[Sidenote: Putting on Collars]
To sew the collar to the neck of the garment, first pin, beginning at the back seam and baste towards the end. The lining may be left free at the lower edge and felled over the neck edge after the collar has been st.i.tched to the garment, or the lining may be st.i.tched in the seam, the seam pressed open and a bias facing of silk or light weight material hemmed on over the seam.
The beauty of collars and cuffs depends largely upon the exact turning of corners and finish of ends. These should never be left bulky or clumsy. If preferred, the lining and outside of collar may be seamed and turned. Place the right sides of outside and lining together, the interlining next to the lining, st.i.tch around both ends and top of collar, then turn and press. These rules may be followed in making sailor or any lined collars. Collars made of all over embroidery should be faced with tape on the wrong side before the tr.i.m.m.i.n.g is applied to cover the edge of ruffle or lace.
The plain or shirt waist pattern will do duty for many garments--corset cover, night dress, dressing jacket, etc. The upper part of the waist will answer for yoke pattern of different shapes.
SEAMLESS YOKES
[Sidenote: Pattern for Yoke]
To make a pattern for a seamless yoke baste together the shoulder seams of the fitted waist pattern, place the upper part of the pattern on cambric or stiff paper, with the front of waist on straight edge or fold of paper, trace the shape of the neck yoke any desired depth below the neck line. The lower edge can be cut in any shape, the neck either high or low, round or square. This perfectly fitted yoke pattern can be used for a foundation for lace, velvet, ribbon, net, or any thin material.
The circular yoke made of lace and ribbon or bias strips can be made to open in front or back. The strips of inserting and ribbon should be basted on the paper pattern and joined by fancy st.i.tches or over sewed.
The parts next the neck will need to be held fuller than the outside curve of the inserting.
All yokes to be worn under the gown should be made on a well-fitted lining. Never trust to pinning, basting, or hooking the yoke to the waist.
The finish of collar, cuffs, girdle and placket are hallmarks of good dressmaking. Well finished ends and corners, the careful adjustment of fastenings, shields carefully fitted to the arm"s eye and caught smoothly to the lining--all these are little things that count for more than money spent in expensive ornament.
PRESSING
[Sidenote: Pressing Board]
The success of the finish of every garment depends upon the pressing, whether the material be heavy or light, cotton or wool. Garments are always pressed on the wrong side, when being made. The iron used should neither be too hot nor too heavy and the work should be done on a perfectly smooth, well-covered board. For pressing black or dark cloth, the cover of the board should be dark and free from lint, while a perfectly clean light cover should be subst.i.tuted when white or light goods are to be pressed.
[Sidenote: Placing the Iron]
The whole face of an iron should never be put down on a seam or any part of a waist, but the side or point should be used, care being taken _not_ to stretch a curved seam. A small rolling pin, a broom stick, a chair rocker, or any rounded stick well covered can be used for pressing curved seams or sleeves. This lessens the danger of marking the seams on the right side. These are only makeshifts; a regular half round sleeve bound should be obtained if much work is to be done.
In pressing, the iron should never be shoved or pushed, as in ironing.
Only heavy materials require great strength. It is possible to press too much as well as too little. Whatever the material, pressing is work that requires to be done carefully and slowly. Allow the iron to touch only the center of the seam, the edges of the seam will not then be outlined upon the goods. Piled goods require infinite care. Uncut velvet, c.r.a.pe, etc., should _never_ be pressed with the iron flat on the seam. The seam should be opened carefully and over the rounded surface of the board, covered with very soft cotton flannel into which the pile can sink without being flattened. Run the iron with the pile, or the iron may be placed on the side or flat end and the seams drawn slowly along the edge of the iron the same way the pile runs--only the edge of the iron touching the edge of the seam. Corded seams should be pressed in the same way to avoid flattening the cord.
[Sidenote: Wet Pressing]
Very heavy cloths and chinchilla should have a small stream of water carried along the seam, followed by the iron; or the seam may be dampened by a soft cloth--very wet. This is the "wet pressing" used by tailors, which is adapted to the requirements of materials used by them, such as serge, tweeds, etc. Pressing on the right side under a damp cloth is apt to give marks if the cloth gets too dry or if the iron is too hot, but is necessary on finished wool garments.
Silk scorches easily and should be pressed very carefully with a cool iron, light in weight.
Some light colors fade or change in pressing. Try a piece of the goods before pressing the garment. If the color does not come back when cold or when exposed to the light, do not use a hot iron on the garment.
CONSTRUCTION AND ORNAMENT FOR DRESS
[Sidenote: Principles of Ornament]
Many of the principles governing architecture and art apply equally as well to art in dress. Both in architecture and dress, construction should be decorated--decoration should never be purposely constructed.
It is by the ornament of a building that one can judge more truly of the creative power which the artist has brought to bear upon his work. The general proportion may be good, the mouldings accurate, but the instant ornament is attempted, the architect or the dressmaker reveals how much of an artist he is. To put ornament in the right place--where it serves a purpose--is indeed difficult; to render that ornament at the same time an added beauty and an expression of the desired unity is far more difficult.
[Sidenote: Purpose of Ornament]
All decoration should be planned to enrich--not to a.s.sert. All jewelry or ornament should form a note in the general harmony of color--a decorative touch to add beauty and to be subordinated to the object decorated. It should serve the purpose of seeming to strengthen the whole or to protect the parts receiving most wear. Ornament is everywhere attempted. We see ornament at every turn--good and bad alike--in our homes, on clothes, linen, and kitchen utensils. Carlyle tells us that "The first want of barbarous man is decoration." We have no record of when this need was felt first. Primitive man after supplying his actual needs, seemed to develop a longing for the beautiful, so he ornamented his own body, scratched rude patterns on his tools and weapons and gradually developed the artistic sense. This love of ornament dates back to the beginnings of the human race and there are no records of a race or a period devoid of it.
[Sidenote: Errors in Ornamentation]
We see gowns totally lacking in good results because too much has been attempted. The wearer has not considered the effect as a whole, but has gratified her liking for a multiplicity of ornaments and color which, perhaps would be good in themselves, if applied separately, but which becomes an incongruous mixture when brought together on one garment.
Garments which seem to have required great effort in the making and which appear complex in construction should be avoided, for the effect is not pleasing. The gown should set off the wearer, not the wearer the gown.
To avoid committing errors against good taste it is essential first to consider the use of any garment and see if it answers the purpose for which it was designed. If any part appears meaningless, this is a sure indication that it is wanting in grace and beauty. The ornament should harmonize with the materials, use, and construction of the object to which it is applied. The color must be ma.s.sed with effect and detailed with care.
[Sidenote: Embroidery]
There can be no ornamentation equal to that which is worked into the material, such as embroidery. The design should be appropriate in form and color and always conventional. Flowers are used most frequently for embroidery and pa.s.s.e.m.e.nterie and the simple, single flowers are the most effective, such as the daisy, the wild rose, and the flowers of the lily family. These simple flowers are the best because they radiate from a central point, have strong forms and decided proportions, can be most fully expressed in a few st.i.tches requiring the fewest shades of color, and are admirably adapted for amateur workers.
[Sidenote: Flowers as Ornament]
Old Indian stuffs, jewelry, and enamels are rich in suggestions of conventionalized flowers. The simple, single flowers are repeated constantly, the daisy appearing to be the favorite in these beautiful ornaments. The most beautiful of all conventional flower work, jewel studded, is found in samples of work of the fifteenth century. They simply suggest the forms of nature. The repet.i.tion of the same flower in all its aspects is more pleasing and less tiresome to the eye than a variety of flowers or figures.
[Sidenote: Geometrical Designs]
We find upon a.n.a.lysis that the simple forms are the basis of all decorative art work. Geometrical designs and arabesques are the most difficult, requiring the most exacting and careful work. Narrow bands, braided, outlined, or chain-st.i.tched in simple designs are effective, easily done, and wear well. Braids and any of these st.i.tches may be combined, making durable and effective tr.i.m.m.i.n.g for sleeves and neck.
These simple designs are also appropriate for children"s frocks. The French knots are ornamental and durable. All embroidery and pa.s.s.e.m.e.nterie should be rich, close, and continuous. It should not be cut up into pieces and sewed on where it does not serve, or appear to serve, a purpose.
[Ill.u.s.tration: Pa.s.s.e.m.e.nTERIE OF GOOD DESIGN]
[Ill.u.s.tration: POOR DESIGN, WEAK CONNECTION]
[Sidenote: Pa.s.s.e.m.e.nterie]
There is very little pa.s.s.e.m.e.nterie that is at all suitable for forming edges, as it is not sufficiently substantial, but when it can be found firm and of the right shade it is one of the most beautiful ornaments to edge neck and sleeves. It may be allowed to extend beyond the dress material, so that the flesh tints may show through the design, thus gradually softening the outline. Often a narrow pa.s.s.e.m.e.nterie can be found with one strong edge and a good border can be made by joining the two. This cannot be done where the pattern is united by a band running through the center of the ornament.
[Ill.u.s.tration: JOINING NARROW Pa.s.s.e.m.e.nTERIE TO FORM A BORDER]
[Sidenote: Bands]
A band of velvet or cloth embroidered in outline st.i.tch and French knots of same shade as the garment is a satisfactory edge. Except for yokes, the knots should always be held together with the outline edge.
The rich silk braids and pa.s.s.e.m.e.nteries are made of silk wound or woven over cotton and should be used only on dresses which are not intended for hard wear. Such tr.i.m.m.i.n.gs are, of course, inappropriate on serges and homespuns and soon become shabby if given much rough service.
[Sidenote: Use of Laces]
Laces, like all tr.i.m.m.i.n.gs, have defined limits within which they should be used, though they are often worn indiscriminately. Machine made laces, often good in make and design, are now very common, but the best machine-made laces are not cheap in price.