Pressing Board
The success of the finish of every garment depends upon the pressing, whether the material be heavy or light, cotton or wool. Garments are always pressed on the wrong side, when being made. The iron used should neither be too hot nor too heavy and the work should be done on a perfectly smooth, well-covered board. For pressing black or dark cloth, the cover of the board should be dark and free from lint, while a perfectly clean light cover should be substituted when white or light goods are to be pressed.
Placing the Iron
The whole face of an iron should never be put down on a seam or any part of a waist, but the side or point should be used, care being takennotto stretch a curved seam. A small rolling pin, a broom stick, a chair rocker, or any rounded stick well covered can be used for pressing curved seams or sleeves. This lessens the danger of marking the seams on the right side. These are only makeshifts; a regular half round sleeve bound should be obtained if much work is to be done.
In pressing, the iron should never be shoved or pushed, as in ironing. Only heavy materials require great strength. It is possible to press too much as well as too little. Whatever the material, pressing is work that requires to be done carefully and slowly. Allow the iron to touch only the center of the seam, the edges of the seam will not then be outlined upon the goods. Piled goods require infinite care. Uncutvelvet, crape, etc., shouldneverbe pressed with the iron flat on the seam. The seam should be opened carefully and over the rounded surface of the board, covered with very soft cotton flannel into which the pile can sink without being flattened. Run the iron with the pile, or the iron may be placed on the side or flat end and the seams drawn slowly along the edge of the iron the same way the pile runs—only the edge of the iron touching the edge of the seam. Corded seams should be pressed in the same way to avoid flattening the cord.
Wet Pressing
Very heavy cloths and chinchilla should have a small stream of water carried along the seam, followed by the iron; or the seam may be dampened by a soft cloth—very wet. This is the "wet pressing" used by tailors, which is adapted to the requirements of materials used by them, such as serge, tweeds, etc. Pressing on the right side under a damp cloth is apt to give marks if the cloth gets too dry or if the iron is too hot, but is necessary on finished wool garments.
Silk scorches easily and should be pressed very carefully with a cool iron, light in weight.
Some light colors fade or change in pressing. Try a piece of the goods before pressing the garment. If the color does not come back when cold or when exposed to the light, do not use a hot iron on the garment.
Principles of Ornament
Many of the principles governing architecture and art apply equally as well to art in dress. Both in architecture and dress, construction should be decorated—decoration should never be purposely constructed. It is by the ornament of a building that one can judge more truly of the creative power which the artist has brought to bear upon his work. The general proportion may be good, the mouldings accurate, but the instant ornament is attempted, the architect or the dressmaker reveals how much of an artist he is. To put ornament in the right place—where it serves a purpose—is indeed difficult; to render that ornament at the same time an added beauty and an expression of the desired unity is far more difficult.
Purpose of Ornament
All decoration should be planned to enrich—not to assert. All jewelry or ornament should form a note in the general harmony of color—a decorative touch to add beauty and to be subordinated to the object decorated. It should serve the purpose of seeming to strengthen the whole or to protect the parts receiving most wear. Ornament is everywhere attempted. We see ornament at every turn—good and bad alike—in our homes, on clothes, linen, and kitchen utensils. Carlyle tells us that "The first want of barbarous man is decoration." We have no record of when this need was felt first. Primitive man after supplying his actual needs, seemed to develop a longing for the beautiful, so he ornamented his own body, scratched rude patterns on his tools and weapons and graduallydeveloped the artistic sense. This love of ornament dates back to the beginnings of the human race and there are no records of a race or a period devoid of it.
Errors in Ornamentation
We see gowns totally lacking in good results because too much has been attempted. The wearer has not considered the effect as a whole, but has gratified her liking for a multiplicity of ornaments and color which, perhaps would be good in themselves, if applied separately, but which becomes an incongruous mixture when brought together on one garment.
Garments which seem to have required great effort in the making and which appear complex in construction should be avoided, for the effect is not pleasing. The gown should set off the wearer, not the wearer the gown.
To avoid committing errors against good taste it is essential first to consider the use of any garment and see if it answers the purpose for which it was designed. If any part appears meaningless, this is a sure indication that it is wanting in grace and beauty. The ornament should harmonize with the materials, use, and construction of the object to which it is applied. The color must be massed with effect and detailed with care.
Embroidery
There can be no ornamentation equal to that which is worked into the material, such as embroidery. The design should be appropriate in form and color and always conventional. Flowers are used most frequently for embroidery and passementerie and thesimple, single flowers are the most effective, such as the daisy, the wild rose, and the flowers of the lily family. These simple flowers are the best because they radiate from a central point, have strong forms and decided proportions, can be most fully expressed in a few stitches requiring the fewest shades of color, and are admirably adapted for amateur workers.
Flowers as Ornament
Old Indian stuffs, jewelry, and enamels are rich in suggestions of conventionalized flowers. The simple, single flowers are repeated constantly, the daisy appearing to be the favorite in these beautiful ornaments. The most beautiful of all conventional flower work, jewel studded, is found in samples of work of the fifteenth century. They simply suggest the forms of nature. The repetition of the same flower in all its aspects is more pleasing and less tiresome to the eye than a variety of flowers or figures.
Geometrical Designs
We find upon analysis that the simple forms are the basis of all decorative art work. Geometrical designs and arabesques are the most difficult, requiring the most exacting and careful work. Narrow bands, braided, outlined, or chain-stitched in simple designs are effective, easily done, and wear well. Braids and any of these stitches may be combined, making durable and effective trimming for sleeves and neck. These simple designs are also appropriate for children's frocks. The French knots are ornamental and durable. All embroidery and passementerie should be rich, close, and continuous. It should not be cut up intopieces and sewed on where it does not serve, or appear to serve, a purpose.
PASSEMENTERIE OF GOOD DESIGNPASSEMENTERIE OF GOOD DESIGN
POOR DESIGN, WEAK CONNECTIONPOOR DESIGN, WEAK CONNECTION
Passementerie
There is very little passementerie that is at all suitable for forming edges, as it is not sufficiently substantial, but when it can be found firm and of the right shade it is one of the most beautiful ornaments to edge neck and sleeves. It may be allowed to extend beyondthe dress material, so that the flesh tints may show through the design, thus gradually softening the outline. Often a narrow passementerie can be found with one strong edge and a good border can be made by joining the two. This cannot be done where the pattern is united by a band running through the center of the ornament.
JOINING NARROW PASSEMENTERIE TO FORM A BORDERJOINING NARROW PASSEMENTERIE TO FORM A BORDER
Bands
A band of velvet or cloth embroidered in outline stitch and French knots of same shade as the garment is a satisfactory edge. Except for yokes, the knots should always be held together with the outline edge.
The rich silk braids and passementeries are made of silk wound or woven over cotton and should be used only on dresses which are not intended for hard wear. Such trimmings are, of course, inappropriate on serges and homespuns and soon become shabby if given much rough service.
Use of Laces
Laces, like all trimmings, have defined limits within which they should be used, though they are often worn indiscriminately. Machine made laces, often good inmake and design, are now very common, but the best machine-made laces are not cheap in price.
Design of Lace
Handsome lace should be applied rather plainly, as the pattern is often lost in the gathers. Fine laces are out of harmony with heavy or coarse materials. When lace is desired for flounces that with running patterns which neither advance nor retreat, except in the folds which may be made, will be found most pleasing. Distinct objects, such as baskets, crowns, vases, etc., which suggest weight, are unsuitable patterns for so light a fabric as lace.
Placing of Decorations
Attention to details is essential in the placing of these decorations, as in the selection or making of them. The worker should take into consideration the shape and size of the bands or pieces of trimming and should note carefully the chief characteristics of the design and above all the junction of leaves, flowers, arabesques, especially in the finishing of the corners of collars and cuffs.
Simplicity and Harmony
Those at all skillful with the use of the needle can attain the most beautiful and artistic results if right laws in color and design are adhered to, even by the use of the simplest stitches, for the beauty of dress lies not so much in the richness and variety of material used as upon simplicity and harmony—a fact too often disregarded.
The Bow
Perhaps no ornament is more abused than the bow. In order not to appear intrusive, ribbons require the most delicate handling. The only excuse for a ribbonas an ornament is when it makes a pretense of tying. When used as a sash where folds or gathers are confined, the tone of the ribbon should, in general, vary scarcely from that of the dress.
Fitness of Place
Whatever the ornament used, whether embroidered band, a ribbon, a cord that laces, a diamond pin, or a jeweled buckle, though it may possess great intrinsic value and beauty, it cannot be considered of real worth as an ornament unless it fulfills the most important condition—fitness of place.
Although the art of dress admits of innumerable variations, like all other arts it is subject to the three rules of beauty—order, proportion and harmony.
Ornaments are appropriate on the hems or edges of garments where it serves the purpose of strengthening and protecting the parts most worn, and not simply where fancy or fashion dictates.
Natural Centers
The natural fastenings and fold centers should be along the axis or center of the body. Any jewelry, buckle, brooch, or ornament used to fasten, secure, or strengthen these centers or to hold bands of embroidery, collar, or folds together should be sufficiently strong to serve the purpose. There must be a reason for position and the purpose of its use must be apparent to satisfy the eye. The eye is unconsciously and irresistibly drawn to these natural centers and demands some object there on which to rest—some substance from which the fold emanate—some reason for their detention. If this ornament at the throat or waistfastening collar or holding folds by a girdle or clasp is omitted, the eye is disappointed. This does not mean that the ornament, jewel, passementerie, or embroidery should always be placed in the axis or central line of the figure—this may be carried too far. Slight irregularities often give an effect to hat or gown that is charming.
PASSEMENTERIE COVERING FACINGPASSEMENTERIE COVERING FACING
Trimming
Remember that trimming is not intended to cover up, but to beautify and strengthen. When, for economy's sake, it is used to cover worn places or other defects, it must be selected and applied with great care or it will loudly proclaim its mission.
Unity in Dress
Trimming should mean something—whether jewelry or passementerie. Bands that bind nothing, straps, bows, buckles, or pins that confine nothing offend the taste. A girdle should seem, even if it does not, to beltin fullness; it has no use on a close-fitting, plain waist. No draperies should be invisibly held; supply some apparent means of confining the gathers. To preserve the lines of the figure there should be unity in the dress. A tight-fitting skirt below a gathered waist or a full, gathered skirt below a plain waist gives the appearance of two portions of the body instead of the oneness desired.
The figure should never be cut across, either above or below the waist-line with contrasting colors, different shades of the same color, or bands of different texture. Below the waist-line the figure should suggest the elements of strength and these horizontal bands cut the lines of the figure at an angle of opposition, destroying the rhythm and grace of the lines.
Much experience is required in placing horizontal lines of ornament on a skirt effectively. In general, rows of tucks or ornament should diminish in width from the bottom towards the top. The plain spaces should be greater than those ornamented. When ornament gives absolute evenness of space division in skirt or waist the effect is apt to be monotonous and unsatisfactory.
The natural places of support for garments are the neck, shoulders and waist. Ornamentation which emanates from these centers or when used for borders, if appropriate in design, is usually successful.
In addition to ornament added to garment, the ornament in the textile itself must be considered.
Appropriate Designs
Textiles may be beautiful in weave, but spoiled by the design. Quite as important as intrinsic beauty is appropriateness of pattern. How often do we see woven on our curtains, carpets, and garment materials fans, bunches of roses tied with ribbons—bows with long, fluttering ends—landscapes, snow scenes, etc. Nothing is beautiful out of its place. A fan suggests coolness and grace of motion, but woven in our textiles it gives the same impression as a butterfly mounted on a pin—something perverted, imprisoned, or robbed of its natural use. Nothing is or ever can be beautiful without use—without harmony. Decorations on textiles are not to tell stories. There is a difference between landscape painting and using landscapes as a motive for decorating textiles or pottery. In one case the aim is to annihilate surface by producing the impression of distance; in the other, the object is to glorify the surface only.
Advantage of Plain Material
For the woman of limited income it is wiser to select plain material of good texture and weave. Such material is never conspicuous, can be made over, and is always restful and may be interesting. Any good textile must impress itself upon the mind by its suggestiveness and beauty of color. There is a difference between what may be called artistic and decorativeembellishment of textiles. Each has its place in the world of beauty, but one is the poetry, the other the prose of the art.
Stripes
There is a dignity and restfulness in plain material which is never obtained by varied patterns. When a stripe is used to vary the material, the style of the textile is changed, elongated if the stripe is vertical, and widening if it is horizontal. If the main stripe is cut at right angles with a second stripe, the textile appears more complicated and repose is lost. The same is true of checks, but no pattern is more distracting than large plaids, especially when used for waists, because the regularity of the design renders very conspicuous any inequalities in the shoulders or bust, and the great variety of colors detracts from the dignity of the dress. With small checks and narrow, self-colored stripes the effect is different, causing the texture to appear only shaded and not destroying the unity.
Conventionalized Designs
On garment fabrics the ornamentation should be flat, without shadow or relief. The pattern must enhance and not mar the figure. If flowers, foliage, or other natural objects are used for the designs, they should be conventionalized—not direct copies of nature. A figured textile requires more careful planning than plain material. It may be beautiful when used properly, but it will appear hideous if distorted in the making. A conventional fleur-de-lis pattern, or a long dash which appears and disappears when used in long,graceful folds, adds to the apparent height. These same figures wrongly used spread out awkwardly or become distorted.
Size of Design
The size of the design should be regulated by the material—small patterns being used for close, thick fabrics and larger designs, with more delicate colors, for thin material of open texture. Thick, heavy fabrics require rich, warm colors and the pattern likewise should be rich and decorative. Velvets, velveteens, and heavy cloths for dresses are beautiful in themselves and should not be marred by patterns or trimmings.
Spirals or curved lines running crosswise on textiles distort the natural curves of the figure by making seeming undulations where none should be and accentuating the prominence of hips and bust. Such patterns should not be used in folds.
Texture and Color
Much is to be considered in choosing colors and it is folly to suggest a particular shade for a person without taking into account texture of the textile. Though the color may be good, the weave may destroy what might otherwise have been a success.
Not only must color in itself be studied, but quality of color in textiles as well. A shade of red, for example, in dull silk or lusterless material may be most unbecoming for a woman of a certain type, while it may be worn successfully if made in rich velvet or glossy silk.
Some women maintain that they cannot wear green, but nearly all can dress becomingly in this color if the shade and texture is selected carefully. The same may be said of other colors for the many variations should be taken into consideration.
The average woman in selecting materials for gowns or house furnishings is apt to be influenced too much by details, as she would judge the merits of a fine piece of needlework, hence the value of good, broad color schemes fails to appeal to her. The chenille curtain, perhaps, suits her because it is full of complex decoration.
Harmony Not Contrast
After having determined the prevailing color of a costume, the details should be inharmony, rather than incontrastwith it. Different tones of one color are more satisfactory than striking contrasts, and even strong patches of light and shade of the same color should be avoided, as well as patches of crude and vivid color. The pleasing contrasts found in nature cease to be happy when attempted in textiles.
Use few colors, avoid bright shades except in small quantities. All bright colors should be placed near the face, rather than on or near the bottom of skirts or the edge of sleeves. Avoid strong contrasts; the brighter the color and the greater the contrast with other colors, the louder and cruder will be the effect. "No color harmony is of a high order unless it involve indescribable tints."
Infants' Clothing
Plainness, purity, softness of texture rather than elaborate ornament should be the main consideration for infants' clothes. The finest and softest of French and Scotch flannels, French linen, dimity, nainsook, and India silk are always dainty and they should be made up very simply with little trimming, but that of the finest.
Hems and seams should be small and neatly done with, perhaps, the daintiest beading inset by hand and feather stitched. Hemstitching is always beautiful, but makes a weak spot which is apt to give out in the constant laundering necessary for children's clothes.
The skirt and shirt made in one piece, with sleeves to slip into the little outside garment, both to open down the back so that all may be slipped on at the same time without worry to either nurse or baby, will be found a great convenience.
Stockinet Undergarments
Stockinet or webbing, all wool, partly wool, or all cotton, is preferred by many to the plain cloth. The cotton is non-shrinkable, easily made, and finished. This garment fabric has reached such a high degree of perfection that for infants and children of larger growth nothing better can be desired for shirts, skirts, drawers, and tights. It may be had in either light or heavy weight, is easily laundered and elastic, having all the qualities desired in undergarments. Garments made of this material in the manner described giveperfect freedom for all organs, besides evenness of covering for the body and lightness of weight—all important considerations in infants' and children's clothing.
There should be the same simplicity in construction and material in the garments of children of larger growth. The design should be smaller, more realistic and the color brighter than for grown people.
Children's Dresses
For children's dresses, the pretty ginghams in small checks, chambray, dimity, serge, flannels, cashmere are appropriate and serviceable.
In making up these simple materials nothing better can be suggested than the plain, straight waist, fitting easily, to which a full skirt is fastened. The sleeves may be of any fashion to add variety. Such a frock is simple and dignified and has a certain archaic beauty and quaintness that the huge, ugly collars and like ornament can never give.
With the plain body the grace of the childish form is not lost. The body may be short or long, with the trimming at the bottom or edge of the skirt. The gathers fall in long lines or folds, no element of opposition destroying the rhythm and grace of the figure contour, when the trimming is placed at the bottom of the frock instead of several bands dividing the skirt.
The waist should always be wider in front than in the back. The discomfort and injury caused by ill fitting garments, graded according to age instead of according to size, thus restricting the expansion of the chest and the play of the lungs, cannot be estimated.
With the proper kind of frock a child can indulge in any game without becoming in the least disordered. Dresses for little girls may have drawers made of the same material, thus permitting them the same freedom as the boys. The life of the child is play. Unfortunate is the child whose clothing is too good to play in. Of course there should be frocks for gala occasions. Children are sensitive to color and receive much innocent enjoyment from being prettily dressed. A child may be made unhappy and timid by ugly clothes, but plainness need not mean ugliness. There are many artistic and simple patterns now being put on the market and many of the ready-made frocks found in the best shops are satisfactory.
Ruskin says, "Clothes carefully cared for and rightly worn, show a balance of mind and self respect."
Little Attentions
The freshness of gown or wrap may be preserved by the little attentions bestowed upon it each time it is worn, which take but a few minutes and mean so much in all departments of dress. By carefully brushing and shaking into folds, removing all spots, hanging right side out, picking and pulling straight flowers, bows, and ribbons as soon as removed, adding buttons and taking up dropped stitches when needed,—all these little attentions if given promptly will keep a wardrobe fresh and in good order. New braid on the bottom of skirts, sponging and pressing, little alterations and addition of new trimming to collar and cuffs, will help to preserve the original freshness of the gown and cause the wearer to appear well dressed.
Waists should be turned wrong side out when removed and allowed to air near a window. Shields should be cleansed with alcohol and water. Ribbons should be rolled up immediately when taken off and if treated in this way will last much longer and look much daintier.
Clothing if moist and dusty and tossed into a dark corner of a closet or trunk can never appear fresh again, and will betray the character of the wearer. It is not the wearing of clothes which tells so sadly upon them, but the manner in which they are cared for. A few garments nicely made, well fitted and properlycared for are far preferable to twice the number of inferior quality and make.
Ruffled Skirts
Skirts of thin material having ruffles around the bottom should be hung upside down by loops sewed under the ruffles at the seams. By hanging in the opposite direction from which they fall when worn, ruffles regain their freshness.
Packing Away Clothing
All clothing for the season should be put away in perfect order to be ready for any sudden emergency which may arise. No clothing of any kind should be stored for the season without thorough cleaning and repairing where necessary. Garments that are outgrown should be disposed of, instead of packing them away. Wool garments should be carefully brushed and hung in the sun to remove and destroy any eggs of moths which may be present. They may be hung in tight cotton bags or packed in tight boxes with all openings posted over as a protection against moths. Tailors' boxes which come flat are not expensive and are useful for this. They should be plainly labeled with their contents.
Folding Garments
To fold, lay all articles on the bed or table and fold on the seams if possible. Particular attention should be given to sleeves and collars. Coat lapels should be turned to lie flat, collars turned up, and the coat folded directly through the center seam.
Skirts and coats with bias seams are not improved by hanging as the bias parts are apt to stretch out of shape.
Remove Pins
No clothing should be put away for the night, even, without first removing all steel pins, as the least dampness may cause rust spots.
Hangers
Clothes forms and hangers are so inexpensive that every gown and coat should have its own. Skirts should be hung exactly on the form and no part of the band should be allowed to sag.
If fancy waists are put in drawers or boxes, they should have the sleeves filled with tissue paper and the collars and bows should be pulled straight.
Large garments require the greatest care in handling and in order to be done successfully, they should be sent to the professional cleaner.
Fruit and Wine Stains
All stains and spots should be removed as soon as possible. Fruit and wine stains may be removed by stretching the fabric over a vessel and pouring boiling water through the cloth from a height of a foot or two. The watermustbe boiling.
Ink Stains
Ink stains can be taken out of clothing by dipping the cloth in milk, squeezing the blackened milk into one dish and dipping immediately into clear milk until the stain has disappeared. Then finish by washing the cloth in warm water and in soapy water to remove the fat in the milk.
Iron Rust
Iron rust may be removed from linen and cotton by using lemon juice and salt. Wet the spot with the juice of a lemon, cover with salt and lay in the sun,repeating the operation until the stain is removed, then rinse out the lemon and salt thoroughly. This of course cannot be used on colored fabrics, as it fades the color.
Grease Spots
Grease is one of the worst foes to garments and the greatest care is needed to remove such spots from delicate fabrics. If not done at once, the dust and grease together often prove ruinous. When the color and fabric will not be injured by it, warm water and soap is the best agent, otherwise absorbents may be used. French chalk or magnesia powdered, placed upon the spot, and allowed to remain for a time will often absorb the grease effectually. If the first application is not effective, brush off, and apply again until the spot disappears. Where water can be used without injuring the cloth, the chalk or magnesia can be made into a paste and spread over the spot. When dry, brush off with a soft brush.
In removing fresh grease spots, blotting paper with a warm iron may often be used effectively. If the heat changes the color of the cloth, the iron should be held above the goods.
Blood Stains
Blood stains may be removed by making a paste of starch and applying it to the spot. Several applications may be necessary.
Solvents
Cleaning Garments
Soap and Ammonia with Gasoline
Only the best and purest benzine, naphtha, gasoline, and turpentine should be used for cleaning garments. For removing paints from coarse cloth, pure turpentine is useful, while for silks, velvets and woolens, benzine, naphtha and gasoline are to be preferred.The secret of success in the use of any of these cleansing agents lies in immersing the garments inlarge quantitiesof the liquid. Not less than a gallon should be used for a waist and two gallons will do the work far more satisfactorily. An effort should be made to remove all the worst spots before immersing the whole garment. Those which have not disappeared should then be marked with white thread, colored thread may leave a mark. It is a good plan to enclose the spot with a line of basting. Soak the garment for some time in the liquid, then soap all spots thoroughly and rub gently between the hands until they disappear. Finally wash and rinse the garment in clear liquid and hang in the open air until all odor has passed away. Soap may be used freely with gasoline with good effect. Some professional cleaners use a little of the strongest ammonia in their gasoline tanks. The goods should be shaken well and all folds pulled out straight with the threads of the goods. Velveteen, corduroy, and like piled fabrics can be cleaned successfully if not too much worn, but no amount of cleaning will restore the pile that is worn off.
If allowed to stand until the impurities have settled and the clear liquid poured into clean bottles, it may be used for a number of times. This should always be done in the open air.
Chloroform may be used for cleaning the most delicate silks, though this is rather expensive.
Absorbing Pad
Whenever any of these liquids are used to remove spots alone, the spots should be placed upon a soft pad of several thicknesses of old cloth or blotting paper toabsorb the surplus liquid and the spot should be rubbed from the outside towards the center. A hole may be cut in very soft cloth or blotting paper and placed around the spot to absorb the solvent around the stain and prevent the dark ring being formed. The cloth should be rubbed lightly and briskly until it is dry. If the fabric is light colored, a sponge or a soft piece of light cloth should be used, while for dark fabrics, the cloth used for rubbing the spot should also be dark and free from lint. The rubbing should be done lightly so as not to wear or injure the texture of the fabric. The blotting paper or cloth underneath should be changed frequently until the spot has entirely disappeared.
Cleaning Velvet
Velvet hats and bonnets, after all trimming is removed, may be cleaned by repeated dippings in benzine or gasoline. The vessel used should be large enough to hold a sufficient quantity of the liquid to completely cover the hat. Of course all dust should be carefully brushed off and all folds ripped and loosened before putting the hat into the liquid. The secret of success lies in having the article entirely free from dust and using a large quantity of the benzine or gasoline.
Before Sending to Cleaners
Before sending out garments to be dyed or cleaned, be sure that they are in good condition. All worn places should be mended carefully and all buttons should be removed. Garments that are ripped should have all cut threads pulled out and be free from dust. Dust silk fabrics with a piece of clean flannel and woolen material with a brush or broom.
Economical Mending
Fabrics are so much cheaper and so much easier to obtain that patching has almost become one of the lost arts. The twentieth century woman feels that her time is too valuable to be spent in mending the old clothes and that she can better afford to buy new. However that may be, no one disputes the utility of mending. Like so many other duties, mending is half done when well begun. A well made garment of good material should not be discarded when slightly worn, for a patch well put in or a neat piece of darning detracts in no way from the value of a garment and may even be a work of art. The children's clothes particularly should be kept in good order, for they are made uncomfortable by wearing garments that are out of repair, to say nothing of the demoralizing effect upon their characters.
Laundering and Repairs
Laundering is the great ally to tears and not only doubles the size of the hole, but pulls the threads apart so that it is impossible to make the mended place neat and smooth, therefore all clothing should be mended before washing. Stockings and woven underwear are much worn by the rubbing on the washboard and thin places going into the washing frequently come out as holes, so that it is true economy of effort and time to "run" or darn the thin places before they are worn through. It requires much less time and the garments last longer.
It is a good plan, especially in knees of stockings and knitted underwear, to baste a piece of fine net over a worn or broken place and darn over it. (See Darning.) Thread used for darning should be as near as possible the size of the threads in the garment. Darning cotton, linen, wool, and silk of all shades can be bought, so that the problem of matching is no longer a difficult one.
Boys' Trowsers
In mending the knees of boys' trousers a round patch should never be used. The seams should be ripped and the piece set in then, if the seams are pressed well, the patch will scarcely be noticeable.
Sleeves
When bodices are worn under the arm, rip the seams and set in a new "under arm" piece. A good plan for one whose dresses are apt to wear through quickly is to have the under arm pieces and the adjacent parts of the front made of two thicknesses of the goods; then, as the outside wears through, the edges can be hemmed down or taken into the seam.
Table Cloths
When table cloths begin to wear in the middle fold or along the edge of the table, a few inches cut off one end and one side of the cloth will change the fold and the place where it falls over the table and give it a new lease of life. If the hem is turned down once and cat stitched, it will resemble the selvage more than a twice turned hem.
Lengthening Garments
In repairing or lengthening garments that have become too short, much can be done by adding to the bottom of the skirt and sleeves material of differenttexture. A cloth or serge skirt may be lengthened by facing with velvet of the same shade, covering the line of sewing with cord, braid, or passementerie of the same shade or black. There should be an underfacing of light-weight crinoline to make the bottom of the skirt firm and to give strength. The same facing and passementerie may be used at neck and sleeves.
Extension Hem and Tucks
Thin gowns of lawn, dimity, etc., can be lengthened with a faced or extension hem, the line of sewing to be covered with feather stitch or any of the fancy stitches of white or colored thread. If the lawn or dimity has a colored figure, the embroidery silk or cotton may match this. Under skirts and drawers may be lengthened in the same way or rows of tucks may be added.
Waist Repairing
In waist repairing, the sewing silk should match the material. Set the patch into the seams when possible and trust to careful pressing. If the material begins to wear near the end of the bones, cut off the bones an inch and take in the dart or seam. If the silk wears off around the hooks and eyes, move them along ever so little. Make a virtue of worn out seams by taking them in and covering them with fancy stitching. If the garment is lined, the outside should be carefully basted to the lining before stitching to take in the seam. It has been said that silk waists are serviceable as long as the upper parts of the sleeves remain good.
If garments have not been well cared for from the first and beyond a certain point, "making over" is pooreconomy. Never attempt cleaning and making over old clothes unless the material is good enough to make it worth while to do the work well.
Mending Baskets
The mending basket is an important adjunct of mending and should be well supplied with darning cotton of all colors and sizes, good English tape, black and white, of different widths, linen tape, bias tape, different kinds and sizes of needles,—sewing, darning, shoe, carpet, and tape needles.
Use of Tape
For repairing bands and facings, where buttons have been torn off by wringer or iron, and for strengthening weak places, tape is invaluable. It saves the time required to turn in the edges of the cloth and is less clumsy and bungling.
Use of Judgment in Mending
The mender should use good judgment as to the amount of work to be applied to each garment. She should substitute the machine needle whenever possible and not put tiny stitches by hand into half worn garments or in unseen places. Ripped tucks and bands can be sewed in a few minutes on the machine. Serviceable darning can be done on the machine.
Before putting away freshly laundered clothes it is a good plan to take out the clothes already in the drawers and lay the ones washed last on the bottom, thus all garments will wear alike, each article in its regular turn.
Home and School Sewing, Frances Patton, ($.60, postage 6c).
School Needlework, Olive C. Hapgood, ($.75, postage 6c).
Sewing Course for Schools, Mary Schenck Woolman, ($3.50, postage 20c).
Progressive Lessons in Needlework, Catherine F. Johnson, ($.90, postage 8c).
Sewing and Garment Drafting, Margaret L. Blair, ($1.25, postage 10c).
Manual of Exercises in Hand Sewing, Margaret L. Blair, ($1.25, postage 10c).
Dressmaking Up to Date, Butterick Pub. Co., ($.25, postage 8c).
Note: The above books may be borrowed, one at a time, by members of the School. Send the postage given with request. They may be purchased if desired.
The following questions constitute the "written recitation" which the regular members of the A. S. H. E. answer in writing and send in for the correction and comment of the instructor. They are intended to emphasize and fix in the memory the most important points in the lesson.