-
-


ALBERT R. MANN LIBRARY
CORNELL UNIVERSITY


III]
DATE DUE








WOMAN'S INSTITUTE LIBRARY OF DRESSMAKING
SEWING MATERIALS
TEXTILES, LACES
EMBROIDERIES AND FINDINGS
SHOPPING HINTS
MENDING, HOUSEHOLD SEWING
TRADE AND SEWING TERMS
WOMAN'S INSTITUTE
OF DOMESTIC ARTS AND SCIENCES
SCRANTON, PA.
1926


MA: J
---
5 S
WGG
| 20,
Copyright, 1923, by INTERNATIONAL EDUCAtroNAL PUBLISHING CoMPANY
Copyright in Great Britain
All rights reserved
Printed in U. S. A.
Press of
Intsanational Textbook Company
Scranton, PA.
88.809


PREFACE
This book is arranged for the convenience and ready reference
of students, homemakers, and dressmakers, giving historical
information, descriptions and uses of laces, textiles, embroideries,
and findings, and showing their values, purposes, and uses in
dressmaking work. It is not enough to know how to cut and fit
garments unless one knows how to complete them artistically
by using the proper materials for the need or the occasion.
Detailed illustrations and instruction are given for the mending
of practical, every-day garments, as this work is required in the
average home. In the study of this part of the text, it will be evi-
dent that thrift and economy have been prominently considered.
To mend well is not only an economy but one of the womanly arts
that have come down through the ages, few women considering
themselves too distinguished to do their own mending.
Information is given for household sewing, including the making
of draperies, bed coverings, scarfs, and art needlework, as well as
the miscellaneous articles that a housewife may need to mend,
remodel, or replace.
A dictionary of trade and sewing terms completes the volume.
By a careful study of this part, fashion news will be more easily
and more accurately interpreted and the vocabulary of the modiste
and the fashion writer will be better understood.
A mystery often surrounds dressmaking work, which some
persons attribute to the terms used. To make all such words,
clear, and to provide a ready reference for those interested in dress-
making work, this dictionary of trade and sewing terms is
Supplied.





CONTENTS
CHAPTER I Page
DEVELOPMENT OF TEXTILES
Origin and Growth—Spinning—Weaving: Nature and History—Varie-
ties of Weaves—Knitting—Cloth Finishes—Bleaching—Dyeing and
Printing—Fabric Characteristics.
CHAPTER II
Production and Manufacture—Purchasing Cotton Materials—Tests for
Quality—Table of Cotton Materials.
CHAPTER III
LINENS
Nature and Uses—Production and Manufacture—Purchasing Linens—
Tests for Linen—Table of Linens—Shrinking and Setting Colors in Wash
Fabrics.
CHAPTER IV
Wool Production—Wool Manufacture—First Processes—Manufacture
of Woolens—Manufacture of Worsteds—Purchasing Wool Materials—
Tests for Wool—Table of Wools—Examples of Wools.
CHAPTER V
Silk Culture—Silk Manufacture—Purchasing Silk—Tests for Silk—
Table of Silks.
CHAPTER VI
History of Lace—Methods of Making Lace—Varieties of Lace—Lace
Terms—Examples of Typical Laces—Judging Lace—Value of Hand-
Made Laces—Uses of Lace—Care of Laces—Necessity for Care—Clean-
ing Washable Laces—Cleaning Non-Washable Laces—Preservation
of Lace.
32
43
75
V


CONTENTS
CHAPTER VII
EMBROIDERIES, FINDINGS, SHOPPING HINTS .................. . . . . . . . . .
Embroideries—Findings—Shopping Hints.
CHAPTER VIII
MENDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mending Conveniences—Darning—Patching—Stockinet Mending—
Using Mending Tissue—Miscellaneous Mending.
CHAPTER IX
Household SEWING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Aspects of Homemaking—Table Linens—Pure Linen—Linen Sub-
stitutes—Size of Linen Pieces—Linen Supply—Economy. Applied to
Linens–Kitchen Linens—Bathroom Linens—Mattress Covers and
Pads—Sheets—Pillow Cases—Monograms on Bed Linens—Bed-
spreads or Counterpanes—Blankets—Comfortables—Pieced and Ap-
pliquéd Quilts—Doilies, Runners, Scarfs—Cushions—Selection of
Curtains—Types of Curtains—Types of Windows—Measuring for
Curtains—Preparing Materials—Allowance for Finishes—Finishing Cur-
tains—Curtain Fixtures—Upholstery Covers—Woven Rugs—Braided,
Crocheted, and Knitted Rugs—Mending Rugs. -
CHAPTER X
DEFINITIONS OF TRADE AND SEWING TERMS . . . . . . . . . . . . . . . . . . . . . . . . . .
178


DEVELOPMENT OF TEXTILES 3
under the left arm or stuck in the belt of the spinner so that both
hands were left free to work with the fiber. The spinner soon found
that it was much easier to spin with a full spindle
than with an empty one, so she conceived the idea of
weighting it with a whorl and it then consisted of a
stick with a weight on the lower end, as shown in Fig. 2.
With these two improvements in
equipment, the spinster, as she was
called, would draw out the fiber
from the distaff with her left hand,
attach the end to the spindle,
and give the spindle a sharp twist
with her right. She would then
allow the thread and whorl to
twist in the opposite direction.
After twisting a considerable #
length, she would wind the yarn -
on the spindle, fasten it to prevent its unwinding, and begin the
process again. The rock, a later improvement, was merely a dis-
taff made with a standard, as shown in Fig. 3, so that it stood on the
floor beside the spinster.
FIG. 1
6. At the present time, the Navajo Indians of Arizona have an
interesting method of spinning. With a slender stick for a spindle,
the point of which is stuck in the ground, the spinner, sitting on
the ground, pulls out the fiber and twirls the spindle to twist it.
The yarn, when first spun, is very slightly twisted so that it must
be gone over several times before it is ready for
use in a loom. -
7. Kinds of Spinning Wheels.-Up to
the 14th and 15th centuries, the distaff and
weighted spindle constituted the spinning equip-
ment. Then, they were replaced by the spin-
ning wheel, the spinners of India fastening a
wheel to a spindle and making it rotate by
means of a band. This first spinning wheel
Fig. 2 known to history was called the Gharka wheel Fig. 3
of India. It was a very crude instrument and spun only very
coarse yarns, but it had the advantage of providing a more rapid
method.


4 DEVELOPMENT OF TEXTILES
8. The great wheel, wool wheel, or muckle wheel, as shown in
Fig. 4, was the next to make its appearance. It was called the
great wheel because it had a large wheel. As it was used extensively
in Scotland, it received the name of muckle wheel,
muckle meaning great in the Scottish dialect.
The term wool wheel was applied because it was
best adapted to the spinning of wool fiber on
account of the shortness of the fiber and the slow,
intermittent motion of the wheel.
To spin with this wheel, a portion of the fiber
was drawn out and attached to the spindle;
then the great wheel was struck with the hand
FIG. 4 or a wooden peg, the blow causing it to revolve,
turn the spindle to which the fiber was attached, and twist the fiber.
To wind up the yarn, the wheel had to be revolved in the opposite
direction. When the spindle was full, the thread was wound off
on a reel. It has been estimated that spinners who worked at
this type of wheel walked as many as 20 miles a day as they spun.
The principle of the great wheel is still used in our modern wool
manufacture, but the mechanism has been so greatly improved that
practically all of the work is now done by the machinery.
9. The flax, or Leipsic, wheel, shown in Fig. 5, which is the one
we ordinarily see as an heirloom, with its distaff, spindle, and flyer,
and which is adapted to flax spinning, was a complicated piece of
machinery when compared with the great wheel. It was a
labor-saving invention in that it had a treadle for transmitting the
power and permitted the spinner to sit down º
while spinning. The flyer, which was not found ()
on the great wheel, revolved very rapidly, twist-ſº
ing the fibers and winding them on the bobbin.
However, the spindle's motion was held back by
the spinner, who changed the yarn from one
hook to the other of the flyer and gradually
filled the bobbin evenly. The motion of this
wheel is continuous, that is, the fiber is drawn
out, twisted, and wound up at the same time. FIG. 5
10. Carding.—In order to have a smoothly spun, clean
yarn, it was necessary to clean the fiber and make it fine and soft
before spinning. This was done by means of carding. Primitive


DEVELOPMENT OF TEXTILES - 5
woman used her fingers for carding, opening up and straightening
the fibers into a soft lap. Later, cards, which were flat brushes
containing bent wires set closely together in strips of leather tacked
to the wood, were made for this pur-
pose. With two of these cards, one
in each hand, as shown in Fig. 6,
fibers could be made very clean and
fluffy and laid out to form parallel
strands.
11. In 1748, Lewis Paul in-
vented a machine for carding, which
consisted of revolving cylinders covered with wire cloth. John
Lees, in 1772, invented an apron feed, a device that made it possible
to put a large quantity of fiber in the machine at one time. Richard
Arkwright was responsible for an invention by which the fiber was
delivered from the carding machine in laps, but a short time after
the apron feed was invented a funnel was attached to the card,
thus making the raw material into a sliver. After being carded,
either by hand or by this machine, the fiber was ready for spinning
on either the great wheel or the flax wheel.
12. Improvements in Spinning.—About the middle of
the 18th century, there came an increased demand for materials.
While the improved machinery made it possible to card the fiber
ready for spinning and to weave the cloth on power looms, still the
yarn was spun by hand. This, of course, held up production. To
John Wyatt is due the honor of producing the first yarn spun with-
out the use of the human fingers, a feat he accomplished in 1737.
His machine drew the fiber through two moving rollers, which also
used the flyer of the flax wheel.
13. Up to this time, but one thread was spun at a time. James
Hargreaves, an Englishman, was the first to work out a method of
spinning a number of threads at the same time. The idea came to
him one day when he saw a spinning wheel overturned, leaving
the spindle revolving in a perpendicular instead of a horizontal
position. Seeing at once the possibility of having a number of
spindles revolving in this position, he made his spinning jenny,
which spun eight threads at one time. It had an intermittent
motion like the great wheel, but it spun thread that was not strong


6 DEVELOPMENT OF TEXTILES
enough for warp. Hargreaves' invention made him very unpopular
with his fellow workmen, who persecuted him bitterly, for they felt
that he was taking their work from them.
14. The next improvement in spinning was Arkwright's
water frame, which was brought out in 1768. This machine was too
heavy to be driven by hand, so that mule or horse power was
required. Later, water power was used, which gave it the name of
water frame, and in 1790 steam was employed. The action of
the water frame was continuous like that of the flax wheel and that
used today in ring spinning. In fact, the principles of both the
modern mule and the ring-spinning frame are the same as those of
the great wheel and the flax wheel. The differences lie in the
mechanism that has been devised to take the place of the hands.
15. Samuel Crompton, in 1779, patented his spinning machine
under the name of the mule-spinning frame. Containing the good
features of both Hargreaves' and Arkwright's inventions, it was
more valuable than either of these before steam power was used.
Later, when steam could be utilized for power and when Whitney
invented his cotton-ginning machine in 1793, cotton spinning
received a great impetus.
It was when water and steam were used for power that the textile
industry was taken from the home to the factory. But the principles
of the machines used today in the largest factories are practically
the same as those set forth in the inventions of Hargreaves, Ark-
wright, and Crompton, with merely the substitution of machinery
for the hand work formerly done by spinners.
weAVING
NATURE AND HISTORY
16. Weaving is the process of interlacing into a fabric two sets
of threads or strips of pliable material that cross each other at
right angles. The threads that run the entire length of the material
and form the foundation for weaving are called warp threads,
as indicated in Fig. 7. The threads that cross and interlace with
the warp threads are called weft, woof, or filling, threads. At


DEVELOPMENT OF TEXTIi.ES 9
one warp thread, as shown in Fig. 10. The plain weave is used
principally for light-weight goods, such as voile, muslin, gingham,
FIG. 9
linen, and nainsook. It is the least expensive weave to produce
and requires the smallest amount of yarn or thread.
Variations of the plain weave are found in the basket and Panama
weaves. The basket weave is made by weaving two or more
weft threads over two or more warp threads. The Panama weave
is really a plain weave, but a different effect is gained by having the
weft thread much heavier than the warp. -
27. The twill, or diagonal, weave is more elaborate than the
plain weave. In its simplest form, the twill weave consists of one
weft thread passing over two warp threads and then under one
warp thread, this being sometimes called the prunella weave.
Twill weaves vary greatly and consequently give us a large variety
of materials, such as tricotine, serge, and gabardine. In serge,
which is illustrated in Fig. 11, one weft thread passes over two warp
threads and then under two warp threads, as Fig. 12 shows. In
twill materials, the twill may run to either the right or the left,
but in the majority of cases it runs to the right, a characteristic
i
ſlº
Tº sºls nºt
ilº
Il Tri-º- o-
ſº-
Tl iſ nº | %
FIG. 11 FIG. 12
that helps to determine the right side of twilled materials. Many
threads are used in the twill weave, making firm. durable materials.


10 DEVELOPMENT OF TEXTILES
28. The satin, or sateen, weave, shown in the satin in Fig. 13,
is an important one for it is used in all fibers. In reality, it is a .
###############
Hää###"
Lºº HH F
TTTTLIFTTTTTTT T-I-T-I-T-
ſº
-I Lºir-
ſº
FIG. 13 FIG. 14
form of twill, as shown in Fig. 14, but the interlacing of the fibers
is done so that the twill does not show and a smooth, lustrous
surface with many loose, or floating, threads is produced.
The satin weave differs from the sateen weave in that the warp
threads form its surface, whereas in the sateen weave the filling,
or weft, threads form the surface. Usually, the satin weave is
used for silk and wool fibers, and the sateen, for cotton. It is
also an excellent weave for a combination of fibers, such as silk and
cotton, as in cotton-backed satin.
Besides in satin and sateen, the satin weave is found in such
materials as galatea, Venetian cloth, messaline, and foulard.
29. Curved warp weaving includes the leno weaves, the pile
weaves, the double-cloth weaves, the figure weave, and the lappet
Weaves.
30. Leno weaving, which is shown in the marquisette in Fig. 15,
consists of weft threads with the warp threads wound around them,
ſ ſº ſº ſlº Il
}}}}}
}
W.
—w
FIG. 15 FIG. 16
as shown in Fig. 16. This weave is used extensively in curtain
scrim, but as it will not permit of having its threads drawn length-


DEVELOPMENT OF TEXTILES 11
wise, such material should not be purchased with the idea of hem-
stitching it by hand. The leno weave is found also in silk grena-
dine and marquisette.
When it is closely woven,
it is durable, but often
it is very open and loose.
31. The pile weave,
shown in the velvet in -
Fig. 17, is the one in FIG. 17
which the beautiful velvets of the world are produced. In this
weave, the ground may be a plain, a basket, or a twill weave.
As shown in Fig. 18, there are generally two sets of warp threads,
as at a and b, which are
held by the weft threads,
as at c. One set of warp
threads forms the pile,
and in weaving these are
held loosely so they may be drawn over wires to form loops, which
are afterwards cut to produce the pile surface. Plushes, corduroys,
bolivia, chinchilla, rugs, and carpets are other examples of this
weave. Some of the plushes and velvets are in reality double cloth,
being cut between the cloth.
In another group of pile fabrics, such as terry cloth, which is
used for towels and wash cloths, the pile is in the form of loops of
threads instead of ends.
These materials should not, under any circumstances, be confused
with those that are napped, such as outing flannel or broadcloth.
The map is produced by brushing the loosely woven cloth until a
rough appearance is obtained. In duvetyn and velour, the fabric
is matted, but in the case of broadcloth, it is pressed after napping
to give it a smooth, mirror-like appearance.
32. The double-cloth weave is used in fabrics that are woven
with two sets of warp and two sets of weft threads. Special
warps and a double harness are needed for weaving of this kind.
Often, double-cloth materials are held together by means of catch-
ing an occasional weft thread through to the opposite surface,
and thus they become reversible, as heavy coating, polo cloth, rugs,
and double-faced ribbons. Other times they are made by fastening
two materials together with glue or mucilage. Again, they may


12 DEVELOPMENT OF TEXTILES
be woven so as to be fastened on one or both edges to make tubular
materials for lamp wicks, hose, and bags.
33. The figure weave is a combination of the three foundation
weaves—plain, satin, and twill. The simple figure weaves, such as
diaper patterns, huckaback, and granite, are done on a regular
loom, but for intricate figure work, such as is found in damasks
and brocades, the Jacquard loom is required.
Brocades have a right and a wrong side, whereas damasks are
figured on both sides and are therefore reversible.
34. The lappet weave consists of a plain weave with patterns
woven on the surface to resemble hand embroidery. It is done
by means of an attachment called a lappet, which is applied to a
regular loom. The extra threads on the wrong side are cut off
after the pattern is applied. Lappet weaving produces many
pretty materials, dotted Swiss being the principal example, but
they are not very durable as the process through which they pass
during the weaving weakens them considerably.
35. Bedford cord and piqué have characteristics peculiar to
themselves. They are sometimes known as cord weaves, but they
may be called “backed” fabrics because they carry an extra set of
warp threads at the back of the fabric. The one set of warp threads
weaves in the usual way with the weft, while the extra set carried
at the back of the fabric interlace with the weft threads at regular
intervals, producing a lengthwise ribbed effect of a rather wide wale.
Sometimes, a crosswise rib is produced by reversing the warp and
weft, the weft forming the filling at the back of the material.
36. Certain materials, such as bobbinet, maline, and tulle,
contain weaves that cannot be classified as any of the regular
textile weaves because of their construction. They have two sets
of threads that correspond to the warp and weft of other materials,
but these threads are woven on lace machines that permit varying
degrees of tension and therefore cause the weft, or bobbin, threads
to become twisted with the warp threads. To distinguish them from
other materials, they may be designated as lace weaves.


DEVELOPMENT OF TEXTILES 13
RNITTING
37. Knitting is the process of making fabrics by looping a single
thread, either by hand or by machine, each succeeding line of the
thread being looped into the one before it. This art has been known
for centuries, our grandmothers having knitted by hand large quan-
tities of wool into stockings and mittens. The modern knitting
machine has a great number of hooked needles, which open and close
automatically and hold each loop as the knitting is done. If one
loop is dropped, the whole web is threatened with destruction.
Knitting yarn, which is softer and less twisted than weaving yarn,
produces an elastic material that is used principally for underwear,
hosiery, gloves, scarfs, etc. Sometimes it is plain and other times,
ribbed, the ribbed varieties being more expensive and usually better
wearing than the plain ones.
The chief knitted fabrics are tricolette, Jersey, and stockinette.
Some materials, such as eiderdown and chamoisette, have a
knitted background through which soft yarns are passed to make a
fuzzy surface.
CLOTH FINISHES
38. It must not be thought that a fabric is ready for use as
soon as it comes from the loom or the knitting machine. Just
the contrary is true, for it is then in an unfinished condition and is
called raw thread. It must be treated in various ways, depending
on the nature of the material and the finish to be applied.
39. Practically all materials must be scoured, or washed in
hot water and soap, in order to remove any dirt, oil, or other foreign
substance, such as size, a starch-like dressing put into certain warp
yarns to make them easier to handle. Often it is necessary to
burl materials after weaving, that is, to pick out any knots,
burrs, and similar imperfections found in them.
40. Singeing consists in treating the surface of material to
make it smooth after taking it from the loom. This is done by
passing it over heated metal rollers to remove the loose nap.
41. Fulling is another operation through which many woolen
materials are put to give them a stronger and firmer body. This


14 DEVELOPMENT OF TEXTILES
process shrinks the threads and makes the fabric compact and
smooth. In the case of broadcloths and other nap-finished mater-
ials, the fulling is carried on until the fibers become densely matted
and cover up the weave. Tweeds, on the other hand, are fulled
only to the extent of giving them a dressed surface, and certain
other materials merely have their texture strengthened in the fulling.
During the fulling process, the material is frequently taken out,
stretched, straightened, and inspected. When it has been suffi-
ciently filled, it is freed from the soap by being rinsed, first in tepid
water and finally in cold water.
42. To raise the nāp of woolen material that has been fulled,
it is teasled; that is, the surface fibers are pulled out or broken to
produce an unequal nap. For this purpose, a thistle-like plant
covered with a hook-like growth and called the teasle, is employed
in the production of high-grade fabrics, although a metal device,
also, is used to nap materials. After the nap is raised, it is cut to
make it uniform. Sometimes the nap is pressed, and again it is
allowed to stand upright.
43. Many materials are put through a process called calender-
ing to give their surface a smooth, even finish and sometimes to
glaze them, as in sateens and silesias. Calendering is accomplished
by running the material over warm cylinders, pressure and steam
being employed in the process. The glazing of materials is brought
about by putting them through rollers that move at different
velocities.
BLEACHING
44. Before materials can be dyed or printed, they must be
freed of their natural coloring matter and any oily substances
that they contain. Sometimes it is found sufficient to scour the
fabrics, but usually bleaching is also necessary.
45. The process of bleaching consists of freeing textile fibers
and fabrics from their natural color in order to whiten them.
In ancient times, bleaching was done by exposing the material
to the direct rays of the sun and wetting it at regular intervals.
This method, while followed for many years, and even now used in
Some parts of Ireland, proved unsatisfactory because of the change-


16 DEVELOPMENT OF TEXTILES.
This discovery produced a revolution in dyeing methods, for
the products of coal tar, the pitch distilled from bituminous coal
and condensed in the manufacture of coal gas, chief among which is
aniline, have formed the basis for practically all dyeing materials
since. Many other discoveries followed, chemists producing from
time to time materials that closely resemble the natural dyes in
effect although they bear no similarity to them in chemical
composition. In fact, these synthetic dyes have nearly supplanted
the natural ones.
A very important step in the history of dyeing was the discovery
in 1870, by a German chemist, of a way to transform an extract of
aniline into alizarine, a coloring matter identical with madder, one
of the most ancient of natural dyestuffs. When this material
was available for the trade, it practically drove the natural product,
madder, from the market.
49. Methods of Piece Dyeing.—Dyeing cloth with coal-tar
dyes is done in three ways: by direct, basic, and vat dyeing.
50. Direct dyeing consists in subjecting the cloth to a dye bath
and, by means of frequent turnings of the cloth, transferring the
color to it. Dyeing of this sort is not likely to produce such good
results as that done by the other methods.
51. Basic dyeing is that which requires the services of a mordant
to make the dye permanent. By a mordant is meant a substance
that will fix colors. To accomplish this, it must both penetrate
the fiber of the material and combine with the dye-matter in such
a way as to form an insoluble compound in or out of the fiber.
Various substances, such as tannin, gelatine, gluten, albumen, soda,
and lead salts, are used as mordants. The most common method
of dyeing with a mordant is to work it into the cloth and then to
apply the coloring matter. The art of the dyer consists in com-
bining the cloth, the mordant, and the dye so as to obtain a color
that will be chemically combined and permanent.
52. Wat dyeing has long been in use in Germany but has only
recently come into use in the United States. This form of dyeing
is interesting in that the cloth may not have the desired color when
it is removed from the dye bath but assumes the correct color on
being exposed to the air. Indigo is one of the colors that develop
by oxidizing, or exposure to the air.


18 DEVELOPMENT OF TEXTILES
pure form. A thorough washing in soft water completes the prep-
aration for the dyeing.
With the material properly cleaned and containing only a faint
outline of its pattern, it is immersed in a bath of alizarine, from
which it comes out a completely printed fabric. This solution has
the power to produce all the colors that were printed on the material
by the mordants. A final boiling in soap and water to brighten
the colors brings the fabric up to its finishing processes—calendering,
folding, or rolling for the market.
58. Block Printing.—The earliest form of printing was
known as block printing. Now it is used chiefly in art work, having
been superseded by machine printing in the manufacture of fabrics.
In block printing, the design is cut out on a block of wood, the
parts that are to make the impression being left prominent and
the rest of the block being cut away. The color is supplied to the
block, which is then pressed firmly on the fabric in order to transfer
the design. As can be imagined, this is a process that, while it
produces extremely beautiful, artistic effects, is too slow to be used
commercially. - -
FABRIC CHARACTERISTICS
59. Right Side of . Materials.-Many materials appear
practically the same on both sides and, therefore, may be used
without any concern as to keeping a particular side outermost.
When materials are not alike on both sides and there is doubt as
to which is the right side, there are various ways of determining it.
Usually, the right side has a smoother and more finished or more
attractive appearance than the wrong side, and any design in the
fabric stands out more prominently on the right side. If only one
side of a fabric is glossy, this may generally be taken as the right
side. If any novelty of weave or finish is more apparent on one
side than on the other, the more unusual effect is, as a rule, consid-
ered the right side, even though this is sometimes contrary to the
general rule that the smoother and more finished side should be kept
Outermost.
60. In fabrics of twill or ribbed weave, the ribs, in most cases,
stand up more prominently on the right side. When both sides of a
twill weave appear very much the same, the right side may be


DEVELOPMENT OF TEXTILES 19
determined by observing the manner in which the diagonal lines
run. To determine the right side in this way, hold the piece of
material up against you with the selvages up and down. In this
position, the diagonal lines should run from the left down toward
the right.
Most double-width materials are folded in the piece with the
right side in so as to prevent counter soiling.
61. Materials Having “Up and Down” and ' Right and
Left.”—Materials are said to have an up and down when they
have a nap, a pile, or figures that are not the same on their opposite
ends and are not arranged in reverse positions, which causes them
apparently to “run” in one direction.
As a rule, a napped fabric should be developed so that the nap
runs in the same direction in all parts of the garment, although
there are exceptions to this rule mentioned in the Instruction Book
that deals with the cutting out of garments. The manner in which
the pile runs in a fabric
may be determined by
running the hand over
it in the general direc-
tion of the lengthwise
threads; when the hand
is moved against the
pile, it causes a feeling
or appearance of rough-
ness, but when the hand
is moved in the same
direction as the pile, the
feeling is of smoothness.
62. In figured ma- -i-º-º:
terial, the correct posi-
tion of the figures may
be determined by their appearance; the portion of the figure that
appears broader or heavier is usually regarded as the lower end,
except in the case of natural figures or familiar objects, which should
maintain their natural or familiar positions.
Materials are said to have a right and left when they have stripes,
plaids, or figures, as in Fig. 19, that appear heavier or darker on one
side of the design than on the other.


CHAPTER II
COTTON
PRODUCTION AND MANUFACTURE
1. Cotton is a downy vegetable fiber obtained from the boll,
or seed pod, of the cotton plant. This plant grows from 3 to 6
feet in height and is native principally to the island and seacoast
regions of the tropics, although it is raised successfully in other
places. A sandy soil and a warm climate are necessary for its
growth. -
The earliest cotton was produced in India, Dacca muslin being
among the first cotton fabrics ever made. India was the center
of the cotton industry for hundreds of years and still produces
cotton in large quantities. It was from this country, in the
16th century, that cotton was brought to America. Although
the United States was the last to take up cotton growing, for
almost a hundred years it has exceeded all other countries in the
production of this fiber, and at present it raises about three-
fourths of the entire world's crop.
2. Classification.—The cotton plant, the botanical name of
which is gossypium, is a member of the mallow family, its flowers
closely resembling the hollyhock of our gardens. Numerous classi-
fications have been made of its varieties, some authorities giving a
large number, but the majority place all cotton in four classes,
namely, herb cotton, gossypium herbaceum; shrub cotton, gossy-
pium hirsutum; tree cotton, gossypium arboreum; and lintless
cotton, gossypium barbadense. Growers and buyers of cotton,
however, prefer to classify it according to its place of growth, their
chief classes being Sea Island, Egyptian, Upland, Indian, and
Peruvian. The characteristics of these classes are as follows:
20


COTTON 21
3. Sea Island cotton is grown on the islands along the coast
of the Carolinas, Georgia, and Florida. It has long, silky, fine
fibers and is used for making the finest cotton thread, such as that
utilized for laces, sewing thread, silk mixtures, and silk imitations.
4. Egyptian cotton ranges in color from white to brown, the
brownish color being due to the coloring matter in the Nile.
Its fiber is unusually long, from 14 to 1% inches, and it is used to
some extent in the manufacture of spool cotton. Its greatest
use, however, is in the manufacture of fancy knit goods, such as
the better grades of hosiery and underwear, it being next in value
to Sea Island cotton. -
5. Upland cotton is grown in the United States on the uplands
of some of the South Atlantic States. It is a cotton that varies
greatly according to the cultivation of the plant and the character
of the soil in which it is grown. The fibers of this cotton range
from # inch to 1% inches in length and form a source from which we
obtain the bulk of our cotton for use as sheeting, gingham, calico,
and similar materials.
6. India cotton is used for making very coarse yarns, such
as those used in denims and drilling, as it is shorter and weaker
than the American upland cotton. The United States uses very
little India cotton; its greatest markets are Japan and European
countries.
7. Peruvian and Brazilian cotton, or South American cot-
ton, as it is sometimes called, has fibers of a harsh, wiry char-
acter, which make both of these varieties useful in the adultera-
tion of wool. The fiber is about the same length as that of
Egyptian cotton. -
8. Growth of Plant.—Cotton is planted some time from
March until May and matures from August until the frost comes,
often as late as November or December. It is ready to pick as
soon as the boll bursts open and shows its downy center. The
picking is practically all done by hand, for although machines are
sometimes used, they are not very satisfactory because they cannot
distinguish between the ripe and unripe bolls and not all the bolls
ripen at the same time. Each picker picks from 150 to 200 pounds
of cotton a day.


22 COTTON
9. Cotton Ginning.—After being picked, the cotton is taken
to a ginnery, where the seeds are removed from the fiber by the
cotton gin. This device, invented in 1793 by Eli Whitney, has
played a very important part in the history of the cotton industry.
Up to the time of its invention, the seeds and fiber were separated
by hand, but this was a very slow process for no one was able to
clean more than 6 pounds of cotton in a week. Now, with the
modern gins in use, two men can remove the cotton from the wagon
and attend six gins, which clean 24,000 pounds in a day.
The cotton gin consists of a series of saw-like teeth that draw the
fiber of the cotton through holes too small to permit the seeds to
pass. The lint is carried on by rollers, whereas the seeds are sent
to the oil presses, these being frequently installed in the gin houses,
where the seeds are pressed through special machinery and yield
cotton-seed oil, the hulls being used for fuel and fertilizer.
10. Sorting, Baling, and Opening.—After cotton is ginned,
it is generally made into bales of 500 pounds each and shipped to a
manufacturing center. Owing to the difference in the length
and the condition of the fiber, the cotton must first be graded. To
do this, the bale is broken and the cotton is placed in a machine
known as a cotton opener, which tears the cotton apart. With the
fibers opened, they are sorted according to length and whiteness.
Bale breaking and opening are not necessary operations if the
cotton is hauled from the gin directly to the cotton mill and it is to
be graded at once.
11. Carding, Combing, Drawing.—The cotton passes
through several intermediate steps that prepare it for the carding
process. By means of a machine containing a card and a comb,
the action of which has been compared to that of a comb and brush
on the hair, the fibers are cleaned of their impurities and laid
approximately parallel. From the card, which delivers the cotton
in the form of a sliver, it is run through the combing machine, if it is
intended for very fine material. Otherwise, it goes straight to the
drawing frame, which combines several slivers and draws them out
so that they are the size of one. After going through the drawing
frame several times, the fibers are sent to the fly frames, where they
are drawn still smaller and twisted very slightly. Then the yarn
is wound on bobbins.


COTTON 23
12. Spinning.—The next step in cotton manufacture is
spinning, which is usually done on an upright frame by the flyer
or the ring system. A humid atmosphere is more satisfactory for
cotton spinning than is a dry one. Consequently, England is
more suitable for this work than America, although large quantities
are spun in both the Southern and the New England States. The
chief purpose of spinning is to unite and draw out the fibers and to
twist them into yarn.
There is a difference between the spinning of yarn for warp and
that for weft. Since the warp yarn must be stronger than the weft,
longer fiber cotton with a harder twist is used for it. For the weft
yarn, the short fiber is employed.
The invention of the cotton gin by Whitney made possible a
large supply of cotton for spinning. Also, improvements in spinning
wheels gave a great impetus to the industry. In fact, spinning was
practically taken out of the home and made a problem for
factories, where it has been kept ever since.
13. Dyeing.—As soon as the yarn is spun, it may be dyed
at once, when it is known as “dyed in the yarn”; or it may be woven
first and then dyed, when the material is called “dyed in the piece.”
Most of the cotton yarn is dyed before weaving. Sometimes, the
yarn is bleached and mercerized before dyeing.
14. Weaving.—Before cotton cloth is woven, the warp
threads are sized to increase their strength and to make them with-
stand the wear of the loom. The warp is then placed on a warp
beam and each of the warp threads is drawn through its particular
heald, or vertical wire containing an eye, in the harness and its
space in the reed, or a heavy frame set close with straight wires,
between which the warp threads pass. The reed presses the weft
threads up close to the finished piece to make it firm and even.
Two operators are required to thread a loom for the first time, but
after it is once threaded, the ends of the old warp may be tied to the
ends of the new with a weaver's knot and the new warp drawn
through. The pattern to be followed in the weaving is, of course,
worked out before the warp is threaded in the loom.
The principle of weaving is practically the same in all looms at
the present time. The harnesses automatically raise and lower
the warp threads and with each opening of the shed, which is the
space between the warp threads, the shuttle flies through, leaving a


24 COTTON
trail weft thread; then the harnesses raise another set of warp
threads and the shuttle flies back. The majority of cotton weaves
are plain, but twill weaves are seen in some materials, such as drilling
and khaki.
15. Cotton Finishes.—The varied finishes given to cotton
materials account for the large variety of cotton materials on the
market. Nearly all cottons are sized to some extent, the kind of
material used for sizing depending on the effect desired. Thus,
organdie is sized to give it a very crisp appearance and percale
is treated with mucilage or gum to give it a glossy finish.
16. By calendering, or putting the cloth between heated steel
rolls and using warm dressings, a high luster may be obtained, as
in the case of Sateen. Mulls are softened by means of oils; cre-
tonnes are treated with clay to give them a solid appearance.
17. Mercerization is a finish given to various cotton materials.
It is done in either the yarn or the cloth, usually before bleaching,
and consists in treating cotton under tension with a solution of
caustic soda to provide a high luster. Unless the yarn or cloth is
stretched very tight when treated with the soda, it shrinks both
lengthwise and crosswise and takes on a crinkled appearance. At
one time, this was the method used for maufacturing cotton crêpe.
18. Printing.—In cotton manufacture, printing is an impor-
tant process. It consists in impressing, or stamping, a design on the
surface of a woven fabric or on the warp threads before the weaving
is begun. The designs in calico, percale, organdie, and many other
figured cotton materials are produced by means of printing.
PURCHASING COTTON MATERIALS
TESTS FOR QUALITY
19. Before you buy cotton fabrics, there are several tests that
you should make in order to determine their quality. Because of
the comparative cheapness of cotton fiber, it is seldom adulterated,
but an inferior grade of cotton is often made to appear heavier
by the addition of dressing. To test a thin fabric for the presence
of dressing, when making a purchase, simply hold it up to the light
and examine it. In this position, the starch that it contains will


COTTON 25
show between the threads. Or, rub the material in the hands to
remove a part of the dressing and thus determine the firmness of
the cloth. In the laundering process, such material loses both its
weight and its firmness. So, if you wish to make the most convinc-
ing test for the presence of dressing, wash a sample of the material
and compare it with the original piece.
20. Fastness to sunlight and washing is a very important
quality of cotton material. To test for this, cover one end of a
sample with a piece of cardboard or something else that will keep
out light and expose the uncovered end to sunlight for several days.
If the color remains unchanged, the fastness of the color to light
is practically assured. Then wash the sample in a warm soap
solution, repeating this process several times. If the color still
remains intact, you may rest satisfied that it is fast.
Guaranteed, fast-color material is more expensive at the out-
set than materials which are not guaranteed, because of the
special dyeing process required to produce fast colors. However,
the additional expense is justified by the attractiveness of the
material throughout its life.
21. Dark-colored materials that have not been properly dyed
have a tendency, when worn, to crock and discolor other garments
or the skin. To test for this condition, rub a sample of the material
briskly on a white, unstarched cotton fabric. If the color in the
dark material does not rub off with this treatment, you may feel
quite certain that the dyeing was properly done.
22. In buying material that is desired for long service, examine
its warp and weft threads. These should be in good proportion as
to strength and firmness, for the unequal tension produced by
threads that are too decidedly unlike will soon cause the material to
split or wear. Besides considering the strength and firmness of the
fabric, test its quality by untwisting one of its threads and noticing
the length of the separate fibers. Long fibers, that is, from 3 to
# inch, provide additional strength and have good wearing qualities.
TABLE OF COTTON MATERIALS
23. The materials, or fabrics, made from cotton are large in
number and variety. In order that you may become familiar with
most of them, all those in common use for home dressmaking are


26 COTTON
given in Table I. In it the materials are listed in alphabetical
order, and, in addition to a description of each, the names of
the weaves, the usual widths, and the normal prices are men-
tioned. Also, in this table, as well as in the tables for linens,
silks, and wools, trade names are omitted, except those which have
become generally known through advertising, such as “flaxon,”
“Georgette,” etc.
It is advisable to study these tables and refer to them as occasion
demands. This information, together with the tests for materials,
will, if you are inexperienced, assist you materially in purchasing
materials. Not only will you quickly learn to buy intelligently,
but you will have the assurance that you are not making mistakes
about prices. In addition, this information will aid you in the
Selection of materials for garments.
TABLE I
COTTON MATERIALS
Usual Width Price
Name Weave Inches per Yard Description
Batiste . . . . | Plain 32 to 45 || 25c. to $1 | A fine, light, semitransparent cloth
made in white and a few colors.
Used for lingerie dresses, blouses,
and underwear; coarse weave
Bedford used for lining.
cord . . . . . Cord 27 to 54 15c. up Heavy goods having raised, length-
wise cords that vary in width
from ſº to # inch. Used for
dresses, skirts, and children's
COats.
Bobbinet. . . Lace 45, 54, 72 |50c.toś2.50. Machine-made netting woven to
produce six-sided figures; com-
monly called net. Used for lin-
ings in blouses and dresses, and
for overdrapes and window
draperies.
Buckram . . . Plain 24 29c. to 75c. Coarse, open-weave material, made
stiff with glue sizing. Used in
garments for stiffening. Chiefly
used for millinery purposes.
Bunting... Plain 18 to 36 | 12}c. up | Soft, open-weave fabric used for
flags and decorating purposes.
Also comes in wool.
NOTE.--The prices in this table are based on normal trade conditions.


COTTON - 27
Weave
Usual Width
Inches
Price
per Yard
Description
Cambric...
Canton, or
Cotton,
flannel . .
Canvas....
Challis. . . .
Chambray.
Cheesecloth
Chintz . . . .
Corduroy. .
Plain
Plain
Twill
Plain
Plain
Plain
Plain
Plain
Pile
24 and 27
24 and 36
27
27 to 40
24 and 36
27 and 32
24 and 36
27 to 50
36
10c. up
15c. to 50c.
10c. to 50c.
15c. to $1
19C. to $2
15c. to $1
12}c. to
50c.
25c. to $5
89c. to $5
Coutil.....
Twill
36 to 54
30c. to $5
Closely woven, thin cloth, usually
with figured designs printed on
one side. Used for inexpensive
dresses and aprons. Often called
cotton print.
Fine fabric with a glazed finish.
Used for handkerchiefs, linings,
and undergarments. Kid-fin-
ish cambric is narrower in width
and cheaper in price.
Heavy cotton with long nap on the
right side. Used for children's
underwear, interlining, etc.
A coarse, firm material. Used for
stiffening coats, facings, etc.; also,
for making mail bags, tents, and
sails. There is also an open-
weave canvas used in embroi-
dery work known as cross-stitch
Colºlº (1S.
A fine fabric, both plain and fig-
ured. Used for inexpensive
dresses and for comfortables.
Light-weight material with colored
warp and white filling. Used
for dresses, aprons, and sunbon-
nets.
Thin, light-weight fabric. Used for
wrapping cheese, butter, etc.;
also, for dish towels and for
window decorating. Colored
cheesecloth is used for masquer-
ade suits and dresses.
Material similar to cretonne,
usually glazed-finished.
A durable, ribbed fabric in white
and colors. Expensive qualities
have cotton warp and silk pile.
Used mostly for outing suits,
lounging robes, and children's
coats.
A stout material, sometimes in fig-
ured weave, used for corsets,
brassières, bed coverings, and
draperies.


COTTON
Weave
Usual Width
Inches
Price
per Yard
Description
Cretonne. .
Crinoline. .
Damask. . .
Denim. . . .
Diaper. . . .
Dimity. . . .
Drilling. . .
Flannelette
Flaxon . . . .
Gabardine.
Plain
Plain
Twill
Fancy
Plain
Satin and
Jacquard
Twill
Figure
Plain
Twill
Plain
Plain
Plain
Twill
27, 32, 36
24 to 50
27 and 36
36, 54,64,
and 72
29, 32, 36
18 to 36
27 and 36
32 to 36
18, 27, 36,
and 126
27 to 36
32, 36, 40
36
19C. to $2
25c. to $12
19C. to 50c.
75c.to $2.50
30c. to 50c.
20c. to 60c.
19C. to $1
25c. up
25c. to $5
29c. to 59c.
29c. to $1
25c.to $1.50
Galatea. . .
Twill
27 to 36
35c. to 75c.
A crinkled, light-weight fabric.
Used for underwear, blouses, and
dresses. Some grades have floral
and Japanese designs. Used
for kimonos and lingerie robes.
A medium-heavy cloth, usually
printed in floral and striped
designs. Used for upholstery
and draperies.
An open-weave fabric filled with
sizing. Used in cuffs, belts
coats, and hats for stiffening.
A figured fabric used for table linen
and towels. See Damask, Table
II. -
Strong, durable fabric in plain
colors. Used for overalls and
for furniture and floor coverings.
Soft fabric, generally made with
small diamond or bird's-eye pat-
tern; used for towels and under-
garments.
Corded or crossbar, light-weight
material, plain and figured. Used
for infants' garments, undergar-
ments, aprons, and lingerie
dresses.
Coarse, firm cloth. Used for men's
outing suits and for interlinings.
A heavy-weight, highly finished
fabric. Used for outing skirts and
coats and for tents and awnings.
A soft fabric with a slight nap.
Comes in white and colors. Used
for sleeping and baby garments
and for kimonos.
A mercerized lawn of fine quality.
Used for blouses, dresses, and lin-
gerie. Flaxon is a trade name.
A stout material used chiefly for
tailored dresses and skirts. See
Gabardine, Table III.
A heavy, firm material for boys'
clothes, outing skirts, middy
blouses, and dress-formcoverings.


COTTON 29
Weave
Usual Width
Inches
Price
per Yard
Description
Gingham. .
Grenadine.
Huckaback
India linon.
Indian
Head. . .
Kindergar-
ten cloth.
Linene. . . .
Long-cloth.
Madras. . .
Marquisette
Plain or
Leno
Plain
Leno
Figure
Plain
Plain
Twill
Plain
Plain
Plain
Plain
Plain
Leno
36
27 to 40
27 to 36
18 to 36
27 and 30
18 to 54
29
32
27 to 40
33 to 54
36
27 to 50
40
10c. to 20c.
15c.to $1.75
25c. to $2
20C. to 75c.
18g. to 75c.
23c. to $1
25c. to 75c.
25c. to 45c.
25c. to $1
29c. to $1
12}c. to $1
35c. to $1
25c. to 75c.
Loosely woven, flimsy material, but
very strong because of the weave.
Used as foundation for collars
and yokes, but principally for
bandages. See Gauze, Table IV.
A firm material dyed in the yarn
before weaving. Many com-
binations of warp and weft are
made to form stripes and plaids.
Used for dresses and aprons.
Loose-weave fabric, usually with
satin stripes. Used for party
dresses and for draperies. Also
made in silk and wool.
A rough-weave cotton toweling.
See Huckaback, Table II.
A cotton lawn in imitation of linen.
Name is applied to many quali-
ties of lawn. Used for children's
dresses, aprons, and fancy work.
A coarse, firm material used as a
substitute for plain, heavy linen.
Comes in white and fast colors.
Indian Head is a trade name.
Dark tan cloth. Used for men's and
boys' clothes, army uniforms, girls'
and women's outing garments.
Stout, closely woven material with a
smooth surface. Usually instripes.
Used for children's clothes.
Sheer fabric filled with starch or
sizing. Used for dresses, aprons,
and curtains.
A substitute for linen. Much like
Indian Head, except that it is
softer and has a smooth finish.
Closely woven, fine, bleached mus-
1in. Used for underwear and .
infant's clothes.
Firmly woven material, usually hav-
ing stripes, which may be woven
in satin, basket, or fancy weaves.
Soft, open weaves in fine and coarse
qualities. Used for dresses and
curtains. Coarser qualities iden-
tical with scrim.


COTTON
Weave
Usual Width
Inches
Price
per Yard
Description
Muslin. . . .
Nainsook. .
Organdie,
or organdy.
Outing
flannel. .
Percale. . . .
Percaline. .
Plain
Plain
Plain
Plain
Plain
Plain
Plain
Cord
Plain
Plain
27 to 40
36 to 90
36 to 40
36 to 45
27 and 36
36
36
27 to 36
27 to 40
27 to 50
35c. to $1
19C. to $1.50
20c. to $1
25c. to $2
12}c.to 40c.
17c. to 50c.
|35c. to 60c.
25c. to $1
19C. to $1
25c.to $1.50
Very soft, sheer, light material in
white and colors. Used for
dress foundations, blouses, and
for inexpensive party dresses.
Firm qualities sold under trade
names of seco silk and silk
muslim.
A firm and loose weave, bleached
and unbleached. Unbleached
often referred to as raw muslim
or domestic. Used for under-
garments where durability is
desired and for sheets and pil-
low cases.
A light-weight, soft, bleached, mus-
lin suitable for dainty lingerie
and children's garments.
Very fine, sheer, crisp material,
in white and colors. Used for
dresses, flowers, collars, and
cuffs. “Permanent-finish” or—
gandie retains crispness after
laundering.
Similar to flannelette, with a nap
on both sides. Made in colors,
stripes, and checks. Used for
sleeping and infants' garments.
A close, firm fabric, plain and in
colors. Used for dresses, shirts,
and children's clothes.
Closely woven fabric with glazed
or watered finish. Used for
linings and for drop skirts.
A firm fabric in lengthwise corded
effect. Used for dresses, vests,
trimmings, and children's coats.
Fabric having fine crosswise ribs.
Used for draperies, dresses, and
children's coats. Also made in
silk and wool.
Firm material woven with heavier
weft than warp, giving it a ribbed
effect. Used for draperies,
dresses, and children's coats.


COTTON 31
Name
Weave
Usual Width
Inches
Price
per Yard
Description
Ratiné. . . .
Sateen. . . .
Seersucker.
Silesia. . . . .
Silkaline. . .
Soisette. . .
Tarlatan...
Terry cloth
Plain
Satin
Leno
Plain
Plain
Plain
Plain
Plain
Plain
Pile
36 to 40
36
24 to 60
24 to 36
36
36
36
32 to 44
36 to 72
50c.to $2.50
25c.to $1.25
29c. to $2
25c. to 50c.
30c. to 60c.
25c. to 55c.
35c. to 75c.
25c. to $3
19C. to 59c.
Ticking. . .
Velveteen..
TWill
Pile
Plain
20 to 40
32 and 36
27 and 36
36 to 44
15c.to $1.50
25c.to $1.25
$1 to $5
25c.to $2.50
Rough-surface fabric made with
knotted yarn. Used for summer
suits and sports dresses.
Closely woven material, with lus-
trous, smooth finish, like that of
satin. Used for underskirts and
linings. Heavy quality known
as surf satin.
Open-mesh weave in white, cream,
and ecru; light in weight and
transparent. Used for curtains.
A thin fabric with an irregular,
crimped surface. Used for
dresses, coats, and underwear.
A light-weight fabric, similar to
percaline; soon loses its luster.
Used for linings.
A thin, soft, glazed fabric. Used
for draperies and comfortables.
Soft, mercerized fabric. Used
chiefly for negligee shirts and
pajamas and sometimes for com-
fortables. Soisette is a trade
11ame.
A soft dress, muslin, usually in
cross-bar and dotted effects.
Used for dresses and curtains.
Open-mesh, slightly stiffened fab-
ric. Used for Christmas stock-
ings, as a stiffening in garments,
and for fancy costumes.
Cloth woven with a raised loop
giving a rough surface. Used
principally for towels, draperies,
and bath robes.
Firm fabric in stripes and in floral
and herringbone patterns. Used
for pillows and mattress covers.
A cotton velvet, with short, close
pile. Used for dresses and chil-
dren's wraps and for draperies.
Material having hard-twisted,
warp and weft threads woven in
open mesh. Used for dresses,
lingerie, and curtains.


CHAPTER III
LINENS
NATURE AND USES
1. Linen was probably the first textile woven by man, for it is
known to have been in use centuries before the Christian era. And
the treatment given to the fibers in these early linens was so excel-
lent that napkins discovered in the wrappings of mummies were
not only well preserved but were able to withstand several washings.
The Phenicians are said to have carried linen production into
Ireland, where it has always been an important industry, linens
from Ireland being in great demand because of their beauty.
2. Linen has ever been regarded as the textile of luxury, for
its rather high price, due to its methods of production, prevents it
from being used as commonly as many of the other fabrics. It is
used less frequently, also, because textile manufacturers have so
perfected cotton materials, producing almost indescribable colors and
weaves, that, whenever it is possible, cotton, which is much cheaper
and does not wrinkle so easily, is substituted for linen. However,
because of its sterling properties, there are some uses for which no
substitute can be found for linen. This textile is practically free
from lint, absorbs water very rapidly, gives up its moisture just
as quickly, is easily cleansed, has exceptionally good endurance,
can be had in the finest of fabrics, has threads that are smooth,
strong, and lustrous, and is pure and hygienic for constant service.
In addition, because of the length of its fiber, linen does not
possess the fuzzy surface that characterizes cotton and that even-
tually results in a gray and dingy look through the constant
accumulation of dust.
32


LINENS 33
3. The cost of linen is well justified for household and surgical
purposes, as well as for wearing apparel, handkerchiefs, neckwear,
and fancy work. Because of its long history, its reliability, its
purity, its expense in production, its exclusive use for many
needs, linen should receive a respect which can hardly be accorded
to any other fabric. And every effort ought to be exerted to
prolong the life of a piece of linen to the fullest extent. Table-
cloths, napkins, and other household linens should be laundered
with the greatest care, as well as mended to make them last as
long as possible. Housewives of today may well emulate the
women of olden times, who spent more time caring for the treasures
they had acquired and less time in procuring new things than we do.
PRODUCTION AND MANUFACTURE
4. Cultivation of Plant.—Linen is made from the fiber
contained in the stalk of flax, an annual plant that may be produced
in nearly all climates. Practically all European countries cultivate
flax for the fiber, while India and the United States cultivate it for
the seed and its products. When full grown, the flax plant, which
has an erect, slight, and willowy stem, ranges from 20 to 40 inches
high, and has small flowers that vary in color in the different
varieties from pale yellow to bright blue. In the cultivation of
flax, successive plantings are not made in the same ground, for it
requires well-cultivated and well-nourished soil, an interval of from
5 to 10 years being allowed between flax plantings in Belgium:
It is planted early in the spring, and as soon as it is a few inches
high the women and children begin to weed the plants. In late
July the harvesting begins, the flax being in the best state for
fiber when the leaves and the stem of the lower part of the plant
turn yellow and the seed pods begin to open. Instead of being
cut, the flax plants are pulled up by the roots a handful at a time
so as to save all of the precious, long fiber possible.
5. Removing Leaves and Seeds.-The manufacture of
flax into linen consumes much time and, for the finer grades of
linen, requires much hand work. After the flax is harvested, it is
allowed to dry and the seeds are then removed from the stalks.
Then the stalks are rippled, that is, they are separated from the
leaves and any seeds that may still be attached by being drawn
through a large iron comb. -
L D 1–4


34 LINENS
6. Retting.—The next process through which the flax is
put is called retting, the purpose of which is to separate the fiber
from the bark and the woody core. It is accomplished by coldwater,
steam, dew, or in a chemical way, but the most satisfactory method
for color and strength is by cold water. This is sometimes done in
the neighboring streams, as in the river Lys in Belgium, this being
one of the best known flax-raising districts in the world.
7. When the cold-water method is employed, the flax is put
in open crates of wood, which are covered on the four sides with
jute burlap, often from 2,000 to 3,000 pounds being put into one
crate. The crates are covered with fresh straw, are floated in
position in the stream, and then are weighted down with stones and
sod until they are entirely covered with water. They are left in
the water until the flax is sufficiently fermented, usually 14 or 15
days, the crate then rising above the water and bubbles appearing
on the surface. Sometimes, for very fine fiber, the flax is removed
from the water after 5 days, dried for a part of a day, and then put
back for further action.
8. A different method is that practiced in Ireland, the flax
being placed in stagnant pools of water. But the color of the linen
is not so good when this kind of retting is done. In Russia, the
fiber is left on the field to be retted by the dew. Retting is also
done with the use of chemicals, but as these are apt to harm the
fiber, this method is used less often than the natural ones.
9. Breaking and Scutching.—After being retted, the bundles
are allowed to dry for a short time and are then turned inside out
so that the air will reach all parts of the flax. As the fiber dries,
it bleaches and becomes pretty well separated from the bark and
woody pitch. It must be put through still more processes, known
as breaking and scutching, or beating, before it is thoroughly
cleaned of the particles of straw and dirt that cling to it. The
linen hackle performs the service for linen that the card does for
cotton in its manufacture; that is, it lays the fibers in order and
removes all the short lengths of fiber that are known as tow, which
is rescutched, spun like cotton, and used for coarse cloths. Some-
times the scutching is done by hand and sometimes by machine,
but hand-scutching is considered less wearing on the linen.


LINENS 35
10. Hackling and Drawing.—For very fine yarns, the fiber
is sorted and Cut into three divisions. The middle cut is the
best and is known as cut line.
Before being spun, the fiber is combed many times and then put
through a series of hackling machines to clean it more thoroughly
and to separate the line from the tow. At the end of this treat-
ment, the line is smooth, fine, and glossy. After being sorted
and cut, it is again put into a machine and combed through fine
wires, until it is made into a continuous ribbon or sliver. This
process, which is called drawing, is repeated in other machines
according to the fineness of the thread desired.
11. Spinning.—The spinning of the flax, which is the next
process, is done by the wet, dry, or semidry method, depending
on the purpose for which it is to be used. The tow is treated
duferently from the line, it being spun much like cotton. Dry-
spun flax is more silky and has a greater firmness than that produced
by wet spinning, but it is not so fine. The thread produced by wet
spinning is twisted tighter and the flax is more subdivided, but
these points are an advantage for certain classes of thread. Care
must be used in wet spinning, however, to have the yarn dried
quickly in order to avoid the forming of mold.
12. Sizing, Bleaching, Weaving.—With the spinning of
the thread completed, it is usually sized to give it strength, and
then it is often bleached wholly or partly before it is woven. The
weaving, as can well be understood, depends on the purpose for
which the lineh is to be used. Sheetings, lawn, and cambrics are
done in plain weaves, while towelings usually show twills. Damasks
are generally woven on the Jacquard loom, and these cloths can
be used on either side.
13. Finishing Processes.—The finishing of linen cloth
does not vary greatly for the different weaves. After being woven,
the web of cloth is bleached. Chemical bleaching, dew bleaching,
and grass bleaching are in use. In Ireland, where grass bleaching is
the method used, the cloths are spread out on large grass plots,
where they become a snowy white upon being subjected to the
rain and sunshine. In addition to being bleached, linen is often
washed, blued, starched, and mangled.


36 LINENS
14. Dressing is needed to some extent in even the best linens
to bring out their designs. In poor grades, it is used to cover the
defects of the linen. Different dressings are used to obtain different
effects in the finished material.
15. Beetling gives linen its “leathery” feel. After the cloth is
dampened, it is placed on a roll and is struck with a series of wooden
mallets to give it the flat appearance that is so familiar to every
one. The final processes include calendering, pressing, inspecting,
folding, marking, and packing.
16. Countries Producing Linen.—The linens produced in
the various countries seem to possess distinctive characteristics.
Linen from Ireland has the distinction of being the purest white of
all linens, and while it is not always showy, it possesses the best
appearance and wearing qualities. The dazzling whiteness of
Irish linen has been compared to new snow on which the sun is
shining. These qualities are perhaps due to the climate in which
the flax is raised, as well as to the method of bleaching, nearly all
Irish linen being bleached on the grass, where it is subjected to
sunshine and rain. Belfast, Ireland, is noted for its excellent wear-
ing Irish linen.
In Scotland is produced linen that is much in favor, too, as
it is usually sun- and grass-bleached, this method of bleaching being
less injurious to the fibers than bleaching methods in which chemicals
are employed. Scotch linens, as a rule, are much heavier and more
showy in pattern than Irish linens.
The linen made in France is noted for its beautiful patterns, and
especially is this true of French table linens. The French, as a
rule, spin their linen thread round and fine with the result that
they are able to produce some unique weaves and designs. Many
linen dress fabrics are produced in France, too.
Belgium grows the finest flax of any country in the world, and
the Belgians weave many beautiful linens as a result of having
splendid material with which to work; also, they manufacture the
finest linen threads used in lace making. It is said that the Belgians
use more dressings in their linens than do the Irish.
The linen produced in Germany and Austria is silver white in
color and very fine in texture and is produced in beautiful designs.
Germany produces great quantities of unbleached table linen, also,
which many prudent housewives buy and then bleach. The bleach-


3s LINENS
19. Another test for linen that may be quickly made consists
in pulling out a thread and jerking it in two. If the thread breaks
easily and the ends appear fluffy or fuzzy, similar to cotton twine
when it is broken, the material is cotton. If, though, the thread
breaks hard and the ends show an uneven, drawn-out break caused
by the flax threads, which form the strand of warp or weft, not
being broken off abruptly, it is almost certain that the fabric is good
linen. Pressing the material firmly between the thumb and fore-
finger will help to determine whether it is all linen or contains some
Cotton, for if it fuzzes up, it gives evidence of cotton.
29. A drop of glycerine on unsized linen makes it appear
transparent, but does not have this effect on cotton. This is, there-
fore, a very good, as well as a very simple, test.
21. A test that may easily be made and that will aid in deciding
definitely whether a given fabric is cotton or linen consists in plac-
ing a sample in a strong solution of washing soda. Both cotton and
linen will shrink in this solution, but cotton will become a light
gray, whereas linen will turn a faint yellow.
Another test is to drop the sample into a boiling solution of
caustic potash, which may be purchased in any drug store, and
let it remain there a few minutes. If it is linen, it will turn dark
yellow, while if it is cotton it will remain nearly white or turn a
light yellow.
22. The tests given for finding the amount of dressing in cotton
can be followed to very good advantage when testing linen cloth,
namely, holding the material up to the light or rubbing it in the
hands. If the linen is colored, the tests given under cotton for
exposing the material to the light and washing it may also be
employed.
TABLE OF LINENS
23. Table II gives the name, the usual width, and the usual
price per yard of all linens in general use. In connection with each
kind of linen are also mentioned its nature and the purpose for which
it is commonly used. As is true of similar tables of materials, this
information will be of valuable assistance to all women in the
selection of linens for garments and other purposes.


4() LINENS
SHRINKING AND SETTING COLORS IN WASH FABRICS
24. Cotton materials, particularly ginghams, chambrays, and
percales, as well as linen fabrics, almost always shrink and often
lose their colors when washed for the first time. Therefore, it is
generally advisable to shrink them and set their colors before making
them up into garments. If you attempt to keep correct proportions
in cutting and fitting and at the same time make allowance for
shrinking, you are likely to encounter difficulties, because it is hardly
possible to estimate the exact amount of shrinkage. However, some
materials, particularly soft, sheer fabrics, lose much of their “new-
ness” in washing; so, instead of following the definite rule that all
cotton materials must be shrunk and have their colors set before
washing, you will do well to exercise your own judgment about the
matter. Also, the style that is to be followed in making a garment
should influence your decision in regard to shrinkage, for this will not
prove so noticeable in some designs as in others.
25. For material that requires only shrinking, water alone is
used, but for material that is to be shrunk and at the same time
have its color set, a mordant, or color-setting substance, is required.
Because of the different chemicals that are used in dyeing each
color, it is impossible to form specific rules to follow in setting any
color. Therefore, before you use any solution, try out its effect on
a sample of the material, letting it dry after the solution is used and
then washing it to determine whether or not the color runs. You
may find it necessary to experiment with several solutions, especially
if the salt solution here suggested does not prove effective.
26. Using Salt to Set Colors.-Common salt is a very prac-
tical color-setting substance, because, in addition to being generally
effective, it is comparatively cheap and on hand in every household.
For materials containing more than one color, you will find that a
salt solution is especially desirable, as other mordants are usually
effective for only a limited variety of colors, while salt may be used
for almost any.
The effect of a salt solution as a mordant, however, is not always
lasting and in some cases it is advisable to use a different solution.
You can generally tell what to do by observing the quality of the
material and the nature of the color, for, as a rule, in the more expen-


LINENS 41
sive cotton fabrics having soft or rather subdued colors, a salt
solution is all that is needed to set the color. If you prefer not to
shrink the material before using it and find, in washing a sample of
it, that the color is practically fast, you may postpone the use of the
salt solution until the garment is ready for laundering and then
leave it in the solution for a short time before washing it.
27. To make a salt solution for setting colors, follow the pro-
portion of 1 cupful of salt to 1 gallon of cold water. After preparing
enough of the solution to cover all the material that is to be treated,
place the material, folded as it comes from the store, in the solu-
tion, but lift each of the folds so as to make sure that every part of
the material is thoroughly soaked. Let it remain in the solution for 2
hours. Then rinse it well in clear, cold water, taking care not to
unfold it, and carefully press the water out with the hands. You
may run it through a wringer if you fold it lengthwise a sufficient
number of times to permit it to be laid out flat in the wringer and
thus prevent the crowding of the material and the wrinkling that
would naturally result, but do not, under any circumstances, wring
it out by twisting. After the water is pressed out, unfold the
material and hang it up to dry in a shady place, being very careful
not to pull the straight edges out of shape. Never hang a colored
fabric in the direct rays of the sun, because such sunlight will take
the life out of the color and often cause the material to become
streaked. After the material is dry, press it on the wrong side.
It will then be ready for use.
Material that requires simply shrinking should be handled in the
manner just described, except, of course, that plain water should be
used. It is not necessary to leave the material in the water any
longer than complete Saturation requires.
28. Additional Color-Setting Solutions.—Following are
recipes for other solutions that prove very effective for some colors.
Use these in the same way in which you would a salt solution.
A sugar-of-lead solution is generally recommended for delicate
colors, especially lavender, but it also proves effective for many
darker colors. To make this color-setting solution, follow the
proportion of 1 ounce of sugar of lead to 1 gallon of boiling-hot
water. Try to dissolve every particle of the sugar of lead, but
should any insoluble substance remain, strain the solution in order


42 LINENS
to prevent the formation of streaks in the material, which may be
impossible to remove. Wait until the solution is cold before placing
the material in it; also, let the material remain there for 2 or 3 hours
before rinsing it. Sugar of lead is poisonous if taken internally, so
extreme care must be exercised in handling it.
An alum solution is usually effective for green. To make it, fol-
low the porportion of 1 tablespoonful of alum to 1 gallon of water.
A vinegar solution in some cases proves very effective for pink,
and in other cases it is much better for blue. In making such a
solution, follow the proportion of cupful of vinegar to 1 gallon
of water.


CHAPTER IV
WOOL
WOOL PRODUCTION
1. Origin.—Wool is the soft, hairy covering of sheep and
certain allied animals, clipped from the animal and manufactured
into fabrics of various kinds. Whether it was first produced
by the Egyptians or the Greeks is a question of doubt, but
it is sufficient to know that the sheep has been a domesticated
animal from prehistoric times, for its bones have been found with
those of human beings in ancient tombs. All down through the
ages, to the time when cotton manufacture became an important
industry, wool was the leading staple of commerce, figuring con-
spicuously in the prosperity of many nations. Now, it follows cotton
in importance among textiles, but its production and manufacture
are still leading industries in various parts of the world.
2. Wool Supply.—The wool fiber varies greatly as to length
and nature, some of it being short, soft, dull, and crimpy, and other
varieties being long, silky, and lustrous. The merinos, which
include the Spanish, the Saxony Electoral, and the French, or
Rambouillet, are prominent among the short-fibered sheep, while
the Leicester, Lincoln, Cotswold, Romney Marshes, and Devons
are among the long-fibered producers.
Besides sheep, the 11ama, the alpaca, the angora goat, the Cash-
mere goat, and the camel are all sources of wool fiber, some of them
producing inferior grades and others, as the Cashmere goat of the
Himalaya Mountain regions, yielding the most expensive wool
grown.
3. Australia, South America, and the United States have long
been the leaders in wool production. Australia is noted for the
43


44 WOOL
merino with its fine, short fiber; England is the chief producer of the
long, lustrous wool; Russia produces coarse wools used in making
carpets; the United States is known for producing a cross-bred sheep,
which has a soft, strong fiber longer than the merino. Numerous
other countries, including France, Germany, New Zealand, South
Africa, and various parts of Asia, figure prominently in sheep raising
for wool production. -
The raising of sheep requires considerable care if fleece of the
best quality is to be had. Sheep breeders work for a good, dense
fleece that contains as few burrs and other impurities, such as dirt,
dust, and straw, as possible. The shearing life of a sheep is about
5 years. Then, it is usually fattened and sold for mutton.
4. The variation in wool fiber, which runs from 2 to 20
inches, was formerly responsible for the two kinds of wool
material produced—woolens and worsteds. The short, curly fibers,
which contain many serrations, or scales, were used for woolens
because they are inclined to pull up together when subjected to
moist heat. It is just this shrinking quality that is needed in the
making of such materials as broadcloth and flannel. The long
fibers were used for the worsteds, which are made of tightly twisted
yarn and consequently show the pattern of their weaving plainly,
as in the case of Serges, prunellas, and similar materials. Now,
however, machinery has been devised that can comb the very
shortest yarns, so the difference between woolens and worsteds
has become a matter of the way in which the yarn is prepared.
WOOL MANUFACTURE
FIRST PROCESSES
5. The first step in the manufacture of wool into cloth is the
removing of the fleece from the sheep. Formerly, this was all
done by hand, but now much of the sheep shearing is done by
power. Skilful handling of the animals is needed to prevent cutting
or injuring them in the shearing. -
The fleece is cut so that it is all left in one piece, a fleece averag-
ing from 5 to 12 pounds, although the fleece from a heavy merino
often runs as high as 30 pounds. These fleeces are tied Securely


WOOL 45
in a bundle and put into a large sack, which, after being packed full,
is fastened securely and shipped to the market.
6. Sorting.—When the fleeces arrive at the mill, they are
very dirty and greasy, and often contain burrs, straw, and even
anthrax germs. The wool must first be sorted into its different
grades by a worker known as a wool sorter. This is a very dis-
agreeable task, but it is an extremely important one, for on it
depends much of the beauty of the finished yarn. In separating
the fleece, which is a hand process, the sorter places it in piles or
bins according to its quality. From these, it goes to the cleaning
machines, each process forming a part of a train of machines
which prepare the wool for spinning.
7. Dusting.—Very often wool contains so many impurities
that it must be relieved of some of them before it can be washed.
In some mills, it is put through the duster, which opens the fleece
by means of coarse teeth, or spikes, and then removes much of the
dirt by means of a fan.
8. Scouring.—When the fleece is taken from the sheep, it
contains a greasy substance, known as yolk, which is caused by the
animal secretions and the perspiration of the skin. The removal
of the yolk is accomplished by the scouring process, which
consists in putting the wool through various baths of warm water
and certain chemicals, such as potash, ammonium carbonate, and
soda, each mill having its own formula for the desired results.
Much care must be used in scouring or the fiber may be harmed.
From the last bath, it comes out thoroughly rinsed and then,
unless it is to be dyed wet, it is dried, first in a cylindrical container
by means of a whirling motion, which drives out excess moisture,
and then by being carried over hot pipes or by mean of hot air.
9. Carbonizing.—When wool contains a great many burrs,
it must be put through a process that removes these before it can
be carded and spun. Carbonizing, which consists of treating the
wool to a solution of sulphuric acid that is not strong enough to
injure the fiber and yet will singe the vegetable matter, is con-
sidered the best method of removing the burrs. The wool is
then rinsed in a solution of soda and water and finally baked until
the vegetable matter is destroyed. To remove the dried vegetable
material, the wool is dusted.


46 WOOL
10. Blending.—With the wool relieved of its impurities,
it is usually blended to produce a combination of colors or of
varieties of fiber. This is a process that requires considerable
experience, for the blender must understand the mixing of colors
in order to produce the desired effects.
11. Oiling.—By this time, the wool has lost practically all of
its natural oil and it must be reoiled in order to pass through the
remaining processes easily. The oiling may be done by hand or the
wool may be sprayed with machinery as it passes from one machine
to another. Various oils are used for this purpose, chief among
which are olive oil and tallow oil.
MANUFACTURE OF WOOLENS
12. After the oiling of the wool fiber, the processes for the
manufacture of woolens and worsteds begin to differ. When
wool fiber is intended for woolens, such as underwear, flannel,
broadcloth, and similar materials, the processes through which it
passes are fewer in number and of a simpler nature than when it is
to be made into worsteds. This is due to the fact that, for woolens,
the fibers need only be cleaned and mixed, whereas for worsteds
they must also be combed sufficiently to make them lie entirely
parallel.
13. Picking.—The fibers are usually in a rather entangled
condition after scouring and drying, so they must be put through
a machine that opens them and then mixes them in preparation
for the next process. This is known as picking. -
14. Carding.—The process of carding, which usually involves
the use of three machines, is the most important one in the manu-
facture of woolens. The first machine is sometimes provided with
an arrangement whereby the fiber is mixed, and it always contains
some means of combing the wool into a fine, even feed, or sliver,
so that it passes easily into the next machine. In the second card,
the wool is often transformed into a wide sliver and then laid diag-
onally into the feed, which deposits it so that one layer is half
over the other and still alongside of it. In the third machine, the
wool is fed from the side of the sliver so that it becomes well mixed
and is prevented from lying in the parallel rows that the teeth


WOOL 47
of the card naturally produce. From the last card, the fiber is put
through rub rolls and then wound on bobbins in a slightly twisted
form ready for spinning, or it is sent to the drawing frames where
it is further prepared to be spun.
15. Spinning.—The mule frame is generally employed for the
spinning of woolen yarn because its intermittent motion makes it
especially adapted to the twisting of soft, short yarns. In the
spinning frame, the yarn is wound on bobbins ready to be woven.
16. Weaving.—If the yarn is to be dyed before weaving, it is
first wound into skeins and then dyed. Either undyed or dyed,
it is woven into materials of various kinds, including broadcloths,
flannels, chinchillas, blankets, as well as numerous sorts of knitted
and crocheted goods. The chief characteristic of woolen weaves
is that they are soft and practically concealed.
17. Finishing Processes.—After woolen cloth is woven,
it must be put through certain finishing processes before it is ready
for the market. Fulling shrinks it and makes it appear more
closely woven. Napping, which is done by a machine having wire-
cloth rollers, raises the nap of the material. Then, it is often
sheared if a smooth, glossy material, such as broadcloth, is desired.
Pressing and calendering follow, after which the material is bolted
and ready for the market.
MANUFACTURE OF WORSTEDS
18. The chief difference between woolens and worsteds is that
in the making of worsted yarn the fibers must be combed to make
them lie parallel before they are twisted into thread. This involves
much more work and the yarn must be put through many more
processes than for woolens, so worsteds are usually more expensive
fabrics. They are characterized by a firm, even, close-twisted
yarn and by weaves that are usually distinguishable, as in the case of
Serges.
19. Carding.—The process of carding, while it forms a part
of the manufacture of all worsteds, is not so important as in woolens.
For very long yarn, the fibers are put through only one carding
process for the purpose of straightening the fibers in preparation
for the comb. If a short yarn is to be used, it must be carded
oftener.


48 WOOL
20. Gilling.—The purpose of the gilling machines is to
prepare the fibers for the combs. Often, a number of slivers are
united and then they must be straightened and laid parallel so
that they can be fed properly into the combing machine.
21. Combing.—The combing of the fiber is the most important
step in worsted manufacture. The comb separates the fiber into
the long, straight wool, which is called tops, and the short, curly
wool called moils. The tops, which are the ones used for worsteds,
are sent to another machine that lays the long fibers as nearly
parallel as possible. The noils are removed and then either com-
bined with pure wool for certain materials in the mill itself or sold
to other manufacturers. When the wool leaves the combing and
gilling machines, it is in the form of a good-sized sliver wound into
a ball that can be easily unwound.
22. Drawing and Doubling.—The yarn must be consider-
ably reduced in size to make it suitable for spinning, so it is put
through the drawing and doubling machines. These processes
are repeated as many times as necessary to make the sliver the
right size. In some yarns, a slight twist is given to the wool at
this time, but in many the twisting is not done until just before the
spinning. The wool is next wound on bobbins.
23. Spinning.—In the spinning of worsted yarns, two methods
are followed: the English and the French. The English system
oils the wool before combing and consequently produces a smooth,
lustrous, tightly twisted yarn. The French method uses very
little oil and so is often called dry spinning. It uses a much shorter
fiber than the English system and produces a soft, dull, loosely
twisted yarn.
24. Finishing Processes.—From the spinning frames, the
yarn comes on bobbins and is ready for dyeing, weaving, and sizing.
If it is to be dyed before spinning, it is run off into skeins or hanks
and then wound again after the dyeing. Sizing, which strengthens
the yarn and which is done in the case of most single yarns, may
be done either before or after weaving. As worsteds depend for
their beauty on their weave, the weaving of them, as well as the
finishing processes of napping, shearing, boiling, steaming, and
pressing, differs somewhat from that of woolens and at the same
time requires much care and skill.


WOOL 49
PURCHASING WOOL MATERIALS
TESTS FOR WOOL
25. All wool fabrics should be carefully examined to see
whether they are absolutely clean and free from signs of shop
wear, such as faded lines on the outside folds, spots, dust streaks,
or pulled thread. Such goods may often be bought at a lowered
price and, if time is not at a premium, may be cleaned, sponged, and
pressed so that they appear satisfactory.
The color of wool fabrics, also, should receive attention. Note
whether they are dyed evenly and whether the color is such that it
will withstand the sponging and pressing required in both the making
and the renovating of the garment. It is always well to examine
material by daylight or “daylight lamps” in considering its color.
26. Fiber Test.—Sometimes wool materials are adulterated
by cheaper materials, such as shoddy, cotton, and the waste from
silk and wool machines. If you wish to know whether a material
is all wool, ravel a little of it and examine the fibers. You will
find that wool fiber is kinky, whereas other fibers are usually
straight. Then try breaking a thread. The wool fibers pull apart
rather than break, whereas cotton fibers, upon breaking, have
tufted, fuzzy ends.
27. Physical Condition.—Much can be told from the
“feel” of a material. A pure-wool fabric feels soft to the touch,
whereas a wool mixture feels harsh and stiff. It is true, of course,
that worsteds are stiffer than woolens, but there is a vast difference
petween the “feel” of worsteds and that of a wool material contain-
ing cotton or other substitute. Every effort should be made to
train the hand to recognize the “feel” of the best wool, for this
ability comes chiefly through experience in handling materials.
28. Design and Weave.—In the selection of wool materials,
the design and weave should be carefully examined. A good plan
is to place the cloth between you and the light, for then the design
can be seen to advantage and any imperfections it may contain
can be easily detected.
L. D 1–5


50 WOOL
29. The weave of woolen fabrics affects the wearing quality,
the color, the construction, and the success of the finished garment
itself. A close, twilled weave makes a firm, durable material,
while loose, open weaves are apt to lose their shape and wear poorly.
On the other hand, the close weaves, although they wear better and
are less likely to catch on rough surfaces or sharp projections,
become shiny rather quickly. Looseness of weave can be detected
by pulling the material back and forth. If, when pulled apart,
the threads separate easily and show daylight through them, you
may consider the weave too loose to wear well.
Weakness in the material may be due to imperfections in weaving
or to too great a difference between the strength of the warp and
the weft threads. Exposing the material to the light or pressing
it firmly with the thumb and the fingers will help to detect such
weaknesses.
Crushing the material in the hands and rubbing it together will
show, with a fair degree of accuracy, how the fabric will wear, for
roughness of the surface will be brought out just as in wearing.
Materials having cords or ribs running one way are weaker than
those in which the cords or ribs run in both directions, for if cords
are to be brought out prominently one of the threads must be
combined with threads that are finer and more loosely woven.
30. Test for Shoddy.—Until recent years, shoddy was looked
down on because it was thought to be only waste thrown off in wool
spinning. This, however, is a mistaken idea, for shoddy is in
reality the shredded wool of old cloth reduced to short fibers for
the purpose of being used again. A small amount of shoddy mixed
with new wool is not a serious detriment, provided the shoddy is
good, for some very splendid materials contain shoddy. The
best shoddy is made from clippings of new cloth, such as those
received from tailoring establishments, but discarded wool of other
kinds is cleaned by manufacturing processes and then worked up
again into actually serviceable materials.
The necessity for testing wool materials for shoddy is not that
they should be avoided, but that their price be commensurate with
the shoddy used. The distinguishing feature of shoddy is that it
has very short fibers, so short that they cannot be combed. This
is one of the ways by which it can be detected. Sometimes, shoddy
is felted on the back of poor broadcloth to make it appear thick and


WOOL 51
heavy. Whether or not this has been done can be determined
by brushing the back of the material. If a dust is raised, the use
of shoddy is a certainty.
An excessive amount of shoddy in material makes it less elastic
than pure wool. So, examining a fabric to determine its elasticity
is another test for shoddy.
TABLE OF WOOLS
31. Table III is given to help in the selection, purchase, and
use of wool fabrics. As in the case of similar tables, the weave,
the width, the usual price, and a brief description are given for each
material mentioned. In reusing materials, especially wool fabrics,
many women find uses not mentioned here, for this table, like the
others, considers the appropriate uses of only new fabrics. These
however, need not serve when economy must be taken into consid-
eration.
TABLE III
WOOLS
Usual width Price
Inches per Yard
º
Name | Weave Description
Albatross...| Twill 32 to 45 75c., Soft, loosely woven, crêpe-like
$1 to $2.50 material, sometimes made in
fancy weaves. Closely related to
nun's veiling. Used for shirred
and draped dresses.
Alpaca. . . . . Plain 36 to 54 || 65c. to $4 || Strong, elastic fabric with the
gloss of silk, and having fine
cotton and wool-like hair filling.
Used for men's summer suits,
and for skirts and coat linings.
Armure....| Figure | 36 to 45 || $1 to $4 || Similar to alpaca and used for the
same purposes. Woven in
bird's-eye and diamond effect,
sometimes in two colors.
Astrakhan. Pile 48 to 54 |$4.50 to $15|A woolen or silk material in imita-
tion of real astrakhan. Used for
coats for men, women, and chil-
dren; for caps, muffs, and scarfs.
Barathea. . . Plain 48 to 56 $2 to $6 Fine, soft, close weave in pebble or
broken-rib effect. Generally
made with silk or cotton warp
and worsted filling. Excellent
for dresses and light-weight suits.


52
WOOL
Name
Weave
Usual Width
Inches
Price
per Yard
Description
Batiste... .
Bedford
cord . . . .
Bengaline..
Bolivia
cloth....
Brilliantine
Broadcloth
Plain
Cord
Plain
Pile
Twill
Plain
Twill
Jacquard
36 to 44
36 to 54
40 to 54
36 to 54
48 to 56
$1 to $3
$2.50 to $6
$2 to $4
$4.50 to $11
$2 to $6
$1 to $4
$2.50 to
$6.50
Brocade...
Camel's
Cashmere..
Plain
Twill
40 and 45
42 to 54
36 and 45
$2 to $8
$4.50 to $10
$1 to $15
Light-weight, all-wool material
with even warp and weft in
plain colors; sometimes called
tamise; in very light-weight,
called chiffon batiste. Used for
afternoon and evening dresses.
Material with lengthwise cords,
that is, raised surface with plain
stripes between; in cotton and
wool. Used for tailored skirts
and suits.
Firm, light-weight goods having
silk warp and heavy woolen fill-
ing forming ribbed effect
heavier than poplin. Also made
in cotton and silk.
A soft, all-wool material woven like
velvet. Used for coats.
Medium-weight fabrichaving rough
but soft surface produced by
nub, or loop-yarn, filling. Used
for coats.
Wiry, silk-wool fabric, similar to
alpaca, but of higher luster;
made from angora-goat hair.
Used the same as alpaca. This
is the fine weave of mohair.
Smooth, soft-finished, closely woven
fabric with a nap. Generally
popular for dresses, suits, and
Coats.
Soft material woven with raised
patterns. Used for dresses and
wraps. Sometimes silk and wool.
A fabric with a hairy surface made
entirely or partly of camel's hair.
In cheaper grades, cow hair is
used. Used for coats, over-
coats, and horse blankets.
A soft fabric in beautiful shades
and sometimes woven in figures,
especially Paisley. Attractive
for women's dresses and for chil-
ren and infants' wear.


WOOL
53
Name
Challis. . . .
Charmeen.
Cheviot. . .
Chinchilla.
Covert
cloth. . . .
Crépe, wool
Doeskin. . .
Drap
d'alma. .
Duvetyn. .
Eiderdown.
Épingle....
Weave
Plain
Twill
Pláin and
Twill
Pile
Twill
Plain
Twill
Twill
Plain
Knitted
Usual Width
Inches
27 to 36
36 to 54
44 to 60
44 and 54
36 to 54
40 to 48
50 to 56
18 to 54
27 to 44
Price
per Yard
Description
$1 to $2
$3.50 up
$1.25 to
$5.50
$3.50 to
$7.50
$3 to $8
$1.75 to $5
$9 up
$3 to $6
$3.50 to
$20
$1 to $4
Plain
36 to 54
$1.50 to
$5.50
Light-weight, soft material. Has
beautiful, plain, and printed color
combinations; wears satisfac-
torily; and is easily cleaned. Ex-
cellent for dresses and negligées.
A very fine, closely woven material
resembling Poiret twill, but
finer. Charmeen is a trade name.
Material with slight map; usually
heavy-weight. Requires care in
tailoring, especially in pressing.
Used for suits and coats.
Very fine, closely woven fabric in
imitation of fur. Used for heavy
coats and for men's overcoats.
Smooth-finished material of firm,
diagonal weave. Usually in
light tan; wears well and tailors
nicely. Used chiefly for outing
suits and wraps.
Material having tightly twisted
weft thread giving a crinkled ef-
fect; sometimes called éponge. Ex-
tensively used for dresses. Some
crêpes come in silk and wool.
A compact, woolen fabric with a
texture that is pliable without
being flimsy. Used for gloves,
skirts, coats, hats, wraps, and for
linings in heavy fur coats.
Light-weight material of soft tex-
ture in ribbed effect. Used for
dresses and suits.
Soft, medium-weight material with
a short, downy nap. Used for
children's coats and women's
suits and coats.
Soft, knitted foundation usually of
cotton threads with a thick, soft,
wool surface. Used for bath-
robes, children's coats, and
baby-carriage robes.
Smooth, ribbed weave, the rib
running across the material.
Used for dresses and light suits.


54
WOOL
Name
Etamine. . .
Usual Width
Weave Inches
Plain 40
Price
per Yard
$2.50
Felted is to 45 $3 to $10
Flannel. . . .
Gabardine.
Granite. . . .
Henrietta. .
Homespun.
Hopsacking
Jersey cloth
rather -
than
WOven
Plain and 27 to 54 || 85c. to $8
Twill
Twill 46 to 54 $2 to $6.50
Figure 36, 39, 54 $1.50 to $4
TWill 36 to 44
Plain 42 to 54
Plain 50 and 54
$1 to $4
$2 up
$1.50 to
$2.50
Twili and 36 to 40 50c. to $3
Plain
Knitted 27 to 60 $2 to $4.50
Description
Light-weight, glossy, loosely woven
fabric. Used for dresses. Also
made in cotton.
A thick, firm-packed, smooth fab-
ric. Used for table covers, pen-
nants, cushions, and similar
purposes.
Plain, soft, loosely woven material
with warp and weft threads of
equal size. Used for infants'
clothes, women's wear, and
men's shirts.
Firmly woven cloth in fine, di-
agonal-ribbed effect. Used for
women's skirts, coats, and suits.
Hard-twisted woolen yarn woven in
pebbled effect; light and durable.
Used for skirts and suits. Re-
quires care in tailoring. The
cheaper grades have a cotton
warp.
A fabric similar to cashmere, but
with a harder, coarser weave.
Used the same as cashmere.
A loose, rough material of plain
weave and coarse, soft yarn.
Formerly made on hand looms at
home; now imitated by machine.
The soft, even warp and weft
threads lend themselves to tailor-
ing. Used for outing suits and
men's clothes.
Rough-surface material, usually of
coarse weave and similar to bag-
ging. Use for coats and suits.
A stout material made. with hard
cotton warp and a low-grade,
wool filling. Used for work
trousers, uniforms, and boys'
suits.
Serviceable woolen or silk mixed
material having elastic proper-
ties. Used for undergarments,
petticoats, dresses, and suits.
Comes frequently in tube form.


56
WOOL
Name
Weave
Usual Width
Inches
Price
per Yard
Description
Ottoman,
wool . . . .
Panama...
Poiret twill
Polo cloth.
Poplin . . . .
Prunella...
Ratiné. . . .
Plain
Plain and
Basket
Twill
Plain
Plain
Twill and
Satin
Plain
36 to 54
36 and
40 to 54
40 to 54
54
36 to 54
36 to 54
40
$2 to $5
$1 to $4
$2.50 to $10
$3 to $10
$1.50 to $4
$1.50 to $5
$2.50 to $6
$1 to $6.50
Serge . . . . .
Serge,
Cheviot .
Serge,
French..
Serge,
Storm...
Plain
Twill
Twill
Twill
Twill
36 to 44
36 to 56
36 to 54
36 to 56
36 to 54
75c. to $6
75c.to $3.50
$1.25 to
$4.50
75c. to $3.50
A firm fabric in ribbed effect.
Used for coats and suits.
A light-weight, smooth-finished,
wiry fabric made of hard-
twisted yarn. Used for skirts
and light-weight suits.
A firm, twilled, worsted having
an appearance much like French
serge except that its twill is more
pronounced, as in gabardine.
Used for dresses, suits, and coats.
Double-faced, soft, and loosely
woven, woolen cloth; it has an
evenly cut nap. Used for coats.
Medium-weight material having
fine, crosswise ribs. Used for
skirts and suits.
A soft, fine, closely woven fabric.
Used for dresses, light suits,
and clergymen's robes. Satin-
weave prunella used for shoe tops.
A loosely woven fabric, the weft
threads of which are looped to
give a rough, uneven weave.
Used for dresses and suits.
Firm material woven with a cross-
wise, corded effect. Used for
skirts and suits, for men and
boys' clothes, and for draperies.
Soft, durable material that tailors
well. Popular for suits, coats,
and dresses. Also made in silk.
Fabric having a pronounced di-
agonal weave. Used for skirts
and suits.
Very fine, soft weave; easily tai-
lored; wears splendidly, but in
wearing produces a shine more
readily than other serges. Used
for dresses, skirts, and suits.
Hard, full fabric resembling
cheviot. It is usually a coarser
material than French serge.


WOOL
57
Name
Weave
Usual Width
Inches
Price
per Yard
Description
Sicilienne. .
Silvertone .
Soleil . . . . .
Tartan....
Tricotine. .
Tussah....
Tweed . . . .
Velour . . . .
Plain
Plain
Twill
Twill and
Basket
Twill
Plain
Plain
Plain
42 to 54
54
40 to 54
36 to 54
48 to 54
40 to 50
36 to 54
18 to 54
54
75c. to $4
$2.50 to $10
$3 to $6
75c. to $5
$2.50 to $10
$2.50 to
$4.50
$2 to $8
$2.50 to $7
Venetian . .
Whipcord..
Wool
taffeta...
Zibeline ...
Twill and
Satin
Twill
Plain
Plain
36 to 54
36 to 54
44 to 56
$2.50 to $5
$1.50 to
$6.50
$1.25 to
$3.50
$2 to $6
Coarse weave of mohair. See
Mohair.
A velour-like fabric having a limited
quantity of real or artificial
white silk mixed with the stock
and producing a shimmering
effect.
A smooth, highly finished fabric in
ribbed effect. Used for dresses
and light-weight suits.
Soft cloth similar to serge but
woven of different colors to pro-
duce checks and plaids. Some-
times in plain colors. Also made
in basket weave in plaid designs.
|Used for dresses.
A soft, firm material showing a
very narrow, inconspicuous, diag-
onal twill that gives a knitted
effect.
A light-weight, lustrous cloth used
for dresses.
Rough, unfinished, open texture,
in homespun effect. Usually
several shades are mixed, and
the pattern is not defined. Very
... serviceable for suits and coats.
Soft, closely woven, smooth fabric.
Used for suits, coats, and capes.
Velour has a close-shorn nap.
Fine, smooth fabric used for skirts
and coats.
Material in raised, corded effect
and semidiagonal weave. Cord
varies in width from extremely
narrow to $ inch. Used for skirts
and suits.
Fabric having a closely woven,
smooth weave. Similar to pana-
ma but of a much finer quality.
Used for dresses, skirts, and suits.
Material filled with glossy hair,
which gives a #- to 4-inch nap.
Used for suits and overcoats.





º
º
º
º
- -
º
º
ºft
º
º
º º º
º º
º º
º
ºº::
ºº:
º
º
º
- º
º: º
º º
PEPPER AND SALT
º º
- - º º
º º ..º
º: º
º º
Twº-



59


GABARDINE
Astrºn
GRANITE
ſae
BEDFORD CORD
MATELASSE
CHINCHILLA.
MOHAIR
ETAMINE
SOLEIL
FLANNEL







FIG. 3


WOOL 61
EXAMPLES OF WOOLS
32. In presenting new materials each season, manufacturers
often make use of certain features that have been popular in the
past. They effect changes in materials by using softer or firmer
yarns, by introducing nub, or knotted, yarn in weaving, by chang-
ing the width of the ribs or cords, and by varying a pebbled surface
slightly. Such differences produce new fabrics that carry trade
names. The most popular of these remain in demand long enough
to become commonly known and eventually are adopted as standard
fabrics.
As it requires some time for such materials to become standard
and as novelty fabrics appear each year, which are bound to be
| / | |
W H | PCORD
ſ
/
|
FIG. 4
short-lived because of their impracticability, it is sometimes neces-
sary to group materials, as in Figs. 1 and 2, under names that
represent effects, rather than to give the actual names of the
materials. Such names may appear in various grades of fabrics
and often cover cotton, silk, and wool materials, but they are a
help in classifying materials and aid the shopper greatly in explain-
ing to salespeople the kind of fabric desired.
33. Among woolen materials, there are certain standard fabrics
having characteristics that distinguish them from all other goods.


62 WOOL
The names of such materials are sometimes used in classifying new
fabrics. Examples of the best known of these are shown in Figs.
3 and 4. A careful study of these illustrations not only will help
to acquaint you with the appearance of these fabrics, but will enable
you to classify new materials that have similar features.
DOUBLE-FACED CHINCHILLA
FIG. 5
34. The term double-faced fabric covers a variety of materials,
many of them being produced in different effects. In Fig. 5
appears double-faced chinchilla, which shows the characteristics of
all such goods.
35. Novelty suiting is a term applied to a variety of suiting
materials that do not fall definitely under any other class. Originally
the term referred to a fabric of plain, homespun weave with rough,
irregular filling of different colors. The name is frequently applied
to checks, brocades, and other unusual fabrics, regardless of the
weave. Such materials are used chiefly for Outing suits and coats.
36. Water proofing is a general term covering many different
processes of rendering materials—cotton, silk, and wool especially
—impervious to moisture. One of the best known and successful
of these methods is known as cravenette, named for the inventor,
a man called Craven. It consists in applying to the material a
solution of secret formula which causes the fabric to repell water
rather than absorb it. It has the advantage also of leaving the cloth
porous by not filling up the spaces between the threads.


CHAPTER V
SILK
SILR "CULTURE
1. Origin.—Because of its interesting history and the place
it holds in the industrial world today, silk is a textile of the first
rank and deserves unlimited attention. Just how it became known
is a matter about which there is doubt, but tradition has it that the
wife of one of the emperors of China discovered the possibilities
of the silkworm in 2700 B. C. In addition to her discovery, she
devised a method of reeling the silk and weaving it into cloth. For
this work she was deified by the Chinese people and is still wor-
shipped, after all these years, as “The Goddess of Silkworms.” At
the annual festival held in her honor, the feeding of the worms is an
important feature of the ceremony.
2. Spread of Culture.—For hundreds of years, the source of
supply of silk and the method of manufacturing it were kept secret
in China. The material, however, was sold to the Persians, who,
in turn, carried it to Southern Europe and sold it to the Greeks and
afterwards to the Romans. The people who bought the silk
believed it was made from fleeces growing on trees or from
flowers, in accordance with the slender facts concerning cotton
and flax.
During the reign of the Roman Emperor, Justinian, he commanded
two Nestorian monks to go into China and return with the secret.
Although in China it was a crime, punishable by death, to sell
silkworm eggs or allow them to go out of the country, these two
monks, while apparently engaged in their pious occupations,
studied the whole industry and secreted several thousand eggs in
their hollow staffs. These, together with a thorough knowledge of
63


64 SILK
the industry, they carried back to Rome, where, during Justinian's
reign, the silk culture became a royal monopoly. Later, it spread
into Greece, Sicily, Spain, France, and, in fact, over all of Southern
Europe, where it still continues to be a thriving industry.
Attempts have been made to raise silkworms in America, but
these have not been successful enough to indicate that their produc-
tion will ever become a profitable industry. Silk manufacture from
raw silk imported in 1arge quantities from Europe and Asia is
America's part in this great work.
3. Life History of Silkworm.—Silk is a substance formed
by certain worms in great quantity at a particular time in their
life history and secreted beneath the mouth from two long sacs
along the inside of the body. The silkworm, which belongs to the
family Bombycidae, or spinners, exists in four states—egg, larva,
chrysalis, and adult, or moth. The egg is very tiny, scarcely
# inch in length, and when first laid is yellow. The hatching,
which takes place when the mulberry trees begin to leaf, requires
about 10 days, the worm that emerges being black and no longer
than its shell, and having sixteen legs. At first, the worms merely
pierce the leaves of the mulberry and suck the sap, but very soon
they become large enough to eat the leaves themselves. The worm
holds the leaf with its three pairs of forward legs and cuts from the
edge a piece to be eaten. This cutting causes only very slight noise
in the case of a single worm, but sounds like the falling of rain
when a large number of worms are feeding at the same time.
4. The skin molts four times because the worm grows so rapidly
that the skin cannot keep pace with it. In the molting process,
the worm stops eating, grows a little lighter in color, and fastens
itself firmly to some object by its last five pairs of legs. Then it
holds up its head and the front of its body for about two days.
The skin breaks at the nose, permitting the head to emerge and the
worm, by moving its body, to work off the old skin.
After the last molt, the worm is about 1% inches long, a wonder-
ful growth considering the size of the worm when hatched; then it
begins to spin its cocoon in a quiet corner, the glossy filament
emerging from two orifices and thus making a double thread that
hardens upon being exposed to air. The worm moves its head in
the shape of a figure 8 in one part of the cocoon; then it moves to
another section and spins in the same manner. Within a day's


SILK 65
time, the worm is out of sight, but the spinning continues from 2 to
5 days. The result is a fuzzy, oval ball about the size of a pigeon's
egg. In three more days, the worm within the cocoon changes into
a chrysalis, which in a few weeks changes again into a grayish-white
moth that emerges from one end of the cocoon.
5. In a certain number of the cocoons, which are chosen as being
perfect, the moths are allowed to come to maturity to be used for
breeding purposes. As cocoons from which the moths are allowed
to escape are pierced where the moth comes through, they are worth
very little in the trade. So the large majority of cocoons are
preserved intact by “stowing,” or stifling, the moths within, that
is, subjecting the cocoons to sufficient heat to kill the moths. They
may then be kept indefinitely, or until it is possible to begin the
reeling.
6. Wild Silk.-Silk is obtained from both the cultivated and
the wild varieties of worms. Very great care is given to the rearing
of worms that are to be used for making the very finest grades of
silk. But there is also a large market for the silk obtained from the
wild silkworms, which usually feed on oak leaves. Little attention
is given to them, so they spin their cocoons in trees and similar
places and the fiber is consequently of a darker, coarser, and rougher
nature. Tussah silk is the chief variety of wild silk. The irregular-
ity of the filament found in pongee is a characteristic of this sort of .
silk.
SILK MANUFACTURE
7. The second stage in the silk industry is the manufacture of
silk, that is, the working of the fiber into thread and fabric. Remov-
ing the filament from the cocoon is not a difficult process, but it
requires considerable care and skill. The cocoons are first soaked
in boiling water to soften the gum that holds the fibers together.
8. Silk Reeling.—With the gum softened, the cocoons are
immersed in fairly hot water, a few at a time, ready to be reeled,
that is, unwound from the cocoon. It is in this way that the best
silk is prepared. The reeling process consists in unwinding the
cocoons and uniting the long, fine threads. So fine are the threads
that several of them must be combined to form a thread strong
enough to reel. The cocoons are so arranged in the basin that
LD 1–6


66 SILK
the threads from four to eight cocoons are gathered together and
as the reeling proceeds, are easily made into one thread, for the
natural gum of the silk makes them stick together. If the reeling is
done by hand or by foot power, the silk is called re-reel silk, but if
power machinery is used, the silk is known as filature silk. There
is much waste in this process, for neither the first nor the last
threads can be used.
9. Doubling and Twisting.—After being reeled, the silk
is skeined and sorted according to color, and then pressed into
oblong packages called books. It is then wrapped and shipped to
a manufacturing plant, where it must be sorted according to fineness.
The skeins are soaked for 10 or 12 hours in warm soapsuds to
remove as much of the natural gum as possible; then they are
dried, the thread is wound on bobbins, and these are sent to the
doubling machine. In the doubling process, which is known as
silk throwing, threads from a number of bobbins are wound on
one bobbin in order to make the thread stronger.
10. It is sent to the spinner next, where the threads that were
brought together by the doubling process are twisted into one.
The way in which the threads are twisted depends on the purpose
for which the silk is to be used.
Single filaments of reeled silk that have not been twisted are
called singles. If the silk receives only a slight twist in spinning,
it is known as tram, but if it is tightly twisted, it is called organzine.
Tram is used principally for filling, while organzine is used for warp.
11. Spun Silk.-In addition to reeled silk, which the long
filament makes, the waste product is gathered and used for spun
silk. For this, the short fibers taken from the outside of the cocoons,
silk from imperfect cocoons or those from which the moth has
escaped, and various other sorts of waste silk from reeling are col-
lected, boiled to remove the gum, and then cut, combed, and spun in
a way similar to cotton. Though of an inferior grade, spun silk has
many uses, such as for knitted fabrics, for fancy effects in cotton
and wool materials, and for embroidery and knitting silks.
12. Dyeing.—After being reeled or spun, the yarn must have
all of the gum removed in preparation for dyeing. The greater
part of the gum, of course, is removed in the first cleaning, but
every particle of it must be extracted in order that the fiber may be


SILK 67
dyed smoothly and evenly. After the boiling-off of the gum, a
lustrous, creamy-white fiber remains. Degumming takes away
a great deal of the weight of the silk so that a certain percentage of
weight must be added if it is desired to replace its original weight
and thickness. In most piece-dyed silks, the materials are dyed
and finished after the boiling process without being weighted.
However, many silks are weighted by means of salts of tin, iron,
and lead, particularly if they are dyed in the yarn. In the case of
blacks, a large additional weight is often added. After the silk fiber
is dyed, it is wound on bobbins preparatory to warping and weaving.
13. Weaving and Finishing Processes.—The weaving of
silk does not differ greatly from that of the other fibers. The
Jacquard loom is used extensively for the fancy brocades. Finally,
the silk is put through the finishing processes, which consist of
dressing, mangling, and calendering. Pure silk does not require
dressing, it being finished by pressing alone. The silk and cotton
materials and the poorer grades of silk are the ones that require
both dressing and pressing.
14. Printing.—The printing of silks is an important part of
the manufacture of this material. This is done either directly on the
warp threads after the fabric has been woven, engraved copper
rollers or blocks being used as in the case of cottons, or in the piece,
when it may be done direct or by the discharge or the resist process.
Stencils are used to a great extent by the people of Asia in their
printing.
15. Artificial Silk.-For many years, the fiber closely resem-
bling silk in its luster has been variously known as “artificial silk,”
“fiber silk,” “art silk,” “vegetable silk,” and similar terms. Recently
the industries and associations interested in it have given it the
generic name “rayon.”
This fiber is produced from cotton and from wood pulp by various
chemical processes, the three most extensively used producing
fibers known technically as nitrocellulose silk, cuprate silk, and
viscose silk. All of these, as well as fibers produced by other
processes, are included under the name rayon.
Rayon is popular because of its luster, its wearing qualities, and
its comparatively low price. It has not the fine, soft, even quality of
silk, but forms a very acceptable substitute. For the protection of
the buying public, all materials containing rayon must be so labeled.


SILK
69
TABLE IV
SILKS
Name
Weave
Usual Width
Inches
Price
per Yard
Description
Alpaca . . . .
Armure. . .
Bengaline..
Broadcloth
Brocade. . .
Canton
crêpe. . . .
Charmeuse
Chenille
chiffon. .
Chiffon. . . .
Plain
Figure
Plain
Plain
Jacquard
Plain
Twill
Plain and
Pile
Plain
27 to 54
36 and 40
24 to 40
32 to 36
36 and 40
40
36 and 40
40
40
$1 to $3
$2 to $5
$1.25 to
$10
$1.25 to $3
$3.50 to $50
$2 to $6.50
$2 to $5
$8.50 to
$13.50
$1.50
Chiffon
taffeta . .
China silk.
Plain
Plain
36 and 40
24 to 36
$2 to $5
50c. to $3
A highly lustrous, smooth-surface
silk. Slightly wiry. Used for
dresses, coats, and suits.
A heavy, soft fabric with a semi-
lustrous, pebbled surface. Used
for hats and dresses.
A fabric in ribbed effect, heavier
than poplin. Wool is used in
the filling. Used for coats, suits,
dresses, and trimmings.
A firmly woven silk, somewhat
1ustrous. Used for blouses,
sports and children's dresses,
and men's shirts.
A fabric showing raised patterns of
flowers; often enriched with gold
and silver. Used as trimming and
for evening gowns and wraps.
A highly finished material with fine
silk or wool warp and heavier fill-
ing forming light cross-ribs.
Heavier than crêpe de Chine.
Used for dresses and wraps.
A soft, dull, satiny fabric. Used
for dresses, especially draped
dresses.
A fabric of chiffon basis having
floral and conventional motifs in
pile weave, like velvet or chenille.
Used for dresses and linings for
evening wraps.
A very soft, flimsy, transparent
material. Used for trimmings,
Overdrapes, and waists and as a
foundation under lace dresses.
A light-weight taffeta of good
quality, with a soft, lustrous
finish. Used for fancy work,
dresses, and suits.
A thin, transparent fabric with a
luster. Used for linings, under-
wear, and sometimes for Öresses.


70
SILK
Name
Weave
Usual Width
Inches
Crépe
meteor. .
Crêpe satin
Faille. . . . .
Flat crêpe.
Foulard. . .
Plain
Satin
Plain
Twiſ1
Satin
Plain
Plain
Twill
18 to 40
24 to 40
40
40
40
36 and 40
40
36 and 40
48 to 50
$3 to $6
$1.50 to
$3.50
$2.50 to $5
$2.50 to $6
$2.50 to $6
$3 to $6.50
$1.50 to $5
$3.50 to $20
Fur cloth. .
Georgette
crêpe . . .
Pile
Leno
Plain
18 and 36
36 to 40
50c. to $3
$1.50 to $5
Description
A thin, semitransparent fabric,
finely crinkled, and having either
irregular or long, parallel ridges.
Black in this material is used ex-
tensively for mourning purposes.
Smooth, high-luster fabric with
lacquer-like finish. Used for
hats and dress trimming.
Light-weight or medium-heavy,
washable, all-silk fabric with un-
twisted warp, giving a lustrous,
finely crinkled effect. Used for
waists, dresses, linings, and
underwear.
A lustrous silk crêpe with a fine-
twilled face. Used for dresses.
A two-faced fabric, one side satin,
the other a dull crêpe surface.
Made in different grades.
A fabric having a light, crosswise
grain or cord and a slight gloss.
Used for suits, dresses, blouses,
hats, and children's coats.
A firm fabric with lustrous, slightly
crêpe-like surface. Pliant.
Used for dresses and blouses.
A soft, serviceable silk, plain and
figured, for dresses and blouses.
Deep-pile fabric made to resemble
various kinds of fur. Tussah silk,
silk fiber, and mohair are
generally used in making it.
Used for coats and trimmings.
Fine, transparent goods, flimsy but
very strong. Used as backings
to lend support and for over-
draping and veils. Sometimes
called gossamer.
Sheer material similar to chiffon,
but woven of a more firmly
twisted thread giving it a crêpe-
like surface. Used for dresses,
blouses, negligées.


SILK
71
Name
Weave
Usual width
Inches
Price
per Yard
Description
Gold cloth.
Gold tissue.
Gros de
Londres.
Grosgrain..
Habutaye..
Japan silk.
Khaiki. . . .
Liberty
satin. . . .
Louisine...
Madras....
Maline. . . .
Twill
Plain and
Jacquard
Plain and
Jacquard
Plain
Plain
Plain
Plain
Plain
Satin
Plain and
Basket
Plain and
Figure
36 to 40
18 and 40
36
36 and 40
18 to 40
27 to 54
36
36
36 and 40
36
32 to 40
27
75c. to $4
$6.50 to
$13.50
$1.50 to
$7.50
$2 to $4
$2 up
$1 to $7
75c.to $2.50
75c. to $2
$2 to $4
$2 to $3.50
$2 to $4
Lace
50c.
A fine, closely woven fabric having
a soft luster. The filling may be
cotton or wool. Used for um-
brellas and men's shirts.
A shiny material made of metal
warp and silk weft. Used for
trimmings.
Similar to gold cloth but soft and
transparent. Used for overdrap-
ing and trimming.
Highly finished, pliable fabric
having fine, flat ribs running
crosswise. Used for dresses and
hats. -
A stout, durable, corded silk; cords
run from selvage to selvage;
comes in colors. Used for coats
and trimmings.
A fine, washable Japanese silk;
smooth and even in texture.
Used for summer dresses,blouses,
skirts, and automobile coats.
This name covers a variety of
Jap silks; commonly applied to
cheaper qualities of habutaye.
Coarser weave than China silk.
Used for blouses, summerdresses,
and kimonos.
Fine, light-weight Jap silk. Used
for dresses and scarfs.
A very soft, closely woven material.
|Used for linings and trimmings.
A plain, durable silk; soft glossy
texture. Used for dresses, coat
linings, and trimmings.
A durable wash silk, usually striped.
Used for tailored blouses and
men's negligee shirts.
A soft, thin, perishable, gauzy
fabric, similar to net in weave.
Used for neckwear, trimmings,
and as drapery for evening
gowns. Sometimes called tulle.


72 SILK
Name Weave º º Description
Marquisette Leno 40 $2.50 to $3|An open-mesh fabric, appearing
much like voile. Used for over-
drapes and evening gowns.
Messaline... Satin 36 $1.75 to A soft, closely woven, lustrous
$3.50 satin. Used for dresses, slips,
and linings.
Moiré. . . . . Plain 24 to 40 || $1.75 to A watered effect produced on a
$8.50 ribbed fabric. Used for coats,
Mousseline dresses, suits, and trimmings.
de soie. . . Plain 45 50c.to $1.50. A transparent material. When
slightly stiffened, it is called
pineapple cloth. Used for collar
foundations; similar to gauze.
Mull. . . . . . . Plain 27 to 49 50c. to $2 | Very soft, sheer material. Used
- for foundations of dresses and
blouses, and for inexpensive
party dresses. Heavy quality
called Seco silk, a trade name.
Ottoman . . . Plain 40 to 44 $2 to $5 Thick, corded, lustrous silk. Used
for wraps, dresses, and trim-
Peau de mings.
cygne. . . Plain 36 $2 to $6 | A fabric of soft, lustrous finish in
- pebbled effect. Used for dresses,
suits, and coats.
Peau de Soie Plain 36 $2 to $6 | A soft, durable fabric with dull,
satiny finish, showing cross-ribs
on one or both sides. Used for
Persian or tailored dresses and trimming.
Paisley. Satin and 27, 36, 40 $2 to $20 | A silk of many colors and designs.
Plain Used chiefly for dress ornament.
Plush . . . . . Pile 50 $3.50 to $20. A rich fabric with a pile face and a
coarse, woven back. Plush pile
is longer than that of velvet.
Pompadour Used for coats, capes, neck
or Dres- pieces, and muffs.
den. . . . . Plain 36 $2 to $8 || A flowered silk, usually taffeta;
sometimes in rich colorings.
Used for party dresses, linings,
and fancy work.
Pongee. . . . Plain 33 and 34|| $1 to $5 | A plain, washable, light-weight
fabric, having a slightly rough
surface. Usually made of the
natural raw silk. Used for sum-
mer suits, dresses, and blouses.


SILK
73
Name
Weave
Usual Width
Inches
Price
per Yard
Description
Poplin. . . .
Radium . . .
Roshanara
crêpe. . . .
Satin. . . . . .
Satin,
Skinner's
Satin,
Wash. . .
Shantung..
Silver cloth
Silvertissue
Plain
Plain
Satin
Satin
Satin
Plain
Plain and
Jacquard
Plain and
Jacquard
Twill
Plain
Lace
Plain
36 and 40
36 to 40
40
36 and 40
36
36 and 40
33 and 34
18 to 40
18 to 40
36
36 and 40
72
$2 to $5
$1.50 to
$3.50
$2.25 to
$4.50
$1.50 to $10
$2.50 to $5
$2 to $5
$1.25 to $5
$6.50 to
$13.50
$1.50 to
$7.50
$1.50 to $3
$2 to $6
A heavy warp fabric having well-
pronounced crosswise cords due
to heavy weft. Comes in many
varieties. Satisfactory for suits,
dresses, and children's coats.
A firm silk resembling silk broad-
cloth. Washable. Used for
underwear.
A heavy silk and wool crêpe, giv-
ing the effect of an irregular cord
weave. Tailors well. Used for
dresses, suits, and coats. Rosha-
mara is a trade name.
Firm, basic weave with a glossy,
smooth luster on the face and a
dull back. Comes in many va-
rieties. . Used for dresses, coats,
linings.
Heavy, durable satin with luster.
Used chiefly for linings and
dresses. This is a trade name.
Soft, white, or light-colored satin
used for collars and lingeries. It
has the advantage of giving a
good appearance after washing.
A heavy pongee silk. Rough, plain,
washable fabric of natural color.
Used for dresses and blouses.
A shiny material made of metal
warp and silk weft. Used for
trimmings.
The cheaper grades are imitations
of the metal cloths, and the more
expensive ones are made of metal
but are transparent.
Soft, pliable fabric without dress-
ing. Used for dresses and hats.
Satin surah is a high-luster silk.
A fine, smooth, glossy fabric with
considerable body; alike on both
sides. May be plain, figured,
striped, or plaid.
Fine, fluffy, machine-made net.
Used for millinery, drapery on
dresses, and party frocks.


74
SILK
Name
Weave
Usual Width
Inches
Price
per Yard
Description
Velvet. . . . .
Velvet,
Chiffon. .
Velvet,
Croise...
Velvet,
Lyons...
Velvet,
Mirror. .
Velvet,
Nacré. . .
Velvet,
Panne. . .
Vestings . .
Pile
Pile
Pile
Pile
Pile
Pile
Pile
Figure
Plain
18, 36, 45
40 to 54
18, 36, 45
18 to 36
18
18 to 36
18, 36, 40
22 to 36
40
|
$1.50 to $10
$4.50 to $20
$1.50 to $5
$2 to $6
$1.50 to $5
$2 to $6
$1.50 to
$7.50
$2 to $10
$2.50 to $3
Has a short, soft, thick-pile face
and a plain back. May be all
silk, or all cotton, or have a silk
face. Used for dresses, suits,
coats, and trimmings; extensive-
ly used for millinery purposes.
The lightest, softest velvet known.
Used for elaborate dresses, suits,
evening gowns, hats, and wraps.
Has coarser back than Lyons vel-
vet; so woven as to hold the pile
firmly. Used extensively for
trimmings.
Velvet of finest quality, made in
Lyons, France. Distinguished
by the fact that the foundation
material is visible through the
pile. Silk or linen back only,
never cotton. Either flat or
erect pile.
A shimmery velvet, made of long,
soft pile pressed in different
directions. Used as trimming
and for millinery purposes.
A velvet with a back of one color
and a pile of one or two others,
which gives a beautiful, change-
able shading. Used for evening
gowns and wraps, and as trim-
ming, especially for millinery.
Velvet having a soft pile pressed
downwards in one direction.
Used for gowns, wraps, and hats.
Heavy, fancy materials usually in
highly colored, Persian effects.
Used for vests and trimmings,
and for men's ties.
Open-mesh, semitransparent silk
or silk-and-wool goods. Used
for overdrapes, evening dresses,
and fancy blouses.


CHAPTER VI
LACES
HISTORY OF LACE
1. From its very beginning, lace has been regarded as woman's
treasure, and its production, as the fine art in which she has most
excelled. Both old age and youth alike are conscious of its charm
and beauty, realizing innately the power of this network of threads
to enhance their appearance and provide a softening touch. And
never has the value of the raw material entering into a product
been so much increased by skill and industry and with so slight an
expenditure of tools as is true of hand-made laces. Just consider,
a little flaxen thread, a needle, a design drawn on a piece of parch-
ment, plus the skill and infinite patience of a woman, and the
result is a product almost beyond price—“a thing of beauty and a
joy forever.” Lace made by machine can never aspire to the
distinction won by most of the hand-made varieties, but it is very
often so dainty and so good an imitation that it not only demands
our attention but arouses our respect and admiration.
2. While very few of us will ever have the privilege of possessing
many, or perhaps any, pieces of good hand-made lace, we need not
be deprived of knowing its characteristics, for there are excellent
collections of these laces in the museums of art throughout the
country, which are open to all for study and enjoyment. By
examining these collections, or even by making a careful study of
clear, distinct photographs of them, we may come to know the
difference between a well and a badly designed piece of lace, whether
hand- or machine-made.
It is all too true that the machine can not entirely give us the
beauty and variety of texture we find in a needle-point or a bobbin-
made ground or toile; still, we can learn to select the best pattern
75


76 LACES
available and also to distinguish the qualities in lace that give it
enduring worth and make it a continual pleasure as long as it lasts.
3. Whether made by hand or by machinery, lace is an open-
work fabric or network of linen, silk, cotton, or similar threads made
with a needle or bobbins or by machinery and usually ornamented
or figured. Most women know, these facts regarding laces, but
not every woman is familiar with the names of the laces, their
wearing qualities, and the appropriateness of their design and weave
to certain garments. It is the purpose of this Chapter, therefore, to
give a brief history of the evolution of lace, to illustrate its various
kinds, and to give an explanation of their distinguishing features
and uses, so as to enable the woman unfamiliar with laces to gain a
knowledge of them, and thus be in a position to select laces in an
intelligent manner and to keep them in the best possible condition
as long as they are useful.
By having a correct idea of the different weaves, their wearing
qualities, and the purpose for which different laces are used, a
woman will be able to recognize nearly any kind of lace when she
sees it; and, aside from knowing what to select for her own use and
how to help others, she will understand better the descriptions of
gowns in fashion publications, which frequently contain excellent
suggestions for the artistic use of laces of all widths and qualities.
4. Origin of Lace.—As the term is now understood, lace was
first made and worn in the 16th century. The place of its origin
has been much disputed, several different countries, notably Italy,
France, Spain, Flanders, and even the far East, claiming the distinc-
tion. The frailness of the specimens that remain makes it somewhat
difficult to trace the history of this beautiful fabric, but these,
together with pictorial art and sculpture, have practically settled the
question that to Italy belongs the honor, for it is definitely known
that needle-point lace was made and worn there before 1500.
Investigations indicate that bobbin, as well as needle-point lace,
was made in Belgium by Barbara Uttman at about the same time.
Lace derived its origin from netting, and not, as is often thought,
from embroidery.
5. Growth of Lace Making.—At first, the lace-making
industry was confined to the religious orders, it being made by both
monks and nuns. Gradually, however, the nuns taught the art to


LACES 77
their pupils and in this way it spread among the other classes of
people. Numerous countries, France, Spain, Belgium, Germany,
and England, gradually took up the making of lace, each one
producing certain varieties and becoming proficient in the making
of them. Wherever lace has been produced, the industry has
thrived at times and declined at others, the severity of the laws
passed concerning it being largely responsible for this change.
Therefore, while one would expect a story of continuous prosperity
in so beautiful a craft as lace making, its development has been
continually arrested and hampered. Consequently, while we like
to think of lace as a simple, graceful, womanish fabric, it has often
been influential in affecting the finances of a whole nation.
6. For many years, lace was made chiefly out of silk and linen
thread, but in 1833 cotton thread was first substituted for flax.
This produced a less artistic lace, but it afforded increased facility
for the makers, as they found the cotton thread cheaper, more
elastic, easier to handle, and less liable to break.
7. During the 19th century came also the invention of machinery
for the making of net having a fast mesh, that is, one that would not
unravel, for in 1809 John Heathcoat invented a machine that
produced bobbinet. At first, only 1-inch strips, which had to be
joined together, were made, but gradually machinery was perfected
that would produce 18-, 30-, 36-, and 54-inch widths. With the
introduction of machine net, all the traditions of lace making
were upset, and by 1830 lace makers produced all kinds of simple
motifs which they applied to net, thus demolishing the old methods
of lace making and practically ending the history of old laces.
8. Another notable event in the history of machine-made lace
was the application of the Jacquard attachment to the lace machine.
This device had been used for the weaving of silk, cotton, and linen
goods from the time of its perfection in 1803, but it was not until
1837 that it was successfully applied to lace making. From this
time on, machines were able to duplicate practically every pattern
of hand-made lace, so laces steadily grew in production and decreased
in price.
9. Lace Making at Present.—After the first novelty of the
machine-made lace had worn off, a slight reaction in favor of old
lace set in both in England and on the continent. In France, laces


78 LACES
were cleaned, cut, and adapted to modern fashion. Thus, within
the last half century, the taste for good lace has again become
almost general in both England and France. The reason for such
a reaction is not strange after all. While almost every descrip-
tion of lace is now made by machinery and produced so perfectly
that it is often difficult for the practiced eye to detect the differ-
ence, still we can never overlook the fact that the finest and most
artistic machine-made laces can never possess the intricacy of
pattern nor the beauty of design that characterize laces made by
hand.
10. In America, however, the hand-made lace industry has
not progressed so well as in foreign countries, although in this
country rapid strides have been made in the manufacture of lace
by machinery. The reason for this should be clear. The intricacies
of hand-made lace designs require long, tedious hours of labor, and
as such work in Europe is done mostly by peasants, who work for
very low wages, the cost of production is not so great there as it
would be in America, where a higher standard of wages is the rule.
In this day of commercial rush and competition, the time expended
in making a bit of hand-made lace is hard to realize; yet, to see a
piece of real hand-made Flemish lace without associating patience
and labor with it would display lack of conception, for some
of the designs made by the Belgians are marvelous so far as beauty
and workmanship are concerned. -
METHODs OF MAKING LACE
11. To understand thoroughly the varieties of lace and their
uses, it will be necessary for one to become familiar with the principal
ways in which it is made. As has already been explained, lace
refers to ornamented open work of threads of flax, cotton, silk,
gold, or silver, and occasionally hair or aloe fiber. These threads
are looped, plaited, or twisted together in several ways, the method
used determining the name to be applied to the lace as follows:
12. Hand-made lace, or lace made by hand with the needle
and with bobbins. This includes:
1. Needle-point lace, or lace in which the threads are worked
by hand with a needle.


LACES 79
2. Bobbin lace, or lace made with bobbins. This is made on a
pillow, often being inaccurately described as pillow lace.
13. Machine-made lace, or lace made by machinery. Imi-
tations of both needle-point and bobbin lace patterns are produced
in machine-made lace. Machine-made lace is of two varieties,
which are:
1. Woven lace, in which two sets of threads are used—warp
and weft.
2. Embroidery lace, in which a pattern is embroidered on a
ground, which is often burnt out afterward.
14. Needle-Point Lace.—In the true sense of the word,
needle-point lace is made with the needle alone, although there are a
number of laces to which the term “point” is applied that are com-
binations of both point and bobbin lace. It originated as an
evolution of cut work and developed into net lace.
In the making of needle-point lace, the design is drawn on parch-
ment, which is kept straight by being stitched to heavy linen.
Threads are then laid along the lines of the pattern and sewed down
through the linen and parchment. By means of fine stitching done
with a needle and a single thread, the entire design, both the solid
filling and the open work, is worked on the threads already laid,
the button-hole stitch being generally employed.
15. Bobbin Lace.—The method of bobbin-lace making is an
exceptionally interesting study and one of the most important in
the field of hand-made lace. The lace is made on a pillow or
cushion by twisting and plaiting threads wound on bobbins. It is
sometimes called pillow lace, but this is not a distinctive title for
it since needle-point and knotted laces are also supported on a
pillow. The chief characteristic of bobbin lace, in addition to
its being made with bobbins, is that the threads in it are plaited.
In fact, it is the plaiting and twisting of the threads that help
to characterize bobbin lace. At first, instead of pillow, bobbins,
and pins, the hands were used, each finger serving as a peg.
Occasionally, the hands of several assistants were required to
furnish sufficient pegs for a broad border.
16. As with needle-point lace, the pattern is first drawn upon
a piece of paper or parchment, which is then pricked with holes.
The pricked pattern is placed on the cushion, which is sometimes


80 LACES
a circular pad backed with a flat board in order that it may be
placed upon a table and easily moved as the worker may wish, and
other times a well-stuffed short bolster, flat at both ends. On the
upper part of the pattern are fastened the ends of the threads
unwound from the bobbins, which thus hang across the pillow.
These bobbins are thrown and twisted with regular precision in
order to form the fabric of the ground and pattern. The wider
such hand-made lace and the more intricate the pattern, the more
bobbins are required to do the work; and as this work means the
expenditure of much time and the exercise of skill, the price of such
laces increases with the width and the intricacy of the design, the
wider laces being more expensive in proportion to their width than
the narrow ones.
17. Many bobbin laces are finished with bead edging, which
consists of tiny buttonhole loops of thread edging the lace. This
needle-point edge is, in effect, applied to many kinds of machine-
and hand-made laces. It adds much to the attractiveness of a
lace design, as it tends to impart the daintiness so much sought in
laces. Bobbin lace finished in this manner is frequently referred to
as needle-point lace. Bobbin-made lace has a fine, soft quality
that distinguishes it from needle-point lace, which has a much
harder and crisper appearance.
18. Woven Lace.—As early as 1560, efforts were made to
invent machinery that would produce lace and thus take the place
of the hand workers. William Lee, a weaver in Nottingham,
England, struggled to produce a machine for this purpose, but his
efforts met with opposition from the authorities because they con-
sidered machinery to be a detriment to the interests of the working
classes. However, continued efforts by other inventors finally
resulted in the production of the Heathcoat machine in 1809,
which made successful net. John Leavers, of Nottingham, England,
greatly improved this machine, and although it has had improve-
ments since his day, it is still called by his name. The application
of the Jacquard attachment has made it possible to duplicate the
patterns of hand-made laces.
19. As the Leavers machine makes a woven lace, it requires two
sets of threads, warp and weft threads. The warp threads are
held in reels, while the weft threads are wound on flat bobbins


LACES 81
and run at right angles to the warp threads. The bobbins are
made flat to allow them to pass between the warp threads and the
two sets are twisted together by means of both a mechanism that
controls the tension of either set of threads at will and an oscillating
mechanism. As the tension on each set of threads can be made
tight or loose, the slack threads on one are permitted to twist about
the other as the pattern requires.
Nottingham, England, and Calais, Caudry, and Lyons, France,
produce large quantities of woven laces.
20. Embroidery Lace.—The other variety of machine-made
1ace, which includes Plauen and St. Gall laces, is made on an
embroidery machine called the Schiffli machine. The industry
first started by the making of Oriental laces. Eventually, it was
discovered that by using a ground of one material and an embroidery
thread of another, the lace could be treated to an acid bath that
would destroy the ground without affecting the pattern.
The Schiffli machine works on the same principle as the sewing
machine, having two threads, one carried underneath on a bobbin
and the other on top in a needle. The early machines were
Operated by hand, several needles being controlled by a pantograph,
an instrument for reproducing the design, but later it was found
possible to use a Jacquard attachment to reproduce the pattern
and greatly increase the number of needles on the machine. Plauen
in Saxony and St. Gall in Switzerland are the centers for the manu-
facture of this kind of lace.
VARIETIES OF LACE
LACE TERMS
21. In the subject of lace, as in most subjects, it will be found
that there are many terms that are purely technical; that is,
terms that pertain exclusively to this particular subject. These
must be understood if a thorough understanding of laces would be
had. To make them clear and at the same time enable you to
take up the following examples of laces in the most intelligent
manner, an explanation of the terms most frequently met with is
here given, arranged in alphabetical order for easy reference.
L D 1–7


82 LACES
A jours.-The filling or ornamental work introduced into
enclosed spaces.
Appliqué.-Either needlework or bobbin lace in which the
pattern is made separately and sewed onto a net ground.
Bead Edge.—Another name for beading, which is the simple
heading on pillow lace. -
Bobbins.—Small elongated reels, either wooden or bone, on
which thread is wound for the purpose of lace-making. Often
they are weighted with such articles as beads, coins, seeds, etc.
Brides, Brides Claires, and Bars.--Small strips used to
connect the parts of a design and employed instead of a groundwork
of net. They consist either of threads overcast with buttonhole
stitches or of twisted or plaited threads.
Brides Ornees.—Brides ornamented with picots, loops, or
pearls. -
Cartisane.—A strip of parchment used to give a raised effect
to the patterns in lace. It is covered with silk or gold or other
metal thread. As it is not durable, the less it is used the more
the lace is esteemed.
Continuous Inner Pearl.—A stitch used in Honiton and
other braid laces to ornament the inner side of any leaf that is not
filled with stitches.
Cordonnet.—The thread used to outline the designs in lace.
Sometimes, it consists of a single thread, other times, of several
threads worked together, and again, of a thread or horsehair over-
cast with buttonhole-stitches.
Couronnes.—The cordonnet is sometimes ornamented with
stitches known as couronnes. The English form of this term is
CrOW11S. -
Dentelé.-A French term meaning a scalloped border.
Engrèlure.—The edge of a lace by which it is sewed on the
material it is to decorate. Same as heading or footing.
Entoilage.—The French term for a plain mesh ground.
Entre deux.-The French term for insertion, whether of
embroidery or lace.
Fillings.-These are fancy stitches used to fill in enclosed spaces
in needle-point and bobbin laces.
Fond.—The groundwork of needle-point or bobbin lace as
distinguished from the pattern. Other names for it are champ,
entoilage, reseau, and treille.


LACES 83
Gimp. —The pattern of lace which rests on the ground or is
held together by brides. It is not the same, however, as the
material gimp, which was formerly called guipure.
Grounds.-Two forms of ground are found in laces—the
bride and the reseau. The bride ground consists of bars that con-
nect the ornaments forming the pattern. The reseau ground is a
net made either with the needle or with bobbins.
Guipure.—Formerly, a lace-like trimming of twisted threads.
Now, it is applied to all laces having a tape-like pattern on them.
Insertion.—Strips of lace or embroidered muslin or cambric on
which both edges are alike.
Jours.-Ornamental devices found in various parts of lace. In
Venetian point lace, jours are introduced in the center of the flowers.
Mat or Math.-The closely worked portion of a lace; the toile.
Passement.—The pricked parchment pattern upon which both
needle-point and bobbin laces are worked.
Pearls or Purls.-Bars or brides.
Pearl Edge or Purl Edge.—A narrow edge consisting of pro-
jecting loops and sewed to lace as a finish.
Picot.—Tiny loops worked on the edge of a bride or cordonnet
Or used to beautify a flower, as in the case of rose point. -
Pillow Lace.—Bone lace, or bobbin lace, made on a pillow by
twisting or plaiting the threads with bobbins.
Point Lace.—Properly, only lace made with the point of a needle,
needle-point lace. However, the term is often misapplied, numer-
ous laces, such as Point d'Angleterre and Honiton point being
made with bobbins and not with the needle.
Point de Raccroc.—A stitch used to join reseau ground.
Point Plat.—A French term for flat point lace having no raised
cordonnet or outline cord.
Pricker.—A short instrument with which holes are pricked in
the pattern used for bobbin lace.
Reseau.-Ground of small, regular meshes made both on the
pillow and with the needle.
Samplers.--Small samples showing patterns of lace. They
originated in the 16th century when not every one could buy
pattern books because of their scarcity and high price. They were
also used to show the skill of the worker.
Sprig.—A detached piece of lace which is appliquéd to a net
foundation or joined with other sprigs by means of bars.


84 LACES
Ties.—Like bars, ties are the
connecting threads worked across
spaces in needle-point and bob-
bin laces.
Toile.—The substance of the
patterns of lace as distinct from
the ground.
Treille.—Another name for
the ground or reseau of lace as
distinguished from the pattern
which they surround.
777-º-º-º-º-º-º:
- - -
EXAMPLES OF TYPICAL LACES
22. Following are the names
and descriptions of a large num-
ber of laces together with illus-
trations of many of them. Not
all the laces in existence are in-
cluded here, but practically all
of the laces that are used by
the woman who sews are dis-
cussed. With these illustrations
and descriptions firmly fixed in
the mind, no woman should be
at a loss to recognize any kind
of lace when she sees it; rather,
she should be able to make
proper selections for garments
on which lace is to be used, and
she should know whether it will
give the service she desires of it.
23. In studying the laces
here mentioned, it should be re-
membered that the manner in
which they derive their names is
by no means consistent. Many
of them are named according to
the locality in which they have
Machine-Made Alençon -
FIG. 1 been, or are, made, or the nation-


LACES 85
ality of the people who make them, as Antwerp lace, Brussels lace,
Armenian lace, Bohemian lace, Belgian lace, and so on. The same
kind of lace is made in many countries, but the threads of which
it is made vary to some extent, owing to the process of manufacture
of the thread itself in these different countries. Then, again, the
implements used in the manufacture and the method of making
have much to do with the naming of laces, as bobbin lace, point
lace, and so on.
24. Alençon lace, often referred to as point d'Alençon, is
a needle-point lace having a sheer net ground and a pattern that is
outlined with a thread covered with buttonhole-stitches to produce
£3%
º
º
º -
º º:
º º
º
º
º
º
Machine-Made All-Over Net - Machine-Made All-Over Lace
FIG. 2
a cord effect. This lace, which was the first to use a net ground,
has a closer, firmer pattern than any other lace and a very clear,
fine ground. When hand-made, it is very expensive, but the
machine-made variety, an example of which is shown in Fig. 1,
is inexpensive and is used extensively on ready-to-wear garments.
25. Algerian lace is a narrow, flat, ornamental lace of gold
and silver threads. It is used in outlining designs on garments and
in draperies and fancy work.
26. All-over lace, Fig. 2, is any lace that has both edges
finished the same and a pattern that repeats the entire width and


º-º-º-º:
ſº X- º - º 35: -
--
º rº--
rºº Nºyº
Vº 2. Ž º
ſºil
mºſºmº
º º º
Zºº
&
isiºn
ºliº
º
-
-
Žº
Žº
º
£º
Machine-Made Antique









FIG. 3


Machine-Made Appliqué
Frc. 4


88 LACES
length. It comes in beautiful designs in silk, and is made also in
very cheap grades. Sometimes it contains merely a dot, and again,
an elaborate pattern. It is used for dresses, blouses, flounces,
yokes, and sleeves, as well as for millinery.
27. Aloe lace is a coarse kind of lace made from the fibers of
the alpe by the peasants of Albissola, Italy. This lace is not much
in demand as it becomes mucilaginous, or gummy, in washing.
Although it is usually executed in tatting, the threads are sometimes
twisted and plaited. Such work is also done by the natives in
- Paraguay, South Amer-
ica. Tatting is done in
aloe thread at Manila,
Philippine Islands.
28. Antique lace,
Fig. 3, is a hand-made
bobbinlace of heavy linen
thread in large, open,
square, knotted mesh.
It has the appearance of
a coarse form of darned
work done on an open-
mesh weave, and is often
referred to as darned lace.
Antique lace usually has
rare patterns, all kinds
of designs being worked
in the net by darning,
Machine-Made Arabian - * -
FIG. 5 and, as it is hand-made,
it is expensive. Imitation
antique lace is sometimes used for draperies and similar purposes.
29. Antwerp lace, a bobbin lace resembling Mechlin, was
first made at Antwerp in the 17th century; it is sometimes
known as Flanders lace, also. It was made in order to supply
the increased demand for Mechlin lace. In one variety, the design
is worked on a ground and in the other the sections of the design
are merely attached by means of brides or bars. The chief charac-
teristic of this lace is a pot or a vase of flowers, which varies in
its size and its details.


sº
wºº yº Wºº
&
zºº.
**.*.* & :*
ºº:: *º-ºº:
º, nº
- ********* -º-
tº sººt * * * ~ *
º:
§§§
*.*....; ׺
- ** * * *****
Hand-Made Baby Laces Machine-Made Baby Laces
FIG. 6







89


:
i
º
--- tº
%%Yº
-
Machine-Made Battenberg
FIG. 7
Machine-Made Bobbinet
Machine-Made Tosca Net
FIG. 8
90


LACES 91
30. Appliqué lace, Fig. 4, is a lace made by sewing hand-
made flowers or sprigs, which may be either needle-point or bobbin-
made, on a machine net. Sometimes, the designs are made of net
or thin muslin and are outlined with a chain-stitch after being
applied. Appliqué lace made in Belgium is characterized by
very fine net with small dots sprinkled over it. This lace is imitated
very beautifully by the machine, as Fig. 4 indicates.
31. Arabian lace, Fig. 5, is a curtain lace. Its color is usually
drab and it is corded with heavy, darker-drab cord. The price of
Arabian lace is regulated by the nature of its design. Imitations,
as a rule, are cheap and
shabby in appearance,
due possibly to the cheap-
ness of the drab dye used
in dyeing them.
ºſºvºº
º ºº:: º
º - -
àº. º
º tº: -
º
º 3S 3&2& L
º
32. Argentan lace
is a needle-point lace first º º &º
º º © º º
made at Argent a n, ğ &º
France. It resembles
Alençon, as it is probable
that the same workers
were employed in the
manufacture of both, but
it has a larger and more
striking patternand there
is a noticeable distinction
in the net ground. This
is hexagonal in shape
- - Hand-Made Bohemian
and is larger and stiffer FIG. 9
than any other because
the sides of the mesh are covered with fine buttonhole-stitches, ten
on a side, which are often so small as to be indistinguishable.
33. Baby lace, several examples of which are illustrated in
Fig. 6, is a name for nearly any simple, narrow, dainty lace, whether
of cotton or linen. Numerous varieties, such as Val, filet, torchon,
Irish crochet, and Armenian, are made in the narrow widths suitable
for baby lace. Such lace is chiefly used in making layettes, and on
dainty dresses and undergarments for little folks.


92 LACES
34. Battenberg lace, Fig. 7, is a form of Renaissance lace but
of a coarser quality, and consists of a braid, or tape, usually of fine
linen thread, woven together with linen
-
º
º
º
Nº
Machine-Made Bohemian
FIG. 9
thread into all kinds of
designs. It is made by
machinery and by hand.
Machine-made Batten-
berg is very cheap, but
the hand-made is ex-
pensive, the price being
governed by the delicacy
of the pattern. The
hand-made pieces are
used as collars and cuffs
on women and children's
coats, and the coarser
designs, for draperies and
fancy work.
35. B1 on de lace
was originally a heavy,
closely woven bobbin lace
produced in Spain and
made of unbleached silk,
from which it took its
name. Later, the term
was applied to silk laces
in white, black, and col-
ors made at Chantilly,
France. It has a ground
of fine, twisted silk and a
toile, or pattern, worked
entirely with a broad,
flat strand that produces
a soft, silky effect.
36. Bobbinet, Fig.
8, is the net made by the
bobbin as distinguished from that made by the needle. Modern
bobbinet is a machine imitation of the original hand-made bobbinet.
It has hexagonal, or six-sided, holes but no designs and is used for
dresses, dress foundations, overdrapes, and draperies. The price of


LACES 93
bobbinet depends on the firmness of the mesh, the coarser weaves
being less expensive than the finer ones. A kind of bobbinet, called
Tosca net and shown in Fig. 8, is more open than ordinary bob-
binet, but it is very firmly woven, and consequently very durable.
37. Bohemian lace, Fig. 9,
is a bobbin lace that is made in
Bohemia and may be recognized
by the tape-like effect in the pat-
tern. As a rule, this lace is too
coarse in weave and design to be
suitable as dress trimming. It is
Hand-Made Bruges Machine-Made Brussels
FIG. 10 FIG. 11
both hand-and machine-made, the machine-made variety being very
effective for it often imitates the designs of the old Bohemian laces.
38. Bruges lace, Fig. 10, consists of fine lace tape woven
together with fine thread. The real lace is made in much the


94
same way as duchesse lace, but it is, as a rule, somewhat coarser.
The fine weaves of this lace are suitable as dress trimmings, and
the coarser, cheaper grades are used for table-cover finishes and
º -
º:
º
º
- º
::::::::::::::::::
Hand-Made Appliqué Carrickmacross
Machine-Made Appliqué Carrickmacross
FIG. 12
draperies.
39. Brussels point
lace, Fig. 11, is a lace of
exquisite fineness in
which the designs are
made separately and
then assembled and ap-
plied to a net ground.
Formerly, the ground
was worked with bob-
bins around the flowers,
but later the flowers
were sewed to a machine
net. At one time, Brus-
sels lace was smuggled
into Hngland and called
Point d'Angleterre to
avoid the duty. The
earliest Brussels point
resembled Alençon lace
in that the designs were
Outlined with a cord, but
this outlining thread was
not covered with button-
hole-stitches nor was the
lace so close and firm.
In the lace trade, Brus-
sels point is a name
given to very fine laces,
regardless of the pat-
tern. It is called Rose
point when its pattern
contains rose motifs, and Point Gaze when its designs are of a very
fine, open, delicate kind.
40. Carrickmacross lace is of two kinds—appliqué and
guipure. AppliquéCarrickmacross, Fig. 12, is made by placing sheer


LACES 95
material over plain net and applying designs to the net with the
buttonhole-stitch or the chain-stitch, and then cutting away the
surplus material so as to leave the outline of the design clear.
Guipure Carrickmacross, Fig. 13, which is a heavy lace, closely
resembles cut work. It is made by working the outline of the
design over a foundation and then connecting the motifs or designs
with crocheted brides, or loops, or loops ornamented with petals or
picots, as in Irish crochet lace. The centers of the flowers, in hand-
made Carrickmacross, are cut away and the openings filled with
lace stitches and the detached parts of the pattern connected with
bars. Hand-made Carrickmacross, which is rather expensive,
Machine-Made Guipure Carrickmacross
FIG. 13.
is used for whole dresses and as trimming for dresses, and the
machine-made is used for inexpensive curtains.
41. Chantilly lace, Fig. 14, was named from the town of
Chantilly, France, but it is now made in the towns of Bayeaux,
Grammont, and Calvados. It is bobbin lace characterized by
fineness of ground, light, open-work flowers, and thick, silky threads
outlining the patterns. Black Chantilly, which is said to have no
rival in the lace realm and has a fine ground and elegant floral
patterns, appeared in the 17th century made out of a grenadine,
or non-lustrous silk.


-
Hand-Made Chantilly Machine-Made Chantilly
96


LACES 97
The imitations of Chantilly follow closely the designs of the
original laces, and while they are not equal in quality to the real
lace and are generally made of cotton thread, they are extremely
effective.
Chantilly lace is used for dress trimmings, flounces, overdrapes,
and dresses. It is expensive at the outset, but it is very durable
and may be used again and again.
42. Cluny lace, Fig. 15, is a coarse-thread bobbin lace made
of a heavy, strong, tightly twisted thread in linen and cotton. It
Machine-Made Cluny
FIG. 15
is named from the Museum of Antiquities in the Hotel Cluny,
Paris, because it is supposed to have an antique look. It is similar
to torchon lace, but is distinguished by its geometrical designs,
which often take the form of wheels and paddles.
The machine-made Cluny has reached such a degree of excellence
that it is sometimes difficult even for experts to detect the difference
between the real and the imitation. However, there are three
distinguishing points: (1) Machine-made Cluny is made of two
L D 1–8


98 LACES
sizes of thread and hand-made, of one; (2) its threads have a
crinkly, irregular look instead of a straight, taut one, as in hand-
made; (3) the thread used is generally cotton, while linen thread is
used in the hand-made.
Fine weaves of Cluny lace are used in lingerie blouses and dresses;
the coarser weaves, for pillows, centerpieces, and so on. The
durability of hand-made Cluny makes it inexpensive, even though
- - the original cost may seem exor-
º ".
º ſº. -- 43. Craquelé net, Fig. 16,
º
ºfflº
º
\ mesh that is sometimes used in
FIG. 16
|\!
º | shadow lace of good quality and
* resembles the crackle in old pot-
tery. It has beautiful designs,
which make it attractive for
overdrapes and all-lace dresses. It is more expensive than plain net.
44. Crochet lace is lace which, in the hand-made variety,
differs from other hand-made laces in that it is made with a crochet
hook and but a single thread. It is similar to needle-point lace,
but does not equal it in fineness. In their designs, crochet laces
usually imitate needle-point laces, such as Venetian and Honiton.
Irish crochet, Fig. 17, is probably the most popular variety of
crochet lace. The distinguishing mark of this lace, which is difficult
to imitate, is the crochet-stitch or the buttonhole-stitch, which is
followed by every thread of the work. As shown in the illustration,
this lace comes in a heavy variety known as heavy Irish crochet, the
designs of which have an outlining cordonnet, and a fine, flat
variety, known as Baby Irish and in which the cordonnet is
omitted. This kind of Irish lace is closely imitated, as shown in
Fig. 17, in both pattern and width. Real Irish lace is distinguished
by its thread, linen thread generally being used, and it has a stiff,
starchy feel rather than a soft, puffy one as in the imitation.
The best Irish lace is made in Ireland, but much of this lace,
and good qualities, too, comes from Armenia, Austria, Germany,
Italy, China, and France.
Irish lace of both kinds is used chiefly as trimming for women
and children's dresses.


Hand-Made Irish Crochet
Hand-Made Baby Irish
Machine-Made Baby Irish
FIG. 17


100 LACES
45. Curtain lace, which is all machine-made, comes in many
different varieties. Probably the best known kind is found in
Brussels lace, or Nottingham, curtains. On a foundation of
machine-made net, a design is worked either by hand or by machine.
Saxony Brussels curtains are characterized by a double net in the
design, while Swiss Brussels curtains have a single net throughout
and a machine-made chain-stitch that forms the designs. The
lace-curtain industry in America has been making rapid strides for
a number of years, so that many beautiful curtains are now made
here.
46. Cut work is made by cutting spaces out of closely woven
linen, buttonholing around the sides to prevent them from fray-
ing, and then partly filling in the space with ornamental stitches.
It is tedious to make, a fact that accounts for the expensiveness
of hand-made pieces. Cut work is used on linen collars and cuffs,
as well as in fancy work.
Cut work was known in the earliest stages of lace making. In
the old specimens of this work, elaborate embroidery was worked
on plain linen. Gradually, more of the linen was cut away
and more elaborate designs were filled in until only threads were
left. These were buttonholed over and what is known as reticella
lace was produced.
47. Drawn work is a kind of ornamental work which dates
from early times and is produced by drawing certain threads out
of a piece of material and then securing the remaining threads by a
series of continuous hemstitching stitches. Many threads may
be drawn and designs formed in the remaining threads by weaving,
darning, or tying with other threads. Drawn work is an attractive
finish for lingerie garments, but is chiefly used in fancy work.
Hand drawn work is not overly expensive, because it can be made
at home with little effort and outlay. Machine drawn work is
rarely desirable. Dresden point lace, which was made during the
17th and 18th centuries, was a kind of hand drawn work.
48. Duchesse lace, Fig, 18, is a bobbin lace in which the ground
is one of brides and bars rather than net. Some sections of the
design, which consist of flowers, leaves, and sprays, are closely
woven, imparting to this lace a tape-like effect similar to that of
Battenberg lace. Duchesse lace is rather expensive, but its wear-


LACES 101
ing qualities are good. It has some exquisite patterns and is
therefore suitable as trimming for elaborate gowns, especially
bridal robes. The motifs
of duchesse lace are imi-
tated in princess lace, but
not much similarity is
seen because these motifs
are applied to a net
ground in princess lace.
49. Egyptian lace
is a fine, hand-made,
knotted lace that is some-
times ornamented with
beads. It is expensive
and therefore rarely used.
When it is used, it is made
to serve as trimming.
50. English point
lace, often referred to as
Point d'Angleterre, is an
extremely beautiful lace
equal in design and mak-
ing to many of the point
laces of France and Italy.
The mesh is always made
with bobbins, but the pat-
tern is usually made in
needle-point. Raised
ribs, which are produced
by twisting or plaiting
the bobbins, are some-
times seen on the leaves
or other parts of the de-
sign. The ground shows
- - Machine-Made Duchesse
much variation, fine FIG. 18
needle-point fillings often
being used and bobbin-made brides, or connecting bars, also
being employed.


102 LACES
A mistaken idea that Point d'Angleterre originated in Belgium
existed for some time. This was due to the fact that at one time
in England the importation of laces was forbidden. However,
much more lace was needed to fill the demand than could be supplied
in England, so the English lace merchants bought up the finest
Brussels laces and smuggled them into England under the name
of English point or Point d'Angleterre. The original lace, how-
ever, is purely an English lace and the chief portion of the finest
varieties was made, in England.
51. Fiber lace is made from the fibers of the banana and the
aloe plant. It is a frail, expensive lace, and is not practical for many
... " purposes. However, both
banana-fiber and aloe-
fiber 1ace are used as dress
trimming, especially on
sheer organ dies and
chiffons.
52. Filet lace, Fig.
19, is a darned or em-
broidered net woven into
squares with a contin-
uous thread, there being
a knot at each corner of
the square mesh. It is
perhaps one of the most
attractive and practical
of the lingerie laces, and
is excellent for blouses
and dresses. Real filet
Machine-Made Filet - - -
FIG. 19 lace is expensive, but it
wears indefinitely. Chi-
nese filet lace is coarser and consequently cheaper than the other
varieties. Beautiful imitations of filet lace may be purchased at
very reasonable prices.
58. Guipure lace was probably a bobbin or needle-made
lace of gold, silver, or silk threads, but now this term is usually
applied to all large-patterned laces having coarse grounds, flowers
joined by brides or coarse stitches, and no delicate groundings, and


--- - - a-a-ta-tº-r
---------------------------
- - --- - -- -
Machine-Made Honiton
103 FIG. 20


104 LACES
includes duchesse, Honiton, Maltese, and Venetian laces. The word
guipure is derived from guipe, which means a thick cord around
which silk is rolled. This padding, which was known as cartisane,
was not durable as it would not wash and shrivelled up with heat,
so the pattern was soon destroyed. In time, it was replaced
by a cotton thread and gradually the lace came to be made with
heavy tape rather than a rolled cord.
54. Honiton lace, Fig. 20, a pillow lace originally made at
Honiton, England, consists of round, heavy motifs or sprays of
Hand-Made Limerick
FIG. 21
finely woven braid joined with a needle. Honiton lace is either
appliqué or guipure. The appliqué Honiton is made by applying
the motifs to a ground that is usually machine-made net. Honiton
guipure is characterized by large flower patterns joined by needle-
made bars. It is similar to duchesse lace, but is heavier in effect.
The chief use of Honiton lace is as a dress trimming. The machine-
made varieties usually show a tape-like effect.
55. Lille lace is a French lace that resembles Mechlin, except
that the sides of its mesh are twisted, whereas in Mechlin they are
braided. Its designs are of a simple nature, being usually outlined


Machine-Made Macramé
FIG. 22
-----
º:::::::::
ºść ºat
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Wººt jº ºš
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sº ... ºº
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Machine-Made Maltese
FIG. 23

































105


106 LACES
by a thread of flat, untwisted flax, and its ground is sometimes
sprinkled with dots.
56. Limerick lace, Fig. 21, is not a real lace but consists of
delicate patterns embroidered on net or muslin with either a chain-
- stitch or a darning-
stitch. Real Limerick
lace is beautiful as a
dress trimming, but
:::::::::::::::::::
------- -
ºº::::::::::::::::::::::
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--~~~~~~~~~~~~~ -
ºº:: -
º -º-º:
- § § % as a rule it is expen-
§ sive; machine-made
Limerick, on the other
hand, is more ordina-
ry in appearance and
less expensive, but it
makes an effective
dress trimming.
--
º:
57. Mac r a mé
lace is of Spanish
origin. It is a surviv-
§
#
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-
:
:
º:
#
#
§
§
:
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:
§
:
º:
§
:
º
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º
º
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º
Machine-Made Mechlin Hand-Made Mechlin
FIG. 24
al of knotted point lace and is woven usually in geometrical designs
down from the selvage, many ends being woven togetherand then tied
to form the pattern. Macramé cord, which is made out of close-
twisted . cotton thread, is manufactured for this purpose. Fre-
quently, the threads are allowed to hang loose and form a fringe.
Fine silk macramé is used for scarf and shawl ends and the coarse


LACES 107
carpet-warp kind is used for finishing the edges of bedspreads,
table scarfs, etc.
Macramé wears indefinitely, and the machine-
made kind, which is illustrated in Fig. 22, though rather expensive,
is excellent when a heavy lace is desired.
58. Maltese
lace is a bobbin
lace of more open
we a ve th a n
either Mechlin or
Valenciennes,
but it is not un-
1ike either of
these laces. It
has no regular
ground and, as a
rule, the patterns
include a conven-
tionalized Mal-
tese cross and
do t s ca 11 ed
“mosca.” It is
made both in
thread and in
black and white
silk. The ma–
chine made vari-
ety, Fig. 23, is
m o de r a tely
priced, wears
well, and is used
for dresses and
lingerie garments.
59. Mechlin
lace, Fig. 24, is
a very fibery,
---------ºº-º-º-º:
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-> £-º-º-º-º-º:
Hand-Made Medici
--- Fº
:::::::::::::::::::sº º º
º º
º
Machine-Made Medici
FIG. 25
beautiful, bobbin lace. The patterns, which are chiefly flowers and
buds and resemble those of Brussels lace, are outlined with a thread of
flat, silky flax. The net ground has hexagonal meshes in which four of
the sides consist of two threads twisted and the other two, fourthreads


Machine-Made Metal Lace
FIG. 26 108


LACES 109
plaited. The making of this lace requires great skill, so it is rather
costly, but it is closely imitated on the machine and the machine-
made variety may be purchased at reasonable prices. Mechlin
lace makes a very beautiful trimming for non-washable dresses,
the nature of the mesh and the fineness of the thread preventing it
from washing satisfactorily.
60. Medici lace, Fig. 25, resembles Cluny, but it is usually
made of finer thread and has one of its edges finished with scallops.
It is characterized by closely woven work alternating with an equal
amount of open work. It is rather difficult to imitate this lace on
the machine, and still there are some machine-made varieties that
are very well done. -
Medici lace is used for
the same purposes as
Cluny lace.
61. Metallace, Fig.
26, which is made both
by hand and by machine,
is developed out of gold
or silver threads. The
hand-made variety, which
is very rare and conse-
quently expensive, is a
gui pure lace, whereas -
machine-made metal Naº, Lace
lace consists of a net -
foundation in which are woven all kinds of designs with metal
threads. It is used as trimming for evening dresses and robes
and in millinery work, many beautiful effects being created with it.
62. Nottingham lace, one kind of which is shown in Fig. 27,
is a term that includes all of the machine-made laces made at
Nottingham, England, the center of the machine-made lace district.
Curtain laces are produced in large quantity, but there are also
clever imitations of many hand-made laces, such as Valenciennes
Mechlin, and Chantilly. -
Laces made at Nottingham are both white and cream and are
used largely for curtains, but the finer weaves are employed for
dress trimmings.


LACES
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----çığ （） "，2. ‘E Ș2 „№-24 .:-: 'E-№, r::92 ）„E ºs
∞· EbO<d2 § © ® Èá·6 -E†† = '';· E. :）, （Ů -5 .2 3 „SG OD
~ № TÈ# ¿ $¢ £ ºg ă ğ Ë ·QSĄ TĘ ę Ę Ģ Ģ 5% É E BÞß § º £ 5' E 3E ?
±+→ . F "CĂ „Eſă , ; EÈ ſă>...$$ ğ Þvº š%QQDŻE 5 , , ; š0 E £ ſ）, ‘5 3
- № E 2 ） ğo 5 5 5 2“; . & №. .>-$ $ $ 5 ） ğ± 9cd3 5 .Ę ©
3 ğ ë Ě Ě Ě 4 & Ž ž ſă º ºg # į Š Ť Ť g g g ğ Ģ ĶĒ ģ ţ§ šº Ēğ Ģ ģ Ķ ķ 5
È † # 4 # # # # Ēģğ g ă Ğ ğ Ģ ģ Ķ ķ Ë Ë Ē Ě Ě Ě Ě Ě Ė Ė Ę Ę Ę Ė Ė Ė Ė 3
• -，-----• + +» +57. *:
5.E Ë “ g c ± Ē, Ī ī Ō ğ ø ± ã § š Ť Ť Ť || 3 g ğ ģ Ķ Ķ Ļ Ē É É È È Ě Ě Ē f g
$ $ $ - † ¿ $ $ $ $ $ $ $ $ Ë Ë Ï ï º 5 ? È È Ë Ē Ģ ģ Ķ ķ Ē Ē Ě Ě Ě Ē Ē , ğ
* Á Ř Ě ~ ~ T. '№ Ē Ģ ģ + ';' .?? :E Ř Š Ť Q>0 rejğ Ģ Ģ ģ §ſº .ă „ 'E 5 ¿ $¢ £ ģ ĶĒ
º ¿ $¢ £ 5 g ğ Ģ ģğ ſë $ $ $ $ “ č Ē Ģ ģ ţ Ț ț¢ $ Ž ž Ź º 5 ） ğ ~ # # # # Ē
OOQ© ''; >ŒQD 92•-i Ob0 ſ-5 ><d -->#- U2„¿ † ‡E "EL （E.
. $ （ž §§ . № 533 º 9 5§ 3 . _… : „！ !!, ºſ į „v, žeº č （5 $2· § © ®. ȚE SEC-
ģ Ī ī ķ ļ ņ š #ffff # # # # # # # # # # # # # # # # # # # # # #####
º ¿ ? g ğ á ž Ź ż ſă gº $ != '; º 5 : ? ） g ğ Ģ ģ Ķ g g ğ ° ; # ſā º 5 # # # ！
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：§§§），§§§§§§
FIG. 28
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Oriental Lace
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111
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Wºź. º §§§
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22%tº W); ºº:: -- 3:
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ºº: i
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Machine-Made Paraguay
FIG. 29


112 LACES
the beautiful real laces, such as Point de Venice, but new designs
are originated from time to time. These laces are produced on the
Schiffli machine by embroidering with cotton or silk thread on
woolen material and then chemically treating the embroidery so as
FIG. 30
Plauen Lace
FIG. 31
to dissolve the wool and leave only the cotton or silk, which
then takes on the appearance of lace. Because of the method
of making, such laces are somewhat frail and cannot be used
where a durable lace is required.


LACES 113
Plauen lace is shown in Fig. 31 and other examples are found in
the illustrations of machine-made reticella, Fig. 37, and machine-
made Venetian, Fig. 45.
67. Point de Gaze lace, Fig. 32, is a very fine, delicate,
gauze-like lace that bears a resemblance to Alençon. Part of the
pattern is made in close, and part in open, stitch, the open work
Hand-Made Point de Gaze
FIG. 32
being ornamented with dots. It is distinguished from Alençon,
nowever, in that its designs are not outlined with buttonholing but
are merely emphasized with a thread.
68. Point de Paris lace originally resembled Brussels and
nad a distinctive hexagonal mesh and a flat design. Now, the
term is generally applied to machine-made cotton lace resembling
L D 1–9


114 LACES
Val but of simple pattern and inferior quality, as shown in Fig. 33.
Its figures, consisting of flowers and leaves, are outlined with a
heavy cord.
69. Princess lace, Fig. 34, is a delicate, beautiful lace made
in imitation of duchesse lace, but often bearing little resemblance
Machine-Made Point de Paris
FIG. 33
to it because of its net ground. In the best type, the parts of the
lace are made separately and then applied by hand to a machine-
made ground. As in the case of duchesse lace, princess lace is used
chiefly for dress trimming.
70. Ratiné lace, Fig. 35, is an inexpensive machine-made lace
having designs that consist of a groundwork of heavy loops, resem-


Princess Lace
FIG. 34

i 15


116 LACES
bling Turkish toweling. It is generally used on wash dresses that
are made of heavy, rough material. -
sº-ſº Lºs º:
w".
º
-
| º
Ratiné Lace
FIG. 35
Hand-Made Renaissance
FIG. 36
71. Renaissance lace, Fig. 36, consists of linen tape woven
into motifs and the parts then fastened together with twisted bars,


LACES 1.
spider wheels, and other flat stitches. It is lighter than Batten-
berg lace and not so rich in appearance. The fine weaves of
Renaissance lace are used for dresses, and the coarser weaves for
draperies.
72. Reticella lace, Fig. 37, was the earliest of needle-point
laces, being originally a development of drawn and cut work.
Brides and picots were introduced and simple geometrical outlines
followed. Later, the foundation fabric or cut work was abandoned
and the needlework constituted the entire design. The machine-
made reticella resembles the real
lace in design, but is in reality a
Plauen lace produced on the Schiffli
machine. Real reticella lace is
very expensive, but good imitations
Hand-Made Reticella Machine-Made Reticella
FIG. 37
may be procured at a reasonable price. Reticella lace is used for
collars and sometimes in millinery work; the finer weaves are
employed as dress trimming.
73. Shadow lace, Fig. 38, is a thin filmy lace of fine weave,
having an entirely flat surface and rather indistinct designs. It
may be of any design or character so long as it is shadowy in appear-
a11Ce.
Shadow lace is extensively used as a dress trimming, its soft,
lacy appearance making it desirable for draping purposes. It is not
an expensive lace, its price usually being regulated by the fineness
of the thread and the design.


º # º º º º
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º
º
º º
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§§ º º
%
%.
ºº Fº X.
§§ 32 fºº
º
%
FIG. 38
Spanish Lace
FIG. 39


LACES 119
74. Spanish lace, Fig. 39, is a machine-made lace, usually
in silk fiber, in imitation of the old Spanish laces, which are made of
real silk. It comes in
all-over patterns and in
flouncings and is char-
acterized by floral de-
signs and sprays on a
ground of craquelé net.
Spanish lace of this
variety is used chiefly
for afternoon and even-
ing gowns.
75. St. Gall lace,
Fig. 40, is one of the
varieties of lace made
at St. Gall, Switzer-
land, the lace center of
that country. Many
of these laces are simi- St. Gall Lace
FIG. 40
lar to those made at
Plauen, being both good and poor imitations of some of the lovely
real laces, but St. Gall also makes beautiful hand-made laces.
The variety shown here has Teneriffe characteristics. The machine-
made varieties produced
at St. Gall are made on
the Schiffli machine and
then burnt out to pro-
duce the pattern.
76. Tatting is a
form of knotted lace
made with an oblong
shuttle, around which
the thread is wound and
by means of which loops
and knots are worked.
The name is derived
from tattie, an Indian matting, which it slightly resembles. Tatting
is made in the form of a simple edging, as in Fig. 41, and in elaborate
Machine-Made Tatting Edging
FIG. 41


FIG. 42 120


LACES 121
designs, as in Fig. 42. Beautiful patterns are often produced in
this lace, it being lighter and more lace-like than any other variety
of knotted lace. Many American women are proficient in making
clover-leaf and wheel designs, and hand-made tatting of this nature
may be purchased at a very reasonable price. Imitation tatting in
--- ºw
*3%iº §3.
w sº
% º
Fº º: -
º
º º
Machine-Made Torchon
FIG. 43
no way compares with hand-made tatting, which is desirable as
trimming for lingerie dresses and garments. Tatting is used also
on children's clothes and in making fancy work.
77. Torchon lace, Fig. 43, is one of the plainest of the bobbin
laces and is made by peasants all over Europe. The better grades


122 LACES
- - -
-- -- - - __
Zº º
- **. º
*
Machine-Made German Val
FIG. 44
of torchon are made
of linen thread, and
the cheaper qualities,
which are commonly
called beggar's lace or
Bavarian lace, of cot-
ton. The coarser
weaves of torchon are
much used in fancy
work, and the fine
weaves are employed
in lingerie dresses.
Torchon lace is inex-
pensive when its wear-
ing qualities are taken
into consideration.
78. Tulle is a
fine, gauzy machine
net. It is fluffy and
beautiful when fresh,
but is so frail that it
has a very short life.
Tulle is used on even-
ing dresses, as a hat
trimming, and in
places where fluffy,
airy bows are desired.
It is sometimes called
maline or illusion.
79. Val lace,
Fig. 44, the common
term for Valenciennes
lace, is a bobbin lace
in which the ground
and the pattern are
woven together. Its
designs are flat, but
they are very beauti-


124 LACES
was made in Venice as early as the 16th century and at first
resembled the early reticella except that the cut-like character
was abandoned and the needle stitches were used alone. It consists
of needle-point motifs or designs joined with an irregular network of
brides. The three principal varieties of Venetian lace indicate the
different stages in the development of this lace and the time when it
was in vogue. They are: -
1. Raised point, which is also known as Gros point and includes
Rose point, is characterized by raised or padded portions produced
by means of working
over cotton padding. In
the Rose point, which is
a general favorite, the
design consists chiefly
of small roses held to-
gether with connecting
brides.
2. F1 at Venetian
point, or Point Plat de
Venice, differs from
Raised point in that it
contains no prominent
raised work and has
smaller designs. Its chief
variety is Coraline point,
the designs of which
resemble coral forma-
tions and are connected
by many brides. This
lace is less beautiful than Raised Venetian point for its designs are
irregular and then not so well connected.
3. Grounded Venetian point has its designs arranged on a net
ground and lacks ornamentation, thus almost losing its identity as a
Venetian lace. Burano point is an important example of this
variety.
The machine-made varieties of Venetian are in reality Plauen and
St. Gall laces. By means of the Schiffli machine, it is possible to
reproduce the beautiful designs of the real Venetian laces, but
owing to the chemical treatment in the process of manufacture, the
lace is not of a very durable kind.
FIG. 46


LACES 125
Venetian laces are used chiefly for dress trimmings, but they are
also seen on curtains.
81. Wool lace, Fig. 46, is a woven lace of varied designs, in
which wool thread is used for either the warp or weft thread or for
both. The example shown here is of the filet variety. Lace of
this kind is used chiefly for dress trimming.
JUDGING LACE
82. If one intended to make an exhaustive study of the subject
of lace, it would be necessary to know how to determine, so far as
hand-made lace is concerned, whether it is needle-point or bobbin,
at what period it was produced, where it was made, etc. A study
of this kind, however, would require more time than the majority
of women can give it. And, too, only a few persons are fortunate
enough to possess hand-made lace in any quantity, so it is not to be
expected that many women will desire to make such an extensive
research. Usually, it will be sufficient to know, in regard to lace,
whether it is hand-made or machine-made. Sometimes it is not an
easy task even for the experienced eye to detect this difference,
but generally it can be determined by applying the following tests,
which embody the chief points of distinction.
83. Hand-made lace is characterized in the following ways:
1. In needle-point lace, buttonhole-stitches occur in infinite
variety. These are never seen in machine laces for no machine
has ever been invented that can produce this stitch in even its
simplest form.
2. Any padding that is required in hand-made lace is worked
with a slanting stitch. -
3. In hand-made lace, it is difficult to unravel the threads. In
fact, in some varieties, the unplaiting is a tedious process.
4. The mesh of hand-made net is square, hexagonal, diamond-
shaped, or a combination of hexagons and triangles, as in Chantilly
and similar grounds.
84. Machine-made lace may be distinguished by the following
characteristics:
1. The threads have a twisted and compressed look.


126 LACES
2. If there are any raised ornaments, the padding is worked over
and over straight.
3. The threads, upon being unravelled, come out easily.
4. The mesh ground is perfectly round and even.
VALUE OF HAND-MADE LACES
85. Rare, hand-made laces, unlike their clever imitations, have
no fixed value on the market. The prices they bring depend on the
condition of the piece, the rarity of it, and the amount of bidding
that is done for it, most of these laces being sold through auction
houses. However, some idea of what has been paid for some good
specimens of real lace can be had from the prices obtained for a
collection of laces sold a few years ago at Christie's in London. It
will be noted, that Venetian point laces are the most costly. A fine
piece of Rose point is almost priceless because it is very fragile and
can be obtained in only small quantities. Even the smallest piece
is eagerly bought up by dealers or collectors.
Point de Venice, 58-inch length, 24 inches wide $3,000.00
Rose point, 4-yard length, 11 inches deep . . . . . 2,100.00
Point d'Alençon, 4 yards, 25 inches deep . . . . . . . 2,300.00
Point d'Alençon, 44-inch length, 17 inches deep. 215.00
Point d'Alençon, 24 yards, 14 inches deep . . . . . . 230.00
Gros Point de Venice, 13 yards, 8 inches wide . . 90.00
Reticella, 5 yards, 7% inches wide . . . . . . . . . . . . 165.00
Reticella, four short lengths. . . . . . . . . . . . . . . . . . 210.00
Old Flemish Guipure, 4 yards, 11 inches wide . . 85.00
Old Genoese, 3 yards, 1 yard deep . . . . . . . . . . . . 185.00
Point d'Argentan, 4 yards, narrow . . . . . . . . . . . . 75.00
Point d'Argentan scarf . . . . . . . . . . . . . . . . . . . . . . 155.00
Mechlin, 30 yards in odd lengths, narrow . . . . . 105.00
Point d'Angleterre, 3 yards, 12 inches wide . . . . 105.00
Old Brussels scarf in two pieces . . . . . . . . . . . . . 50.00
Brussels Appliqué, 6 yards . . . . . . . . . . . . . . . . . . 115.00
Point Gaze parasol-cover . . . . . . . . . . . . . . . . . . . . 30.00
Honiton flounce, 3 yards long, 17 inches deep ... 345.00
Honiton lace, 5 yards long, 17 inches deep . . . , 120.00
86. The authorities at the South Kensington Museum, London,
have given the following prices on some specimens shown there:


LACES 127
Venetian point altar-frontal, 8 feet long, 3 feet
wide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1,850.00
Venetian chasuble, stole, maniple, and chalice
veil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,000.00
Venetian flounce, 2 yards long, 3 yard wide . . . . 725.00
Gros point collar . . . . . . . . . . . . . . . . . . . . . . . . . . . 105.00
Brussels lappet . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115.00
Drawn-thread jacket . . . . . . . . . . . . . . . . . . . . . . . 50.00
Linen cut-work tunic . . . . . . . . . . . . . . . . . . . . . . . 100.00
USES OF LACE
87. Laces have ever been particularly cherished by women; for
their loveliness, the refinement they suggest, and perhaps their
association with romance and history combine in their appeal to
feminine fancy. Although, in various periods, laces were used
to adorn garments for men, modern ideas favor them merely for
women's wear, and it does seem that their delicacy fits in very well
with the charm and grace usually attributed to women.
For women and girls of all ages, few fabrics or trimmings can be
employed with greater becomingness than lace. Filmy lace of
delicately traced design brings out the loveliness of youth and softens
the lines of age, while lace of more decided character, if artistically
arranged, provides a notable distinction in a costume.
88. Like other fabrics and trimmings, laces are not always in
decided vogue, but each season favors some kinds of lace and intro-
duces new uses for them. Sometimes lace seems to be a dominat-
ing note in fashions and it is used not only for trimming but for
entire dresses, for wraps, for hats, and for many dress accessories.
Again, merely touches of lace will be noted, but its value in dress
designing keeps it always an important factor in fashions and ever
gives the assurance that an exquisite piece of lace is a treasure of
practical merit. The revolving wheel of Fashion gives preference
first to one kind of lace and then to another, but invariably returns
the various types, so that almost any kind of lace may be used again
and again, or as long as its wearing qualities permit.
89. Lace always has a place as a trimming for underwear,
lingerie, and children's clothes. Also, for household linens and
decorations, it is truly indispensable.


LACES 129
tion, and purpose than the choice of other fabrics and trimmings.
The application of laces, especially those of the more exquisite
or handsome variety, is very important, for unless they are made
more interesting by their arrangement and none of the beauty of
their design is concealed, except by subtle suggestion, their use is
hardly justified.
93. Texture, as applied to the selection of laces, need not be
considered so much for its suitability to type as for the effect it
would give in the costume. If daintiness is the effect desired, lace
of soft, fine character with delicately traced designs is needed to
carry out this suggestion. Sometimes, elegance would be pre-
ferred and, as an aid to this effect, lace very rich in quality and
appearance, with designs of a rather intricate nature, might be
chosen. Other times smartness or decided character in the costume
might be aspired for; prominent or unusual designs in lace of a type
that is in decided vogue might be used to excellent purpose for this
effect.
94 Dainty designs that will be serviceable and practical are
the ones to be sought in expensive laces that must be preserved for
several years' wear, for large, coarse patterns of lace not only are
more difficult to make up attractively but also appear unduly
conspicuous in seasons when their vogue is not pronounced. A gown
of choice lace is well worth remodeling and should be preserved
carefully until the time when Fashion favors the use of such lace.
Then it is deserving of all the care, skill, and becomingness with
which it may be fashioned.
95. The foundation of a lace dress is also of decided impor-
tance, for if it is not right, it is bound to detract considerably from
the beauty of the lace. As a general rule, a filmy lace of delicately
traced design appears best when used with a foundation of self-
color or one that does not contrast decidedly, while lace having
large and comparatively solid designs is especially lovely over a
foundation of sharply contrasting color that throws the designs into
bold relief and gives a richly brocaded effect.
L D 1–10


130 LACES
CARE OF LACES
NECESSITY FOR CARE
96. Laces, though many of them are exquisite and conse-
quently of very great value, are subjected, through use and wear,
to the ravages of dirt and soil, just as is the fabric of a garment. And
since lace, even in the machine-made varieties, is usually a treasured
possession, it should be kept just as clean and fresh as possible.
Nothing evidences carelessness in woman's attire more quickly
than a soiled piece of lace, and nothing is more expressive
of the right appreciation of this delicate fabric than the greatest
care exercised to keep it in perfect condition.
97. The method applied to the cleaning of laces depends, of
course, on the kind of lace. Some laces may be washed in water
with the proper sort of soap, while others cannot be submitted to
this form of cleansing because of the material used in their making
or the frailty of their texture. Therefore, before attempting to
clean a lace, make sure that you know what method to use and
then follow explicitly the directions given for it.
The chief point to remember in the cleaning of laces is that they
should never be twisted nor wrung nor rubbed together harshly,
for they cannot stand rough handling. Rather, they should be
squeezed gently and patted until all the dirt is removed even though
this process requires longer time and considerable patience.
CLEANING WASHABLE LACES
98. At best, washing is a somewhat difficult process so far as
laces are concerned, so it is well to keep a piece of lace clean as long
as possible before resorting to laundering.
One method of temporary cleaning consists in laying the lace in a
piece of blue tissue paper, sprinkling freely any soiled places with
finely powdered magnesia, and then wrapping the lace up in the
paper and putting it away for a few days. When the magnesia
has been shaken out, the lace will appear quite clean.
99. Washing Durable Laces.—In spite of the greatest care,
however, the time will come when this sort of cleaning will not


LACES 131
suffice and the lace must be subjected to a more vigorous treatment.
A precaution to take is not to put off the cleaning of the lace too
long, for if the dirt is permitted to work into the fabric it is very
difficult to remove.
The most satisfactory way to clean washable laces is with soft
water and a pure soap, such as Ivory or Castile. If soap flakes can
be obtained, these will be found very satisfactory for they dissolve
quickly and are easily handled. For laces of durable quality, such
as linen and heavy cotton laces, make a strong suds of soap and
water and into it put 1 level teaspoonful of borax to each quart of
water. Squeeze the lace gently in this until it is clean and then
rinse it well in lukewarm water, handling it gently in the rinsing as
well as in the washing. Always lift all the lace up at once rather
than pull it out by one end, for pulling the lace will break the fibers
more quickly than anything else.
100. In the case of very frail laces, as well as chiffon and net,
the same method may be followed, but much more care must be
taken. Make the suds only about half as strong and squeeze
the lace very gently in it until the dirt is removed. If the lace is
exceptionally frail, it may be put in a bottle with the warm suds
and the bottle then closed securely and shaken vigorously for a
few minutes.
101. Still another plan to wash delicate lace successfully
consists in winding it arounda bottle after this has first been wrapped
with cheesecloth so that the ends of the lace can be secured.
When the lace is in place, it may be covered with another layer of
cheesecloth if its delicacy is such that it would seem to require this
extra precaution. Place the bottle in warm soapsuds and let it
stand for a while. Then shake it vigorously so that the dirt may
be removed.
For lace that is very much soiled, put the bottle with the lace
wrapped around it in cold water containing small pieces of soap
or soap flakes and bring the water to a boil. As the water becomes
dirty, remove it and replace with clean, cold water and more soap,
repeating this process until the water does not show any more dirt.
Then rinse in clean cold water and set the bottle aside until the
lace is thoroughly dry.
102. If the lace is too large to be wound on a bottle and too
delicate to be washed in the ordinary way, baste it securely and


132 LACES
smoothly to a piece of cheesecloth and cover it with another piece of
cheesecloth. Then wash it according to the directions for washing
lace on the bottle, but, after rinsing, pat it and press it to remove
the moisture rather than wring it.
103. Still another method of washing lace makes use of a
smooth board that has been covered with linen. Baste the lace
firmly to the linen and then wet it with warm water by means of a
sponge, taking care not to rub the lace but merely to dab it. When
it is thoroughly saturated, dab it with a warm soap solution, con-
tinuing this until the lace is perfectly clean. Rinse the soap away
by dabbing it with clear, warm water and remove the remaining
moisture by means of a dry sponge. Set aside to dry, when it will
be found that the lace will be properly shaped and sufficiently stiff
so that no ironing will be necessary.
104. Stiffening Laces.—Very often stiffening is not needed
in laces for enough is acquired by ironing the laces before they are
entirely dry. However, there are some cases where a slight
stiffening will improve very much the appearance of a lace after it
is washed. The proper stiffening may be secured by dipping the
lace into a very thin, clear, cooked starch. Or, if it is desired not to
use starch, dip the lace into a solution consisting of 1 teaspoonful of
granulated sugar or gum arabic to 1 quart of water or into rice
water prepared by soaking 3 cupful of rice in 1 quart of water for
# hour. Do not wring the lace after stiffening, but lay it in a flat
mass in the palm of the hand and pat it thoroughly with the other
until the starch is well worked out. Then roll it carefully in a
towel and set it aside for a few hours before ironing.
105. Tinting and Bleaching Laces.-In the washing of
colored laces, particularly those of ecru tint, some of the color is
very often lost. If it is desired to restore this, the process should
take place immediately after the lace is washed. In the case of
ecru lace, dip it in a solution of clear coffee and tea mixed together
in equal proportions and stretch it immediately. The color of the
liquid as seen through a tumbler held up to the light should be the
same as that desired in the lace.
Laces may be tinted other colors by means of any of the com-
mercial dyes that you have found to be satisfactory.


LACES 133
106. Sometimes lace becomes yellow with age when it has
been laid away for a long time. Often it will be sufficient to expose
the lace to strong sunlight after it has been washed. If this is not
successful, place the lace in a vessel, cover it with sour milk, and
then let the milk containing the lace simmer for a few minutes.
It will be necessary, of course, to submit the lace to the form of wash-
ing it requires after it has been taken out of the milk.
107. Drying Laces.—The method of drying lace depends
largely on the form of washing used and the nature of the lace. If
lace is washed on a bottle or between pieces of cheesecloth, it
should be dried before it is removed, the cheesecloth being stretched
sufficiently to keep the lace from appearing wrinkled. Then, ironing
is usually unnecessary, for the lace will be found to be properly
shaped.
A simple way of drying lace washed according to the ordinary
method is to lay it out flat on a soft towel and then roll it up in the
towel until a part of the moisture has been absorbed by the towel.
108. Very good results can be had in the drying of lace by
making a pad over which to stretch the lace. Over an ironing
board, pin a bath towel folded several times, or if the lace is in a
large piece, two bath towels stretched full length. This will
provide a firm but soft foundation. Pin the lace over this pad,
shaping the design carefully and using enough pins to hold the lace
in place well. Allow to stand until thoroughly dry and then shape
each point of the edge with the fingers. This is the method applied
to Irish lace and point laces for they should not be ironed at all.
109. Lace curtains are most satisfactory when they are dried
on curtain stretchers. If these are not available, sheets may be
stretched on the floor and the curtains pinned carefully to these.
110. Ironing Laces.—If it should be found necessary to
iron lace, as is sometimes the case with linen and machine-made
1aces, the chief aim should be to have the pattern stand out as
clearly as possible on the right side. To accomplish this and to
prevent a shiny, worn look from appearing on the surface, always
iron the lace on the wrong side and on a soft, substantial pad. Fine
white flannel makes an ideal covering for an ironing board on which
to press lace, but good Canton flannel or a fine Turkish towel may
be substituted with very good effect.


134 LACES
After securing the flannel or the towel, lay the lace on it, right
side down, and pull each part out very carefully so that it assumes
its correct shape before the ironing is begun. Have the selvage of
the lace, if there is one, next to you, and in ironing, work away from
the selvage toward the edge so as to shape the lace properly, the
selvage usually being tighter than the edge.
111. To avoid the risk of scorching the lace, use an iron of
moderate temperature. Rub the iron over every bit of the lace
until it is entirely dry. Then pull out all picots and small points
into their original form by means of a pin or needle. If a wrinkle
should be pressed into the lace in the ironing, sponge it with a little
starch water and then iron it out.
If the lace has a raised figure, rubit gently on the wrongside with a
lace awl or any blunt tool that is smooth and will not injure the
fabric. This process relieves it of any stiff, starched look it may
have and makes it as pliable as new lace. Finally, pass the iron
lightly over the entire piece of lace.
112. Unstarched laces may have a little stiffening imparted
to them in the ironing, which will make them look like new. To do
this, place the lace right side down on the flannel or towel and rub
it gently with a piece of material that contains sizing, such as
organdie that has been dipped in water until it is soaked. Or,
a cloth dampened with thin starch water will do very well as a
substitute. When the lace is damp enough, iron it slowly with a
moderately hot iron so that the moisture will evaporate slowly.
When entirely dry, remove from the board.
113. Cleaning Black Lace.—Black lace should not be
washed as are other laces because it loses much of its color and
takes on a gray look. However, it may be cleaned by putting it in
strong tea and squeezing and working it just as if the tea were soap-
suds. A small amount of gum arabic added to the tea will stiffen
the lace and give it the appearance of new lace. Coffee may be
used for this purpose, but tea is generally preferred because it
contains no greasy substance. Very good results are also produced
by dipping the lace in a solution of 3 parts lukewarm water and
1 part vinegar.


CHAPTER VII
EMBROIDERIES, FINDINGS, SHOPPING HINTS
EMBROIDERIES
1. Embroidery is made in two ways, by hand and by machine.
Hand embroidery is, of course, that which is made by hand and is
usually made for special orders or by those who desire it themselves.
Machine-made embroidery intends to imitate hand embroidery
as closely as it is possible to do so and in many cases the imitations
are very beautiful. This is the kind that is on sale in the stores.
Hand-finished, machine-made embroideries are very satisfactory
and, while they have an appearance similar to hand-made embroi-
dery, they are not nearly so expensive.
2. In purchasing embroidery, make sure of a substantial edge
and endeavor to have its background in keeping with the weight of
the garment on which it is to be used, avoiding always the use of a
heavy edging on a light-weight garment. Cheap, tawdry embroi-
deries should not be used unless they are employed to decorate a
garment of like nature; otherwise, they are an extravagance and,
unless the design is suitable, are an evidence of poor taste in selec-
tion.
3. Embroideries divide themselves into several types because
of the materials on which the design is worked and the thread
with which it is done.
4. Organdie embroidery is sheer, crisp embroidery made
on different grades of organdie; the finer the organdie, the thread,
and the design, the more expensive the embroidery, just as is the
case with chiffon and fine voile embroidery. All of these embroi-
deries serve chiefly for dress trimmings.
137


13S EMBROIDERIES AND FINDINGS
5. Batiste embroidery is generally considered a dainty
embroidery suitable for fine work, such as trimming for infants
and children's clothes, for undergarments, and for lingerie dresses.
The grade varies so much, however, that one must be cautious
about design, width, and texture to make sure that the embroidery
is appropriate for the garment on which it is used. Fine batiste
embroidery is durable and one of the most generally used embroid-
er 16S. -
6. Nainsook embroidery may be made on fine or coarse
nainsook, may have a dainty or heavy design, and may be done
with fine or coarse thread. Fine nainsook embroidery is often
used rather than batiste embroidery, especially when an attractive,
appropriate design is available. It is less expensive and usually
very satisfactory for wearing and laundering.
7. Cambric embroidery is often called convent embroidery
because it was made by the convent sisters long before machine
embroidery became popular. Real convent embroidery is beauti-
ful and very valuable, but it is rarely procurable.
The cambric embroidery used today is of fine or coarse quality
and is made on a closely woven cambric. The design is closely
buttonholed or “satin-stitched” by machine so that a durable
finish is the result. Such embroidery is occasionally popular for
petticoat flounces, for pillow-case ends, for children's under-
garments, and sometimes for collars and cuffs to be worn on tailored
r-— blouses and dresses.
8. Beading.—Beading is a
form of embroidery that is in
— constant demand. It comes in
several different varieties and
widths and has different uses according to the kind that is
selected.
“.
FIG. 1
9. Seam beading, shown in Fig. 1, consists of a narrow
embroidery beading made on batiste, nainsook, or cambric. It is
sold also under the names of veining and entre deux.
The chief use of seam beading is on hand-made baby clothes,
blouses, and lingerie dresses, where it is used in joining the sleeves
to the armhole, skirts to yokes, and for other similar purposes.


EMBROIDERIES AND FINDINGS 139
10. Double beading, shown in Fig. 2, is that which contains
openings between two beading edges, the openings being long enough
to permit ribbon or tape to be run through. Such beading is
used for children's clothes, undergarments, and occasionally for
–— — trimming on lingerie dresses.
- -** …, --- ----------------------- - - |
a 33 as as s as ºs sº º sºns sº gº ºn 3º
*
*
* * * * * * * * * * *
* : * $3 ºn 3 s 3 * : * * &
* * * * * * * * * * * * * *
*
******************** ******
FIG. 2
11. Embroidery-edge beading, shown in Fig. 3, contains
openings for ribbon or tape but has embroidery-finished edges.
It is used at the top of flounces, on yokes of night dresses, and for
children's clothes. It is usually applied by being stitched flat
between the beading and the inside of the embroidery edges.
FINDINGS
12. A thorough acquaintance with dress findings, that is,
the various small accessories such as buttons, lining, etc., used in
dressmaking, and a knowledge of their use and convenience will
save much time for the dressmaker in two ways. In the first place,
she will know just what is right for a particular need so that she
can use it rather than a substitute; and secondly, she can plan to
have the necessary findings ready so as to facilitate her sewing.
Many women take much pride and satisfaction in having a
stock of findings always at hand and, when any standard article is
used, in replacing it on the next shopping trip. This is an excellent
plan that can be recommended to all who do sewing on either a
large or a small scale.
A visit at least every season to a store having a well-stocked notion
department is time well spent, for often new things are brought out
by manufacturers to help in accomplishing certain ideas demanded
by Fashion. A definite acquaintance with such novelties, in addi-
tion to saving time, makes possible the achievement of certain
style effects that might otherwise be tedious.
13. To help you become familiar with findings, those in general
use are here listed in alphabetical order as well as described and,


140 EMBROIDERIES AND FINDINGS
in most cases, illustrated. Only standard findings are considered,
for the novelties can always be found prominently displayed at
the counters where notions, or findings, are sold.
14. Belting.—Belting, which is an essential finding, comes
in two general varieties, canvas and cambric.
If the canvas belting is firmly woven, it requires no boning, but
if it is of the soft variety, it is usually boned for stiffness.
Cambric belting is made of cambric cloth and is always boned
for stiffness.
Both canvas and cambric belting are either straight or shaped
and are sold by the yard at notion counters. The width varies
from 1 to 6 inches, according to fashion requirements, straight
lines requiring straight, narrow belting, and fitted lines, curved or
shaped belting.
15. Boning.—In dressmaking, the term boming means the
stiffening, or staying, of one part of a garment so that it will retain
its shape and act as a support for another. Whalebone was formerly
used for this purpose, but it is rather expensive as well as some-
what difficult to use.
An excellent substitute for whalebone has been found in feather-
bone, which is made of strips of feather quills woven together with
linen thread. Featherbone is not expensive, is very pliable, and
may be sewed through readily and without injury, thus permitting
it to be secured in place with very little effort.
Hook-and-eye bone is a special kind of featherbone woven
a little closer than the covered bone and made a little softer so as
to permit easy sewing. It is used chiefly in waist openings, where
it is generally inserted in casings.
Boning may be purchased by the yard or the roll, and may be had
with silk, satin, or cotton covering. As boning is generally put in
places subject to considerable wear and strain, it is advisable
always to employ a very good quality. The cheaper grades are
liable to break before a garment is worn out, making it necessary
to replace them.
16. Boning and Stays for Collars.-Boning and stays for
collars usually consist of narrow widths of covered featherbone in
both black and white. In Fig. 4 are shown two varieties, that in
(a) being covered with silk ribbon and the one in (b), with floss.


EMBROIDERIES AND FINDINGS 141
Besides collar featherbone, which is sold by the yard, there are
celluloid collar stays and, as shown in Fig. 5, covered wire ones
called serpentine. These are made 2 to 3 inches in length and
3
*
*%
|
*}
3.'.
} -
*s- t - / º
zºº. . }ſ\/\/\/\/\ſ
(b) v.zºº ) V.
FIG. 4 FIG. 5 -
are usually covered with silk or cotton thread. They may be
purchased on cards having six collar stays on each card, or the
serpentine variety, attached to a binding, as here shown, may be
purchased by the yard.
17. Tubular cording, shown in Fig. 6, is very popular for
holding out tunics and skirts when bouffant styles are in vogue.
It consists of strands of a composition substance or of a metal-
covered thread woven into a
narrow, pliable, tubular strand.
18. Braids.—Braids and
edgings are considered together because they are, for the most
part, finishings, even though their uses may differ.
19. Fancy braids are novelty trimming or finishing braids.
These vary greatly in width and appearance and are often designed
so elaborately as to be very handsome and expensive.
Rat-tail, or mouse-tail, braid is a round, smooth, slender, silk
braid. Braids of this kind, as
- well as fancy metal braids, are
used when Fashion decrees.
20. Finish in g braid,
shown in Fig. 7, is a narrow
white tape about 4 inch wide,
on which feather-stitching or
some other fancy stitch is applied either in white or in colors.
It may be purchased by the 4-yard piece at a very small cost.
Finishing braid is used as decoration or for finishing the top of
ruffles instead of bias facing. -
FIG. 7


EMBROIDERIES AND FINDINGS 143
26. Soutache braid, shown in Fig. 12, is manufactured in
both cotton and silk, but the width is always the same. It is
sold by the 12-yard piece, and
is used for ornamenting dresses
and suits. When applied by a
sewing machine with the braiding attachment, a much more even
and perfect result is obtained than when it is applied by hand.
FIG. 12
27. Button Molds.—When buttons are desired only for
ornament, they are often made by covering molds, one of which
is shown in Fig. 13, with material, and then they
are used plain or decorated with beads or stitches.
The molds, which may be had in either wood or
bone, come in all sizes and are for sale by the string,
by the dozen, or by the one-third dozen.
FIG. 13
28. Buttons.—The first purpose of buttons is
usefulness, and the second, ornamentation. Because they often
lend distinctiveness to garments on which they are placed, care
should be exercised in their selection. They are made of various
materials, including pearl, bone, and composition, and they are
FIG. 14 FIG. 15
made up with two or four holes, as in Fig. 14, or with shanks, as
in Fig. 15. The shank may be of the same material as the button,
as in (a), or it may be a metal shank, as in (b). Cloth is often
used as a shank for cloth-covered buttons, especially when they
are to be sewed close to the garment or are used for
trimming more than for service.
29. Pearl buttons are usually thought of as
wash buttons, though very beautiful pearl buttons,
because of their luster, are often arranged, as in
Fig. 16, so that when the garment is washed, they can be removed
as protection to the button.
30. Bone and composition buttons are tailored buttons.
The real bone button at present is rarely seen, for most of the


144 EMBROIDERIES AND FINDINGS
so-called bone buttons are made from the seeds of the American palm
tree. These seeds, which are shipped to the United States from
the tropics in great quantities, are easily dyed, polished, cut, and
engraved.
31. Cable Cord.—A softly twisted cotton cord, varying in size
from , inch in diameter to the thickness of a lead pencil and called
cable cord, may be purchased for corded shirrings and for cordings
to be used as an edge finish or for making ornaments. If a quantity
is to be used, as for
trimming the edges of
a dress, it may be pur-
chased in 5-yard bolts,
but it may be procured
by the yard also. Cable
cord comes in black and
white only.
32. C a b oc h on
Found a ti on s.—In
the making of bunch
bouquets and various
other or n a ments,
whether of ribbon or
other materials, cabo-
chon foundations, as
shown in Fig. 17, will
be found useful. Cabo-
chon foundations are
merely small pieces of
(b) buckram pressed into a
FIG. 17 - -
- dome or similar shape,
as here shown, those in (a) being white buckram and those in
(b), black. In (a), the cabochons shown at a and b have not had
their edges cut, while those at c, d, e, and f have been trimmed.
33. Dress Shields.--To prevent perspiration from soiling
dresses under the arms, dress shields have been devised. These are
commonly made of two thicknesses of a very firm, closely woven
muslin, between which is placed a rubber substance that prevents
the perspiration from passing through to the outside of the shield.


EMBROIDERIES AND FINDINGS 145
Dress shields usually come in black and white, but flesh-colored,
transparent ones may be purchased for wear with sheer dresses or
blouses. They may be purchased by the pair in sizes from 1 to 4,
and they vary in shape from small quarter moons to very large
three-quarter moons. In one type of dress shield, the flaps are of
equal size, while in the other they differ, the small flap being placed
in the sleeve and the larger flap in the blouse. The range in price
is quite decided in dress -
shields, the small ones being
cheaper than the large ones.
34. Elastic.—Two gen- ; - * ~ * : .
eral kinds of elastic, round (b)
and flat, as shown in Fig. 18, FIG. 18
are always to be had. The small, round, hat elastic, shown in (a),
is so called because it is used extensively for children's hats. The
flat elastic, shown in (b), which may be had in various widths
from # to 1 inch, is used for bloomers, garters, and waist lines
of garments, especially those for children. Both varieties may be
purchased in black or white.
35. Hooks and Eyes.—Hooks and eyes, which may be had
in black or white, range in size from No. 000, the smallest, to No. 4,
the largest, size No. 1 being most commonly used for placket open-
ings and for fastening dresses and other garments.
As shown in Fig. 19 (a), some hooks
have a hump that serves to hold the eye
and prevent the hook from slipping out,
(a) (b) and others, as shown in (b), are perfectly
straight. The eyes are of two kinds,
too—the straight eye, such as is shown in
O-O - º (c), and the round eye, which is shown
(c) (d) in (d).
FIG. 19 Hooks with a hump are more difficult
to hook up and to unhook than humpless hooks, and for this rea-
son should not be used on garments that fit close; for such garments,
the humpless hook is best.
The straight eye is used with the hump hook on garments where
there is not much strain, and the round eye is employed on belts,
girdles, and tight linings, and in almost every case with a humpless
hook.
L D 1–11


146 EMBROIDERIES AND FINDINGS
36. Hook-and-Eye Tape.—When it is desired to save time
or to have hooks and eyes sewed very close together, as in the case
of a close-fitting garment, hook-and-eye
tape, shown in Fig. 20, will be found very
© =3 satisfactory. On this tape, which may be
- purchased by the yard, hooks and eyes are
spaced 1% inches apart, and they are fast-
ened in it very securely. Hook-and-eye
tape is usually sewed in place with whip-
ping-stitches.
37. Seam Binding.—Two kinds of
seam binding for the covering and seams and
edges may be purchased, cotton and silk.
FIG. 20
38. Cotton binding, which is cut on the bias and has its
edges turned, as shown in Fig. 21, is more familiarly known as
bias binding. It is much easier to apply than unfolded bias binding
cut by hand and consequently is more popular.
Bias binding of this kind comes in sizes 1 to 6 and may be obtained
in 6-yard pieces in cambric, lawn, percale, or taffeta, and in white,
plain colors, and stripes. Its
range of widths and materials -
L
makes it a great convenience in
sewing, where it has many uses. FIG. 21
39. Silk seam binding resembles a very light-weight taffeta
ribbon. It may be purchased in 9-yard pieces of various widths,
and it comes in colors as well as in black and white. Its chief
use is to finish the seams of woolen garments.
40. Snap Fasteners.-In places where a substantial, flat
closing is desired, snap fasteners, shown in Fig. 22 and commonly
called snaps, are very satisfactory. They come in black and white
and range in size from # to $ inch in diameter.
69 @ Medium-sized snaps are the ones most commonly
used, for they are large enough for most purposes
@ 6:9 and they fasten easily and hold securely.
Snap fasteners come in numerous makes, but
those having a flat under piece and an upper piece
containing a small spring are usually considered the most service-
able because they do not pull apart readily.
FIG. 22


EMBROIDERIES AND FINDINGS 147
To test the quality of snap fasteners, close them and then try
to open them; if you find it a little difficult to pull them apart, you
may know that they are a good make, for the best snaps close tight
and thus insure a substantial
closing for garments.
41. Snap-fastener tape,
shown in Fig. 23, which corre-
sponds to the hook-and-eye tape
previously described, is frequently found very useful. Both edges
of each part of this tape are usually sewed flat to the garment by
means of whipping-stitches.
FIG. 23
42. Tape.—Three varieties of tape, which find many uses in
dressmaking, are shown in Fig. 24. -
43. Cotton diagonal tape, shown in (a), is used for braid
trimming, to run in casings, to bind armholes, and for many purposes
where a strong tape is desired.
is It may be purchased by the
4-yard piece in widths from #
is sº-sº-º-º-º-º:
(a) to 1 inch. Occasionally, it may
- - – be obtained in colors, but it is
* ______ usually either black or white.
nº 44. Linen tape, shown in
* (b), does not twist so easily as
cotton in laundering and hence
finds for itself a place in the
dressmaker's findings. It may be bought in 4-yard pieces.
FIG. 24
45. The so-called lingerie tape, shown in (c), is a finely
woven cotton tape that has a firm edge. It is used extensively in
underwear and lingerie as a substitute for ribbon, because it
wears so much better and can be laundered with the garment.
Lingerie tape may be purchased by the piece in light blue, flesh,
pink, or white, and comes in several widths from ſº to 1 inch,
the widest width being used for shoulder straps of vests and bodices.
The narrow widths may be purchased by the 3- or 4-yard bolt and
the wider widths by the yard.
46. Weights.-Considerable use is made of weights and
weighted tape, particularly in tailored garments of all kinds.


148 EMBROIDERIES AND FINDINGS
47. Coat weights, one of which is shown in Fig. 25, are
round, oval, and oblong, and they vary in size from No. 1 to
No. 4, the largest being about the size of a half dollar.
Such devices are used to give weight to the lower
edge of coats, to panels in coats, and to parts
of woolen dresses.
- 48. shot - T2 .
FIG. 25 w e i g h t tape, £ -
shown in Fig. 26 (a), consists of (a)
closely woven cotton material
in which small shot is held. It
is used in the bottom of tunics,
the ends of sashes, etc., in order
to make them hang correctly.
2 – J
- -**
49. Flat-weight tape, shown in Fig. 26 (b), is used where
more weight is desired than the shot-weight tape provides.
SHOPPING HINTS
50. To be a successful shopper, you should have a definite idea
of what you want before you start out to buy. You will find it
advantageous to carry a notebook containing measurements and
samples of goods to be matched, provided you can procure such
samples beforehand. By being so prepared, you will save much time
in making selections and will generally command interested assis-
tance from clerks, or salespeople, who are usually willing to help, but
are often handicapped because some shoppers have no idea of what
they want.
Frequently, salespeople are held responsible for unsatisfactory
purchases when really the customer is at fault. You can usually
avoid unpleasant occurrences if you decide as nearly as possible
on the materials, as well as the amount you want, before you con-
sult the clerk, and if you apply to the materials, before you buy them,
whatever tests are possible.
51. Choosing the Right Grade of Material.—If you are
choosing between two grades of the same type of material, consider
the quality rather than the price. Often a fabric that costs just a
trifle more will give you much longer and more satisfactory service


EMBROIDERIES AND FINDINGS 149
than a cheaper grade, and in this way more than compensate you
for the additional expenditure.
52. Widths of Material to Select.—You will always find
it advantageous to take the width of the material into consideration.
In some cases, wide material may be cut to better advantage than
narrow and thus result in a saving even though the price per yard is
considerably more.
Sometimes, you will find that it is more economical to buy double-
width materials than single-width, as double-width goods usually
cut to better advantage than single-width, and the quality, as a
rule, is better. -
53. Buying Trimmings to Suit Materials.-If you must
exercise economy in selecting materials, you will do far better to
spend nearly all your money on the material and leave only enough
for very simple ornamentation. It is evidence of the poorest taste
to wear garments laden with a quantity of cheap trimming. Trim-
mings should be of the same quality as the material chosen; if they
do not so agree, one tends to cheapen the other.
54. Buying Colored Material.–In buying colored material,
you should try to see it in the light in which you will use it, that
is, in daylight or artificial light, so as to be sure that the color is
just what you wish. Many stores have two kinds of lamps, one
that shows daylight and the other, artificial light, so as to help their
customers in determining the suitability of the color.
Thread and trimmings should likewise be matched by the proper
1ight to insure their being right.
55. Procuring Samples.—Often you may have to send away
for samples, especially for trimming. As a matter of fact, thousands
of women in sections remote from large cities usually obtain samples
from two or more stores in different cities at the same time so that
they may compare both qualities and prices.
When you write for samples, state as nearly as possible the nature
of the material you desire, its width, color, and weight, and the
approximate price you wish to pay. Such information will facilitate
replies from stores and will usually result in a much better assort-
ment of samples from which to choose. You should always know as
definitely as possible what you want and what could be substituted
as a second choice.


CHAPTER VIII
MENDING
MENDING CONVENIENCES
1. Few women appreciate the importance of mending, forget-
ting entirely the old proverb, “A stitch in time saves nine.” Every
housewife should form the habit of doing the weekly mending each
week instead of allowing it to accumulate until it becomes a burden.
Carefully mended garments denote thrift, industry, and economy;
therefore, every woman and every girl should take pride in know-
ing how to darn a pair of stockings, to patch a worn garment, and
to mend a tear.
Stockings and undergarments may be mended after washing, but
outer garments should always be mended before they are laundered,
because laundering helps materially to conceal the patch or the darn,
as the case may be. -
Too much time may be spent in mending an old garment if the
fabric is much worn. For this reason, it is well to exercise judg-
ment so that no time nor labor is squandered. Wearing apparel may
often be mended on the sewing machine, but dainty outer garments
should always be mended by hand if possible.
2. For convenience, it is advisable for you to provide yourself
with a mending basket or a mending bag and to equip it with the
necessary tools for mending, such as needles, thread, darning
cotton, scissors, a darning ball, etc.
You can quickly make a mending bag from any straight piece
of firm material 14 yards long and # yard wide. Fold the material
through the center, crosswise; lay the folded piece out on the table
and pin the sides together, pinning up from the fold; sew up the
sides; turn a 2-inch hem at the top and stitch it; and then run
another row of stitching # inch from the first stitching on the hem so
151


152 MENDING
as to form a casing. Next, cut and work a vertical buttonhole
inside of the hem on each side of the seam between the two
stitchings. When these buttonholes are made, run a smooth cord
three times as long as the bag measures at the top around through
the casing twice, and where the ends meet lap them and sew over
and over the lap so that the joining will be smooth and strong.
Finally, pull one loop of cord out at each buttonhole. By taking
hold of each of these loops and pulling outwards, you can draw the
bag together at the top, or close it easily and quickly. To open the
bag, simply insert one or two fingers of each hand into the shirred
opening and pull it apart.
The bag or basket, whichever is used, should be kept in a handy
place, so that you can take up your mending quickly or carry it
on while resting from more strenuous housework. You will be
amazed at what you can accomplish by picking up a stocking or
some garment and mending it while you are waiting for something
to bake or while you are visiting with a neighbor. With so many
demands on a person's time, it is valuable to know how to economize
time, and one good way in which to do this is to systematize the
home sewing and mending.
DARNING
3. Several methods are employed to repair worn and torn
places in articles of wear. One of the most important of these
methods is darning, by which is meant the repairing of a tear or a
hole by weaving a thread back and forth. Patching, another
mending method, which is considered later, should not be resorted
to unless the holes are too large to be darned.
4. Darning Floss.-For darning in the home, you may use
darning floss almost exclusively. This should always match
the article that is being darned as near as possible, both in color
and in texture. Cotton and mercerized-finish darning floss may
be had in spools of approximately 45 yards each, and silk, in 1-ounce
spools. Cotton-finish floss, which is cheaper and heavier than the
others, is used for darning underwear and heavy cotton hose, but for
silk or lisle garments of the same character, silk- or mercerized-
finish floss is preferable. Two, three, or four strands of floss come
in each thread. So, if the hole you wish to darn is small, it is


MENDING 153
advisable to separate the strands and use only one, two, or three of
these. -
5. Reinforcing a Worn Spot.—A few carefully placed
stitches used to strengthen a worn spot will save the garment as
well as time later. Therefore, rather than wait until a hole is
formed, strengthen the worn spot or weak place with reinforcing
stitches, which will appear less clumsy than a hole that is darned or
patched.
You may use one or two strands of darning floss for reinforcing
a worn spot in a stocking or an undergarment; but if the repair is
to be made in any other garment, use a raveled warp thread of the
material, if possible. A raveled thread of wool is often difficult to
work with, but you may improve it by waxing it or twisting a fine
cotton or silk thread of matching shade with it. Raveled threads
for such work need not be long; short threads, especially if they are
of wool, will prove more satisfactory. If you
cannot procure a suitable wool raveling for such a
repair, use silk thread that is one shade darker
than the material and split the silk into thirds.
Silk, however, because of its luster, will make the
stitches more prominent. Human hair can be
very satisfactorily substituted for either silk or
wool and used in the same manner.
To make the reinforcing stitches, use a needle as
fine as the thread will permit and run it back and
forth over the worn spot, following the weave of
the material as closely as possible so that the
stitches will be very inconspicuous. Do not start
the work with a knot, and do not fasten the ends of
the thread. Rather, leave them free, and clip them
close to the garment when the work is finished.
6. Darning a Stocking or an Undergar-
ment.—A darner, or darning ball, like that shown
in Fig. 1, is very useful in darning stockings and
making neat darns in undergarments. It is placed under the hole
while the repair is being made and serves to prevent the darning
threads from drawing tight as well as to keep them firm and sepa-
rated enough so that every other thread may be picked up when
the weaving process is begun.
FIG. 1


MENDING 155
When the entire space is covered with lengthwise threads, turn
the work and take crosswise stitches in a similar manner; but where-
FIG. 4
ever the crosswise threads cross the warp threads, weave them by
slipping the needle under and over, as at d. Catch the frayed
FIG. 5
edges of the material in with the weaving so that they will be
firmly secured. There is an advantage in leaving the frayed edges


156 MENDING
around a hole to be darned, for the unevenness which they cause
around the edge helps to make the darned place less conspicuous.
After filling in the entire space, as in Fig. 2, secure the thread with
a few back-stitches; also, cut off the projecting thread ends and
any frayed ends that were not caught in the weaving process.
It is not always necessary that darning threads run parallel
with the warp and weft threads or ribs of the material. When a
hole is to be darned in a part of a garment or stocking where
elasticity is desired, as at the knee, the darning threads may be run
diagonally so that the darned portion will “give” when necessary.
8. Darning Reinforced With Net.—If the hole in a garment
is very large and the material is of the kind that will not permit
FIG. 6
readily of patching, such as sheer knit material, a neat, even darn
may be made with the aid of net. Baste a piece of cotton net
under the hole and then fill the net portion with darning-stitches
in the manner shown in Figs. 4 and 5. These illustrations show
such a darn made on a foundation of cotton bobbinet, or net,
the right side of the darn being shown in Fig. 4 and the wrong side,
in Fig. 5.
9. Darning a Straight Tear, or Slit.—A straight tear, or
slit, in a garment made of rather firmly woven cotton, silk, or
woolen material, may be darned in the manner shown in Fig. 6.
Baste the material to a piece of paper, placing the right side to the
paper. This will held the material securely in place and prevent
the stitches from being drawn too tight. Use thread that matches,
both in color and in texture, the material that is to be darned. A


MENDING 159
to the wrong side and trim the edges of the patch so that they may be
turned under the same amount as the edges of the hole and a finish
FIG. 9
similar to the hand fell formed. Hem the edges of the patch with
very fine stitches. If you do such patching carefully, being sure to
FIG. 10
match both the thread and the material as perfectly as possible,
the patch will be scarcely noticeable on the garment.


160 MENDING
13. Overhand Patch.-The right side and the wrong side of
an overhand patch are shown in Figs. 10 and 11, respectively.
This patch is even less noticeable than the hemmed patch, but it
requires more skill in its making to avoid puckering or tearing.
The overhand patch is used chiefly on garments that are not
laundered frequently and in places where raw edges are not objec-
tionable. -
For the overhand patch, cut and match a piece of material in
practically the same manner as for the hemmed patch and pin it
in position under the hole in the garment. With a tracing wheel,
trace around the hole # inch from the edge. Remove the pins
from one side of the patch and cut the edge of the patch # inch
beyond the traced line; then, on the traced line, turn back to the
wrong side both the edge of the patch and the edge of the hole.
In this condition, the edge of the patch and that of the garment will
be turned in opposite directions on the under side, as shown in
Fig. 11, and the folded edges will just meet. On the right side,
overhand these folded edges together with small, even stitches,
and clip the corners on the wrong side so that the edges will lie
perfectly flat, as at a, Fig. 11. Finally, overcast the raw edges in
the manner shown, thus, forming a finish that is neither bulky nor
conspicuous.


MENDING 161
14. Darned, or Set-In, Patch.-The darned, or set-in, patch,
examples of which are shown in Figs. 12 and 13, is very satisfactory
for mending table linens
or woolen materials
having a nap. Table
linens have a double
weave that makes it
possible to conceal some
of the stitches that hold
the patch in place, and
the nap on woolen
material also aids in
concealing the stitches.
To weave in the patch,
select, if possible,
thread that matches
the material; but if such
thread cannot be pro-
cured, use a thread of
the material itself. If the patch is to be inserted in woolen
material, you may use human hair for the darning.
Begin such patching by carefully basting the right side of the
material to a piece of paper
and then inserting in the
hole a patch of the same
material. Be sure that the
patch fits the hole exactly
and also that it matches the
weave and the figure in the
material. Then, beginning in
the center of one side and
working on the wrong side,
darn the patch in place with
short, close stitches that run
back and forth. Keep these
stitches from going through
the material as much as pos-
sible, so that the joining will
be inconspicuous on the right side. When all the stitches are made,
remove the bastings that hold the garment to the paper.
LD 1–12
FIG, 12
FIG. 13


162 MENDING
As Fig. 12 shows, you will find it almost impossible to make all the
darning stitches in table linens inconspicuous. If, however, when
you insert a patch in woolen material of very firm and rather heavy
weave, you run the stitches from the wrong side through the center
of the thickness of the material, as shown in Fig. 13, they will not
be at all discernible on the right side.
15. Darned, or Underlaid, Patch.-Fig. 14 illustrates a
mending method in which an underlaid rather than a set-in patch
is held in position with darning-stitches. Such a patch may be
used for repairing a large
hole in a stocking or in
a garment that is very
loosely knitted.
To make a neat repair
by this method, use a
patch that matches as
closely as possible the
color and the texture of
the stocking or the gar-
ment. Cut the patch a
trifle larger than the
hole that is to be mended,
and baste it to a piece
of paper. Place this
under the worn part of
the article to be mended
and baste carefully.
Secure the edges of the hole to the patch by darning back and
forth over the lapped edges, weaving them closely together, and
catching all the frayed ends of the material.
FIG. 14
16. Flannel Patch.--To repair garments of flannel or of any
material that does not fray, provided you want a good, substantial
patch, prepare the hole in the material and also the patch as for a
hemmed patch, that is, by Squaring up the edges and matching
stripes or figures if necessary. Place the patch over the hole and
cut the edges so that they extend from 3 to $ inch beyond the hole.
Baste the patch in position, but do not turn under the edges of
either the hole or the patch. Next, catch-stitch the edges of the
hole to the patch from the right side, as shown at a, Fig. 15, using


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164 - MENDING
silk thread of the same color as the material, if possible. Then
turn the garment over and, on the wrong side, catch-stitch the
outside edge of the patch to the garment material, as shown at a,
Fig. 16, being very careful to take very small stitches so that they
will not show any more than actually necessary on the right side.
STOCKINET MENDING
17. Stockinet Grafting.—Tears in garments of knitted
or stockinet weave, such as ribbed stockings, undergarments, and
sweaters, require a special kind of mending in order that the repaired
spot will not prove unduly conspicuous. Such mending may be done
by grafting the edges of a tear together with loop-stitches in imita-
tion of the weave of the material. Fig. 17 illustrates this method,
called stockinet grafting, applied in the mending of a crosswise tear
in stockinet. It may likewise be employed for shortening knitted
undergarments, leggings, and sweaters that are too long and can-
not be shortened satisfactorily on the edges. In shortening a
garment, prepare it for the grafting stitches by cutting out, on a
true crosswise grain, a section of material sufficient in size to remove
the desired amount of length. Then pick the loose ends of thread
from the loops in the cut edges of the garment so that each edge will
show a continuous row of loops.
18. For the mending, use thread or yarn of a color and texture
that matches as nearly as possible the color and texture of the


MENDING 167
board and around all the edges of the hole lay narrow strips of
mending tissue, taking care that they do not extend, even the
very slightest amount, inside of the edges of the hole. Such a
precaution is necessary to prevent an unsightly mark on the right
side of the material after the patch is pressed. Next, place the patch
carefully in position and press it with a hot iron until it adheres to
the garment.
MISCELLANEOUS MENDING
23. Repairing Broken Stitches in a Stocking.—One or two
broken stitches in a stocking sometimes result quickly in a large
opening. But broken stitches can be very easily repaired if you
give them attention before the threads have a chance to run. To
repair a hole caused by broken stitches, catch the projecting loops
of the opening together, using for this purpose a very fine needle
and thread and forming a grafting-stitch if possible; then run the
stitches a trifle beyond the loops in order to hold them securely.
Be careful not to draw
the stitches very tight,
or they will have a
tendency to break the -------- Nº.
threads in the stocking. º. \#######
24. Mending a - -
“Run” in a Stock-
ing.—Overhanding-
stitches may be used
to catch together the
edges of a “run” in a
stocking. A very im-
portant point in repair-
ing such a fault is to
catch securely the loop
at each end of the “run” so that it will not have an
opportunity to extend farther. Machine stitching may
likewise be employed for such mending. With the aid
of a sewing machine, a run can be quickly and satisfac-
torily repaired, but the precaution must be taken to stretch the
seam while the stitching is being done so as to keep it sufficiently
loose.
--º
- -
.:


MENDING 169
of material in the new heel. Then cut the center-back line of the
new heel, shaping it the same as the center back of the original
heel and making allowance for a seam, as at a. Shape the line
above the heel and also the sides of the new stocking foot the same
as the part cut off, making allowance for a seam, as at b, but instead
FIG. 21
of shaping the toe portion the same, cut it in the manner shown at
c, being sure to provide sufficient length in the stocking foot. By
cutting the new foot in this way, you eliminate the seam d at the
center front, which might prove uncomfortable in a footed stocking.
Although the shape of the toe portion in the new foot is decidedly
changed, it may be very easily adjusted to a corresponding part of
the stocking leg; also, it contains sufficient width to make it fit
properly. -
After the foot portion has been cut, stitch a plain seam at the
center back, using the sewing machine for this purpose in order to
catch each of the stitches securely and prevent them from dropping.
Trim the seam edges to within § inch of the stitching, press the
seam open, and then catch-stitch it through the center, as at a,
Fig. 20, so as to hold the edges open and prevent them from forming a
ridge. Next pin, baste, and stitch the foot portion in position,
turn the seam edges to one side, and, without turning under the
edges, hem or whip them to the stocking, as at b.
Fig. 20 shows the wrong side of the stocking after the new foot
has been applied. The seams in this case are made on the wrong
side, but if you prefer you may make them on the right side and
give them a neat finish.
27. A stocking that is worn merely in the heel portion may
have the worn part cut away and the new heel portion shaped with


170 MENDING
the aid of the part that was removed and applied in the manner
suggested for putting a new foot in a stocking. A new toe portion
may be applied in a similar manner.
28, Mending an Opened Seam in a Kid Glove.—As a
general rule, the stitching in the finger tips of kid gloves has a
tendency to break before the gloves show decided signs of wear at
any other point. Do not delay in repairing even a very tiny open-
ing in the seam, for this opening, unless securely mended, will
quickly enlarge because of the readiness with which the broken
stitching runs when there is even the slightest strain on it.
To mend the finger of a glove, insert in it a glove stretcher, a
pencil, or the finger, to prevent the stitches from catching in the
opposite side, and sew the seam edges together with fine overhand-
ing-stitches, using for this purpose silk thread that matches the
color of the glove. Start to make
these stitches # inch or more
below the open seam and extend
them an equal distance beyond
the opening in order to catch the
original stitching of the glove and
prevent it from pulling out again.
29. Mending a Tear in a
Glove.—Because of the slight
strain on the lengthwise seams in
the fingers of kid gloves, they
usually remain intact for some
time, especially if they have been
sewed with a firm, good quality
of thread. However, there is
considerable strain on the kid at
the base of the fingers, and this
often causes the kid to rip close to
the seam where it has been weakened by the stitching. Such a
tear, if merely overhanded together, will cause still greater strain
on the kid and consequently will soon become an unsightly rent.
In mending such a tear, follow a method similar to the one
illustrated in Fig. 22. First, work all around the edges of the hole
with buttonhole twist or heavy sewing silk, using single-purl
buttonhole-stitches for this purpose. Fill in the open space by


MENDING 171
working one or more rows of these stitches, according to the number
that are needed. Take each new row of stitches through the loops
of the preceding row. Decrease the number of stitches toward the
center and draw the stitches together at this point. Then run
the thread back through the lacework to the edge of the opening and
fasten it securely. The buttonhole-stitches will provide the
elasticity that is needed to prevent too decided a strain on the kid
around the repaired space.
30. Mending the Finger Tips of Silk or Cotton Gloves.
Although the finger tips of both silk and cotton gloves are generally
made double, they usually show signs of wear very quickly. You
can prolong the life of such gloves and also save considerable time
and labor in mending if you take the proper precautions as soon as
the tips appear a trifle thin.
For reinforcing finger tips, use darning-stitches in the same manner
as for reinforcing thin spots in stockings or garments. Use a very
fine needle and very fine matching thread in doing this work, so
that there will be no great strain on the threads in the glove .
material when the needle is being drawn through; also, be sure to
follow the weave of the material and make the stitches very small.
If a portion of the outer layer of the finger tip is worn away,
secure the free edges of this to the under portion of the tip with
darning-stitches, and then, with reinforcing stitches, cover the
entire space over which there is only one thickness of material.
31. Mending Net, Laces, and Veiling.—If there is a
tear or a small worn spot in net, lace, or veiling, you may fill it in by
simply using thread of a corresponding color and texture and imi-
tating as closely as possible the mesh or pattern of the material.
This method of mending, however, will prove tedious if the hole is
large. In such a case, procure a patch of the same material,
if possible, and apply it in the manner illustrated in Fig. 23.
To do this, cut the patch considerably larger than the opening
and place it over the opening on the right side so that, at the sides of
the hole, the mesh or pattern of the patch matches exactly the mesh
or pattern of the net or lace. Then, without turning under the
edges of the patch, secure it to the net or lace underneath on the
mesh lines or on the outline of the design. For this purpose, use a
fine needle and fine thread of a color that exactly matches the color
of the lace, and make tiny overhanding-stitches over the mesh, as at


172 MENDING
a, and single-purl buttonhole-stitches around the outline, as at b.
Do not follow a definite line in doing this work; rather, take the
stitches in an irregular manner, as the illustration shows, in order
to make the joining as inconspicuous as possible. After the patch
has been secured on all sides, cut away the net or lace that extends
outside of the stitches taken to hold the patch in position, cutting
close to these stitches so that no frayed edges will remain. Also,
cut away, close to the stitches, the surplus underneath the patch.
FIG. 23
In this condition, the mesh or the design in the fabric should appear
unbroken. The illustration shows only a part of the surplus cut
away.
This method of mending net or lace may be applied likewise to
piecing or seaming net or lace when an inconspicuous joining is
desired.
32. Mending Torn or Worn Curtains.—A quick and satis-
factory method of mending curtains consists in dipping a piece of
matching material in cold starch, applying it wet over the hole
so that the grain of the material or the mesh and pattern outlines
match, and then pressing it with a hot iron. The pressing will cause
the patch to adhere to the material and make the mended spot


MENDING 173
less conspicuous than a patch applied with stitching. You will
have to repeat this process, however, each time the curtains are
laundered, for the water will moisten the starch that holds the
patch and cause it to loosen.
33. Mending the Worn Lower Edge of a Skirt.—Often
a skirt wears out around the bottom before it becomes shabby
anywhere else. Its appearance can be considerably improved and
its period of usefulness lengthened if the worn part at the lower edge
Fig. 24
is removed. To accomplish this, take out the stitches that secure
the hem, turn the lower edge up a trifle more, and make the hem
deeper; or, if necessary, cut the hem off at the lower edge and apply
a facing.
If, for some reason, you consider it impractical to remove the
stitches that secure the hem, you may follow the method illus-
trated in Fig. 24. Split the hem at the lower edge and turn the
outside portion under # inch or a trifle less, as at a. Slip a narrow
bias strip of light-weight material, such as cambric, as at b, under
this folded edge so that the edge of the strip is even with the fold,
and baste this to the turned portion. Then catch-stitch the raw
edge of the turned portion to the cambric, as at c, catching merely
the turned portion and the stay strip. Finally, turn under the


174 MENDING
inside portion of the hem, as at d, so that it extends to within § inch
of the lower edge and secure this with slip-stitching to the turned
outside portion, as at e, taking care not to catch the stitches through
the outside portion of the hem.
34. Altering Clothes for Growing Children.—The prob-
lem of continually altering garments is one that confronts practically
every mother who has growing children. It is a simple matter to
let down the hem in a skirt or a sleeve, provided sufficient allowance
was made for such an alteration when the garment was originally
cut, or to apply a facing if this will provide the necessary length.
But to add even more length or to add width is a problem that
must be carefully con-
sidered in order not to
mar the appearance of
the garment.
35. To lengthen a
skirt, if the lower edge
of the hem is consider-
ably worn or if the
under side of the hem
appears brighter than
the right side, you may
follow the method illus-
trated in Fig. 25. Stitch
a narrow tuck near the
Original hem turn, as
- at a; then apply the
facing and secure the upper edge by turning it under just below the
row of stitching that holds the tuck and stitching this edge, as
at b. Do not take this row of stitching through the tuck; rather,
take it under the tuck, as at c. The tuck, besides including the
worn part of the hem, will make less noticeable the difference in the
appearance of the two parts of the dress. The only disadvantage
of this method is that it does not provide all the additional length
that the letting down of a hem ordinarily gives; but, if you do not
require the full hem width, you will find this method very satis-
factory.
When an extra piece of material must be used to provide suffi-
cient length, conceal its joining in a tuck placed either above the
FIG. 25


MENDING 177
so that they will not tear out in the laundering. In doing the
darning, be careful to take the stitches only through the interlining
of the collar or cuffs and not through to the opposite side. Thus,
the fact that the collar and cuffs are mended will not be evident
from the right side when they are reversed.
43. To remedy badly worn sleeves and cuffs on a boy's blouse,
cut off the sleeves at the elbows and simply hem the lower edge of
the short sleeves that remain. Such blouses are suitable and very
comfortable for summer wear and, besides, the short, loose sleeves
provide greater freedom and relieve the strain across the shoulders,
thus prolonging the life of the blouse.
44. To mend a man's shirt at the neck, where it is worn thin
but not definitely broken through at the tender places by the points
or edges of the collar, cut a piece off the tail of the shirt, place it
neatly underneath the worn spots so that the stripes or figures
match, and carefully darn this in place. If the places are badly
worn, the most satisfactory way to mend them is by means of a
set-in patch.
45. To mend a hole or tender place where buttons are pulled out,
carefully darn a small piece of material underneath so as to give
strength. Then, when the button is sewed directly over the darned
place, the mend will scarcely be visible.
46. To mend a man's summer underwear, which is usually made
of soisette or coarse dimity, it is better to strengthen the torn place
than just to sew it up. The most favored way to do this is to
put a piece of soft muslin underneath, make a long stitch on the
sewing machine, and darn back and forth with the machine stitch
until the patch is neatly and securely attached to the garment.
Sometimes, such garments have a knitted section straight across
the back of the waist line. The tearing of this usually indicates
that the garment is short in the back, and a strip of material, say
1 to 3 inches in width, should be seamed in to prevent another
tearing.
LD 1–13


CHAPTER IX
EHOUSEHOLD SEWING
ASPECTS OF HOMEMAKING
1. A simple but satisfactory branch of sewing consists in the
making of attractive fabric furnishings for the home. Even if
there is only one room that one may call one's home and that a
bedroom, a cozy, home-like atmosphere may be given to it by
choosing the proper window decorations and floor coverings and
by giving thought to counterpanes, pillows, scarfs, and other
necessary furnishings, all of which can be made at home.
2. These articles have such a definite appeal for almost every
one and as a result Fashion has come to play an important part in
their regulation. Consequently, although fashion changes are not
so rapid as in dress, they are of sufficient concern to necessitate
their being considered and followed if rooms are to have a con-
sistent, satisfying tone.
To keep in touch with style changes in home furnishings should
prove a simple, yet fascinating matter, as stores or departments
carrying art goods, the home departments of magazines, and various
catalogs offer, in season, many helpful suggestions and practical
ideas. The displays will help the observing woman in exercising
her own ingenuity to the end that, with sewing skill and right
color combinations, delightfully satisfying results may be obtained.
This is especially true if she is enthusiastically interested in achiev-
ing a definitely planned effect.
3. To make attractive articles for the home, it is essential to
apply dressmaking skill to the sewing of them and artistic taste
to their color and arrangement, ever remembering that cushions,
over-draperies, scarfs, coverlets, and, in fact, all household furnish-
178


HOUSEHOLD SEWING 179
ings require more thought as to sewing deftness and color appro-
priateness than as to sewing exactness. The same principle applies
here as to millinery, for instance, for it is a well known fact that an
artistic milliner can often produce more unusual, yet satisfying,
results than a dressmaker who may be tempted to plan and sew
for service rather than for effect.
4. This chapter is designed to help you by advising you as to
materials and styles for articles that are made in the home, as well
as to explain such construction details as the correct widths of
hems, the required amount of fulness, and the right proportions
for them. It is expected that the sewing skill you acquire from
the Instruction Books will qualify you to develop any of the articles
described or any others that you may especially desire.
TABLE LINENS
PURE LINEN
5. Fresh Linen a Sign of Hospitality.—Much romance is
associated with the white, satiny cloth of hospitality—linen.
Every home, however, cannot afford beautiful linens, and yet all
homes can be hospitable with a clean cloth always in readiness for
even the unexpected meal-time guest.
6. Scope of Linens.—When linens are considered, you perhaps
visualize the exquisite French linens that are so beautifully designed
and are so leathery and firm to the touch. Or you may think
of the table linens that are elaborately embroidered and trimmed
with real lace, such as lunch, breakfast, and tea cloths. Then, too,
you may think of dinner cloths that are monogrammed but not
often lace trimmed, or banquet clothes that are usually the reverse.
All such linens have their place, but the average woman is con-
cerned chiefly with the selection of much less pretentious linens.
If she can have only one dinner cloth, she should choose this with
the greatest care as to appropriateness, endeavoring to make the
best selection from the many designs and qualities offered.
7. Some housewives buy unbleached linen and bleach it them-
selves by wetting it and placing it on the lawn in the direct rays
of the sun. This is a very practical way of saving money and
prolonging the life of linen. Artificial bleaching often weakens the


180 HOUSEHOLD SEWING
linen fiber, and although not all linens are bleached in this way, a
stronger fabric may be had if the bleaching is done at home.
8. Table linen may be procured silver-bleached as well as
unbleached. The former has three different grades, quarter, half,
and three-quarters. In the purchase of linen, either unbleached or
silver-bleached, it is well to remember that a good, medium quality
has 180 threads to the inch.
LINEN SUBSTITUTES
9. Mercerized Damask.-Good linen is expensive, so many
housewives purchase mercerized damask or cotton for table cloths.
For ordinary use, these substitutes prove very satisfactory, but
as the mercerization disappears with laundering, the cloths become
dull and often present an unsatisfactory appearance. A linen cloth
for which one pays only a third to a half more than for a mercer-
ized one is usually less expensive, and certainly more gratifying, in
the long run because of its appearance and the length of time it can
be used when carefully laundered and mended.
10. Heavy Cottons.—Certain heavy cottons, both white and
colored, such as crash or imitation linens of plain or novelty weave,
make interesting cloths or runners with napkins to match, and they
add an attractive touch to the porch, lunch, or tea table. These
may be finished with a crocheted edge, with a cross-stitched or
blanket-stitched hem, by drawing threads of the material and
replacing them with colored threads to form a hem line or design,
or in any of the numerous other ways that Fashion may suggest
from time to time.
SIZE OF LINEN PIECES
11. Table Cloths.-The size of table linens depends on the
size of the dining table. The following measurements are given to
help you when selecting cloths:
WIDTH LENGTH
INCHES INCHEs
72 72 to 144
81 81 to 126
90 90 to 126
108 - 108 to 216
126 126 to 234


HOUSEHOLD SEWING 181
Lunch and breakfast cloths are smaller than dinner cloths.
They may be square, round, or oblong, and their sizes are generally
26, 54, 72, 80, and 90 inches. The materials used for these cloths
include heavy crash, round-thread linen, and cotton substitutes.
Runners or oblong cloths are very pretty, their size depending
on the kind of material selected. Crash and certain other kinds
of linen may be purchased in narrow widths suitable for this
purpose.
12. Napkins.—The ideal arrangement is to have napkins
of the same pattern as each table cloth. This is not always possible,
but it is advisable to match the cloth in the same material. An
important point to remember is that lunch napkins should be used
with lunch cloths and dinner napkins with dinner cloths.
The size of napkins varies from the small breakfast napkin to
the large dinner size, as follows:
INCHES
SQUARE
Breakfast napkins . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 to 18
Lunch napkins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 to 22
Dinner napkins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 to 32
In many of the novelty-cloth napkin sets for special occasions,
however, the napkins are made in 12- to 16-inch squares.
13. Lunch Sets.—Lunch sets of Madeira or Italian embroidery
or of other hand work make pleasing additions to one's linen store.
The Madeira and Cluny sets usually come in four sizes, the tumbler
doily, the bread-and-butter doily, the plate doily, and one large
doily for the center of the table. The three smaller sizes are
generally 4 to 6 inches, 6 to 8 inches, and 8 to 10 inches, respectively.
A dozen of each size of doily is generally included in a set, but
when the family is small, it is unusual to serve more than eight
people at lunch. Consequently, many women, when making doilies,
make but eight of each kind and one center doily, a set comprising
25 rather than 37 pieces.
14. The Italian sets usually consist of an oblong or a square
centerpiece and oblong plate doilies, which are large enough for the
plate, the tumbler, and the butter plate. The usual size for this
style is 20 to 24 inches for the large piece and 12 to 18 inches for
the small ones.


182 HOUSEHOLD SEWING
15. Cotton materials of a heavy quality are made up in a great
variety of colors and in square, oblong, oval, and round doilies. The
Japanese printed designs in blue have periods of popularity.
LINEN SUPPLY
16. The bride-elect often wonders how much linen she should
prepare for her new home. She does not wish to lay in a stock that
would not be practical, neither does she want to lack any needed
pieces when entertaining.
17. Linen for Entertaining.—The question of entertaining
really has a great deal to do with the choice of linens. For example,
if afternoon tea is served regularly, tea cloths and napkins are
essential. Also, they are equally necessary for evening parties
where small tables are set for refreshments. The quantities of
extra linen needed will have to be decided by the person herself and
will depend entirely on the extent of her entertaining.
18. Linen for General Use.—For ordinary use in most house-
holds, the following list includes what would be practical:
1 large dinner table cloth
1 dozen napkins to match
and
3 every-day table cloths
1 change of every-day napkins
2 lunch cloths and sets of doilies
1 change of lunch napkins
Or
4 to 6 every-day table cloths
2 to 3 changes of napkins
Such a supply will probably be considered small by some house-
wives and generous by others, but to the inexperienced woman it
will give a working basis for the planning of her supply of linen.
ECONOMY APPLIED TO LINENS
19. Use of Two Small Cloths.--An idea that some house-
wives find economical is to use two small cloths of the same pattern
instead of a large dinner cloth by lapping the edges under a large
centerpiece. The small cloths are easily laundered and can be


HOUSEHOLD SEWING 183
used occasionally for every-day wear to keep them white. As an
economical measure, this is worth trying, but there is, of course, a
charm about an unbroken length on a dinner table which can be
produced only by the use of one cloth.
20. Saving Linens from Wear.—There is also the matter of
getting the maximum wear out of linen. Table cloths usually wear
out where they fall over the table edge and along the creases in
which they are habitually folded, leaving some parts only half worn.
Many women use the better sections of the cloth to make napkins
and tray cloths for every-day use.
A good way to prevent a line of wear along the creases is to cut
1 inch from one end and one side of the cloth, just as it begins to
wear, so as to bring all of the creases in new places, and then to
refinish these edges.
KITCHEN LINENS
21. Articles Included Under Kitchen Linens.—In many
households, kitchen linens do not receive their due share of atten.
tion, but they are of sufficient importance to demand considera-
tion. These linens fall naturally into several classes: dish towels,
dish cloths, hand towels, and oven towels, if one does not use pot
holders.
22. Dish towels generally include checked glass toweling,
crash toweling, and flour and sugar sacks.
23. Glass toweling makes very satisfactory towels because it
leaves no lint on articles wiped with 1t. It is, however, rather
light in weight and soon becomes wet.
24. Crash toweling has, in many homes, been entirely supplanted
for dish towels by flour and sugar bags, and not unjustly so, for
the cost of these bags is small and after a few launderings the
material is as soft and absorbent as the crash toweling.
25. Some housewives find the cheap grades of Turkish towels,
or terry cloth, most satisfactory for dishes. These towels are soft
to handle, absorb moisture quickly, and leave no lint.
26. Hand towels of linen crash find favor in most homes.


184 HOUSEHOLD SEWING
27. Dish cloths should be of some porous material, such as
cheesecloth, that can be wrung very dry when necessary. Knitted
cloths of soft cotton are ideal, or the good parts of worn towels may
be hemmed for dish cloths. In some stores, it is possible to pur-
chase dish cloths of square mesh that are most satisfactory.
Oven cloths may be of the same material as dish cloths.
28. Weekly Supply of Kitchen Linens.—The essential thing
in preparing kitchen linens is to provide a supply that will be suffi-
cient to insure absolute cleanliness. The following is a good basis
on which to begin:
12 dish towels
6 may be glass towels
6 may be crash towels
2 oven cloths
12 hand towels
3 dish cloths
29. Applying Tape Hangers.-For convenience, kitchen
and hand towels should be provided with hangers. These are
FIG. 1
generally made of tape and are applied merely at one corner or at
two corners that are directly opposite, in the manner illustrated in
Fig. 1. After turning the hem but before securing it, pin a piece
of tape about 6 inches long in position, as at a, taking care that the
loop end folds, as at b, next, turn the ends at c inside the hem.


186 HOUSEHOLD SEWING
35. Wash Cloths.-Turkish face cloths made of unworn
parts of old towels, finished with plain hems or crocheted edges are
very satisfactory for wash cloths. If you prefer, face cloths made
of knitted material or terry cloth may be purchased ready-made.
36. Bath Mats.-Bath mats are generally made of very
heavy terry cloth or a soft cotton pile fabric resembling velvet
carpet. They are woven in attractive designs or plain colors and
vary considerably in size. It is generally advisable to purchase
such mats ready-made.
BED LINENS AND FURNISHINGS
MATTRESS COVERS AND PAIDS
37. Mattress Covers.—Covers for mattresses are usually
made of a good, heavy grade of unbleached muslin, and consequently
can be laundered easily and often. To keep the ticking of the mat-
tress fresh and clean and thus add to both its appearance and its
hygienic value, mattress covers have been devised.
38. To make a mattress cover, cut two pieces of muslin the
width and length of the mattress to be covered, plus 1% to 2 inches
for seams so as to insure an easy-fitting cover. Then cut two long
strips of muslin the length of the mattress and the width of the
depth of the mattress plus seam allowance and two shorter strips
equal in length to the width of the mattress and as wide as its
depth plus seam allowance. Sew the long strips to the sides
and the shorter strips to the ends of the large pieces with a plain
or French seam to form a boxed cover. One end should be left
open so that the mattress may be slipped in and the cover then
closed with coarse hand sewing or strong Snap fasteners.
39. Mattress Pads.-Many housewives find the use of pads
a satisfactory protection to mattresses and use them either alone or
in addition to mattress covers. Pads are made somewhat smaller
than the mattress over which they are used—about 2 inches both
in width and in length—and they are finished in much the same way
as a quilt except that they must be more closely and firmly quilted.
Occasionally, the knotted pad is used, but it must be very closely
tied to make it satisfactory. Mattress pads may also be purchased
ready-made for regulation-sized beds.


HOUSEHOLD SEWING 187
40. Another practice often resorted to as a mattress protection
is the use of worn quilts. After a light-colored cotton quilt has
become worn, the sides and ends may be cut away and the edges
neatly bound. These quilts, of course, are not so firm and pad-like
as the regular pads, but they afford a very satisfactory protection.
SHEETS
41. Materials.—Linen is the luxurious material for sheets and
pillow cases, but few housewives can afford it for general use. Cot-
ton sheeting, if of medium weight, is more economical and gives
perfect satisfaction. Light-weight muslin becomes wrinkled and
wears out quickly, while the heavy grades are often hard to handle
in laundering.
42. Measurements.-One of the most important things to
remember, when making or buying sheets, is to have them suffi-
ciently large to cover the mattress and to tuck under on all four
sides. Then they can be put on with mitered corners in true hos-
pital style.
To meet all its requirements, a sheet should be # to # yard longer
and wider than the mattress. Sheeting may be purchased by the
yard in various widths. In the stores in some localities, the sales-
people speak of the width of sheets in the number of quarter yards
in width; that is, 63-inch sheeting would be called “seven four;”
72 inches or 2 yards, “eight four”; and so on. Sheeting may be
obtained in 81- and 90-inch widths, also.
43. Sheets may be purchased ready-made, if desired, in sizes
that are right for regulation-size of beds. The sizes are as follows:
SIZEs SIZES
INCHES INCHES
62 by 90 81 by 90
63 by 95 81 by 99
72 by 90 90 by 96
72 by 108 90 by 108
44. Repair of Sheets.—Occasionally, a sheet becomes torn
in the corner where it comes in contact with the spring of the bed.
The best method of mending this kind of tear is to patch it neatly.


188 HOUSEHOLD SEWING
Single-bed sheets become very thin and sometimes tear through
the center while the outer edges are still very strong. An easy
method of repairing such a sheet is to cut it in half lengthwise
through the thin section, lap the two selvage edges about ; inch,
stitch them down flat with the sewing machine, and then hem the
raw edges. The life of the sheet may be prolonged considerably
when repaired in this way, for the selvage edges will receive the
hard wear and the worn part will be tucked under at the sides.
In cases where large sheets are badly worn in the center, it is
often economical to cut them down to fit smaller beds by splitting
them through the thin portion, joining the two selvage edges as
previously suggested, and then cutting away as much as possible
of the worn part before hemming the raw edges.
PILLOW CASES
45. Material for Home-Made Slips.—Some persons use
linen for pillow cases, especially if they are embroidered or trimmed
in some way, but generally pillow cases, or pillow slips, are made
of muslin tubing that is woven double without a seam. The tubing
comes only in 42- and 45-inch widths, so that if neither of these
fits the width of the pillow it is better to make cases from ordinary
muslin.
46. Ready-Made Slips.-Ready-made slips may be pur-
chased in stock sizes. In a good grade, they are very satisfactory,
but they are more expensive than home-made ones. Another dis-
advantage is that they are sometimes made on the cross of the
material, a feature that makes them difficult to iron and also
takes away from their life.
The sizes of ready-made pillow cases are:
SIZEs
INCHES
42 by 36
45 by 36
45 by 38%
47. Repairing of Pillow Cases.—If pillow cases made of
tubing are worn thin in the center, their life may be lengthened
by cutting across the seam end, turning the lengthwise creases, or


190 HOUSEHOLD SEWING
either in blocks or in strips. Then, too, there are the attractive
crocheted spreads made of alternate strips of linen and coarse
crochet.
Unbleached muslin spreads with strips of cretonne as a trimming
and those having appliquéd or embroidered designs are sometimes
in vogue and often used to carry out a definite color scheme.
Flounced counterpanes, usually of light-weight material, are
used for Colonial or box beds.
52. It is sometimes the fashion to make a light-weight counter-
pane from 1 to 14 yards longer than a regulation spread so as to
be able to draw it up over the pillows. When used in this way, it is
tucked in at the bottom and top of the pillows and gives the appear-
ance of a roll.
Unattached pillow spreads to match the counterpane may be
made of a separate strip of material. These are usually the width
of the counterpane and from # to 1 yard wide.
53. Manufactured Spreads.-The manufactured bedspreads
are of four types: Marseilles, satin Marseilles, piqué, and seersucker,
the latter being generally termed dimity spreads.
54. Marseilles spreads are heavy and are made of a soft cot-
ton thread, generally in stripes or honeycomb effect, and, as a rule,
have elaborate raised floral designs and a background of slightly
raised figures.
55. Satin Marseilles spreads are lighter in weight and very
much firmer in texture than Marseilles spreads, and have a smooth
background with figures that stand out very plainly. These
spreads have a highly mercerized finish that gives them a smooth,
satin-like appearance.
56. Piqué spreads have, as would be supposed, a fine, rib-
like effect.
57. Dimity spreads are light in weight and have a striped,
crinkled appearance. Such spreads are frequently used in hospitals
because they are so easily laundered.
58. Sizes of Manufactured Spreads.—These manufactured
spreads are woven in the following sizes:


192 HOUSEHOLD SEWING
62. Blanket Sizes.—Blankets are manufactured in the follow-
ing sizes: SIZF's
INCHES
For single bed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . {. by 80
or S1mgle pe 60 by 90
For three-quarter bed. . . . . . . . . . . . . . . . . . . . . . . { # . :
For double bed . . . . . . . . . . . . . . . . . . . . . . . . . . . . ſº by 84
80 by 90
63. Repairing Blankets.-The mending of blankets can
best be accomplished by darning. By the time a blanket is in a
condition necessitating mending, most of the nap has worn off
so that the darned place does not appear very different from the
blanket itself. In some cases, a set-in patch may be necessary, and
if the patching is neatly done it will prove very satisfactory.
COMFORTABLES
64. Material.--So attractive are the materials for home-made
comfortables and so pleasing are the results that can be gained,
that many homemakers make their own comfortables. Materials
that may be used for this purpose are cotton challis, silkaline,
seco silk, cheesecloth, and even light-weight cretonne.
Many persons prefer the cheesecloth for wool-clipping filled com-
fortables, for they can be washed easily. Cotton or wool batting
and sheet wool are also used as fillings. Down is a very soft, light
filling found in some of the ready-made comfortables and much used
in home-made ones. These materials may be bought in large bats
of two or three pounds, which unfold into a square and prove
especially satisfactory for comfortables that are to be tied because
they insure a smooth, unbroken surface.
65. Quilting Frames.—One of the essentials in the making
of comfortables and quilts is a quilting frame. Such a frame
consists of four sticks, each about 8 feet long and on one edge of
which narrow strips of ticking have been tacked, and four clamps
for holding the sticks together at the corners. The frame should
be placed so that its corners have the proper support and it is held
at a height that is convenient for the worker. The backs of chairs
make very good supports for this purpose.


HOUSEHOLD SEWING 193
With the frame in position, the edges of the comfortable or quilt,
with its lining and filling, are sewed or pinned firmly to the ticking
strips. When the entire quilt is attached, the material is held firm
by the sides of the frame, which are securely clamped to hold it in
position for working.
66. Size of Comfortables.—Ready-made comfortables gen-
erally come in one size, which is large enough for a double bed—
72 by 78 inches. However, when comfortables are made at home, a
size that fits a particular bed can be made. It is well to have a
comfortable a generous # yard wider and # yard longer than the
mattress. This size gives sufficient material for cutting off and
refinishing the ends when they become badly soiled, without
making the comfortable too small.
67. Protection for Comfortables.—To protect comfortables
from becoming soiled along their upper edge, a piece of cheese-
cloth may be attached there. Simply cut a strip of white cheese-
cloth about 24 inches wide and sew it over the end of the
comfortable. Many thrifty housewives use the same method for
the protection of their best blankets.
68. Making Comfortables.—A comfortable should run
lengthwise of a bed. This means that for a double bed two widths
and part of a third of 30-inch material are needed. Set up the
quilting frames as directed in Art. 65 and pin the comfortable to
the frames, as in Fig. 2, which shows how it will appear after it is
partly pinned in the frames. Be very careful about the pinning,
as shown at a, Fig. 3, in order that all the edges may have the same
tension and the comfortable material may not be pulled apart.
L D 1–14


194 HOUSEHOLD SEWING
69. Tying Comfortables.—When a comfortable of figured
material is to be tied, usually the pattern can be used as a guide for
the placing of the ties. When plain material is employed, a paper
guide, as shown in Fig. 4, should be made.
FIG. 3
Decide on the number of inches you wish between the ties, this
usually varying from 4 to 8 inches, and then cut a strip of paper
of this width and notch it at the proper intervals. For example, if
the distance between the ties is to be 6 inches, the paper strip
FIG. 4 5.
should be cut 6 inches wide and as long as the width of the comfort-
able and then notched on each edge every 6 inches. Place one
edge of the guide along the edge of the comfortable and pin it
securely in place. Then put in the ties at every notch indicated on
the guide.


HOUSEHOLD SEWING 195
70. Thread for Tying Comfortables.—For tying com-
fortables, various threads are used, such as wool yarn, ribbonzine,
heavy mercerized floss, and even baby ribbon. Occasionally,
Dexter cotton and wool yarn are used together, the cotton tying
the two thicknesses of the comfortable together and the wool being
used to make small rosettes that are tied with the cotton to the
comfortable. These rosettes, when cut, are very fluffy and give a
desirable finish to the comfortable.
The tiny bows of ribbonzine shown at b, Fig. 4, make very attrac-
tive ties. To prevent the bow from coming untied, it is advisable
to take an extra stitch through the bow, as indicated by the needl
at c in the illustration. -
71. Edge Finishing for Comfortables.—After the tying
of the comfortable is complete, the edges must be finished. For
fancy comfortables, the two raw edges are turned in flat and sewed
together by the machine or by couch-stitching. Sometimes two to
five rows of machine or hand stitching are placed around the entire
edge of the comfortable, the spacing between the rows of stitching
being made from 2 to 3 inches apart. A binding is a very common
method of finishing. Then, too, if the lining, or the back, is
made 1 or 1% inches larger than the top portion, the lining can be
turned over the top to give the appearance of a binding.
PIECED AND APPLIQUED QUILTS
72. The term quilt is generally used to designate a bed covering
made by stitching together, in a certain design, two layers of cloth
or patchwork and an interlining. The stitching, or quilting, may
be worked over the surface in plain figures or it may follow very
complicated designs, and it may be done by hand or by machine.
73. Filling for Quilts.—For filling quilts, ordinary cotton
batting may be used, but for quilts upon which very fine work is to
be done, cotton sheet wadding is preferred because of its smoothness
and lack of bulkiness. Oftentimes worn blankets may be very
satisfactorily used as the filling for quilts.
74. Origin of Pieced Quilts.-Few of the present generation
have a large store of pieced quilts, as those were made in bygone
days when materials were considered more valuable than time or


196 HOUSEHOLD SEWING
at least as much so. Then, all materials were woven on hand
looms, and naturally the scraps that were left after the finishing of
a garment were prized. The larger pieces were generally used for
patchwork quilts, while the smaller pieces were cut and sewed for
carpets and rugs. Though comfortables have largely supplanted
quilts, it is not unusual to find persons at the present time who
make very beautiful patchwork quilts.
Many elaborate patterns are used for these pieced quilts. Some
of them have appliquéd, or top-sewed, patches, as they were called
when Fashion introduced them.
75. Piecing of Quilts.—Quilt piecing has always been
considered good as practice work for beginners in sewing because
of the accuracy that is necessary in cutting and stitching. To
have a wholly satisfactory quilt, jagged joinings must not exist.
A careful worker will take great pains to have all blocks the same
to Hºs inch, which means that each piece for a block must be cut true
with the grain of the cloth and sewed together with even seams.
Then, in putting the blocks together, more care than in piecing is
necessary so that the blocks will meet exactly at all points. To
insure this, many pins should be used along the line of seaming.
76. The piecing of a quilt usually follows some geometric design,
unless it is of the crazy-patch type, where the pieces, just as they are,
are sewed together or basted on a lining large enough to form the
quilt. The edges of the joinings in pieced quilts are often covered
with catch-stitching or other fancy embroidery stitches. At one
time, all pieced quilts were made entirely by hand, but at the pres-
ent time quilts are often pieced by machine.
77. Material for Back of Quilt.—The back of a quilt of
wash material may be white or of a color that matches the promi-
nent color or tint in the piece-work. The material of the back
should be soft and in keeping with that used in the piecing, as
fabrics similar in texture will quilt together much more easily
than if one is over-firm or flimsy.
78. Setting Up the Quilt.—For hand-quilting, the pieced
top is set together complete, the size of this determining the size of
the bottom piece. When the bottom piece is seamed together,
both the top and the bottom should be pressed carefully from the
wrong side so that both are entirely smooth. Then the bottom


HOUSEHOLD SEWING 197
piece is put in the frames with the seams up and covered with a
very smooth, thin layer of cotton or filling. The top is carefully
laid on so as not to disturb the cotton in any way and it is neatly
stretched in place just the same as for a comfortable.
79. Marking for Quilting.—When this is done, the markings
should be made for quilting. These are usually made with faint-
colored chalk, the idea being to use a color of chalk that will not
discolor the fabric enough to be evident after the quilting is com-
pleted. Some use the chalk free-hand in marking a design, but the
safer and more accurate way is to prepare a pattern of heavy-weight
paper, shaping it just as you want the quilted lines to appear, and
then use this as a guide in marking the design, which may be square,
diamond, fan, or feather shape, the feather shape being, perhaps,
one of the most difficult designs to do.
If the top is an appliquéd one, the marking may be omitted as
the quilting may be done around the appliqué designs and the
spaces between then filled in with square or diamond quilting.
80. Procedure in Hand Quilting.—After the design is
marked, thread a No. 7 or 8 sewing needle with medium-weight
thread, usually white. The good quilter takes just enough thread
in the needle at one time to do one marking or space, so that she
has fresh thread for each row and no beginnings in the middle of a
row of quilting. To start the quilting, tie a small knot in the
thread and pull the knot through the fabric so that it is imbedded
in the cotton and entirely concealed. Proceed then with the quilt-
ing, which is, in reality, running-stitches, always making sure that
each stitch comes through all thicknesses. The left forefinger
usually follows underneath to make sure of this; consequently, it is
advisable to wear a small piece of adhesive tape or a bandage or a
second thimble to protect the finger from needle pricks. When
the row of quilting is done or the needleful of thread is used, finish
it over with two or three tiny back-stitches, which should hold it
securely. -
81. Procedure in Machine Quilting.—Quilts of plain mate-
rial are often quilted by machine in squares or diamonds, or with
lengthwise stitching, the quilting being done easily with a quilter as a
guide.
To prepare the quilt for machine quilting, put it in the frames
in the regular way. After it is stretched tightly in place, start


200 HOUSEHOLD SEWING
Window draping is governed chiefly by the general character of
the room, in which figure conspicuously the height of the ceilings,
the amount of light admitted, and the number, size, position, and
architecture of the windows. Since these details vary greatly in
different houses, no decided rules can be given. With the proper
care exercised, however, the material may be selected and the
arrangement planned so as to give the appearance of good taste
and still not exceed the right cost.
TYPES OF CURTAINS
91. An idea of the kinds of curtains in general use and the
usual type of windows should prove helpful in deciding the style
of decoration best suited to certain windows.
92. Glass, or sash, curtains, which hang close to the win-
dow glass either from the top or from the center are made of very
sheer material, are hung straight, and are usually finished with a
wide, plain hem. They should just touch the window sill.
93. Panel curtains furnish a means of decorating windows
where it is advisable to have curtains without fulness. Such cur-
tains are hung from the top of the window, close to the glass, and
are woven in various widths in many attractive patterns.
94. Draw curtains are often used as a substitute for roller
shades. These may be used as overdraperies and drawn together
over the net curtains, or they may be made of pongee or other soft,
light-weight material and serve as the only decoration for a window.
This idea is very often carried out in the treatment of sun-parlor
and casement windows. In this way, they serve the twofold
purpose of insuring privacy and providing an attractive means of
decoration. -
This arrangement of curtains also proves satisfactory as a covering
for built-in book-shelves and for French doors, and thus affords
an opportunity to introduce a pleasing color scheme into a room.
95. In making draw curtains, it is necessary to sew small rings
at equal distances to the back of the heading, as shown in Fig. 5,
placing them far enough below the top of the heading to conceal
them. About 8 yards of cord is required for a window of ordi-
nary size; also, two pulleys and two small weights to hold the


HOUSEHOLD SEWING 201
ends of the pulley-cord in place are needed. The cord is run
over one pulley, as at a, and through the rings to b, where it is
tied in a single knot. Then it passes through the rest of the rings
over the other pulley, as at c, and back through the rings to d,
where it is tied again. Then it passes through the rest of the rings
and over the first pulley again. Pulling one of the weights closes
the curtains and pulling the other one opens them.
The curtains should be secured to the window frame in the upper
left- and right-hand corners to hold the outer edges of the cur-
tains in place when
the cord is drawn. This wº-iſ-ſlº
may be done by placing = £5.
two small hooks in the a || || ||
window frame and fast-
ening a small ring in
each corner of the cur-
tain, as shown here.
96. Over draper- : | | | | ||
ies. – The length of * G !
overdraperies depends
to a great extent on the height of the room. In some cases, where
the ceilings are low, it is advisable to decorate the windows so as
to give the appearance of height. This may be accomplished by
hanging the draperies to reach the floor. -
In other cases, the ceilings may be too high. Then it would
be necessary to arrange the overdraperies so that they disguise this
feature. Draperies hung to reach just below the sill will prove
satisfactory in such rooms.
Overdraperies should be hung over the window frame, the rods
being placed at the extreme outside edges.
FIG. 5
97. Curtains or overdraperies that are to be held back with
cords or bands should be cut sufficiently long, say to extend about
3 inches below the sill, so that when they are hung in place the
inside lower edges will just reach the sill. These edges will appear
shorter than the outside edges, as the extra length is taken up
when the curtains are drawn back.
98. Valances.—When thought of in connection with curtains,
valances are short draperies across the top of the window or door.


202 HOUSEHOLD SEWING
They furnish a special means of giving windows an individual touch
and vary from the straight gathered ruffles, known as the shirred
valances, or Dutch effect, to the fitted, shaped finishes trimmed with
puffings or braid and hung
plain or having their fulness
laid in plaits of various
kinds. These may be put on
a rod if the design permits,
or they may be fastened to
valance boards, which are
especially made to fit in
box-like fashion over the
top of a window.
| TYPES OF WINDOWS
99. Door Windows.
In the approach to a home,
FIG. 6
ing should be such as to create a pleas– ||
ing impression. |
Numerous window designs are found
in doorways and each presents an ||
interesting problem. The doorway ||
illustrated in Fig. 6 gives an idea for
the treatment of a center- and side-
window arrangement, but the same
idea may be carried out where there || ||.
is only one window. Sheer net cur- º
tains are shirred top and bottom on tº
rods having a 1-inch heading above
and below the rods. This heading
gives an attractive finish, but it may be omitted if desired and the
curtain shirred on without a heading.


204 HOUSEHOLD SEWING
This treatment may be varied by hanging panel curtains at the
windows and by using a plaited valance, rather than a shirred one.
102. French Doors.-The French door affords an opportunity
to add an artistic touch to a room. This is especially interesting
in the summer home where the doors open into a sun parlor. A
very effective treatment is shown in Fig. 9, where net is shirred on
rods at the top and bottom of the door, with a heading above
and below the rods. These curtains cover only the glass in the doors.
The overdraperies, if used, may be
made with a shirred or plaited heading
and hung from a rod placed just under
the cornice, or top of the door.
If, desired, the net curtains may be
hung from a top rod and left free at
the lower edge.
103. The glass curtains are some-
times omitted, especially in country
homes where the outlook is pleasing.
| In such a case, bright-colored curtains
| in harmony with the surroundings prove
very satisfactory.
104. Kitchen Windows.-In
many homes, it is considered a needless
expense to hang curtains at the kitchen
windows, but even if only a kitchenette
is to be considered, there is probably
no other room in the house in which more time is spent and which,
therefore, should be made as cheerful and attractive as possible.
And curtains help considerably to give an air of coziness that is
very delightful in this room.
Curtains of firm scrim, marquisette, fine gingham, light-weight
unbleached muslin, Swiss, voile, or a good quality of cheesecloth
are suitable for kitchens and will hold up under the strain of
frequent laundering and the steam vapors that are inevitable
in a kitchen.
105. The easiest and most satisfactory treatment for kitchen
windows is to hang the curtains straight from a rod at the top of


HOUSEHOLD SEWING 205
the window to the sill. This method, which permits the curtains to
be laundered with less labor, is always followed when the windows
are small and high, as over a sink
or other kitchen equipment.
In the case of windows of regu-
lar size having both upper and
lower sections, the curtains are
often hung from the middle sash
over only the lower part. But if
| the light admitted is too intense
|, and it is advisable to keep the
| upper half of the window covered,
| two sets of curtains may be used
|
|
|
effectively, as shown in Fig. 10,
one hanging from the top to the
middle sash and the other from
the middle sash to the sill.
Fig. 10
106. Bathroom Windows.
The window treatments discussed
for the kitchen may be satisfac-
torily applied to bathroom win-
dows also. The chief require-
ments are to have the arrange-
ment simple and the material
such as can be laundered easily.
- -
|||||||||||||||||| |||||||||||||
|Hººgºº,
| T TT. HT T ſ
|| || ſº
+\il.
107. Bedroom Windows.
Another interesting problem is
planning for the bedroom win-
dows. The outstanding feature of
such windows should be dainti-
ness, and probably no treatment
emphasizes this point better
than ruffled curtains, as shown in
Fig. 11. Such curtains may be hung straight or held back with a
novelty or a ruffle-edged band, as illustrated. If hung straight,
they should just clear the sill, but when held back they should
measure about 3 inches longer in order to allow for drawing back.
ºf TTT º
Fig. 11


206 HOUSEHOLD SEWING
108. Bedroom-window curtains are especially attractive when
made of dotted Swiss or cross-bar marquisette. The width of the
ruffle is a matter of choice, but 1% to 2 inches is a good general
width. The outer edge of the ruffle may be turned in a narrow
hem or it may be picoted and the other edge gathered and joined
to the curtain in a fell seam. This gives a neat, smooth finish.
Another method of making the ruffle consists in finishing both
edges alike and then gathering the ruffle on to the curtain so as to
leave a tiny heading beyond the stitching. This gives a very
pleasing effect and requires only one row of stitching.
If ruffled curtains are not desired, simple straight curtains
with plain hems, lace, or braid are very satisfactory for bedrooms.
109. Casement Windows.-Many housewives have the inter-
esting problem of decorating casement windows. Fig. 12 shows a
very simple but pleasing treatment of such windows. The curtains,
which are made of
net, have no head-
ing and reach just
to the sill of the
window. They are
placed on the inside
rod. The valance
and side curtains
are made with a
heading and are placed on the outside rod. In this case, the over-
draperies should come at least to the lower edge of the window frame.
This treatment of a group of windows may be successfully used
also where casement windows are placed above built-in furniture,
such as bookcases or buffets.
CURTAIN MARING
MEASURING FOR CURTAINS
110. Accuracy in measurements is absolutely essential to
insure correct results in finished curtains. A yardstick should
always be used in preference to a tape measure as the tape is apt
to stretch and cause incorrect measurements.
In the taking of measurements, consideration must be given to
the type of window and the position of the fixtures. Usually,


HOUSEHOLD SEWING 207
measurements are taken from the top of the rod the desired length
of the finished curtain and to this measurement is added sufficient
allowance for hems and headings.
PREPARING MATERLALS
111. Cutting.—The most important point in preparing
material for curtains is to cut it straight. All materials are woven
evenly, but in the process of bleaching or finishing or placing them
on a bolt, they are sometimes stretched and appear crooked when
measured off. If this is the case, pull the material carefully on the
bias, and then measure the proper length on the selvage and draw
a thread. This crosswise mark will serve as a guide for accurate
cutting.
112. Preserving the Freshness of Materials.-As a great
deal of handling deprives material of its “new look,” it is advisable
to handle the material as little as possible in the making of the
curtains. This can be accomplished by basting only where abso-
lutely necessary. By pinning the hems in place and pressing them
with a moderately hot iron, much basting can be omitted and the
material will retain its stiffness instead of looking limp and stringy
when hung.
Soft materials that have no body require careful basting to
hold the hems in position.
ALLOWANCE FOR FINISHES
113. Width of Headings.-The proper allowance for head-
ings is an important feature of curtain-making. For the average
or ordinary window, this allowance is governed by at least three fac-
tors, the weight of the material, the fulness of the curtain, and the
position of the fixture on the window. A good standard is 1 inch,
although heavier materials may have a wider heading. In no case
should the heading be allowed to extend above the window frame
nor made so wide that it will droop over.
114. Width of Casings.-A common error in curtain making
is to have the casing too narrow for the rod to slip through easily.
This point cannot be too strongly emphasized, for if the casing is
tight the curtain will be damaged when the rod is inserted. An
allowance of 2% inches at the top of a curtain permits a 1-inch
heading and leaves a generous casing that will accommodate either


HOUSEHOLD SEWING 209
be too narrow. In such an event, it is necessary to cut the material
so as to obtain the proper fulness.
118. For overdraperies, the material usually measures 36 to 50
inches in width. If 36-inch material is used, a full width is needed
for each side curtain, provided the material is soft and light in
weight. Heavy materials must be cut narrow enough to hang
gracefully.
While 50-inch material is more expensive, it often proves more
economical in the end as it can be split for side curtains and thus
requires less material than narrower widths. It is always neces-
sary, of course, to consider the size of the window and the kind of
material that is to be used before cutting the widths for over-
draperies. -
FINISHING CURTAINS
119. In the making of curtains, both hand and machine
stitching play an important part. Because of the evenness of the
stitching and the necessity for less handling, machine stitching is
usually preferred to hand stitching, except in cases where unusual
lace bandings or medallions, which seem to require hand work, are
to be inserted. If the machine is to be used, however, the stitch
should be fairly loose and should be lengthened enough to prevent
puckering. -
120. Applying Lace.—When a lace edge is applied to a cur-
tain, it is placed in just far enough on the curtain to hold securely.
Great care must be taken to ease the edge when applying the lace
in order to have the curtains hang properly. If the edge is held
tight, it will cause the curtains to draw up and hang very unevenly.
121. Applying Braid.—Two methods may be employed in
applying braid. In the first, the braid is applied by machine to
the outer edge of the curtain. As in the case of lace edging, the
braid should be eased a trifle to prevent drawing. Fringe, also,
may be applied in this manner.
In the second method, the braid is placed in on the curtain the
width of the hem. If you wish to use this method, baste the hem
in position and then baste the braid along the same line. Next,
secure the braid and hem at the same time with very small run-
ning-stitches on both edges of the braid. In turning the braid at
the corner, miter it.
L D 1–15


HOUSEHOLD SEWING 211
is necessary. If space between the plaits is desired, it is usually
made the same as the width of the plait.
127. The pinch-plaited valance is made in the same way
as the box-plaited valance, but the finished box plaits are pinched
up into three or more equal parts that stand out rather than lie
flat. These plaits are tacked together for from 1 to 3 inches below
the top of the valance so that they hold securely.
A valance of this type is hung on the rod by small rings sewed
to the back of each plait far enough below the top of the heading
to conceal them.
This method of providing fulness may be used at the top of
curtains as well as in valances. It is especially appropriate for
draw curtains.
128. The plain valance is more difficult to make than the
other valances, because in nearly every case it requires a facing and
a wooden or beaver-board frame to which the valance may be
secured. Many attractive designs may be worked out in a valance
of this type by shaping the lower edge in various ways.
CURTAIN FIXTURES
129. Curtain rods are made either round or flat, and may be
had in single-, double-, or triple-rod fixtures. Such fixtures should
be placed as close as possible to the outer edge of the window frame,
as it is advisable to have all of the frame covered by the curtains.
130. The single-rod fixture is used where there are no
overdraperies or where the Dutch-window treatment is used.
131. A double-rod fixture may be used where the valance
hangs between the overcurtains. In using this fixture, place the glass
curtains on the inner rod and the overdraperies on the outer rod.
132. When the valance of the overdraperies extends the entire
width of the window, it is advisable to use a triple-rod fixture.
In such a fixture, the inner rod is for the glass curtain, the middle
one, for the overcurtains, and the outer one, for the valance.
If it is not convenient to purchase a fixture of this type, a double-rod
fixture may be used for the glass curtains and overcurtains and the
valance secured to a frame placed above the window, as in the case
of the plain valance, or fastened to the outer rod by means of hooks.


CHAPTER X
DEFINITIONS OF USEFUL TERMS
1. Familiarity with the numerous terms and expressions that
pertain to sewing and dressmaking is of importance to every one
engaged in this work. To the woman who sews for others, a knowl-
edge of such terms is particularly valuable, for very often her cus-
tomers are thoroughly conversant with these matters and naturally
expect her to be master of them as well as of her technique. On
the other hand, it is her privilege to help those of her customers who
are not familiar with the intricacies of the subject, for they really
look up to her for such information. Then, too, a professional
dressmaker occupies a much higher place in her profession if she is
well versed in everything pertaining to her work.
Such knowledge is also of considerable value to the woman who
sews merely for herself and her family. Seldom has she any one on
whom to depend for help and she must be able to read the fashion
magazines intelligently if she wishes to make the most of her dress-
making skill.
It has often been said that those engaged in sewing and dress-
making are more negligent about just such matters as these than the
members of other professions, but dressmakers can easily dispel
ideas of this kind by exerting every effort to become true masters of
their art. -
2. With this need in view, the list of terms that follow was pre-
pared. Included in it are words and expressions pertaining to the
subjects of sewing and dressmaking in general, as well as many of
those used in fashion publications and by manufacturers. Familiarity
with this list will therefore provide you with a key to fashion
language and will make fashion information much more accessible
to you. -
217


DEFINITIONS OF USEFUL TERMS
219
A
abbé cape (à-ba'). A small shoulder
cape like that worn as a part of an
abbot's costume.
accessory. Anything that aids the
principal agent in a subordinate
way; an accompaniment.
accordion plaits. Narrow, straight
plaits like those in the bellows
of an accordion. They range in
width from # to # inch and are put
in by means of steam.
agaric (äg'à-rik or ā-gár'ik). A cotton
fabric of loop-yarn construction
having a surface similar to fine
Turkish toweling.
aigret (a-grèt' or ā'grét). See egret.
A jours (ā'zhur). A French term
meaning open-work and applied to
embroidery, knitting, etc.
albatross. A soft, loosely woven,
crêpe-like woolen material in black,
white, and colors, similar to nun's
veiling; also made in fancy weaves;
used for dresses.
Albert cloth. Reversible, double-faced
woolen material, each side having a
different color. Used for coats,
suits, and wraps. -
Alençon lace (à-lèn'sön; F. a-lān-són').
A needlepoint lace having a sheer
net ground and a solid design whose
edge is outlined with a cord. It is
very expensive but is imitated in an
inexpensive machine-made lace that
is much used on ready-to-wear gar-
ments.
all-over lace. Any wide lace, silk or
cotton, having both edges finished
the same and containing a pattern
that repeats the entire width and
length. It has many uses, being
employed for entire dresses or for
parts of a dress.
alpaca (äl-pák'a). A strong, elastic,
wiry fabric. of plain weave with
cotton warp and alpaca or hair
filling. Used for men's summer
suits and coat linings, and for
women's tailored skirts.
analogous harmony (à-nāl'o-gūs). Har-
mony produced by associating dis-
tant but related tones of colors.
Thus, when two tones from two
related scales are brought together,
an analogous harmony results.
angora wool. The wool of the angora
goat, used in the making of mohair.
antique lace. A hand-made pillow
lace of heavy linen thread in large,
open, rectangular, knotted, and
sometimes irregular mesh, which
gives it the appearance of darned
lace. It usually contains rare pat-
terns, all kinds of designs being
worked in the net by darning, and
as it is hand-made, it is expensive.
Imitation antique lace is sometimes
used in draperies.
Antwerp pot lace. A very rare bobbin
lace characterized by a vase or
basket of flowers in its design. It
was formerly made and worn to a
great extent by the women of
Antwerp as a trimming for their
Caps.
appliqué (à-ple-kā'). Any ornament
in cloth, wood, or metal that is laid
on and applied to another surface.
It may be a band or a separate
design, such as leaves, figures, etc.
apron. An article of dress made of
cloth, leather, or other material to
protect or adorn the front of a per-
son's clothes. Aprons were worn in
England as early as the 14th century.
Later, they became a part of fashion-
able dress, being made of very fine
materials, ornamented, and edged
with lace. In Queen Anne's time
(1702–1714), silk aprons trimmed
with gold lace were worn, and in
George II's reign (1727–1760), long
plain aprons were popular. Aprons
of fine lace were worn with formal
costumes in colonial times. Service-
able and ornamental aprons continue
to be worn up to the present day.
apron tunic. An ornamental article of
attire resembling an apron and a
feature of modern modes.
arabesque (ār-à-bêsk'). A scroll effect
or design usually made with cords,
stitchery, or applied pieces outlined
and perfected by Arabian or kindred
artists.
Arabian lace. A curtain lace, usually
ecru or drab in color and corded
with a heavy, darker ecru or drab
cord. Imitations of this lace are
usually cheap and shabby in appear-
a11Ce.
arc. Any part of a line that forms a
circle.


220
ſ) EFINITIONS OF USEFUL TERMS
armure (ärmär). A large variety of
dress materials made of Botany
wool, mohair, cotton, or artificial
silk or combinations of these fibers.
It is woven in bird's-eye and in
diamond effect, and sometimes in
two colors. Like alpaca, it is used
for linings, skirts, and suits.
arrowhead. An ornamental stitch
resembling the head of an arrow and
used on tailored garments at the
corners of coat collars, pockets, and
pocket laps, as well as at the termi-
nation of seams, tucks, and plaits,
at the end of machine stitching, and
at a given point on tucks.
art linen. A variety of linen having a
flat thread and used for stenciling
and embroidery.
artificial silk. An imitation of natural
silk produced by treating cellulose
until it becomes a gummy solution,
and then pressing it through tiny
holes so that it comes out a fine
thread with a glistening, white,
silky appearance. A number of
these fine threads are joined and
twisted to make the commercial
sizes used most. It has a field of
its own, but fabrics in which it is
used should never be represented as
true silk.
artois (ār-twā'). A very long cloak
with lapels and three or four capes,
the lowest being cut to a point in
the center of the back. This style
of wrap was worn by women in
England and America during the
reign of George III (1760–1820).
astrakhan (ás’tra-kān). (1) A woolen
or silk material of considerable
warmth having a long, closely
curled pile that imitates the fur of
the real astrakhan lamb. Used for
coats, caps, muffs, and scarfs.
(2) The skins of very young lambs
from Astrakhan, Russia, of which
muffs, collars, and coats are made.
B
A name used to designate
any narrow, dainty, light lace,
whether cotton or linen. It is used
chiefly in the making of layettes and
for trimming dainty dresses and
undergarments for children.
baby lamb. The fleece of very young
Persian lambs, having a finer curl
than Persian lamb itself.
baby lace.
baby ribbon. A term applied to the
narrowest of ribbons, much used for
children's garments.
back-stitching. A sewing operation
made by taking a very short stitch
forward and then putting the needle
back each time into the end of the
last stitch, always advancing from
the under side of the material.
badger. A coarse, long-haired, wooly
fur in light beige with black and
white tips. Also called blaireau.
Balkan blouse (bā1/kān). A blouse
that is gathered into a wide band
around the hips. This blouse came
into fashion during the Balkan war,
1912–13.
band. A flat, flexible strip of any
kind of material used for a binding.
In the 15th century, ruffs were
called bands. They were made of
linen or cambric, and were stiffened
with starch, underpropped, or else
allowed to fall upon the shoulders,
when they were called falling bands.
Our term bandbox comes from the
original use of such boxes as were
used for bands and ruffs.
bandeau (bān-do’ or bân'do). A de-
vice of various shapes made of buck-
ram and wire and used to adjust
a hat to a particular head-size or to
raise it from the head at a certain
angle. Also, a narrow band or
fillet encircling the head.
bangkok (bång-kök'). A hat woven
of wood. It is so termed because it
suggests the national head-gear of
Siam, whose capital is Bangkok.
bangs. A portion of the front hair cut
off short and even and worn hanging
down over the forehead.
bar. (1) A group of cross-threads
covered ić the buttonhole-stitch
or the over-and-over-stitch and
used to stay the ends of a but-
tonhole and prevent them from run-
ning out, to form a trimming at the
end of the seam, and to take the
place of an eye, when it is sometimes
called a loop. (2) It is also used in
connection with lace, when it refers
to the threads that connect the solid
parts. Here, it consists of two or
more strands that are either corded
or covered with buttonhole-stitches.
Other names for it in this use are
pearl, leg, tie, and bride.


DEFINITIONS OF USEFUL TERMS
221
barathea (bār-à-the'â). A material of
fine, soft, close weave in imitation
pebble effect. It is made with silk
warp and worsted filling or with
cotton warp and silk filling. Used
for dresses and light-weight suits.
barré (bā'ra'). A French term applied
to fabrics having stripes or bars
running from Selvage to Selvage.
barret (bår'ét). An ancient flat mili-
tary cap.
basket cloth. A cotton material of
basket weave used as a foundation
for embroidery.
basket weave. A weave in material
made by crossing two or more warps
and fillings each time.
basque (bäsk). A woman's tight-
fitting dress-waist made separate
from the skirt and having the waist-
line finish attached to the waist
ortion. It was originally copied
rom the costume of the Basque
peasants of France and Spain.
basting. A sewing operation consist-
ing in the sewing together of two
thicknesses of material or the mark-
ing of stitching lines by means of
long stitches. In even basting, all
the stitches are the same length;
in uneven basting long and short
stitches are used; in diagonal basting,
the upper stitches are long and
*gº.
basting cotton. Cotton thread used
for basting, similar to sewing cotton
except that it is weaker and is not
ãºd So smoothly.
batavia. A light-weight woven fabric
made of wood fiber and cotton and
used for summer hats. It comes
from Batavia, the capital of Java,
in the Dutch East Indies.
bateau neck line (bā-to'). A broad
neck line, also known as the boat
neck line, which widens out on the
shoulder and exposes a part of it.
batik (bā-tik'). The Javanese process
of coloring fabrics, consisting in
pouring melted wax over the pro-
posed patterns and then dyeing the
cloth, after which the wax is re-
moved. The waxed portions will
not take the dye.
batiste. (1) A fine, light, semitrans-
parent cloth made in white and a
few colors. In the fine weave, used
for underwear, lingerie dresses, and
blouses; and in the coarse weave, for
linings. (2) A light-weight, all-wool
material with even warp and weft in
plain colors similar to challis, except
that it comes in plain colors only.
Sometimes called tamise cloth; in
very light-weight called chiffon
batiste. Used for dresses. (3) A
sheer, plain or figured washable silk
fabric similar to silk mull. Used
for summer dresses and inexpensive
dress foundations.
bats. Women's heavy, low shoes,
laced in front and worn in England
and America in the 17th century.
The word is still used in some parts
of England for similar shoes.
Battenberg lace. A tape lace, made
both by hand and machinery, con-
sisting of a fine linen braid or tape
woven together with linen thread
into all kinds of designs. Hand-
made Battenberg is used for collars
and cuffs on women and children's
coats, while the coarser, machine-
made designs are found in draperies
and fancy work. This lace is a form
of Renaissance, which it resembles
closely in design and workmanship,
although it is not so fine.
bayadere (bā-yā-der'). An effect ob-
tained by weaving material with
the stripes running across the goods
or by sewing on trimming hori-
zontally.
beads. Small perforated spheres, balls,
cylinders, etc., strung on a thread or
attached to a fabric for decoration.
beading. (1) A form of narrow em-
broidery made on batiste, mainsook,
or cambric and used for the joining
of seams and the finishing of edges.
Also called seam beading, bead edge,
veining, entre deux. (2) A form of
trimming made by applying beads
in a row or a design.
beaver. The fur of the beaver, which
is light-brown in color.
beaver cloth. A soft-finished, woolen
fabric similar to kersey. The face
is napped, laid down, and closely
shorn and the back is napped.
Used for coats.
beaver hat. A hat made of beaver fur
and considered very fashionable
during the 17th century. Though
these hats have never gone com-


222
DEFINITIONS OF USEFUL TERMS
letely out of use, the present beaver
É. are usually made of a silk
material or imitation fur.
Bedford cord. Material with length-
wise, raised cords and plain stripes
between the cords; made in cotton
and wool. Used for dresses, skirts,
and children's coats.
beige (bezh). The color of undyed,
unbleached wool.
bell sleeve. A sleeve that is full and
flaring at its lower edge, like a bell.
bengaline. A corded material with
heavy, filled crosswise cords of wool
or cotton covered with threads of
silk or silk and wool. Used for
skirts, suits, coats, and collars.
beret (bér'ét). A round, flat cap of
soft material, with a full crown,
worn by the Basque peasants.
Bermuda fagoting. A fagoting similar
to single feather-stitches placed on
the wrong side of sheer material so
that their shadow shows through.
It is used on any sheer material as a
simple, practical trimming.
bertha. A form of collar for a bodice
extending around the neck and over
the shoulders in imitation of a short
shoulder cape, which was formerly
called a bertha.
binder. A sewing-machine attach-
ment by means of which a binding
is applied to the edge of material.
biretta (bi-rét'à). A sectional cap,
usually having a tassel at the center
and worn by ecclesiastics of the
the Roman Catholic church and by
some doctors of divinity, heads of
university faculties, etc. This form
of crown is much used in women's
hats at different times.
bishop sleeve. A sleeve similar to
that used in a bishop's robe, being
loose at the hand and having fulness
at the armhole.
blanket-stitch. An embroidery stitch
used to ornament and secure the
edges of certain parts of garments,
particularly the edges of appliqué
patterns. It is really a buttonhole-
stitch with a single purl and the
stitches taken a short distance apart.
blanket-stitch couching. A stitch con-
sisting of one or more threads lying
flat and held in position with the
blanket-stitch. Like the plain couch-
ing-stitch, used to outline borders.
blanket-stitch seam. A method of
joining two edges of material in an
open seam by means of a single-purl
buttonhole-stitch, threestitches being
taken on one side and then three on
the opposite.
blistering. The name given in Eng-
land in the middle of the 16th century
to a form of trimming produced by
slashings in waists and sleeves,
through which the under garments
came in the form of puffs or blisters.
blonde. A type of person having
flaxen or golden hair, blue, gray or
brown eyes, and clear complexion.
blonde-brunette. A type of woman
having light chestnut or brown hair,
hazel, gray, blue-gray, or brown
eyes, and medium complexion.
blonde lace. A form of closely woven
bobbin lace, originally made in white
and cream colors only; in the trade,
however, the term is applied to silk
bobbin lace of all colors.
bloomers. An article of dress resem-
bling knickerbockers and worn with
or without an overskirt by women,
usually for athletic purposes. They
are the result of an unsuccessful
effort made in 1849 by Mrs. Amelia
Bloomer, of New York, to establish
a costume consisting of loose trousers
drawn in at the ankles with elastic
bands and a short petticoat.
blouse. A general term referring to
almost any kind of waist worn by
women with a suit or a separate
skirt. It may be belted or allowed
to extend over the skirt. Also, the
long, loose smock of the English work-
man and the French peasant.
blucher (blóð'cher). A high shoe or
half boot named for Field-marshal
Von Blucher, who commanded the
Prussian army at Waterloo, 1815.
Also, a shoe made on the same lines
as the water-tight shoes, with the
tongue and the vamp cut in one.
blue. One of the chief colors of the
spectrum, the color of the clear sky.
bobbin. A small slender spool, or a
thin, deeply grooved disk, that fits
in the carrier under the needle plate
of a double-thread, or lock-stitch,
machine and carries the lower thread.
Also, one of the wooden cylinders
that carry and steady the threads in
pillow-lace making.


DEFINITIONS OF USEFUL TERMS
223
bobbin lace. Lace woven over a
design on a pillow or cushion by
means of bobbins.
bobbinet. A net having hexagonal or
six-sided holes but no designs. It
was originally made by hand with
bobbins, from which it was named to
distinguish it from net made with
needle-point stitches. It is used for
dresses, dress foundations, over-
drapes, and draperies.
bodice. The waist of a woman's dress.
Originally, the word referred only to
tight-fitting waists, which were
sometimes laced both in the back and
in the front and were spoken of as a
pair of bodices.
bodkin. An instrument that is blunt
at one end and has an eye at the
other. It is used to draw tape
through a hem or a series of eyelets.
body lining. A coat lining that extends
merely to the waist or a trifle
below it.
Bohemian lace. A bobbin lace whose
pattern is characterized by a braid
or tape-like effect. It is imitated in
machine-made lace, which is very
effective. It is sometimes used for
dress trimming, but as a rule the
designs are too large and coarse for
this purpose.
bolero (bo-la'rö.) A Spanish jacket of
short length with or without sleeves
and without lapels, worn open in
front over a bodice or waist of light
material.
bolt. A roll of ribbon approximately
10 yards long. It is by the bolt that
the manufacturer sells ribbon. Also,
a roll of material of a definite number
of yards. A roll of white cloth, as
sheeting, is from 30 to 50 yards.
bombazine (böm-bā-zen’). An Eng-
lish dress goods made of silk warp
and worsted filling in serge weave
and dyed in the piece. It is usually
black and is much used for mourning
purposes.
boa. A long, round Scarf of fur,
feathers, etc., for the neck.
bonnet. A covering for the top and
back of the head as distinguished
from a hat, which covers the top
of the head only. A typical bonnet
has ties, is without a brim, and leaves
the face uncovered.
boot. Any form of shoe that extends
above the ankle. The dainty, high
silk shoes of our grandmothers' time
were called boots.
Botany wool. A fine merino wool grown
around Botany Bay, Australia.
bouclé (böö-kla'). A medium-weight,
soft, twilled material, made of cotton
or wool, having nub, or loop, yarn for
filling that produces a surface
similar to that of astrakhan. Used
for coats and capes.
bouffant (böö-fān"). Having a full,
puffed-out effect, as in the drapery
of a skirt or in puffed sleeves.
bound buttonhole. A buttonhole whose
edges are bound rather than worked
with buttonhole twist. Buttonholes
of this kind are bound with either
material or braid.
box coat. A plain, loose coat, fitted
only at the shoulders and having a
box-like appearance. This type of
coat was worn by coachmen in
England during the 18th century,
and it is probable that the origin of
the name can be attributed to the
fact that these men sat on the box,
or raised seat, of English coaches.
box plait. A plait, that has a fold
turned toward both sides, formed
by folding a piece of material so
that two edges come together on the
wrong side at a point directly
behind, or under, the center of the
outside part of the plait. Box plait-
ing made in leather ornamented the
armor used in ancient Rome. An
tnverted box plait is simply a box
plait reversed. A double box plait
is one having two folds on each side.
A triple box plait is one having
three folds on each side.
braid. A narrow, flat tape or woven
strip forbinding the edges of fabricsor
for ornamenting them in other ways.
braided-band-stitch. An embroidery
stitch formed by weaving threads
back and forth in diamond-shaped
form to fill in the space of a band or
a border.
brassière (brå-syer'). A close-fitting
corset-cover, either plain or trimmed.
bretelle (bre-té1'). A sort of cape or
decorative shoulder-strap extending
from the belt in front over the
shoulders to the belt at the back of
the waist.


224
DEFINITIONS OF USEFUL TERMS
Breton sailor (brèt'on or bre’t&n). A
hat with a rolling brim similar to that
worn by the peasants of Brittany.
brickwork. Embroidery work that
produces an effect resembling a
brick wall. Parallel rows of padding-
stitches are joined with connecting
threads. It is used in both fancy
work and dress decoration for bands
and borders and where a large sur-
face is to be covered.
brides. (1) The threads of warp or
weft connecting parts of the pattern
in lace. (2) A loop or a tie made in
lace or needlework.
brilliantine. A very fine silk-wool
fabric, similar to alpaca but of
higher luster, woven with cotton
warp and luster worsted or mohair
filling. Used for men's suits,
women's dresses, linings, etc.
broadcloth. Smooth, fine, soft-finished,
closely woven, all-wool or worsted
warp fabric with an up and down,
or nap. The surface has a velvety
feel and a little gloss and the back is
twilled. Used for dresses, suits, and
coats.
broadtail. The skin of a lamb of the
broadtail family, which has been
taken from its mother, she having
been killed for the purpose.
brocade. The collective name for a
large variety of silk, wool, and other
dress fabrics woven with raised
figures, usually in a different color
and often of an embossed character.
Gold and silver threads are fre-
quently used on a taffeta, satin, or
twill foundation to produce brocade.
Used for dresses, suits, trimmings.
broché (brö-she'). Having raised de-
signs or elaborate figures woven
on the surface of the material,
as brocade. Also, decorated with
threads that are introduced with
the warp but that do not form a
necessary part of the structure
itself.
brogue (brog), or brogan (bro'gān).
Lately, many low-heeled, square-
toed walking shoes ornamented
with stitching have been called
brogues. Formerly, brogues were
coarse shoes worn by the natives of
Ireland and the Scottish Highlands.
Tradition tells us that a hundred
years or more ago some one said
that the thick speech of an Irishman
sounded as though he were trying
to talk with a brogue on his tongue.
And we still say that the Irishman
speaks with a brogue.
Bruges lace (brú'géz; F. brūzh). A fine
tape lace woven together with a fine
thread; it resembles duchesse lace
but is somewhat coarser. The real
lace is suitable for dresses, but the
coarse weaves are more effective for
table-cover finishes and curtains.
brunette. A woman or girl having
dark complexion, hair, and eyes.
brunswick. A lady's riding habit said
to have been introduced in England
from Germany in 1750.
Brussels point lace. A net lace with
designs made separately and appli-
quéd to a machine-made ground.
The designs are sometimes made
with bobbins, while the net is needle-
point, the lace then being known as .
point d' Angleterre. Both the real
and the fine machine-made Brussels
point are used for dress trimmings.
buckram. Coarse, open-weave ma-
terial, filled with glue sizing and
used for stiffening purposes, chiefly
in millinery. It is also used without
being sized for underlining and for
stiffening clothes. - -
bugles. Tube-shaped glass, jet, or
composition beads now used for
trimmings. In Queen Elizabeth's
time, (1558—1625) “bugles, beads,
and other jewelry” were worn in
the hair.
Bulgarian embroidery. A kind of
embroidery that is alike on both
sides and is made on coarse black or
white muslin by means of bright-
colored silk and cotton threads or
with gold and silver threads.
bullion-stitch (bööl'yūn). An em-
broidery stitch, at one time called
the post-stitch and named from its
resemblance to the heavy, twisted,
gold-bullion fringe used for tassels,
badges, and similar articles. It is
made by winding a firmly twisted
thread around and around the
needle and then pulling the needle
through and inserting it into the
material. It is a very desirable
stitch for wheat designs, tiny forget-
me-nots, small sprays, etc.


DEFINITIONS OF USEFUL TERMS
225
six single purl buttonhole-stitches
are worked by means of a second
thread brought out a certain dis-
tance below the bar-stitch and
fastened at a point directly opposite
on the other ribbon.
buttonhole twist. A silk thread
especially prepared for making but-
tonholes and eyelets.
Byzantine (bi-zán'tín or biz'in-tín).
Relating to the arts, architecture,
and modes of the Byzantine Empire,
which extended from 399 to the Fall
of Constantinople in 1453.
C
bunting. A soft, open-weave cotton
or wool fabric used for flags and for
decorating purposes.
burnoose (bár-nóðs'). A sleeveless,
woolen cloak, worn by Arabs and
Monks.
buskin (bùs'-kin). A kind of half-boot
laced with cord or ribbon and worn
in ancient Greece. Buskins came
into fashion in France with many
other Greek styles during the time
of the First Republic (1792–1804).
They remained the vogue through
the Empire period (1804–1814), and
were also worn in England and in
rare cases in America.
bustle. A pad or frame worn by
women on the back below the waist
to distend the skirts. Fashionable
from 1880 to 1893.
butcher's linen. A heavy, stout,
bleached linen of durable quality;
comes in gray and bleached and is
used for butchers' aprons, fancy
work, dresses, and suits.
button. A knob of bone, metal, glass,
or some composition, with a shank
or with holes through which it is
sewed to garments for trimming or
for service.
button molds. A mold made of wood
or bone to be covered with material
and used as an ornamental button.
buttonhole. A slit made in a garment to
receive a button and usually covered
by means of a particular stitch
known as a buttonhole-stitch. A
horizontal buttonhole runs crosswise,
a vertical buttonhole, up and down,
and a diagonal buttonhole, diagonally.
buttonhole cutter. A tool used to cut
buttonholes for tailored garments,
cutting both a straight buttonhole
and an eyelet with one operation.
buttonhole gimp. A very firm, small
cotton cord, # inch in diameter,
closely wound with silk thread and
resembling in appearance fine, silk-
covered hat wire. It is used by
tailors to strengthen buttonholes,
being held around the opening so
that the buttonhole-stitches can be
taken over it.
buttonhole tied-stitch. A decorative,
open-seam stitch used to join the
edges of ribbon. On a bar-stitch
that joins the ribbons, from four to
L D 1–16
cable cord. A softly twisted cotton
cord in black and white, used for
corded shirrings or finishes. Comes
in various sizes.
cable-stitch. A chain-stitch made of
heavy rope silk but not forming a
perfect chain, for the needle, instead
of being inserted in the preceding
loop, is put in a scant # inch to the
right and below it. It is used as a
braiding stitch, frequently on dresses
and blouses and also in fancy work.
cabochon (kā-bö-shôn'). A small piece
of buckram pressed into a dome or
similar shape and much used in the
construction of ribbon flowers and
ornaments of like nature.
calendering. A finishing process in
which the fabric is passed between
heated steel rollers to produce a
smooth, glossy surface.
calico. A plain, closely woven, cotton
cloth with figured design printed on
one side. It is used for dresses,
aprons, and wrappers. It is often
called cotton print.
cambric. A fine fabric, both linen
and cotton, with a glazed finish;
used for handkerchiefs, linings, and
undergarments.
camel's hair. A fine, soft, warm
fabric with a high, glossy finish,
woven of long staple wool and having
loose hair on the surface made
entirely or partly of camel's hair.
Used for coats, overcoats, and horse
blankets.
camise (kā-mes'). As part of the dress
of the early Saxons, the camise was
an undergarment worn next to the
skin. After the Normans invaded
Britain, in the 11th century, it was


226
DEFINITIONS OF USEFUL TERMS
decorated with embroidery, espe-
cially when worn by nobility. The
camise and the tunic as worn by
Roman women were probably the
earliest forms of underclothing.
camisole. A dainty form of corset
cover usually made of nearly straight
pieces of material cut without
shoulder portions, ribbon straps or
separate bands of material being
applied for shoulder support. In
France, this word refers to a form
of jacket or under vest. Very short
sleeves or shoulder caps were a dis-
tinguishing feature of the camisoles
worn a few years ago. These more
nearly resembled a jacket than the
present-day camisole, which often
has only straps over the shoulders.
Canton crêpe. A highly finished crêpe
made with fine silk or cotton warp
and heavier filling that forms light,
cross-ribs. It is made of Canton
silk and is heavier than crêpe de
Chine. Used for dresses and blouses.
canvas. A coarse, firm cotton or linen
material, used for stiffening coats,
skirts, facings, etc. A heavy weave
is used for mail bags, tents, and
sails.
capuchin (kāp'u-shen). A hooded
cloak resembling the hooded gar-
ment worn by the Capuchin monks.
caracal (kār'ā-kāl). The fur of the
caracal, or Persian lynx of south-
western Asia and the greater part of
Africa, slightly larger than the fox;
reddish brown in color, with long
upright black ears tipped with black
hairs.
Carrickmacross lace (kär-ſk-mâ-krós').
An Irish lace in two varieties,
appliqué and guipure. The appliqué
Carrickmacross is made by placing
sheer material over plain net, apply-
ing designs to the net with the
buttonhole-stitch or the chain-stitch,
and then cutting away the surplus
material so as to leave the outline
of the design clear. The guipure
Carrickmacross, which is more of an
embroidery than a lace and resembles
cut work, is made by working the
outline of the design over a founda-
tion of fine mull or lawn and then
connecting the motifs or designs
with brides or loops. The hand-
made Carrickmacross, which is rather
expensive, is used for whole dresses
and for dress trimmings and the
machine-made lace, for inexpensive
curtains.
artridge plaits. Plaits made to re-
semble a cartridge belt. They are
similar to French gathers but are
usually larger.
cascade. An arrangement of lace or
other trimming to resemble a
cascade or waterfall.
Cashmere. A soft woolen material
made from the fine, glossy wool of
the cashmere goat, which is native
to the state of Cashmere in the
western Himalayas. Used for dresses
and for children and infants' wear.
Cashmere shawls were exceedingly
popular with Empress Josephine and
the ladies of her court.
castor. A beaver hat or one made of
cloth resembling beaver fur. Also,
a light brown color resembling the
color of beaver.
catch-stitch. A stitch sometimes called
the herringbone-stitch because of its
resemblance to a herringbone; used
to fasten the edges of seams securely,
or to make flat hems when the back
of the material is not to be in evi-
dence. One part of the stitch is
taken through the seam or hem
allowance and the other through the
material.
caul (köl). A net used to confine the
hair and worn during the middle
ages. Later, large head-dresses cov-
ered with gold net, or an embroid-
ered pattern resembling net, were
also called cauls. After the 17th
century, the back of a woman's cap
and also part of a wig were termed
a caul.
cellophane (sê1'o-fan). A material of
gelatinous composition ranging in
width from 4 inch, which is used for
trimming purposes, to 1 yard, which
is used for entire hats.
cerise (sé-rez"). A cherry-red color.
chain-stitch. A loop-stitch, a series
of which, looped one after another
in a row, form a chain, each loop
resembling a link of a chain. It is
made by a chain-stitch machine, but
its most frequent use is in em-
broidery work, when it is made by
hand.


DEFINITIONS OF USEFUL TERMS
227
challis (shā1'). A fine, light-weight
material in both cotton and wool
having beautiful plain and printed
combinations; in wool it is used for
dresses and negligées and in cotton,
for quilts and comfortables.
chambray. A plain-weave, light-weight
cotton fabric, consisting of colored
warp and white filling and having a
white selvage. It is used for dresses,
aprons, and sunbonnets.
chamois (shām'í). A soft, pliable
leather originally prepared from the
skin of the chamois, but now
obtained from the skins of sheep and
deer.
Chantilly lace (shān-tí1'i or shan-ti-yi').
A lace having patterns outlined with
thick, silky threads. It is much used
for all-lace dresses and overdrapes.
Black Chantilly is said to have no
rival in the lace realm. It is an
expensive lace, but it is durable and
may be used again and again. The
machine-made Chantilly laces often
resemble very closely the real lace
in both design and fineness of the
work.
chapeau (shā-pô'). The French term
for hat.
chaplet. A wreath or garland of flow-
ers worn on the head; also a string
of beads or a necklace.
Charlotte Corday hat. A mushroom
hat worn by Charlotte Corday, who
was guillotined in France in 1793 for
the murder of the revolutionary
leader Marat.
charmeuse (châr-mâz'). A soft, dull,
satiny fabric having a twilled back.
Used for dresses, especially draped
dresses.
chartreuse (shār-tráz').
color.
cheesecloth. Thin, light-weight fabric
in plain weave used for dish towels,
window decorating, wrapping cheese,
butter, etc.
chemise. A form of undergarment that
combines a corset cover and short
petticoat and is worn over the corset
by American women but next to the
skin by French women. An envel-
ope chemise has a flap in the lower
part of the back that buttons on
the front and thus closes the gar-
ment.
A pale-green
chemise frock. A simple, straight dress
that hangs from the shoulders like a
chemise. Chemise dresses, which
came into favor during the First
Empire (1804–1814) in France, were
fashioned of the sheerest of mate-
rials, were worn with almost no
underclothing and were made tight
to show the form. The more modern
chemise frock is a revival of these
only in name.
chemisette. A woman's light under-
garment for the neck and shoulders;
a sort of small or partial chemise.
chenille. A cotton, wool, or silk cord
used for embroidery and decorative
purposes. It has a pile that pro-
trudes all around at right angles to
the central threads and thus
resembles a hairy caterpillar, from
which it gets its name.
chenille lace. An 18th century,
French needle-point lace having the
patterns outlined with white chenille
on a ground of silk net having six-
sided meshes.
cheviot. An all-wool, twilled, closely
napped fabric made with cheviot
yarn, so called from the shaggy wool
of the cheviot sheep. Used for
suits and coats.
chic (shik). Originality and taste as
exhibited in ornament, decoration, or
dress. “What chic really means is
neither 'style,' 'form,' nor ‘fashion,”
so called, but originality combined
with correct taste and complete
absence of affectation.”—New York
Tribune, March 13, 1892. -
chiffon (shif'on). (1) A very soft,
flimsy, transparent, silk fabric. Used
for trimmings, overdrapes, waists,
and as a foundation under lace
dresses. (2) A term used in con-
nection with other textiles, like
velvet, broadcloth, etc., to denote a
soft, draping quality.
chiffon batiste. See batiste.
chiffon taffeta. A light-weight taffeta
of good quality; with soft, lustrous
finish. Used for evening gowns,
street dresses, and suits.
chiffon velvet. The lighest, softest
velvet known, and owing to its
draping qualities, perhaps the
prettiest. Used for elaborate dresses,
suits, evening gowns, and wraps.


DEFINITIONS OF USEFUL TERMS
229
signs often take the form of paddles,
but this feature cannot always be
relied on as a distinctive point. At
the present time, machine-made
Cluny has reached such a degree of
excellence that it is sometimes
impossible to detect the difference
between real and imitation lace, but
in the cheaper grades two sizes of
soft thread are employed. The fine
weaves of Cluny are found in
lingerie blouses and dresses, while the
coarser weaves may be seen in
pillow-cases, centerpieces, and similar
articles.
coat. An outside garment for wear on
the upper part of the body, con-
taining sleeves and usually worn by
men but also worn by women,
especially when it is of greater length.
coatee. A short-tailed, close-fitting
coat.
cocarde (ko-kärd'). A cockade or
rosette of plaited ribbon used as a
trimming feature on both hats and
dresses.
cockade. A rosette or knot of plaited
ribbon or other material used as a
hat ornament. Formerly, these were
worn on hats to designate some form
of service or as a party badge. The
white cockade of the Bourbons was
a favorite hat trimming during the
French Restoration period in the
early 19th century.
cocked hat. A hat turned up jauntily
at one side. The dandy of the
Cavalier period in the 17th century
often cocked his hat in several places.
coffer head-dress. A form of head-
dress in the shape of a coffer or box,
worn by women from the 10th
century on through the middle ages
to 1453.
coif (koif). A close-fitting cap or hood,
extending down over the forehead
and sometimes widening out at the
sides.
coiffure (koif'ur or F. kwā-für'). An
arrangement or dressing of the hair.
Also, a head-dress, generally of lace.
cold color. A color in which there is a
predominance of blue.
collarette. A standing collar with a
wide ruching around the top like
those worn by Catherine de Medici
and Mary Queen of Scots in the
16th century.
color gray.
color card. A card issued from time to
time by dealers in dress materials,
textile manufacturers, and dyers to
acquaint the public with the various
color names that are applied to
materials for dress.
The color produced by
mixing two or more tertiary colors.
color harmony. A pleasing effect that
gives the impression of unity and
that is produced by certain colors
brought close together, side by side.
color value. The amount of dark or
light expressed by a color.
combination-stitch. A stitch consisting
of several running-stitches and then
one back-stitch.
commode. A wire frame over which
women piled their hair in curls
about 1700.
complementary colors. Those colors,
which, by their union, will produce
white. This can be done with
colored light rays, but with pigments
only a neutral gray can be produced.
complementary harmony. Harmony
produced by associating comple-
mentary, or opposite, colors.
concave curve. A curve that rounds
inward.
continuous placket. A placket made
either in the center of a gore or on a
seam and finished with a straight
strip of material 1% to 2 inches wide.
contrasted harmony. Harmony pro-
duced by the association of any of the
colors with the neutrals, white, black,
and gray, and with gold or silver.
convex curve. A curve that rounds
outward.
coolie jacket. A kind of short box coat
reaching just below the waist. In
shape, these jackets are like those
worn by Chinese and East Indian
burden bearers, or coolies.
coque (kök). A French term meaning
cock. Applied to cock feathers,
which are much used in millinery.
coquille (kö-kel'). Having a fluted or
scalloped edge like a shell, from
which the term is derived.
cord seam. A seam having a corded
effect produced by turning both
seam edges to one side and then
stitching through the three thick-
nesses of material.


230
DEFINITIONS OF USEFUL TERMS
corded. A term used to describe fabrics
having ribs running lengthwise, pro-
duced by the warp; crosswise, pro-
duced by the weft; or diagonally,
produced by the twill weave.
cordelière (kór-de-lyer'). A knotted
girdle.
cording. The stitching of cords on to
various garments; also, the cords so
stitched.
cordonnet (kör-do-ne'). The raised,
heavy edge of a millinery braid or a
lace design.
corduroy. A ribbed cotton fabric with
a close pile in white and colors.
Some expensive qualities have cotton
warp and silk pile.
coronation braid. A firmly woven,
highly mercerized, cotton braid with
alternating thick and narrow places.
coronet. Any kind of chaplet, wreath,
or other ornamental circlet for the
head. Coronets are also worn by
certain nobles and denote, by their
form, degrees of rank less than a
sovereign.
corsage (kör-sàzh'). The waist or
bodice of a dress. Also, a bouquet,
real or artificial, worn at the waist-
line.
corset. A close-fitting garment worn
for the purpose of supporting or
giving shape to the figure. In the
middle ages, corsets had skirts and
sleeves. As now made, they extend
from bust to hips, are stiffened by
strips of steel or whalebone, and are -
usually tightened by lacing.
corsetiere (kór-se-tyer'). A corset
maker or merely one who sells and
fits corsets.
costume. All of the garments worn at
one time. Also, the dress belonging
to a given country, time, class, or
calling.
costume suit. A costume consisting of
a dress and coat or jacket of the
same material.
cothurnus (kö-thūr'nās). A buskin or
half-boot with very thick soles worn
by actors in ancient Athenian
tragedy.
Cotton back. Applied to silk fabrics,
mostly satins and velvets, made with
a cotton back.
cotton crêpe. A crinkled fabric of light
weight used for underwear, blouses,
and dresses. Some of the heavier
grades have floral and Japanese pat-
terns and are used for kimonos and
lingerie robes.
cotton flannel. Heavy cotton having a
twilled surface on one side and a long
nap on the other and used for
children's underwear, interlinings,
etc. Also known as Canton flannel.
cotton print. See calico.
couching-stitch. An over-stitch that
serves to hold down close to the
material one or more threads lying
flat and with them form a flat,
unbroken outline. It is used chiefly
for border outline work.
coutil (köö'-til'). A linen or cotton
canvas for corsets and brassières.
couturier, mas. (kū-tū-rye') } A cos-
couturiere, fem. (kū-tū-ryer')ſ tu me
designer in France. A few of these
creators of attire in Paris hold abso-
lute sway over the dress of the ultra-
fashionable ladies. Many materials
and types of garments have been
named for the great couturiers who
brought them into fashion; as, the
Georgette sailor, Georgette crêpe,
Roider fabrics, Wirth gowns, etc.
covert cloth. A woolen material of
firm, diagonal-twilled weave, usually
in light tan. Used chiefly for outing
suits and wraps.
crape. A thin, transparent silk or cot-
ton fabric that has been rendered
crimpy in the process of manufacture.
It may be had in white, black, or
colors. The black, being peculiarly
somber in appearance, is much used
for mourning purposes. Crape of
this kind is woven of hard-spun silk
yarn in its gummy or natural condi-
tion, the crimp being produced by
pressing the fabric between heavy
steel rollers, the surfaces of which are
creased and indented so as to pro-
duce the pattern desired.
craquelé (krák'le). An effect in lace,
silk, or net, resembling cracked or
broken glass.
craquelé net. A net consisting of a
firm thread woven in zigzag effect
that resembles the crackle in the
glaze of old pottery. This mesh is
sometimes used in shadow lace of
good quality. It has beautiful
designs that make it attractive for
overdrapes and all-lace dresses.


232
DEFINITIONS OF USEFUL TERMS
cutting gauge. A device usually in-
cluded in a set of machine attach-
ments. It is applied to the point of
a pair of scissors to provide a quick
method of cutting strips of uniform
width.
D
damask (dām'äsk). A fabric, both
cotton and linen, in twilled and satin
weave, and sometimes in brocaded
figures. Used for towels, table linen,
and napkins. In the 3d century,
Syrian weavers developed methods of
weaving which produced a figured
fabric patterned by its own warp and
weft threads and having the name
of the Syrian capital Damascus
reflected in its name.
darned lace. A term including all net
effects with the pattern applied in
needlework, such as filet lace.
darner. A hard, smooth, ball-like or
egg-shaped article used to put under
a hole while darning it. Gourds
make good darners.
dart. A place in a garment from which
a tapering piece has been cut to
make it fit the figure. Also, a
measurement from the waist line
to the fullest part of the hips.
décolleté (de-köl-e-te'). A style of neck
opening that is cut very low in
order to expose the neck and
shoulders.
denim. Strong, durable, washable
cotton fabric of uneven twilled
weave. It comes in plain colors and
is used for overalls, furniture, and
floor coverings.
design. An arrangement of forms or
colors, or both, intended to be
applied to a fabric or an ornament
to beautify it.
diaper. A white linen or cotton fabric,
made with small diamond or bird's-
eye pattern in a twilled weave. It
absorbs water readily and is used
for towels, fancy work, children's
dresses, etc.
dimity. Light-weight material, corded
or cross-bar, plain and figured. Used
for infants' garments, aprons, and
lingerie dresses.
directoire (di-rék-twär'). A distinct
style of the period of the French
Directory, (1793–1801,) characterized
by exaggeration and eccentricity.
doeskin. A fine, soft, compact, twilled,
woolen material having a very soft,
short-napped face. Used for gloves,
skirts, coats, hats, wraps, and linings
in heavy fur coats.
Dolly Warden costume. A costume
consisting of a dress with tight
bodice, short quilted petticoat,
and flowered chintz panniers, and a
large, drooping, flower-trimmed hat.
This is the costume associated with
Dolly Varden, a character in Dickens'
novel, “Barnaby Rudge.”
dolman. A wrap resembling a cape
with openings for the hands. Dol-
mans were originally patterned after
a long Turkish outer garment.
dominant harmony. Harmony that is
produced by associating different
tones of the same color.
double chain-stitch. A chain-stitch
consisting of two links or loops of
thread combined as one. It is used
when a heavier effect than that pro-
duced by the single chain-stitch is
desired. -
double-faced. A term applied to
fabrics that can be worn or used
either side out.
double-stitched seam. A finish for a
plain seam consisting of two stitch-
ings on each side.
double-stitched welt seam. A welt
seam having a second row of stitch-
ing added at the seam turn.
doublet. A close-fitting garment with
sleeves and sometimes a short skirt.
Worn by men from the close of the
15th century to the middle of the
17th century. -
draft. An outline drawing of a pattern.
drafted pattern. An outline drawing
produced by the aid of a tailor's
square or some other device from a
combination of measurements that
are governed by the rules of pro-
portion.
drap d' Alma (drä-d'â1'mă). A soft,
closely woven, double-diagonal-
twilled wool or silk mixed fabric.
Suitable for dresses and suits. Origi-
nally made in black for mourning
purposes.
drapery. The materials with which
anything is hung or draped, particu-
larly the hangings or loose garments
often represented in sculpture and
in painting.


DEFINITIONS OF USEFUL TERMS
233
drawn work. A form of decorative
work that consists in pulling out
parallel threads of a fabric to obtain
an open space and then hemstitching
the edges of this space so as to hold
the remaining threads securely. It
is used to ornament table and bed
linens, draperies, collars, cuffs, and
lingerie blouses.
Dresden. A small flower design in
pastel shades.
dress. The modern outer garment of a
woman or a child consisting of a
skirt and a waist, either separate or
united. Also, used in a broader
sense to designate the various gar-
ments worn as a covering for the
body.
dress improvers. The hooped panniers
of the time of Louis XIV, XV, and
XVI in the 17th and 18th centuries
were often called dress improvers.
dress linen. A plain, firmly woven
linen in white and plain colors.
drilling. Coarse linen or cotton twilled
cloth used for men's outing suits.
duchess satin. A close, firm, but soft
fabric of high luster. Used for
dresses and evening wraps.
duchesse lace. A rare old bobbin lace
that, while not made of tape, has a
tape-like appearance. It resembles
Honiton lace, but is worked with a
finer thread and has a greater
amount of raised or relief work
and daintier and finer designs. It is
used as a trimming on elaborate
gowns, such as bridal robes. There
are various imitations of duchesse
lace, one of which is known as
princess lace.
duck. A strong, closely woven, plain
material, lighter and finer than
canvas; used for outing shirts and
coats and for small sails, tents, and
awnings.
dust ruffle. A ruffle sometimes added
to the bottom of a petticoat to pro-
tect the edge of the flounce from hard
wear and prevent it from becoming
soiled.
Dutch neck. A square or round neck
line cut only 2 inches below the
throat.
duvetyn. A very soft woolen fabric
resembling velvet and having a fine,
short nap that is raised during the
process of finishing and gives the
material a silky appearance. Used
for coats, suits, and dresses.
dye bath. The dye solution prepared
for the dyeing of materials
E
écru (Šk’röö). The natural color of
cotton, wool, or silk; that is, the
color of unbleached linen or hemp.
edge-stitcher. A sewing machine
attachment that makes it possible
to stitch an edge perfectly, to join
lace, and to apply piping.
egret (šg'rét). (1) The heron from
which light, floating feathers are
obtained. (2) The feathers obtained
from the egret and used as a trim-
ming for women's hats.
Egyptian lace. A fine, hand-made
knotted lace sometimes ornamented
with beads. As it is expensive, it is
rarely used, but when use is made
of it, it serves as a trimming.
eiderdown (1'-dér down). A soft,
elastic, knitted fabric made of thick,
soft, spun yarn and heavily napped
on one side. Also, a soft, twilled,
cotton-filled fabric with a long-wool
nap, sometimes on just one side,
when it is called single-faced, and
sometimes on both sides, when it is
known as double-faced. Used for
children's garments, carriage robes,
lounging robes, and bathrobes.
embroidery. Ornamental work done
with the needle on cloth, canvas,
leather, and other materials by hand
or by machinery. Threads of vari-
ous kinds, such as cotton, silk,
silver, gold, etc., are used in this
work.
embroidery darning-stitch. A filling-in
stitch consisting of even basting-
stitches, every second row alternat-
ing, and used for filling in bands and
borders.
embroidery hoops. Round or oval
wooden hoops, the inner one often
padded with felt; used to hold a
piece of material firm and smooth so
that embroidery can be applied
with facility.
emery bag. A small bag filled with
emery powder and used for the
polishing of needles that have
become rough or rusty.


234
DEFINITIONS OF USEFUL TERMS
Empire. A short-waisted gown with
full short sleeves and a long, flowing
skirt, showing the Empress Jose-
phine's ideas. Popular during the
First Empire in France (1804–1814).
entre deux (ān-tr" du'). A fine, narrow
beading or veining used to make a
substantial finish for seams, espe-
cially in hand-made lingerie garments
and infants' clothes.
epaulete (öp'6-1ét). A trimming that
falls over the shoulders like a small
cape. In Queen Elizabeth's time
(1558–1603), padded ornaments
called epaulets were worn on the
shoulders by both men and women,
and sleeves, which were often made
separate from the restof the costume,
were tied to these. In modern times,
any kind of ornament for the shoul-
ders of a woman's dress and orna-
mental badges worn on the shoulders
as a part of the full-dress uniform of
officers of most navies of the world
and by army officers of rank and
some subordinate officers are called
epaulets.
épingle (e-pin'gl). A French term used
to designate a fine, lustrous, corded
effect, in silk dress material, often
alternated with heavier ribs. Also,
a silk dress goods made with rib
effect.
eponge (e-pông'). A dress fabric made
of cotton, wool, or silk. Loop yarn is
used for the warp and plain yarn for
the filling.
ermine. The fur of the ermine, which
is white with a black tail-tip. When
prepared for ornamental purposes
the black tail-tips are attached at
regular intervals on the white.
etamine (§t'à-men). A soft, light-
weight, glossy, woolen dress material
in plain, open weave. It is also
made of hard-spun cotton yarn.
Suitable for dresses and skirts.
Eton jacket. The Eton jacket, as used
in modern costume, is short and is
usually cut square at the hips. This
type of jacket made of black broad-
cloth and worn with a wide stiff
collar was originally used by boys
of Eton College, England.
eyelet. A hole made and worked in a
garment to hold a ribbon, a tape, or
a cord, the size depending on the
purpose for which the garment is
intended. Buttonhole eyelets are
first overcasted and then worked
with the buttonhole scallop-stitch.
Embroidery eyelets are both oblong
and round and are finished with
merely overcasting-stitches made
very close together.
F
fabric. A general term designating
any cloth, irrespective of its weave.
Most fabrics have two sides: the
right side, which is known as the face
of the material, and the wrong side,
which is known as the back.
facing. A form of dress finish applied
to edges in place of a hem; also, the
lining of a garment on parts exposed
by being turned back.
facing silk. Material, such as taffeta,
messaline, percaline, or sateen, cut
into lengthwise strips to be used in
the making of tailored plackets.
fagoting-stitch. A decorative open-
seam stitch used to join narrow
ribbons, bands, or folds of material,
or lace insertion, which must first
be basted # to # inch apart on firm
paper.
faille (fāl). An untwilled silk fabric
having a light crosswise grain or
cord wider than grosgrain and very
little gloss. Used for dresses, suits,
blouses, and children's coats.
fair-skinned mature woman. A type
of mature woman having gray or
white hair, blue, brown, or gray eyes,
fair complexion, and good coloring
in lips and cheeks.
farmer's satin. A high-luster fabric
made with cotton warp and worsted
or cotton filling. Used for linings
and petticoats.
farthingale. A contrivance resembling
a hoopskirt or crinoline, worn by
women of the 16th and 17th centuries
to extend their skirts.
fashion. The prevailing mode or style
in things that are subject to change,
especially dress.
fastness. The ability of a dye to retain
its color when exposed to the rays
of the sun or subjected to wash-
1ng. -
featherbone. A substitute for whale-
bone, prepared from the quills of
feathers. -


DEFINITIONS OF USEFUL TERMS
235
feather-stitch. A decorative stitch
somewhat resembling a feather.
The single stitch is made by bringing
the needle up through the material
from the wrong side, placing it in
at the right so that with the thread
it forms a triangle, pulling the
thread through, and then taking a
similar stitch to the left. This work-
ing back and forth is continued until
the row is completed. Combina-
tions of two, three, four, or more
stitches are often used in feather-
stitching.
fell. A method of finishing a seam that
is intended to be neat and flat. In a
hand fell, the edges of the material
are lapped so that the seam lines
meet and are then basted through
the center. Each edge is then
turned under so that it meets the
basting and is finished with the
hemming-stitch. The machine fell
consists in making a plain seam,
trimming away the under edge, and
then turning the other edge under
and stitching it.
felt. A firm-packed, smooth fabric
consisting of entangled and matted
fibers of wool, fur, mohair, and
cotton, which are thoroughly mixed,
carded, hardened, and made into
felt with the aid of moisture, heat,
and pressure. It is sometimes made
by weaving or knitting a coarse body,
raising a heavy nap, and then
felting this. Used for hats, table
covers, pennants, glove linings, etc.
fiber lace. A lace made from the
fibers of the banana and the aloe
plant. It is a frail, expensive lace,
and not practical for many purposes.
However, both banana-fiber and
aloe-fiber laces are used as dress
trimming, especially on sheer organ-
dies and chiffons.
fibers. Filaments, or threads, used as
raw material for textile fabrics.
They are classified as animal, vege-
table, mineral, and artificial fibers.
fibula (fib'd-1á). An ornamental brooch
that fastens like a safety pin; used
to hold the Greek chiton and the
Roman stola in place. Archeologists
say that fibulas were common as
early as the bronze age.
fichu (fish'OÖ). A draped scarf or cape
having long ends that fall from a
knot at the breast. Fichus were
fashionable in France during the
reign of Louis XVI (1774–1793), in
England while George III was on
the throne (1760–1820), and in
America during the first years of
the new Republic.
findings. The various accessories used
in dressmaking, such as belting,
boning, buttons, braids, hooks and
eyes, etc.
filet lace (fi-le'). A darned or embroid-
ered net woven into squares with a
continuous thread and thus appear-
ing decidedly unlike the spiderwork
form of irregular darning. It is
attractive and at the same time
practical for lingerie blouses and
dresses. Real filet, while expensive,
wears indefinitely. Beautiful imita-
tions of filet lace may be purchased'
at reasonable prices. .
fillet (fil’ét). A narrow band encircling
the head or binding the hair. Fillets
were worn in ancient Egypt and
were a feature of the Greek and
Roman head-dress. During the Em-
pire in France (1804–1814), Joseph-
ine wore beautiful fillets of gold in
imitation of those used in classic
times. -
filo silk. A soft, untwisted embroidery
silk that comes in skeins of 6 to 12
yards each. It is very satisfactory
for satin-stitches, as it blends well
and makes a smooth design.
fishbone-stitch. An embroidery stitch
resembling the backbone of a fish
and consisting of a series of diagonal
single-purl buttonhole-stitches made
first to the left and then to the right.
It is used chiefly as a braid-stitch or
a border-Stitch.
fishtail train. A dress train that
resembles the tail of a fish in shape.
fitch. A mottled brown fur with yellow
spots.
flannel. A plain soft, loosely woven,
light-weight, woolen material with
warp and weft threads of equal size.
Extensively used for infants' petti-
coats and sacks and for men's shirts.
flannelette or flannelet. A cotton
fabric with a slight nap in white
and colors and floral designs. Used
for sleeping garments and kimonos.
flap pocket. A type of tailored pocket
having a flap as a finish for the
opening.


236
DEFINITIONS OF USEFUL TERMS
flare. A widening or spreading out in
some portion of an article of dress.
flat-stitched continuous placket. A
placket especially desirable for wash
garments, as it lies flat when
laundered, is not bulky, and makes
a neat closing.
flax. The soft, silky fiber taken from
the bark of flax plants and used in
the production of linen fiber.
flaxon. A trade name for a fine quality
of mercerized lawn. Used for
blouses, dresses, and lingerie.
fleur-de-lis (flûr-dé-le'). The French
name for the iris. The fleur-de-lis
design that we know so well
resembles this flower, but it is a
heraldic device of disputed origin,
... best known as the bearing of the
royal family of France. Louis VII
is said to have adopted it as his seal
in 1137. The fleur-de-lis, which is
of frequent occurrence in Egyptian
and Oriental art, has been variously
explained as the flower of the lotus,
the white lily, and the iris.
Florentine neck line. The broad, round
neck line much worn during the
Italian Renaissance in the 15th
century. It extends out over the
shoulders, but is not so straight as
the bateau, or boat, neck line.
florid brunette. A type of person
having black or dark-brown hair,
black, brown, or gray eyes, dark
complexion, and highly colored skin.
flounce. A gathered or plaited strip
sewed by its upper edge to a dress
or a petticoat, especially along the
bottom, the lower edge being left
free.
flues. The feathery fibers, or fronds,
extending from each side of the
stem of a feather or quill.
fontange (fön-tänzh'). A high head-
dress made of lace and ribbon and
invented by Mademoiselle Fontange
of France in the 17th century.
foulard (föö-lärd'). A soft, serviceable,
satiny silk with a fine twill; plain
and figured. It came originally
from the Far East. Used for dresses
and blouses.
foundation pattern. A pattern of the
very simplest type, having normal
seam lines and no fulness or designing
lines of any kind.
French chalk. Soapstone used for
marking on cloth, as by tailors, or
for removing grease from clothing.
French gathering. A method of gather-
ing in which the running-stitches
consist of a long stitch on top and
a short stitch underneath so that
there seems to be less fulness on top
and still the fulness underneath is
secured.
French knot-stitch. An embroidery
stitch made by bringing the needle
up through the material from the
wrong side, winding the thread
around its point two, three, or four
times, drawing it tight, and then
inserting the needle into the material
as close as possible to where it came
out. It is much used on dresses and
in fancy work.
French seam. A seam made by stitch-
ing # inch from the seam edge, trim-
ming off the frayed edge, reversing
the fold so that the edges come
within the fold, creasing the edge flat,
and then stitching on the seam line.
French serge. A very fine, soft weave
of serge, the cheaper grades of which
have cotton warp. Produces a shine
more readily than do other serges
through wear. Used for dresses,
skirts, and suits.
fringe. Any ornamental border of
pendant threads, cords, or tassels.
The first fringes of which we have
any knowledge are those used in
ancient Egypt as early as 3000 B.C.
They were made by fraying the
edges of the cloth from which gar-
ments were made. The threads of
such fringes were often tied in
ingenious ways, which greatly en-
hanced their beauty.
frock. The principal outer garment or
dress of women and young girls.
Formerly, a plain loose robe worn
by monks. Today, almost any kind
of dress is termed a frock, but the
idea of simplicity is still associated
with the word. An elaborate dress
made of expensive materials is called
a gown rather than a frock.
frog. An ornamental button and loop,
each surrounded with braid, used to
fasten a cloak or coat.
fur cloth. Deep-pile fabric made to
resemble various kinds of fur and
used in place of fur.


238
DEFINITIONS OF USEFUL TERMS º
glycerined feathers. Feathers treated
with glycerine so as to give them the
appearance of being wet.
godet (go-de'). Gores that are wider at
the bottom than the top, ranging
from 2 to 4 inches at the top and 12 to
15 inches at the bottom. Used only
when skirts are wide, they add
length to the figure and fulness at
the bottom.
goffer. To form plaits, flutes, or
crimps in, as a ruff. Leather is very
often ornamented with a design in
relief, which is called goffering.
gold cloth. A metal cloth made of
metal warp in gold color and silk
weft. Used chiefly in the making
of evening gowns.
gold tissue. A transparent metal cloth
consisting of metal warp in gold
color and silk weft. It comes also in
a cheaper quality, which is an imita-
tion of metal cloth.
goose. A tailor's heavy smoothing
iron, ranging in weight from 11 to 30
ounds and so named because its
andle resembles the neck of a goose.
gore. A shaped section of a woman's
skirt containing two or more such
sections.
gorget (gór'jët). A variety of collar
or ruff. In the middle ages (476–
1453), a kind of wimple draped
closely around the neck and well up
to the chin.
gossamer. (1) A very soft, cobwebby
silk gauze used for veils. (2) A light
silk fabric waterproofed and used
for wraps.
gown. The outer dress or garment of a
woman, especially when long and
loose. Also, the official or distinc-
tive robe of certain officers, pro-
fessional men, and scholars.
granite. A woolen material made of
hard-twisted woolen yarn woven in
pebbled effect; light in weight and
very durable. Used for skirts and
suits.
grebe (greb). A bird of the duck
family, from which are taken beau-
tiful, soft feathers used for making
entire turbans, as well as feather
breasts. The natural color is ivory,
flecked with brown. The plumage is
thick and downy, and silky and
smooth in texture.
green. A color in the spectrum between
blue and yellow; the color of spring
foliage.
grenadine (grén'à-den). A fine, open
fabric, made of silk or wool mixed
with cotton and having more or less
elaborate warp stripes. Used for
overdrapes and evening dresses.
gros de Londres (gro de 16n'dre.) A
light-weight silk fabric woven with
alternate narrow and wide flat ribs.
It has a glossy finish and comes in
colors and in changeable effects.
Much used for hats and dresses.
grosgrain (grö'grân). A ribbon or a
stout, durable corded silk with
cross-ribs or cords that run from
Selvage to selvage and that are
heavier than poplin but lighter than
faille. Comes in colors. The fabric
is used for coats.
guide pattern. A pattern made of
cambric or some similar material,
cut with the aid of a foundation
tissue-paper pattern and fitted to
the figure. It serves both to test
the accuracy of similar tissue-paper
patterns and to guide one in cutting
and fitting.
guimpe (gimp, gānp, or gāmp). A
chemisette or under waist worn with
a low-cut gown to fill in the neck.
Guimpes are also made with sleeves
and worn with jumper dresses.
guipure lace (ge-pur'). Lace in which
the designs are held together by
means of brides or bars; in other
words, lace having no net ground.
Duchesse, Honiton, Venetian, and
Maltese, though differing from onean-
other, are examples of guipure laces.
gusset. A triangular piece of material
inserted in a garment to fill an open
angle or to strengthen it or give
In Ore room.
H
habit-back placket. A kind of placket
so called because it is used in finishing
the plain back of a woman's riding
skirt or habit.
habutaye (hâ-bu-ty'). A very soft,
light-weight, closely woven, brilliant
Japanese silk, smooth and even in
texture. It is woven with a heavy
sizing on both warp and filling,
which is afterwards boiled out. Used
for summer dresses, waists, skirts,
and automobile or traveling coats.


DEFINITIONS OF USEFUL TERMS
245
Medici collar (mēd'i-che). A large fan-
shaped collar worn by the Medici
queens in the 16th century and
wired or stiffened to stand up and
out from the neck in the back.
Medici lace. A French bobbin lace re-
sembling Cluny to some extent but
usually made of finer thread. It is
much like insertion in effect, except
that one edge is finished with scal-
lops. It is characterized by plain,
close-woven work with which open-
work alternates and produces a good
contrast.
medieval (me-di-e'vål). Belonging to,
or descriptive of, the middle ages,
which include the period in the
history of Europe from the downfall
of Rome in 476 to the beginning of
the modern age, usually reckoned
to be about the time of the fall of
Constantinople in 1453.
mélange (ma-länzh'). A French term
meaning mixtures of color applied
in weaving; also, mixtures of cotton
warp and wool weft.
melton. Athick, heavy material named
for Melton, England, and made of
all wool or cotton warp and woolen
weft. It is finished without pressing
or glossing, the nap being raised
straight and then shorn to show the
weave clearly. Used for outing suits
and overcoats.
mending tissue. A semitransparent
rubber substance that melts when
heat is applied to it. Used for mend-
ing dark silk and woolen materials.
mercerization. A chemical process of
rendering cotton threads lustrous
and strong by treating them with a
caustic alkali under tension. It was
invented by John Mercer, an
English calico printer.
mercerized cotton. Cotton fiber treated
with a solution of caustic soda or
potash at normal temperature under
tension to prevent shrinking. The
fiber thus treated has an increased
attraction for coloring matter and is
characterized by a silky luster.
mercerized cotton thread. A cotton
thread with a soft, glossy finish, con-
taining from two to six strands in a
thread. It comes in skeins and on
spools and is a very satisfactory
thread for embroidery work.
merino. (1) A woolen goods made in
England of shoddy, obtained from
soft woolen or worsted dress goods.
(2) An all-wool fabric, made of very
fine, single merino yarn having either
the face and back twilled alike or
the face twilled and the back plain.
Used for women's dresses.
messaline. A soft, light-weight,
closely woven satin having a brilliant
luster. Comes usually in solid colors.
Used for dresses, petticoats, and
linings.
metal cloth. A fabric woven of cot-
ton or silk, combined with various
threads of gold, silver, or copper.
metal lace. Both a hand-made and a
machine-made lace consisting of a
net foundation on which are woven
all kinds of designs in either gold or
silver threads. It is used as a trim-
ming for evening dresses and robes
and in millinery work.
middy. An unbelted blouse that
reaches to the hips and has a sailor
collar. Such blouses were originally
suggested by those worn by midship-
men or cadets in the United States
navy.
midinette. A shop girl in France.
milan hat. A hat of fine straw
originally manufactured in the pro-
vince of Milan, Italy.
military braid. A black silk braid used
for binding purposes, also for trim-
ming tailored dresses and suits.
Comes in various widths.
millinery. A collective term embracing
all varieties of female head-wear.
mink. The valuable fur of the mink,
very close, soft, and even, and
usually seal-brown in color. The
Japanese mink is darker than the
natural northern mink.
mirror velvet. See velvet.
mistral. A worsted material whose
twisted warp and weft threads are
woven to give a crêpe effect.
mitering. A method of joining two
pieces of material, such as lace,
insertion, embroidery, or finishing
a hem, at an equally divided angle,
aS a COrnet.
mitt. . A kind of glove, often of lace or
knit-work, worn on the hand and
wrist but containing no fingers.


HDEFINITIONS OF USEFUL TERMS
247
nuance (nü-ăns'). A shade of difference
in color; an effect often achieved in
costumes by draping one color over
another.
nun tuck. A tuck two or more inches
wide and placed horizontally in a
skirt.
nun's veiling. (1) A narrow, filmy,
black veiling made of cotton, silk,
or wool warp and a woolen filling
and having a border on one side;
used for mourning purposes. (2) A
heavier fabric of the same composi-
tion and wider in width; sometimes
known as wool batiste. Used as
dress goods.
nutria. The fur of a South American,
beaver-like animal. It is used as
an imitation of beaver and can be
dressed to resemble sealskin.
O
napery hem. A hem, sometimes called
the French hem, used on table linens
and handkerchiefs, blending with the
threads of the material and having
the same appearance both on the
right and wrong sides after launder-
ing. The hem is creased on the fold
and secured in position by means of
fine overhand-stitches.
needle. A small, slender, pointed steel
instrument containing an eye that
will carry the thread and a point
that will permit the needle to pass
through a fabric. In sewing needles,
which range from 1 to 12, No. 1
being the coarsest and No. 12, the
finest, the eye is at the head, while
in sewing-machine needles, which are
designated by letters and numbers,
the eye is at the point. Milliners'
needles, known as sharps and
betweens, are very long. Em-
broidery or crewel, tapestry, and
darning needles have long eyes.
needle bar. The needle-bearing bar on
a sewing machine, which gives an
alternating motion to the needle.
negligée (nég-li-zhā'). A loose gown
worn by women, generally hanging
free from the shoulders and often
held in at the waist line with ribbon
or a girdle. Also called kimond.
Neopolitan hat. Originally, a tall,
conical hat, made of woven fiber or
a sheer, lacy horsehair braid, worn
in Naples. Now, any hat made of
such braid.
normal color. The foundation color of a
scale of tones, the tones getting darker
or lighter from this foundation.
notch collar. A coat collar applied so
as to produce a notch at the joining
of the collar and the lapels.
Nottingham lace. Any machine-made
lace made formerly or at the present
time in Nottingham, England, the
center of the machine-made lace
trade. Various laces, such as Val,
Point de Paris, Cluny, torchon, and
curtain laces, as well as numerous
kinds of net, are products of the
Nottingham district.
novelty suitings. A name applied
originally to plain homespun weaves
with rough, irregular fillings of
different colors, but now referring
to all weaves, especially brocaded
or Jacquard effects.
olive. Greenish yellow, or the color of
the foliage on the olive tree.
olive brunette. A type of person having
dark-brown or black hair, clear-
brown or black eyes, dark com-
plexion, smooth skin, and very
deep-red lips.
one-piece dress. A waist and a skirt
combined into one garment.
opossum. The dusky, grayish fur of
the opossum, having coarse white
hair and often used as a trimming
On COatS.
orange. One of the colors of the
spectrum; a reddish yellow.
organdie. Plain, very fine-weave
material, in white and colors, char-
acterized by crispness. Used for
dresses, aprons, collars, and cuffs.
organzine. The fine silk yarn used for
warp in the weaving of silk fabrics
and for which the best grade of
reeled and twisted silk is used. It
consists of two strands of raw silk
twisted together and formed into a
strong, firm warp by doubling it and
twisting it again.
Oriental costume. The costume in
the countries east of the Mediter-
ranean, the striking characteristics
of which are loose, baggy, gathered-
in-at-the-bottom trousers and skirts
worn by the women and brilliant
colors used in both costumes and
ornaments. Oriental influence is
evident in modern modes.


248
DEFINITIONS OF USEFUL TERMS
Oriental laces. In the historical sense,
the lace products of the East,
including China, India, Japan, Persia,
and Turkey, which are remarkable
for the labor expended on them,
their great cost, and the originality
and boldness of the idea and coloring
that characterize them. In another
sense, Oriental laces are both
machine-made and hand-made laces,
in which the design is woven through
and through the net and thus be-
comes very firm. They come in
many designs and widths and are
much used on dresses, curtains, bed
sets, shams, and the like.
ornamental buttonhole edge. A stitch
used to ornament a plain edge and
made by working three buttonhole-
stitches over each of a series of
loops formed around the edge.
otter. A fur similar in color to beaver,
but in characteristics more like seal.
It is often dyed as seal, but lacks
much of the luster.
ottoman. A heavy, plain fabric with
flat, crosswise ribs. The filling may
be silk, worsted, or cotton. Wool
ottoman is used for dresses, skirts,
and suits. Silk ottoman is used
more for wraps and as a trimming
than for dresses.
outing flannel. A cotton material
similar to flannelette with a nap on
both sides. Made in colors, stripes,
and checks. Used for sleeping and
infants' garments.
outline-stitch. A simple embroidery
stitch used to outline designs in
embroidery work. It is really an
overcasting-stitch with the stitches
laid one above the other but not
overlapping and taken away from the
worker instead of from right to left.
It is sometimes called the compact
overcast-Stitch.
overblouse. An elongated blouse worn
over the skirt instead of inside of it.
overcasting. A sewing operation con-
sisting of loose, slanting stitches
taken over the raw edges of a seam
to keep them from raveling.
overcoat. An extra outdoor coat worn
over a suit; a top coat or a great coat.
overcoating. A variety of medium-
weight or heavy woolen or worsted
fabrics, woven especially for over-
coats.
overhanding. A sewing operation used .
to fasten two edges together, usually
selvages, where a flat seam is
desired. With the two edges basted
and the material held in the left
hand, the edges between the thumb
and the forefinger, overhanding con-
sists in placing the needle in from
the back, pointing it toward the
left shoulder, and taking the stitches
over and over the edge until the seam
is completed.
overskirt. A skirt or drapery worn
shorter than the skirt of a dress and
over it.
oxford shoe. A low, laced shoe tied at
the instep. Probably so called
because it was worn by students of
Oxford University, England.
P
padding cotton. A cotton thread in
various colors having four to six
strands and used for padding in
embroidery work.
padding-stitch. An embroidery stitch
made on the surface of a fabric to
form a foundation, or groundwork,
for a raised design, being covered
entirely by another stitch and serv-
ing to make the design appear
heavier and more attractive.
paillette (pāl-yét'). A spangle, espe-
cially one of a bunch of hanging
spangles.
Paisley. (1) A wool fabric of many
designs and colors, made in Paisley,
Scotland, in imitation of Cashmere;
used for dresses, shawls, and trim-
mings. (2) A soft silk, patterned
after the wool fabric; used princi-
pally for dress trimmings and blouses.
pajamas. Loose trousers with coats to
match, used as sleeping garments.
pale brunette. A type of person having
black or dark-brown hair, brown,
gray, or blue eyes, clear complexion,
fair skin, and varying color.
paletot (pâl'e-to). A loose overcoat for
Inan Or WOman.
paletot sac. A straight-line top coat.
palla (pāl'à). The outer garment worn
by the women of ancient Rome.
panache (pā-nāsh'). A plume or bunch
of feathers, Louis XVI style, expe-
cially when used as a head-dress or
an ornament on a helmet.


DEFINITIONS OF
USEFUL TERMS 249
panache de coque.
feathers.
panama. (1) A fabric usually made of
hard-twisted yarn in plain weave.
Sometimes coarser yarn is used and
a basket weave produced. (2) A
fabric made of cotton warp and
double filling and producing an
effect similar to the texture of
Panama hats. Used for skirts and
suits.
Panama hat. A hat made of the young
leaves of the stemless screw-pine of
Central America.
panel. A piece of material inserted,
applied, or allowed to hang free in a
garment and generally used as a
designing feature.
panne velvet (pân). See velvet.
pannier (pán'yer). A light framework
formerly worn for extending a
woman's skirt at the hips; now, a
drapery over the hips to produce a
similar effect.
pantalets. Long drawers formerly worn
by women and children. Pantalets
were first worn about 1800 with the
transparent dresses then in fashion.
Pantalets for young girls were often
only loose ruffles tied on below the
knee with a draw string.
paradise plume. The long, soft, grace-
ful plume of the bird of paradise.
Paraguay lace (pār'a-gwa). A lace
formed of spider web effects woven
of single threads and then woven
together. Very fine Paraguay laces
are used for dress trimmings, while
the coarser weaves are found in
fancy work.
parasol. A small, light umbrella used
as a sunshade.
passée (pā-sa'). Past the prime; old-
fashioned; worn out.
passementerie (pás-mên'tri). A term
applied to heavy embroideries or
edgings, particularly those made of
rich gimps, braids, beads, silks, and
tinsel.
pastel (pās-tê1'). A name applied to
very soft, delicate tones of colors.
patch pockets. A type of pocket con-
sisting of a piece of properly shaped
material stitched to the outside of
a garment in a way similar to a
plain-apron pocket.
A plume of cock
patten. A thick-soled shoe like a clog
or chopine. Sometimes worn over
slippers to protect them.
pattern. A model or a plan that serves
as a guide in forming something else.
In dressmaking, it refers to a guide
used for cutting garments.
paux (póks). A lappet, revers, or tab.
pearling. A very fine, narrow picot
edge used as a finish for dress linings
and the like.
peasant costumes. The form of dress
worn by the peasants of Europe. In
Some sections, these have been the
same for hundreds of years, but in
many cases they differ widely. The
characteristics of peasant, costumes
are often seen in present-day styles.
peau de cygne (po-de-se'nye). A satin-
weave fabric of soft, lustrous finish
in diagonal weave with a prominent
cross-thread. The name means
“swan's skin.” Used for dresses,
suits, and coats.
peau de soie (pó-de-swā'). A firm, soft,
durable silk fabric in grainy weave
with dull, satiny finish. Made in
both single and double face. Used
for dresses and trimmings.
peg top. This term was originally used
as the name of a boy's pear-shaped
spinning top. The name is now
applied to trousers and skirts that
are made wide at the hips and nar-
row at the bottom.
pekin. A satin fabric, in which the
stripes run with the warp.
pelerine (pé1'er-in). A long, narrow
cape, usually pointed at front.
pelisse (pé-lès'). A long outer cloak.
originally one of fur or lined with fur;
in fact, the term comes from the
word pelt. These coats were very
fashionable during the French Revo-
lution (1789–1802) and the periods
immediately following it.
peplum. In ancient Greece, a close-
fitting gown extending from the neck
to the feet. The term is now applied
to a small ruffle, flounce, or short
skirt on the bottom of a blouse.
percale (per-kāl'). A firm, close cotton
fabric, plain and in colors. Used for
dresses, shirts, and children's clothes.
percaline. A plain, closely woven
cotton fabric, with glazed, watered
finish. Used for linings.


250 DEFINITIONS OF USEFUL TERMS
perfected harmony. Harmony pro-
duced by associating colors in such
proportions that their admixture
produces white, or approximately
white, the combinations formed
being nearly equivalent to com-
plementary colors.
periwig (pêr'í-wig). A head-dress of
false hair worn for ornament or as a
mark of rank or dignity. Periwigs
were first worn in England during
Elizabeth's reign (1558–1603); they
became very large and elaborate
during the Cavalier period (1625–
1649); and the fashion began to wane
in the reign of George III (1760–
1820).
Persian. A silk, light in color and
printed with large flowers. Used
chiefly for linings and trimmings.
Peter Pan collar. A round turn-down
collar, sometimes stiffly starched.
These collars embody the very spirit
of youth, which Barrie so charmingly
pictures in his story of Peter Pan.
Peter Thomson dress. A kind of dress
worn by young girls, the waist of
which is made in exact imitation of
a sailor's blouse. This style of dress
derives its name from its creator,
Peter Thomson, who was a tailor in
the navy and later conducted a
tailoring shop in Philadelphia.
petticoat. A word that has strayed
far from its original meaning. When
men first began to wear short coats,
or jackets, in England, these garments
were called petticoats. At the
close of the 15th century, men
wore petticoats, or Small coats,
beneath their long coats or gowns.
In certain parts of Scotland, women's
skirts are still called her coats, and
this was perhaps so throughout the
British Isles at one time. During
the Elizabethan period (1558—1602),
gowns were left open in front to
show handsomely decorated petti-
coats. In the Cavalier period
(1625–1649), petticoats were also
called plackets. Now, a loose under-
skirt worn by women and girls.
piccadilly. A large ruff with points
around the edge. It is said that
Piccadilly in London took its name
from the sale of these ruffs, which
was first started by Higgins, a
tailor, in a house near what was
then the western extremity of this
Street.
Picken dressmaker's gauge. A sewing
convenience whose purpose is to
save time and insure accuracy in
the marking of scallops, the width
of tucks and the space between
them, hems, plaits, and the spacing
of ruffles, buttons, buttonholes,
hooks and eyes, and snap fasteners.
picot (pi-có'). In fabrics, loops along
the selvage to form a finish on one
or both sides. In laces, small loops
decorating the edge of the pattern.
A picot edging is produced by cut-
ting machine hemstitching in half.
pile. Regular and closely set nap in
which the threads stand up close
together to form a uniform and even
surface.
pinafore. A sleeveless apron worn by
children to protect the front of their
dresses.
pinking. A form of notched finish
done by means of a pinking ma-
chine and used to a large extent on
SeamS. -
pinners. Aprons or pinafores popular
during the reign of Queen Anne in
England in the early 18th century.
piping. A bias fold or cord put on the
edge of a band or garment as a
finish.
piqué (pe-ka'). A firm fabric in
lengthwise corded effect, used for
dresses, skirts, vests, cravats, and
children's coats.
placket. The opening, or slit, left in
the upper part of a woman's skirt
for convenience in putting it on.
During the Cavalier period (1625–
1649), petticoats were sometimes
called plackets, and the opening in
them was called a placket hole.
plaid. A large variety of twilled cot-
ton, woolen, worsted, or silk fabrics,
woven in tartan patterns and con-
sisting of colored bars crossing each
other at right angles and forming
large squares.
plait. A trimming made by folding
the material over on itself. The
varieties of plaits include box
plaits, double and triple box plaits,
kilt plaits, knife plaits, accordion
plaits, sunburst plaits, and cart-
ridge plaits.


DEFINITIONS OF USEFUL TERMS
253
rambler-rose-stitch. A close embroid-
ered flower made by working loose
stitches around and around a center
of French knots. It is used for
small flowers and for designs con-
taining clover blossoms, bachelor
buttons, etc.
rat-tail braid.
braid resembling a rat's tail.
for trimming purposes.
ratiné (rá-ti-ne'). A loosely woven
fabric, made in cotton and wool, the
weft threads of which are looped to
give a rough, uneven weave. Used
for dresses and suits.
ratiné lace. An inexpensive machine-
made lace with a groundwork of
heavy loops, resembling Turkish
toweling. It is used on wash dresses
made of heavy material.
raw silk. A term applied to the fiber
produced by the silkworm in the
form of cocoons. It also means the
thread produced by reeling a given
number of cocoons together, each
thread thus being composed of a
number of filaments.
red. A color seen at the end of the
spectrum opposite the violet end
and notably that of fresh human
blood and the ruby.
redingote (réd-in-got'). A corruption
of the term riding coat. A woman's
outer garment cut princesse style
and showing a skirt front beneath,
it being cut away in front like an
old-fashioned riding coat.
reefer. A short jacket like a short
box coat.
remodel. To remake in conformity
with a model or pattern.
renaissance (rén-è-såns'). A revival
of the Greek and Roman methods
of design, which remained dominant
during the 15th and 16th centuries.
From this period comes much of the
color influence for which the art of
that time was largely famous.
renaissance lace. A modern tape
lace, the tape being woven into
motifs, which are fastened together
with twisted bars, spider wheels,
and other flat stitches. The fine
weaves are used for dresses and the
coarser weaves for draperies.
renovate. To make material or a
garment of any kind as good as
A small, tubular silk
Used
new, to refresh it, or put it in good
condition.
rep. A cotton, wool, or silk fabric
woven with heavier weft than warp
and producing a crosswise ribbed
effect. Used in skirts and suits and
in clothes for men and boys.
reticella lace (rét-i-ché1'a). The ear-
liest form of needle-point lace;
characterized by geometric designs.
In the original form, it contained
cut and drawn work with button-
holed edges connected with brides.
Reticella lace is used for collars and
sometimes in millinery work. The
finer weaves are employed as dress
trimmings.
reticule (rét'i-kül). A small bag
originally made of net work, but
now made of other material and
used by women in which to carry
small articles. Reticules were fash-
ionable during the Directory, Con-
sul, and Empire periods in the 19th
century being called ridicules.
revers. See lapel.
reversible material. A material that
has not a pile, ply, nap, nor pattern
running in one direction and there-
fore capable of being used on either
side. Or, a material that is double-
faced and therefore can be used on
both sides.
ribbon. A band of silk, satin, or
velvet, similar to silk, except that
ribbon has a cord finish along both
edges, whereas silk has a Selvage.
rice braid. A braid similar to corona-
tion braid but smaller in size. Its
thick parts are so spaced as to give
it the appearance of grains of rice
lying together.
rice net. A woven net of coarse cotton
thread stiffened by sizing and used
for hat foundations.
rickrack braid. A form of open-work
trimming made with serpentine
braid.
ripping knife. A small knife having
a blade of hard steel and used to rip
seams apart.
rococo (ro-kö'có). A style of hat of
the Victorian era. The brim dips
slightly at the front and back, and
it is usually tipped over the face;
really one of the most graceful and
feminine of styles.


X) EFINITIONS OF USEFUL TERMS 255
on its manner of weaving and the
treatment it receives afterward be-
tween heated cylinders. It comes
in many varieties and is used for
dresses, coats, and linings.
satin-stitch. An embroidery stitch,
either flat or raised and repeated
in parallel lines close enough to-
gether so as to produce a satiny
appearance, but not so close as to
overlap. Sometimes the stitch is
divided and worked in two sections,
as in a leaf or a scroll design where
the space is too wide for the regular
satin-stitch or the leaf is to be
sewed. It is the most widely used
of all the embroidery stitches.
scallop. One of a series of circular
'curves or projections along an edge.
scallop buttonhole-stitch. An em-
broidery stitch used in the forma-
tion of scallops; in reality, the
single-purl buttonhole-stitch applied
to scallops. It is made by inserting
the needle on the inside line of the
scallop and bringing it up outside
of the padding on the outside line
so that the thread is kept to the left
and runs under the needle in each
stitch.
scallop-finish edging. An edging about
# inch wide having one side scal-
loped and used as a finish for gar-
ments that require frequent laun-
dering, such as children's underwear
and dresses.
scarf. A broad band of fabric worn
loosely over the shoulders or about
the neck.
scissors. A cutting implement rang-
ing from 3 to 6 inches in length and
consisting of a pair of blades having
handles and pivoted face to face
so that the sharpened edges may be
brought together on the thing to
be cut. Buttonhole scissors range
from 3 to 5 inches in length and have
blades which are regulated by a
screw. Their edges stop short of the
pivot, so that a slit can be made
without cutting the edge of the cloth.
Scotch plaid. Dress material contain-
ing plaids and originating in Scot-
land but now used almost every-
where. Formerly, in Scotland, the
colors of these plaids were arranged
with the greatest nicety, so as to
preserve the patterns, or sets, as
they are called, each of which
represented a different clan, tribe,
family, or district. Thus, a Stuart,
a Macdonald, a Campbell, etc.,
was known by the color and the
pattern of his plaid or tartan.
scratch felt. A cheap wool with long
arns woven in, producing a camel's-
air effect.
scrim. A cotton material having an
open-mesh weave, in white, cream,
and ecru, light in weight, trans-
parent, and used for draperies.
sealskin. The skin of the fur seal
when prepared as a fur by removing
the coarse hairs and dyeing it a
dark brown.
seam. The line where two parts of a
garment are joined.
seam binding. Material for finishing
edges, and made in narrow strips,
6 and 9 yards long. Comes in black,
white, and colors. Cotton-binding,
or bias-binding, has its edges turned
ready for application. Silk seam
binding resembles light-weight taffeta
ribbon.
seam placket. A placket in a seam
made by applying a straight strip
of material to each of the seam
edges.
secondary colors. The colors produced
by a mixture or union of pigments of
two primary colors. The secondary
colors are orange, green, and violet.
seed-stitch. An embroidery stitch
resembling a tiny dot and made by
taking a very small back-stitch. It
serves as a filling-stitch in Small
flower designs, borders, initials, and
similar places where other filling-
stitches, such as knot-Stitches, are
too large.
seersucker (ser'súk-Ér). A light-weight
wash fabric in plain weave having
an irregular, crinkled surface pro-
duced by making that part of the
warp very slack. Used for dresses,
coats, and underwear.
selvage. The edge of woven fabrics,
consisting of one or more stronger
cords or a narrow border so woven
or finished that it will not ravel
nor need hemming.
semifitted. In reference to clothes,
a term that means only partly con-
forming to the shape of the figure.


256
DEFINITIONS OF USEFUL TERMS
sequins (sê'kwin). A form of dress
trimming made of very small metal
disks or spangles in bands from
# inch to 1 yard or more in width.
serge. The most popular of all woolen
materials and made since the 12th
century in great variety. It has a
clear finish in an even-sided twill,
producing a flat, diagonal rib effect.
The best grades are made of worsted
warp and woolen filling or all-
worsted and are used for suits,
dresses, and coats.
set-in sleeves. Sleeves that are set
in the waist at the armhole.
shade. A dark tone of any color;
that is, one approaching black. This
term, however, has been replaced
by black.
shadow embroidery. A form of em-
broidery consisting of single fagot-
ing-stitches so made on the wrong
side of very sheer material that they
show through on the right side in
shadow effect. It is generally used
for narrow petals and leaves that have
an even outline and no turnovers.
shadow lace. A machine-made lace
of a light, filmy character. Its sur-
face is entirely flat and its designs are
rather indistinct. It is used exten-
sively for draped dresses and as a
dress trimming.
shako (shāk'ö). A high military hat,
originally of fur.
shank button. A button having a pro-
jecting piece or loop on its under side
by which itisattached to thematerial.
shantung (shān-tung"). A rough, plain,
washable fabric of natural color; in
reality, a heavy grade of pongee
silk used for dresses and blouses.
shawl collar. A collar whose edge has
no notch.
sheaf-stitch. An open-seam stitch
made by tying groups of threads
together in such a way as to give
them the appearance of sheaves.
The thread that does the tying runs
through the center of the space
between the ribbons to be joined
and gathers up several cross-threads
and fastens them with a knot.
shears. A large pair of scissors, being
6 inches or longer and usually hav-
ing one small handle for the thumb
and one iarge handle for several of
the fingers, thereby permitting con-
siderable cutting without tiring the
hand.
sheath gown." A straight, close-fitting
gown that first came into vogue
under that name during the Directory
period (1795–1799).
sheen. A glistening brightness, espe-
cially a faint luster, as from reflec-
tion.
sheet wadding. Sheets of corded cot-
ton, used for padding garments, bed
covers, etc.
sheeting. A wide cotton or linen
fabric, twilled or untwilled, bleached
or unbleached, used for making
sheets for beds.
shield. A piece of moisture-proof
fabric worn to protect a part of the
clothing liable to become soiled.
shirring. A sewing operation in which
two or more rows of gathers are
used where considerable material is
to be gathered into small space.
The stitches in the second and
third rows are made directly in line
with those in the first row and from
# to # inch apart.
shirring plate. A sewing-machine at-
tachment used with the ruffler to
produce shirring in material.
shirt. A loose undergarment for the
upper part of the body, made of cot-
ton, linen, silk, or wool and formerly
worn by both sexes. Now, commonly
restricted to a garment worn by men
and boys and having collar and
cuffs either attached or separate.
shirting. Cotton or linen material
used for making shirts.
shirtwaist. A belted waist resembling
a shirt in plainness of cut and style
and worn by women and girls. Also
called a blouse.
shoddy. Formerly applied to the
waste thrown off in wool spinning,
but now applied to the shredded
wool or old cloth reduced to a
fibrous condition to be remanu-
factured. Silk shoddy is similar
to wool shoddy in origin and con-
sists of the recarded fibers from
manfactured silks.
shoe satin. A very strong, Tāurable
fabric having a dull back and a
smooth, semiglossy face and used in
making footwear.


DEFINITIONS OF USEFUL TERMS
257
short-lapped placket. A placket cut
in the center of a gore or skirt
section on a lengthwise thread of
the material and made only 3 or 4
inches long.
shot silk. Changeable or iridescent
silk produced by having a weft of
one color and a warp of another.
shuttle. (1) In weaving, a device
used to carry the weft thread, or
filling, to and fro between the warp
threads. (2) The sliding thread
holder in a two-thread sewing ma-
chine which carries the lower thread
between the needle and the upper
thread to make a lock-stitch. (3) A
thread-carrying device used in tatting
and embroidery.
Sicilienne (si-sil-i-èn'). (1) A coarse
weave of mohair having cotton warp
and wool or mohair weft, which
gives a wiry finish. Used for men's
dusters and summer coats, also for
women's wear. (2) A plain-woven
silk fabric with heavy weft ribs;
now made with silk warp and a
heavier cotton or wool filling in
plain weave, forming cross-ribs, simi-
lar to poplin.
silesia (si-le'shā). A stout light-
weight, twilled cotton material with
a glossy finish, similar to percaline.
Used for linings.
silhouette (sil-ć6-Št'). The outline of
a solid figure; also, a profile drawing
or portrait having its outline filled
in with uniform color, usually
black, and its other features with
lighter lines. The best way to
study the proportion of a costume
is to think of it in silhouette with-
out taking into consideration any
details or accessories.
silk. A fine, frail, glossy, fibrous sub-
stance, produced chiefly by the silk-
worm in the formation of its cocoon.
The cocoon is yellow or white in
color, because of the gum secreted
by the worm, but it becomes white
or pale cream upon being boiled in
soap and water. The wild silk, the
worm of which feeds on certain oak
trees in China, India, and Japan, is
ecru colored even after the gum has
been removed.
silkaline. A soft, glazed cotton used
for draperies and for comfortables.
L D 1–18
silkatine thread.
A cheap, twisted
cotton thread with a high luster in
imitation of silk. It does not pro-
duce the effect that silk thread does,
nor does it launder so well as mer-
cerized cotton, but it is commend-
able for practice work.
silver cloth. A metal cloth made of
metal warp in silver color and silk
weft. Used for trimmings, chiefly
on evening dresses.
silver tissue. A transparent metal
cloth made of metal warp in silver
color and silk weft. In the cheaper
grades, merely an imitation of
metal cloth.
silvertone. A velour, velvet, or plush
having a limited quantity of real
and artificial white silk mixed with
the stock to produce a shimmering
effect. The term originated in 1916,
but the idea is much older.
simplicity knot-stitch. An embroidery
stitch that resmbles a knot and is
made by two small back-stitches
placed next to each other. It is
.# popular for border and outline
WOrk.
simulated. Applied to dressmaking,
a term that means having the
appearance of or in imitation of
something else; as, a simulated
buttonhole, pocket, hem, etc.
simulated buttonhole. A buttonhole
made on the material for trimming
purposes in imitation of a button-
hole, no slit being used. Sometimes
called a blind buttonhole.
simultaneous contrast. The effect
produced by bringing together pale
and dark colors that are not com-
plementary to each other.
single-stitch seam. An attractive
finish for a plain seam consisting
in basting both edges back from the
seam and then stitching accurately
on both sides.
singles. See thrown silk.
skinner's satin. A heavy, durable
satin having a high luster. Used
for dresses and also for linings.
skirt. That part of a coat, dress, or
other garment that hangs below the
waist.
skirt gauge. A device used in mark-
ing the desired skirt length.


DEFINITIONS OF USEFUL TERMS
259
sponge cloth. A piece of cloth, such
as unbleached duck or drilling, about
# to # yard in size, used to dampen
materials before they are pressed.
sports suits. Articles of wear especially
adapted as to style and material for
sports wear.
spun silk. Inferior silk made from
short, waste fibers and from im-
perfect cocoons. Used for knitted
fabrics, embroidery and knitting
silks, and in combination with
cotton or wool.
St. Gall lace. A machine-made imita-
tion of Venetian lace. It is produced
with machinery by embroidering
with cotton or silk thread on woolen
material. When the embroidery
is completed, it is chemically treated
to dissolve the wool and leave only
the cotton or silk embroidery, which
takes on the appearance of lace.
stand pocket. A type of tailored
pocket having an upstanding part
as a finish for the opening.
stays. The stiffening pieces of a
corset; also, corsets themselves,
especially the early form of corsets.
These were originally almost instru-
ments of torture, but early in the
19th century they began to receive
the attention of manufacturers and
they have gradually been improved
until they are now pliant and elastic,
giving the desired freedom and yet
defining the figure satisfactorily.
steinkirk. A lace cravat worn in a
negligent way and taking its name
from the battle of Steinkirk (1692) in
Belgium, where the French had to
fight with disarranged cravats.
stem-stitch. An embroidery stitch
sometimes called French stemming
and made by first padding the outline
or stem with the running- or the
outline-stitch and then whipping this
over and over with very even stitches
made straight with the grain of the
fabric or worked diagonally. It is
used when heavier or more elaborate
work is required than can be done
by the outline-stitch.
stiletto (sti-lèt'o). A small, sharp-
pointed instrument made of ivory,
bone, celluloid, steel, aluminum,
or other metal and used for punctur-
ing eyelet holes in material.
stock. A broad, stiffened collar or
cravat. The stocks worn during
the Georgian period (1714—1830)
were tied in so many complicated
ways that a book was published con-
taining numerous diagrams and
charts describing many different
styles.
stockinet weave. A knitted fabric,
often in tubular form, largely used
for underwear.
stola (sto'lá). The gown worn by the
women of ancient Rome draped
around the figure and containing
sleeves.
stole. A long, narrow scarf, usually
fringed at the ends and worn over
the shoulders; often made of fur.
A part of the vestments of the clergy
of Roman Catholic, Oriental, and
Anglican churches.
stomacher (stüm'īk-ér). An article of
dress, usually of rich material and
elaborately ornamented, for the
breast and upper abdomen, having
the gown laced over it. Worn in
the 15th and 17th centuries. Stom-
achers were sometimes padded.
storm serge. A very light-weight
serge of hard, fine weave with nap
made from comparatively low stock
with single yarn for both warp and
filling. Used for dresses, skirts,
and suits.
stowing. A term applied in the tailor-
ing trade to the joining of two edges.
It means to pack the edges together
closely so that the joining is scarcely
visible.
stranding thread. Tailors' gimp or a
thread, usually linen, twisted and
waxed and used to strengthen the
edge of a tailored buttonhole before
it is worked.
strap seam. A plain seam with a good
seam allowance, over which a bias
or crosswise strap of the same or
contrasting material is placed on
the right side after the seam has
been pressed open.
straw braids. The braids used in
making straw hats, which are largely
imported, the finer braids coming
from South America, Italy, and
Switzerland and cheaper kinds from
China and Japan. They range
from # inch to 3 inches in width.


260
DEFINITIONS OF USEFUL TERMS
stroking. A sewing operation that
consists in laying the gathers after
they have been drawn up. It is
done by drawing a needle down be-
tween the gathers from above the
gathering thread and pressing the
little plaits under the thumb.
style. As related to clothes, style
pertains to the motif, the treatment,
or the design, in contrast with
fashion, which refers to the popu-
larity of a certain style, the common
trend, the prevailing mode.
suède (swäd). Undressed kid; that is,
a skin from which the outer part has
been rubbed off or skinned. Used
largely for gloves, but occasionally
employed as a dress trimming.
sugar-loaf hat. A hat in the shape of
an old-fashioned sugar-loaf, which
was conical and rounded at the top.
suit. A combination of two or more
garments constituting a single article.
sunburst plaits. A form of accordion
plaiting in which the plaits are very
narrow at the top and wide at the
bottom, thus producing a flare.
surah (sū'ră). A soft, light-weight,
all-wool dress fabric woven in nearly
invisible cords or twills or in fine
basket-weave effect. Also a light-
weight, soft, twilled silk.
surcoat. A loose garment worn by
men over armor during the middle
ages. Sometimes embroidered with
the wearer's coat-of-arms. Also, an
outer body jacket for women, often
trimmed with fur, in the 14th and
15th centuries.
swatch. A small piece of material,
especially one cut off for a sample.
Swiss. A dress muslin usually in
dotted or cross-bar effects. Used
for dresses and curtains.
T
tablier (tā-bli-e'). An apron-like part
of a woman's dress.
taffeta. A fine, smooth, glossy, un-
twilled fabric, having considerable
body and alike on both sides.
Formerly, it was a very rich, strong,
and somewhat stiff fabric, but at the
present time it is made very pliable
and lustrous. It may be plain,
figured, striped, plaid, or changeable.
Used for dresses and general garmeut
purposes. Chiffon taffeta is a light-
weight variety of good quality and
soft, lustrous finish and is much used
for evening gowns.
tagal straw (tā-gål'). A straw of
which hats are made. It bears the
name of a Dutch province in Northern
Java.
tailleur (tā-yūr'). A French word
meaning tailor or tailoress. A tailor-
made suit or dress is now called
a tailleur, just as one speaks of a
“tailormade’’ in English.
tailored fell. A tailored seam made
in a way similar to a hand fell
but stitched by machine rather than
by hand. It is used extensively in
making unlined coats and skirts,
especially tailored wash skirts.
tailors' chalk. Chalk used by tailors for
the marking of all lines in their work.
tailors' tacks. See mark-stitching.
tamise cloth. See batiste.
tam o'Shanter. A cap of Scotch
origin fitting tight around the
brows but large and full above,
sometimes having a flat top and often
a knot or a tassel.
tape. A narrow strip of firmly woven
cotton or linen. Lingerie tape is a
finely woven cotton tape which
comes in light colors and is used as
a ribbon substitute.
tape measure. . A tape line usually
60 inches in length and # to # inch
wide, and divided into inches, half
inches, quarter inches, and eighth
inches.
tapestry darning-stitch. An over-and-
over embroidery stitch that re-
sembles darned work when finished
but gives a solid effect in alternated
stitches. It is used as a border for
towels, table covers, etc. and in
conventional designs in fancy work
and dressmaking.
tarlatan. . An open-mesh, slightly
stiffened fabric used for Christmas
stockings and as a stiffening in gar-
mentS.
tartan. Originally, Scotch twilled
woolen or worsted plaids with dis-
tinctive designs and colors for each
Highland clan. These tartans ap-
peared in the shawl worn over the
shoulders and in the kilt. Now used
for suits and skirts.


262
DEFINITIONS OF USEFUL TERMS
torchon lace (tôr'shön). A coarse bob-
bin lace made of strong, soft, and
loosely twisted thread, linen thread
being used for the better grades and
cotton, for the cheaper ones. The
cotton varieties are sometimes called
beggars' lace, or Bavarian lace. The
wearing qualities of this lace are very
good. The fine weaves are used on
lingerie dresses and the coarse ones in
fancy work.
tosca net. A form of net that is more
open in design than ordinary bob-
binet. It is firmly woven and very
durable.
touffe (tòóf). A tuft, bunch, cluster,
clump, wisp; used with regard to
flowers and aigrets when they are
employed in millinery.
tracing wheel. A toothed wheel used
to trace lines. It is invaluable as
an accurate marker and effects a
great saving of time in basting.
train. An extension at the bottom of a
dress skirt that trails at the back or
is thrown over the arm in walking.
A train is often made separate and
attached either at the back neck or
back waist line.
tram. Loosely twisted silk yarn used
for filling in the weaving of silk
fabrics. It is softer and weaker than
organzine and is made of the lower
grades of silk.
transfer patterns. Tissue-paper pat-
terns on which are stamped em-
broidery designs that may be trans-
ferred to the material that is to be
embroidered.
triangular buttonhole-stitch. An em-
broidery stitch consisting of a blank-
et-stitch run diagonally to fill in an
embroidery design, forming small
triangular sections in the design.
tricorne hat(tri'körn). A three-cornered
hat with upturned brim, as the
Marquise or Continental.
tricot (tre'kö). A weave showing a
very narrow, inconspicuous stripe
like a knitted effect. It is usually
made in wool, but sometimes comes
in silk.
A soft, firm,
tricotine (tri-ko-ten').
woolen material showing a very
narrow, inconspicuous diagonal twill
that gives a knitted effect. Used
for dresses and suits.
trio filling-stitch. An embroidery
stitch sometimes called the thousand-
flower stitch and consisting of three
stitches grouped together to form a
design, the center one vertical and
the other two diagonal. It is used
to fill in borders or large designs.
trotteur (trö-tür'). Trotting or walk-
ing. As applied to dress, it refers
to a somewhat plain, substantial
article that is suitable for walking
or out-of-doors purposes.
trousseau (tröö-s0'). A bride's outfit,
especially her clothing.
tubular fabrics. Fabrics knit or woven
in the form of seamless tubes.
tucked seam. A seam sometimes
called an open welt, finished with a
tuck by stitching from # to 1 inch
from the edge of the seam.
tucked-seam placket. An incon-
spicuous placket made on a tucked
seam and stitched so that it ap-
pears to be a continuation of the
placket.
tucker. (1) A vest or guimpe worn
with low-cut dresses late in the
Cavalier period (1625–1649). (2)
A sewing-machine attachment for
making tucks.
tulle (tòOl). A fine, fluffy, machine-
made net of silk or cotton. The
meshes, which are small, are round
or have regular or irregular sides
and corners. Used in millinery and
for drapery on dresses and party
frocks. Also called illusion.
tunic. A section of a modern garment
similar to an overskirt and either
fitted or gathered at the waist line.
The Greek chiton was sometimes
called a tunic, as was also the under-
garment worn in Rome. The tunic
without the toga was worn by Roman
Soldiers in camp, a fact which ac-
counts for an undress military coat
being called a tunic even in modern
times. Among the Saxons, the tunic
was an outer garment reaching
about to the knees, made with
sleeves and open half way down the
breast and on the sides from the
hip to the bottom. Tunics of uneven
length and beautifully ornamented
were worn in Byzantium toward the
end of the Roman Empire in the 3d
century.


264
DEFINITIONS OF USEFUL TERMS
underproper. A wire arrangement
that held up the huge ruffs worn in
the 16th and 17th centuries.
undersleeve. A separate sleeve of
light material worn under the sleeve
of a woman's dress.
V -
V neck. A neck line shaped like the
letter V in front.
Valenciennes lace (vá-lān-syên'). A
bobbin lace commonly called Val,
in which the same thread is used for
both the ground and the pattern.
The mesh is very open and of great
regularity, being hexagonal, square,
or diamond-shaped, with natural or
conventionalized flowers or trailing
patterns. A distinguishing feature
of the real Val is the absence of any
outlining thread, the lace being flat
and worked in one piece.
Van Dyck, or Vandyke, collar(vän dik').
Large collars of lace or linen with
lace in deep points on the edge.
These collars were worn by so many
of the people who appear in portraits
painted by Van Dyck that they are
called the Van Dyck collar.
vegetable ivory. Material produced
from the seed of a tropical American
palm and used in the making of
buttons. It can be cut, engraved,
polished, and dyed more effectively
than any other button material.
velour (ve-lóðr'). A large variety of
soft, stout, closely woven, smooth
fabrics with raised and shorn nap.
Used for coats, suits, capes, and
dresses.
velvet. A silken fabric having a short,
soft, thick pile surface and a plain
back. Introduced in the 14th cen-
tury in Italy, taking its name from
the Italian word “velluto,” meaning
woolly to the touch. It may be all
silk or it may have merely a silk face
with a cotton or linen back. It is
used for dresses, suits, coats, and
trimmings, and for millinery pur-
poses.
velvet, croisé. A kind of velvet hav-
ing a coarse back and woven so as to
hold the pile firmly. Thus, it is
suitable wherever a durable velvet
is desired. It is much used for
trimmings.
velvet, Lyons. A kind of velvet hav-
ing a short nap that is not secure in
its back or foundation. Used chiefly
for draperies and bows, and in
millinery, for which it seems
especially adapted.
velvet, mirror. A velvet having a
shimmery appearance. It is woven
like plain velvet and then has its
pile dressed down. Used for trim-
ming and millinery purposes. Some-
times called paon velvet.
velvet, nacré. A velvet with a back of
one color and a pile of another,
which gives a beautiful changeable
shading resembling mother-of-pearl,
from which it gets its name. It is
used for evening gowns and wraps,
and as a trimming, especially in
millinery.
velvet, panne (pân). A kind of velvet
much the same as mirror velvet in
appearance, except that, in the case
of panne velvet, the nap is all laid
in the same direction in the weaving.
velveteen. A cotton velvet with short,
close pile used for dresses, children's
wraps, and draperies. It is of
English origin, being originally a
twilled cotton with raised pile.
Venetian. (1) A fine woolen cloth
somewhat similar to covert because
of the fine diagonal that characterizes
it. Sometimes Venetian cloth re-
sembles whipcord and again it has
considerable nap and little twill,
like broadcloth. Used for spring
topcoats and suits and in lighter
weights for skirts and dresses. (2)
A very closely woven, strong cotton
fabric woven in satin or twill weave,
usually mercerized and dyed in the
piece. It has a glossy finish imitat-
ing silk and is used for linings, skirts,
and bathing suits.
Venetian lace. Guipure needlepoint
lace made in Venice, reticella being
the first variety. Later, Punto in
Aria, “stitches in the air,’’ was the
beginning of Point Venice. It con-
sists of needle-point motifs or designs
joined with an irregular network of
brides. It is used for dress trimmings
and curtains.
Venetian ladder work. A form of
embroidery work that consists in
outlining a design with two parallel
lines of buttonhole-stitches and con-


DEFINITIONS OF USEFUL TERMS
265
necting these with a series of cross-
stitches at regular intervals in ladder
fashion. It is used principally for
border work in conventional de-
signs.
vertical hemming-stitch. A hemming-
stitch taken at right angles to the
hem it is securing. It is used when
a very neat and inconspicuous hem
turn is desired or to secure a plain
hem over gathers on the right side.
vest. Formerly, only a close-fitting
under jacket, which showed in the
front opening of a top coat. Now,
an extra piece of trimming in the
front of the waist of a woman's
gown.
vestee. A small vest used in the front
of a woman's dress.
vestings. Heavy, fancy materials,
usually highly colored and in Persian
and colored effect. Used for vests
and trimmings and for men's ties.
violet. A color or class of colors seen
at the end of the spectrum, opposite
the red end.
virago sleeves (vſ.-ra'go). Very full
sleeves tied in at intervals to form
puffs. Such sleeves were worn in
the Elizabethan period and are a
feature of the extravagant dress of
Cavalier times.
voile. (1) A plain, sheer fabric with
hard-twisted, warp and weft threads
woven in open mesh. Used exten-
sively for dresses. (2) A sheer,
open-mesh, semitransparent fabric
of silk or silk and wool. Used for
overdrapes, evening dresses, and
fancy blouses.
W
waistcoat. A vest, now commonly
sleeveless, covering the waist and
chest and worn under a coat.
Wallachian embroidery (wó-la'kí-àn).
A kind of embroidery consisting of a
single-purl buttonhole-stitch used
to form both eyelets and leaves.
wardrobe. Wearing apparel in gen-
eral; all of a person's clothes.
warm color. A color in which there is
a predominance of yellow.
warp. The threads that run the long
way of a fabric, between which the
weft, or filling of cross-threads, is
woven. The selvage way of the
material.
wash satin. White, cream, or flesh-
colored satin used for lingerie,
collars, and sports skirts and so
treated as to present a good appear-
ance after washing.
washable knot-stitch. An embroidery
stitch produced by making a loop
as for a chain and then fastening the
loop down with a couching-stitch.
Its chief use is as a border-stitch or
an outline-stitch.
waterfall. A silk fabric having the
luster of velvet and consisting of a
thin, slightly open foundation ribbed
with velvet pile so woven as to form
stripes about $ inch wide and to
show warp threads between. It
drapes beautifully and is used for
evening wraps, scarfs, and millinery.
waterproofing. The processes by
which cotton, wool, or silk, as well
as other closely woven fabrics are
rendered impenetrable by means of
various insoluble substances without
altering the chemical or physical
construction of the fibers or the
yarns. The process must not alter
the pliancy of the cloth nor prevent
the admittance of air. The materials
used most for waterproofing are
rubber, gutta percha, oils, fats,
varnishes, wax, acids, and oxides.
Watteau (wā-to"). A pattern or design
similar to those produced by
Watteau, an artist during the reign
of Louis XV (1715–1774). The
most popular Watteau styles were
the Watteau back, which is a style
of woman's dress in which the fulness
of the back is confined at the neck
in plaits or gathers and falls from
there to the hem of the skirt, some-
times forming a long train; the
Watteau bodice, having a square
neck and short sleeves terminating in
a ruffle; the Watteau mantle, which
was a cape with loose-plaited back;
and the Watteau hat, which was flat
on top and raised toward the back by
a bandeau.
Watteau plait. A box plait at the
center back of a princesse gown laid
from the neck to the waist line and
then permitted to hang free to the
bottom of the skirt.
weft. See woof.


DEFINITIONS OF USEFUL TERMS
267
wool crêpe. A woolen fabric having
a crinkly surface formed by using
alternately right-hand and left-
hand twist yarns in the filling. Used
for dresses.
wool taffeta. A wool fabric in a
closely woven, smooth weave.
Similar to panama but of a much
finer quality. Used for dresses,
skirts, and suits.
woolens. Fabrics made from short,
staple wools.
worsted (wöös’těd or woor'stěd). (1)
A woolen yarn used in making cloth
and having its fibers laid parallel
rather than crossed. (2) A loosely
twisted yarn for knitting.
worsteds. Fabrics made from long,
staple wools.
wrap. An article of dress intended to
be wrapped around the body. In
the plural, outside garments.
wrapped skirt. A skirt designed so
that one side is folded or wrapped
over the other side.
Y
yarn. A continuous strand of twisted
fibers, whether animal, mineral, or
vegetable, for use in weaving and
knitting. By some, it is restricted
to woolen yarn only.
yellow. The color of the spectrum
between green and orange, similar
to that of brass or gold.
yoke. The portion of a waist which is
fitted over the shoulders and to
which the rest of the garment is
sewed. A skirt yoke is a piece of
material fitted over the hips and
the rest of the skirt is gathered or
plaited on it.
Z
zanella cloth (zá-nēl'ā). See gloria.
zibeline (zīb él-In). A thick, woolen
material of plain weave entirely
covered with glossy hair, which gives
a nap # to 4 inch long. It is similar
to camel's hair except that the hair
is cut evenly. Used for suits and
OverCOatS.
zephyr gingham. See gingham.





INDEX
A.
A jours, Definiti
Albatross, inition of, 82
Albumen as a mordant, 16
in dyeing, Use of, 16
Alençon lace, 84, 85, 91, 113
Alizarine, 16, 18
All-over lace, 85
Allowance for curtain finishes, 207
for curtain shrinkage, 208
for fulness of curtains, 208
Aloe lace, 88
Alpaca, 43, p51
Altering clothes for growing children, 174
Alum solution for setting colors, 42
Angleterre, Point d’, 83, 94, 101
Angora goat, 43
Angular tear, Darning an, 157
Aniline, 16
Antique lace, 86, 88
Antwerp lace, 85, 88
Appliqué Carrickmacross, 94
Definition of, 82
Honiton lace, 104
lace, 87, 91 -
Appliquéd quilts, Pieced or, 195
Applying braid to a curtain, 209
lace to a curtain, 209
tape hangers, 184
Apron feed, 5
Arabian lace, 88, 91
Argentan lace, 91
Arkwright, Richard, 5
Arkwright's spinning frame, 8 -
water frame, 6
Armenian lace, 85, 91
Armure, Wool, 51
Silk, 69
Art linen, 39
Artificial dyes, Origin of, 15
Astrakhan, 51
Illustration of, 60
Attachment for lace machine,
77, 80
Austrian linen, 36
Jacquard,
Baby Irish lace, 98, 99
lace, 89, 91
Back of quilt, Material for, 196
Backed fabrics, 12
Bag, Mending, 151
Baling, Cotton, 22
Barathea, 51
Bars, Definition of lace, 82
Basic dyeing, 16
Basket weave, 9
weave, Illustration of, 58
Bath mats, 186
towels, 185
Bathroom linens, 185
windows, Curtains for, 205
Batiste, Cotton, 26
embroidery, 138
Wool, 52
Battenberg lace, 90, 92, 100, 117
Battening in weaving, 8
Bavarian lace, 122
Bay window, Curtains for, 203
Bead edge, Definition of, 82
edging of bobbin laces, 80
Beading, Double, 139
Embroidery, 138
Embroidery-edge, 139
Seam, 138
Bed linen, Position of monograms on, 189
linens and furnishings, 186
linens, Monograms on, 189
linens, Style of monograms on, 189
sheets, 187
sheets, Repair of, 187
sheets, Size of, 187
Bedford cord, 12
cord, Cotton, 26
cord, Illustration of, 60
cord, Wool, 52
Bedroom windows, Curtains for, 205
Bedspread, Dimity, 190
Marseilles, 190
Piqué, 190
Satin Marseilles, 190


iv INDEX
Cotton filling for woven rugs, 214
finishes, 24
flannel, 27
gin, 22
ginnery, 22
ginning, 22
gloves, Mending the finger tips of silk
or, 171
Indian, 20
material, Calendering of, 24
material, Mercerization of, 24
material, Printing of, 24
materials, Purchasing, 24
materials, Table of, 25
materials, Tests for quality of, 24
opener, 22
opening, 22
Peruvian, 20, 21
plant, Classification of, 20
plant, Growth of, 21
Production and manufacture of, 20
rugs, Roving for, 214
Sea Island, 20
sorting, 22
South American, 21
spinning, 23
thread in lace-making, 77
Upland, 20
weaving, 23
Cottons, Table of, 26
Counterpanes, Bedspreads or, 189
Countries producing Irish crochet lace, 98
producing linen, 36
producing wool, 43
Couronnes, Definition of, 82
Coutil, 27
Covers and pads, Mattress, 186
Buffet, 199
Furniture, 212
Upholstery, 212
Covert cloth, 53
Crape, 69
Craquelé net, 98
Crash, 39, 180, 181
toweling, 39, 183
Cravenette, 53
Crépe, 28
Canton, 69
de Chine, 70
effect in wool material, Illustration of, 58
Georgette, 70
meteor, 70
wool, 53
Cretonne, 28, 192, 199
Crinoline, 28
Crochet lace, 98
lace, Countries producing Irish, 98
lace, Irish, 98
Crocheted rugs, 215
Croisé velvet, 74
Crompton, Samuel, 6
Cuffs on a boy's blouse, Mending worn
sleeves and, 177
on men's shirts, Darning of collars and,
176
on men's shirts, Turning worn collars
and, 176
Cultivation of flax plant, 33
Culture of silk, 63
Curling, Preventing rugs from, 216
Curtain, Applying braid to a, 209
Applying lace to a, 209
casings, Width of, 207
finishes, Allowance for, 207
fixture, Single-rod, 211
fixture, Double-rod, 211
fixture, Triple-rod, 211
headings, Width of, 207
hems, Weights in, 210
hems, Width of, 208
lace, 100
making, 206
making, Preparing materials for, 207
materials, Preserving the freshness of,
207
rod, Sash-, 212
rods, 211
shrinkage, Allowance for, 208
valance, Box-plaited, 210
valance, Pinch-plaited, 211
valance, Plain, 211
valance, Shirred, 210
valances, Making, 210
Curtains, Allowance for fulness of, 208
Brussels lace, 100
Cutting materials for, 207
Draw, 200
Finishing, 209
for bathroom windows, 205
for bay windows, 203
for bedroom windows, 205
for casement windows, 206
for door windows, 202
for French doors, 204
for kitchen windows, 204
for living-room or dining-room windows,
203
Glass or sash, 200
Measuring for, 206
Mending torn or worn, 172
Nottingham lace, 100
Panel, 200
Saxony Brussels lace, 100
Selection of, 199
Swiss Brussels lace, 100
Types of, 200
Curved-warp weaving, 10
Cushions, 199


INDEX V
Cut line, 35
work, 100
Cutting materials for curtains, 207
D :
D'Alençon, Point, 85
Damask, 28, 39
Mercerized, 180
D'Angleterre, Point, 83, 94, 101
Darned lace, 88
or set-in patch, 161
or underlaid patch, 162
Darner or darning ball, 153
Darning, 152
a stocking or an undergarment, 153
a straight tear or slit, 156
an angular tear, 157
ball, Darner or, 153
floss, 152
of collars and cuffs on men's shirts, 176
reinforced with net, 155
Day slips, 189
Decorations, Window, 199
Definition of a jours, 82
of appliqué, 82
of bead edge, 82
of brides, 82
of brides claires, 82
of cartisane, 82
of cordonnet, 82
of couronnes, 82
of dentelé, 82
of engrélure, 82
of entoilage, 82
of entré deux, 82
of fond, 82
of gimp, 82
of jours, 83
of lace, 76
of lace bars, 82
of lace bobbins, 82
of lace fillings, 82
of lace samplers, 83
of mat, 83
of math, 83
of passement, 83
of picot, 83
of pillow lace, 83
of Point de Raccroc, 83
of point lace, 83
of Point Plat, 83
of reseau, 83
of sprig, 83
of ties, 84
of toile, 84
of treille, 84
Definitions of useful dressmaking terms,
217
oſ useful sewing terms, 217
L D 1–19
Denim, 28
Dentelé, Definition of, 82
Design and weave of wool material, 49
Devon sheep, 43
Dew bleaching of linen, 35
Diagonal effect in wool material, Illustra-
tion of, 58
weave, 8
Diaper, 28
patterns, Weave of, 12
Dimity, 28
bedspread, 190
Dining-room windows, Curtains for living-
room or, 203
Dinner napkins, Size of, 181
Discharge dyeing, 17
Dish cloths, 184
towels, 183
Distaff, 2, 4
Doeskin, 53
Doilies, 198
Door windows, Curtains for, 202
Doors, Curtains for French, 204
Dotted Swiss, 12
Double beading, 139
cloth weave, 10, 11
-faced chinchilla, Illustration of, 62
-faced fabric, 62
-faced ribbons, 11
-rod curtain fixture, 211
Doubling and twisting silk, 66
of yarn for worsteds, Drawing and, 48
Drap d'alma, 53
Draw curtains, 200
Drawers, Adding length to bloomers or, 176
Drawing and doubling of yarn for worsteds,
48
Cotton, 22
frame, 22
of flax, Hackling and, 35
Drawn work, 100
Dresden point lace, 100
Pompadour or, 72
Dress findings, 139
linen, 39
shields, 144
Dresser scarfs, 199
Dressing of linen, 36 .
Dressmaking terms, Definitions of useful,
217
Drilling, 28
Drop box in weaving, Use of, 8
Drying laces, 132
Duchess satin, 70
Duchesse lace, 100, 101, 104, 114
Duck, 28
Dusting of wool, 45
Dutch valance, 202
Duvetyn, 11, 53


viii INDEX
Handerchief linen, 39
Hangers, Applying tape, 184
Hargreaves, James, 5, 6
Harness of loom, 8, 23
Hat elastic, 145
Headings, Width of curtain, 207
Heald of loom, 23
Heathcote, John, 77, 80
Hemmed patch, 158
Hems, Weights in curtain, 210
Width of curtain, 208
Henrietta, 54
Herringbone effect in wool material, 58
History of lace, 75
of silk culture, 63
of silk worm, Life, 64
of weaving, 7
Holland cloth, 39
Home-made pillow slips, Material for, 188
-made rugs, 212
Homemaking, Aspects of, 178
Homespun, 54
Honiton guipure, 104
lace, 82, 103, 104
lace, Appliqué, 104
point lace, 83
Hook-and-eye bone, 10
-and-eye tape, 146
Hooks and eyes, 145
Hopsacking, 54
Horizontal loom, 7
Household sewing, 178
Huckaback, 29, 39
Weave of, 12
Illusion, 122
India linon, 29
Indian cotton, 20
Head, 29
Indigo, 16
Inserting contrasting material to lengthen
a skirt, 175
Irish crochet lace, 98
crochet lace, Countries producing, 98
lace, Baby, 98
linen, 36
Ironing laces, 133
J
Jacquard attachment for lace machine, 77,
80
loom, 12
Japan silk, 71
Jean, 54
Jersey, 13
cloth, 54
Jours, Definition of, 83
Judging lace, 125
K.
Karakul cloth, 55
Kersey, 55
Khaiki, 71
Khaki, 29
Kid glove, Mending an open seam in a.
170
Kindergarten cloth, 29.
Kinds of sheep, 43
Kitchen linen, Weekly supply of, 184
linens, Articles included under, 183
windows, Curtains for, 204
Knitted rugs, 215
Knitting, 13
I,
Lace, Alençon, 84, 85, 91
Algerian, 85
All-over, 85
Aloe, 88
Antique, 86, 88
Antwerp, 85, 88
Appliqué, 87, 91
Appliqué Honiton, 104
Arabian, 88, 91
Argentan, 91
Armenian, 85, 91
Baby, 89, 91
Baby Irish, 98, 99
bars, Definition of, 82
Battenberg, 90, 92, 100, 117
Bavarian, 122
Beggar's, 122
Belgian, 85
Blonde, 92
Bobbin, 89
bobbin, Definition of, 82
Bobbinet, 90, 92
Bohemian, 85, 91, 93
Bruges, 93
Brussels point, 85, 93, 94, 113
Burano point, 124
Carrickmacross, 94, 95
Chantilly, 92, 95, 96
Characteristics of hand-made, 125
Characteristics of machine-made, 125
Characteristics of needle-point, 125
Cleaning black, 134
Cluny, 97, 109
collections, 75
Coraline point, 124
Countries producing Irish crochet, 98
Craquelé net, 98
Crochet, 98
Curtain, 100
curtains, Brussels, 100
curtains, Nottingham, 100
curtains, Saxony Brussels, 100
curtains, Swiss Brussels, 100
Darned, 88


"INDEX -
Lace, Definition of, 76
Definition of pillow, 83
Definition of point, 83
Dresden point, 100
Duchesse, 100, 101, 104, 114
Egyptian, 101
Embroidery, 81
Embroidery machine-made, 79
English point, 101
Fiber, 102
Filet, 91, 102
fillings, Definition of, 82
Flat Venetian point, 124
Flemish, 78
Gros point Venetian, 124
ground, Kinds of, 83
Grounded Venetian point, 124
Guipure, 102, 103
History of, 75
Honiton, 82, 83, 98, 103, 104
Honiton guipure, 103, 104
industry in America, Hand-made, 78
Irish crochet, 91, 98, 99
Judging, 125
Kinds of hand-made, 78
Lille, 104
Limerick, 104, 106
machine, Jacquard attachment for, 80
machine, Origin of, 77
Machine-made, 79
Macramé, 105, 106
making at present, 77
making, Cotton thread in, 77
making, Growth of, 76
Maltese, 104, 105, 107
Mechlin, 88, 106, 107, 109
Medici, 107, 109
Metal, 108, 109
Method of making bobbin, 80
Methods of making, 78
Needle-point, 78, 79
Nottingham, 109
Oriental, 110
Origin of, 76
Origin of bobbin, 76
Origin of needle-point, 76
Paraguay or Teneriffe, 110, 111
Pillow, 79 ,
Plauen, 81, 110, 112, 117, 124
Point d’ Angleterre, 83, 94, 101
Point de Gaze, 94, 113
Point de Paris, 113, 114
Point de Raccroc, 83
Preservation of, 136
pricker, 83
Princess, 114, 115
-producing centers, 81
Raised Venetian point, 124
Ratiné, 114, 116
Renaissance, 92, 116
Lace, Reticella, .100, 117
Rose point, 94
Rose point Venetian, 124
St. Gall, 81, 119, 124
samplers, Definition of, 83
Shadow, 117, 118
Spanish, 118, 119
Tatting, 88, 119, 120
Teneriffe, 110, 111
terms, 81
to a curtain, Applying, 209
Toile of, 75
Torchon, 91, 121
Tosca, 90, 93
Uses of, 127
Valenciennes, 91, 104, 107, 114, 122
Varieties of, 81
Venetian, 98, 104, 113, 123
weaves, 12
Wool, 125
Woven, 80
Woven machine-made, 79
Laces and veiling, Mending net, 171
Bead edging of bobbin, 80
Care of, 130
Characteristics and uses of modern, 128
Cleaning non-washable, 135
Cleaning of, 130
Cleaning washable, 130
Drying, 132
Examples of typical, 84
Ironing, 133 -
Method of making embroidery, 81
Necessity for care of, 130
Selection of, 128
Stiffening, 132
Tinting and bleaching, 132
Values of hand-made, 126
Washing durable, 130
Washing frail, 131
Lansdowne, 55
Lappet weave, 10, 12
Laps, 5
Lawn, 29, 39
Lead salts as a mordant, 16
salts in dyeing, Use of, 16
Leavers, John, 80
Lee, William, 80
Lees, John, 5
Leicester sheep, 43
Leipsic wheel, 4
Length to bloomers or drawers, Adding,
176
Lengthen a skirt, Inserting contrasting
material to, 175
Lengthening a skirt, 174
a slip or underwaist, 175
Leno weave, 10
Liberty satin, 71
Life history of silk worm, 64


x
INDEX
Lille lace, 104
Limerick lace, 104, 106
Lincoln sheep, 43
Linen, 9
a sign of hospitality, Fresh, 179
Austrian, 36
Beetling of, 36
Belgium, 36
Bleaching of, 35
Calendering of, 36
Chemical bleaching of, 35
Countries producing, 36
Dew bleaching of, 35
Dressing of, 36
Finishing processes of, 35
Folding of, 36
for entertaining, 182
for general use, 182
French, 36
German, 36
Grass bleaching of, 35
hackle, 34
Heavy cottons as a substitute for, 180
Inspecting of, 36
Irish, 36
Mangling of, 35
Marking of, 36
napkins, Size of, 181
Nature and uses of, 32
Packing of, 36
Position of monograms on bed, 189
Pressing of, 36
Production and manufacture of, 33
Pure, 179
Scotch, 36
Sizing of, 35
substitutes, 180
supply, 182
table cloths, Sizes of, 180
tape, 147
Tests for, 37
Weaving of, 35
Weekly supply of kitchen, 184
Linene, 29
Linens and furnishings, Bed, 186
Bath-room, 185
Economy applied to, 182
from wear, Saving, 183
Kitchen, 183
Monograms on bed, 189
Purchasing, 37
Scope of, 179
Style of monograms on bed, 189
Table, 179
Table of, 38
Lingerie tape, 147
Living-room or dining-room windows, Cur-
tains for, 203
Llama, 43
Long-cloth, 29
Looms, Egyptian, 7
Greek, 7
Harness of, 8, 23
Horizontal, 7
Jacquard, 12
Vertical, 7
Looped fabrics, 11
-surface material, Illustration of, 59
Louisine, 71
Lunch cloths, Size of, 181
napkins, Size of, 181
sets, 181
Lyons, France, 81
velvet, 74 -
M
Machine, Combing, 22
for making bobbinet, 77
Jaquard attachment for lace, 77, 80
-made embroidery, 137
-made embroidery, Hand-finished, 137
-made embroidery lace, 79
-made lace, 79
-made lace, Characteristics of, 125
-made woven lace, 79
quilting, Procedure in, 197
Schiffli embroidery, 81, 117, 119
Macramé lace, 105, 106
Madras, Cotton, 29
Silk, 71
Making bobbin lace, Method of, 80
comfortables, 193
Curtain, 206
curtain valances, 210
lace, Methods of, 78
Mangling of linen, 35
Maline, 12, 71, 122
Maltese lace, 104, 105, 107
Man's shirt at the neck, Mending a, 177
summer underwear, Mending a, 177
Manufacture, First processes in wool, 44
of cotton, Production and, 20
of flax, Production and, 33
of linen, Production and, 33
of woolens, 46
of worsteds, 47
Silk, 65
Manufactured bedspreads, 190
bedspreads, Repairing, 191
bedspreads, Sizes of, 190
Marking for quilting, 197
Marquisette, Cotton, 30
curtains, 203, 204, 206
Silk, 71
Weave of, 11
Marseilles bedspread, 190
Mat, Definition of, 83
Matelassé, 55, 60
Illustration of, 60


xii INDEX
Nacré velvet, 74
Nainsook, 9, 30
embroidery, 138
Nap, 11
Napkins, cotton, 180
Sizes of, 181
Nature and history of weaving, 6
and uses of linens, 32
Needle-point lace, 78, 79
-point lace, Characteristics of, 125
-point lace, Origin of, 76
Net, Characteristics of hand-made, 125
Craquelé, 98
curtains, 202, 204, 206
Darning reinforced with, 155
laces, and veiling, Mending, 171
Tosca, 90, 93
Noils, 48
Non-washable laces, Cleaning, 135
Nottingham, England, 80, 81
lace, 109
lace curtains, 100
Novelty suitings, 55
Nun’s veiling, 55
O
Oiling of wool, 46
Opener, Cotton, 22
Opening, Cotton, 22
Organdie embroidery, 137
or organdy, 30
Finish of, 24
Organzine, 66
Oriental lace, 110
Origin and growth of textiles, 1
of artificial dyes, 15
of bobbin lace, 76
of dyeing, 15
of lace, 76
of lace machine, 77
of needle-point lace, 76
of pieced quilts, 195
of silk culture, 63
of weaving, 1
of wool, 43
Ottoman, Silk, 72
Wool, 56
Outing flannel, 11, 30
Overdraperies, 201
Overhand patch, 160
P
Pads, Mattress covers and, 186
Paisley, Persian or, 72
Panama, 56
weave, 9
Panel curtains, 200
Panne velvet, 74
Paraguay or Teneriffe lace, 110, 111
Passement, Definition of, 83
Patch, Darned or set-in, 161
Darned or underlaid, 162
Flannel, 162
Hemmed, 158
Overhand, 160
Stockinet, 165
Patching, 157
with mending tissue, 166
Paul, Lewis, 5
Pearl buttons, 143
Definition of continuous inner, 82
edge or purl edge, Definition of, 83
Pearling, 110, 112
Pearls or purls, Definition of, 83
Peau de cygne, 72
de soie, 72
Pebble effect in wool material, Illustra-
tion of, 59
Pepper-and-salt effect in wool material, Ii-
lustration of, 59
Percale, 30, 40
Finish of, 24
Printing of, 17
Percaline, 30
Perkin, 15
Peruvian cotton, 20
Persian or Paisley, 72
Picking in weaving, 8
of woolens, 46
Picot, Definition of, 83
or feather edge, 142
Piece, Dyed in the, 23
dyeing, Methods of, 16
Pieced or appliquéd quilts, 195
quilts, Origin of, 195
Piecing of quilts, 196
Pile, in rugs or carpets, Peplacing worn,
215
weave, 10, 11
Pillow cases, 188
cases, Repairing of, 188
lace, 79
lace, Definition of, 83
slips, Material for home-made, 188
slips, Ready-made, 188
Pinch-plaited curtain valance, 211
Piqué, 12, 30
bedspread, 190
Plain curtain valance, 211
weave, 8 -
Plauen lace, 81, 110, 112, 117, 124
Switzerland, 81, 119
Plush, 11, 72
Point d’Alençon, 84, 85
d’Angleterre, 83, 101
d'Angleterre smuggled into England, 94
de Gaze lace, 94, 113
de Paris lace, 113, 114


INDEx xiii
Point de Raccroc, Definition of, 83
de Venice, 112
Honiton, 83
lace, Brussels, 93, 94
lace, Coraline, 124
lace, Definition of, 83
lace, Dresden, 100
lace, English, 101
lace, Grounded Venetian, 124
Plat de Venice, 124
plat, Definition of, 83
Poiret twill, 56
Polo cloth, 11, 56
Pompadour or Dresden, 72
Pongee, 72
Poplin, Cotton, 30
Silk, 72
Wool, 56
Position of monogram on bed linen, 189
Preparing materials for curtain making, 207
rags for woven rugs or carpets, 213
Preservation of lace, 136
Preserving the freshness of curtain ma-
terial, 207
Preventing rugs from curling, 216
Pricker, Lace, 83
Princess lace, 114, 115
Principles of weaving, 8
'Printing, Block, 18
of cotton material, 24
of fabrics, 17
of fabrics, Dyeing and, 15
of silk, 67
Procedure in hand quilting, 197
in machine quilting, 197
Processes for woolens, Finishing, 47
for worsteds, Finishing, 48
in wool manufacture, First, 44
of silk, Weaving and finishing, 67
Production and manufacture of cotton, 20
and manufacture of flax, 33
and manufacture of linen, 33
Wool, 43
Protection for comfortables, 193
Prunella, 56
Purchasing cotton materials, 24
linens, 37
silks, 67
wool materials, 49
Pure linen, 179
Purl edge, Definition of pearl edge or, 83
Purls, Definition of pearls or, 83
Q
Quality of cotton materials, Tests for, 24
Quilt, Material for back of, 196
Setting up the, 196
Quilting frames, 192
Marking for, 197
Procedure in hand, 197
Quilting, Procedure in machine, 197
Quilts, Filling for, 195
Origin of pieced, 195
Pieced or appliquéd, 195
Piecing of, 196
R
Rags for woven rugs or carpets, Prepar-
ing, 213
Raised point Venetian lace, 124
Rambouillet sheep, 43
Rat-tail braid, 141
Ratiné, Cotton, 31
lace, 114, 116
Wool, 56
Raw thread, 13
Ready-made pillow slips, 188
Reed of loom, 23
Reeling, Silk, 65
Refooting stockings, 168
Reinforcing a worn spot in clothing, 153
Renaissance lace, 92, 116
Rep, Cotton, 30
for cushions, 199
Wool, 56
Repair of bed sheets, 187
Repairing a tear with mending tissue, 166
blankets, 192
broken stitches in a stocking, 167
manufactured bed spreads, 191
of pillow cases, 188
selvage edge of rug, 216
Replacing worn pile in rugs, or carpets, 215
worn fringe of rug, 216
Re-reel silk, 66
Reseau, Definition of, 83.
Resist dyeing, 17
Reticella lace, 117, 120
Retting, 34
Rib effect in wool material, Illustration of,
59
Ribbons, Double-faced, 11
Rickrack braid, 142
Right and left, Materials having, 19
side of materials, 18 -
Ring spinning, 6
Rock, 3
Rods, Curtain, 211
Romney Marshes sheep, 43
Rose point lace, 94
point Venetian lace, 124
Round elastic, 145
-thread linen, 39
Roving, for cotton rugs, 214
Rug, Mending frayed edge of, 216
Repairing selvage edge of, 216
Replacing worn fringe of, 216
Rugs, 11
Braided, 214
Cotton filling for woven, 214


INDEX xV
Silk, Re-reel, 66
seam binding, 146
Seco, 192
Spun, 66
Tests for, 67
throwing, 66
Tussah, 65
Weaving and finishing processes of, 67
Wild, 65
worm, History of, 64
Silkaline, 31, 192
Silks, Table of, 68
Silver cloth, 73
tissue, 73
Silvertone, 57
Singeing, 13
Single-rod curtain fixtures, 211
Singles, 66
Sizes of blankets, 192
of comfortables, 193
of manufactured bedspreads, 190
of napkins, 181
of pillow slips, 188
of sheets, 187
of table cloths, 180
Sizing, 13
of linen, 35
Skein, Dyeing in the, 17
Skinner's satin, 73
Skirt braid, 142
Inserting contrasting material to lengthen
a, 175
Lengthening a, 174
Mending the worn lower edge of a, 173
Sleeves and cuffs on a boy's blouse, Mend-
ing worn, 177
Slip or underwaist, Lengthening a, 175
Slit, Darning a straight tear or, 156
Sliver, 5
Slub, Dyeing in the, 17
Snap-fastener tape, 147
fasteners, 146
Soda as a mordant, 16
in dyeing, Use of, 16
Soisette, 31
Soleil, 57, 60
Illustration of, 60
Solution for setting colors, Alum, 42
for setting colors, Salt, 41
for setting colors, Sugar-of-lead, 41
for setting colors, Vinegar, 42
Sorting, Cotton, 22
of fleeces, 45
of wool, 45
Soutache braid, 143
South American cotton, 21
Spanish lace, 118, 119
Merino sheep, 43
Spindle, 2, 4
Spinning, Cotton, 23
Spinning, Early development of, 2
English. method of, 48
Flax, 35
frame, Arkwright's, 8
frame, Mule-, 6
French method of, 48
jenny, 5
of woolens, 47
of worsted yarns, 48
Ring, 6
wheel, Bobbin of, 4
wheel, Distaff of, 4
wheel, Flax, 4, 6
wheel, Flyer of, 4
wheel, Gharka, 3
wheel, Great, 4, 6
wheel, Leipsic, 4
wheel, Muckle, 4
wheel, Spindle of, 4
Spinster, 3
Sprig, Definition of, 83
Spun silk, 66
Stays, Celluloid collar, 141
for collars, 140
Serpentine collar, 141
Stiffening laces, 132
Stockinet cloth, 13
grafting, 164
mending, 164
patch, 165
Stocking, Mending a run in a, 167
or an undergarment, Darning a, 153
Stocking, Refooting a, 168
Repairing broken stitches in a, 167
Storm serge, 56
Straight tear or slit, Darning a, 156
-line warp weaving, 8
Substitute for linen, Heavy cotton as a, 180
Substitutes, Linen, 180
Sugar-of-lead solution for setting colors, 41
Supply of linen, 182
Wool, 43
Surah, 73
Swiss, 31, 204
Brussels lace curtains, 100
Dotted, 12, 206
Synthetic dyes, 16
T
Tabby weave, 8
Table cloths, Size of, 180
cloths, Use of two small, 182
linens, 179
of cotton materials, 25
of linens, 38
of silks, 68
of wool, 51
runners, 199 -
Taffeta, 73
weave, 8


xvi INDEX
Tannin, 15
as a mordant, 16
in dyeing, Use of, 16
Tape, 147
Cotton diagonal, 147
Flat-weight, 148
hangers, Applying, 184
Hook-and-eye, 146
Linen, 147
Lingerie, 147
Shot-weight, 148
Snap-fastener, 147
Tapestry, 199
Tarlatan, 31
Tartan, 57
Tattie, 119
Tatting, 88, 119, 120
with aloe thread, 88
Tear, Darning an angular, 157
in a glove, Mending a, 170
or slit, Darning a straight, 156
with mending tissue, Repairing a, 166
Teazeling, 14
Teneriffe lace, Paraguay or, 110, 111
Terms, Definitions of useful dressmaking,
217
Definitions of useful sewing, 217
Lace, 81
Terry cloth, 11, 31, 183, 185, 186, 188, 199
Test for shoddy, 50
for wool, Fiber, 49
Tests for linen, 37
for quality of cotton materials, 24
for silk, 67
for wool, 49
Textiles, Development of, 1
Origin and growth of, 1
Thread for tying comfortables, 195
in lace-making, Cotton, 77
Raw, 13
Throwing, Silk, 66
Ticking, 31
Ties, Definition of, 84
Tinting and bleaching laces, 132
Tissue, Gold, 170
Silver, 173
Using mending, 166
Toile, Definition of, 84
of lace, 75
Tops, 48
Torchon lace, 91, 121
Torn or worn curtains, Mending, 172
Tosca net, 90, 93
Tow, 34
Toweling, Crash, 39, 183
Glass, 39, 183
Linen, 36
Turkish, 116, 185
Towels, Bath, 185
Dish, 183
Towels, Guest, 185
Hand, 183, 185
Size of, 185
Supply of, 185
Turkish, 133, 183, 185
Tram, 66
Treille, Definition of, 84
Tricolette, 13
Tricotine, 9, 57
Illustration of, 61
Trimmings to suit materials, Buying, 149
Triple-rod curtain fixture, 211
Tubular cording, 141
Tulle, 12, 73, 122
Turkish toweling, 116, 183
towels, 133, 183, 185
Turning worn collars and cuffs on men's
shirts, 176
Tussah, 57
silk, 65
Tweed, 57
Illustration of, 61
Twill effect in wool material, Illustration
of, 59
Twisting silk, Doubling and, 66
Tying comfortables, 194
comfortables, Thread for, 195
U
Undergarment, Darning a stocking or an,
153
Underwaist, Adding width to an, 175
Lengthening a slip or an, 175
Underlaid patch, Darned or, 162
Underwear, Mending men's shirts and, 176
Mending a man’s summer, 177
Up and down, Materials having, 19
Upholstery covers, 212
Upland cotton, 20, 21
Uses of laces, 127
of linen, Nature and, 32
of modern laces, Characteristics and, 128
|Uttman, Barbara, 76
V
Valance, Box-plaited, 210
Dutch, 202
Pinch-plaited, 211
Plain, 211
Shirred, 202, 210
Valances, 201
Making curtain, 210
Valenciennes lace, 91, 104, 107, 114, 122
Values of hand-made laces, 126
Varieties of lace, 81
Vat dyeing, 16
Veiling, Mending net, laces, and, 171
Veining, 138
Velour, 11, 57, 199


INDEX
xvii
Velvet, 73
Chiffon, 73
Croisé, 74
Lyons, 74
Mirror, 74
Nacré, 74
Panne, 74
Weave of, 11
Velveteen, 31
Venetian cloth, 10, 57
lace, 98, 104, 113, 123
lace, Gros point, 124
lace, Raised point, 124
lace, Rose point, 124
point lace, Flat, 124
point lace, Grounded, 124
Venice, Point Plat de, 124
Vertical looms, 7
Vestings, 74
Vinegar solution for
Voile, 9, 31, 74, 204
Printing of, 17
setting colors, 42
W
Warp beam of loom, 23
of material, 6
Wash cloths, 11, 186
fabrics, Shrinking and setting colors in,
40 -
satin, 73
Washable laces, Cleaning, 130
Washing durable laces, 130
frail laces, 131
Water frame, Arkwright's, 6
Weave, Basket, 9
Cord, 12
Diagonal, 8, 9
Double-cloth, 10, 11
Figure, 10, 12
Lace, 12
Lappet, 10, 12
Leno, 10
of brocade, 12
of diaper patterns, 12
of granite, 12
of huckaback, 12
of wool material, Design and, 49
Panama, 9
Pile, 10, 11
Plain, 8
Sateen, 8, 10
Satin, 8, 10
Tabby, 8
Taffeta, 8
Twill, 8, 9
Weaving and finishing processes of silk, 67
Battening in, 8
Carpet, 213
Cotton, 23
Curved-warp, 10
Weaving, History of, 7
Nature and history of, 6
of linen, 35
of woolens, 47
Origin of, 1
Picking in, 8
Principles of, 8
Shedding in, 8
Straight-line warp, 8
Use of drop box in, 8
Weft of material, 6
Weight of fleeces, 44
Weights, Coat, 148
in curtain hems, 210
Whipcord, 57
Illustration of, 61
Whitney, Eli, 6, 22
Whorl, 2
Wide-wale effect in wool material, Illus-
tration of, 59
Width of curtain casings, 207
of curtain headings, 207
of curtain hems, 208
to an under waist, Adding, 175
Widths of material to select, 149
Wild silk, 65
Window decorations, 199
Windows, Curtains for bathroom, 205
Curtains for bay, 203
Curtains for bedroom, 205
Curtains for casement, 206
Curtains for door, 202
Curtains for kitchen, 204
Curtains for living-room or dining-room,
203
Types of, 202
Woof of material, 6
Wool, 43
blankets, 191
Blending of, 46
Carbonizing of, 45
Countries producing, 43
Dusting of, 45
Dyeing in the, 17
Fiber test for, 49
fiber, Variation in, 44
for woolens, Carding of, 46
for worsteds, Carding of 47
for worsteds, Combing of, 48
for worsteds, Gilling of, 48
lace, 125
manufacture, First processes in, 44
material, Design and weave of, 49
material, Illustration of bird's-eye effect
in, 58
material, Illustration of brocade effect in,
58
material, Illustration of cord effect in, 58
material, Illustration of crêpe effect in, 58


xviii
INDEX
Wool material, Illustration of diagonal effect
in, 58
laterial, Illustration of hair-line effect in,
58
material, Illustration of herringbone effect
in, 58
material, Illustration of pebble effect in,
59
material, Illustration of pepper-and-salt
effect in, 59
material, Illustration of rib effect in, 59
material, Illustration of shepherd's-check
effect in, 59
material, Illustration of twill effect in,
59
material, Illustration of wide-wale effect
in, 59
material, Physical condition of, 49
materials, Purchasing, 49
Oiling of, 46
Origin of, 43
Scouring of, 45
Sorting of, 45
supply, 43
Table of, 51
taffeta, 57
Tests for, 49
Yolk of, 45
Woolens, Carding of, 46
Finishing processes for, 47
Manufacture of, 46
Picking of, 46
Woolens, Spinning of, 47
Weaving of, 47
Worn curtains, Mending torn or, 172
fringe of rug, Replacing, 216
pile in rugs, or carpets, Replacing, 2.
spot in clothing, Reinforcing a, 153
Worsted yarn, Spinning of, 48
Worsteds, Carding of wool for, 47
Combing of wool for, 48
Drawing and doubling of yarn for, 4
Finishing processes for, 48
Gilling of wool for, 48
Manufacure of, 47
Woven lace, 80
machine-made lace, 79
rugs, 212
rugs, Bottom filling for, 214
rugs, Material for, 213 |
rugs or carpets, Preparing rags for,
Wyatt, John, 5
Y
Yarn, Dyed in the, 23
for worsteds, Drawing and doubling d
48
Spinning of worsted, 48
Yolk of wool, 45
Z
Zibeline, 57, 61
Illustration of, 61


ing of, 47
47
Mending torn of, "
Replacing, 216
ºr carpets, Replaciº
g, Reinforcing a l;
pinning of, 48
g of wool for, 4.
ool for, 48
oubling of yar: *
ises for, 48
for, 48
47
ce, 79
ing for, 214
º, 213
Preparing rags #!
Y
23
wing and doº
d, 48