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 Lesson 12 
 

 
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 Complete 
 Counce in 
 Drej^mohna 
 
 in 
 
 Lejiron JCII 
 
 Menlr 
 Clolhes 
 
 and 
 
 IndeAr 
 
 How to tailor men's 
 shirts, nightshirts, 
 pajamas, bath robes 
 and drawers. Making 
 neckbands, cuffs, soft 
 collars and neckties 
 explained in detail. 
 Learn to make men's 
 clothes a man's way. 
 
 Isabel VeJVyses Chnover 
 
p^vey 
 
 A COMPLETE COURSE IN 
 
 DRESSMAKING 
 
 BY 
 
 ISABEL DeNYSE CONOVER 
 
 LESSON XII 
 
 HOW TO MAKE MEN'S CLOTHES 
 
 CLEANING MATERIALS 
 
 INDEX 
 
 NEW YORK 
 EDWARD J. CLODE 
 
-T 
 
 c^ 6 
 
 \<\ 
 
 ?> 
 
 COPYRIGHT, 1921, 1922, BY 
 EDWARD J. CLODE 
 
 Entered at Stationers' Hall 
 
 CUCUOSOi 
 
 PRINTED IN THE UNITED STATES OF AMERICA 
 
 IAN-4'23 
 
LESSON XII 
 
 HOW TO MAKE MEN'S SHIRTS 
 AND UNDERWEAR 
 
 PART I 
 
 Why not try 
 your hand at 
 making men's 
 clothes ? 
 
 Of course, it 
 would be poor 
 economy to at- 
 tempt a suit or 
 overcoat. They 
 require careful 
 tailoring every 
 inch of the way, 
 besides a par- 
 ticular cut and 
 
 a more particular Fig. (/) Hell like the gift you make him 
 
 fitting. Making 
 
 men's coats and suits is a trade quite apart 
 
 from dressmaking. 
 
 But how about shirts and underwear ? 
 
 HE would appreciate the gift you made 
 
 [1] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 HIM. You'll stretch your clothes' dollar a 
 long way, too, if you spend it over the piece 
 goods counter instead of in the haberdasher 
 shop. A shirt will cost only the price of four 
 yards of twenty-seven inch madras. If you 
 get the making habit, you can cut down on 
 the cost of underwear, nightshirts and pa- 
 jamas, too. 
 
 When you 
 have made your 
 first shirt or pa- 
 jamas or bath- 
 robe or smoking 
 jacket, you'll be 
 surprised how 
 easily the work 
 slips along. It 
 won't take as 
 long as it would 
 
 Fig. (2) A shirt will cost only the price of tO have turned 
 four yards of madras out some f r jj|y 
 
 garment for 
 yourself. About the most forbidding state- 
 ment that can be made about men's clothing 
 is, "There is only one right way to stitch and 
 finish them." It's not like a blouse where you 
 can choose between three or four different 
 ways of turning your seams. Men's shirts 
 
 [2] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 and underwear are not so very difficult to 
 stitch but they must be stitched thus and 
 so, if you expect HIM to like them. 
 
 My first little piece of advice to you is to 
 look over the clothes HE already has. Ex- 
 amine the seams — jot down in your memory 
 whether there are two stitchings or one, 
 whether it's a plain seam or a lapped-felled 
 one, whether the garment has reinforcements 
 and linings, etc. Get a good mental picture 
 of how the finished garment, you are planning 
 to make, ought to look. 
 
 In this lesson I am going to give you a few 
 examples of different types of men's clothing 
 that are practical for a woman to attempt 
 to make. The making of these garments will 
 serve as a review of many items you have 
 already studied. I shall tell you about the 
 finishing of the various garments but not the 
 pattern making. You can secure patterns for 
 shirts, underwear, etc., from any commercial 
 pattern company. Making men's patterns 
 is also a trade by itself. 
 
 You will find that making men's clothes is 
 largely applying the finishes you have learned 
 in making women's and children's clothes. 
 
 [3] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 MEN'S SHIRTS 
 
 A Coat Shirt with Collarband: Prac- 
 tically all shirts are made in coat style now, 
 that is with an opening all the way down the 
 front. Fig. 3 is a good example of this kind of 
 shirt. 
 
 Be sure your material is really a shirting. 
 A man dislikes having a shirt made out of 
 fabric which might be termed queer. If you 
 choose silk, get a fairly heavy quality. A 
 sleazy shirt goods is never satisfactory. A 
 heavy quality of crepe de chine makes a good 
 looking and good wearing shirt. There are 
 striped habituas, too, that come especially 
 for shirtings. 
 
 Medium and fine madras is excellent for a 
 cotton shirt but clumsy heavy madras is 
 not intended for shirts. Finecambricor muslin 
 are the materials used for plain white shirts. 
 
 Almost every man likes a fine silk and wool 
 flannel shirt for the cold weather. Suitable 
 flannels come in endless striped effects. 
 
 Cutting the coat shirt: Fig. 4 shows the 
 pieces of the shirt pattern placed on the goods, 
 folded lengthwise through the center. You 
 can buy such a pattern, which will be an 
 
 14] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 exact duplicate of a ready-made shirt, from 
 any commercial pattern company. 
 
 You may find it necessary to rearrange the 
 
 F*Z- (j) A regulation style coat shirt 
 
 [5] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 pieces according to the width of your material. 
 Follow the plan of placing the largest pieces 
 on the goods first and then fitting in the smaller 
 pieces. 
 
 Making a Coat Shirt: About the best 
 advise I can give is the general statement that 
 I have made before. Do as much of the 
 finishing as you can while the pieces are flat, 
 
 ^Ci^n£ "De-ck tain^ 
 
 Cuff 
 
 y*™~~1 
 
 
 1 B< 
 
 ^^, rro-nC t 
 
 \ Slcevre |||l|| 
 
 
 y facing K^%£ 
 
 -s%%2%&>^/\ t-x^i 
 
 10 kc 
 
 Fig. (4) The shirt pattern arranged for cutting 
 
 that is before the seams are closed. It will 
 facilitate the work, to face the front closings 
 first. There are two ways of doing this. 
 
 You can cut a facing of the material, hem 
 the back edge and join this to the edge of the 
 shirt as shown in Fig. 5. In this case, after 
 the facing is turned into its finished position 
 and pressed in shape, stitch along the front 
 edge of the shirt about one-eighth of an inch 
 from the edge. Also, at the bottom of the 
 facing stitch from the edge of the shirt to the 
 
 [6] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 back of the facing, from there run the stitching 
 down one-eighth of an inch and then stitch 
 
 W 
 
 Fig. (5) Fac- 
 ing the front 
 closing 
 
 Fig. (6) Fac- 
 ing the front 
 with butcher's 
 linen 
 
 Fig. (7) The 
 
 front closing 
 completed 
 
 back to the front edge. This holds the facing 
 in place. Below the facing turn a narrow 
 
 [7] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 hem on the front edge, continuing it around 
 the bottom and up the vent at the sides. 
 
 A somewhat quicker way of finishing the 
 front closing is to use a facing of butchers' 
 linen. This will give a finish on the outside 
 which is identical to the one just described. 
 Cut the facing of butchers' linen, making the 
 back edge the selvedge edge of the goods. 
 Turn under the front edge of the shirt one- 
 sixteenth of an inch, that is, just roll the 
 
 ^ m 
 
 Fig. (8) Most shirts have fullness either side of the back 
 
 edge enough to turn off the raw edge. Turn 
 under the lower edge of the butchers' linen 
 facing a seam's width and place it along the 
 edge of the shirt, as shown in Fig. 6. Then 
 turn back the edge of the shirt again and 
 stitch, as shown in Fig. 7. Continue the 
 narrow hem around the bottom. A man's 
 shirt has fullness either side of the back to 
 give freedom of movement. Run gather 
 threads at the top of the back as shown in 
 
 [8] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 fronts and backs, 
 
 Stitch around neck 
 
 Fig. (?) Interlining the neckband 
 
 Fig. 8. Stitch yokes to 
 making lap-felled seams. 
 
 Making Collarband 
 
 to prevent 
 stretching. The 
 collarband must 
 be stiff, so make 
 it three or four 
 ply of goods: 
 that is, interline 
 it with one or 
 two thicknesses 
 of linen or some other firm material. Cut 
 these interlinings the shape of the outside, but 
 without seams. Baste the interlinings to one 
 piece of the neckband. Stitch the two pieces 
 for the neckband together, running the stitch- 
 ing across the ends 
 and top. (See Fig. 
 9.) Slash the seams 
 around the top and 
 ends. Trim off the 
 raw edges to within 
 one-quarter inch of 
 the stitching. Turn 
 the neckband right side out and press. Stitch 
 around the outer edges again. (See Fig. 10.) 
 Stitch the neckband to the shirt, inserting the 
 
 [9] 
 
 Fig. (id) Stitching the neckband 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 edge of 
 band. 
 
 the shirt between the edges of the 
 
 Fig. (//) The sleeve vent 
 
 Finishing the 
 Sleeves: Slash the 
 back of the sleeve 
 for a vent. The 
 back edge of the 
 vent is finished with 
 an extension and 
 the front edge with 
 a pointed facing. 
 
 Cut the material 
 for the extension 
 one and three-quarter inches wide and about 
 one-half inch longer than the vent. Fold 
 under a seam at the top and stitch one edge 
 of the extension to the slash as shown in Fig. 
 11. Note that edges of 
 extension and sleeve are 
 even at bottom, but that 
 extension projects nearly 
 a seam's width beyond the 
 slashed edge at top of 
 vent. Turn under the free 
 side of the extension a 
 seam's width, fold the ex- 
 tension through the center 
 
 and stitch again. 
 12.) 
 
 (See Fig. Fig. {12) Facing the back 
 edge of the sleeve vent 
 
 [10] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 The Fig. 13 shows a 
 pattern for a pointed fac- 
 ing which would finish one 
 inch wide. Line CD is 
 parallel to AB and one 
 inch from it, while line 
 GH is parallel to the first 
 two lines and one-half inch 
 from CD. Point E is cen- 
 terway between points A 
 and C and point F is one 
 and one-quarter inches 
 above it. In cutting out 
 the pattern add the regula- ** V) x H 
 
 tion seam allowance, three- Pigm (/j) Diagram/or mak _ 
 
 eighths of an inch, at all ing pointed facing for sleeve 
 
 points. 
 
 In joining the facing to the front edge of 
 the slash, turn under 
 the top and side AB a 
 seam's width and join 
 the tdgtGH to the edge 
 of the slash. (See Fig. 
 14.) Fold the facing 
 along the line CD and 
 stitch as shown in Fig. 
 
 Fig. {14) Finishing tie front of 15 * £ a P the # facing 
 
 the sleeve vent over the extension and 
 
 [HI 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 jacing stitched in 
 place 
 
 stitch across the top of the ex- 
 tension as shown in Fig. 16. 
 
 Next stitch the sleeve to the 
 armhole with lap-felled seam 
 and join the sleeve and under- 
 arm seams in one continuous 
 seam. This seam, too, is best 
 finished lap-felled. 
 
 Gather the lower edge of the 
 
 Fig. (15) The pointed sleeve as shown in Fig. 17. 
 Note that the fullness is thrown 
 either side of the vent and not 
 
 at the underarm 
 
 seam; also that the 
 
 extension at the 
 
 back of the vent 
 
 is turned back. " 
 
 To Make a 
 French cuff, lay the 
 two pieces for the 
 cuff with the wrong 
 sides of the mate- 
 rial together and 
 stitch around the 
 outside. (See Fig. 
 18.) Cut off the 
 seams diagonally 
 
 Fig. ( 7< 5) The vent completed 
 
 [12[ 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 at the corner, turn 
 cuff right side out, 
 lay it onto sleeve 
 with the raw edges 
 even with the bot- 
 tom of the sleeve 
 and stitch one 
 thickness of the 
 cuff to the sleeve. (See Fig. 19.) Fold under 
 the free edge of the cuff and stitch it over the 
 raw edges on the wrong side of the sleeve. 
 (See Fig. 20.) Work a buttonhole in the 
 facing and sew a matching button to the 
 
 Fig. {if) Placing the fullness in the 
 bottom of the sleeve 
 
 Fig. {18) The two pieces for a French cuff 
 
 [13] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 extension on the vent. Also work four but- 
 tonholes in the cuff as shown in Fig. 21. 
 Fold the cuff double and fasten with cuff 
 links as shown in Fig. 22. Turn a narrow 
 hem on the back of the shirt at the lower edge. 
 
 Work a buttonhole at the center-back of 
 
 the neckband and 
 buttonholes in the 
 front of the neck- 
 band and left 
 front of the shirt. 
 Sew small pearl 
 buttons to right 
 front. 
 
 An Outing or 
 Work Shirt: 
 
 With the excep- 
 tion of the collar 
 and cuffs, an out- 
 
 Fig. (/p) The first stitching in joining the m S ° r W0I "k shirt 
 
 cuff to the skeve is about the same 
 
 proposition as the 
 
 regulation shirt. The usual shirt of this type 
 
 is made with a detached collar and band cuff, 
 
 as shown in Fig. 23. 
 
 If it's a work shirt, denim, chambray or 
 khaki will give good service. Khaki is also 
 excellent for an outing shirt. However, 
 
 r 14 i 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 outing shirts for less strenuous wear are 
 made of silk such as pongee or the regular 
 cotton shirtings. 
 
 Making an Outing Shirt: Here, too, finish 
 the front closings first as described in the 
 regulation shirt. 
 If the back of 
 the shirt extends 
 all the way to 
 the shoulder, 
 just face the 
 back with the 
 yoke. To do 
 this, turn under 
 the lower edge 
 of the yoke a 
 seam's width 
 and press it. 
 Then, lay the 
 yoke on top of,,. ' s 
 the back and***** 
 stitch across the 
 lower edge of the yoke twice, running one 
 stitching near the edge and the other about 
 one-quarter of an inch from the edge. Make 
 lap-felled seams at the shoulder. 
 
 To make the collar, place the two pieces for 
 the outside collar with the right sides together 
 
 [15] 
 
 The cuff stitched to the sleeve the 
 second time 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 and stitch around the outer edges. (See 
 Fig. 24.) Cut off the corners diagonally # to 
 within an eighth of an inch of the stitching 
 and turn the collar right side out. If the 
 material you are using lacks sufficient body, 
 
 interline the col- 
 lar. To do this, 
 cut a collar of 
 butchers' linen 
 without seams, 
 and baste it to 
 one thickness of 
 the outside collar 
 before stitching. 
 
 After the collar 
 is turned right 
 side out, press it 
 and stitch around 
 the outer edge 
 again. Now you 
 are ready for the 
 collarband. Cut 
 the two outside 
 pieces with seams and the interlining without 
 seams. Baste the interlining to one of the 
 outside pieces. Place one outside piece on one 
 side of the collar and one on the other with 
 what will be the top of the collarband when 
 
 [161 
 
 Fig. (21) The cuff completed 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 finished, along the raw edge of the collar. 
 (See Fig. 25.) 
 
 Stitch around the ends and across the bot- 
 tom, as shown in Fig. 25. 
 Turn the collarband into 
 its finished position and 
 press. Join it to the neck 
 edge of the shirt, inserting 
 the raw edge of the shirt 
 between the two thick- 
 nesses of the band. 
 
 Finishing the Sleeve: 
 
 Sew extensions to the vent, 
 as described in making the 
 regulation shirt. Lay the 
 two thicknesses for the 
 band cuff with the right 
 sides together and stitch 
 across the ends and bot- 
 tom. Then turn the cuff 
 right side out and press it. 
 If the material is sleazy, Fig. (22) Mthejkeve looks 
 add an interlining as the 
 collar was interlined. Turn 
 wrong side out and place the cuff over the 
 sleeve, with the raw edge of the cuff even with 
 the lower edge of the sleeve. Stitch one 
 thickness of the cuff to the sleeve. Turn the 
 
 [17] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Fig. (23) An outing or work skirt with attached collar 
 
 [18 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Fig. (24) Stitching the two collar pieces together 
 
 sleeve right side out and stitch the free edge 
 of the cuff to the sleeve. Stitch around the 
 outer edge of the cuff again. 
 
 Fig. (25) Sewing the neckband to the collar 
 
 Finish with buttons and buttonholes. (See 
 Fig. 26.) 
 
 Hem the top of the pocket, turn under raw 
 edges and press it. Then stitch 
 it to the left side front. 
 
 A Tucked Bosom Shirt: 
 
 A dressier type of shirt is shown 
 in Fig. 27. Such a shirt would 
 
 be made of a fine cotton shirting / ^J ) 
 
 or silk. You can use your plain 
 shirt pattern in copying it 6) A w 
 
 Draw the outline of the bosom cuff 
 
 [19] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Fig. {27) CoaJ shirt with tucked bosom 
 
 20 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 on the plain front as shown in Fig. 28. See 
 
 lines ABC. Place the pattern on another 
 
 piece of paper and trace 
 
 along the lines AB and 
 
 BC, also across the 
 
 shoulder, neck and front 
 
 edge down to point A. 
 
 This will give you the 
 
 outline for the bosom. 
 
 Add seams beyond the 
 
 lines AB and BC. 
 
 Again, place the pat- 
 tern on' another piece of 
 paper and trace around 
 the outer edges of the A* 
 shoulder, armhole, under- 
 arm seam, lower edge and 
 front up to the /bosom 
 line, AB. From there, 
 trace along the lines AB 
 and BC. This gives you 
 the pattern for the front 
 of the shirt. Add seams 
 beyond the lines AB and ^ 
 
 ■Qfi, Fig. (28) Making the ■pattern 
 
 -dC • for the bosom front 
 
 Tuck two straight 
 pieces of material solid with one-quarter-inch 
 tucks, leaving the front edges plain for a space 
 
 [21] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 of one and one-half inches. Place 
 these pieces one on top of the other 
 with the wrong sides of the goods 
 together and place the pattern on 
 top, as shown in Fig. 29. Mark 
 around the outer edge of the pat- 
 tern and cut out the bosom front. 
 
 Making a Bosom-front Shirt: 
 
 First of all join the bosom sections 
 to the front, double stitching the 
 seams. Then proceed to finish the 
 front and close the seams as 
 described in making the regulation 
 shirt. 
 
 F Jng a? bos U om ^ y° u want a stm ° attached cuff 
 to close with cuff links, finish the 
 sleeve vent with extensions as 
 
 described in making the regulation shirt. 
 
 Then interline the cuff and join it to the lower 
 
 edge, as the band cuff was joined 
 
 to the sleeve of the outing shirt. 
 
 In this case, however, the edge 
 
 of the vent finished with the 
 
 narrow extension is turned back 
 
 before the cuff is joined to the 
 
 sleeve. (See Fig. 30.) 
 
 A Nightshirt: Fig 31 shows fX^l/JZi 
 you a regulation nightshirt. It s links 
 
 [22] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 &£• (J 1 ) d regulation stile ntghtshir 
 
 the style that is used both for cotton night- 
 shirts and those of flannel. Whether you are 
 
 [23] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 A,- 
 
 ! I 
 
 L L 
 
 _-E 
 
 £._^_j 
 
 [ '~\ f" / r 
 
 ° \ I / 
 
 F/£. (j^) Diagram/or making 
 facing pattern 
 
 using cambric or muslin? 
 flannel or outing flannel, 
 the way of making is the 
 same. 
 
 Making a Nightshirt: 
 
 You will notice that the 
 front of the nightshirt 
 has a slashed closing which 
 is finished practically the 
 same as the vent in the 
 sleeve of the shirts, de- 
 scribed in the first part of 
 this lesson. 
 
 Fig. 32 shows a dia- 
 gram for the pointed fac- 
 ing pattern. You can 
 make it any desired width, 
 remembering that the 
 width from A to C is half 
 the width from C to E. 
 Make your diagram with- 
 out seams and add them 
 beyond the outer edges 
 afterward. 
 
 After the pattern has 
 the seams added, fold it 
 
 [241 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 along the line CD. Place the front of the 
 shirt pattern on top of this pattern, with the 
 front edge centerway between lines CD and 
 EF and the neck edge a seam's 
 width from the top of the ex- 
 tension pattern at the side. 
 Mark along the neck edge of the 
 shirt pattern. Turn the shirt 
 pattern over onto the other half 
 of the extension pattern and 
 mark the neck edge again. This 
 will give you a new curved upper 
 line as the dotted line Fig. 33. 
 Add a seam beyond the dotted 
 line and cut off the portion which 
 extends above this new seam 
 allowance. This shapes the top 
 of the extension so it will exactly 
 fit the neck of the garment when 
 it is sewn on. 
 
 Finish the right front of the 
 slash in the shirt with a plain 
 extension. Turn under the seam 
 allowance across the bottom and 
 along the side EF of the pointed 
 extension. Then stitch the i Fig (?j) Thepat _ 
 
 pointed extension tO the edge Of tern folded and new 
 
 the slash, letting the extension upper edge marked 
 
 [25 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 project nearly a seam's width beyond the 
 edge of the slash at the bottom. (See Fig. 
 34.) Fold the extension along the line DC 
 and stitch as in Fig. 35. 
 
 Join the yoke to the back and close the 
 shoulder seams next, 
 making lap-felled 
 seams. Then you are 
 ready for the collar. 
 Interline the collar as 
 the neckband of the 
 regulation shirt was in- 
 terlined. In joining it 
 to the neck of the shirt, 
 first stitch the outside 
 collarpiece to the neck 
 edge, then turn under 
 the free edge of the 
 collar and stitch it over 
 the raw edges of the 
 right side of the shirt. 
 
 Fig' (34) Stitching facing to 
 
 f ront slash 
 
 Face the lower edges 
 of the sleeves with the cuff piece before the 
 sleeves are joined to the armholes. To apply 
 the facings, turn under the upper edges and 
 press them. Then place the facing pieces on 
 the wrong side of the sleeves with the lower 
 edges of the sleeves and facings even and stitch 
 
 [26] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 across the sleeves. Turn the facing pieces onto 
 the right side of the sleeves, press and stitch 
 across the top. Close the sleeve and under- 
 arm seams in a continuous stitching, making 
 a lap-felled seam. 
 
 Turn narrow hems at the lower edges and 
 side vents. 
 
 PAJAMAS 
 
 Pajamas: Of course 
 you want to know how 
 to make men's pajamas, 
 too. There is nothing 
 nicer for a gift than a pair 
 of silk pajamas, or even a 
 pair of cotton poplin ones 
 can be made to look very 
 attractive. 
 
 The style that is shown 
 in Fig. 36 is suitable for 
 either silk or cotton. Flan- Fi ^ &) ™e closing finished 
 nel ones are sometimes made in this style or 
 the neck is cut high and finished with a narrow 
 band collar. You can secure either style in a 
 commercial pattern. 
 
 Cutting the Pajamas: Fig. 37 shows the 
 pattern for the pajamas placed on material 
 
 [27] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 F& (j^) Pajamas are another easr-to-make 
 man's garment 
 
 28] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 folded double lengthwise. The exact placing 
 of the pieces may vary according to the width 
 of the material, but do not fail to make a 
 layout. 
 
 Making Pajamas: The shoulder seams 
 ought to be closed first. Make these lap- 
 felled seams. 
 
 The front and neck edges are best finished 
 with a facing. This ought to be cut the same 
 shape as the pattern at these points and about 
 four inches deep. 
 
 Fig. (j7) Diagram showing pajama pattern placed on the goods 
 
 Mark a line on the pattern four inches back 
 from the front and neck edges. Lay the 
 pattern on another piece of paper and run the 
 tracing wheel along the front edges across 
 the shoulder seams, across the bottom and 
 along the lines just marked. This gives pat- 
 terns for the facing pieces. Where any curved, 
 pointed or jagged edge is to be faced the facing 
 ought to be cut to fit it in this manner. 
 
 [29] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 F*S : G<£) The first stitching in 
 facing the front of the pajamas 
 
 Fig, (jp) The front Joeing 
 completed 
 
 [30] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Join the front and back facings at the 
 shoulder, making open seams. Place the 
 facing on the right side of the coat and stitch 
 
 Fig. (40) Finishing the right Fig. (41) Finishing the left side 
 side of the trousers of the trousers 
 
 along the edge as shown in Fig. 38. Cut 
 off the seam close to the stitching and turn 
 the facing onto the wrong side. Turn under 
 
 [31] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 the raw edge a seam's width, press, and stitch 
 as shown in Fig. 39. 
 
 Join sleeve to armhole with a lap-felled 
 seam, and close underarm and sleeve seams, 
 making these lap-felled seams, too. Hem 
 
 lower edge of sleeve 
 
 and coat. 
 
 Turn a hem at the 
 top of the pocket and 
 stitch it to left front. 
 Finish closing with 
 buttons and button- 
 holes. The left side 
 of a man's pajamas 
 always laps over the 
 right side. 
 
 In making the trous- 
 ers finish fly first. 
 Usually there is an 
 extension beyond the 
 The underrating center-front. Face 
 right front extension 
 for a button-stand. (See Fig. 40.) Turn in 
 extension on left front and stitch to position 
 (See Fig. 41.) Cut a buttonhole-stand as 
 shown in Fig. 42. Fold this through center, 
 stitch around outer edges as shown in Fig. 43 
 
 [321 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 and turn right side out. Work buttonholes 
 and stitch buttonhole-stand to left front as 
 shown in Fig. 44. 
 
 Fig. (43) Stitch- 
 ing the underlap 
 
 Fig. {44) The underlap stitched in 
 place 
 
 Join inner leg seams, lap-felling them and 
 then, close crotch seam. Make lap-felled 
 seams here, too. Join a casing to the top. 
 Hem the lower edge of the trousers as shown in 
 Fig. 45. 
 
 [S3] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 UNDERWEAR 
 
 Coat and Trousers Set: A suit of sum- 
 mer underwear is shown in Fig. 46. The 
 style may vary a little according to the make 
 of commercial pattern you use but the general 
 finishing is the same. 
 
 The best material to buy for such a garment 
 is soft cross-barred muslin. It wears well 
 and is cool. 
 
 Making the Coat Part: 
 Turn a regulation hem 
 at the front edges but 
 stitch it four times for a 
 tailored finish. (See Fig. 
 47. ) Remember to press 
 the hem before stitching. 
 It helps to keep the 
 stitching even. 
 
 F *S* (45) Hemming the bottom AT , , . , , 
 
 of the pajamas JN ext close the shoulder 
 
 seams. These ought to 
 be double stitched. 
 
 Neck edge needs a shaped facing. Use 
 the front and back patterns as a guide in 
 making the facing patterns. (See Figs. 48 and 
 49.) Line BE is the center-front. The fac- 
 ing need only extend a seam's width beyond 
 the center-front. Measure in from the neck 
 
 [34] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Fig* (4&) Summer underwear consisting of coat and 
 knee length drawers 
 
 35 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 edges two and one-quarter inches and mark 
 lines, as the dotted lines BC and FG. Place 
 the patterns on another piece of paper and 
 trace along the dotted lines. This gives you 
 patterns for front and back facings that will 
 finish about one and a half inches wide. 
 
 If you use these patterns the seam in the 
 facings will come on the shoulder 
 the same as in the garment, and 
 the center-back of the pattern 
 ought to be placed on the fold of 
 the goods in cutting. However, 
 it is better to lap the facing pieces 
 at the shoulder three-quarters of 
 an inch to take up the seam allow- 
 ance and add a seam at the center- 
 ( back (See Fig. 50.) Lapping 
 hem tailored the lacing pieces three-quarters ot 
 *>M four stitch- an mcn at tne shoulder takes up 
 
 just the regulation seam allowance 
 on the front and back of three-eighths of an 
 inch. Trace the new facing pattern onto 
 another piece of paper, making it a continuous 
 piece from front to back. 
 
 Make lap-felled seams at the underarm and 
 finish the armholes and lower edges with 
 narrow hems. 
 
 [36] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Making the Trousers: The crotch ought to 
 be reinforced, so lap your pattern at the inner 
 leg seam and mark for the reinforcement. (See 
 Fig. 51.) Place these pieces on another piece 
 of paper and trace along the line ABC and the 
 crotch edge. This gives you a pattern for the 
 
 Fig. (48) Making the front pat- 
 tern for the neck facing 
 
 Fig. {49) Marking the back 
 pattern for the neck facing 
 
 reinforcement. Add a seam beyond the curved 
 edge. 
 
 In addition to the crotch reinforcements, the 
 front must be faced. Fig. 52 shows the front 
 edge of the trouser marked for the facing. 
 
 [371 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 F*& (5°) Tfe neck facing patterns 
 
 Line AB is the front edge and CD is the facing 
 line. Place a piece of paper under the pat- 
 tern and trace the facing, marking around the 
 outer edge of the pattern from D to A, from 
 
 A to B and from 
 B to C. Trace 
 "^ along the dotted 
 line CD. Incut- 
 ting out the fac- 
 ing pattern, al- 
 low a s e a m 
 beyond the line 
 CD. In making 
 the trousers, the crotch seam is closed from 
 the inner leg seam up to points. From EtoA 
 the seam is left open. Place point E three 
 inches from B. Fig. 53 shows the fronts 
 joined at the crotch seam from point B to E. 
 
 Join your two front fac- 
 ing pieces from point E to 
 B. (See Fig. 54.) Then 
 stitch the facing pieces to 
 the front edges of the 
 trousers placing them on 
 the wrong side of the 
 trousers. (See Fig. 55.) 
 Turn the facing pieces onto _ , N 
 
 a • i ^ .j *Vli ^ Fig. (si) Marking for the 
 
 the Tight Side Of the trOUS- crotch reinforcement 
 
 [381 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 ers. Turn under the sides, press them and 
 stitch as shown in Fig. 56. 
 
 Next close the center-back seam and the 
 leg seams, making lap-felled seams. Turn 
 the trousers wrong side 
 out and apply the crotch 
 reinforcement, as shown 
 in Fig. 57. On the right 
 side of the trousers work 
 a tailors' bar tack at the 
 bottom of the front clos- 
 ing. (See Fig. 58.) 
 
 The upper part of the 
 trousers ought to be fin- 
 ished with a yoke band, rs 
 There is usually a seam 
 at the center-back of 
 the band. Stitch the < 
 two pieces for the out- 
 side band at the center- 
 back, as Shown in Fig. Fig. (52) Marking the drawers 
 59. Close the Seam in pattern for the front facing 
 
 the lining band the same 
 way. 
 
 Then stitching the outside band to the 
 lining band at the top, back and front ends. 
 Fig. 60 shows the band and lining stitched at 
 the back and Fig. 61 shows the front ends 
 
 [39] 
 
 A*~ 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 stitched. Trim the seams close to the stitch- 
 ing and turn the band right side out. Press it 
 and stitch it to the top of the trousers; first 
 stitching one edge to the trousers, then turn- 
 ing under the free edge and stitching it in 
 place. Stitch around the outer edge and twice 
 
 Fig- (S3) 
 
 Stitching the front 
 seam 
 
 F& (54) The front facings 
 
 across the bottom for a tailored finish. (See 
 Figs. 62 and 63.) 
 
 It's a good plan to make the back adjustable 
 by straps at the waistline. Fold the edges of 
 the strap, as shown in Fig. 64. Then turn 
 back the end and work two eyelets in the end, 
 as in Fig. 65. Stitch the straps to the back, 
 as shown in Fig. 66. Lace the eyelets with tape. 
 
 [40] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Hem the bottom of the trousers. 
 
 Union Suit: Some men prefer the union 
 suit style of underwear instead of the coat 
 and trousers just described. A typical union 
 suit is shown in Fig. 67. You can obtain a 
 style similar to this in most commercial pat-! 
 
 Fig. (55) The front facings 
 stitched to the drawers 
 
 Fig. (56) The facings 
 stitched a second time 
 
 terns. It, too, ought to be made of a soft 
 cross-barred muslin. 
 
 Making a Union Suit; Here you cannot 
 finish the front closing until the upper and 
 trousers have been joined. Start by closing 
 the shoulder and underarm seams. Also 
 
 [41] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 turn a narrow hem at the armholes. Then 
 lay aside the upper until you have the trousers 
 ready to join to it. 
 
 Union suits are made with the center-back 
 seam open and a wide lap added. The lap 
 must be the same shape as the trousers in 
 
 Fig> {57) The crotch reinforced 
 
 order to fit over the trousers comfortably. 
 Trace the back portion of the trouser pattern 
 on another piece of paper. Then place the 
 front portion with the leg seam lapping over 
 the outline of the leg seam of the back pattern 
 and trace around it. (See Fig. 68.) The leg 
 
 [42] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 seam must be lapped enough to take up the 
 seam allowance on both edges. That is, if 
 the seam allowance is three-eighths of an 
 inch on each edge, the edges must be lapped 
 three-quarters of an inch. In Fig. 68, CB is 
 the back and ABB the front. Point D is 
 three inches from the leg seam. Draw a line 
 on the pattern where you want the outer edge 
 
 Fig. {58) Stay- 
 ing the bottom 
 of the closing 
 with a tailors' 
 tack 
 
 Fig. (jg) Back seam of 
 yoke band 
 
 of the lap to come as line HGFED. This will 
 also serve as a facing line. Add seams 
 beyond the dotted lines and cut out the pat- 
 tern for the facing and extension along lines 
 HC, CBD, DE, EFGH. 
 
 Make lap-felled seams at the leg joinings. 
 
 The left back is finished with the extension. 
 Cut the extension piece a single thickness and 
 finish the outer edge with a shaped facing. 
 
 [43] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Join it to the left back with a lap-felled seam. 
 (See Fig. 69.) Fig. 70 gives a front view of 
 this portion of the trousers. 
 
 The right back is faced with a piece cut the 
 same shape as the extension. (See Figs. 71 
 and 72.) 
 
 Hem the lower edges of the leg portions. 
 
 Now you are ready to join the trousers to 
 
 Fig. (66) The two pieces for Fig. (61) The front edge of the 
 
 the yoke band stitched to- yoke band 
 
 gether 
 
 the waist. Make a lap-felled joining at the 
 waistline. 
 
 The front edges finish all the way down to 
 the extension and facing on the, trouser part 
 with straight extensions. To join the ex- 
 tension to the front edge, place it on the wrong 
 side of the goods and stitch as shown in Fig. 
 73. Turn under the free edge a seam's width, 
 fold it through the center and stitch as shown 
 
 [441 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 in Fig. 74. Stitch the extension four times 
 for a tailored finish. (See Fig. 75.) 
 
 On the left front, lap the lower edge of the 
 upper extension over the trouser extension 
 and stitch as shown in Fig. 76. Lap the left 
 front over the right front, bringing the upper , 
 extensions on top of each other and the left 
 trouser extension over the right trouser por- 
 
 Fig. (62) The yoke band 
 
 stitched to the top of the 
 
 drawers 
 
 Fig- {63) The drawers completed 
 
 tion and stitch from A to B and across the 
 upper extension. (See Fig. 77.) 
 
 Finish the neck edge with a shaped facing, 
 as described in making the coat of the other 
 underwear set. 
 
 [45] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 BATH ROBES 
 
 A Blanket Bathrobe: Do you know that 
 t a practical bathrobe can be made out of a 
 'flannel blanket? If the blanket has a border 
 fso'much the better. It will serve as a trim- 
 |ming. Fig. 78 will give you some idea of how 
 the finished garment will look. 
 
 Any heavy flannel makes a nice bathrobe 
 'or if it is for summer you can substitute 
 Turkish towelling material. 
 
 (^^> LB> 
 
 \Fig. (64) The strap for the back Fig. (6$) The eyelets 
 
 worked in the strap 
 
 Cutting the Bathrobe: Diagram, Fig. 79, 
 shows the pattern for the bathrobe laid on the 
 material folded double. Note that the lower 
 edge and sleeves are laid along the outer edge 
 of the blanket. 
 
 Making, the Bathrobe: If the front edges 
 are on the selvedge or finished edges of the 
 blanket they need no other finish. If the 
 •front edges are raw, face them with the same 
 ^material to a depth of four inches, using the 
 
 [46] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 pattern as a guide to cut the facings. (See 
 Diagram 80.) Bind the back edges of the 
 facing pieces. Lay the facing on the right 
 side of the front and stitch as shown in Fig. 81. 
 Turn facing onto wrong side of robe and roll 
 edge so that seam comes on the wrong side. 
 (See Fig. 82.) This gives a thin edge. Baste 
 the facing and press the edge. Stitch along 
 the edge again. (See Fig. 
 83.) 
 
 Usually a blanket robe 
 is made without a seam 
 at the underarm, but should 
 there be a seam for any 
 reason, make it a lap-felled 
 seam. 
 
 If the material is very 
 heavy and is firm enough Fig. (66) 
 not to fray, the seam can 
 be double stitched with 
 the edges raw as shown in Fig. 84. Double 
 stitch the shoulder joining in the same manner 
 also the sleeve seams. 
 
 Usually a bathrobe sleeve has fullness in 
 the* upper portion at the back above and 
 below the elbow. The pattern is always 
 notched at the points between which the 
 fullness is to be taken up. It is a good plan 
 
 [47] 
 
 The straps 
 stitched to the drawers 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 F*g* (fy) A summer union suit 
 
 [48 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 to run a gather thread between these two 
 points and draw up the material just enough 
 
 Fig. {68) Drawers pattern lapped and marked for facing 
 
 so that it will fit the under portion of the 
 sleeve. 
 
 [49] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Before the seam is closed shrink out as 
 much of the fullness in the upper sleeve as 
 possible. To do this, cover the material with 
 a wet cloth, duck or canvas preferred, and 
 
 steam with a hot 
 
 iron. Bring the 
 iron down 
 squarely on the 
 wet cloth. Let 
 it stand a sec- 
 ond, then re- 
 move, allowing 
 the steam to rise. 
 It is surprising 
 how much full- 
 ness can be 
 taken out of 
 woolen material 
 in this way. 
 
 The neatest 
 finish at the 
 lower edge of the 
 
 Fig. (69) The extension sewn to the left back sleeve is given 
 
 by turning the 
 hem, pressing it and then hand felling it in 
 place. 
 
 Make lap-felled seams in stitching the 
 sleeve to the armhole. If there is a dart 
 
 50 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 at the neck either side of the front, stitch it 
 as shown in Fig. 85. On the right side of the 
 garment stitch a second time as in Fig. 86. 
 
 In a blanket robe, where the lower edge is 
 straight, there is 
 usually fullness 
 at the back of 
 the neck. Lay 
 this material in- 
 to pleats. (See 
 Fig. 87.) 
 
 Sateen is a 
 good material to 
 use for the col- 
 lar and pocket 
 lining. Cut the 
 lining just a trifle 
 smaller than the 
 outside. In 
 stitching ease 
 the outside to 
 the lining at all 
 points. In stitch- 
 ing lining to col- 
 lar stitch across ends and around bottom. 
 (See Fig. 88.) Cut off the seam [to within 
 a quarter of an inch of the stitching and cut 
 off the corners diagonally so that they will not 
 
 [51] 
 
 Fig. (70) Front view of extension 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 be bulky. Turn the collar right side out. 
 If the outside has been eased or held into the 
 size of the lining, it will roll beyond the seam 
 
 and hide the lining. 
 On the other hand, if 
 the lining is cut the 
 same size as the out- 
 side collar, it is apt 
 to sag below the out- 
 side collar and show 
 when the collar is fin- 
 ished. Stitch around 
 the collar a half inch 
 from the edge for trim- 
 ming. Join the collar 
 to the neck with a 
 facing. In joining lin- 
 ing to pocket leave 
 space free so pocket 
 can be turned right 
 side out. (See Fig. 
 89.) After pocket is 
 turned right side out, 
 turn in raw edges and 
 slip-stitch. Join 
 
 Fig. (7/) The right back faced 
 
 pocket to robe as shown in Fig. 90. 
 
 Bind the lower edge of the robe and turn 
 the hem as shown in Fig. 91. Make straps 
 
 [521 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 for the cord to pass through as shown in Fig. 
 92. Stitch these at waistline at the sides. 
 (See Fig. 93.) Slip-stitch frogs to left-side 
 and sew buttons to right side of closing. 
 
 SMOKING JACKETS 
 
 A Smoking Jacket? ^^ 
 
 When I talked about /^ — ■ 
 
 coats and not making / 
 them in the first part / 
 of this lesson, I did not / 
 intend to exclude smok- 
 ing jackets. A smoking 
 jacket is the acceptable 
 gift to nine out of 
 every ten men. It is 
 the luxury that per- 
 haps HE won't have 
 unless you make it for 
 HIM. 
 
 Then too, a smoking 
 jacket isn't really a 
 
 COat. There is V 'ery Fig. (72) Front view of right side 
 
 little in the way of tailoring in making one. 
 
 In the way of example, I have selected a 
 regulation style that can be obtained in 
 almost any commercial pattern. (See Fig. 
 
 [53] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 94.) Velvet, a heavy corded silk or a wool 
 brocade makes a nice jacket. 
 
 Making a Smoking Jacket : Fig. 95 shows 
 the pattern for a smoking jacket placed on the 
 goods. Of course, you 
 "" may have to rearrange 
 your pattern to suit the 
 width of goods that you 
 are using. 
 
 First of all in making 
 the jacket, tape the Fig. (74) 
 front edge to prevent s %t ^nZ 
 stretching. 1 hen close 
 the shoulder seam, mak- 
 ing an open seam. The 
 ) £,,«,. next step is to join the 
 sion sewn to front under collar to the neck 
 dosing e dg e> Here press open 
 the edges of the seam 
 across the lapel and turn the raw Fig. (75) 
 edges down into the coat across the J^ n t e J{™' d 
 
 back. with four 
 
 stitchings 
 
 If the material you are using 
 hasn't much body, face the front and the 
 collar with tailors' canvas. (See Lesson on 
 coat making.) Stitch the front and collar 
 facing to the outer edge of the collar and the 
 
 [54] 
 
H OW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 front edge of the coat and then turn it into 
 its finished position. 
 
 Make an open seam at the underarm. 
 Stay the bottom of the coat with strips of 
 tailors' canvas and turn up the hem catching 
 it to the canvas. Then line the coat and 
 
 
 Fig. (7*5) As the lower front of the Fig. (77) The drawers stitched 
 drawers looks before the two sides are together below the front closing 
 joined 
 
 make the sleeves the same as a woman's 
 coat would be finished. 
 
 When the jacket is finished, bind the collar, 
 the front and lower edges with silk military 
 braid. 
 
 The frogs can be made of soutache or rat- 
 
 [55] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 tail braid. To make a frog, draw a diagram 
 as shown in Fig. 96, making line AC about 
 
 three inches long 
 and line EBD 
 about two inches 
 long. Start the 
 braid at point B, 
 pass it to point 
 A and back to B, 
 tacking it 
 together at B. 
 From here, pass 
 it around point 
 C and back to B> 
 tacking it again. 
 Then pass it 
 around point E 
 and back to B 
 and tack it. From 
 there pass it 
 around point D 
 and back to B 
 and tack it again, 
 slipping the end 
 under. If you 
 have any diffi- 
 culty, mark your 
 diagram on a 
 
 Fig. (78) Blanket Bathrobe 
 
 56] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Gotta* 
 
 &&• (79) The pattern placed on the blanket 
 
 piece of material and baste the braid to the 
 material, catching just the braid together 
 securely where it crosses. When the frog 
 is finished, it can be ripped from the material. 
 Sew a braid-covered button to the end of 
 
 Fig. (80) Cutting the front facing 
 
 [57] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Fig. (<?/) The front faced 
 
 the frog on the right side of the coat and loop 
 the frog on the left side of the coat over the 
 button. 
 
 I 
 
 =DD 
 
 "1 
 
 Fig. (82) The lower front corner Fig. (83) Stitching for a tailored 
 
 finish 
 
 [58] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Fig. (£5) Stitching the 
 shoulder dart 
 
 Fig. (84) Double stitching the seams 
 
 OVERALLS 
 
 Overalls: If you can make a pair of boy's 
 trousers, there is no reason why you cannot 
 run up a pair of overalls in an hour or so. 
 The process is about the same. 
 
 For instance, a pair of blue jean, denim or 
 [59] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 khaki overalls, as shown in Fig. 98, is mostly 
 a matter of double stitched seams. 
 
 Making the Overalls: Finish a fly in the 
 front the same as in making boy's trousers. 
 
 Fig. (86) The dart 
 stitched a second time 
 
 Fig. (87) The back pleats 
 
 Then double stitch the front and back seams 
 either side of the fly. 
 
 Double stitch the side leg seams, leaving 
 room for a vent at the top. Finish the vent 
 with a continuous facing, as shown in Fig. 99. 
 
 [60] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Fig. (88) Stitching the two pieces 
 of the collar together 
 
 Fig. (89) The pocket lined 
 
 On the back edge of the vent, the facing forms 
 an extension and on the front edge it is 
 turned back and caught in place. Sew a 
 button to the facing on 
 the back and work a 
 buttonhole in the front. 
 Turn one-inch hems at 
 the bottom of the over- 
 alls and narrow hems at 
 the top. Hem the straps 
 and stitch them to the 
 back, as shown in Fig. 
 100. Work buttonholes 
 in the ends and button 
 them to the bib. 
 
 J^ 
 
 II 
 
 A - - 
 
 'i 
 
 y^]\ 
 
 
 a* 
 
 1 
 
 fi 
 
 1 
 
 \ 
 
 I 
 
 I 
 
 ! 
 
 \ 
 
 \ 
 
 J 
 
 Fig- (90) Stitching the pocket 
 to the bathrobe 
 
 [61 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Hem the top of the sockets and turn and 
 press the outer edges. Stitch them on as 
 shown in the lai fo e illustration. 
 
 CAPS 
 
 Making a Sectional Cap: In any of the 
 
 commercial patterns, you can find a cap 
 
 / 
 / 
 i 
 i 
 
 i 
 i 
 
 mini tii nmij'jjij^jjf 
 
 i 
 
 i 
 
 Fig (p/) Hemming the lower edge 
 
 similar to the one shown in Fig. 101. It's the 
 regulation eight section cap that is good 
 looking in tweed, serge or linen. I am using 
 this particular cap as an example but all 
 caps are made in the same way. 
 
 The first step in making the cap is to join 
 the sections with open seams. (See Fig. 102.) 
 
 [62] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Stitch either side of the seams as shown in 
 Fig. 103. Then stay the lower edge with 
 tape. (See Fig. 104.) Close the lining seams 
 and stay each seam with a piece of tape. 
 
 Fig. {92) The belt 
 strap 
 
 Fig. {93) Stitching the 
 belt strap to the bathrobe 
 
 (See Fig. 105.) Cut a circular top interlining 
 of coarse lightweight canvas and baste it to 
 the top of the lining as in Fig. 105. 
 
 The top facing for the peak ought to be a 
 
 [63] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Fi Z* (94) d smoking jacket makes a nice gift 
 
 [64] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 'FRONT AND COLLAR FAC/W 
 
 'UPPER 'siitVE A \CUFf 
 
 FRONT ° V — "^V wyOfr^ SLEJEVE I ofnMP,? 
 
 [iB/lCft 
 
 F/£. (pj) !Tfo pattern for the smoking jacket placed on the goods 
 
 little larger than the under facing. (See 
 Fig. 106.) In joining hold it to the size of 
 the under facing. (See Fig. 107.) Cut the 
 foundation peak of stiff buckram or cardboard. 
 Fig. 108 shows the facing slipped over the 
 foundation peak. 
 
 Join the peak to the outside cap as in Fig. 
 109. Then, stitch lining to outside across 
 
 i 
 • 
 
 i 
 i 
 
 Fig. (p<5) Diagram for making braided frog 
 
 [65] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 back. (See Fig. 110.) Turn it inside the 
 cap. Turn under the raw edges of lining 
 across peak and slip stitch them in place. 
 
 NECKTIES 
 
 Necktie: I wonder if you haven't odd 
 lengths of silk tucked away that would make 
 the nicest kind of ties. Nearly every woman 
 
 has. 
 
 Brocades and 
 poplin silks left 
 over from coat 
 linings make 
 good ties. You 
 know you can 
 piece the tie in 
 the center and it 
 Fig. (97) Tkefrof finished doesn't take very 
 
 much goods. A 
 four-in-hand such as is shown in Fig. Ill can 
 be cut either on the straight or the bias. 
 
 Making a Pattern for a Necktie: Figs. 112 
 and 113 show the first diagram in making a 
 necktie pattern. AB in each diagram is the 
 center back. These two edges will be put 
 together to make the complete pattern. When 
 you make your diagram make one continuous 
 
 [66] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 Fig. (98) Overalls are as easy to make as a pair of 
 boys* wash trousers 
 
 67] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 diagram of Figs. 112 
 and 113. The pages in 
 this book are too short 
 to show them in one 
 diagram. 
 
 Considering Fig. 112 
 first which is the short 
 end of the tie, draw 
 Facing the side vent lines AC and BD parallel 
 intheoweraik to each other and one 
 
 inch apart. Mark points 
 six and one-half inches from the back as G and 
 H. Make points C and D seventeen inches 
 from A and B. Continue the line CD to 
 points L and M> making the space from L to C 
 and from M to D three-quarters of an inch. 
 Also continue the line BHD one 
 and three-quarter inches beyond .O 
 D. See point N, Fig. 112. Draw 
 lines from point N to points M 
 and L. Draw lines from L and 
 M to G and H. This gives you 
 the finished lines for the short end 
 of the tie. 
 
 In making the diagram, Fig. 113 
 place the lines BF and EA one 
 inch apart. Mark points six and f^t ( T °°) The 
 
 i i c • i r i back of the over- 
 
 one-half inches from the center- ails 
 
 68 
 
HOW TO MAKE MEN'S SHIRTS ~AND UNDERWEAR 
 
 Fig. (101) A cap suitable j or 
 tweed or linen 
 
 Fig. {104) Staying the lower 
 edge of the cap 
 
 Fig- U05) Thi top is interlined 
 
 Fig. {102) The sections of the 
 cap stitched together 
 
 Fig. (103) 
 Each seam 
 should be 
 stitched on 
 either side 
 
 Fig. {106) The peak fac- 
 ings 
 
 69 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Fig. (107) The fac- 
 ings joined 
 
 fig. (108) The facing 
 slipped over the founda- 
 tion peak 
 
 Fig. (iQ$ The peak joined to the 
 outside cap 
 
 Fig. (//a) The lining sewn to the cap 
 
 [to] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 back as points JK. 
 Make the distance from 
 A to E twenty-six inches. 
 Continue the line EF 
 and mark points O and 
 P one inch beyond the 
 original lines. Continue 
 the line BF to point i£, 
 placing j£ two inches 
 below line EF. Draw 
 lines from ^ to D and 
 and from D and to 
 J and K. This gives 
 you the outline of the 
 finished tie. 
 
 tvt jj a *. Fig- {in) It takes only a little 
 
 IN OW add the amount material to make a necktie 
 
 to the sides of the tie 
 
 that you want the silk to turn under. (See 
 
 Figs. 114 and 115.) 
 
 The Fig. 114 is a tracing of the diagram 
 Fig. 112 with the turn-unders added and Fig. 
 115 is a tracing of diagram 113 with the turn- 
 unders added. Draw lines parallel to lines AC 
 and BD placing the lines three-quarters of an 
 inch beyond the original lines. See lines 
 1-2 and 3-4 Fig. 114. Continue the 
 
 71 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 original line CD at the bottom 
 to points 5 and 6, placing point 
 Ax. — ,"E 5 two and three-quarter inches 
 
 beyond point M and point 6 
 one and one-half inches beyond 
 point L. Now draw lines which 
 continue the diagonal lower 
 edge lines until they touch the 
 J h new side lines. This gives you 
 
 the finished pattern for the 
 short end of the tie. The lower 
 line will be from points 7 and 
 8 to the point. 
 
 Add the turn-unders to 
 the long end of the tie in the 
 same way, making point 5, 
 Fig. 115 two and one-half 
 inches from point O and point 
 6, two inches from point D. 
 
 Bring the two diagrams 
 
 together at the center-back, 
 
 . points AB. (See Fig. 116.) 
 
 Fig. (f/2) Half of £* * * v r ^i „_• j 
 
 the diagram for the Mark the center 01 the tie and 
 on this center line, mark point 
 1, one inch from line AB. 
 
 i 
 
 L. 
 
 A^M 
 
 'si/ 
 
 N 
 
 necktie pattern 
 
 Measure at right angle to this line and 
 mark a point on the upper line as point 2. On the 
 
 [72] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 B-.-.-A 
 
 K 
 
 
 J 
 
 
 'a 
 
 Fig. (//j) 7^* oMdr ^ 
 0/ M^ diagram for the neck- 
 tie pattern 
 
 Fig. (1/4) Allowing for the turn-, 
 unders on the pattern 
 
 [73] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 B A 
 
 \ / 
 
 F*g* ( I7 S) The turn-unders added to the 
 other end of the pattern 
 
 [74] v 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 A 2 
 
 l A 
 
 z\_ 
 
 ^^ 4 B 
 
 Fig. (//<5) Marking for the hack seam 
 
 other side of line 
 
 AB y mark point 
 
 3 on the center 
 
 line, placing it 
 
 one inch from 
 
 line AB. Also 
 
 from this point, 
 
 draw a line at 
 
 right angle to the center line and mark a 
 
 point on the lower line as point 4. Draw a 
 
 line from point 2 to point 4. This gives you 
 
 a bias seam at the back. In tracing the new 
 
 patterns for each end, allow seams at the 
 
 bias joining. 
 
 A necktie sets better if it # has interlining 
 of cotton flannel. Use your original diagrams, 
 Figs. 112 and 113 to make a pattern for the 
 
 Fig. {iif) Making the pattern for the interlining 
 
 interlining, bringing them together at the 
 center-back into a continuous pattern. (See 
 Fig. 117.) 
 
 On the short end of the tie mark a point 
 thirteen inches beyond the center-back, as point 
 
 [75] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 1. From here, draw line at right angle to 
 the center lines of the tie. Where this line 
 touches the upper line, point 2, draw a 
 diagonal line to the lower line, as line 2-3. 
 On the long end of the tie, mark a point 
 twenty inches from the center-back, as point 
 4. From point 4, draw a line at right angle 
 
 Fig, (//<?) The flannel inter linings joined to the back-stay 
 
 to the center line. Where this line touches the 
 upper line, point 5, draw a diagonal line to 
 the lower line, as line 5-6. The flannel in- 
 terlinings should extend only from line 2-3 
 to line GH and from line 5-6 to line JK. 
 Trace these portions without adding seams. 
 From G to J can be stayed with canvas. 
 
 Lap the canvas back-stay over the cotton 
 flannel interlinings, as shown in Fig. 118. 
 
 S 
 
 Fig. {119) An outside stay for the back of the necktie 
 
 Crease the silk for the outside collar along 
 the lines, AGL, BHM, BKD and AJO, Fig. 
 
 [76] 
 
HOW TO MAKE MEN'S SHIRTS AND UNDERWEAR 
 
 112 and 113. Press the silk and stitch a 
 narrow hem at the bottom. Slip the silk 
 over the interlining and turn under one of 
 the raw edges, slip-stitch it in place. Re- 
 inforce the center-back of the tie on the wrong 
 side with a piece of silk cut on the straight or 
 a piece of ribbon. (See Fig. 119.) 
 
 [77] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 PART II 
 
 MATERIALS 
 
 AND HOW TO TEST THEM 
 
 Can you tell whether a piece of goods is 
 wool or cotton, or part wool and part cotton ? 
 Do you know good wool when you see it ? 
 Do you know that shoddy may be all wool ? 
 Can you distinguish silk from artificial silk? 
 Can you tell whether or not a material will 
 give good service ? 
 
 Nature of the Fibers: In order to judge 
 and test fabrics intelligently one must know 
 something of the nature of the various fibers 
 from which these fabrics are made. The 
 fibers most used in dress fabrics are wool, 
 silk, cotton, artificial silk, and linen. Each 
 of these fibers has certain characteristics which 
 distinguish it. 
 
 Wool is the hairy covering of the sheep 
 and is kinky and elastic — not smooth and 
 straight like the hair of most other animals. 
 It is covered with many overlapping scales 
 
 [78] 
 
MATERIALS AND HOW TO TEST THEM 
 
 like the shingles of a roof. Because of its 
 kinkiness, scales, and elasticity it can be 
 spun into very fine yarn. Wool fibers may 
 be from one to eight inches long. When wet 
 wool becomes soft and plastic and if pressed, 
 the fiber scales become entangled causing 
 the wool to felt. This is the reason wool 
 requires careful laundering. Since it is a 
 poor conductor of heat, it is suitable for winter 
 fabrics. 
 
 Silk is a solid rod-like filament secreted 
 by the silk worm, a kind of caterpillar. This 
 fiber the worm spins about itself, forming 
 an envelope or cocoon. The long strong 
 even filaments are many yards in length and, 
 when reeled from the cocoons, make the better 
 grades of silk. The short waste ends, when 
 spun into so-called "spun silk" yarn, make 
 the poorer grades. 
 
 Cotton is a flat twisted tubelike vegetable 
 fiber, varying from a little less than one inch 
 to two inches in length. It is not as strong 
 as silk or linen but is stronger than wool. It is 
 less elastic than silk or wool but more so than 
 linen. Being a good conductor of heat it is 
 chosen for our warm weather garments. The 
 spinning qualities of cotton depend upon the 
 length, twist, and fineness of the fiber. 
 
 [791 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Mercerized Cotton is chemically treated 
 cotton. Cotton cloth or yarn is immersed 
 in a strong caustic soda or caustic potash 
 solution, then stretched and washed. This 
 causes the fibers to lose most of their twist 
 and to become round, smooth, and glossy. 
 If cotton is well mercerized the fibers very 
 closely resemble silk in appearance. 
 
 Linen is a vegetable fiber obtained from the 
 stems of the flax plant. A single filament 
 may vary from a few inches to several feet 
 in length and has a complex structure. It is 
 very smooth, lustrous and silky looking. It 
 is stronger than wool or cotton but not as 
 strong as silk. Linen is more readily injured 
 and disintegrated than cotton by strong 
 washing powders or chemicals. It is even a 
 better conductor of heat than cotton and, 
 therefore, makes the coolest garments. 
 
 Artificial silk is of vegetable origin, being 
 made by a chemical process from cotton or 
 wood pulp. It is a smooth solid filament, 
 similar to silk in appearance and with a luster 
 even greater than silk. Herein lies its chief 
 value for in wearing quality and durability 
 it does not begin to equal silk. When wet the 
 fiber swells somewhat and loses strength so 
 that it must be handled with great care, 
 
 [801 
 
MATERIALS AND HOW TO TEST THEM 
 
 but in drying again it recovers its original 
 strength. Normally it is about one-half as 
 strong as silk and has almost no elasticity. 
 
 To Determine the Kinds of Fibers in 
 Cloth: Perhaps most of us think we can 
 recognize an all wool, all silk, all cotton, or all 
 linen fabric by its appearance and feel. Some- 
 times we can. But to recognize a material 
 in which the cotton and linen fibers have been 
 carded in the same yarn, or to tell silk from 
 artificial silk, silk from mercerized cotton, 
 new wool from shoddy, or to detect the 
 presence of a very small amount of wool, 
 cotton or silk in a fabric, is a more difficult 
 problem than the eyes and fingers alone can 
 solve. 
 
 Different kinds of fibers are now so cleverly 
 mixed and woven that the microscope and 
 chemical tests are the only means by which 
 one can accurately determine the fiber content 
 of a piece of cloth. Some of the chemical 
 tests are very simple and can be readily per- 
 formed in the home. 
 
 Animal and Vegetable Fibers: The 
 
 fibers described in the preceding paragraphs 
 fall naturally, according to their origin, into 
 two groups, animal fibers (wool and silk) and 
 vegetable fibers (cotton, linen, and artificial 
 
 [81] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 silk.) All animal fibers are similar in chemi- 
 cal composition, are proteins, and therefore 
 are similarly affected by heat, acids, alkalies, 
 and other chemical reagents. All vegetable 
 fibers are similar in composition, are cellulose, 
 >and react similarly toward reagents but very 
 differently from the animal fibers. For ex- 
 ample, strong acids weaken and destroy 
 vegetable fibers but do not readily destroy 
 animal fibers. Animal fibers will readily 
 dissolve in hot alkali solutions while vegetable 
 fibers are little affected by them. This ex- 
 plains many of the precautions necessary in 
 laundering fabrics. For example, woolens 
 and silks must be washed in a neutral soap 
 solution, or one which contains no free alkali. 
 Burning Test: When testing a woven 
 cloth, ravel out a single warp yarn* and a single 
 filling yarn* and burn each of these separately. 
 This is necessary because the threads running 
 lengthwise may be of one kind of fiber while 
 those running crosswise are of another. If 
 the yarn flames and burns quickly, emitting 
 the odor of burning wood, it is cellulose or 
 vegetable fiber. Cotton, linen, and artificial 
 silk yarns all burn in this way. If it is a 
 cotton yarn the fiber ends of the unburned 
 portion remaining in your fingers will be 
 
 *Warp yams are those running lengthwise in a cloth while filling yarns are those 
 running crosswise. 
 
 [82 1 
 
MATERIALS AND HOW TO TEST THEM 
 
 brushlike — its fibers tending to separate. If 
 it is a linen yarn the fiber ends remain closely 
 in contact. 
 
 If a yarn burns with difficulty, emitting a 
 very disagreeable odor like burning hair or 
 feathers, it is protein, or animal fiber. Wool 
 and silk both burn in this way. A woolen 
 yarn as it burns rolls up, forming a little ball 
 at the end; silk, unless it is weighted with 
 metallic salts to make it appear of heavy 
 quality, does the same thing. If the silk yarn 
 is heavily weighted with metallic salts, it 
 not only does not roll up but there remains 
 after the burning a white or gray ash. 
 
 Boiling-Out Test: The presence of cotton 
 or other vegetable fibers in a woolen cloth or 
 yarn is determined by a boiling-out test. 
 When cotton is carded with wool in the same 
 yarn it is often impossible to tell by the appear- 
 ance or by burning that the cotton is there. 
 A very simple chemical test will reveal its 
 presence. Dissolve one ounce of caustic potash 
 or caustic soda or a tablespoonful of lye in a 
 pint of water. Boil a small sample of the 
 cloth in a little of this solution for fifteen 
 minutes. The wool will dissolve but cotton, 
 if present, will remain. Strain the solution 
 
 [831 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 and the residue will give an idea of the amount 
 of cotton present. 
 
 To Identify Silk when Associated with 
 Cotton or Wool: The boiling-out test as 
 given above for wool and cotton may be ap- 
 plied to silk and cotton since silk is soluble in 
 lye and cotton is- not. One can readily identify 
 silk in a wool mixture by the appearance of the 
 fibers. 
 
 To Tell the Difference Between Silk and 
 Artificial Silk: The three following tests 
 may be applied: 
 
 (1) Pull out single yarns from the cloth and 
 burn. Silk, an animal fiber will burn slowly 
 and give a disagreeable odor; artificial silk, 
 a vegetable fiber, will flame, burn quickly, 
 and give almost no odor or the odor of burning 
 wood. 
 
 (2) Moisten a yarn and try to pull it apart. 
 As we learned previously, artificial silk fibers 
 are very weak when wet and can be easily 
 torn, while the strength of silk is not affected 
 by moisture. 
 
 (3) The boiling-out test may also be used 
 to distinguish between silk and artificial silk. 
 Silk, an animal fiber, will readily dissolve in 
 
 [841 
 
MATERIALS AND HOW TO TEST THEM 
 
 alkali while artificial silk, a vegetable product 
 will not. 
 To Distinguish Linen from Cotton: 
 
 Cotton fabrics are now so cleverly finished to 
 look like linen that even experts are often de- 
 ceived. If a fabric is all linen or all cotton or 
 is woven with a cotton warp and a linen filling 
 as many of them are, it is possible to detect the 
 difference between the cotton and linen in the 
 following ways : 
 
 (1) By Appearance: Boil a sample of the 
 cloth for fifteen minutes in a soap solution, 
 rinse thoroughly, and dry. This will remove 
 any starch or dressing. Now the linen threads 
 will still present a smooth, lustrous appearance 
 while the cotton will be less smooth and dull. 
 
 (2) By Tearing: Linen is stronger than 
 cotton and tears with greater difficulty. The 
 ends of torn linen yarns show very uneven 
 but parallel, glossy fibers, while the* ends of 
 torn cotton yarns show rather even, curly, 
 dull-looking fibers. 
 
 (3) By Burning: The burning test may be 
 applied for the purpose of observing burned 
 ends of the yarn as previously explained. 
 
 Since linen and cotton are both cellulose 
 there is no satisfactory chemical test for 
 distinguishing one from the other. This 
 
 [85] 
 
A C OMPLETE COURSE IN DRESSMAKING 
 
 means that if a fabric is woven of yarn in 
 which linen and cotton are carded together 
 none of the above tests or any chemical test 
 will reveal its exact nature. A cloth appearing 
 to be all cotton may contain a very small 
 percentage of linen or a cloth appearing to be 
 all linen may contain a small percentage of 
 cotton. (Because of this fact the microscope 
 is really the only means of determining cor- 
 rectly the true nature of linen and cotton 
 fabrics.) 
 
 Judging the Quality of Fabrics: An 
 
 examination of fabrics reveals some very im- 
 portant facts as to their general character and 
 quality. 
 
 Firmness of Weave: A cloth to be durable 
 and to hold its shape should be firmly woven. 
 Its firmness may be determined by the 
 following simple tests: 
 
 (1) Pulling Test: Pull the sample in all 
 directions. The yarns should have about 
 the same elasticity and remain in their original 
 positions. The cloth should retain its original 
 form. 
 
 (2) Creasing Test: Crease a sample of 
 cloth between the thumb and fingers. A good 
 piece of wool or silk will spring back into 
 shape, due to their natural elasticity. If a 
 
 [861 
 
MATERIALS AND HOW TO TEST THEM 
 
 wool fabric remains creased, it is probably 
 due to the use of shoddy or reworked wool 
 which has lost most of its elasticity in chemical 
 treatments or remanufacture, or to a poor 
 grade of virgin wool. If a silk fabric remains 
 creased it is probably heavily weighted to 
 make it appear of good quality. Cotton and 
 linen crease rather easily, linen much more 
 readily than cotton. 
 
 (3) Thumb Nail Test: Rub the edge of 
 the thumbnail diagonally across the cloth. If 
 the threads are loose they will move out of 
 position following the direction of the mov- 
 ing nail. 
 
 (4) Sewing Test: Run a pin or needle 
 back and forth through two thicknesses of the 
 cloth as if sewing them together. Then with 
 the needle still holding the cloth, pull the two 
 pieces in opposite directions. If the threads 
 separate much and do not return to their 
 original position, the material would not stand 
 much strain and would pull out at the seams. 
 
 (5) Light Test: Hold the sample to the 
 light and observe the closeness of the threads. 
 In a firm well woven cloth the threads should 
 be even, straight, lie parallel, and be close 
 together. 
 
 [87] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Quality of Yarns: Yarns vary in quality 
 according to the length, diameter, elasticity, 
 and strength of the fibers, and the twist and 
 ply of the yarn. 
 
 Wool yarns are of two kinds — worsted and 
 woolen. A worsted yarn is usually made of 
 longer fibers than woolen yarn and is therefore 
 stronger. It is also combed, which causes the 
 fibers to lie parallel in the yarn; while woolen 
 yarns are carded, causing the fibers to lie 
 crisscross. Cloths made of worsted yarns 
 will wear better than those made of woolen 
 yarn. They are, however, likely to wear 
 shiny. Shoddy is wool which has been re- 
 covered from old garments and reworked 
 or made over into new material. In the proc- 
 ess it loses a good deal of its original elasticity 
 and many of the fibers are crushed and broken. 
 If the original wool was a very good grade, 
 the shoddy may still make a better material 
 and give better service than a poor grade of 
 virgin wool. A poor shoddy because of its 
 short torn fibers has a dead feel, has very 
 little strength, and will tear easily. 
 
 The strongest silk yarns are made of groups 
 of long continuous filaments which lie parallel 
 and are well twisted. A yarn of carded spun 
 silk or short filaments may be woven to give 
 good service but is not as strong. 
 
 [88] 
 
MATERIALS AND HOW TO TEST THEM 
 
 Likewise the best grades of cotton yarns 
 are the well twisted plied yarns, made of 
 long-stapled combed fibers. 
 
 Pull out single warp and filling yarns from 
 your sample of cloth and examine carefully 
 the evenness, twist, ply, elasticity, and 
 strength. Untwist a yarn and examine the 
 arrangement of the fibers. Then gently pull 
 the fibers apart, being careful not to tear them, 
 and observe their length. 
 
 Finish and Weighting: A material is 
 often weighted and finished with foreign sub- 
 stances to give it more body and the appear- 
 ance of a very good grade of goods when in 
 reality it is very poor. 
 
 A woolen fabric is sometimes weighted and 
 finished with a mass of very short wool fibers 
 from clippings called flocks. These are sprin- 
 kled thickly over the surface and pressed 
 well into the cloth. Then the cloth is filled 
 and finished. This makes it thicker and 
 heavier but the little fibers soon rub and 
 brush off with wear and leave a threadbare, 
 miserable looking fabric. If a sample of cloth 
 is rubbed and brushed thoroughly any surface 
 finish of this kind is quickly revealed. 
 
 Most silk materials are weighted more or 
 less with tin salts or other metallic salts. 
 
 [89] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Burn a sample of silk cloth. If it is heavily 
 weighted, an ash retaining the original weave 
 and form of the silk will remain. A pure silk 
 leaves almost no ash when burned. Many 
 soft silks are finished with gelatin, dextrin, or 
 some gluelike substance. Such silks easily 
 spot with water. 
 
 Cotton fabrics are frequently padded or 
 filled with starch, clay, or other chemicals. 
 If such a material is rubbed thoroughly be- 
 tween the fingers some of the filling will be 
 removed. 
 
 Detecting Yarn Dyed and Piece Dyed 
 Fabrics: The way in which materials are 
 dyed makes a difference in their value. There 
 are wool dyed, yarn dyed, and piece dyed 
 fabrics. Have you ever noticed that a piece 
 of woolen material may look like a solid color 
 at a distance and when you examine it or put it 
 under a magnifying glass that there are several 
 colors in the yarn ? This is a piece of wool 
 dyed goods. The wool was dyed before it 
 was spun into the yarn. Blue and red wool 
 twisted into one piece of yarn will give a very 
 pretty purple. You can tell wool dyed goods 
 by raveling out and untwisting a piece of the 
 yarn. Some of the very best worsted and 
 coatings are wool dyed. 
 
 [90] 
 
MATERIALS AND HOW TO TEST THEM 
 
 The great mass of woolen goods are yarn 
 dyed. That means that after the yarn is 
 spun it is dyed before it is woven into the 
 cloth. This makes a very good material but 
 each'fiber of the yarn hasn't the life nor the 
 elasticity that a wool dyed fiber has. If you 
 ravel a piece of yarn dyed goods and untwist 
 a piece of the yarn, the fibers will all be one 
 color and they will cling together and will 
 not spring apart as in a wool dyed goods. 
 
 Piece dyed fabrics are dyed after the cloth 
 is woven. Cheaper grades of woolens are 
 piece dyed. If you untwist the yarn of a 
 piece dyed fabric you are apt to find fibers 
 here and there in the center of the yarn that 
 are not dyed. 
 
 Cotton materials ^are either yarn dyed, 
 piece dyed or printed. The same is true of 
 linens. Where the pattern is woven in the 
 goods, such as a checked or striped gingham, 
 the material is yarn dyed. Chambrays are 
 also yarn dyed, while percales are piece dyed. 
 You can tell the difference by raveling the 
 threads. As a general rule the yarn dyed 
 goods will hold its color better than a piece 
 dyed goods. 
 
 Color Tests: Is the material fast color? 
 Have you ever had a coat that faded in 
 
 1911 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 streaks from exposure to sunlight, or a dress 
 that faded so badly in the first washing that 
 it looked like an old one ? Few dyes are fast 
 to light, water, washing and crocking. Woolen 
 fabrics used in coats and dresses should be 
 fast to light and water but not necessarily to 
 washing. A gingham should be fast to wash- 
 ing. 
 
 To test wool and silk fabrics for fastness to 
 water, twist a piece of material with a piece 
 of white muslin. Place it in warm water 
 and allow it to stand for one-half hour. If 
 the color bleeds into the white, it is not fast. 
 
 To test for fastness to washing, wash a 
 sample of material in hot soapsuds, rinse, 
 and dry. Compare the color with that of the 
 original goods. 
 
 To test for fastness to crocking, cover the 
 eraser of a lead pencil with a white cloth. 
 Blow on it and rub the colored sample. The 
 color should not rub off. 
 
 RENOVATING NOTES 
 
 Dry Cleaning: Dry cleaning implies 
 cleaning without the use of water. Much of 
 the dirt adhering to garments is held by oil or 
 grease. If this is dissolved the dirt is loosened 
 
 1921 
 
RENOVATING NOTES 
 
 and readily removed. The best solvents for 
 oil and grease that are cheap enough to use in 
 large quantities are gasoline, benzine, and 
 benzole. Any one of these liquids is satis- 
 factory for cleaning providing it shows no 
 oily deposit or foreign matter. 
 
 Caution: All of these solvents are very in- 
 flammable and form explosive mixtures with air. 
 They should be used out-of-doors. If you use 
 them in a room, have all the windows open and 
 do not have afire or flame in the room. 
 
 Just dipping a garment up and down in 
 gasoline or a cleaning fluid does not clean the 
 garment thoroughly. All dry cleaning estab- 
 lishments use a gasoline soap or powder which 
 is especially prepared for this purpose. You 
 can buy them at any drug store. You will 
 obtain the best result by having three con- 
 tainers filled with gasoline or the cleaning 
 fluid. The containers should be large enough 
 to give room for rubbing the garment. Put 
 the gasoline soap or dry cleaning powder into 
 the first container and wash the garment 
 in this. The soap or powder acts merely as 
 soap would in water. Rinse the garment 
 thoroughly in the other two containers. This 
 process will remove grease spots and ordinary 
 dirt but not stains. Hang the garment in 
 
 [93] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 the open air and allow it. to remain there until 
 the gasoline or solvent has evaporated. If a 
 strong odor remains, hang the garment over a 
 radiator or register so that hot air can pene- 
 trate the fabric and carry away the odor. 
 
 Carbon tetrachloride which can be obtained 
 in any drug store is a very excellent solvent 
 for removing oil and grease spots. It is 
 absolutely safe since it cannot burn or explode 
 but is too expensive to use in large quantities. 
 
 To Clean and Freshen Velvet: Dry clean 
 velvet according to the general directions 
 given for dry cleaning. Brushing velvet with 
 a soft brush against the pile while in the 
 cleaning fluid will help to remove the dirt 
 and grease spots. Water spots or creases 
 which are due to flattened pile may be removed 
 by steaming. Remove the lid from a steaming 
 tea kettle, then holding the velvet taut over 
 the escaping steam, brush gently with a soft 
 brush against the pile. Work quickly for 
 the steam should not be allowed to condense 
 on the velvet. Or, the velvet may be evenly 
 moistened on the wrong side, then gently 
 brushed while being moved slowly over the 
 smooth surface of a hot flat iron placed on end. 
 
 To Clean Lace and Chiffon Veils: Veils 
 may be dry cleaned but dry cleaning will not 
 
 [94] 
 
RENOVATING NOTES 
 
 remove creases and wrinkles. The following 
 method will make them look like new. Make 
 a suds from a good grade of neutral soap and 
 warm water. Wash the veil in this by 
 dipping it up and down and gently squeezing 
 the suds through it. Rinse thoroughly in 
 warm water. Squeeze out the water, then 
 smooth it out on a clean cloth over a carpet 
 or on the top of a bed. Carefully pull into 
 shape and pin along the edges so that the 
 veil will be slightly stretched and have its 
 original shape and size, then allow to dry. 
 
 REMOVAL OF STAINS 
 
 Since the substances causing spots and 
 stains are various and differ in composition, 
 the reagents used in removing them must 
 also be various. While an agent may remove 
 one kind of stain perfectly, it may tend to 
 set another kind. For this reason it is help- 
 ful to know the cause of the stain. If the 
 cause is not known examine the spot care- 
 fully and judge whether it is grease, paint, 
 dye, fruit stain, grass stain, or of some other 
 nature. Even the same kind of stain cannot 
 always be removed by the same agent. All 
 inks are not made of exactly the same chemi- 
 
 [95] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 cals and therefore cannot always be removed 
 by the same agent. I can say, however, 
 that all stains are removed more easily when 
 fresh. 
 
 Before attempting to remove a stain study 
 the nature of the fabric — its weight, weave, 
 fiber and color. 
 
 A firmly woven fabric may stand hard rub- 
 bing or laundering while a light weight, 
 delicate, loosely woven one will not; the 
 slightest rubbing of such a cloth may displace 
 the threads permanently and cause an ugly 
 spot more unsightly than the stain. 
 
 A wool or silk fabric may stand laundering 
 if the water is neither hot nor cold, but 
 neither wool nor silk will stand wringing or 
 twisting. 
 
 Hot water always felts or shrinks wool 
 and may turn silk yellow. 
 
 Wool and silk are destroyed by alkalies 
 while most acids will not injure them unless 
 allowed to dry in the fiber. 
 
 Cotton and linen may be boiled — strong 
 alkalies will not injure them unless allowed 
 to dry in the fibers, while strong acids will 
 readily destroy them. Weak acids may be 
 used on them if used quickly and then 
 neutralized. 
 
 [%1 
 
RENOVATING NOTES 
 
 If a garment has color, attention must be 
 given to that. Often a spot could be easily 
 removed but for the color. Merely soaking 
 it in water may cause it to bleed; cr aga A , 
 though the color is fast to water, the dye 
 may be such that it will be affected by the 
 chemical which would take out the spot. 
 Dyes are of endless variety and variously 
 affected by the same chemical; and since it 
 is not possible to know from its color, the 
 nature of the dye, the only thing to do is to 
 try out the reagents to be used in removing 
 the stain on an unexposed portion of the 
 garment, for example, on the underside of 
 the hem. 
 
 Reagents Used for Removing Spots and 
 Stains: 
 
 These absorbents are 
 often used for preliminary 
 treatment to remove large 
 Absorbents quantities of staining sub- 
 
 Biotting Paper stance. For example, if a 
 
 s^h bottle of ink is spilled, most 
 
 Commeai of the ink can be absorbed 
 
 quickly with cornmeal or 
 bran. Blood may be ab- 
 sorbed with starch, grease 
 or wax with blotting paper 
 
 [97] 
 
 Bran 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Solvents 
 Water 
 Organic Solvents 
 
 Gasoline 
 
 Benzine 
 
 Benzole 
 
 Turpentine 
 
 Alcohol 
 
 Chloroform 
 
 Ether 
 
 Carbon-Tetra- 
 chloride 
 
 Ac ids and Alkalies 
 Acids 
 
 Oxalic — Saturated 
 
 solution 
 Acetic — 10% solu- 
 tion 
 Lemon Juice 
 Vinegar 
 Alkalies 
 
 Ammonia — Dilute 
 Sodium bicarbonate 
 
 (Baking soda) 
 Ammonium carbon- 
 ate 
 
 Bleaching Agents 
 Hydrogen Peroxide 
 
 Borax 
 
 and a hot iron. After such 
 treatment, the remaining 
 stain may have to be re- 
 moved by other methods. 
 
 Water is the universal 
 solvent. However, it often 
 affects the- finish of the 
 cloth and will not readily 
 dissolve substances such as 
 grease or oils, in which case 
 organic solvents (such as 
 gasoline, alcohol, or ether) 
 should be used. 
 
 Any acid will neutralize 
 or destroy the action of any 
 alkaline substance and vice 
 versa. Therefore, if a gar- 
 ment has been spotted with 
 an acid substance, touch 
 the spots with ammonia. 
 If spotted with alkali, touch 
 the spots with dilute oxalic 
 or acetic acid. 
 
 This may be used on all 
 fibers. It is especially suit- 
 able for silk and wool. 
 
 Use only on cotton or 
 linen. 
 
 98 
 
RENOVATING NOTES 
 
 Use only on cotton or 
 
 linen. Javelle water may 
 
 javeiie Water be purchased -at the drug 
 
 store, or it may be made as 
 
 follows : 
 
 1 lb. sodium carbonate 
 (Sal Soda) 
 
 % lb. chloride of lime 
 
 2 qts. cold water 
 Allow this mixture to 
 stand for several hours. 
 Then pour off the clear 
 liquid for use. Keep in a 
 dark place. 
 
 To obtain the most satisfactory results appjy 
 Javelle water to a stain and allow it to remain 
 for about a minute, then treat it with oxalic 
 acid. Let stand for a few seconds and rinse 
 thoroughly. 
 
 Methods of Applying Reagents: There 
 are three methods for removing stains — 
 laundering, sponging and spotting. The meth- 
 od chosen will be determined by the nature 
 of the spot or stain, and the fabric. 
 
 Laundering: Soak the stain for several 
 hours in cold water, if cotton or linen; or 
 lukewarm water, if wool or silk. Rub with 
 
 [99] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 a neutral soap if necessary, then launder the 
 garment in the usual way. This method can 
 be used only if the color is fast. 
 
 Sponging: Place the stained material 
 wrong side up on a pad made of several thick- 
 nesses of clean white soft cloth or blotter. 
 This is the best method for applying solvents, 
 such as gasoline, carbon tetrachloride, and 
 benzole. The cloth or blotter will absorb any 
 superfluous liquid as well as any grease or 
 substance to be removed and also prevent 
 spreading. Sponge the spot gently with a 
 soft white cloth; or better, with a piece of 
 material like the garment if it is colored, for it 
 may prevent the removal of color from the 
 garment. Change the pad as soon as it be- 
 comes soiled. 
 
 Spotting: This method is best when chemi- 
 cal reagents must be used. One should work 
 quickly, for most of them will injure fabrics 
 more or less if allowed to remain in contact 
 any length of time. Place the stained fabric 
 over a pad of soft white cloth or blotter and 
 apply a few drops of the chemical with a 
 medicine dropper. After a few moments 
 rinse thoroughly with clear water. If neces- 
 sary repeat the process but be sure always to 
 rinse thoroughly. Instead of using the pad, 
 
 [100] 
 
RENOVATING NOTES 
 
 the stained portion of the fabric may be gently 
 
 stretched over a small bowl. 
 
 Specific Spots and Stains: 
 Acid Substances sometimes change or de- 
 stroy the color of dyed materials in which 
 case the color can often be restored by- 
 neutralizing the acid with an alkali. 
 Acids rarely stain white fabrics but can 
 injure the fibers. 
 
 (1) Rinse vthe spot with water, then 
 neutralize the acid with ammonia. 
 Rinse again thoroughly. 
 
 (2) Sprinkle the stain on both sides with 
 sodium bicarbonate (baking soda) 
 and moisten with water and allow 
 to stand. Rinse with water. 
 
 (3) Ammonium carbonate may be used 
 in the same way. 
 
 Alkalies may also change or destroy the 
 color of the fabric or will destroy silk 
 and wool. Rinse the spots thoroughly 
 and apply one of the following agents: 
 
 (1) Lemon juice — as long as the spot is 
 alkaline lemon juice will remain 
 yellow in color, but the color will 
 disappear when the spot becomes 
 acid. 
 
 (2) Vinegar. 
 
 [101] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 (3) Dilute acetic acid. 
 
 Rinse thoroughly after using reagent. 
 
 Blood is of a protein nature. Heat coagu- 
 lates proteins, therefore, hot water will set 
 blood stains if applied before the protein 
 is removed. Use one of the following: 
 
 (1) Cold water — soak the stain in cold 
 or lukewarm water until it turns 
 light brown in color. Then wash 
 in hot soap suds as in ordinary 
 laundering. Stains on wool and silk 
 should be sponged with lukewarm 
 water. 
 
 (2) Ammonia (for washable materials) — 
 Add two tablespoonfuls of household 
 ammonia to one gallon of water. 
 Soak the stains in this and then 
 launder. 
 
 (3) Hydrogen peroxide — This will often 
 remove the last trace of a stain, and 
 can be used on wool and silk pro- 
 viding it does not change the color 
 of the fabric. 
 
 (4) Javelle water — May be used as a 
 last resort. 
 
 Candle Wax consists of paraffin and a dye. 
 Cover the spot with a blotting paper and 
 press with a warm iron. This will remove 
 
 [1021 
 
RENOVATING NOTES 
 
 most of the paraffin. Then sponge with 
 alcohol or some other organic solvent to 
 remove the coloring matter. 
 Coffee can be removed by the use of one of 
 the following agents : 
 
 (1) Boiling water poured from a height. 
 This is effective in removing fresh 
 stains from cotton or linen. 
 
 (2) Sponge silk or wool with lukewarm 
 water. If a grease spot from cream 
 remains, sponge with an organic 
 solvent. 
 
 (3) Ordinary laundering will remove 
 most coffee stains. 
 
 Chocolate or Cocoa can be removed as 
 follows : 
 
 (1) Ordinary laundering. 
 
 (2) Borax and cold water — This method 
 can be applied only to washable 
 material. Sprinkle the stain with 
 borax and soak in cold water. Rinse 
 in boiling water. 
 
 (3) Sponge with lukewarm water. Any 
 grease spots remaining may be re- 
 moved by sponging with an organic 
 solvent. 
 
 Fruit Stains — at least, nearly all of them — 
 when fresh can be removed by boil- 
 
 [ 103 ] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 ing water. They are difficult to 
 remove when dry. Most of them 
 are set by alkalies, therefore it is 
 wise to avoid the use of soap. 
 
 (1) Boiling water for white or fast 
 colored fabrics. Stretch the stained 
 material over a bowl and pour boiling 
 water upon it from a height. A 
 little rubbing between treatments 
 may help. 
 
 (2) Warm water for silk or wool. Sponge 
 the stain. 
 
 (3) Lemon juice and sunlight. 
 
 (4) Dilute acetic acid or oxalic acid. 
 Apply the acid solution and then 
 treat with boiling water. 
 
 (5) Hydrogen peroxide made very slight- 
 ly alkaline with ammonia. This can 
 be used on silk and wool after spong- 
 ing with warm water. 
 
 (6) Javelle water — Use only on cotton 
 and linen. 
 
 Grass or foliage stains are due to the green 
 coloring matter, the chlorophyl, in the 
 plants. This is soluble in alcohol and 
 other organic solvents but is insoluble in 
 water. 
 (1) Alcohol — Apply by sponging. 
 
 [1041 
 
RENOVATING NOTES 
 
 (2) Hot water and soap as in ordinary 
 laundering will often mechanically 
 remove the stain. 
 Grease can be removed by one of the fol- 
 lowing: 
 
 (1) Warm water and soap as in ordinary 
 laundering will remove grease spots 
 from washable materials. 
 
 (2) Absorbents — Blotting paper, French 
 chalk or white talcum powder will 
 remove much of the grease from a 
 delicate fabric; cornmeal or salt are 
 good for rugs or coarse materials. 
 Spread a layer of the absorbent 
 material over the stain and work it 
 about gently; then shake or brush it 
 off and repeat until the stain is 
 removed. 
 
 (3) Organic solvents — Carbon tetrachlo- 
 ride and chloroform are excellent 
 grease solvents. Benzole.is also very 
 good. Sponge the stain gently with 
 the solvent over a pad until dry to 
 prevent leaving a ring. 
 
 Inks for writing vary widely in composition, 
 therefore, no one agent will remove all 
 ink stains. 
 
 (1) Absorbents — If a large quantity of 
 [105] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 ink is spilled, spread cornmeal, salt, 
 French chalk, bran, or talcum powder 
 thickly over the spot. This will 
 absorb the ink and prevent it from 
 spreading. Renew the absorbent as 
 it becomes soiled. When the dry- 
 absorbent ceases to take up the ink 
 make it into a paste with water and 
 apply. 
 
 (2) Milk — Soak the stain for a day or 
 so in milk, changing the milk when it 
 becomes discolored. 
 
 (3) Oxalic Acid — Apply oxalic acid and 
 allow to stand for a minute, then 
 rinse with water. Add a few drops of 
 ammonia and rinse again thoroughly. 
 Repeat if necessary. 
 
 (4) Hydrogen peroxide — Occasionally 
 this is helpful. 
 
 (5) Javelle water — Apply Javelle water 
 and allow it to act for about a 
 minute. Then apply oxalic acid. 
 Rinse thoroughly. Repeat this treat- 
 ment as many times as is necessary. 
 
 Iodine stains can be removed with: 
 
 (1) Ammonia. 
 
 (2) Alcohol. 
 
 [106] 
 
RENOVATING NOTES 
 
 C3) Boiling for five or ten minutes (if on 
 a wash material). 
 Iron rust stains are treated thus : 
 
 (1) Oxalic acid — Apply oxalic acid, a 
 few drops at a time until the stain 
 appears a bright yellow, then rinse 
 thoroughly with hot water. Neu- 
 tralize any remaining acid with am- 
 monia and rinse again. 
 
 (2) Lemon juice and salt — Sprinkle the 
 stain with salt, moisten with lemon 
 juice, and place in the sun. Add 
 more lemon juice and salt from time 
 to time. Wash thoroughly. 
 
 Meat juices and gravies are similar to 
 blood stains, therefore use the same pre- 
 cautions and methods for removing them. 
 Grease spots sometimes remain after the 
 meat stains are removed. Remove these 
 with organic solvents. 
 
 Mildew is removed as follows: 
 
 (1) Soap and water as in ordinary laun- 
 dering, then bleach in the sun. 
 
 (2) Sour milk — Soak the stains over 
 night and then place in the sun. 
 Repeat the treatment several times. 
 
 (3) Lemon juice — Moisten the stain with 
 lemon iuice and hang in the sun. 
 
 [107] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 (4) Javelle water — This is most effective 
 for old stains. Apply the Javelle 
 water and allow it to remain on the 
 stain for one minute. - Then apply 
 oxalic acid. Rinse thoroughly. Re- 
 peat the treatment if necessary. 
 
 Milk and Cream spots are similar to those 
 from blood and meat juices. They con- 
 tain protein. 
 
 (1) Cold or lukqwarm water should be 
 used to remove the protein. Follow 
 this treatment with hot water and 
 soap. 
 
 (2) Cold or lukewarm water followed by 
 chloroform, carbon tetrachloride, 
 gasoline, or other grease solvent. 
 
 Mud spots should be brushed carefully 
 before treating and then one of the follow- 
 ing agents applied: 
 
 (1) Soap and water as in laundering. 
 
 (2) Alcohol, gasoline or benzine. 
 
 Paint and Varnish should be treated by 
 scraping off as much of the paint or 
 varnish as possible and then apply one of 
 the following agents : 
 
 (1) Soap and water will often wash out 
 fresh stains. 
 
 [108] 
 
RENOVATING NOTES 
 
 (2) Turpentine — Sponge the stains with 
 turpentine and rinse with turpentine. 
 
 (3) Carbon-tetrachloride, chloroform, or 
 benzole. 
 
 (4) A mixture of benzole and alcohol. 
 Perspiration often changes the color of a 
 
 fabric, which color can sometimes be 
 restored. While the perspiration from 
 most of the body is acid, that from the 
 armpits is alkaline. Therefore, use a 
 weak acid or weak alkali to neutralize it 
 according to the source. 
 To remove perspiration stains from white 
 goods : 
 
 (1 ) Soap and water, then hang in the sun. 
 
 (2) Javelle water. 
 
 Tar, Road Oil, Etc., can be removed by 
 the following: 
 
 (1) Turpentine. 
 
 (2) Turpentine, followed by washing in 
 soap and hot water. 
 
 (3) Benzole. 
 
 (4) Carbon-tetrachloride. 
 
 (5) Lard. Rub the lard into the stain, 
 then wash in hot soapsuds. 
 
 Tea should be treated as follows: 
 
 (1) Borax and boiling water. Soak in a 
 ,[109] 
 
A .COMPLETE COURSE IN DRESSMAKING 
 
 borax solution, then rinse in boiling 
 water. 
 
 (2) Strong soap solution. Boil the stain 
 in this solution. 
 
 (3) Lemon juice and sunlight. 
 
 (4) Javelle water. 
 
 Water spots some materials. The water 
 probably dissolves some of the dressing, 
 distributing it unevenly and, on evaporat- 
 ing, rings remain. The only satisfactory 
 method for removing such spots is to 
 dampen the entire garment and press 
 while damp, or steam it thoroughly. 
 
 DYEING MATERIALS 
 
 How about the streaked and faded dresses 
 and dresses of an unbecoming color ? Do you 
 know how to dye them ? There is something 
 so satisfactory in turning the dingy fabrics 
 into smart new shades or subduing the glaring 
 color of a dress that you simply can't wear. 
 
 Here are some helps that will save you time 
 and help you to always have good results. 
 
 Be Sure the Dye Suits the Goods: 
 Not all dyes are alike. Some dyes are made 
 just for woolen and some just for cotton or 
 linen. Other dyes are good for either an 
 
 [110] 
 
RENOVATING NOTES 
 
 animal or cotton texture. Make sure you 
 know what the texture of your material is. 
 Determine whether it is all wool, cotton, silk 
 01 linen, or whether it is a mixture. See 
 Testing Materials page 78. Read the label 
 on the package of dye and see if the dye is 
 suited to your goods. 
 
 Weigh your goods. One package of dye 
 may not be enough. Read the directions on 
 the package and make sure. Don't skimp 
 your dye if you want a dark shade. 
 
 Wash the Garment Before Dyeing: The 
 
 garment or material must be washed well 
 before it is dyed. If there are spots of dirt 
 on the material, the dye is apt to settle into 
 them and they will show after the garment 
 is dyed. Wash the garment with soap and 
 water, rinse in clear water. Wring out the 
 garment and put it into the dye pot while it 
 is wet. 
 
 The Container: Use a large container, 
 Any pot, pan or wash boiler will do that is 
 not galvanized. It is a good plan to put water 
 into the container and the material in, and 
 see if it is sufficiently large so that the material 
 is well covered with the water. There must 
 be room also to stir the goods around and lift 
 it up and spread it around. You need two 
 
 [1111 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 sticks to lift and stir the goods while it is 
 being dyed. After you have tested the size 
 of the container, wring out the garment or 
 material. 
 
 Dissolve the Dye Before Putting in 
 the Material: Put water enough in the 
 
 [112] 
 
RENOVATING NOTES 
 
 container to well cover the goods, and heat 
 the water until it is lukewarm. Then stir in 
 the dye. Keep stirring until it is all dissolved, 
 which probably will be when the water starts 
 to steam. You can tell if all of the dye is 
 dissolved by taking a spoonful of it up and 
 letting the fluid run off the spoon gradually. 
 If the fluid appears a clear color, and there are 
 no particles in it, the dye is dissolved. 
 
 There is danger of the goods spotting if the 
 dye is not dissolved when the material is put in. 
 Put the goods in wet. The cooler the dye is, 
 the better. If the dye is boiling, it attaches 
 itself quickly to the material, and will settle 
 in spots before you can submerge the whole 
 garment. 
 
 Stir the goods continually, lifting it up and 
 pulling it apart, and spreading it out. Do 
 not cram the goods down into the bottom of 
 the dye pot. 
 
 Goods Looks Lighter After it is Dried: 
 
 Remember that the goods will dry very 
 much lighter than it looks in the pot. Wash 
 the goods thoroughly after taking it out of 
 the dye pot. Woolens, cottons and linens 
 ought to be washed with soap and water. 
 Wash silk in clear water. Keep rinsing until 
 the water runs clear. 
 
 [113] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Pressing Before the Goods is Dry: 
 
 Don't let the wrinkles dry in the garment. 
 Press them off while they are quite damp. 
 Always press woolens from the wrong side 
 or, if you are pressing from the right side, 
 cover the material with a damp cloth. Press 
 silk with a lukewarm iron. A hot iron rots it. 
 
 To Lighten the Shade: If the goods turns 
 out darker than you anticipated you can 
 lighten it by washing it in a strong suds 
 made of yellow laundry soap. If this does 
 not give the desired result, boil the material 
 in soapy water, using yellow soap. 
 
 Matching Shades: It is practically im- 
 possible to dye goods to exactly match a 
 shade of another piece of goods. Dye all 
 materials that you want to match at one time. 
 
 If Goods is Streaked: The best results 
 will be obtained if you dye it a darker shade 
 of its original color. If you try to dye it a 
 different color, the streaks will probably 
 show. 
 
 Cold Water Dyeing: This means color- 
 ing without the boiling process. It is satis- 
 factory for light shades, and is especially 
 good for tinting silks. 
 
 There are many good cold water dyes and 
 
 [114] 
 
RENOVATING NOTES 
 
 soaps on the market, or you can use the 
 
 regular dye. If you dissolve a quantity of the 
 
 regular dye in a small 
 
 quantity of water and 
 
 bottle it, you can use 
 
 it as you would bluing 
 
 in the rinse water. 
 
 Choosing the Color: The original color 
 of the goods influences the new color. You 
 can't dye a piece of goods a lighter shade of 
 any color. For instance, it is impossible 
 to dye navy blue a medium or light shade of 
 red. The result would be purple, as blue 
 and red combined make a purple. 
 
 Here is a little chart of colors that will tell 
 
 [115] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 you just what to expect when you are dyeing 
 over an old shade: 
 
 Red dye on yellow material gives scarlet. 
 
 Pink dye on light yellow material gives shell 
 pink. 
 
 Red dye on an orange material gives a light 
 bright red. 
 
 Pink dye on an orange material gives a 
 ccral pink. 
 
 Red dye on brown material gives a red 
 henna. 
 
 Red dye on dark blue material gives purple. 
 
 Pink dye on light blue material gives 
 lavender. 
 
 Red dye on purple material gives a reddish 
 purple. 
 
 Red dye on green goods gives brown. 
 
 Red dye on gray gives a dull red. 
 
 Red dye on taupe goods gives a darker red. 
 
 Blue dye on yellow goods gives green. 
 
 Blue dye on orange goods gives greenish 
 blue. 
 
 Blue dye on brown goods gives dull blue. 
 
 Light blue dye on light yellow gives Nile 
 green. 
 
 Blue dye on green goods gives bottle green. 
 
 Blue dye on purple goods gives a bluish 
 purple. 
 
 [116] 
 
RENOVATING NOTES 
 
 Yellow dye on brown goods gives golden 
 brown. 
 
 Yellow dye on purple goods gives greenish 
 brown. 
 
 Yellow dye on green goods gives bright 
 green. 
 
 Brown dye on orange goods gives tobacco 
 brown. 
 
 Brown dye on purple goods gives chocolate 
 brown. 
 
 Brown dye on green goods gives olive green. 
 
 Orange dye on purple goods gives light 
 reddish brown. 
 
 Orange dye on green material gives myrtle 
 green. 
 
 Green dye on purple material gives dull 
 dark green. 
 
 The same result holds true if you reverse 
 the colors above, that is, using yellow dye 
 on red goods produces scarlet, and so on down 
 the table. It will give you the key to mixing 
 colors, too. If you mix red and yellow dye, 
 it will dye white goods scarlet, etc. 
 
 Natural silks such as pongee will not take 
 a jet black. It is wise not to attempt to dye 
 them black. They take an unattractive blue 
 black. 
 
 Overdyeing: By overdyeing, I mean dye- 
 
 [1171 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 ing over an old shade. These are a few of the 
 safe choices you may make : Black will cover 
 any color. However, the original color of 
 the goods will influence the kind of black 
 that you produce. For instance, if you dye 
 red material black, you are apt to get a rusty 
 black. In order to counteract this, add the 
 complementary color to the black dye. In 
 this case, it would mean adding green to the 
 red dye. You know when you mix comple- 
 mentary colors in equal proportions and in 
 their brightest shades, it produces black. 
 
 Navy blue will cover almost any shade 
 except black. 
 
 Dark brown will cover any color except 
 black. 
 
 Dark green will cover any medium or light 
 shade. 
 
 Garnet will cover any medium shade except 
 navy blue. 
 
 Light blue, light green, pink or yellow will 
 only cover white or a very delicate shade. 
 
 Purple will cover only light shades. 
 
 Orange will cover only very pale shades 
 or white. 
 
 Gray will cover only white. 
 
 Bleaching: If you want to remove the 
 [118] 
 
RENOVATING NOTES 
 
 color in cotton or linen goods before dyeing 
 them, try this plan: boil the goods for 
 one hour in a solution of strong washing 
 powder or sal soda. Rinse thoroughly. Then 
 add a teaspoonful of baking soda and tea- 
 spoonful of chloride of lime to a quart of 
 boiling water. Soak the material in this 
 solution until the color is sufficiently removed. 
 Rinse thoroughly and spread in the sun to 
 dry. Then boil the material to remove any 
 of the lime. It must be remembered that this 
 process will weaken the fiber of the material 
 somewhat. 
 
 Woolen materials or silk can be bleached 
 by sulphur fumes. This can be done by 
 hanging the material or garments in a closet 
 and burning a sulphur candle under them. 
 The sulphur candles sold for disinfecting will 
 do. Remember in doing this, that the sulphur 
 fumes are poisonous. Do not go into the 
 closet until it is well aired. 
 
 [119] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 PART III 
 EASY MAKE-OVERS 
 
 Fig. (/2o) Contrasting bands make an old waist into an 
 overblouse 
 
 [1201 
 
EASY MAKE-OVERS 
 
 Get one hundred per cent, wear out of 
 your clothes! 
 
 That doesn't mean to wear them till they 
 fall apart whether they are in style or out. 
 You really are not getting one hundred per 
 
 Fig. (121) Gingham collars and cuffs will freshen up a 
 batiste blouse 
 
 [121] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 cent, out of your clothes, unless you enjoy 
 wearing them and they make you look your 
 best. 
 
 Of course, no one really enjoys parading 
 around in clothes that speak right up and 
 
 Fig. (122) The too-tight waist can be made larger with insets 
 
 11221 
 
EASY MAKE-OVERS 
 
 say "We made our appearance season before 
 last!" But then, you don't have to wear that 
 variety of clothes any more — not if you are 
 handy with the needle and use a little imagina- 
 tion. 
 
 See your clothes not as they are but as 
 they ought to be. 
 
 Making-over need not be a tedious process 
 of ripping and pressing and turning and com- 
 
 Fig. (/2j) A front panel is an easy way of 
 increasing the size of a lingerie waist 
 
 [123 1 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 pletely recutting. Touching-up is the most 
 successful way of making-over. Just a new 
 collar, a skirt panel or a little embroidery will 
 
 Fig. (124) A V-neck can be made high if you add a bosom 
 
 [124] 
 
EASY MAKE-OVERS 
 
 often change a nondescript garment into a 
 smart one. 
 
 Here are a few suggestions that you may 
 be able to apply to the clothes that have taken 
 the back hooks in your closet. 
 
 Giving the 
 Tuck-in Blouse 
 an Over-the- 
 Skirt Style: If 
 
 you happen to have 
 a chiffon blouse left 
 from the time 
 when all chiffon 
 blouses tucked 
 sedately inside 
 thetopof the skirt, 
 add a band and 
 have an over- 
 blouse. 
 
 Fig. 120 gives 
 the idea of how to 
 do it. Cut off the 
 lower edge of your 
 blouse until it 
 hangs an equal 
 distance from the r 
 
 n i| i Ftg. {725) Pm tucked panels add a pretty 
 
 nOOr all tile Way trimming as well as making a skirt larger 
 
 [125 1 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 around. Then add straight bands, front and 
 back and fasten them with buttons at the 
 sides. Or, just use snaps and sew on the but- 
 tons for trimming. 
 
 If you can't 
 match the color of 
 your blouse in chiff- 
 on use a contrasting 
 shade. Perhaps 
 your blouse is tan 
 and you have a 
 navy blue suit. In 
 this case, overbands 
 of navy blue chiffon 
 would be prettier 
 than a matching 
 shade. 
 
 A binding at the 
 neck and cuffs of 
 the contrasting ma- 
 terial will add to the 
 appearance of the 
 waist. 
 
 Gin^Uam for 
 Collar and Cuffs: 
 
 The odds and ends 
 ,from one of 
 
 Fig. (126) A center-front tnset panel 
 is another way 0/ enlarging a skirt VOUr Summer ging- 
 
 [1261 
 
EASY MAKE-OVERS 
 
 ham frocks will give an old high-collared 
 batiste blouse just the right touch. 
 
 Checked gingham, is especially nice for the 
 round, flat Eton collar. Even pongee and 
 
 Fig, {127) Even if you have to add a yoke to the skirt 
 it wont show tj you wear it with an overblouse 
 
 [127] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 crepe de chine waists have the gingham 
 trimming. 
 
 The Blouse that is Tight: A pleated 
 inset of the blouse material at the side front is 
 
 Fig. {128) Inset bands are an easy way of 
 lengthening a skirt 
 
 [128] 
 
EASY MAKE-OVERS 
 
 a smart way of remending the too-tight 
 blouse. Fig. 122 shows a white crepe de chine 
 that has pleated insets of striped crepe de 
 chine added. A bias of the striped crepe 
 
 Fig. {129) Lace side panels will make a nonde- 
 script silk frock smart 
 
 [129] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 de chine is also used to bind the collar and 
 cuffs. 
 
 Another way of making a tight blouse 
 fuller across the front is to add a panel. 
 
 Fig. (/jo) Fabric flowers are one of the smart waist' 
 line finishes 
 
 (See Fig. 123.) This method is especially good 
 for remodelling a lingerie blouse of voile or 
 batiste. 
 
 Making a V-neck Round : You may 
 have several V-neck wash blouses that you 
 wish were high necks with flat round collars 
 
 [130] 
 
EASY MAKE-OVERS 
 
 Fig. (/Ji) A high waistline made'long 
 
 that all the girls are wearing. Well, the answer 
 is, add a bosom front and the collar of 
 your heart's desire. It can easily be done, 
 you know. 
 
 If your blouse is a white batiste, you 
 can make your trimmings and bosom 
 front of colored organdie, gingham or dotted 
 swiss. (See Fig. 124.) 
 
 The Too-Tight Skirt: Pin-tucked panels 
 at the sides is a practical way of making 
 a small skirt larger. Besides giving style, 
 the tucks make it possible to piece the 
 panels as much as you please. The joinings 
 
 [131] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 will never show under the tucks. (See 
 Fig. 125.) 
 
 Another way of enlarging a skirt is to 
 add a center-front inset panel. (See Fig. 
 126.) Such a style is good looking in 
 cottons or silk. For instance, you might make the 
 
 Fig. (132) A waistline dress can be made straight 
 hanging by adding an inset section 
 
 inset panel .in a blue crepe de chine, white, 
 tan or gray and use blue crepe de chine covered 
 buttons at the center-front. Of course, the 
 waist of the dress ought to have a matching 
 panel. 
 
 [132] 
 
EASY MAKE-OVERS 
 
 If a Skirt is Tight at the Waistline, raise 
 it and cut a little off the top — provided of 
 course, there is material enough in the hem 
 to lengthen it. If the skirt is too short to 
 
 %• USS) Even the deep V-neck is collarless 
 
 raise, cut off the top and add a straight piece 
 of lining at the top, gathering it to the skirt 
 belt. Such a skirt can be worn with an over- 
 blouse. (See Fig. 127.) 
 
 [133] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 To Make a Skirt Narrower: Try on 
 
 the skirt and pin out the surplice goods in the 
 seams. Stitch along the pinned lines and 
 cut off the extra goods. 
 
 Fig. {134) Oval and round necks are bound 
 
 To Lengthen a Skirt: add inset bands. 
 (See Fig. 128.) This illustration shows an 
 organdie dress lengthened with dotted swiss 
 bands but the same idea can be used for other 
 
 [134] 
 
EASY MAKE-OVERS 
 
 material. Gingham might be lengthened with 
 tucked organdie bands. Crepe de chine could 
 be lengthened with pleated chiffon bands. 
 Even fine serge or velour would look attractive 
 with pleated chiffon insets. 
 
 Overpanels Offer Possibilities: If you 
 
 have a plain silk slip, dress it up with over 
 
 Fig. {135) Binding or cording is 
 the best finish for a square neck 
 
 panels of thread lace. You can make a plain 
 little frock into an elaborate afternoon or 
 evening costume with just a yard and a half of 
 lace divided and made into panels for the 
 sides of the dress. (See Fig. 129.) 
 
 Waistlines are Important: The wrong 
 waistline finish will take all the style out of a 
 
 [135] 
 
A C OMPLETE COURSE IN DRESSMAKING 
 
 dress. Waistlines must be loose and long. 
 If the dress is fancy then the waistline de- 
 mands nothing more elaborate than a narrow 
 material sash or a narrow ribbon girdle. 
 However, when the dress is unadorned then 
 waistlines go in for all sorts of frivolities. 
 One of the favorite fancy waistlines h made 
 
 Fig. {136) Cut off the tight 
 
 silk sleeve and add a thread 
 
 lace jr ill 
 
 [1361 
 
EASY MAKE-OVERS 
 
 of a series of material flowers. These are of 
 goods the same as the dress. It is a finish 
 that may be safely copied in cotton or silk. 
 (See Fig. 130.) 
 
 Fagot a piece to the lower edge of a blouse 
 to give the new long-waisted look. (See 
 Fig. 131.) 
 
 Fig. {137) A chiffon puff is stylish for a silk 
 or velvet frock 
 
 [137] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Making a Waistline Dress Straight 
 Hanging: Avoid the pinched in waisty 
 look. Fashion is designing on straighter, bulkier 
 lines. If you have a normal waistline dress, 
 add a straight section at the waistline, to give 
 it a straight hanging appearance. Fig. 132 
 shows a cloth dress that has been treated in 
 this way. 
 
 Fig. {138) Slashed sleeves will 
 add style to a cloth frock 
 
 138] 
 
EASY MAKE-OVERS 
 
 &&• ( J 39) The dress that is worn under the 
 arms can be converted into a sleeveless dress 
 
 [139] - 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Fig. (140) Try adding a crepe silk 
 top to the cloth dress that is tight 
 through the upper part 
 
 [140] 
 
EASY MAKE-OVERS 
 
 Fig. {141) New sides of contrasting material will 
 also help out the too-tight dress 
 
 [141] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Fig. {142) A suit can easily be changed 
 into a coat dress 
 
 [142] 
 
EASY MAKE-OVERS 
 
 Fig. {143) A skirt and coat suit can 
 be made into a coat and dress suit by 
 attaching the skirt to a silk overblousc 
 
 [143] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Fig. (144) The three-piece suit with the jacket on 
 [144] 
 
EASY MAKE-OVERS 
 
 The inset section is pleated chiffon in a 
 matching shade. 
 
 To accomplish such a result, rip your waist 
 and skirt at the waist line. Try on the waist 
 and cut it off an even distance from the floor 
 all the way around. Lap the lower edge of 
 the waist over the pleated section and stitch 
 
 Fig. {145} A little girVs dress can be lengthened 
 with a scalloped band 
 
 [145] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 along the edge of the cloth. Cut off the top 
 [of the skirt and join it to the bottom of the 
 pleated section, lapping it over the pleated 
 section. If you have material enough to 
 make a narrow material sash, it will add to the 
 style of the dress. If you are short of goods, 
 
 Fig. {146) Fagotting is another way of letting 
 down a frock 
 
 [146] 
 
EASY MAKE-OVERS 
 
 wear the dress with a fancy metal or compo- 
 sition girdle. 
 
 Dresses are Collarless: Just eliminating 
 trimming from an old dress, adds style these 
 days. There is the question of collars. There 
 really aren't any you know. V-necks, round 
 
 F*&- (147) Try lattice work for letting down a 
 silk or cloth frock 
 
 [147] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Fig. (148) The tight dress will often work over into a skirt 
 arid trimming for an overblouse 
 
 [1481 
 
EASY MAKE-OVERS 
 
 neck, bateau necks and square necks have 
 taken to bindings. (See Figs. 133, 134, 135.) 
 Just a bias fold of goods will add more style 
 than an elaborate and expensive collar. 
 
 Fig. {149) A maris worn shirt makes a nice frock 
 for Miss Three-Year-Old 
 
 [149] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Sleeves are Fancy: If you have a silk 
 frock with a long tight sleeve, cut it off cap 
 length, and add a frill of lace or a puff of 
 chiffon. (See Figs. 136 and 137). 
 
 Your cloth frock, too, will be the smarter 
 for having a long sleeve, slashed at the back 
 and gathered into a narrow band cuff. (See 
 Fig. 138.) 
 
 If Your Dress Is Worn Under the Arms, 
 
 make a sleeveless dress of it. This gives an 
 opportunity to cut the armhole low. (See 
 Fig. 139.) 
 
 For the Dress with Tight Waist, add a 
 
 long-waisted upper portion and use the old 
 waist for trimming. Fig. 140 shows a twill 
 dress that is remodelled with canton crepe 
 body part, bands of the twill being used to 
 trim the waist. 
 
 Another way of making a tight waist larger 
 is to add side sections. (See Fig. 141.) 
 Here paisley silk in straight side sections 
 gives an old crepe silk an up-to-date style, as 
 well as making it large enough for comfort. 
 
 Making a Suit into a Dress: If you have 
 a suit too many and are a dress short, convert 
 your suit into a dress. Almost any suit can 
 
 [150] 
 
EASY MAKE-OVERS 
 
 be made into a dress similar to Fig. 142. 
 It isn't necessary to rip the suit completely 
 apart, either. 
 
 The skirt will probably do just as it is. 
 Cut away the front of the coat to give a 
 panel front effect and fit the sleeves. Wear 
 the dress with a lingerie blouse or vest. 
 
 Making Your Old Suit Three-piece: 
 
 Any coat and skirt suit can be made into the 
 so-called three-piece coat and dress suit by 
 adding a silk top to the skirt. It is just a 
 matter of attaching the top of the skirt to the 
 bottom of an overblouse. 
 
 Canton crepe is a very good silk to use for 
 the upper part of the dress. The material 
 that is cut off the top of the skirt can be used 
 for band trimming on the upper. (See Fig. 
 143.) 
 
 It is considered quite smart to have the 
 blouse part of the dress and the lining of the 
 coat match. Often, too, they are contrasting 
 color to the suit material. A black or dark 
 blue twill or velour suit might have a waist 
 and coat lining of gray beige, royal blue or 
 henna. Fig. 144 shows the three-piece suit, 
 worn with the jacket. 
 
 [151] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Lengthening a Little Girl's Dress: Or- 
 gandie and other light cotton stuffs can be 
 lengthened with a double scalloped fold of 
 fine net. (See Fig. 145.) And silk frocks 
 can be lengthened by splitting the material 
 and fagotting it together. (See Fig. 146.) 
 
 Lattice-work trimming is another way of 
 letting down Mary's frock whether it is cloth, 
 cotton or silk. (Fig. 147.) 
 
 If the dress is tight as well as short, use 
 the waist for trimming and join the skirt to 
 an underbody. It can be worn with a blouse, 
 trimmed with the skirt material. (See Fig. 
 
 148.) 
 
 A Child's Frock from a Man's Shirt: 
 
 Those shirts that are frayed at the neck and 
 cuffs will make perfectly good little frocks for 
 Miss Three-year-old. Use the back of the 
 shirt for the front of the dress and the fronts 
 of the shirt for the backs of the dress. (See 
 Fig. 149). 
 
 These make-over problems are a good 
 review for some of the things you studied in 
 the other eleven lessons. Even if you haven't 
 clothes to make over, see if you can copy all 
 the make-over styles shown. 
 
 Study the lessons in their consecutive order. 
 
 [152] 
 
INDEX 
 
 Afternoon Clothes 
 
 Applied Shirrings 
 
 Appliqued Flowers 
 
 Aprons 
 
 Aprons, Bungalow (see Bungalow) . 
 
 Aprons, Child's 
 
 Aprons, Cutting of 
 
 Aprons, Pocket 
 
 Aprons, Slip-on 
 
 Aprons, Strings 
 
 Aprons, Waistband 
 
 Aprons, Waistline 
 
 Arm Measure 
 
 Arrowhead Tack 
 
 Artificial Silk, Testing of 
 
 B 
 
 Babies' Clothes 
 
 Back Measure 
 
 Back, One-Piece 
 
 Back, Width of 
 
 Back and Yoke in One 
 
 Banded Collar 
 
 Bar Tack 
 
 Basque Dress 
 
 Bath Robes 
 
 Bertha Collar 
 
 Bias Edge 
 
 Bias Folds 
 
 Binding Edges 
 
 Blanket Bath Robe 
 
 Blanket Stitch 
 
 Bleaching 
 
 Block Pattern 
 
 Bloomer Playsuit 
 
 Bloomers 
 
 [153] 
 
 Lesson 
 
 Pi 
 
 I 
 
 9 
 
 VI 
 
 15 
 
 III 
 
 12 
 
 II 
 
 21 
 
 II 
 
 45 
 
 X 
 
 39 
 
 II 
 
 19 
 
 II 
 
 26 
 
 II 
 
 32 
 
 II 
 
 24 
 
 II 
 
 24. 
 
 II 
 
 21 
 
 I 
 
 107 
 
 VII 
 
 4 
 
 XII 
 
 80 
 
 IX 
 
 3 
 
 I 
 
 107 
 
 VIII 
 
 9 
 
 VIII 
 
 100 
 
 VIII 
 
 45 
 
 IV 
 
 48 
 
 VII 
 
 3 
 
 VI 
 
 80 
 
 XII 
 
 46 
 
 VIII 
 
 23 
 
 II 
 
 6 
 
 VII 
 
 *1 
 
 II 
 
 7 
 
 XII 
 
 46 
 
 IX 
 
 7 
 
 XII 
 
 118 
 
 II 
 
 45 
 
 X 
 
 74 
 
 III 
 
 69 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Lesson Page 
 
 Blouse Dress, Russian VI 63 
 
 Bloused Dress VI 70 
 
 Blouses IV 23 
 
 Blouses, Closings (see Closings) IV 25 
 
 Blouses, Collars (see Collars) IV 29 
 
 Blouses, Costume IV 77 
 
 Blouses, Cuffs (see Cuffs) IV 55 
 
 Blouses, Edges (see Edges) IV 18 
 
 Blouses, Fitting of IV 89 
 
 Blouses, Lingerie IV 82 
 
 Blouses, Overblouse VIII 53 
 
 Blouses, Patterns VIII, IV 10, 23 
 
 Blouses, Revers IV 40 
 
 Blouses, Sleeves (see Sleeves) IV 34> 65 
 
 Blouses, Sports' IV 79 
 
 Blouses, Tailored IV 24 
 
 Blouses, Trimmings (see Trimmings) . IV 8 
 
 Blouses, Types of IV 1 
 
 Blouse, Boy's Buster Brown XI 5 
 
 Blouse, Middy XI 17 
 
 Blouse, Outing Shirt XI 11 
 
 Blouse, Russian XI 28 
 
 Blouse, Sailor XI 23 
 
 Blouse, Smock XI 14 
 
 Blouse, Tuck-in XI 26 
 
 Blouse, Child's, with Buttoned-on Skirt X. 77 
 
 Boat-Shaped Collar VIII 25 
 
 Boat-Shaped Neck Outline VIII 18 
 
 Bosom Front VIII 51 
 
 Bosom Front, Men's Front, tucked XII 19 
 
 Box-Coat VII 59 
 
 Box-Pleat Closing IV, VIII 38,28 
 
 Boys' Clothing XI 5 
 
 Boys' Blouse3 (see Blouses, Boys')... XI 5 
 
 Boys' Coats XI, VII 51, 75 
 
 Boys' Hats XI 57 
 
 Boys' Middy Blouse XI 17 
 
 Boys' Overalls XI 73 
 
 Boys' Shirts XI 11 
 
 Boys' Smock XI 14 
 
 Boys' Trousers (see Trousers) XI 33 
 
 Boys' Underwear XI 67 
 
 Braid and Tassel Trim VI, VII 19,7 
 
 Braiding VI 10 
 
 Brassieres 23 
 
 Brassieres, Garter Supports Ill 29 
 
 Brassieres, Pattern Ill 16, 24, 31 
 
 [154] 
 
INDEX 
 
 Lesson Page 
 
 Bungalow Apron, Block Pattern II 45 
 
 Bungalow Apron, Making of II 58 
 
 Business Clothes I 14 
 
 Bust Measure VIII, I 100, 106 
 
 Buster Brown Blouse XI 5 
 
 Button, Crow Foot VI 16 
 
 Button-on Trousers, Boys' XI 49 
 
 c 
 
 Camisole, Ribbon Ill 54 
 
 Cap, Boys' (see Hats, Boys') XI 57 
 
 Cap, Infants' IX 60 
 
 Cap, Sailor XI 64 
 
 Cap, Sectional XII 62 
 
 Capes VII 71 
 
 Capes, Children's X 125 
 
 Capes, Infants' IX 47 
 
 Cat Stitch IX 14 
 
 Chain Stitch Ill n 
 
 Chemise, Envelope Ill 33 
 
 Chemise, Flounced Ill 50 
 
 Chemise, Step in Ill 46 
 
 Chest, Fitting of IV 90 
 
 Chest, Measure I 107 
 
 Chest, Width of VIII 100 
 
 Children's Clothes X 1 
 
 Children's Aprons X 39 
 
 Children's Capes X 125 
 
 Children's Coats, Top VII 78 
 
 Children's Dresses (see Dresses, 
 
 Child's) X 33 
 
 Children's Pleated Skirt, Fancy X 112 
 
 Children's Rompers X 18 
 
 Children's Shirred Overblouse X 113 
 
 Children's Trimmings (see Trimmings, 
 
 Child's) X 4 
 
 Children's Underwear X 125 
 
 Circular Appliques X 15 
 
 Circular Drawers Ill 58 
 
 Circular Skirts V 7 
 
 Cleaning XII 92 
 
 Closings, Box Pleat ITf, VIII 38, 28 
 
 Closings, Duchess VIII 31 
 
 Closings, Front (with revers) IV 43 
 
 Closings, Lapped VIII 27 
 
 Closings, Lapped Center-Front * IV 25 
 
 Closings, One-Sided 1 VIII 35 
 
 [155] 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 32 
 59 
 
 51,75 
 71 
 
 ^1 . o, r, Lesson Page 
 
 Closings, Slot Seam VIII 31 
 
 Closings, Tab VIII 
 
 Coat, Box VII 
 
 Coat, Boys' XI VII 
 
 Coat, Capes ' VII 
 
 Coat, Collar VIII 83 
 
 Coat, Draping of VIII 89 
 
 Coat, Eton VII cc 
 
 Coat, Finishing of VII 79 
 
 Coat, Flaring VII 60 
 
 Coat, Infants' IX 41 
 
 Coat, Cape of Infants' IX 41, 47 
 
 Coat, Lapel VIJ 54 
 
 Coat, Lined VII 26 
 
 Coat, Norfolk VII 48 
 
 Coat, Pattern for VIII 80 
 
 Coat, Peplum VII 41 
 
 Coat, Pockets (see Pockets) VII 13 
 
 Coat, Raglan Top VII 69 
 
 Coat, Semi-Fitting VII 27 
 
 Coat, Shirt, Men's XII 4 
 
 Coat, Sleeve VIII 88 
 
 Coat, Top VIII, VII 91, 78, 62 
 
 Coat, Trimmings (see Trimmings, 
 
 Coat) VII 3 
 
 Coat, and Trousers Set XII 34 
 
 Coat, Unlined VII 26 
 
 Coat, Wraps VII 66 
 
 Collar, Banded IV 48 
 
 Collar, Bertha VIII 23 
 
 Collar, Boat-Shaped VIII 25 
 
 Collar, Coat VIII 83 
 
 Collar, Convertible IV 
 
 Collar, Fancy IV 
 
 Collar, of Long Waisted Dress VI 
 
 Collar, Pattern for IV, VIII 29,19 
 
 Collar, Pointed Neck VIII 20 
 
 Collar, Revers IV 40 
 
 Collar, Rolling IV 31 
 
 Collar, Round Flat IV 44 
 
 Collar, Sailor IV 53 
 
 Collar, of Straight-Hanging Dress VI 28 
 
 Collar, with Back Closing VI 36 
 
 Collar, U-shaped Neck VIII 21 
 
 Collar, of Waistline Dress » VI 52 
 
 Collarband, Men's Coat Shirt XII 9 
 
 Color Tests XII 01 
 
 [156] 
 
 42 
 52 
 
INDEX 
 
 Colors for Auburn-Haired Women .. 
 
 Colors for Blondes 
 
 Colors for Blondettes 
 
 Colors, Combination of 
 
 Colors for Florid Complexions 
 
 Colors for Gray-Haired Women 
 
 Colors for Sallow Complexions 
 
 Colors for Stout Women 
 
 Commercial Patterns, Use of 
 
 Convertible Collar 
 
 Cording 
 
 Costume Blouse 
 
 Cotton, Testing of 
 
 Couching 
 
 Country Clothes 
 
 Cozywrap 
 
 Cross Stitching 
 
 Cross-Stitching Edge 
 
 Cuff, Deep 
 
 Cuff, Finishing of 
 
 Cuff, French, Men's 
 
 Cuff, Straight Plain 
 
 Cuff, Turn Back 
 
 Cuff, Turn Back for 
 
 D 
 
 Daisies . 
 
 Dance Frock 
 
 Dart-Fitted Sleeves 
 
 Deep Cuff 
 
 Diaper 
 
 Double Point Patch Pocket 
 
 Draped Skirt 
 
 Draping of Coat 
 
 Draping of Fitted Lining 
 
 Draping Skirts 
 
 Drawers, Circular 
 
 Drawers, Envelope 
 
 Drawers, Step-in 
 
 Drawers, Waist, Boy's 
 
 Drawn Work Insertion 
 
 Dresses 
 
 Dresses, Basque 
 
 Dresses, Blouse, Russian 
 
 Dresses, Bloused 
 
 Dresses, Choosing of 
 
 Dresses, Dance 
 
 [157] 
 
 Lesson 
 
 Page 
 
 I 
 
 56 
 
 I 
 
 49 
 
 I 
 
 53 
 
 I 
 
 65 
 
 I 
 
 62 
 
 I 
 
 57 
 
 I 
 
 59 
 
 I 
 
 64 
 
 II 
 
 60 
 
 IV 
 
 42 
 
 VI 
 
 15 
 
 IV 
 
 77 
 
 XII 
 
 79 
 
 VI 
 
 10 
 
 VIII 
 
 8 
 
 IX 
 
 53 
 
 IX 
 
 12 
 
 IV 
 
 18 
 
 IV 
 
 55 
 
 IV 
 
 61 
 
 XII 
 
 12 
 
 IV 
 
 62 
 
 IV 
 
 60 
 
 IV 
 
 58 
 
 X 
 
 II 
 
 VI 
 
 9i 
 
 VIII 
 
 7i 
 
 IV 
 
 55 
 
 IX 
 
 17 
 
 V 
 
 43 
 
 VIII 
 
 96 
 
 VIIL 
 
 89 
 
 VIII 
 
 3 
 
 VIII 
 
 92 
 
 III 
 
 58 
 
 III 
 
 68 
 
 III 
 
 64 
 
 XI 
 
 70 
 
 IV 
 
 16 
 
 VI 
 
 22 
 
 VI 
 
 80 
 
 VI 
 
 63 
 
 VI 
 
 70 
 
 VI 
 
 1 
 
 VI 
 
 9i 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Lesson 
 
 Dresses, Long Waisted VI 
 
 Dresses, Patterns VI 
 
 Dresses, Russian Blouse VI 
 
 Dresses, Straight-Hanging VIII, VI 
 
 Dresses, Straight Hanging with Back 
 
 Closing VI 
 
 Dresses, Surplice VI 
 
 Dresses, Trimmings (see Trimmings, 
 
 Dress) VI 
 
 Dresses, Waistline VI 
 
 Dresses, Children's 
 
 Dresses, Bloomer Play-Suit X 
 
 Dresses, Blouse with Buttoned-on Skirt X 
 
 Dresses, Guimpe X 
 
 Dresses, Gymnasium Suit X 
 
 Dresses, Middy with Pleated Skirt X 
 
 Dresses, Overblouse with Box-Pleated 
 
 Skirt X 
 
 Dresses, Party X 
 
 Dresses, Raised Waistline X 
 
 Dresses, Smock and Bloomers X 
 
 Dresses, Straight-Hanging X 
 
 Dresses, Yoke X 
 
 Dresses, Infants' IX 
 
 Dry Cleaning XII 
 
 Duchess Closing VIII 
 
 Dyeing XII 
 
 E 
 
 Edges, Cross-Stitching IV 
 
 Edges, Embroidered Ill 
 
 Edges, Finishing of 
 
 Edges, Bandings, Woven II 
 
 Edges, Bias II 
 
 Edges, Binding II 
 
 Edges, Braid, Rickrack II 
 
 Edges, Facing II 
 
 Edges, Hem 
 
 Edges, Piping 
 
 Edges, Tape II 
 
 Edges, Frilled IV 
 
 Edges, Pointed IV 
 
 Edges, Whipping IX 
 
 Embroidered Edging Ill 
 
 Embroidery, Button VI 
 
 Embroidery, Running Stitch IV 
 
 Embroidery, Stitches VII 
 
 [158] 
 
 Page 
 42 
 22 
 63 
 58,22 
 
 34 
 85 
 
 4 
 SO 
 
 74 
 77 
 66 
 103 
 94 
 
 105 
 117 
 
 54 
 46 
 
 33 
 43 
 18 
 92 
 
 3i 
 no 
 
 18 
 7 
 
 6 
 16 
 
 7 
 13 
 13 
 
 5 
 10 
 
 15 
 20 
 
 8 
 
 8 
 
 7 
 
 *4 
 
 18, 22 
 
 9 
 
INDEX 
 
 Lesson 
 
 Embroidery, Wool IV 
 
 Envelope Chemise Ill 
 
 Envelope Drawers Ill 
 
 Equipment, Sewing I 
 
 Eton Jacket VII 
 
 Etiquette, Clothes I 
 
 Evening Clothes I 
 
 F 
 
 Fabric Fruit X 
 
 Facing Edges II 
 
 Facing, Neck VI 
 
 Fagotting VI, IX 
 
 Fancy Collar IV 
 
 Fashion Magazine, Use of I 
 
 Feather Stitching IX 
 
 Fibers XII 
 
 Fitted Lining, Draping of VIII 
 
 Fitting IV 
 
 Fitting Lining VIII 
 
 Flaring Coat VII 
 
 Flounced Chemise Ill 
 
 Flowers, Appliqued ^ . Ill 
 
 French Cuff, Men's XII 
 
 French Knots IX 
 
 Frilled Edge IV 
 
 Front Closing (Revers) IV 
 
 Fullness IV, VIII 
 
 Fur Trimming VI, VII 
 
 G 
 
 Garter Supports Ill 
 
 Gathered Scallops IV 
 
 Gertrude Petticoat IX 
 
 Girdles VI 
 
 Golf Clothes I 
 
 Gored Skirt V 
 
 Guimpe Dress X 
 
 Gymnasium Suit X 
 
 H 
 
 Hand Sewing (see Sewing, Hand) .... I 
 
 Hand Worked Loops IV 
 
 Hang of Skirt V 
 
 Hats, Boys', Four Section Crown XI 
 
 Hats, One-Piece Cap XI 
 
 Hats, Rolling Brim XI 
 
 Hats, Sailor Cap XI 
 
 [1.59] 
 
 Page 
 14 
 33 
 68 
 109 
 55 
 5 
 xo 
 
 13 
 13 
 75 
 8,13 
 52 
 18 
 
 15 
 81 
 
 3 
 89 
 
 7 
 60 
 50 
 12 
 12 
 
 IX 
 
 20 
 
 43 
 83,43 
 17,4 
 
 29 
 10 
 3i 
 19 
 7 
 15 
 66 
 103 
 
 93 
 22 
 
 58 
 63 
 57 
 61 
 64 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Lesson Page 
 
 Hem II 5 
 
 Hip Measure I, VIII 108, 101 
 
 Hip Yoke Skirt V 28 
 
 Honeycomb Smocking IV 11 
 
 Hood, of Infants' Cape IX 49 
 
 I 
 
 Infants' Clothes IX 3 
 
 Infants' Cap IX 60 
 
 Infants' Cape IX 47 
 
 Infants' Coats IX 41 
 
 Infants' Cozywrap IX 53 
 
 Infants' Diaper IX 17 
 
 Infants' Hood IX 49 
 
 Infant's Kimono IX 36 
 
 Infants' Petticoat IX 31 
 
 Infants' Dress IX 18 
 
 Insertion, Drawn Work IV 16 
 
 Insets, Pleated VI 7 
 
 Insets, Shirred VI, VII 6, 9 
 
 Insets, Tucked VI 4 
 
 J 
 
 Jacket, Eton VII 55 
 
 K 
 
 Kimono, Infants' IX 36 
 
 Kimono Sleeve II 54 
 
 Knickerbockers, Boy's XI 33 
 
 Knotted Braid VII 12 
 
 L 
 
 Lace Tabs Ill 15 
 
 Lace Trimming Ill 3 
 
 Lapel, Peak VII 54 
 
 Lapped Center-Front Closing IV 25 
 
 Lapped Closing VIII 27 
 
 Lattice Work VI 7 
 
 Layette IX 3 
 
 Layout, Definition of II 21 
 
 Lazy Daisy Stitch IX 10 
 
 Lengthening Sleeve IV 72 
 
 Lined Coats VII 26 
 
 Linen, Testing of XII 80 
 
 Lingerie Blouse IV 82 
 
 Lining of Waistline Dress VI 53 
 
 Long-Waisted Dress VI 42 
 
 Loops, Hand Worked IV 22 
 
 [160] 
 
INDEX 
 
 M 
 
 Machine Attachments (Sewing) 
 
 Machine Binder 
 
 Machine Cording Foot 
 
 Machine Edge Stitcher 
 
 Machine Hemmer 
 
 Machine, Hemmer, Wide 
 
 Machine Quilter 
 
 Machine Ruffler 
 
 Machine Tucker 
 
 Machine, Sewing 
 
 Magazines, Use of 
 
 Making Over 
 
 Materials, Dyeing 
 
 Materials, Testing of 
 
 Measurements, Taking of 
 
 Medallions 
 
 Men's Clothing, Bath Robes 
 
 Men's Caps 
 
 Men's Neckties 
 
 Men's Nightshirts 
 
 Men's Overalls 
 
 Men's Pajamas 
 
 Men's Shirts 
 
 Men's Smoking Jacket 
 
 Men's Underwear 
 
 Men's Union Suit 
 
 Mercerized Cotton, Testing of 
 
 Middy Blouse 
 
 Middy with Pleated Skirt 
 
 Mourning Clothes 
 
 N 
 
 Narrowing Sleeve 
 
 Neck Facing 
 
 Neck Measure 
 
 Neck Outlines, Boat-Shaped 
 
 Neck Outlines, Pointed 
 
 Neck Outlines, Round 
 
 Neck Outlines, Square 
 
 Neck Outlines, U-Shaped 
 
 Neck, Pointed 
 
 Neck, Size of 
 
 Neck, V- 
 
 Neckties • 
 
 Nightgowns 
 
 Nightgowns, Child's 
 
 [ 161] 
 
 Lesson 
 
 Page 
 
 I 
 
 77 
 
 I 
 
 Si 
 
 I 
 
 85 
 
 I 
 
 84 
 
 I 
 
 77 
 
 I 
 
 79 
 
 I 
 
 86 
 
 I 
 
 83 
 
 I 
 
 82 
 
 I 
 
 73 
 
 I 
 
 18 
 
 XII 
 
 92, 120 
 
 XII 
 
 no 
 
 XII 
 
 78 
 
 I 
 
 106 
 
 III 
 
 5 
 
 XII 
 
 46 
 
 XII 
 
 62 
 
 XII 
 
 66 
 
 XII 
 
 22 
 
 XII 
 
 59 
 
 XII 
 
 27 
 
 XII 
 
 4 
 
 XII 
 
 53 
 
 XII 
 
 34 
 
 XII 
 
 4i 
 
 XII 
 
 80 
 
 XI 
 
 17 
 
 X 
 
 94 
 
 I 
 
 15 
 
 IV 
 
 69,72 
 
 VI 
 
 75 
 
 I 
 
 107 
 
 VIII 
 
 18 
 
 VIII 
 
 16 
 
 VIII 
 
 18 
 
 VIII 
 
 15 
 
 VIII 
 
 16 
 
 VIII 
 
 20 
 
 VIII 
 
 98 
 
 IV 
 
 25 
 
 XII 
 
 66 
 
 III 
 
 73 
 
 X 
 
 138 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Lesson Page 
 
 Nightgowns, Yoke . . Ill 76 
 
 Nightshirt, Men's XII 22 
 
 Norfolk, Coat VII 48 
 
 o 
 
 One-Piece Back VIII 
 
 One-Piece Cap, Boy's XI 
 
 One-Sided Closing VIII 
 
 Outing Shirt, Boy's XI 
 
 Outline Stitch IX 
 
 Oval Patch Pockets V 
 
 Overalls, Boy's XI 
 
 Overalls, Men's XII 
 
 Overblouse, Boy's XI 
 
 Overblouse, Child's with Box-Pleated 
 
 Skirt X 
 
 Overblouse, Shirred X 
 
 Overblouse, Ladies' VIII 
 
 P 
 
 Pajamas XII 
 
 Party Dress X 
 
 Patch Pockets VII 
 
 Patch Pockets, Double Point V 
 
 Patch Pockets, Pointed V 
 
 Patch Pockets, Pointed Outline V 
 
 Patch Pockets, Scalloped Top V 
 
 Patch Pockets, Square V 
 
 Patch Pockets, Tab V 
 
 Patterns, Aprons (see Aprons) II, X 
 
 Patterns, Back, One-Piece VIII 
 
 Patterns, Bloomers Ill 
 
 Patterns, Blouses VIII, IV 
 
 Patterns, Brassieres Ill 
 
 Patterns, Camisole Ill 
 
 Patterns, Cape, Infants' IX 
 
 Patterns, Changing Size of VIII 
 
 Patterns, Chemise, Envelope Ill 
 
 Patterns, Closings (see Closings) VIII, IV 
 
 Patterns, Coats (see Coats) VIII 
 
 Patterns, Coats, Infants' IX 
 
 Patterns, Collars (see Collars) IV, VIII 
 
 Patterns, Commercial Use of II 
 
 Patterns, Cozywrap IX 
 
 Patterns, Cuffs (see Cuffs) IV 
 
 Patterns, Drawers (see Drawers) Ill 
 
 [162] 
 
 9 
 
 57 
 35 
 11 
 
 9 
 49 
 73 
 59 
 23 
 
 105 
 "3 
 
 53 
 
 27 
 117 
 
 13 
 
 43 
 
 42 
 
 50 
 
 4i 
 
 44 
 
 21,39 
 
 9 
 
 69 
 10,23 
 
 16 
 
 54 
 
 47 
 
 78 
 
 33 
 27,25 
 
 80 
 
 4i 
 29,19 
 60 
 53 
 55 
 58 
 
INDEX 
 
 Lesson 
 
 Patterns, Dresses (see Dresses) Vi, VIII 
 
 Patterns, Edges (see Edges) IV 
 
 Patterns, Hood, Infant's Cape IX 
 
 Patterns, Kimono, Infant's IX 
 
 Patterns, Linings VIII 
 
 Patterns, Neck IV 
 
 Patterns, Neck Outlines (see Neck Out- 
 lines) VIII 
 
 Patterns, Nightgowns (see Night- 
 gowns ) Ill 
 
 Patterns, Petticoats Ill, IX 
 
 Patterns, Pockets (see Pockets and 
 
 Patch Pockets) V 
 
 Patterns^ Revers IV 
 
 Patterns, Size, Testing of VIII 
 
 Patterns, Skirts (see Skirts) V, VIII 
 
 Patterns, Sleeves (see Sleeves) VIII, IV 
 
 Patterns, Strings II 
 
 Patterns, Tucks VIII 
 
 Patterns, Waistband II 
 
 Patterns, Yokes VIII 
 
 Peak Lapel VII 
 
 Peg Top Rompers X 
 
 Peplum Coat VII 
 
 Petticoats Ill 
 
 Petticoats, Child's X 
 
 Petticoats, Gertrude IX 
 
 Pin Tucks VII 
 
 Piping II 
 
 Placket V 
 
 Pleat, Addition of IV, V 
 
 Pleated Insets VI 
 
 Pleats, Organ VI 
 
 Pleated Skirt V 
 
 Pleated Skirt, Child's Fancy X 
 
 Pockets VII 
 
 Pockets, Apron II 
 
 Pockets, Double Point Patch V 
 
 Pockets, Oval Patch V 
 
 Pockets, Patch VII 
 
 Pockets, Pointed Outline Patch V 
 
 Pockets, Pointed Patch V 
 
 Pockets, Scalloped Top V 
 
 Pockets, Slashed V, VII 
 
 Pockets, Square Patch V 
 
 Pockets, Tab Patch V 
 
 Pockets. Tabs and Pockets in One V 
 
 [163] 
 
 Page 
 22,58 
 18 
 49 
 36 
 7 
 25 
 
 13 
 
 73 
 77,3i 
 
 4i 
 
 40 
 
 98 
 7,96 
 62,65 
 
 24 
 
 45 
 
 24 
 
 4i 
 
 54 
 
 29 
 
 4i 
 
 77 
 
 131 
 
 3i 
 12 
 10 
 
 19 
 
 85,74 
 
 7 
 
 11 
 
 63 
 112 
 
 13 
 26 
 
 43 
 49 
 13 
 50 
 42 
 
 53,14 
 4i 
 44 
 52 
 
Lesson 
 
 Page 
 
 V 
 
 56 
 
 IV 
 
 8 
 
 VIII 
 
 20 
 
 VIII 
 
 16 
 
 V 
 
 42 
 
 A COMPLETE COURSE IN DRESSMAKING 
 
 Pockets, Welt 
 
 Pointed Edges 
 
 Pointed Neck Collar 
 
 Pointed Neck Outline 
 
 Pointed Patch Pockets 
 
 Q 
 
 Quilling VI 14 
 
 R 
 
 Raglan Sleeve 
 
 Raglan Top Coat 
 
 Renovating 
 
 Revers, Blouse with 
 
 Revers, Collar 
 
 Revers, Frill , 
 
 Revers, Front Closing 
 
 Ribbon, Organ Pleated 
 
 Rickrack Braid 
 
 Riding Habit 
 
 Rolling Brim Hat 
 
 Rolling Collar 
 
 Rompers 
 
 Rompers, Drop Seat 
 
 Rompers, Peg Top 
 
 Rompers i Underleg Opening 
 
 Roses 
 
 Rosettes • 
 
 Rose Trimming 
 
 Round Flat Collar 
 
 Round Neck Outline 
 
 Running Stitch Embroidery 
 
 Russian Blouse, Boys' 
 
 Russian Blouse Dress 
 
 s 
 
 Sailor Blouse, Tuck-in 
 
 Sailor Cap 
 
 Sailor Collar 
 
 Sailor Overblouse 
 
 Scalloped Banding 
 
 Scallops 
 
 Scallops, Gathered 
 
 Seams 
 
 Seams, Double Stitched 
 
 Seams, French 
 
 Seams, Hemstitched 
 
 [164] 
 
 IV 
 
 73 
 
 VII 
 
 69 
 
 XII 
 
 92, 120 
 
 IV 
 
 40 
 
 IV 
 
 40 
 
 IV 
 
 44 
 
 IV 
 
 43 
 
 VI 
 
 IX 
 
 II 
 
 18 
 
 I 
 
 8 
 
 XI 
 
 61 
 
 IV 
 
 3* 
 
 X 
 
 18 
 
 X 
 
 26 
 
 X 
 
 29 
 
 X 
 
 18 
 
 X 
 
 4-10 
 
 X 
 
 12 
 
 III 
 
 9 
 
 IV 
 
 44 
 
 VIII 
 
 18 
 
 IV 
 
 18,22 
 
 XI 
 
 26 
 
 VI 
 
 63 
 
 XI 
 
 26 
 
 XI 
 
 64 
 
 IV 
 
 53 
 
 XI 
 
 23 
 
 IX 
 
 16 
 
 III 
 
 14 
 
 IV 
 
 10 
 
 I 
 
 95 
 
 I 
 
 99 
 
 I 
 
 97 
 
 IV 
 
 82 
 
INDEX 
 
 Lesson 
 
 Seams, Lap Felled I 
 
 Seams, Slot I 
 
 Sectional Caps, Men's XII 
 
 Semi-Fitting Coat VII 
 
 Sewing Equipment I 
 
 Sewing, Hand-Felling I 
 
 Sewing, Back Stitch I 
 
 Sewing, Basting I 
 
 Sewing, Blind Stitching I 
 
 Sewing, Overcasting I 
 
 Sewing, Running Stitch I 
 
 Sewing Machine Attachments 
 
 (see Machine Attachments i 
 
 Sheer Materials IV 
 
 Shirred Insets VI, VII 
 
 Shirred Overblouse, Child's X 
 
 Shirring VI 
 
 Shirring Applied VI 
 
 Shirts, Boy's, Outing XI 
 
 Shirts, Men's XII 
 
 Shirts, Collarband XII 
 
 Shirts, French Cuff XII 
 
 Shirts, Outing XII 
 
 Shirts, Tucked Bosom XII 
 
 Shirtwaists (see Blouses) 
 
 Shortening Sleeve IV 
 
 Shoulder VIII, IV 
 
 Silk, Testing of XII 
 
 Skirts, Circular V 
 
 Skirts, Draped VIII 
 
 Skirts, Draping of VIII 
 
 Skirts, Gored VIII, V 
 
 Skirts, Hip Yoke V 
 
 Skirts, Pleated V 
 
 Skirts, Pockets (see Pockets) V 
 
 Skirts, Regulating Hang of V 
 
 Skirts, Two Piece VIII, V 
 
 Skirts, Types of V 
 
 Skirts, Wrapped V 
 
 Slashed Pockets V, VII 
 
 Sleeves, Armhole VIII 
 
 Sleeves, Bloused Dress ; VI 
 
 Sleeves, Coat VIII 
 
 Sleeves, Dart-Fitted VIII 
 
 Sleeves, Infants' Dress IX 
 
 Sleeves, Kimono II 
 
 Sleeves, Lengthening IV 
 
 [165] 
 
 Page 
 10 1 
 104 
 
 62 
 
 27 
 109 
 
 93 
 
 89 
 
 90 
 
 94 
 
 92 
 
 88 
 
 77 
 88 
 
 6,9 
 
 113 
 
 11 
 
 15 
 11 
 
 4 
 
 9 
 
 12 
 
 14 
 19 
 
 72 
 99,89 
 79 
 7 
 96 
 92 
 
 96,15 
 28 
 
 63 
 4i 
 58 
 20 
 
 1 
 32 
 53,14 
 73 
 75 
 88 
 
 7i 
 24 
 
 54 
 72 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Lesson Page 
 
 Sleeves, Armholes VIII 73 
 
 Sleeves, Making of VIII 68 
 
 Sleeves, Narrowing IV 69, 72 
 
 Sleeves, Patterns for VIII, IV 62, 65, 34 
 
 Sleeves, Raglan IV 73 
 
 Sleeves, Sewing In IV 67 
 
 Sleeves, Shortening IV 72 
 
 Sleeves, Straight-Hanging Dress VI 29 
 
 Sleeves, Two-Piece VIII 76 
 
 Sleeves, Waistline Dress VI 54 
 
 Sleeves, Widening IV 72 
 
 Slip-On Apron II 32 
 
 Slot Seam Closing VIII 31 
 
 Smock and Bloomer Dress X 46 
 
 Smock, Boys' XI 14 
 
 Smocking, Honeycomb IV 11 
 
 Smocking, Stroked IV 13 
 
 Smoking Jacket XII 53 
 
 Sports' Blouse IV 79 
 
 Sports' Clothes I 5 
 
 Square Neck Outline VIII 15 
 
 Square Patch Pockets V 41 
 
 Stains, Removal of XII 95 
 
 Step-in Chemise Ill 46 
 
 Step-in Drawers Ill 64 
 
 Stitching, Blanket IX 7 
 
 Stitching, Cat IX 14 
 
 Stitching, Cross IX 12 
 
 Stitching, Feather IX 15 
 
 Stitching, Lazy Daisy IX 10 
 
 Stitching, Machine ^ VI 11 
 
 Stitching, Outline IX 9 
 
 Straight-Hanging Dress with Back 
 
 Closing VI 34 
 
 Straight-Hanging Dress VI, VIII 22, 58 
 
 Straight Trousers, Boys' XI 42 
 
 Street Clothes I 11 
 
 Strings, Apron II 24 
 
 Stroked Smocking IV 13 
 
 Style I 1 
 
 Styles for Older Women I 46 
 
 Styles for Short Women I 35 
 
 Styles for Slim Girls I 23 
 
 Styles for Stout Girls I 24 
 
 Styles for Stout Women , I 32 
 
 Styles for Tall Women I 40 
 
 Styles for Thin Women I 43 
 
 [166] 
 
INDEX 
 
 Lesson 
 
 Styles for Young Women I 
 
 Surplice Dress t . . . . VI 
 
 T 
 
 Tab Closing VIII 
 
 Tabs, Lace Ill 
 
 Tacks, Arrowhead VII 
 
 Tacks, Bar VII 
 
 Tacks, Tailors' VII, VI 
 
 Tailors' Tacks VI, VII 
 
 Tailored Blouse IV 
 
 Tassels VII 
 
 Tassel and Braid Vt 
 
 Tennis Clothes I 
 
 Testing Materials XII 
 
 Top Coat VIII, VII 
 
 Traveling Clothes I 
 
 Trimmings, Blouse 
 
 Trimmings, Edges (see Edges) IV 
 
 Trimmings, (see Embroidery) IV 
 
 Trimmings, Insertions ~ IV 
 
 Trimmings, Loops IV 
 
 Trimmings, Scallops IV 
 
 Trimmings, Smocking (see Smocking) . IV 
 
 Trimmings, Children's X 
 
 Trimmings, Circular Appliques X 
 
 Trimmings, Daisy X 
 
 Trimmings, Fabric Fruit X 
 
 Trimmings, Rose X 
 
 Trimmings, Rosette X 
 
 Trimmings, Coat VII 
 
 Trimmings, Arrowhead Tacks VII 
 
 Trimmings, Bar Tack VII 
 
 Trimmings, Bias Folds VII 
 
 Trimmings, Embroidery VII 
 
 Trimmings, Fur VII 
 
 Trimmings, Knitted Braid VII 
 
 Trimmings, Pin Tucks VII 
 
 Trimmings, Ribbon VII 
 
 Trimmings, Shirred Insets VII 
 
 Trimmings, Tailors' Tacks VII 
 
 Trimmings, Tassels VII 
 
 Trimmings, Dress VI 
 
 Trimmings, Braiding VI 
 
 Trimmings, Button VI 
 
 Trimmings, Cording VI 
 
 [167] 
 
 Page 
 28 
 85 
 
 32 
 
 *5 
 
 4 
 
 3 
 
 3,i6 
 
 l6 > 3 
 
 24 
 
 6 
 
 19 
 
 6 
 
 78,86 
 
 91,62 
 
 12 
 
 1 + 
 16 
 22 
 IO 
 II 
 
 4 
 15 
 11 
 
 13 
 
 4-10 
 
 12 
 
 3 
 
 4 
 
 3 
 13 
 
 9 
 
 4 
 12 
 12 
 
 6 
 
 9 
 
 3 
 
 6 
 
 4 
 10 
 16 
 15 
 
A COMPLETE COURSE IN DRESSMAKING 
 
 Lesson 
 
 Trimmings, Couching VI 
 
 Trimmings, Embroidery 
 
 (see Embroidery) VI 
 
 Trimmings, Fagotting VI 
 
 Trimmings, Fur VI 
 
 Trimmings, Girdles VI 
 
 Trimmings, Insets VI 
 
 Trimmings, Lattice Work VI 
 
 Trimmings, Machine Stitching VI 
 
 Trimmings, Quilling VI 
 
 Trimmings, Shirring VI 
 
 Trimmings, Tailors' Tacks VI 
 
 Trimmings, Tassel and Braid VI 
 
 Trimmings, Tucked Insets VI 
 
 Trimmings, Infants' IX 
 
 Trimmings, Stitching (see Stitching) . . IX 
 
 Trimmings, Underwear Ill 
 
 Trimmings, Appliqued Flowers Ill 
 
 Trimmings, Chain Stitch Ill 
 
 Trimmings, Embroidered Edging Ill 
 
 Trimmings, Lace Ill 
 
 Trimmings, Medallion Ill 
 
 Trimmings, Rose Ill 
 
 Trimmings, Scalloped Ill 
 
 Trimmings, Tabs, Lace Ill 
 
 Trousers, Boys' Button-on XI 
 
 Trousers, Knickerbockers XI 
 
 Trousers, Straight XI 
 
 Tucked Bosom Shirt XII 
 
 Tuck-in Sailor Blouse, Boys' XI 
 
 Tucks, Allowing for VIII 
 
 Tucks, Pin VII 
 
 Tunic VI 
 
 Turn-Back Cuff IV 
 
 Two-Piece Skirts VIII, V 
 
 Page 
 10 
 
 14 
 
 8 
 
 17 
 
 19 
 
 4-7 
 
 7 
 
 11 
 
 14 
 11 
 16 
 19 
 
 4 
 
 5 
 
 7 
 
 3 
 
 12 
 11 
 
 7 
 
 3 
 
 5 
 
 9 
 14 
 15 
 49 
 33 
 42 
 
 19 
 26 
 
 45 
 12 
 
 55 
 60 
 20 
 
 u 
 
 U-Shaped Neck Collar 
 
 U-Shaped Neck Outline 
 
 Underwear, Boys' 
 
 Underwear : Children's 
 
 Underwear, Children's Gertrude Petti- 
 coat 
 
 Underwear, Children's Nightgown .... 
 Underwear, Children's Underwaist . . . 
 
 [168] 
 
 VIII 
 
 21 
 
 VIII 
 
 16 
 
 XI 
 
 67 
 
 X 
 
 126 
 
 X 
 
 131 
 
 X 
 
 138 
 
 X 
 
 135 
 
INDEX 
 
 Underwear, Men's 
 
 Underwaist 
 
 Union Suit 
 
 Union Suit, Boys' 
 
 Unlined Coats 
 
 V 
 
 V-Neck 
 
 Vest Front 
 
 W 
 
 Waist, Boys' Drawers 
 
 Waist Measure 
 
 Waistband 
 
 Waisted Dress, Long 
 
 Waistline 
 
 Waistline Apron 
 
 Waistline Dress 
 
 Waistline Tunic 
 
 Waistline, Sloping of 
 
 Welt Pockets 
 
 Whipping Edges 
 
 Widening Sleeve 
 
 Wool Embroidery 
 
 Wool, Testing of 
 
 Work Shirt, Men's 
 
 Wrap 
 
 Wrapped Skirt 
 
 Y 
 
 Yarns, Testing of. • 
 
 Yoke Dress 
 
 Yokes 
 
 Lesson 
 
 Page 
 
 XII 
 
 34 
 
 X 
 
 »35 
 
 XII 
 
 4* 
 
 XI 
 
 67 
 
 VII 
 
 26 
 
 IV 
 
 25 
 
 VIII 
 
 38 
 
 XI 
 
 70 
 
 I 
 
 108 
 
 II 
 
 24 
 
 VI 
 
 42 
 
 VIII 
 
 101 
 
 II 
 
 21 
 
 VI 
 
 SO 
 
 VI 
 
 55 
 
 II 
 
 22 
 
 V 
 
 56 
 
 IX 
 
 s 
 
 IV 
 
 72 
 
 IV 
 
 14 
 
 XII 
 
 78 
 
 XII 
 
 14 
 
 VII 
 
 66 
 
 V 
 
 32 
 
 XII 
 
 88 
 
 X 
 
 43 
 
 [I, IV 
 
 4i,83 
 
 [169 
 

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