The Art of Dressing

By Dora Douglas
1913 08, page 20

The New Tailored Skirt

Each season fashion seems to select some one feature of dress into which she introduces her most striking touch of novelty.  On year it is the sleeve, another it is the neck, again it is the waist.  This year it is the skirt, and one of the old-time skirts will spoil a costume, no matter how handsome the material nor how good the rest of the dress.

In choosing a model for any skirt much depends upon the material to be used in making it.  No one would dream of using the same style for voile as for linen, nor for crepe as for serge, and so on through the entire list.  There are some designs that are suitable for many materials, even for some of very different texture, and it is one of these that we have selected for our consideration in these columns at present.

First of all, it is well to remind ourselves that nowadays even wash-materials are made of good width, and also the many silks and satins and crepes all come much wider than they did years ago.  So we will consider that in making this skirt we are using a ratine, 44 inches wide.  As the skirt is a two-piece model, it will cut economically from this width.

Before beginning to cut the material, make sure that it has neither wrinkles nor creases anywhere.  If it has been folded, press out the fold unless this is so placed that it will be cut away or stitched in out of sight.  This done, lay it on a table that is wide enough for the width of the gore and long enough for its length.  This is not always as easy to find as it sounds, but most people have an extension dining-table, and this can be used.

Examine your pattern and select the gore marked L.  This is the left side gore.  Lay this carefully on the material with the lines of triple perforations on a lengthwise thread of the goods.  It will be noticed that the front edge of this gore is not entirely straight, but this is as it should be.  Pin the gore firmly to the material.  Do not be afraid to use plenty of pins as this will make the cutting much easier.  In placing this gore on the material leave enough space at the end for the belt, which is cut crosswise of the goods.  This, too, should be carefully pinned before cutting.  When the left gore is firmly pinned in place, cut it carefully around all the edges.  The designers have left 1 1/2 inches as the allowance for the hem, and it is therefore essential that you be very sure of the required length of the skirt before cutting it.  If the pattern is too long, do not take off at the lower edge, but fold it across the middle, taking out as much as necessary and in the same manner if it is too short cut it across at the middle and pin the two halves separately.  This will keep the proportions correct and insure a proper line at the seams.

After the gore is cut, take your scissors and snip out the notch near the top of the gore.  If you intend to fit the skirt by means of the darts these darts must be marked either with thread or chalk or pencil.  By the way, blue pencil is much easier to rub out than black; but thread is the best marker of all.  Then mark also the line of perforations for the seam; or, if the material be at all stiff, crease it along this line.

Now take the gore marked R.  This is the right side gore and the one which has the draped section.  Lay this on the material very carefully, for unless you cut it straight as it should be the plaits will not hang as they should.  Use plenty of pins as before, after adjusting the length of the skirt to suit your individual needs.  Mark the dart, if you are going to use it, and the small perforations at the top of each plait; also snip out the notch at the seam side.

When this is done, comes the time to handle your plaits.  Turn to our illustrations and in diagram 2 you will see how the plaits look after you have laid them in according to the directions on the envelope of the pattern.  Baste them firmly, overcast the top edge, then stitch them to the loose edge of the top, as shown in Diagram 3.  This diagram also shows the edge of the upper part turned in 1 ½ inches for the hem of the overlap.  The large diagram, No. 1, shows how the skirt should look on the wrong side when the plaits are in position, the front edge hemmed and the two gores joined together.  In this diagram it will be noticed that the back of the skirt is shown gathered at the waistline.  The skirt may be arranged in this manner rather than fitted by darts, if preferred.  It is a little newer than the fitted style and much more becoming to most figures.  This, however, is a matter of taste and must depend somewhat upon the material.

The arrangement of the gores brings the closing and its drapery a little to the left of the center of the front, and in the back the edge of the material at the seam is somewhat to the right of the center of the back.  This manner of placing the seams is more artistic than having them all on the straight line of front and back.

There is so little drapery in this skirt that it will answer very nicely for serge, if a traveling suit be considered.  Of course it will be more graceful in thinner fabrics, and the many qualities of voile are a great temptation.  Cotton voile is uncommonly pretty, and it is also one of the most popular materials of the season.  Then there is a loose ratine, which drapes as gracefully as crepe, and there is crepe itself, not only the beautiful silk crepe de Chine, but a cotton kind that is ever so lovely, and that comes both plain and striped. It is found in many costumes for the skirt, while the blouse or coat is of plain ratine, or of figured eponge or some other differing fabric.

Batiste is so soft that it suggests itself the moment that there is any question of drapery, and one might make the skirt and purchase the blouse all made, wearing a wide girdle at the belt, or a narrow twist of some bright-colored velvet or satin.

If care is sued in finishing this garment it will be found very simple to make, but plenty of basting and plenty of pressing are the two things that the amateur is often tempted to shirk in her eagerness to see the finished garment.  The result is sure to be a homemade appearance, no matter how good the material nor how careful the workmanship in other ways.

A row of crystal buttons above the drapery on the closing edge, and perhaps a piping of bright color will brighten up the skirt.

The pattern, No. 6273, is cut in sizes from 22 to 30 inches waist measure.  To make the skirt in the medium size will require 2 7/8 yards of 44-inch material.  Price of pattern, 10 cents.

 

The Art of Dressing

By Dora Douglas

November, 1912, Page 6

 

Pattern No. 5442 is a very practical coat for any season of the year.  It has a seam each side of front and back, extending to the shoulder, the regulation two-piece coat-sleeve, and a smart, long sailor-collar, seamed at the shoulder.  For medium size, 3 7/8 yards of 36-inch, or 2 ¾ yards of 50-inch material would be required.  Wool material should be sponged to prevent shrinking and spotting with rain.  Three-quarters of a yard of 24-inch satin will face the collar, as illustrated.

To cut, lay the back, neckband, and the back section of the collar, with the edges having triple perforations along a lengthwise fold of the goods, and arrange the remaining pieces with the line of three small perforations to each exactly lengthwise of the goods.  Be sure to cut all the notches.  After cutting the pieces, cut extra fronts by the front pattern for the inside of the coat.  Mark the center-front perforations on the cloth, and also the sleeve-perforations.

The front of the coat will require an interlining, one yard of French canvas or tailor’s canvas, 27 inches wide.  Use the front and side-front pattern pieces to cut it, making the front full length, and just like the pattern, but cutting the side-front off at the waistline notch at front edge and then sloping it up two inches below the armhole at underarm edge.  Figure 1 will give you a very good idea of the shaping.  The canvas must be shrunk before cutting.

Arrange the canvas fronts under the cloth fronts and baste to position.  Then baste the seams, beginning with the side-front and side-back, and then shoulder and underarm.  Three-eighths inch is allowed for seaming.  Try the coat on, lapping right front over left so the center-front perforations will be together, and see that the waistline notches are in place.  If the seams need to be taken in, make the alterations carefully so as to preserve the straight lines of the coat.  The hips should be snug, without being tight, but the waist must be free and scarcely fitted to the figure at all.  If long in the waist, take up at the shoulder, and clip the under part of the armhole.  The armhole must be straight at the back, not rounded out between shoulders, and should be kept as small as can be comfortably worn.

Keep the shoulder-seam well toward the back to avoid a round-shoulder effect.  Padding may be necessary to fill a hollow at the front of the armhole or under the arm.  Cotton flannel, laid in layers, as many as necessary, will be found useful for this purpose.  Let the layers graduate in size, so two edges will come together.  However, the padding will not be done until the seams are stitched; but it must be considered at the time of fitting.

After fitting, remove the canvas and baste the alterations – then try on again.  If satisfactory, stitch the seams.  Do not stitch the canvas pieces together in the ordinary way, but lap the side-front edges one over the other, and then stitch.  Clip the seams, especially at waistline, to make them lie flat, and then press them open on the wrong side.  Rebaste the canvas in place, and catstitch the shoulder and underarm edges over the seams of the coat.  To reinforce the neck and armhole in back so as to stand the strain of the collar and sleeve, cut canvas pieces two inches wide, shaped to fit these edges, and baste them to position.  Narrow tape, thoroughly shrunk, should be sewed ¾ of an inch from the front edges of coat, to prevent stretching.  If the edge is already stretched a little, draw the tape a trifle tight and ease the coat to it, shrinking out the fullness with a damp cloth and hot iron.

Figure 1 shows the tape in place, and also a bust form.  This form is made of canvas, cut about ten inches long and seven across, in oval shape.  Slash from the lower edge to the center, and then lap the slashed edges as much as required to fit the form to the coat; if necessary, slash again at the side.  Baste the form inside the coat against the canvas interlining and attach it with padding-stitch, a long stitch on the side toward you, and a short back-stich taken through the canvas.  The padding-stitch is done in rows from top to bottom, over the entire surface of the form, but on no account attaches any part of the canvas to the cloth.

The short neckband supports the collar at the back.  It should have a canvas interlining.  Baste the cloth neckband over the interlining, and then cut 3/8 of an inch off the interlining all around.  Run close rows of machine-stitching the length of the neckband to hold the two pieces together securely.  The collar itself must be kept soft and pliable, so use cambric to interline it.  Cut the cambric by the pattern, and shrinking the cambric first.

We have three fabrics for the collar, cloth for the under side, satin for the upper, and cambric to interline.  Close the shoulder-seams of all of these separately, basting them first and trying on.  Make any alterations necessary, and stitch, clip the seams, and press open.  Baste the cambric over the cloth and cut 3/8 of an inch off the cambric all around; then attach cambric to cloth with the padding-stitch.  Tape the collar along the outside, and turn the cloth edge up over the tape.  Now arrange the satin in place, and turn the outer edge under so that a little of the cloth edge will show for a finish; baste this edge in place and then slip-stitch or blind-stitch it.  See Figure 2 for the collar.

Join the collar to the neckband, the single notches matching, and line the neckband with whatever material you have selected to line the coat.  Baste collar and neckband to the coat, the double notches in front together, try on, and then stitch.  A two-inch strip of cambric, shaped to fit the lower edge of the coat, should be basted 3/8 of an inch above the edge, and the cloth turned up over it and fastened.  At the front edge below the collar, cut away the canvas 3/8 of an inch, and catstitch the cloth edge over the tape and canvas.

The facing pieces will finish the fronts.  Arrange them in place inside, turn the front edges under and baste over collar-seam and front edges of coat.  Below the collar the front edges may be stitched from the outside, and along the collar, blind-stitches.  Baste the back edge of the facing to the canvas interlining.

Baste the sleeve-portions together as notched, terminating the outside seam at the extensions.  Turn under the extension on the upper part of the sleeve, then gather the upper edge between the double perforations, and try the sleeve on.  Alter, if necessary and stitch and press open the seams.  With the sleeve right side out, slip a canvas two or three inches wide, inside the writs, and baste it.  Cut off the canvas at least 3/8 of an inch short of the cloth, so the cloth edges can be turned over it without turning the canvas.  Catstitch the lower edge, and also the extension edges to the canvas.

Baste the sleeve in the armhole, with notches matching, and the single perforations at the shoulder-seam.  Try on and move the sleeve forward or backward if required; the front seam should follow the inside of the arm in a straight line to the thumb.  After stitching the armhole-seams, press the upper part back toward the neck.  Now take a piece of bias wool interlining, cut ten inches long and three inches wide, fold it lengthwise through the middle, stretch the folded edge and sew it to the top of the armhole; trim the ends off to almost nothing.  This will hold out the sleeve-top, and give it the professional look.

To cut the lining, use side-front, side-back, back and sleeve pieces.  The front is not needed on account of the facings, but allow an extra-wide seam on the side-front.  Before cutting the lining back, lay an inch plait in the material.  The lining throughout should be very free both in width and length.  Baste the back piece in the coat first, then the side-back, and lastly the side-front, turning the forward seam edges over those behind.  Baste the lining all around, and then slip-stitch it.  Stitch the sleeve-seams, and arrange the sleeve-lining in the sleeve.  Tack along the seams, then finish lower edge and extensions neatly.  Turn the upper edge of sleeve-lining under, gather between the notches, and hem the top over the armhole-seam.  The extensions may be fastened, one over the other, with buttons and buttonholes, real or simulated; or the closing can be stitched and tacked.  Ornamental fastenings or buttons may close the coat at the front.

Pattern No. 5442 is cut in sizes from 32 to 42 inches bust measure.  Price of pattern, 10 cents.  

Fashion Review, January, 1912

(January, 1912, page 6)

(The Art of Dressing By Dora Douglas)

 Fashion Review (January, 1912)
     With the beginning of the midwinter season, fashions assume a more concrete form than they had at the beginning of the fall season.  There are not any radical changes in styles, but nearly every day some new combination of materials and colors is evolved.
     Particularly is this fact emphasized in evening gowns, which now, at the very height of the social season, are claiming keen attention.  Such a beautiful array of soft, bewitching colors one sees, such a combination of silks and satins and laces and embroidery and beads.  One marvels at the ingenuity that designed them into execution.
     The pastel shades are most in vogue and, of course, are wonderful in ballroom and reception toilettes.  Beautiful shimmering meteor gowns, rich charmeuse robes of chiffon, net and lace satin dresses are pronounced favorites.
     The trimmings are of Persian and oriental embroidery, beautiful, deep macramé lace, striking metallic laces, find shadow laces, silk and chenille fringes, Bulgarian worsted, button, and bugles, and beads.
     The new colors, the new materials, and the slight variations on the prevailing styles are depended on to bring out different effects in the latest costumes.  In great favor are filmy overdresses and, with the renaissance of old-world fashions, these are quite consistent.  Many of them are developed in chiffon, net, or very fine crepe de Chine of a delicate color, to be worn over a foundation-dress of a contrasting color.
     One notices how loosely these over-dresses are fitted.  As they are not seamed save under the arms, they are absolutely loose around the waist.  Underneath them a plain princesse dress is worn, and the outline of the figure shows through the chiffon, lace or net of which the overdress is made.  A little gathering placed in either side front at the waistline sometimes draws the overdress closer to the figure.  Beaded net is fine for a dress of this nature, spangled chiffon being another desirable requisite.  Sometimes two overdresses are worn, both of different colors, over a princesse gown of another hue.  These shadow dresses, as they have been named, are the latest word In smart effects in evening gowns.
     While on the subject of evening gowns, one might pause to consider a proper wrap to be worn with these elaborate creations.  The toga or liberty-cape wrap, is a simple model which is attractive and graceful.  The garment is cut in one piece, out of the straight length of a very wide material, broadcloth meeting the requirement nicely.  After being cut, the cape is simply tacked together, and falls in graceful fashion down the center back.  An artistic touch is given by finishing with a silk tassel, either of corresponding or contrasting shade.  Sometimes the toga is developed in satin or soft silk; often a finely woven serge is used.  All the pastel shades of lavender, and pink, and blue are worn, though the most practical colors are gray and biscuit-color and black.
     With the party- or ball-dress, a particularly fetching accessory is the pretty little theatre-cap.  Various materials are used for this headwear.  Spangled net, over a plain satin surface, lace over silk, embroidery over silk, chiffon and satin trimmed with tiny rosebuds, are some examples noted at a recent reception.  Many of these caps match the toilette; again, we see them of contrasting color.  With a shadow dress of green and pink was worn a cap of white lace over black velvet.  With a pink satin gown, a cap of spangled net over pink was seen.  These caps are easy to make so that the younger contingent have adopted them enthusiastically; and no wonder, as no more bewitching and effective framing for a pretty face could be imagined.
     The new bordered goods are achieving quite a vogue, though the Pompadour and Persian patterns are being superseded by the use of deep selvages of plain colors.  Many of the stunning new chiffons and marquisettes have a plain body, with a deep border of black.  An instance of the effectiveness of the border dress was seen in an evening-gown with the popular apron-tabliers.  There was an underskirt of black satin, and a tunic of white chiffon, with a deep hem of the black satin.  The separate panel at the back was also of black satin.  The waist was a novelty.  It had a side body and shor peasant sleeves of black satin.  The chemisette was of white chiffon, embroidered in black.
     Velvet still leads in the makeup of afternoon gowns.  This fabric de luxe has the seal of fashion’s approval for the winter of 1912.  It comes in all shades, from the staple to the most delicate.
     Velveteen continues a close second, and corduroy is in high favor with those women who follow the smarter modes.  For theatre, visiting, or street gowns, it is used extensively.  Dresses of this material are not lavishly trimmed.  Soutache braid is about all that is required.  Of course, the yoke, collar, and undersleeves are mostly of lace, which furnishes all the trimming necessary.
     An attractive costume of Havana-brown velvet and voile ninon was made with a draped kimono waist and Empire skirt.  The voile was draped over a foundation-waist, which had lace undersleeves and yoke.  Deep points of the velvet were brought up high on the brown voile waist, and black and cream bands of galloon gave an effective finish.
     Corduroy gowns in plum, dark-crimson, and bottle-green, are much seen.  One-piece dresses of soft woolen material are desirable additions to the well gowned woman’s wardrobe.  For a typical up-to-date street dress, nothing is nicer than black-and-white striped serge.  For smart suits, cloth or woolen-back satin is worn to some extent.  Beautiful results are obtained from this material, because of its soft, pliant folds in draping.
     A modish dress recently observed was of old-rose wool sating cloth, combined with soutache net the shade of which was a trifle darker.  Many delightful combinations are suggested by the type.  One might use amber over light blue, gray over rose, black over green, or any of the combination colors that might be especially appealing.  
     In the designing of the afternoon frocks, great latitude is permissible.  Three-quarter sleeves made chiefly of lace continue the vogue in dressy gowns.  In the less pretentious costumes the long sleeve is correct.  Usually the yoke is of lace or net, in white or cream as this is more becoming to some faces than colored fabric.
     Rich, dark colors re still popular, but these are relieved in most instances by bead-trimming, metallic lace in dull gold or silver, or buttons in an endless variety of colors and shapes.
     A frock, both practical and dressy for afternoon or informal evening wear is made of dark wine-colored broadcloth, trimmed with coral velvet.  It has lace underbody and sleeves, which are cut in one and made with under sections.  The outer waist is cut in fancy outline, and the touches of coral are quite effective.  In place of the velvet, beaded banding might be used just as artistically.
     One notices an absence of all white frocks this winter.  A few seasons ago the unrelieved white garment was high in favor, but now fashion has declared that there must be a dash of color to take away the deadened appearance.  Lavender, coral-pink, and dull-blue are seen in embroidery and beading and banding, giving a rich tone of life and light to the otherwise colorless garments.
     In the fashionable street suits, the simple lines are observed, giving the effect declared correct by the mandates of the fashion-designers.  No trimming now breaks the straight lines of the best tailored skirts, though the judicious use of buttons is permissible.  A special feature of the smart suits is the gored skirts which are made without plaits, having lapped and stitched seams.  In many fabrics, mixed effects are fashionable, and some fetching suits of checked worsted, tweed, diagonal cloth, and mannish weaves are seen.  Two or three colors are sometimes blended in the weaving so subtly that they are indistinguishable, yet a soft, indefinite tone is present that harmonizes well with almost any blouse.
     A trim suit of navy-blue serge is always good taste.  A splendid model has a short jacket, with cutaway front, and deep closing outline.  There is a black satin collar, and the coat edges are finished with a narrow fold of the satin.  A pretty fastening is of black satin frogs, but a group of buttons might be used if preferred.  To the woman of discernment, the skirt of this suit will make an instant appeal.  It is an eight-gored model, made with lapped seams.  Such a suit has an air of distinction that marks a woman of refined taste.  Instead of the serge, blue cheviot could be substituted, with the same effect.
     In separate coats the fur-trimmed garments are to be a premier vogue.  This is the latest word from Paris.  The fabrics employed in the making of these classy coats include English and Scotch mixture coatings of that soft, rough finish now high in fashion’s favor.  Oxford, gray, navy and brown are  the colors.  The garments are made in full-length model, with semi-fitting back.  They are designed with a deep, round shawl-collar and long revers, which together with the wide cuffs, are made of French lynx, skunk, opossum, caracul or sable-dyed opossum.  The fur collar lends an additional richness and protection.  Fur cloth in caracul, Persian lamb and astrakhan makes serviceable coats.  Practical garments re made of heavyweight roseberry cloth, and for stormy weather nothing could be more suitable.
     Many women do not consider their wardrobe complete unless they possess at least one fine black coat.  The variety of models for a coat of this style is very extensive.  All are made full-length, 54 and 56 inches, are semifitted mostly, and have notch, round square, pointed  or novelty collar.  Some are tastefully trimmed with velvet, satin, silk braid, ornaments, and frogs.  Many of the new models have long, graceful revers that fasten way to the side.  Fancy braided effects are noted.  Plain sleeves are modish, and sleeves with turnback cuffs are in equally good form.
     Fashionable coats for young women are mostly of double-faced fabrics, although not all are reversible.  Smart color-combinations include Oxford and purple, medium gray and green, light brown and olive.  Many clever variations are seen in the styles of collars and cuffs.  Some are trimmed with buttons, large and small.  The cheviot coats are modishly trimmed with braid and fringe, and are made chiefly in demitailored style.
     Evening styles at present claiming attention show charming models of satin-finished black kersey, embellished with handsome silk braids and velvet.  For those who prefer new shaggy greatcoats, there are clever reversible models that will be sure to please.  The lighter side of these garments is for dressy wear.  The darker one for street use.  Stunning plaid black mixtures are also good, the plaid side being used to trim.  Fascinating representatives of the favored tow-tone effects are seen in gray herringbone vicuna cloth, faced in contrasting color.
     You will be interested in learning about the new ideas in waists for the saying “there is nothing new under the sun” is thrust back upon itself when fashion is the keyword.
     The “hoop frill” waist is a novelty.  The frill idea has attained such success, that there promises to be no dimunition of its popularity.  While the side frill is not suitable for all styles, the “hoop” is universally becoming.  It forms a sort of bib around the neck, and gives a dress finish.  The “hoop” is exemplified in a particularly new waist, with black, purple, blue, and all cream trimmings, including a similar colored messaline bow at the side of the collar. 
     A score of new styles, inspired by the latest French models, are seen.  There is the delightfully unique peplum blouse.  Then there are blouses with all kinds of frills, including a new idea created by martial et Armand, with revers, frill and cascade of shadow lace.  Some of the new blouses have lace collars, effective imitations of macramé and other laces.  Others of fine Brussels net, and the new heavy Tuscan net are in that soft string-color.  The chiffon blouses are delightfully harmonious of color.  There are combinations of black velvet-ribbon and lace insertions over flesh or ivory silk. 
     Advance spring models in lingerie waists show clever ideas in voile, with trimmings of linen laces, Irish and filet, in elaborate designs of embroidery.  Some have the effective side jabot, and most of the sleeves are elaborately trimmed.

 

How to Make a Dressing-Sacque

(January, 1912, page 6)

The Art of Dressing By Dora Douglas
       Practical Suggestions for the Home Sewer

Simplifying the Making of Garments

How to Make a Dressing-Sacque

     Dressing-sacques are among the easiest garments to make and the most useful to have.  All sorts of materials adapt themselves to the pretty dressing-sacque-styles – crepes and flannels for winter, and silks and muslins for the warmer days.  Perhaps the simplest, most serviceable style of all is the one pictured here, No. 3519, because it can be copied in almost any material, and combines many desirable features with plain and easy construction.  (Price of pattern, 10 cents.)
     The collar is comfortable, without being too low, the sleeves moderate in size (can be made full or three-quarter length), and the peplum takes the place of fullness below the belt, which in the heavier materials is often bulky.
     The first thing to be decided is the length of sleeve.  If you prefer the shorter, cut off the sleeve-pattern at the crossline of perforations, or if the longer, cut two inches off the sleeve-band to make a wristband of it.
     The medium size requires 3 ¾ yards of 27-inch, or 2 1/8 yards of 44-inch material.  While trimming is not necessary, a little lace is often pretty, and if you wish to use it as illustrated, you will need 2 ¾ yards of insertion and 3 yards of edging; 1 ½ yards of ribbon will make the bows.
     Lay the pattern-pieces on the material, placing back, belt and collar so that the edges marked by the triple perforations will be on a lengthwise fold, and place the other pieces with the line of three small perforations in each, exactly lengthwise of the material.  Cut along the edge of pattern, cutting all the notches, and transfer the various perforation-marks to the material with chalk or small basting-stitches.
     Turn under the front edge of each front 1 ½ inches for a hem, which may be stitched or hemmed by hand.  Now arrange the fullness at the neck in plaits, making three in each front.  Crease the material at the large perforations and bring the creases forward to the small perforations, basting in place.  The lower edges of front and back must be gathered between the double perforations.  Do not fasten the gathers, but leave five or six inches of thread at the free end.  Then baste the shoulder and underarm seams, matching the notches, and taking up not more than 3/8-inch allowance.  Try the sacque on, pinning the right hem over the left.  See that the underarm seam hangs straight to the waistline, and pin the lower end in place so that it cannot be bulled forward or backward.  The gathers must now be drawn in to fit the waist; hold each in place by winding the thread over and under a pin stuck through the material at the free end of the gathers.
     Any alterations needed must be made at the seams, and then they can be stitches.  For lightweight wash-materials the French seam is the most satisfactory.  Take a 1/8-inch seam in the right side, and then turn to the wrong side and take a ¼-inch seam, which will conceal the edges of the first seam.  If the sacque is of flannel, the seam-edges will not fray, and they can be merely pinked.
     Cut an inside- and an outside-section for the collar, and also two sections for the neckband.  Join the collar-sections along the lower and front edges, turn right side out, and sew upper edges to the neckband-sections, with notches even.  Baste the outside section of neckband to the neck-edge of sacque as notched, try on, and if the correct size, stitch.  Then hem the inside section of neckband down over the raw edge.  The sewing of the neckband will hold the front plaits, and now you can remove their bastings.
     The gathers at the waistline are held in place by a belt, which must be sewed to the lower edge according to the notches.  After it is basted, the pins holding the gathers can be removed.
     The peplum may now be prepared   Close the back seam as notched.  Turn under the lower and front edges 3/8 inch, and finish with a small hem.  An under box plait is made at the back by creasing the material at the large perforations and bringing the creases to the seam; baste the plait.  Now sew the upper edge of peplum to the lower edge of belt, matching notches, and take out the plait basting. 

The belt-finish will be neater if you will cut an inside section to cover the seam edges and hem it in place.
     With the body of the sacque now finished, the sleeves must be made and set in.  First close the sleeve-seam, and then gather the upper and lower edges between the double perforations.
     The three-quarter sleeve is finished with a cuff sewed to a sleeve-band, and the long sleeve with the wristband only.  Join the ends of the wristband or sleeve-band, and sew its upper edge to lower edge of sleeve with the seam even with sleeve-seam, drawing the gathers in to fit the band.
     To make the cuff for the three-quarter sleeve, cut two cuff-sections and join them along the outer edge and ends, as described for collar.  Now sew the hollowing edge of the cuff to the lower edge of the band, with cuff ends at the perforation in band.  The sleeve-band or wristband should be lined with the material, if thin enough, or otherwise with lining.  Cut it by the pattern and hem it inside.
     Place the sleeve in the armhole with notches even, and the perforation at the shoulder-seam.  Draw the gathers in to fit.  Baste and try on before stitching, to see that the gathers are not too far forward or backward.

     The sacque in now complete, except for the trimming, if you have decided to use it.  Sew the insertion by overhand-stitches, to the edges of collar and cuffs, easing it considerably when making the turns.  Then overhand the edging to the insertion, fulling it as you go.  Place a strip of the insertion over the belt, using the running-stitch along both edges.