Ribbon Flowers

by Anna T. Roberts
1913 08 page 11

Floral decorations or ornaments of ribbon are so much in vogue just now, so lovely and useful in many ways, that everybody is anxious to learn just how they are made.  There is scarcely any art in the realm of fancy work more readily acquired.

 

To begin, the ribbon flowers are fashioned, as a rule, of soft, satin-taffeta ribbon, ranging from the narrow “baby ribbon” up to an inch in width.  If larger flowers are desired, then wider ribbons are used, but the method remains the same.  For the tiny pink rose-buds, commence at the center, using either a shade of old-rose or deep-pink narrow ribbon: wind loosely around a bodkin or small, rounded stick, wind again, then twist and so on until there is enough for the center.  Now take a threaded needle and tack together through the center to keep it in place; using the next shade of pink, wind and twist as before, and again a third shade.  Two shades of pink with the old-rose are sufficient for the buds, or, if desired, but one shade need be used.  Remember, however, to tack in place with the needle, as directed, to keep it firm.

Roses are made in the same way, at starting; but as they open,  very light shade of pink rather wider than for the buds is used to shape the outer petals, which are twisted very loosely, taking care to get the turnover effect required for the full-blown rose-petals.

Yellow roses and buds are made like pink ones, starting with deep orange or yellowish brown for the center, blending into golden-yellow and then into straw-color or canary-yellow for the outer petals.  For red roses use three or four shades of “American beauty” ribbon; this color is just now the rage, and many lovely effect can be produced with it, and used to good advantage.

Each flower is made separately and sewed on to a foundation.  The best for this purpose I find (as it can be bent into any desired shape) is very find wire covered neatly with dark-green ribbon (or a lighter shade, if preferred).  This is also used for flower-stems, where they are intended to show.  To make the foundation for hearts, or other forms, take the required length of fine wire, covered with the ribbon.  Use the darkest shade of green ribbon to give the effect of leaves; make one or two loops, catch down with a needle and fasten to the wire, then throw the ribbon over the wire and make more loops on the opposite side until the length of wire is reached.  Now select a lighter shade of green ribbon in the narrow width, and continue in the same way, alternating the shades with light on one side and dark on the other.  Two or more shades may be used in this manner.

When the “foliage” is completed the buds, roses, pansies, violets or other flowers are securely fastened in the desired places, after which some long loops of green may be added to do away with any possible suggestion of stiffness.

Another method of producing the green-leaf effect is to make rosettes of loops at intervals along the green-covered wire; then sew a flower in the center of each rosette.  This is especially pretty for wreaths, single sprays or bunches of ribbon flowers, and gives a realistic appearance as the stems show in between.

Forget-me-nots, violets and pansies are made by forming each petal and sewing together.  The centers are dotted with gold-colored embroidery-silk, shaded with orange, and the pansies have dots of green in the center, and the veinings may be touched with purple water-color paint.  Once having practised even to small extent the fascinating art of making ribbon flowers a thousand and one suggestions will occur by which the worker will be able to give her productions the touch of individuality always so desirable.

As for the decorative uses to which these flowers may be put, they are so many and varied that it seems almost impossible to enumerate them.  They are, of course, very lovely as ornaments for the hair as well as for the corsage, and make a charming finish to the embroidered turnover collars and fluffy lace frills that are so becoming and popular.  The linen belt- or girdle-bags sued so much in summer would be most attractively embellished with a wreath or spray of ribbon flowers, singly or forming a more elaborate design as individual taste dictates.  Belt-buckles, heart-shaped, round or oval, are also much in favor, especially for party-gowns.  Again, these ribbon designs form a beautiful decoration for fancy articles, such as glove-boxes, veil-cases, handkerchief- and cravat-holders, opera-bags; and are extremely dainty on a pincushion and for a dresser-scarf, with mats for the different toilet-articles decorated in the same way – thus taking the place of or combining with embroidery.  Tiny ribbon roses on silk candleshades of desired color are greatly admired.  Again, as favors for the table, or for dances, nothing could be more charming; for holding place-cards the effect would be novel and pleasing.  A photograph-frame, perhaps using a favorite flower, forms a unique setting for the face of a dear friend; and flowers formed in the shape of hearts would be most appropriate for valentines, or to be given as prizes at a valentine- or “heart-party.”

As suggested, there is really no limit to the possibilities of these lovely bits of handicraft, and the work of making them is fascinating in the extreme.

(Miss Roberts will answer all inquiries in regard to her work, materials, samples, etc., if a self-addressed, stamped envelope is enclosed.)

The Trend of Fashion

by Dora Douglas

1913 08, page 10

The most striking phase of midsummer fashion is found in the sudden craze for all white dresses.  It is safe to say that there is never a summer when white is not worn to a great extent, but this season bade fair to prove an exception to the usual rule.  Earlier in the day, say in late May and June, there was very little white worn or exhibited.  Everything seemed to trend in the direction of colors more or less violent, to one-tone frocks and to combinations.  The few all-white dresses that were shown were either very dressy late-afternoon models or tailormade suites of the fancy order.

A change has come over the spirit of our dreams with the persistence of the summer heat.  All-white frocks are now seen in every grade, from the hand-embroidered crepe-de-Chine gowns which are advertised as beach gowns for morning wear, to the simple batiste frock of flouncing that can be made at home in a day, almost in a morning.

It is these more simple frocks that have the greatest interest for women in general.  The use of flouncing does a great deal to simplify the making of them, for the skirt can be made of a single width of the 45-inch embroideries or of two or three flounces of narrower widths.  The lower edge of the skirt is almost always finished with a band of some plain color, and this is an economy as well as a very attractive finishing-touch, for it does not soil as readily as would the plain white and if it is sewed on by hand it can be ripped off and cleansed with gasoline without affecting the rest of the dress.

This little lower edge is sometimes duplicated at the end of each flounce, when two or three are used, and of course a similar color is placed somewhere on the bodice to hold the dress together, as it were.  The most usual place for it is around the outline of the neck, which is almost always low, or down the line of the closing, if the surplice-closing is used.  Somewhere on the cuff also must a touch of the same color be placed, and perhaps a girdle of it added, and the dress is complete.  The new manner of making the skirt, with gathers at the waistline, also has its share in simplifying the manufacture of such a dress, for the wide flouncing is soft and can be neatly gathered without producing any impression of bulkiness.

While we are on this subject we must call attention to the importance of the belt to-day.  A rather prominent society bride the other day, when questioned about her trousseau, remarked that all she was going to get was a number of belts, nothing more would be needed.  Of course she did not foresee the laugh this announcement would cause, but she struck the keynote of the situation: inasmuch as the belt, if cleverly chosen makes an entirely new costume out of an old one, by changing its character completely.

We must admit that the fashion of belts is very economical.  All that is necessary is to have a varied collection of belts in order to give quite a different appearance to the same frock or to rejuvenate completely a last-season’s dress.  This famous feminine accessory, which had such an important signification in antiquity, occupies our attention as much as it occupied that of the woman who lived thousands of years before the Christian era.  Indeed it seems that the belt was born with woman.  The earliest girdle on record.  Eve’s invention of fig-leaves, was a very light and fanciful affair, no doubt.  Later we find it ornamented with claws of beasts, shells and incrustations of fish-bones, which were, I suppose, the only substitute for the jewels which women of to-day take such delight in using.

But nothing is lost and nothing is new under the sun, especially in matters of fashion, and although we have ceased to wear fishbones, we will love shells, and the little pearly ornaments gleam charmingly from leather or silk, just as the shone on queens in days long gone by. For at one time only queens were allowed to wear belts.  To-day the poorest little maid may use a belt to brighten her old tailormade costume, and this simple accessory, which the queen of Sheba might well have copied with advantage to herself gives the wearer a decided piquancy.

For this new and striking fancy we put under contribution all the peoples of the east and west; classic and modern alike.  We go to the antique frescoes to study the knotted belt that confines so gracefully the folds of our modern robes and from the Assyrians we borrow the sumptuous embroideries and gold-weighted fabrics that form our principal trimmings to-day.

We have the Egyptian, the Assyrian, the Japanese, the Zouave and the Bulgarian belt.  We have the ecclesiastical belt and the sash of the bayadere.  We may choose the Arab or the Greek belt, or we may have every kind mingled.  According to our beauty or dress, or even according to our passing fancy may we choose it.

For the simple costume there is the simple cord, finished with a tassel, dangling to our ankles, like the girdle of some severe monk, or copied exactly from that which the oriental priesthood wore on days of high festival; for other frocks there is the wide, flat band of the priest of to-day; still other styles are found in the beaded and broidered tissues which we wind about our no longer slender waists when wearing transparent and clinging fabrics.  Yet again there is the wide Empire girdle of many different fabrics which is worn to give tone to the lingerie gown.

The charm of this lingerie frock is a very potent one, and there are many reasons why this should be so.  Few things are more becoming alike to old and young wearers.  Again, these frocks are easily cleaned and consequently, in addition to being delightfully fresh-looking, are economical in wear.  One cannot imagine anything more appropriate or charming on a hot summer day.  To see the lingerie gown in its most chic and fascinating form one has only to look over the models displayed in the large city shops.  There is the simple linen dress with hemstitching or embroidery done by hand; there is also the frock of cotton crepe, richly embroidered by hand in some one color, Nattier blue or Mell rose, or in shades of brown, now so fashionable.  The material is lined with net; net tucked horizontally, appears at the front opening, and real lace medallions and other insertions add to the beauty and to the cost of the dress.

To wear with lingerie gowns there are cunning little coats made of brocaded cotton eponge, a very handsome and modish fabric, yet quite light in weight; these coats are usually cutaway in shape, and are usually of bright colors with white collars and cuffs.

On some of the white frocks a little colored embroidery is introduced; this is very effective, worked in light tints directly on the dress.  Very simple, but particularly attractive are the summer dresses of voile and lace.  The models with short tunics are extremely popular.  These draperies are now shorter in front and longer in the back, and are thus more becoming to the average figure.  Smart outing-dresses of ratine and linen in white are touched up with colored collars and cuffs, and show white buttons with colored rims and centers.  These dresses are just the type for outing-dresses and for morning wear.

For all these simple white suits we find the greatest favor accorded to ratine in fine, medium and heavy grades.  Closely following in popularity are the crepes plain and printed, in cheap and medium grades.  The fancy for printed crepes has come late, but is very pronounced, and we find the brilliant colorings known to us as Bulgarian, and the very dainty Pompadour effects with small flowers on a faintly tinted ground.  Favor is equally divided between these two types.

Printed voiles are also very popular, and silk and cotton fabrics in sheer, medium and heavy weights.  These have the appearance of a silk charmeuse.  They are among the best of the printed materials, and are widely used for trimmings.

Jacquard designs, however, are perhaps the most used.  They are so very effective in suits in which two styles of material are used.  The jacquard material is usually employed for the skirt, and the plain for the coat or blouse, although the reverse arrangement is my no means uncommon.

House-dresses have this season made a high place for themselves in the favor of the feminine world.  There was a time when they were relegated to the wrapper-departments of the large department-stores.  To-day, however, they are to be found in the regular suit-departments, sometimes even in a division devoted to them alone.  This is doubtless owing to the fact that as the popularity of house-dresses grew their quality improved also.  Among the best liked of these dresses are models of percale in stripes, plaids and checks, also chambrays, piques and figured lawns.  Ginghams are also used in a variety of effects.  Some of these gingham dresses have ratine collars and cuffs, and leather belts. The more pretentious models have fancy collars, in simple embroidered patterns and with scalloped edges, and narrow leather belts.  Black-and-white checks are often finished off with white pique bandings, with embroidered scalloped edges worked out in blue.

The finer-quality percales have machine-embroidery and ratine collars and cuffs in contrasting colors.  Fancy collars, cuffs, buttons and vest-effects are often seen on the better-quality percales.  Handsomer house-dresses are made of imported tissues embroidery-trimmed, natural linen, madras cloth in plain, check and stripe effects, and the finer grades of white pique, Bedford cord and ratine.

The waists which now seem to be the favorites are the white models in shadow-lace and net; also those of crepe de Chine, China silk and messaline.  Prejudice against the sharp contrast between white waist and dark-colored skirt is now a thing of the past.  It was necessary, however, to educate women to the broken line by the continued use of contrasting materials in the waist-section of dresses.  This change in the color-lines began with the use of colored chiffons over white lace and net.  Then came the partial veiling of the colored lining with contrasting diaphanous fabrics.  Gradually the colored overdraping has been lessened until now the plain white stands out as a thoroughly popular article.

This does not mean that the colored chiffon waists are not good style, but it does mean that they are no longer the only style.

In the matter of separate skirts, choice is practically unlimited.  There are attractive models in eponge, linen, and pique.  Fancy eponge skirts in woven stripes or with plain grounds and pencil-stripes in colors, also brocaded eponges are high class and novel.

For all practical purposes the plain skirt, fastening at the side or center-front, and with a few gathers in the back, is the best liked.  Among the novelty eponge skirt are many with draped effects, some on both sides, some on one side only, and others again with the drapery caught up in front in Oriental effect.

The favorite trimming is undoubtedly buttons.  Crystal is the favorite, plain white, plain colors, or white with colored centers and the reverse.

In addition to white washable skirts there is quite a fancy for check material in lightweight woolen goods.  The sizes of these checks are varied, ranging from pin size to an inch check.  Black-and-white is the favorite combination, but some blue and brown with white are also see.  Striped skirts are also seen, but the stripes are not aggressive in type and the fine, almost invisible line on a solid ground is perhaps the most popular.

The summer suit is a source of endless delight in its variety.  For morning wear there are the smart suits of linen, eponge and cotton corduroy.  As a rule these are made with a cutaway coat, the fronts crossed well over each other and fastened with one or two buttons.  The skirts are of a simple type and there is rarely any trimming except the buttons and buttonholes.  These are not always placed where they are needed, but where they will add most to the appearance of the suit.  The shirring of the back is universal in the tailored skirts, and there is usually some attempt at a belt, fastening with a buckle.

The more elaborate models for afternoon wear are made of Russian linen and also of ramie, of plain and brocaded eponge, cretonne and hand-embroidered linen.  The coats of dresses of this class vary far more widely than those of the suits for more informal wear.  They are cutaway, Russian-blouse, Chinese-coat, Balkan-blouse and other dressy shapes.  In all the more elaborate models we find the fancy vest and ornamental collars and cuffs.  Cretonne and printed eponge are frequently used as a trimming, and they are very effective.  Plain colored eponge is also used in the newer designs, and the nets in the new futurist designs make very effective trimmings.

The skirts to these more dressy suits usually show a suggestion of drapery.  In some there is a little fulness at either side of the front panel, and others are draped at one side or directly in front, as with less dressy models.  In the matter of color all the brown tints lead, but Saxe blue, white, tan, gold, rose, leather, and Paquin green are all favored.

With these suits the more dressy styles of waist are worn.  Those of lace or chiffon, richly embroidered, are the best liked.  Of course there is an immense variety of styles in waists to choose from, not only for dressy suits but for all other purposes.  In silks white crepe de Chine leads, especially in designs which have a frill-finish.  The familiar double frill is still a feature of popular waists, and we also find many narrow frills, which outline the front plaits, or follow the side-fastenings.  Narrow plaitings to match the frills are used as a finish to the flat collars and turnback cuffs.  Among the semitailored waists we find the button-through collar and cuffs, and the long shoulder and plaited frills.  In the novelty waists we find crepe de Chine in combination with printed net or printed silk.

No waists are more popular for general wear than the China-silk waists.  These also show the frill-finish, but the designs are more conservative, more akin to the tailored cut.  These are the practical waists, and are used for outing-purposes and also for office wear by the girl or woman who works for others.

For traveling, striped wash-silk waists are especially popular, and these are also much used for morning wear.  In some cases these waist show the white groundwork, with broad or narrow stripes in purple, gray, blue, rose, yellow or brown.  Then again the groundwork sometimes shows a soft shade of gray, blue, rose or tan with white stripes.  These models are usually made on the general lines of a man’s shirt.  Silk-and-linen materials are also much used for waists in this same class.

Lace and net waists are also extremely popular, and are shown in such a wide range of style and price that anyone can find some model to her taste.  The unlined net waists are also popular, and this largely because they are so practical.  They can be laundered, whereas the lined models cannot, and this does away with both inconvenience and expense.

So many inquiries come to us with each month as to the correct millinery to wear with one or other style of dress selected, that a word on this topic will not be out of place in these columns.  There are very few large shapes worn at present even in the evening.  The small hat is the thing for the daytime, and the half large hat for the evening, if a hat must be worn, or a little fancy cap of embroidery, with an aigrette or other ornament when the hat can be dispensed with.

Colors in hats have followed those in dresses, and we find a wonderful increase of the all-white hat.  This is very pretty in its way, but we cannot help thinking that a hat that has something striking about it makes the best possible finish for an all-white costume.  Thus black and white, strikingly places, not mixed together, is good, and a touch of bright green or red or blue on a white hat will all be enlivening and effective.  Many women prefer an all-black hat with a white dress, and this is also extremely effective.  Some of the new black hats are of medium size with a frilled brim, in the baby-hat style, and with malines covering the crown.  Sometimes such a hat will have a band of colored ribbon across the crown or a bunch of some very bright flowers at one side on the brim.

The sailor-hat in its original form is one of the season’s arrivals, and it is good to see it once again, so trim, so stylish and so youthful.  It is perhaps the one girlish had that the gray-haired woman can wear without being accused of trying to get up mutton in lamb fashion.

The Panama shapes are in excellent style for wear with the simple tailormade suits, the plainer one-piece dresses and the traveling-suit of simple serge or other cloth.  These hats are usually simply trimmed with a scarf of bright colors, the ends of which are allowed to hang loosely down the back or side.  Sometimes one finds merely a few narrow folds of colored ratine, or a band of feathers, of the flat varieties.

The tall trimmings, sharp pheasant-feathers, manufactured aigrettes, and the like, are all much used; and they are variously placed either directly at the back of the hat, or directly in front; rarely, but sometimes, they are seen at the side.  The use of large wired bows is not uncommon.  These are always placed across the back of the hat, and sometimes they are made of ribbon, at others of net or lace.  Plain black, plain white, and black and white mixed, are the most popular colors.

The curled ostrich bands which surround the crowns of hats are very much used even on simple hats, and for dressy occasions a short plume or two can be added.  I am happy to say that the willow plume is not used at all.  Of course one sees it, but so does one see wide skirts and other things that are none the less “not worn.”

The ornaments which are made of ribbon and which are very upstanding are extremely popular.  Some of them look as if they were knotted around a stiff bit of wood or metal, and have generally a bunch of short loops at the end.  These bows stand up smartly, and take the place of feathers or aigrettes at the back of the hat.

The small hat is most popular of all.  It is no longer pulled down over the face like an extinguisher, and it is therefore a hundredfold more becoming than formerly.  It is possible now to show the hair, whereas a year ago the hat would have looked just as well on a bald pate, so completely was the head extinguished. 

 

 

 

 

 

 

 

Tinted Embroideries with Darned Background

1913 08, page 10

Because darning on huckabuck is so quickly and easily done, and so simple that it may be undertaken by wee maids just commencing to use the needle in a decorative way, it has always been popular.  The great drawback has been that one must use huck, or goods of similar weave having the overshot threads under which to pass the needle in darning, thus limiting the field to fabrics of certain width and color – linen huck being practically the only available material.  As in every phase of human activity, however, so it is with needlecraft; the demand is a certain forerunner of supply.  And so our embroidery-designers are mow giving us pillows, centerpieces, scarfs and other household fittings, on the favorite gray linen or crash which is so eminently suited to living-room or library use, and with the background stamped for wide-space darning.  This is the simplest thing in the world to do.  Bring the needle up at the beginning of one of the little straight lines on the surface – usually from one fourth to three-eighths inch in length, put it down at the end of the line, so that the stamping is perfectly covered, pass it beneath to the beginning of the next line, again bring it up, and repeat.  It is simply a long running-stitch, very rapidly executed and most effective as a background.

The only stitch used in addition to this is the outline- or etching-stitch, with which every needleworker is familiar, since it is one of the first taught a beginner.  All of the lines which serve to define the design are followed with this stitch – the outlining of leaves, petals and stems, and the veining of leaves.  From description given it will be readily understood that a large and really handsome piece of work may be completed in a few hours.

The three designs illustrated serve admirably for the living-room, since the finished articles are no less attractive than serviceable.  The material is ramie linen, soft-gray in tone, which brings out the coloring beautifully.  The stamped pieces may be had tinted or plain – that is, without the tinting – and many prefer them so, the work being the same in either case.  Or one may easily do her own tinting.  Stretch the fabric smoothly on a flat surface, placing a sheet of blotting-paper or several layers of newspaper between it and the table or drawing-board; thin the tube paint with turpentine, adding a little gasoline, and with a small, rather stiff brush, apply just enough of the mixed paint to stain or color the design, shading darker or lighter in some places.  Take, for example, the attractive rose centerpiece: tint the roses red, darkening the center and back of petals slightly, the leaves green, shading lighter toward the edges, and the stems brown.  Take care to not let the paint extend or spread over the stamped line, which may be easily prevented by taking up a very little paint at a time and working first along the outlines, bringing the brush from the line toward the center.  It is an excellent plan to first try the paint on a bit of the material; remember, too, that if gasoline naptha is used there must be neither fire nor artificial light in the room where you are working.

Having finished the tinting, there remains only the outlining of the design and the darning in of the background, which is first done in order that the outlining may cover the ends of darning-stitches.

It will be noted that in the centerpiece – which is twenty-four inches in diameter when completed, exclusive of the border – the roses and leaves are merely outlined, and the background alone darned.  In the scarf and pillow the darning-stitch is used also in leaves, flowers, grapes and stems, employing the color of floss with which each part is outlined.  Golden brown is used for the background, and a slightly darker shade for the stems and – in the pillow – for the scroll surrounding the flora motif, red for roses and poppies – with just a touch of black at the center – green for leaves and purple for the grapes; and the result is not at all crude or sketchy in effect, as might be reasonably imagined because of so little time and work being expended, but artistic and pleasing.  There is opportunity for the exercise of individual talent, too, in the tinting or shading of the different motifs.

The scarf is eighteen by fifty inches – just the right size for the reading-table – and the oblong pillow of usual dimensions, sixteen by twenty-two inches.  It is needless to suggest that the embroidery-material is a heavy, soft-twisted floss, which aids greatly in the rapid accomplishment of the work; every stitch shows.

No. 332D.  Perforated stamping-pattern, 25 cents.  Tranfer-pattern, 10 cents.  Stamped with design tinted, on linene, with plain back to match, 65 cents.

 

 

 

 

 

 

 

No. 333D.  Perforated stamping-pattern, 25 cents. Tranfer-pattern, 10 cents.  Stamped with design tinted, on 27-inch linene, 75 cents.

 

 

 

 

 

 

No.  334D. Perforated stamping-pattern, 25 cents.  Transfer-patterns for two ends, 15 cents.  Stamped with design tinted on linene 18x50inches, 90 cents.

The Newest Styles in Ladies’ Costumes

1903 08 09

 

Ladies’ Toilette

By combining two designs in this costume, No. 6308 and No. 6309, we have a result which is extremely pleasing.  The blouse is one of the soft, draped models.  The shoulder-seams come very far forward, and the fronts of the blouse are gathered along this line, or they may be plaited, if preferred.  This gives a little fulness to the waist.  In closing one side is drawn over the other iin surplice-style, and the edges are trimmed with a wide frill.  There is a large collar at the neck, and this is round in shape in the back, ending just below the shoulder-seam in front. 

The new large armhole is used, and the sleeve is adjusted to this without any fulness at the shoulder.  The three-quarter-length sleeve is generally used, but the pattern also provides a full-length sleeve, which is gathered into a deep cuff at the wrist.

The skirt of this costume has three gores.  It is closed at the left side of the front, where a bit of graceful drapery is arranged at about knee-depth, and is held in place by a strap.

The material selected for this dress should be soft.  Ratine, which is to be had in many different weights and thicknesses is appropriate, and all the cotton crepe and cotton voile weaves, as well as the handsomer crepe de Chine and brocaded silk.

The waist-pattern, No. 6308, is cut in sizes from 34 to 42 inches bust measure.  To make the waist in the medium size will require 2 1/2 yards of 36-inch material.  Price of pattern, 10 cents.

The skirt-pattern, No. 6309, is cut in sizes from 22 to 30 inches waist measure.  To make the skirt in the medium size will require 2 5/8 yards of 36-inch material.  Width of lower edge is 1 3/4 yards.  Price of pattern, 10 cents.

Ladies’ Dress

This is one of the loveliest of the one-piece dresses, No. 6312.  It is simplicity itself, consisting of a plain blouse, cut out in a deep U, and displaying the front of a quimpe, which is separate from the dress, and which can be faced in any manner preferred.  The back and sides of the neck-opening are trimmed with one of the smaller square collars, so much affected by well dressed women, and cuffs to correspond finish the three-quarter-length sleeves.  The front closing of the blouse laps over at the left side, and is held in place by two large buttons.

The skirt of this costume has three gores.  It may have either high or regulation waist-line, and is attached to the blouse.  It opens at one side of the front, and a small section is cut away at the lower edge of the overlapping gore.

Brocaded eponge is one of the best liked fabrics for these one-piece dresses, and simple ratine, figured cotton voile, sheer and transparent, and also cotton crepe, as well as brocaded messaline, plain satin and figured crepe de Chine.

The dress-pattern, No. 6312, is cut in sizes from 34 to 42 inches bust measure.  To make the dress in the medium size will require 3 3/4 yards of 44-inch material for the dress, and 3/4 yards of 36-inch lining lawn, and 1/2 and of 22-inch net for the guimpe.  Width of lower edge, 1 3/4 yards.  Price of pattern, 10 cents.

 

Ladies’ Costume

One of the late-summer favorites, the cutaway coat, forms the bodice of this attractive costume, No. 6299.  The coat-blouse has a small vest in the front, and a handsome collar at the low neck.  The sleeves are set into large armholes, and the peplum-sections are cut separately from the upper portion of the coat.

The two-piece skirt which is worn with this blouse fits snugly to the figure, and is attached to the blouse at the waistline, or made separately, as preferred.

No style is more popular at the present than the coat-blouse in this form, and it is usually made of a color with a white skirt, or of a plain material, with a figured skirt.  Of course it may well be made all of one material, and will be very handsome.

The combinations of ratine, eponge, linen, cotton crepe, cotton voile, bengaline and corduroy of the washable kind, will all be suitable and handsome.

The pattern, No. 6299. Is cut in sizes from 34 to 42 inches bust measure.  To make the costume in the medium size will require 1 3/4 yards of plain material and 3 1/4 yards of figured material, both 36-inches wide.  Width of lower edge 1 3/4 yards.  Price of pattern, 10 cents.

A Shirtwaist Suit

The shirtwaist still holds its own, and this season has brought us many models prettier than ever before.  For comfort there are few styles better than the shirtwaist, and it is also very economical.

In this combination, No. 6396, and No. 6297, we have a plain blouse waist, with a low shoulder and an inset sleeve, this extending to the writs, where it is gathered into a cuff.  The neck of this waist is cut out quite far and the edges trimmed with a pretty notched collar.  The waist closes in duchesse style in the center of the front.

With this waist is worn a three-gore skirt.  This may have either the high or the regulation waistline.  It has a flat panel in the back, and in front there is a graceful drapery from the knee down on one side, over a small gore placed underneath to fill the opening.

In a shirtwaist costume the economical woman will use woolen goods for the skirt, and some of the lightweight tailor mixtures in the new shades of brown or Paquin green will be very effective, while the blouse may be of white linen or batiste, or of colored ratine, voile and the like.

The shirtwaist-pattern, No. 6396, is cut in sizes from 34 to 42 inches bust measure.  To make the waist in the medium size will require 2 1/4 yards of 36-inch material.  Price of pattern, 10 cents.

The skirt-pattern, No. 6397, 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.  Width of lower edge, 1 3/4 yards.  Price of pattern, 10 cents.

 

 

Three Summer Dresses and a Useful Wrap

1913 08 page 8

 

Ladies’ Cape

The cape of to-day is a utility garment, and must be made with an end to real protection.  The model herewith illustrated, No. 6313, is of soft camel’s hair, with a hood-collar of the skirt-material.  The length of the cape may be arranged to suit the wearer, but for a really useful garment the long cape is of course best.  The collar extends in the back I hood form, and this will be found handy in wet weather to slip over the head when driving, or walking short distances.  This cape can also be used for evening wear, and in that case some such material as charmeuse, crepe de Chine, bengaline, moire and the like will be most appropriate.   It is now customary to line these heavier materials with plain and figures chiffon for evening use.

The cape-pattern, No. 6313, is cut in sizes small, medium and large, or 34, 38 and 42 inches bust measure.  To make the cape in the medium size will require fur full length, with hood, 5 3/8 yards of 44-inch material.  Price of pattern, 10 cents.

Ladies’ Dress

In this design, No. 6319, we have a fresh variation of the popular coat-blouse style.  The garment is made practically plain at the upper part, with drop-shoulder, long sleeve and a peplum in cut-away shape.  The neck is provided with several styles of finish.  It may be high, with a standing collar, round as shown or without the chemisette at all, leaving a great deal more of the neck exposed to view.  The peplum also may be short, as in the illustration, or much longer, coming almost to the knees.  The pattern provides all these different changes.

A two-piece skirt completes this costume, and the model is made with a few gathers in the back, in the newer mode and with the closing in the center of the front.

No better style than this could be found for colored linen, which can be scalloped by hand in white.  It is also an ideal design for ratine, and either one or two colors may be used.  For silk and crepe fabrics the style is excellent and it will also be satisfactory for the more simple ginghams that are within reach of every purse.

The dress-pattern, No. 6319, is cut in sizes from 34 to 42 inches bust measure.  To make the dress in the medium size will require 5 7/8 yards of 36-inch material.  Width of lower edge is 1 ¾ yards.  Price of pattern, 10 cents.

Ladies’ Dress

Something distinctly out of the common is shown in this flounce dress, No. 6302 and No. 6303.  The blouse is a shirtwaist of the simplest character.  It has the long sleeve and the body in one, and it may also be made with the drop-shoulder and a three-quarter sleeve as the pattern provides for these changes.  The neck is finished with a pretty flat collar of moderate size.

The skirt of this costume touches an entirely novel note.  The seeming flounces are in reality tucks, and the skirt is a one-piece design.  It has either plaits or gathers at the top, and may be made with either the high or the regulation waistline.

Such a costume as this made of figured cotton voile would be at once dainty and cool and stylish.  If heavier fabrics are used the tucks can be hemstitched by machine.  It is quite a fad at present to use thin materials for these skirts and then to run ribbon through the tucks.

The waist-pattern, No. 6302, is cut in sizes from 34 to 42 inches bust measure.  To make the waist in the medium size will require 1 5/8 yards of 44- or 54-inch material.  Price of pattern, 10 cents.

The skirt-pattern, No. 6303, is cut in sizes from 22 to 30 inches waist measure.  To make the skirt in the medium size will require 3 3/8 yards of 36- or 44-inch material.  Width of lower edge, 1 ¾ yards.  Price of pattern, 10 cents.

A Shirtwaist-Suit

This natty costume, No. 6291 and No. 6292, is just the thing for morning wear, whether for shopping or for informal calls.  The waist shows a model with a long shoulder-yoke and the drop-shoulder, carried unusually far down on the arm.  The sleeve is plain and is finished at the wrists in the approved shirt fashion.  At the neck the waist is quite open and is trimmed with a handsome collar, ending just in front of the shoulder-yoke, where a tie comes from under the edges and passes through a strap in the front.  The closing is in the center of the front of the waist. 

With this simple waist is worn a skirt which has a suggestion of drapery in the new manner.  The model may be made with either two or three gores, according as a seam is placed in the center of the back or not.  This arrangement allows the use of either wide or narrow materials.  At about knee-depth the front gores are extended in square tabs and a bit of the cloth of the back gore is caught in to give the draped suggestion.

Waist and skirt may be made of one material, or two may be selected.  This is entirely a matter of preference, and if wash-fabrics are used for the waist, plain Japanese silk should not be overlooked, as it is very fashionable and very comfortable

The waist-pattern, No. 6291, is cut in sizes from 34 to 42 inches bust measure.  To make the waist in the medium size will require 2 1/8 yards of 36-inch material.  Price of pattern, 10 cents. 

The skirt-pattern, No. 6292, is cut in sizes from 22 to 30 inches waist measure.  To make the skirt in the medium size will require 3 1/2 yards of 27-inch material for the two-piece skirt, or 4 yards the same width for the three-piece arrangement.  Width of lower edge, 1 5/8 yards.  Price of pattern, 10 cents.

 

Table-Cover in Ribbon Embroidery

By Mrs. T. D. MacBey

1913 08 page 6 

The name of this class of needlework – also called rococo-embroider – indicates its character.  Inn it ribbons of different widths and colors are used in place of embroidery-silks, or in conjunction with them, since rope-silk or purse-silk is employed in outlining stems, scrolls, baskets, and other portions of a design for which even the narrowest ribbon is not quite suitable.

Ribbon-embroidery would be far more in vogue than it is, were there not a wrong impression concerning it.  Those who know it, consider it one of the most important forms of decorative needlework, and use it constantly for small and large pieces of every description; there are many others, however, who believe it to be tedious or difficult to do, and impractical when done, because it cannot be laundered in a regular way.  Answering the first objection, it is of course obvious that the work may be very much more quickly accomplished than the ordinary colored embroidery, since an entire flower can be fashioned with less than a dozen movements of the needle at most; while all who have worked with embroidery-silks know the many stitches that are required to obtain the same effect; hence the advantage is largely in favor of ribbon-work when time is a consideration.  It “goes” so quickly that one has no thought of tiring of it before even a large piece of work is accomplished.  Think of making an entire petal or leaf with a single stitch, and you may easily imagine the fascination the work possesses for needlecrafters who have learned by experience how easy it is and how rapidly done – particularly in these “rushing” times of ours.

As for laundering, ribbon-embroidery may be sent to a professional cleanser and come out looking like new many times; or one may use gasoline and wash it at home, keeping the fluid always away from a room in which is artificial light or fire.  The better plan is to take it out-of-doors in a large bowl, or any vessel corresponding in size to the article to be washed, placing this in a pan of hot water; then wash the work by “sousing” it in the fluid, lifting up and down, and squeezing lightly with the hands.  Change the supply if the first becomes discolored or dirty, and finally hang the work in the open air where the odor will quickly depart.

For dress-garnitures of every sort there is nothing more lovely than ribbon-embroidery.  It may be done on bands of net and applied, or on the garment itself.  Once undertaken, and the possibilities of the art discovered, many new uses will be found for it.

Three widths of ribbon are generally employed, the very narrow for tiniest flowers, a half-inch width for larger ones, and one about five-eighths or three-fourths inch, the latter, having one edge picoted and the other plain, being intended for the petals of carnations and similar blossoms.  The plain edge is drawn up, the picots serving to represent the serrate edge of the flower-petals.  Ribbons of crepelike texture, shaded from one edge to the other, are especially pretty for blossoms such as sweet-peas; but any ribbon may be used.

While the gathered, or picot-edge ribbon, must necessarily be caught in place (indicated by the stamped or traced outlines of the design) on the surface, using a strand of filo-silk as nearly as possible of the same shade, the usual method of using this material is exactly the same as that for embroidery-silks; they are threaded into a needle and the stitch is taken through the foundation.  Choose a needle large enough to make an opening through which the ribbon will follow easily, and use the latter in short lengths, that it may not become worn or frayed in the least.  It is a good plan to smooth it out between thumb and finger after each stitch.  And do not draw it through tightly – thus giving a flat appearance, which is of all things to be avoided.  Each petal should have the raised, natural appearance of the flower the worker is copying, so far as possible to give it.  No padding is necessary, although this is sometimes recommended.  Run the handle of a stiletto or some other small, smooth object under the ribbon after the stitch has been taken, shaping the petal.  The ribbon puffs very easily, since it emerges and is again drawn through a small aperture at base and tip of petal.

The decoration of the table-cover may properly be classed as a sweet-pea design, since that flower is used throughout save at each corner, where appear sprays of violets, tied with narrow ribbons.  The foundation is a fancy moire, green in tone and shading from light to dark.  Any other material may be selected, a heavy gray linen being very appropriate.  The cover is one yard square without the border, which is three and one-half inches deep.

The violet petals are of narrow violet ribbon, the leaves of narrow green ribbon, and the stems of heavy green silk, in outline-stitch.  If preferred, the tiny leaves may be in solid embroidery.  For the violets bring the needle up at the center and put it down at the tip of petal, repeating until the five or six are formed, afterward filling the center with a French knot in heavy silk.  Baste the ribbon knots and streamers lightly in place and catch securely with sewing- or filo-silk of the same tint.  These ribbons are sometimes “couched,” that is, held in place by a short stitch crossing them at intervals of an inch or more, sometimes less.

For the sweet-peas but three or at most, four “stitches,” are employed.  The two – or one – in the center are first taken, then that on each side, spreading from the base.  The center petals are smaller and shorter.  The natural flower will help one very much in copying – as will an illustration from a seed-catalogue, even.  The flowers are of various colors, and combinations of colors, pink, blue, violet, and so on through the range of sweet-pea tintings.  The stems and tendrils are outlined with brown and green, the scrolls, vases and baskets done in the same stitch.

Two rows of hemstitching are carried around the square or, rather, the inner row does this, while the outer row, five inches from the first, extends from basket to basket, at each corner.  This portion of the work may be omitted at pleasure.

As has been intimated, it is practically impossible to fail of pleasing effect with this work, if the beginner is at all painstaking.  Commencing first with a small piece, perhaps a sachet or handkerchief-case, practise with a simple design – the daisy is easily worked in ribbon and readily obtained.  Each stitch forms a petal, and the center of the flower may be filled with French-knots.  There is no prettier decoration for any sort of fancy articles, such as are used for Christmas gifts; and the wise woman who enjoys making pretty things, and has comparatively little time at her disposal, will not fail to add ribbon-embroidery to her list of accomplishments.

The border is of heavy mercerized crochet-cotton, crochet-silk, or linen thread No. 25; the latter has a lustre which is lasting, and a crispness when worked that renders it very effective.  For the straight lace begin with a chain of 50 stitches, turn.

1.     Miss 13, 3 doubles in next 3 stitches, (chain 5, miss 5, 3 doubles) 3 times, chain 5, miss 5, 4 trebles, turn.

2.    Chain 11, miss 8 of chain , 3 trebles in next 3 stitches and 1 in 1^st of 4 trebles,*chain 5, a treble in last of 4 trebles and 3 under chain, (chain 5, 3 doubles under next chain) 4 times, turn.

3.    Chain 7, (3 doubles under 5 chain, chain 5) 3 times, 3 trebles under next chain and treble in treble, chain 5, fasten under 5 chain, *chain 5, treble in last of 4 trebles and 3 under chain, turn.

4.    Like 2d row to *; (chain 5, fasten under 5 chain) twice, chain 5, treble in last of 4 trebles, and 3 under chain, (chain 5, 3 doubles under next chain) 3 times, turn.

5.    Chain 7, (3 doubles under 5 chain, chain 5) twice, 3 trebles under next chain and treble in treble, (chain 5, a double under next chain) twice, 3 trebles and 1 double under same chain; like 3d row from *.

6.    Like 2d row to *; chain 5, fasten under 5 chain, (chain 5, shell of 1 double, 3 trebles and 1 double under next chain) twice, chain 5, fasten under 5 chain, chain 5, treble in last of 4 trebles and 3 under chain, (chain 5, 3 doubles under next chain) twice, turn.

7.    Chain 7, (3 doubles under next chain, chain 5) twice, treble in last of 4 trebles and 3 under chain, chain 5, fasten under 5 chain, chain 5, 1 double, 3 trebles and 1 double under next chain and 1 in 1^st of 4 trebles, turn.

8.    Chain 5, miss 3 trebles, treble in treble and 3 under chain. *(chain 5, fasten under 5 chain) twice, chain 5, 3 trebles under chain and treble in treble, (chain 5, 3 doubles under next chain) 3 times, turn.

9.    Chain 7, (3 doubles under next chain, chain 5) 3 times, treble in last of 4 trebles and 3 under chain, chain 5, fasten in 5 chain, chain 5, 3 trebles under chain and treble in treble, turn.

10.  Like 8^th row to *; chain 5, 3 trebles under next chain and treble in treble, (chain 5, 3 doubles under next chain) 4 times, turn.

11.  Chain 7, (3 doubles under next chain, chain 5) 4 times, 4 trebles in space between 2 treble groups of last row, turn.

Repeat from 2drow for the straight lace.  When the corner is reached, repeat 2d and 3d rows of the pattern as usual.

4.  Like 4^th row of pattern, ending with (chain 5, 3 doubles under next chain) twice, turn.

5.  Chain 7, 3 doubles under 5 chain, chain 5, 4 trebles, and continue like 5^th row of pattern.

6.  Like 6^th across diamond, ending with 4 trebles, turn.

7.  Chain 7, treble in treble and 3 under chain, and continue like 7^th row.

8.  Like 8^th across diamond, ending with 4 trebles, turn.

9.  Chain 7, treble in last of 4 trebles and 3 under chain, continue same as 9^th row.

10.  Like 10^th, ending with the 2d group of 4 trebles, turn.

11.  Chain 7, 4 trebles in space between 2 groups of last row, turn.

12.  Like 2d row to *; chain 5, a treble in last of 4 trebles and 3 under chain, chain 5, 3 doubles in next loop, turn.

13.  Chain 5, 3 trebles under 5 chain and treble in treble, continue across diamond as in 3d row.

14.  Like 4^th across diamond; after last 4 trebles, chain 5, 3 doubles in loop (on the diamond last made, at beginning of 7^th row), turn

15.  Chain 5, 3 trebles under chain and treble in treble, work across diamond as in 5^th row.

16.  Work across diamond as in 6^th row, and after last 4 trebles in loop chain 5 and make 3 doubles in loop (at beginning of 5^th row in last point), turn.

17.  Chain 5, 3 doubles under chain last made, chain 5, miss 3 trebles, treble in treble and 3 under chain, and work across as in 7^th row.

18.  Like 9^th row, putting last 3 doubles in loop at beginning of 3drow in previous point.

19, 20, 21.  Like 9^th, 10^th, and 11^th rows, inclusive.

Finish the outer edge as follows:  After the last treble at end of 11^th row, chain 3, fasten in the space where the 4 trebles were made, *chain 3, and under the loop of 5 chain following make (2 doubles, picot of 5 chain) twice, 2 doubles under same chain, chain 3, fasten in the treble in which treble of preceding row was made, repeat fro *, then in the loop at point put (2 doubles, picot) 3 times, 2 doubles, *chain 3, fasten in top of treble next row back, chain 3, (2 doubles, picot) twice, 2 doubles, all in next loop, repeat from last *, then repeat the row.

 This is a very effective border for tea-cloths and similar articles, if made in heavy thread, and in finer thread for any trimming.

(Mrs. MacBey will answer all inquiries in regard to her work materials, samples, etc., if a self-addressed, stamped envelope is enclosed.)