Welcome to my blog about Home Arts Needlecraft Magazine! I "discovered" this publication about 2 years ago and fell in love with it to the extent that I had to start collecting issues as I ran across them. The magazine began publication with its September, 1909 premier issue, and continued through March, 1941. It has been interesting to follow the changes through the 30 plus years the magazine was published. It is a great source for needlework, fashion, recipes and short stories. Through my journey of sharing my issues online, I hope to discover a pattern of what was popular in different forms of needlecraft over the 3 decades. I hope you enjoy my blog as much as I am (so far!) enjoying posting articles and projects from the issues. Thanks for visiting!

Sunday, January 31, 2016

A Group of Attractive Doilies in Crochet

August, 1913
page 2

Never, even in the earlier days when it possessed the charm of novelty and everybody was eager to “learn the stitch,” was crochet-work more popular than at the present time.  There is probably not a household in our country of which at least one member is not more or less familiar with the little implement, denominated crochet-hook, by means of which so many lovely things are produced.  Nor is this popularity confined to Irish crochet, and other varieties of this phase of needlecraft of which the separate motif, simple or elaborate, is a distinctive feature: indeed, there are probably fifty women who do “plain crochet” neatly and well to one who is expert in the production of the more intricate and difficult class; and the demand for new and pleasing designs “such as anybody can work out” is large and constant.  It is Needlecraft’s aim and pleasure to supply exactly what is wanted by its big and ever-widening circle, and the invitation to share her new and choice designs with others is cordially extended to every member.  Giving means getting in every phase of human activity.

A Dainty Vase-Mat
By Mrs. A. P. Lett

Chain 4, join.

1.     Chain 1, 8 doubles in ring, join to 1 chain.

2.    Chain 1, 2 doubles in each double, picking up both loops of stitch, chain 1, turn.

3, 4, 5.  A double in each double, widening sufficiently to keep the work flat and smooth, and have 24 doubles in the last row.

6.  Chain 6, (miss 1 double, a treble in next, chain 3) 11 times, join to 3d of 6 chain; 12 spaces in all.

7.  Chain 3, a treble in center of 1st space, chain 4, catch in top of treble, chain 5, catch in same place, chain 4, catch in same place, chain 3, fasten in top of next treble; repeat around.  This completes the wheel, of which 13 are required for the doily.  Break thread and fasten securely.

For the leaves:  Chain 16, turn; a double in each stitch of chain, 3 doubles in 16th of end stitch, 14 doubles up opposite side, chain 1, turn, a double in each double. Picking up the back loop of stitch only, to form a rib, 3 doubles in 2d or center stitch of 3 widening doubles of last row, a double in each double up opposite side, leaving 2 at the end, turn, and repeat until you have 4 ribs each side of the center   Coming down on the last row, when making the 2d of the 3 widening doubles, catch into the middle picot of the cloverleaf on little wheel, then continue down other side of leaf as usual.

Make 12 leaves, joining each as directed to a middle picot of cloverleaf, and each to preceding by slip-stitching in 3 stitches at the point of last row made, or corner of leaf.  Join last leaf to 1st is same manner.

Join a wheel between each two leaves my middle picot of cloverleaf thus:  Chain 3, catch in tip of leaf, chain 2, fasten in treble of wheel; finish the cloverleaf, join next cloverleaf to same leaf at 3d point, make a cloverleaf, then join the next cloverleaf to following leaf as 3d point and next to the tip.  Join each wheel to the preceding by picot of cloverleaf next above those joined at the tip of the leaf.  Easily made and very dainty.

Octagonal Doily
By Mrs. Sarah C. Darnell

Use No 70 linen thread and a crochet-hook large enough to carry the thread smoothly.  Make a chain of 6 stitches, and join.

1.     Chain 3 for 1st treble, 15 trebles in ring, join to top of 3 chain.

2.    Chain 3, a treble in same place, a treble in next stitch, *2 in next, 1 in next, repeat from * 6 times, join.

3.    Chain 3, a treble in same place, a *treble each side of the single treble of last row, so there will be 2 trebles between widening points, 2 trebles between 2 trebles, and repeat around, joining last treble to top of 3 chain.

4.    Same as 3d row, commencing with 3 chain and a treble in the same place for a widening, then a treble between each following treble, 3 in all, 2 trebles between next 2 trebles, and repeat.

5 to 20.  Work in the same way, increasing the plain trebles between widenings by 1 each row.

21.  Silp-stitch back over 2 stitches, chain 6, *miss 3 stitches, a treble between next 2, chain 3, repeat around from * and join to 3d of 6 chain.  There should be a space over each point and 7 spaces between points.

22.  A single in space over point, chain 3 for a treble; 3 trebles, chain 3 and 4 trebles, all in same space, *(chain 3, fasten in next space, chain 3, 4 trebles in next) 3 times, chain 3, fasten in next, chain 3, shell of 4 trebles, 3 chain and 4 trebles in the space over point, repeat from *, joining last 3 chain to top of 3 chain in 1st shell.

23;  *Chain 4, fasten under 3 chain of shell, chain 5, fasten in same place, chain 4, a double in last treble of same shell, chain 4, a double in 1st of next 4 trebles, chain 4, a double in last of 4 trebles, repeat around, making 4 chain over each group of 4 trebles, with 4 chain between groups, and the loop of 5 chain over the widening-point.

24.  Slip-stitch to center of point and under the loop of 5 chain as at beginning of 22d row; then repeat 22d row around.

25.  Same as 23d row.

Repeat 24th and 25th rows alternately until you have completed the 35th row, which will be like the 23d.

36.  Slip-stitch to center of 4 chain, chain 7, catch back in 4th stitch from needle for a picot, chain 3, fasten in double under 5 chain, chain 7, picot, chain 3, fasten in next loop; repeat around, only fastening twice (that is, a double under 5 chain, chain 7, picot, chain 3, fasten under same 5 chain) over each point.

A very pretty luncheon- or table-set may be made by this design.  For the tumbler-doilies make only 5 or 6 rows of the center, and 4 or 5 rows of the border; the bread-and-butter-plate-doilies may have several rows more added to both center and border, and other doilies in same proportion.  The centerpiece may be as large as desired, and – if preferred – the center may be of linen in every case, with the crocheted border added.


Doily for Bonbon-Dish
By Mrs. Sarah J. Hale

Chain 8, join.

1.     Make 18 doubles in ring, join.

2.    Chain 20, turn; *25 doubles over chain, a single in double of ring, turn, a double in each of 25 doubles, chain 1, turn, a double in each of *5doubles, chain 5 for a picot, repeat from 1st *, making 4 picots with 5 doubles between, after last 5 doubles make 2 singles in 2 doubles of ring, chain 18 for next spoke, miss 1 picot and fasten in next, turn, and repeat from 1st * until you have made 6 spokes, joining the last to 1st at the 2d picot from ring.  Break and fasten thread securely.

3.    Fasten in 1st picot of a spoke from the tip, chain 6, fasten in next picot of same spoke, chain 13, fasten in picot next to tip of next spoke, and repeat around.

4.    A double in each stitch of last row.

5.    Chain 3, a treble in every stitch of last row, making 2 trebles in every 6th stitch or as necessary to keep the work smooth and flat.

6.    Like 3d row.

7.    Make 2 knot-stitches, miss 2 doubles, fasten in next, repeat.  The last knot-stitch should fasten where 1st started.  Then draw out the loop on needle and fasten in the knot between 1st 2 stitches

8.    Make 2 knot-stitches, fasten in next knot; repeat.

9.    Same as 8th stitch, commencing each row by drawing out the loop and catching with a single in the following knot; worked thus, the joining of rows scarcely shows at all.  Fasten with 2 doubles in each knot or make a double at each side of knot of last row and close to it.

10.  Same as 9.

11.  Draw up the loop and catch in knot, *chain 6, a double on each side of knot; repeat.

12.  A double in each stitch of chain.

13.  A treble in each stitch of last row, commencing with 3 chain for 1st treble, and joining to top of 3 chain.

14.  Same as 13.

15.  A double in each stitch

16.  Chain 5, miss 2 doubles, fasten in next; repeat.

17.  A single under 5 chain, chain 3, 2 trebles under same loop, *3 trebles under next loop; repeat from * around, join.

18.  Make 6 doubles over 6 trebles, chain 9, miss 6 trebles; repeat.

19.  Make 4 doubles over 6 doubles, missing 1st and last, chain 2, miss 1 of 9 chain, a treble in next, taking through the stitch, not under the chain, chain 2, miss 1, 2 trebles in next, 2 in next, chain 2, 2 trebles in next stitch and 2 in next, chain 2, miss 1, 1 treble, chain 2, repeat the row.

20.  Make 2 doubles over 4 doubles, missing 1st and last, (chain 3, fasten under next chain) twice, chain 5, fasten in next (at top of shell), chain 5, fasten in same place, chain 5, (fasten under next chain, chain 3) twice, and repeat.

21.  A single between 2 doubles, chain 3, miss 1 loop, fasten under next, (chain 3, fasten under next loop, chain 5, fasten in same place) twice, then (chain 5, fasten under same loop) twice, making 3 loops at top of shell, chain 3, fasten in next loop, chain 5, fasten in same place, chain 3, fasten in next loop; chain 3; repeat.


Wheel Doilies, Simple and Pretty
By Alice L. Bradshaw

No. 1. – Chain 8, join.

1.     Chain 1, 18 doubles in ring, join.

2.    Chain 5, miss 2, fasten in next; repeat around.

3.    Make 9 doubles under each loop of 5 chain.

4.    Slip-stitch to 5th of 9 doubles, *chain 7, fasten in top of next loop; repeat around.

5.    Chain 3 for 1st treble, 10 trebles under 1st 7 chain, *1 trebles under next 7 chain, repeat from * around, join.

6.    Chain 5, *miss 2 trebles, a treble between next 2, chain 2, repeat from * around and join to 3d of 5 chain.  This will give you 33 spaces.

7.    A single in 1st space, chain 3, 1 treble, chain 2, 2 trebles, all in same space, *chain 5, miss 2 spaces, shell of 2 trebles, 2 chain and 2 trebles in next; repeat from * around, joining last 5 chain to top of 3 chain in 1st shell.

8.    Slip-stitch to 2 chain in center of shell, and repeat last row, putting shell in shell.

9.    Slip-stitch to center of shell, chain 2 for 1st treble, 2 double trebles, chain 3, 2 triple trebles and 1 treble, all in same shell, chain 3, fasten under both chains of 5 below, drawing them together in a cluster, chain 3, shell in next shell, and repeat around, joining last 3 chain to the top of 3 chain which stands for 1st treble of row.

10.  Slip-stitch to top of 1st shell, chain 10, fasten in top of next shell; repeat around.

11.  Make 12 trebles (chain 3 for 1st) under every 10 chain, join.

12.  Same as 6th row, making 66 spaces in all.

13.  Same as 7th row.

14.  Slip-stitch to center of shell, chain 3 for 1st treble, 1 treble, 5 double trebles and 2 trebles in same shell, *fasten under 5 chain, 2 trebles, 5 double trebles and 2 trebles in next shell, repeat from * around, catching last treble under 5 chain and in top of 1st 3 chain.  Fasten off neatly.

As made, the doily is a pretty one for the smallest size of a set.  To enlarge it, after completing the 13th row, repeat 8th and 9th rows, and again the 19th and following rows increasing length of chains, number of trebles, spaces, etc., proportionately.  Having made the doily as illustrated, one will have no difficulty in forming any size, or the centerpiece to match.

Finish centerpiece and larger doilies with a circle of wheels, as follows: Wind thread around a tiny pencil or match 10 or 12 times (or make a chain of 5 stitches and join), slip off, and fasten with a single.

1.    Chain 4, and fill the ring with 35 double trebles; join to top of 4 chain.

2.    Same as 6th row of center, making 18 spaces.

3.    Same as 7th row, but missing 1 space and making 3 chain between shells; 9 shells in all.

4.    Slip-stitch to center of shell, chain 3 for 1st treble, 1 treble, 4 double trebles and 3 trebles in same shell, fasten under 3 chain, shell in next shell, continue until you have made 7 shells in all, then in each of next 2 shells, having made 2 of the double trebles, catch in 3d double treble of shell in last row of center, finish shell of wheel with 2 double trebles and 2 trebles, fasten under 3 chain and make the next shell in same way, joining to following shell of center.  Make next and succeeding wheels like 1st, joining each to 2 shells of center, and to the preceding wheel by 2 shells from center, which will leave 3 free shells on the outer edge of each wheel.  Join last to first wheel in same manner, and the doily is completed.


No. 2 – Make a chain of 5 stitches, join.

1.     Chain 4, 23 double trebles in ring, join.

2.    Chain 4, miss 2 double trebles, fasten between next 2; repeat around, making 12 loops.

3.    Make a chain of 23 stitches, fasten in next space, *turn work, under the chain make 1 double and 13 trebles, turn, chain 5, miss 1 treble of the spoke and fasten in next, chain 14, fasten in next space, repeat from * until you have made 11 spokes, then chain 14, fasten in space where 1st chain started, make 1 double and 13 trebles over both chains, chain 5, miss 1 treble and fasten in next, turn.

4.    Slip-stitch under 5 chain last made, make a shell of 2 trebles (chain 3 for 1st), 2 chain and 2 trebles under same 5 chain, *chain 6, shell under 5 chain at top of next spoke, repeat from * around and join last 5 chain to 3 chain of 1st shell.

5.    Slip-stitch to center of shell, shell in shell (as at beginning of 4th row), chain 7, shell in next shell; repeat around, and join.

6.    Slip-stitch to center of shell, shell of 2 trebles (chain 3 for 1st treble, always), 5 double trebles and 2 trebles in shell, chain 4, fasten under 7 chain, chain 4, shell in shell; repeat around, and join.

7.    Slip-stitch to center of shell, *chain 14, fasten in next shell; repeat around.

8.    Make 16 trebles under each chain.

9.    Chain 5, miss 4 trebles, fasten between next 2; repeat around, making 4 loops over each group of trebles.

10.  Slip-stich to middle of 5 chain; shell of 4 trebles, 2 chain and 4 trebles in next loop, fasten in next; repeat around.

This completes the center of doily, which may be enlarged, as suggested, by repeating the rows of loops and plain trebles.  For the wheels proceed as follows:  Wind thread 10 or 12 times around a pencil of medium size (or chain 7 and join), slip off, and fasten with a single.

1.     Chain 3, 35 trebles in ring, join.

2.    Chain 4, miss 1 treble, a double between next 2; repeat around, making 18 loops.

3.    Slip-stitch to center of 4 chain, *chain 4, fasten in next chain; repeat.

4.    A slip-stitch under 4 chain, chain 3 for a treble, 7 more trebles under same chain, *fasten under next, 8 trebles under next; repeat, joining to the center at the middle of 2 shells; as previously described, and each wheel to the preceding in same matter, thus leaving 3 free shells at outer edge of each wheel.



Wednesday, January 13, 2016


By Addie May Bodwell
1913 08 page 3

Perhaps this charming work, novel in combination, would be more properly classed as “Filet with Embroidery,” since this simple, effective lace-stich – the “square mesh” of netting – is employed to fill the open spaces surrounded or outlined by solid embroidery.  Any pretty filling-stitch, such as is used in modern lacemaking, may be substituted for the net with pleasing results; but the one which is described, once the knack of making the knot is acquired, is very easy and rapidly executed; and nowadays these qualifications are a strong recommendation.

The “openwork” phase of needlecraft still retains a firm hold on popular favor.  Following the filling of cutout spaces with an underlay of net came Fayal (or filet-) drawnwork in the same capacity, and later punchwork, or big-needle work, which is scarcely less sought for than when it made its initial appearance.  Just now, however, it is dividing honors with filet, as a background, and many charming pieces of work result from its combination with embroidery.  Most punchwork designs may be used for it – indeed, when the net is evenly made it closely resembles the other, the difference in general effect being that it is more open and lacelike,  Again, too, a linen of much closer weave may be used, than for the punched-work.
To begin, it is advisable to stitch the outline of the spaces to be filled with the net on the machine, or with short running-stitches.  It is also essential that the work should be put evenly into an embroidery-hoop or basted smoothly upon firm pasteboard, since the crossing-threads must be held perfectly straight and true, neither drawn so tightly as to pucker the work, nor yet allowed to sag in the least.  Fasten in at the edge of the space to be filled, taking the close knot just into or over the stitched line so that it will be later covered by the buttonholing carry the thread straight across the space to the opposite side, fasten in with a short stitch, and backstitch along the line to the point where the next parallel thread crosses; then carry the thread back to the other side, and repeat until the space is filled with the threads, crossing at regular intervals in the same direction.  The distance apart is, of course, governed by the article itself – the quality of material, and the design  For example, the filet used in a fine handkerchief or collar would naturally be less open – that is, of smaller mesh – that that in a centerpiece or sideboard-scarf.
Having covered the space as indicated, the next step is to carry threads across it in the opposite direction, or at right angles to the first lines, making a knot at every intersection or crossing.  The most particular part of the entire work lies in making this knot, yet it is not difficult.  Carry the working or second thread across the first line, hold the loop down with the left thumb, bring the needle back and pass it diagonally under both threads, at the intersection, and out through the loop; draw up tightly and carefully, so that the knot will come exactly at the point indicated, or where the threads cross.  If the work is to be effective the tiny squares must be as perfectly even as possible to make them, and this will require extreme painstaking on the part of the worker, especially before practise has given expertness.
To get best results the net should be made with a firm linen thread, this possessing a crispness which makes the work especially pleasing.  The buttonholing and solid embroidery are, of course, done with the usual soft floss, and all this work must be completed before the linen beneath the net is cut away.  Pad the forms well, both for buttonholing and for satin-stitch.
The cutting-away, needless to say, must be most carefully done.  Make an incision in the linen beneath the net, and cut to the edge, so that you can fold the linen back and away from the net; then, with wrong side toward you, clip slowly along the buttonholing.  To cut one of the crossing-threads would necessitate replacing it, even though the entire space did not have to be refilled.  “Make hast slowly.” is an excellent axiom to apply right here; with care and precision there is little liability of such an accident.
Two collars, introducing this simple stitch, are illustrated, with both of which every girl providing her summer outfit – and this, as you all know, needs constant replenishing – is sure to be delighted.  In the second collar it will be noted that the filet or openwork adjoins the scallops at the edge in places, and it is sometimes advised that a second row of buttonholing be made, so that the purled edge will come next to the inner edge which is to be cut away, as well as the outer one.  This extra work will not be necessary, however, if both lines of the scallops are first carefully run, padded, and the buttonholing done very closely in the ordinary fashion... Of course, where the open spaces form a part of the design, as in the attractive centerpiece with bowknot and daisy motifs, the purled edge of the buttonholing comes inside, next to where the linen is to be cut away.  The centerpiece in question, completed, is twenty-one inches in diameter, and a pleasing addition or innovation would be the darning of some simple figure in the center of each filet-filled space.  An initial might be so applies, which would render the piece especially desirable as a gift.  This darning, as is will know, consist in passing the needle under and over the mesh-threads until the space is filled – or as many spaces as required for the design.

Color is frequently introduced in filet-embroidery with charming effect, and a centerpiece of the size noted is of gray crash or heavy gray linen embroidered with two shades of golden-brown, the lighter shade being used for the net.  Any color may be chosen that is preferred, or in accordance with the tone of the room in which the piece is to be used; terra-cotta or apple-green, in two shades, would be pleasing.  Brown, however, rarely “fights” with any other furnishing, and may be safely chosen as a rule.  The center of each flower-form is filled with the filet, and buttonholed narrowly with the darker shade of floss, and the petals of the smaller forms, with background of net, are simply buttonholes around, while those of the larger ones are also net-filled.  A feature of the edge is the picot at the center of each scallop.  Buttonhole the scallop to the point indicated – halfway across – then in making the next stitch leave a generous loop of the thread; twist back over this loop to the last stitch taken, fasten in, the fill the loop with close buttonhole-stitches and continue with the scallop.  Or, especially if using rather heavy floss, buttonhole a little past the center of scallop – one or two stitches, turn, loop into third stitch back, turn, and fill the loop with the floss, twisting it around and around closely.
This centerpiece is a beautiful and useful addition to the living-room table, protecting the polished wood the while it is in itself extremely decorative.  One can scarcely imagine a gift more certain to delight the artistic soul of the recipient.


Tuesday, January 12, 2016

Cleansing Garments at Home

August 1913, page 21
One of the first questions that confronts the woman who is going to make a dress is how to cleanse the material.  Many think that they must send everything of that nature to a cleaner, for they have not sufficient confidence in their own ability to cleanse it properly.  Of course there are some colors as well as materials which is is much better to cleanse by the dry process, but in many cases the material can be washed at home and be made to look like new, which is all that a professional cleaner can do, and considerable expense is saved.  As for the labor involved, it is really easier to wash the material than it is to pack it up and carry it down-town.
If it is an all-wool material, it may be thoroughly washed in the tub in lukewarm water in which has been placed a bag containing soap-bark.  Ten cents’ worth of this bark may be purchased and put in a thin salt-bag and thrown into a pan of water on the stove.  Let it boil until the water is very soapy, then empty into a tub and add cold water until it is the right temperature to be comfortable for the hands.  Wash the goods thoroughly and rinse quickly in water of the same temperature, iron on the wrong side before the goods is entirely dry.
Some have had but meager success in cleansing spots with gasoline, for there was sure to be a rim which showed just how far the gasoline had spread, but when the whole garment, whether waist or skirt, was dipped, the result was entirely satisfactory.  A blue foulard which received this treatment not long ago seemed at first sight to be almost hopeless.  There were numerous spots of grease on the front breadth and the entire appearance showed that the dress had received hard usage.  Two quarts of gasoline were purchased at the nearest garage and kept tightly covered.  When the skirt was ripped apart and brushed the silk was put into the pail containing the gasoline, the cover put on and left for five minutes.  If material is left in gasoline too long it will have a tendency to rot it.  The work was done on the pack porch and a clean cloth was placed on a long table, then one gore at a time was taken out of the pail and the spots thoroughly rubbed with a piece of the goods.  By this time the gasoline was evaporated from the gore and it was dipped again and rubbed on both sides of the silk.  If it is not thoroughly cleaned with the first treatment, the process may be repeated until the spots are entirely removed.
In using gasoline it is always much pleasanter to do the work out-of-doors on a windy day, for the odor is so lasting that it requires several house in a good breeze to get it absolutely free, and it also avoids any danger from fire.

Monday, January 11, 2016

Midsummer Fashion Notes

By Dora Douglas
August 1913 page 1

Summer is here, and the final authoritative word has been spoken regarding tailored suits, gowns, blouses and accessories.
The semitailored suit of silk moire, crepe and poplin has taken the place of the heavier worsted one for general and more dressy wear.
Moire coats are combined with skirts of plain crepe de Chine or charmeuse and quaint little coats of flowered taffeta are worn with skirts in contrasting colors.  There are lace coatees for wear with the finer lingerie frocks and smart models of eyelet-embroidery to accompany the one-piece cottons.  Striped and checked materials are favored for the separate skirt, which is more popular than it has been for many seasons.
One-piece frocks in the printed silks, poplins, or fashionable crepons, hold first place in the summer wardrobe.  They are suitable to wear for almost any occasion.  Shantung is very much used for these dresses in Paris, but has not become quite as popular here, although it is considered smart.
Most of these frocks are fashioned on simple lines; the long, straight skirt, or one showing just a touch of drapery in front or at the side, a plain set-in sleeve, and a softly draped sash.  Sash, collar and cuffs usually are of contrasting colors and materials.  These add a distinctive touch to the dress and are one of the seasons’ prettiest notes.
Two charming examples of this style of frock are here illustrated.  A soft terra-cotta crepe broche with collar, cuffs and girdle just a shade lighter is used for number 6253.  It is decidedly plain, but shows excellent lines.  Number 6257 and 6258 has a novel panel-effect down the front, terminating in a bit of graceful drapery.  The long sleeve fits into a normal armhole and has a broad, close-fitting cuff.  One of the season’s decrees is that the long sleeve shall fit closely at the wrist.  Another pretty touch is the novel arrangement of the sash.  The gown is of silk poplin in a soft shade of taupe, with collar, cuffs and sash of Chinese-blue figured charmeuse.
Those fetching short tunics which stand away from the figure are also effective in these silks.  The underskirt falls straight and narrow, the tunic is either bound around the bottom with a heavier silk than the gown or is boned with a light feather-bone to get the desired effect.
Thee frocks depend a great deal for trimmings on the novelty buttons and buckles which are so much used.  New ideas in these are being evolved constantly, with some charming color-schemes as the result.  Porcelain sets in soft blues and green are new and very pretty.  A set of buttons and a buckle formed by a bar of rose coral set across round rims of dull silver, trimmed a charmeuse frock of dull old-red with wonderful effect.
For sports and rough wear, suits and dresses are fashioned of the heavy cottons, duck, ratine or eponge; more elaborate materials, such as khaki, tweed, homespuns, corduroy and serges are also used, but the heavy linens which were so popular for this purpose in seasons past have been almost entirely displaced.
The one-piece outing-dress for tennis, rowing, etc., is built on rather severe lines but is generally becoming to the figure.  Many of the suits show the divided skirt which may be unbuttoned, front and back, and used for riding.  There are numerous convenient pockets.  A favorite model for these outing-dresses is the coat top dress with coat of bright colors and skirt of white.
Filminess is the first requisite for the fine lingerie frock, and the summer evening gown.  The cotton and silk crepons, voiles and etamines meet this requirement easily and are charmingly cool and dainty.  Nearly every shade may be found in them as well as quaint flowered designs which remind one of “The long ago.”
Entire gowns are fashioned of net and lace.  The wide lace flouncings lend themselves especially well to the popular two-tiered skirts.  Many of these gowns are draped quite full around the hips, but the softness of the materials dissimulates the fulness (sic) , and the siluouette (sic) remains the same, the skirts tapering if anything, until they are narrower than ever around the bottom.
Despite all rumors to the contrary, skirts have remained narrow.  Women have learned to walk gracefully in them, and find that they are more far comfortable and pleasing than the very wide ones of former seasons, and although it has been denied, the slash is still favored.  If it is not a direct slash it is a clever arrangement of folds and drapery which open at front or side to reveal a daintily shod foot and slender ankle.
Futurist and Cubist sashes, while still smart, have been displaced somewhat in these light frocks by plain soft tints in taffeta or satin ribbon.  The soft Roman-striped sash is a very pretty accompaniment to the simple white dress, and is also effective with the dark tailored suit for a young miss.
The nifty little bolero is one of the pretty revivals of the season.  They are usually worn over a blouse of net or shadow-lace.
Owing to their exquisite daintiness, blouses of net, chiffon and lace became popular immediately.  With the hot days at hand their coolness will lend another charm.  Tiny, hand-run tucks trim many, some are beautifully embroidered in white and colors, and there are numberless simple little blouses with just a frill of lace at the throat and cuffs.  Many of the pretty shadow-lace blouses are effectively veiled with chiffon.
Chiffon forms the bodice of most of the summer evening gowns, the skirts are of charmeuse or an equally soft clinging material.  One of the new shades for evening is a wonderful red.
Fortunate indeed is she who has bits of old lace, Chantilly flouncings, etc.; they can be utilized to advantage this summer.  The fichu is seen in one form or another on many gowns and blouses, and the wired Medici collar is very modish; it gives an extremely smart touch to the collarless waist.  Ruffles of tulle, chiffon and point d’esprit also give a dainty finish to neck and sleeves.
The wide Chantilly scarf has taken the place of the scarf of chiffon for throwing around the shoulders, to a degree; and tulle is also used for this purpose, with charming effect.
The diaphanous note is also carried out in the summer millinery, and tulle and lace-trimmed hats are seen everywhere.  Plaitings of lace or tulle stand up around the crown, or drop over the brim, giving a wonderful softness to the face.  Small tulle turbans are chic, and the large mushroom shaped hat, with a wreath of osprey is a graceful accompaniment to a light frock.  Small bunches of flowers and fruit are seen on many.
The parasol is a very effective addition to the summer toilette; more attention is being shown to it than for some time past.  Handles are fascinating, and the sunshade itself is developed in many new shapes, some queer but effective.
Handbags, too, are important and are fashioned in many odd, pretty shapes and designs.  Clasps and rims are often set with semiprecious stones.  The effect is rich when not carried too far.
Bathing-suits and accessories show greater variety, perhaps, than ever before.  There is every imaginable device and novelty, most of them very practical as well as attractive.
Checked skirts are seen with blue or black cutaway coats, and the effect in these waterproof fabrics is quite as smart as the street-suits of this design.  Brilliant sashes and frilled caps and hats brighten the suits, and are most appropriate.
The hats and caps are very alluring; some have frilled rims, others narrow straight brims which afford the eyes protection from the glare of sun and water.  A broad-brimmed waterproof hat is especially practical, having a fitted lining which gathers closely over the hair.
Charmingly colored bouquets of rubberized silk are pretty touches, and there is a vanity-case of the same material for the handkerchief and for powder-puff.

Ladies’ costume
The waist-pattern of this costume, No. 6257, is cut in sizes from 34 to 42 inches bust measure.  To make the waist in the 36-inch size will require 2 3/8 yards of 36-inch material.  1 3/8 yards of edging, 7/8 of a yard of 36-inch lining for the guimpe.  Price of pattern, 10 cents.
The skirt-pattern, No. 6258, is cut in sizes from 22 to 30 inches waist measure.  To make the skirt in the 24-inch size will require 3 ¾ yards of 36-inch material.  Price of pattern, 10 cents.

Ladies’ Dress
The pattern, No. 6253, is cut in sizes from 34 to 42 inches bust measure.  To make the dress in the 36-inch size will require 4 yards of 44-inch material, 3/8 of a yard of 27-inch contrasting goods.  Price of pattern, 10 cents.