Class _J 1 Gp t) t) Book . ^ Copyright}]^ CiiBiRIGtCr DEFOM& MODERN MILLINERY A WORKROOM TEXT BOOK containing complete instruction in the work of Preparing, Making and Copyi?ig Millinery, as actually practiced in the most ad- vanced trade workrooms. By HESTER B. LYON Supervising Instructor of Millinery, Pratt Institute Director of Home Economics, Plymouth Institute Etc., Etc. Published by THE MILLINERY TRADE PUBLISHING CO. 1225 Broadway New York Copyright, 1922 by The Milhnery Trade Publishing Co. Printed in the United States of America OEC 12 i922 )C1A692722 OTHER PUBLICATIONS OF THE MILLINERY TRADE PUBLISHING CO. are The Millinery Trade Review The fashion and merchandising authority of the industry. A month- ly magazine depicting the fashion trend in picture and story, as re- vealed in the showings of the French and American designers, and in the hats worn bv society and stage folk. &6.00 a year Ttie Millinery Buyers^ Index A complete list of the wholesalers and manufacturers of trimmed hats and millinery supplies in the United States and Canada. &1.00 per copy The Millinery Trade Publishing Go. 1225 BROADWAY - - NEW YORK ^■B. — The Service Department of The Millinery Trade Review is always at the disposal of subscribers. Inquiries re- garding workroom methods, sources of supply, trade customs, or any other prob- lem connected zvith the industry, receive the prompt attention of a well-informed staff of editors. Millinery in its highest sense always was and always will be a cojnbination of beautiful lines and color. Each year experienced workers try to express more skilfully their concept of LINE. In t^e past ?nost of the real style was left to the trimmer, to add the dash of line in the trimmmp; BUT TO MAKE A HAT SUCCESSFULLY TODAY, WHETHER OF STJUW, VELVET, OR OTHER MATERIAL, THE WORKER MUST MAKE THE LINE STITCH BY STITCH, SHJFING AND MOULDING AS SHE GOES. This is the chief part technique plays in the Jiniliinery field today. CONTENTS PAGE CHAPTER I. The Scope of MODERN MILLINERY 11 CHAPTER II. The Fundamentals of Frame Making 14 CHAPTER III. Expression of Line 25 CHAPTER IV. 1 — Making a Facing Line. 2 — Making a Frame From Measurements 29 CHAPTER V. Copying French Hats Without Measurements 38 CHAPTER VI. Bracing Wire Frames, Choice of Blocking Material. . . 47 CHAPTER VII. Blocking the Frame 52 CHAPTER VIIL Calculating Materials 57 CHAPTER IX. Principles and Methods of Frame Covering 65 CHAPTER X. Covering and Attaching the Crov^n 71 CHAPTER XI. Facing the Underbrim 75 CHAPTER XII. Fitting Velvet Hats with a Joining 79 CHAPTER XIII. Putting On the Facing 87 CHAPTER XIV. The Principle and Application Of the Flange 92 CHAPTER XV. Flanges and Sectional Facings 101 CONTENTS— Cont. PAGE CHAPTER XVI. Wide and Narrow Bindings 110 CHAPTER XVH. Plain Folds 117 CHAPTER XVIH. Milliner's Folds 124 CHAPTER XIX. Finished and Unfinished Cords 129 CHAPTER XX. Straw Sewing, Part 1 136 CHAPTER XXI. Straw Sewing, Part II 143 CHAPTER XXII. Straw Sewing. Part III 153 CHAPTER XXIII. Straw Sewing, Part IV 159 CHAPTER XXIV. Transparent Hats , 170 CHAPTER XXV. Summary of Millinery Wires 181 CHAPTER XXVI. Summary of Blocking Materials 186 CHAPTER XXVII. Stitches Used in Millinery 191 CHAPTER XXVIII. Co-operative Work Between Workrooms and Trade Schools 194 MODERN MILLINERY A WORKROOM TEXT BOOK MODERN MILLINERY CHAPTER I. THE SCOPE OF MODERN MILLINERY THE impulse to make beautiful things is in- herent in most of us. But before we can express the best that is in us in any form of art, there must be a period of training and discipline to develop an instinctive technique which allows a free flow of ideas. In common with other workers in the arts, the milliner can only express her enthusiasm for line, color and harmony after she has acquired by study and practice a thorough knowledge of the mechan- ics of frame-making and of measuring, cutting and applying materials. Thus millinery work may be divided roughly into two classes — Con- struction and Ornamentation. It has been felt by the author of this book that the presentation of both classes of millinery work in one volume would introduce the beginner pre- maturely to the work of trimming and encourage the all-too-prevalent tendency to slipshod produc- tion. Modern Millinery is a complete study of the work of those branches of the trade known as Preparing, Making and Copying. In the trade every aspirant must spend at least three years in 11 Modern Millinery this important work before she is permitted to go on to that still more fascinating field known as Trimming and Designing. Trimming and Designing — the making and placing of bows, floivers and finishes, and the adaptation of every type of ornament from the museums and other original sources, will he fully treated in another volume noiv in preparation by the same author. This does not mean, of course, that Modern Millinery contains only instruction in the drudg- ery of millinery. The fundamental line of the hat is an essential that has been growing rapidly in importance in recent years. In Paris, that still unchallenged stronghold of millinery design, the development of the line of the hat is considered an art worthy of the time and study of the greatest of her creators. And in Modern Millinery the methods used by the leading creative artists of France and America, to develop ideas and express conceptions in the untrimmed hat, are put into print for the first time. This book is planned for use as a school text- book. But it is also an adjunct to the progressive workroom, where it is invaluable as an aid to training the staff in the most advanced methods, and it is a friendly guide even to the practicing milliner, to whom a few hints on the efficiency and economy of modern methods may be worth many times the price of the book. 12 The Scope of Modern Millinery Throughout this book it has been the author's aim to present the principles back of each of the processes done, so that students following these chapters, whether in workroom or school, might be capable of meeting the requirements of the new styles as they arise. These principles may be applied to all kinds and types of hats tomorrow as well as today. Unless you get the underlying principle given in each of these lessons they will be of little use to you. 13 Modern Millinery Brim for sailor frame. Note the slight upward curve at the ends of the brim mires, although the hat to be produced is a flat sailor. The reason for this is that the edgewire has been made slightly smaller in circumference than the finished hat is to be, to provide for the fullness which alwags developes in removing the stretched willow from, the frame. The frame shown is intended as a form for stretching willow. If it is to be used as a foundation for a Malines hat only four brim wires will be needed — back, front, and two sides CHAPTER II. THE FUNDAMENTALS OF FRAME MAKING WIRE-FRAME making from the trade's standpoint is the foundation of millinery. In the first-class shops an individual frame is made for each customer, giving as much distinc- tion to the hat as is found in the made-to-order gown, so that wire-frame making is to the milli- ner what modeling is to the sculptor. Only through a knowledge of this art can the designer express the things she has seen or wishes to create. As accuracy of measurement is the first thing a student must learn about wire-frame making, the plain sailor frame is the proper place to 14 The Fundamentals of Frame Making start, as there is no frame that shows up inac- curacy of measurement quite so clearly; also the sailor frame is the only frame that does not require the introduction of curving wires or ex- pression of line, which is really an art to be cov- ered independently. If this teaching is to be worth while we must begin at the foundation, as the trade does. As these early chapters on the fundamentals of frame-making will be used to initiate beginners, I shall indicate for the benefit of teachers how the successive steps should be presented. The lesson on the sailor frame may be pre- sented as follows, either by a workroom instruc- tress or in a millinery class room: Materials One roll of white French frame-wire. One spool of tie-wire. One pair of millinery nippers or pliers of me- dium size. One accurate tape measure with numbers start- ing from each end. Lead pencil and note book. At this time, place before your class a perfect sailor frame which you have made from the fol- lowing measurements: Headsize 24 Brim 3 Right back 3 Right 3 Right front 3 15 Modern Millinery Front 3 Left front 3 Left 3 Left back 3 Edgewire (Note — the known length of edgewire sailor is unnecessary as it determines itself). Give a little talk as to the importance of wire- frame making, telling of the two uses of wire frames today: 1, as a block or mould over which willow, buckram, cape net or straw may be shaped and then removed; (2) as skeleton foundation for lace, tulle. Georgette or organdie. Promise your class if they will just follow step by step accu- rately the measurements you are going to give out, it will not be long before they can make a strong frame. Preparatory Work 1 — Show the student how to open properly a coil of frame wire by removing with the nippers the small pieces of wire used to bind the wire in coil. Place the coil of wire over both hands and shake all the spring out of the wire. 2 — Show how nippers are used by the cutting of many short pieces of wire. Under no conditions start with any measure- ments until each student has properly opened her coil of wire and can easily cut with the nippers. 3 — Take your spool of tie-wire and properly open that. 4 — Show the student on your finished frame which wires are held in place by being wound around others and which are tied. 16 Making the Brim We are now ready to make the brim — frame brim and crown being separate in the modern sailor frame. In all these operations when first presented I have found it best to get the ideas of the beginners as to how they should be done before demonstrating the one right way. Noth- ing else will so fix in the pupil's mind the correct method and the reason for it. For example, hold up the finished frame and ask the class where they would begin to make it. After showing them that the headsize is the proper place, start by showing how to take part of the curve out of the wire, explaining as you go that you intend to make each wire the exact shape you want it when fin- ished, before leaving that wire. Place your tape measure very accurately on the end of the outside curve of the wire, holding the end of the tape measure on the wire with the nippers. Measure off the 24 inches with greatest accuracy. Two inches should be allowed for overlapping wher- ever wires are joined in this way. Therefore dent with the nippers on the 24th inch, but cut off at the 26th. If any student's headsize varies 1/16 of an inch insist on re-measurement until each is accurate and properly shaped. Then take up the headsize you have measured and holding with the left hand take two pieces of tie-wire in the right hand. Join one end of the wire to the other at the exact spot where the dent is placed. 17 Modern Millinery / m i m i mi i n « n i' nii ' mv^ the lower headsize, greater strength is se~ ^\ cured Measure accurately from headsize wire 1]/^ inch along this upstanding wire. Bend the remain- ing y^ inch at perfect right angle toivards the centre of crown. Explain that by having the upper wiie bent the opposite way from the lower end of the wire a frame is produced which, if securely wound, is immovable. Now make an- other headsize wire, as the first was done. Place it under these upstanding wires and secure it by winding the bent ends around it, using for lev- erage the 34 ii^ch left after bending. Then cut off whatever remains of the ^4 inch wire after winding. 20 Attaching the Upper Headsize Have the students remeasure and they will find that the space between upper and lower headsize is now one inch and that the brim-wires are now S% inches long with the inches allowed beyond right-angle curve for edge-wire leverage. At this point put on the side-front and side-back wires and the frame will be ready for trimming up, before attempting to put on the edge-wire. Ask each student to see not only that the brim-wires are secure on the headsize, but that they make a straight line when looking from front to back. Also have them look along all the other wires to make sure they form a straight line. At this point explain that the tendency of a sailor frame is to spring front and back and that as this frame is to be used for a block on which to stretch willow, the wisest thing to do is slightly to roll the end of each brim-wire before starting to put the edge-wire on, thus making the edge- wire enough smaller in circumference to take care of the fullness that is bound to be left in the edge when taking the willow off the frame. Start at the left side-back to mount the edge-wire, taking care to keep the frame in line as already shaped. After joining all brim- wires to the edge- wire from left side-back to right side-back you learn where the edge-wire ends. Cut it at the right point, join the two ends with tie-wire and then — and not till then — wind the back brim-wire around double edge-wire. The brim is now completed. Go over it and straighten every wire, checking up by sighting along the wires from front to back, side to side, etc., to see that they make a straight line. 2i Modern Millinery The Crown As to-day the wire crown has little or no use as a block in the workroom, it hardly seems neces- sary to spend much time giving a lesson on it. However, one may make in wire the line which it is intended to express in the soft crown and there- fore it must not be passed by altogether. Give a little introductory talk at this time on the choice of crown suitable for the brim. Call the student's attention to the fact that an unbecoming crown has as much to do with spoil- ing a completed hat as an unbecoming brim. In making the wire crown allowance must be made in the cir- cumference .so a.s- to permit the crown head size to slip over the brim headsize easily 22 The Crown Start now to make the crown. Show how it is necessary to make the crown headsize enough larger in circumference to slip over the brim head- size easily. Twenty-six inches is a safe measure- ment for a crown headsize for a 24-inch brim, but be very sure to point out that there is no definite rule as to this matter. Many customers look well in a crown that sets farther out on the brim or perhaps close to the brim headsize on one side and well down on the other. Begin now to impress upon your class that while accuracy of measurements is necessary at some stages of hat-making, effect is the first and last word in millinery. Therefore the type and size of the crown must be decided, first by the type of customer to be adorned, second the prevailing style of the season. I will take for measurements a simple flat-top crown to show how wire crowns are made. Headsize 26 Height of crown 3^ Length of tip 8 Width of tip 6 Diagonals 7 First measure the crown headsize (26 inches), dent, cut off at the 28-inch mark and join in an oval with tie-wire. If the height of the crown is to be 31/^ inches when finished, bend a wire as shown in the illustration. This wire is to extend from front to back. 2' for leverage f )'ll'llllll'nil>''llllliriniWHIIinilliniiniini)iiiin:iiimi,i,n,,mTmr fi^ ^ instead of 3^, as these are tied in place with tie-wire, and do not need the extra yg required by the other two for the twist around the crown-wire. Attach all these wires, remembering that A. B, C, D are wound around the crown headsize, while the other wires are merely tied with tie-wire. After winding the ends around the crown-edge wire, tie the crown-wires at their intersection with tie-wire. Tie a circular brace around the crown where the side-crown turns at right angle to form the tip. Use your eyes in tying in this brace to keep crown in line. Tie one circular brace between this brace and centre-crown and braces around side-crown to brace it. The brim also at this time may be braced by using two circular braces. Explain that the num- ber of circular braces is determined bj^ the block- ing material to be used on the frame. Cape net, for instance, requires more braces than the firm willows that do not sink between wires. The brim and crown are now completed. I find it takes many attempts before students are able to make this frame successfully, but if the instructress is patient, she will insist on re- peated attempts until the frame is securely made, imparting in this first frame accuracy of meas- urement, which is the first essential of wire-frame making. 24 CHAPTER III. EXPRESSION OF LINE IT is clear that accuracy of measurement must be carried out in every phase of wire-frame making". But in carrying this question of accu- racy into this lesson let us understand its proper place. What place has it in wire-frame mak- ing from its high artistic side? Is it, after all, anything more to the art than the wire or the nippers unless coupled with it is a sense of ex- pression of line? The two big things in wire- frame making are: First, accuracy of measurement, which is merely an instrument to help achieve the second essential, expression of line. Making a Mushroom Frame After making the plain sailor frame, the best introduction to the more difficult frames is the simple mushroom frame. Herein will be taken the first steps in shaping or curving wires that are also accurately measured, showing that wires may express as manj^ different lines as there are people handling them. I will give the simplest possible measurements for this mushroom frame: 25 Modern Millinery Headsize 23 inches Edgewire 29>^ inches Brim wires are all to be 1>4 inches when finished. Finished measurements of frame from Front to back 10>^ inches Side to side 8)4 inches Side front to side back. . 9^/^ inches Simi)le Mushroom Frame Give a little talk at this time on the choice of frame wire best adapted to carry out one's de- sign. Generally speaking, it is best to choose from the three qualities of frame wire, the medium-weight wire instead of the heavy wire that was used in making the plain sailor frame, as this softer wire will better express the line of a curved brim. Start this frame as you did the plain sailor — at the headsize. Ask your class to measure shape and tie properly a 23-inch headsize. Go through the class, hold up each headsize and ask every member of the class to criticize it. 26 Making a Mushroom Frame Never answer any questions that once have been clearly covered, hut instead call on members of the class to answer them. At this time hold up the finished mushroom shape and let the students discuss the points of similarity between this frame and the sailor just made. Have each student bend a wire as shown in the cut. It will be recalled that each brim-wire is to be 1>4 inches long, but as this wire is to be wound around the headsize and edge - wire, y^ inch additional should be allowed for these twists, making the brim-wires at this stage all 1% inches long. The 2 inches on each end of the wire is for leverage to wind around the edge-wire. As each wire is of equal length, have 8 wires bent and properly cut for the brim-wires. The wires are now ready to mount on the headsize, which should be marked with a pencil at eight equal points. When this is done call attention to the first point of difference between this frame and the sailor — namely the different position in which the brim-wires are placed on the headsize. Instead of being ^ at right angles with the up- -5 right wire, it should be in ^ position as shown in the cut. Ask your students to place four brim-wires on at this angle, then put on the upper 27 Modern Millinery headsize by first measuring lyg inches on the 2- inch wire left standing above the headsize, and winding around the upper headsize. The frame now has four brim-wires mounted. It is now time to curve each wire. Point out to the class that this is the beginning of a phase of frame- making that will be elaborated as different shapes are desired, until they can express any shape they see in shop windows or pictures. In this mush- room frame, unlike the sailor, a measurement is given for the edge-ivire, as this governs the size of the finished shape. Make up the edge-wire according to the measurement already given, as you did with the headsize. Mark with a lead pencil into eight equal parts and wind in place the four wires already wound around the head- size. Then mount the four remaining brim-wires. Tie one circular brace half way between the edg- ing and the headsize. At this point give out finished measurements for the frame. Turn your own finished frame over and show where these measurements come from. Front to back IO34 inches Side to side 8^4 inches Side front to side back. . 9>^ inches The value of finished measurements is as a standard to tell whether the frame is properly shaped. The mushroom brim is now completed. As rarely, if ever, wire crowns are used for blocks, I shall not give instructions here as to the making of suitable crowns for mushroom brims. 28 Wire frame for irre(/ular turban. This shape illustrates faciny lines CHAPTER IV. 1— MAKING A FACING LINE 2— MAKING A FRAME FROM MEASUREMENTS T AM going to use the same frame, that of an -■- irregular turban, to present both of these les- sons. In the first lesson on the sailor frame we covered the first point in wire frame-making accuracy of measurements , in the second lesson on a mushroom frame we learned the simplest lesson on curving wires or the expression of line. The turban frame we are about to study will add to accuracy and expression of line a new factor, namely, a facing line. 29 Modern Millinery A turban frame has been selected for this les- son because turbans always have facing lines. Other frames — aside from the mushroom, which never has a facing line — may have a facing part way around the hat, which may be lost sight of across the front or one side. First, let me explain the value of a facing line. There are very few customers who do not want each season some type of small turban. The ques- tion arises, how is it possible to make turbans becoming to various types? At this point the facing line comes to our rescue. You will observe by the frame illustrated, the wires drop down from the headsize instead of coming out straight as on the sailor brim and, unlike the mushroom, these wires are not to be shaped or curved be- tween the headsize and the point where the fac- ing line is to be bent. How Deep Should the Facing Line Be? The question at once arises how deep should this facing line be bent. Two things govern the depth of a facing line : 1. — Whether it is becoming to show a good deal, or a very little, of the hair. 2. — The style of the season. To illustrate this second point: A few seasons ago all small hats were worn perched on top of the head, and straight, instead of being tilted; and facing lines were very shallow at all points. Following that season came a style calling for small hats to be worn at an extreme angle; con- 30 How Deep Should the Facing Line Be sequently the facing line was bent much deeper on one side than the other, to throw the frame at an extreme angle while still placed straight on the head. The best way to make a frame for an individual is to place the unfinished wire frame on the head and bend the depth of facing line on the customer, trying first what the style of the season calls for, and if this is not becoming, modi- fy in depth and angle to suit the customer. How Close to the Face? When the depth of the facing line is deter- mined, the question arises, how close to the face should the angle be? It is generally true that a customer with a small face needs the circular wire drawn close to the hair to avoid a heavy hat, while one with a full face can carry a facing line let out more by the circular wire. In both these cases the facing line may be the same depth. The point of difference is the circumference of the facing line. It is even possible to add a facing line to a sailor hat. I have in mind a customer who was very desirous of wearing a sailor but had been unable to find one that was becoming. An irregular fac- ing line was introduced on a sailor frame not only bringing the design down on the head, but adding a tilt to the construction of the hat which was most successful. No matter how becoming the outline of a hat may be, if the facing line is too heavy, or is out of proportion, the hat is ruined. 31 Modern Millinery In the point of construction, our turban frame is now bent for the depth of the facing line; a circular wire is tied at this angle with a small piece of tie wire, to hold the facing line in place and make the proper size of that facing line. Frame-making from Measurements The point I have tried to make thus far in reference to the turban is the value and use of the facing line and how the most becoming meas- urements are found. During the remainder of the lesson I am going to write on making wire frames from measurements. For this lesson use the following measurements, which when com- pleted will make an irregular turban frame. Inches Headsize 23>^ Back ■ >i — 3^ Right Back >^— 3% Right y2 — 3>^ Right Front y2—2y2 Front y — 3^ Left Front t^.— 4>^ Left Vi—^Va Left Back i/>— 5 Facing Wire 25>{; Edgewire, from right to left, start- ing at back: 3j^ — 8^, dent — 1314 —18, Front 21i/, — 25^4 — 28^— 32^. Before starting to make the turban frame I will explain my measurements. These measure- ments are given as they appear continuously on the tape measure, as is done in the best shops. 32 What the Measurement Figures Mean You will notice the first measurement appear- ing on all the given measurements for the brim is 14, meaning that the wire between the head- size and the angle of the facing is 1/ inch in length. Without removing the tape measure from the frame, the measure continues over the ^-inch mark to 3^ for the back-brim wire. Sim- ilarly the right back wire is bent at ^ inch and the measurement is continued to Sj/g. In brief, each brim-wire measurement on the turban includes the lA given for facing depth. These measurements are taken continuous, to save time and labor. To make the frame, first join the 23V2-inch headsize in a ring as explained in the two pre- vious lessons. Then start to measure the brim- wires, as shown in the diagram herewith. Why measure ^ inch when the measurements clearly state i^ inch? Because yi must be added to the Yi inch for wind- ing around the headsize. With- out removing tape measure, dent at 3^ instead of Zy% (as y^ inch " ^''^'" is also allowed here for wind around edgewire) . The 2 inches beyond the given measurement is for leverage in attaching the edgewire. After accurately measuring the back brim-wire Diaf/mm of ^ Bent as shown by the diagram, mount 33 Modern Millinery on the headsize. Continue to measure and mount each brim-wire according to continuous measure- ments given. Use the diagram given for back wire as your guide to proper allowances and the surplus wire left for leverage. The brim-wires are now placed on the headsize and the dent is made on each wire for the depth of the facing line. The measurement given for the facing wire is 25% inches. Measure accurately 24% inches; dent, allow 2 inches for overlapping, join with tie- wire and form into an oval shape. Mark with lead pencil into eight equal parts, showing where each brim-wire is to be tied to the facing-wire. Place the facing-wire on the top or inside of frame. As this frame is being made from measure- ments, then measurement must be the guide throughout the hat as to its shape. The slight curving or expressing the line will be done after placing on the edgewire. Refer now to the edgewire measurements. You will find the greatest measurement given is 32%. Measure accurately 23% inches, dent, al- low 2 inches for joining, join in a ring with tie- wire. Start with your tape measure at centre back of edgewire, and measure continuously; without removing tape measure from right to left, mark with lead pencil at first measurement given in the chart, which is 3~A. This means that the proper place on the edgewire for the brim side- back wire is 3^ inches from the centre back. 34 What the Measurement Figures Mean Now without removing tape measure continue to mark on the edgewire at the various distances given, for the placing of the following brim-wires : 8^, right wire; 13^, right front wire; 18 (mean- ing that from the centre back to the front of this wire frame is 18 inches), 21^, left front wire, 25 >4, left wire 2Sy^ left back, and 32^ for the back wire. The frame is pretty well in shape now, as the continuous edgewire measurements force it to be so. Now curve the brim wires to make a soft continuous line. Turn frame over and measure underneath brim according to continuous finished measurements which are given. Front to back 3—1114—14 Right to left 2%— 91/2— 141/2 Right front to left back 1%— O-Ys— 13% Left front to right back 4— 11%— 14¥8 These front-to-back measurements mean that starting from the edgewire and measuring con- tinuously from the edgewire to the headsize, the measurement is 3 inches ; and continuously across the headsize to the brim-wire is 11>^ ; continuously to 14 is the entire measurement of the finished frame from front to back. The remainder of the measurements given may be interpreted in the same way. The value of finished measurements is in the fact that they test accurately, whether each measurement has been followed and whether the wires aside from, being accurately measured are properly shaped. 00 Modern Millinery Bracing the Wire Frame The question as to the proper bracing of wire frames which are to be used as blocks has not thus far been explained as the sailor and mush- room brims were small and would not permit a succession of braces. The question of how^ many circular or brim braces are to be used is governed by two things: 1. The preservation of the lines of the frame dur- ing the blocking process. 2. The nature of the material to be used in blocking. Generally, more braces are used on a frame where cape net is to be used than one on which willow is to be blocked, as cape net is a thinner material than willow and unless the frame is properly braced the cape net will sink in between the wire and lose something of the line desired. On the frame we have just completed I would tie, first a circular brace 1 inch above F wire; another, 1 inch from the edgewire, as the depth of the brim on the left side is much deeper than on the right side. A circular brace should start at F wire and continue around B wire. This brace should be wound around the F wire and the B wire; the space intervening should be di- vided in half between the two braces already on the frame. All braces should be tied and placed on the inside of the brim wires, so that the im- print of the wires will not be so pronounced on the damp willow. In large irregular shapes there are often six- 36 Bracing the Wire Frame teen brim-wires placed on the headsize instead of eight. The eight additional ones in such cases act as braces running up and down. Measure- ments are never given for these braces, their shape and measurements conforming to the wires next to them. 37 CHAPTER V. COPYING FRENCH HATS WITHOUT MEASUREMENTS In the former lessons we have been considering the tedious but necessary rudiments of wire frame-making. Hoivever, we have been leading up to the important use of wire frame-making in the other more interesting aspects of the art of millinery. From this point the chapters should be followed by the milliner with intense interest, since it gives her what has never before appeared in print — the actual methods in use in the big Fifth Avenue workrooms today. EACH month during the busy season the large wholesale houses in New York City import a great number of French hats. Some retailers are able to buy the original models, but the vast number must use copies made up in their work- rooms. This source of vital style is only open to the milliner who can copy and design in wire. The wholesale houses send out notices to the retail shops that on a specified date they will show new French models, their object being both to sell ma- terials to reproduce these French hats, or to sell the original models. On these dates, copyists are sent out from all the best retail shops to make 38 Copying French Hats Without Measurements (Above) Leonfine model imported by Judkins §' McCormick Co. (Below) Brim frame for blocking this model, the lower half be- ing unfinished, to shore) how edge-wire can be shifted np and down the brim-wires before being clinched by the final twist Modern Millinery sketches and take notes on the French models dis- played. For the purpose of this lesson we will proceed as these copyists do when a new showing is announced. Through the courtesy of Judkins & McCormick Co., New York, I am able to show herewith pic- tures of two very beautiful French hats, photo- graphed in their exhibition room. I have chosen these two models because they show the two uses of wire frames in copying French hats. The first illustration is taken from a Leontine creation. On this model the wire frame is used as a block over which to stretch cape net. The second illustration is taken from a Suzanne Talbot creation, and shows use of a wire frame as a skeleton for a lace hat. I will take notes from the first illustration, as notes are taken by copyists from these original hats. 1. Name of the designer: Leontine. 2. Color scheme used: Orchid and brown, pas- tel colors combined with the trimming. 3. Outline of brim : Large poke shape — very short in back. (Note — At this time the copyist studies every line of the brim, as, without meas- urements, she expects to make a copy of this brim in a wire frame, every line of which must be like the original.) 4. Materials used for covering brim : Top brim is covered first with orchid taffeta, then re- covered with one thickness of orchid crepe chif- fon. Facing is covered with brown taffeta clouded with brown crepe chiffon. 40 Copying French Hats Without Measurements 5. Arrangement of brim covering: Top brim is covered plain, first with the taffeta and second the orchid crepe; material does not extend over brim; edge is sewed, long and short stitch, }i of an inch from brim edge and cut away leaving un- finished edge. Under-brim covering is put on in three parts or flanges; each section is finished with a wire, the first one extends over the edge of hat on top. Brim is finished with a wire ^ inch from edge of hat giving the effect of a nar- row binding on top; the second flange is about 2 inches from brim edge ; underneath, this too, has a wire finish; the third wired flange fills in the remainder of space into the headsize. 6. Shape of crown : Rough sketch of outline. 7. Materials used for crown: Orchid crepe. 8. Arrangement of material used on crown: Crown-tip or top is covered plain with orchid taf- feta; this is covered or clouded with the orchid crepe. Side crown is covered plain with taffeta for foundation; the crepe chiffon is then draped around side crown in an irregular drape. 9. Color and type of trimming used: Six clus- ters of orchid wheat, made in rosettes with three small roses in centre, are used as trimming around crown. One cluster of wheat with five roses is used on brim. 10. Exact note as to placing of trimming: Two clusters are placed near the front. One cluster is placed near the right side, another near the left side. Two clusters are also placed near the back. A spray using five roses with wheat is placed on 41 Modern Millinery the brim edge at right side to finish streamers, which are made of the two colors used on the hat — orchid and brown crepe chiffon. These stream- ers are 12 inches wide and may be made any length desired ; they are hemmed along side and ends. After taking notes and sketches similar to these of each hat shown at the opening the copyists and designers return to the various shops they repre- sent and start in the workroom to make them. The first thing to be done is to make a frame like each of the hats. In the wire frames made in previous lessons we have had measurements given ; this time we are not going to use measurements with the ex- ception of the headsize, which may be made the average size (24 inches). Experienced copyists start at once on their re- turn from seeing French models to have their help join a number of 24-inch headsizes, then place eight long brim-wires on. These frames are then passed to them and they shape the wires to re- semble, as near as possible, the hats they saw. To give the copyist an opportunity for experi- ment, an edge-wire is usually tied on to the eight spoke-wires, the tie-wire being kept loose so it may be easily adjusted by sliding back and forth to the desired degree. After consulting the trim- mer or designer who accompanied her as to whether the line of the edge-wire is right the copyist twists the brim wires into their final places on the edge-wire and passes the frame over 42 Copying French Hats Without Measurements Suzanne Talbot black lace model imported by Judkins McCormick Co., and its wire frame foundation. 43 Modern Millinery to the maker to be either braced for a block or finished up (with fewer braces) for a lace hat. Below the illustration of the Leontine hat is a wire frame of the hat made without measure- ments as just described. One side of the frame is left unfinished to show the frame under con- struction. This frame is braced sufficiently to be used as a block for cape net, over which cape- net form the hat is finally made. The crown block of wire illustrated elsewhere is also completed for stretching the cape net. Wire Frame for a Lace Hat The second illustration (a Suzanne Talbot hat) I shall not give detailed notes on, my object being to show on the other hat very definitely how notes should be taken by beginners. Experienced copy- ists and trimmers make very brief notes and carry sometimes a line of fifty hats in their minds until they are able to make outlines of them in wire. Spoke wires for transparent hats should not be wound over the edge-wire as they are when the frame is used as a block. Instead, the end of the spoke wire should be bent parallel to the edge- wire for the space of about 2 inches and tied with tie-wire. This does away with the bumpy edge caused by winding brim wires on the edge of the frame. 44 Wire Frame For a Lace Hat Crown Block to be used for both models. Below the Suzanne Talbot illustration also is a wire frame (made as before merely from studying the hat, without measurements). This frame is not to be used as a block, but rather as a skeleton frame on which to make the lace hat. The same crown block as used for the Leontine hat may be used to stretch black cape net over for a crown foundation for this Talbot hat. The lace is so loosely arranged on the crown that the slight dif- ference in crown shape can be suggested on the draping. The entire secret of success in making any lace hat is so to adjust the material to the frame as to express style and chic. Calculating Materials Needed The amount of shadow lace needed to make this model, can easily be calculated. First measure loosely around the edge of brim. Note that be- 45 Modern Millinery hind the soft lace edge, another row of lace is used to cover the brim both on top and under- neath, hence three times the circumference of the edge will give the amount of lace needed for the brim. Twice the circumference of the crown base will give the amount of lace needed for the crown, as one row is not enough to cover the crown. Two lacquered daisies are placed on the right side brim close to the crown. The one on top of the brim is bronze, the one underneath, on the facing, placed close to the headsize, is a dull jade. On the left side, close to the crown, is one bronze daisy. It is by the method I have described that hats are copied from designs seen on the street or in magazines. Original designs are made in just this way. So it is not hard to see that wire frame- making is the biggest thing to know, before one can expect to succeed in millinery. Every one must master this foundation work or she can never expect to succeed. The manufacturers of frames do the best they can to keep up with the styles, but no manufac- tured frame can take the place of a light hand- made frame, and in the matter of designing, it is out of the question to find frames that can express what an artist designer may have in her mind. Therefore, what I said in the first lesson as to the importance of wire frame-making is true. In the hands of experienced workers it has the same possibilities as clay in the hands of a sculptor. 46 CHAPTER VI. BRACING WIRE FRAMES, CHOICE OF BLOCKING MATERIAL ALL designers and trimmers in workrooms have had the experience, after they have carefully outlined a choice shape in wire, of hav- ing the line ruined by a maker either in placing the braces or in using poor judgment as to the number of braces necessary. You will observe the first brace running around the brim is placed about an inch from the head- size. This is the proper place to start bracing any frame, just as the headsize is the place where you start to make the frame. If the frame has no facing line the second cir- cular brace should be placed about an inch in from the edgewire, as the edgewire is the line that chiefly needs protection. The space between the two circular braces should be filled in with as many braces as are necessary, varying according to the size of brim. You will observe from the illustration that the third brace continues around the entire brim and that a fourth brace extends part way around the wide part of the brim and is wound around the spoke wires. If a wire frame has a facing line the second circular brace should be placed to brace the facing 47 Modern Millinery 48 Bracing Wire Frames, Choice of Blocking Material wire and the third to brace the edgewire, as in the course of construction a facing wire is placed on the original frame after the headsize and be- fore the edgewire. Very often, in bracing large wire frames of ex- treme line, which are to be used as blocks, aside from the circular braces, eight additional spokes or brim wires are used to brace the frame up and down as well as around. Great care should be used when placing braces, to see that each brace follows closely the line of the wire which it is bracing, to protect every curve of the original shape. All circular braces are tied with tie wire on the top of the brim, as the damp willow or cape net is stretched on the facing, which must therefore be kept free of raised wires. Bracing the Crown Bracing a crown is a matter of tying as many circular braces around on the inside as the size of the crown calls for, placing the braces between 1 and 11/2 inches apart. In conclusion, as to bracing, / should say that bracing is of equal importance with making the original shape of wire. A wire frame is abso- lutely useless as a block unless it is strong enough to stretch the damp material on. In bracing wire frames for lace hats, where the frame is used as a skeleton frame to drape the lace on, as few braces are used as are absolutely neces- 49 Modern Millinery sary to keep the frame in shape. These braces are always placed, according to the design of the lace, under the solid part of the pattern, to avoid showing through. \ Choice of Blocking Material The materials that contain shellac and may be dampened and used for blocking are as follows: Heavy and medium-weight willow and cape net (or rice net, as it is sometimes called). Among the willows are a light-weight willow without dressing, also a heavy crinoline — more like tailors' canvas — that is sometimes used in blocking. These materials are not dampened because they contain no sizing, but are often stretched over a wire frame or are shaped with wiring, or cut from patterns. I believe the easiest way to show how to choose proper blocking materials is to take the Leontine model illustrated and make it up in every type of material used in millinery. Cape net is chosen for the frame pictured, as the finished hat is to be made of orchid crepe chiffon. Cape net is the lightest blocking material con- taining sizing and it also may be tinted to match the material by painting over with a brush with Tintex or any other dye or water color, helping to make inconspicuous when in the hat. Cape net would also be used in blocking on this frame if the hat was to be made of Georgette crepe. For organdie, a choice may be made between 50 Choice of Blocking Material using a blocked cape net, or making the hat on a wire frame, best adapted for the brim in this shape as it would be more secure to stretch the heavier materials over. Cape net is used for blocking all crowns as wil- low is too heavy. The majority of crowns today are soft. However, some blocked crowns are used. In the Leontine hat, made of chiffon crepe, a blocked cape net crown is used. Two points today make a hat salable. 1st. The style of the hat. 2nd. It must be light in weight. These two points should be considered in the choice of blocking materials. Effect is what we desire. Thus it is not infrequent that cape net is chosen for a floppy taffeta hat, or if it were to be stiffer in effect, willow would of course be used. Should one desire a firm stiff effect in a small hat, again willow might be used because it would best carry out the effect desired, regardless of the weight of material the finished hat might be cov- ered with. Heavy willow is used where a slick firm frame is desired in a large tailored hat, whether the outer material to be used is satin or velvet. Undressed willow and heavy crinoline or tai- lored canvas are often used where frames are cut from patterns — or perhaps either of these mate- rials may be stretched over a wire frame and left pinned on until they take the shape of the frame. The edges of these soft frames are generally left unwired and instead are bound with crinoline to get the soft or collapsible effect desired. 51 CHAPTER VII. BLOCKING THE FRAME AFTER determining what blocking material is best to carry out the effect desired place the brim of the wire frame on your sheet of willow or cape net and cut around, leaving a large allow- ance for pinning and stretching. In blocking cape-net frame over ivhich material by the yard is to be fitted two thicknesses of the net are ahvays used. After doubling the cape net and pinning the two thicknesses together so they cannot separate, cut around roughly to allow ample size for frame to be blocked. Place the double cape net in a basin of hot water, completely covering the net. Then quickly remove, without squeezing. In blocking a shape similar to that already shown, place the corner or bias of double cape net to the front (as that is the deepest part of the brim) . Pin the cape net securely to the edgewire for the space of about three inches, placing pins as shown in a previous illustration. After fitting a few inches on the edgewire, fit an equal space on the headsize, cutting the material in the head- size as you fit. In this manner fit the entire brim. Take great care not to pull the frame out of line or leave the cape net too loose. After carefully pinning look your frame over and see if it is in 52 Blocking the Frame line ; if so, hang the brim over the heater to dry. After it is dry pencil-mark the edgewire and head- size line, remove the pins, mark the front and back of frame, and if in stretching the willow or cape net any seams have been made, cross-stitch these together before removing the cape net from the wire frame. Slip the cape-net frame off the wire frame, tak- ing care to preserve the shape perfectly. Accu- rately join an oval headsize the exact size of the original wire frame and tack it to the headsize of the cape net frame. Place the wire on top of the frame if it is to be left in when the hat is com-' pleted. Tack in four places to hold the wire in place; then buttonhole stitch the entire wire in place. Afterwards, if the frame needs it, care- fully press with a warm iron ; do not trim off the edge of the frame where the edgewire is to go, until after pressing the frame, as in this way it is less apt to get out of shape. After pressing, measure your frame as to size and trim carefully on pencil mark where the edgewire is to be placed. Do not join the edgewire in a ring, as in the case of the headsize, but start to wire from the back, with the wire open. Buttonhole stitch the wire around the edge, taking stitches about a half inch apart. // the frame turns down, place the edgewire on the under-side, just far enough back to catch the buttonhole stitch taken over the edge. // the frame tiirns up, place the edgewire on the top to keep the frame in line. 53 Modern Millinery Where Extra Braces are Needed As sailor frames are inclined to spring front and back, the edgewire should be placed on top to help hold the frame in line. The question of extra brace-wires being used on cape net or wil- low frames is an important one. If a frame has an extreme line on one side, this side should be wired with a fork-shaped brace, as illustrated herewith. The large part of the brace goes next y\//RE to the edgewire. This should be carefully button- holed to the top or to the facing of the frame (whichever side of the frame the shape requires) . The brace wire does not stop at the headsize but continues up above the headsize and is joined to- gether. This little extension may be attached to the crown when the hat is completed and thus make a purchase on the brim. As many of these braces may be used as necessary, but if more than two are needed it is best to choose a heavier block- ing material for the entire frame, as these braces are apt to show through the material, no matter how carefully they may be covered with crinoline or tarleton. 54 Where Extra Braces Are Needed Willow is placed or pinned on a wire frame the same as cape net, except that only one thickness is used, as willow is smoother on one side than the other. Care should be taken to place the smooth side of the willow on the most conspicuous side of the hat. In stretching small shapes of willow or cape net, bias strips of the blocking material will stretch and fit to better advantage than straight material, and require less tvillow or cape net. Crowns may be blocked by placing a double bias strip of cape-net around the side-crown, pinning it to the edge and top side-crown wires, with a small piece of cape-net covering the tip. Or they m.ay be blocked by placing a square of double cape net over the entire crown, pleating the cape net flat around the side crown, and cutting the surplus cape net out from under the pleats. When the cape net is dry remove the pins, mark the edge or base of the crown and remove from the block. If a separate piece is used for the tip, cross stitch this piece to the side-crown before removing the cape net from the wire frame. After the blocked net is removed, join a wire on a ring the size of the crown base, and button- hole-stitch it to the lower edge of the crown. Press carefully, and crown and brim are now ready for use. Blocking materials which have no dressing or sizing are handled, so far as stretching and pin- ning are concerned, the same as dampened frames, 55 Modern Millinery the only difference being in the wiring The Irame is often bound with crinoline instead of being- wired, as hats made of undressed willow or crinoline are generally collapsible and do not require a brim edge. 56 CHAPTER VIII. CALCULATING MATERIALS THERE is probably no question oftener asked by students in millinery classes than, **How much material shall I buy for my first hat?" In workrooms where there is an abundance of mate- rial the question as to the amount of material needed for a single hat must be as carefully de- cided as where one is buying for a single hat. The stock girl who cuts the material and gives it out for each hat is frequently careless about wast- ing material. I have been surprised to find that many students of millinery who have had trade experience calcu- late for the amount of material needed for in- dividual hats merely by measuring across the frame from front to back, allowing two inches for overlapping and sewing. This measurement is then doubled (to provide for the top brim), a quarter of a yard is added for crown tip, and a quarter of a yard on the bias is purchased for the side crown. / most decidedly take exception to this pro- cedure on the ground that the width of the brim to he covered plays an equal, if not greater, part than the length in calculating material. This measure- 57 Modern Millinery ment should determine the width of material to buy. If you will look at the illustration below I am sure it will be clear to you how to measure and calculate for material to cover the brim. / One inch extension xl lowed <3.t Sink Tape mcs^iLTO to depth ofhc3.clsi2& -^- 0^---^ m '"' 4i' ^-,-- 2%-- - How to measure for brim-facing material. The dotted line represents the tape measure. The hat should he measured in the same waif from side to side and front to hack You will see from the illustration that the brim is measured on the underside. In measuring from front to back, a tape measure is started one inch beyond the front brim and continued along the frame until the headsize is reached. At this point the tape measure is turned down into the headsize as far as the upper headsize (as the fitting of material must be carried to upper headsize). Then carry the tape measure straight across to the upper headsize at the back of the hat. Here it is again brought out and continued to the out- side edge of the back brim and one inch beyond. Measure frame from side to side in the same manner. At this time also observe measurements of crown tip from front to back, and from side to 58 Calculating Materials side. With these figures you are ready to calcu- late the needed material. Material for the brims of large hats is bought on the straight; crown tips are also made from the straight material. Therefore, we will add all our straight measurements together. Let us say that the brim is 17 inches from front to back and 21 inches from side to side; and that the crown tip measures 9x11 inches. As the facing of the brim on a hat measures the same as the top, doubling the amount in length gives the length necessary for top and facing of brim. The facing of the hat in question measures 17 inches from front to back ; doubling it gives us 34 inches. The crown tip measures 11 inches front to back. Therefore our calculation for length of material needed will look like this: Brim covering (top and facing) . . 34 inches Crown covering 11 inches 45 inches The length of material required, therefore, will be 45 inches. Calculating Width of Material Before considering the measurements as to the width of brim and tip, I should like to give a table of the different widths of materials that may be purchased at the wholesale and retail stores, so that we may judge intelligently which width will 59 Modern Millinery cut to best advantage for the measurements given : Velvets 18, 22, 40 inches wide Duvetyns and Velours . 18, 22, 40 inches wide Satins and Taffetas 36 inches wide The brim width given above measured 21 inches from side to side and the crown tip 9 inches. If you could purchase velvet the color and qual- ity desired from the scale of widths you could readily see that ll^ yards of 22-inch velvet would cut very economically. But exactly the right ma- terial cannot always be found in the width desired. Suppose you wanted a special shade in a velour and found it only in the 40-inch material ; it would be equally as accurate and perhaps less expensive to buy half as much in length, knowing that the top and facing of the brim could be safely cut from this extra width. Calculating Satin or Taffeta Suppose you desired satin or taffeta for this same hat. The width of satin and taffeta is gen- erally 36 inches. With the velvet we were cutting so close in the width that it was necessary to buy an extra l^ of a yard for the crown tip. In the case of satin or taffeta you would have left from the width of a yard of satin or taffeta, after cut- ting material for the brim, a strip 15 inches wide and one yard long. Thus it would not be neces- sary to buy the quarter of a yard extra for the crown tip. 60 Measuring the Side-crown Thus far we have not considered the side-crown measurement. You will notice from the dia- gram herewith that the side - crown measure- ment is taken on the slant. The reason for this is that separate side-crown material is used on the bias. If the measurement were tak- ' Measuring for the en perpendicularly thebms strip for the 1 • i . ij . T_ side crown bias strip would not be wide enough, as you cannot purchase velvet through the bias, but must have the selvage meas- urement. The side-crown illustrated measures 8 1/2 inches on the slant, and we will say the cir- cumference measurement at base of crown is 26 inches. Therefore a strip 8I/2 inches wide and 26 Three types of crown covering. (1) Material in one-piece steamed to the shape of crown. (2) Sections sewn together. (3) Side crown and tip covered separately 61 Modern Millinery inches long is needed. The length of bias strips is entirely governed by the width of the materials. By testing materials it has been proved that bias increases in length one-third of the width of materials. Thus the 22-inch material we selected in velvet would be the right width to produce a bias long enough to drape around the crown. The strip from the 22-inch material would be 29 1/3 inches long. As the crown was 26 inches in circum- ference, the allowance for drape and joining would be ample. As velvet is the only material one can buy bias, it is necessary, when the side crown is to be made in any other material, to buy a half yard extra on the length, so that you can make your own bias. For Different Types of Crowns In buying material for crowns where the entire crown is made in one piece, as, for example, in the new steamed crowns (see Figure 1), measure from front to back and side to side, starting at base of crown and measuring across the top to the base at the other side. Material for this type of hat should be bought on the straight. When the crown is to be made in sections set together with unfinished cords (see Figure 2), it is necessary to buy y« yard of velvet on bias for cord coverings. The small pieces for the sections of the crown may be safely cut from pieces com- ing off the sides in fitting. 62 Where one folded fiece is to cover wpper- and under- brim, measure- ment is taken in this way Another Type of Brim Covering There are a vast number of hats in v^hich the top brim and fac- ing are all made in one by using a bias strip, stretching it through the centre over the edge of the frame and pleating the full- ness in at the head- size. In this case the covering of the brim is, of course, bought on the bias, the measurement for mate- rials is taken as shown in illustration herewith. In this case the circumference of brim is to be considered, as it is best to buy material wide enough so the brim covering has but one joining. If material cannot be bought in the color and quality desired of a width great enough to make long bias strips, a piece of material twice the depth of the brim top and facing must be pur- chased, as a part of the second strip is for the brim. The method for measuring, where hats are made with flanges and sectional facings, is the same. Stated briefly, it is this: In calculating for straight material, see how many times the meas- urement you have taken from your hat goes into the width of your material. For bias, measure 63 Modern Millinery on a slant for the width of your strips, and also measure the circumference of the surface to be covered. In computing material needed, remem- ber that each width material will produce a strip one-third longer than its width. 64 Underside of the parfh/ completed brim. The magnified circle shows the cross-stitch by which the velvet is stitched to the cape-net. At the headsize, two of the slashed sections have yet to be cut off CHAPTER IX. PRINCIPLES AND METHODS OF FRAME COVERING I N making and covering a willow or cape-net frame the process should be as follows: 1 — The top brim should be covered. 2 — The crown should be made and sewed on. 3 — The facing of the brim should be covered. I know that while some Fifth Avenue work- 65 Modern Millinery rooms follow this method in constructing a hat, others cover the top and facing of the brim first and then, the last thing, slip-stitch the crown on. Let us think for a moment which is the better way. Is it not the line of every hat we must protect throughout its construction? All modern hats are braced or wired as little as possible ; if the crown is made and sewed on to the brim after the top of the brim is covered, does it not protect the line of this hat as no other method of construction could possibly do? Then, too, one can study the effect of the finished hat far better if the crown be made and tie-tacked on before the under brim is covered. Do not our French designers daily teach us that crowns should be as carefully studied as the outline of the brim itself? Often these crowns are much larger in the headsize than the headsize of the brim. If the facing of the hat is already covered it is not possible to securely tack the crown to the brim. It could be done only by slipstitching the base of crown to the top-brim covering, which, if the material were pasted, as it often is, would not alone loosen the top covering of the brim; but the entire weight of the trim- ming of the hat, each time the hat was adjusted, would pull on this top-brim covering. Crown and brim should blend together to make a perfect creation. But one often sees a hat where the crown and brim seem like two distinct factors, looking very much like a house that has had an upper story added after its completion. In the first case, the crown is made and sewed on 66 Principles and Methods of Frame Covering before the brim facing is covered. In the latter case, the crown headsize, though perhaps larger than the brim headsize, is forced in small enough so that the crown may be sewed in the same place as the headsize of brim material was sewed, then a ribbon or a fold is usually used to fill in to cover up what in reality is botch work in putting the hat together. Agreed on this point, let us proceed to place, fit and pin our velvet to the top brim. Let us use mirrored velvet for this plain sailor hat. In considering the question of placing mate- rials on the frame we will use mirrored velvet be- cause it has an added feature to consider — that of the direction of the nap as well as the proper placing and fitting. Perhaps it would make it easier for those of you who have not had much trade experience, to think of the placing of mate- rials on frames as you think of laying commercial patterns on dress material. In other words, we are going to place the velvet on the frame with two points in view — first, to give the hat, when finished, the effect desired; second, to cut our material as economically as possible. There are just two groups of hats to consider in thinking of fitting materials. Sailors and slightly irregular shapes come under the first group. They can be fitted without any seam or joining in the top-brim covering and the facing as well. In other words, the fullness may be fitted out as one pins the velvet on. In the second group come all the irregular shapes, where it is 67 Modern Millinery While the velvet is yet ijinned to the edge of the brim, the pinned headsize is sewn, with the Joncf-and-short stitch. HeavLj line. Velvet Dotted line, Fram W( (Left) How the slashed headsize sec- tions are pinned to the frame, preparatory to sewing impossible to fit the fullness out. joining must be used. In this case a Covering Plain Sailors In the first group, covering plain sailors or slightly drooping shapes, what is the best way to place and pin velvet? The illustration shown is the brim of a droop- ing sailor hat. For all-sailor or slightly drooping hats, where the material may be fitted without a joining, the material should be placed with the straight of the velvet to the front, back and sides, with the nap running to the right as you hold the front of the hat towards you. I realize that many in the trade and elsewhere will take exception to this, and say 68 Covering Plain Sailors the bias of material should be placed to the front with the nap running to the back. In my first days of handling materials I also believed this to be true. I have since found it better to place the straight of material to the front when fitting any hat where one is trying to avoid a joining, because if the four main points of a hat are the front, hack and sides, and the straight of the material is pinned at these four points, at least they are fitted without accumulated fullness, as the straight can- not stretch. Before starting to fit the straight of velvet, be sure to remove the selvage. Then pass your hand over the velvet to see that the nap rubs smooth away from you or to the right. Place your velvet over the frame, allowing an inch margin on all four sides. Start to pin at front edge of brim, sticking the pins in straight. Do not darn pins in, as this will mar the velvet. Stretch the velvet securely straight across from front to back without pinning at the headsize. Pin in back, then proceed to pin the right side; stretch firmly across to left side and pin. With- out cutting headsize, pin and stretch from side fronts to side backs. At this point trim your vel- vet around the edge of brim, leaving a margin of one inch all around. Also cut an oval piece out of the centre of your velvet, which is fitted tight across the headsize. Slash down to the headsize wire and pin as shown in illustration. Then start to sew the brim covering at the head- size, as shown, using the long and short stitch, 69 Modern Millinery with long stitch on the material side, as shown in illustration. This pulls in the material and changes the circumference of the material, so you must again trim down the edge of brim, leaving %-inch margin all around. Cross-stitch edge of velvet to frame, using great care to make this finish flat and the stitches of equal depth so an even line may be used when sewing the facing covering on. You are now ready to attach the crown. 70 The crown tie-tacked in place, ready to be stitched on. To make the tie-tack, simply insert the needle through the edge of the crown material, then up through headsize edge of the brim material. Then remove the needle and tie in a knot. This is done front, back and sides, to hold the crown in place CHAPTER X. COVERING AND ATTACHING THE CROWN THE crown should now be made. I will use first the simple crown that has been, and is still, in vogue. In many of the modern hats the crowns are made soft, without foundation. If desired, a narrow cape-net piece is joined in a ring and wired on the lower edge. This piece ijs used to support the crown at the base. After the crown has been made of the material it is slipped over this narrow oval piece and cross- stitched to the lower edge. The first crown I will describe is made with a separate tip and side-crown. The question may be asked, how is one to know what shape to cut 71 Modern Millinery the material when no crown foundation is used? If the headsize of the brim is 24 inches, a good proportion for the crown headsize is 26 inches. Cut a strip of velvet on the bias the desired length. The width of the strip is determined by the effect desired for the side-crown — whether it is to be plain or draped. The tip of the crown is cut oval in shape using a circumference the same as side- crown. Sew tip to side-crown on wrong side. Be sure nap of crown-tip and the straight of the ma- terial are placed to run the same as top-brim cov- ering. If foundation is used under crown the lower edge of velvet may be turned up, flat hem- med. A wire may be run through the hem to sup- port the base of the crown and make it easier to sew crown on brim. The crown is now ready to attach to the brim. Mark the front, back and sides of the brim with While still tie-tacked on, the crorcn is firmly slip-stitched to the brim, after xchich the tie- tacks are removed. If thread to match is used, the slip-stitch 'will be almost invisible when pulled tif/ht. The circle inserted shows hoic the slip-stitch is taken 72 Covering and Attaching the Crown pins ; mark the crown in the same manner ; place the front of the crown opposite the pin marking front of brim ; pull well down on brim and tie-back in four places. (See illustration.) Tie-tacking is to millinery what basting is to dressmaking. Aside from its use in permanently tacking a drape it is used as basting, a preparatory stitch to hold material in place, until the final sewing is made. After tie-tacking crown in place, slip-stitch crown to brim. There is no stitch in millinery more often used than the slip-stitch. It is the shape of a Roman key and may be made any length desired so long as each stitch is directly opposite the last stitch taken. (See illustration.) Before putting the facing on this last hat I should like to show two other types of crown that might be used as to the placing of the materials and the way to complete the crown. One of the most valuable pieces of equipment I have ever seen to aid in making and blocking, crowns of all shapes where the crown is made of one solid piece of material is a copper net crown made in all the leading shapes. After pinning the material with the straight to the front, back and sides, the crown may be held over a steam kettle — either a kettle as used at home or the kettle that comes with the complete equipment. After letting the steam filter through the crown with the material pinned on, it is easy to stretch. After stretching all fullness out, unpin from crown block, trim for i/^ inch margin, wire a small cape-net piece two inches wide, and join n Modern Millinery in a ring of the same circumference as the crown is to be. Cross-stitch the velvet at the crown base over the cape-net ring, thus making the crown secure at base. This method of placing and steaming of mate- rial may be used for satins, taffetas, velours, or- gandies, Malines, nets and laces. This copper porous crown-block is superior to anything in the way of a block the trade has ever shown and is better in every way than a wire crown as made in workrooms, as the imprint of the wires is bound to show through if the damp material is stretched tight enough over the frame to stretch fullness out. In placing material for making crown in sec- tions, first determine the circumference of crown at base ; then decide how many sections are de- sired to make the effect the design calls for. If six sections are to be used divide your crown circumference into six equal parts, measure off on a crown block, which may always be found lying about, the number of inches one of your sec- tions calls for, take a corner of tarlatan, cut the shape of 1/6 of your crown foundation from this bias corner of tarlatan, remove this from the crown block and use for a pattern. Allow for seams when you lay the pattern on the velvet or satin. Cut six or eight sections, as desired. Seam these together on the wrong side, either using an unfinished cord, or, if preferred, join sections to- gether, without cords. Turn in crown material at base, tie-tack crown to brim, and slip-stitch on. 74 CHAPTER XI. FACING THE UNDERBRIM OUR hat is now ready for facing. Place vel- vet on the facing with the straight to the front, back and sides, with the nap running the Slip sfifch under wire. loose of wire end llf*^ long and 'short stitch Here a section of facing is partially fitted on. The long and short stitch is being used at the headsize, and the wire finish is being sewn on the brim-edge, with a slip stitch. When pulled tight, this stitch is invisible. Of course, the thread should match the rnaterial 75 Modern Millinery same as the top. Pin front, back and sides, side fronts and side backs the same as the top brim covering. Do not pin headsize. Care also should be taken not to pull velvet so tight as to get the hat out of line. After carefully pinning edge as described cut out a small oval from headsize; slash down to headsize line and sew headsize with long and short stitch. (See illustration.) Trim velvet around the edge of brim, allowing a % inch margin. Finishing Edge With Wire As the wire finish is one of the best ways to finish a facing for a tailored hat, we will con- sider that method of finish. Turn edge of velvet over a piece of frame wire and pin both firmly in place at the edge of the brim. Then, using the slip-stitch, sew wire in facing, as shown in illustration. It is best not to join wire in ring when pinning. Leave wire open until the slip- stitching is nearly completed, then join wire with a clamp. Clamps are small fasteners that slip on the end of two unfinished pieces of wire, join- ing wires in a ring. They are used in millinery wherever two unfinished ends of wire must be joined in a ring. These clamps may be purchased at any millinery wholesale house. After completing the slip-stitching of wire in the facing, the hat is properly covered and ready to pass over to the trimmer. If pleated taffeta, unfinished cords or any kind 76 Finishing Edge With Wire of fancy material are used either to introduce color or soften the edge, these are usually basted to the facing of brim, before the facing is turned in on the wire. In this way, all kinds of original ideas may be introduced in the way of trimming on the edge of a hat; the facing is almost invar- iably brought up on a wire to finish the edge If a softer effect is desired on the edge of the hat, an unfinished cord may be basted on the facing. In this case the facing is not turned in on a wire but is turned in and slip-stitched without a wire. These two ways of finishing a facing cover all one need to know, as all other finishes are a var- iation of these finishes. The tulle edge sometimes used on the edge of hats does not come under the head of these finishes. Wide soft edges also come under a different group and will be described in another chapter. We have carefully considered the placing, fit- ting, pinning and sewing of hats where the mate- rial may be fitted on without a joining. The principle is this: For all flat or slightly irregular shapes do not work fullness around to one place, hut pin front, hack, sides and diagonals, keeping fullness con- fined in the section where it helongs. It is easier to avoid accumulation of fullness if headsize is not pinned, as the slight sinking in of velvet pulls the fullness in a place where it is hard to avoid slashing too low for headsize sewing. We have used a mirrored velvet for this ex- ample, because mirrored velvet deals with nap 77 Modern Millinery shading, light and dark. In using other materials such as plain velvet, velours, satins, taffetas, or- gandies, ginghams, Georgette crepes, etc., the question of placing, pinning and sewing would be the same except as to the preparation of the frame for covering. Any material where the frame does not show through should not be inter- lined. Satins and taffetas usually need some prep- aration for the frame before covering. Mull, tar- latan or China silk may be used to cover frame before putting outer covering on. For all kinds of hats where frames must first be prepared, the top of a brim should be prepared and then the outer material used. The crown should then be prepared and its outer covering put on. The crown should be sewed on before the fac- ing of the hat is prepared for outer covering. This method is far better than preparing or inter- lining the whole frame and then putting all the outer covering on, the advantage being, when preparing and finishing step by step, the last in- terlining covers all stitches and imperfections of all the preceding sewing. As this interlining serves two purposes — that of making a perfect surface to fit over and of covering all preceding stitches, it is clear this is the only method that is practical. 78 CHAPTER XII. FITTING VELVET HATS WITH A JOINING IN the previous lesson we have found how to place, hem and sew the material, be it velvet, duvetyn, satin or taffeta, on a hat where the ma- terial may be fitted without a joining. We found in this lesson that the principle of placing mate- rial on flat or slightly drooping hats was as fol- lows: Place the straight of the material to the front, back and sides, pin at these four main lines of frame, and keep the fullness of material con- fined in the section to which it belongs — in short, do not push fullness, as it will accumulate at one place on the brim, so that a joining must be made. This method of fitting and pinning will always apply to flat or slightly drooping hats where ma- terial may be placed on without a joining. Let us see what the difference is in placing and fitting material on a frame that is irregular in shape and in which the fullness of material cannot ibe worked out. As you look at the illustration shown you can readily see that it would be impos- sible to place a straight or bias piece of velvet on such an irregular shape without joining the material. Let us see how to place the material, as to the straight or bias, and where to make the joining. Here again I deal only with principles which will cover the fitting and covering of ir- regular shapes as long as hats are worn. 79 These two -^dqes pinned together until surplus velvet is cutawau. 2h. ^ How to dispose of the fullness gathered at the joining and how to make the joining. The cut below shows the hat with the full- ness gathered at the back, where the join will be. When the stage of making the join is reached, pin velvet together at the point of joining. Cut through the fullness so that it mag be folded back in two halves against the hat leaving the inside of the pinned section exposed. (See sketch above.) Then cut away the surplus velvet Vs inch from the pinned folded line. Then turn both edges under at the line marked bg the pin, leaving a little of the frame e.vposed so the material will be stretched tightly at the joining and slipstitch together 80 Fitting Velvet Hats With a Joining We have learned that the top brim should be covered first; second, the crown made and sewed on; third, the brim facing should be covered. The Proper Direction for the Nap As the top brim is the first surface to cover let us see how velvet should be placed on this surface. I use mirrored velvet for this hat, as mirrored velvet has all the extra problem of nap, which makes it the hardest material to handle. The lesson on placing material on flat hats explained that the straight of the material was placed to the front and that the nap runs toward the out- side of brim rubbing smooth from one edge of brim to the other across the front. In other words, if the front of the hat was toward you the nap of properly placed material would rub smooth to the right straight across the entire front of hat, from left side to right side. In placing vel- vet on the shape shown, the true bias or corner of straight velvet should be placed to the front with the nap running diagonally toward the back. Run your hand diagonally over the mirrored vel- vet and see that it rubs smooth toward the back. It will be seen that the principles of pinning, cut- ting and fitting is just the reverse of the same work on plain hats, which do not require the ma- terial joined on the brim. First determine where joining is to be made. Joinings are always made where they show the 81 Modern Millinery least, or where trimming will best cover the join- ing. In this hat the trimming would not aid in concealing the joining. As the back is the nar- rowest place on the brim that is the place to join the material. Alwaj^s keep two things in mind when starting to fit material by the yard on any irregular shape: first, where the joining should be placed ; and second, how to place the material. Place the bias corner of velvet on the most dif- ficult part of brim to fit. In this hat, with the bias to the front, it is easy to shape the bias vel- vet out on both the wide sides shown. In some hats it is best to place the bias across the back, and in others to the side, varying according to where the extreme line of hat comes. Start to pin the velvet by sticking pins in as shown on illustration. Pin a short space on the edge, push the velvet down toward the headsize until you reach the line of the headsize. Then cut and slash the headsize as shown on illustration. Fit per- fectly, little by little, both the edge and headsize as you go, pushing all accumulated fullness toward the back. After starting at the front and fitting, cutting and pinning velvet on the left or right side of hat, start at front again and cut, fit and pin the other side, working all the fullness on the side to the back. You will now have quite a piece of velvet standing up at the back. (See illustra- tion). Before cutting this surplus fullness out for joining headsize with long and short stitch (as shown in the last chapter, in the illustration for 82 The Proper Direction For the Nap How the velvet is crons-stitchecl to the frame after being pasted ana trimmed doxvn making a plain hat) start sewing about two inches away from the joining, leaving room for arrang- ing the joining later. Gluing the Velvet After sewing headsize within two inches of the joining at the other side, removing pins from the edge of the velvet at the front of the hat, cover this section of the frame thoroughly with milli- ners' glue, lay the velvet back on the surface cov- ered with glue and press firmly to the frame. Continue to remove pins in sections around either to the right or left of the front, covering each suc- cessive section of the frame with glue and press- ing the velvet back on the frame. In pressing the velvet on the glued frame, use a piece of velvet instead of fingers, to avoid mak- ing finger-marks. After carefully pasting every part of the brim to within two inches of joining on each side, trim 83 Modern Millinery LONG-AND-SHORr STirCH AT HEAOSIZE NOTE THAT PIECE FOLDED UNDER AT JOINING, IS NOTCH ED, TO AVOID UNSIGHTLY LUMP, VHEN SENVED OVER EDGE OF FRAME Velvet fitted to the frame, ready for ffluing the surplus velvet along the edge of the hat, allowing one-half inch for cross stitching over the edge. Never cut velvet on edge of frame until after pasting. Many hats are ruined by cutting what seems like an ample margin, but after pasting, the material works down and leaves no material over the edge, thus spoiling the hat. After trimming down, cross-stitch velvet over the edge within two inches of joining on both sides. (See illustration.) Why Joining is Left to the Last The reason it is better to complete the pasting and even the cross-stitching of edge, before mak- ing the joining in the back, is that in pasting and sewing there is bound to be extra fullness worked 84 Why Joining Is Left to the Last out and if the joining is closed the last thing, all fullness can be pushed into the joining and thus a perfect fitting is made. Making the Joining To complete the joining at the back, first mark with a pin the exact line where the two edges of the velvet come together on the hat at the full- ness. Then cut the fullness through the centre, fold the two ends, thus made, back away from the pinned folded edges, then cut away all the velvet on both sides 1/2 inch away from the pinned edges. (See illustration.) This is the only safe way to cut for joining, as one can see just what seam allowance one is making. How TO Make Joining Tight and Invisible Next, turn both edges under at the line of the pin. In turning under these edges leave them far enough apart so you can just see the frame under- neath (meaning a space of about a sixteenth of an inch) . Then start at the headsize to slip-stitch the joining. As you catch first one side and then the other and pull thread tight, the slight space of 1/16 inch is filled. If properly slip-stitched, the joining will be invisible. Next, complete the sewing of the headsize at the point near the joining where it was left un- finished. The cross-stitching of the velvet at the edge of 85 Modern Millinery the frame where the joining occurs is still to be completed. Before doing this, cut away part of the folded-under portion, as the join will make an unsightly lump on your brim edge if sewed double-thickness. The top of the brim is now completed. Any crown may be used on this hat. The method of making and covering crowns was shown in a for- mer lesson. The crown of this hat should be placed so the joining of the side crown is in the extreme front, as the brim is so deep the joining of the crown would be hidden by the depth of the brim in front. After (not before) making the crown and sewing it to the brim, the facing should be covered. 86 The picture shows the facing pinned in place and partiaUif sewn: Of course, in practice this would be done with black thread, which would be invisible when pulled tight CHAPTER XIII. PUTTING ON THE FACING IN facing the brim the velvet must be placed exactly the same as it was when fitting the top. The nap on the facing should rub smooth from the headsize to edge, so that the blending of the nap will be perfect on the edge. Always pass the hand over the velvet after placing the bias for facing, to make sure the facing nap not only runs the right way, but runs diagonally to the right or left whichever way the top of the brim runs. In passing the hand over velvet it should rub smooth, one continuous line from the head- size facing diagonally across the brim-facing, over the edge of the hat to the back of the top brim- covering. 87 Modern Millinery The method of fitting, pinning and sewing the facing is exactly the same as the top covering, ivith one exception. The outside brim-covering will not need pasting except in a few places where the velvet will not cling to the frame. (Where the frame happens to be dented, for example.) Pasting makes a hat set-looking and should never be used unless the material between the head- size and edge wire after fitting will not stay flat to the frame. The fitting, slashing, pinning and sewing of all irregular shapes are done this same way. For all other velvets, except the mirrored or panne, there would be no nap to look out for. Facing With Satin or Taffeta If this same shape were made of satin or taf- feta it would be necessary to cover the frame with tarlatan before using satin or taffeta on the out- side. The tarlatan should be fitted on as carefully as the outer material. In preparing frame with tarlatan prepare top brim first. Fit, slash and pin tarlatan the same as outer material. Sew headsize the same. Instead of cross-stitching tarlatan over edge sew it with the long and short stitch, binding the tarlatan over the edge. Sew with the very short stitch on the right side or top, as the imprint of the long stitch, if this were on top, would show through the satin or taffeta. After preparing top of brim, cover with the velvet. Make the crown and sew it on the brim before you go on to the next stage — prepar- 88 Facing With Satin Or Taffeta ing brim facing with tarlatan. After sewing on the crown, cover the facing with tarlatan. Sew in the headsize first. Let unfinished edge of the tarlatan come up just over the cross-stitched velvet where the velvet was drawn over the edge to the facing. Run the tarlatan along the edge using an unfinished edge. Cut close to stitching. Use a short stitch on top, as before, running long stitch under between the velvet and the tarlatan. Fit outer facing of taff'eta or satin ; sew the head- size and finish edge with wired finish as shown on edge used for plain velvet hat. Where Georgette is Used This method of interlining and fitting material applies to all thin materials where the frame may show through. The type of hat shown on this page is not suitable for Georgette crepe. On a similar, hut smaller, shape, Georgette might be used. In that case the frame should be inter- lined with light-weight cotton crepe. This inter- lining would be handled just the same as tarla- tan. The only difference in making, would be the closing of the seam joinings. The cotton crepe should not he joined in the hack until the Geor- gette crepe is fitted over it. The two materials should be turned in together for slip-stitching in the back so as to avoid the margin of seam allow- ance showing through the thin Georgette. Instead of pasting the Georgette crepe or the cotton crepe lining, baste a line half way between 89 Modern Millinery the headsize and edge. Leave basting in until the crown is completed and sewed on. This holds the material in place securely. These materials mentioned cover all the dif- ferent problems one may run across in fitting fabric materials on the straight when a joining is used on the brim. All hats that are fitted from straight material (sailor or slightly drooping shapes such as mushroom) come under one of these heads. All irregular shapes come under the other head where brim joinings must be made. These two groups cover all the problems of fitting plain hats. Then there comes another group of small and medium sized hats where the material is put on by cutting a bias strip wide enough to cover top brim and facing all in one. You will note in a former lesson how to cal- culate for materials for this type of brim cover- ing. After determining width of the strip to be cut by measuring as the diagram in that lesson shows, measure circumference of brim edge. If possible, buy velvet wide enough so one strip will reach around the circumference of the hat. If velvet cannot be secured in the color or quality desired, wide enough so one strip will reach around the circumference, cut two strips; join one strip to the other as shown in the lesson on bias joinings. Cut enough off from one strip so the joinings will come at least eight inches apart, stretch through centre as shown in the illustra- tion, to find where the second joining should be 90 Where Georgette Is Used made. Place a pin where the bias strips meet, remove velvet from frame, join in a ring, slip back on frame, and pin material to top headsize on upper brim. If there is any fullness in head- size pleat in and sew flat, using long-and-short stitch in headsize. Make the crown and sew it on ; then pull the bias strip into headsize and finish with long-and-short stitch. This mode of brim is often used in covering small turned-up shapes where slight drape is de- sired. The strip is cut extra wide, allowing for fullness in depth on brim for draping. The bias joinings are made the same as for the plain brim just described. The top brim in this case is not sewed into the headsize until after the drape for the outer brim-covering is completed, so it is pos- sible to tack the drape through the frame. Folds are pinned in place and tacked with an invisible stitch into the velvet through the frame. After pleats are tacked, the outer-brim headsize mate- rial is left loose until the upper-brim headsize is sewed. The crown is then attached, and, last, the outer-brim headsize is sewed. This reversal of the order of developing the hat is done to make the construction of the hat possible. 91 Modern Millinery Selvage turned at right angles pre/paratory to cutting true bias CHAPTER XIV. THE PRINCIPLE AND APPLICATION OF THE FLANGE IN the previous lessons we have been learning to cover frames in a simple or plain way, re- viewing the principles of placing on frames mate- rials purchased by the yard. This included pin- ning, stretching, sewing and joining. It has been clear throughout these lessons that while we want to know how to do all the details of Millinery Work, we care for details only as we understand when to use them to make the effect we desire. In turning our attention to flanges, sectional facings, bindings, folds, and cords, let us think of these as decoration, although carried 92 The Principle and Application of the Flange out in the making or arrangement of the material on the brim or crown. The Principles of the Flange Let us look at a flange first and see how it beautifies a hat, what type of hat it can be used on ; how they are cut, made and mounted. Flanges are used on the crown to promote special crown effects. In the illus- tration above we see the flange appearing on the side crown, to break the height of crown and make it better ^, , ,, . , Flange used on the siae- looking by emphasizing the crown to break its height general style of the hat. We learn from these illustrations and from many others that could be presented, that they are really used as decoration in the making of a hat. The beauty of the hat is no longer left to the trimmer alone, but it is also in the hands of the maker, who has a chance to choose from all the various ways of making or constructing a hat, these fancy or complicated ways of carrying out her design. She chooses a flange, for instance, if she cares to introduce color into either a pressed or hand-made hat. She looks at the shape she is about to cover and decides whether the use of a flange in emphasizing or repeating the shape of her brim or crown will help in the effect of the finished design. If the material is hard or set- looking she introduces a flange to help redeem her material. Let us think of all these parts of hats 93 Modern Millinery coming under the head of flanges, sectional fac- ings, etc., as just one more opportunity to help make the hat more effective. Now that we have seen pictures of flanges showing their uses on brims and crowns, let us see how they are cut, stretched, joined and placed on the brim or crown. Making a True Bias First, the material is cut on the true bias. In the previous lessons we have had very little to do with true bias, as most of our work has either been fitting material by the yard or sewing straw. As all the parts of hats we are now about to study are cut from the true bias, let us first be sure we understand how to make a true bias from a straight piece, and how to test what seems like a true bias, that may in the cutting be off the true bias. You will notice on looking at the illustration (Fig. 3) that the corner of velvet is turned over until the selvages are at right angles. Cut off the corner along the folded line, and you have a true bias. After making bias from your straight material, the second point to know about this flange is how wide the finished flange should be. Two things influence your decision as to the width of finished flanges — the size of the hat and the style dictates of the season. Joining Two Bias Strips There are few rules in millinery, but this is an 94 Joining Two Bias Strips Tic fore cutting the bias strip, pin and stretch the material on the brim "where flange is to go. Cut Vo inch below the point marked with pin, to allow for turning in For a wide flange, as shown, a bias strip cannot be used, and a piece of straight material must be fitted on a,f shown. Seam allow- ance m^ust be slashed before being i(urned in 95 Modern Millinery Upper — The joininy of all bias strips must run parallel with the selvage, as shotvn. Remove selvage after joining ironclad rule which applies to every kind of ma- terial where bias strips are cut — the joining of all bias strips must run parallel with the selvage (see Cut.)- In cutting bias strips from straight velvet, one end of the strip runs the wrong way. Turn end back until it is at right angles with the edge of strip, and cut, using great care the line of your seam is good. (See Cut.). After cutting the two ends of the bias strips remove the selvage. The reason it is so important to re- move selvage is that the warp and woof threads are all bound together in the selvage, and as the object of cutting bias material is to stretch as much as possible, the removal of the selvage great- ly aids in the stretching. To join two bias strips together so they are the same width at joining as other parts of the flange, slip one strip down on the other the depth of seam as shown in illustra- tion and join by machine. 96 Measuring the Bias Strip After deciding a suitable width for the flange in its relation to the hat, the third point is to know how wide to cut material to allow for stretching and seam allowances, as all materials differ as to how much they stretch out. The only safe way to find how much to allow for stretching and turn- ing under is to take the true bias of velvet you have made on one end from the straight material and pin and stretch on the outer edge, pinning the upper edge and seam allowance beyond the edge where finished flange is to be mounted. (See Fig. 4.) Stretch for at least six inches to find how much the velvet is going to stretch. With outer edge pinned in place, measure through bias strip of velvet, allowing one-half inch for turn- ing lower edge in, beyond given measurement for finished flange. The width is now determined, al- lowing for stretching and seam allowance. Place pin in velvet to mark the place where it is to be cut. Remove velvet from the hat and by measur- ing accurately through bias, cut one strip of the desired width. Frequently one strip is not enough to reach around the circumference of the hat. In this case, measure carefully and cut a second strip exactly the same width as the first. Placing the Bias Strip The next point is to find where the second join- ing should go on the circumference of flange. Pin and stretch outer edge of velvet strip a seam al- lowance beyond finished edge of flange. Stretch even with edge of brim, starting to pin at ex- 97 Modern Millinery treme end of strip, as these strips are to be joined. After stretching securely on outside edge until one end of velvet strip reaches the other, place a pin in the direction the seam should run, and allow twice the amount of seam on one end. Place pin for cutting where velvet is to be cut, as event- ually even the seam allowance will be stretched when snapped back on, and the whole success of this flange depends on whether the second joining is right, as a flange too loose or too tight is im- possible to mount on the hat. Therefore, this marking for second joining is most important. Before removing pinned flange from hat, mark upper edge of flange with pin so that when plac- ing flange back after machine joining is made, the stretched edge goes to the top where it be- longs. Many flanges have been ruined by getting the stretched side in the wrong place. On all brim flanges similar to the one shown in the flrst illustration, where all parts of the brim show about equal, the joining made by stitching the two strips together should be placed an equal distance from the back. To do this, cross join- ings, place a pin in centre of longest strip, pin centre front of flange to front of hat, and centre- back of flange to centre-back of hat, and start to turn outer edge of flange over frame wire, pinning under wire to hold in place. Leave wire open at back until nearly sewed around, with long stitch next to wire. Use slip stitch, rolling wire back as you sew. When within two inches of back, join two ends of wire together with a clamp. 98 Placing the Bias Strip Finish flange, sewing across joining to finish thread. Pin wire in lower edge of flange, the same as upper, shp-stitch around, join wire and complete sewing. The flange is now completed. Treatment for Wide Flanges For all very wide flanges where a bias strip would not stretch enough on outer edge to remove all fullness on inside edge, a piece of straight material is fitted on surface where flange is de- sired. (See illustration.) After fitting, the ma- terial is cut the desired width of finished flange, plus seam allowance. It is very hard to turn seam allowance in on lower edge of a flange of this character. Slash seam allowance before trying A tlVo-incli jlumjt' iimde from u hi. 1 — A wide bindinf/ h used here in- stead of a flange, because it is desired to keep the soft effect of the brim, which would be destroyed by wiring. CHAPTER XVI. WIDE AND NARROW BINDINGS WE have seen how useful flanges and sec- tional facings are on various types of hats, and how they are often grouped together. Let us turn our attention to wide and narrow bind- ings, and see what permanent part they play in the beautifying of hats, both fabric and straw. In comparing a flange and wide binding the first point of difference is that the wide binding binds over the edge of the hat ; whereas the flange stops at the edge. A binding may be wider on the top brim than on the facing, or vice versa, but one thing is always true of any binding — whether wide or narrow, it must bind the edge of the hat. Use a Binding for a Thin Edge In the first illustration shown, the use of the moire binding, which is of the same material as 110 Use a Binding for a Thin Edge the top brim and crown, is to bring the material used on the top brim and crown down on the facing. We also found that was what flanges were often used for — why a binding this time? When a brim is narrow, as in this illustration, a flange (which never extends over the edge, but rather runs about one-quarter inch from the edge, and is usually finished with a wire) makes a small hat too thick on the edge and cuts the brim up too much. When a thin edge is desired, a binding is far more effective than a flange. In this case had a flange been chosen instead of a binding, it would have been necessary to make two flanges — one on top and one on the underfacing. Both separate edges would have required a wire finish, making double wires coming near the edge. The binding, on the other hand, is stretched through the centre instead of on the edge, and when wir- ing is desired the lower edges are wired, thus keeping the wires away from the edge of the brim. In this case the binding is not even wired, the edges being turned in and slip-stitched. When one desires to use a strip of the same color or material on the top and bottom of a brim, a bind- ing should be used. How It Is Made It is clear on looking at this binding that it is first cut on the bias the same as the flange. The width to cut the material is ascertained as in the case of the flange — by stretching a true bias over 111 Modern Millinery the part where the binding is to be mounted. Stretch through centre, this time, for a space of about six inches, determine the width that looks best, measure this width, plus seam allowances; mark with pin the place of cutting, and remove from the hat. Cut two strips of equal width (see illustration in previous chapter for preparing and joining two bias strips together). Join with ma- chine. Start at one end of the strip to pin the binding on the edge of the hat, allowing equal amount of binding top and bottom. Stretch hard through centre so the edges will cling. Stretch until the two strips meet, put pin in to mark place for cutting, remove from the hat, cut and join in a ring by machine, restretch on the hat and finish edge by slip-stitching or by wiring. Slip-Stitched or Wired Edge If the edge is soft and needs supporting as well as binding, the wire finish serves two purposes — that of decorating the edge as well as supporting the shape by the concealed wires. If soft effect is desired, use the slip-stitch. A wide binding may be slip-stitched quickly by sticking the needle right through the hat, doing both edges as one goes. For the wired finish, do each edge sepa- rately. Pin and sew, as when wiring sectional facings. Do the most inconspicuous edge of bind- ing first, leaving the best work to be done after practicing on the least important. As on sec- 112 Slip-Stitched or Wired Edge tional facings, leave the wires open until sewing is nearly com- pleted, then join with clamps. The joining should be arranged to come at a point where ^^^^;. '^-t^ . ^*'"^^*"f f^'!^'* 'Z'''' ^ entire brim and facing. Use- it can be concealed by ful where fullness from the trimminff inside edge is becoming. Some Illustrations The second illustration shows binding cut wide enough to cover both top brim and brim facing. This is one of the most useful ways of using wide bindings and may be applied to all kinds of shapes where fullness from inside edge of binding is becoming; the binding in this case is sewed with long -and - short stitch in the head- size, just as fitted material is sewed. In the third il- lustration the wide black Xo. 3 — This wide black satin bind- ing emphasizes the beautiful curve of the brim and it also reduces its apparent size. 11.^ Modern Millinery satin binding makes an elegant slick finish to the large black satin or velvet hat. It also diminishes the apparent size of the brim and outlines the ^^ , , .... -» o. 4 — A narrow binding, beautiful line of the which serves chiefly as a hack- V^Yirfi ground for the embroidery on the facing. Narrow Bindings In the fourth illustration the narrow binding on the edge of the hat is used as a finish to make a background for the embroidery on the brim. It is clear that this narrow binding makes a prettier finish on the edge of brim, than let- ting the facing run up and finish with a wire. A wide binding would be out of place, as it would conflict with the embroidery below. Narrow bind- ings are frequently better suited in width for small hats. Other Uses for Bindings Narrow and wide bindings are sometimes used to finish the edge of straw or velvet hats that have been cut down to make the brim smaller. Again, narrow or wide bindings are used to in- troduce a striking color on the edge of the brim where the same color is desired on both top and facing of the brim. Sometimes a binding is used 114 Other Uses for Bindings The velvet for the narrow binding after being joined in a ring is pinned in place as shotim and back-stitched preparatory to binding over the edge of the brim. It should be kept in mind that the distance of the back-stitching from the brim edge regulates the ii>idth of the finished binding. the same color as the straw hat to keep the hat in self coloring and still soften the edge. How Narrow Binding Is Attached A narrow binding is cut and joined the same as wide binding. The point of difference is in the stretching and sewing. Narrow bindings are stretched on the edge instead of through the cen- tre, they! are back-stitched on the most conspicuous side of the binding, turned over and slip-stitched on the other side to finish the edge. The choice between wide and narrow bindings is often decided by which is most in vogue. Some seasons wide bindings are in favor and narrow ones not used; again for no seeming reason nar- row ones are chiefly used. The choice again be- 115 Modern Millinery The narrow binding partly turned over the edge of the brim. After the entire bind- ing has been thus folded over it is slip- stitched in place. When the brim is to turn down making the upper side the most conspicuous on the hat the back- stitch should be on that side and the final stitching on the con- cealed side. tween flanges, sectional facings, wide and narrow bindings, is all a matter of which will make a hat most effective and becoming, together with what Dame Fashion decrees. 116 Material for plain fold stretched on the outer edge of the hat to determine the place for the second joining. The thread on the velvet in the foreground marks the place where the material will be cut. CHAPTER XVII. PLAIN FOLDS IN previous lessons we have learned the differ- ence between flanges and bindings and the im- portant use they play in decorating modern hats. Milliners' folds are often confused with bind- ings. Let us make a clear distinction between folds and bindings before we see how they are made. 117 Modern Millinery - 1 § ^ «c «> ^ H»> -kii ■4>^ 5» i» I"* Of) ^ a to si i3 od •een slashed and pnished at the headsize, as is done with any tiiaterial and the outer edge turned in and slip- stitched to the edge wire. these hats being dressy or not depending on the choice of material and trimmings used to carry out the design. But the transparent hats serve but one purpose — that of a dress hat. There is no such thing known as a tailored transparent 172 A Third Type of Hat hat, and therefore the transparent hat does not receive as much attention in a school where milli- nery is taught as the other more practical hats, made of durable materials. The Question of Materials The fabric materials used for making trans- parent hats are Malines, tulle, net, laces, organ- dies and Georgette crepe. Horse-hair by the yard is also used, both plain and fancy. Fancy plaques or plateaux made of a combination of lace, Malines and horse-hair, or plain horse-hair, straw plaques or plateaux, are also frequently used. Covering the Wires The first illustration shows a large mushroom shape. The wire frame has first been wound with Malines so the wires are covered as well as the entire frame. For winding wires fold narrow strips of Malines into four thicknesses, and sew the end of one folded strip fast to back of the headsize wire. Start to wind round and round, working whichever direction seems easier, until the entire strip has been wound. To fasten the end bind it securely around the wire. Start at this point to fasten and wind again, until every wire used in the entire frame is covered with Malines. Be sure there are no ragged unfinished edges left. 173 Modern Millinery Next start to place your Malines for covering top brim. Fold Malines double, pin the double thickness to the front, back and sides of the top brim. Cut and slash the headsize and pin the Malines in the headsize and on the edge. At this point hold the wire frame with Ma- lines partially fitted, over a steam-kettle. Work out the fullness as you steam, by removing the pins and replacing them as required. When this is completed sew with long-and-short stitch close to the wire, binding the Malines over the edge. Now cover the underbrim. Fit two thicknesses on underbrim, slash, steam and pin as before, and bind under-facing up over the edge-wire. Sew with long-and-short stitch close to the wire. Making the Soft Edge The frame is now properly interlined and ready for the Malines edge which is to extend beyond the edge of the fitted brim to add softness. For making the soft edge cut two thicknesses of Ma- lines, twice the width of finished soft edge, run a basting thread of contrasting color through the centre of the double Malines strip, and fold on the line of basting. After folding together, stretch carefully in the hand, baste the inside or unfinished edge of shaped fold on the outer edge of top brim, arranging and pinning the soft edge as seems most becoming. It can be turned down, 174 Making the Soft Edge Making the Malines crown which is later to be remoiied from the block and used as an interlining for the horsehair or lace crown. This is made of six thicknesses of Malines, pinned on the patent porous cable wire block on which it can be steamed and blocked, the steam filtering through without coming in actual contact with the material. The Malines is pinned, steamed and stretched until all fulness is worked out. as the illustration shows, or extend out straight from the brim. Sew with long-and-short stitch, close to the outer edge-wire of the frame. Joining Malines Leave joining until the last thing. To join Ma- lines do not stitch in a seam as other joins are made. Lay open the fold, slipping one end of the unfinished fold inside the other, overlapping at least 11/2 inches. Then continue to sew along the upper edge of the overlapped joining with long-and-short stitch the same as is used for mounting the entire fold. 175 Modern Millinery After sewing, trim close to stitches all unfin- ished edges left from sewing. Fitting With Fancy Plaque The second illustration shows one-half of the brim finished with a fancy plateau or plaque made of Malines and horse-hair straw sewed in fancy design. This plaque was bought complete just as shown here, with the exception that it has been cut and slashed in the headsize. After slashing the headsize, it is pinned and fitted the same as the interlining of Malines. You will note that the edge of the plaque is finished with a row of straw. This edge is slip-stitched to the edge of the frame, catching the stitch into the wound Malines edge. Some Points on Frame-Making The question as to how many braces or brim wires should be used in a wire frame for trans- parent hats is governed by the material to be used on the outer covering and by the strength needed to keep the completed hat in line. The frame for any medium-sized transparent hat, that is not extreme in line, will keep in shape by using four brim-wires, instead of eight as shown in the illustration given, which requires eight wires because it is a large hat. The arrangement of circular braces is deter- 176 Some Points on Frame Making .>c -^ The finished crotcn of Itorsehair braid under which is the Malines interlining shoxcn in process of making in a previous illustration. The horsehair braid is capped and setvn in the same way as described in the chapter on straw braid. It is then steamed and blocked as was done with the Malines interlining. mined by where the braces will show the least, using as few as necessary to protect the shape of the brim. In using a fancy plaque as shown in the illustration, note how the circular brace is placed to strengthen the brim and also that the design on the plaque hides the brace in finished ho.t. The two rules given for braces apply to all transparent hats, i. e., place first for strength and second where best hidden by the material. 177 Modern Millinery Other Methods of Preparing the Frame The preparation of frames for all transparent hats is the same with the exception of those made of organdie and Georgette crepe. For organdie and Georgette the wire frame is often made of colored wire to match the outer material, and is not wound. If the wire is wound, of course the material of the finished hat is used for winding. The question as to how many thicknesses of Malines should be used on the brim either as an interlining for horse-hair plaques, laces, etc., is governed by the effect desired. Some customers look better with a thicker brim-covering than others. When the brim of transparent hats is made of Georgette crepe or organdie, one thick- ness of material is sufficient as the beauty of these hats is in their delicacy. Covering With Horse-hair When using horse-hair by the yard for covering brim, sew first row to the frame, as the French way of straw sewing is described, under chapter on straw-sewing. Some Fancy Brim-Finishes A variety of finishes may be used on the edge of the brim. If a soft Malines or horse-hair edge is not desired the edge may be bound either with ribbon, or a narrow binding of satin or taffeta. Organdie and Georgette may be bound with the 178 Some Fancy Brim Finishes same material or a fancy edge used as described for the Malines edge. Any transparent hat may be finished on the edge with a narrow ostrich band or an edge of foliage or flowers. The fancy feather or flower edge finishes are sewed securely around the edge of the brim, usually as a finish for the unfinished edge left from sewing material by the yard. The question as to preparing and covering the brim has been gone into sufficiently to cover all types of transparent brims. Steaming and Shaping the Crown Let us see (in the third illustration) how crown foundations are steamed and shaped of Malines, Georgette crepe or organdie. Transparent crowns are interlined the same as the frames for brims are prepared or interlined for outer covering. The third illustration shows six thicknesses of Malines stretched, steamed and pinned over the wire crown block. These crown blocks come in all the shapes modish crowns require. For a Malines crown, as the illustration shows, pin six or more thick- nesses of Malines together. Pin the Malines front, back and sides, stretching it securely over the block. Hold over steam, letting the steam filter through from the underside. Continue to steam, stretch and pin until practically all the fullness is worked out. Then remove the Malines from the block and use it for interlining the horse-hair or lace crown. The fourth illustration shows the Malines in- 179 Modern Millinery terlining a shaped horse-hair crown. The horse- hair is shaped, capped and steamed over the same block as the interlining of Malines, For sewing and capping horse-hair the same method is used as shown in the chapter on straw-sewing. This horse-hair crown is of course used with a trans- parent brim covered with horse-hair. It may be noted by the way that the shaped horse-hair crown is one of the hardest to make. The Finished Hat The fifth illustration shows a finished trans- parent hat covered with lace. The brim and crown are prepared as just described. The lace makes the transparent edge in this design and lace is draped soft over the steamed Malines crown. Ribbon is used as trimming to finish around the crown. Simple tied bows with long ends are tied at both sides. Georgette crepe and organdie crowns are steamed and shaped over these same crown blocks. Two thicknesses of Georgette crepe are used over the crown-block, one thickness of organdie for organdie crowns. The outer material may be draped or made in a soft Tarn for either Georgette or organdie hats. Flowers are usually used around the crown of organdie hats, or bows made of the organdie may be tied around the crown as is done with the ribbon shown finishing the trans- parent hat made of lace. 180 CHAPTER XXV. SUMMARY OF MILLINERY MATERIALS I_MILLINERY WIRES FOR occasional reference while working in the various stages of hat-making it may be help- ful to have a list of the principal wires for hat construction, and their uses. Hence this chapter. Cable Wire 1. Cable Wire — (a) The most common use to- day of cable wire is as a substitute for cable cord, when making a finished cord. For example, on a horsehair hat where wiring is necessary on either the under-facing or top brim, a cable wire cov- ered with velvet, satin, taffeta, Georgette crepe, etc., as described under ''Finished Cords," will not only serve as decoration in giving a touch of color to the brim, but will also brace or support the brim. (b) Cable wire is sometimes used in place of frame-wire for wired finishes on facings, flanges, sectional facings, bindings, etc. Cable wire is chosen in these cases because it has a much heavier covering than frame wire and gives the effect of a cord set in. 181 Modern Millinery Satin Edge Wire 2. Satin Edge Wire — is used in the same way as cable wire. These two wires are so near alike in appearance, in some workrooms the same name applies to both. The difference is in the weight of covering used by the manufacturer in the wire, the Satin Edge Wire has less covering, thus mak- ing a finer cord or finish than the cable wire. Heavy Brace Wire 3. Heavy Brace Wire (a) is the heaviest frame- wire known, and is used in wire-frame making where a very secure block is desired for stretch- ing heavy willow, (b) Heavy brace wire is also used for wiring the edges of willow or cape-net frames where a stiff, strong wiring is needed. In fact it is used at any time during the making of a hat where any part of the hat needs a firm, se- cure wiring. French Frame Wire 4. French Frame Wire is a lighter-weight frame-wire than the wire just mentioned and is used when lighter wiring is sufficient to hold the hat in line. French frame wire is always pre- ferable to heavy frame wire in wiring edges of facings, flanges, etc., because it makes a softer and more graceful creation. 182 French Frame Wire 7. 8. ^^KVHftl WP IPBft 9. ' Millinery wires described in this chapter. Lace Wire 5. Lace Wire (a) is used for wiring lace, where the lace is used as a bow or a standing effect is desired, (b) Lace wire may be used in wiring the edge of a willow or cape-net frame where a softer edge is desired than frame wire will give. 183 Modern Millinery Bob Wire 6. Boh Wire is a light-weight lace wire and is used in very soft laces and Malines where the heavier lace wire would spoil the effect by mak- ing too stiff a line. Iron Wire 7. Iron Wire {with clamp for joining) — (a) Iron wire is the only uncovered wire used in milli- nery. It is the stiffest wire made and is often used in place of heavy brace-wire when a very secure wiring is needed. For example, iron wire might be used as the edge-wire on a wire frame when the frame is to be used as a block for stretch- ing heavy willow. (b) In making soft and transparent edges for tulle, Malines, Georgette crepe and organdie, iron wire plays a useful part. In these cases the cir- cular iron wire is joined with a clamp. (The clamp is slipped on one end of the wire and pressed hard on that end Avith nippers. The other end of the iron wire is then slipped on the other end of the clamp and pressed hard with nippers, thus joining wire in a ring.) Over this very secure circular wire, material may be stretched and steamed until a great deal of fullness is steamed out of the material. After leaving material pinned until dry, remove from the iron wire. The mate- rial will be very circular and follow the exact line of the iron-circumference wire. 184 Tie Wire 8. Tie Wire (a) is mainly used for tying frame wire when making wire frames, (b) It is some- times used in wiring the edge of petals for hand- made flowers. Ribbon Wire 9. Ribbon Wire comes in different widths, for different uses, (a) The sample shown is the me- dium width. This width may be used for bracing soft cape-net brims. A brace of the ribbon wire is securely sewed to the front, back and sides of a very soft frame, thus bracing or securing the frame without getting it out of line as the heavier frame wires would be apt to do. (b) All different widths in ribbon wires are used in wiring ribbon for bows, the width differing for the different width of ribbons. The nine wires discribed above play a great part in millinery as each one, when rightly chosen, protects some line or effect made either in block- ing, making or trimming a hat. 185 CHAPTER XXVI. SUMMARY OF MILLINERY MATERIALS 2_BL0CKING MATERIALS IT is as essential to choose the right material for blocking a frame as it is the material with which the hat is to be made and trimmed. / have intentionally left out buckram as a block- ing material. I realize that buckram is still used in some of the millinery schools, but during all my trade experience I never saw one inch of buck- ram used in any form. It is a material long ago outgrown in the trade because modern millinery deals with soft frames. Even when a secure frame is used it never should be made as stiff as buckram is bound to make it. Buckram is to millinery what tight-fitting crinoline linings used to be to dressmaking, a thing unheard of today. It is high time that buckram should be thrown out of all millinery classes. If a school cannot afford willow or cape-net for blocking it would be far better not to teach blocking frames at all, as in handling the buckram frame it teaches everything just the contrary to the uses of the trade. More criticism comes to the trade schools from this source than any other. 186 Blocking Materials 1.— Willows— Heavy, Me- dium AND Light Weight (a) Heavy Willow is used for blocking over a wire frame when a stiff tailored effect is desired. (b) Medium Willow is used for blocking medium sized hats where a softer effect is desired than that given by using heavy wil- low. (Note—let it be clear- ly understood that heavy willow is not always used for large hats and medium willow for medium or small hats. The choice is entire- ly governed by the effect desired. If a large hat is to be floppy, then medium willow is used; if a small or medium hat is to be stiffer than medium willow will make it, then use heavy willow for the small hat.) On general principles heavy and medium willow are used for velvet, duve- tyn and the heavy fabric materials, thus making the hand-blocked willow frame 187 Modern Millinery o most popular in the fall and winter season. (c) Light Weight Willow or Undressed Willow. The general use of undressed wil- low is for collapsible hats, the frames of which are often cut from patterns. Fur hats are often made on soft or un- dressed willow frames as this frame makes a lighter hat than when medium willow is used. Cape or Rice Net Cape or Rice Net is used for blocking in the spring and summer season. Where a hat is to be covered plain with satin, taffeta, or any other firm fabric material, two thicknesses of cape or rice net is used over the wire block, to make a frame se- cure enough to fit over. When cape or rice net is used as a foundation for soft straws or light- weight material such as Georgette crepe or or- gandie, one thickness of net is used, instead of the two which are used over the wire frame. The choice between one or two thicknesses of cape or rice net when used for blocking is entirely gov- erned bv the effect desired and the durability of 188 Cape or Rice Net the hat. While I have divided the blocking mate- rials into the two millinery seasons, placing wil- lows in the fall and winter and the cape or rice nets in the spring and summer, in some cases medium willow is used in the spring and cape or rice net in the fall. Again it is a question of effect. Frame Coverings Used As Interlinings The interlining on a frame serves two purposes, (a) First, to cover imperfections in the frame or to make a perfect surface over which to fit outer coverings, (b) To emphasize the texture of the outer covering, or change either its texture or coloring. I will illustrate by describing the uses of materials mentioned below. Light- Weight Flannel 1. Light- Weight Flannel may be used in cover- ing a rough, poorly-made frame to make a perfect surface on which to fit outer material, or it may be used on a very smooth frame to give a softer effect to the finished hat. For example, where material is to be quilted, as in some sport hats, flannel is a most effective interlining. Tarlatan and Mull 2 & 3. Tarlatan and Mull are used for inter- lining materials where the texture of the willow 189 Modern Millinery or cape-net frame would show through the outer covering. In this case the interlining is not used to make a perfect surface to fit over or to empha- size the texture of outer material. It serves mere- ly as a lining to thin satin or taffeta. Crinoline 4. Crinoline, (a) The general use of Crinoline is to bind the edges of frames where the wired edge would wear through the outer material, (b) Crinoline is sometimes used for making soft crowns when the crown is cut from a pattern. Cotton Crepe 5. Cotton Crepe is used for an interlining under Georgette crepe. This is one of the most strik- ing examples of an interlining material used to emphasize the texture of the outer covering. Any of these interlinings, where used under very thin materials, may be used in a different color to make a changeable effect in color on the finished hat. Satin may be used as an interlining for thin Georgette crepe, the finished effect being like suede. 190 CHAPTER XXVII. STITCHES USED IN MILLINERY ALL through these lessons we have learned through the text and illustrations new stitches, unknown to us before studying millinery. We have used them in their practical application which is the only helpful way to learn anything. Nevertheless, a summarized review of these stitches may be helpful at this point. In the illus- trations shown, the dotted lines merely indicate the course of the thread where it is concealed under the material. The first stitch we used in making a hat was the But- ton-hole Stitch. This stitch was used in wiring the head- size and edgewire of the first willow frame we wired after removing from the wire block. Each time we have wired a frame this stitch has been used. Let us see what the 'perfect stitch form of a button-hole stitch is. The second stitch we used was the Long and Short Stitch. This stitch is illus- trated in the chapter on principles and methods of covering frames. The stitch is used there to fasten head- size m,aterial. The first use we made of this stitch was to bind the crinoline on the edge of the willow frame 191 Modern Millinery Till' third stitch. Cross Stitchiiuf teas used in fasten- inff the top brim coveriiui flat, readtj for the facing. This stitch is used wherever such an effect may be de- sired, as in sewing material over base of crown or over brim-edge. The Tie Tack was the fourth stitch we learned. It was used at that time for holding the crown in place until the permanent sewing was com- pleted. Fifth, the Slip-Stitch was used to fasten crown on brim Sixth, the Slip Stitch was used again in finishing the edge of the facing in a plain velvet hat. This time the slip stitch was used to hold the wire in place — a long stitch on the side where the xvire was pinned and the short slip-stitch in the hat. This stitch is in realitg a slift-stitch but is sometimes (■(filed a Wire Stitch because if is altcai/s used to fasten wires in material where xoires are used to finish the edges of facings, top brims, crowns, flanges, bindings, etc. Seventh, we used the slip- stitch, varying the length of the stitches again to close the joining where velvet was fitted on an irregular shape. A very short slip-stitch is used for this joining stitch. Eighth, Back Stitching, is another useful stitch. This stitch may be used xvhenever a secure sewing is desired that can be done on the wronff side. Xinth, Ball Stitching, is best seen holding unfinished edges together in p/«m and milli- ner's folds. 192 Stitches Used in Millinery Tenth, Hidden Stitch. This slant stitch is used when one must stitch through a pressed straw hat or any other sur- face where it is necessary to stitch the right side of a finished, hat and an invisible stitch must be made. The illus t ra t io n r e )) regents a cross-section of a piece of material through which the needle is being worked. One might go on indefinitely describing varia- tions of these stitches mentioned, but these com- prise the forms of the important stitches used in making all parts of hats. \96 CHAPTER XXVIII. CO-OPERATIVE WORK BETWEEN WORKROOMS AND TRADE SCHOOLS LAST summer while on my vacation I was askec J by one of the well-known millinery men of New York City if, after my extensive trade and teaching experience in the millinery line, I could offer any remedy for the shortage of skilled help that is so hampering the millinery workrooms of today. I hope that this book will play a part in solving the problem. I had been trying, previous to this inquiry, to see that all students coming to me with serious in- tentions should spend part of the time during their course gaining practical experience in the Fifth Avenue shops. The first question that naturally arises from the trade in this matter is — "What is the advantage of tivo or three days in classroom and the remainder of the iveek in the workrooms. Why not enter the ivorkroom and learn the work from an ap'pr entice up?" I feel competent to answer that question from 194 Co-operative Work Between Workrooms and Trade Schools my own personal experience. My first millinery experience was a course in a millinery classroom. Having completed the course I entered the trade as a worker in one of the Fifth Avenue shops. The first thing I was asked to do was to line a hat, which I did satisfactorily without any assistance. Second, a wire frame was given me to make ; then I was given work requiring the blocking of the willow frame, and the wiring and covering of the frame with the velvet. After doing many frames and hats I was finally given a hat to copy. Copying was the most advanced work I was allowed to do during my first year's trade experience without any assistance from other members of the work- room. Right here I should like to ask the trade a ques- tion in return for theirs : ''Does the average apprentice do as useful work in the first year as I was able to do because a com- petent person had been paid to teach and help me do the things I was asked to do in the shop?" Workroom Instruction Haphazard Who is there in the workrooms to help the ap- prentice quickly to become really useful, not only for her own sake but for the sake of the house where she is employed? We, who have worked in workroortis, knoiv that apprentices snatch a little help here and a little there from some one who is kind enough to give them a helping hand. Other- wise, unless they are exceptionally brilliant, they go through the first year lining and wiring and 195 Modern Millinery ripping a great deal, but not even approaching creative or constructive ivork. There is really no one present in the average workroom whose special business it is to take the interest and time that are necessary to develop this apprentice into a competent maker. Every- one is busy and hard-pressed by the immediate need of turning out orders. With the best of intentions they cannot spend time on instruc- tion, neither can they spare the material needed for orders or stock hats, some of which the begin- ner would be bound to spoil. Therefore the process of advancement must be slow, with the shop in the meantime badly needing advanced and proficient workers. In fact, the worker, pass- ing through this discouraging early experience, is likely to give up altogether and thus a recruit is lost for the industry. A 50-50 Teaching Plan Thus far, my remarks have been seemingly in favor of teaching millinery apart from the work- rooms. Quite to the contrary, my experience has proven that two or three days a week in the class room, and the remainder of the iveek in the shop, brings better results than completing the course first and then entering the shop. The chief advantage is the quick application to actual practice of what has been recently taught. The work gains by the lively, inquiring interest of the pupil and the tuition gains by having its les- 196 A 50-50 Teaching Plan sons fixed by experience. Then millinery is such seasonable work that at least two seasons would have to be completed before one could work effi- ciently in the trade unless the plan mentioned, of studying and working the same week, were followed. How THE Garment Trade Does It I should like to tell of a teaching plan that is going on in some of the garment-making estab- lishments of this country. Last year several of the graduates of the Household Arts Department of Pratt Institute were asked to take positions in the garment-making establishments as instruc- tors and teachers of the working force. The grad- uate was first very carefully coached by one of the most capable workers in the exact methods used in that shop. The duty of the graduate from then on was to instruct new members of the fac- tory and with the theoretical grasp acquired in the school, to try to advance the older help to more efficient work. In the foregoing chapters I have attempted to outline a course and give it a detailed presentation that I am sure may be used successfully in any Fifth Avenue workroom, taught either by one of the more advanced workers or by an instructor from the outside who has had suitable training. Great care should be exercised in choosing the right person from the workroom, to insure her ability to impart knowledge to others. When 197 Modern Millinery instructors are brought from schools they must first have extensive trade experience, and sec- ond, should first spend some time in the work- room where they expect to instruct, until familiar with the methods used there. Here is a plan I have worked out myself. Stu- dents come to me and say, '*I want to follow milli- nery as a profession. When I finish this course will I be able to take a position?" I reply, **If you are willing to come here two days a week and work hard, starting actually to do repeated numbers of each detail in millinery from the foundation up, and spend the other three days in some Fifth Avenue shop, carrying out what you have thus far learned, I can promise you that after doing this co-operative work for two milli- nery seasons, you will have a permanent position." Earning While Learning At present I have verj^ successful workers in many of the Fifth Avenue shops who are still under instruction. The students are well paid while doing this co-operative work, earning from $10 to $15 for their four days' work. I was able to place at good salaries every student who came to me with serious intentions last year. One of the Fifth Avenue shops thought favorably enough of the work we w^ere doing to send one of its employes to two-day classes without loss of salary, that she might learn some special points about copying and trimming. Another student I have in mind without any trade experience except the 198 Earning While Learning co-operative work covering two seasons, at the end of the time was able to trim and design, and is at the present time doing very successful work for one of the largest and best manufacturers. In following this plan the study days are usually Tuesday and Friday, while Monday, Wednesday, Thursday and Saturday are devoted to actual practice in the shop. Perhaps I have still not answered the question as to where the applicants interested in following millinery work may come from. This is impor- tant, as competent help is the question for solu- tion. For one thing, if manufacturers encouraged this co-operation, the schools could produce many more workers than they do. Aside from the stu- dents making personal application for millinery work to us, we often have within our ranks girls who have not been successful in other studies — chemistry, household science, etc. — girls better suited to an artistic career, whom we might in- terest in this line if they felt through this experi- ence they would be able to secure good positions in the Fifth Avenue shops. Then the shops themselves have in their own organizations much unrecognized material. It seems evident to me that if instructive work were given in the shops, girls who will not of them- selves take the initiative might be helped on to do more efficient work. In the rush they are fearful to advance and carry out ideas they may have in trimming, though they may really have the will and the ability to develop. Then there 199 Modern Millinery is the possibility of attracting workers by mak- ing the shops attractive. If this helpful and en- thusiastic attitude could be brought into the work- room by a regular system of instruction, is it not logical that the girls already there would bring others? 200 I