then remove
is
from the card.
properly
done, this darn
sccarcely noticeable,
THE LINEN CLOSET
The
ideal
linen
into a niche in the
we have in mind was built bedroom wall, and its identity was
closet
;
concealed by a mirror set into the door

circle of brass betraying the
only the small
Yale lock led one to sup
pose the mirror was other than a toilette accessor)\
Unlocked and swung open, one could

the closet,
see
behind
it
whose
floor
dimensions were about two

half,
feet
and a half by one foot and a
and whose height
270
"
THE HOUSEHOLD LINEN

It
equalled that of the room.
was shelved
in regular
filled
spaces from top to bottom, and completely
with
snowy
linen.
There were
in
all
seven shelves, and
these were covered with ordinary bed-ticking, held in
place by carpet tacks, under the edges of which were
twice a year strewn Persian insect powder to prevent
any entrance of vermin

possible
cloth.
above
laid
lace,
this, so
as
to
exclude
dampness were
strips
of
white glazed
Two-inch cotton
which by hanging down

be basted along the
conceals the wooden shelf,
may
if
front edge of the ticking, and
washed twice a year

and
always looks fresh and white
this is inexpensive,
makes
a pretty finish to the
shelf.
On
/.
the two upper
shelves were kept "reserve" stock;
e.,
such table and
household linens as are not yet taken into use.
Guarding either end
of the top
shelf
was
pile
piles
of
neatly folded sheets, and between

pillow-cases.
in front,
them two
of
The
all
heavily folded edges only appeared

loose ones were turned toward the
and
back.
And
this
reminds us that whoever would possess a

all
neat linen closet must see that

ironed, that the sheets
pieces are uniformly
when
folded will be of the same
length and width, the pillow-cases alwaj^s folded alike,
and
all
edges turned inward.

sheets
The
numbered
;
six to
each
pile,
and the pillow-
slips six pairs
this nearly equalized the height, and
each set was separately bound together by a bright

ribbon.
Where
the narrow ribbon ends
met
in a small
THE HOUSEHOLD LINEN

bow
it.
iî
a label
was hung descriptive
of the articles
behind
This
label, consisted
simply of a piece of white

all
muslin,
stiffly
starched, and edged

;
around with nar-
row
Italian lace
it
was oblong, and measured perhaps
seven inches in length by two and a half in height.

Plain
cross-stitch
letters
worked with
red
marking
cotton formed the necessary

Sheets," "Muslin
etc.
names
of
each; as "Linen
Pillows," "Quilts," "Dish Towels,"

labels,
Reading the
were
muslin.
we saw
that the sheets and
pillow-slips on the right were linen, and those on the

left
On
first
the second
shelf
were table-
cloths of different lengths, napkins and towels.
Here, as on the
shelf, the
bright ribbons and
dainty labels performed their pretty duties.

shelf
The
third
was heavily laden with Marseilles and honey-
comb quilts, vying in snowy purity with the glistening damask above them. The fourth shelf contained in neat arra}^, the sheets and pillow-cases, some plain and some
embroidered, which were in daily use, the descriptive
label
pinned
piles.
to
the uppermost piece of each of the

the
fifth shelf
four
On
sixth
lay
for
towels,
cribs
bathing
towels, sheets,
and pillow
slips
and single
beds.
The
contained towels and bed linen for

the
as
servants' use,
together with
colored table-linen.
perfectly
as
On
the seventh shelf,
ordered
their
superiors in rank, lay dish towels, glass towels, cheesecloth dusters, Avindow rags.
When
your linen closet
is
well stocked and in order,
allow no one, not even the best of servants, access to
272
it
;
THE HOUSEHOLD LINEN

when
the week's
wash comes
upstairs, put
j'our
linen awa}^ with 3'our
own hands,
to
the fresh
pieces at
the top of each
pile
which they belong, and when
others are required for the regular changes, take those

that are at the bottom.
in rotation,
In this
way
all
reach the wash
and none grow yellow from being too long
unused.
CHAPTER XXIII LAWS OF CORRECT DRESS

CONSIDERED FROM THE POINT OF
ECONOJiIY
CONSIDERED
FROM THE POINT OF BEAUTY

DRESS FOR STOUT WOMEN
DRESS FOR SLENDER WOMEN
INDIVIDUALITY
IN
DRESS
DRESS FOR RED HAIR
DRESS
FOR BLONDE HAIR
DRESS
FOR BROWN HAIR
DRESS FOR BLACK HAIR
DRESS FOR
GRAY HAIR
JEWELS
GENERAL REMARKS
CONSIDERED FROM THE POINT OF ECONOMY

One's garments should be selected with a due regard
for the eternal
fitness of
things,
and common sense

in fact
should govern the device of our wardrobe, and

it
should be the watch-word
in
all
matters which perin
tain to health
and grace which should go hand

as they often are
hand,
and not be divorced
by the origina-
tors of pernicious fashions.
A woman may
if
dress well without being extravagant,

in
she will employ forethought

materials for her
her buying.
She
the
who purchases
fall
of
i8
the preceding year, or

is
273
summer gowns in who provides for

to
her
winter outfit in the spring,
able
secure her cos-
274
^^ ^^^5* OF CORRECT DRESS

if
tumes much more reasonably than

thing in
ever, she
its
she buys every-
season.
select
When
she follows this plan, how-
must
goods of quiet color and unobtru-
sive design, avoiding striking patterns or peculiar col-
ors that are
likely to
become passe before they
are
made into dresses. Indeed, it is wise for the woman who will probably have to make her dresses do service
for
more than one season,
to
choose
tints
and fabrics
for qualities that will wear.
mistake frequently made by

to dress well to
women who
of
are
am-
bitious
and who have small means with

it,
which
imitate
accomplish
is
that
endeavoring to
materials.
rich
costumes
in
inexpensive
cheap velvet or plush or
a flimsy silk is as
poor an
investment as one can make.
A good
tricot,
cashmere,
or serge that does not pretend to be anything remark-
able looks better
than
is
the more pretentious fabrics.
Consistency in dress
to
always admirable.
The attempt
dress beyond one's
means
is
not only wrong, but
absurd.
To-day
is
the harvest time of the
home dressmaker.
All the expensive novelties in dress material and decoration are reduced to prices approximating their actual
cost
and compatible with the possibilities
of a
moder-
ate allowance.
The
fortunate
woman
with happy in-
tuitions and inspirations in designing, and with clever

skill
in
materializing her designs, can revel

that
now
in
a wardrobe
would dazzle the Queen

glory,
of
Sheba
more than Solomon's
and
all at
comparatively
LAIJ'S
small expense.
OF CORRECT DRESS
gown with
275
Not
that the unprofessional dressmaker

its
shall attempt the swell street

skirt
sweeping
faultless with hidden fastenings and pompous sleeves, any more than
and mysterious bodice, seamless and
a school girl might essay an epic poem, or a baby copy

a Corot with a
slate
and pencil.
The
style, the
fit,
above
all
the indescribable something about the perfect
street dress that
we
call "the air," in lieu of
something
more expressive,
work
ator with genius,
are,
and must
of
necessity be, the
of the professional artist
endowed from the CreBut the dainty house

of soft bright
and
in
this genius sanctified, developed,
and made perfect
long service.
dress, the fascinating little

silk,
house bodice
all
the attractive evening toilet,
manner
of luxuri-
ous tea gowns, and those extremely pretty simple dresses
which are now worn, not only

modiste
at
the "tea" but
all all
through the evening, unless the dinner be formal,

these the amateur
may make with no
appre-
hension.
Their success depends upon their coloring,

material, and
decoration, and
the leading motive
in
them
all is
simplicity
simplicity idealized to
a
little
elegance
by the use of rich material and rare ornamentation.
An economist who must make
mone}' do a
great deal should choose plain wôolens instead of those
with figures, stripes, or bars, or the bordered pattern

dresses that attract attention by their
showy designs,
or that will
and she should find the best and newest shades of the
colors that are
most becoming
to
her,
276
LA JVS OF CORRECT DRESS

a
combine well with

satisfactory.
color that has hitherto
proved
High
colors,
prominent stripes or figures are
less
genteel as well as less sensible than plain materials in

quiet colors and exquisite quality.
Brown
in
all
its
shades has been popularized in America as well as
London, by the Princess
of
Wales, whose exquisite
taste has realized its possibilities in her

toilets in tints
this,
own
in
beautiful
her favorite color.
Tan
countless
is
and combinations with brown or green

is
much
to
used, blue
well worn, gray
is
affected
by the few
whom
them
it
is
becoming, and a peculiar dull shade of

is
green in combination with black

all.
most striking
which
of
A woman,
has pleased
ter
whatever be "that state of
life to
it
God
to call her," will find life a little betif
worth living
lot
she provide herself
first
of
b}^
all,
not
with a
of gorgeousness hustled together
cheap
dressmaker into a shoddy imitation of a rich reception

or theatre gown, but a simple cheviot or serge simply
made. The sham
skirt is cut
and
fitted carefully,
and the
drapery or outer skirt, plainly

laid in fan-like pleats,
hemmed, has
a full back,
and a
straight, scant, seamless
front laid
up
in two or three circular folds about the

is slight,
hips
if
the wearer
or simply pleated
lengthif
she is wise or gored away at the top to fit be hooked up on This skirt may or may not stout.
plainly
the
bodice.
If
it
is
hooked up on the bodice
it
should be plain and severe, and made
either single
LA WS OF CORRECT DRESS
or
277
tlie
double
is
breasted.
Marketing
or
shopping,,
housewife
well dressed in the snug
little
gown
that
is
defies wind and weather, and the business
woman
never
so well, so
comfortably, and
so
appropriately-
gowned, whether she write or teach, heal the natives,

or sell ribbons
and bonbons, as
in this exquisitely neat,
serviceable dress.
the well-dressed
The next most important gown

in
to
woman
winter
is
a cloth
handsomely
and
made,
as
faultlessly
fitted, as rich in material
decoration as her means will allow.

receptions,
All sorts of teas,

itself,
matinees,
even the theatre
every-
thing except the solemn functions of a ceremonious

dinner, a ball, or the opera, call
for
handsome
and
cloth
gowns. There are no limits to the gorgeousness involved

in
its
decoration.
Rich
braidings
stitchings,
splendid
costly fur
cloth-of-gold
waistcoats and gauntlets,
and
bands and
jet
passementeries are considered

of cloth
quite the suitable
accompaniment
gowns.
The
sensible and economical
woman
avoids high-priced and
conspicuous novelties in cloth, which are sure to look

passed after a season.
A
last
it
dress that
is
entirely suitable to the occasion will

it
much
longer before
looks old-fashioned than

it
if
be worn at times and places for which
was not
originall}'
designed, and though more gowns
may be
required at the outset, they will last
much
longer and
look
much
fresher to the end
than
if
they were worn
in season and out of season.

strict
Of course, when very
economy
is
necessary, a
woman who
has
the
278
ZAIFS OF CORRECT DRESS
instinct of dress will so arrange that almost every govv^n

shall be "contrived a double debt to pay,"
and chosen
If
so as to be suitable whenever
it
is
worn.
she can
it
only afford one evening dress she will choose

reference to balls, dinners,
visiting
with
and
"at
homes,
_^
and her
gown
will
be neither too gorgeous nor too
plain
all
while in bonnets
and hats she
will,
above
things,
show her
wit, and, to quote the old
poem
once more, prove "For every season she has dressing

fit
;
for winter, spring,

of
and summer.
all
The fashion
been
a blessing
buying
in
things ready-made has
many ways,
but
it
has
deprived
women
their
of the necessity of
thinking out their clothes for

of
themselves,
and investing them with some degree
own
personalities.
set
The
"esthetic set" were right
when they
their faces
against this
custom, and
declared that every woman's dress should be an expression of herself;
but
the
mania
and
for
full
bodices and
skimpy
defeated
skirts,
its
huge
hats
little
handkerchiefs
of
object, for all the
maidens and matrons
the esoteric coterie were arrayed in the
same
fashion,
so that, while the individualit}' of their set
was asserted
entity
energetically by their attire, their
own personal
it
was more disguised thereby than
would have been
by the most French and elaborate of ready-made costumes.

it
A woman who has the instinct of dress, shows when she buys a gown "off a peg" just as much as when she plans and arranges every detail of a costume after her own fancy. That a frock is pretty or quaint
or fashionable
it;
is
it
279
no reason that she should purchase

is,
her test of
"does
it
look like me?" and though
she
may somtimes
of
take a
new
departure,
some new
she has
freak
fashion,
which
is
unlike anything
itself to
worn, but that yet approves

suit her, she has the wit to
her as likely to
it
know whether
will really
mold
itself to her.
A well-dressed woman
dummy
for
always wills
that her clothes shall be part of her,
and utterly scorns

the display of
the idea of being merely a

a Mr.
Worth's
last creation.
CONSIDERED FROM THE POINT OF BEAUTY
When
trail
one of "Ouida's" miraculous great ladies, who

quote polyglot
that,
old laces on their balayeuses and
scraps
about
most
things
under Heaven, says
even
if
she were poor and reduced to wearing dimity

still
and serge, she would

so that Giorgione or
have her garments fashioned

in
Gainsborough might delight

is
her, she speaks what sounds, and
good sense
and
with
yet there are
many
reasons which prevent

following
so
women
idea.
slender
purses from
out
her
that,
when they have
a taste
perfect
Even given money

in the grace
and time, they might eclipse most women
and harmony and richness
of
their
raiment, the "res
angustadomi" means being
careful and
for a
cumbered over
living
many
things.
If
woman works
she
is
likely, at the present rate of pressure and stuggle, to
be too weary to pay more than a

attention
to
fitful
and careless
dress
and the careful consideration of

one garment to another
harmony and
of suitableness of
28o
is
mind by matters
to
often pressed out of her
of
so,
more
but
it
importance.
is.
Perhaps
it
ought
not to be
The small refinements and thoughtfulnesses

it,
of
dress which give
as
it
were,
its
grace and wit,

care
;
maybe
and so
cost little money, but a
much thought and

of
woman who
if
is
keenly sensitive to beauty of raiment

the instinct, and
;
often shows little sign
is
dreary,
even
neat, in her attire
she
has
so
many
other
things
out."
of
which
to
think that dress gets
"crowded
And
yet
it
is
a pity
a
for to
most women dress
is
pleasure,
and
right
one
and when the feminine
instinct is crushed or lacking in a
woman,
so that she
in her
does not care Itow she looks,

nature.
it
shows a want
of
We
are
not
speaking
slovenly
all
women
of the
they are rightly an abomination in
eyes
but
women who, from economy

time or
taste, or
or carelessness, or want of
from religious opinion,

neat, painfully neat, but
may be and
whose gowns
most
likely are
are dreary, dull, unfitted to

of
the wearer, or possessed
no individuality whatever.
DRESS FOR SLENDER
WOMEN
enough
to be
Few
figures are
considered
perfect
displayed in a plain untrimmed waist.

be pretty, but
if
The
if
bust
the
may
lines
the
chest
is
hollow,
about the arm are

inent,
flat, if
the shoulder-bones are prom-
some
fulness or drapery will be needed to cover

If
these defects.
the
model
is
spare and bony, shingle-
breasted and slab-sided, then trimmings must be resorted

to,
'
281
while on the
other
hand, a
case
of
middle-age
stoutness,
while
requiring
trimming, will
need
an
entirely different arrangement.
thin
woman
can be
plumped up
ery,
with folds variously

fronts
shown
in artistic drap-
surplice
and
full effects.
Lace, pleated
or gathered
bretelle
chiffon, is
also filling and a yoke-vest or

net,
made
of fur, jetted or jewelled
flowered
silk, velvet,
plush or chinchilla, will round out a thin,
spare figure.
Another trick of making slimness look

the use of ribbon, braid or guipure, sewed
plump
in
is in
rows round the neck and collar or round the waist,

to the belt.
from the corsage
To complete
at
the descrip-
tion, stitch the cuffs

b}'
round also and increase the width
having the sleeves puffed
and below the shoulder.

is
Suppose the woman we consider

and young,
pert
for
it
slender and fair
gowns
of her
is she who wears best the simple, own manufacture. The middle-aged
woman must aim for stylish and rich effects, the elderly woman must clothe age in elegance the smart young woman and the slight, fresh girl require only pretty col;
ors,
dainty materials, and simplicity.
But
this prett}^
woman will the woman

waist
of
be as
to
fair to the
man who
loves her as was

if
whom
Paris
gave the golden apple,
she pours his coffee in the morning in a simple
little
made
left
of a bit of pale, blue
cashmere, a remnant
China
silk,
or perhaps the best of an old drapery of

last
challie
of
summer's wardrobe.
The main
with the
point will be to have the materials very
soft,
waist fulled on the shoulders and about the neck. Again
282
may have
ecru
a history.
It
this particular bodice
may have
that
been the remnant of an
surah
it
gown
had
done duty on many occasions before

into this little
was pieced out

one
morning waist which
will convince
simple
man
that he has the prettiest wife in the state.

of the bodice
But the dainty grace and becomingness
may
row
consist in the broad, full
frill
of pale yellow chiffon
that falls back softly from the

belt of
open throat and the nar-
dark brown velvet which accentuates the
slenderness of the willowy waist.
DRESS FOR STOUT WOMEN
A
tic
stout
woman
can not wear well any of the fantas-
seamless bodices, but should retain each seam decid-
edly, with
an extra side-form under the arm,
if
the
waist measures more than twenty-six inches.
Neither
cir-
should the stout

cular trimming for
est
woman
attempt long coats, or

it
the skirt, unless
be the narrow-
band
of a
darker color than
the dress
extending
about the extreme edge of the
skirt.
No
ming
stout
woman
can afford to wear horizontal trimAll lines should run down.

If
or figured goods.
she selects a fancy braid, narrow ribbon velvet orgaloon,

let
the design start at the neck or shoulder and extend

it
down, graduating
Strips of
to a point at the
bottom of the
belt.
ribbon running from the under-arm to the
front or back
seam
will tend to slope off the hips.
Hip
trimming
in the
of every sort
must be avoided, but
a pleating
back or a narrow bow with long streamers will
break the line where the waist and skirt meet.
Long
LA
basques,
JVS
OF CORRECT DRESS
at
283
sharply pointed back and front, should be
selected by stout
women
all
seasons regardless of
the changes of fashion.

sleeves,
High
left
collars
to
and high puffed
which have a tendency

to
swallow up short
slim
thick necks should be

like the
the
women, who,
throats.
tight,
famous Annie Laurie, have swan-like

the
sleeve easy,
By making
having
cal
it
though not
and
come well down over the hand, using

b}^
verti-
rows of braid, not too close together, in place
of
a cuff
you narrow the arm
lengthening
it.
Fleshy
women
can greatly reduce their size by wearing narrowin
striped goods or any plain cloth
dark colors, not

patterns
necessarily
black.
Figured
and
flowered
unless very, very small should be
let entirely alone.
Short jackets should never be worn by stout women,

long close-fitted coats are their most becoming wrap.
Shawls are essentially the most feminine of wraps, but
women who have
not sufficient height and a graceful
carriage should never attempt to wear them.
A woman
with a large face should never wear a very

if it is
small bonnet, and
too short avoid trimmings on
the sides of a hat or bonnet as that tends to widen the

outlines.
Place
the
ornamentation on
top in
close
upright lines.
Stout
women
often have short, too
plump
feet,
in
which
case, all
ornamentation of bows or rosettes of
ribbon on shoes or slippers should be avoided.

only
make
the foot
more shapeless.
and
it
They They should never
wear colored shoes
is
very graceless to accept
284
ZAJVS OF CORRECT DRESS

foot.
shoes too tight for the
For a very
fat foot,
the the
wearing
of the size too long really adds, often, to

its outlines.
beauty of
INDIVIDUALITY IN DRESS
There are some women who look

advancing years make
suitably,
loveliest in a riding
habit, or cotton frock, or sailor's shirt; but with these,

it
more
difficult task
to dress
and they are apt

hat,
to drift into the short liair,

attire
;
wideawake
the
and pea-jacket style of
whereas
women whom
sober,
dainty and delicate prettiness suited
in girlhood, take easily to
more
dignified
and
richer, if
fuller
more
attire,
as their youth
is
turns
into
maturity.
And
there
a beauty
which demands
simplicity and severity of sentiment which any hint of
coquetry or consciousness in dress seems to degrade

or belittle, as a masquerade habit might do, and which
is
usually framed best in black or white, which enhances

It
is
the austere purity of look and feature.

ble to think of Shakespeare's
impossiafter
far-
Isabel as she
was
the play ended, Duchess of Vienna in rabato and

thingale, brocade and jewels
of St. Clare
;
the habit of a votaress
seems the only
fitting
garb for that "thing

is
enskied, ensainted," and aught else

a nun's
liant
as
unfitting
as
or widow's
garb would be to Congreve's

in
bril-
Millamant.
As Dorothea says
"Middlemarch,"
"Souls have complexions, too."
And
field^
the recognition of this fact
is a
leading part of
of
the instinct of dress with
women.
that a
The Vicar
suit
Wakelias
when he
tells
us
of
mourning
285
transformed his coquette into a prude, and a new set of ribbons has given her younger sister more than ordinary vivacity, touches this neatly as he does the femi-
nine adaptation of character to

not chance to suit
at will at
attire,
when
attire does
the character, which may be studied

ball.
any fancy
How
far a
dress
may
aid
in expression
of personality, every actress knows, and

is
part that
well dressed
seems half-way
at
the
entrance to being well played. on the stage by no means signifies being splendid,
like
But to be well dressed

fated Villikins, "in
Dinah
in the ballad of the
ill
gorgeous array," any more than
it
does
in
real
life,
and the overdressing prevalent among

present time
is
actresses at the
art,
a crying sin
against
and one to
which an actress worthy the name
will not yield.
Balzac makes an odd classification of colors as indices

of character.
to
"Women
that wear black habitually are
be avoided," he says, "because they are suspicious, bad tempered, and jealous. Those who wear yellow
and green are over quarrelsome, and those who

white
are coquettes.
affect
The
gentle, thoughtful, pussy-
cat sort of
women
is
like to clothe
themselves
in
pink.
Pearl gray
worn by women
who think the world

is
doesn't do the right thing by them, and lilac
chosen
by beauties who have passed their prime."

DRESS FOR RED HAIR
It is difficult to class
women
with red hair into one

the
division,
as
the shades of hair vary and

it
eyes
accompanying
must be taken into consideration.
286
LA JVS OF CORRECT DRESS

blue
ejês
When
accompany red
hair, colors
must be
worn that
will neutralize the blue in the eyes, so as not
to intensify the contrast
between the eyes and
hair.
Consequently
all
blues must be avoided in such a case.
Pale green, lavender and blueish purples must also be

tabooed.
Red
haired people should never wear scarlet

reds,
or other bright, decided
and the many shades
of
pink,
both the rose
and the violet pinks should be
avoided.
But
at the
same time they may wear
claret
color and dark rich maroons, as well as real
plum
one
color
the
said
and
its
modification, amethyst.
Green
is
of
best colors for red haired
women.
As we have
before, not light green but dark

tle-green,
invisible
green, bot-
rich
blue-green, olive-green and the
many
to
beautiful gray greens that our markets afford.
Red
hair,
accompanied by dark gray eyes tending
brown, never looks better than when clothed in dark
amber and browns tending

wear,
to
yellow, and for evening
such
women may
real gold color.
choose creamy white,
pale
amber and
to possess
When the owner

brown
of red hair is also fortunate
enough
eyes, she
may wear
all
the colors sug-
gested for other eyes and add to them black which will
be found becoming by day or gas-light.
DRESS FOR BLONDE HAIR
There are two

in
t3^pes of blondes, differing
not a
little
many
respects.
with blue, green or
The golden blonde brown eyes is much
haired
woman
These
rarer than the

tints.
blonde with light brown hair showing drab
LA
JVS
OF CORRECT DRESS
would
287
black-
different types should dress as diverselj^ as
haired and blonde haired
women. The golden haired blonde with blue eyes and the
is
white transparent skin

colors.
delightful in delicate
refined
She can but never should wear red
or the yel-
lows and the yellow browns.
She ma}^ wear black and dark green but

grays, pale
for the
most
part she should choose heliotrope, purples,

lilac,
lavender,
green, blue
tints
white
and pale violet

to her, as
tinted pinks.
These
belong peculiarly
no other type can adopt them half so well and,

this reason, they possess a peculiar elegance.
for
The golden blonde with green

be delicate and
reds
evasive.
or
gray eyes should

all
She also should avoid

but she must
as
and yellowish
browns,
well
discard purple, blue white, lavender and blue greens.
Her
the
best colors are cream and

all
transpaient whites,
all
yellow and olive greens,

turquoise
gray blues and blue grays,
and peacock blues and she may wear
made up too heavily, or heliotrope and mauve. The golden blondes, with the rich full blood and the dark brown or hazel eyes, are among the rare and radiant women who may affect the gorgeous and almost
black not
barbaric
surely put
ful
in
colorings.
However, they must

tints
just
as
away the leading
and colors so delight-
when worn by
lilacs
the preceding types.
The lavenders
They would be
and
and blueish grays, the mauves and pale cool

all.
greens do not belong to them at
most uneffective
in either.
288
reds, rich
of
But they may don warm, flaming

and red browns.
yellows
The long
all
list
turquoise blue,
amber, cream white, purple, violet, fawn color,

grays and greens are
at their best in
warm
theirs
by right of always looking
them.
The
fair
haired blondes are the onl}^ variety that
retain their blondeness with the
passing years.
They
generally remain the same even
when
when
the years usually
crowned by gray hair come, but the golden hair grows

darker
gradually up to thirty
its
it
is
difficult
to of
distinguish
tawny
brown locks
colors
from
those
decided brunettes.
Gradual
changes
in
must
consequently be
made, leading
This
is
to those
adapted to darker haired women.

the most admired, the
a type of
woman among
b}'
golden
tint retained
the brown
shade
is
generally
accompanied by an ardent, strong and

tion, fine full
e5ês
vital constitu-
and strong white
teeth, as well as
a clear
warm unblemished complexion.
DRESS FOR BROWN HAIR The brown haired woman with warm brown complexion and brown e}ês has a rival worthy of her, in her sister who while still brown haired has steel-gray eyes
and a
color
fair
skin which generally shows

or enthxised.
revel
in all
considerable
when animated
first
The
all
type
may
the rich, gorgeous
reds and
blues of color.
She may wear amber and

of
the yellows, in
brown and maroon but the pinks
delicate tones and all pale cold blues, greens and grays
do not belong
she
to her.
If
289
quietly
she wishes
to dress
may don browns
(never black)
and
tans, but
she
will never look inelegant in
the strongest contrasts of
reds and yellows because they harmonize with her
own
warm
tints.
is
There
a rare
type in this class
in
;
whose dark
is
brown hair
artists find purplish
shadows she
accomrose
panied by a creamy white skin and she

pink and black.
may wear
The chestnut haired woman with blue eyes may

wear almost any color she
pale greens and mauves.
fancies,
if
she avoids too
Pink
will be found especially
becoming and the deep true blues are her own property.
Where with
colors
this
hair the eyes are green or gray the

less at
must be chosen
spiritless
random.
She must not
wear dull
or greens.
colors
nor too yellowish browns
DRESS FOR BLACK HAIR
True black hair with black eye However, when met with
and
is
it
is
seldom encountered.
is
very beautiful generally,
accompanied by a
clear, pale
complexion that
looks well with most colors of wearing apparel.

the complexion shows considerable color,
Where
grays
warm
with touches of red, as linings or tracings of ornamentation and finishing, are alwa3's
becoming and black
silk
and velvet with white

dull invisible reds are
ors.
lace, dull
gold oranaments or
among
their
most
effective col-
One
19
of
the most beautiful
types of
woman
is
that
290
LA
IVS
OF CORRECT DRESS
found with black
hair.
where
real blue eyes are
She
of
should omit yellows and reds from her catalogue

colors, but
may wear blues, pinks, white, purples and black. She is the woman above all others who should given diamonds and who may wear any quantity of be
them without appearing vulgar, especially
and slender.
DRESS FOR GRAY HAIR
if
she be
tall
There are many types

there are
of gray haired
women, but
two general classes under which they ma}^ be
considered.
They
are
the class of prematurely gray

is
young women and those whose hair

and indicates an honorable old age.
quite legitimate
For the
than
latter class there is
nothing more becoming
black with
laces.
ornamentations of either black or

is
white
Real white hair
usually accompanied
by black, dark brown, or dark gray eyes, as the blue

eyed
women grow
gray very slowly.
Consequently the
to
colors
we would suggest must be becoming
dark
rather than light eyes.
We would
dark reds.
that
suggest dark greens in both olive and blue
varieties, dark rich blues
and purples, as well as very
There
is
brown appoaching a fawn color
may
be worn, but as a rule browns are not becom-
ing to those with gray hair.
The
chief color that

is
all
gray haired
It
women
should
absolutely avoid
a pleasing result
gray.
can never be worn with
by them.
Neither can pale lilacs and

blues, be
greens
or
pale, evasive
adopted with any

propriety.
291
as
Creamy whites can sometimes be worn,
can white muslins and lawns in the
Summer
time.
JEWELS
Jewels are a legitimate adjunct to woman's dress.
They should not be worn

to the
in
an obtrusive manner, but
they should be selected with design and with reference
remainder
of
the dress.
They should not be

of a
worn
nor
in a
way
to give the least sense of overloading,
is
there any good effect obtained by the use

of
number
comparatively inexpensive ornaments.
Sapphires, pearls, moonstones, mosaics and chalce-
dony are the jewels the very

should wear.
fair,
blue-eyed
blondes
Black haired
women may wear
gold ornaments and

in
diamonds and another brunette looks best

pearls.
creamv
find
There are brown haired women who will
amethysts, amber, topaz, rubies and garnets their most
becoming ornaments.
ornaments are
first
The golden haired

if
blonde's
is
pearls, after which,
she
not
superstitious, opals, then topaz, amethysts, turquoise,
amber, and the lapis-lazuli.
monds and turquoise

shows-
Gray haired women should limit their jewels to diain settings where but little gold
GENERAL REMARKS
Solid and plain colors have a greater richness than
mixed shades.
give
If
combined
tints are used, they
should
only be such as harmonize well, and in the full-length

figure
good personal
effect.
Probably more
292
LA \VS OF CORRECT DRESS

getting good
ladies err in
general effects than in an}^
other
one particular.
They have various garments,

5êt
pretty enough, possibly, in themselves,
which do
not harmonize well together, either in material, color

or cut, or possibly with their particular style of figure
and shade
skirt will
of hair
and complexion.
of
For example, the
have one style
trimming, the waist another,

suit,
the bonnet
may
look exceedingly well with one

of
and be quite out
keeping with another.

tall
short
dumpy
person will wear flounces, a
slim one stripes,

exquisite
while some red-haired
woman
will fanc}' an
shade of pink, when green or brov/n would have been
much more becoming. No woman should make

certainly not
herself conspicious by wearat,
ing such articles of dress as are laughed
possibly,
worn by any other persons
in the city or
country in
dry goods
to carry the
which she
dealers,
may
belong.
Manufacturers,
milliners,
and
dressmakers,
try
day with a high hand.
Yet there
is
alwa)'s
some
choice, and as, thanks to our civilized habits, a

is
full-length mirror
obtainable by most ladies, given

the most and best of themselves,
the resolution to
make
of
the greater
number
the
women
can so study the art of
dressing well, as to produce some excellent results.

First of
all,
woman who would
be a successful
of
dressmaker must cultivate her powers

in
observation
all
every
way
possible.
She should be above

single
an
observer of dress.
She should
strive to take in at a
glance and
to
293
remember accurately every
feature of every
costume
she sees.
The
dress of every
woman
she meets should

things to
be to her a study of things to imitate or

avoid, just as little Jennie
in
Wren, the
doll's
dressmaker
all
Dickens' novel of "Our Mutual Friend," makes
the great ladies of

her.
London unconsciously
a very good
"try on" for
The
theatre
of the
is
school for a
modiste.
Women
dress,
stage usually have excellent ideas of

toilet
and not a few of our best
suggestions have
been derived from them.

going too
born, to
far to call
it
An
innate talent
it
is
not
genius
less
for
dress seems
in
to
be
greater
it it
or
extent,
every
in
French
French
woman, and
actress.
finds
is
its
culmination
the
But
not alone for origination of

credit
in
new and
dress
is
beautiful ideas that
the matter of
due
to the
women
of the stage.
To
their
good sense
and personal independence we owe the reformation and

final
extinction of
many
foolish
fashions.
The
quiet
dressmaker then, will do well to
visit the theatre often.
Every woman can modify, and arrange, and simplify,

and that without becoming
It will
eitlier ultra or
conspicuous.
take time.
That cannot be helped, yet possi-
bly the saving in comfort and expense
may
fully
com-
pensate for the few hours spent in studying her
own
dress with the mirror before her and with the deter-
mination to make the very best and most of herself.

It is
best
to
make your own
individual style gov-
ern your dress, although more frequently the style of
294
woman.
dress influences the manners and actions of the
When
ulster
is
woman
dresses in a
mannish fashion, with
or with jacket having convenient pockets, she
very apt to put her hands in her pockets and to tip

stiff
her
Derby
or sailor hat a trifle to

is
one
side.
But when she
most interested
full
in
esthetic loose
trailing
flowing dresses, with
lanky sleeves and
"yellery" skirts, her eyes and the poise of
her head
take on the languid, languishing roll and curve.
But these
pass with a
freshness and
eccentricities
are only
momentary
of
they
breath, and
general
rules
neatness,
suitableness are the only ones leaving
lasting influences on the

If
mind and
character.
we
learn to seek beauty in these higher forms
we
can not but find our characters, or general individuality uplifted
and improved by what we wean

of the
Let no one rob us

seek
it
beauty of dress, but
let
us
in the highest form.
Some people have many
possibilities of
form and color, but most people must
study and develop them by special treatment.
little
woman who
light,
is
small
and without marked
beauty of either face or form will look charmingly neat
and fresh in
cheap woolens and muslins while
had she been rich and donned heavy dark velvets

and satins she would always have appeared a
faded
tired,
woman
of little attractiveness.
CHAPTER XXIV

INCONGRUITIES
CORRECT DRESS FOR THE MORNING
COR-
RECT DRESS FOR TEAS, MATINEES AND AFTERNOON RECEPTIONS
CORRECT DRESS FOR DINNERS
CORRECT DRESS
FOR LAWN PARTIES
CORRECT DRESS FOR DRIVING AND

FOR WEDDINGS AND WED-
COACHING
CORRECT DRESS
DING ANNIVERSARIES
TIES
CORRECT DRESS FOR DANCING PAR-
CORRECT DRESS FOR MOURNING
CORRECT
DRESS
FOR SERVANTS
INCONGRUITIES
Some women
That
a certain
are
said
to
have
a genius for dress.
woman knows
we
just
what
to
wear
for
every occasion, does not,

that she possesses this
ult}'
think, so
much
indicate
fac-
knowledge through a special
as that she is
experienced in society.
Unless a
woman
can she
has attended a fashionable dinner or two,
know what
other
women
generally wear?
how The
same
is
equally true of other entertainments,.
There
are certain arbitrary rules governing society with
which
only the initiated can be familiar.

295
To be
sure natural
296

for others
modesty and consideration

and that goes
far
may be
possesed,
toward introducing oneself pleasantly
and appropriately.
We
can not
know what
to
wear without experience,

fitness of things
but an appreciation
taste in colors
to others.
of the
and good
may be instantaneous to some while not Some women have a moral lack of taste
at
if
and wear startling colors and look as though their

clothes had been hurled
them by
heavy wind,
while others will look as
their clothes were a part of
themselves or
at least
little
had grown on them.
However, a
attention to the study of costuming,
together with as
length mirror will teach a

acts in dress.
much study of herself before a full woman to avoid criminal

owe
or
at
We
this
study as a duty to our-
selves, certainly, but there is also a debt

ety, to dress well
we owe
soci-
least
inoffensivel}-.
We
can
not depend upon those

dresses for us
;
who make our

it
hats, cloaks
and
we must work
dress.
out for ourselves.
Avoid conspicuous
to gain a
Individuality
in
dress
can not be too highly recommended, but never seek

kind of reputation by the odd choice of attire
or
b}^
seizing
upon the
first
caprices of fashion.
Never
ball-
go upon the street

room.
in
It is
in a dress suited only for
the
ridiculous to trail silks, velvets and laces
mud
or dust.
Preserve a general harmony in your
costume.
Don't wear diamonds and an expensive new
hat with a worn, frayed street suit.

invited to a quiet evening at a
Suppose
of cards.
3'ou are
game
Do
not

iashion
rather wear
297
patch together some old silk and brocade in a careless

;
one
of
your perfectly made cloth
visiting costumes.
CORRECT DRESS FOR THE MORNING

Propriety requires that a
in a cleanly,
If
woman
should be dressed
in
and becoming manner
the morning.
she has to
cook her own and other's breakfasts, she
should provide herself with clean,
washable dresses
at the
which she can

she
slip
on hurriedly but which
same
she
is
time will look complete.

If is
a tardy riser for
only breakfast
best
itself,
should do the same, and
the
plan always
to
leave the bed in ample time to wash and dress properly for
the entire
morning.
Otherwise neglect
to
take
off this
morning dress
self
as soon as possible, is to
expose one's
ful
to
embarrassments often very pain-
and
to the
it
appearance of a want of cultivation.

well to impose upon yourself a tule to
Moreover,
is
be dressed at some particular hour (the earliest possible), since
occupations will often present themselves
to
hinder your re-dressing for the day.
Disorder of
occurs rarel)%
the toilet can only be excused

or for a short time,
when
it
as in such cases
it
;
seems evidently
but
if it
owing
daily,
to a
temporary embarrassment
occurs
negli-
or constantly
if
it
it
seems the result

is
of
gence and slovenliness

larly in ladies,
unpardonable, particuless
whose dress seems
designed for
clothing than ornament.
To suppose
that great heat of weather will authorize
298

the
toilet,
disorder of
and will permit you
to
go
in
slippers, or with
your legs and
arms
is
bare, or to take
nonchalant or improper attitudes,

with but
little
an error of
women
selfrespect and no regard for their friends

in their
who must remain

Above
matter
all
company.
Cold and rainy
weather can not be made excuse
for similar liberties.
other things never go upon the street, no

quiet and retired
it
how
may be
in a
neglige
calls
toilet, albeit it
may
be an elegant one.
will not
Morning
upon even intimate friends

proceeding.
warrant such a
CORRECT DRESS FOR TEAS, MATINEES AND AFTERNOON RECEPTIONS
Dressing for afternoon teas and lunches was

time
a
at
one
matter
of
small
consequence.
The
hostess
received in an ordinary house dress and her guests
wore their
street or
shopping gowns with their bonnets.

assist the hostess,
However, where several ladies

adays,
now-
handsome reception dresses

a
are
worn and the

There
is
gas
is
lighted to give an evening effect.
no
sight prettier to the eye than
young
girl
dressed in
some
light
becoming dress
color.
of pink, yellow, lilac or

is
blue presiding at a tea-table which
decorated in a
are not
harmonious
The
elder ladies,
tea,
who
now
asked to preside and pour

the ladies
wear dark gowns, while
who
receive are attired in dinner dress.
In France and England were introduced for afternoon

teas the luxurious garments yet
Silk,
known
as "tea gowns".
intro-
satin
and cascades of costly laces were

duced
for
299
them.
but American
thing for a
women
in
They were wonderfully becomingj did not find them the proper
which
to receive indiscriminacely.
The
tea
gown gown is
really a
boudoir dress, although the

for
it.
handsomest materials are used
The afternoon reception

dress
is
differs
but
little,
so
far as
concerned from the afternoon
tea.
The
refresh-
ments are generally more elaborate and there are no

pretty girls pouring tea.
But the dresses
of the hostess
and the ladies assisting her are the same.

attend receptions have
Ladies who
street-
found that very heavy
gowns
are dangerous.
They wear them

terrible
into
rooms
heated sufficiently for the ladies in lighter garments,
and when they come out a
cold
is
is
the result.
Consequently as light a dress as possible
now worn
in the hall call
is
under a street cloak.

or
is
The
latter is
removed
hat
some appointed convenient room and then the
made
as long as is desired.
The
or
bonnet
retained and consequently the dress must correspond
with
that.
In Washington society the afternoon
reception
is
marked
feature of the cit}^

is
An
afternoon reception in
cit}'.
Washington
unlike
reception in any other

receive every one
in
The
ladies in official life
who chooses
to be to
to call,
and you can attend

to
your travelling dress

3'our
is
and are not expected
remove
wraps or
introduced to any body.
Your name
is
announced
the hostess and nothing else formal
demanded.
Washington
is
also about
the
only city in America
300
THE ETIQUETTE OE DRESS

up to-day the pleasant old custom
of hold-
that keeps
ing rceptions on
is
New
It
Year's day.
Much magnificence
permissible for these receptions both in dress and
the decoration.
should in this regard be limited
only by the purse of the receiver.

receptions as well as for
all
However,
for these
also,
others
and for teas
the hostess should study general effects.
The
as her
dresses of the ladies receiving with her, as well
own gown should be
in
pretty contrasting
or
harmoniously blending colors as regards each other, and

also
when considered with
the furnishing
and decora-
tions of the rooms.
The proper
dress for matinees
is
something similar
it
to a reception dress
although generally
need not be
quite so elaborate.
If
a lady
is
going to an ordinary theatrical performis
ance, a cloth street dress that
not too
warm answers
a
every purpose.
ical or
But
if it
is
an operatic matinee or
mus-
dramatic matinee given in some private house,

delicate
more
and pretty costume with a bonnet or

be worn.
is,
hat to match
should
The same thing

of
a
is
demanded when she
by invitation, one
box-
party at an ordinary theatre matinee.
CORRECT DRESS FOR DINNERS

Dinners have long been considered among the most
important and stately of social fimctions
in
England
and Continental countries and

steadily growing into the
tried to delude
in
America they are

Americans
same
estimation.
themselves into thinking they could "live
301
without cooks," could "live without dining" but experiep.ce makes them false to such principles.
Woman's
contention.
dress for dinner has also been a matter of
An acknowledged
this
authority in the social
world says regarding
subject,
wearing low-necked dresses at dinner
"The fashion of has become so
pronounced that the moralist begins to issue weekly essays against this revival as if it had never been done
before.
Our virtuous grandmothers would be

cut
aston-
ished to hear that their ball-dresses, never
high,
were so immoral and indecent.

sleeveless gown, cut in a
of a
The
a
fact
remains that a
is far
Pompadour
is
form,
more
revelation of
figure than
low-necked dinner-
dress properly made.
There
no line of the figure so
dear to the artist as that one revealed from the nape of

the neck to
the
shoulder.
beautiful
back
is
the the
delight of the sculptor.

fine art
No
lady
who understands
low
it
of dress would ever have her gown cut too The persons is ugly, besides being immodest.
who bring discredit on fashion are those who misinterThe truly artistic modiste cuts a low necked pret it.
dress to reveal the fine
lines
of
the
bacjs:,
but
it
is
never in France cut too low in front.

heat of
The
excessive
an American dining-room makes
this dress very
much more comfortable than

had a goitre which she wished
the high dresses which princess
were brought in several years ago, because a

to disguise.
"No
fulminations against fashion have ever effected
reforms.
We
must take fashion
as
we
find
it,
and strive
302
to
THE E
'1
'IQ
UE TTE OE DRESS
not slavish!}^ adhering
to,
mold dress
all
to our
style,
but respectfully following, the reigning mode, remem-
bering that
writings and edicts against this sub-
ruler of the world are like

wall.
sunbeams
falling
on a stone
stone
wall
The
sunbeams vanish, but
the
remains."
The young married woman

a light silken
in
every instance wears

at the throat,
house dress cut square
and
the young girls admitted to dinner wear dainty evening
gowns with
manner.
their hair dressed
in
the
most becoming
CORRECT DRESS FOR LAWN PARTIES
The acceptance
party means, for
of an invitation to a
lawn or gardentrip
people
in
cities, a
by
rail
or
some other public conveyance and

arranged accordingly.
one's dress
must be
The garden-party proper

the open
air.
is
alwa5's held
entirely in
In England the refreshments are served

in the
under a inarquee
grounds, and in that inclement

it
clime no one seems to think

of rain
a hardship
fine silks
if
shower
comes down, and ruins
and beautiful
bonnets.
But
in
our
fine
sunshiny land we are very

like to
much
finery
colds,
afraid of
an}'
rain,
and we do not
ruin our
risks
of
more than we enjoy running the
and their attendant unpleasantnesses.
Consequentl}', the hostess generally receives in

large
some
low,
room looking out on
the
lawn,
of
through
course,
accessible windows.
The
hostess,
imder
such circumstances, wears a
house dress.
However,

when
the party
is
303
air,
given entirely in the open

a
she
wears a bonnet or
guests.
becoming hat
in
receiving her
The lady
guests invariably wear bonnets and
keep them on indoors and out.

dresses have been
the sensible
Short light or silk

fashion hitherto, but
longer skirts for the lawn creep in
when
trains
are in
fashion for other daytime functions.
Indeed a long
dress looks very pleasing under the trees on the grass.
Where
the entertainment takes on more
of a tennis
party order than a garden reception, the dress must be
governed accordingly.
If
it
is
if it
the latter, one must

is
dress very handsomely, while
an
affair just "to
have a good time" and play tennis or archery, croquet

or
some such games, pretty

the
flannel
dresses
to wear.
the purpose are
proper
gowns
made for Round
straw hats or flannel caps will be the proper head covering.
The matter
worn
as
to
of shoes is also an
important one.
For
the reception, light kid shoes or walking boots
maybe
correspond with the remainder of the costume,

is
where there
a possibility of
dampness, the hos-
tess will provide rugs
on the ground.
But tennis shoes

expect to be
or thick boots are
required
when
of
)'ou
exposed
to the for
wear and tear
outdoor games.
Costumes
day
rial,
picnics, excursions
and
trips
for
the
to the lake or seaside
should be of a strong mateSerge, flannel and

for
simply cut and of plain color.
tweed are excellent.

trips,
Never wear a wash dress

charming and
such
you may
start out
fresh, but will
304

many
hours, even on a sunshin}^ day.
not remain so
CORRECT DRESS FOR DRIVING AND COACHING
Our grandmothers dressed

habits,
in
heavy broadcloth riding
when
traveling in coaches
we
are told.
The heat
and distress must have been something awful, but they
do not excite our pity more strongly than do our dear

sisters
who
think they must drive in thin laces and

is
gauzes, through which the sun
also
uncomfortable.
in
Of course a woman need not be so severely plain

her carriage or coaching attire, as
street,
when walking
is
the
but quiet elegance in color and design
abso-
lutely
demanded
in
both situations.
CORRECT DRESS FOR WEDDINGS AND WEDDING ANNIVERSARIES

In Chapter XVII., while giving
tion the etiquette of
some other informaa
wedding dresses has been rather
thoroughly discussed.
ding
3'oung bride
at
large wed-
may be gorgeously
In
this,
arrayed in white satin, laces
and orange flowers, and her bridesmaids may be almost

as
magnificent.
day weddings do not
differ
from evening weddings.

dresses in a travelling
For quiet weddings the bride

dress and hat and departs for
trip.
b}^
her mysterious wedding
A widow
riage.
should never be accompanied
brides-
maids, nor wear a veil or orange-blossoms at her mar-
She should
at
church wear a colored silk and a
bonnet, and should be attended by her father, brother,

or
some near
friend.
If
married
at
home, the widow

bride
nia}'^
305
wear
a light silk
and be bonnetless, but she

first bridal.
should not indulge in any of the signs of
The
ings.
guests at weddings should always be dressed in
as festive a
manner
as is consistent with
the surround-
The
respective mothers of the bride and
groom
should wear handsome silk or velvet dresses and the

children of the families are always admitted to weddings.
Their gay
little
dresses
are
often
marked
special feature of the occasion.
For weddings
occurred,
all
in families
where
death has recently
friends, even the
widowed mother, should
lay aside their

in colors.
mourning
for the ceremony, appearing
It is
considered unlucky and inappropriate
to
wear black
at a
wedding.
In our country a
widowed
red,
mother appears
velvet or silk
;
at
her daughter's wedding in purple
in
England she wears deep cardinal
which
is
considered, under these circumstances, to be

is
mourning, or proper for a person who
in
mourning.
Dresses for wedding anniversaries need not be peculiar

to the occasion.
As to the dress of the bride wedded happiness, we should

black."
of twenty-five years of
say,
"Any
color
but
There
is
an old superstition against connect-
ing black with weddings.

steel
silver gray,
trimmed with
and
lace,
has lately been used with success as

Still less
an anniversary bridal dress. be white

;
should the dress

as
that has
become so canonized
it
the wed-
ding dress of a virgin bride that

for a
is
not even proper
widow
to
wear
it
on her second marriage.
The
3o6
shades of rose-color, crimson, or those beautiful modern combinations of velvet and brocade which suit so
many matronly women,

dresses.
are appropriate silver-wedding
However, any dark
fabric
in
accordance with the
position of the family in society will be just as appropriate.

ially a
It
is
a pretty idea at such
receptions, especto
golden wedding, for the bride
receive
at
her her
a
friends arrayed in
first
some
article
which she wore
wedding,
if
any remain.
Sometimes a
veil,
handkerchief, or a fan (scarcely ever the entire dress
has lasted so long)

of the occasion.
is
worn and adds
to the significance
CORRECT DRESS FOR DANCING PARTIES
Dancing parties of^to-day are what were once termed

balls,
and they are the gayest of

Dinners
call for
all
gay social enterdressing, but a
tainments.
handsome
it.
dancing reception demands
Just as for dinners,

light,
however, the young and slender women wear
diaphanous materials while the heavier and elder ones

adopt velvets, brocades and stately
satins.
Trained dresses are always inconvenient
in
a ball-
room but fashion often absolutely demands them. However, when a young woman who dances can wear a short
dress she should do so.
It
adds to her youthfulness,
her lightness of step and to her general attractiveness.
Older women,
the
married
accept
belles,
and the young

dress
as of
chaperons
their
may always
the
trained
privilege,
but, at the
same time, the length

the
train
307
should
not
be unduly extended.
are not
a
For the
way,
stately square dances trains
much
in the
but to
undertake
the waltz in
long, heavy, velvet
train requires the strength of
more than the ordinary
American woman.
Jewels and flowers as ornaments are entirely proper
in a ball
room, although the intense heat soon withers
the latter.
We
quote again an acknowledged authority

in
who
to,
says
"For balls
this
country, elderly
women
are not expected to
go in low neck unless they wish
so that
the chaperon can wear a dress such as she

at a
would wear
cut in
lace.
dinner
either
a velvet
or brocade,
Pompadour
shape, with a profusion of beautiful
All her ornaments
should match in character,
and she should be as unlike her charge as possible.
Young
girls look best in
light
gossamer material,
in
tulle, crepe, or tarlatan, in
pale light colors or in white,
while a stout, elderly
woman
never looks so badly as in
low-necked, light-colored silks or satins.

look well in natural flowers, elderly
Young women
in feathers
women
and jeweled head-dresses."
CORRECT DRESS FOR MOURNING

Chapter
XVI
of this
book gives an extended account

for of
of the preparation of of a family
mourning
different
members
here
and necessarily much

"is
the etiquette govjust
erning mourning
will furnish a
included.
However,
we
condensed resum6 of the entire question.

to
This perhaps, will prove more valuable
our readers.
For when death comes, he
is
always unexpected and
3o8
a

what
is
ready reference book, giving exactly and concisely
just
proper to provide will be a friend indeed.

is
Widows' mourning
It
worn
for
two years
in
England
and
and America; in France for one year and

consists of woolen
stuffs,
six weeks.
which are
lustreless
of crape.
When
mourning
for a parent, children

for
who
are
grown
wear the
same mourning
one year.
Younger children's should

than six months.
never be continued more

for
Mourning
a brother
or
is
sister,
for a grandparent, step-mother or step-father
also for
one year.
months.
In England this mourning lasts
only three
Mourning
for
children
should
be
crape-
trimmed dresses and

kid gloves are worn in
especially
if
it
last for
but nine months.
Mourning should be discarded by gradations.

first
Black
months,
mourning but
in six
be summer, silk gloves

is
may
be worn.
stage,
The crape on
the dress
jet
removed
for the
first
then trimmings of
and lace are taken up, and gradall
ually one drifts back into colors of
kinds, by
way
of
the grays and their kindred.
CORRECT DRESS FOR SERVANTS
A
at
neat-handed Phyllis
a clean
in
any family will always have

cap, hanging hand)^
is
hand
gown, apron and

This
to slip
on
in
an emergency.
true
where only
is at
one servant
is
kept and where a
full
retinue
hand.
Some
girls
show great
tact in this matter of
appearing
to
neat at the right time, but
many
of
them have
be
taught by the mistress to have a clean cap and apron in

readiness.
The
mistress usually furnishes these items of
THE ETIQUETTE OE DRESS

the mistress,
309
her maid's attire, and they should be the property of
and remain
conducted
at
in
the family through

at
all
changes
ol servants.
They can be bought

in the interest
almost
an}^ repositor)'
of of
charity or
they can be
made
home, and a dozen

an
them
in
in a
house greatly conduces to

appearance of the servants.
improvement
the
Servants should never wear woolen dresses when
at
work.
Calico and chintz are
good
fabrics
but seer-
sucker ginghams wear and wash better, consequently are

cheaper.
in the
They should be required

to step to
to
wear light shoes
house and trained
lightly.
The above
to those
remarks apply particularly
house servants or
who
are about
where they are seen constantly by mem-
members of the household, as well as by the stranger who rings the bell. The cook, the laundress and the nurse-maid are independent houshold personages, where
engaged.
all of
them
are
A woman who
is in
cooks,
prepares meats and

all
vegtables and
the kitchen
day need only be
required to dress neatly and allowed her

wise.
own way
other-
Cotton dresses and gingham aprons are however
her best regalia.

is
The woman who washes and
irons
She must not be allowed to wear day after day aprons and dresses think she can stiff with soap and the effects of dirty water, and cotton gowns are best for her also. The nursemaid is another important factor where she is a necessity. On page 147 full information is given on this subject, and we
given equal latitude.
can not devote further space to
it
at present.
CHAPTER XXV
TERMS USED
No
its
IN
DRESSMAKING
science,
no
art is
without a certain language of
own, a language which must be mastered by the
beginner.
For example, terms used

;
in
cookery have to
be learned by the novice
also
terms used in botany

difficulty of
and chemistry, presenting the extra

a
being
in
dead language
and musical terms, which are
chiefly
Italian,
cookery technicalities being French.
To
France,
then, as the great leader in the civilizing arts of cookery
and dress, do we turn for instruction
in the
alphabet of
dressmaking terms.
by beginners,
for,
These terms should be acquired

although we
endeavor
in
to
avoid
French words as much as possible

certain words have
this book, yet
become Anglicised, and

all
are accepted
and understood by
workers.
We
may
instance the
word Revers as one
of these terms, which,

is
being almost
untranslatable into English,

of
universally
made use
In the folthe exact
by dressmakers, modistes, and drapers.

list
lowing alphabetical
or literal
we have given ist,

;
meaning
of
the word
310
2nd, the explanation
TERMS USED IN DRESSMAKING

when necessary and 3rd, an example tion, also when necessary.
;
311
of
the
applica-
We
one
as
do not pretend that
this list includes

in
all,
or even
for,
half, of the
French terms used

continually
dressmaking!
so
novelties
are
arising,
words are
coined and become general in a short space of time

but the words most usually employed are here.
Some
used
in
ladies wish that "dressmakers' language" could be "put
into English," but
technical terms must be
describing the art of dressmaking as well as in describing

all
other arts.
LIST OF
TERMS USED
IN
DRESSMAKING
Agraffe.
Appret
A clasp; also applied to gimp fastenings.

I.
Finish; the dressing put into calicos,
etc.
2.
Ex.
Percale sans appret^ undressed cambric.
Also the trimming at the back of a bonnet, either a

lace lappet or ribbon bow, or any finish to a headdress.
Assemblage.
Tacking together the various portions of

Alms bag;
a*
corsage for trying-on.
Aumonie.
a small bag hanging from the
waist.
Whalebone. Bandeaux. Bands applied also to bands of Bas. The lower edge. Stockings. Basques. Applied to the ends of a jacket or bodice
Baleine.
;
hair.
I.
2.
fall-
ing below the line of the waist.

Biais.
Bombe.
Bias, on the cross. Rounded or puffed.

I.
2.
Crossways.
312
Borde.
Borde a
Round; edged with. cheval. Edged with binding,

;
of equal
depth on
both sides.
Very thick walking boots. applied chiefly to house boots. Bo/thies. Boots Bourre. Wadded or stuffed a term often applied
Bottes.
;
to
quilted articles.
Calotte.
Camisole.
Crown the crown a cap or bonnet. A loose jacket applied dressing and morn;
of
to
ing jackets.
Capitonne.
Drawn
in like the seat of a sofa or chair;
buttoned down.
A hood on a mantle. Casaque. Corsage with loose, open of lace generally used Cascade. A
Capuchon.
fall
is
;
fronts.
in
speaking of
lace that
river.
made
to flow, with zigzag bends, like a
Belt, waistband, or sash. Boots and shoes. chemise de jour, day Chemise. Shift
Ceinture.
Chaussure.
chemise
chemise
de nuit, night-dress
Chemisette.
chemise deliomme, a night-shirt.
Gauged
or pleated material filling in the

of a bodice.
open front or neck

Chiquete.
Clos.
Pinked out. Closed or fastened. Hairdresser. A head-dress manner of dressing the Bonnet kinds Confection, A term applied to made-up manCoiffeur.
Coiffure.
:
hair.
Coive.
lining.
all
of

ties,
313
cloaks,
and jackets, and
all
outdoor garments.
Coques.
Cornet.
Looped bows of ribbon. The of a sleeve opening

cuffs
like the large
end
of a trumpet, larger at the wrist than above.
Coulisse.
Bodice. Stays. Costume. Complete dress. Small slipstitched band sewed

Corsage.
Corset.
on
to the dress
by
slipstitches, to contain a tape or
ribbon runner.
shell
Coquille.
Applied
to draperies fallin^g in zigzag,
folds.
Crenele.
Crenelated Lace. Scalloped
cut in square scallops, like battle-
ments.
Dentelle.
De niello.
Dents.
pinked-out.
Scallops; these can be pointed or square. Deshabille. Undress costume usually applied
;
to
elab-
orated robes-de-chambre.
Underneath. Above. Devant. Front. Dos. Back. Echarpe. A scarf applied also to scarfs tied round the
Dessous.
Dessiis.
;
hat.
Ecru.
Effile.
The color
of
raw
silk.
Fringe, generally a narrow one. Encolure. The opening at the neck of

arm hole
a dress, or the
En
biais.
On the cross.
314

chale.
En
En En
Resembling a shawl
drapery.
;
applied to bodices and
coeur.
coquille.
Heart or V-shaped applied to bodices. Folded backwards and forwards in zigzags.
Shell points.
En echelle. Like a ladder. En eventail. Like a fan. En tablier. To look like or r

Envers.
imitate a tablier.
The wrong
off
side.
En- fouf-cas. Silk sunshade,
like
a small umbrella, to
ward
Epais.
the sun or rain.
Thick. Epaissseur. Thickness. Fendu. Slashed, cut open;

sleeves, etc.
applied to jacket-basques,
Fichu.
half-square, cut from corner to corner
any
small covering for the shoulders.

Flots.
Quantities
rows
of
guillee.
of lace or ribbon so
arranged as to
Flots de den-
fall
over each other like waves.
Ex.
telle,
gathered lace falling one over the other.
Frange
A rather deep fringe, with an open head-
ing, like
network.
Frances.
Gilet.
Gathers; Fronce' gathered. An undervest of a dress. Glace. Shot, materials with cross threads
more
colors.
Skirt.
of
two or
Garter. Jupe. Jupon. Petticoat.

Jarretiere.

Lainage.
Lingerie.
315
Woolen materials. Collars and made either

cuffs,
of linen,
cam-
bric, or
muslin and lace
also underclothing.
Lisere.
Lisiere.
A narrow edging or binding. Selvage applied also the

;
to
colored edges of
silks.
Sleeve. Manteau. Cloak. Matinee. Elegant, loose bodice for morning wear. Moire. Watered. Mule. A heeless slipper. Noeud. A bow or knot. None. Tied or knotted. Omhrelle. Parasol. Packing. A coarse, loose canvas. Pardessus. Jacket, mantle, coat; any garment worn
Manehe.
Manchette.
Cuff.
over the
Parement.
Parure.
toilette.
Cuff on the outside of a sleeve.

of collars
A set
and
cuffs
applied also to a
etc.
set of jewellery,
passementerie ornaments,
Piping without a cord. The brim of a chapeau or cap. Passementerie. Embroidered trimming
Passant.
Passe.
of silk cord
and
beads.
Peignoir.
Dressing gown
dressing jacket.
Striped. Pelerine. A small mantle rounded Petti Side-piece.

Pekin.
cote.
like a cape.
3i6
Placket-openifig.
The opening of a
skirt at the
ends
of
the waistband.
Plastron.
Breast-piece; Box-pleat.
in
a piece put on the front
of a
dress bodice, generally of a different color or material.
^//. Fold.
Pli Rond.
T'/w Folds.
Plisse.
Polonaise.
Pleating. Tunic
one with the bodice.
Ras-terre.
Just touching the ground.
Redingote.
Polonaise
or long coat, with long straight
basques open
Retaper.
in front.
To do
up a bonnet
or hat.
(Milliner's
term
only).
Robe.
Dress.
Dressing or morning gown.
of of
Robe-de-chambre.
Rouleaute.
Trimmed with rolled bias bands. crossway strips Rouleaux. Rolled trimming made
material.
Ruches.
Gathered or
;
pleated trimmings; called ruches
here.
Saut-de-lit.
Simuler.
Soulier.
Taille.
Dressing-gown. Simulate to imitate. Shoe. Waist or Tablicr. Front of tunic, covering the A dress or costume. Top-sewing. Overcasting
figure.
Toilette.
skirt like
an apron.
closely.
Tournure.
A bustle
also the general appearance of a

a dress, costume or person.
guee.
Traine.-
317
distin-
Ex.
Tourntire
Lady-like appearance.
train.
A traine. With A Tresse. Braid. Tunique. Tunic. Tuyaux. Fluted pleatings.

Tuyaux
d'orgue.
a train.
Wide
flutings, like
the
pipes
of
an
organ.
Velvet. VeloutCs Soft, like

Velours.
F(?/^w^;//.
velvet.
Garment,
mantle.
frill.
Volant,
Flounce or
CHAPTER XXVI
TO CUT A BASQUE PATTERN BY MOLDING
THE FRONT
BACK AND SIDE-BODIES THE SLEEVE
EMBELLISHMENTS
THE FRONT
The system
is
of
molding the
figure
it
by the pattern, or
muslin or paper,
rather, taking a correct cast of a totally different
in
system from cutting the pattern

is
from precise measurements, and

as successful, as few
on the whole, quite
human
figures are perfect, or are
even exactly alike on both sides.
The method
of molding, as
we intend
to
show
it,
is
simple and practical, and does not

matical aptitude necessary in so
to-day.
call for the
mathe-
many systems taught

not every lady
Of course,
are
patterns
cut with mathematical

it is
precision
excellent, but
who
As
be
it
possesses
enough intelligence
to
grasp the system,

successfully.
or accuracy
enough
it
to
work
it
out
that
time
is
money,
is
necessary
what has
to
learned should be learned well
and quickly; so
is
our duty to smooth
difficulties
.318
rapidly and entirely.
TO CUT A PATTERN BY MOLDING

Dressmaking to-day
every
is
319
for
not a trade,
it
is
an
art,
woman
should be molded by her corsage.

it
As
no two busts are exactly the same

give a scale of proportion.
is
impossible to
The corsage must be molded

wear
it.
on the figure which
is to
We commence with the front. It is a properly shaped corsage with one dart. We have purposely chosen a
slightly fanciful pattern to
set to perfection
if
show
that
fanciful
details
molded
on the figure with the gen-
eral outlines of the corsage.
For half
of the
basque take three-quarters of a yard

or
silesia,
of strong m.uslin
and cut
off
the
two
selin
vages.
Pin this muslin on the bust to be molded
the following
manner
Place the one selvage
the centre of the front, keeping the material as
on the straight as
line of the figure.
is
consistent with the natural

first
down much wavy
Place the
pin at the collar,
leaving 10 inches of muslin above, and pin the muslin
smoothly
in place
on the widest part
of the bust.
Pin
the muslin round the collar to the shoulder-seam, cutting long rents in the muslin
place, taking care that the
above to
let
it
fall
in
muslin forms no pleat or
wrinkles.
Pin
it
round the armhole of the front in the

lastly pin
it
same manner, and

seam.
lie
along the shoulder-
Now the
upper part of the muslin front should

figure.
difficult.
smooth, without wrinkle or pleat, on the

half of the front
is
The lower
Pin the
is
little
more
dart, taking care that the line nearest the front
on the straight
of
the muslin.
In a corsage with
320

will find
two darts you
that
the second
will be
in
the
longer, and will take
up the most material
any
average normal muslin front thus molded to the figure.
The
ing
object
is
to
keep the seam under the arm as much

is
on the cross of the material as

the
is
consistent with
flat.
mak-
muslin
lie
perfectl)'
smooth and
The
front
now
finished,
and the most
difficult part of the
molding done.
BACK AND SIDE-BODIES
Next commence the back.

figure,
Pin the muslin on the
keeping
it
on the straight as much as possible

back, and
in the
centre of the
leaving
about
three
inches of muslin above the neck so that the shoulder
can be formed.
Pleat over the edge of the muslin to

the centre
exactly correspond with the curved line in

of the back.
Pin the muslin smoothl}' across the back

it
without straining
or putting
it
out of the straight,
outlining the curved side which joins the side piece of
the back, and the hollow for the sleeve.

is
When
flat,
this
cut to shape enough to let the muslin lie
the
true shape being indicated by pleating over and indent-
ing the muslin with the nail,
mark out
smooth but
carefullj' the
shoulder-seam, which must
lie
easy.
;
Never
mind
differ
if it
looks too straight or too sloping

fit
shoulders
much, and the pattern should

all is
them
well.
When
lin
marked and roughly
cut,
unpin the musto
and cut out the back smoothly according
the
marks and pins on the muslin.
The
side-bodies are done in
the
same way.
The
rO CUT A PATTERN BY MOLDING

side-bod}' of the back
straight, judging
321
must have the material on the

for
by the eye,
;
both sides are
much
on the bias when cut

cided with the shape
do not push your muslin to coin;
keep
it
on the straight, letting
the lower part of the basque turn as
and the upper part near the sleeve as

as
is
much much
to
one side
to the other
necessary.
Always be careful
in cutting patterns
to leave sufficient
length below the waist line, or the

It will
whole
fit
will be spoiled.
be noticed that the

is
side adjoining the side-body of the front
less
on the
bias than that to be sewed into the back.
As
is
to the
side-body of the front,
when
the muslin
pinned on the
figure, the side joining the front
must
be as
much
as possible
on the straight
proceed as for
the rest of the pattern, leaving the basque very easy and
much on
the bias.
EMBELLISHMENTS
For embellishments the molded system

to
is far
superior
measurements.
fit
Revers and
collars, for
example,
figure.
never
well
unless
they are molded on the

for revers in soft
Our good mantle makers mold

send the pattern
fur.
paper
or muslin on the figure of the future wearer, and then

to the furrier to
be exactly copied in
Collars, whether standing or revers, should always be
molded either
paper.
in strong
is
muslin or strong but supple

to
There
no need
mold the whole

middle
collar,
half sufficing,
commencing
at the
of the back,
322

therefore nearest the
that being the highest point and
upper edge
of
your muslin or paper.

collar
The standing
one to mold.
the back,
shown on page 83
is
a very easy
Pin your muslin
in place in the centre of
making the selvage the

slitting
central
line,
then
pin
it
round the neck,

muslin
lie
up the material below
to let the
smoothly
as you form the rounded
line at the
neck, pleating the material with your nail
into every curve, slitting the muslin beyond your collar
wherever any pull
is
observed.
THE SLEEVE
When we come
to
fitting
to the sleeve
we
find
molding inferior
good measurements.
sleeve,
fits
True, one can mold a perfectly
too perfectly
we ought
to
say, for
it
occasionally
play.
too perfectly to allow the muscles fair
Unless the sleeve be molded on a very well

after the
shaped arm,
molding
is
completed
it is
advisa-
ble to bring a few simple

if
measurements into
use, to see
we have allowed enough room

etc.
across the elbow, un-
der the arm,
Molding
is
excellent for finding the correct place of
the elbow (so variable in different arms), also the exact
curve of the upper edge to
fit
into the shoulder.

sleeve, along
Commuslin
mence with the upper

the elbow, cut
this
of the in
the line of the
shape,
and
pin
smoothly across
this
to the inner in the
seam, catting rents beyond

to allow the
upper portion
muslin
curved
inner
seam
to
lie eas}'.
Next
fit
the muslin into the
shoulder to get the rounded curve, which will be found
TO cur A PATTERN BY MOLDiyG

a
little difficult,
is
323
as the sleeve on
which
)'Ou
are moldin the
ing
gathered into the shoulder.
Take points
a straight line.
curve, about two inches apart, and pleat over the muslin
between these points

round
off
to
form
You
and
to
will be able to
and correct the tiny angles
thus produced
when
the
molding
done
is
finished,
form a firm sweeping curve.
The under
5ôu will
of the to
arm
is
in
the
same way, but

in
have
to
cut
rents
beyond the under part

lie
the muslin
make
the line under the arm

this,
easy.
Outward curves do not require

completes the sleeve.
but inward curves
need these rents to avoid pulling and straining.
This
The molding
to
fit,
is
now
done.
To complete
the pattern
compare the seams one with another where they are

and
lightlj^
shave
off
any excrescence and overlines, undis-
plus.
See that the scissors cut smooth

notches, for
figured by jags and

tern
when using
the patinside
you
Avill
forget whether the outside
or the
of the jags is your correct pattern,

of an inch tells in the
fit.
and every fragment
The
best
means
of
making
sides, to
the seams quite even
is to
lay together each
two
which are
the
to
be eventually
off
seamed together, edge
edge, and shave
lightly any irregularities at one
and
same
a
time.
For
very stout
figure three side-pieces
are
often
found requisite in place of two.

in the
They must be molded

the space between the
at
way described above, but
backs and fronts must be divided in three, so that
324

three
side-pieces measure
the waist the
almost
the
same
across.
diffi-
In the case of striped materials, which are so

cult to cut well, especially
it
when
the stripes are wide

It is
is
as well to avoid the three side-pieces.
easy
to arrange the stripes
symmetrically at the back, but

it
the side pieces puzzle the cleverest and
is
next to
impossible
to
avoid in them the ugly, cut-up appear-
ance of innumerable stripes abruptly commencing and

terminating with no
real
beginning and no real end.
CHAPTER XXVII
CUTTING-OUT BY MEASUREMENT
INTRODUCTION
URES
MEASUREMENTS
DRAFT OF
HOW TO TAKE MEASVARIABLE
VERIFICATION OF THE MEASUREMENTS
MEASUREMENTS
FOR
PATTERN
OF A
DRESS
VERIFICATION OF THE PATTERNS FOR A BODY
PATTERN
BASQUE
DRESSING GOWN
LOW,
ROUND WAIST
APRON WITH
TRANSPOSING MEASUREMENTS
DRAWERS FOR A WOMAN

APRON
DRAWERS FOR A GIRL

STRAPS
PRINCESS
APRON FOR
CHILD
I
INTRODUCTION
The making up
of a dress or
garment
of
of
any kind con-
sists in joining together,
by means
seams, several
different detached pieces.

it is
To make
the body of a
gown
a good plan, before joining such pieces together, to

oneself,
cut
them out on paper patterns drafted by

to
and which have been drawn according

This method
system, devised
measurements
taken in the manner we shall hereafter indicate.

is
one taken from the standard French

Mdlle. Grand'homme.
325
b}'
326
CUTTING OUT BY MEASURMENT

to
In order to facilitate the drafting of such patterns,

it
has been found that the best plan
is
trace their
outlines on rectangular diagrams, excluding every useless detail.
Thus, for example,

a
to draft the pattern of
sleeve,
in
rectangular diagram
ABCD should
be
made,
which, following the measurements indicated,
the pattern of this part ot the dress should then be
drawn.
When
of
such a pattern
is
correctly drafted, nothing

it
remains to be done but to cut
out.
The attainment
of
this object, therefore, is the of cutting-out.
aim
the following
method
If
the person
who
is
to
be measured wears a dress
with a round waist, the lengths of the front and back

can be easily taken
;
on every other kind

It will
of dress these
are liable to be inexact.
be well, consequently,
run
in the latter case, in order to facilitate the task, to
ribbon round the waist of the
person, which wil
replace a waistband, and enable the precise measure-
ments
of the front, back,
and under part
of the
arm
to be correctly taken. II
MEASUREMENTS
To apply
1.
this
method
of
cutting-out, two kinds of

:
measurements are indispensable

Variable measures.
2.
Fixed measures.
I.
VARIABLE MEASURES
Variable measures aie so named, because they vary
CUTTING OUT BY MEA S UREMENT

according to the figure of each person
in
:
327
they are twelve
number
1.
Length
of the body.
of the shoulders, taken in front.
of the chest.
2. 3.
Width Width
4.
5.
Length underneath the arm.
Round
Length
of the waist.
of the back. of the back.
6.
7.
Width
{This measure must be taken
twice.
8. 9.
Testing
measure.
of
Length
arm.
{This measure
must
also
be
taken twice: the length on the inner,

outer side of the arm. )
10.
11.
and
the length on the
Size round the arm.
Size round the wrist.
12.
Length
of the skirt.
{This measure must be taken
three times: in frotit, on the hip
and
at the back.)
of the of
These measures serve

front, back,
to
form the diagrams
and side-piece, or additional piece
the
back, also of the sleeve and skirt.
Every length remains

is
in its entiret)', but every
width
divided into
two, except
the
fifth
measure,
the
round
of the waist,
which
is
subdivided into four.
2.
FIXED MEASURES
Fixed measures are conventional measures which

serve for the patterns of every figure; they never vary
for a
woman's
figure,
and indicate how many inches or
eighths of inches of the material must be cut away for
328
CUTTING OUT BY MEASUREMENT

;
the round of the neck and slope of the shoulder

also
they
show the distance required between the
darts,
and
thus serve for the drafting of patterns.

Ill
HOW TO TAKE MEASURES

With manner
back,
the view of facilitating to learners the proper

of
measuring, we
first
give two figures {the front,
and part of
is
the skirt),
on which the inch-tape or

straight lines, and
figure.
is
measure
shown by small
it
placed
exactly as
should be on the living
Attached
to each of these
measurements taken upon the person,

to
numeral
is
found corresponding
the foregoing
measures.
I.
Length of the Body.
From
the
shoulder-seam, at
the neck, to the middle of the front, below the waist.

2.
329
the
Width
of Shoulders,
taken
in
front.
From
shoulder-seam, at the right armhole, to the shoulder-
seam
3.
at
the left armhole.

Chest.
Width of
From the seam
under the arm,
at
the right armhole, to the

left
4.
seam under the arm
at the
armhole.
Length under Arm.
From the seam under the arm,

6
at the
armhole, to the hip.
5.
Round of
Waist.
The tape inch-measure

of
must be
slightly
passed
round the waist
the person, and
tightened.
6.
Length of Back.
From the
shoulder-seam, at the
neck, to the waist.
330
7.

Width of Back.
:
This
measure must be
taken
twice
1.
From
From
at the
the shoulder seam, at the right armhole,
to the shoulder-seam at the left armhole.

2.
the seam
underneath the arm,
at
the
right armhole, to the

left
seam underneath the arm

This
armhole.
8.
Testing Meastire, or total size of the person.

is
measure
arms.
9.
taken by passing the tape underneath both
Length of Arm. This measure must be taken twice

1,
From
the shoulder-seam,
at
at
the armhole,
to
the wrist,
bending the arm
same time.
This
gives the outer length of the arm.

2.
From
to the
the top of the inner seam of the sleeve

wrist, stretching
out the
arm
at
same
time.
10.
This gives the
in7ier le7igth
of the arm.
the arm, at
Roicnd of Arm.
Pass the tape round

it.
the armhole, and do not tighten

11.
Round of
Wrist.
Pass
the
tape very carefully
round the wrist, taking into calculation the smallest

subdivision of an inch.
12.
Length of Skirt.
:
This measure must be taken three
times
1.
In front.
2.
On
the
hip*.
3.
At the back.
always necessary to count an inch
It is
and
two-
eighths more than the inches given, for the material
CUTTING OUT BY ME A S UREMENT

once
cut,
33
shrinks
cloth,
velvet,
and
merino alone
excepted.
IV
VERIFICATION OF THE MEASUREMENTS
The measurements when taken must be

I.
tested.
The second measure
in front
and the seventh measure

to
width of
shoulders, taken
first
width of back,
being
of
compared, ought
If
give the exact difference
2^
inches.
1^% be not found, the width of should;
ers,
taken in front, must be diminished or added to

first
but nothing must be changed in the
width
of back.
The number
It
of 2^^
is
required for the shape of the neck.
very often happens that the width of the shoulders
gives an excess of
5^
inches,
which indicates that the
shoulder-seams in the dress of the person
who
is to
be
measured, are thrown unusually

If
far
towards the back.
such a dress
1.
is to
be copied,
2.
The subtraction must give a difference of 4^. The use of the variable measure, the size
round the wrist,

3.
must
XII.
be changed.
of
For the fixed measures which form the slope

the shoulders in
front of
the
dress and
at the
back,
see Section
(Transposing
of
the
Measures).
4.
Add
together the third measure,

the seventh
and
Two
cases
measure,
width of chest second width of
back and
then compare the total obtained with
the testing measure.
may occur
332
1.

The
It
testing
measure may be
less than
39J4^
inches.
2.
1.
may be more than 39^

be
inches.
If
the testing measure be not fully

to
39^
inches,
it
ought
i^
inch more than the adding-up of
the two measures, width of chest and second width of
back; but
if
the difference exceed
i^
inch,
it
will
be
necessary to diminish both measures in equal proportions.
The
2.
difference of
;
i^^
inch
is
it
peculiar to
the figure
of a child
If
in that of a
woman
may be
less
than if^.
39j^
the testing measure attains or exceeds
inches, the adding-up ought to produce the
same num-
ber exactly.
V
VARIABLE MEASURES
(Used as Supplementary
to the
Fixed Measures)
The second measure,

seventh measure,
width
width
7.Y%
of shoulders
of
first
back
and the when com serves

i^
pared, give the differences
inches {fixed measta-e).
The eighth measure

two purposes
I.
:
the
is
testing
measure
It
gives the exact size of

{fixed measure),
the person, and
inch,
allowed when the testing
measure has not reached 39^^ inches.

2.
Having joined the

back together,
front, the side piece,
and the
it is
necessary then to find from
the middle of the front to the middle of the back,

in
333
a line with the
armholes,
half
{^fixed
the
testing
).
measure,
plus
seven-eights
measure
is
Should more be found, then, whatever
over
and above must be taken

at the side-piece of back,
off
from the armhole
gradually to the bottom
of the pattern.
The
fixed
fifth
measure
;
round of waist
the
is
used with the
measure
when
number
of
eighths
which
should form the darts has been ascertained, then the

fourth part of round of waist must be taken, plus three-
eighths infixed measure').
The number obtained
will
give the measure of the body round the waist, with the
darts closed
;
what
is
over and above will serve to form
the darts.
Note.
When three-eighths have been taken

the back,
off
from
the side-piece of
seven-eighths,
to the
instead of
for
three-eights, -must be
added
round of waist,
the darts.
The
two.
tenth measure
round
of
arm
is
divided into
The eleventh measure round 1. The round of wrist, which

not be divided.
2.
of wrist
is
gives
portion of
measure that can
The number
the armhole.
of eighths for the front
Whenever
then
the back of the body contains a side-piece
2^
inches must be deducted from the number

;
given by the round of wrist
the remainder serves

is
for
the back portion of the armhole, which
finished
by
334

i^
inch
the back of the body be gathered,
in
the side-piece, consisting at the armhole of

(^fixed measure).
If
or has a straight
seam
the
middle, then
b}^
i^
inch
must be deducted from the number given

of wrist,
the round
and the armhole
is
drafted in
its entirety.
VI
VARIABLE MEASURES
(Not forming Rectangular Diagrams).

1.
The second measure
width
of
shoulders, taken
in front.
2.
The seventh measure
second
width of back
is
never marked on a diagram when the back of the dress

is
formed by the aid

3.
of a side-piece.
4.
The The
testing measure.
inner length of arm.
VII
,
DRAFT OF PATTERN OF A DRESS

a
To make
1.
woman's
front.
dress,
it
is
necessary to draft
the patterns of
2. 3.
4. 5.
The The The The The
back.
side-piece of back.
sleeve.
skirt.
I.
DRAFT OF THE FRONT
To form
the diagram of the front, take

of waist {length of diagraDi).
Length

Half-width of chest
{ividth
335
of diagratn).
Mark
Noie.
ABCD
at the four corners.

letters, in
These
of Neck.
to B,
general, serve
as starting
points for the fixeJ measures.

Slof>e
This diagram
a dot,
ABCD
inches
;
being formed
from
mark by
2^
from
to C,
3^
will
inches, and join both dots by a curved line,
which
form the slope of the neck.

Slope
of Shoulder.
To
it is
form
nec-
the slope of shoulder,
essary
I.
To
take half
the
width of the shoulders

dot 3^, at slope of neck
to measure the
;
from
then,
number obtained
it
horizontally, indicating
dot.
C"
2,
by a
From
line
AB
to
meas-
7^
"
^"
'0
ure verticall}^
of
3^
inches {fixed
measure), in the direction
the dot indicated by the
width of shoulders.
required
for
This
measure gives the slope

Join by a slightly
the
shoulder-seam.
curved
line,
dot
2^
to
dot 3^, to
form the slope of
the shoulder.
Armhole.
Take
it
the round of wrist, and from dot 3^^
(slope of shoulder), measure

tically,
the length obtained verto line
carrying
it
at
same time
BD, and
indi-
cating
by a horizontal line.
From
this line towards
measure three-eighths,
and join
;
it
by an oblique
line to the point thus

to dot
obtained
then join this point
3^,
the
slope of shoulder.
336
Darts
the
To form the
darts,
go down ifs inches below

line
armhole, and
draw a dotted
body), on
horizontally,
which
line
will indicate the height of the darts.
From
the
AC
(middle of the
the
dotted
line,
marked 3;^ inches for the first dart; from dot 3)^, mark 2^^ for the second dart. From angle C to angle
take
54 inch
find
join dot
3^
to
dot i^^ by an oblique
line.
To
out
the nvmiber of eighths each dart
should contain, take the fourth part of the round of

waist, plus Y%{fixed measure)
;
carry the length obtained
from
to
D, and make a dot.

at
Whatever exceeds the

;
diagram
CD
gives
the
width of the darts

of the
divide
this width in
two for each
two
darts.
Between
;
the
darts there
should be a space of seven-eighths
join dot y% to dot
2^
and dot
2^
to
half the excess

dart.
marked on
line
CD,
2.
to
form the second
DRAFT OF THE BACK
To form
the diagram of the back, take

of
Length
back {length of
the diagravi).
Half the
first
width
of
back {width of the diagravi).
Mark ABCD.
Slope of the
Neck
to
The diagram
a dot,
of the neck.
ABCD
inch;
being formed,
mark from A
B by
i|4^
from
to C,
inch; join these two points by an oblique line,
which
will
form the slope
Slope of the Shoulder
From B
to
measure 4 inches,
line,
and make a dot; join by an oblique

\Y\, to
dot 4 to dot
form the slope of the shoulder.
C U TIDING
OUT BY MEA S UREMENT

ArmJwle.
wrist less
337
of
Take
2^
make
the
round
inches.
From
dot 4
measure
vertical!)'
the
a dot.
difference
obtained, and
inside
of
Return
the
diagram
infixed
and join dot 4 to dot ^. From C to D, mark yi {fixed measmeasure),

ure),
and
join,
by
a curve, dot
1/^
of
the armhole to dot
of
the angle
Note.
If
the back
of
the dress
be gathered, only
i^
is
to be
deducted from the size of wrist; and in

in its entirety.
such a case the armhole must be drafted
The same remark

3.
applies to a cape.
SIDEPIECE OF BACK
To form
Length
plus
the diagram
of the side-
piece of back, take

of the inner
side of arm,
of
ly^ {fixed measure) height
diagram.
Fourth
of
the round of
waist,
less three-eighths {fixed measure)
width
of
diagram.
Mark ABCD. The diagram ABCD being formed, from B to A mark \){ {fixed measure); from B to D ij^^ {fixed measFrom D to C ure). Join these two dots by a curve.
mark
{fixed measure). Join
i^
of
the line
line.
BD
to
dot yk
on the line
DC
by an oblique
From C
338

A mark i^, which i^ on the line BA.
4.
towards
dot
join
by a curved line to
DRAFT OF SLEEVE
To form the diagram of the sleeve, take The outer length of the arm (height of
gram).
the dia-
Half size round the arm (width of diagram).
Mark ABCD. The diagram

formed, from
ABCD
being
towards C, mark
iy% inches (fixed measure).

a curved line ending at
Draw
from
i^
angle B,
to
form the armhole.

A,
From
C towards
mark i^
Between
to
inch (fixed
the dots
measure).
3^
and i^, ought
be
found the number of eighths given by the variable measure,

inner length of the arm
half of that
it
;
the
take the
number and mark

and i^, which
by a
;
dot.
At
this
dot return within the diagram

\}^,
i^
will
join by a curve the dots 3^^,
form the inner seam
of
the sleeve.
From C
Join
of
towards D, mark
dot \y% to dot
the
sleeve).
4^
inches (fixed measure).
4^
To
by an oblique line (the bottom

of
indicate the position
the elbow,
take half the outer length of the arm.
From
angle

join this dot to dot
5.
339
;
toward angle B, mark the number of eighths obtained
4^.
DRAFT OF PATTERN OF A SKIRT
skirt consists of
many
pieces, the
number
of
which
vary according to the width of the skirt and of the

material.
To form
the diagram of the front of a skirt, take
ITS
Half the width of the

material
(width
of
the
diagram).
Length
of front of skirt
(length of the diagram).
Mark ABCD.
Note.
This
a
diagram
of
supposes
material
of
the usual width

inches,
27^^
which
the
is
divided
in half, thus
giving \zV\
inches for
width of
the diagram.
The
diagram
ABCD
being formed, from
A to B mark 4 inches, plus i^ (fixed measure) from A to C, J4 join dot ^

; ;
to
dot
i}{
by
slight
curve, this line forms the

front half of the skirt, the
1^4
plus
serves for
the little
fold
which hides the
340

From
dot
pocket.
i^ draw
line
which ends
at
D.
To form the diagram of the bias breadths, takeWidth of the material (width of the diagram).
Length
gram).
of skirt, taken
at
the hip (length of the dia-
Mark ABCD.
From A towards B mark 5^
inches (fixed measure)
CUUTING OUT BY ME A S UREMENT

from
5/^
;
34
to dot
to
1)4^
(fixed
measure); join dot

inches
;
i^
;
from
to
C mark 5^
join
by an oblique
the line
line dot 5^3
on line
which joins the dots

of the skirt,
AB to dot 5/^ on line CD 5^ forms the two bias

at
breadths
narrow
top and wide at bottom.

to
Note.
Should
it
any one wish
make two breadths

If
from one width of material, as the diagram shows, the

material must not have a wrong side.
there be a
wrong
side,
will be necessary, in order to to
form four
place the
breadths from two widths of material,
wrong sides facing each
other.
VIII
VERIFICATIONS OF THE PATTERNS FOR A BODY
(By the Eighth Measure

For
this
Testing Measure).
of back,
purpose join the back, the side-piece

of the
and the front
body
at the
seam under the arm.
The
which
three patterns thus joined form

is to
half the body,
be tested by taking half the testing meas-
342

To accomplish
this object, the inch tape
;
ure plus y%.
must be
us the
laid
on the line BD, underneath the armhole
the horizontal distance from
BD
to
AC
ought
the
to give
number obtained when taking

1/i.
half
testing
measure plus
If,
however, instead of obtaining this

is
result, half
the testing measure
found plus i^, recourse must
then be had to the variable seventh measure
the
sec-
ond width
a lesser
of
back
which
in
such a case ought
to give
number
of eighths than the first
width of back,
in
and whence
excess.
arise the seven-eighths
which we found
These must, therefore, be deducted from the

underneath the arm).
side-
piece of back at the armhole (at the seam which joins

it
to the front
But as the sevenside-piece
eighths thus taken
away from the
would
restore
of
make
them
the figure too tight at the waist,

to the front
we must
by measuring the fourth of round

of
waist, plus
i^, and by dividing the surplus

two equal
parts,
the
material into
which can be again
divided between the two darts.

Note.
The curves which join the back

at
to
the side-
piece must not be joined

the
top or bottom, because

shoulder-
arm and the waist

is
are
smaller, and the
blade
the most prominent portion of the back.
IX
DRESSES FOR YOUNG GIRLS AND CHILDREN
To make
dresses for young girls, the
same number

of
343
in
measures must be used as
for
grown persons, and

front
the
same way, except alone

the
for the
of
part
of the
armhole, for which
number
eighths given by
the size of wrists must be plus
3/^.
one whose wrist measures but 5^, and whose testing measure does not exceed 33^,
Note.
should, to draft her pattern, take the fixed
Every
measures
years
indicated on the plate below "For

of age!'
If
a girl fifteen
the age of the child for

is
whom
the dress
is
to
be
made
below
not found
in
the
tables, then take
the
age
for
which the fixed measures are given, but
never take the age above.

can,
fixed
And
to
be more exact, you
moreover, ascertain the difference
between the
measures of the age above that of the child and
those of the age below.
That difference
for the
will enable
you
to draft a third plate
intermediate age.
FOR A GIRL FIFTEEN YEARS OF AGE
Note.
The width
of the shoulders
must be
2^ more
344

than the
back.
first
width
fixed
of
the
The
b}'
measures
every dia-
are indicated in
gram,
numbers,
which
must not be increased, and

whicli help in
the drafting
of every pattern.
A CHILD ELEVEN YEARS OF AGE

Note.
The
width of the
shoulders, taken
in
front,
must be two inches more
than the
first
width of the back.
CHILDREN FROM ONE TO FIVE YEARS OLD

Children at this age are not, as a rule, very patient
consequently,
it
will be difficult
to take
on them the
twelve variable measures necessary in the case of grown

9
345
V:)ersons.
five.
We
must be
satisfied,
therefore, with
but
Example.
Variable
:
measures belonging
to a
child
two years old
Length
of bod}-
.....
9 >^9i
First width
of back.
Testing measure
Size round wrist
Length
of skirt
.... .... ....

.
...
%.
4.
15
^.
From
these five variable measures are derived the
seven others which
we have
not taken upon the child.
See the table of age, where the number of eighths

will be
found noted which the width of the shoulders,
taken in front, ought to
have greater than the
first
width of the back.
Example.
add
First width
which
of back, 9.
To
this
number
5/Q=gSyi,
will give the
width
of
shoulders,
taken in front.
The number given by
the testing measure will

;
give
us the exact size of the child back and front

correct, will be insufficient,
but that,
though be too tight across the chest, because, in the case of children, when we add up the width of chest and first
width of back, the
\n^ measure.
total gives is/g
and the frock would
more than the
test-
To
find the
width of chest and second
width of back, take a number equal to the first width of back=9j^, and the number given by tlie testing measure:z=2i',4^
;
from these two numbers sul)tract
346

21^
9
-|^/^
Example.
=:
9^
gives the second width
of back.
Remains,
xi.}^
\yi =: i3>^ chest.

to the
gives
the width
of
The
+0 + 1^
added
two numbers obtained,
give us the result which the adding up of the two variable measures ought to have
the
width
of
chest
and
second width of back
neither of which we have

of the
taken
upon the
child.
of the
The length The

waist
body gives the length
back
testing measure, less^, gives the round of the 2oi^.

to
The number given
us by the size of the wrist,

:
produces four variable measures

I.
= 4 inches. 2 Outer length of arm = three times the size of wrist + if^ =1^ 4 + i^ = 13^. Inner length of arm = twice the size of wrist + 2^ = ^x4 + 2^= loi^. Size of arm at armhole = twice the size round wrist + 1^=^x4+1^ = 9>^.
Length under arm
X.
3.
4.
Variable measures are used exactly in the same manner as for

the
:
body
of
woman's
dress, except
the
three following
1.
Size round wrist plus

the armhole at
its
three-eighths
to
form
front part.
2.
Size
round wrist minus two inches to form

the armhole at the back
piece.
3.
347
a side-
when
there
is
Size round wrist minus seven-eighths

the armhole
to
form
when
fourth
there
is
no side-piece
at back.
To form
the width of the diagram for the side-piece

part of round
of
of back, take the
waist, less
seven-eighths.
X
GENERAL DIRECTIONS FOR PREPARING A DRESS OR OTHER GARMENT BEFORE MAKING IT UP
When,
after
having taken the variable and the fixed
measure, the patterns have been drafted, tested, and

cut out, they must be placed on the
a
material, leaving
few eighths
for the turnings-in,

:
which should be parthe front of the body.
titioned as follows
1.
iS/z
1]/^
inch for the lap
down
2.
inch for the shoulder-seams, those of the
side pieces at back, and of the sleeve.

3.
yi inch for the slope of the neck
and the arm-
holes.
In order to keep in mind the turnings-in. put pins along the edge of the paper pattern, but only at the
seams where they exceed

of course, it is
half
an inch.
As
matter
unnecessary to mark the turnings-in at
the slope of neck or armholes, as they are only two-
eighths outside the pattern.
The pins which mark

is laid.
is
the
seams must
be.
put through the two pieces of material
on which the paper pattern
When
the material for the body and sleeves
cut
348
out,

and each pattern traced ont with pins, the paper
off.
patterns are taken
and the proper distance
Then the darts must be traced, marked between them on the
front of the body, with pins.

is
To
find this distance,
it
necessary to measure, with the inch-tape,
3^
inches
horizontally from the lap
down
;
the front of the body,
and to stick a pin

ure
2^/^
at this point
then again, to measpin,
inches, sticking in another
which marks
Their height
the distance
between the two
darts.
should be i5^ below the armhole.
At the bottom
of the
front of
body where the pins

ending
mark the
lap,
measure
i^
inch horizontally, stick in a

line,
pin, then with
more pins form an oblique

3^. number
of eighths
in the pin at dot
To
find the
which each dart should

to the
contain, see
what we have said as
second use of
(page 333).
the fifth variable measure
round
of waist
The
lightly
darts being traced, the two pieces of material are
tacked together,
and the lines traced by the
pins traced by thread, which operation ended, the pins
marking the turnings-in are taken
out,
being replaced
by the threads.
Each piece composing

and
lining are
laid
in
the body
is
then lined, care
being taken that the two different materials of dress

the
same
direction.
When
each of the pieces has been separately lined, they are

all
pinned
I.
to
each other.
The
darts, closely following the threads
by which
they have been traced, and beginning at the top.

2.
349
The
line
side-piece of back at the curved line in the

the
back, beginning at
armhole.
The curved
must be kept on the side-piece.

front
of
3.
The back and

The
slope of
;
the body, great exact-
ness being necessary in the armholes.

4.
neck, back
and
front,
is
also very
exactly
then
the slope of shoulder

bias than
formed.
The back being more

be
sustained
the front, must

together.
by pinning the seam
When
the different parts of the body are thus
collected, they
must be basted together.

beginners to baste
trying on
a
We
cannot too strongly advise

;
with small stitches
otherwise,
when
gar-
ment, the stitches open, and the dress, when properly
sewed
later,
becomes too
tight,
necessitating
after
touches,
most
unpleasant to the worker.
XI
DIFFERENT DRESSES
(Dress with Basque.)
To
dress;
draft the pattern of a dress with basque, take the

of variable
same numbers
the
measures as for an ordinary

that
only difference being,

length
of
when writing
basque must
down
the numbers for
body, of back, and

for the
underneath arm, the length desired

be fixed upon, and that number
of eighths added to
each of the ordinary measures.

After having tested the measures, add to
tlie
three
following measures a certain
number
of eighths,
which
place within a parenthesis:
350
1.

2.
3.
Width Round
of chest.
of waist.
First width of back.

of the Parenthesis.
Use
for
The parenthesis
sizes, and, to
is
only used
at
certain widths
and
show
which
it
angle of the diagram the
number
of
lengths which
is
thus encloses are to be employed, a letter
added
to
them.
Example.
Width
of chest,
22^
inches
(-[it
2^
B).
The parenthesis shows us

is
that the
number
encloses
not to be divided, and must be added to the half of

is
the preceding number, as every width

two.
divided into
In
general,
is
parenthesis
of this
number contained within the enclosed within vertical lines. The result
the
is
measure
always to give greater amplitude to
the hips.
VARIABLE MEASURES FOR A DRESS WITH BASQUE

1.
Length
of body,
15^
inches
7?^
= 23^^.
=
i4/^-
2.
3.
Width Width
of shoulders,
of chest, iy/^
18^.
(+ 2^B).
65,^
4.
5.
Length underneath arm,
+7^
Round
from
of waist,
to A,
26^ (+ 2^
divide in two
i^
and
from
6.
Length
of back,
15^
A to B). 7^ = 22^.
15^ (^ A); second
7.
Width
of back, first width,
width, 16}^.
8. 9.
Testing measure, 38^4.
Length
of arm, first length, iiî
second length

10.
11.
351
Size round arm, 15^. Size round wrist, 6^.
Note.
For the round

is is
of waist,
number 2^
;
in
the
parenthesis,
divided into two parts
the
first
meas-
ures i^, and
placed on the diagram of the side-piece
or small piece of back,
and the second measuring

to B.
six-
eighths, on that from

I.
DRAFT OF THE FRONT
To
draft the diagram of the front, take the length of
the body,
15^
-f
7^
Q
= 23^,
or height
;
of
the dia-
gram
chest
the half width of

ii>^
(+2^
B
take
-6)
=
the
145^, width of diagram.
At angle
off
(2^) which have been added to the second variable
measure
the width of
of the
chest.
fixed
For the use
measures here rep-
resented by figures,
and
that of the variable meas-
ures in the annexed dia-
gram,
Oa^ysiS
see
Section VII.
(page 334).
Note.
The
darts
to the
2.
must be prolonged, diminishing

bottom
of the basque.
them gradually
DRAFT OF BACK
of the back, take
To
draft the
diagram
352

The
sixth
measure
length
of
back
15^
\-
8^
= 24
(height of the diagram).
The seventh measure first half-width of back lY^ (+78 A) = 8^ (width of diagram).
From A towards B
added
4-{ndit9
take
away
the seven-eighths that have been

to
the
first
width of
back.
For the use
of the fixed
measures, marked and that

of the
b}'
numerals,
variable meas-
ures, see Section VII.
On
First,
line
AC,
at
the dot which indicates

of
the length
back
we
must take
off
horizontally three-
eighths, and draw a vertical line
from the point obtained towards
A
c
and
towards C;
this
last
line,
m)
a
little
forms a slightly
fulness
curved
which gives
on the line
at
to the basque.
off
Second,
then
AC we
i^
must take
three-eighths,
ly^
(fixed
this
;
dot
measure horizontall}to dot y%
meas-
ure)
join dot
line,
the armhole by a slightly
curved
and from this same dot draw a straight
line to the line

3.
CD.
DRAFT OF THE SIDE-PIECE OF BACK
To draft the diagram of the side-piece of back, take The fourth measure length underneath the arm
^H + 7^
i45'8
(height of diagram).

The
A
fifth
353
1/%
measure
6}(
jf
f.
(+ 2^) ^ ffî
)
fourth of round of waist = SVs (width of diagram).

Note.
The number
round
(2^) add-
ed
to the
of waist, is divided
into
1
two
parts, the first consists of
5^,
drawn from
towards
the
second of six-eighths, drawn from
towards B.
From A toward B
from
this
carry six-eighths, and
point draw a line parallel to that
ca
The use
ures.
o o
between
A and
C.
fig-
of the fixed
measures are indicated by
A measure i^ (fixed measure). to D measure i^ (fixed measure). Join dot 13^ on line AB to dot i^ on line BD by a slightly curved line. From dot i^ on line BD towards D,
From B From B
to
measure the number of eighths given by the fourth

variable
measure
it
the
length under the arm
= 6^,
and mark
by a dot.
zontally (fixed
From this dot measure Ji horimeasure). From dot i}( of line BD to

line,
dot }i of same line, draw a straight
and from the
same dot
Note.
Ji to dot O,
draw a curved
on
line
line.
From
dot
BD
A on
a dotted
line
must
be drawn parallel to line AB, and ending on AC.

the dotted line measure toward
line
From
of
line
AG
to
j}( (fixed
measure), and join dot i}{ of line
AG
i}:^
AB
by a lightly curved
23
line,
From
dot ij^
of line
354

by a slightly curved
line.
AG
From i^
of line
AG
the
to dot C, draw an oblique
line.
For Draft
nary
of
Sleeve, see the ordi-
dress
sleeve,
Section VII.
DRESSING-GOWN
The
draft of a dress
ing-gown
consists
in the pattern of
1.
2. 3.
The The
front.
back.
s
i
The
The
e-
piece of back.
4.
sleeve.
To obtain the
height of the three
diagrams
in
whih
skirt
the body and

are
to
be
the
drafted,
take
variable
measures and write
down
of
the
number
then
given by the length

the
body
measure
to the bot-
tom
of
the
gown,
and add two inches
CUTIING OUT BY MEASUREMENT

to the
355
number obtained
us the
the total of these two
numbers
will give
height of the diagram for front of

of the
gown.
The length
dressing-gown varies accord-
ing to the taste of each person.
For an ordinary dressing-gown, three French metres,

or 3 5'ards lo^^
inches, are
generally allowed for the

i
bottom
of the skirt,
which leaves
three
yard 23 inches to
be divided between the
diagrams necessary for
body and
skirt.
1.
DRAFT OF FRONT
To find
bottom
the height of diagram of front, take the height
of the person
from the shoulder (at armhole) to the
of the skirt plus
two inches,
of
total
583^ inches
(height of diagram).
the width
of
The width
diagram must be
say
the
material, let
us
ig^
inches.
From A to C mark by From A to B mark by a

chest
a dot the length
of the
body.
vertical line the half width of
= 10^. Note. For the use

figures,
of the fixed
measures represented
by
and
of the variable
measures contained in
the diagram, see Section VII.

of
From
dot
at
bottom
armhole, measure vertically the fourth measure
the
ob-
length underneath arm

tained, begin a curved
6^^.
From
the point
line, v^hich
must end towards
D.
2.
DRAFT OF
the
BACK
To
find the height of
diagram, take the height
of the person,
from the shoulder (at the neck) to the
356

of the
bottom
gown
59 inches (height of diagram)
The width
gram
say
is
of dia-
the width
let
of the material
lis
19^ From B towards

inches
carry
half
the
first
width of back
inches,
a
77,-^
and
dot
;
mark by
a line
from this dot, draw

parallel
to
to
AC
3,'^
equal
the
15
length of back,
inches, and
;
mark
by a dot
this point
marks
the
waist,
from the waist prolong the line parallel to
AC
another
gives
5^,
to
which
additional
length
the waist, then
from the end of this

line,
and
in
a di-
rection
parallel to
y%.
DC,
measure
the
From
point
yk,
which marks the waist, measure horizontally
and

join dot Y% to dot y% by a
will
357
slightly curved line,
which
dot
form the prolongation of the body.
From
will
^
at
J^L4^
draw an oblique
which
the
line,
end
vertical line N.
as-
Then, with the
sistance of the fixed
measures
by
figures,
indicated
we can
slope
of
form
neck,
the
of
shoulder,
and
the
dot,
armhole.
^'s
From
line
N,
measure
parallel
in a
line
five-
to
AB
eighths (fixed measure),
and join
it
to
dot 1^ by a slightly
curved
line,
then
from dot i}{ draw a

line
line
;/
parallel
to the
N. Line
m and
show the material

is
which
required
for the folds.

3.
DRAFT
OF
SIDE-
PIECE IN BACK.
To
of
find the height
the
diagram
lor
the side-piece
of
back, take the
358

=ôj^ (height
of diagram).
of the
height of the person, under the arm to the bottom of

the skirt, plus 2 inches
The width
rial,
of
diagram will be the width
mate-
let
us say igf^.
to
From B
dot
carry
4^
inches (fixed measure), from
4^
measure vertically the number given by the
fourth variable measure
length
4^
underneath the arm
6^
i}{ (fixed
measure ):^7)>^, and draw a line pardot

to A,
allel to
AC.
From
measure the fourth

a dot. will
round
of waist less
^=15^, and mark by
From
form
this dot
draw
a line parallel to dot
4^, which
the three sides of a small diagram, in which the side-
piece should be drawn.
From
dot
4^
and parallel
to
BD,
carry
i^
(fixed
measure); from dot

(fixed
4^
towards
A, carry equally
i^
measure), and join these

will
dots by a curved line, which
form the armhole.
At the end of the line and dot

take
4^
and
parallel fo
BA,
dot
away seven-eighths
oblique
line to
(fixed measure),
and join by
an
dot
i^
of line
4^.
From
end
draw
a curve
line
towards
to line
D
i){
at the
of the
line
which runs parallel

parallel
to
4^,
and, in a direc(fixed
tion
BA, measure 4^.

ot
measure),
to
then join by a curve
dot i}( oi line
AB
dot
i^
of that parallel to line
To
find the prolongation
the body, the parallel
must be increased
measure
six inches
by a vertical
line.
At
the end of this line and in parallel
direction to
it
BA,
Line
i^
inch (fixed measure), and join
by an
oblique line to the parallel line under dot i}^.

m
shows the material required
4.
359
for the fold of the skirt.
DRAFT OF SLEEVE
(See Section VII.)
Having drafted and cut out the

test
patterns,
we must
them by the testing measure.

laid together, the
if
When we
cut out the
material every pattern must be placed on two pieces

of
it
two right sides being next each

one will be
other;
this precaution be not observed,
cut on the wrong, and the
other on the right side of

sleeve,
is
the
stuff.
The
in
back, side-piece of back, and
must be cut
cut out, care
the
same way.
When
bottom
the material
must be taken
to leave sufficient
at
for the
turnings-in, and for the
hem
of the dressing-
gown,
LOW ROUND WAIST
To make
number
Note.
ure
low body with round waist, take the same

measures as
for a
of variable
high dress.
When we take the seventh variable meas the width of back we should calculate sevenfirst
eighths less
the arm, but
when
if
the shoulder falls a
little
towards
the
shoulders are short, then we
may
follow the measure exactly.
For a high dress, the second variable measure the width of the shoulderstakeninfront ought to have lyi
more than the seventh variable measure

of
back
width the while for a low body or low apron, the width
first
of shoulders taken in front
ought not
to
have more than
ij^
more than the
first
width
of back.
360

variable measures of
The
body and width
of
back
are not used in their entirety.
Example.
Length
of
bod)^, say
15^.
To
find the
number
of eighths
which ought
to
form the height of
the diagram, see in Section VII. the drafts of the patterns for a body.
In the diagram of the front, on the line

the fixed
AC
is
found
measure, number 3^, in a vertical line;
the
3^
15^
leaves
2^
inches;
2^
must be deducted from
number given by
of
the length of the body,
23/^=
chest
15^
13 inches (height of diagram).
The width
diagram
is
equal to the half-width of
= 9^
inches.
HALF-WIDTH OF SHOULDERS z=
8^
INCHES
From A towards B
carry the half-width of shoulders

%]/{
inches
mark by
line
a dot
from
this dot
measure
verticall}^ seven-
eights.
On
BA from
the dot
of
which marks the half-width

shoulders, carry towards
A i^
\]^
inches; join dot
^
;
to dot
by an oblique
the
line,
which forms
from
shoulder-seam
A
to
C measure 3^ inches, and join dot dot lyi by a slightly curved line.
towards
i^
DRAFT OF BACK
Length
of back,
15^
inches.
of
To
find the height of the
diagram
back, see
the

draft of the
361
line
back
in
the body of a grown the

fixed
woman,
BD.
ber
On
that line
measure indicates the
slope of the shoulder as being of four inches.
Num-
3^
must be deducted from the number given by the
length of back,
15^
inches;
i5->^
3/^= =
6^^.
12)^ inches
will
(height
of
diagram).
The width diagram
be
equal to the half-width of the back
J^
From B towards D carry ^ measure). From B towards A

i^, and
y% to dot
(fixed
carry
join
by an oblique
line
dot
i^, which forms the shoulder4

4 to dot
seam.
From A towards C measure

iJ4^
inches, and join dot

slightly curved line.
by a
From B towards
2|/^,
take
off parallel to
D carry BD
CD
the size of wrist, less

^^
;
and
join dot
^
D
to dot
by
an
oblique
line.
From C towards
to dot Y^
carry
^, and
join dot yi
line.
on line
XII
HOW TO TRANSPOSE THE FIXED AND THE VARIABLE MEASURES WHEN IT IS WISHED TO THROW THE SHOULDER SEAMS
TOWARD THE BACK
The
fixed
measures which must be transposed

:
for this
purpose are two
The
first,
which indicates the shoulder-seam (front
of the
body), instead of being3^ becomes only
362

The second, which
indicates the slope of the shoul-
der-seam (back of the body), instead of being

4 inches becomes 5^.
The
I,
variable measures are also two
The width
the
first
of
the
shoulders taken
in
front,
instead of being
2^, ought to be 4^ more than width of back, which must never be

round
wrist, instead
of
changed.
2.
The
to
size
being 6^, a
given by the measure, must have two inches more
form the front of the armhole
to
form the
back of the armhole we must take one-third of

size
round
wrist.
SHOULDER
SEAM
the slope
of
Having made
neck, measure
from
toward
B
a
half
the width of shoulders

inches, and
= 9^
dot
;
mark
it
by
from
this dot
descend
it
\y^ (fixed measure), and join

to dot
2^
at slope
line,
of
neck by
will
an oblique
which
form
the slope of shoulder.
To form
114^
the front of the armhole, measure from dot
in a parallel line to
BD
the round of wrist -f 2

to
8^4^,
bringing
it
at
;
same time back
line
BD
B
by a
carry
horizontal stroke
from this stroke, towards
^, and
join yi to the horizontal stroke by an
oblique

line,
363
and
to dot i^^, the slope of shoulder,
by a curved
one
which
will
form the armhole. DRAFT OF BACK

After having formed the slope of
neck,
measure from
towards
5^
(fixed measure),
and join dot
i^
of slope of
neck by an oblique
line,
which
der.
will
form the slope of shoul-
ARMHOLE
From
dot 5}^, towards D, meas-
ure the third of size round wrist, and
mark
it
by a dot;
from this dot measure horizontally

join
^
by
towards AB, and
by an oblique
line
to
it
dot 5}^.
to dot f^
From C towards
a slightly
measure ^, and join
curved
line.
For the
side-piece of back, see Section VII.
For
the sleeve, see Section VII.
XIII
DRAWERS FOR A WOMAN

(Variable Measures)
Outer length of leg (from the hip
to
below the knee)

37^^,
= i%y^
waist
inches
Testing
measure
Round
of
=27^.
Size round wrist
=6^. The latter three
are conventional measures.
DRAFT OF DIAGRAM OF DRAWERS
Height
of
diagram
outer length of leg 28^^
inches
364
-\-
CUT! IN G OUT BY MEASUREMENT
the two thirds size round waist
= 4^
Width
inch, let
us
say 32^.
of
diagram
half the
testing measure less i^ =

17^ inches. Note. To draft the
pattern on the material,
you must meason

the
ure
selvage
twice
the height of
the diagram plus

for the
1.
3^
the
hems.
Then
out
Cut
material.
2.
Fold
it
hori-
zontally,
is to
that
say, join
the two ends.

3.
Fold
it
then
vertically,
by which you join the four selvages,
which
will represent to
you the
line of
the
dia-
gram AC.
The
see
if
material being thus folded, you must

the width of the diagram
i^'s,
-test
it
to
is
equal to half the

pre-
testing measure, less
and
strictly follow the
scribed use of the fixed measures and the variable measures indicated on the diagram.

The
fixed
365
tlie
figures,
and
variable measures by letters.
From A towards B measure i^ From A towards C measure 5^

join
it
(fixed measure).
(fixed measure),
and
to dot i)^
by an oblique
line.
A measure
and mark
(fixed
the third of the testing measure,
From B towards 12^ inches,
from this dot measure vertically
3^
two-
measure).
size
From B towards D measure
thirds
to dot
round waist
= 4^^ mark h
line. line.
and join this dot
3^
by an oblique
same manner an oblique

half the testing
From H to E draw in From A towards C take
measure plus
i^
20^, and mark F.

;
From
dot
measure towards A,
4^
the:
from dot
45^;^,
in a parallel line to
AB, measure
two-thirds size
round waist =:
by a curve, and
4^ mark g, and to dot 3^ by an

;
join this dot to dot
oblique line.
From
loj!^,
towards
;/,
C measure
the size round wrist
+ 4=
mark
line.
and join
this dot to dot
Note.
The line which starts
from
line
//
and passes
by the dots 3^, ând F, forms the front part of drawers. DRAWERS FOR A YOUNG GIRL
(Variable Measures.)
size 23/^
Height
Outer length of leg (from the hip and below the knee) testing measure 24>^ 28^ round of waist
round wrist =5^^.
The
latter three
are
the conventional measures.
DRAFT OF DIAGRAM FOR DRAWERS

of
Diagram
the
outer length
of
leg, 24^^
366
and the third of size round wrist

inches.
J^ let us say,
27
Width
of
diagam
half the testing measure,

Note.
tern
less
i^
T2i4.
To
must
draft
the pat-
on the
material,
the
selvage
be
measured
of
and cut twice the height

the diagram, plus
3^
for the
hems.
1.
Then
Cut out the material.
2.
Fold the material horizontally (join its two
ends).
3.
Fold
ly,
it
then vertical-
by which the four
selvages will be joined,
and will represent to

us line
AC
of the dia-
gram.
The
material being thus folded, you must test

is
it
to
see whether the width of the diagram
equal to half
the fixed
the testing measure, less if^, and afterward
and variable measures, as indicated on the diagram,
must be
strictly followed.
The
fixed
figures, the
variable by letters.
From A towards B measure \]^ From A towards C measure 4 inches
(fixed measure).
(fixed
measure),

and join
towards
this to dot ij^
367
by an oblique
line.
From B
measure one-third
;
of the testing
measure r=
9^, and mark E from this dot descend 2 inches (fixed measure). FromBtowards D measure one-third the size
round wrist
-j-
^ = 2^;
mark
//,
and join
this dot to dot
E, and to dot 2 by two oblique
lines.
From A towards
C measure
from dot
half the testing
measure plus
1^
to
I5li>
and mark F; from this dot towards
measure
2^
2^
measure in a
~\-
line parallel
;
AB, the
g,
third size round wrist

join this
= 2^ ^
mark
;,
mark
and
dot to dot 2 by an oblique, and to dot
by
a curved line.
From
towards
;
C measure
and join
the size
it
round wrist
+ 2^
:= 8}^
to
dot
Note.
line.
The line which

2, g,
starts
from dot
/i
and passes
by dots
ers.
and F, forms the front part of the draw-
XIV
APRON, PRINCESS SHAPE
(For a child
of Eleven).
VARIABLE MEASURES
Full length of apron
.
368

VERIFICATION OF THE VARIABLE MEASURES
Iff
B
'
1-
The width
taken
of
in
shoulders,
front,
must have
i^
first
more than the

width
2.
of back.
The testing
gives
of
measure
the width
us
chest
of
and second width

back.
We take the number which gives the

first
width
13,
of
back
and make a
subtraction with the
number
given
by
the testing measure
=
ing
28^
then, hav-
obtained
result
the
we
desired
add 4^, and divide
them
as follows
EXAMPLE
Testing measure
. .
Second width
of
back
.
Width
Height
inches.
of chest
13= 15^ = 141^ 13 15^ + 3^ = 18^

28^
-|- 1
1^
DRAFT OF DIAGRAM FOR FRONT OF APRON

of
diagram
the
full
length of apron
= 373^

Width
measure
of
369
diagram
the
a dot
it
,
two-thirds
of
the
testing
=
/^
19^.
half the width
of chest
From A towards B measure
=9^
mark by
fixed
from this dot draw a line
parallel to
AC, and mark
NG.
Follow the
measures indicated on the diagram
by
figures.
Having formed the slope

of
neck from
towards N,
of
it
measure the half-width

shoulders
= yyi
it
and mark
this
by a dot.
From
dot
descend
ure),
at
inches (fixed measto dot
and join
2^
at
slope of neck by a slightly

line.
curved
From
dot
2,
slope of shoulder, measure
on a line parallel
size
to
NG the
round wrist
it
+ ^ =
then back
5^, bringing
to line
NG
by a horizontal
line
towards
measure ^,
then from dot
to
dot 2
draw
dot
a curved
of
line.
From
to angle
^
also
armhole
draw
line.
slightly
curved
DRAFT OF DIAGRAM FOR BACK OF APRON
Height
of
diagram
37^,
full
length of apron.
370
CUTTING OUT BY MEASUREAIENT
Width of diagram 14^'^, half the testing measure. From A towards B measure half the second width of back 7^, and mark it by a dot. From this dot draw a line parallel to line AC, and mark it NG.
Slope of Neck.
(fixed measure).
From
towards
measure
2^
join
it
to dot
2^
;
by an oblique
From A towards C measure ^, and line. The line between

first
A
of
and
will be
found to contain half the

a dot,
width
back
=
fn
y%
mark by
and from this dot measure vertically
^
n
6^
(fixed
measure)
dots
line,
join the
two
2^
by an oblique
will
which
give
the slope of the shoulder.
From
dot
2^,
slope of shoulder, measure in

a vertical direc-
tion the size
round wrist
bringing
iM^=4/^'
P by a horizontal line
(k
;
\t
then back to line

dot
NG
dot
mark
F, and join
to
2^, slope
of shoulder, by a slightly curved line.
DRAFT OF DIAGRAM FOR A SLEEVE WITH WRISTBAND

Outer length
of arm, i8>^ (height of diagram).
13^ + 2 = 15^ (width of diagram). From A towards B, size round wrist 5^, and mark by dot m. From A towards C measure one-third of size round wrist i5<^ ^4, and mark it by dot ;z; join m and by an oblique line. From C towards A measure
Size round arm,
71

i^
size
(fixed
371
measure).
round wrist by a
From C towards D mark dot// join dot /to i^ by an

r=:
the
ob-
lique line.
-|-
Mark
on the
the size round wrist twice

line
loj^^
2^
i3>
between C and
by the letter
of size
G.
From B towards
-|-
measure the two thirds

it
round wrist
join
it
^=
3^, mark
by the
letter
E, and
by an
oblique line to the letter G.

wrist,
From B
mark
it
towards
measure the site round
by
the letter F, and join letter
to
by a curved
line.
DRAFT OF THE DIAGRAM FOR WRISTBAND
Height
of of
diagram
2^
size
inches.
-|-
Width
'^
diagram
round wrist
7^.
material
^
Note.
Lay
on AB.
the selvage of the
Should
anyone
for
wish
to
make an
or
apron,
Princess shape,
child
older
younger than
eleven years, see page 367 and the following, where the
fixed
measures are given appertaining
to different ages.
The
difference
between an apron. Princess shape, and a

for in the "Verification of varia-
dress,
must be looked
ble measures."
Example.
Apron
for a child of eleven years old.
Width
of shoulders, taken in front
First width of back
....
.
14^
13
Remains
In
the
\yi
dress
of
a child
front,
of
eleven,
the
width
of
shoulders, taken in
must have two inches more
372
CU TTING OUT BY ME A S UREMENT

first
than the
width of back.
This difference
is re-
quired for the slope of neck in
the back, the fixed
measure from
towards
it is
for
the
apron being 2^,
while for the dress

plies to all ages.
only i^.
The same
rule ap-
APRON WITH SHOULDER STRAPS
The only
peculiarity about
this
apron
is
square
out
of
piece in front and back joined by shoulder straps
according to a paper pattern.

the apron
is
The lower portion
gathered, before and behind, into straight
bands,
straps.
first
sewed on to the upper part with the shoulder

this apron,
To make
of
we
take the five follov/-
ing variable measures
Length
apron
23^
11
First width of back
Outer length
of
arm
Size round wrist
Testing measure
I.
.... .... ....

. .
13^
4^
22^
round wrist
DRAFT OF DIAGRAM FOR SHOULDER STRAPS
Height
of diagram.
size
^ +1^ = 5^
Width
less i)i
of
diagram
size
round
wrist
=3/{j4 (fixed
line.
From B towards D measure

J/s
measure), join dot
to
letter
A
to
by an oblique
of
From C towards
wrist, let
measure two-thirds
it
size
round
us say 2^, and join
dot }i
laid
by an ob-
lique line.
The
material
must be
double on line

AC.
373
On
line
CD
the front square piece of apron body
must be
sewed, and on line
]/^
the
sleeve.
Two
shoulder straps must be cut out.

2.
DRAFT OF DIAGRAM FOR THE SQUARE FRONT OF APRON BODY
/,
Height of diagram
one-third
^
Width
of
the
size
O
diagram
round wrist
^.
the
B
first
width of back,
11 inches,
less one-third size round wrist, lY^ =^
9^.
On
line
AB
the material must be folded double along joined to line
the selvages, and angle
of the first
diagram.
3.
DRAFT OF DIAGRAM OF BACKPIECE
Height
let
of
diagram
one-third the
the
first
size
round wrist,
us say i^.
of
Width
diagram
half
alike.
width of back, 5^,

inches.
+
/
one-third size
round wrist,
back and
i^
=6^
line
The two
pieces,
front,
must be cut out
S
I
On
AB
A
the material
must be folded double along the
C
to the
^
oblique line
4.
selvage.
Angle
first
must be joined
E^
on the
diagram.
DRAFT OF DIAGRAM FOR FRONT OF THE APRON

of
Height
diagram
diagram
length
of apron,
23^
2^ =
meas-
21^.
Width
ure.
of
two-thirds
of the
testing
3 74
CUTTING OUT BY ME A S UREMENT

the
first
width of back
this point
=
A
11 inches,
and mark the point

D.
P.
Fom
line
draw an
oblique line to angle

size
From
towards
i^g,
measure one-third the

it
round wrist =^
and
size
mark
by F.
-j-
From P towards
one-third
round waist
then join
^ = i%
E
line
mark
it
by the
letter E,
to
by a curved
line,
which will form
the armhole.
Oh
AC
the material must be folded
double along the selvage.

Note.
The
diagram
is
for
back
of apron
exactly the
same
page
as for the front.

of
For
see
the diagram
370.
sleeve
By
strictly follow-
ing the
prescribed
use of
this
the variable measures,
shaped apron can be made
up
for children
of all ages,
between
years.
one
and thirteen
LOW-NECKED APRON FOR A CHILD
When we
desire to draft the pattern for

it is
a child's
low-necked dress or apron,
necessary, after having
taken the variable measures, to test them carefully,

looking
back
to
Section
IX. regarding dresses for
young
girls
and
children, in order to see the

first
number
of
eighths required for the
width of shoulders, taken

in
front,
375
and then
to
subtract but half
the
number
marked
in the
in
each different age.

front,
We
line
must
also observe,
diagram of the
on
BA, the indication
of the fixed
measure
for
the shoulder.
On
the dia-
gram
of the back, line
BA, we
shall find the fixed
meas-
ure, slope of shoulder.
Example.
Child of eight years old.

BD
(fixed
off off
In the diagram
of front, line
yi.
measure) 13^;
i^
i^ =
is
This i^z taken
from the fixed measure
at
the
same time taken
from the length
of the body.
DIAGRAM OF FRONT
The height The width

the chest
of the
diagram
is
equal to the length of
the body, 13 inches

01
i^
is
^^Ya-
diagram
equal to the half-width of
7^.
VARIABLE MEASURES
of
Length
body
13
inches.
Width Width
Length
of shoulders.
of chest
.
iS}i-j4
15^
5}4
Length underneath arm

of
back
12^-^
.
Width
of back
first,
.
11^, second
.
width
Testing measure
13
25 3^
Length
of
arm (outer)
(inner)
13
Size round arm
Size round wrist
5H
376
From A towards B measure the half width of shouldFrom this dot measure in ers, and mark it by a dot.
a line parallel to
AC
f^ (fixed
measure) the slope of

line
shoulder.
On
AB
from the
of
in-
dot which marks the half-width
shoulder measure towards

ches, and join by
A i^
an
oblique line
will give
dot
the
i^
lo
dot
of
Y%,
which
slope
shoulder.
From A
and
slightly
towards
join dot
C measure 2^
inches,
2^
to dot
\% by
curved
line.
Armhole.
For the
AB
join
;
armhole take the number given

;
by the size round wrist

cally the
from dot y% measure

it
verti-
number obtained, and mark

to
by a
line
drawn
parallel
from this parallel line measure
towards
line,
to the parallel
line
by an oblique
and
this
one again to dot ^, the slope of shoulder,

line.
by a curved
Darts.
For the darts, see
Section
TX where
the fixed
measures are indicated.
DIAGRAM OF THE BACK OF A LOW-NECK BODY OR APRON
NOT HAVING A SIDE-PIECE.

In the diagram of the back, on line
BD,
the fixed
\y^ z= y^
measure
is
2^
1^/8
^, and
1]/%
y^
becomes the
fixed
measure, the slope of back.
The
which
i^
in the length of
will give
12^
back must alsobetakea
off,
II
inches (height of diagram).

half the first width of

back, and
377
mark
it
by a dot
from this dot measure ver-
tically Yz (fixed
measure).
From
the dot which marks
half the
first
width of back, measure towards
A i^
inch,
and join dot i^ to dot S/z by an oblique line. From A towards C measure 2 inches, and join dot \%
to
by a slightly curved from
line.
Measure vertically
round wrist,
less
Yz the size
it
i^
and mark
on line
BD
then join
them by
ure
slightly
curved line (the
armhole).
i/z,
From
toward
to dot
C meas-
and join dot yi

line.
^7^,
F by
an
oblique
From C towards
Y^
D
line
measure
from
and draw an oblique and

of
toward
2.
Between the dots
^
size
on line
CD,
there should be found the
fourth
round
waist, less
^.
-0
''''^
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Qass.

Fully Illustrated with more than One

SERGEL & COMPANY

Copyright, 1892. By Charles H. Sergel & Company.

work there has been a higher

object than merely adding another to the long catalogue

great ambition has been to help

who are trying to who wished to be

women young woman

for myself the principles of

planning, cutting and making

as a writer for newspapers and magazines,

words the knowledge

Many and many were

There was none

TOOLS FOR THE WORK

FacingsWadding and Canvas FasteningsWhale.21 bones and Casings Shields Yokes.

To Finish a Tailor Garment Lead Weights.

Placing the Bones

CONTINUED Finishing Edges

SLEEVES AND COLLARS

Jacket and Cloak Sleeves

Sewing in a Sleeve Standing CollarsTurned-over Colvii

Difi&cultyThe Pattern Sponging Cloth Lining a Wrap Finishing Seams.

PLAIN SEWING AND FANCY STITCHES

and Cloaks Nurses'

Short Clothes Small An Apron.

Riding Habits Cycling

the far East

Gowns The Veil Weddings The Best Date

Bridesmaids' Dresses For Quiet Brides' Traveling Dresses The

FANCY AND THEATRICAL DRESSING

Some Fancy Dresses,

Waists and Skirts

HOW TO BE YOUR OWN MILLINER

Three Methods Preparing Making Over Dresses.

Table and Bed Linen

LAWS OF CORRECT DRESS

Dress for Gray HairJewels General Remarks.

The Front Back and Side-Bodies Embellishments The Sleeve

CHAPTER I TOOLS FOR THE WORK

TRAINING FOR HAND-SEWING

attempts to make a dress, we natur-

ally conclude she

Let us hope she

has practiced running up long seams, both by hand

and machine, that she knows how

mothers served their apprenticeships piecing patch-

Nothing could be a better schooling.

There has been much

and with good cause, against

the waste of time and talent over patchwork.

and intelligent, spending days and weeks over

not an ennobling thought.

something more important, do much that would

TOOLS FOR THE WORK

no better training for the hand, the eye

and the contriving, accurate intelligence than to neatly

In later chapters will be found

complete and clear

explanations of plain sewing and the clever but inexperienced

will find therein

proper and effective use of the needle.

out with the idea that