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Complete
Cow^e in
Dressmaking

Lesson II

buseDresses
The f it, h an g and
making of attractive
house dresses explain¬
ed. Methods of cutting
economically. Trim¬
mings that are easy
to make and a little
chat that will help you
to select and combine
materials for a well
turned out garment.

IsabelDeM>s& \never
A COMPLETE COURSE IN
DRESSMAKING
BY

ISABEL DeNYSE CONOVER

LESSON II
HOW TO MAKE APRONS
AND HOUSE DRESSES

NEW YORK
EDWARD J. CLODE
j-. ° i q V J j
 I
l
COPYRIGHT, 1 92 1, 1922, BY

EDWARD J. CLODE

Entered at Stationers’ Hall

© Cl A 0!) 0 9 0 <1 si 2

PRINTED IN THE UNITED STATES OF AMERICA

M - 4 '23
 LESSON II

HOW TO MAKE APRONS AND

HOUSE DRESSES

Now that you have learned in Lesson I to

stitch, make seams and hand sew, you will
want to put this knowledge to practical use in
making charming and dainty things for your¬
self and others.
Greater enjoyment and quicker progress
will be made by selecting the more simple
garments for the first steps. The making of
an apron, the most simple of all, may be the
forerunner of an infinite number of successful
achievements in making pretty things.
However, do not feel that you are only
learning how to make the aprons illustrated,
but realize that these designs have been care¬
fully selected and planned to demonstrate the
different methods which can also be used in
constructing patterns and making children’s
clothes, ladies’ dresses, undergarments and
negligees.
[i]
 A COMPLETE COURSE IN DRESSMAKING

This practice in Lesson II will serve to train

your eye in the selection of charming and be¬
coming combinations of materials and colors as
well as training in pattern making, planning the
layout or cutting of the material. Also it will
give skill to the hands in the various forms of
sewingy including the folding of bias bands
and applying of other finishing edges.
After this lesson is thoroughly understood
you will be able to copy any apron you see.
Many a tempting but expensive idea in some
specialty shop may be carried home in the
mind’s eye, and with some delightful novelty
goods from that mine of treasures, the rem¬
nant counter, a thing of beauty will be evolved
at little actual cost.

There is an almost unlimited range of ma¬

terial for these captivating necessities, house
dresses and aprons—from unbleached muslin
through the calicos, percales, ginghams, seer¬
suckers, chambrays to the art prints, chintzes
and sateens. Or for midsummer the always
attractive dotted and crossbarred swiss, mus¬
lin and organdie make the most bewitching
affairs. And after all, since the homekeeper
wears aprons so much, they should add a dis¬
tinctive charm to her appearance rather than
just be dully useful.
 APRONS AND HOUSE DRESSES

Much of the charm lies in the selection of

the material, although the combinations of
trimming may add greatly to the prettiness.
The substantial gingham which wears so well
has returned to popularity in all the cheeriness
of the red, green and yellow checked with
white. The checks which are used for the
body of the garment, as well as for bias edges
and bands, are considered in better style just
now than the Scotch plaids, which must be
selected with infinite care.
The checks lend themselves to the use of
cross-stitching in the same or contrasting
colors or black. Black always tends to bring
out the value of other colors and for that rea¬
son it decorates almost everything at the pre¬
sent moment.
Aside from the checks, where embroidery
or fancy stitches are to be used, a plain ma¬
terial is a wiser choice, and featherstitching or
outlining in color will show up to far greater
advantage. You will find many pretty fancy
stitches described in Lesson IX.
Sateens and the art prints are more for
afternoon use, to slip on when preparing
afternoon tea, serving dinner or when there is
a moment for the stocking mending whose
lint will cling to the woolen frock or suit.
[3l
 A COMPLETE COURSE IN DRESSMAKING

Indeed, the apron habit saves many brushings

as well as spots and by its use the few
minutes of waiting between things may be
well employed without disarranging one’s trig
appearance.
There are styles of aprons appropriate for
any and all occasions and make most en¬
chanting and much appreciated gifts. Many
a young bride in her new environment daily
blesses the friends who gave her bungalow
aprons for the morning, slip-on aprons for odd
moments, big comfortable aprons to save the
crisp house dress on baking days and the
fascinating affairs to cover her lovely new
frocks at tea or dinner hour. Especially is
the apron acceptable with pockets which hold
all the little things—buttons, thread, darning
cotton and small scissors—so that one may
sit quietly without the tiresome jumping up
and down.

The children’s aprons make such pretty

particular gifts, especially when embroidered
in gay flowers, darling bunnies or little chicks.
At church fairs and bazaars the apron table is
always one of the most successful. It affords
an opportunity to display taste and ingenuity
at little cost to the giver.
For the smart, simple house dresses there is
[4]
 APRONS AND HOUSE DRESSES

even a wider range of material. In addition

to those already mentioned cotton crepes,
galateas, seersuckers and other washable ma¬
terials can be used most effectively. The
same rules govern the choice of trimming and
it is wise to remember that the smaller the
article the brighter and more intense the
color may be. Review combining colors in
Lesson I and work out some color problems
in house dresses. It is good practice.
The most simple designs are the most
pleasing, depending on the choice of ma¬
terial and edge finishings, which are usually in
contrast to the material. I am giving you in
the following paragraphs some simple finishes
for edges which are especially appropriate for
aprons and house dresses. They are also the
most practical manner of finishing wash
dresses and the summer cottons for the
children.

SIMPLE FINISHES FOR EDGES

The most simple edges are the narrow hem,

binding, piping, facing an edge with tape,
finishing an edge with woven banding and
with rickrack braid.
Narrow Hem.—A narrow hem is one of the
very easiest ways of finishing an edge. It is
[5l
 A COMPLETE COURSE IN DRESSMAKING

used to finish the sides and strings of aprons,

armholes of waist linings and sometimes for
hemming collars and cuffs. It is practical for
anything which requires finishing in a neat,
flat, inconspicuous manner.

You will recall in Lesson I that I explained

just how to turn a narrow hem with the sew¬
ing machine attachment and it may be help¬
ful to you to read that description over again
carefully.
If you are not using the attachment, first
turn off the sixteenth of an inch along the edge,
creasing the mate¬
rial between the fin¬
gers as in Fig. i,
and then turn in an
eighth of an inch.
Press the edge with
a hot iron. A hem
Fig. I. Folding the edge for a narrow ^at is pressed is
hem much easier to stitch
than one that is
roughly and irregularly creased. You cannot
expect to have a neat finish if the edges
are not neatly and accurately pressed before
you stitch. Stitch the hem as in Fig. 2.
Cutting True Bias.—Fold the material
diagonally, bringing the crosswise thread to a
[6]
 APRONS AND HOUSE DRESSES

lengthwise thread. Then, cut along the

diagonal line. (See Fig. 3.) Join the bias
strips in a continuous piece as in Fig. 4.

. .
Fig 5 The material folded and
Fig. 2. A narrow hem marked for bias strips for binding
turned and stitched or piping

Cut off portion of seam which extends beyond

strip as indicated by dotted lines.
Binding.—The use of
bindings adds very much
to an apron or house dress,
as the contrasting material
brings out the color and
design of the garment and also emphasizes the
lines. The contrasted binding of the long
lines of an apron or house dress will bring out
an effect of slimness, whereas binding all the
crossing lines such as pockets, belts and hems
at the lower edge and around the neck will
serve to shorten the appearance of the
wearer.
[7]
 A COMPLETE COURSE IN DRESSMAKING

The binding to be effective should not only

be of different color, design or material, but
also of goods of a firm texture and yet not
bulky. It is easier to round off a corner than to
turn at right angles and bind a square corner.
Binding is very quickly and neatly done with
a binding attachment. (See Lesson I.)
To do binding by handy as a dressmaker would
say, and which means without an attachment, lay

the binding along the edge of the material

with the right side of the binding next to the
right side of the goods. (See Fig. 5.) Stitch
along the edge, running the stitching one
quarter of an inch from the edge.
Fold the binding onto the wrong side of the
material. (See Fig. 6.) Turn under the free
edge of the binding one-fourth of an inch and
[8]
 APRONS AND HOUSE DRESSES

stitch the binding flat to the material. (See

Fig. 7*)
If you turn the binding on the wrong side
of the garment so that the edge comes below
the edge of the fold on the right side of the
garment, and then stitch from the right side
of the garment just below the binding, the

Fig. 6. The binding turned the first time

stitching will hardly show. (See Fig. 8.) If

you want a very nice hand finish, fell the fold
into place on the wrong side.
Edges which are to be bound should have the
seam allowance cut off. Binding neither adds
to nor takes away from the size of the garment.
Checked gingham makes a very delightful
finish. An apron of barred white muslin can
[9l
 A COMPLETE COURSE IN DRESSMAKING

be much enhanced by a binding of delicate

blue and white check. The one-color cham-
brays, in the lovely gray blues, rose and other
tones, are so attractive when edged with
checks. White and even deeper shades of the
same material are effective in the check. A
touch of scarlet is sometimes desirable. A
smart little percale of white dotted with dark

Tig- 7• The binding turned onto the wrong side and stitched

blue and bound with cherry makes a charming

and unique combination.
Pipings.—Pipings are used in much the
same places as binding. As a rule, they are
much narrower and can also be used on woolen
materials, as on cotton. They serve to brighten
up garments which would be too dull and
uninteresting if made all of one tone and ma¬
terial. Pipings are used not only for edges,
but where the material joins together, such as
1 io 1
 APRONS AND HOUSE DRESSES

waist and skirt yokes, deep bands on skirts

and any place where it is desirable to empha¬
size the joining.
Pipings should be of firm material, which is
easier to handle and which will retain its
shape while stitching. They are cut on the
bias in one and one-quarter inches width.
As they are very narrow when finished they
may be of a gay and vivid material. Brilliant

Fig. 8. If the stitching is placed just below the binding on the right side
of the garment it will hardly show

red may pipe the edge of a blue chambray or

striking green outline the edge of a gay
figured chintz or cretonne with a colored back¬
ground. Colored pipings may be used most
effectively on muslins and'organdies, especially
the figured ones, and when edging an apron
the color can be introduced in wider width
on the ends of the strings.
If the edge of the garment is to be piped, fold
over one edge of piping a quarter of an inch
and press. Turn back the other edge of the
 A COMPLETE COURSE IN DRESSMAKING

piping an eighth of an inch and stitch near

this edge. (See Fig. 9.) Turn under the edge

Fig. p. The bias fold turned and stitch for a -piping

to be piped a seam’s width and press. Place

the piping under this edge with the edge of

Fig. 10. The piping pinned Fig. 11. As the piping looks on the
in place right side of the garment when
stitched in place

the piping extending one-eighth of an inch

beyond the piece. (See Fig. io.) Stitch from
 APRONS AND HOUSE DRESSES

the right side of the garment near the edge.

Fig. ii shows how the piping looks on the
right side of the garment.
Facings.—Another way to introduce nov¬
elty and color into these delightful aprons and
frocks is the use of facings in varying widths.
These are often used to finish the neck and
sleeves of house dresses. The width is entirely
a matter of choice, but facings are usually
much wider than bindings and pipings.

Fig. 12. The first stitching fin facing an edge

Facings are used very often with only a

small portion visible on the exterior and the
wider portion beneath only revealed by the
movements of the wearer. This is much em¬
ployed on dark blue and black garments in
the facing of lower hems, of the edge of the
bell-shaped sleeve and the elongated panels
at either side.
 A COMPLETE COURSE IN DRESSMAKING

While a pretty width is one inch wide, which

means cutting the material one and three-
quarters wide, it may be much wider even for
aprons. For instance, in an apron of muslin
of the unbleached type with the creamy tone
but somewhat finer texture, wide bands of
flowered cretonne in lovely colors were so

wide that the straps over the shoulders were

entirely of the cretonne and only a little of
the muslin showed above the band at the
bottom.
To face an edge lay the facing on the wrong
side of the goods along the edge as shown in
Fig. 12. Turn it onto the right side and fold
under the edge and stitch as in Fig. 13.
114]
 APRONS AND HOUSE DRESSES

Finishing the Edge with Tape.—As a

change from the made edgings, cotton tape
about three-quarters of an inch wide makes an
inexpensive finish for a house dress, apron or
child’s frock.
This tape can be bought at the notion
counter of any department store in white,

red and other colors, and is especially useful

when the material of the article in making is
not expensive enough to warrant the expendi¬
ture of much time. In fact, the cotton tape is
one of the best “hurry up” edges you can use.
You would naturally combine it with materials
of firmer and heavier texture than the more
dainty weaves.
[15]
 A COMPLETE COURSE IN DRESSMAKING

Lay the tape on the right side of the gar¬

ment along the edge, letting it extend a
quarter of an inch beyond the edge. Stitch
a seam’s width back from the edge of the gar¬
ment as shown in Fig. 14. Turn the tape onto
the wrong side and stitch a second time from

the right side of the goods as shown in

Fig. 15.
Finishing the Edge with Woven Band¬
ings.—The woven bandings in white with
floral or other designs in color or with a colored
ground with contrasting motives are most
charming and lend distinction to otherwise
[16]
 APRONS AND HOUSE DRESSES

plain clothes. They are suitable for house

dresses, simple tub frocks, little children’s
clothes, and even washable blouses and
laundry bags, as well as the ever-present
apron.
Here is a vast field for the display of ex¬
quisite taste which may result in a delicious
rose design on a white ground edging with
charm a delicate blue chambray or smart
black and white appearing with green or rose

Fig. 16. Finishing an edge with embroidered banding

colored materials. Of course, a banding with

a design is only suitable combined with a
plain material or with one which has the de¬
sign so subdued and interwoven with the
background that it has a neutral all-over
effect.
To finish the edge with woven banding, cut off
the seam allowance at the edge except an
[17]
 A COMPLETE COURSE IN DRESSMAKING

eighth of an inch.
Lay the banding
^ on the wrong side
of the garment, al¬
lowing the edge of
the banding to lap
about one-eighth
Fig. r7. The handing turned onto the °f311inch OVer the
right side and stitched the second time edge of the gar¬

ment and stitch as

shown in Fig. 16. Turn the banding onto the
right side of the goods and stitch a second time
as shown in Fig. 17.
Finishing the Edge with Rickrack
Braid.—All the delightfully quaint old-fash¬
ioned finishings are coming into style again
and one wonders where they are most charm¬
ing—whether they appear prettiest on the
wee clothes or on the grown-up house gowns
and protecting aprons. Rickrack ranks with
the prettiest pipings and bindings and also
with the cotton tape for quickness of appli¬
cation. It is seen not only on the sleeves,
necks, belts and pockets, but on fronts and
backs—in fact, wherever a band of material
has been applied.
Where the rickrack braid finishes an edge it
is placed under the edge of the material with
only half of it showing. (See Fig. 18.) To do
 APRONS AND HOUSE DRESSES

this, place the braid on the right side of the

goods near the edge and stitch through the
center of the braid. (See Fig. 19.) Then
turn it onto the wrong side, press the edge and
stitch.

Fig. 18. An edge finished Fig. 19. The braid placed

with rickrack braid for the first stitching

General Directions for Cutting.—Lay

the material on a flat surface. Smooth out
any wrinkles. Don’t cut just one piece at a
time, as you may happen to need it for the
sewing.
Always lay all the pattern pieces on the goods
before cutting any one piece. It will save goods.
The pieces often can be shifted around and
arranged to fit into a small amount of goods.
In planning to cut any garment, place the
largest pattern pieces on the goods first and
then fit in the smaller pieces.
As a general rule, center-front and center-
back edges of the pattern are placed on the
lengthwise of the goods and straight of the
goods, which means parallel to the selvedge
edges. Where the lower edges are straight
 A COMPLETE COURSE IN DRESSMAKING

they are placed usually as nearly on a

true crosswise as possible, which means
at right angles to the selvedge edges of
the material.

There are two ways of laying a pattern on

the goods. The goods may be laid in a single
thickness or folded double. When folded
double, usually the selvedges are brought to¬
gether and the material is creased through
the center lengthwise; although there are
cases where it is advantageous to fold it
crosswise.

it may even happen that material can be

saved by folding over only a third, a quarter
or less on the lengthwise, leaving the rest in a
single thickness.

In spreading out the material in a single

thickness or in folding it double, keep the
wrong side uppermost. It is by far the best
plan, when possible, to lay the pattern on the
wrong side of the goods. Then you can
mark on the goods without danger of injuring
the fabric, except in cases of very sheer
materials.

Although it is possible to pin a tissue paper

pattern to the goods and then cut the piece,
it is better to weigh down any pattern and
[ 20]
 APRONS AND HOUSE DRESSES

mark around it. Use or¬

dinary paper weights and
mark with tailor’s wax
or chalk spoken of in
Lesson I. Keep the wax
or chalk shaved down to F3'20'
thin on the edge and hold tt
a thin edge. Be very sure firmly in marking around the
to mark along the exact fatUrn
edge of the pattern and hold the wax or chalk
as in Fig. 20.
In the dressmaking trade, when all the pat¬
tern pieces are laid on the goods, it is called
a layout. Throughout these lessons you will
find the process of laying the pattern on the
goods spoken of as laying out the pattern and
the pattern laid on the goods as a layout.
Making a Waistline Apron Pattern.—It
is hardly necessary to make a pattern for a
garment so simple as a waistline apron.
However, a pattern proves a great conven¬
ience, if you are cutting more than one apron,
as it saves figuring out the proportions each
time. Making the pattern will give you
excellent practice and will show you how to
slope the waistline, which information you
can use later many times in various ways.
To make the pattern draw a straight line
similar to the line AB in Fig. 21, using your
[21 ]
 A COMPLETE COURSE IN DRESSMAKING

/D yardstick or tailor’s square.

This line should measure
twenty-seven inches. Draw
the lines AD and BC at
right angles to the AB line.
Each of these lines should
measure eighteen inches.
Mark at point E> one inch
below point A and reslope
the waistline as indicated
^ by the dotted lines.

wonTmlrn To sloPe the % waistline,

draw a line at right angles
from point E, as dotted line marked EF
in Fig. 22. Three inches out on this line

Fig. 22. Diagram for sloping the top of the apron

mark F. From the point of F blend a

curve to the upper edge. This will give an
even run to the waistline which will make
[22]
 APRONS AND HOUSE DRESSES

the apron hang nicely. Line AB is the

center front which is laid on the fold of the
material.

Fig. 23. A straight line at the top of an apron

or skirt makes a poor fit

If this seems a bit of trouble to have a

simple apron hang smoothly, look at the dia¬
gram in Fig. 23, where the straight line was

.
Fig. 24 If the line at the top of the apron pat¬
,
tern is straight the material will V at the center
front when cut

drawn from point E to the upper edge repre¬

sented by D in Fig. 21. When the material
is cut it will V down in front as in Fig. 24,
 A COMPLETE COURSE IN DRESSMAKING

which will cause the apron to hike up in front

when worn, as shown in Fig. 25.
To make a pattern for the waistband. (See
Fig. 26.) AB represents the center front.
A Draw a straight line from
N| | A to B measuring two
c and three-quarter inches.
Then draw two lines from
Fig. 26. Tht pattern for the and g measuring nine
waistband inches each at right angles
to the AB line. Join by line measuring two and
three-quarter inches at right angles which cor¬
responds to AB line. Look at line C on
diagram.
To make a pattern for the strings, Fig. 27.—
Draw a line from A to B measuring three
inches. AB represents as before the center
front. Draw two straight lines measuring

Fig. 27. The pattern for the string

twenty-four inches at right angles to AB line.

Draw connecting line at right angles, measur¬
ing three inches and corresponding to AB
line: line C, Fig. 27.
[24]
APRONS AND HOUSE DRESSES

Fig. 25. If the top of an apron is cut

,
in an abrupt angle the apron will hike
when it is sewed to the band

[25]
 A COMPLETE COURSE IN DRESSMAKING

To make a pattern tor a pocket.—Draw the

ABCD box, Fig. 28, as the first step, com¬
mencing with the
line AB and then
making the cross
lines AD and BC and
finishing with the CD
line. Be sure that
the lines are at right
angles, otherwise the
pocket will be askew.
From A to Bis, eight
inches and measure
the same number of
inches from C to Z).
The lines from A to
D and from B to C
measure five inches. Measure two inches
above point B and mark E. Then, measure
two inches above point C and mark F. (See
Fig. 28.) Draw lines from the points E and F
to the centerway point between B and C.
Always make your patterns without seam al-
lowanct?, as it is much easier to see the shape
of the finished piece. The seam allowance is
added afterwards as in the dotted lines in
Fig. 28. These dotted lines can be put on
with a two-wheel tracer or marked with a
ruler.
 APRONS AND HOUSE DRESSES

Allow an inch and three-eighths at the

top of the pocket for a hem. The seam allow¬
ance is usually three-eighths of an inch.
Carrying out this plan of adding the seam
allowance after the pattern is made permits
you to see the pocket in its finished shape and
makes it easy to vary the size according to

Fig. 2qA. In laying a pattern on the goodst place the largest pieces on
first and then fit in the small pieces

your taste. Frequently the novelty in the

cut or trimming of the pocket is what adds
the style to the apron.
Cutting a Plain Waistline Apron.—Dia¬
gram 29A shows the plain waistline apron
pattern laid on a single thickness of the goods.
As only one-half of a pattern is usually given,
it is necessary when laying the pattern on a
[27]
 A COMPLETE COURSE IN DRESSMAKING

single thickness of the goods, to turn over

each piece and mark around it the second time.
In diagram 29A the solid lines indicate the
first placing of the pattern and the dotted
lines the position of the pieces when they are
turned over. Diagram 29A also illustrates
how to mark for a piecing. If your pattern
extends beyond the edge of the material, as
indicated by the dotted lines ABCD, Diagram
29A, mark where the selvedge edge comes on
the pattern as line EF, Fig. 29B, and a second
line three-fourths of an inch in from it as the
line GHy Fig. 29B. The three-fourths of an
///,

77
/// ////A
r//////////
A_,___
'il~

Fig. 29B. The proper way to allow for piecing

inch is for seams. Place this portion of the

pattern on the goods. (See portion marked
piecing in Diagram 29A.)
To Make a Plain Waistline Apron.—Join
the piecing to the apron with a plain seam if
the edges are selvedge. However, if either of
the edges is raw, make a French seam. You
will remember that the making of different
seams was explained in Lesson I.
[28]
 APRONS AND HOUSE DRESSES

The next step in finishing the apron is

hemming the sides. Here is a place where you
can bring your sewing machine attachment in
play. A narrow hemmer will turn the edge,
neatly and quickly. Lesson I tells all about
using this attachment.
If you are not using an attachment, turn
and stitch a narrow hem
as described in the first
part of this lesson.
At the bottom of the
apron turn a three-inch
Fig. 30. Turning the hem
at the bottom of the apron
hem. To form a hem of
this type, fold under a
seam's width, three-eighths of an inch on the
lower edge and press the edge. Then, turn
up three inches, using your ruler to measure.
Press the hem. Pin it at inter¬
vals about three inches apart
and stitch as in Fig. 30.
Determine the center front of
the apron by folding it as shown
in Fig. 31. Mark the center Fig. 31. To de¬
termine the center
front by cutting a straight slash front fold the
at the top one - fourth inch apron above as shown

deep. A slash of this descrip¬

tion is better than a notch, for it will not fray.
Run gather threads across the top. To keep
[29]
 A COMPLETE COURSE IN DRESSMAKING

the fullness equally distributed use two threads,

starting the threads at
the center front and run¬
ning them to the sides of
the apron. Use a double
thread for each gathering
. , and run it in with running
thread. stitches. (See Fig. 32.)
Use ample thread so that
an end will hang down beyond the side of the
apron and there will be no danger of it pulling
out.
Determine the center front of the waist¬
band by folding it crosswise. Cut one-fourth
inch slashes in the top and bottom of waist¬
band at the center front. Lay the waistband
along the top of the
apron, placing it on
the wrong side of the
apron. Keep the
center fronts even
and draw up the
gather threads until
the top of the apron Fig. 33. The first stitching in join¬
ing the waistband to the top of the
is the desired size. apron
Distribute the full¬
ness evenly. The ends of the waistband
should extend a seam’s width beyond the
sides of the apron to give room to finish
 APRONS AND HOUSE DRESSES

them. Stitch across the top of the apron.

(See Fig. 33.)
Turn a narrow hem on the sides of the
strings and wider hems at the bottoms. Lay
the unfinished ends in pleats as in Fig. 34 and

Fig. 34. The string pleated and Fig. 35. The string stitched in
ready to attach place

stitch these ends to the ends of the waistband.

(See Fig. 35.) Note that the strings extend
only halfway across the waistband. ‘Turn

Fig. 36. The waistband folded and

stitched the second time

back the free edges of the waistband a seam’s

width and press. Then, crease the waistband
through the center and stitch down the sides
[311
 A COMPLETE COURSE IN DRESSMAKING

and across the bot¬

tom as in Fig. 36.
Make a one-inch
hem at top of
pocket. To do
H away with unneces¬
sary bulky cut off
the corners diag¬
onally. But be
sure not to cut
off too much. The
safest way is to
mark the seam al¬
lowance and then
cut to within one-
fourth of an inch of the finished corner. (See
Fig* 37*) Dotted lines AB indicate seam
allowances, and lines CD, EF and GH mark
portions to be cut off. Turn under seams at
sides and bottom and press. The Fig. 38
shows the proper way to turn seam at corner.
Pin the pocket in a convenient position.
It should be high enough so the wearer's
hand can be slipped in without leaning down.
Stitch the pocket as shown in Fig. 39. The
Fig. 40 shows the apron finished.

Making a Pattern for a Slip-on Apron.

—Make the box ABCD first (see Fig. 41),
[32]
 APRONS AND HOUSE DRESSES

carefully drawing straight lines at right angles

to each other and commencing with the AB
line as the first one. From A to C measures
seventy-two inches and the cross lines from
A to B from C to D measure fourteen inches.
Now measure seventy-two inches from B to

Fig. 38. Turning the seam at the Fig. 39. The pocket stitched
corner of the pocket to the apron

D and the box is completed. Then draw line

across the center and mark E and F which
will give the center of the shoulders. (See
Fig. 41.)
Next measure five inches from C on the
cross line CD and mark G. Measure eleven
inches upward from D on the BD line and
mark H. Measure fourteen inches down-
[33]
 A COMPLETE COURSE IN DRESSMAKING

Fig. 40. The waistline apron finished

ward from F on the BD line and mark /.

This will locate the points on the front.
Starting again at the F point measure four¬
teen inches upward and mark /. Measure
eleven inches from the B point and mark K.
Then measure five inches from A on the cross
[34]
APRONS AND HOUSE DRESSES
 A COMPLETE COURSE IN DRESSMAKING

line AB and mark V and you have marked

the points on the back. Measure five inches
from F on the center line FE and mark M.

To determine the depth of the low neck at

the back measure three inches upward from
point E on the AC line and mark Q. For the
depth at the front measure seven inches down¬
ward on the AC line from point E and mark
0 . For the width of the neck measure three
inches afcross from O on a line drawn at right
angles to the AC line and mark the end N.
Draw a similar line measuring three inches
across from Q and at right angles to line AC
and mark the end P. Then draw a con¬
necting line from N to P. (See dotted lines
in Fig. 41.)

Using the curved ruler draw in curves from

point M to I, and from I curving in and out to
H and rounding a curve
from H to G following the
dotted lines as shown in
box in Fig. 41. This gives
the curved front of the
apron. To exactly duplicate
the curves in the back put a
piece of paper under the
Fig. 42. The proper way of
diagram and trace the outer
holding a tracing wheel edge with the tracing wheel.
[36]
 APRONS AND HOUSE DRESSES

Fig. 42 will show you the correct position of

the tracing wheel. Remove the piece of paper
underneath and cut along its curved edge.
Use this as a guide in marking the curves of
the back edge. See Fig. 43.

After the square lines are marked for the

neck it is an easy matter to fill in the curved
outline as shown in Fig. 44. In making this
curved line, be sure that it is in a true contin-
[37]
 A COMPLETE COURSE IN DRESSMAKING

Fig. 46. A neck that is intended to be oval ought not to have an abrupt
angle at the shoulder

uous curve with no abrupt jogs at a different

angle in any place. Fig. 44 shows the grace
of a well-drawn curve for the neck while Fig.
45 shows a badly done line with an abrupt jog
at the shoulders and a dip in the front. If the
lines of Fig. 45 are followed the garment will
[381
 APRONS AND HOUSE DRESSES

have a homely and unbecoming neckline as

shown in Fig. 46.

To make the pattern of the pocket which ex¬

tends across the front, draw lines on the apron

just where you want to place the finished

pocket, commencing with the line AB as in
Fig. 47. Place the apron pattern on a larger
piece of paper. As the pocket should stand
away a little at the top from the apron so that
[39]
 A COMPLETE COURSE IN DRESSMAKING

the hand can be slipped in easily, mark a

point one-half inch beyond the end of the
line marked A and mark this point C. (See
Fig. 48.) Slip a small piece of paper under the
apron pattern and trace along the curved edge
between lines A and B. Remove this piece of
paper and cut along the curved lines, so that
this may be used as a guide in marking the
edge of the pocket from line B to point C.
The edge of the pocket must curve exactly the
same as the side of the apron pattern, as it is
to be sewn along this edge. Trace across the
lines A and B and mark along the front edge.
At outer edge mark along edge of cut-out piece
from line B to point C. (See Fig. 48.)

.
Fig 49. The slip-on apron pattern placed on the lengthwise fold of the
goods

Cutting a Slip-on Apron.—The Fig. 49

shows the pattern placed on the material.
In this case, the goods is folded lengthwise
through the center and the center front and
center back of the pattern are placed on the
fold of the goods. As the two thicknesses
are cut at one time, it is not necessary to turn
the pattern over and mark around it the
 APRONS AND HOUSE DRESSES

Fig. 50. A convenient work apron of black sateen trimmed with a

binding of old rose sateen

second time, as was described in cutting the

waistline apron.
In laying out a pattern it is often advisable
to try it both on the single thickness and double
[41]
 A COMPLETE COURSE IN DRESSMAKING

of the goods to see which way it will cut to the

best advantage.
Mark and cut out the pieces as described
in the General Cutting Directions in the first
part of this lesson.
To Make the Slip-on Apron.—One of the
easiest ways of finishing the neck and outer
edges is by binding. In the case of the apron
shown in Fig. 50, the neck, the outer edges
and the top of the pocket are bound.

Fig. Si. Sewing the Fig. 52. Sew around

■pocket to the apron the neck to prevent it
from stretching

You cannot use straight binding on curved

edges. It will pucker. See directions for
binding edges in the first part of this lesson.
Bind the top of the pocket first. Turn
under the lower edge of the pocket a seam's
width and press. Then, place the pocket on
the front of the apron, keeping the outer
[42]
 APRONS AND HOUSE DRESSES

edges even. Baste it along the sides and

stitch across the bottom and through center.
(See Fig. 51.) A pocket of this type should
always be a little larger at the top than the
apron, so that it bulges away from the apron
and gives room for putting in the hand
comfortably.
Run a thread around the neck as in Fig. 52
to prevent stretching. Bind neck and outer
edges of apron.

.
Fig. 53 A bound buttonhole that is finished with a single
piece of material is stronger than one with two bindings

Make bound buttonholes in front of apron

at underarm.
To make a bound buttonhole that is strong,
face it with one piece of material. Mark
where the buttonhole is to be placed on the
right or face side of the material. Cover the
[43]
 A COMPLETE COURSE IN PRESSMAKING

mark with a facing piece, cut to extend one-

half inch beyond the mark at all points. Mark
the buttonhole on the facing piece. Stitch
either side of the mark, and square across the
ends, running the stitching one-eighth of an
inch from the mark at all points. Slash cen¬
terway between the stitchings to within one-
eighth of an inch of the ends. From these
points slash diagonally to the corners. (See

Fig. 54. The facing turned onto the wrong

side of the buttonhole

Fig- S3-) Turn the facing through the slash

onto the wrong side. At the ends of the
buttonhole the facing will fall into two small
pleats. Stitch across the ends of the button¬
hole again, stitching the facing to the tri¬
angular portion which was formed by slashing
diagonally to the corners. (See Fig. 54.)
[44]
 APRONS AND HOUSE DRESSES

Turn under the raw edges of the facing, baste

it in place and, working from the right side
of the goods, stitch around the buttonhole
again. (See Fig. 55.)
For basting use long and short running
stitches. The Fig. 56 shows the most practical
way of sewing the buttons to the back. Use
a fine needle. After taking seven or eight
stitches in each hole, bring the needle out
between the button and goods. Wrap the
thread around the button several times. Pass

Fig. 55. The finished buttonhole as

it looks on the right side of the garment

the needle through onto the wrong side of the

goods and secure the thread with several over-
and-over stitches.
Using a Block Pattern to Make a
Bungalow Apron—Later on I shall tell you
how to make a complete pattern, but every
dressmaker or woman who sews ought to
[45 1
 A COMPLETE COURSE IN DRESSMAKING

know how to use a

block pattern. It is
really so very much
easier and quicker than
starting at the very
foundation and build¬
ing up a whole pattern.
Block patterns are used
in all the best class
dressmaking establish¬
ments and factories and
Fig. 56. A button sewed on with every woman wants to
crossed stitches . 11 ^1 1
know all the short cuts
and time-saving devices when she is sewing at
home.
A block pattern is a plain waist pattern
without hem or seam allowances at any point.
It is cut in high round neck style to the base
of the neck. Such a pattern can be used as a
foundation in making various types of gar¬
ments such as smocks and blouses, undergar¬
ments, chemise dresses, afternoon costumes,
and even the most decollete evening gown, as
it is simply a matter of adjusting to the varia¬
tions of the fashion to be copied.
The most exclusive establishments have
block patterns in all of the standard sizes.
One of the most successful importers of French
[46]
 APRONS AND HOUSE DRESSES

models revealed her secret by saying that she

always carried her foundation linings which
were made from the block patterns overseas
to Paris, where the creations were built up on
them. She had found many points of differ¬
ence between the American and the French
figure.
These block patterns are copied in the
standard sizes on heavy paper which is stout
enough to withstand much handling. If you
have a plain well-fitting blouse it would serve
as a pattern from which to copy your block
pattern in heavy paper. You will find all the
details for making a blouse pattern given
further on in the course.
To use your blouse pattern as a block pattern
in making an apron as shown in Fig. 57, draw
a straight line as AB. Lay the waist pattern
with the center front and the center back
along this line, with the edges just touching
at the shoulder. Draw a line at right angles
to the line AB that will touch the point where
the patterns meet at the shoulder and mark
CD.
To determine the length of the kimono sleeve
measure from the base of the neck along the
top of the arm as in Fig. 58. Measure the
same number of inches on the CD line, starting
[47]
 A COMPLETE COURSE IN DRESSMAKING

at the line AB
and mark a point
F. From this
point draw lines
at right angles
and mark J and
H. Draw lines
J at right angles
from the end of
the line JH that
will touch the
bottom of the
armhole where
the points are
marked G and I.
This gives you
the outline of the
kimono sleeve.
(See Fig. 57.)
Fig. $7. Using a block waist pattern to draft Deter Ill i n e
a kimono-sleeved house dress hoW long yOU
want the apron
to be by measuring on the person for
whom you are making it, starting at the
base of the neck in front and carrying the
measure down as far as necessary. Measure
the same number of inches along the AB line,
starting at the upper edge of the front of the
waist pattern and mark point B. This will give
[48]
 APRONS AND HOUSE DRESSES

you the length in front

on the extended AB line.
(See Fig. 59.)
To determine the width
at the bottom draw a
line at right angles to
line AB, starting at point
B. To find the end of the
line divide the number of
inches required for the
bottom of the apron by
four and measure this
number of inches from
point B and mark K. An
apron of this type ought
to measure sixty inches
at the bottom for a wo¬
man with a thirty-six-
inch bust measure. Add
four inches to the width
for each increase in size
of the bust measure. If
the skirt of this apron is
to measure sixty inches,
point K would be fifteen
inches from point B.
Draw a line from the
underarm at point G to
point K. Mark an inch
[49]
A COMPLETE COURSE IN DRESSMAKING

Fig. 58. Measuring for the length of the sleeve

and a half above K a point with L. Curve the

lower edge from L to about halfway between
B and K. (See Fig. 59.)
Measure from the neck bone at the back to
determine how long you want the apron at
the center back. Measure the same number
of inches on the AB line, starting from the
upper edge of the back of the waist pattern
[50]
 APRONS AND HOUSE DRESSES

and extending the AB line as required and

mark this point N.
Draw a line at right angles to line AB,
starting at point N> which measures a quarter
of the width of the lower edge of the apron
and mark point 0. (See Fig. 59.)

If the dress or apron is to be ironed flat, the

front and back must be of the same width.
Measure from point H to point G and measure
the same number of inches on line I/, starting
from point J and mark a new point M. (See
Fig. S9-) Draw a line from point M to point
0. Measure from point G to point L and
apply this measure on the line MO. From
this point curve a line to the lower edge
in the back midway between O and N as in
Fig. 59-
Decide how low you want the neck in front
and back and how wide, and draw dotted
lines as 1, 2, 3, 4, in Fig. 60. To determine
these measures it may be helpful if you refer
to Fig. 41 and reread the paragraph on the
subject under “Making a Slip-on Apron/5

If a kimono sleeve is cut with an abrupt angle

at the underarm it will rip out easily or tear the
goods. Fill in the underarm in the pattern with
a curve as shown by lines 5 and 6 in Fig. 60.
[51]
 A COMPLETE COURSE IN DRESSMAKING

While a kimono sleeve is one of the easiest

to make, there are little points to consider and
observe which make it well fitting and grace-

Fig. 60. Shaping the neck and underarm

seams of the pattern

ful. This sleeve pattern just described makes

a kimono sleeve which is cut straight out from
the shoulder. The extra material at the top
of the shoulder where the edges of the waist
[52]
 APRONS AND HOUSE DRESSES

pattern spread apart will crush down under

the arm when the garment is on (see Fig. 61),
and therefore is prettier when made of light¬
weight material rather than that which is
bulky and thick. When the arm is put out
[S3 1
 A COMPLETE COURSE IN DRESSMAKING

Fig. 62. The garment is smooth when the arm is straight out

straight the garment is smooth, which of

course makes it very easy to iron and a com¬
fortable garment to work in. (See Fig. 62.)

Giving the Kimono Sleeve a Better Fit.

■—If you want a kimono sleeve which is some-
l54l
 APRONS AND HOUSE DRESSES

what fitted a seam can be made on the shoulder

as in Fig. 63. For instance, after you have
your foundation lines drawn in for the kimono
sleeve shown in
Fig. 57, mark
points 1 and 2 an
inch from point
F on the outer
edge of the sleeve
as in Fig. 63.
Draw lines from -F
these points
which will touch
the neck edge of
the waist at
point E. Con¬
tinue these lines
beyond the outer
edge of the
sleeve. To give
a good line to
the bottom of Fig. 63. Diagram for kimono-sleeved pattern
having a seam on the shoulder
the sleeve, the
edge must be at
right angles to the shoulder seam. Therefore,
draw a line at right angles to line l-E which
touches the lower corner of the sleeve. This
gives you a new outline for the front of the
sleeve. Reslope the outer edge of the back of
[55l
 A COMPLETE COURSE IN DRESSMAKING

the sleeve in the same way. (See Fig. 63.)

Draw the lower part of the dress or apron as
described before. Lay the diagram of the
front pattern on another piece of paper and
make an allowance for all seams. Remove the
paper and cut out the front pattern. Then,
place another piece of paper under the diagram
of the back pattern, allow for seams and cut
out the back pattern.

One of the advantages of a seam on the

shoulder of a kimono sleeve is that the back
and front patterns need not be same measure,
and this will be more becoming to the woman
with the plump figure, as it will allow for more
ease over the bust. This pattern is practical
for all types of dresses and can be used as the
foundation of an infinite variety of charming
garments. Exactly the same principles can be
applied in making children’s clothes. One
point of caution is worthy of mention: if too
much material is taken out of the sleeve at the
top of the armhole the arm cannot be lifted
easily, and when lifted will drag all the material
up the side from the lower hem, which is most
unattractive in appearance, and if it is of deli¬
cate texture will soon stretch out of shape.

How to Make a Narrower Kimono

Sleeve.—Place the waist pattern as described
[56]
 APRONS AND HOUSE DRESSES

before on the
ABYmt. Square
the line at the
center of the
shoulder and
also draw lines
at right angles
from line AB
which will
touch the lower
edge of the arm¬
holes in front
and back and
mark i, 2 and 3,
4. Square a line
from the bottom
of the armhole
in front at point
Fig. 64. It is possible to make the sleeve
2 to touch the size of the pattern smaller.
line 3-4. Meas¬
ure in from the outer edge on line 2-4 and
mark points 5 and 6. Mark the depth of the
sleeve at point F and starting at F draw lines
at right angles to CD line. From this new
line which is the outer edge of the sleeve draw
lines at right angles to line 2-4, which will
touch points 5 and 6. (See Fig. 64.) From
points 5 and 6 draw lines to the edge of the
garment as already described. This gives a
[57]
 A COMPLETE COURSE IN DRESSMAKING

smaller sleeve. After you have these founda¬

tion lines you can add the seam at the shoulder
and take out some of the fullness at the top
of the shoulder as in Fig. 63.
To thoroughly master the subject you should
make at least four or five of each diagram. It
is an excellent idea to continue making the
diagrams until you can successfully accom¬
plish one of every kind without referring to
the lesson. Once you thoroughly understand
the art of these diagrams, you will find that
the keynote to many successes lies within
them and that you can copy any kimono¬
sleeved garment applying these principles.
How to Make a Bungalow Apron.—To
make this protecting and smart little over-
garment shown in Fig. 65, cut according to the
general directions given in earlier part of this
lesson and finish with French or open seams
as described in Lesson I. A bias facing makes
a pretty finish at the neck edge, so refer to
bias facings under that heading in the first
part of this lesson. This gives an opportunity
to use the newly popular checked ginghams
or striped goods which have such a smart
effect. The facing also decorates the pocket,
makes the belt and edges the sleeves.
When you want to miter a corner which is
[58]
 APRONS AND HOUSE DRESSES

Fig. 65. A kimono-sleeved house dress is easy to slip on and easy to iron

necessary in all square necks and other square

openings or right-angle turns, study Fig. 66.
This mitering is done by folding out a dart
and basting it at the corner. When the facing
is turned on the right side it appears as in
[59]
 A COMPLETE COURSE IN DRESSMAKING

Fig. 67. Where the facing joins in the back

make a bias seam as in Fig. 68.
Finish the lower edge of the skirt as the
lower edge of the waistline apron was hemmed.
The sash would be finished with a narrow hem

Fig. 66 Fig. 67

Fig. 68

and the ends hemmed or faced with the

decorative bias facing.
Using a Commercial Pattern.—It is im¬
portant that you have a clear idea what you
are going to make, before you start cutting
or sewing. Read carefully the directions
printed on the pattern envelope. Examine the
pattern itself. Know what each piece is and
why the perforations and notches are there
before cutting.
[60]
 APRONS AND HOUSE DRESSES

If the pattern is one you intend using over

and over, it will pay you to duplicate it in stiff
paper. Wrapping paper will do. Iron out
all the wrinkles in the tissue paper pattern,
using an iron that is warm, not hot. Then
lay each piece of the tissue paper pattern on
the wrapping paper. Weigh down the pieces
with paper weights and trace around the edges
with a tracing wheel, being very careful to
follow exactly the outline of the tissue paper
pattern.
After tracing around each pattern piece,
remove the tissue paper pattern. Mark over
the traced lines with a pencil, as a pencil line
is much easier to follow in cutting than a
traced line. Where the edge is a straight line,
lay a ruler and draw the line with a pencil.
In penciling over the curved edges, use your
curved ruler and the traced lines as a guide.
Use sharp shears to cut the new pattern.
Cut just inside the marks; that is, cut the
marks off. You will remember that the marks
were placed just beyond the edge of the tissue
paper pattern, and you want the new pattern
to be the exact size of the old. A stiff paper
pattern of this description is much easier to
handle than a flimsy tissue paper one.

[ 61 ]
 A COMPLETE COURSE IN DRESSMAKING

HOW TO STUDY
Again I want to remind you how to study,
which is so important for you to gain the full
benefit of these lessons. Read one subject at
a time. Read it over carefully at least once
more, perhaps several times. Then lay aside
the book and review the subject in your mind
to see if you understand it clearly. If there is
anything which seems vague or puzzles you,
look up that point and again review the
subject without the book.

TEST QUESTIONS

Here are some test questions to enable you

to see what progress you are making in your
study. Go over them carefully and write out
the answers to each one and then compare
your written answers with the book to see if
they are correct.
How much seam allowance do you plan
when an edge is to be bound?
Is it necessary to finish an edge before
putting on rickrack braid?
How do you make a waistline apron hang
smoothly?
How do you allow for a piecing in laying
the pattern on the goods?
[62]
 APRONS AND HOUSE DRESSES

How do you cut a pretty neckline ?

How do you make a pocket stand away
from the material?
What is the foundation of a block pattern ?
How do you make a kimono sleeve smaller ?
How do you find the length of an apron or
dress in the front and back?
How do you know what width to allow for
the bottom of skirt or apron?
All the detailed information in this Lesson II
can be used over and over again in making
garments of all kinds. The directions for
edges and mitered corners, for the making of
pockets, waistbands and strings, for finding
the individual lengths of aprons and dresses
and depths of the neckline in front and back,
the sloping of the top of the aprons and hems,
with the block patterns and kimono sleeves,
are used in some way in almost every garment.
And now that the secrets of the foundation
pattern and use of blocks patterns are revealed
to you and the main points of finishing edges,
necks and hems, you are ready to see garments
with a larger vision and a more understanding
eye, so that articles which have seemed in¬
tricate and far beyond your skill in the shops
and magazines will wear a very different
air when you know how to copy them.
[63]
 A COMPLETE COURSE IN DRESSMAKING

The following book, Lesson III, will be on

the fascinating subject of undergarments,
and you will readily see, as you study this
lesson, how much of Lesson II applies on the
new one. You will find that you can easily
make your nightdresses and chemises from
your block pattern, and the finishing edges
will be used many times in making these
dainty and individual garments.

164]