Butterick Dressmaking Book

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DRESSMAKING BOOK
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-L \yX\JLj VV \yJ\JLy The Butterick Company presents a
message of encouragement and inspiration to women and girls individually
and collectively, regarding the making of one's own or another's clothing.
Are you an amateur, filled with desire to achieve results you have seen
your friends achieve, yet fearful about using a pattern and unacquainted with
the behavior of materials} If so, Butterick comes to you with ready help to
show you how to choose and use a pattern, and to unravel the mystery of
fabric habits, and the puzzle of technique.
Are you a business girl, who in your leisure moments, would enjoy the ex-
perience of making a garment for yourself, yet bothered and perplexed
when confronted with some problem of fitting yourself? Butterick brings
to you the easy solution of your difficulties.
Are you a venturesome high school girl, who wants to surprise mother,
friends and teacher with a garment made "out of class"? And are you per-
plexed over the choice of color in your fabric, line in your pattern, and
general form of the whole? Butterick is right here with some pages dedicated
to the very points which trouble you.
Are you a home-maker who feels an urge to have something smarter in
style, and better in workmanship than your budget will permit you to buy
BUTTERICK DRESSMAKING BOOK
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what will meet and dissipate all your difficulties of selection whether it be
pattern, cloth or technique.
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Are you a teacher guiding the pupils under your care in the principles of
fine design and workmanship, looking about for new ideas, new methods and
equipment? Butterick comes to you supplied with all you need and all you
need to do is to peruse the content of this book to find answers to all your
questions.
Are you a skilled dressmaker looking for new methods, new equipment,
new ideas? You, too, will find them clearly illustrated and described within
the pages of Butterick's new Dressmaking Book.
Are you a woman with the native ability to design and construct your
own and another's clothing? Do you not sometimes feel you'd like to hear
and see what some one else thinks and does about this subject which seems to
be your primary interest? You, too, will find much within the Butterick
Dressmaking Book to stimulate and inspire you in your work.
So to you all;amateur, business or high school girl, homemaker or teacher,
dressmaker or native geniusButterick dedicates the content of its new Dress-
making Book in the sincere hope that you will find it useful.
THE BUTTERICK PATTERN
THE Butterick Company stands as the pioneer in
pattern making in the United States. The begin-
ning of this great business unfolded many years
ago in the thought of Ebenezer Butterick, a man's
tailor up in a little town in Massachusetts.
It all came about in this wise:Ebenezer's
wife was having difficulty in putting together a
dress for their baby son; she voiced the lament,
"If we only had patterns to make our children's
clothes, how much easier life would be!" Ebe-
nezer translated his wife's lament into a pattern
for a man's shirt, which he followed later
with patterns for a baby's first dress and a
boy's suit, both eagerly received.
The neighbors bought the pat-
terns eagerly and before a great
while a man with a horse and
buggy was hired to go about the
countryside and sell the patterns.
The farmers' wives demanded
patterns of clothes for themselves;
business became so brisk that in
1864 a sales office was opened at
192 Broadway, New York City.
Then came the first little maga-
zine showing Butterick patterns,
called "The Ladies Quarterly Re-
port of Broadway Fashions."
Soon, however, a quarterly was inadequate to
meet the needs of the avid pattern users, so, in
1868, "The Metropolitan Monthly" was issued,
and in 1875 it was merged with the Quarterly
under the name of "The Delineator," the oldest
but one of women's magazines in the United
States and Canada. The "Butterick Fashion
News" which we know so well today, first came
out as an illustrated pamphlet sent to merchants
for gratuitous distribution to customers.
The Butterick pattern business gradually
spread all over the world and today some of its
treasured possessions are time-mellowed notes
on crested stationery from nobility in other
countries asking for patterns for such garments
as "knickers for a little boy," "dolls' clothes,"
and a catalogue of "ladies' coats."
In 1908, the rapidly expanding Butterick Com-
pany issued The Butterick Fashion Magazine. It
was issued to fill a demand for
a book that is "all patterns and no
stories." Then as now the Fashion
Magazine contained illustrations
of seasonal styles, more compre-
hensive than the Fashion News.
The inclusion of articles on sew-
ing problems, fabrics, accessories,
and needlecraft, seemed to fill a
long felt need which has not dimin-
ished through the years.
After the World War, with its
impetus to home sewing, the Del-
tor was added to Butterick pat-
terns. This clearly illustrates step-
by-step instructions which carry the garment
from the fashion illustration to the faultlessly
fitted and finished costume. Butterick, the pioneer
among patterns, is responsible for the ease with
which a woman can make her own clothes and
wear them smartly.
THE BUTTERICK
PATTERN
The Making of the Pattern
In the making of these modern guides to good
dressmaking, each detail is worked out for you with
needle, thread, and material, on a living person, so
that Butterick may make sure the garment is not only
correct in theory, but also comfortable and smart in
appearance.
The Idea Back of the Pattern
The first step in making a pattern is the idea; this
is created in the mind of a skilled designer, and
worked out by a corps of trained assistants:de-
signers, practical dressmakers, and tailors who
create, test, and criticise from many points of view
until the garment is satisfactory from every aspect
of style, fit, comfort, and suitability.
The Fashion Centers
The Butterick corps of designers keep in close
touch with the work of all the famous style centers
here and abroad. They have access to exclusive
sources of new fashions, and they check up by con-
tinuous observation the way new styles are adopted
and adapted.
Buy the Pattern First
It really is best to buy your pattern before buying
the material for a costume, and for two good rea-
sons:By doing so you may select the best kind of
fabric for which the pattern is designed, and also
the correct yardage for the garment you have chosen,
all of which information is on the pattern envelope.
Material on Hand
Should you by any chance have on hand some
lovely material, do not select your pattern in a hap-
hazard way, but look for a design which will en-
compass your type of fabric. If the material hap-
pens to be a soft, sheer fabric, look for a pattern
which pictures such fabric and, moreover, mentions
it on the list of recommended fabrics on the en-
velope. If it happens to be a bordered fabric, a
plaid, stripe or print, choose a pattern which recom-
mends and pictures such material.
ADVANTAGES OF
BUTTERICK PATTERNS
Butterick Patterns
Butterick Patterns have a definitely cut outline
and are ready to use.
Perforations
Three definite kinds of perforations; the larger
perforations indicate the placing of each piece of
the pattern on the correct grain of the material;
medium triple perforations indicate the placing of
the edge bearing the perforation on a fold of the
material; the small perforations indicate the sewing
or seam lines. These perforations are of the utmost
importance in the construction of your garment.
Notches
Notches are of importance also, and should be
carefully regarded; cut notches into the seam if the
material does not fray; should it fray, cut notches
outside the seam; it is better still to mark notches
with a few small running stitches on the seam.
Seam Allowance
Butterick has a unique seam allowance,a special
"outlet" seam of % inch on the under-arm, shoulder
of the waist, and hip seam of the skirt, and at the
waistline in some designs. The allowance on other
seams is % inch, which gives freedom in finishing
seams. The "outlet" seams are very important to the
home sewer, being useful in adjustments in size, and
Sequence in Numbering Pieces
Careful attention is given to the numbering of
the pieces of Butterick Patterns so that in assem-
bling parts of garments the worker can follow a
regular sequence; for instance,bodice pieces,
front and back, will be numbered 1 and 2. Picking
out numbers in sequence will guide one in pinning
parts together.
Size Range
Butterick Patterns are generally issued in both
odd and even sizes. If you measure 33 or 35 bust
for example, you can buy a size 33 or 35 pattern.
If it were not for Butterick odd sizes, you would
have to buy an even sized pattern and adjust it
to fit.
The Dehor
Butterick originated and patented the Deltor,
which carries full instructions for every step in the
construction of your garments, and Butterick in-
structions have always been considered the most
thorough and reliable. There are several important
characteristics of the Deltor, which are well worth
taking note of:
It shows how to alter for length without disturb-
ing the lines or balance of the pattern.
It shows how to cut each and every size in the
various widths of material recommended for the
garment.
It explains clearly how to make, finish and trim
your garment.
A most important characteristic is sequence of
instruction. In the Deltor is indicated the proper
time to do each step, and insure that there will be
no later difficulties if the sequence of the Deltor is
followed.
The Envelope
The envelope contains a list of recommended
fabrics, which govern the yardage requirements.
For instance, if the pattern is designed for striped
material, it will be so stated and layouts for striped
fabrics will be found in the Deltor. But if stripes
are not recommended, layouts for stripes will not
be provided.
Since these fabric recommendations are given
after careful study of the design in relation to
material, they should be followed for the most
satisfactory results. The cutting diagram, quantity
table, and each step of the sewing instructions
represent hours of work on the part of experts,
and will save you endless time and trouble in
assembling your garment. Trust the Deltor and
you will find dressmaking an absorbing occupa-
tion crowned with happy results.
When a fabric, such as fur, requires special han-
dling, the Deltor shows you what to do with it in
such graphic sketches that you go through the oper-
ation smoothly and emerge with a professional result.
Outside
In patterns that indicate hand embroidery, the application
of a transfer pattern is shown with such clarity that there
can be no misunderstanding. These are small details but
they contribute enormously to the service of the home sewer.
SIZES 30-38
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EQUIPMENT
The following description of an ideal arrange-
ment for a woman who does, or has much sewing
done at home, need discourage no one; all one needs
is to begin with what is at hand and enjoy the fun
of adding a bit here or there, until a fine workable
arrangement is established.
A room if possible set apart for sewing, in which
tools and equipment may be kept ready at hand for
a few moments or hours of work.
A cupboard in which to hang unfinished garments
and store equipment.
Chest of Drawers in which to keep unfinished
parts of garments; pieces of material and general
supplies for sewingtape, thread, needles, and pins.
Long Mirror in which to see an entire garment for
line, color, form, and balance.
Cutting TableLarge, smooth, hard surface; high
enough to stand by comfortably when cutting gar-
ments; foot-rest attached to use when sitting. A
drawer in table is a great help to hold needles, pins,
scissors, tracing wheel and so on. If large table not
available, folding cutting boards of heavy cardboard
are for sale, 40 inches by 54 inches and 40 inches
by 70 inches.
Sewing MachineA standard make with a fi *J
equipment of tools and attachments.
Dress-FormPadded to fit individual measures, a
great help in working for one's self.
Sleeve FormAlso padded to measure for in-
dividual.
Pressing BoardsRegular ironing board, firm
and steady; folding type for storing; sleeve board;
small seam board. Needle Boards (2) for pressing
velvet, corduroy or napped surfaces, one with wood-
en, the other with cotton cloth back. IronsReg-
ular iron for pressing. Steam IronSupplies
steam for pressing; must be carefully used.
Tailor CushionOval shaped
cushion 12 -14 inches long by
6 inches deep stout un-
bleached muslin stuffed hard
and firm with scraps of wool cloth; used to press
arm-holes, curved seams. Small Tailor Cushion
Same as largerused to shrink fulness out of top
of sleeves and other parts.
Iron Wire Stand on which to
invert an iron for steaming vel-
vet or cloth. Tea kettle with at-
tachment for steaming gowns.
SMALL EQUIPMENT
ShearsFor cutting garments;
good steel, medium size, bent
shears considered best.
Pinking ShearsFor pinking
seams when finishing them, not
when cutting cloth, unless on crisp cottons or other
materials that do not fray. Many women like to cut
with pinking shears but
care must be used so that
finished seam will not be too narrow.
Small Scissors
For clipping bastings; ripping; fine sewing.
Buttonhole ScissorsFor cutting buttonholes.
Razor BladeFor ripping.
ThimbleGood metal; fit well.
Tape MeasureGood one, stitched; sateen best.
PinsDressmakers', good points, by box.
Pin-cushionWool cloth, stuffed with curled hair.
NeedlesMilliners' for basting; ground downs for
<Yry fine sewing, sharps for general sewing and
dressmaking.
Emery Bag to remove rust from needles.
Tracing Wheel to mark seams on cotton and linen.
Carbon-paperWhite or yellow for tracing seams.
Tailor's Chalk for marking seams.
Stiletto for forming eyelets.
Bodkin for drawing tape or ribbon through casings.
Safety PinsLarge, for fastening to end of belt
when drawing it to right side.
Tailor's SquareMakes good skirt marker.
Skirt MarkerAny good type.
SoapPiece hard dry white soap to rub r^
on material (cotton or linen) when
drawing threads for hemstitching; also
on heavy seams to help them pass under
presser-foot easily on machines.
Press ClothsTwo heavy cotton cloths
(boiled to expel sizing), and one light [_
weight cotton cloth (cheese cloth).
Paraffin for smoothing irons.
Salt for cleaning irons.
TAKING YOUR
MEASUREMENTS
Before you buy a pattern it is wise to be measured
carefully rather than assume that if you wore a size
sixteen last year you will do so this season. The
position of the tape measure and the exact manner
of taking the necessary measurements are important.
Butterick patterns are cut so that no allowance is
needed for fullness. Each pattern is cut to permit
perfect freedom of motion, so if you make additional
allowance for the style of the garment, the result
will be much too large for you. Remember, too,
that every Butterick pattern provides wide seams on
certain edges so that a little additional size is always
possible for fitting.
Place tape around
Taking Individual Measures:
waist before taking measures.
Length of Back: From the socket bone in the
neck, to lower edge of tape at waist.
Length of Front: From hollow in neck to lower
edge of tape at waist.
Under-Arm Measure: From hollow under arm
to lower edge of tape at waist.
Bust Measure: Stand behind figure; take measure
around fullest part of bust, an easy measure.
Waist Measure: Taken around waist, a comfort-
ably snug measure.
Neck Measure: Around the base of the neck, an
easy measure.
Width of Back: Across broadest part of back
between shoulders.
Width of Front: Across chest about 2 inches
below hollow of neck.
Note:Place thumb under the arm and first
finger on bone at shoulder in taking width of back
and front; this locates point from which to take
measure, as hand forms an arm-hole curve from
center of which to take measure.
Sleeve Measure: Girth:Around fullest part of
arm near top.
Hand: Around hand, over knuckles, fingers ex-
tended.
Armhole Measure: Around arm over bone in
shoulder.
Length of Sleeve: From bone in shoulder to point
of elbow when arm is bent and down to bone in wrist.
Buy Your Pattern in accordance with the measure
printed in the upper right corner of the pattern
envelope. Frocks, coats, and blouses, are bought
primarily by bust measure. If the tape measure
shows your bust measure is 36, you need a 36 bust
pattern for these garments. Skirts, Panties, Petti-
coats are bought by hip measure primarily.
For further help in the selection of patterns see
other measurements on the back of the pattern en-
velope, and the four figure classifications discussed
on the opposite page.
Dress Form: A great help in making one's own
clothing. Get a standard make of form, a size smaller
than your bust measure.
Buy a Butterick French lining pattern your bust
measure size.
Cut lining out in heavy unbleached muslin; have
it fitted; stitch and press all seams, leaving the back
open, one edge turned on seam line, the other open
as an extension.
Pad form with tissue paper or cotton batting to
fill out lining; have it smooth and firm; sew back
opening by hand when smoothly padded.
FOUR PATTERN CLASSIFICATIONS
FOR FOUR FIGURE TYPES
Butterick patterns are divided into four classifica-
tions to fit four definite figure types. Your particular
classification will do two things for you: first, fit
you with little or no alterations; second, flatter you
because its lines have been designed specifically for
your type of figure. If you are looking for fit and
chic, buy patterns in the classification that cor-
responds with your figure. Each type is described
individually on this and the following page.
However, if you like a particular design not in your
classification, there is no reason why you should not
buy it if you get it in the correct bust measure.
The Dehor, the individual dressmaking chart includ-
ed in every Butterick pattern tells and shows you
exactly how to shorten or lengthen the pattern before
you lay it on your material.
shown in the counter catalogue it will be wise for
you to look first for patterns in this classification.
These patterns are designed for the young figure.
They are not only cut in small sizes, 12 to 20, with
bust measures from 30 to 38, but they are designed
to give zest to the young in years or the woman with
a lithe young figure.
The smallest size is made for the Miss who is ap-
proximately 5 ft. tall. There is a gradual increase in
the height up to the largest size, which is made for
figures 5 ft. 6y2 inches tall.
So if you have a young figure and like young looking
clothes, you will find Junior Miss Patterns the smart-
est sort to fit your figure and your fashion require-
ments.
The wide seams on certain edges of Butterick pat-
terns are there to take care of slight variations from
the average in bust, waist, hip or arm measure and
to adjust the pattern for a better balance and in
fitting the garment to your figure.
It is better however to buy patterns in the classifica-
tion to which your figure belongs. It avoids altera-
tions or reduces them to a minimum. In addition, you
gain the advantage of lines designed by experts to
do full justice to your particular type of figure.
For women who prefer a conservative styling of
fashion trends, Butterick provides an exclusive serv-
ice patterns that cut in bust measure only
every two inch bust from 34 to 48, 50 or 52.
The proportions are those of an average figure, but
special consideration is given to the larger bust sizes
in designing.
To offer you a wider selection of styles we have in-
cluded in this department certain Butterick Women's
and Misses' designs, the character of which we con-
sider suitable to larger sizes.
We recommend this classification, if the styling of
the other groups seem too youthful for you.
This classification is designed for the average figure.
Although some of these patterns are made as small
as Size 12 or 30 Inch Bust, they seldom rim larger
than 44 Inch Bust.
For sizes above 36 Bust the patterns are made for
women and misses about 5 ft. 6% inches tall. The
smallest size in this classification is made for figures
1Y2 inches shorter than size 36. There is a gradual
increase in height up to size 36.
If your measurements come within the range given
for Women and Misses in the Table of Measurements
These patterns have been designed for women who
CHOOSING YOUR
PATTERN AND MATERIAL
Any woman who loves clothes (and who doesn't?)
finds the choice of pattern and fabric an exciting
project. However, it is one that takes a good deal of
care and judgment since so many factors enter into
it. Individualists may care for clothes that are not
in the prevailing mode but most of us feel more com-
fortable wearing clothes that are in fashion. This
means studying current magazines, going to fashion
shows when possible, and watching what other wo-
men are wearing in smart places.
Right here the Butterick service is waiting to safe-
ly guide your choice of style and line, and also give
wise hints as to the proper fabric suited to the pat-
tern and to the lines of the figure.
You need have no fear that, having found your
lines, you will not be able to follow in some measure
the season's trend; there are always possible modifi-
cations which permit us to keep to the general line
and yet adapt the new to ourselves.
Butterick recognizes four figure types upon which
designs are created, and patterns made.
The Average Figure with good proportions, will
in most cases find Women's and Misses patterns best
for her; she will virtually have no limitation since
her figure presents no particular problem.
The Junior Miss Figure has more leeway; she
is either very young or has a young figure. Extreme
silhouettes, short skirts (when in vogue), peasant
styles, gay plaids, stripes, and prints are suitable for
this type. If you are short as well as slight, have a
care not to dwarf your height with bulky fabrics,
too large prints or intricate designs.
Shorter Woman's Patterns with Larger Hip
may meet your need to appear more slender. But-
terick's idea of a slanting line from underarm seam
to draw side seam toward the back, gives an illusion
of a narrow back, and slender hips. Decorative in-
terest in the bodice is found below the shoulder and
above the bustline to make bust appear smaller.
Stitched down pleats, and center skirt panels also
draw the eye of the beholder in a vertical line.
Women who require patterns that cut in larger
sizes, and prefer a conservative styling of fashion
trends will find the above slenderizing principles
embodied in her pattern classification, and she should
follow the same general rules outlined for shorter
women with larger hips.
Easy fitting is essential in modifying outlines.
Narrow, self belts help this continuous long line.
Lustrous fabrics have a tendency to throw enlarging
high-lights on the figure, and so are not for you.
The too tall, too slender woman can minimize her
height, and add to her apparent girth, by choosing
patterns with broken lines, such as wide belts, deep
yokes, boleros, flounces, cross-tucks, or horizontal
stripes that all add to the illusion of greater weight.
Larger Measures. When the hip measures from
2 to 3^ inches larger than the corresponding mea-
surement on the pattern, for your bust measure, buy
the pattern by the hip measure. This will necessitate
alteration in the upper part of the garment, but
preserve the lines of the lower part.
Correct pattern lines will help materially in modi-
fying undesirable outlines; study your figure, esti-
mate its good points and bad, and select your pattern
from designs which cover your needs.
These designs you will find within the pages of
your Butterick Advance Fashion Forecast, Butterick
FACTS ABOUT
FABRICS
cottons and linens if you want to be sure of colors
that last and garments that fit. Ask for crease-resist-
ant and permanent-finished cotton, linen, and rayon
(particularly spun rayon) if you want to avoid con-
stant pressing and starching respectively.
Stick to the recommendations on pattern envelope
so that you will not be tempted to buy:
Sheer wool for pattern designed for silk.
Crisp fabrics for pattern intended for soft effects.
Wiry materials for garment full of gathers.
Nap fabric for tucked design.
Your pattern in hand, the occasion for which you
will wear the garment, and the chosen view clear in
your mind, you are now ready to buy your material.
It is well to select material from the types recom-
mended on the pattern envelope because every But-
terick pattern is designed and made for certain kinds of
fabric. This will assure effective results in your work.
Knowing Fabrics
Your adventure in dressmaking will be happier if
you become acquainted with your fabrics, not tech-
nically through laboratory experiments but prac-
tically so that you know their names, something of
their texture, and behavior in different situations.
Of course, you know that the five chief fabrics
derive their names from the fiber of which they are
woven or knit: wool, silk, linen, cotton, and the
man-made fiber, rayon. You are also aware that
rayon is making constantly wider inroads into the
textile field and that it is being mixed with the
other fibers to such an extent that it is impossible to
tell the content of a given piece of material. There-
fore, it is wise to go fabric shopping armed with
definite goals.
Points to Remember When Buying Fabrics
Buy at reliable stores that stand back of their
merchandise.
Look for manufacturers' labels of guarantee.
Wool: Ask for pre-shrunk woolen. Some stores
have a sponging service; a local tailor will perform
this service; see page 20 for doing it yourself.
Silk: Ask for pure dye silk if you want unweight-
ed silk; ask for properly weighted silk if you want
the body that weighting gives for specific purposes.
Cotton and Linen: Ask for dye-fast, pre-shrunk
Points to Remember When Sewing Fabrics
Wool: Use a loose tension, long stitch, sewing
silk to match; some use mercerized cotton thread.
Baste loosely woven woolen fabrics firmly to avoid
stretching.
Silk Jersey: Baste finely; stitch with fine needle,
loose tension, medium stitch, and sewing silk. To
avoid pulling use paper under fabric while stitching
on silk or rayon chiffon or metal cloth.
Silk or Rayon, crinkled crepe or matelasse,
baste firmly; stitch with medium needle, thread and
tension. Taffeta, fine needle thread, medium stitch.
Velvet: (silk or rayon) Pin with needles, baste
with silk thread, avoid marking; use fine stitch to
prevent slipping. Overcast seams.
Nets and Lace: Require special care. Use fine
thread, short stitch, and mercerized thread to match
fineness of fabric. Overcast seams.
11
TESTING AND
ALTERING PATTERNS
Patterns
Patterns for blouses and one piece dresses and
coats should be bought by the bust measure; skirts
should be bought by hip measure.
Testing Patterns
Patterns should be tested before cutting into the
cloth; the safe way for the inexperienced worker is
to pin the pieces of the pattern together, following
the line of perforations; do not pin sleeve into arm-
hole as that would be apt to tear the pattern. Slip
pattern and sleeve on; pin at shoulder, neck and
waistline front and back. Note how much, if any,
needs to be added to or taken from the length of the
pattern; also whether it seems too snug or easy or
"just right."
Altering Pattern: To Shorten
If the pattern needs to be shortened, draw two
horizontal lines across front and back of blouse pat-
tern indicating the amount to be taken out; pin
tucks in the pieces, bringing lines together; correct
the under arm seam line as indicated in illustration.
Shorten skirt part below hip line.
To Lengthen
Draw line across sections of pattern and cut
across; separate the pieces the necessary amount and
pin pieces of paper to pattern to extend it. Lengthen
skirt part below hip line.
12
UTTERICK DRESSMAKING BOOK
To Shorten One Piece Sleeve
Draw lines for tucks on same principle as in the
dress, marking above and below the elbow; pin
tucks to place.
To Lengthen One Piece Sleeve
Draw lines across above and below the elbow;
cut across; cut strips of thin paper and pin to place
adding what is necessary to the length.
To Shorten Two Piece Sleeve
Follow the same method as in the one-piece, plac-
ing tucks at two points in sleeve.
To Lengthen Two Piece Sleeve
Carry out the same idea as in the one-piece sleeve,
slashing at two points in the same way.
Kimono Waist and Sleeve
Lengthen or shorten applying method for plain
waist and sleeve.
13
Making Room for Larger Arm
If arm is only a little fuller than average,
out" seams will take care of it.
'let-
Arm Much Larger
A. Arm much larger than average, its full length;
slash sleeve pattern from top almost to bottom and
separate edges at top.
Arm Large in Upper Part
B. Arm large in muscular section between elbow
and shoulder; lay pattern on paper and outline top;
slash a little on back of center and spread pattern
as in b; place darts to take up resulting fulness.
Arm Consistently Large
C. Arm consistently large above elbow, make nec-
essary adjustments by cutting and spreading pattern
as in c.
BlouseWith Large Armhole
Depth of armhole precludes shortening or length-
ening blouse at usual point; tuck must needs change
size of armhole; tucks or slashes in sleeve must meet
those in blouse and be of same depth. Shorten or
lengthen sleeve at hand.
Square Shoulders
If wrinkle is very slight, correct by using the
let-out seam at the shoulder; let it out at the arm-
hole; if this wrinkle is pronounced, take up the
shoulder seam at the neck as much as is necessary
to remove wrinkle. This will make neck too tight;
clip neck-line at intervals to free it, and later cut it
away.
Sloping Shoulders
Cause a diagonal wrinkle from neck toward shoul-
ders; if garment has an open neck and wrinkle is
slight let-out shoulder seam at the neck end; taper
alteration to regular line at arm-hole. A high or
pronounced wrinkle, take up shoulder seam at arm-
hole as much as is necessary and taper it off to line
at neck; this decreases the size of arm-holes; clip
them slightly at intervals under the arms; later trim
extra cloth away.
Round Shoulders
Garment hangs in wrinkles from shoulder blade
to under-arm seam and draws across the back; rip
under arm and shoulder seams and take up the shoul-
der edge of the back at the arm-hole, enough to make
back hang straight; taper off to nothing at neck;
ease shoulder edge of back to front; rebaste under-
arm seam with back as much higher than the front
at the armhole as shoulder was raised; trim off
excess material.
15
Over Erect Figure
Hie garment will wrinkle at the upper part of the
back on this figure; take up the shoulder edge of the
back at the neck; taper alteration nothing at arm-
hole; neck will be too high; clip the neck at inter-
vals, and trim off edges, back and front.
Large Bust
Large in proportion to rest of the figure will cause
garment to stand out in front, below bust, and draw
in wrinkles, downward toward under-arm seam. Rip
under arm seam to within 2 inches of arm-hole, if
there is no dart, take one deep enough on front to
raise garment the necessary amount; if there is a
dart, rip it, and make two darts, one above and one
below the fullest part of the bust; what is taken up
in dart, must be taken from back, at lower edge if
garment is plain, if not, then at neck and arm-hole;
re-cut as shown.
Flat Bust
Causes wrinkles at center front, through bust and
makes lower part hug in; if there is an underarm
dart, rip side seam and let out dart; the excess
length may usually be cut from lower edge; if con-
struction will not permit, recut front as shown.
16
Flat Bust with Shoulder Dart
Let out dart as much as is necessary on armhole
side, so line is unchanged; this will make shoulder
too long; lay pattern on; re-cut armhole; the front
from shoulder to bottom of armhole will be too long;
find out how much by pinning up front shoulder; lay
pattern on, and re-cut shoulder and neck edges.
Larger Hips than Average
Cause wrinkles across back and front and draw-
ing up of garment out of line; Butterick "Outlet"
seams will take care of this irregularity if it is slight.
Where the hip measure is two to three and one half
inches larger than the corresponding measures on
the pattern envelope, it is much wiser to purchase
a pattern for the hip measure and make alterations
in the upper part of the garment.
17
Prominent Abdomen
Lower edge of garment cut for average figure will
poke out at lower edge. If it is a one-piece garment,
open underarm seam to 7 inches below waist line
and take a dart deep enough to straighten front of
garment; taper dart carefully to nothing on front;
trim off extra length on back at lower edge.
Or open underarm seam to within 2 inches of arm-
hole and place one or two darts sufficient to straighten
front; baste seam; trim off extra length on back at
lower edge.
Skirt AlterationProminent Abdomen
Allow front higher and taper to side seam; extend
a trifle on back; this change makes waist smaller,
so add at side seam and center back. Alter circular
skirt in same way, raising waistline in frontadd
to waist measure in center back.
Shortening Circular Skirt Pattern
If less than three yards wide, lay pattern on table;
measure width around bottom, slash pattern and
spread, so when shortened it will be correct width.
18
Altering Pattern for Panties or Shorts
Pin seams, turn hem; try pattern on.
Shorten by means of tucks about 7 or 8 inches
below the waistline.
Lengthen by means of slashes at the same point as
for shortening. Set strips of thin paper in slashes to
secure the proper length.
Altering Pattern for Pajamas or Slacks
Pin parts of pattern together; turn hem; try pat-
tern; if it is too long, alter by taking a tuck about
7 or 8 inches below waist, and also in the leg above
the knee.
If pattern is too short, reverse the process; slash
at the same points below waist and above knee, and
insert strips of paper to preserve the contour and
give the desired length.
19
PREPARATION
OF MATERIAL
Straighten ends of cloth before cutting:Many
cotton fabrics may be torn to secure a straight thread
to work on. To tear material, clip selvedge; place
thumb of left hand on top of material and right
thumb underneath, tear quickly straight across; this
prevents material from twisting.
Straighten fabrics which cannot be torn by draw-
ing threads where possible, or squaring yard-stick
with selvedge and drawing line across with tailor's
chalk.
Cotton and linens today are so generally commer-
cially pre-shrunk that there is seldom anything for
the home sewer to do with them in preparation for
cutting.
Cotton or linen fabrics do occasionally appear
which are not pre-shrunk; they may be taken care
of at home. Lay piece of white material in yard
folds; sew tapes through the folds on the selvedge;
lay material if white in its folds in tub of hot water;
let it remain several hours. Drain but do not wring
it; hang to dry by tapes; when nearly dry, remove
tapes and iron on the wrong side, moving iron with
the grain of the material.
The purchase of pre-shrunk material saves the
price of extra yardage to allow for shrinkage, plus
the work involved and the time consumed in doing
it at home or the expense of having it done for you.
Wool fabrics are usually pre-shrunk when sold;
this sponging is not, however, always to be relied
upon especially for tailored garments.
A local tailor would probably do the sponging
for a small fee.
It may, however, be done at home as follows:
Thoroughly saturate a sheet, which has been folded
to the width of the cloth, with cold water; lay
material out smoothly on table and sheet upon it;
roll both together and leave for several hours, or
all night; press with not too hot an iron, using a
heavy press cloth.
20
HINTS ON
CUTTING
Grain of Material
Refers to the lengthwise (warp) and crosswise
(woof or filling), threads in the cloth; thereby we
have a lengthwise and crosswise "grain" and by
folding cloth so the lengthwise and crosswise threads
are parallel, we have a bias. Large perforations on
each piece of the pattern indicate the proper placing
on cloth.
Unless patterns are placed on material with proper
reference to the "grain", the finished garment will
not be properly balanced, thus destroying the order
and harmony of the design.
Attention must be paid to the pattern or design of
the cloth. Plaids may have an up and down or a
right and left, or an even repeat by reason of the
arrangement of the bars of color therein.
Stripes may also show a distinct right and left or
even repeat by reason of the same.
Floral designs may also be found to run in one
direction thus making an up and down.
Surface, nap and pile also bring out up and down,
the first due to the finish applied in manufacture,
the second due to yarn, weave and finish; the third
to weave. By brushing the hand over the surface
of the cloth we determine the "up and down." Ex-
cept in pile fabrics, patterns are placed, so that the
"smooth way" will run downward in the garment.
Pile fabrics may be cut either way according to color
effect desired.
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HINTS ON CUTTING
Straighten end of material before placing pattern;
this may be done by tearing or drawing a thread,
or squaring with yardstick (see page 20), or in
heavily woven material by following a crosswise
thread of the cloth itself.
Press pattern and material (if it is at all creased),
before cutting any one piece.
You can see by the way the stripes carry across
this blouse with front closing, and over into the
sleeve as well, how you will look when you have
followed the instructions about placing your pattern.
You can perhaps imagine how inharmonious it would
seem if those stripes missed out in meeting on the
closing line, or did not carry through the sleeve.
Use good, sharp shears, thumb through the small
bow, fingers through the large bow. Cut long, even
strokes to the end of the shears.
In laying out a pattern on an irregular plaid, all
pieces must lie in the same direction.
Place corresponding notches on the same stripe in
material to make them match in garment.
You can also see in the little jacket, what it means
to carefully regard the placing of a pattern, so the
corresponding notches in front of jacket and arm-
hole are on a stripe. You will have such a comfort-
able sense of balance, which helps to make the wear-
ing of smart clothes enjoyable.
It is most important to have corresponding notches
on armhole of front and sleeve touch a stripe, not
between two, when placing a pattern for cutting
stripes or plaids; likewise corresponding notches
on a skirt.
Do not forget the rule for placing patterns for
stripes and plaids.
22
PLACING PATTERN -
CUTTING GARMENT
If you desire to make a skirt of striped material,
having the stripes meet diagonally down the center
front, be sure to purchase a pattern designed for this
type of cutting, and also a striped material having
an even repeat.
You will note that the Deltor shows you how to
place your pattern so that the corresponding notches
on the pieces of the pattern touch a stripe, not fall
between two stripes.
When your pattern has been tested, and adjust-
ments made, arrange the pieces of your pattern on
the material as shown in the Deltor you have chosen
for your width of material and size.
Pin each piece of the pattern to place, following
the layout exactly; do not place pins on or across
sewing lines.
If a part of the pattern is laid with one edge
on a fold, pin the edge that lies along the fold. In
pieces not on a fold, be sure the large perforations
marking the grain line, follow the grain line as
shown in the layout. Place all pieces of pattern be-
fore cutting any part out.
In cutting, use long sharp shears, and cut exactly
along the edge of the pattern. No need with a But-
terick pattern to "allow for a seam." All seams are
provided for; if you add to these you will have a
garment too large for you; only one exception to
this ruleif you have a material which frays badly,
add 14 inch to take care of the finishing.
Notches:May be clipped in or cut out beyond
the edge of the seam; the safest way is to mark
notches with two or three running stitches.
23
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MARKING
SEWING LINES
Tailor Tacking or Tailor Basting
Deltor recommends as an accurate and safe meth-
od of marking on the cloth, seams, darts, tucks, pleats,
place for pockets, and bits of decoration indicated
by the perforations in the pattern.
Where there are two sizes of perforations, use dif-
ferent colors of thread. Mercerized thread will not
pull out. Use a long double thread, no knot; take
two small stiches in each perforation, through both
thicknesses of cloth; leave a loop at least 1% inches
long; repeat until all lines are marked. Lift pattern
from the cloth; carefully lift one section of cloth
from the other, as far as the loops will permit; clip
the loops, leaving a correct sewing line on each
piece; mark center front and center back with un-
even basting. Mark arm-hole and neck-line with
running stitch; also prevents stretching.
Tracing Wheel
Seams on cottons, and linens may be traced direct-
ly through the pattern. Run tracing wheel in direct
lines, straight ahead; do not see-saw it. Do not
trace on table as it will mar it, have a piece of
smooth unvarnished board for this purpose.
Wool materials may be traced by using white or
yellow carbon paper; place pieces of garment on
carbon paper; trace lines through pattern; remove
pattern; turn material and trace again through lines
obtained from carbon paper.
A clever device for tracing seams is a chalk board,
made of very heavy cardboard which does not have
a polished surface; mix a paste thick as paint with
water and blue carpenter's chalk; paint two coats
of mixture on board, letting first dry before putting
on the second, cover board with heavy cotton Brus-
sels net, which keeps chalk board intact and prevents
cutting fabric with tracing wheel. Use chalk board
same as carbon paper.
24
ASSEMBLING PARTS
OF GARMENTS
Refer to the pattern; follow carefully the num-
bers and notches on each piece of the pattern; and
the Dehor directions for assembling parts; there
will then be no confusion.
Each piece of the pattern is numbered; begin with
number one and look for number two; look at the
layout on Deltor to identify the parts; bring corre-
sponding notches together; pin seams, having tailor
tacks or tracings exactly meet and pins at right
angles to the seam; (the last to insure straight lines
of basting and lessen possibility of pricking the
fingers). Keep work on table while pinning parts.
Straight and Bias Edges
Lay straight edge on the table and bias edge on
top to prevent stretching the bias. If there are two
bias edges lay the less bias edge on table, the more
bias edge on top.
Baste narrow strip of silk or seam binding to V
neck of dress to prevent stretching; hold neck easy
on binding.
Baste sleeve in armhole to have idea of complete
garment.
Turn hem-line marked on pattern and pin; place
pins perpendicularly to give better effect of hem.
FITTING GARMENTS
First Fitting
Put garment on, right side out; see that it is well-
placed, center lines front and back in correct posi-
tion. Grain of material should carry straight around
figure at bust and hips. Garment should be easy
fitting over bust, hips and across shoulders. Look
garment over carefully to see:first, the general
effect of the whole; the length of sleeves, shoulder
seams, and of entire garment. Note location of
pockets and other bits of decoration.
Shoulder
Loose at shoulder, take up seam; if direction needs
to be changed rip seam; adjust and re-pin.
Bust and Hips
Loose; take in outlet seam; tight, let out outlet
seam; place pins carefully so as not to lose direction
of the line.
Armhole Seam
Generally set at bone in shoulder, carry down in
straight line until it turns under the arm; rather
straight in back; if it curves toward center of back,
hinders free arm-movement beside forming a poor
line. Rip if necessary and re-pin.
26
Sleeve
Lengthwise thread of sleeve should fall straight
from top of shoulder, down over the top of shoulder,
else sleeve will draw. Deep diagonal wrinkle across
top; drop top of sleeve, or raise under the arm. Note
position of elbow in cup provided by fulness; raise
or lower as needed; loose at wrist, with long thread,
baste a new line; loosen basting to take sleeve off;
draw up again and mark new line.
Neck Line and Collar
If shoulder seam has been altered, collar will need
fitting; make any change in neck line while collar
is off.
Length of Garment
If planned for straight lower edge (straight plaited
or gathered), changes in line would necessarily be
made at waistline; gored or circular types line
would be marked with tailor square or skirt marker.
Godets, or circular flounces;length marked at low-
er edge; straight skirt sections or pleatings must be
on a thread.
Alterations
Make any slight changes or corrections; baste parts
together again and hem line. Try on to confirm the
work done; it is then ready for stitching parts and
pressing. Make all changes found necessary in the
fitting; mark changes very carefully with pins or
tailor's chalk; rip corresponding seams and mark
same alterations on these by laying two correspond-
ing parts exactly together, and tailor tack, trace on
carbon paper or chalk board.
HAND AND
MACHINE
SEWINC
History tells us that at remote periods, wearing
apparel was made of crude fabrics, and through
processes of hand sewing and with the use of bone or
sinew needles, and thread made of skins.
Today, fabrics are manufactured in a variety of
forms and textures, and tools, likewise.
Hand Sewing
Hand sewing today has its place in the process of
garment construction as fundamentally as in earlier
periods.
It may be employed as a permanent sewing, or as
a preparation for machine sewing.
Hand sewing would seem not to be as strong as
machine sewing, but in some forms and for certain
purposes, when carefully executed, its durability is
unquestioned.
Familiarity with the various stitches used in hand
sewing, their formation and use, renders the process
of dressmaking simple and interesting.
Machine Sewing
Machine sewing definitely has its place in the
process of dressmakingbecause of the greater
speed by which the work may be accomplished, its
firmness, strength, and durability; its decorative
quality when employed on tailored garments.
The woman who does considerable sewing would
find a sewing machine a necessity. Where electricity
is available, the foot-power machine has no chance
of placement. Portable machines are useful when
there is limited space, but whenever possible, the
table type of machine is preferable.
Proper use and care of the sewing machine, as well
as all tools and equipment, add to the speed, the
interest and unbroken continuity of one's work.
Hand and machine sewn seams need to be pro-
tected at the ends, so they will not rip. Knots, addi-
tional stitches, tying or sewing ends of thread are
devices to accomplish this purpose.
A knot is made by winding the end of the thread
around the end of the first finger, (left hand) with
a short end of thread extending; with the thumb roll
this end of the thread around the loop of thread and
with the end of the second finger, draw the loop
together forming the knot.
A back-stitch (p. 32) will catch and cover the
loose end of thread at the beginning of a seam, and
one stitch upon another at the end will secure the
sewing.
Enough thread should always be left at the start
and finish of a machine stitched seam to permit tying
the threads or threading a needle and sewing them
to the cloth. Another method is to stitch back on the
seam by machine both coming and going; then it
cannot rip.
28
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WHAT NUMBER THREAD?
WHAT SIZE NEEDLE?
Black and
White
Thread
Mercerized
Colored
Thread
COTTONS AND LINENS
Hand
Needles
Machine
Needles
Machine
Stitches
per Inch
Heavy coating, suiting weaves, canvas, drilling,
duck, ticking, tarpaulin
Coarsest
10
12
16
20
24
Duck suits, awning goods, denim, porch furniture
covers, bed tickings
Coarse
10
12
30
36
Medium
Muslin, heavy cretonne, khaki, madras
Medium
Coarse
12
40
50
60
70
Medium
Cotton prints, cambric, gingham, percale
Medium
14
80
90
For
Sheers
Lawns, dimities, voiles, other light weight summer
fabrics
Medium
Fine
16
18
100
BASIC CONSTRUCTIVE
Running Stitch
The simplest form of stitch used in hand sewing.
It is used for various processesbasting, seaming,
tucking, gathering, shirring, gauging, slip-stitching.
To make:Take up on the needle, a few threads
of the cloth; then pass the needle over the same
number or more, and continue to the end of the
line of sewing.
Basting
A process in which running stitches are used to
hold two pieces of cloth together while they
permanently sewed.
are
Even basting
Used where there may be some strain on the seam
before sewing. Pass the needle over and under an
equal number of threads of the cloth; make a longer
stitch than for seaming.
Uneven basting
An excellent guide for stitching seams. Use a long
stitch on the upper side of the cloth and a short
stitch on the under side.
Dressmaker basting
Holds cloth firmly; also fine guide for stitching.
Take a long stitch and two or three shorter stitches
on the upper side of the cloth.
Diagonal basting
Fine for basting linings and interlinings to outer
cloth. Take a short vertical stitch on the under side
of the cloth and then a long stitch diagonally on the
upper side of the cloth.
30
STITCHES
Top basting
Used in basting two sections of a garment together,
one having the edge folded back and laid upon the
other, as lapped seams, sleeves into armholes, and
sometimes pipings and ruffles under a folded edge.
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Slip basting
Use of slip-stitching to firmly hold folded edge of
garment section which has been top basted and which
is to be stitched from the under side.
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Gathering
Used to draw a larger piece of cloth in to fit a
smaller. Running stitch, even when gathers are
pulled; uneven if gathers are stroked. Double thread
for one row; single thread for two rows. Do not
remove needle from cloth while gathering; push
cloth off the eye of needle when crowded.
Stroking gathers
Draw the thread up until folds of cloth are close
together; place a pin on which wind the thread;
hold cloth between the thumb and finger of left hand;
with the eye of the needle, or a blunt pointed needle,
stroke each gather to place; continue until all are
stroked. This helps to keep gathers smartly in line.
Shirring
Method of using gathers for ornamentation; two
or more rows of gathers, spaced as desired; the run-
ning stitches used in shirring do not need to lie
beneath each other. Draw the threads up; fasten and
steam the fabric as you would velvet to take out
little bubbles which may appear.
Gauging
Method used when there is a very large amount
of material to be brought into a small space; take a
long stitch top side of cloth, a smaller on the under
side; stitches on each row must lie directly in line
with the corresponding stitch on the row above.
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31
Backstitching
Strongest stitch used in hand sewing. Baste seam
carefully; use small knot; slip needle between two
thicknesses of cloth, and through upper side; take a
small running stitch; pass needle back over running
stitch, down through cloth and over twice as much
space as running stitch; bring needle to upper side
and down through cloth at end of running stitch;
repeat.
Fasten thread on under thickness of cloth, taking
one stitch on top of another; pass needle through
stitch to form a loop knot.
Half Backstitching
Stitches appear like running stitches on right side.
Same principle as backstitching; pass needle under
three times as much cloth on wrong side and come
only half way to end of last stitch on right side.
Fasten and join thread same as in backstitching.
Combination stitch
Used where not as much strength is required as in
backstitching, as fells or French seams. Appears on
right side like three stitches together, a space, three
stitches again and space; on wrong side appears like
running stitches.
Begin and fasten same as backstitching; take two
running stitches; bring needle to right side of cloth,
as if to take another; pass needle back to last run-
ning stitch and through to wrong side of cloth and up
through the same hole through which needle passed
last. Take two running stitches and repeat.
Overcasting
Diagonal stitches over raw edges of seams to pre-
vent ravelling of threads.
Trim the edges; conceal knot between edges, or
under one thickness of cloth; hold seam over first
finger, use thumb to push it along as work proceeds;
point needle toward left shoulder and make diagonal
stitches. Be sure the stitches are not tight and keep
them twice as far apart as they are deep.
Overhanding
Makes flat, strong, invisible seam on undergar-
ments, bed linen, hems on table linen. Fold edges of
cloth; baste folded edges together; hold between
first finger and thumb; point needle toward chest;
take straight stitches right side cloth, slanting
stitches on wrong side. Do not use a knot; sew over
end of thread.
32
Hemming
Folded edges, such as hems, facings and fells are
held in place by hemming. Baste folded edges care-
fully; conceal knot under fold; take up threads in
cloth and also in fold, use a slanting stitch; fasten
thread, one or two stitches under side fold.
Vertical Hemming
Sometimes used in sewing gathers to a band. The
stitch is taken perpendicularly; put needle into
cloth directly under the point in fold in which it
was brought out.
Blind Hemming
Used where an invisible finish is desiredon
silks, rayon, or wool. Take up thread of cloth on
under side, (not to show through on right side), and
then a few threads in the fold.
Slipstitching
A running stitch; used where an absolutely invisi-
ble sewing is desirable: Use a running stitch; take
up a few threads in the fold of the hem and only a
portion of thread in the cloth. It is not a strong
sewing, but for exquisitely fine work, it is desirable.
Whipping
Term applied to plain hemming or overcasting
stitch when sewing a rolled hem, sewing lace to a
rolled or finished edge; also used as method of
gathering a rolled edge.
Hold strip to be rolled, wrong side toward you,
turn edge slightly and roll between thumb and finger
of left hand, only an inch or two at a time; the
stitches must pass under the roll, not through it.
33
Blanket Stitch
Used to finish edges of blankets or other woolen
edges which do not fray, but which would make
thick edge if folded.
At left hand end of cloth, pass needle up through
cloth 14 inch from edge, hold thread under thumb;
form a loop and pass the needle down through cloth
again and up from under cloth and over thread;
repeat.
Buttonhole Stitch
Let needle come out % inch below the edge of the
cloth; leave needle in cloth and pass the double
strand of thread around point of needle (from right
to left). Draw needle through cloth and the thread
up close so as to form purl or twist right on the
edge of cloth. Repeat stitches rather close together.
Catchstitch or Herringbone Stitch
Used to hold raw edges of flannel or other woolen
hem or seam. Work from left to right, between two
imaginary guide lines; let needle come out at the
left hand end of cloth upper line and pass to right
on under line enough to give slant to stitch; pass
from right to left on upper line and take stitch from
right to left on lower line at correct distance to give
proper slant; repeat until the end of the work.
Fagoting
Baste folded, straight or bias strips of material or
ribbon to paper, then interlacing them with thread,
which may be of same or other color. Pass needle
up from under side of the left hand strip, and mov-
ing forward diagonally, bring it through edge of
right hand strip; pass needle back of thread in tak-
ing stitch in left hand edge. Continue.
Ladder Fagoting
Worked same way, except needle must be passed
under cloth to keep lines of fagoting straight.
;:4
SEAMS
Plain Seam Pinked
Used where material is firm and not sheer. Press
seam together or open. Pink edges before pressing,
with pinking shears, pinking machine or by hand
with plain shears.
Plain Seam Overcast
Use where material not sheer enough for seam to
be visible on right side, and where edges of seam
fray easily.
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Bound Seam
UseWhen silk or wool material frays, seams
may be bound (either open and pressed, or together)
with the taffeta ribbon called "seam binding"; this
should match in color the material of the garment.
Heavy cloth seams may be bound with silk bias
binding, which comes ready folded.
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Plain Seam Edges Turned
Silk seams are often pressed open and the edges
folded back and sewn with running stitches.
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French Seam
A seam within a seam. Used on undergarments,
dresses, bags. Place wrong sides of cloth together
matching seam markings; baste; stitch % * Vi incn
outside tracing according to thickness of cloth; sew
with a running combination or machine stitching,
remove basting; trim seam to % inch or less; turn
to wrong side, crease seam flat; baste and stitch so
as to cover raw edge of seam.
35
False French seam
Used in lingerie and silk blouse and dresses.
Stitched as plain seam; trim edges and turn them
in to each other and sew with running stitch or by
machine.
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French fell
Make plain seam; trim one thickness away; fold
other edge over to line of stitching and hem to
machine stitching. This seam is sometimes called a
false French seam.
Tuck seam
Top sewn seam. Used for panels in skirts, yokes
in blouses and waists; sections of sleeves. When
basting, keep folded edge of upper piece directly on
marked sewing line of under. Stitch desired distance
from edge of seam.
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Stitched fell
Used where flat finish is desired skirts, middy
blouses, children's clothing, undergarments. Stitch
a plain seam on right side of garments if desired
for decoration; trim away one thickness of seam;
fold in edge of other thickness of seam and stitch
to garment, having a smooth narrow seam.
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Hemmed fell
Same principle as the stitched fell, except the
folded edge is hemmed by hand. This seam may be
placed on either the under or upper side of garment.
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Overhanded fell
Same as hemmed fell except the cloth of the
garment is folded back in line with the fold of the
fell; then the edges are overhanded together.
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Flannel f eU
Seams in flannel or albatross garments. Stitch
plain seam, cut away one edge; fold wider edge
without turning it in; finish edge with catch-stitching.
Rolled seam
Used on very sheer materials where an invisible
seam is desired. Roll edges together very carefully
to avoid "puckers"; put needle under the rolled
edge when hemming.
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Edge stitched or cord seam
Plain seam; remove bastings; turn seam toward
front of garment; baste close to folded edge; stitch
on right side of garment ^48 incn from edge; trim
raw edges to % inch and overcast.
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Welt seam
Same principle as cord seem; stitch right side
of seam any desired width; trim under side of seam
narrower than top side to reduce thickness and
prevent mark on right side of garment when pressing.
Curved seams
Sleeve seams which curve at the elbow, kimono
or other, should be clipped and raw edges overcast,
or pinked; they may be pressed open or together.
Crossed seams
Stitch and press first seams; stitch seam which
will cross these, and before pressing trim away first
seems at corner so as to reduce the thickness of
seam, to avoid clumsiness.
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BUTTERiCK DRESSMAKING BOOK
37
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Lapped seam
Lay one piece of garment directly on top of the
other, wrong side to right side and sewing lines
directly on top of each other; turn edge of seam on
right side and baste carefully; turn and baste seam
on wrong side. Stitch both edges of seams. Seam has
somewhat same appearance as the stitched fell.
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Strap seam
A method of decoration on tailored garments; a
plain seam simply covered with a strip of cloth
the width desired; turn in edges of strap, baste and
press before placing over seam. Straps of broad-
cloth or some equally closely woven material some-
times are placed using the raw edge, instead of
turning the edge in.
Slot seam
Fold the edges of both pieces on the sewing lines;
have these edges come together; place a lengthwise
or crosswise strip of material on the underside;
stitch any desired distance from the edge as in a
tucked seam.
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Fagotted seam
Each edge of seam is folded back from sewing
line, one half the distance the edges are to be apart
when finished. Baste to strips of paper and then
fagot them, diagonal or ladder fagoting.
Hemstitched seam
Used for seams of sheer dresses, Georgette, chiffon,
organzine, or organdie. Baste seam very carefully;
have thread same color as material when taking it
to the hemstitcher; trim seam when finished on edge
of hemstitching or cut through center to form a
picot edge.
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33
HEMS
Marking hem straight edge
Fold garment on line decided upon as the correct
length; pin; cut a notch in a piece of cardboard
indicating the depth of hem desired; place end of
cardboard at folded edge of garment; the straight
edge of notch will indicate the depth of hem; trim
hem evenly, proceed with type of finish desired.
Marking hem curved edge
Proceed same as for straight edge. Mark at straight
edge of notch; trim edge evenly. Decide on type of
finish to use.
Plain hem
Mark; turn edge in and run turned edge by hand
or stitch by machine; lay to garment and blind hem
or slip stitch according to the strength and dura-
bility needed.
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Plain hem with binding
Measure and mark same as usual; then baste to
top of hem either taffeta seam binding or bias bind-
ing on edge of hem; either run by hand or stitch
on machine; lay hem to place and blind hem. When
using taffeta seam binding or Prussian binding, hold
it quite easy as you sew it on, so it will not shrink
up when garment is pressed and pucker the hem. Use
Prussian binding only on wool garments. Shrink it
before using.
Plain hem single fold
Used on materials which do not fray, on curved
or straight edges. A straight hem may be pinked or
edge left plain. For all three methods, catch-
stitching is used for a finish. A pinked hem may be
slipstitched.
39
Hem circular garment
Mark hem in usual manner; gather the fulness
at top of hem, illustration shows even gathers, draw
up gathers and fasten thread; then if garment is
woolen, drop the top of the hem and shrink out the
fulness; then finish with taffeta or bias binding. Ful-
ness may be laid in small pleats, but in no case
may these extend to the lower edge of the hem as
that would spoil the line with points here and there.
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Faced hem
When short of material, or wish to lengthen a
garment, a facing is acceptable. It should be exactly
the grain of the garment. Cut facing the correct
depth and baste to garment, right sides together;
stitch and turn, leaving a bit of garment below fac-
ing, so it will not show. Complete as in plain hem.
Faced hem circular garment
When cutting garment, allow for hem plus seam
allowance; mark finishing line as usual; cut ^4 inch
below it and set piece up on garment for a facing,
finish in usual way.
Reversed hem
This hem provides an attractive finish for a straight
skirt, provided the material is alike on both sides,
especially when piped in contrasting color or bias
of the same. When stitching the seams of the skirt
let them come down a little below the top of the hem,
the depth of which must have been decided previ-
ously. Clip seams; turn the material to right side
and stitch; then place hem and finish as desired.
40
Napery or damask hem
Used for table linen, napkins, cloths, towels. Fold
a narrow hem; turn it to the wrong side of the
article and overhand the two folds.
Open hem and press flat.
French hem
Used in sewing lace on undergarments; making
collars and cuffs and fagoting bands to edges of
garments. Fold a very narrow hem to the right side
of the garment; fold back to wrong side; crease; sew
along the fold of the hem where it meets the fold of
the cloth, with an overhanding stitch, encasing lace
edging; this keeps hem on wrong side of garment.
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Rolled hem
A very general way of rolling a hem, is to roll
between the thumb and forefinger of left hand a
tiny roll of the edge of the material, about an inch
at a time, and sew it with whipping stitches.
Another method is to machine stitch on the raw
edges of the material, trim it away close to the
stitching, roll it a little at a time.
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Quick rolled hem
A quick method of rolling a hem is to turn a
tiny raw edge and sew it with the stitch used in
hemming velvet; sew only a short distance and draw
up thread and you will have an attractive rolled hem.
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Shell hem
Used on collars, cuffs and lingerie for decoration.
Fold hem and baste; take two stitches one atop of
the other over the hem, slip needle under hem to
next point and take two more stitches; continue to
end of space.
41
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Hem with Mitred Corners
Used for handkerchiefs, collars and cuffs and for
household articles. Both hems are folded and
creased; open them up and cut the triangular piece
Ys inch below the point at which the creases crossed;
fold hems again; place one edge of mitre flat and
turn other under and sew with fine hemming stitches.
The mitre may he seamed and turned with the hem,
if so desired.
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Hem with Square Corner
Used on tailored garmentsfinish of hem and
facing. Fold hem and mark line of fold; cut from
hem at bottom of garment, twice the depth of the
hem less the allowance for seams; refold hems, lap-
ping front over hem at lower edge; hem or slip
stitch the overlap and overhand the end of the hem.
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Hem for Square Necked Dress
The material must first be clipped at the corner
before turning the hems the desired depth; then
stitch a triangular strip of cloth across the ends of
the hems; then complete the square corner by fold-
ing over the set-in piece and the hems. Finish hem
as desired.
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Shaped Faced Hems
A decorative note may be added to a garment by
the use of shaped faced hems of same or contrasting
material, turned to right side and finished at top
with feather-stitching or other decorative stitch.
.12
TUCKS
Tucks are folds taken in material, used in various
sizes and combinations as decorations, or to hold
fulness in place, where a flat finish is desired. Tucks
may be put in lengthwise, crosswise, bias or curved
lines; sewed by hand (running stitch) or by machine.
Marking
Measure from lower edge of hem, allowing the
space desired below edge of tuck, plus three times
the width of the tuck; prick mark with needle on
cotton cloth; with tailor's chalk on silk or wool.
Measure from stitching of first tuck, space desired
between tucks, plus twice the width of the tuck;
prick, crease and stitch; repeat. A cardboard gauge
is a great help in marking tucks, both width of tuck
and space between indicated by notches.
Pin Tucks
Take up only a thread or two in fold; sometimes
laid on right side; at other times on wrong side of
garment. May be hand run or by machine; wider
tucks are sometimes stitched on the under side of
garment at shoulder to add fulness below.
Shell Tucks
Sew running stitches then two stitches over tuck
to form shell as in shell hem.
Curved Tucks
Used for yokes and curved edges:Cut from
folded paper one-half the outline of the desired
curve; unfold; lay on material to mark desired posi-
tion for outside tuck; mark for tucks; gather the
under side of each tuck to make it fit the upper side;
adjust gathers evenly; baste and stitch or run by
hand. Leave end of thread to be fastened later.
Cluster Tucks
Tucks are often arranged in groups or clusters
as a chief note of decoration.
Tucks on Bias
Handle carefully so as not to stretch or twist bias.
43
ART OF PRESSING
A good pressing equipment plus careful handling
insures smartness in one's attire.
Cotton and linen need no press cloths; they may
be pressed with a steam iron. Press all seams in a
section of a garment before attaching it to another
section.
Press Cloths
A safe way to press other fabrics than cotton and
linen, is to put a heavy press cloth in water, saturate
it thoroughly and wring it as dry as you can, so no
water drips from it; place it on the ironing board,
and press it until only slightly damp; this allows
the moisture to permeate the padding of the ironing
board; draw the section of the garment to be pressed
over the board; place press cloth over it and press
carefully with not too hot an iron. There is no
danger of water spotting in this method; in fact
clear water spots may be removed in this way.
Sleeve Seams
May be pressed on regulation sleeve boards or on
small seam boards.
44
Tailor Cushions
Large and small tailor cushions each have a use;
shrink fulness at top of sleeve or elsewhere on
smaller one; press armholes on larger cushion, gar-
ment and sleeve wrong side out; also curved seams.
Pressing Pile Fabrics
Place needle board having wooden base on ironing
board; draw section of garment over it, pile side
down; place the flexible needle board on top of
garment, needle side down and press cloth on top
of it; press carefully. The needles keep the pile
side from flattening out. Never use the flexible board
instead of the wooden base board, as it pushes
needles down into cotton-backing.
Steaming Pile Fabrics
An iron wire frame for inserting the iron is invalu-
able for steaming velvet. Insert iron; lay damp press
cloth over it and draw wrong side of fabric over it,
moving press cloth with it to produce steam. Handle
carefully until dry to avoid spotting. A small gadget
attached to the spout of a tea-kettle makes a good
piece of equipment for steaming large pieces of pile
fabric or dresses.
BUTTERICK DRESSMAKING B.OOK
45
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PLEATS
Marking
Use two colors of thread, one to indicate the fold
of the pleat, the other the line to which it is laid
when basted; use tailor tacking.
Side Pleats
Mark as above and fold edges of pleats and baste;
then lay fold edge to marks for placing; baste to
place. Side pleats may run in one direction around
a skirt or in both directions by laying a box-pleat
in center front.
Box Pleats
Use same method of marking as side pleats; baste
folds; press, lay pleats to place and baste.
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Inverted Box Pleat
Set in seams, front or back; baste in regular way;
box pleat is on wrong side of garment; stitch part
way down on right side or leave free.
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Set in Inverted Box Pleat
Section of garment cut away to admit pleated
section; clip corner; turn in edges and baste; press
edges and pleated piece; set in opening and baste to
place; stitch turned edge by hand.
Side Pleat in Seam
Stitch seam; lay pleats; baste; press; stitch at top
to hold in place; trim seam diagonally; clip seam
at top of hem and pink or overcast edges of pleat;
press seam open in hem.
46
CODETS
Godets
Godets are insets, attached to seams or slashes to
add fulness to a skirt at lower edge. They may ex-
tend to the upper part of the skirt or stop at any
desired height; they are usually cut as a wide or
narrow segment of a circle or the variation of the
same.
Godet in Slash
Join edges of godet, to edges of slash, right sides
of godet and skirt together; baste, stitch and press
seam. Attach to seam in same way.
Godet in Shaped Opening
Clip upper edges of opening and turn back to form
a good line; baste and press; place edge of godet
beneath the turned edge of skirt; baste and stitch to
place; finish inside edge with overcasting.
Godets in Sleeves
Sometimes fulness at lower end of a close fitting
sleeve is secured by inserting a godet, especially in
the bracelet or elbow length sleeve.
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DARTS
Darts are used to take out fulness, where not de-
sired; to throw in fulness where needed; and to bring
sections of garments into correct grain. Begin to
stitch darts at pointed end.
Neck Line Darts
Take up fulness at collar line, and distribute
enough across back to make garment set easily.
Shoulder Darts
Take out excess fulness at shoulder; also swings
to correct grain and throws fulness into bust section
of garment.
Under Arm Darts
Lift sections to proper grain and throw fulness in
bust.
Waist Darts
Take out fulness above waist and bring out the
nipped-in waist curve.
Skirt Darts
Take out fulness at waist to fit skirt at waist line.
Gathered Darts
Sometimes used below hip line to take care of
fulness in lower part of skirt, which section is gath-
ered and taken in to dart; face with bias strip and
baste upper edge of dart to gathered section; stitch;
press.
.1S
FLOUNCES
RUFFLES
AND
Circular Flounces
They may be shallow or deep; full or scant, or
part straight and part circular.
Finish lower edge of flounce; mark line on gar-
ment on which to place flounce; clip upper edge
depth of a seam and place on garment; baste and
stitch to place; let flounce fall into place.
Circular jabots, or flounces for ends of sleeves
may be placed in the same manner by way of deco-
ration.
Ruffles
Ruffles are gathered or pleated and attached to
garments in various ways. Gathers must be stroked
and adjusted to fill a given space and equally dis-
tributed through the space. Pleated ruffles may be
attached in the same manner as gathered ruffles.
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Ruffles may be placed far enough from the edge
of the seam, that the edge may be turned in and
hemmed to the stitching.
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Bias binding may be used to finish edge; open one
edge, baste to seam; stitch through binding ruffles
and garment; turn binding up on garment and blind
hem, plain hem or machine stitch depending on the
type of garment and material.
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Ruffles are sometimes set under a tuck. Baste
ruffle to edge of garment and lay tuck over seam,
baste and stitch on the edge; this serves in place of
a binding.
Ruffles may also be hemstitched to the garment.
Turn in edge of garment and top baste it to the
ruffle; then the ruffle is machine hemstitched, bastings
removed and raw edges on wrong side trimmed close
to hemstitching.
49
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PLACKETS
PlacketsHemmed Plackets
Infants Wear or Undergarments:A narrow hem
on each side of the opening; the hem folded under
on one side to form a lap and backstitched diago-
nally at lower edge to prevent tearing down.
Wide and Narrow Hem Plackets
A narrow hem one side and a wider hem on the
other side, the wide hem overlapping the narrow and
also stitched diagonally at lower end, forming a
pleat at lower end.
Continuous Bound and Faced Placket
Used for children's garments, underwear, and light
weight materials:Cut a lengthwise strip of mate-
rial the same as for a bound placket; fold strip in
center of length; baste extension to place; then cut
material away on the other side leaving enough to
turn in on raw edge; lay this side back on the gar-
ment to form a facing; baste and stitch.
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50
SLIDE FASTENERS
A.
Inserting Slide Fasteners
(1 ) Mark opening with line of basting the length
of metal of fastener plus % inch, baste piece of
material 1^2 inches square to lower part of opening,
stitch %6 inch each side of basting on patch only.
(2) For opening, slash along basting line to
within %0 of an inch of bottom, then diagonally to
corners; turn patch to wrong side to form facing for
lower edge.
(3) Close slide fastener; turn down upper edges
of binding, set opening of garment to binding, close
to fastener; stitch to place.
(4) Turn in edges of facing; hem to the binding
of slide fastener, on wrong side.
B.
(1 ) On upper and under back part of opening,
trim one half of seam away.
Stitch a strip of bias material 1 inch wide to front
edge of opening; turn to inside and baste.
(2) One half seam allowance at back edge is
turned under and stitched to tape of fastener close
to metal.
(3) Front is lapped over back edge of opening,
and pinned securely; turn to wrong side; stitch tape
to front close to metal.
(4) Shield sewed to back edge of opening.
c.
(1 ) Apply fastener before belt is put on.
Mark seam line on back and front of placket with
basting, face front with selvedge material; sew fac-
ing on front seam allowing % inch back from actual
seam; fold; baste and press.
Extend back seam of skirt, % inch further than
actual seam so under front seam will lap and hide
fastener.
(2) Keep slide fastener closed while working;
stitch back part of opening to tape of fastener, close
to metal; place fastener y2 inch below top, so belt
may be placed.
(3) Lap front of placket over back edge of open-
ing so as to conceal fastener. Top-stitch through all
thicknesses % inch from seam. Attach belt.
(4) Shieldstrip of material 2 inches wide and
length of fastener; fold and stitch; apply to garment
to cover fastener.
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51
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BINDINGS
Cutting Bias Strips
Fold the material so the warp (lengthwise) threads
lie parallel to the filling (crosswise) threads. Cut
through the diagonal fold which gives a true bias.
Measure the depth needed for the strips by placing
right sides together until ends meet and bias edges
are at right angles to each other; stitch, press, and
trim off extending points,
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Continuous Bias Strip
When a quantity of bias stripping is needed, mark
the lines for cutting the necessary number of strips;
join the ends of the strip by slipping one side above
the other exactly the width of a strip, the other lines
of marking should meet; the bias may then be cut as
a continuous strip.
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Bias Binding
Used for finishing and protecting raw edges of
garments. Cut strips desired width; place right side
binding to right side of garment; stitch; fold bind-
ing over edge of garment; turn in edge of binding
and hem to machine stitching; be careful not to
stretch bias as it would cause wrinkles in the binding.
Double Bias Binding
Used on sheer fabrics; cut four times the width
desired, plus twice the seam allowance; fold binding
through center and press; all double bias bindings
need to be stretched,heavy material by pressing,
but sheer material as the binding is put on; in cut-
ting allow in width for the narrowing of the binding
when stretching it. Baste raw edge of binding to
right side of garment; stitch; fold binding over edge
and hem folded edge to machine stitching.
52
A Continuous Bound Placket Facing
Cut a lengthwise strip of material, 1^ inches wide
and twice the length of the placket. Stitch all around
opening; right side to right side; fold on stitched
edge; turn in raw edge of facing, baste to place and
stitch or hem by hand. One edge forms the extension,
the other is folded back, the upper edge caught in
belt, the lower edge backstitched to keep facing firm.
Bias Tape Binding
Comes already folded; place over edge of seam
and baste through both edges; stitch by machine, or
open out and use as facing.
Binding Shaped Edges
To prevent bindings from standing out or cupping,
in basting binding to place, ease it on outward swing-
ing angles or curves, and stretch it on inward swing-
ing angles or curves, forming a pleat at indentation.
Binding Scallops
Single binding on heavy material, double binding
on sheer material. Place binding to scallops, right
sides together; sew, easing binding just slightly on
the curve and stretching it at the corner of scallop;
turn binding to wrong side; fold.edge in forming a
tiny pleat at the corner; hem to stitching.
False Binding
If a binding is desired on circular skirt, and there
is no material from which to cut bias strips, make a
pin tuck, wrong side of skirt % inch from lower
edge; press tuck downward; turn in edge of skirt;
press; hem turned edge to tuck and press flat.
53
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PIPINGS
Piping
Made of same or contrasting material. Cut neces-
sary number of bias strips of desired width to give
length needed; seam, press, fold through center and
baste. Place piping on right side of part of garment
to be finished, raw edge of piping to raw edge of
garment; baste and stitch far enough from folded
edge of piping to make an attractive finish; turn
piping over and baste folded edge of garment; press
and overcast raw edges of piping and tack occasion-
ally to garment.
Piping and Facing in One
Prepare same as other piping except it is not
folded through the center, but one edge wider than
the other. When placing on garment have the wider
space serve for a facing, which slipstitch to garment.
Corded Piping
Cut bias strip wide enough to cover cord and allow
seam; fold through center; draw cord through and
sew close to cord, or put it in with corder foot on
machine; baste piping to edge of garment, right side
to right side; baste and stitch close to cord; turn
piping and baste along edge; press; overcast raw
edges, or turn them in and sew with running stitches
and tack occasionally to garment.
Corded Piping and Facing
The corded piping if cut wider may also serve as
a facing. This makes a very satisfactory as well as
decorative finish for neck-lines.
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Corded Seam
Baste piping to place on one section of garment:
baste; lay folded edge of other section close to cord;
baste and stitch to place. One needs to consider
service in using this type of decoration. If silk is
not strong, the frequent wearing will cause cord to
cut through the silk.
54
CORDINCS
Corded Piping Edge Finish
Make piping; turn in raw edge and sew with run-
ning stitches; turn in and baste edge of garment to
be finished; place piping on folded edge of garment;
baste and slipstitch or top stitch to place; tack inside
edge to garment.
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Shirring on Cord
Fold material over cord; sew with running stitches
close to cord; do not fasten threads; let them hang
loose, so when the cord is drawn up, the threads can
be drawn also to take out the bubbles in the threads.
When shirring on two cords for banding, draw the
inner cord a bit tighter than the outer to properly
fill the space, and avoid buckling.
Cord Used to Fill Tube
Fold and seam bias strip of material; trim seams
and press; sew a bodkin to the end of the cord and
tack to one end of seam in tubing; run bodkin in at
same end of tube; push bodkin through tube and it
will draw cord through while turning tube right
side out.
Cording is also made by stitching a wider seam
and sewing bodkin to end of seam and turning the
tubing right side out, the seam filling just like a
cord but softer and more pliable.
Cording for Loops and Frogs
Use wool yarn, cord, or the seam to fill the tube
formed by stitching a casing in a bias strip. Draw
bias strip over wool or cord and sew close to cord
to form a casing; pass heavy thread through the eye
of a bodkin; sew thread fast to seam in the end of
the tube and pull cord through to turn cording right
side out. When using seam for cord; draw seam
through with bodkin in same way as cord.
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55
FACINGS
Facings
Generally speaking, facings should be cut either
on the same grain as the section of the garment to
be faced or on the bias.
Facing Straight Skirt
Cut facing same grain as deep as desired; seam
strips except last for joining; baste to skirt, right
sides together; join last seam, stitch; fold on seam
line, letting edge of skirt drop a little below so facing
will not show on right side; baste; stitch by machine
or blind hem. Facing may be turned to right side
and upper edge finished with bias piping.
Bias Facing Sharply Curved Edge
Ease bias edge in when basting facing to place in
order to prevent facing from cupping to allow for
larger curve on other edge; baste and stitch; clip
edge of seam; turn facing to other side and finish in
same manner as others.
FacingShaped Lower Edges
Cut facing same grain as the edge of garment to
be faced, sloping the lower edge to conform to line
of garment, pointed or scalloped; baste right sides
together, stitch; clip seams at upper part of points
or scallops; turn to wrong side; baste; press; finish
upper edge with machine or some decorative stitch.
56
BANDS, FOLDS,
STRAPS, BELTS
Bands, Folds and Straps
Bands, folds and straps are usually cut on bias;
occasionally crosswise; belts are usually lengthwise,
sometimes for decorative purposes bias or crosswise.
Care must be taken in cutting bias bands, folds or
straps from twilled material, to have the grain at
right angles to the edge of the strip, else the effect
will be displeasing, sometimes seeming to change
the color.
Milliner's Fold and Tailor's Strap
The milliner's fold would be cut on the bias, the
tailor's strap crosswise or bias. They are folded
alike, edges held together by different stitches, and
pressed according to type of material, cloth or velvet.
The tailor's strap is basted to garment, and stitched
both edges; the milliner's fold is slip-stitched
through center to garment.
Bands
The raw edges of bands are turned, basted and
pressed, then applied to the folded edge of the gar-
ment and stitched by machine. To miter the corner
of a band, fold it to fit the space it will cover and
take out a triangular piece in the seam, which may
be trimmed if material is thick, or pressed flat when
not heavy.
Belts
May be of double material, lined with webbing or
stiffened with crinoline and lined with silk; they may
be separate or attached to the garment with French
tacks, or by thread or material straps.
A belt of double material is stitched along one
side and across one end, drawn through to right side,
edges basted and pressed. Slip-stitch the unfinished
end, attach buckle and a strap for a slide; work
eyelets in the other end. P. 70.
A belt lined with webbing must be cut wide enough
to cover webbing and turn in raw edges for finishing.
A stiffened belt must be cut wider than stiffening,
the edges turned and catch-stitched to stiffening, and
lining placed and hemmed to material.
Belts for skirts are usually,of webbing; lay the
wrong side of the top of the skirt on the edge of the
webbing; cover raw edge with seam binding; turn
skirt over, baste turned edge and stitch by machine;
hem lower edge of seam binding to belt; press, and
sew hooks and eyes to belt.
U yg-j
57
SLEEVES
One Seam Sleeve
Pin seams together, pins at right angles to seam,
and perforations and notches meeting.
Gather or dart the fulness between the notches to
give freedom at the elbow; also gather or dart the
fulness at top of sleeve according to the directions
on pattern.
Stitch; press seams on sleeve board or small seam
board; pink or overcast edges. Finishes for hand
are on page 60.
Two Seam Sleeve
Pin and baste front seams first; then fold over
upper part of sleeve at the bottom, pinning from top
of sleeve to upper notch and from bottom of sleeve
to lower notch; gather or dart the fulness at the
elbow according to directions in pattern. Stitch both
seams; press on sleeve board or small seam board:
pink or overcast seams.
Gather, dart, or pleat the fulness at top of sleeve
between notches; stitch seams, leaving back seam
open 3 inches from hand; press seams on sleeve
board, or small seam board; and pleats or darts on
tailor cushion.
Kimono Sleeve
When a kimono is closely fitted, a gusset is often
placed in the sleeve for freedom and to protect the
sleeve from tearing out under arm.
Cut a slash (at right angles to the seam) about
2y2 or 3 inches in length (about at the top of the
under arm.) Insert a square of material in the
opening thus made; baste square in place, tapering
seam at corners; overcast closely or cut a second
gusset, and use it as a facing; sew to place; press.
58
SETTING IN
SLEEVES
Gather, Pleat or Dart
Gather, pleat or dart the fulness at the top of the
sleeve. Hold wrong side of waist toward you; draw
upper part of sleeve into armhole; pin to armhole
seam, being very sure that notches in the sleeve meet
the corresponding notches on the garment; if sleeve
is gathered, draw fulness up to fit the armhole curve
and wind thread around pin.
Baste
Baste sleeve in armhole with small even basting.
Stitch
Stitch, overcast edges of seam and fasten ends of
gathering threads at top.
Press
Press armhole and top of sleeve, wrong side
toward you, on tailor cushion; turn armhole seam
toward neck of garment when pressing; use damp
cloth between sleeve and iron.
Stiffening
Crisp silk or cotton material may be used for
stiffening; cut it by top of sleeve pattern, twice depth
needed, and fold across; gather into top of sleeve
before stitching sleeve in armhole.
Pads or Stiffening
Sleeves which have much fulness at the top need
to have fulness kept out and up in position. This is
done by means of small pads or stiffening set in to
the armhole seam.
Pads
Pads thicker than the stiffening are needed for
heavier material. Two pieces of material are neces-
sary, about 9 by 2% or 3 inches; shape corners,
stitch pieces together on curved edge; turn right side
out, use sheet cotton batting to pad them with, thin-
ning it out at the edges; make pad from % to 1/2
inch thick; sew pads to armhole; sleeves are stitched
and pressed, center of pad to shoulder seam.
59
SLEEVE FINISHES
Taffeta Seam Binding
A closely fitted sleeve may be finished at the hand
by folding one edge of the opening (upper) on the
sewing line, and leaving the other edge as an ex-
tension.
Turn the edges of the sleeves, baste and press;
baste taffeta seam binding to the edge and hem the
outer edge to the folded edge of the sleeve; blind
hem the inner edge to the sleeve. Sew snap fasteners
to the opening.
Bias Binding; Loops and Buttons
Before placing bias binding, make and baste loops
to place along seam line of upper side of opening;
unfold one edge of binding; baste to place for a
facing; stitch in seam line; turn binding to wrong
side; baste along folded edge, and blind hem upper
edge to sleeve. Mark for buttons on extension side
of opening and sew them to place.
Wrist Band Finish
A full sleeve placket may be finished with a con-
tinuous binding.
Stitch the band across the ends; place right side
of band to right side of sleeve; distribute gathers to
fit the band, and baste to place and stitch; turn in
under edge of band and hem to machine stitching.
Make bound buttonhole in one end of band (page
71), and sew button on other end.
Cuff Finish
Cut slash for opening on line indicated; finish
slash with tiny bias binding; stitch cuff, turn it right
side out and baste edge; press; baste cuff to sleeve
right side to right side; also baste a strip of bias
material to cuff for a facing; stitch; turn facing to
wrong side of sleeve and hem to sleeve; press.
Sleeve: Frill Finish
The shirring for this type of finish may be done
with the new elastic thread which may be wound on
the machine bobbin and which shirs as you sew.
CO
SHIRT SLEEVE
AND CUFFS
Cut Slash
Cut slash according to pattern; also pieces for
over and underlaps and cuffs.
Sew the underlap piece to the back edge of the
slash, with seams to the right side; crease the seam
on the lap; baste down entirely covering the join-
ing; stitch.
Join the overlap piece to the front edge of the
slash in the same manner. Adjust the overlap so it
will conceal the underlap, and baste it to place.
Stitch all around the overlap, following the shape
of the point. At the top of the opening, the stitching
should cross the lap and catch the underlap securely
holding the opening in correct position.
A continuous overlap is sometimes used to finish
the slash. This would be made as the continuous
bound placket as shown on page 50.
Cuffs
Two types of cuff are used for this sleeve, one of
which buttons over, the other is made to use links
and simply brings the two ends of the cuffs together.
The cuff for the link closing is cut twice the depth
of the buttoned type.
An interlining is generally used to give the cuff a
little more body, but not to stiffen it. Baste inter-
lining to the under piece of the cuff on the wrong
side; baste the other section of the cuff to this; stitch
seam; trim off seam at the corners; turn up other
edge of cuff and baste; then turn cuff right side out.
Gather sleeve at hand, and baste cuff to place, let-
ting underlap extend for a button fastening and
folding it back for a link closing. Stitch all around
edge of cuff, single or double row.
61
NECKLINE
OPENINGS
FacingSlash Opening
Cut material same grain as part to be faced and
2 inches deeper; baste to garment marking slash
line; stitch full Vs incb each side slash line, letting
stitching run to a point at lower end of slash; also
around neckline to turn of rever, cut slash; turn
facing to wrong side of garment; baste turned edges;
press; turn in inside edge and stitch by machine or
blind hem.
Facing Round or Square Neck
In either case cut piece for facing same grain as
the portion of garment; shape the upper edge to
conform to contour of neck of garment, the lower
edge similarly, and desired depth; baste facing to
garment right sides together; stitch; clip curved part
of seam at back; turn to wrong side; crease folded
edge and baste; press; turn in edge of facing and
sew with running stitches to itselfthen tack or
blind hem to garment.
Facing V Opening
A bias facing is suitable for this type of opening;
cut and join enough strips to complete facing; baste
to neck of dress; hold a bit tight through very bias
part of neck line; make mitered seam at center
lower edge; stitch; clip seam at back of neck; turn
facing to wrong side; baste along folded edge;
press; turn in edge of facing; sew with running
stitches to itself; tack or blind hem edge to garment.
Binding Dress Front Opening
Place a bias or straight piece of cloth on right side
of dress over marking for slash. Baste through slash
mark; stitch % inch from this mark on sides and
across bottom. Cut slash and clip to stitching at
corner; turn binding to wrong side garment, making
small pleat at lower edge right side; tack pleat and
press; trim and hem binding to machine stitching.
62
COLLARS
Straight, Standing Collar
Stitch facing to front of garment, right side to
right side; stitch ends of collar; trim corner; press
seam; baste and stitch inner edge of collar to facing,
outer edge of collar to neckline of garment; press;
turn collar and facing right side out; baste turned
edges; turn and hem edge of collar to stitching; turn
inner edge of facing; stitch to self and tack to gar-
ment.
Round Collar
Baste collar to neck of garment, right sides to-
gether; baste folded bias binding also to neck; stitch
through; remove bastings, turn collar and binding;
baste turned in edge to stitching and hem to place.
Curved Collar
Baste collar, two right sides together; stitch; turn
seams; trim seam at corner to avoid thickness; turn,
baste edges; press; baste collar to neck of dress,
notches matching; hold neckline a bit snug when
placing collar, so it will not buckle. Baste bias seam
binding along edge; stitch, turn, baste and blind hem
binding to dress.
63
POCKETS
Patch Pocket
Stitch a piece of linen tape to the wrong side of
the garment exactly on the line where top of pocket
will come.
If pocket is plain, stitch hem at top; if the pocket
has a facing at top, stitch facing to the wrong side
of the pocket, and turn it over to the right side, baste
and stitch to place.
Turn in edges of pocket on three sides, and baste.
Place pocket in position on the garment and baste to
place; stitch pocket all around edge of three sides
and 14 mch inside to cover the seam to prevent dust
collecting on raw edges. The tape at top prevents
pocket from tearing material of garment.
Set in Pocket
Mark line indicated on pattern for slit; cut pocket
1 inch wider than slit by 10 inches in length; place
pocket on garment, right sides together; let upper
edge of pocket be l1/^ inches above mark for slit;
stitch all around slit ^.6 incri from marking; cut
slit; turn pocket to wrong side of garment; baste
carefully around edge of slit, allowing pocket mate-
rial to form a narrow piping; stitch along lower edge
of slit; fold pocket and stitch at top of slit; stitch
seams on sides of pocket; overcast all raw edges;
finish ends with arrowhead tacks; press.
64
Pocket with Welt
Mark on garment with colored thread the loca-
tion and length of slit for pocket; baste lining to
welt; stitch seam, turn, baste and press; stitch on
right side $4 incn fro"1 edge.
Cut slit for pocket and diagonally at corner Vs
inch; cut two pieces for pocket, 1 inch longer than
slit and as deep as desired; baste welt to lower edge
of slit; baste one piece of pocket on top of welt and
second piece on upper edge of slit, right sides to
right sides.
Turn pocket and welt through to wrong side,
baste, press and sew ends of welt invisibly to
garment.
Turn garment to wrong side; stitch the pocket
seam and overcast edges.
65
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Welt Pocket Diagonal Slit
Cut welt with square or rounded corners; line and
finish as before.
Cut two pocket pieces deep enough to reach upper
end of welt; cut slit; baste raw edge of welt to lower
edge of slit; lay one piece over welt; slash slit line;
stitch seam around the slit.
Pocket pieces are then drawn through to wrong
side; baste carefully all around edge of slit; fasten
ends of welt to garment.
Baste under piece of pocket to place; stitch and
overcast edges.
66
Lap Pocket
The lap, either a shaped, or rectangular piece, is
prepared in the same way as the welt, and often
stitched on the outside which gives a tailored effect.
Cut slit for pocket, % inch diagonally at corners;
cut pocket in one piece and baste a strip of cloth
like garment on each end of the pocket, turn in edge
of cloth; stitch and press.
The lap is stitched to the upper edge of slit on the
right side; one end of pocket is stitched to the lower
edge, letting folded edge extend as a piping; stitch;
turn seam up on wrong side, baste, and press; pull
other end of pocket through to wrong side, baste to
seam of lap and stitch; press; stitch triangle at end
of slit to pocket; stitch and overcast seams of pocket
and press.
67
FASTENERS
There are all sorts and kinds of fasteners today,
tiny or large, traditional as Thanksgiving or modern
as tomorrow. Half the zest of your clothes consists
of the imagination you put into finishing details.
Here you have pictured a few of the fasteners at
your disposal. Of course, buttons rank among the
most reliable and most interesting of the collection.
They come made of mother-of-pearl, metal, composi-
tion, glass, wood, celluloid, and even the hulls of
nuts and peach stones sawed into circles with en-
crusted edges, waxed and buffed to a lovely lustre.
You will find them used functionally to fasten your
garments or decoratively as a trimming. You may
use them singly or linked for the smartest of your
sports clothes. Studs rival buttons for the classic
shirts that need a masculine touch.
The indispensable hook and eye, hump and plain,
is used not only as a firm closure concealed by
plackets, but has also come out into the open as a
decorative fastening in giant size and in brilliant
colors. These ornamental hooks and eyes are usu-
ally made of plastic for street and casual clothes:
sometimes, they appear in metal or rhinestones for
festive wear.
Snap fasteners hold up their honorable traditions,
but are now faced with a definite rival in the form
of slide fasteners or zippers, as they are popularly
known. These, too, are used both functionally for
all sorts of purposes and fabricsfrom delicate
sheers to sturdy work clothesand in various ma-
terials. The simplest zippers are made of metal;
vivid plastic zippers, two-toned, mosaic, rhinestone
studded, are used to stab a costume with contrast.
On the opposite page, you find helpful hints on the
application of this rich variety of fasteners.
68
FASTENERS
Hooks and Eyes
Edges of garment meeting; set hook so end comes
1 s inch from edge of garment, and the eye so it just
peeps over the edge; this makes an exact closing;
sew both with over and over stitches and tack at ends
to the cloth; fasten with two or three buttonhole
stitches so they will not need to be replaced shortly.
Where edges lap, the eye should be set back from
edge; place hook to meet the eye. A straight eye
is better here than the rounded eye.
Thread loops are used instead of metal eyes on
sleeves, collars and neck finishes.
Snap Fasteners
(Ball and socket.) Mark position for them care-
fully; use gauge for marking; sew with over and
over stitch like hooks and eyes, through holes in the
edges; pass needle from one hole to another on
under side of cloth; set socket part of fastener on
the garment, so that in fastening, pressure will come
from ball part of fastener. Fasten with buttonhole
stitches.
Buttons
Buttons may have two or four holes or a shank
with which to sew them on to the garment. Place a
pin over the button; conceal knot under button;
bring needle up through one hole and down through
another; enough stitches to hold button firmly, in
last stitch pass needle through hole and between
cloth and button; withdraw pin, pull button up full
length of thread and wind thread around to form a
neck; pass needle through cloth to under side and
fasten thread securely with two buttonhole stitches.
Garments may be protected from tearing by sew-
ing a small button under the larger button, or a
piece of fabric in the process of sewing the button on.
Link Buttons
Used to fasten neck of blouse, open jackets; or
cuffs. Pass needle back and forth through the but-
tons, leaving loops long enough to operate buttons
easily; work over loops of thread with blanket
stitches closely packed together.
Shank Buttons
Take fold in cloth; turn button to one side; sew
over the shank keeping thread easy so as to let the
button spring back into place, fasten thread securely.
Fabric Buttons
Made over wooden molds or pressed by machine.
Get the mold desired size, cut piece of fabric in
circle larger than mold; gather the edge of fabric
and draw up close under button; this serves as a
shank to sew it on by.
BUTTONHOLES
Buttonholes are of two kinds,worked and bound.
There are three types of worked buttonhole,fan
end, bar end, and tailor; two kinds of bound
buttonholes,plain and tailored.
Worked Buttonhole
Mark position for buttonholes by pattern; also for
buttons; and when fitting garment the length of but-
tonhole needs to be Vie incn more than the diametei
of the button. Stitch around the mark for button-
hole; cut; or first cut buttonhole and overcast edges;
hold slit diagonally across cushion of first finger of
left hand, begin at right hand end and work right
to left with buttonhole stitch all around slit; take
three or four stitches across end as deep as button-
hole stitch; work over these threads with blanket
stitch edge toward end of buttonhole and into cloth.
Bar at each end for bar end buttonhole.
Tailored Buttonhole
Cut with punch a small round hole at end of slit,
or small clip at end and shape with stiletto; this
makes it easier to slip it over coat buttons; work
same as other, holding a cord at edge of slit and
work buttonhole stitch over it. Make cord by twist-
ing several strands of silk thread together. Finish
with bar at end.
70
Bound Buttonhole
Mark line of fold on closing edge of garment;
baste a lengthwise strip of material to wrong side
of front along line of fold, for a stay for button-
holes; mark position of buttonhole through stay.
Cut strip for binding 1% inch wide and V&-94 incn
longer than slit; place strips, right side to right side
over the mark for buttonhole; stitch % inch each
side of slit and across the ends; cut slit to within 14
inch of the end and clip diagonally to corners of
the stitching.
Turn strip to wrong side of garment; baste along
slit, stitch across ends.
Turn front of garment to place; baste, cut slit
over buttonhole, turn in edges and hem.
When the garment is not turned over to make a
fold, or if the front is not faced, turn edges of bind-
ing in to the stay piece and hem to make a neat finish.
Bound Buttonhole with Welt
Made the same as a plain bound buttonhole, except
a wider seam is taken when stitching the binding to
place; the binding is drawn over seam without fold-
ing seam to under side; this forms the welt; be
careful to stitch across triangles at ends of button-
hole.
Quickly Made Bound Buttonhole
1. Mark line for buttonhole.
2. Cut strip for binding, 1 inch longer than but-
tonhole and 2 inches wide.
3. Crease binding through center; pin crease to
line for slit.
4. Measure % inch from crease toward each edge
of binding; fold material on itself; stitch a !/8 inch
tuck.
5. Cut buttonhole and diagonally at the end as
in other buttonhole.
5. Draw binding strips to wrong side; stitch
across ends of binding to hold them in place; the
tucks stitched in the binding form the piping for the
buttonhole.
Tailored Bound Buttonhole
The method of making this buttonhole is the same
as the other with one exception; when catch-stitching
the binding to place, at the outer end of buttonhole,
pull material away from the slit and sew it firmly;
this gives an end similar to buttonhole which was
punched at the end.
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71
Loops for Buttons
Corded loops (p. 55) may be used on an edge
already bound or finished, r on a bound and faced
opening. Prepare loops (p. 55).
Loops with Facing
Prepare cording and facing; place loops on right
side of garment; baste facing to place, right side to
right side; stitch; turn loops to position facing to
place and hem.
Bound Opening
Place binding right side to right side; loops on
wrong side; stitch; turn binding to wrong side and
hem; turn loops over and tack to place.
Blanket-Stitched Loops
Soft flexible fasteners for sleeves and necklines:
Sew a number of strands of thread such as you would
for bar tacks, except they are left loose so as to form
a loop; blanket stitch closely over the strands, so as
to form a firm soft edge.
Loops of Braid
Loops of braid or corded loops may be sewed to
finished edges of garments. When loops are placed,
edges of garment are brought together and position
of button marked with pins.
Corded Frogs
Shape frog as desired; fasten with tiny stitches on
wrong side, where one cord laps another; leave one
loop loose for fastening garment. Two frogs may
be placed opposite each other and loop from each
fasten on button. Frog shaped cording may be used
on finished line of coats through which to pass tie-
ribbon from arm-hole seam.
72
DECORATIVE
STITCHES
Horizontal-Vertical Motifs
Very decorative motifs may be worked out with
either horizontal or vertical arrangement of stitches;
a row of running stitches of one color may be inter-
laced with stitches of another color; also vertical
stitches with a similar interlacing.
Chain Stitch
Used in line formation; pass needle up through
cloth at end of line; hold left thumb over loop of
thread, put needle back in hole through which it
came; bring it out a short distance in advance and
over the loop of thread; make each stitch the same
way.
Checkered Chain Stitch
Use two threads of contrasting color in one needle.
Hold one color to the left and bring needle out as
in regular chain; hold one color to the left and bring
needle out at point being worked; hold the first
thread under the thumb; keep other to the right;
make first loop of chain and second thread disap-
pear; as needle passes up again, push first colored
thread to right, keeping the other to left; make
second loop of chain.
Outline Stitch
Used where fine distinct line of decoration is
desired. Bring needle up through cloth at lower end
of line, take a stitch above this point the length
desired; keep thread to right; bring needle out to
left of stitch taken just below end of stitch; pass
needle forward again taking another stitch and com-
ing out beside it just below end to left; repeat until
line is finished; fasten thread on wrong side with a
few back stitches. For a wider line of decoration
lay several rows of outline stitch close together.
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Feather, Briar or Coral Stitch
Really a variation of the blanket stitch, in that
stitch is taken in the same way, in vertical line,
throwing stitch first to left, then to right of the
line; it may be varied by throwing two or more
stitches to left and same to right.
French Knots
Used as line decoration, to fill in spaces or center
of flower. Bring needle up from wrong side of cloth
where knot is to be; wrap thread around needle one
or more times, holding it near cloth; put point of
needle back in the cloth near the point it came out.
Draw thread close to form knot.
Satin Stitch
Use padding stitches to bring design into relief,
these to be in opposite direction from satin stitch;
work from left to right, holding unit so stitch may
be worked vertically; put needle in each time exactly
beside the preceding stitch. An attractive form of
satin stitch may be carried out in border designs,
with pleasing effects of firmness and stability.
Bermuda Fagoting
A form of open work which is sometimes used on
sheer materials. It is not necessary to draw threads
for this decorative stitch; it can be made to follow a
line in any direction regardless of the thread of the
material.
To work:Use a very large needle, a No. 1 or 2
carpet needle and No. 150 or 200 thread. Tie one
end of the thread to the eye of the needle; the stitch
proceeds toward the worker. Then take a short stitch
diagonally from right to left; tie the end of the
thread in this first stitch, put the needle into the first
hole, take a stitch straight toward you; bind with
two more stitches in same holes; then put needle into
second hole and bind it to the third with two stitches;
put it again into the second hole and take a stitch
straight toward you; bind second and fourth holes,
then third and fourth holes; make next straight stitch
from third hole; repeat as before.
7-1
Cross-Stitch
Simply one stitch crossed over another, forming a
square. Design may be worked free hand where
thread of material is definite, or over stamped design
or over Penelope canvas. Stitches must always be
crossed in the same way and in same direction. Work
from right to left; pass needle up at lower left hand
corner; doivn at upper right hand corner; up at
upper left hand corner, and down at lower right hand
corner, which completes one cross stitch. Repeat.
Blanket Stitch
May be worked in a variety of ways and combina-
tions; it is both decorative and practical as an edge
finish. The method of making the stitch is described
on page 34.
Scalloped Edges
Pad the scallop to give a raised appearance to the
work; outline the edges of the scallops with a line
of fine running stitches; fill in the centers also with
running stitches; use darning cotton or the thread
used for scallops to fill in spaces; darning cotton is
less expensive and fills in quickly.
The stitch used to work scallops is really a blanket
stitch, set very close together in exact vertical lines,
working from left to right; no knot; conceal end of
thread in padding stitches and work over it. Cut
material away close to scallops at lower edge.
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75
Hemstitching
Decide on width of hem; measure up from edge
twice its width plus % inch; draw threads at this
point, the number to be drawn depends on weight of
material, depth of hem and size of article or garment.
When threads are drawn, baste hem to place.
Single Hemstitching
Hold wrong side of hem toward you, and the open
spaces over cushion of first finger of left hand; con-
ceal end of thread under fold of hem; pass needle
from right to left behind a group of four or five
threads; draw thread down close to hem; then pass
needle again back of same group, and needle througli
fold of hem (not in cloth back of hem); repeat.
Double Hemstitching
Repeat the same work of single hemstitching; turn
article around and work on opposite side of drawn
threads; pass needle back of same group of threads,
which makes straight bars of threads.
Diagonal Hemstitching
First row, same as plain hemstitching; turn article
as in double hemstitching, but pass needle back of
half of each group of threads, making a zig-zag line
of bars.
..^jll*/.. ^:w-h(...>i'". ..^^v..*. *^,
16
TACKS
Bar Tack
Used at the end of pockets. Pass needle up through
cloth at end of outer row of stitching and down
through cloth at end of other row; repeat four or
five times; bring needle up at the end of this bar
and put it down on the other side; repeat keeping
stitches close together until bar is covered. Some-
times a small bar tack is placed at the ends of first
tack.
Arrowhead Tack
Used at end of pockets on middy blouses, shirt
waists and hold pleats together on skirts. It is worked
on lines of an equilateral triangle /\ ; pass needle
through center of triangle with running stitches com-
ing up at B; pass needle up to A and out at the left
of A; then down to C; across underneath from C to
B and repeat as before.
Crow's Foot Tack
triangle at center of each side; begin at
B; pass needle to A; bring it out to left of A; down
to C; out to right of C and across to left of B; up
at right of B and up again to A. Repeat.
French Tack
Used to hold belts or girdles, jabots and other
bits of decoration in position. Take several loose
stitches connecting two parts of garment; work over
these close blanket stitches; use the eye end of the
needle to pass through loops.
Double Overcasting
Contrasting colors are used to finish edges with
this attractive arrangement of simple overcasting
(page 32). One row of overcasting is made in the
usual way; the second row is worked from left to
right, needle coming out at lower end of stitch in
first row.
Crossed Overcasting
First row same as usual; the second row from left
to right, needle coming out so as to cross threads
in center.
rxxxxx
77
SMOCKING
Smocking is a decorative way of holding and
arranging fulness in garments for children or adults.
The material is gathered very regularly, then
drawn up to a space equivalent to one quarter what
it was when plain. Ornamental stitches are worked
on the gathers.
The material is first marked or charted on the
wrong side, to make gathering regular. Mark by
rows of dots about */8 t0 % mch apart, determined
by weight of material and amount to be gathered.
Mark rows of dots % to % inch apart.
Use strong thread for gathers; when rows are
completed draw threads up to one quarter original
width. Turn to right side and straighten gathers.
First stitch used is always the outline stitch; it
may follow in various arrangements. Single and
double cable stitch are also used; in fact one may
introduce stitches according to one's individual
liking or the suitability to the garment.
73
EMERGENCY
HELPS
Stocking Darn: To darn a stocking or other
knitted wear, trim away the ragged uneven edges,
but not more material than is necessary.
Thread a darning needle with double strand darn-
ing cotton. The stocking is then drawn over a
darning ball to keep the edges even and firm.
Do not use a knot; begin the stitches far enough
from the hole to escape the thin part, catch the
needle in the knitted loops of the stockinette moving
it in the direction in which the loop turns, and skip
every other loop. In the second row, pick up the
loops skipped in the first row, and drop the others.
Leave a loop at the end of each row of darning to
allow for shrinkage of the darning cotton, and
stretching the stocking in putting it on.
Continue darning until you have completely cov-
ered the hole and the surrounding weak parts.
Darn across the other way of the stocking which
corresponds to the woof threads, being careful to
catch all loop stitches at the edges of the hole to
prevent drop stitches. When the darn is completed,
clip the thread at the end of the darn.
Dress or Garment Darns: A lengthwise tear
or crosswise tear may be repaired by darning across
the torn part using very fine stitches but not drawing
the thread tight, and omitting the loop used in stock-
ing darning.
A Diagonal'Tear will need to have two sets of
threads crossing each other, each set following the
warp and woof way of the cloth.
"A Barn Door Tear" may be repaired by having
sets of threads covering each side of the tear and
there crossing each other at the corner.
dm
nViV
79
LACE
Lace Overhanded to Edge
Hold lace }4e f inch from raw edge of under-
garment; use very fine thread and overhand very
closely; it is a durable finish when carefully done.
Lace and Entre-deux
Decoration for undergarments; both edges being
finished, simply overhand with fine thread.
Lace Insertion
Baste insertion to garment; sew with fine hemming
stitches on right side; trim material away on wrong
side, leaving a very narrow edge which roll and
whip carefully.
80
Gathering Lace
Best way to whip over edge with fine thread not
too long space at a time and draw up whipping
thread. Sometimes gathered by drawing up thread
in lace; this may weaken lace unless thread is per-
fectly loose.
Joining Lace
Lap ends so design is completely matched; then
sew with all buttonhole stitches in very fine thread
or with hemming stitches and frequent buttonhole
stitches; cut material away beyond the sewing on
both sides; a durable join.
Embroidered Edging
Set in using edge for a facing or gather and set in
as a ruffle.
Corners Embroidery
Lace:match the design if possible; if not cut out
a motif of design and lap and join; if this not prac-
tical, join in seam, trim and whip edges close. Em-
broidery:Miter corner as you would a band or hem.
81
TAILORING
Tailored Coat of Wool
Notched Collar and Revers:A strictly tailored
type of garment suitable for a suit or top coat. Di-
rections for making this type of garment are appli-
cable to both a suit jacket or a long coat.
Testing Pattern
Work according to the directions on p. 12 for
testing paper pattern; make necessary alterations in
pattern. If a careful worker feels a greater sense of
security in cutting coat in muslin before cutting
cloth, it is perfectly correct to do so.
Cutting Coat
Determine the up and down of cloth and place
pieces of pattern accordingly; cut all parts of the
coat; mark center front, center back, armhole, neck,
hand hem line, all seams, placing of pockets, and
buttonholes with tailor tacking.
Interfacings
Cut an interfacing of very thin unbleached muslin
for the front of the coat, collar, armhole and across
shoulders; these help to keep coat in shape during
its term of service; use pattern of front facing to
cut interfacing and pattern of back and front of
coat for armhole and back interfacings. As shown
in the illustration, some tailors cut the interfacings
to extend to the armhole on front and back of coat,
and under-arm seam, as far as 2 inches below
armhole.
32
Assembling Parts of Coat and Basting
First baste interfacings to place on the wrong
side of the front and back of the coat, and also
to the under side of the collar.
Study the numbers of the pieces so you have the
consecutive order of arrangement as denned on the
Dehor.
Pin the back and front of the coat together, being
careful to watch notches, and seam lines meeting;
pins at right angles to seam; baste carefully for
fitting.
Baste sleeve seams; gather fulness at the top be-
tween the notches, two rows, or baste darts in place
if that is the mode of controlling fulness, and design
of the sleeve.
Two seam sleeves are more often used on strictly
tailored coats. It is important that the basting be
carefully done.
Basting Sleeves
Place the larger piece flat on the table, small piece
on top; keeping it on table prevents twisting sleeve
while pinning; pin front seam first; fold over larger
piece so seam lines meet top and bottom; distribute
fulness at elbow; use small stitches; place sleeve in
armhole; match notches; pin to place; gather, pleat
or dart fulness at top; baste sleeve to place.
A one seam sleeve must also be carefully'basted
that there be no twist to the material as the work
progresses.
Pin the seams together so that the cross lines at
the top and lower edge meet; have seam lines meet in
the length of sleeve, pins at right angles to seam;
baste and stitch seam; press.
83
Fitting Coat
Coats require two or more fittings; the first when
the interfacings have been basted to place; the sec-
ond, after padding collar and revers, placing facing
and basting sleeve to place.
Follow general rules for fitting; as given in Dehor.
If the general lines are good, make any slight alter-
ations that are necessary, pinning carefully to pre-
serve good lines; pins in this process are parallel
to the seams. Remove coat and mark alterations as
indicated by the pins; rip seams and make changes
on the opposite side to correspond to the new lines.
If sleeve has been changed in any way, repeat these
changes on the other sleeve.
Second Fitting
Try coat on; check all alterations; look it over
carefully; make further change if necessary.
Mark line at lower edge of coat; also at lower edge
of sleeve.
If fulness appears at the armhole on back of
coat, this may be taken out by gathering the armhole
just where the fulness shows, drawing the gathering
thread until fulness is held in and then shrinking the
fulness out over the tailor cushion. This is better
than trying to take it up by lifting the shoulder
seam, which will throw the grain of material out
across the back.
Padding Collar
Rows of machine stitching are placed from edge
of collar which joins the neck of coat to the line
which marks the turn of the outer part of the collar;
on the rest of the collar, use regular padding stitches.
Padding Revers
Mark with basting, the line on which revers will
turn; to pad, begin at the line of basting and make
rows of diagonal basting stitches catching a thread
or two of cloth of coat; continue up and down
revers; hold interfacing easy so rever will roll.
84
Stay Tape
It seems there is not a great deal to say about
this very important bit of the necessary supplies
for real tailoring.
It is a narrow, thin linen tape used to prevent
the stretching of the edges of a strictly tailored coat.
Strictly tailored means made after the fashion of a
man's custom made coat.
The tape must be shrunk before it is put on the
coat; this is done by immersing the tape in very hot
water, and pressing it while it is wet.
Baste the tape along the line of the turn of the
revers, neck line, and down the front of the coat,
but always inside the seam line, so it will just es-
cape being caught in the machine stitching when
stitching the facing to place.
Hold it close when basting it along bias edges,
so the bias will not be stretched.
Hem both edges of the tape to the interfacing at
the revers line; hem only the inside edge down the
front; the outer edge must be loose until after the
facing is stitched to the coat, and the seam pressed,
when it will be hemmed to the seam.
Stay tape is fine for staying the edge of a diag-
onal or curved slit for a pocket on a tweed or any
heavy cloth coat; it can be basted on the inner edge
clipped to spring to the curve, and yet hold the bias
with its straight edge.
85
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Collar
Baste seam of collar right sides together; ease out-
side to make it roll; stitch seam; trim off corners;
press seam open; turn right side out, baste turned
edges, letting cloth extend a bit as in revers.
Turn in edge of underside of collar; baste and
press it; place it on neck line of coat and hem it
closely with small stitches to coat. Turn in edge of
upper side of collar and edge of cloth facing so
they just meet; slip-stitch these edges together; hem
the remainder of lower edge of collar to lining when
it is placed.
Facing
Place cloth facing to coat, right sides together, ease
facing a little from neck to waist, so it will roll with
rever. Hold normal way from waist to lower edge;
stitch seam, trim edges and extra material at point
of the revers to prevent thickness; press seams open;
hem edge of stay tape to seam to keep it flat and
front of coat in shape.
Turn facing right side out and baste edges closely,
letting a little of facing to show on the coat side from
neck to waist, so that when revers turn back, none
of the underside will be visible; do the reverse from
waist down.
Pockets
Various kinds of pockets and the method of making
are to be found on p. 64. The illustration suggests
types of pockets often used on coats.
R6
Sleeves
Two-seam sleeve with buttons and buttonholes:
When seams are stitched and pressed, place a 3 inch
bias strip of muslin for interfacing; let it extend
^4 inch below the line for turning lower edge of
sleeve; tack to seams; at lower edge below turning
line, sew with long and short stitch just catching
thread on wrong side of cloth.
Make bound buttonholes through cloth and inter-
facing; turn in facing on back of sleeve; catch-
stitch to muslin; finish extension; press and sew
buttons to place; turn up lower edge of sleeve, catch-
stitch to muslin and press.
Lining Sleeves
Stitch lining seams; press and tack seam of lining
to seam of sleeve; draw lining over sleeve; turn and
slip-stitch lower edge to sleeve.
Shrinking Fulness Top of Sleeve
Place sleeves in armhole; draw gathers to place;
fasten; Try coat on to see sleeves are correct; re-
move sleeves; shrink out fulness over end of sleeve
board or small tailor's cushion; sleeve wrong side
out and wet press cloth over it while shrinking.
Fasteners
Fasteners for tailored coats are of importance;
they must of necessity be of a type to be in keeping
with the coat you are engaged in making.
There is nothing smarter for tweeds, and other
heavy wool fabrics than the very attractive bone or
composition buttons; in less weighty fabrics the fab-
ric button of the coat material may find its place.
Then there are metal buttons too to brighten dark
woolens.
You will find two hole, four hole and shank but-
tons all trying to engage your attention as you go
button hunting, bone and metal, and the tiny little
smoked pearl one to sew back of the large button
to prevent tearing your coat.
Worked buttonholes are used mostly today on
men's coats, and bound buttonholes on women's,
unless one desires to have the very mannish type.
Loops and frogs present another type of fastener
from which to choose, if they happen to be of your
liking. See pp. 70-71.72.
87
Lower Edge of Coat
Place a 2 inch bias strip of muslin, letting it
meet the line for turning; catch-stitch to seams; sew
along lower edge as in sleeve; let it slip under
facing; lower edge of coat and edge of facing are
slipstitched; turn up rest of lower edge of coat
and catch-stitch to muslin if lining is to be hemmed to
coat; if not, finish edge of coat with seam binding
which hem to muslin; press.
Interlinings may be of silk for coats which are
not to be worn in very sharp weather. Warm inter-
lining is to be had in flannel, all wool or part cotton
and wool; also in lamb's wool often quilted on cheese
cloth or similar thin cotton fabric; this makes a very
warm, cosy interlining but will fill up the coat more
than flannel. Interlinings are not put all the way
around the sleeves as this would thicken them too
much and one would not feel the cold on the under
part of the arm.
Cut the interlining by the coat pattern; do not
baste the parts together; each piece is placed sep-
arately, and tacked to the seams with a long and
short stitch, or with catchstitch.
If extreme warmth is desired, a second layer of
interlining is placed across the back, the front and
on the sleeve.
Coat linings are usually of silk or rayon. They
may be of the color of the coat, or some contrasting
color; it is wisdom to buy good lining for the coat
especially if it is to have hard wear.
All final pressing must be done before the lin-
ing is put into the coat. A local tailor would do
this final pressing just as you are ready to prepare
the lining, which will give the coat a professional
appearance.
Cut the lining by the coat pattern, allowing for
the pleat at the center back, iy2 inches. Lay pleat at
neck in center back and feather stitch it four inches
below neck; the rest of the pleat is left loose after
the lining is in place.
Stitch any seams in the lining except the shoulder
and underarm seams.
Place the lining to the front of the coat first; ease
it a bit both up and across to allow for pull in
putting coat on and off; tack to underarm seam and
turn in edge of lining at facing and baste.
Place back lining in coat; tack to seam in back if
there is one; baste to place; turn in edge of back
lining at underarm seam, baste and blind hem to
front lining.
The lining is tacked and hemmed at shoulder seam
in the same manner as the other seam.
Baste lining around armhole; hem lower edge of
collar to lining; turn lower edge of lining on finish-
ing line and baste it to itself; finish the edge with
seam binding. It is better to keep the lining loose
at the lower edge to avoid any pull or unnecessary
fulness.
Baste and stitch sleeves to place, but do not stitch
through the sleeve lining; when sleeve is stitched
in, press seam over tailor cushion using a damp cloth,
being careful not to touch silk lining with cloth;
turn in seam of lining and hem to sleeve seam, gath-
ering lining if necessary.
When padded sleeves are in vogue, patterns for the
pads will be found with the pattern, pad one piece
of pad with cotton batting; turn over the edge of the
lining and catch it to the batting; face the pad with
another piece of lining; tack pads to seams of sleeves
at the armhole.
When a very stiff and outstanding effect is de-
sired, canvas is sometimes used for padding; in this
case a bit of wadding not as thick as in the soft pads
will tone the harshness of the canvas,
' mm^mmm^mlmi^f^m^^l^pm^',
89
THUMBNAIL SKETCHES OF THE
N OW that the mystery of patterns and stitches and
seams has been solved, we have come to the point
in our adventure where we can wear and enjoy the
clothes we have made. Since many Butterick patterns
seek their inspiration from the Paris couture, Holly-
wood, and our own group of prominent American
designers, it might add to the zest of your dressmak-
ing to know something about these designers who
feed our fashion appetites.
I. PARIS DRESSMAKERS
ALIX (pronounced Al-eex), probably the most
talented and truly artistic of the young Paris dress-
makers, remains a woman of mystery. Petite, dark
and very shy, she continues to be indifferent to what
other dressemakers are doing and cannot be per-
suaded to talk about herself.
She was "discovered" by smart buyers when she
was making, at home, canvas models of her clothes.
It was learned that she had served her apprenticeship
under Premet, and that she was a distinguished sculp-
tress in her own right.
In direct contrast to her retiring personality, her
clothes are daring in their use of line and fabric.
She has a fondness for fine silks, rayon jersey, and
exotic fabrics that mold on the figure or swirl and
sway in sculptured folds.
She is fascinated by Oriental art and often uses
some exotic Oriental silk embroidered with bizarre
motifs in making up her collection.
Second in importance to her belief in sculpture is
her conviction that the modern woman must above
all dress to fit her individuality. This has resulted
in a series of clothes which are often difficult to
adapt because they emphasize so strongly the per-
sonality for whom her clothes were designed.
Her passion for perfection has given her clothes
a distinction. She even has a metal studio on her
premises in which she designs the dull silver and
copper ornaments that decorate her clothes.
BALENCIAGA (pronounced Bah-len-see-ah-gah)
was recognized as one of the foremost dress designers
of Spain when he left his war-torn country to open a
dressmaking establishment in Paris. In August 1937,
he opened an impressive white salon and presented
a collection . . . one week after the American
buyers had departed. One buyer who had stayed
on wandered into his shop, saw the possibilities in
his clothes and launched them in America.
Although his immediate success may sound aston-
ishing, the reasons for it become immediately appar-
ent when you see his clothes. He designs wonderfully
wearable afternoon dresses which are dear to the
heart of American women. He does very little ex-
primenting with color . . . most of his successes are
shown in black . . . and counts on superb cutting to
give character to.his clothes.
Balenciaga is equally recognized as a designer of
youthful evening dresses . . . lovely, simple, naive,
and still with just a touch of sophistication.
M. Balenciaga designs all of his clothes himself,
relying on no outside assistance. An essentially shy
man, all his showmanship goes into his clothes and
his customers rarely see him.
Not perhaps as creative as some of the other de-
signers, he has, so far, established himself as a de-
pendable designer who can be counted on to turn out
a good, wearable collection of clothes.
MADAME BRUYERE (Broo-yair) startled the
fashion world in 1930 with a collection of clothe3
GREAT PARIS AND AMERICAN DESIGNERS
noted for the subtlety with which she combines the
elegant with the simple. Her lace dresses are a
sensation. She shuns bias cuts and kimono sleeves,
and her creations, while a triumph of fitting, are
always easy to wear.
She is partial to moulded bodices, full skirts, much
lace, intricate embroidery, and dropped shoulders.
THE HOUSE OF CREED, like the house of
Worth is now in its third generation. Unlike the
house of Worth, Creed had the honor of catering to
Queen Victoria as well as Queen Alexandra, Queen
Christian, the Empress Elizabeth of Austria, and
the Archduchess Ferdinand of Austria.
Although Creed's tailleurs are considered classic,
there is no ancestor worship involved in the designing
of modern clothes. The latest fabrics, colors, and
innovations all go into the faultless designs. The
fabrics which Creed uses most are the famous Rodier
wools that for generations have spelled perfection.
Blouses made from bright, light Rodier wool are an-
other specialty of the house.
When Creed designs an evening dress, it is always
sure to be interesting in cut and design. Several
years ago he launched the trend for tailored evening
gowns. Recently he has added beach wear to his
collections, beautifully cut slacks and suspender
shorts, cut like slacks, but knee-length with cuffs.
THE HOUSE OF HEIM (Hime) has gained
prominence for three things: Furs, clothes for young
girls, and beach clothes, as well as for clothes de-
signed for his large, smart Parisian clientele. Strictly
a family establishment, there is one exception
Madame Lyolene who designs the clothes for Jeune
Filles. Heim is the only establishment besides Lan-
vin who designs clothes for young girls.
Heim's most famous achievement in the field of
couture was his revolutionizing influence on beach
clothes, and it is he whom we must thank for printed
pareos, sarongs, gay cotton swimsuits, and bright,
odd play clothes, that have taken America by storm.
Heim, like Patou and Lelong, is publicity conscious
and publishes a bi-annual booklet which he names
"Revue Heim," to which famous Parisienne writers
lend their talents and for which the smart women for
whom he designs clothes allow themselves to be pho-
tographed.
JEANNE LANVIN (Lan-van, with the n's muted)
began her career at the age of thirteen as an appren-
tice in a large dressmaking establishment. Her
career terminated when she was married, but when
friends saw and admired the clothes she made for
her little daughter, they urged her to start in busi-
ness for herself; this she did in 1890.
Lanvin's dressmaking background has given her
a sound sense of the individuality of clothes, and
details carefully worked out are an important cre-
ative contribution to her collections. Rich embroi-
deries, intricate sleeves, appliques of scintillating
brilliance are all important to her. In fact, the use
of gold and silver appliques and glittering sequins
is recognized the world over as the "Lanvin touch."
She adds to this an unswerving sense of line, color
and fabric.
Today her clothes are bought by people who like
fine workmanship, good line, and intricate detail.
Impeccable taste is the keynote of her collections,
which have a glamour all their own . . . especially
for tall, slim women of distinction. For this reason,
perhaps, Lanvin has a large theatrical clientele.
pation with fabric and finishing as well as the excel-
lence of his designs.
CAPTAIN EDWARD MOLYNEUX (Moll-ee-
no) is an Englishman, a Captain in the English
Army and a designer of clothes of young distinction.
Molyneux came to Paris to study painting but soon
became more interested in designing. He worked,
before the War, as apprentice and designer for Lu-
cille, one of the great houses of that period.
There is an axiom, "You can choose a Molyneux
dress with your eyes shut and be nearly 100% sure
of success." Molyneux made the trousseau for
Princess Mary of England; and among his clients,
famous for their chic, are the Dutchess of Kent and
Gertrude Lawrence.
Molyneux's clothes are never startling nor con-
spicuous. You are impressed by a woman in a Moly-
neux dress as a smart woman rather than by merely a
smart dress.
You can count on Molyneux clothes never to be
eccentric in color, never to change suddenly in sil-
houette . . . and always to be wellbred and beautiful.
ROBERT PIGUET (Ro-bear Pee-gay) is ranked
with the geniuses of the young Paris couture. His
knowledge of the Greek classics in sculpture led him
to the discovery that the most beautiful line of a
woman's body was from her arm to her hip and
gave him the impetus to design clothes to bring out
the beauty of her figure.
Born of an aristocratic family, Piguet hires most
of his salesmen from his own social circlecountess-
es, duchesses, marquises. And for them he creates
his clothes, sophisticated, youthful, aristocratic.
He excels in perfect finish, and the simplicity of
line that is so hard to capture because it belongs to
his intimate knowledge of sculpture. Above all, he
believes in revealing rather than concealing the
body; the subtle way in which he manages this is
genius. An example of this is his "background"
dressthe simple costume that the individual makes
her own by the addition of varying accessories.
Although he excels in the sculptured dress, he can,
unlike Alix, create smartly tailored frocks and suits
that reflect the modern tempo, and bouffant dresses.
MADELEINE DE RAUCH (Mad'layn d'Roash)
a prominent sportswoman was one of the first of the
Paris couture to appreciate the need for functional
sports clothes for women. She originated the culotte
skirt. Today she creates many of our best func-
tional and spectator sports designs as well as more
formal types. Never spectacular, her designs depend
on fine lines, fine fabrics, and fine taste to provide a
perfect setting for discriminating women. As a result,
clothes from Madam de Rauch are usually in good
style for several years.
MARCEL ROCHAS (Mar-sell Roash-ah) holds
today a position in the Paris Couture on a par with
Schiaparelli. Both are famous for their originality.
But where Schiaparelli dresses the modern woman of
fashion, Rochas dresses the gay, sophisticated young-
er set of Paris. And his following is also great in
the United States and South America.
With a few exceptions, Marcel Rochas' greatest
successes are in his sports clothes which are young,
trim, and colorful. His use of color amounts to
genius but it is not easy to copy as each shade must
be exactly right. He combines woodsy green, mus-
tard, and purple into harmony and sometimes blends
as many as five colors.
simple, slim silhouette but is without convention in
her use of fabric and color.
MADELEINE VIONNET (Vee-oh-nay) designs
clothes which seem to be the essence of simplicity, yet
defy the copyists. They are cut and draped so in-
tricately that they must be completely taken apart
before it is possible to see how these seemingly sim-
ple clothes were put together in the first place.
She began as a cutter and fitter, first with Callot in
London and then as "premiere" with Doucet. When
she opened her own house and became a designer she
perfected the science of cutting and fitting. This was
in 1914, and when the war forced her to close she re-
opened in 1919. Her clothes follow the structural
lines of the body, fit marvelously well, and stay in
fashion season after season.
Vionnet gave us the bias cut dress, the first simple-
appearing dress that was not simple in cut. It brought
an entirely new technique to the fashion world. This
dress was also the first slipover dress without fast-
enings. It made possible the uncorseted figure.
Today she is the greatest of the traditional dress-
makers. She uses simple fabrics that drape and
cling, and marvelous, subtle colors.
In her own salon, she inspects every dress before
it goes out and stamps on its label her own finger
print to assure the customer that it is an original.
II. AMERICAN DESIGNERS
As a class, American designers are young. It was
not until 1932, when Lord & Taylor sponsored a
group of native designers, that they were given any
public recognition. Today, although Paris is still
the acknowledged fountainhead of fashion, American
designers are taken seriously on both sides of the
Atlantic. They fall into several groups: the design-
ing retailers, the wholesale designers, and the Holly-
wood designers. There are now so many important
ones in each group that we can only give you sketches
of the most prominent.
1. DESIGNING RETAILERS
HATTIE CARNEGIE is one of the most famous
designing women in America. Her enterprises are
many: a smart retail shop in New York for custom
clothes, ready-to-wear, Paris imports and copies;
retail resort shops; a wholesale business; and her
own factories. She believes in Paris, visits it fre-
quently, designs in the French manner for her clients;
she also believes in Hollywood, sells her wholesale
clothes in California shops, dresses any amount of
Hollywood stars on and off the screen. She was
born in Vienna, educated in the East Side schools of
New York, sold hats in a modest shop, and began
designing dresses without ever having sewed a stitch.
She still doesn't sew and cannot cut a pattern, but
has an enormous feeling for luxury of material and
beauty of line.
FRANCES CLYNE began her career as a hat
designer. During the World War she was forced to
bring back gowns from Paris while she was on a hat
buying trip for Gidding. Her imports were so suc-
cessful that she was thereby acclaimed a dress buyer
of distinction. She opened her own shop and has a
distinguished clientele. She imports stunning models
on her frequent European trips, and creates many
originals herself. She believes a very simple and not
very original style may be made important through
handsome fabric and flawless workmanship.
MRS. FRANKLIN has an unequalled reputation
for fine hand-knit clothes. She is another designer
a fine old house in the East Fifties, where she de-
signs and sells both gowns and hats.
MURIEL KING began as a fashion artist after
studying art in Washington University and the New
York School of Fine and Applied Art. Free lancing
in New York led her to Paris where she drew for
Vogue, and Women's Wear. She came back and
forth to America, planned her friends' wardrobes,
and decided to go into designing seriously. Her ven-
ture was highly successful and widely publicized.
Her clientele was small at first but she designed
entire wardrobes for them with originality and in-
dividuality the keynote. She approaches her custom-
ers from the artist's viewpoint, and builds flattering
colors and lines for them. Her tailors and dressmak-
ers work from her colored sketches. Fabrics are
selected after the design has been determined. Miss
King feels that a lack of concern with construction
details leaves her imagination free for the conception
of a perfect whole. Her clothes are restrained.
MAYBELLE MANNING is another designer who
entered her career accidentally. Born of an old Vir-
ginia family, she went to Hollin's College and the
Gardner School in New York. During the war
while she was doing canteen work, she designed sim-
ple cotton dresses for herself, extravagantly admired
by her friends. After the Armistice Miss Manning
started a designing business in Dallas, Texas. Soon
her southern clothes were shown in New York, which
eventually drew her. Flo Ziegfield engaged her to
do some of the Follies shows. In addition to her
own shop in New York, she was fashion editor of the
Theatre Magazine for several years and wrote nu-
merous fashion articles for magazines and news-
papers. She stresses good workmanship in well
tailored daytime clothes and feminine evening gowns.
SALLY MILGRIM'S rise from the humble be-
ginning of model in a small Second Avenue Shop to
the designing genius of one of New York's smartest
fashion shops is a famous success story. Not content
with just marrying the youngest brother in the firm,
Charles Milgrim, Sally persuaded the brothers to
let her try designing the new soft clothes which were
starting to replace tailored suits. The phenomenal
growth of the business from this point on was a tre-
mendous tribute to her keen style sense. By 1929
when the beautiful new Milgrim shop on Fifth-Sev-
enth Street was opened, Sally Milgrim was already
designing for the most brilliant women of the stage
and social world. She also has made inaugural
gowns and other clothes for Mrs. Roosevelt, Mrs.
Harding, and Mrs. Coolidge. She drapes fabrics
directly on the mannequin until an idea is born and
another Milgrim design emerges from the folds.
JESSIE FRANKLIN TURNER stands out as an
incurable individualist among designers. Ignoring
Paris customs and styles, she works independently,
even to designing her own fabrics. This individu-
ality, plus her support of the classic belief that fine
dressing is the eloquent draping of the human body
regardless of the vagaries of the current mode, give
her designs a timeless character beyond fashion. Her
treatment is particularly suitable for formal clothes,
and it has been on them that she has concentrated,
first with Bonwit Teller, later in her own shop. Jes-
sie Turner's search for inspirational fabrics and
ideas has taken her around the world many times.
2. WHOLESALE DESIGNERS
CLAREPOTTER, non-professionally Mrs. Clare
lance drawing and designing for dress manufac-
turers, then worked for twelve years with the dis-
tinguished house of Patullo. Miss Copeland goes to
the Paris openings and stresses the vast importance
of Paris as an inspiration to American designers. She
works mainly from the fabric to the design, working
on mannequins more often than from sketches. She
believes primarily in fine lines, functional design,
decorative details closely related to structure, beauti-
ful workmanship, and equally beautiful fabrics.
KIVIETTE, an outstanding theatrical designer,
started as an illustrator. She studied at the National
Academy of Design, and had a hard apprenticeship
selling free-lance sketches to the trade. She finally
got a theatrical job, did strikingly dramatic clothes
for any number of Broadway successes, and now has
an enviable wholesale business. She likes to follow
body lines with subtly dramatic touches. She often
designs buttons and belts.
RENEE MONTAGUE is a Virginian with the
background of a southern debutante. She wearied
of social nothings and went to New York to study
costume design. A year in Paris followed, then New
York theatrical designing before she became head de-
signer for Jay Thorpe. She left there for wholesale
designing in which she is eminently successful. Her
forte is exquisite evening gowns and bridal clothes.
She works from sketches at times; at others, she
drapes muslin on a wooden mannequin, making only
half the garment, using plenty of pins.
GERMAINE MONTEIL (Jer-men Mon-tie) is
French by birth, American by adoption and interests.
She has always worked for high style houses with a
sophisticated clientele. In 1930 she started her own
business in the wholesale dress market. Her clothes
are dramatic, individualistic, definitely modern. She
works from quick sketches, spends a great deal of
time and painstaking care on cutting, and demands
superb workmanship from her assistants.
NETTIE ROSENSTEIN is one of the natural de-
signers who began on her own clothes and was per-
suaded by admiring friends to design for them. The
circle widened until she found herself in business.
I. Magnin asked her to make clothes for his Los
Angeles store, so that her wholesale business also
started by request, and now flourishes in over a hun-
dred and fifty of the smartest retail stores. She bases
her success on her insistence on fine fabrics and
hand workmanship regardless of the cost.
3. HOLLYWOOD DESIGNERS
ADRIAN. Probably the most widely known of
the motion picture designers is Adrian, a Connecti-
cut Yankee who studied in New York at the School
of Fine and Applied Art, and later in Paris. His
Hollywood career was preceded by costume design-
ing in New York for the Music Box Reviews, the
Greenwich Village Follies, and George White's Scan-
dals. Adrian's first trip to Hollywood was made
to costume Rudolph Valentino's plays. Since then
he has dressed Greta Garbo, Joan Crawford and
Norma Shearer. He believes in fine fabrics, clothes
that are sophisticated and glamorous but essential-
ly simple.
TRAVIS BANTON was born in Waco, Texas,
studied at Columbia University, and the School of
Fine and Applied Art. After the World War, in
which he served, he started his own dressmaking estab-
lishment for a smart clientele and also Broadway
shows. He finally made Hollywood and has been
CLASSIFIED CONTENTS
Assembling Garments 25
American Designers 90-96
Adrian 95
Travis Banton 95
Hattie Carnegie 93
Clarepotter 94
Frances Clyne 93
Jo Copeland 95
Helen Cookman 94
Howard Greer 95
Elizabeth Hawes 93
Peggy Hoyt 93
Orry Kelly 95
Omar Kiam 95
Kiviettc 95
Maybelle Manning 94
Sally Milgrim 94
Renee Montague 95
Germaine Monteil 95
Nettie Rosenstein 95
Jessie Franklin Turner 94
Bands and Belts 57
Basic Stitches 30-34
Backstitching 32
Basting 30
Blanket Stitch 34
Blind Hemming 33
Buttonhole Stitch 34
Catchstitch 34
Combination 32
Diagonal Basting 30
Dressmaker Basting 30
Even Basting 30
Fagoting 34
Gathering 31
Gauging 31
Half Backstitching 32
Hemming 33
Ladder Fagoting 34
Overcasting 32
Overhanding 32
Running Stitch 30
Shirring 31
Slip Basting 31
Slipstitching 33
Stroking Gathers 21
Top Basting 21
Uneven Basting 30
Vertical Hemming 33
Whipping 33
Bindings 52,53
Bias Binding 52
Bias Tape Binding 53
Binding Scallops 53
Binding Shaped Edges 52
Continuous Bias Strips 52
Cutting Bias Strips 52
Double Binding 52
False Binding 53
Buttons and Buttonholes 69-72
Bound Buttonholes 71
Bound Opening 71
Buttonhole with Welt 72
Corded Frogs 69
Fabric Buttons 69
Link Buttons 69
Quickly-Made Bound Buttonholes... .71
Shank Buttons 69
Tailored Buttonholes 70

Butterick Dressmaking Book - 1940

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Butterick Dressmaking Book - 1940

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TT

-L \yX\JLj VV \yJ\JLy The Butterick Company presents a

message of encouragement and inspiration to women and girls individually

and collectively, regarding the making of one's own or another's clothing.

fabric habits, and the puzzle of technique.

perience of making a garment for yourself, yet bothered and perplexed

when confronted with some problem of fitting yourself? Butterick brings

to you the easy solution of your difficulties.

to the very points which trouble you.

Are you a home-maker who feels an urge to have something smarter in

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:\..^..>.,.\ .^.w...* s...'-^^ ^.

pattern, cloth or technique.

the pages of Butterick's new Dressmaking Book.

Dressmaking Book to stimulate and inspire you in your work.

So to you all;amateur, business or high school girl, homemaker or teacher,

dressmaker or native geniusButterick dedicates the content of its new Dress-

BUTTERICK DRESSMAKING BOOK

THE BUTTERICK PATTERN

THE Butterick Company stands as the pioneer in

pattern making in the United States. The begin-

ning of this great business unfolded many years

ago in the thought of Ebenezer Butterick, a man's

tailor up in a little town in Massachusetts.

It all came about in this wise:Ebenezer's

wife was having difficulty in putting together a

dress for their baby son; she voiced the lament,

"If we only had patterns to make our children's

clothes, how much easier life would be!" Ebe-

nezer translated his wife's lament into a pattern

for a man's shirt, which he followed later

with patterns for a baby's first dress and a

boy's suit, both eagerly received.

The neighbors bought the pat-

terns eagerly and before a great

while a man with a horse and

buggy was hired to go about the

countryside and sell the patterns.

The farmers' wives demanded

patterns of clothes for themselves;

business became so brisk that in

1864 a sales office was opened at

192 Broadway, New York City.

Then came the first little maga-

zine showing Butterick patterns,

called "The Ladies Quarterly Re-

port of Broadway Fashions."

Soon, however, a quarterly was inadequate to

meet the needs of the avid pattern users, so, in

1868, "The Metropolitan Monthly" was issued,

and in 1875 it was merged with the Quarterly

under the name of "The Delineator," the oldest

but one of women's magazines in the United

States and Canada. The "Butterick Fashion

News" which we know so well today, first came

out as an illustrated pamphlet sent to merchants

for gratuitous distribution to customers.

The Butterick pattern business gradually

spread all over the world and today some of its

treasured possessions are time-mellowed notes

on crested stationery from nobility in other

countries asking for patterns for such garments

as "knickers for a little boy," "dolls' clothes,"