"DRESS 756 above the .other, to 'fomi Ihe^'fat part of the calvx. the third head-dress shown is simple, but very becoming to some wearers. It is composed of a band of gold metallic moire ribbon arranged in a flat bow at one side. In the centre of this is a large gold, jewelled cabochon. To make this is an interesting task. First there is the buckram mould on which it is mounted to be evolved. Get the top of a wooden darner, wet a piece of buck- ram with boiling water, and fix it over this with the gummy side on the outside. Smooth, it down evenly, and im a piece of string around the base to help kc^gp it in position while it is set in front of iCh^ fire on a plate to dry. When it is quii% 4ry, fold the .edges under inside over a fy^ wire, and sew this in place. The mould fe now ready to caver with a piece of gojd tjssue. Aftejr that it can be decorated >vith any odd ■scraps of metallic trimming and beads to .suit the taste of the worker, bjit it looks well to keep it all to different shades of gold, with just a touch qf cjit steel in the shape of the flat beads that can he touglit by tlie string. To be contin.uei. PRACTICAL LESSONS IN TAILORING FOR HOME WORKERS AND OTHERS By M. PRINCE BROWNE Examiner in Dressmaking^ Tailoring, French Pattern Modelling, Millinery, and Plaitt Needlework of the Teachers in Training at the University College of South Wales and Monmouthshire, Cardiff, the London Technical Examination Centre, etc. Author of " Up-to-date Dresscutting a7td Draftitig," also'- The Practical Work of Dressmaking and Tailoring.^ Co) I tinned from pa^e 642, Part s SIXTH LESSON. CUTTING OUT AND MAKING A COAT Roll Collar (concluded) —How to Cut Out and Make a Coat — Placing the Pieces on the Material 'T'HE edges of the collar having been turned
- down and tacked, and all superfluous
material cut away from the corners that they may set as flat as possible, the raw edges must now be herringboned down to the canvas — the stitches must not be taken through to the material. It is not necessary to work this very neatly or to use silk. The collar must next be pressed. To do this, place it on a bare ironing or sleeve board, with the canvas uppermost, dip the tips of the Angers into water, damp it all over equally, and press it out flat with a tailor's goose. Continue pressing the collar, and while doing so stretch the outer edge of the " fall " of the collar in the length as much as possible from one end to the other. Holding the iron with the right hand, stretch as hard as possible with the left ; then, holding the iron with the left hand, stretch as hard as possible with the right, that both ends may be stretched equally and exactly alike. Con- tinue doing this until all the moisture has dried up from the board and the canvas has regained its stiffness. Pressing the Collar Take the collar off the board, and crease down sharply all along the curved hue of runnmg stitches — dividing the " stand " from the " fall "—with the finger and thumb ; hold the ends of the collar together one over the other, forming the collar into a circle, with the " fall " outside. Dip the finger into water, and damp along the crease just made. Place the collar on the board with the " fall " downwards, and the stand " to the right turning inwards. Hold the two ends together, one between the thumb and forefinger, the other between the second and third finger of the left hand, and press the crease sharply down all round with the narrow end of the iron. Hold the collar in a circle all the time, lifting the iron con- stantly, and moving the collar round under it. Great care must be taken not to flatten the collar again, the crease alone requires to be pressed. The collar is now ready to be fixed on to a coat. The worker having learned to make a " flap " pocket, and to pad and make a " roll " collar, can now apply the knowledge she has gained to the making of a coat like the one in the finished sketch. How to Cut and Make a Coat This useful little coat, designed to be worn with the skirt illustrated in the same sketch (instructions for the making of which are being given in the Lesson on Dressmaking), can be drafted direct on to the material from a good and well-fitting bodice pattern, and then cut out by the worker. No coat pattern is necessary. Explanations of the Lines and Marks used in Draft- ing the Coat from the Bodice Pattern : Denotes the seams that are to be joined together. Denotes outline of bodice pattern and waist line. ■— — -=—-^r—.^ Denotes fold of material. Denotes the cut edge of the material and edge of turnings. Denotes where the seams are to be stitched. Denotes the selvedge of the material.
