Skill and Taste
If the finished garment is to be perfect, careful attention must be given toeverydetail of the cutting and making up. To possess mechanical skill alone is not sufficient. A successful garment depends not only upon the dexterity with which the worker manipulates the actual tools of her craft, but upon all her faculties and her power of applying them. She must have a comprehension of the laws of beauty in dress, construction, ornament, color, selection, economy. The artisan knows the technical part only, and looks upon each dress—each piece of lace and velvet—as so much material to be snipped and cut and sewed, copying from the fashion plate, making gown after gown alike. The artist, on the other hand, makes the gownto suit the individual wearer, considering each dress no matter how simple—and the simpler, the more artistic—as a creation designed to suit the woman for whom it was planned.
People who study economy from principle will never adopt anything extreme in weave, or color, or make. These extreme fashions are never lasting; they are too conspicuous and are vulgarized by bad copies, while a thing which is known to be good and beautiful once will remain so for all time. Those who are beginners in the art of dressmaking should select plain designs until skill is acquired. The making up and finishing of new fabrics and new or untried methods are problems that often dismay even the most experienced dressmaker.
Selection of Patterns
The makers of good and reliable patterns are many. Always buy patterns of firms that make proportion of figure as well as fashion a study. These patterns state length of skirt, waist and hip measure and quantity of material required in all widths. Buy a skirt pattern with correct hip size, as it is much more difficult to change this than to alter the dimensions of a waist. Adjust the pattern to the figure for which the garment is to be cut and see that it is right in all of its proportions. Always follow the notches indicated in the seams of the pattern, and thus avoid putting wrong pieces together. Be sure that the pattern isplaced correctly upon the material with thestraight grainor warp threads of the goods running directly on a line with thestraight perforationsindicated in the pattern. Lay the entire pattern upon the cloth. This gives an idea just where every piece is to come out.
What the Pattern Gives
All patterns give one-half of the bodice and the skirt, from center of back to center of front. The plain waist pattern consists of back, curved side piece, under arm piece (sometimes these two pieces are in one) front, upper and under sleeve, collar or neck band. Some patterns allow for seams—others do not. Skirt patterns give only one-half of the front gore. Theseamedges of front gore are marked byonenotch near the waist line. The front or straight edge of thefirstside gore has one notch, and two on the back edge of side gore. All the gores may be distinguished from the edges of the back gores by the lesser number of notches. This is true of all skirt patterns. If the patterns are studied carefully, all skirt cutting becomes very easy.
The object of goring a garment is to take out unnecessary fullness at the top; reducing the weight, making the garment less clumsy, and giving a nicety of finish which could not be done in heavy material if all the goods were left to fit into a band. Skirts may be lined or unlined, gored or full.
The style may vary with the fashion, but a well-fitting skirt should hang even around the bottom edge,should fit easily around the hips without being strained or defining the figure too closely, or "ride up" when sitting, should flare slightly from hips to the bottom of the skirt, should not fall in between the feet, the back should fall well behind the figure. For heavy goods, as little material as possible consistent with the prevailing style should be used.
PLAN OF SKIRT MAKING
Shortening or lengthening of pattern if necessary.Placing of goods.Pinning on of pattern so there is no waste.Cutting.Removing and care of patterns.Pinning, basting, or tacking of skirt to lining.Joining of seams, fitting.Stitching.Pressing.Finishing of seams and placket hole.Making and putting on waist-band.Marking length and finishing the bottom.Fastenings, loops, braids, hooks and eyes.
Lengthening or Shortening Patterns
To lengthen or shorten a skirt pattern, measure the figure and regulate the length of the patterns by making a fold in each gore two-thirds of the way from the top of the pattern if too long. This is for the simplest skirt pattern. The shape of the skirt may require two folds, one two-thirds from the top and a small fold near the bottom to preserve the outline.
If too short pin the pattern on the material, cutaround the top of gore and on each side two-thirds of the distance from the top of gore. Unpin and draw the pattern down to the bottom and cut the required length. Except for wash material, do not turn a gored skirt up at the bottom to form a wide hem, as the fullness made by turning is hard to dispose of neatly and the right curve at the bottom of the skirt may be lost.
Another way to lengthen the pattern is to cut it in two, two-thirds the distance from the top. See that all pleats or tucks are exactly the same width and at the exact distance from the top or bottom of the gore, also that all seams are of the right length. A shorter skirt must be proportionately narrower.
Testing Patterns
It is well to test the skirt and waist patterns by using inexpensive materials, such as calico, gingham, or cheap lining. Cut, baste, fit, and make this as carefully as if it were the best cloth or silk. If the skirt and waist are satisfactory, the pattern will do duty for several seasons. The plain waist pattern is the foundation foranywaist and many changes can be made easily with a well-fitting skirt and plain waist pattern as a basis.
Cloth Patterns
As paper patterns soon wear out, after a waist and skirt have been perfectly fitted, it is a good plan to cut an exact pattern of cambric, both skirt and waist, tracing seams and notching the parts. This will enable the home dressmaker to cut and make all ordinary dresses with little trouble and with but one trying on. It is always well to try on once, as materials differ in texture and a slight change may be necessary.
PLACING PATTERNSPLACING PATTERNSAt the left, on plain or symmetrical designs; at the right, on figured or napped goods.a—Half of front gore;b—Second gore;c—Third gore;d—Back gore;e—Front waist;f—Under arm piece;g—Side back;h—Back;i—Outside sleeve;j—Under sleeve;c'd'—Piecing of goresc,d.
At the left, on plain or symmetrical designs; at the right, on figured or napped goods.a—Half of front gore;b—Second gore;c—Third gore;d—Back gore;e—Front waist;f—Under arm piece;g—Side back;h—Back;i—Outside sleeve;j—Under sleeve;c'd'—Piecing of goresc,d.
Placing Patterns
If the material is plain, has no nap, or if the design is perfectly symmetrical, the gores may be alternated, the top of one gore coming opposite the bottom of the next. The half pattern of the front gore is always laid on alengthwise foldof the goods. If the goods is wide, the other gores may be cut double with the cloth folded lengthwise. With narrow goods, the cloth may be folded end to end after the middle gore has been cut out, and the other gores cut double. Care should be taken that the line of holes in the middle of the gores runs exactly in a line with the warp of the material, i. e., parallel to the selvage.
If the goods has a figure, the design should run upwards. Any nap should run downward, except with velvet or velveteen, in which it should run upwards. With such goods, the gores if cut double must be placed on a lengthwise fold, with the lengths running the same way. If the goods is narrow, the gores may have to be cut single, reversing the pattern (turning it over) so that both pieces may not be for the same side.
Pinning Patterns
Pin the middle of the pattern to the goods and smooth towards each end, pinning securely at top and bottom. Avoid too many pins and pin carefully, otherwise the pattern will be displaced.
Cutting Out
After the pattern is securely pinned, cut out the gores, using long, sharp shears. Care should be taken not to lift the material from the table, not to have jagged, uneven edges, as both time and material willbe wasted in straightening them. Open the shears as wide as possible, taking a long sweep of the material, and do not allow the points of the shears to come together. Mark all notches with basting thread, tailor's chalk, or notch the goods if it does not ravel.
The back gores should be cut in the same way. They are usually wider than the front gores and may require piecing, which should be done along the warp threads.
Now remove the pattern, pin carefully all pieces together and fold as little as possible. The trinity—pin,baste,press—should be written in large letters in every sewing room, for much of the beauty of the gown depends upon these three.
Joining the Skirt
To join the skirt, pin the side gores to the front gores, beginning at the top, with pins running across the seams, then begin at the top of the skirt and baste downward, allowing all unevenness to come out at the bottom. Baste straight and evenly, taking one stitch at a time. Several stitches should never be taken at once on thick or piled goods, as the side next to the sewer is apt to be fuller in that case. When all seams are basted, try on the skirt and make all changes necessary before stitching. Both the outside skirt and any under or "drop" skirt should be fitted as carefully as a waist.
Lined Skirt
If the skirt is to be lined the lining should be made and fitted first, then ripped and the outside carefully basted on the lining, being well stretched over the lining, care being taken to have the warp of the outsideand the lining run the same way. This will prevent the lining from drawing the goods.
Stitching Skirts
A stitch of medium length should be used on all seams whether white goods or cloth. If the stitch is too long, the seam will "gap" and will show the thread; if too short, the seam is apt to draw. The line of stitching must be absolutely parallel inside or outside of the basting or the curve will be ruined. Use silk or the best cotton for stitching skirts and be sure that the needle is not too coarse.
Finishing Seams
After stitching, all bastings along the seams should be taken out by cutting the thread in several places. Never pull a basting the length of the skirt. The seams should be opened and pressed according to directions. The seams may be finished with a taffeta binding, overcast, stitched flat or notched, as the case demands.
Stiffening
If stiffening is used at the bottom of a lined skirt it should be fitted to each lining gore separately and securely stitched. A light weight canvas should be stitched to a heavy cloth skirt at the bottom, if several rows of stitching or braid are to finish the bottom of the skirt.
Placket
The placket may be finished before the two back gores are pinned to the front, if preferred. If done before joining the gores the placket can be pressed better and the front is not so liable to be crushed. On the left side of the skirt sew an underlap of sufficient length to extend well below the end of the opening. Face the right side of the opening with a piece of the goods,or tape not too wide, hem or cat-stitch to the skirt, and finish with hooks and eyes, loops, or any fastening that will secure the placket.
Putting on Band
The skirt is now ready for the band, which should be narrow. Always cut parallel with the selvage and the length of the underlap longer than the waist measure, allowing for turning at the ends. The band should never be thick and clumsy and not too tight. Try on the skirt and fit the band carefully, marking the seam with pins, a line of basting, or chalk. Hold the skirt easy on the band and baste with small stitches, then stitch on the machine. If the skirt is too tight around the hips the plaits will fall apart at the back. If the skirt is stretched on the band the seams will not fall in a straight line. After the band is securely stitched and finished with hooks and eyes adjust the length by turning under at the bottom and pinning, after which baste all around and try on again to make sure that the length is correct.
Finishing the Bottom
A gored outside garment should be finished with a true bias or a fitted facing, carefully stitched on. It is possible to finish the bottom of a simple house dress or thin skirt with a hem if the fullness made by turning is disposed of in gathers or fine pleats. A bias facing, however, is always preferable. If of heavy or lined goods the finish should be velveteen or braid the same color as the skirt. These bindings come in different widths and grades. Braids should always be shrunken by wetting and drying thoroughly; one wetting isnot enough. Velveteen should be applied loosely, so as not to shrink or draw after it becomes damp on the skirt.
Applying Velveteen Binding
The right side of the velveteen should be carefully basted with small, even stitches to the edge of the facing. It may be hemmed to the facing or machine stitched just inside the basting, which need not be removed. It is then turned, allowing a very narrow portion to show below the edge, and basted with close stitches, pressed, hemmed down to the facing by hand, or cat stitched without turning the edge. Be careful not to let the stitches show on the right side, nor let the binding twist or pucker. The joining of the velveteen should be near the seam in the back.
Another method is to cut off the bottom edge of the skirt a quarter of an inch from the turning line; apply the wrong side of the velveteen to the right side of the skirt, baste carefully close to the edge and stitch on the machine through velveteen, cloth, and lining (or facing) just inside the basting which is left in. The bottom of the raw edge is turned up, basted close to the edge allowing the velveteen to show a very little. The upper edge of the velveteen is secured as before by turning and hemming or catstitched without turning. The illustration shows this method of applying the velveteen which is first stitched to the lining and turned with the edge. This makes a firm, rather stiff finish.
Braid
Braid is stitched on to the bottom of a skirt witha narrow edge showing, or it may be applied like the velveteen, with a doubled edge at the bottom. The doubled edge will wear better.
Finish of Wash Skirts
Skirts that are to be washed and therefore which are very likely to shrink must be finished at the bottom with a wide hem—at least six inches—the fullness made by turning being disposed of carefully in pleats or gathers.
APPLYING VELVETEEN BINDINGAPPLYING VELVETEEN BINDING
If desired, the bias seam down the back of the skirt may have a narrow woven tape or selvage of thin goods stitched in with the seam. This strengthens the seam and prevents dragging. The skirt when finished should always be longer in front than in the back.
All cloth dresses demand every detail of finish to make them complete and able to stand hard usage, but simple house dresses and thin summer dresses do not require such careful finish.
Trace Seams
In planning a waist the same rules should be observed in placing patterns, etc., as described for skirts, except that the lines and seams should be traced with a tracing wheel or marked carefully. In making a waist of any kind care must be taken to cut all the pieces the proper way of the material.
Baste Lavishly
The difficulty of putting garments together after they have been cut properly is due to undue haste, lack of care in details and insufficient pressing. The apparently simple act of basting is really of primal importance, particularly in the making of a waist. One need never be afraid of basting too much or too carefully. Economize cloth and time in cutting, but use basting lavishly.
Altering Waist Patterns
The waist pattern may be made shorter by laying folds across both back and front. The fold across the back should be two inches above the waist line and across the front two inches below the arm's eye (in the back). Securely pin or baste the folds in the pattern.If the pattern is of nearly the correct size it may be only necessary to make the waist shorter and smaller. The neck and arm's eye will seldom need altering. The sleeves may be shortened in the same way by laying folds in the pattern, above and below the elbow.
PLAN FOR MAKING A SHIRT WAIST
After the waist is cut, remove and care for the patterns.Make the sleeves, cuffs and collar band first.Make box plait on right or left side as liked by the wearer and hem on the other side or face.Baste shoulders and under-arm seams.Try on the waist, making all changes necessary by enlarging or taking up seams.Pin for neck band and mark for seams.Fit sleeves and mark places for seams.Arrange fullness and place tape at back of waist line.
After the waist is cut, remove and care for the patterns.
Make the sleeves, cuffs and collar band first.
Make box plait on right or left side as liked by the wearer and hem on the other side or face.
Baste shoulders and under-arm seams.
Try on the waist, making all changes necessary by enlarging or taking up seams.
Pin for neck band and mark for seams.
Fit sleeves and mark places for seams.
Arrange fullness and place tape at back of waist line.
Making Plain Sleeve
If the pattern is for a plain, one-seam sleeve with the cuff opening at the end of the seam, hem each side of the opening one or two inches from the bottom, gather the bottom between the notches, lay the gathers, baste the right side of the sleeve band or cuff to the wrong side of the sleeve, stitch andpress, fold in a hem on all edges of the cuff, fold the cuff over on the wrong side of the sleeve, baste, oversew the ends of the cuff,pressand stitch the cuff close to all edges. After thus attaching the cuff, baste and stitch the long seam of the sleeve and gather at the top between notches. The cuff is usually cut in the direction of the warp of the goods.
The sleeve described is the simplest that can be made. If the sleeve is to open at the back and finished with a tape, with a placket, strap or fancy lap, the seam in the sleeve is stitched first and the cuff afterward adjusted.
PLAIN SLEEVE WITH CUFF, SHOWING GENERAL METHODS OF SEWING ON BANDSPLAIN SLEEVE WITH CUFF, SHOWING GENERAL METHODS OF SEWING ON BANDS
The box plait is made if desired and the under arm and shoulder seams basted when the shirt waist is ready to try on. Make any change in the seams necessary. The neck band is put on in the same way as the cuffs, sleeves sewed in, fullness arranged at the back and a tape placed at the waist line. Three hooks or other fastenings should always be placed at the back to attach to corresponding fastenings in the skirt band. The bottom edge of the waist may be finished by overcasting.
Bottom Finish
If it is desired to have the fullness cut away at the waist line in front, determine the length, allowing sufficient for a blouse, gather the waist at the bottom and sew the fullness on to a band. Sometimes this band is carried entirely around the waist.
Fit of Collar
The fit of the collar or neck band is very important in any kind of a waist. Both the front and the back may be cut higher than the pattern, as it is easy to cut off in adjusting and more goods cannot be added.
To the unskilled the simplest garment is sufficiently difficult. It is wiser to make two or three perfectly plain garments before attempting to make an elaborate one.
After the pattern has been tested, fitted and all necessary changes made, cut a pattern from the fitted waist of cambric or cheapnewmuslin and mark or trace all seams. (Never use old, worn-out sheets from which to cut a pattern.) After this permanent pattern has been made, do not change a single line.
Tucked Waist
Full Busted Waist
If a plaited or tucked waist is to be made, all plaiting and tucking should be done first, after which the same order of making is to be followed for a plain waist. No waist should draw or strain across the bust. This is especially important in tucked or pleated waists. To guard against this tendency, a graduated tuck can be pinned on either side of the front, beginning with nothing at the shoulders and widening at the waist line. This is done before the pattern is cut and will allow for especially full bust. The fold should beon a threadof the goods.
The plain, closely fitted, lined waist, with the curved back and side forms is the most difficult to make and requires the greatest nicety in handling from beginning to finish.
TYPICAL BODICE PATTERNSTYPICAL BODICE PATTERNS(a) Front. (b) Under Arm Piece. (c) Side of Back. (d) Back. (e) Collar. (f) Outside Sleeve. (g) Inside Sleeve.
(a) Front. (b) Under Arm Piece. (c) Side of Back. (d) Back. (e) Collar. (f) Outside Sleeve. (g) Inside Sleeve.
The pattern for a bodice of this kind should be of such a shape that in each part the woof threads will go as straight around the waist as possible. This makes the warp threads perpendicular and will give almost a perfect bias on the current seams in the back. Donotcut the side forms out ofanypiece that is big enough, without regard to the warp and woof threads. If this is done, the threads in each will run differently and all ways but the right one. In a well-designed pattern the back forms should be nearly as wide at thearm's eye as they are at the waist line. The swell of bust and shoulders should be accommodated by the back and front forms.
When material is to be cut on the bias be careful to have atruebias (the diagonal of a square) around the waist and up the front and back seams.
PLAN FOR MAKING FITTED, LINED WAIST.
Pin pattern to lining, cut out trace seams.Baste all seams on traced lines.Try on lining. Make changes.Rip lining, baste on outside and cut by fitted lining.Baste seams and try on. Make changes if necessary.Mark the turn for hem down the front, face and mark for fastenings.Stitch and finish seams. Put on featherbone.Put on collar; sew in sleeves.Finish.
Pin pattern to lining, cut out trace seams.
Baste all seams on traced lines.
Try on lining. Make changes.
Rip lining, baste on outside and cut by fitted lining.
Baste seams and try on. Make changes if necessary.
Mark the turn for hem down the front, face and mark for fastenings.
Stitch and finish seams. Put on featherbone.
Put on collar; sew in sleeves.
Finish.
Finish Lining First
In making a lined waist, the lining is cut, basted, and fitted before the outside is cut. After fitting, the lining is ripped apart and the outside cut by it. For all firm, heavy materials the lining should be slightly fuller than the outside, that is, the dress goods should be well stretched over the lining, just as in a lined skirt, and basted closely and evenly, the warp and the woof threads of the outside and lining corresponding.
In laying the pattern for cutting the lining, just as much attention should be paid to the direction of the threads as in cutting a striped or figured goods.
Marking Seams
All seams should be traced on the lining with the tracing wheel, with a slow backward and forward movement, making the perforations clear and distinct. Soft spongy goods that cannot be traced may be marked with a line of basting, tailor's chalk or by taking stitches with a pin along the line to be marked and twisting them in the goods. This will make holes that can be seen, but the twisting does not harm the goods. Always trace or mark the waist line, as this is the starting point from which to pin or baste. Bodice seams should never be begun at the top or bottom, but at the marks or notches that show the waist line, working towards the top and bottom.
After the lining is cut out, the seams should be basted exactly along the traced lines, with seams out, when it is ready to be tried on.
Making Changes in Straight Seams
If the pattern has been cut or drafted by the correct bust measure, the back seams should never be changed. If possible, make all changes required by letting out or taking in on the straight under-arm seams, leaving the curved ones and the darts untouched.
Pinning and Basting
Pins should be used plentifully while the fitting is being done, but they should be replaced with regular basting as soon as they are removed. Do not be afraid of taking up fullness in the lining by darts crosswise at the top of the corset or where the fullness naturally falls in front or back. Such darts should be basted, stitched and pressed flat. If the lining is too short, it may be lengthened by letting out the shoulder seams.
Outside Cut by Lining
After the lining is fitted, it is ripped apart, the outside cut, basted to it and the seams are basted, beginning at the waist line. Never use a long thread in basting and always use short, even stitches, especially where any curved seams are to be stitched on the machine. This rule must be followed invariably if puckering is to be avoided.
WAIST LINING BASTED, SEAMS OUTWAIST LINING BASTED, SEAMS OUT
Shoulder Seams
The pattern at the shoulder seams should be shorter in front than at the back. In joining this seam, pin the two portions so that the ends of the seam meet exactly at the neck and arm's eye. In basting, stretch the front piece to fit the back, holding it in or puckering it if need be. Pressing will banish the pucker and give an easy seam that will hug the curve of the shoulder, as in a man's coat.
Fitting
When the waist is on the figure, pull it well down to the waist line, pin the front linings together beginning with the neck, then lift the waist a little in front to give fullness and pin to the waist line. Mark for the hem down the front, finish the edge with a well-fitted facing under which is a thin bias strip of canvas interlining for buttons or hooks and eyes. Marks showing the position of fastenings should be made at this time.
Fitting of Neck and Sleeves
The neck and arm's eye should be fitted by making slashes in the curve—never cut around the curve. For the collar or neck band have a true bias of thin canvas or crinoline and draw it around the neck and pin with the endsout, towards the worker. (Never lap any edges of waist, belt or collar when fitting.) Mark on the waist where the lower edge of the neck band touches. Draw the sleeve on the arm, pin and mark where it sets right, seeing that the elbow fullness is in the right place and that it does not twist at the hand.
As in the lining, all changes necessary in fitting should, if possible, be made in the straight seams, as it is difficult to preserve the proper lines of the curved ones. The shoulder seams should be the last one to be basted.
After all faults are remedied, the seams are carefully stitched along the line or basting, the bastings removed, the seams pressed and finished. The last seam to be stitched securely should be the one at the shoulder. By leaving this open, all fullness can be smoothed upwards and any trimming can be let into the seam.
BACK OF WAIST, WELL MATCHEDBACK OF WAIST, WELL MATCHED
Boning
Sew in featherbone by cat stitching to the seam, first finishing the ends by button-holing. All seams should be stretched well when sewing on bones of any kind.
Curved seams should be notched every one or two inches at the curve and bound or overcast. This allows them to lie flat.
Draped Waist
In a draped waist the lining is made separate and not stitched into any seam of the outside except at the shoulder. In fitting the outside the back is pinned on to the lining firmly, then the front and finally at the underarm seams. The seams are then basted, the waist tried on again, alterations made, if necessary, seams stitched and the bottom finished with the lining, as desired.
Three eyes or other fastenings should always be sewed at the seams in the waist line at the back to secure the skirt to the waist, thus preventing it from sinking below the waist line.
Finish of Bottom of Waist
The finish of the lower edge of the waist is often a problem. If the waist is to be worn under the skirt, just how to finish or whether to finish it at all is a question. The first step is to trim the edges evenly. A line of stitching and simple overcast will show less through a close-fitting skirt of light weight material. When binding is used, it should lie perfectly flat, twice stitched and pressed well.
If the waist is to be worn outside the skirt, a narrow bias strip of canvas should be basted on the wrong side, the waist turned up over this as directed forsleeve and collar finish. Over this a bias facing of silk may be hemmed or cat-stitched.
Fitting Irregularity of Figure
In spite of careful measuring and all care in cutting, the waist may not fit, owing to some deformity or peculiarity of the figure. Such figures require especially careful fitting and the hollow place should be filled out with wadding. This needs to be done with the greatest care and nicety.
MAKING BIAS STRIPS FOR FACINGSMAKING BIAS STRIPS FOR FACINGS
Avoid too frequent fittings. The bias portions of the bodice are liable to stretch out of shape and too much handling of the waist takes away the freshness. This is one reason why it is advisable to make the sleeves and collar first in order that the whole waist may be fitted at once and all alterations made to fit both sides. A perfect figure is the exception rather than the rule and the side that is not developed should be well fitted, whether sleeve or bodice.
Altering Patterns
If it is necessary to lengthen the sleeve, say two inches, cut the pattern at right angles to the lines indicated by the dots, above and below the elbow. The slashing should be done exactly at the same distance apart in the upper and under portions of the sleeve in order to retain the proper shape and size of the top and bottom. Separate the parts, allowing one inch above and one inch below the elbow.
To shorten the sleeve, lap the slashed part or lay a fold in the pattern instead of slashing. In either case, care should be taken that the fold or lap is of even width all the way across, so that the original shape of the sleeve will not be lost.
Placing of Patterns
Too much care cannot be taken in arranging the pattern of the sleeve according to the thread of the goods. Especially is this the case in the two-piece or coat sleeve. Generally the top part of the outside seam and the lower part of the same side should be placed at the edge or fold of the goods, so that the two run in the same straight line. In all cases, the foundation sleeve or lining should be cut and fitted before the outer portion is adjusted. Ample time should be given to the fitting and basting of the sleeve. The "set" of the sleeve is very often unsatisfactory because the cutting and original basting was done in a careless manner. Remember that greater care is required in sleeve making than in any part of the garment. Each sleeve is complete in itself and one must not deviate from theother in size, arrangement or ornament, or general appearance. They should be cut, basted and fitted alike and if the arms differ in size or length the sleeves must be so adjusted as to conceal the inequality.
The sleeves should be made at the same time and before the cuffs, then the cuffs, puffs, or whatever special trimming is to be applied to them should be put on both sleeves at the same time. If the second sleeve is not made or trimmed until after the first is finished, it will be much more difficult to secure exactly the same effect. If it is impossible to complete both sleeves at one time, make the sleeves one day and the cuffs or trimming the next day.
In making the coat sleeves the general methods are the same, but each season brings out new styles which the maker will have to understand before proper making and finishing can be acquired. Always master the simple and standard patterns and the minor changes dictated by fashion—new fancies and effects—will not be difficult to acquire after a little experience has been gained.
The lining for both sleeves should be fitted and the outside cut by them.
Joining the Parts
After economical cutting, trace the seams carefully, and baste the outside to the lining, basting both uppers before the under sections. Join the under and upper parts by pinning and basting, the outside seam first, beginning in the middle of the sleeve and working toward each end. The outside seams should be begun at thenotch at the elbow, working toward each end. Where the sleeve calls for gathering the fullness should be distributed between the notches and the two portions of the sleeve should be secured at this point, before or after basting the upper or lower portions of each sleeve.
FINISHING OF SEAMSFINISHING OF SEAMSNotched at Curves and Bound or Overcast.
Notched at Curves and Bound or Overcast.
Stitch the seams just outside the basting, then remove the line of basting along the seam and press. Trim off all rough edges. The inside seam is opened and notched at the bend of the elbow and an inch or two above and below and bound with silk binding ribbon or evenly overcast with twist or mercerized cotton.
Adding Cuffs
If an elaborate cuff or trimming is to be added to the sleeve, whether full or plain, it should be made separately and blind stitched to the faced sleeve. In casethe sleeve is gathered the fullness can be put into a narrow band, the exact size of the cuff, the cuff then sewed on the band.
Putting in Sleeves
In putting the sleeve in the armhole, be sure that both seams are at the same point, that both have the same amount of fullness at the top, and that the plaits or gathers are equally distributed from front to back. The sleeve should be held next to the worker and should lie easy from seam to seam at the under arm. Baste with close, even stitches or back stitch with coarse cotton or twist the same color as the waist. Stitch in the sleeves on this line of basting, keeping the armholes curved while the stitching is being done. Trim off edges and finish with binding or close overcasting. The most careful binding is clumsy compared to the overcast finish. Turn the seam toward the shoulder and hem to the lining over the shoulders. This will do away with the stand-up look that sleeves sometimes have.
Finish at Wrist
For the sleeve finished plainly around the wrist, a piece of bias crinoline should be fitted at the hand. To do this, turn the sleeverightside out and slip the crinoline in the sleeve over the left hand and adjust by moving the fingers until the crinoline shapes itself to the sleeve perfectly, then pin and baste at the top and bottom. In this way the crinoline will be neither too short nor too loose and all wrinkling will be prevented. Turn the sleeve inside out and cut off the crinoline one-fourth of an inch from the edge, keeping aperfectly true edge, turn the sleeve over the crinoline, baste the outside part of the sleeve and cat-stitch to the crinoline, then cat-stitch the crinoline to the lining. Remove the lower basting and press. A bias strip of silk sufficiently wide to cover the crinoline is hemmed at the lower edge and to the sleeve lining just above the interlining. Whenever it is possible to do so use the cat-stitch. It is a neat finish, easily and quickly done, takes less time than hemming, besides being less bulky.
If the bottom of a coat sleeve is to be left open at the back or slashed, an interfacing of light weight canvas will be necessary. Turn the outside portion of the sleeve over the canvas, care being taken to turn all corners at the slash, and curves, press and stitch, face after the stitching is done. It may be stitched better if the back seam is left open.
Pressing Sleeves
In the coat sleeve both seams are curved and should be pressed on a curved board. A rocking chair inverted, with the rocker covered with soft cloth, makes a good board on which to press the curved seams of a sleeve.
The shaped, standing collar is worn with waists of all kinds and is always a popular neck finish. In a close-fitting collar made of heavy material an interlining of canvas or crinoline is necessary. The interlining should be cut one-fourth of an inch smaller all around if the collar is to be blind stitched to the waist.If it is to be sewed to the neck, in a seam, the lining should be the same size as the collar at the neck. Baste this interlining to the collar material, cut out the corners of the material, and hem the extended portion to the interlining. The interlining should always be cut bias, whether the outside is bias or straight. Hem the collar lining to the collar.
Putting on Collars
To sew the collar to the neck of the garment, first pin, beginning at the back seam and baste towards the end. The lining may be left free at the lower edge and felled over the neck edge after the collar has been stitched to the garment, or the lining may be stitched in the seam, the seam pressed open and a bias facing of silk or light weight material hemmed on over the seam.
The beauty of collars and cuffs depends largely upon the exact turning of corners and finish of ends. These should never be left bulky or clumsy. If preferred, the lining and outside of collar may be seamed and turned. Place the right sides of outside and lining together, the interlining next to the lining, stitch around both ends and top of collar, then turn and press. These rules may be followed in making sailor or any lined collars. Collars made of all over embroidery should be faced with tape on the wrong side before the trimming is applied to cover the edge of ruffle or lace.
The plain or shirt waist pattern will do duty for many garments—corset cover, night dress, dressing jacket, etc. The upper part of the waist will answer for yoke pattern of different shapes.
Pattern for Yoke
To make a pattern for a seamless yoke baste together the shoulder seams of the fitted waist pattern, place the upper part of the pattern on cambric or stiff paper, with the front of waist on straight edge or fold of paper, trace the shape of the neck yoke any desired depth below the neck line. The lower edge can be cut in any shape, the neck either high or low, round or square. This perfectly fitted yoke pattern can be used for a foundation for lace, velvet, ribbon, net, or any thin material. The circular yoke made of lace and ribbon or bias strips can be made to open in front or back. The strips of inserting and ribbon should be basted on the paper pattern and joined by fancy stitches or over sewed. The parts next the neck will need to be held fuller than the outside curve of the inserting.
All yokes to be worn under the gown should be made on a well-fitted lining. Never trust to pinning, basting, or hooking the yoke to the waist.
The finish of collar, cuffs, girdle and placket are hallmarks of good dressmaking. Well finished ends and corners, the careful adjustment of fastenings, shields carefully fitted to the arm's eye and caught smoothly to the lining—all these are little things that count for more than money spent in expensive ornament.