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Title: Textiles and Clothing

Author: Kate Heintz Watson

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Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK TEXTILES AND
CLOTHING ***

Textiles and Clothing

BY

KATE HEINTZ WATSON

GRADUATE ARMOUR INSTITUTE OF TECHNOLOGY
FORMERLY INSTRUCTOR IN DOMESTIC ART
LEWIS INSTITUTE
LECTURER UNIVERSITY OF CHICAGO

CHICAGO
AMERICAN SCHOOL OF HOME ECONOMICS
1907

COPYRIGHT 1906, 1907, BY
HOME ECONOMICS ASSOCIATION

THE LIBRARY
OF

HOME ECONOMICS

A COMPLETE HOME-STUDY COURSE

ON THE NEW PROFESSION OF HOME-MAKING AND ART OF
RIGHT LIVING;
THE PRACTICAL APPLICATION OF THE MOST RECENT
ADVANCES
IN THE ARTS AND SCIENCES TO HOME AND HEALTH

PREPARED BY TEACHERS OF
RECOGNIZED AUTHORITY

FOR HOME-MAKERS, MOTHERS, TEACHERS, PHYSICIANS,
NURSES, DIETITIANS,
PROFESSIONAL HOUSE MANAGERS, AND ALL INTERESTED
IN HOME, HEALTH, ECONOMY AND CHILDREN

TWELVE VOLUMES

NEARLY THREE THOUSAND PAGES, ONE THOUSAND
ILLUSTRATIONS
TESTED BY USE IN CORRESPONDENCE INSTRUCTION
REVISED AND SUPPLEMENTED

CHICAGO
AMERICAN SCHOOL OF HOME ECONOMICS
1907

Copyright, 1907
by
Home Economics Association

Entered at Stationers' Hall, London
All Rights Reserved.

AUTHORS

ISABEL BEVIER, Ph. M.
Professor of Household Science, University of Illinois. Author U. S.
Government Bulletins, "Development of The Home Economics Movement
in America," etc.
ALICE PELOUBET NORTON, M. A.
Assistant Professor of Home Economics, School of Eduction, University of
Chicago; Director of the Chautauqua School of Domestic Science.
S. MARIA ELLIOTT
Instructor in Home Economics, Simmons College; Formerly Instructor
School of Housekeeping, Boston.
ANNA BARROWS

Director Chautauqua School of Cookery; Lecturer Teachers' College,
Columbia University, and Simmons College; formerly Editor "American
Kitchen Magazine;" Author "Home Science Cook Book."
ALFRED CLEVELAND COTTON, A. M., M. D.
Professor Diseases of Children, Rush Medical College, University of
Chicago; Visiting Physician Presbyterian Hospital, Chicago; Author of
"Diseases of Children."
BERTHA M. TERRILL, A. B.
Professor in Home Economics in Hartford School of Pedagogy; Author of
U. S. Government Bulletins.
KATE HEINTZ WATSON
Formerly Instructor in Domestic Economy, Lewis Institute; Lecturer
University of Chicago.
MARION FOSTER WASHBURNE
Editor "The Mothers' Magazine;" Lecturer Chicago Froebel Association;
Author "Everyday Essays," "Family Secrets," etc.
MARGARET E. DODD
Graduate Massachusetts Institute of Technology; Teacher of Science,
Woodard Institute.
AMY ELIZABETH POPE
With the Panama Canal Commission; Formerly Instructor in Practical and
Theoretical Nursing, Training School for Nurses, Presbyterian Hospital,
New York City.
MAURICE LE BOSQUET, S. B.
Director American School of Home Economics; Member American Public
Health Association and American Chemical Society.

CONTRIBUTORS AND EDITORS

ELLEN H. RICHARDS
Author "Cost of Food," "Cost of Living," "Cost of Shelter," "Food
Materials and Their Adulteration," etc., etc.; Chairman Lake Placid
Conference on Home Economics.
MARY HINMAN ABEL
Author of U. S. Government Bulletins, "Practical Sanitary and Economic
Cooking," "Sale Food," etc.
THOMAS D. WOOD, M. D.
Professor of Physical Education, Columbia University.
H. M. LUFKIN, M. D.
Professor of Physical Diagnosis and Clinical Medicine, University of
Minnesota.
OTTO FOLIN, Ph. D.
Special Investigator, McLean Hospital, Waverly, Mass.
T. MITCHELL PRUDDEN, M. D., LL. D.
Author "Dust and Its Dangers," "The Story of the Bacteria," "Drinking
Water and Ice Supplies," etc.
FRANK CHOUTEAU BROWN
Architect, Boston, Mass.; Author of "The Five Orders of Architecture,"
"Letters and Lettering."
MRS. MELVIL DEWEY
Secretar Lake Placid Conference on Home Economics.
HELEN LOUISE JOHNSON
Professor of Home Economics, James Millikan University, Decatur.

FRANK W. ALLIN, M. D.
Instructor Rush Medical College, University of Chicago.

MANAGING EDITOR

MAURICE LE BOSQUET, S. B.
Director American School of Home Economics.

BOARD OF TRUSTEES

OF THE AMERICAN SCHOOL OF HOME ECONOMICS

MRS. ARTHUR COURTENAY NEVILLE
President of the Board.
MISS MARIA PARLOA
Founder of the first Cooking School in Boston; Author of "Home
Economics," "Young Housekeeper," U. S. Government Bulletins, etc.
MRS. MARY HINMAN ABEL
Co-worker in the "New England Kitchen," and the "Rumford Food
Laboratory;" Author of U. S. Government Bulletins, "Practical Sanitary and
Economic Cooking," etc.
MISS ALICE RAVENHILL

Special Commissioner sent by the British Government to report on the
Schools of Home Economics in the United States; Fellow of the Royal
Sanitary Institute, London.
MRS. ELLEN M. HENROTIN
Honorary President General Federation of Woman's Clubs.
MRS. FREDERIC W. SCHOFF
President National Congress of Mothers.
MRS. LINDA HULL LARNED
Past President National Household Economics Association; Author of
"Hostess of To-day."
MRS. WALTER McNAB MILLER
Chairman of the Pure Food Committee of the General Federation of
Woman's Clubs.
MRS. J. A. KIMBERLY
Vice President of National Household Economics Association.
MRS. JOHN HOODLESS
Government Superintendent of Domestic Science for the province of
Ontario; Founder Ontario Normal School of Domestic Science, now the
MacDonald Institute.

DRESS MAKING IN MEXICO

CONTENTS
Primitive Methods 3
Weaving 14
Fibers 29
Cotton 29
Wool 37
Flax 43
Silk 53
Modern Methods 59
Weaving 69
Weaves 72
Bleaching and Dyeing 78
Printing 81
Finishing 83
Cotton Goods 85
Linens 86
Woolens and Worsteds 88
Silks 90
Names of Fabrics 94
Bibliography on Textiles 103
Hand Sewing 107
Ornamental Stitches 114
Hems 123
Tucks and Seams 128
Plackets 135
Sewing on Bands 138
Fastenings 141
Patching 149
Darning 155
Mitering Embroidery, Joining Lace 158
Machine Sewing 162

Dressmaking 167
Patterns 171
Making Seven-Gored Skirt 172
Making Shirt Waists 182
Lined Waist 186
Sleeves 194
Collars 198
Seamless Yokes 200
Pressing 201
Construction and Ornament in Dress 203
Ornament of Textiles 212
Color 214
Children's Clothes 216
Care of Clothing 219
Cleaning 221
Repairing 225
Bibliography on Sewing and Dressmaking 229
References: History of Costume; Ornament and Design 234
Program for Supplemental Study 236
Index 241

"THE THREAD OF LIFE"
Spinning with the Distaff and Spindle. From
a Painting.

TEXTILES AND CLOTHING
Spinning and weaving are among the earliest arts. In the Origin of
twisting of fibers, hairs, grasses, and sinews by rolling them Textile Arts
between the thumb and fingers, palms of the hands, or palms

and naked thigh, we have the original of the spinning wheel and the steam-
driven cotton spindle; in the roughest plaiting we have the first hint of the
finest woven cloth. The need of securing things or otherwise strengthening
them then led to binding, fastening, and sewing. The wattle-work hut with
its roof of interlaced boughs, the skins sewn by fine needles with entrails or
sinews, the matted twigs, grasses, and rushes are all the crude beginnings of
an art which tells of the settled life of to-day.
Nothing is definitely known of the origin of these arts; all is Primitive
conjecture. They doubtless had their beginning long before Methods
mention is made of them in history, but these crafts—
spinning and weaving—modified and complicated by inventions and, in
modern times transferred largely from man to machine, were distinctively
woman's employment.
The very primitive type of spinning, where no spindle was used, was to
fasten the strands of goats' hair or wool to a stone which was twirled round
until the yarn was sufficiently twisted when it was wound upon the stone
and the process repeated over and over.

ITALIAN WOMAN SPINNING FLAX
Spindle and Distaff.
From Hull House Museum. (In This Series of
Pictures the Spinners and Weavers Are in Native
Costume.)

RUSSIAN SPINNING
Flax Held on Frame, Leaving Both Hands Free
to Manage the Thread and Spindle.
From Hull House Museum.

The next method of twisting yarn was with the spindle, a Spinning with
straight stick eight to twelve inches long on which the thread the Spindle
was wound after twisting. At first it had a cleft or split in the
top in which the thread was fixed; later a hook of bone was added to the
upper end. The spindle is yet used by the North American Indians, the

Italians, and in the Orient. The bunch of wool or flax fibers is held in the
left hand; with the right hand the fibers are drawn out several inches and the
end fastened securely in the slit or hook on the top of the spindle. A
whirling motion is given to the spindle on the thigh or any convenient part
of the body; the spindle is then dropped, twisting the yarn, which is wound
on the upper part of the spindle. Another bunch of fibers is drawn out, the
spindle is given another twirl, the yarn is wound on the spindle, and so on.
A spindle containing a quantity of yarn was found to rotate Spindle Whorl
more easily, steadily and continue longer than an empty one,
hence the next improvement was the addition of a whorl at the bottom of
the spindle. These whorls are discs of wood, stone, clay, or metal which
keep the spindle steady and promote its rotation. The process in effect is
precisely the same as the spinning done by our grandmothers, only the
spinning wheel did the twisting and reduced the time required for the
operation.

SPINNING WITH CRUDE WHEEL AND
DISTAFF
Distaff Thrust Into the Belt.

"GOSSIP" IN THE OLDEN TIMES

COLONIAL WOOL WHEEL
The Large Wheel Revolved by Hand Thus Turning the Spindle and
Twisting the Yarn, Which Is Then Wound on the Spindle;
Intermittent in Action.

COLONIAL FLAX WHEEL
Worked by a Foot Treddle; Distaff on the Frame
of the Wheel; "Fliers" on the Spindle,
Continuous in Action; Capacity Seven Times
That of Hand Spindle.

DUTCH WHEEL
Spinner Sits in Front of the Wheel—Spinning
Flax at Hull House.

Later the distaff was used for holding the bunch of wool, Distaff
flax, or other fibers. It was a short stick on one end of which
was loosely wound the raw material. The other end of the distaff was held
in the hand, under the arm or thrust in the girdle of the spinner. When held
thus, one hand was left free for drawing out the fibers.

Graphic Diagram Showing Time During which Different
Methods of Spinning Has Been Used.
On the small spinning wheel the distaff was placed in the Wheel Spinning
end of the wheel bench in front of the "fillers"; this left both
hands free to manage the spindle and to draw out the threads of the fibers.

SYRIAN SPINNING
Spinner Sits on the Floor, Wheel Turned by a
Crank; Spindle Held in Place by Two Mutton
Joints Which Contain Enough Oil for
Lubrication. At Hull House.

The flax spinning wheel, worked by means of a treadle, was invented in the
early part of the sixteenth century and was a great improvement upon the
distaff and spindle. This it will be seen was a comparatively modern
invention. The rude wheel used by the natives of Japan and India may have

been the progenitor of the European wheel, as about this time intercourse
between the East and Europe increased. These wheels were used for
spinning flax, wool, and afterwards cotton, until Hargreaves' invention
superseded it.

WEAVING

PUEBLO WOMAN WORKING HEDDLE IN WEAVING
A BELT
Someone has said that "weaving is the climax of textile industry." It is an
art practiced by all savage tribes and doubtless was known before the dawn
of history. The art is but a development of mat-making and basketry, using
threads formed or made by spinning in place of coarser filaments.

A NAVAJO BELT WEAVER

ZUNI WOMAN WEAVING CEREMONIAL BELT

In the beginning of the art the warp threads were stretched The Heddle
between convenient objects on the ground or from horizontal
supports. At first the woof or filling threads were woven back and forth
between the warp threads as in darning. An improvement was the device
called the "heald" or "heddle," by means of which alternate warp threads
could be drawn away from the others, making an opening through which
the filling thread could be passed quickly. One form of the heddle was
simply a straight stick having loops of cord or sinew through which certain
of the warp threads were run. Another form was a slotted frame having
openings or "eyes" in the slats. This was carved from one piece of wood or
other material or made from many. Alternate warp threads passed through
the eyes and the slots. By raising or lowering the heddle frame, an opening
was formed through which the filling thread, wound on a rude shuttle, was
thrown. The next movement of the heddle frame crossed the threads over

the filling and made a new opening for the return of the shuttle. At first the
filling thread was wound on a stick making a primitive bobbin. Later the
shuttle to hold the bobbin was devised.

PRIMITIVE HEDDLES

NAVAJO LOOM
One on the Earliest Types of Looms. At Hull
House.

SIMPLE COLONIAL LOOM

Before the "reed" was invented, the filling threads were The Reed
drawn evenly into place by means of a rude comb and driven
home by sword-shaped piece of wood or "batten." The reed accomplished
all this at one time.

A JAPANESE LOOM.

A FOUR HARNESS HAND LOOM
Weaving Linen in the Mountains of Virginia. (Photograph by C. R.
Dodge).

TYPICAL COLONIAL HAND LOOM
Two Harnesses in Use; Weaving Wool at Hull House.

It is probable that the European looms were derived from Definition of a
those of India as they seem to be made on the same Loom
principle. From crude beginnings, the hand loom of our
grandmothers' time developed. A loom has been defined as a mechanism
which affects the following necessary movements:
1. The lifting of the healds to form an opening, or shed, or race for the
shuttle to pass through.

DIAGRAM OF A HAND LOOM
A—Warp Beam; B—Cloth Beam; DD—Lees Rods; H
—Harness; T—Treddle.
2. The throwing of the weft or filling by means of a shuttle.
3. The beating up of the weft left in the shed by the shuttle to the cloth
already formed. This thread may be adjusted by means of the batten, needle,
comb, or any separate device like the reed.
4 & 5. The winding up or taking up of the cloth as it is woven and the
letting off of the warp as the cloth is taken up.

SWEDISH HAND LOOM
Norwegian Woman Weaving Linen at Hull
House.

DIAGRAM OF THE WORKING PARTS OF A
LOOM.
S—Shuttle for carrying the woof; R—Reed for beating
up the woof; H—Frame holding heddles, with pullies
(P) making the harness; T—Treddles for moving the
harness.
No essential changes have been made since our Colonial Loom
grandmothers made cloth a hundred years ago. The "harnesses" move part
of the warp now up, now down, and the shuttle carries the weft from side to
side to be driven home by the reeds to the woven cloth. Our grandmothers
did all the work with swift movements of hands and feet. The modern
weaver has her loom harnessed to the electric dynamo and moves her
fingers only to keep the threads in order. If she wishes to weave a pattern in
the cloth, no longer does she pick up threads of warp now here, now there,
according to the designs. It is all worked out for her on the loom. Each
thread with almost human intelligence settles automatically into its
appointed place, and the weaver is only a machine tender.

FLY SHUTTLE HAND LOOM.
The Pulling of the Reed Automatically Throws the Shuttle Back and
Forth and Works the Harness, Making a Shed at the Proper Time.

No textiles of primitive people were ever woven in "pieces" Primitive
or "bolts" of yards and yards in length to be cut into Fabrics
garments. The cloth was made of the size and shape to serve
the particular purpose for which it was designed. The mat, robe, or blanket
had tribal outlines and proportions and was made according to the materials
and the use of common forms that prevailed among the tribes. The designs
were always conventional and sometimes monotonous. The decoration
never interfered with its use. "The first beauty of the savage woman was
uniformity which belonged to the texture and shape of the product." The
uniformity in textile, basketry, or pottery, after acquiring a family trait, was
never lost sight of. Their designs were suggested by the natural objects with
which they were familiar.

FIBERS

PICKING COTTON.
From Department of Agriculture Bulletin, "The Cotton Plant."

Both the animal and vegetable kingdoms furnish the materials for clothing
as well as for all the textiles used in the home. The fleece of sheep, the hair
of the goat and camel, silk, furs, and skins are the chief animal products.
The principal vegetable fibers are cotton, flax, ramie, jute, and hemp.
Cotton linen, wool, and silk have heretofore formed the Chief Fibers
foundation of all textiles and are the principal fibers used for
clothing materials. Ramie or China grass and pineapple fibers are
sometimes used as adulterants in the manufacture of silk. When woven
alone, they give soft silky textiles of great strength and beauty.

COTTON

PRODUCTION OF COTTON
Cotton is now our chief vegetable fiber, the yearly crop being over six
billion pounds, of which the United States raises three-fourths. Texas is the
largest producer, followed by Georgia, Alabama, and Mississippi. The
remainder of the world supply comes chiefly from India, Egypt, Russia, and
Brazil. The Hindoos were the first ancient people to make extensive use of
the cotton fiber. Not until the invention of the cotton gin by Eli Whitney in
1794 did the cotton begin to reach its present importance. Only four or five
pounds of the fiber could be separated by hand from the seed by a week's
labor. The modern saw gins turn out over five thousand pounds daily.
Cotton is the white downy covering of the seed of several Native Home
special of cotton of cotton plant. It is a native of many parts
of the world, being found by Columbus growing in the West Indies and on
the main land, by Cortez in Mexico, and Pizarro in Peru.
The value of cotton depends upon Sea Island
the strength, and evenness of the Cotton
fiber. In ordinary cotton the
individual fiber is about an inch in length. The sea
island cotton grown chiefly on the islands off the
COTTON FIBER coast of Georgia, Carolina, and Florida is the most
ATTACHED TO valuable variety, having a fine fiber, one and one-
SEED half to two inches in length. Some of the Egyptian
cotton belongs to this species. Sea island cotton is
used chiefly for fine laces, thread and knit goods and for the finest lawns
and muslins.
The short fiber or upland cotton is the most common and Upland Cotton
useful variety. It is grown in Georgia, North and South
Carolina and Alabama. Texas cotton is similar to upland, but sometimes is

harsh with shorter fiber. Gulf cotton occupies a position between upland
and sea island cotton.

UPLAND COTTON PLANT WITH FULLY
DEVELOPED BOLES
From Bulletin No. 31, Georgia Experiment Station.

COTTON BOLE FULLY DEVELOPED
From Year Book of the Department of
Agriculture, 1903.

BOLE OPENED, COTTON READY FOR PICKING
Year Book of 1903.

The Brazilian and Peruvian cotton yields a long staple and is sometimes
used to adulterate silk and other fibers. Some varieties of this cotton are
harsh and wooly and are prized for use in mixing with wool.
The Nankin cotton grown in China and India and in the Nankin Cotton
southwestern part of Louisiana is characterized by its yellow
color. It is used in weaving cloth of various kinds in the "fireside industries"
which have become popular in the United States and England.

COTTON FIBERS
A A—Unripe Fibers; B B—Half-ripe Fibers; C C
—Ripe Fibers.
Very fine yarn can be spun from cotton because of the spiral Spinning
Qualities
character of the fibers. This twist of the fibers is peculiar to
cotton, being present in no other animal or vegetable fiber. On account of
this twist, cotton cloths are much more elastic in character than those woven
from linen, the fibers of which are stiff and straight.
After the removal of the seed, no other fiber is so free from impurities—5
per cent is the loss sustained by cleaning and bleaching. In its natural
condition, cotton will not dye readily because of a waxy substance on the
surface of the fibers. This must be removed by washing.
Cotton should be picked only when it is fully ripe when the Picking and
pods are fully burst and the fibers expanded. The unripe fiber Ginning
is glassy, does not attain its full strength and resists the dye.
After picking, the cotton is sent to the ginning factory to have the seed
removed. It is then pressed into bales by hydraulic presses, five hundred
pounds being the standard bale in the United States.

COTTON BALES
Purified bleached cotton is nearly pure cellulose. It resists Physical
Characteristics
the action of alkalis well, but is harmed by hot, strong acids,
or if acid is allowed to dry on the fabric. It is not harmed by high
temperature, and so may be ironed with a hot iron.

WOOL FIBER AND SUBSTITUTES
1. South American Wool; 2. Noil from the Same; 3.
Tangled Waste; 4. Waste Combed Out; 5. Lap Waste;
6. Shoddy.

WOOL

Wool is the most important animal fiber. Strictly speaking Character of
the name applies only to the hairy covering of sheep, but the Fiber
hair of certain goats and of camels is generally classified

under the same terms. The wool fiber is distinguished by its scale-like
surface which gives it its felting and spinning properties. Hair as
distinguished from wool has little or no scaly structure being in general a
smooth filament with no felting properties and spinning only with great
difficulty. Fur is the undergrowth found on most fur-bearing animals and
has in a modified way the scaly structure and felting properties of wool.

MICROSCOPIC APPEARANCE OF WOOL
FIBERS
The great value of wool as a fiber lies in the fact that it is Value for
Clothing
strong, elastic, soft, very susceptible to dye stuffs and being
woven, furnishes a great number of air spaces, rendering clothing made
from it very warm and light.
Climate, breed, and food influence the quality of the wool. Quality of
Where the pasturage is barren and rocky, the wool is apt to Wool
be coarse.

MERINO RAMS
The Variety of Sheep Giving the Finest Wool.
There are supposed to be about thirty distinct varieties of Varieties
Sheep
of

sheep, nearly half of which are natives of Asia, one-third of
Africa, and only four coming from Europe, and two from America. Wool is
divided into two general classes—long and short staple, according to the
average length of fiber. The long fiber wool is commonly carded, combed
and spun into worsted yarn. The short fiber is usually carded and spun into
woolen yarn. The short fiber obtained in combing long staple wool is called
"noil." It is used for woolens.
Alpaca, Vicuna and Llama wools are obtained from animals Goat Wools
which are native to the mountains of Peru and Chile. The
Angora goat, originally from Asia Minor, furnishes the mohair of
commerce. This fiber does not resemble the hairs of common goats in any
respect. It is a very beautiful fiber of silky luster, which constitutes its chief
value.

ANGORA GOATS
The fur of beavers and rabbits can be and is used in Fur
manufacture, either spun into yarn or made into felt. The fibers of both
animals enter largely into the manufacture of felt hats.
The fleece of sheep after being sheared is divided into Sorting Wool
different parts or sorted, according to the quality of the wool,
the best wool coming from the sides of the animal.

WOOL FIBERS
a—Medium Wool; b—Camel's Hair; c—
Diseased Fiber; d—Merino Wool; e—Mohair.
As it comes from the sheep, the wool contains many Scouring Wool
substances besides the wool fiber which must be removed before dyeing or

spinning. This cleansing is called scouring. Before scouring, the wool is
usually dusted by machines to remove all loose dirt. The scouring must be
done by the mildest means possible in order to preserve the natural
fluffiness and brilliancy of the fiber. The chief impurity is the wool grease
or "yolk" which is secreted by the skin glands to lubricate the fiber and
prevent it from matting.

ONE METHOD OF WOOL SORTING
1—The Best Grade; 2—Lowest Grade; 3—Fair;
4—Medium Grade.
In the scouring of wool, soap is the principal agent. Soft soap Scouring
Agents
made from caustic potash is generally used as it is less
harmful than ordinary hard soda soap. Potassium carbonate—"pearl ash"—
is often used in connection with the soap. If the water for scouring is hard, it
is softened with pearl ash. The temperature of wash water is never allowed
to go above 120° F. The scoured wool weighs from a little over a half to
one-third or less of the weight of the fleece.
Wool has the remarkable property of absorbing up to 30 per Hydroscopic
cent or more of its weight of water and yet not feel Moisture

perceptibly damp to the touch. This is called "hydroscopic moisture." To
this property wool owes its superiority as a textile for underclothing.

WOOL SORTING
The thoroughly cleansed fiber is made up chiefly of the chemical substance
keratin, being similar in composition to horn and feathers. In burning it
gives off a characteristic disagreeable odor. It is a substance very weakly
acid in its nature, for which reason it combines readily with many dyes.
Wool resists the action of acids very well, but is much harmed by the
alkalis, being dissolved completely by a warm solution of caustic soda.
High temperature harms wool.

FLAX

Next to wool and cotton, flax is used most largely in our textile
manufactures. The linen fiber consists of the bast cells of certain species of
flax grown in Europe, Africa, and the United States. All bast fibers are
obtained near the outer surface of the plant stems. The pith and woody
tissues are of no value. The flax plant is an annual and to obtain the best
fibers it must be gathered before it is fully ripe. To obtain seed from which
the best quality of linseed oil can be made it is usually necessary to sacrifice
the quality of the fibers to some extent.
Unlike cotton, flax is contaminated by impurities from which it must be
freed before it can be woven into cloth. The first process to which the

freshly pulled flax is submitted is that of Treatment of
"rippling" or the removal of the seed Flax
capsules. Retting, next in order, is the
most important operation. This is done to remove the
substances which bind the bast fibers to each other and
to remove the fiber from the central woody portion of
the stem. This consists of steeping the stalks in water.

FLAX

A FIELD OF FLAX IN MINNESOTA
The Flax Must Be Pulled Up by the Roots to Give Fibres with
Tapered Ends.
(Photograph of C. R. Dodge).

(1) Cold water retting, either running or stagnant water. Retting
(2) Dew retting.
(3) Warm water retting.

RETTING TANK
A—Inlet; B—Undisturbed Water; C—Bundles of Flax.
Cold water retting in running water is practiced in Belgium. Retting in
stagnant water is the method usually employed in Ireland and Russia. The
retting in stagnant water is more rapidly done, but there is danger of over-
retting on account of the organic matter retained in the water which favors
fermentation. In this case the fiber is weakened.

RETTING FLAX IN THE RIVER LYS, BELGIUM
From the Government Bulletin, "Flax for Seed and Fiber."

In dew retting, the flax is spread on the
field and exposed to the action of the
weather for several weeks without any
previous steeping. This method of retting
is practiced in Germany and Russia.
Warm water retting and chemical retting
have met with limited success.
When the retting is complete, the flax is
set up in sheaves to dry. The next
operations consist of "breaking,"
FIBERS OF FLAX "scutching," and "hackling" and are now
done by machinery.

Breaking removes the woody center from the retted and dried flax by being
passed through a series of fluted rollers. The particles of woody matter
adhering to the fibers are detached by scutching.
Hackling or combing still further separates the fibers into Hackling
their finest filaments—"line" and "tow." The "flax line" is
the long and valuable fiber; the tow, the short coarse tangled fiber which is
spun and used for weaving coarse linen.

FLAX

A, Unthrashed Straw; B, Retted; C, Cleaned or
Scutched; D, Hackled or Dressed.
(Photograph of C. R. Dodge).

HACKLING FLAX BY HAND
The "Tow" Is Seen at the Left and a Bunch of "Flax
line" on the Bench.
(Photograph of C. R. Dodge, Special Agent U. S.
Department of Agriculture.)

When freed from all impurities the chief physical Characteristics
characteristics of flax are its snowy whiteness, silky luster of Linen
and great tenacity. The individual fibers may be from ten to
twelve inches in length; they are much greater in diameter than cotton. It is
less pliant and elastic than cotton and bleaches and dyes less readily. Linen
cloth is a better conductor of heat than cotton and clothing made from it is
cooler. When pure, it is, like cotton, nearly pure cellulose.
Besides the linen, there is a great number of bast fibers fit for Ramie
textile purposes, some superior, some inferior. India alone
has over three hundred plants that are fiber yielding. One-third of these
furnish useful fibers for cordage and fabrics. The next in importance to
linen is ramie or rhea, and China grass. China grass comes from a different
plant but is about the same as ramie. The staple is longer and finer than
linen. The great strength of yarn made from it is due to length of the staple.
The variety and great value of the ramie fibers has long been recognized,
but difficulties attending the separation and degumming of the fibers have
prevented its employment in the manufactures to any great extent. The
native Chinese split and scrape the plant stems, steeping them in water. The
common retting process used for flax is not effective on account of the large
amount of gummy matter, and although easy to bleach it is difficult to dye
in full bright shades without injuring the luster of the fibers.
Jute and hemp belong to the lower order of bast fibers. The Jute and Hemp
fiber is large and is unfit for any but the coarsest kind of
fabrics. Jute is mainly cultivated in Bengal. The fiber is separated from the
plant by retting, beating, etc.

JUTE GROWING IN LOUISIANA.
From Culture of Hemp and Jute, Report of U. S.
Department of Agriculture.

DRYING HEMP IN KENTUCKY
From "Culture of Hemp and Jute."

Olona, the textile fiber of Hawaii, is found to have promising Olona
qualities. This plant resembles ramie and belongs to the
nettle family also, but it is without the troublesome resin of the ramie. The
fiber is fine, light, strong, and durable.
The Philippines are rich in fiber producing plants. The manila hemp is the
most prominent, of which coarse cloth is woven, besides the valuable
cordage. The sisal hemp, pineapple, yucca, and a number of fiber plants
growing in the southern part of the United States are worthy of note. These
fiber industries are conducted in a rude way, the fiber being cleaned by
hand, except the pineapple.

SILK

The silk fiber is the most perfect as well as the most beautiful of all fibers.
It is nearly faultless, fine and continuous, often measuring from 1000 to
4000 feet long, without a scale, joint, or a blemish, though not of the same
diameter or fineness throughout its entire length, as it becomes finer as the
interior of the cocoon is approached. Silk differs from all other vegetable or
animal fibers by being devoid of all cellular structure.
Southern Europe leads in the silk worm culture—Italy, Where
southern France, and Turkey, with China and India. Several Produced
species of moths, natives of India, China, and Japan, produce
the wild silk. The most important of the "wild silks" are the Tussah. Silk
plush and the coarser varieties of buff colored fabrics are made of this silk.
While manufacturers do not favor the wild silk, the coarse uneven weave
and softness make it a favorite with artists and it is being used for interior
decoration as well as for clothing.
The silk of commerce begins with an egg no bigger than a Silk Worm
mustard seed, out of which comes a diminutive caterpillar,
which is kept in a frame and fed upon mulberry leaves. When the
caterpillars are full grown, they climb upon twigs placed for them and begin
to spin or make the cocoon. The silk comes from two little orifices in the
head in the form of a glutinous gum which hardens into a fine elastic fiber.
With a motion of the head somewhat like the figure eight, the silk worm
throws this thread around the body from head to tail until at last it is entirely
enveloped. The body grows smaller and the thread grows finer until at last it
has spun out most of the substance of the body and the task is done.
If left to itself, when the time came, the moth would eat its way out of the
cocoon and ruin the fiber. A few of the best cocoons are saved for a new
supply of caterpillars; the remainder are baked at a low heat which destroys
the worm but preserves the silk. This now becomes the cocoon of
commerce.
Next the cocoons go to the reelers who wind the filaments Reeling Silk
into the silk yarn that makes the raw material of our mills.
The cocoons are thrown into warm water mixed with soap in order to
dissolve the gum. The outer or coarser covering is brushed off down to the
real silk and the end of the thread found. Four or five cocoons are wound

together, the sticky fibers clinging to each other as they pass through the
various guides and are wound as a single thread on the reels. The silk is
dried and tied into hanks or skeins. As the thread unwinds from the cocoon,
it becomes smaller, so other threads must be added.

SILK:—CATERPILLAR, COCOON,
CHRYSALIS, MOTH
At the mill the raw silk goes to the "throwster" who twists Organize
Tram
and

the silk threads ready for the loom. These threads are of two
kinds—"organize" or warp and "tram" or filling. The warp runs the long
way of woven fabric or parallel with the selvage and it must be strong,
elastic, and not easily parted by rubbing. To prepare the warp, two threads
of raw silk are slightly twisted. Twist is always put into yarn of any kind to
increase its strength. These threads are united and twisted together and this

makes a strong thread capable of withstanding any reasonable strain in the
loom and it will not roughen. For the woof or tram which is carried across
the woven cloth on the shuttle, the thread should be as loose and fluffy as
possible. Several threads are put together, subjected to only a very slight
twist—just enough to hold the threads together so they will lie evenly in the
finished fabric.
After the yarn leaves the spinners it is again run off on reels Boiling Off
to be taken to the dye house. First the yarn is boiled off in
soapy water to remove the remaining gum. Now the silk takes on its luster.
Before it was dull like cotton. The silk is now finer and harder and is known
as "souple."
The silk fiber has a remarkable property of absorbing certain Loading Silk
metallic salts, still retaining much of its luster. This process
is known as "loading" or "weighting," and gives increased body and weight
to the silk. Silk without weighting is known as "pure dye," of which there is
little made, as such goods take too much silk.

REELING SILK

For the weighting of white or light colored silk goods, tin crystals (stanous
chloride) are used and for dark shades and black, iron salts and tannin. By
this means the original weight of the fiber may be increased three or four
hundred per cent. This result is not attained, however, except through the
weakening of the fiber.
Common salt has a very curious action on weighted silk. It Action of
slowly weakens the fiber. A silk dress may be ruined by Common Salt
being splashed with salt water at the seashore. Most often
holes appear after a dress comes back from the cleaners; these he may not
be to blame for, as salt is abundant in nearly all the bodily secretions,—
tears, perspiration, urine.
Artificial silk is made by dissolving cellulose obtained from Artificial Silk
cotton. It is lacking in strength and water spoils all kinds
manufactured at present.
Silk, like wool, has the property of absorbing considerable Characteristics
moisture without becoming perceptibly damp. Like wool and of Silk
all the animal fibers, it is harmed by alkalis. The important
physical properties of silk are its beautiful luster, strength, elasticity and the
readiness with which it takes dyes. Silk combines well with other fibers,
animal and vegetable.
A comparison of the relative value of textile fibers may be Value of Raw
seen from the following approximate prices: Fibers

Cotton—$.07 to $.14 per pound; loss in cleaning and bleaching 5 per cent.
Flax—$.12 to $.30 per pound; loss in cleaning and bleaching about 20 per
cent.
Wool—$.15 to $.30 per pound; loss in scouring 20 to 60 per cent.
Raw Silk—$7.00 to $10.00 per pound; loss in "boiling off" about 30 per
cent which is made up and much more by "loading."

MODERN METHODS
All the complex processes and machinery of the textile industry are but
developments of the old-time methods of the home. Brief outlines only will
be given here for the processes are most intricate in detail.

SPINNING

The spinning of cotton yarn (thread) is typical of all the fibers. The stages
may be divided into—
1. Opening and picking.
2. Carding.
3. Combing.
4. Drawing.
5. Spinning.
The picking and carding have for their object the removal of Picking
Carding
and

all foreign substances with as little damage to the fiber as
possible. The foreign substances in cotton are sand, dirt, pieces of leaves,
seed, husk, etc., which have become mixed with the fiber during the process
of growing, ginning and transportation.
The cotton bales are opened and thrown into the automatic Cleaning
feeder which carries up a layer of cotton on a spiked apron
from which it is removed by a rapidly revolving "doffer" underneath which
is a screen which catches some of the dirt. It is next fed between rolls in
front of a rapidly revolving blunt-edged knife which throws out more of the
dirt through a screen. There is a suction of air through the screen which
helps remove the foreign substances. The cotton passes through several of
such machines, being formed into a soft web or "lap" which is wound into a
roll.
The carding machine further cleans the fibers and lays them Carding
in a general parallel position. From this machine the web is

formed into "sliver," a loose rope of cotton fiber about two inches in
diameter. This is received in circular cans.

COTTON OPENER AND PICKER
The cotton from the bale is thrown into A, carried by
the spiked aprons B and C, evened by E, removed from
the apron by F (some of the dirt falls through the screen
into box G) is beaten by the revolving "knife," N P,
more dirt being removed through screen N, then goes
through the flue C to the next machine.
The combing is omitted for short fiber cotton, but is used in Combing
worsted spinning and with long staple cotton to remove the short fibers.
Cotton to be used for making yarn suitable for hosiery, underwear, sewing
thread, lace, and for very fine cotton fabrics is carded.
In drawing, from six to sixteen "slivers" are run together and the fibers
drawn out in several stages until the soft rope is about an eighth of an inch
in diameter, called "roving." This tends to get rid of any unevenness and
makes the fibers all parallel. From this machine the roving is wound on a
bobbin ready for the spinning frame.

COTTON CARD
The roll of webbing A is beaten and transferred to the cylinder
H H, carded by the spiked belt E, removed by the "doffer" and
formed into a "sliver" which runs into the can M.
The spinning frame may have a hundred spindles or more, Spinning
each one of which is drawing out its supply of "roving" to the required size
of yarn and giving it the twist necessary to bind the fibers together. The
yarn to be used for the warp is given a harder twist so that it may be strong
enough to stand the strain in weaving. The yarn for filling is usually left
soft.

COTTON COMB, USED FOR LONG STAPLE

RECEIVING THE "SLIVER" AT THE BACK OF
THE DRAWING FRAME.

DRAWING FRAME
Drawing the Roving Finer.

A FLY SPINNING FRAME
The Spools of Roving Above Are Being Drawn Out, Given the
Twist by the Fliers, and Wound on Bobbins Below.

MULE DRAWING AND SPINNING FRAME
Always used for wool. Part of the machine moves away from the
frame, thus drawing out the thread, which is then twisted.

MODERN RING SPINNING FRAME FOR COTTON. SIXTY-
EIGHT SPINDLES
Gives the Largest Production.

A PLAIN POWER LOOM WEAVING LINEN

The yarn for warp is now usually given a coating or "sizing" of starch and
gums so that the thread may not become unwound and break during
weaving.
The process of spinning is much the same for flax and for wool, although
somewhat differently constructed machines must be used. Flax is usually
spun wet.

WEAVING

The modern power driven loom is a wonderful piece of Modern Loom
machinery. The principle of its operation is essentially the
same as the hand loom, but it is almost perfectly automatic in its action, a

man or woman being able to tend from ten to fifteen looms weaving plain
cotton goods.
The yarn coming from the spinning frame is sometimes dyed Warping
before weaving. The warp is formed by winding as many
threads as the width of the fabric is to contain on a slowly revolving drum,
called a "beam," in the same relative position in which they are to appear in
the finished cloth. From its position on the beam at the back of the loom,
each thread is brought through its particular loop or eye with the heddle,
then passes through its own slot in the reed, and down to the roller or "cloth
beam" that is to take up the woven cloth. This is called "drawing in the
warp." If there is a piece of cloth coming from the loom, the work is very
simple, for the ends of the new warp are tied to the ends remaining from the
warp that has been woven out.
The shuttle with its bobbin, containing the yarn of the filling, is much the
same as is used in the hand looms, except for form and size, which varies
according to the requirements and size of the warp being used. At first only
one shuttle was used, but in 1760 Robert Kay invented a mechanism by
which several shuttles containing different grades or colors of yarn might be
used. Each throw of the shuttle across the width of the goods is called a
"pick."
In making a cloth with plain weave, that is, with every thread The Harness
interlacing with every other, as in darning, only two
harnesses are required, but the modern loom may have up to about twenty-
four harnesses so that an infinite variety of weaves may be obtained.
Various cams and levers move the harness frame and so raise or lower the
threads required for the design.
The Jacquard loom is arranged on a different principle. In Jacquard
this loom, all kinds of fancy weaves may be obtained as in Loom
table linen, tapestries and carpets. Each warp thread is
supplied with a separate hook and by means of perforated card the desired
threads are raised or depressed at each throw of the shuttle. The cards are
worked out by the designer. A set of a thousand or more cards may be
required to produce the desired design. Jacquard looms are sometimes to be

seen at fairs and expositions weaving handkerchiefs with some picture
design.

JACQUARD HAND LOOM
Weaving Ingrain Carpet at Hull House.

WEAVES
The great variety of weaves found in the textiles of to-day are modifications
of a few fundamental weaves invented in the earliest times.
The chief fundamental weaves are:
(1) Plain weave.
(2) Twills.
(3) Sateen.
To which may be added the derivatives—
(4) Rib weave.
(5) Basket weave.

DIAGRAM OF FANCY KNIT GOODS
These do not include the many fancy weaves, too numerous to classify, and
the open work weaves, made in the Leno loom, in which some of the
threads are crossed. Knit goods are made by the interlooping of a single
thread, by hand or on circular knitting machines and lace by an analogous
process, using several systems of threads. Felt is made up of matted fibers
of fur and wool and has no thread structure.

WEAVE DIAGRAMS
The plain weave is the most common, nearly all light weight Plain Weave
goods being thus woven. In plain weaving, each thread of both warp and
filling passes alternately over and under the threads at right angles. This
makes a comparatively open cloth, requiring the smallest amount of yarn
for the surface covered. This weave is used in nearly all cotton goods, as in
muslins, sheetings, calicoes, ginghams, and thin woolen goods. Even in the
plain weave variety is obtained by having some of the threads larger than
others, either in warp or filling or both, thus producing stripes and checked
effects.

SECTIONS OF WEAVES
a—Plain weave; b—Prunella twill; c—
Cassimere twill; d—Swansdown twill.
After the plain weave the twill is the most common, being Twills
much used for dress goods, suitings, etc., as well as some of the thicker
cottons. In this weave the intersections of the threads produce characteristic
lines diagonally across the fabric, most often at an angle of 45°. The twill
may be hardly visible or very pronounced. The simplest twills are the so-
called "doeskin" and "prunella." In the doeskin the filling threads pass over
one and under two of the warp threads and in the prunella twill over two
and under one. The most common twill is the cassimere twill in which both
the warp and filling run over two and under two of the threads at right
angles.

DIAGRAM OF RIB AND BASKET WEAVE
AND DOUBLE CLOTH
A twill made by running both warp and filling under one and Uneven Twills
over three threads is called a swansdown twill and the reverse is known as
the crow weave. In these the diagonal twilled effect is much more marked.
Various twills are often combined with each other and with plain weave,
making a great variety of texture. Numerous uneven twills are made, two
over and three under, etc., etc.
In the sateen weave, nearly all of either the warp or the Sateen Weave
filling threads are on the surface, the object being to produce
a smooth surface fabric like sateen. With this weave it is possible to use a
cotton warp and silk filling, having most of the silk appear on the surface of
the fabric.

TEXTILE DESIGN
A—On cross-section paper; B—Graphic
diagram.
The rib and basket weaves are derivatives of the plain Rib and
Basket Weaves
weave, two or more threads replacing the single strand. In
the rib weave, either the warp or the filling threads run double or more, thus
making a corded effect. In the basket weave, both warp and filling are run
double or treble, giving a coarse texture. This weave is sometimes called the
panama weave.
In the thicker fabrics like men's suitings and overcoatings, Double Cloth
there may be a double series of warp threads, only one series
appearing on the face of the goods, and in the still thicker fabrics, there may
be a double set of both warp and filling threads, making double cloth, the
two sides of which may be entirely different in color and design.

In weaving plush, velvet and velveteen, loops are made in Velvet
the filling or warp threads which are afterwards cut,
producing the pile.

BLEACHING, DYEING, PRINTING,
FINISHING
When the cloth comes from the loom it is by no means ready for the
market. Nearly all kinds are washed and pressed and in some classes of
goods the finishing process is very elaborate.

BLEACHING AND DYEING

The fiber may be dyed in a loose or unspun state, as is customary with
wool; after it has been spun and is in the form of yarn, as in the case of silk
and linen; and when it has been woven to form cloth, as is most commonly
the case with cotton.
The bleaching of cotton involves a number of steps, the most Madder
thorough process being called the "madder bleach," in which Bleach
the cloth is (1) wet out, (2) boiled with lime water, (3) rinsed,
(4) treated with acid, (5) rinsed, (6) boiled with soap and alkali, (7) rinsed,
(8) treated with bleaching powder solution, (9) rinsed, (10) treated with
acid, (11) finally rinsed again. All this is done by machines and hundreds of
yards go through the process at a time. The product is a pure white cloth
suitable for dyeing light shades and for white goods. When cloth is to be
dyed a dark shade the treatment is less elaborate.
If the cloth is to be printed for calicoes, before bleaching it is Singeing and
singed by passing through gas flames or over a red hot plate Shearing
and then sheared in a shearing machine constructed
somewhat on the principle of the lawn mower, the cloth being run close to
the rapidly revolving knives.
Although cotton is usually dyed in the piece, it may be dyed in the form of
yarn, as for ginghams, and sometimes before being woven, in the loose
state.

Cotton is more difficult to dye than wool or silk. Although Mordant
there are now what are called "direct" cotton colors, the Colors
usual process is to first treat the cotton goods with a
"mordant"—various salts of aluminum, chromium, iron, tin and copper,
fixing these on the fiber by means of tannin or alkali. The mordanted cloth
is then entered into the dye bath and boiled for an hour or longer, until the
desired shade is obtained or the dye bath exhausted. The salts of aluminum
are used as mordants for the lighter shades, the salts of chromium for the
medium shades, and iron for the dark shades. In general, chromium
mordants give the fastest dyes.
The discovery of the so-called aniline dyes has greatly Aniline Dyes
increased the variety of colors available. Although some of
the first aniline dyes to be made were not fast to washing or to light and
they thus received a bad reputation, they are now to be obtained which
compare favorably in fastness with the natural dye stuffs such as cochineal,
madder, etc., provided sufficient time and care are given to dyeing. The
chief trouble is that in the endeavor to furnish cheap goods, processes are
hurried and results are unsatisfactory.
Home dyeing is practically confined to the use of direct Home Dyeing
aniline colors. These are put up in small quantities and sold
in many places. Directions for their use are given on the packages. The
chief precautions are to have the goods perfectly clean and thoroughly wet
before entering into the dye bath (this is by no means as easy as one might
think), and to keep the goods in motion while dyeing so as to prevent
unevenness of shade. Wool and silk dyes cannot be used for cotton and
linen, nor the reverse. Of course cloth already colored cannot be dyed a
lighter shade of the same color and the original shade must be very light to
enable one to change the color, say from red to blue, etc. The original color
always modifies that of the dye somewhat and it is best to experiment first
with a small portion of the dye and cloth. Rather dark shades are apt to be
most successful.
Indigo for blue, madder for Turkey red, logwood with fustic Natural
for black, cutch or gambia for browns on cotton are about all Dyestuffs
the natural dyestuffs which are used to any extent
commercially at the present time. The artificial product alizerin, the active

principle of madder, has about superseded the natural dyestuff, and artificial
indigo is gaining on the natural product.
Linen is bleached and dyed in much the same manner as cotton, although
the process is more difficult. The process of bleaching weakens linen more
than cotton.
Woolen and silk may be dyed directly with a great variety of Dyeing
dyes without the addition of a mordant, although they are Woolen and
often mordanted. Both must be well washed or scoured Silk
before dyeing. When white or delicate shades on woolen or silk are desired
they are bleached. The bleaching is usually done with sulphurous acid gas,
the cloth or yarn being exposed in a damp condition to the fumes of burning
sulphur.
Were it not for the expense, hydrogen peroxide would be the ideal
bleaching agent for the animal fibers.

PRINTING

A great variety of colored designs are produced on the loom by using
different colored warp and filling yarns and different weaves, but in all
these the designs are easily made only in somewhat rectangular patterns.
Print goods have doubtless evolved from the decoration of Block and
fabrics with the brush. Block printing was first used, the Machine
design being engraved in relief on blocks of wood. These are Printing
dipped in the colored paste, spread thinly, and applied to successive
portions of the cloth by hand. These blocks are now replaced in the printing
machine by engraved copper rolls, the design being such that it is repeated
once or a number of times in each revolution of the cylinder. There is a
printing roll for each color of the design. Sometimes both the background
and the design are printed on the cloth, but the more common process is for
the design only to be printed on the cloth which may be dyed afterwards. In
the paste of the printed design there is some chemical which prevents the
portions printed from taking the dye, consequently these remain white or a
different color. This is called the "resist" process. Another process is to first
dye the cloth and then print on some chemical which, when the calico is

steamed, discharges the color. This is called the "discharge" process.
Sometimes this weakens the goods in the places where the color has been
discharged.
The color paste used for printing contains both the dye and Fixing the
the mordant. After the calico has been printed it is steamed Print
to develop and fix the color, washed, sometimes very slightly
bleached, to clear the whites, and usually given a sizing of starch or gum,
and then pressed and dried by passing over slowly revolving, steam-heated
drums.
In general print goods are not so fast to washing and to light as those that
have been dyed in the regular way, although the better grades are
reasonably fast.
Prints are sometimes made in imitation of the more costly gingham or other
goods in which the color design is made in the weaving. It is easy to detect
the imitation as the design of printed fabrics does not penetrate to the back
of the cloth.
Sometimes the warps are printed before the cloth is woven, Warp Printing
thus giving very pretty indefinite designs, especially in silk.

FINISHING

The finishing of woolen and worsted goods has much to do Burling and
with their appearance. No cloth comes from the loom in a Mending
perfect condition, therefore inspection is the first process.
Loose threads and knots are carefully cut off by the "burler" and
imperfections in the weaving rectified by the "menders." The goods may
now be singed and sheared.
Woolens, and sometimes worsteds, are next "fulled" or felted Fulling
by being run round and round in a machine while moistened
with soap. The friction of the cloth on itself produces some Flocks
heat which, with the moisture and soap, causes the goods to shrink in length
and width while increasing in thickness. During this process, "flocks" are
often added, especially for smooth finished woolen goods. These flocks are
fine fibers of wool obtained from the shearing machine or made by cutting

up old woolen cloth. They are felted with the fibers of the goods and add
weight and firmness.
After the fulling, the goods is washed to remove the soap, Raising the
dyed, if desired, and often "speck dyed" with a special dye Nap
which colors the bits of burs, remaining in the cloth, but not
the wool. The next process is the "gigging" which raises the nap. The cloth
is run close to rapidly revolving "teazels" and also may be run through a
napping machine. It may be sheared again and then steamed and pressed.
This is but a brief outline; there are generally more processes.
Woolen cloth coming from the loom may be so treated in the finishing room
as to produce fabrics entirely different in appearance. One of the chief
objects of the finishing is to give to the cloth as fine an appearance as
possible to attract the buyer. Much of the fine finish disappears through
wear, especially with inferior goods made from poor materials. The wearing
quality of the goods is primarily dependent upon the strength and quality of
the fibers of which it is made, so that the yarn of the filling and the warp
should be examined when selecting materials. In general hard twisted yarn
will give the better wearing cloth.

FABRICS
The present day shops offer such a great variety of fabrics that only a few of
the most important can be mentioned here.

COTTON GOODS

Cotton is cool and heavy, is a non-conductor of heat, crushes easily, but like
all vegetable fibers it may be laundered without injury to the fibers. Cotton
does not take the darker dyes as well as animal fibers and for this reason it
does not combine satisfactorily with wool. As an adulterant it wears shabby
and loses its brightness. It is only when cotton does not pretend to be
anything else that it is our most useful and durable textile. The readiness
with which cotton takes the lighter dyes and improved methods of ginning,
spinning, and weaving have made cotton goods superior to any other for
summer use.
Muslin, calico, and gingham must always head the list of Muslin
cotton goods. Muslin is coarse and fine, bleached,
unbleached, and half bleached, twilled or plain weave. Under the head of
muslin brought to a high degree of perfection in weave and finish will be
found dimity, mull, Indian lawn, organdie, Swiss, and Madras, and a host of
others equally beautiful. Madras muslin has a thin transparent ground with a
heavily raised pattern woven of a soft, thick thread unlike the ground work.
Waste is used for the pattern. Organdie muslin is soft, opaque, white, or
colored, with raised dots of pattern and plain weave. Dimity has a fine cord
running with the selvage.
Gingham is a smooth, close cotton usually woven in checks or stripes. The
yarn is dyed before being woven, making the cloth alike on both sides, and
the weave is either plain or twilled. Ginghams are also woven of silk and
cotton mixed or of silk and ramie.
Cretonne, chintz, dress linings, crape, velveteen, and lace are made of
cotton.

Flannelette, which is woven to imitate flannel, is soft and light and is
preferred by many who find woolen irritating. It does not shrink as woolen
does and is made in beautiful, soft colors and the best grades do not fade.
For nightdresses, underwear, and sheets, during cold weather this
inexpensive fabric is unequaled.
Among the heavier cotton fabrics may be mentioned denim and ticking
which are now printed in beautiful designs and colors and used for interior
decoration as well as for clothing and bedding.
The great variety of fibers, the many different ways of preparing each for
manufacture, the differences in the preparatory processes in spinning,
weaving, or in any of the later processes of finishing produce the varied
appearance of the finished product in cotton as in other fabrics.

LINENS

Linen is one of the oldest textiles; it was used by the early Egyptians for the
priests' garments and for the wrappings of mummies. Many housekeepers
think that there is no material for sheets and pillow cases comparable to
linen, but it is not an ideal dressing for beds, for in spite of its heavier body,
it wrinkles and musses much more readily than good cotton. For table
service, however, for the toilet, and for minor ornamental purposes linen
has no equal. Its smoothness of texture, its brilliancy which laundering
increases, its wearing qualities, its exquisite freshness, make it the one
fabric fit for the table.
Table linen is woven plain and figured, checked and Table Linen
diapered. In the figured or damask cloth the patterns stand
out distinctly. This is due to the play of light and shade on the horizontal
and vertical lines. In some lights the pattern is scarcely noticeable. When
buying a cloth, let it be between the observer and the light, for in this
position the pattern will show to the best advantage. There is a certain
amount of shade on all horizontal lines or of shadow cast by them, while the
vertical lines are illuminated, thus although the warp and woof threads are
of the same color, the pattern seems to stand out from the background.

Linen should not be adulterated. It should be for use and not for show, for
use brightens and whitens it.
Linen adulterated with cotton becomes fuzzy through wear because of the
much shorter cotton fibers. The tendency can often be seen by rolling the
goods between the thumb and fingers.
Crash of different widths and quality furnishes tea towels, "huck," damask
and other weaves come in various widths and may be purchased by the
yard. Russia crash is best for kitchen towels.

WOOLENS AND WORSTEDS

The many grades of wool with the great variety of weaves Standard
and finish make an almost infinite variety of woolen and Goods
worsted fabrics. New goods are constantly being put upon
the market, or old goods with new names. Standard goods, such as serges,
cashmere, Henrietta cloth, and covert cloth, are always to be found in the
shops. These are all twilled goods. The serges are woven of combed wool
and are harsh, tough, springy, worsted fabrics of medium and heavy weight,
with a distinct twill, rather smooth surface, and plainer back. There are also
loosely woven serges. Cashmere and Henrietta cloth have a fine, irregular
twill—the finest made. They are woven with silk, wool, and cotton warp,
but the latter gives an inferior textile.
Tweeds and homespuns are names given to coarse cloth of Tweeds
which the wool is spun by hand and woven on hand looms.
These goods vary according to the locality in which they are made. The
wool is mixed without regard to color, the yarn being spun and twisted in
the most primitive manner, giving the cloth an uneven, unfinished
appearance. These are among the best wearing cloths on the market and are
especially suitable for suits that will receive hard wear. Scotland and Ireland
are famous for their tweeds and homespuns and what are known as the
"cottage industries" have been recently revived in those countries as the
products of their hand looms have become deservedly popular abroad.
The "Harris Tweeds," made on the Island of Lewis and Harris Tweeds
Harris, north of Scotland, are in the old style by the

"crofters." After weaving the goods are "waulked"—milled or felted—with
the bare feet, accompanied by singing the waulking song and beating time
with the feet. The dyeing is done in pots in the old-fashioned way and until
recently the dyestuffs were obtained from mosses, lichens, heather, broom,
and other plants. Now, however, some of the best aniline dyes are being
used. A peculiar characteristic of the Harris tweed is the peat smoke smell
caused by the fabric being woven in the crofters' cottages, where there is
always a strong odor of peat "reek" from the peat which is burned for fuel.
The ordinary so-called Harris tweeds sold in this country are made on the
southern border of Scotland, in factories, and are but imitations of the real
Harris tweeds.
The light colored tweeds—natural color of wool—come from the island of
St. Kilda. This island stands out in mid ocean, barren and wild, devoid of
plants or shrubs of any kind for making dyes. The crofters content
themselves without dyestuffs. The industry is maintained by nobility to help
the islanders and the fabrics are fashionable and high priced.
Covert cloth is a twilled woven cloth of great beauty and durability. It is
rather heavy, of hard finish and is used for jackets and winter suits. To this
list of woolen goods may be added the crape cloth with crinkled, rough
surface, nun's veiling, flannel which is woven in a variety of ways,
broadcloth, wool canvas, and poplins. This list includes only a few of the
fabrics manufactured, but these are always to be found on the market, are
always good in color and are the best of all wool textiles for wear.
Mohair is a material made from the hair of the angora goat, Mohair
woven with silk, wool, worsted, or cotton warp. It is a dust-
shedding material, does not shrink, and bears hard wear well. Alpaca
Alpaca, on account of its softness, elasticity, and exemption from shaggy
defects, combines admirably with cotton in the manufacture of fine goods,
which attains almost the glossy brightness of silk. The yarn is used for
weaving alpaca linings and light coatings for warm climates.

SILKS

Many silks can be washed without injury to the fibers, but they cannot be
boiled without destroying the luster. Silks may be had in various widths and

endless variety of weaves. Many are reversible.
Silks are adulterated with cotton and ramie fibers. The Loading Silk
chemicals used in "loading" or "dynamiting" to give the
weight lost by cleaning or removing the gum from the raw silk give to the
cheaper grades the stiff, harsh feeling and cause the splitting and cracking
of the silk, hence the quality of the fiber should be considered when
selecting a silk, not the weight. Taffeta is often heavily loaded.
Foulard and surah are twilled silks. Corded silks are woven with a cord
running from selvage to selvage. To this class belong the grosgrains,
Ottoman, faille Francaise—a silk resembling grosgrain, but softer and
brighter. Irish poplins and bengalines have wool for the filling instead of
silk.
Great improvement has been made in the manufacture of Wash Silks
wash silks. They are fine in color and have a glossy surface.
Pongee is a beautiful, durable silk in different shades of natural color. It is
woven in different widths. This silk is especially valuable for underwear.
The first cost is greater, but it outwears muslin or linen. It is also used for
children's garments and for outside wraps. For many purposes, no better
textile can be found.
Crepe de Chine is an incomparable textile possessing as much softness as
strength. It is always supple, never creases, launders well, and comes in the
most beautiful soft shades as well as in black and dark colors.
Satin is distinguished by its glossy, lustrous surface, obtained in the
weaving.
Piled fabrics are rich, thick materials made of silk, wool, Piled Fabrics
mohair, and cotton, comprising the velvets, velveteens,
plushes, corduroys, and wilton and velvet carpets. The soft, raised pile is
first woven in loops—Brussels carpet is a good example—and the loops are
cut. The back of the goods is plain.
Velvet has always and justly been regarded as the most Velvet
beautiful of textiles. No matter how fashions change in
regard to other materials, velvet never loses its vogue. For robes and cloaks,
for mantles and jackets, for hats and bonnets, for trimming and decoration,

velvet has been popular for a greater period than the life of any living
mortal, but never before has it been so cheap, so varied and so beautiful as
it is now. One can in the passing throng of pedestrians on any crowded
street see the use and abuse of this noble material. There is scarcely an
article of dress into whose composition it does not enter and it is worn upon
all occasions. Many things have brought about this result. The tendency of
fashion is towards the decorative and picturesque and in these qualities
velvet excels all other fabrics. Silk waste and thread are cheaper than ever
before so that velvet costs much less than formerly. The men behind the
looms have evolved more designs and novelties in the making of velvet
than has ever been known and colors beautiful in themselves are seemingly
enhanced when applied to velvet.
All that has been said in favor of velvet applies equally as Velveteen
well to the best velveteen,—in fact it is a textile of even
greater value and beauty than velvet. The best grades are not cheap, but
they wear better than silk velvet, are fine and silky, excellent in color and
sheen, launder well, and do not press-mark as does silk velvet. Velveteen
takes the dye so beautifully and finishes so well that it has taken rank with
our best standard fabrics. It is made entirely of cotton. It varies in width but
is always wider than velvet.
A knowledge of the various widths of textiles is important in Widths of
buying. Transparent fabrics are usually wider than heavier Fabrics
goods made of the same fiber. Muslin is wider than calico or
ordinary print, and thin silk fabrics such as mull and chiffon are wider than
velvet.
In wool dress goods various distinct widths are known as single—thirty and
thirty-six inches—double fold (forty-five and fifty-four inches), etc. Silk,
velvet, and velveteen are single width. The velvet ranges from eighteen to
twenty-four inches in width and velveteen twenty-seven. Bodice linings
vary from thirty-five to thirty-eight inches; skirt linings come in both single
and double fold.
Household linen including bedding varies in width from one yard to two
and one-fourth and two and one-half yards for sheeting and from thirty-
eight to fifty-four inches for pillow case muslin.

Table linen is woven in both square and circular cloths of various sizes, and
napkins vary in width from the small sizes to a yard square.
No fixed widths can be given for any textile as width often changes with the
weave.

NAMES OF FABRICS

Textiles usually take their names from the country, city, port, or province
from whence they originated; from the names of the makers; and methods
of weaving, dyeing, ornamentation, etc. The fixing of localities, methods,
etc., is oftentimes guesswork. The textiles of to-day bearing the same name
as those of the middle ages have nothing in common. Buckram was
originally made in and called from Bokkara. In the middle ages it was
costly, fine, and beautiful, used for church vestments, veils for covering
lecterns, cathedral flags, and in the 16th century for the lining of velvet
gowns. The coarse, heavy, plain-woven linen or cotton material known as
buckram today is used for stiffening, etc.
Fustian, a kind of corduroy or velveteen, was originally Fustian
woven at Fustat on the Nile. The warp was stout linen, the
woof of cotton so twilled and cut that it gave a low thick pile. Chaucer's
knight in the fourteenth century wore fustian. In the fifteenth century
Naples was famous for the weaving of fustians.
A cloth made in France at a town called Mustrevilliers was known as
"mustyrd devells."
China is supposed to be the first country to weave patterned Damask
silks. India, Persia, Syria, and Byzantine Greece followed.
Those were known as "diaspron" or diaper, a name given them at
Constantinople. In the twelfth century, the city of Damascus, long famed for
her beautiful textiles, outstripped all other places for beauty of design and
gave the Damascen or damask, so we have in modern times all fabrics
whether of silk, cotton, wool, or linen, curiously woven and designed,
known as damask, and diaper, which means pattern, is almost forgotten, or
only a part of the elaborate design on damask. Bandekin, a costly cloth,

took its name from Bagdad. Dorneck an inferior damask woven of silk,
wool, linen, thread and gold, was made in Flanders at the city of Dorneck.
From the Asiatic city Mosul came the muslin used then as it Muslin
is now throughout the world. So skilled were its weavers that
the threads were of hair-like fineness. This was known as the invisible
muslin, the weaving of which has become a lost art. To this beautiful cloth
were given many fanciful and poetic names. It was woven with strips of
gold and silver.
Calico derives its name from the city of Calicut in India. The Calico
city is scarcely known to-day; it was the first Indian city
visited by Europeans.
In the thirteenth century Arras was famous for its areste or tapestry, "the
noblest of the weaving arts"; in it there is nothing mechanical. Mechanical
weaving repeats the pattern on the cloth within comparatively narrow limits
and the number of colors is in most cases limited to four or five.
Silks and cottons are distinguished through their colors and shades. Tarsus
was a purple silk. Other cities gave their name to various shades, according
as they were dyed at Antioch, Alexandria, or at Naples. Watered or moire
silk takes its name from the finish.
From "canabis," the Latin name for hemp or flax, we have the word
"canvas" to mean any texture woven of hempen thread.
To this list of fabrics might be added many others of cotton, linen, wool,
and silk with new names, closely resembling the old materials, having
greater or less merit.
The following lists of fabrics and terms may be helpful for reference:
Art linen—With round, hard twisted threads.
"Albert cloth"—Named for England's prince, is a reversible all-wool
material each side of different colors and so finished that no lining is
required. It is used chiefly for overcoats and better known as "golf cloth,"
"plaid back," etc.

Armure—A cloth woven in miniature imitation of feudal metal armor
plates, heraldic devices, diamonds, birdseye, and seeded effects.
Astrakhan—A woolen or silk material with a long and closely curled pile in
imitation of the fur from which it is named.
Backed-cloth worsteds or other fabrics which are woven with an extra layer
of warp or other filling underneath the face, usually for increased weight
and bulk.
Batiste—The French word for lawn, fine white cotton or linen fabric.
Sometimes printed.
Batting or padding, cotton or wool prepared in sheets for quilting or
interlining.
Beaver—Similar to Kersey, but with a longer nap, soft, thick nap inside.
Bedford cord—A closely woven woolen or cotton cloth having a raised
corded surface similar to pique, used for women's suits.
Bonde—A loosely woven fabric with a curly, hairy surface, usually made
with a jersey or stockinet body.
Bourette—An effect of weaving produced by fancy yarns showing in lumps
at intervals over the face of the cloth; used for women's and children's suits.
Beverteen—A heavy cotton cloth used for men's hunting garments.
Broadcloth—A fine woolen cloth with a glossy finished surface, the better
grades being woven with a twilled back. It takes its name from its width. It
is used for men's and women's wear.
Buckram—A coarse, heavy, plain-woven linen or cotton material used for
stiffening.
Buckskin—A stout doe skin with a more defined twill.
Butternut—The coarse brown twilled homespun cloth woven of wool prior
to the Civil War—colored brown with dye from the butternut or walnut tree;
used for men's wear and for decorative purposes.

Cambric—Fine white linen, also made in cotton in imitation.
Camel's hair—A beautiful, soft, silky fabric, usually woven like cheviot of
hair of camel and goat.
Canvas—A linen, cotton, silk, or wool cloth of different weaves and widths,
used for many purposes—clothing, as a background for embroidery,
hangings, spreads, etc.
Canton flannel—A stout, twilled cotton cloth with a nap on one or both
sides, used for clothing and decorative purposes.
Cassimere—A general term for all-wool fabrics woven either plain or
twilled, coarse or fine, of woolen yarn. The pattern is always woven plain
and distinct and the cloth is never napped.
Castor Beaver—A heavy, milled, face-finished, all-wool cloth lighter in
weight than ordinary beaver.
Chinchilla—A thick, heavy, double woven fabric with a long napped
surface curled up into little tufs in imitation of chinchilla fur; used for coats.
Clan Tartan—The plaids of the various highland clans of Scotland.
Clay—A name given to serges, worsteds, and diagonals woven after a
process of J. & P. Clay of Haddersfield, England.
Coating—Those woolen and worsted fabrics most especially adapted to
men's dress and overcoats.
Corduroy—A thick cotton pile material, corded or ribbed on the surface;
used for men's, women's and children's wear.
Corkscrew-worsted goods—So-called from its fancied resemblance to the
twists of the corkscrew.
Cotton worsted—All cotton or part cotton worsted-wove cloth.
Cottonade—Stout cotton cloth in imitation of woolen or worsted; used for
men's trousers.

Covert—A twill-woven cloth sometimes with full face, sometimes sheared
to imitate whipcord.
Crape cloth—A stout worsted fabric with surface in imitation of silk crape,
used for dress coats.
Crash—A strong, course linen cloth of different widths, used for towels,
suits, table linen, hangings, bed spreads; in fact, there is no end to the uses
to which this textile can be adapted.
Cravenette—Cloths treated and finished before weaving by an improved
process which renders them rainproof. A secret process owned by the
Cravenette Company and by Priestly & Company of England and the
United States.
Crepe—A light weight silk, silk and wool, or all wool or cotton cloth of
irregular weave.
Diagonal—A worsted cloth with prominent diagonal ridges.
Doeskin—A compact twilled woolen, soft and pliable.
Drap D'Alma—A fine, close, flat-ribbed, twilled fabric of wool or silk and
wool, finished on but one side.
Drap D'Ete—A fine, light worsted fabric woven in longitudinal cords.
Drilling—General term for various cotton stuffs used for lining men's wear,
and general purposes.
Empress cloth—A heavy dress goods with napped or corded surface, named
for the Empress Eugenia; sometimes called Electrol cloth or Beretz.
Etamine—A light woolen cloth similar to batiste and nun's cloth, used for
women's and children's wear.
Faille Francaise—A soft, lustrous silk of wider cord than grosgrain, but
narrower than ottoman.
Farmer Satin—A lining of cotton chain or warp and wool filling, finished
with a high lustre, also called Italian cloth.

Flannel—A soft, light weight woolen fabric of which the yarn is but lightly
twisted, plain weave or twilled; used for clothing etc.
Flannelette—A half cotton or all cotton flannel-like fabric.
Frieze—A thick, shaggy, heavy nap woolen overcoat cloth.
Gingham was first manufactured in Gonghamp in France and was known as
Madras gingham. Seersucker gingham was originally a thin linen fabric
made in the East Indies. Zephyr gingham is a soft fine variety of Scotch and
French ginghams, are superior qualities, heavier in weight.
Fur Beaver—A long napped cloth imitation fur.
Grass cloth—A fine, smooth, linen woven in checks of blue and white, red
and white, etc., used for dish towels; also a thin dress material of ramie and
cotton, etc.
Grenadine—A thick silk gauze, either plain with a solid design or pattern
upon it or combined in stripes with other weaves, as satin, moire, etc.
Grosgrain—A close-woven, finely ribbed or corded silk with but little
lustre.
Haircloth—A cloth woven of horse hair, from which it takes its name, for
weft with cotton or linen warp; used for facings, linings, furniture cover,
etc.
Holland—A stout, plain-wove, unbleached, linen cloth used for linings,
window shades, etc.
Homespun—A cloth woven on hand looms or made in imitation of such
cloth for both men's and women's wear.
Hop-sacking—A plain woven canvas dress fabric of wool.
Huchaback—A corruption of huckster-back, meaning originally pedler's
ware—Toweling made of all linen, linen and cotton, cotton and wool, either
by the yard or as separate towels; the part wool huck always separate
towels.

Irish linen—Full bleached, fine, plain woven linen used for shirts, collars,
cuffs, etc., of different widths.
Jersey cloth—Woolen stockinette.
Kaikai—A thin Japanese silk.
Kersey—A heavy, closely woven cloth with a smooth face and glossy
finish.
Kerseymere—A fine, twilled, woolen cloth of peculiar texture, one thread
of warp and two of wool being always above.
Khaki—A light, yellow-brown colored cotton cloth used for army service in
hot countries.
Ladies' cloth—A fine, wide, wool flannel, slightly napped, similar to
broadcloth.

Lusterine—A thin, twilled, cotton lining finished with high lustre in
imitation of silk.
Marseilles—A sort of figured pique, used for women's and children's
clothes and for men's coats.
Matelasse—A silk and wool or all wool brocade, usually for coats.
Melton—A stout woolen cloth, fulled, sheared, and finished without a nap;
like Kersey, but without a gloss.
Merino—A thin woolen fabric made of the fine wool of the marion sheep,
generally used for women's and children's wear, vestings, and
underclothing.
Mohair—A shiny fabric of great durability, made from the wool of the
Angora goat; used for both men's and women's clothing.
Moire—The water effect produced on silk, moreen, and like fabrics. The
finest watered silks are known as Moire Antique. Moreen is a woolen or
mixed fabric to which the same process has been applied.
Moleskin—A medium heavy twilled cotton cloth, napped inside; used for
men's wear and ornamental purposes.
Muslin—A cotton fabric of various classes and names; bleached and
unbleached, half bleached, cambric, book muslin, long cloth, mull,
organdie, lawns, etc.; used for all purposes.
Nankeen—A peculiar fabric of a pale dull yellow or orange color, woven
out of the fibrous tissue which lies between the outer and sap-wood of a tree
or shrub that grows in the East Indies and especially in China. The name is
derived from the city of Nankin. An imitation is made out of cotton, colored
with Annato. The genuine nankeen is never more than eighteen or twenty
inches wide and is used for light summer clothing.
Overcoating—Fabrics woven especially for overcoats—covert, kersey,
melton, beaver, frieze, vicuna, whipcord, cheviot, chinchilla, etc., made of
both wool and worsted.

Pique—A heavy cotton cloth having a surface that is corded or having a
raised lozenge pattern; used for women's and children's suits, men's vests,
etc.
Prunella—Lasting cloth.
Sateen—A close twilled cotton fabric, soft and glossy, used for lining.
Satin—A silk fabric having a high lustre on its face.
Satinet—A cheap clothing material similar to cassimere, made with a cotton
warp and a filling of short, inferior, shoddy wool which is mixed with
enough long wool to enable it to be spun and woven in a way to bring that
filling to the surface of the cloth; afterwards fulled, sheared, and the pattern
printed on the face.
Serge—A lining of cotton or linen warp and a wool or mohair filling,
woven three-leaf twill.
Serge—A fine, diagonal, twilled, worsted—both all worsted and with a
worsted warp and woolen filling; used for men's and women's suits.
Shetlands—Very shaggy overcoatings, named from the Shetland pony, the
coat of which it is supposed to imitate in appearance.
Shoddy—Waste thrown off in spinning—shredded rags, and bits of cloth
manipulated into new cloth.
Sicilian—A mohair fabric.
Silesia—A light, close-woven, fine twilled cotton fabric used for dress
linings, etc.
Stockinet—A plain, elastic texture made on a knitting frame, used for
underwear, etc.
Surah—A twilled silk similar to serge; first made in Surat, India.
Tricot—A double-twill cloth having both a warp and filling effect.
Tweed—Much like homespun in appearance, both being either twilled or
plain. They are made from rough worsted yarn spun at home. In tweed the

yarn is harder twisted, giving a more distinct twill. It is generally more
compact, less rough, and better finished than homespun.
Uniform cloth—Cloth suitable for uniforms, usually a stout, fulled, woolen
cloth, similar to kersey.
Venetian—A cloth milled and cropped bare in finish.
Vicuna—A soft twilled cloth similar to cheviot, made of the Andes vicuna,
hence its name.
Whipcord—A worsted cloth having a small, prominent twill.
Yacht cloth—A flannel heavier than ordinary serge or flannel.

Cord—The general term is applied to any fabric in which the lines run in
the same direction as the selvage.
Count—In spinning, the number given to any thread or yarn, except silk, to
indicate its relative fineness, based on the number of yards required to
weigh one pound.
Felt—A cloth of wool, hair, fur, etc., not woven, but felted together; used
for hats, slippers, boot tops, etc.
Flock—Finely divided woolen waste used in finishing cheap woolens.
Kemps—Fibers or hair like structure that sometimes come in wool, always
in goat hair. They do not take the dye.
Mercerized—A term applied to cotton fabrics of which the yarn is
chemically treated with a strong solution of caustic soda, giving the
appearance of silk, more or less permanent; named after Mercer, discoverer
of the process.
Mill ends—Trade term referring to short lengths, seconds, damaged pieces,
etc., of cloth, embroideries, etc., that accumulate in mills and shops and are
usually sold at a nominal price.

Narrow cloth—Trade term for fabrics less than 29 inches wide. Wider
cloths are called broad cloths.
Oil-boiled—Trade term for colors so treated to insure permanence.
Oiled silk—The plain silk boiled in oil. Silk boiled in oil and dried,
becoming translucent and waterproof; used as a perspiration guard.
Pepper-and-salt—A black and white or grayish mixture, effected in
weaving.
Rubber cloth—Usually cotton sheeting or drilling with a coating of rubber
on one side; used as a protective cloth for various purposes.
Shepherd check—Tiny checks, usually black and white.
Twilled—Woven in such a manner as to produce lines or ribs diagonally or
across the surface of the fabric.
Woolens—Name of fabrics or carded wool, usually soft woven.
Worsteds—Fabrics made of combed wool, usually hard woven. The
combing is the process of arranging the fibers of wool, mohair, cotton,
linen, into a parallel condition, preparatory to spinning into a smooth, even
and regular yarn. The perfected application of the combing principle.

BIBLIOGRAPHY ON TEXTILES
Historical and Art

Arts and Crafts Essays $1.00
Morris, Crane, et al. Postage .10
Colonial Days in Old New England 1.25
Alice Morse Earle. Postage .12
The Primitive Family 1.25
Starcke. Postage .12
Man Before Metals 1.75
Joly. Postage .14
Origin of Inventions 1.50
Mason. Postage .16
Woman's Share in Primitive Culture 1.75
Mason. Postage .16
Textiles—The Lesser Arts 1.00
William Morris. Postage .10
Industrial Evolution of the United States 1.25
Carroll D. Wright. Postage .16

Technical Books

Through a special arrangement with the American School of
Correspondence we are able to lend or sell to our students some of their
textile books, which are technical though simple. Price 50 cents per part,
postage 4c.

Textile Chemistry and Dyeing. 4 Parts.
Part I. Textile Fibers.
Part II. Bleaching.
Part III. Mordants and Natural Dyes.

Part VI. Artificial Dyestuffs.
Cotton Fiber.
Cotton Spinning. 5 parts.
Weaving. 3 Parts.
Textile Design. 5 Parts.
Woolen and Worsted Spinning. 4 parts.
Woolen and Worsted Finishing. 4 parts.
Textile Fibers $3.50
Mathews. Postage .16
Textile Fabrics .90
Rock. Postage .08
Dyeing of Textile Fabrics 1.75
Hummell. Postage .12
Bleaching and Calico Printing 4.00
Duerr. Postage .14

Note.—Books may be ordered through the School or may be borrowed by
members for one week. Send postage with request.

U. S. Government Publication

Free of the Department of Agriculture, Washington, D. C.:
Flax for Seed and Fiber, Farmers' Bulletin No. 27.
Cotton Seed and Its Products, Farmers' Bulletin No. 36.
Raising Sheep, Farmers' Bulletin No. 96.
The Angora Goat, Farmers' Bulletin No. 137.
Silk Worm Culture, Farmers' Bulletin No. 165.
Essential Steps in Securing an Early Crop of Cotton,
Farmers' Bulletin No. 217.
The Cotton Seed Industry, Reprint No. 239.
The Hemp Industry in U. S., Reprint No. 254.
Improvement of Cotton by Seed Selection, Reprint No. 279.
The Growing of Long-Staple Upland Cotton, Reprint No. 314.
Principal Commercial Plant Fibers, Reprint No. 321.

For sale by the Superintendent of Documents, Washington, D. C. Send coin
or money order,—stamps not accepted:
Sheep and Wool, Report No. 66, Office of the Secretary. Price 5c.
The Cotton Plant: Its History, Botany, Chemistry, Enemies, and Uses.
Bulletin No. 33.
Office of Experiment Stations. Price 60c.
Cotton Culture in Egypt. Bulletin No. 42. Price 5c.
OFFICE OF FIBER INVESTIGATIONS.
Uncultivated Bast Fibers. Report No. 6. Price 10c.
Cultivation of Ramie. Report No. 7. Price 10c.
Culture of Hemp and Jute. Report No. 8. Price 10c.
Flax Culture for Seed and Fiber. Report No. 10. Price 10c.

TEST QUESTIONS
The following questions constitute the "written recitation" which the regular
members of the A. S. H. E. answer in writing and send in for the correction
and comment of the instructor. They are intended to emphasize and fix in
the memory the most important points in the lesson.

TEXTILES AND CLOTHING

PART I

Read Carefully. Place your name and address on the first sheet of the test.
Use a light grade of paper and write on one side of the sheet only. Leave
space between the answers for the notes of the instructor. Answer every
question fully. Read the lesson paper a number of times before attempting to
answer the question.

1. Give a brief outline of the craft of spinning, primitive and modern.
2. Outline the same for weaving.
3. Describe the hand loom.
4. Describe the cotton fiber. What kinds are there?
5. Who invented the cotton gin and how did this invention affect the cotton
industry?
6. Give the chief characteristics of wool. Name the wool and fur bearing
animals. How does wool differ from hair?

7. Trace briefly the preparation of wool from the fleece to the finished
product.
8. Describe flax and outline the method for the preparation of the fibers.
What is the name of the manufactured product of flax?
9. Name some other bast fibers and their products?
10. How do the textile fibers compare in the raw state in condition and
price?
11. Give a brief description of silk from the egg to the woven cloth.
12. (a) What is the chief constituent of the vegetable fibers? (b) How does
their affinity for dyestuffs compare with wool and silk? (c) How do the
alkalies affect wool?
13. Describe the principal weaves and give examples of each.
14. (a) How are cotton and flax bleached? (b) What is a mordant? (c) How
should material be prepared for dyeing? (d) State what you know about old
time methods of dyeing.
15. How are print goods made? Name some printed fabrics.
16. Define woolens and worsteds.
17. Describe the finishing of woolen and worsted cloths.
18. What is noil; shoddy; felt; flocks?
19. With what dress goods have you had experience, and with what results?
20. What factors determine the use of fabrics?
21. Of what value is the study of textiles? What have you gained by the
study of this lesson?
Note.—After completing the test sign your full name.

TEXTILES AND CLOTHING

PART II

EMBROIDERED INITIALS
W and L—Sewed on initials; B—Satin
stitch in wreath of feather stitches; C—
Outline and seed work; D—Chain and
French knots; H—Cross stitch; L—Chain;
H—At the right, and the cross stitch H are

made over canvas and the canvas threads
drawn.

HAND SEWING

Good sewing, good pressing, well finished ends and corners, lightness of
touch which holds the work without apparently touching it, thus giving to
the finished garment a fresh look—all these are important considerations.
The sewing done on wool, silk, and dresses of all kinds Kinds of
differs from that on underwear and white work. Muslin Sewing
underwear requires frequent washing and ironing, hence the
first essential is durability; close, small stitches, all raw edges carefully
turned and stitched securely. Seams that are to come close to the body
should lie perfectly flat. A round seam would wear out sooner by coming
into frequent contact with the washboard and iron, besides irritating the
skin. In dressmaking, unless the stitching is used for ornamental purposes, it
should never show on the outside.
Periods of beautiful and dignified costume have been periods of fine
needlework—one art leading to and helping on the production of the other.
Stitches may be divided into plain and ornamental. The plain Plain Stitches
stitches are the (1) basting, (2) running, (3) the running and
back stitch, (4) half back stitch, (5) back stitch, (6) overhand or whipping
stitch, (7) overcast, (8) hemming, and (9) blind or slip stitch.
The ornamental stitches most frequently used are (1) outline, Ornamental
(2) chain, (3) cat or herringbone, (4) blanket or loop, (5) Stitches
feather, coral or briar, (6) hemstitching, (7) French knots, (8)
button hole, and (9) cross stitch. Excepting the cross stitch, these are all
variations of the plain and button hole stitches.
The plain stitches may be used for ornamental purposes. The basting stitch
is known as Queen Anne darned work. The back stitch, known as "seed
work," is used in embroidering letters and monograms. The overhand stitch

is used as an ornamental stitch for joining selvages and in hemming. The
chain stitch, besides being ornamental, makes one of the best darning
stitches, reproducing the stitch in knitting. The cat stitch is also useful in
binding down open seams for flannel hems, patching, etc.
(1) Basting proper is used only in the preparation of work to Basting
hold the stuff and lining, or any two or more parts of the
work together while it is being stitched, none being left in the finished
garment. It is also used as a guide for sewing, feather stitching, etc.
The slanting basting stitch or "tacking" is used in Tacking
dressmaking for holding linings. The needle is pointed
towards the worker. Even basting is used for holding several thicknesses of
cloth and if the garment is to be fitted, the stitches should be placed rather
close. Uneven basting is used for hems and seams to be machine stitched.
Several short stitches with one long one are used to baste crape and wiry
fabrics, for this method holds them better than stitches of equal length.

BASTING STITCHES
a—Even; b—Uneven; c—For wiry fabrics; d—
Tacking; e—Overcasting; f—Double or tailor
overcasting.
Fastening the
Thread

All basting should be fastened at start with a knot or knot and back stitch
and finished with two or three back stitches. The length of thread may be
broken or cut from the spool, but should always be cut from the work.
Breaking weakens the fastening and biting off soils delicate work with the
moisture from the breath, to say nothing of the injury to the teeth. Basting
for large work should usually be done with the goods lying flat on the
sewing table.
For ordinary work, basting threads should be cut every few Drawing
inches and drawn out. In velvet, every alternate stitch should Basting
be cut and drawn out on the right side with the pile of the Threads
goods. In the basting for velvet where the slanting stitch is used, only one
end of the stitch touches the line of the seam—the rest is on the outside of
the seam. Silk thread should be used to baste velvet and gauze; the thread
should be used for basting.

POSITION OF THE HANDS IN
RUNNING
(2) Running is closely related to basting. It is not used for Running Stitch
any seams that have to bear great strain, but for joining seams in this
material, gathering, tucking, making cords, etc. The stitches are usually of
equal length on both sides. Take one stitch in the seam and hold the goods
between the thumb and first finger of each hand, as shown in the
illustration, with the back of the thimble on the eye of the needle. Then,
with as free wrist motion as possible, run or shake the needle through the
material. The motion of the hand should come from the elbow joint.
Gathering, gauging, casing, etc., are used for drawing up the fullness of
skirts, ruffles, flounces, etc., into a given space. The running stitch is used

for these.
For gathering, the cloth is held in the same manner as for Gathering
running. The needle, ordinarily, need not be taken out of the
work, the stitches being pushed back over the eye as they are made; but for
running long skirt seams in delicate material which would crinkle at the line
of sewing and roughen the seam, the needle should be drawn through and
the line of sewing smoothed on the thread at each needleful of stitches.
Never use a double thread for gathering, as it is apt to knot, Stroking
but put in two lines of gathering threads—one a full one-
eighth of an inch below the other—and slip the stitches along the needle as
described above. This method is a saving of time in the end. When the
gathering threads are in, remove the needle, place a pin vertically close to
the last stitch, and wind the thread around it a few times in the form of a
figure eight. Use a coarse needle for stroking. Hold the work between the
thumb and fingers of the left hand with the thumb on the gathering threads.
To place the gathers, put the point of the needle under the lower gathering
thread and press the plait or gather under the thumb, drawing the needle
down, or simply pressing on the needle. Care must be taken not to scratch
or tear the material. Continue entirely across the gathers, putting the needle
under each stitch and holding the plait firmly between the thumb and finger:
turn the material and stroke the upper edge of the gathers.
The gauging stitch is usually longer on the face than on the Gauging
back, draws the material up into distinct plaits, making it
easy to dispose of the fullness neatly, regularly and securely by overhanding
the top edge of each plait to the bottom edge of the band. The right side of
the skirt and the right side of the belt are placed against each other and each
gather oversewed to the belt. The space into which the material is to be
gathered determines the length of the long stitch. The succeeding rows of
stitches should be directly under those of the first.
(3) The running and back stitch is made by taking a few Running and
running stitches, drawing out the needle and making a back Back Stitch
stitch over the last running stitch to strengthen the seam.
Care must be taken not to hold the side next the worker too full and not to
miss the under material, but to take the stitches even on both sides.

(4) The half-back stitch is made by taking one stitch and Half Back
placing the needle half way back, then bringing it out twice Stitch
the length of the stitch and placing the needle half way back
each time from where the last stitch ended. The appearance on the right side
will be of regular space as in the running stitch.
(5) The back stitch is made by placing the needle back to the Back Stitch
last stitch, bringing it out once the length of the last stitch,
then placing the needle back into the last stitch, and so on, making the
stitches follow each other without any space between. This is used in all
places that are to bear great strain.

PLAIN STITCHES
a—Running; b—Running and back; c—Half
back; d—Back stitch.
(6) Overhanding, oversewing, whipping, top sewing are one WhippingStitch
and the same—small stitches taken over edges, to join folded
edges or selvages, for sewing bands on gathers, sewing lace and insertion,
and for sewing carpet strips together. The pieces for an overhand seam
should be pinned carefully, placing the pins at right angles to the edge. The
folded edges or selvages are placed together, the right side of the goods
being in. Do not use a knot to begin sewing, but leave the knot end of the

thread and sew it in with the first stitches, carrying the thread on top of the
seam. To finish off the seam, overhand back over the last few stitches.
In sewing this seam, the goods should be held between the Position in
thumb and first finger of the left hand parallel with the chest, Overhanding
not over the end of finger. Point the needle towards the left
shoulder, thus giving a slanting stitch. Care should be taken not to pucker or
draw the seam. When the seam is finished, it should be opened and pressed
flat.
(7) Overcasting is a slanting stitch used to keep raw edges Overcasting
from ravelling. This stitch, like oversewing, may be worked
from right to left or from left to right.
The hem stitch and blind or slip stitch will be considered under hems.

ORNAMENTAL STITCHES

Never use a knot in any embroidery, but start by running a few stitches
along the line which is to be covered.
(1) The outline stitch is the simplest of all embroidery Outline Stitch
stitches. Take a long stitch on the surface, with the needle
pointing towards the chest in the line to be covered, and a short back stitch
on the under side of the material. The effect of the under or wrong side of
the material is exactly that of an ordinary back stitch. The beauty of this
stitch depends upon its regularity and in always keeping the thread on the
same side of the needle.

ORNAMENTAL STITCHES
a—Outline; b—Chain; c—Cat; c'—Catch; d—
Single Feather; e—Double Feather; f—Tripple
Feather; g—Modified Feather; h—Double
Feather with Knots; i—French Knots and
Outline; j—Herring Bone; k—Fancy Feather; l
—Cat Stitch with French Knots.

(2) The chain stitch when perfectly done should look like the Chain Stitch
stitch made by a single-thread machine. This stitch is made

by taking the thread toward the worker, and before the needle is drawn out
of the cloth the thread is held by the thumb under the point of the needle, as
in a buttonhole, making a loop. The needle is inserted in the last loop for the
next stitch. The chain stitch is used in modern embroidery as an outline and
for darning, but in old embroidery, the outline and chain stitches were used
for filling as well. They are found in Persian, Indian, and Italian
Renaissance work. Like the feather stitch, the chain stitch is worked
towards the worker.
(3) The cat stitch or herringbone stitch is an alternate Cat Stitch
slanting back stitch, the needle being placed first to the right
and then to the left. This stitch must be worked evenly to be effective. It is
used to finish flannel seams and hems, fasten down linings, opened seams,
and canvas facings and featherbone, in millinery—in fact, this stitch is one
of the most useful in sewing. The catch stitch is a variation of the cat stitch.
Instead of pointing the needle towards the chest, the stitch is taken parallel
with the chest. It is used for about the same purposes as the cat stitch. As
with the outline stitch, the cat stitch is worked from the worker.
(4) Blanket or loop stitch, used to ornament the edge of Loop Stitch
blankets, etc., and for finishing the edge of stockinet or web
material, is worked from left to right, the edge of the material being held
towards the worker. Start with three or four running stitches along the edge
so the line of stitching will cover them. Insert the needle the desired width
from the edge, draw it towards you down over the thread, being careful not
to draw the thread too tightly over the edge of the flannel. Fasten the thread
by taking running stitches under the last blanket stitch on the wrong side.

HEM STITCHING
a—Position of Needle; a'—Finished Hem
Stitch; b—Ladder Stitch; c—Example of
Drawn Work Finished with Loop and Cat
Stitches.

(5) Single, double, and triple feather or coral stitches may be Feather Stitch
made very ornamental and are used in all kinds of sewing
and on all materials. They are always made towards the worker, the stitches
being taken alternately to the right and left of the line of the design. The

thread should always be carried under the needle as in a buttonhole stitch.
The design may be varied by taking the stitches diagonally or straight, by
making them close or separated, etc.
(6) Hemstitching is used for ornament in making hems and Hem Stitch
tucks. The first step in hemstitching is the drawing of
threads. Rubbing the cloth along the line of threads to be drawn will make
the drawing easier if the cloth is sized. After the threads are drawn, the hem
is turned and basted even with the lowest edge of the drawn space. Insert
the needle into the edge of the hem and material, taking up a cluster of
threads bring the thread under the needle to form a buttonhole stitch or
make a simple stitch in the edge of the fold. The number of threads drawn
and the number in a cluster must be determined by the coarseness or
fineness of the material, the greater number being drawn and taken in fine
material. There are several methods of hemstitching, but the results are
about the same.

EMBROIDERY STITCHES
Eyelet Embroidery, Embroidery Button Hole, Flat Satin Stitch.
(7) French knots are used in connection with other stitches French Knots
for borders enclosed in outline and chain stitches, in initials, centers of
flowers, and as a filling-in stitch. The simplest method is of taking a small
back stitch, bringing the thread from the eye of the needle under the point
from right to left and drawing the needle perpendicularly from the cloth.
Place the needle back of the knot and bring the point out in the place where
the next knot is to be made. The size of the thread will determine the size of
the knot.
(8) The embroidery buttonhole stitch has many possibilities and many
variations. It is worked from left to right instead of from right to left as in a

buttonhole. The thread from the work is carried under the Embroidery
point of the needle from left to right, just the reverse of the Buttonhole
buttonhole. This stitch is used on flannel and in embroidery
of all kinds; it may be padded or worked flat and the stitches may be taken a
distance apart or near together.
(9) The cross stitch is worked on linen, scrim, canvas, or any Cross Stitch
open-meshed material. If done on a flat, smooth surface, it
will be necessary to work over canvas, afterwards drawing out the canvas
threads. The canvas should be well basted on the material, the warp threads
of the canvas lying perfectly straight on a line with the warp threads of the
material on which the pattern is worked. The stitches should always run the
same way. If the first ground stitches are made from left to right, from
bottom towards the top, the cross stitches should be made from right to left
from the top towards the bottom. All the ground stitches run one way and
the cross stitches in the opposite way.
This stitch is used for marking table linen, underwear, and embroidery
designs. When marking linen and unlined work, make the under side very
neat by running the thread under the stitches already made, instead of taking
a long stitch when beginning in another part of the letter or design.
(10) The satin stitch is an over and over stitch and is used on Satin Stitch
materials of all kinds for marking linen, etc.
The padding is the first step and should be done in long even stitches placed
closely and over one another in the center. The size and proportions of the
figure or letters determine the size of the thread. Fine thread gives the best
results. The outline should be run twice; this keeps the edge firm. An even
darning or basting stitches, chain stitches or outline stitch may be used if
the space is not too small. The padding may be worked in an embroidery
hoop to keep it smooth and even. Scallops may be padded in the same way
or worked flat.

EMBROIDERY BUTTON HOLE AND BLANKET STITCHES
Scallops Outlined and Padded.
In large figures the stitches are laid closely and exactly parallel the entire
length of the form. They may be straight across or at an angle, but the one
slant must be maintained throughout. In small curved figures, the stitches
may be placed more closely at the inner edge and spread slightly at the
outer edge. In flat work where the leaf or petal is large, two or three stitches
taken in the cloth, back of the face stitch, holds them even and prevents
misplacement in laundering. (All embroidery should be ironed on the wrong
side.)

ARROW HEAD, DOUBLE ARROW HEAD AND CROW'S
FOOT.
Eyelet embroidery is a simple over and over stitch forming a Eyelet
Embroidery
smooth, round edge. Like satin stitch, all outlines are run
with an even darning stitch, except the very small eyelet holes, made with a
stiletto. Long or oval openings must be cut through the center.
Shadow embroidery is worked on the wrong side of thin Shadow
material, using the cat stitch. The outline of the design only Embroidery
shows on the right side, the body of the design being seen
dimly through the material.
The arrow head and crow's foot are ornamental fastenings Arrow Heads
used in fine tailoring as endings for seams, tucks, plaits, and
at corners. They are made as shown in the illustration.
Mercerized cotton, linen, or any of the embroidery silks can be used for
these stitches, in all sizes and colors, or they can be worked with ordinary

thread, cotton or linen, sewing silk, or twist. Cotton thread wears better than
linen.

HEMS

A hem is a fold of goods twice folded to protect a raw edge. Folding Hems
The first turn or fold of the hem is the most important. It
should be straight and even, folded to a thread, for upon it depends the
beauty of the hem. The hem should always be turned towards the worker
and creased firmly, but never pleated along the fold. First crease the narrow
fold, then crease the second fold the desired width, marking by a measure
and baste not too near the edge. The first fold along the woof threads should
be at least one-fourth of an inch in width, as the woof threads give or stretch
more than the warp threads; otherwise it will not lie flat.
In sewing the hem, the needle should take up only the edge Sewing Hems
to be hemmed down and just enough to hold on the cloth or
lining. In white work the stitches should be fine, showing as little as
possible.
All bias and curved edges should have the first fold basted. Bias Hem
In cloth or silk this first basting thread should match the
material and not be taken out.
A facing or faced hem is also used as a protection to the edge Faced hem
of a garment. A true bias or fitted facing should be used for a
facing if the edges of the garment are curved. An extension hem is one in
which the whole width of the hem is used.

HEMMING
a—Shows method of cutting to do away with a clumsey corner.
Slip-stitching or invisible hemming is done on silk, wool, Slip-Stitching
and thick material. The hem is pressed with an iron, a stitch as fine as
possible is taken on the surface of the cloth and the needle slipped under
and through the first fold, drawing the thread lightly. The needle and thread
used in this stitch must be very fine.

MITERED CORNERS
Method of Folding and Cutting.
Rolled hem and whipped gathers are made with the wrong Rolled Hem
side of the material next the worker. Make a tiny roll of the edge towards
the worker, using the left thumb and index finger, rolling an inch at a time
(and no more) before hemming. Make fine, even stitches in the roll and
goods. Keep the hem perfectly round, firm and not too large. This hem is
adapted only to fine material and the edge across the warp is the more
easily rolled.

ROLLED HEM AND WHIPPED GATHERS
a—Rolled Hem Gathered; b—Whipped Roll; c—Double Whipped;
d—Roll Hemmed; e—Gathers Sewed to Band.
To gather, whip the rolled hem without hemming, making Whipped Gathers
overcasting stitches towards you, even and not too fine. Use
coarser thread than for hemming. This gathering thread is used to hold
down the edge as well as for drawing up the gathers and it not to be taken
out, as is the ordinary gathering thread. It should not catch in the roll. Have
the thread the length of the plain space to which it is to be sewed and
regulate the gathers as you do the gathering. After the edge is rolled,
whipped and gathered, it is sewed to the garment by the little scallops or
raised parts made by the whipping. This is used only for making ruffles or
gathering on very fine hand work.

The French hem is used for table linen. Fold as in an French Hem
ordinary hem, then fold the hem back on the right side and
overhand the edge formed, taking fine stitches. Press the hem flat from the
right side.
Flannel hems should not be twice folded, for there will be a Flannel Hems
ridge instead of a flat surface after the garment has been
laundered, owing to the felting properties of the wool. Hems on flannel
should not be stitched by hand or machine, but cat stitched on the wrong
side and finished on the right side with any ornamental stitch.
Hems in infants' clothing may be turned on the right side and made
ornamental by feather stitching.
No selvage should ever be used on a hem. The selvage is more closely
woven and will draw or pucker in laundrying.

TUCKS

Tucks are folds made on thin material for ornament, to shorten or to provide
for lengthening a garment. If done by hand, a card measure is preferable to
a tape measure for marking the space and width of the tucks. The folds
should be creased to a thread, basted and sewed with a running stitch
showing but little on the face, or stitched on the machine. Fine thread
should be used.

SEAMS

A seam is the line of sewing that joins material; it may be plain or
ornamental. The most important are the overhand, felled, French, slot,
lapped, flannel, and beaded.
The overhand seam is described under the overhand stitch.
A fell is a seam hemmed down to the goods to protect the Felled Seam
raw edge. It is usually made in night dresses, drawers, corset
covers, etc. Baste with the piece farthest from the worker extended one-
eighth of an inch beyond the other and sewed with the grain of the goods,
beginning at the widest part of any bias. Press the seam with the nail on the

right side, turn the wide edge down flat to cover the raw edge and line of
sewing, and hem flat either by hand or machine. Care should be taken to
keep the seam flat on the right as well as on the wrong side. If the felling is
done with the machine hemmer, the wide edge must be on the opposite side.
The seam may be basted with both edges even if preferred, cutting off one
edge after stitching.

SEAMS
a—Full; b—French Screen.

BEADED AND TAPED SEAMS
A—Tape basted on one edge, and the other edge turned and stitched;
B—Beading whipped to the folded edges; a—Stitched hem; b—
Hem finished with feather stitching.

A French seam is sewed twice—first on the right side as near French Seam
the raw edge as possible. Cut off all frayed edges, turn the
material by folding on the seam or line of sewing, so the seam is folded
inside and the second sewing is on the wrong side below the raw edges.
This is not a good seam for underwear worn next the body, as it leaves a
ridge on the wrong side, but it is useful for skirts of thin material, etc. It is
more easily made than a fell.
Beaded seams used for fine white work have a line of Beaded Seam
beading overhanded between gores, hems, or gathers. The
hem along the seam should be folded on the right side, leaving a perfectly

flat surface to iron on the wrong side, and finished with an ornamental
stitch covering the hem.
The slot seam, used in cloth dresses and jackets, requires Slot Seams
exact basting with silk or very fine thread with small, even
stitches. If a coarse thread is used, the material will be badly marked. After
basting, press the seam open as if it had been stitched, and baste the strap or
under strip of the dress material (which has been cut perfectly straight and
even) over the wrong side of the seam, having the center of the seam on the
center of the strap. Stitch any width desired beyond the center through the
three thicknesses. This will hold the seam in position. Now remove the
bastings from the seam and the slot effect is complete. If desired, there may
be a double row of stitching, an extra row on the edge of the fold or plait.
These seams may be finished at the bottom with arrow heads or stitched
designs. The lines of machine stitching should not end without some
ornament to appear to hold the plait.

SLOT SEAM FINISHED WITH ARROW HEAD

FLANNEL SEAMS AND HEMS
Finished with various Ornamental Stitches.
In the lapped seam the edges are folded each within the other Lapped Seam
or one over the other so that both sides are alike. If made of heavy material,
the raw edges are left unturned; in muslin or linen the edges are inturned,
lapped, basted and the hem stitched on both edges or hemmed down on
both sides by hand.

PLACKETS
A—Made by folding a wide hem over a narrow one; B—Tape
faced sewing for the purpose of a gusset. Method of folding the
tape shown.

Flannel seams should be stitched, opened and pressed flat, Flannel Seams
either on the right or wrong side of the garment. If on the
right side, taffeta ribbon should be basted over the seam, so that the raw
edges of flannel will not show, and cat stitched or buttonhole stitched on
both sides of the ribbon, or any fancy stitch—not too long—may be used.
This is the Dorothy seam. For the seam on the wrong side, the edges should
be cat stitched with fine thread. Any ornamental stitch may be used on the
right side of the seam. Always press flannel seams and hems before
finishing. Flannel should never be hem stitched.

PLACKETS

A placket is an opening in a garment allowing it to be put on. The simplest
placket is made by cutting a slit and folding a wide hem over a narrow one
turned on the face of the goods; this makes a pleat below the vent. There
should be a double line of stitching across the bottom of the hem to
strengthen the placket.
The tape faced placket is stronger and may be used in Tape Faced
children's drawers, etc., in place of a gusset to strengthen the Placket
end of the opening. A single piece of tape folded back as for
a loop is stitched along all edges, making an opening without a lap. This
offers as much resistance as a gusset and is more quickly done.

FACED PLACKET
A—Wrong side, opened, showing tape; B—Right side
showing on-set piece; aa and bb the same ends of the
tape; 1-2 method of folding and cutting end of on-set
piece.

In a third kind of placket, the opening is faced with a Faced Placket
continuous piece of tape on both sides and finished with a
piece of material on the outside. See illustration. This makes a strong and
simple placket. When a tape cannot be used, a hem or facing may be made
on the under side of the opening and a facing on the upper side, over which

the on-set piece is stitched. The on-set piece and facing may be cut from
one piece, but the fitting is more troublesome. In figured goods, the piece
set on should match the pattern exactly.

SKIRT PLACKET WITH LAP
A simple placket for underwear is made from a single strip of the goods put
on like an extension hem. On drawers it may be turned in at the buttonhole
end, but not stitched down except at the band.
The placket of a skirt should have an underlap extending well below the
opening.

SEWING ON BANDS

Divide the top of unhemmed edge of the garment in halves Gathering
and mark with a cross stitch, notch or pin. Gather from the
placket to the middle of the front gore, if a skirt, apron, or dress. Take a new
thread and gather the remainder. Put in a second gathering thread one-

eighth to one-fourth of an inch below the first. Two gathering threads are
better than one and they should be longer than the length of space to be
gathered. Stroke or lay the gathers above and below the threads. Divide the
band and pin the middle to the center of the garment, placing the right side
of the band on the wrong side of the garment. Pin in the middle and at each
end, secure the gathering threads by winding around the pin, adjust the
gathers, and baste between the gathering threads. Stitch just below the line
of basting. Fold the band over on the right side, press, baste over the line of
stitching, press again, then stitch on the right side after having turned in
both ends and over-sewed. Turn the top of the band over on the right side
one-eighth or one-fourth of an inch and stitch securely. This upper fold
keeps the edge from wearing and stretching and is a stay for children's skirts
and drawers where button holes are used and serves as a finish for the top of
the band.

FINISHES
a—Bias Facing; b—Band on Gathers; c—
Corded edge.

For flannel, pleating or gathers may be used to put fullness into a band. Two
rows of gathering threads should be used and the stitches should not be too
fine. The band should be made of cotton or at least lined with it to avoid
clumsiness and prevent shrinking. Ruffles are set in hems, etc., in the same
manner.

DRAW TAPE FINISH FOR UNDER SKIRT
In finishing the top of an underskirt, many like to dispense Drawing Tapes
with the placket and fitted band. This may be done by using drawing tapes
at the back. The upper edge is faced with a piece of material which should
be bias in front to accommodate it to the curve, but may be straight across
the back. Work a button hole at each side of the back, insert a tape through
one button hole and draw it over an inch beyond the opposite one and fasten
securely by two lines of stitching across the tape. A second tape is put
through the other button hole and fastened in the same way. By pulling the
tape on each side the fullness may be adjusted.
All facings around curves, such as arm holes and neck, Bias Facings
should be a true bias which is cut by holding the warp
threads diagonally across the woof threads. These strips for facings,
pipings, ruffles, etc., should be cut exactly even in width. All bands, ruffles,
etc., of serge, twilled, or diagonal materials should be cut across the twill
and not with it, in order to have the ruffle hang well.

FASTENINGS

The standard fastenings are buttons and button holes, hooks and eyes or
hand made loops, lacings through rings and eyelet holes, loops over

buttons, and fancy frogs, clasps, studs, ball and socket, "notta-hooks," etc.
Button holes should be carefully measured and marked Making Button
before cutting. They should be a little longer than the Holes
diameter of the button for flat buttons and one and one-
quarter the diameter for round buttons. Having decided upon the distance
apart they are to be placed, cut a marker from a piece of cardboard and
measure off the space, marking with pins, French chalk, pencil, or thread.
The distance from the edge (one-fourth inch), as well as the length of the
button hole may also be marked with the card. The scissors should be sharp,
the hand must be steady, and the cut should be made with one firm slash,
not with two or three jerks. Great care must be taken that each button hole
is of the same length. The goods should be cut to a thread, for it is
impossible to make a neat buttonhole if it is improperly cut. In cutting a
round end buttonhole for thick goods, a punch may be used for the end,
after which the remainder of the buttonhole is cut directly on a line with the
center of the circle.
The same marker may be used to mark the position for the buttons. All
markings for buttons and buttonholes, or for hooks and eyes, should be
made at one time.
After cutting, the button holes are overcast. This should Overcasting
always be done directly after cutting, especially if the goods Buttonholes
ravels easily, otherwise it will be impossible to work a neat
buttonhole. Overcasting should be done with very fine thread (No. 150 for
white goods), split silk for wool and silk. Three overcast stitches on each
side are sufficient for an ordinary size buttonhole.
A very good plan to follow in cutting a buttonhole in heavy material or
material that frays easily is to chalk the position and length of the
buttonhole, then stitch a row of machine stitching each side of this mark,
the two rows being a little more than one-eighth of an inch apart. This holds
all the thicknesses together and the buttonhole may then be cut easily. It
also serves as a guide in working the buttonhole stitches.

BUTTONS, BUTTON HOLES, EYELETS,
LOOPS

The buttonholing is begun at the inner side of the slit. Always place the knot
on the outside of the garment a short distance to the right of the buttonhole,
leaving a long stitch underneath which can be cut off when the buttonhole is
finished. A buttonhole should be completed with one thread if possible as it
is difficult to mend the thread securely and neatly. Letter D for twist is
usually employed.

Insert the needle in the edge of the material and when half Making
way through, take the two threads at the eye of the needle, Buttonholes
bringing them towards you at the right and under the point of
the needle, and draw the thread from you, making the purl or loop stitch
directly on the edge of the buttonhole. The stitches should be about the
width of the needle apart to allow for the purl. Be careful to complete each
stitch with a uniform movement so that the line will be perfectly straight
and not wavy. The stitches are placed more closely together in the rounded
end of the buttonhole where the chief wear comes.
Many workers, particularly tailors, always "stay" or "bar" Staying
around a buttonhole before working. This may be done with
several threads of twist or with a cord so that the worked edge of the
buttonhole will be firm and distinct. Tailors usually use a cord as this makes
the edges heavier. It is always well to stay buttonholes in heavy material as
it strengthens them very much and improves their appearance.
When the buttonhole has been worked all around, the end is Bar Tack
completed with a bar tack made by taking two or three
stitches across the end of the buttonhole, drawing the edges closer together.
This bar is covered with buttonhole stitches worked close together. The
thread is fastened securely on the wrong side.
After very large buttonholes are finished, their straight edges Large
should be closely basted together by an over and over stitch Buttonholes
and then pressed under a damp cloth. Before they are dry, a
bodkin or stiletto should be pushed vigorously up through each eyelet until
that opening becomes perfectly round and the stitches on its edges are
regular and distinct. When the basting is removed, the buttonhole will be
symmetrical in appearance.
Buttonholes which are to bear a strain are cut in the direction of the pull,
but sometimes they are cut in the opposite direction, as for a shirt waist.
Such a buttonhole may be completed with a bar tack on each end.
Ordinary buttons should never be sewed down tightly, but Sewing on
the thread should be loose so that it may be wound around at Buttons
the end, thus protecting the holding threads from wear. The
shank prevents the buttonhole from being crowded out of shape. Loose

sewing can most easily be done by placing a pin or needle across the top of
the button and sewing over it. If a button is much concaved, the pin may be
placed underneath. The pin is removed before winding.
In sewing on a four-hole button, the stitches should be made symmetrically,
either parallel or crossed, but not both. If parallel or in a two-holed button
the stitches should run in the line of the buttonhole. The thread should
always be fastened at the beginning and at the end of the work. Place the
knot upon the outside of the garment where it may be cut off when the
button is sewed securely. The knot is sometimes placed under the button.
In sewing buttons on a cloak or coat an extra strip of canvas Cloak Buttons
or silesia over the canvas interlining should be placed the
entire length of the buttoning for strength. This should be applied before the
work on the garment is too far advanced and if cut sufficiently wide, will
allow any slight alteration. The sewing should go through the canvas facing
and stay, but not through the under side or facing of the material.
In sewing buttons on bodices a tape should be sewed over the front basting
for a stay. If sufficient material has not been allowed for a lap, this should
be added, as a lap is necessary under the opening of such buttonholes.
Buttons may be sewed through lining having a small button on the wrong
side. This method prevents the cloth from tearing and makes an ornamental
finish as well as a substantial one.
Buttons which are supplied with wire shanks should be sewed down firmly
as the shank already provided permits the buttons to set up well from the
material. They should be placed in such a position that the wire shank will
run parallel with the buttonhole and not cross it.
The position for hooks and eyes should be marked before Hooks and
sewing on. The simplest, though least desirable, method of Eyes
sewing-on these fastenings is to place the eye at the edge of
the seam or facing and the hook sufficiently far back from the opposite side
to give a lap. A much preferable method is to baste a bias strip of crinoline
along the positions to be occupied by the hooks and eyes; this gives strength
to the finish. Sufficient material should be allowed for folding over the
shanks after the hooks and eyes have been sewed on, or they may be

covered with silk ribbon, slipping the edge under the beak of each hook and
then catstitched in position.
The hooks and eyes are sewed securely through the crinoline and one
thickness, but the stitches should not show on the outside. Over and over
stitches are taken through the small rings in the line of the full and again on
each bar of the eye and on the shank of the hook so that they may be held in
position securely. In many cases, it is advisable to have an underlap of the
material. This should be slip-stitched in position on the garment after the
eyes have been sewed in place.

HOOKS AND EYES
Sewed on tape, Shanks covered with taffeta tape and with fold of
the goods.

E elets

Eyelets
Eyelet holes are made with a stiletto which forces the threads aside, but
does not cut them. The edge is finished with over and over stitches placed
closely together, or with a buttonhole stitch making the purl on the outer
edge of the stitches. Loops are made by buttonholing very closely over
several foundation threads, making the purl on the outside edge. The needle
may be run under the loop eye first if preferred.

PATCHING

With the underset patch have the part to be patched pressed Underset Patch
smooth, baste the patch on the wrong side of the garment
before cutting out the worn place. (If the garment or article to be mended is
worn or faded and shrunken by laundering, boil the piece in soap, soda and
water to fade the patch, if of cotton or linen.) After basting, cut away all the
worn cloth, making a square or oblong hole. Cut to a thread. Cut each
corner, diagonally, one-eighth or one-quarter of an inch, turn all four edges
of the garment towards the wrong side. Begin at the center of one side and
hem all around the square, taking slanting even stitches, not too close
together. Remove the basting, trim the edges of the patch, press the patch on
the wrong side and catch stitch to the garment. This shows less on the right
side and does not make a hard line as if the patch were turned back on the
edge. If the cloth has a pattern or stripe, match it perfectly, having the warp
threads of both running the same way. Cut both hole and patch square. An
oval or round patch is unworkmanlike and does not wear well. Keep the
corners square and hem down well. The object of pressing is to keep both
garment and patch flat and even. Flannel patches should be cat-stitched on
the right side. No flannel edges should ever be inturned.

UNDERSET PATCH, RIGHT SIDE, EDGE
TURNED AND HEMMED TO PATCH

WRONG SIDE OF PATCH, CAT
STITCHED

WRONG SIDE OF PATCH IN TABLE CLOTH—RAW
EDGE OVERCAST

LINEN PATCH; CROSS STITCH
INITIAL

The onset patch is used on lined garments and linings. The Onset Patch
patch should be rectangular and larger than the worn place.
Fold the four edges on the wrong side of the patch, place the patch with its
wrong side on the right side of the garment directly over the center of the
hole. This will bring the folded edges of the patch between the two pieces
of cloth and both right sides towards the worker. Do not baste, but pin
carefully. After the garment has been folded back until there are two folded
edges side by side, overhand the seam with even slanting stitches. See that

the corners are well sewed, that warp and woof threads run in the same
direction, that pattern and stripes match.

RIGHT SIDE OF FLANNEL PATCH
Edge cat stitched but not turned, back cat stitched in the
same way.
The worn part of the garment under the patch is cut away, leaving one-
fourth of an inch on the three sides. Cut the corners diagonally and turn
back the edge quarter of an inch, overcast and press. If this patch is sewed
on a lining, the worn part is not cut away. If this patch is used to repair
skirts near the band, only three sides are oversewed, the upper edge should
be gathered into the band. A large patch is less conspicuous than a small
one.
An onset patch may be used for the seats of trousers by Patch for
shaping the patch like the pieces on the seats of bicycle Trowsers

trousers and stitching on the machine. Heavy cloth will need no inturned
edges. The same precautions are necessary regarding warp and woof,
pattern, etc.

DARNING

Darning is usually done with a running stitch, with or Thread for
without a piece of net or cloth underset. Thread for darning Darning
should be as near as possible the size of the threads in the
garment. Whenever it can be done, a warp thread of the garment should be
used. No sewing silk is fine enough to use without separating the thread and
using one of the strands. Never use the thread as it is, as it is too hard
twisted. Cotton and linen thread of the finest quality, untwisted, should be
used for darning stockings and underwear. Linen may be darned with linen
or mercerized cotton. Cotton is preferable.
A long slender needle with a large eye should be used. Darning should
never be commenced with a knot, nor finished with a back stitch.
A bias or diagonal cut and a three-cornered tear are the most Bias Darn
difficult to repair. If the place is badly pulled and frayed, a
piece of the same material should be basted on the wrong side of the
material and darned in even stitches. Always darning parallel with the warp
threads and the woof threads. In the diagonal tear, as the threads are cut
diagonally, to prevent drawing apart, the darning threads must cross each
other.
The stitches around any darn should not end in a stiff even line; this makes
a hard edge which does not wear and is unsightly, and uncomfortable if on
underwear.
The three-cornered tear may be darned in two ways. Begin Darning a
by darning diagonally through the center, darning back and Three
forth towards the end of the tear until one-half has been Cornered Tear
finished; then begin at the center and work in the opposite direction. At the
corner, the stitches should form the shape of a fan. The other method, which
is the stronger, is done by darning a square in the angle, first with the warp
threads, then with the woof threads and finishing each end across the tear.

Stocking darning may be done on the right side. Begin by picking up the
stitches and drawing the edges together. This should always be done in any
kind of stocking darning, but not so close as to make a wrinkle.

STOCKINET DARNING OVER NET
Interlaced Stitches and Chain Stitches.
In knees and heels of stockings, or knitted underwear, a piece of net large
enough to extend beyond the thin part should be basted carefully; then darn
down the outer edges of the net and finally the hole or thin place. This
makes a strong, neat piece of mending. If the hole is large, the net may be
covered with the chain stitch, thus imitating the knitting stitch. This should
be done on the right side of the garment.
If the hole is to be filled in with the interlaced stitches, draw the edges
together, darn beyond the thin places lengthwise of the knitted garment,
making each line of stitches longer until the center of the hole is reached,
then decrease in the same manner, making a diamond in shape. Darn across
the hole in the same way, taking up every alternate stitch as in weaving.
Leave a tiny loop at the end of each row of darning, so that the threads will
not draw.

Darning, satisfactory for some purposes, may be done Machine
quickly on a double thread sewing machine. It is best done in Darning
an embroidery ring, first drawing the edges together. Loosen
the tension on the presser foot, use fine thread with light tension. Sew back
and forth, first along the warp threads and then at right angles along the
woof threads. The machine will be sewing backwards part of the time, but if
the pressure is light, there will be no difficulty. For large holes, paper may
be placed underneath.

MITERING EMBROIDERY OR LACE

The mitering of lace or embroidery is often necessary in making collars and
in finishing corners. Before applying, plan carefully and select a scallop or
portion of the embroidery which will produce the best effects when
finished. This can be accomplished by folding the embroidery over at
various portions of the pattern until a suitable point is found. Fold over at
right angles and mark along the line to be mitered. The triangle may now be
cut, but an extra width must always be allowed for the seam, as there is
frequently a slight unevenness and one side may have to be held a little full
or stretched to make a perfect match. The mitered seam is over-sewed.

MITERING AND JOINING
EMBROIDERY
A—Finished with a stitched seam; B—Edge
hemmed down and cloth cut away
underneath; C—Joined with lapped seam.

After the corner is properly made, cut away the cloth of the embroidery,
allowing only enough for an inturned seam on the edge. This seam may be
stitched on the machine on both edges, or oversewed to the goods, or the

embroidery may be securely sewed on the plain part, after which the
underlying cloth may be cut away. This will make an almost perfect corner.
Lace may be matched and mitered in a similar way.

MATCHING AND JOINING LACE

In joining lace, avoid a seam if possible. Select portions of the design that
will match, placing one pattern of the same design over the other. Cut away
a portion of the thick part of the pattern underneath and hem the edges and
inner part of the design down with fine thread.
Smyrna or Torchon lace is more difficult to hem or join when very open or
very fine. A small, felled seam is better than lapping and trying to match the
pattern.
Embroidery can be matched in the same way. Never let two heavy designs
lap over each other. The one on the wrong side should be cut out and the
edge sewed securely to the upper part of the design.

INSERTION WITH MITRED CORNER, TAPED
AND FACED; EMBROIDERY ROLLED
WHIPPED AND GATHERED
The plain material above the embroidery can be joined by a lapped seam,
turning first the right side and then the wrong side and hemming on both
sides of the seam.

MACHINE SEWING

The sewing machine has taken away much of the drudgery of home sewing,
but its use does not lessen the need of skill in hand work. No machine can
finish ends of belts, collars, sew on trimmings, fastenings, and like work
and the finish has much to do with the general appearance of a garment.
All the prominent makes of sewing machines were invented in the decade
following Howe's patent in 1846. The two chief types of machines are the

lock stitch, using double thread, and the chain or loop stitch, Types of
using a single thread. Whatever the make of machine it Machines
should be run in accordance with the rules accompanying it.
The worker should familiarize herself with the directions for setting and
threading the needle, winding the bobbin, regulating the tension and the
stitch and all other technicalities of the particular machine she has to
operate. Agencies of the various machines usually have skilled workers to
give instruction to beginners. While it is not always an economy of time to
use the attachments for hemming, tucking, etc., unless much work is to be
done, it is worth while to know how to use them if desired. As much or
more skill is required for neat machine work as for hand sewing. Results
will not be satisfactory without careful basting.
The machine should be kept well oiled, free from dust and Care of the
gum and it should he run evenly. In case it becomes Machine
"gummed" a drop of kerosene on the parts that have been
oiled will cut the gum. Remove the shuttle and run the machine rapidly for
a moment, then wipe off all the kerosene and oil the machine carefully with
good machine oil—only the best should be used. A machine should always
be wiped thoroughly before any work is placed upon it.
As in hand sewing, needles and thread should be selected Needles and
with care. A blunt or bent needle should never be used, it Thread
should have a fine sharp point and the eye should be
sufficiently large to carry the thread easily. The needle and thread should be
suitable for the material to be sewed. Glazed thread should never be used in
a machine. The best quality of thread and silk should be purchased but only
enough for immediate use, as it loses strength with age, chiefly because of
the action of the dyes and chemicals. Even white thread may become
"tender" from the chemicals used in bleaching it. Sewing silk and cotton
should be kept in a closed box to exclude the light and air.
For sewing cotton or linen the best cotton thread should be used. Woolen,
silk, and velvet should be stitched with the best machine silk. The thread
should match the material in color. Cotton thread fades or loses its
brightness when exposed to the light, therefore for stitching that will show
it is always better to use silk. The thread on the bobbin should be wound
evenly and carefully to insure an even stitch and the tension of both threads

should be equal, otherwise the stitch will not be perfect. As a lock stitch
machine requires two threads while in hand sewing only one is used, the
two need not be as coarse as the single thread. For ordinary home sewing,
underwear, thin gowns and the like, No. 70 to No. 100 will be found
satisfactory. Finer thread may be used when the materials demand it, but no
coarser than No. 50 should be used in the machine and this only with the
coarsest material.
Much time may be saved in fastening the threads at the ends Fastening
of tucks, hems on sheets, towels, etc., by careful Threads
manipulation of the machine. For example, on sheets begin
to stitch along the hem at the selvage, or if the end of the hem is over-
sewed, begin an inch from the edge and stitch the hem towards the selvage,
then lift the presser-foot so as to turn the work, and retrace the bit of
stitching, continuing across the whole hem. When the end is reached,
release the presser-foot, turn the work, and stitch back for an inch or more
in the same line, as was done at the beginning of the hem. By this method
the threads are fastened much more easily and quickly than by drawing
them through on to the wrong side and tying or sewing them by hand and,
of course, it is more satisfactory than the "shop" way of cutting them off
short. Tucks or seams may be fastened in the same way. If fine thread is
used the double stitching at the ends is hardly noticeable.
When stitching a seam having one bias and one straight side, Bias Side Next
let the bias side come next to the feed, that is, on the Feed
underside. This is especially important in thin materials. If
the material is very sheer, strips of soft paper—newspaper will answer for
ordinary purposes—should be sewed in the seam. This will insure a seam
free from puckers and when finished the paper can be pulled away easily.
In sewing gathers on a band they should also come next the Stitching
"feed," as it takes up the side next to it a little faster than the Gathers
upper side. When the bias, or cross-way side of the seam, or
gathers are next to the "feed" the material runs along smoothly, but if the
straight side is towards it there is apt to be a pucker.
Stitching can be done more easily on the right of the presser foot with the
bulk of the material lying to the left. The tendency of the "feed" or teeth is

to crowd the work off the edge as well as forward and the stitching may be
guided better on the right side.
All straight seams should be stretched to the full extent of their straight
edge in stitching, as the work passes under the presser foot.
When a large amount of machine sewing is to be done—such as household
linen, sheets, pillow cases and underwear—it is a good plan to do all the
basting and hand work first and keep the machine stitching for a rainy or a
damp day, as the thread is then less apt to break. A current of air or a breeze
from an open window on a dry day will often cause the thread to snap. For
the same reason the machine should never stand near the fire or radiator.

TEXTILES AND CLOTHING

PART II

Read Carefully. This test consists of two parts,—answers to the questions
and the making of models. Both should be sent to the School for inspection
and correction. All models should be made about 4 by 6 inches so that they
may be put into the envelope provided without being folded. Two series of
models are given; either or both may be made.

1. What instruction have you ever had in sewing?
(b) Has the subject any educational value?
2. What are the common basting stitches, and for what are they used?
3. Can you make the running stitch properly? How is it done?

4. For what purpose may the cat stitch be used?
5. Hems and Seams: Describe the different kinds for thick and thin
materials, including those for flannel and state when they should be used.
6. Describe three kinds of plackets.
7. How are gathers made, and how sewed into a band?
8. What can you say of fastenings?
9. With what sewing machine are you most familiar, and what are its
peculiarities?
10. What stitches or methods described in this lesson are new to you?
Note: After completing the answers, sign your full name.

MODELS, FIRST SERIES

I. Stitches. On a piece of cotton about 4 by 6 inches, make with colored
thread (1) a line of even basting stitches, (2) uneven basting stitches, (3)
tacking, (4) running, (5) back stitch, (6) running and back, (7) half back.
With embroidery silk make a row each of (1) cat stitch, (2) single feather,
(3) double feather, (4) chain, (5) rows of French knots with border of
outline stitch.
Make your initial in one corner, using any stitch preferred.
Overcast one long edge of the model, double overcast the opposite side,
finish one end with plain loop or blanket stitch, and the other end with some
fancy loop stitch. Fasten all threads as described in the text.
II. Seams and Hems. (a) Join two pieces of fine cotton with a French seam at
the long edge, about 2 by 5-1/2 inches, with warp running lengthwise. (b)
Cut a piece of muslin on a true bias and attach the bias edge to a with a
felled seam. (c) Trim the model and hem all sides so that the finished model
may measure 4 by 6 inches.

III. Darning and Patching. (a) In gingham or figures cotton, make an
underset patch of a square hole, matching the goods. (b) Darn a three-
cornered tear.
IV. Fastenings. The proper distance from the edge of folded goods make (a)
button hole, one end rounded and the other finished with a bar tack. (b)
Under it make a partly finished, barred buttonhole. (c) Below this make an
eyelet hole, (d) below the eyelet hole a loop, and sew on an eye.
On a second piece of folded goods opposite the first buttonhole, (a) sew a
four-hole button, corresponding in size to the buttonhole. (b) Opposite the
second buttonhole sew on a two-hole button; (c) below, sew on two hooks
corresponding in position to the loop and eye. Make the two parts of the
model so that the corresponding fastenings will join.
V. Apron. Using fine muslin, make a doll's apron, gathering into band at
top. Above hem at the bottom, make two clusters of tucks of three each.

MODELS. SECOND SERIES. FOR EXPERIENCED
WORKERS

I. Rolled Hem; Hem Stitching. Make a doll's apron of fine muslin, attach
top to band with rolled, whipped gathers. Make two clusters of tucks of
three each at the bottom and hem stitch the bottom hem.
II. Sleeve Placket. Make a taped sleeve placket as shown in the
illustration.
III. Make a Slot Seam, using dress goods and finish with an arrow head.
(b) Make a large cloak buttonhole.
IV. Mitre Embroidery and finish as shown in the illustration. (b) Match and
join the same.
V. Embroidery: Make something small and useful—a doily, stock, collar—
illustrating some style of embroidery, or make a model of the first series
which will afford you the most new experience.

MAKING MEXICAN DRAWN-WORK

TEXTILES AND CLOTHING

PART III

DRESSMAKING

The greatest obstacle to home sewing of any kind is the Good Tools
failure to provide suitable materials with which to do the Necessary
work. To do good work—to make attractive gowns—the
simple tools which the work requires must be provided. First, there should
be needles and pins of the best quality and make. They should be fine and
well pointed. The needle should be suitable to the material to be sewn and
sufficiently large to carry the thread easily. A blunt or bent needle should
never be used. Long or milliner's needles are preferred by many for basting.
A good supply of thread should be kept on hand—not too Thread
great a quantity, but the stock should be added to as it is
used. There should be both silk and colored cotton, also twist for button
holes, loops and arrow heads and knitting silk to sew on and finish feather
bone.
Two pairs of scissors are required—one with long, sharp Scissors
blades, and a pair of medium sizes for snipping machine
stitches.
Among the other necessary articles are a tape measure, cake of wax, pencils
or tailor's chalk, tracing wheel, emery, lap board.
Canvas, scrim, or any like material should be kept in the sewing room, as
these are invaluable for facings, linings of collars, cuffs, etc. Hooks, eyes,
buttons, tape, linings, featherbone and shields are requisites not to be
forgotten.
Tape is constantly needed. Linen tape is thinner and makes a Tapes
neater finish for some purposes than cotton tape. The bias

tape or binding now kept by the larger stores is very useful for binding
curved edges and for other purposes.
If a regular cutting table is not available, the dining room Cutting Table
table should be used. Skirts, bodices, ruffles, and bias bands
should be cut on firm, even, and large surfaces. If cut upon the floor or bed
and pressed on a coarse crash towel, the garment will have the undesirable
home-made look.
A good pressing board should be provided and if possible a Pressing Board
sleeve board. In the process of garment making of any kind
too much stress cannot be laid upon constant and careful pressing.
The ironing board should have for its outside cover a finely woven,
perfectly smooth cloth, tightly stretched, free from wrinkles, and securely
tacked.
Where there is gas, a small, portable stove should be kept near the sewing
table with a medium-sized flat iron. Lacking gas, one of the single burner
oil stoves may be used. An electric flat iron is especially convenient.

PADDED BUST FORM
(From Dressmaking Up-to-Date,
Butterick Co.)

A bust form is a great convenience in fitting and almost a Bust Form
necessity for one who does much home dressing. These may
be purchased at department stores. Some kinds are adjustable, but it is
always best to make a carefully fitted lining for it and pad out to the correct
shape and size. The pattern should be one that extends well over the hips
and heavy unbleached muslin may be used. After padding firmly, the front

opening should be oversewed. Special care should be taken with shoulders
and neck and the neck band should be carefully adjusted on the figure.
A padded sleeve lining is also very useful in making sleeves.
Dressmaking never should be begun until each needed article required for
the work has been purchased. The sewing room should be in order; the
machine well oiled and wiped before any work is undertaken.
If the finished garment is to be perfect, careful attention must Skill and Taste
be given to every detail of the cutting and making up. To
possess mechanical skill alone is not sufficient. A successful garment
depends not only upon the dexterity with which the worker manipulates the
actual tools of her craft, but upon all her faculties and her power of applying
them. She must have a comprehension of the laws of beauty in dress,
construction, ornament, color, selection, economy. The artisan knows the
technical part only, and looks upon each dress—each piece of lace and
velvet—as so much material to be snipped and cut and sewed, copying from
the fashion plate, making gown after gown alike. The artist, on the other
hand, makes the gown to suit the individual wearer, considering each dress
no matter how simple—and the simpler, the more artistic—as a creation
designed to suit the woman for whom it was planned.
People who study economy from principle will never adopt anything
extreme in weave, or color, or make. These extreme fashions are never
lasting; they are too conspicuous and are vulgarized by bad copies, while a
thing which is known to be good and beautiful once will remain so for all
time. Those who are beginners in the art of dressmaking should select plain
designs until skill is acquired. The making up and finishing of new fabrics
and new or untried methods are problems that often dismay even the most
experienced dressmaker.

PATTERNS

The makers of good and reliable patterns are many. Always Selection of
buy patterns of firms that make proportion of figure as well Patterns
as fashion a study. These patterns state length of skirt, waist
and hip measure and quantity of material required in all widths. Buy a skirt

pattern with correct hip size, as it is much more difficult to change this than
to alter the dimensions of a waist. Adjust the pattern to the figure for which
the garment is to be cut and see that it is right in all of its proportions.
Always follow the notches indicated in the seams of the pattern, and thus
avoid putting wrong pieces together. Be sure that the pattern is placed
correctly upon the material with the straight grain or warp threads of the
goods running directly on a line with the straight perforations indicated in
the pattern. Lay the entire pattern upon the cloth. This gives an idea just
where every piece is to come out.
All patterns give one-half of the bodice and the skirt, from What the
center of back to center of front. The plain waist pattern Pattern Gives
consists of back, curved side piece, under arm piece
(sometimes these two pieces are in one) front, upper and under sleeve,
collar or neck band. Some patterns allow for seams—others do not. Skirt
patterns give only one-half of the front gore. The seam edges of front gore
are marked by one notch near the waist line. The front or straight edge of
the first side gore has one notch, and two on the back edge of side gore. All
the gores may be distinguished from the edges of the back gores by the
lesser number of notches. This is true of all skirt patterns. If the patterns are
studied carefully, all skirt cutting becomes very easy.
The object of goring a garment is to take out unnecessary fullness at the
top; reducing the weight, making the garment less clumsy, and giving a
nicety of finish which could not be done in heavy material if all the goods
were left to fit into a band. Skirts may be lined or unlined, gored or full.

SEVEN-GORED SKIRT

The style may vary with the fashion, but a well-fitting skirt should hang
even around the bottom edge, should fit easily around the hips without
being strained or defining the figure too closely, or "ride up" when sitting,
should flare slightly from hips to the bottom of the skirt, should not fall in
between the feet, the back should fall well behind the figure. For heavy
goods, as little material as possible consistent with the prevailing style
should be used.
PLAN OF SKIRT MAKING

Shortening or lengthening of pattern if necessary.
Placing of goods.
Pinning on of pattern so there is no waste.
Cutting.
Removing and care of patterns.
Pinning, basting, or tacking of skirt to lining.
Joining of seams, fitting.
Stitching.
Pressing.
Finishing of seams and placket hole.
Making and putting on waist-band.
Marking length and finishing the bottom.
Fastenings, loops, braids, hooks and eyes.
To lengthen or shorten a skirt pattern, measure the figure and Lengthening
or Shortening
regulate the length of the patterns by making a fold in each Patterns
gore two-thirds of the way from the top of the pattern if too
long. This is for the simplest skirt pattern. The shape of the skirt may
require two folds, one two-thirds from the top and a small fold near the
bottom to preserve the outline.
If too short pin the pattern on the material, cut around the top of gore and on
each side two-thirds of the distance from the top of gore. Unpin and draw
the pattern down to the bottom and cut the required length. Except for wash
material, do not turn a gored skirt up at the bottom to form a wide hem, as
the fullness made by turning is hard to dispose of neatly and the right curve
at the bottom of the skirt may be lost.
Another way to lengthen the pattern is to cut it in two, two-thirds the
distance from the top. See that all pleats or tucks are exactly the same width
and at the exact distance from the top or bottom of the gore, also that all
seams are of the right length. A shorter skirt must be proportionately
narrower.
It is well to test the skirt and waist patterns by using Testing
inexpensive materials, such as calico, gingham, or cheap Patterns
lining. Cut, baste, fit, and make this as carefully as if it were
the best cloth or silk. If the skirt and waist are satisfactory, the pattern will

do duty for several seasons. The plain waist pattern is the foundation for
any waist and many changes can be made easily with a well-fitting skirt and
plain waist pattern as a basis.
As paper patterns soon wear out, after a waist and skirt have Cloth Patterns
been perfectly fitted, it is a good plan to cut an exact pattern
of cambric, both skirt and waist, tracing seams and notching the parts. This
will enable the home dressmaker to cut and make all ordinary dresses with
little trouble and with but one trying on. It is always well to try on once, as
materials differ in texture and a slight change may be necessary.

PLACING PATTERNS
At the left, on plain or symmetrical
designs; at the right, on figured or
napped goods. a—Half of front gore; b
—Second gore; c—Third gore; d—Back
gore; e—Front waist; f—Under arm
piece; g—Side back; h—Back; i—
Outside sleeve; j—Under sleeve; c' d'—
Piecing of gores c, d.

If the material is plain, has no nap, or if the design is Placing
perfectly symmetrical, the gores may be alternated, the top Patterns
of one gore coming opposite the bottom of the next. The half
pattern of the front gore is always laid on a lengthwise fold of the goods. If
the goods is wide, the other gores may be cut double with the cloth folded
lengthwise. With narrow goods, the cloth may be folded end to end after the
middle gore has been cut out, and the other gores cut double. Care should
be taken that the line of holes in the middle of the gores runs exactly in a
line with the warp of the material, i. e., parallel to the selvage.
If the goods has a figure, the design should run upwards. Any nap should
run downward, except with velvet or velveteen, in which it should run
upwards. With such goods, the gores if cut double must be placed on a
lengthwise fold, with the lengths running the same way. If the goods is
narrow, the gores may have to be cut single, reversing the pattern (turning it
over) so that both pieces may not be for the same side.
Pin the middle of the pattern to the goods and smooth Pinning
towards each end, pinning securely at top and bottom. Avoid Patterns
too many pins and pin carefully, otherwise the pattern will be
displaced.
After the pattern is securely pinned, cut out the gores, using Cutting Out
long, sharp shears. Care should be taken not to lift the
material from the table, not to have jagged, uneven edges, as both time and

material will be wasted in straightening them. Open the shears as wide as
possible, taking a long sweep of the material, and do not allow the points of
the shears to come together. Mark all notches with basting thread, tailor's
chalk, or notch the goods if it does not ravel.
The back gores should be cut in the same way. They are usually wider than
the front gores and may require piecing, which should be done along the
warp threads.
Now remove the pattern, pin carefully all pieces together and fold as little
as possible. The trinity—pin, baste, press—should be written in large letters
in every sewing room, for much of the beauty of the gown depends upon
these three.
To join the skirt, pin the side gores to the front gores, Joining the
beginning at the top, with pins running across the seams, Skirt
then begin at the top of the skirt and baste downward,
allowing all unevenness to come out at the bottom. Baste straight and
evenly, taking one stitch at a time. Several stitches should never be taken at
once on thick or piled goods, as the side next to the sewer is apt to be fuller
in that case. When all seams are basted, try on the skirt and make all
changes necessary before stitching. Both the outside skirt and any under or
"drop" skirt should be fitted as carefully as a waist.
If the skirt is to be lined the lining should be made and fitted Lined Skirt
first, then ripped and the outside carefully basted on the
lining, being well stretched over the lining, care being taken to have the
warp of the outside and the lining run the same way. This will prevent the
lining from drawing the goods.
A stitch of medium length should be used on all seams Stitching
whether white goods or cloth. If the stitch is too long, the Skirts
seam will "gap" and will show the thread; if too short, the
seam is apt to draw. The line of stitching must be absolutely parallel inside
or outside of the basting or the curve will be ruined. Use silk or the best
cotton for stitching skirts and be sure that the needle is not too coarse.
After stitching, all bastings along the seams should be taken Finishing
out by cutting the thread in several places. Never pull a Seams

basting the length of the skirt. The seams should be opened and pressed
according to directions. The seams may be finished with a taffeta binding,
overcast, stitched flat or notched, as the case demands.
If stiffening is used at the bottom of a lined skirt it should be Stiffening
fitted to each lining gore separately and securely stitched. A
light weight canvas should be stitched to a heavy cloth skirt at the bottom, if
several rows of stitching or braid are to finish the bottom of the skirt.
The placket may be finished before the two back gores are Placket
pinned to the front, if preferred. If done before joining the
gores the placket can be pressed better and the front is not so liable to be
crushed. On the left side of the skirt sew an underlap of sufficient length to
extend well below the end of the opening. Face the right side of the opening
with a piece of the goods, or tape not too wide, hem or cat-stitch to the skirt,
and finish with hooks and eyes, loops, or any fastening that will secure the
placket.
The skirt is now ready for the band, which should be narrow. Putting on
Always cut parallel with the selvage and the length of the Band
underlap longer than the waist measure, allowing for turning
at the ends. The band should never be thick and clumsy and not too tight.
Try on the skirt and fit the band carefully, marking the seam with pins, a
line of basting, or chalk. Hold the skirt easy on the band and baste with
small stitches, then stitch on the machine. If the skirt is too tight around the
hips the plaits will fall apart at the back. If the skirt is stretched on the band
the seams will not fall in a straight line. After the band is securely stitched
and finished with hooks and eyes adjust the length by turning under at the
bottom and pinning, after which baste all around and try on again to make
sure that the length is correct.
A gored outside garment should be finished with a true bias Finishing the
or a fitted facing, carefully stitched on. It is possible to finish Bottom
the bottom of a simple house dress or thin skirt with a hem if
the fullness made by turning is disposed of in gathers or fine pleats. A bias
facing, however, is always preferable. If of heavy or lined goods the finish
should be velveteen or braid the same color as the skirt. These bindings
come in different widths and grades. Braids should always be shrunken by

wetting and drying thoroughly; one wetting is not enough. Velveteen should
be applied loosely, so as not to shrink or draw after it becomes damp on the
skirt.
The right side of the velveteen should be carefully basted Applying
with small, even stitches to the edge of the facing. It may be Velveteen
hemmed to the facing or machine stitched just inside the Binding
basting, which need not be removed. It is then turned, allowing a very
narrow portion to show below the edge, and basted with close stitches,
pressed, hemmed down to the facing by hand, or cat stitched without
turning the edge. Be careful not to let the stitches show on the right side,
nor let the binding twist or pucker. The joining of the velveteen should be
near the seam in the back.
Another method is to cut off the bottom edge of the skirt a quarter of an
inch from the turning line; apply the wrong side of the velveteen to the right
side of the skirt, baste carefully close to the edge and stitch on the machine
through velveteen, cloth, and lining (or facing) just inside the basting which
is left in. The bottom of the raw edge is turned up, basted close to the edge
allowing the velveteen to show a very little. The upper edge of the
velveteen is secured as before by turning and hemming or catstitched
without turning. The illustration shows this method of applying the
velveteen which is first stitched to the lining and turned with the edge. This
makes a firm, rather stiff finish.
Braid is stitched on to the bottom of a skirt with a narrow Braid
edge showing, or it may be applied like the velveteen, with a
doubled edge at the bottom. The doubled edge will wear better.
Skirts that are to be washed and therefore which are very Finish of Wash
likely to shrink must be finished at the bottom with a wide Skirts
hem—at least six inches—the fullness made by turning
being disposed of carefully in pleats or gathers.

APPLYING VELVETEEN BINDING
If desired, the bias seam down the back of the skirt may have a narrow
woven tape or selvage of thin goods stitched in with the seam. This
strengthens the seam and prevents dragging. The skirt when finished should
always be longer in front than in the back.
All cloth dresses demand every detail of finish to make them complete and
able to stand hard usage, but simple house dresses and thin summer dresses
do not require such careful finish.

SHIRT WAISTS

In planning a waist the same rules should be observed in Trace Seams
placing patterns, etc., as described for skirts, except that the
lines and seams should be traced with a tracing wheel or marked carefully.
In making a waist of any kind care must be taken to cut all the pieces the
proper way of the material.

The difficulty of putting garments together after they have Baste Lavishly
been cut properly is due to undue haste, lack of care in
details and insufficient pressing. The apparently simple act of basting is
really of primal importance, particularly in the making of a waist. One need
never be afraid of basting too much or too carefully. Economize cloth and
time in cutting, but use basting lavishly.
The waist pattern may be made shorter by laying folds Altering Waist
across both back and front. The fold across the back should Patterns
be two inches above the waist line and across the front two
inches below the arm's eye (in the back). Securely pin or baste the folds in
the pattern. If the pattern is of nearly the correct size it may be only
necessary to make the waist shorter and smaller. The neck and arm's eye
will seldom need altering. The sleeves may be shortened in the same way
by laying folds in the pattern, above and below the elbow.
PLAN FOR MAKING A SHIRT WAIST
After the waist is cut, remove and care for the patterns.
Make the sleeves, cuffs and collar band first.
Make box plait on right or left side as liked by the wearer and hem on the
other side or face.
Baste shoulders and under-arm seams.
Try on the waist, making all changes necessary by enlarging or taking up
seams.
Pin for neck band and mark for seams.
Fit sleeves and mark places for seams.
Arrange fullness and place tape at back of waist line.
If the pattern is for a plain, one-seam sleeve with the cuff Making Plain
opening at the end of the seam, hem each side of the opening Sleeve
one or two inches from the bottom, gather the bottom
between the notches, lay the gathers, baste the right side of the sleeve band
or cuff to the wrong side of the sleeve, stitch and press, fold in a hem on all

edges of the cuff, fold the cuff over on the wrong side of the sleeve, baste,
oversew the ends of the cuff, press and stitch the cuff close to all edges.
After thus attaching the cuff, baste and stitch the long seam of the sleeve
and gather at the top between notches. The cuff is usually cut in the
direction of the warp of the goods.
The sleeve described is the simplest that can be made. If the sleeve is to
open at the back and finished with a tape, with a placket, strap or fancy lap,
the seam in the sleeve is stitched first and the cuff afterward adjusted.

PLAIN SLEEVE WITH CUFF, SHOWING
GENERAL METHODS OF SEWING ON BANDS
The box plait is made if desired and the under arm and shoulder seams
basted when the shirt waist is ready to try on. Make any change in the
seams necessary. The neck band is put on in the same way as the cuffs,
sleeves sewed in, fullness arranged at the back and a tape placed at the
waist line. Three hooks or other fastenings should always be placed at the
back to attach to corresponding fastenings in the skirt band. The bottom
edge of the waist may be finished by overcasting.
If it is desired to have the fullness cut away at the waist line Bottom Finish
in front, determine the length, allowing sufficient for a
blouse, gather the waist at the bottom and sew the fullness on to a band.
Sometimes this band is carried entirely around the waist.
The fit of the collar or neck band is very important in any Fit of Collar
kind of a waist. Both the front and the back may be cut

higher than the pattern, as it is easy to cut off in adjusting and more goods
cannot be added.
To the unskilled the simplest garment is sufficiently difficult. It is wiser to
make two or three perfectly plain garments before attempting to make an
elaborate one.
After the pattern has been tested, fitted and all necessary changes made, cut
a pattern from the fitted waist of cambric or cheap new muslin and mark or
trace all seams. (Never use old, worn-out sheets from which to cut a
pattern.) After this permanent pattern has been made, do not change a single
line.
If a plaited or tucked waist is to be made, all plaiting and Tucked Waist
tucking should be done first, after which the same order of
making is to be followed for a plain waist. No waist should Full Busted
Waist
draw or strain across the bust. This is especially important in
tucked or pleated waists. To guard against this tendency, a graduated tuck
can be pinned on either side of the front, beginning with nothing at the
shoulders and widening at the waist line. This is done before the pattern is
cut and will allow for especially full bust. The fold should be on a thread of
the goods.

LINED WAISTS

The plain, closely fitted, lined waist, with the curved back and side forms is
the most difficult to make and requires the greatest nicety in handling from
beginning to finish.

TYPICAL BODICE PATTERNS
(a) Front. (b) Under Arm Piece. (c) Side of Back. (d)
Back. (e) Collar. (f) Outside Sleeve. (g) Inside Sleeve.
The pattern for a bodice of this kind should be of such a shape that in each
part the woof threads will go as straight around the waist as possible. This
makes the warp threads perpendicular and will give almost a perfect bias on
the current seams in the back. Do not cut the side forms out of any piece
that is big enough, without regard to the warp and woof threads. If this is
done, the threads in each will run differently and all ways but the right one.
In a well-designed pattern the back forms should be nearly as wide at the
arm's eye as they are at the waist line. The swell of bust and shoulders
should be accommodated by the back and front forms.
When material is to be cut on the bias be careful to have a true bias (the
diagonal of a square) around the waist and up the front and back seams.
PLAN FOR MAKING FITTED, LINED WAIST.
Pin pattern to lining, cut out trace seams.
Baste all seams on traced lines.
Try on lining. Make changes.
Rip lining, baste on outside and cut by fitted lining.
Baste seams and try on. Make changes if necessary.
Mark the turn for hem down the front, face and mark for fastenings.

Stitch and finish seams. Put on featherbone.
Put on collar; sew in sleeves.
Finish.
In making a lined waist, the lining is cut, basted, and fitted Finish
First
Lining

before the outside is cut. After fitting, the lining is ripped
apart and the outside cut by it. For all firm, heavy materials the lining
should be slightly fuller than the outside, that is, the dress goods should be
well stretched over the lining, just as in a lined skirt, and basted closely and
evenly, the warp and the woof threads of the outside and lining
corresponding.
In laying the pattern for cutting the lining, just as much attention should be
paid to the direction of the threads as in cutting a striped or figured goods.
All seams should be traced on the lining with the tracing Marking
wheel, with a slow backward and forward movement, Seams
making the perforations clear and distinct. Soft spongy
goods that cannot be traced may be marked with a line of basting, tailor's
chalk or by taking stitches with a pin along the line to be marked and
twisting them in the goods. This will make holes that can be seen, but the
twisting does not harm the goods. Always trace or mark the waist line, as
this is the starting point from which to pin or baste. Bodice seams should
never be begun at the top or bottom, but at the marks or notches that show
the waist line, working towards the top and bottom.
After the lining is cut out, the seams should be basted exactly along the
traced lines, with seams out, when it is ready to be tried on.
If the pattern has been cut or drafted by the correct bust Making
measure, the back seams should never be changed. If Changes in
possible, make all changes required by letting out or taking Straight Seams
in on the straight under-arm seams, leaving the curved ones and the darts
untouched.
Pins should be used plentifully while the fitting is being Pinning and
done, but they should be replaced with regular basting as Basting
soon as they are removed. Do not be afraid of taking up

fullness in the lining by darts crosswise at the top of the corset or where the
fullness naturally falls in front or back. Such darts should be basted,
stitched and pressed flat. If the lining is too short, it may be lengthened by
letting out the shoulder seams.
After the lining is fitted, it is ripped apart, the outside cut, Outside Cut by
basted to it and the seams are basted, beginning at the waist Lining
line. Never use a long thread in basting and always use short,
even stitches, especially where any curved seams are to be stitched on the
machine. This rule must be followed invariably if puckering is to be
avoided.

WAIST LINING BASTED, SEAMS OUT
The pattern at the shoulder seams should be shorter in front ShoulderSeams
than at the back. In joining this seam, pin the two portions so
that the ends of the seam meet exactly at the neck and arm's eye. In basting,
stretch the front piece to fit the back, holding it in or puckering it if need be.
Pressing will banish the pucker and give an easy seam that will hug the
curve of the shoulder, as in a man's coat.
When the waist is on the figure, pull it well down to the Fitting
waist line, pin the front linings together beginning with the
neck, then lift the waist a little in front to give fullness and pin to the waist
line. Mark for the hem down the front, finish the edge with a well-fitted
facing under which is a thin bias strip of canvas interlining for buttons or

hooks and eyes. Marks showing the position of fastenings should be made
at this time.
The neck and arm's eye should be fitted by making slashes in Fitting of
the curve—never cut around the curve. For the collar or neck Neck and
band have a true bias of thin canvas or crinoline and draw it Sleeves
around the neck and pin with the ends out, towards the worker. (Never lap
any edges of waist, belt or collar when fitting.) Mark on the waist where the
lower edge of the neck band touches. Draw the sleeve on the arm, pin and
mark where it sets right, seeing that the elbow fullness is in the right place
and that it does not twist at the hand.
As in the lining, all changes necessary in fitting should, if possible, be made
in the straight seams, as it is difficult to preserve the proper lines of the
curved ones. The shoulder seams should be the last one to be basted.
After all faults are remedied, the seams are carefully stitched along the line
or basting, the bastings removed, the seams pressed and finished. The last
seam to be stitched securely should be the one at the shoulder. By leaving
this open, all fullness can be smoothed upwards and any trimming can be
let into the seam.

BACK OF WAIST, WELL MATCHED

Sew in featherbone by cat stitching to the seam, first Boning
finishing the ends by button-holing. All seams should be
stretched well when sewing on bones of any kind.
Curved seams should be notched every one or two inches at the curve and
bound or overcast. This allows them to lie flat.
In a draped waist the lining is made separate and not stitched Draped Waist
into any seam of the outside except at the shoulder. In fitting

the outside the back is pinned on to the lining firmly, then the front and
finally at the underarm seams. The seams are then basted, the waist tried on
again, alterations made, if necessary, seams stitched and the bottom finished
with the lining, as desired.
Three eyes or other fastenings should always be sewed at the seams in the
waist line at the back to secure the skirt to the waist, thus preventing it from
sinking below the waist line.
The finish of the lower edge of the waist is often a problem. Finish of
If the waist is to be worn under the skirt, just how to finish or Bottom of
whether to finish it at all is a question. The first step is to Waist
trim the edges evenly. A line of stitching and simple overcast will show less
through a close-fitting skirt of light weight material. When binding is used,
it should lie perfectly flat, twice stitched and pressed well.
If the waist is to be worn outside the skirt, a narrow bias strip of canvas
should be basted on the wrong side, the waist turned up over this as directed
for sleeve and collar finish. Over this a bias facing of silk may be hemmed
or cat-stitched.
In spite of careful measuring and all care in cutting, the waist Fitting
may not fit, owing to some deformity or peculiarity of the Irregularity of
figure. Such figures require especially careful fitting and the Figure
hollow place should be filled out with wadding. This needs to be done with
the greatest care and nicety.

MAKING BIAS STRIPS FOR FACINGS

Avoid too frequent fittings. The bias portions of the bodice are liable to
stretch out of shape and too much handling of the waist takes away the
freshness. This is one reason why it is advisable to make the sleeves and
collar first in order that the whole waist may be fitted at once and all
alterations made to fit both sides. A perfect figure is the exception rather
than the rule and the side that is not developed should be well fitted,
whether sleeve or bodice.

COAT OR TIGHT FITTING SLEEVES

If it is necessary to lengthen the sleeve, say two inches, cut Altering
the pattern at right angles to the lines indicated by the dots, Patterns
above and below the elbow. The slashing should be done
exactly at the same distance apart in the upper and under portions of the
sleeve in order to retain the proper shape and size of the top and bottom.
Separate the parts, allowing one inch above and one inch below the elbow.
To shorten the sleeve, lap the slashed part or lay a fold in the pattern instead
of slashing. In either case, care should be taken that the fold or lap is of
even width all the way across, so that the original shape of the sleeve will
not be lost.
Too much care cannot be taken in arranging the pattern of Placing of
the sleeve according to the thread of the goods. Especially is Patterns
this the case in the two-piece or coat sleeve. Generally the
top part of the outside seam and the lower part of the same side should be
placed at the edge or fold of the goods, so that the two run in the same
straight line. In all cases, the foundation sleeve or lining should be cut and
fitted before the outer portion is adjusted. Ample time should be given to
the fitting and basting of the sleeve. The "set" of the sleeve is very often
unsatisfactory because the cutting and original basting was done in a
careless manner. Remember that greater care is required in sleeve making
than in any part of the garment. Each sleeve is complete in itself and one
must not deviate from the other in size, arrangement or ornament, or
general appearance. They should be cut, basted and fitted alike and if the
arms differ in size or length the sleeves must be so adjusted as to conceal
the inequality.

The sleeves should be made at the same time and before the cuffs, then the
cuffs, puffs, or whatever special trimming is to be applied to them should be
put on both sleeves at the same time. If the second sleeve is not made or
trimmed until after the first is finished, it will be much more difficult to
secure exactly the same effect. If it is impossible to complete both sleeves at
one time, make the sleeves one day and the cuffs or trimming the next day.
In making the coat sleeves the general methods are the same, but each
season brings out new styles which the maker will have to understand
before proper making and finishing can be acquired. Always master the
simple and standard patterns and the minor changes dictated by fashion—
new fancies and effects—will not be difficult to acquire after a little
experience has been gained.
The lining for both sleeves should be fitted and the outside cut by them.
After economical cutting, trace the seams carefully, and Joining the
baste the outside to the lining, basting both uppers before the Parts
under sections. Join the under and upper parts by pinning
and basting, the outside seam first, beginning in the middle of the sleeve
and working toward each end. The outside seams should be begun at the
notch at the elbow, working toward each end. Where the sleeve calls for
gathering the fullness should be distributed between the notches and the two
portions of the sleeve should be secured at this point, before or after basting
the upper or lower portions of each sleeve.

FINISHING OF SEAMS
Notched at Curves and Bound or Overcast.
Stitch the seams just outside the basting, then remove the line of basting
along the seam and press. Trim off all rough edges. The inside seam is
opened and notched at the bend of the elbow and an inch or two above and
below and bound with silk binding ribbon or evenly overcast with twist or
mercerized cotton.
If an elaborate cuff or trimming is to be added to the sleeve, Adding Cuffs
whether full or plain, it should be made separately and blind
stitched to the faced sleeve. In case the sleeve is gathered the fullness can
be put into a narrow band, the exact size of the cuff, the cuff then sewed on
the band.
In putting the sleeve in the armhole, be sure that both seams Putting in
are at the same point, that both have the same amount of Sleeves
fullness at the top, and that the plaits or gathers are equally
distributed from front to back. The sleeve should be held next to the worker
and should lie easy from seam to seam at the under arm. Baste with close,
even stitches or back stitch with coarse cotton or twist the same color as the
waist. Stitch in the sleeves on this line of basting, keeping the armholes
curved while the stitching is being done. Trim off edges and finish with
binding or close overcasting. The most careful binding is clumsy compared
to the overcast finish. Turn the seam toward the shoulder and hem to the

lining over the shoulders. This will do away with the stand-up look that
sleeves sometimes have.
For the sleeve finished plainly around the wrist, a piece of Finish at Wrist
bias crinoline should be fitted at the hand. To do this, turn
the sleeve right side out and slip the crinoline in the sleeve over the left
hand and adjust by moving the fingers until the crinoline shapes itself to the
sleeve perfectly, then pin and baste at the top and bottom. In this way the
crinoline will be neither too short nor too loose and all wrinkling will be
prevented. Turn the sleeve inside out and cut off the crinoline one-fourth of
an inch from the edge, keeping a perfectly true edge, turn the sleeve over
the crinoline, baste the outside part of the sleeve and cat-stitch to the
crinoline, then cat-stitch the crinoline to the lining. Remove the lower
basting and press. A bias strip of silk sufficiently wide to cover the crinoline
is hemmed at the lower edge and to the sleeve lining just above the
interlining. Whenever it is possible to do so use the cat-stitch. It is a neat
finish, easily and quickly done, takes less time than hemming, besides being
less bulky.
If the bottom of a coat sleeve is to be left open at the back or slashed, an
interfacing of light weight canvas will be necessary. Turn the outside
portion of the sleeve over the canvas, care being taken to turn all corners at
the slash, and curves, press and stitch, face after the stitching is done. It
may be stitched better if the back seam is left open.
In the coat sleeve both seams are curved and should be Pressing
pressed on a curved board. A rocking chair inverted, with the Sleeves
rocker covered with soft cloth, makes a good board on which
to press the curved seams of a sleeve.

COLLARS

The shaped, standing collar is worn with waists of all kinds and is always a
popular neck finish. In a close-fitting collar made of heavy material an
interlining of canvas or crinoline is necessary. The interlining should be cut
one-fourth of an inch smaller all around if the collar is to be blind stitched
to the waist. If it is to be sewed to the neck, in a seam, the lining should be
the same size as the collar at the neck. Baste this interlining to the collar

material, cut out the corners of the material, and hem the extended portion
to the interlining. The interlining should always be cut bias, whether the
outside is bias or straight. Hem the collar lining to the collar.
To sew the collar to the neck of the garment, first pin, Putting on
beginning at the back seam and baste towards the end. The Collars
lining may be left free at the lower edge and felled over the
neck edge after the collar has been stitched to the garment, or the lining
may be stitched in the seam, the seam pressed open and a bias facing of silk
or light weight material hemmed on over the seam.
The beauty of collars and cuffs depends largely upon the exact turning of
corners and finish of ends. These should never be left bulky or clumsy. If
preferred, the lining and outside of collar may be seamed and turned. Place
the right sides of outside and lining together, the interlining next to the
lining, stitch around both ends and top of collar, then turn and press. These
rules may be followed in making sailor or any lined collars. Collars made of
all over embroidery should be faced with tape on the wrong side before the
trimming is applied to cover the edge of ruffle or lace.
The plain or shirt waist pattern will do duty for many garments—corset
cover, night dress, dressing jacket, etc. The upper part of the waist will
answer for yoke pattern of different shapes.

SEAMLESS YOKES

To make a pattern for a seamless yoke baste together the Pattern for
shoulder seams of the fitted waist pattern, place the upper Yoke
part of the pattern on cambric or stiff paper, with the front of
waist on straight edge or fold of paper, trace the shape of the neck yoke any
desired depth below the neck line. The lower edge can be cut in any shape,
the neck either high or low, round or square. This perfectly fitted yoke
pattern can be used for a foundation for lace, velvet, ribbon, net, or any thin
material. The circular yoke made of lace and ribbon or bias strips can be
made to open in front or back. The strips of inserting and ribbon should be
basted on the paper pattern and joined by fancy stitches or over sewed. The
parts next the neck will need to be held fuller than the outside curve of the
inserting.

All yokes to be worn under the gown should be made on a well-fitted
lining. Never trust to pinning, basting, or hooking the yoke to the waist.
The finish of collar, cuffs, girdle and placket are hallmarks of good
dressmaking. Well finished ends and corners, the careful adjustment of
fastenings, shields carefully fitted to the arm's eye and caught smoothly to
the lining—all these are little things that count for more than money spent
in expensive ornament.

PRESSING

The success of the finish of every garment depends upon the Pressing Board
pressing, whether the material be heavy or light, cotton or
wool. Garments are always pressed on the wrong side, when being made.
The iron used should neither be too hot nor too heavy and the work should
be done on a perfectly smooth, well-covered board. For pressing black or
dark cloth, the cover of the board should be dark and free from lint, while a
perfectly clean light cover should be substituted when white or light goods
are to be pressed.
The whole face of an iron should never be put down on a Placing the
seam or any part of a waist, but the side or point should be Iron
used, care being taken not to stretch a curved seam. A small
rolling pin, a broom stick, a chair rocker, or any rounded stick well covered
can be used for pressing curved seams or sleeves. This lessens the danger of
marking the seams on the right side. These are only makeshifts; a regular
half round sleeve bound should be obtained if much work is to be done.
In pressing, the iron should never be shoved or pushed, as in ironing. Only
heavy materials require great strength. It is possible to press too much as
well as too little. Whatever the material, pressing is work that requires to be
done carefully and slowly. Allow the iron to touch only the center of the
seam, the edges of the seam will not then be outlined upon the goods. Piled
goods require infinite care. Uncut velvet, crape, etc., should never be
pressed with the iron flat on the seam. The seam should be opened carefully
and over the rounded surface of the board, covered with very soft cotton
flannel into which the pile can sink without being flattened. Run the iron
with the pile, or the iron may be placed on the side or flat end and the seams

drawn slowly along the edge of the iron the same way the pile runs—only
the edge of the iron touching the edge of the seam. Corded seams should be
pressed in the same way to avoid flattening the cord.
Very heavy cloths and chinchilla should have a small stream Wet Pressing
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

Many of the principles governing architecture and art apply Principles of
equally as well to art in dress. Both in architecture and dress, Ornament
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.
All decoration should be planned to enrich—not to assert. Purpose of
All jewelry or ornament should form a note in the general Ornament
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.
We see gowns totally lacking in good results because too Errors in
much has been attempted. The wearer has not considered the Ornamentation
effect as a whole, but has gratified her liking for a
multiplicity of ornaments and color which, perhaps would be good in
themselves, if applied separately, but which becomes an incongruous
mixture when brought together on one garment.
Garments which seem to have required great effort in the making and which
appear complex in construction should be avoided, for the effect is not
pleasing. The gown should set off the wearer, not the wearer the gown.
To avoid committing errors against good taste it is essential first to consider
the use of any garment and see if it answers the purpose for which it was
designed. If any part appears meaningless, this is a sure indication that it is
wanting in grace and beauty. The ornament should harmonize with the
materials, use, and construction of the object to which it is applied. The
color must be massed with effect and detailed with care.
There can be no ornamentation equal to that which is worked Embroidery
into the material, such as embroidery. The design should be
appropriate in form and color and always conventional. Flowers are used
most frequently for embroidery and passementerie and the simple, single
flowers are the most effective, such as the daisy, the wild rose, and the
flowers of the lily family. These simple flowers are the best because they
radiate from a central point, have strong forms and decided proportions, can
be most fully expressed in a few stitches requiring the fewest shades of
color, and are admirably adapted for amateur workers.

Old Indian stuffs, jewelry, and enamels are rich in Flowers as
suggestions of conventionalized flowers. The simple, single Ornament
flowers are repeated constantly, the daisy appearing to be the
favorite in these beautiful ornaments. The most beautiful of all conventional
flower work, jewel studded, is found in samples of work of the fifteenth
century. They simply suggest the forms of nature. The repetition of the
same flower in all its aspects is more pleasing and less tiresome to the eye
than a variety of flowers or figures.
We find upon analysis that the simple forms are the basis of Geometrical
all decorative art work. Geometrical designs and arabesques Designs
are the most difficult, requiring the most exacting and careful
work. Narrow bands, braided, outlined, or chain-stitched in simple designs
are effective, easily done, and wear well. Braids and any of these stitches
may be combined, making durable and effective trimming for sleeves and
neck. These simple designs are also appropriate for children's frocks. The
French knots are ornamental and durable. All embroidery and
passementerie should be rich, close, and continuous. It should not be cut up
into pieces and sewed on where it does not serve, or appear to serve, a
purpose.

PASSEMENTERIE OF GOOD DESIGN

POOR DESIGN, WEAK CONNECTION
There is very little passementerie that is at all suitable for Passementerie
forming edges, as it is not sufficiently substantial, but when it can be found
firm and of the right shade it is one of the most beautiful ornaments to edge
neck and sleeves. It may be allowed to extend beyond the dress material, so
that the flesh tints may show through the design, thus gradually softening
the outline. Often a narrow passementerie can be found with one strong
edge and a good border can be made by joining the two. This cannot be
done where the pattern is united by a band running through the center of the
ornament.

JOINING NARROW PASSEMENTERIE TO FORM A
BORDER
A band of velvet or cloth embroidered in outline stitch and Bands
French knots of same shade as the garment is a satisfactory edge. Except for
yokes, the knots should always be held together with the outline edge.
The rich silk braids and passementeries are made of silk wound or woven
over cotton and should be used only on dresses which are not intended for
hard wear. Such trimmings are, of course, inappropriate on serges and
homespuns and soon become shabby if given much rough service.
Laces, like all trimmings, have defined limits within which Use of Laces
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.

Handsome lace should be applied rather plainly, as the Design of
pattern is often lost in the gathers. Fine laces are out of Lace
harmony with heavy or coarse materials. When lace is
desired for flounces that with running patterns which neither advance nor
retreat, except in the folds which may be made, will be found most
pleasing. Distinct objects, such as baskets, crowns, vases, etc., which
suggest weight, are unsuitable patterns for so light a fabric as lace.
Attention to details is essential in the placing of these Placing of
decorations, as in the selection or making of them. The Decorations
worker should take into consideration the shape and size of
the bands or pieces of trimming and should note carefully the chief
characteristics of the design and above all the junction of leaves, flowers,
arabesques, especially in the finishing of the corners of collars and cuffs.
Those at all skillful with the use of the needle can attain the Simplicity and
most beautiful and artistic results if right laws in color and Harmony
design are adhered to, even by the use of the simplest
stitches, for the beauty of dress lies not so much in the richness and variety
of material used as upon simplicity and harmony—a fact too often
disregarded.
Perhaps no ornament is more abused than the bow. In order The Bow
not to appear intrusive, ribbons require the most delicate
handling. The only excuse for a ribbon as an ornament is when it makes a
pretense of tying. When used as a sash where folds or gathers are confined,
the tone of the ribbon should, in general, vary scarcely from that of the
dress.
Whatever the ornament used, whether embroidered band, a Fitness of
ribbon, a cord that laces, a diamond pin, or a jeweled buckle, Place
though it may possess great intrinsic value and beauty, it
cannot be considered of real worth as an ornament unless it fulfills the most
important condition—fitness of place.
Although the art of dress admits of innumerable variations, like all other
arts it is subject to the three rules of beauty—order, proportion and
harmony.

Ornaments are appropriate on the hems or edges of garments where it
serves the purpose of strengthening and protecting the parts most worn, and
not simply where fancy or fashion dictates.
The natural fastenings and fold centers should be along the Natural
axis or center of the body. Any jewelry, buckle, brooch, or Centers
ornament used to fasten, secure, or strengthen these centers
or to hold bands of embroidery, collar, or folds together should be
sufficiently strong to serve the purpose. There must be a reason for position
and the purpose of its use must be apparent to satisfy the eye. The eye is
unconsciously and irresistibly drawn to these natural centers and demands
some object there on which to rest—some substance from which the fold
emanate—some reason for their detention. If this ornament at the throat or
waist fastening collar or holding folds by a girdle or clasp is omitted, the
eye is disappointed. This does not mean that the ornament, jewel,
passementerie, or embroidery should always be placed in the axis or central
line of the figure—this may be carried too far. Slight irregularities often
give an effect to hat or gown that is charming.

PASSEMENTERIE COVERING FACING
Remember that trimming is not intended to cover up, but to Trimming
beautify and strengthen. When, for economy's sake, it is used to cover worn
places or other defects, it must be selected and applied with great care or it
will loudly proclaim its mission.
Trimming should mean something—whether jewelry or Unity in Dress
passementerie. Bands that bind nothing, straps, bows,

buckles, or pins that confine nothing offend the taste. A girdle should seem,
even if it does not, to belt in fullness; it has no use on a close-fitting, plain
waist. No draperies should be invisibly held; supply some apparent means
of confining the gathers. To preserve the lines of the figure there should be
unity in the dress. A tight-fitting skirt below a gathered waist or a full,
gathered skirt below a plain waist gives the appearance of two portions of
the body instead of the oneness desired.
The figure should never be cut across, either above or below the waist-line
with contrasting colors, different shades of the same color, or bands of
different texture. Below the waist-line the figure should suggest the
elements of strength and these horizontal bands cut the lines of the figure at
an angle of opposition, destroying the rhythm and grace of the lines.
Much experience is required in placing horizontal lines of ornament on a
skirt effectively. In general, rows of tucks or ornament should diminish in
width from the bottom towards the top. The plain spaces should be greater
than those ornamented. When ornament gives absolute evenness of space
division in skirt or waist the effect is apt to be monotonous and
unsatisfactory.
The natural places of support for garments are the neck, shoulders and
waist. Ornamentation which emanates from these centers or when used for
borders, if appropriate in design, is usually successful.

ORNAMENT OF TEXTILES

In addition to ornament added to garment, the ornament in the textile itself
must be considered.
Textiles may be beautiful in weave, but spoiled by the Appropriate
design. Quite as important as intrinsic beauty is Designs
appropriateness of pattern. How often do we see woven on
our curtains, carpets, and garment materials fans, bunches of roses tied with
ribbons—bows with long, fluttering ends—landscapes, snow scenes, etc.
Nothing is beautiful out of its place. A fan suggests coolness and grace of
motion, but woven in our textiles it gives the same impression as a butterfly
mounted on a pin—something perverted, imprisoned, or robbed of its

natural use. Nothing is or ever can be beautiful without use—without
harmony. Decorations on textiles are not to tell stories. There is a difference
between landscape painting and using landscapes as a motive for decorating
textiles or pottery. In one case the aim is to annihilate surface by producing
the impression of distance; in the other, the object is to glorify the surface
only.
For the woman of limited income it is wiser to select plain Advantage of
material of good texture and weave. Such material is never Plain Material
conspicuous, can be made over, and is always restful and
may be interesting. Any good textile must impress itself upon the mind by
its suggestiveness and beauty of color. There is a difference between what
may be called artistic and decorative embellishment of textiles. Each has its
place in the world of beauty, but one is the poetry, the other the prose of the
art.
There is a dignity and restfulness in plain material which is Stripes
never obtained by varied patterns. When a stripe is used to
vary the material, the style of the textile is changed, elongated if the stripe
is vertical, and widening if it is horizontal. If the main stripe is cut at right
angles with a second stripe, the textile appears more complicated and
repose is lost. The same is true of checks, but no pattern is more distracting
than large plaids, especially when used for waists, because the regularity of
the design renders very conspicuous any inequalities in the shoulders or
bust, and the great variety of colors detracts from the dignity of the dress.
With small checks and narrow, self-colored stripes the effect is different,
causing the texture to appear only shaded and not destroying the unity.
On garment fabrics the ornamentation should be flat, without Conventionali
shadow or relief. The pattern must enhance and not mar the zed Designs
figure. If flowers, foliage, or other natural objects are used
for the designs, they should be conventionalized—not direct copies of
nature. A figured textile requires more careful planning than plain material.
It may be beautiful when used properly, but it will appear hideous if
distorted in the making. A conventional fleur-de-lis pattern, or a long dash
which appears and disappears when used in long, graceful folds, adds to the
apparent height. These same figures wrongly used spread out awkwardly or
become distorted.

The size of the design should be regulated by the material— Size of Design
small patterns being used for close, thick fabrics and larger
designs, with more delicate colors, for thin material of open texture. Thick,
heavy fabrics require rich, warm colors and the pattern likewise should be
rich and decorative. Velvets, velveteens, and heavy cloths for dresses are
beautiful in themselves and should not be marred by patterns or trimmings.
Spirals or curved lines running crosswise on textiles distort the natural
curves of the figure by making seeming undulations where none should be
and accentuating the prominence of hips and bust. Such patterns should not
be used in folds.

COLOR

Much is to be considered in choosing colors and it is folly to Texture and
suggest a particular shade for a person without taking into Color
account texture of the textile. Though the color may be good,
the weave may destroy what might otherwise have been a success.
Not only must color in itself be studied, but quality of color in textiles as
well. A shade of red, for example, in dull silk or lusterless material may be
most unbecoming for a woman of a certain type, while it may be worn
successfully if made in rich velvet or glossy silk.
Some women maintain that they cannot wear green, but nearly all can dress
becomingly in this color if the shade and texture is selected carefully. The
same may be said of other colors for the many variations should be taken
into consideration.
The average woman in selecting materials for gowns or house furnishings is
apt to be influenced too much by details, as she would judge the merits of a
fine piece of needlework, hence the value of good, broad color schemes
fails to appeal to her. The chenille curtain, perhaps, suits her because it is
full of complex decoration.
After having determined the prevailing color of a costume, Harmony Not
the details should be in harmony, rather than in contrast with Contrast
it. Different tones of one color are more satisfactory than
striking contrasts, and even strong patches of light and shade of the same

color should be avoided, as well as patches of crude and vivid color. The
pleasing contrasts found in nature cease to be happy when attempted in
textiles.
Use few colors, avoid bright shades except in small quantities. All bright
colors should be placed near the face, rather than on or near the bottom of
skirts or the edge of sleeves. Avoid strong contrasts; the brighter the color
and the greater the contrast with other colors, the louder and cruder will be
the effect. "No color harmony is of a high order unless it involve
indescribable tints."

CHILDREN'S CLOTHES

Plainness, purity, softness of texture rather than elaborate Infants'
ornament should be the main consideration for infants' Clothing
clothes. The finest and softest of French and Scotch flannels,
French linen, dimity, nainsook, and India silk are always dainty and they
should be made up very simply with little trimming, but that of the finest.
Hems and seams should be small and neatly done with, perhaps, the
daintiest beading inset by hand and feather stitched. Hemstitching is always
beautiful, but makes a weak spot which is apt to give out in the constant
laundering necessary for children's clothes.
The skirt and shirt made in one piece, with sleeves to slip into the little
outside garment, both to open down the back so that all may be slipped on
at the same time without worry to either nurse or baby, will be found a great
convenience.
Stockinet or webbing, all wool, partly wool, or all cotton, is Stockinet
preferred by many to the plain cloth. The cotton is non- Undergarment
shrinkable, easily made, and finished. This garment fabric s
has reached such a high degree of perfection that for infants and children of
larger growth nothing better can be desired for shirts, skirts, drawers, and
tights. It may be had in either light or heavy weight, is easily laundered and
elastic, having all the qualities desired in undergarments. Garments made of
this material in the manner described give perfect freedom for all organs,

besides evenness of covering for the body and lightness of weight—all
important considerations in infants' and children's clothing.
There should be the same simplicity in construction and material in the
garments of children of larger growth. The design should be smaller, more
realistic and the color brighter than for grown people.
For children's dresses, the pretty ginghams in small checks, Children's
chambray, dimity, serge, flannels, cashmere are appropriate Dresses
and serviceable.
In making up these simple materials nothing better can be suggested than
the plain, straight waist, fitting easily, to which a full skirt is fastened. The
sleeves may be of any fashion to add variety. Such a frock is simple and
dignified and has a certain archaic beauty and quaintness that the huge, ugly
collars and like ornament can never give.
With the plain body the grace of the childish form is not lost. The body may
be short or long, with the trimming at the bottom or edge of the skirt. The
gathers fall in long lines or folds, no element of opposition destroying the
rhythm and grace of the figure contour, when the trimming is placed at the
bottom of the frock instead of several bands dividing the skirt.
The waist should always be wider in front than in the back. The discomfort
and injury caused by ill fitting garments, graded according to age instead of
according to size, thus restricting the expansion of the chest and the play of
the lungs, cannot be estimated.
With the proper kind of frock a child can indulge in any game without
becoming in the least disordered. Dresses for little girls may have drawers
made of the same material, thus permitting them the same freedom as the
boys. The life of the child is play. Unfortunate is the child whose clothing is
too good to play in. Of course there should be frocks for gala occasions.
Children are sensitive to color and receive much innocent enjoyment from
being prettily dressed. A child may be made unhappy and timid by ugly
clothes, but plainness need not mean ugliness. There are many artistic and
simple patterns now being put on the market and many of the ready-made
frocks found in the best shops are satisfactory.

CARE OF CLOTHING
Ruskin says, "Clothes carefully cared for and rightly worn, show a balance
of mind and self respect."
The freshness of gown or wrap may be preserved by the little Little
attentions bestowed upon it each time it is worn, which take Attentions
but a few minutes and mean so much in all departments of
dress. By carefully brushing and shaking into folds, removing all spots,
hanging right side out, picking and pulling straight flowers, bows, and
ribbons as soon as removed, adding buttons and taking up dropped stitches
when needed,—all these little attentions if given promptly will keep a
wardrobe fresh and in good order. New braid on the bottom of skirts,
sponging and pressing, little alterations and addition of new trimming to
collar and cuffs, will help to preserve the original freshness of the gown and
cause the wearer to appear well dressed.
Waists should be turned wrong side out when removed and allowed to air
near a window. Shields should be cleansed with alcohol and water. Ribbons
should be rolled up immediately when taken off and if treated in this way
will last much longer and look much daintier.
Clothing if moist and dusty and tossed into a dark corner of a closet or trunk
can never appear fresh again, and will betray the character of the wearer. It
is not the wearing of clothes which tells so sadly upon them, but the manner
in which they are cared for. A few garments nicely made, well fitted and
properly cared for are far preferable to twice the number of inferior quality
and make.
Skirts of thin material having ruffles around the bottom Ruffled Skirts
should be hung upside down by loops sewed under the
ruffles at the seams. By hanging in the opposite direction from which they
fall when worn, ruffles regain their freshness.
All clothing for the season should be put away in perfect Packing Away
order to be ready for any sudden emergency which may Clothing

arise. No clothing of any kind should be stored for the season without
thorough cleaning and repairing where necessary. Garments that are
outgrown should be disposed of, instead of packing them away. Wool
garments should be carefully brushed and hung in the sun to remove and
destroy any eggs of moths which may be present. They may be hung in
tight cotton bags or packed in tight boxes with all openings posted over as a
protection against moths. Tailors' boxes which come flat are not expensive
and are useful for this. They should be plainly labeled with their contents.
To fold, lay all articles on the bed or table and fold on the Folding
seams if possible. Particular attention should be given to Garments
sleeves and collars. Coat lapels should be turned to lie flat,
collars turned up, and the coat folded directly through the center seam.
Skirts and coats with bias seams are not improved by hanging as the bias
parts are apt to stretch out of shape.
No clothing should be put away for the night, even, without Remove Pins
first removing all steel pins, as the least dampness may cause
rust spots.
Clothes forms and hangers are so inexpensive that every Hangers
gown and coat should have its own. Skirts should be hung
exactly on the form and no part of the band should be allowed to sag.
If fancy waists are put in drawers or boxes, they should have the sleeves
filled with tissue paper and the collars and bows should be pulled straight.

CLEANING

Large garments require the greatest care in handling and in order to be done
successfully, they should be sent to the professional cleaner.
All stains and spots should be removed as soon as possible. Fruit and Wine
Fruit and wine stains may be removed by stretching the Stains
fabric over a vessel and pouring boiling water through the
cloth from a height of a foot or two. The water must be boiling.

Ink Stains

Ink stains can be taken out of clothing by dipping the cloth in milk,
squeezing the blackened milk into one dish and dipping immediately into
clear milk until the stain has disappeared. Then finish by washing the cloth
in warm water and in soapy water to remove the fat in the milk.
Iron rust may be removed from linen and cotton by using Iron Rust
lemon juice and salt. Wet the spot with the juice of a lemon,
cover with salt and lay in the sun, repeating the operation until the stain is
removed, then rinse out the lemon and salt thoroughly. This of course
cannot be used on colored fabrics, as it fades the color.
Grease is one of the worst foes to garments and the greatest Grease Spots
care is needed to remove such spots from delicate fabrics. If
not done at once, the dust and grease together often prove ruinous. When
the color and fabric will not be injured by it, warm water and soap is the
best agent, otherwise absorbents may be used. French chalk or magnesia
powdered, placed upon the spot, and allowed to remain for a time will often
absorb the grease effectually. If the first application is not effective, brush
off, and apply again until the spot disappears. Where water can be used
without injuring the cloth, the chalk or magnesia can be made into a paste
and spread over the spot. When dry, brush off with a soft brush.
In removing fresh grease spots, blotting paper with a warm iron may often
be used effectively. If the heat changes the color of the cloth, the iron
should be held above the goods.
Blood stains may be removed by making a paste of starch Blood Stains
and applying it to the spot. Several applications may be
necessary.
Only the best and purest benzine, naphtha, gasoline, and Solvents
turpentine should be used for cleaning garments. For
removing paints from coarse cloth, pure turpentine is useful, Cleaning
Garments
while for silks, velvets and woolens, benzine, naphtha and
gasoline are to be preferred. The secret of success in the use Soap and
of any of these cleansing agents lies in immersing the Ammonia with
Gasoline
garments in large quantities of the liquid. Not less than a
gallon should be used for a waist and two gallons will do the work far more
satisfactorily. An effort should be made to remove all the worst spots before

immersing the whole garment. Those which have not disappeared should
then be marked with white thread, colored thread may leave a mark. It is a
good plan to enclose the spot with a line of basting. Soak the garment for
some time in the liquid, then soap all spots thoroughly and rub gently
between the hands until they disappear. Finally wash and rinse the garment
in clear liquid and hang in the open air until all odor has passed away. Soap
may be used freely with gasoline with good effect. Some professional
cleaners use a little of the strongest ammonia in their gasoline tanks. The
goods should be shaken well and all folds pulled out straight with the
threads of the goods. Velveteen, corduroy, and like piled fabrics can be
cleaned successfully if not too much worn, but no amount of cleaning will
restore the pile that is worn off.
If allowed to stand until the impurities have settled and the clear liquid
poured into clean bottles, it may be used for a number of times. This should
always be done in the open air.
Chloroform may be used for cleaning the most delicate silks, though this is
rather expensive.
Whenever any of these liquids are used to remove spots Absorbing Pad
alone, the spots should be placed upon a soft pad of several
thicknesses of old cloth or blotting paper to absorb the surplus liquid and
the spot should be rubbed from the outside towards the center. A hole may
be cut in very soft cloth or blotting paper and placed around the spot to
absorb the solvent around the stain and prevent the dark ring being formed.
The cloth should be rubbed lightly and briskly until it is dry. If the fabric is
light colored, a sponge or a soft piece of light cloth should be used, while
for dark fabrics, the cloth used for rubbing the spot should also be dark and
free from lint. The rubbing should be done lightly so as not to wear or injure
the texture of the fabric. The blotting paper or cloth underneath should be
changed frequently until the spot has entirely disappeared.
Velvet hats and bonnets, after all trimming is removed, may Cleaning
be cleaned by repeated dippings in benzine or gasoline. The Velvet
vessel used should be large enough to hold a sufficient
quantity of the liquid to completely cover the hat. Of course all dust should
be carefully brushed off and all folds ripped and loosened before putting the

hat into the liquid. The secret of success lies in having the article entirely
free from dust and using a large quantity of the benzine or gasoline.
Before sending out garments to be dyed or cleaned, be sure Before
that they are in good condition. All worn places should be Sending to
mended carefully and all buttons should be removed. Cleaners
Garments that are ripped should have all cut threads pulled out and be free
from dust. Dust silk fabrics with a piece of clean flannel and woolen
material with a brush or broom.

REPAIRING

Fabrics are so much cheaper and so much easier to obtain Economical
that patching has almost become one of the lost arts. The Mending
twentieth century woman feels that her time is too valuable
to be spent in mending the old clothes and that she can better afford to buy
new. However that may be, no one disputes the utility of mending. Like so
many other duties, mending is half done when well begun. A well made
garment of good material should not be discarded when slightly worn, for a
patch well put in or a neat piece of darning detracts in no way from the
value of a garment and may even be a work of art. The children's clothes
particularly should be kept in good order, for they are made uncomfortable
by wearing garments that are out of repair, to say nothing of the
demoralizing effect upon their characters.
Laundering is the great ally to tears and not only doubles the Laundering
size of the hole, but pulls the threads apart so that it is and Repairs
impossible to make the mended place neat and smooth,
therefore all clothing should be mended before washing. Stockings and
woven underwear are much worn by the rubbing on the washboard and thin
places going into the washing frequently come out as holes, so that it is true
economy of effort and time to "run" or darn the thin places before they are
worn through. It requires much less time and the garments last longer.
It is a good plan, especially in knees of stockings and knitted underwear, to
baste a piece of fine net over a worn or broken place and darn over it. (See
Darning.) Thread used for darning should be as near as possible the size of
the threads in the garment. Darning cotton, linen, wool, and silk of all

shades can be bought, so that the problem of matching is no longer a
difficult one.
In mending the knees of boys' trousers a round patch should Boys'
never be used. The seams should be ripped and the piece set Trowsers
in then, if the seams are pressed well, the patch will scarcely
be noticeable.
When bodices are worn under the arm, rip the seams and set Sleeves
in a new "under arm" piece. A good plan for one whose
dresses are apt to wear through quickly is to have the under arm pieces and
the adjacent parts of the front made of two thicknesses of the goods; then,
as the outside wears through, the edges can be hemmed down or taken into
the seam.
When table cloths begin to wear in the middle fold or along Table Cloths
the edge of the table, a few inches cut off one end and one
side of the cloth will change the fold and the place where it falls over the
table and give it a new lease of life. If the hem is turned down once and cat
stitched, it will resemble the selvage more than a twice turned hem.
In repairing or lengthening garments that have become too Lengthening
short, much can be done by adding to the bottom of the skirt Garments
and sleeves material of different texture. A cloth or serge
skirt may be lengthened by facing with velvet of the same shade, covering
the line of sewing with cord, braid, or passementerie of the same shade or
black. There should be an underfacing of light-weight crinoline to make the
bottom of the skirt firm and to give strength. The same facing and
passementerie may be used at neck and sleeves.
Thin gowns of lawn, dimity, etc., can be lengthened with a Extension
faced or extension hem, the line of sewing to be covered Hem and
with feather stitch or any of the fancy stitches of white or Tucks
colored thread. If the lawn or dimity has a colored figure, the embroidery
silk or cotton may match this. Under skirts and drawers may be lengthened
in the same way or rows of tucks may be added.
In waist repairing, the sewing silk should match the material. Waist
Set the patch into the seams when possible and trust to Repairing

careful pressing. If the material begins to wear near the end of the bones,
cut off the bones an inch and take in the dart or seam. If the silk wears off
around the hooks and eyes, move them along ever so little. Make a virtue of
worn out seams by taking them in and covering them with fancy stitching.
If the garment is lined, the outside should be carefully basted to the lining
before stitching to take in the seam. It has been said that silk waists are
serviceable as long as the upper parts of the sleeves remain good.
If garments have not been well cared for from the first and beyond a certain
point, "making over" is poor economy. Never attempt cleaning and making
over old clothes unless the material is good enough to make it worth while
to do the work well.
The mending basket is an important adjunct of mending and Mending
should be well supplied with darning cotton of all colors and Baskets
sizes, good English tape, black and white, of different
widths, linen tape, bias tape, different kinds and sizes of needles,—sewing,
darning, shoe, carpet, and tape needles.
For repairing bands and facings, where buttons have been Use of Tape
torn off by wringer or iron, and for strengthening weak
places, tape is invaluable. It saves the time required to turn in the edges of
the cloth and is less clumsy and bungling.
The mender should use good judgment as to the amount of Use of
work to be applied to each garment. She should substitute Judgment in
the machine needle whenever possible and not put tiny Mending
stitches by hand into half worn garments or in unseen places. Ripped tucks
and bands can be sewed in a few minutes on the machine. Serviceable
darning can be done on the machine.
Before putting away freshly laundered clothes it is a good plan to take out
the clothes already in the drawers and lay the ones washed last on the
bottom, thus all garments will wear alike, each article in its regular turn.

BIBLIOGRAPHY
Home and School Sewing, Frances Patton, ($.60, postage 6c).
School Needlework, Olive C. Hapgood, ($.75, postage 6c).
Sewing Course for Schools, Mary Schenck Woolman, ($3.50, postage 20c).
Progressive Lessons in Needlework, Catherine F. Johnson, ($.90, postage
8c).
Sewing and Garment Drafting, Margaret L. Blair, ($1.25, postage 10c).
Manual of Exercises in Hand Sewing, Margaret L. Blair, ($1.25, postage
10c).
Dressmaking Up to Date, Butterick Pub. Co., ($.25, postage 8c).
Note: The above books may be borrowed, one at a time, by members of the
School. Send the postage given with request. They may be purchased if
desired.

TEST QUESTIONS
The following questions constitute the "written recitation" which the regular
members of the A. S. H. E. answer in writing and send in for the correction
and comment of the instructor. They are intended to emphasize and fix in
the memory the most important points in the lesson.

TEXTILES AND CLOTHING
PART III

Read Carefully. To make this test of greatest value to you, write fully from
your personal standpoint and experience. Try as many methods given in the
text as your time will allow so that you may ask for explanation if the
descriptions are not clear to you. Methods are many; if you do not agree
with these given, suggest better ones.

1. (a) What are the requisites for good dressmaking? (b) How does
dressmaking differ from white sewing in make, finish, and ornamentation?
2. From your point of view what do you consider a successful garment?
3. Give methods of altering patterns.
4. Give briefly the cutting and making of a wool garment from patterns: (a)
waist, (b) sleeve, (c) skirt, (d) collar, including methods of stitching,
pressing and finish, stating how patterns should be placed on lining and
outside materials.
5. How may pressing be done to give the best results? What garments
require little or no pressing, and why?
6. (a) State some of the principles and purposes of ornament. (b) What is
your idea of ornament applied to garments? (c) Give some errors in
ornamentation not named in text.
7. Cut from magazines illustrations showing your idea of good and faulty
ornamentation in dress. Give reason for your opinion.

8. Illustrate in some way, either by picture, drawing, embroidery, braid, or
stitching, some design appropriate for ornament work on neck or sleeve.
9. Where should ornament be placed, and why?
10. (a) Give your idea of appropriate design on textiles. (b) The advantage
and disadvantage of plain materials.
11. Make a color card of silk, wool, paper or raffia showing colors that
contrast. (b) Colors that harmonize.
12. What colors do you find satisfactory for your own wear, and why?
13. What materials are best suited for infants' garments? (b) What can you
say in regard to children's clothing?
14. What is your opinion of the care of clothing? (b) What experience have
you had in cleaning (a) cotton, (b) wool, (c) linen, (d) silk, (e) velvet?
15. Do you consider it economy to repair garments? Can you suggest better
methods than those given in the text?
16. If possible make some garment, shirt waist, skirt, or simple dress while
studying this lesson and describe in detail how you went about it, the result,
time taken, total cost. Tell why you selected the design, the color, the
material.
17. Have you found the ready made garments satisfactory in underwear and
dresses?
18. Tell of some of your failures in dressmaking and give the reasons for
your lack of success.
19. What methods, new to you, have you tried in connection with this
lesson? What questions have you to ask?
20. Can you add any suggestions that would be helpful to others in this
work?
21. Wherein have the lessons been of practical value to you?

22. For Teachers. Draw up an outline for a course in sewing to combine
two considerations: (a) adaptability to the child's interests and capacities,
(b) orderly sequence in the technical part.
Note: After completing the answers, sign your full name.

REFERENCES: ORNAMENT AND DESIGN

Bachelder—Principles of Design in America. ($3.00.)
Brown—History of Decorative Art. ($1.25.)
Carter, Mrs. H. J.—Historic Ornament in Color. (15c. a sheet). Prang.
Clifford—Period Decoration. ($3.00.)
Crane—Claims of Decorative Art. (Out of print.)
Crane—Line and Form. ($2.25.)
Daniels—Teaching of Ornament. ($1.50.)
Day—Application of Ornament. ($1.25.)
Day—Nature in Ornament. ($4.00.)
Day—Ornamental Design. (Out of print.)
Day—Planning of Ornament. (Out of print.)
Day—Decorative Design of all Ages. ($0.40.)
Day—Ornament and Its Application. ($3.25.)
Day—Ornamental Design, Anatomy of Pattern, Planning of Ornament.
($3.00.)
Day—Some Principles of Everyday Art. (Out of print.)
Glazier—Manual of Historic Ornament. (New edition in press.)

Hulme—Birth and Development of Ornament. (Out of print.)
Jones—Grammar of Ornament. ($18.00.)
Prang—Art and Ornament in Egypt. ($1.50.)
Note—The books out of print may be found in some public libraries.

REFERENCES: HISTORY OF COSTUME

Earle—Costume of Colonial Times. ($1.25.)
Earle—Two Centuries of Costume in America, 2 vols. ($2.50 each.)
Evans—Chapters on Greek Dress. (Out of print.)
Fairholt—Costume of England, 2 vols. ($1.50 each.)
Hill—History of English Dress. (Out of print.)
McClellan—Historic Dress in America. ($10.00.)
Planchet—History in British Costume. ($1.50.)
Quegly—What Dress Makes of Us. ($1.25.)
Racinet—Costume. ($2.00.)
Rhead—Chats on Costume. ($1.50.)
Schild—Old English Peasant Costume from Boadicea to Queen Victoria.
(Out of print.)

SUPPLEMENTARY PROGRAM ARRANGED
FOR CLASS STUDY ON
TEXTILES AND CLOTHING
MEETING I

(Study pages 1-59)
Primitive Methods
Endeavor to obtain a Colonial spinning-wheel in working order, and get
some one to operate it.
If possible, obtain samples of weaving done on a hand loom.
Examine a hand-loom if possible. They may be seen at the manufacturers of
rag and remade carpets.
References: Woman's Share in Primitive Culture, Mason, Chapter III, The
Weaver. ($1.75, postage 16c.)
Colonial Days in Old New England, by Earle. ($1.25, postage 12c.)
Textile Fibres
Collect an exhibit of raw fibres and fibres in process of manufacture. Send
to the U. S. Department of Agriculture, Department of Botany, Washington,
D. C., for small samples; to manufacturers of thread; to friends in
manufacturing towns.
Test the various fibres by burning. Examine under a microscope with a
small hand-glass, if greater power cannot be obtained. Try warm acid—
sulphuric, hydrochloric, or oxalic—on the fibres; let the fibres dry. Also try
a solution of caustic soda on the fibres.
References: The Textile Fibres, by Matthews. ($3.50, postage 16c.)

Textile Fibres and Cotton Fibre, pamphlets of the American School of
Correspondence. (50c. each, postage 4c. each.)
Send for all the Government Bulletins mentioned in the Bibliography, page
104. Note that the free bulletins are obtained simply by addressing the
Department of Agriculture, Washington, D. C., but the sale bulletins only
by sending coin or money order to the Superintendent of Documents,
Washington, D. C.

MEETING II

(Study pages 59-102)
Modern Methods
Visit a textile mill if possible, after studying the text.
Practice home dyeing. Read carefully the directions given by the
manufacturers of the dyes. See the booklet "Diamond Dyes," to be obtained
at many drug stores, or send for it to Wells Richardson, Burlington,
Vermont.
References: Text-books of the American School of Correspondence—
especially Textile Chemistry and Dyeing. (Parts I, II, III, and IV, postage 4c.
each.)
The Dyeing of Textile Fabrics, by Hummell. ($1.75, postage 12c.)
Bleaching and Calico Printing (containing samples), by Duerr. ($4.00,
postage 14c.)
Weaves and Fabrics
Show as many different kinds of weaves as possible. Separate the threads
and examine under a hand microscope.
Get the local dry-goods or department store to co-operate with you in
getting up an exhibit of samples of standard goods—cotton, woolen,
worsted, linen, and silk. Label each sample with the width and price.

Test some of the samples of wash goods for fastness to washing and light,
by washing in warm water and soap (or boiling in the soap and water) and
expose to sunlight all day for three or four days. Keep a part of each sample
for comparison.
(Select a composite set of answers to the Test Questions on Part I and send
to the School, with report on the supplemental work done and Meetings I
and II.)

MEETING III

(Study pages 107-123)
Sewing: Plain Stitches
Send to manufacturers for samples showing the process of manufacture of
pins, needles, etc.
Demonstrate different ways of making the same stitches; discuss best
methods.
Embroidery
Show how all the embroidery stitches are made.
Get up an exhibit of all kinds of embroidery, including Oriental, Japanese,
old samplers, etc.
Have members make Model I, First Series.
References: Home and School Sewing, by Patton. ($0.60, postage 6c.)
School Needlework, by Hapgood. ($0.75, postage 6c.)
Manual of Exercise in Hand Sewing, by Blair. ($1.25, postage 10c.)
Topic: Educational Value of Sewing in the Public Schools.
Methods. See "A Sewing Course," by Mary S. Woolman, Introduction
($3.50, postage 20c.), and "The Teaching of Domestic Science in the United

States of America," by Alice Ravenhill, pages 9-10, 43-46. ($0.75, postage
12c.)

MEETING IV

(Study pages 123-165)
Hems, Seams, Fastenings, Darning, Patching
Have all members make models II, III, IV, and V.
Previously assign members to furnish models or examples of all other
hems, seams, fastenings, patches, darns, etc., illustrated or described in the
text, and as many more as possible.
Machine Sewing
Get the local sewing machine agent to give a demonstration of the workings
of the attachments of the machine.
(Select models and answers to Test Questions on Part II and send them to
the School, with a report of Meetings III and IV.)

MEETING V

(Study pages 167-200)
Dressmaking
Get the local dry-goods or department store to lend different kinds of dress
forms.
Show how patterns are altered to suit the figure. (See text and
"Dressmaking Up to Date.")
As many as possible cut out and begin making a simple shirt-waist or skirt.
Show finished garment at next meeting, giving accurate account of cost and
time spent.
References: Dressmaking Up to Date, The Butterick Co. ($0.25, postage
8c.)

Sewing and Garment Drafting, by Margaret L. Blair. ($1.25, postage 12c.)

MEETING VI

(Study pages 205-228)
Construction and Ornament in Dress; Color
Collect illustrations showing good and faulty ornamentation.
Procure samples of fabrics showing good and faulty ornamentation.
Make a color card showing contrast and harmony of color. (See Question
11.)
References: See list on pages 234 and 235.
Children's Clothing
Get up an exhibit of simple and satisfactory clothing for children, including
color, material, style and make.
Discuss children's clothes in reference to laundering.
Care and Repair of Clothes
Show examples of successful repairing.
Try some of the methods of cleaning. (See, also Chemistry of the Household
pages 73-84.)
(Select answers to Test Questions on Part III and send them to the School,
with report on Meetings V and VI.)

INDEX
Adulteration of linen, 87

Alpaca, 90

Altering sleeve patterns, 194

Angora wool, 39

Aniline dyes, 79

Arrow heads, 123

Back stitch, 112

Basting, 108

Bibliography, 103, 229

Bleaching, 78

Bobbin, 19

Boning waist, 192

Bow, the, 208

Burling, 83

Bust form, 168

Button holes, 141

large, 145
making, 144

Buttons, sewing on, 145

Carding, 59

Care of clothing, 219

Cassimere twills, 73, 75

Cat stitch, 116

Catch stitch, 116

Chain stitch, 116

Checks, 213

Children's clothes, 216, 217

Cleaning, 59, 221

Collars, 198
putting on, 199

Color in dress, 214

Colors, mordant, 79

Combing, 60

Conventional designs, 213

Costumes, references, 234

Cotton, 29
boles, 32
fibers, 34

Cotton goods, 85
home of, 30
Nankin, 34
sea island, 30
upland, 30

Cross stitch, 120

Cuffs, 196

Cutting table, 168

Darning, 155
on machine, 158
over net, 157

Decorations, placing, 208

Distaff, 12

Double cloth, 77

Draped waist, 192

Drawing tapes, 140

Dressmaking, 167

Dyeing, 78
home, 80

Dyes, aniline, 79

Dyestuffs, natural, 80

Embroidery, 204
as ornament, 204
eyelet, 122
shadow, 123
stitches, 114

Extension hem, 227

Eyelet embroidery, 122

Eyelets, 149

Fabrics, 85
list of, 96 -102
names of, 94
primitive, 27
width of, 93

Facing, bias, 141
skirt, 179

Fastening the thread, 109

Fastenings, 141
Feather stitch, 118

Fibers, 29
cotton, 29
flax, 43
silk, 53
wool, 37

Finishes, 139

Finishing skirt, 179
seams, 196
waist, 192

Finishing, woolens, 83

Fitting, 173, 193
sleeves, 190
waists, 190

Flax, 43
fibers, 47
hackling, 44, 47

Flocks, 83

Folding garments, 220

French hem, 127
knots, 119
seam, 131

Fulling, 83

Fur, 40

Gathering, 111, 138

Gathers, whipped, 127

Gauging, 112

Gigging, 83

Gingham, 86

Grease spots, 122

Hand sewing, 107

Harmony in dress, 215

Harness, the, 70

Heddle, 17

Hemp, 50

Hem stitch, 118

Hems, 123
bias, 124
faced, 124
flannel, 127
French, 127
folding, 123

Hems, rolled, 126

Herringbone stitch, 116

Home dyeing, 80

Hook and eyes, 147

Hydroscopic moisture, 42

Jacquard loom, 70

Joining lace, 160

Jute, 50

Knit goods, 72

Lace, design of, 208

Laces, use of, 207

Laundering, 225

Lengthening garments, 226

Linen, 86
adulteration of, 87
characteristics of, 47

Lining, cutting, 188

Loading silk, 56

Looms, 17
Colonial, 19, 21, 22
development of, 19
diagram of, 23
fly shuttle, 26
four harness, hand, 21
Jacquard, 70
Japanese, 20
modern, 25, 69
Navajo, 18
Swedish hand, 24

Loop stitch, 116

Madder bleach, 78

Machine darning, 158
sewing, 162

Mending, 83, 225

Mitering embroidery, 158

Modern methods, 59

Mohair, 90

Mordant colors, 79

Muslin, 85

Nankin cotton, 34

Natural dyestuffs, 80
Olona, 53

Ornament, 203
embroidery as, 204
fitness of, 209
flowers as, 205
of textiles, 212

Ornamental stitches, 108, 114

Ornamentation, errors in, 204

Outline stitch, 114

Overcasting, 114, 142

Oversewing, 113

Packing clothing, 220

Passementerie, 206

Patching, 149

Patterns, 171
altering, 173
cloth, 174
lengthening, 173
pinning, 176
placing, 176
selection of, 171
testing, 174
use of, 172

Picking, 59

Piled fabrics, 91

Plackets, 135
faced, 137

Plaids, 213

Plain material, 212

Plush, 77

Pressing, 201

board, 168, 201
wet, 202

Primitive methods, 3

Printing, 81
block, 81
machine, 81
warps, 82

Ramie, 50

Raw silk, 56

Reed, 19

Reeling silk, 54

Repairing, 225

Retting flax, 45

Roving, 61

Running stitch, 110

Sateen weave, 79

Satin, 91
stitch, 121

Scouring agents, 41

Sea island cotton, 30

Seams, 128
beaded, 131
felled, 128
flannel, 135
French, 131
lapped, 133
slot, 131

Serges, 88

Seven-gored skirt, 172

Sewing, hand, 107
machine, 162

Sewing machines, 162
care of, 162
types of, 162
use of, 164

Shadow embroidery, 123

Sheep, 39

Shirt waists, cutting, 182
plan for making, 183

Shuttle, 19

Silk, 53
artificial, 58
boiling off, 56
fiber, 53
loading, 56, 90
production, 53
raw, 56
twilled, 91

Silk, wash, 91

Silk worm, 54

Silks, 90

Singeing, 78

Skirt, 172
band, 179
Skirt binding, 180
braid, 180
making, 177
placket, 178
plan of making, 173
stiffening, 178

Sleeve making, 183
patterns, 194

Sleeves, cutting, 194, 195
finish of, 197
pressing, 198
putting in, 197

Slip-stitching, 125

Slot seams, 131

Speck dye, 83

Spindle, 6
whorl, 6

Spinning, 3, 59

primitive, 3
wheel, 12
with spindle, 6

Stains, 221

Stitches, 107
ornamental, 108, 114
plain, 107

Stockinet undergarments, 216

Stripes, 213

Stroking gathers, 111

Table linen, 87

Teazels, 83

Textile arts, origin of, 3

Textiles, 85, 212
design of, 212
list of, 96, 102
ornament of, 212
weaves, 72

Texture, 214

Trimming, 210

Tweeds, 88
Harris, 89

Twills, 74

Cassimere, 73, 75
uneven, 75

Tucked waist, 185

Tucking, 108

Tucks, 128

Unity in dress, 211

Upland cotton, 30

Velvet, 92
weave of, 77

Velveteen, 92

Waists, 185
lined, 186
plan for making, 187
repairing, 227
tucked, 185

Wash silk, 91

Warping, 69

Weave, 72
diagrams, 73
plain, 73
basket, 76
double cloth, 77
rib, 76

sateen, 76
twill, 74
velvet, 77

Weaving, 14, 69

Wet Pressing, 202

Wheel spinning, 12

Whipping stitch, 113

Whorl, spindle, 6

Widths of fabrics, 93

Wool, 37
characteristics of, 37
fiber, 36
quality of, 38
scouring, 40
sorting, 40
value for clothing, 37

Woolens, 88

Worsteds, 88

Yokes, 200

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