Home dressmaking

Contents

CHAPTER PAGB

I. The Art of Correct Dressing 1

II. The Corset . . - 3

Chapter I The Art Of Correct Dressing

NEVER before has dress reached the high artistic standard that it has to-day. Women of culture and good taste refuse to be blown by fashion like a feather in the wind and to be forced by modistes to wear anything that is termed fashionable, no matter whether it is becoming or suitable.

Dress is a means to an end, the end being to make one comfortable and pleasing to look upon. Poor, misguided creatures that some of us are, believing that because garments are costly or pretty in themselves we have attained perfection!

To be really well dressed our clothes must harmonize with our surroundings. It is difficult to make some people understand this. Women say, "If I had money I would be well dressed." Let it be said right here that women who are not tastefully dressed when they spend $50 a year on their wardrobe would not be well dressed if they spent $5,000 a year on it.

Garments of one tone are more artistic and truly elegant that those that display a combination of color. Women can never be pleasingly gowned until they learn the unchangeable law of art — that there must be sufficient plain ground to show to advantage ornamentation. It is right here that most women fail to make the best of what they have. It is here, too, that they spend more money than on any other part of the dress, with less satisfactory results.

FOUNDATION OF GOOD DEESSING

Inexperienced girls and women are apt to be misled by the ultra-smart, and believe that to be seen or entertained at certain places they require showy, expensive clothes. We hear much of the gorgeous toilet of the Parisian, and are led to believe that it is considered quite proper for a French woman to attend the theatre or ball half clothed, with only an apology for a corsage. It is quite true that a certain class of Parisian women do dress in this style and are often aped by women of this country, but it shows exceedingly bad taste.

There are occasions upon which one would feel out of place unless gowned in an evening dress. Here, as in all other places, let simplicity rule. For the young girl who has only a small amount to spend on her clothes, there is nothing so sweet and dainty as a sheer cotton material made over a slip of silk. As women advance in age, crepe de Chine, both in white and delicate shades, is inexpensive and becoming. For women well advanced in life, the same material in black can be used. On all these materials remember that a yard of real lace is worth fifty of imitation.

Chapter II The Corset

THE new lines in corsets are supposed to be a fashion. Rather they should be termed an improvement in corset making. They are here to stay, and have many advantages for slender as well as stout figures, since the stays are shaped according to the lines of the figure and gives graceful curves that cannot otherwise be obtained. In fact, stays for slender figures should be selected with quite as much thought and consideration as those intended for larger figures, because no woman can afford to be indifferent to the fit of her corset.

When buying a corset one often gives the waist measure and rests content. This is not enough. Before buying take your measurements in the following way: Place a tape measure at the normal waist line over the corsets then being worn and draw it tightly. The corsets ordered should be two inches smaller than the actual measurement.

The under arm length is taken while sitting, and extends from the normal waist line to a comfortable distance below the armpit, which is generally found to be from three to five inches. The length of hip is taken while standing, starting at the waist line and extending to below the bend of the thigh. This prevents an ugly bulge of the flesh.

THE CORRECT MODEL

Whether a high or low bust be selected depends somewhat on the lines approved by fashion, as well as on one*s personal preference. This is a point where if one does err it should be in selecting the low bust, for nothing can be uglier or more uncomfortable than a corset with too high a bust. Besides, a low bust gives a more youthful figure, and every woman wishes to take advantage of this point. It is difficult to S3iy just what length the back should be from the waist line to the top of the stay, but it must come sufficiently high to give a good line, and not allow the flesh or shoulder blades to be prominent.

After the corset has been selected and laced with two strings, the tie-ends so arranged that they come at the waist line, the stay should be put on while the edges are four or five inches apart.

ADJUSTING THE CORSET

Hose supporters are most important, and must be given due consideration. These are already attached to the majority of corsets, but sometimes it is advisable to add an extra pair. When not on the corset they should be placed there before trying it on. The supporters are arranged on each side of the front steels, and at the longest point over the hips. For stout figures it is well to place an extra pair on each side of the back, about three inches from the laced edges. They are caught to the hose, and the supporters adjusted by means of buckles, so that they do not hang slack.

THE CORSET 5

The laces of the corset may then be tightened, commencing at the bottom and lacing to the waist line; then starting at the top and lacing down. At no time should the edges be brought closer together than two inches. This holds good for the full length of the stays. When the corsets are so arranged, if they are found to be too large or too small over the hips or bust, or too broad at the back, alterations must be made. These can be accomplished at home. Even if it is necessary to call in the services of a professional this will be found much less expensive than having the stays made to order. Also it is quite as satisfactory.

IMPORTANCE OF THE CORSET

The foundation of all good dressing is the corset. Since the best physicians declare them, when properly adjusted, not only harmless, but a support much to be desired, the majority of women refuse to give them up and are justified in this stand. So much depends on this article of apparel that each girl and woman should give the matter special attention, and select for herself a comfortable and well-fitting model.

To do this is not a difficult matter if one has a general knowledge of the subject she is about to take in hand. Corsets may be had at almost any price, but we are often led to believe that to get a satisfactory pair of stays, particularly for a stout figure, it is necessary to pay a price quite beyond the reach of the average pocketbook.

This is a mistake that will soon become self-evident if the prospective purchaser will take the trouble to find e HOME DRESSMAKING

out for herself. It is quite true that one must be willing to pay a fair price in order to procure good materials, which are essential, but it is not necessary to pay fabulous prices in order to get a comfortable, well-fitting corset.

Whether the corset be laced at the back or front may be decided by preference, as we find sometimes one and sometimes the other of these styles in equally good models. It is necessary, however, that the figure be studied carefully. When making selection, see that the cut of the corset is in keeping with the lines of the body. In other words, do not try to be what you are not. The most serious mistakes made in dressing come from this universal fault of femininity. Your ideal may be the tall, willowy figure, but if you are short and stout and you attempt to follow this style blindly the result cannot help but be disastrous.

Therefore, in order to attain some desired effect, do not try to wear a pair of corsets that were never intended for you. ^

ALTERING THE CORSET

Let us suppose that you have purchased a corset, that it is satisfactory in the main essentials, but to make it perfect fitting a few changes must be made. You have learned how to adjust the stays correctly. After this is done stand before the mirror and see just where alterations are required. If they are to be made at the bust, a dart may be taken up or a gusset set in, as the case demands. In doing this the greatest care must be exercised to see that the finish slopes nicely into

THE CORSET T

the lines of the corset and does not end abruptly in an ugly bulge.

The alterations should be made where there is a broad piece of material between the bones. The changes below the waist line are made in a similar way. They may be needed over the stomach, over the hips or at the back, and one must study at which place or places they are necessary.

When the back is narrow in comparison with the bust measure it may be necessary to take a dart in the material at the back in order to have it fit snugly. This should start at the top and taper to a point at the waist line.

FOR THE STOUT FIGURE

The thin woman has a comparatively easy time altering a ready-made corset, but her sister, whose greatest bugbear is "too solid flesh," has greater difficulty.

To fit a corset comfortably to a very stout, shortwaisted figure it is often necessary to cut it down under the arm. This alteration requires more time than the others, but it is not difficult and is satisfactory when finished, if gone about in a careful way. The binding is ripped off at the top, several inches each side of the spot where the goods is to be cut. The corset is then adjusted, and the lines for cutting away the goods marked with a lead pencil or pins.

The bones and steels in this part of the material are removed, the goods cut away, the bones and steels shortened so that they come a full inch below the top of the corset, and then replaced. A row of stitching should be made at the top of each, in order to prevent the bones and steels slipping up. The edge of the corset is then rebound.

TO MAKE CORSETS COMFORTABLE

Many women find that corsets press in the flesh when sitting, and are uncomfortable. Pads made of a single sheet of wadding about six inches long and three inches wide placed on the inside of the corset on each side of the front stays will insure perfect comfort and not interfere with the fit of the garment. These pads must be arranged lengthwise along the lower edge of the corset so that they cover the ends of the bones and steels and yet do not extend below the bottom of the stays.

For stout figures the brassiere has become a necessary adjunct to the corset. These fitted skeleton waists blend the line from the waist up and entirely hide the break that necessarily comes at the top of the corsets, and that is very ugly when apparent. They are bought by bust measure and, like the corsets, may require a little adjustment.

It is quite necessary, in order to keep the lines of the figure comely, that a corset be worn at all times, except when reclining. No greater mistake can be made than to have a cheap (which invariably means inferior) pair of stays for wear about the house.

The woman who expects to have any sort of a figure should wear stays regularly. She should have two pairs of corsets, both equally good-fitting. One pair may be kept for best wear and the other for every day, but the latter should always be adjusted and laced as carefully as if for a dress occasion.

Chapter III Guide For Shoppers

BARGAINS are advertised from time to time by all the leading stores, and these bargains are well worth considering, because the prices are far below what you could get the same article for at any other time. The old saying, "Beware of a bargain," is uncalled for in this day, when dealing with reputable shops.

The materials, etc., are of the quality represented, but are under priced because buyers are able to get what are known as job lots. This means that manufacturers have on hand certain articles that they do not wish to carry over to another season, and in order to get rid of them in a single lot a special price is made. There are various business reasons why it is to the advantage of the shops to make such an offer even when the quality of the goods is quite up to the standard.

By embracing the opportunity offered by the shops to buy such goods, one often saves from one-third to one-half of the amount it would be necessary to spend if the shopping were done in the regular way.

REMNANT SALES

Sales of manufacturers' samples should always be taken advantage of, if the list printed includes any article that will be of use to you. Such goods are often of exceptional value, being the very finest of their kind, but they have been displayed by salesmen, and are not quite as fresh as if direct from the factory; they are by no means worn-looking, however.

Sales of remnants should be considered, if one is looking for dress or trimming materials. On these tables are found all lengths and grades of goods that are left after selling off regular dress patterns. These may be had at half or less than half the price they sold for originally by the yard. The pieces are often of sufficient length for children's clothes, for trimming, for separate waists and for dressing sacques. Frequently two or three pieces of the same material can be found that together will be sufficient for a whole dress.

PLEASING COMBINATIONS

When looking over the remnants, pleasing combinations present themselves, and a dress may often be worked out in this way. At "short end" sales of silk and ribbon perfectly lovely things can be picked up for fancy work and trimmings, and if good taste and good judgment are displayed, wonderful results can be obtained.

For women who wish to be well dressed, but who must practise economy, bargain counters are a boon. One need not hesitate to visit the "clearing sales" at the end of each season and buy, even though the purchase must be laid away for use the following year. Money spent in good staple stuff in regular shades of blue,

GUIDE FOR SHOPPERS 11

brown, red or green and also black or white will not be wasted, because these colors in goods of regular weaves are always worn and are much more elegant than cheap imitations of high-class novelties.

TO ASSIST THE SHOPPEE

When one is considering the purchase of materials for various garments, unless familiar with the different weaves and their wearing qualities, it is often diiRcult to make a selection. To assist readers the following list of staple weaves is given. It by no means contains the names of all the materials sold for developing the various garments, but it gives the names of the most popular weaves.

THE DIFFERENT WEAVES

Materials for waist and tub frocks are as follows: Sheer wash weaves are cotton marquisette, cotton voile, batiste, perlin cloth, India linen and lawn.

Heavy wash weaves are: Cross-barred muslin, linene, cotton poplin, cotton rep, madras, linen, shirting, gingham, percale.

Materials for waists or dressy frocks are as follows: Sheer weaves are chiffon, silk voile, silk marquisette. Heavier weaves are crepe de Chine, taffeta, pongee, liberty silk, messaline, foulard.

Materials for separate skirts or whole frocks are as follows: Wash weaves are linen, crash, serge, pique, Indian head, percale.

Silk and woollen weaves are: Pongee, cashmere, henrietta, poplin, serge, cheviot, broadcloth, camel's-hair cloth.

Materials for coats, jackets or capes are: Tweed, homespun, cheviot, broadcloth, serge, coatings (novelty weaves).

Materials for lining are as follows: Silk weaves are silk serge, taffeta, duchess, satin.

Cotton weaves are percale, silesia, cotton taffeta, lawn and batiste.

Materials for yokes are all-over lace, all-over embroidery, net and chiffon.

Materials for negligees are as follows:

Wash weaves are cotton crepe, flannelette, lawn, dotted Swiss and wash silk.

Woollen weaves are cashmere, henrietta, albatross, French flannel, wool crepe and eiderdown.

Silk weaves are crepe de Chine, China silk, India silk, foulard, pongee, liberty silk and messaline.

Materials for lingerie are longcloth, cambric, nainsook, lawn, plaid muslin, cotton flannel and cotton crepe.

Apron materials are gingham, linen and mohair.

Trimmings for lingerie are: —

Chapter IV Preparing Materials For Use To Prevent Spotting

MANY goods are sold with the understanding that the necessary precautions to prevent spotting and shrinking have been taken, but unless there is a guarantee to that effect the purchaser is taking great risks not to guard against all danger of having a garment spoiled by treating the goods as it should be treated before making it into a gown.

Woollen weaves are sponged for two reasons — to prevent them spotting, and to keep the goods from shrinking when it is pressed after the garment is made.

Place a cotton cloth, thoroughly saturated with warm water, so that it covers the entire surface of the goods, and roll the whole as tight as possible. The goods should then be wrapped in several thicknesses of dry muslin and laid away for twelve hours. When the material is unwrapped it must be hung on a line to dry as quickly as possible. If care has been taken to keep the goods smooth enough to work with it will not be necessary to iron it, as the garment when finished will require a thorough pressing.

Cotton and linen weaves are certain to shrink more or less when laundered and when the necessary precautions to prevent such a disaster are not taken the shrinkage is often so great that the garment is rendered useless. To prepare these materials, keep them in the original folds and lay them flat in the bottom of a bath or laundry tub. Cover them with tepid water, and allow them to remain there for several hours, after which they must be thoroughly dried before they are used.

Chapter V How To Order A Pattern

A KNOWLEDGE of how to take measurements for ordering patterns is very necessary both for the professional and amateur dressmaker. When taking these measurements it will be of great assistance to know the corresponding hip, waist and bust measurements of patterns, and for this purpose the table below is given: —

FOR WOMEN

Bust

Waist

Hip

Bust

Waist

Hip

301/2

541/2

571/2

The bust measure is taken at the fullest part of the bust. To ascertain the correct measurement of the hips the tape is placed six inches below the normal waist line. To take the waist measure the tape is placed around the body at the waist. The measuring tape should be drawn close, but not so that it is tight. The importance of giving measurements accurately must not be lost sight of, for all patterns are cut by a standard basis, and if the measurements are not complied with the result will not be satisfactory.

Patterns for misses' garments may be ordered either by the ages, which run fourteen, sixteen or eighteen years, or according to the table of measurements given below. When a girl is unusually large or unusually small for her age, it is better to refer to the table and take measurements accordingly. Misses' patterns in the larger sizes are also suitable for small women, and if intended for them should be ordered by the bust measurements set forth in the table. It should be remembered that in this case it is sometimes necessary to lengthen the skirt, directions for which will be given in a future article.

FOR GIRLS

14 years, 16 years, 18 years.

31 bust, 33 bust, 35 bust.

25 waist,

24 waist, 23% waist.

341/2 hip 37 hip 40 hip

Patterns for boys and girls are ordered in the same way as those for misses, either by age or measurement. It is preferable to give the age except in cases where the child is very much under or over size ; then one should refer to the following table of measurements : —

FOR GIRLS

FOR BOYS

2 years 20% breast

4 years 22% breast

6 years 24 breast

8 years 25 breast

HOW TO ORDER A PATTERN 17

Those who are not familiar with the use of patterns are often at sea after they have taken one from the envelope. The usual pattern is composed of a number of pieces of which the amateur dressmaker has no knowledge and consequently she becomes discouraged.

Before taking the pieces of tissue paper from the envelope read carefully the directions on the label, and be sure that you understand them, for it is impossible to go at the work intelligently unless the general plan is perfectly clear. Next see that the size marked on the envelope corresponds with the size ordered. The pattern may then be taken from the envelope and the number of pieces counted. Again refer to the envelope and see that the number of pieces of tissue paper you have in hand corresponds with the number of pieces given on the label.

The cutting chart on the pattern envelope will also be of great assistance to the home dressmaker. It shows the various parts of the pattern placed in position on the cloth.

Chapter VI Adjusting Patterns Changing Waists

THERE are a great many women whose figures vary from the standard measurements of a pattern in the length of the waist, sleeves, or skirt and also in the bust and waist sizes.

It is easy enough to change a pattern to make it fit perfectly if one only knows how. The way to do this is given in the following instructions: —

We will talk first of a waist or coat which is lengthened or shortened at the waist line by slashing or plaiting the pattern. Ascertain the amount of alteration necessary by measuring the figure from the centre back at the neck to the waist line and comparing the measurements with the pattern. Then measure from the pit of the arm to the waist line and compare this measurement with the pattern.

Next the front measure is taken from the centre front, at the neck, to the waist line, and this is compared as the others were. Changes may be required in all, or only one or two parts of the pattern.

Sometimes the pattern will be the right length under the arms but too long or short at the back. In this case, the plait or incision which extends straight across the width of the back should be made about four inches below the neck at the centre back, folding over or separating the pattern on the goods sufficient to give the required measiurements. (See Figure 1.)

When the length from the arm down must be altered, lay the tuck or make the incision as the case may be, two and one-half inches above the waist line. (See Figure 2.) When the latter change is required it is always necessary to extend the alterations across the under arm pieces. (See Figure 8.)

As a rule a similar change is required at the front. This is arranged for by cutting the dart through the centre between the perforation two and one-half inches from the waist line up. (See Figure 4.) Two and one-half inches from the waist line, at the under arm seam, fold or cut the tissue straight across to the top of the incision made in the dart. (See Figure 5.) The alter-

ADJUSTING PATTERNS ation is made in the same way from the dart to the centre front of the pattern. (See Figure 6.)

When the pattern to be altered is too long from the bust to the shoulder the change necessary is made by slashing or folding the tissue three and one-half inches below the neck at the centre front. This is shown in Figure 7. When these changes are made the edges of the pattern will be uneven, but the goods must be graded, as shown in the illustration.

The next illustration shows the method of slashing a pattern in order to have it jSt when the bust is unusually large. If the bust is unusually small, folds are made in the tissue in exactly the same position as indicated by the slashes.

Alterations such as talked of are not required in loose fitting blouses or in shirt waists. In these garments it is only necessary to readjust the band at the waist in order to get the required results.

To shorten or lengthen a sleeve pattern take the tape, and with the arm stretched at full length, measure from the arm socket, at the front, which is about opposite the fullest part of the bust, to the wrist, just above the thumb. Six inches from the top of the sleeve along the inside seam, slash or fold the pattern straight across. If the sleeve is in two pieces, an upper and under portion, the changes must be made at exactly the same point in both pieces.

ADJUSTING PATTERNS

CHANGING SKIRTS

In ordering a skirt pattern for a figure that is unusually large it is of great importance that the hip measure be taken. If it does not correspond with the waist measure given in the table of measurements, be sure to order by the hip size, for the waist can be taken in or let out without difficulty, while it is not possible to alter the hip size so satisfactorily.

In order to ascertain whether it is necessary to change the length of a skirt pattern, hold it up to the figure, with the waist line in place, and see whether it requires lengthening or shortening. The slash or fold used in the alteration is made across each gore about fifteen inches below the waist line. The edges will be uneven after the changes are made, just as in the waist and sleeves, but they are graded when cutting the material.

It is quite a simple matter to decrease the size of the waist line in proportion to the hips. The alteration is made when fitting the skirt, after the gores are basted together, by making each seam a little wider. The inverted plait at the back must never be altered, as any, change at this point would spoil the shape of the skirt. When the waist size is to be increased the goods should be cut a little wider than the pattern at each seam, from the hip to the waist.

When the abdomen is very prominent it is necessary when cutting out a pattern to allow material to extend above the top of the pattern. This prevents the skirt from being raised at the lower edge of the front, poking out in an ugly point.

PLACING AND CUTTING PATTERNS

When cutting out a pattern the material should be placed flat on a smooth surface. A large dining table is excellent for the purpose, but if one is not to be had, a sheet or a piece of muslin may be pinned to the carpet to protect the goods, and the cutting done on the floor.

It is advisable to pin all the pieces of the pattern

ADJUSTING PATTERNS 25

on the material before cutting any of them out, because in this way one is able to move them around until they are placed to the best advantage.

The widths of materials employed are so varied that charts indicating how to lay the pattern cannot be given in every case. The following direction may, however, be rigidly adhered to with perfect confidence: —

Find out whether the material has a nap, or up and down. The direction in which the nap runs may be ascertained by rubbing the hand over the right side of the goods, and all the pieces of the pattern must be placed so that the nap or figure, if it is a figured design, runs toward the bottom of the garment. Should any one piece of material with a nap be cut in a different position from the others the goods would shade and appear to be of a different color, which would completely spoil the appearance of the garment.

In a figured design the effect would be equally disastrous. Likewise the greatest care must be taken to see that the pieces are laid properly on the grain of the goods.

PLACING THE PATTEEN

To assist one in properly arranging a pattern, a line of perforations is placed through each piece of the pattern and complete directions for placing the pieces are printed on the label.

All edges to be laid on a fold of the goods are marked * * * so that there can be no mistake made. These must be taken care of first, and if the goods is not double width it must be folded double, lengthwise, for a sufficient distance to cut these parts of the pattern. After they are cut, if the goods is without a nap or up and down, the most economical and satisfactory way to work is to fold the two ends of the goods together straight across, with the right side in, and pin the pattern on it doubled.