2. Chalk the end of a yardstick or niler. Open the lower drawer of a
dresser far enough to hold the stick, and kei'p the stick iis nearly parallel
to the floor aa possible. Walk up to the end of the slick, and turn slowly
letting the chalked end of the stick mark the skirt. Spread the skirt on a
tAble, and mea^urp down from this chalked line the correct number of
niches to make the skirt the desired length,
HOW TO KEEP BIAS SEAMS FROM SAaoma
After a skirt has bet*n Ija^sted and stitched, it is well to allow it
to liaiig for a number of days in onler to sag as much a^* it will.
It may then Ik' hemrnefl, and it will stay even for some time*
If seams are stayed with a very firm piece of material, such as
tape nr selvage, they may cret^p up» ur the hia.^ material at
each side of the f*eam may sajc down. Better than t^ \m^ a
straiglit edge, is to ust* a binding on a different bias from that
of the Beam, This will keep the .seam fi-om sagging, but it will
be sufficiently elastic to make a graceful seam.
SUGGESTIVE FINISHES TO BE USED BY THE HOME WORKER
Cuffi^ and coUai's.
The material in the cuffs and the collar should be the same,
and l3oth the cuffs and the collar should have the same general
shape. For example, if the corners are rounded on the collar
the same type of corner should appear on the cuffs. The Ixist
shape for the opening of the collar and the best outline depend
entirely on the figure and the sliape of the face.
The cuffs and collar may Ix? made of a texture contrasting
witli that of tlie drei^a but of a color liarmonizing with it. A
garment is always more intcrej^ting if some contrast is intro-
duced. The possible combinations of textures and colors with
a gown depend to a great extent on the personality of the wearer.
For example, one person may look well in white linen collars
and cuffs on a blue serge dress, while another person who may
be less tailored in appearance or whose complexion may bo lesa
clear, finds it neces,sary to wear georgette collars and cuffa
to prevent the transition from the dress to the collar to the com-
I
THE MAKING OF CLOTHING 365
plejdoo from being too pronounced. Therefore, the .smallest ^
part of decoration must be studied in relation to the i>erson who
is to wear the garment.
Some suggestive combinations of materials are as follows:
7^0 be u^ed uyith imol:
L Ci^irgi»tt« er^pe wUl keep the gown all in a t^uixk'-Jike tpxture if
roiiibineti with a dull material such iis Bcrge, It is a most hceominR texture,
hecatJse the li^lvt <if its surface in l)r(>kea up, ami iJ la thin enough to allow
the rolor of a dark Rown to Ije seen through it, thus producing a gradual
transition from the gown to the complexion. This is true of any of the
thin niateriaK
2. Chiffon is more appropriate than Georgette cr^pe, for formal ma-
terials sueh as broadcloth; it is more formal but not bo universally
becoming.
3. Wa^h satin. The texture of wash satin causes it to reflect the light
in large masses, and in itself it is very attractive. Since it is of a rather
heavy texture, it makes a harsh contmst between the dress, the collar,
and the complexion. It should be studied carefully with the gown and
the ix?r«on who i.s to wear it^ bc^foro being c^hosen.
Page 207
Presented as published in 1919. Historical recipes may not meet modern food-safety standards. Cook from the modern interpretation, not the original instructions.
AI-modernized reading of the original text
A modernized reading is not available for this page yet. You are seeing the original text.
2. Chalk the end of a yardstick or niler. Open the lower drawer of a
dresser far enough to hold the stick, and kei'p the stick iis nearly parallel
to the floor aa possible. Walk up to the end of the slick, and turn slowly
letting the chalked end of the stick mark the skirt. Spread the skirt on a
tAble, and mea^urp down from this chalked line the correct number of
niches to make the skirt the desired length,
HOW TO KEEP BIAS SEAMS FROM SAaoma
After a skirt has bet*n Ija^sted and stitched, it is well to allow it
to liaiig for a number of days in onler to sag as much a^* it will.
It may then Ik' hemrnefl, and it will stay even for some time*
If seams are stayed with a very firm piece of material, such as
tape nr selvage, they may cret^p up» ur the hia.^ material at
each side of the f*eam may sajc down. Better than t^ \m^ a
straiglit edge, is to ust* a binding on a different bias from that
of the Beam, This will keep the .seam fi-om sagging, but it will
be sufficiently elastic to make a graceful seam.
SUGGESTIVE FINISHES TO BE USED BY THE HOME WORKER
Cuffi^ and coUai's.
The material in the cuffs and the collar should be the same,
and l3oth the cuffs and the collar should have the same general
shape. For example, if the corners are rounded on the collar
the same type of corner should appear on the cuffs. The Ixist
shape for the opening of the collar and the best outline depend
entirely on the figure and the sliape of the face.
The cuffs and collar may Ix? made of a texture contrasting
witli that of tlie drei^a but of a color liarmonizing with it. A
garment is always more intcrej^ting if some contrast is intro-
duced. The possible combinations of textures and colors with
a gown depend to a great extent on the personality of the wearer.
For example, one person may look well in white linen collars
and cuffs on a blue serge dress, while another person who may
be less tailored in appearance or whose complexion may bo lesa
clear, finds it neces,sary to wear georgette collars and cuffa
to prevent the transition from the dress to the collar to the com-
I
THE MAKING OF CLOTHING 365
plejdoo from being too pronounced. Therefore, the .smallest ^
part of decoration must be studied in relation to the i>erson who
is to wear the garment.
Some suggestive combinations of materials are as follows:
7^0 be u^ed uyith imol:
L Ci^irgi»tt« er^pe wUl keep the gown all in a t^uixk'-Jike tpxture if
roiiibineti with a dull material such iis Bcrge, It is a most hceominR texture,
hecatJse the li^lvt <if its surface in l)r(>kea up, ami iJ la thin enough to allow
the rolor of a dark Rown to Ije seen through it, thus producing a gradual
transition from the gown to the complexion. This is true of any of the
thin niateriaK
2. Chiffon is more appropriate than Georgette cr^pe, for formal ma-
terials sueh as broadcloth; it is more formal but not bo universally
becoming.
3. Wa^h satin. The texture of wash satin causes it to reflect the light
in large masses, and in itself it is very attractive. Since it is of a rather
heavy texture, it makes a harsh contmst between the dress, the collar,
and the complexion. It should be studied carefully with the gown and
the ix?r«on who i.s to wear it^ bc^foro being c^hosen.