- This page is inside graphic framing elements or rules.
fall is to get it to curl in well, which effect is produced by curling the canvas over the finger, and so getting it on longer than the collar lining. But as most of our readers will understand all this, we will not describe it in further detail, but pass on to
Diagram 109, Plate 42,
Which illustrates the pressing process. The object of pressing is to mould the collar into the required shape, as well as to press the sewing that has been put into the collar. This is best accomplished by the aid of a thoroughly hot iron, and the collar pressed until it is quite dry. The shape when this operation is finished should be somewhat after the outline of Diagram 109, the stand being represented as turned over: whilst the effect of the padding will now be seen by the curling of the fall. Now smooth over the outside collar on the double, as cloth always shrinks more on the double than the single. By smoothing we do not mean stretch it, but merely smooth it, though it is no detriment for the stand portion to be slightly stretched. Next fit the collar to the neck, to see the collar ends harmonise with the turn, as well as to see that it breaks at the right point. Having corrected the collar in any detail that is necessary, we proceed to cover it. Let us suppose the edges of our garment is to be bound. Lay the fall of the outside collar quite flat on the sleeve board, and on this place the fall of the collar lining, and put a basting thread along the crease row, and then the fall is basted from the outside, the collar being slightly bent to allow of the outside being a trifle the longer, then turn the collar over and put in a row of stitching about ⅜ of an inch from the crease, this keeps the stand in its place The collar is then bound and sewn on. To illustrate this latter process we give
Diagram 110. Plate 42.
Across the back from 1 to 2 it should go fair, or of the two very slightly tight, from 2 to 3 the collars should be fulled on about ½ an inch, and from 3 to 4 commence by putting it on tight up to the break, and beyond that fair or plain. Now press open the seam, and serge the neck, and in front of the break of the collar canvas and the forepart canvas should be drawn together edge to edge over the collar seam. It only remains now to turn in the collar and facing, and draw the collar seam; the turn in should be as small as possible, and exactly on the top of the collar seam, as by these means it gives a much cleaner and flat appearance to the front. The only remaining touch is the pressing off, and our collar is complete. We will now pass on to deal with
Cape Collars.
Diagrams 111, 112 and 113. Plate 42.
These are collars laid on the garment, and are cut by the shoulder seams of back and forepart, being placed together as per dotted lines, when the outline of the lapel desired is marked; 3 is the bottom termination of it, and the sewing to point is marked from 1 by 2 to 3, beyond which a seam is left as illustrated by dot and dash line; this is made up independently of the garment, and then sewn in the position desired from the back, and turned over, with the result of the shaded part of 111. Diagram 111 is the S. B. style of turn, and is often used for ladies' bodices, when the part outlined by 3, 4, 5 would have the appearance of a vest. Our Diagram represents this lapel of velvet, from which material these are often made.
Diagram 112, Plate 42,
Illustrates the D. B. style of lapel with silk facing. This may be produced as a Cape collar, as previously described, though it would more likely be used for Jackets. There should only be the smallest possible space between the top of the lapel to the collar end. The silk facing is brought to the ends of the holes, and carried over where the drawing seam of the collar would be, or even higher; the aim should be to give the collar the appearance of being the same width all the way round as far as possible. The silk mostly used for this is a bright satin faced fine twill; and when used on some of the dull or rough materials now so popular, has a very stylish appearance. Before quitting this diagram it may be as well to state that the holes in the turn should run with the top of the lapel, and in like manner the silk should follow the outline of the side of the lapel. Great care should be exercised in putting on this silk, as being used for ornament only, the effect would be spoilt if it was not put on artistically. Every possible effort should be used to get both sides alike—a result which is not so easy to achieve as may appear at first sight.
Diagram 113, Plate 42,
Illustrates a roll collar laid on; this is cut exactly as previously described, with the exception of the outline of the roll, which must of course be run to taste. Fur collars of this kind are frequently put on Winter Jackets, and undoubtedly give them a very stylish appearance. In cutting fur it should be done with a knife, and the pile or nap arranged to run the wrong way, which remark also applies to velvet, as it then presents a much richer appearance. In ordinary collars, the velvet is always cut on the bias, as that is the
