Vintage Notions Volume 1 Issue 10 MONTHLY

A Guide Devoted to the LOVE of Needlework, Cooking, Sewing, Fashion & Fun

cunw~UlUU\,I Just Being Happy

Just being happy is a fine thing to do; Looking on the bright side rather than the blue; Sad or sunny musing Is largely in the choosing, And just being happy is brave work and true.

Just being happy helps other souls along; Their burdens may be heavy and they not strong; And your own sky will lighten, If other skies you brighten By just being happy with a heart full of song. -Ripley D. Saunders

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The illustration you see above is the image from the cover of the October 1920 Inspiration newsletter that was published by the Woman’s Institute of Domestic Arts and Sciences which inspired my book Vintage Notions. For a more modern look I chose to update this edition with the cover artwork from Inspiration October/November 1921.

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A STORY is told of Abraham Lin- SPREADING joy on our way will coln to the effect that one day as The Soul's lighten the cares of others; and he was passing along a country road of all the pleasures of life there is he found on the ground a couple of none that calls for the exertion of so birds that had fallen from their nest Sunshine little effort. And this point must not and were too young' to fly. These he be overlooked: the practice of kind picked up, and, climbing the tree BY THE EDITOR ness develops in us a habit that will containing their nest, restored them make us blessed. to their distracted mother. Can you imagine what Picture to yourself the mental attitude of the per prompted so great a man as Lincoln, burdened as son who has no kind thoughts for his neighbor. he was with great responsibilities, to do so com What a dismal outlook he must have on life. What monplace a thing? a dismal existence must be his. And then try to Surely you can. And if you have ever done a visualize the person who has sunshine in his soul. real kind act, you too have experienced the thrill of There is no hardship that will deter him nor dis gladness that he felt, for kindness is the soul's sun hearten him. Always there is for him the smile of shine, which, at the performance of a good deed, others, and smiles, you know, are contagious. They ever sends forth a glow that warms our very hearts. increase and multiply and drive away dull care.

KIND NESS is a quality that every one should GRATIFYING, indeed, is the fact that today we earnestly strive to acquire. Some people pos do not demand, as in days of old, "an eye for sess it to an enormous degree, but they have no an eye and a tooth for a tooth." The days of ven monopoly on it. It is free to all, and everywhere geance are fast disappearing, and there is undoubt and at all times there is opportunity to express it. edly no other way in which we can come nearer to Look about you in your daily routine and you practicing the Golden Rule than by displaying will find that scarcely an hour passes but that kindness in every word and every deed. you have ·an opportunity to -exercise kindness in If we treat others as we would have them treat some way. There are the babies and the small us, strife would be overcome and a new era of hap children hardly aware of the meaning of their piness would be on the way. But, of course, we existence; there are the young folks entering upon could hardly expect to bring such a millennium to life's way, eager for the fray but handicapped by pass until other undesirable forces were obliterated. inexperience; there are those of more mature age , facing emergencies and waging the battles of real STILL, there is no reason why each of us should life; there are tho se who have passed the days of not strive to cherish the law of kindness as did youth, with the past a history and the future a oqr own Lincoln. If we are in power, let us en mystery. And, as if these were not enough, there deavor to "make our lives not a rebuke to men, but are countless other living creatures who can appre an example they can follow." And if we are not in ciate kindness even if they cannot repay. authority, let us so act toward our fellow being ·s that our very deeds will help to "level up the ra TOEVERY one of us, too, there comes a time vines of low impulses, humble the mountains of when we hunger for a word of cheer to bring pride, straighten the crooked paths of deceit, and forth the smile that has been driven back by some smooth the rough places of anger and malice and disappointment, some hardship. uncharitableness." How refreshin g it is, after we are filled to over Kindness-the soul's sunshine. Think of it in flowing with some sorrow, to meet with one who your daily life. Teach it to your children, your can pour oil on the troubled waters and permit us friends, your neighbors . Exercise it in your daily to see the rays of sunshine scatter gloom. How round of duties. Spread it everywhere you go. It encouraging it is, when we have exerted our ener will mean more to you than words can tell, for just gies to the breaking point and are about ready to as sunshine brings brightness to the world itself, give up, to have some one pass along that smile so does kindness bring hope and courage and joy which seems to say to us, "Fine! Well done!" and happiness to its inhabitants .

Vintage Notions Monthly ©2016 Amy Barickman, LLC Youths Part in the Aututnn Mode WHAT a keen delight we took in the By ALWILDA FELLOWS yarn. Altogether the effect is very pleas planning and making of the little or Dressmaking Department ing and quite out of the ordinary. gandie and voile dresses that demanded A style such as this would be very lovely our attention so early in the spring. Their pocket trimmings with buttons covered to if made from a golden shade of brown frills and fluffiness brought match, make a model quite out of the challis, pongee, faille, satin, crepe de Chine, much happiness and pride ordinary . _ or velvet with ribbon bindings of the same to the wee miss, who in Block motifs of wool crochet in filet ef color and crocheted yellow-wool daisies. her demure or sparkling fect, and small self-covered buttons simply way enhanced their love embroidered with wool to accentuate the QINGH AM is never out of season for the liness, and, in addition, center-back waist closing, trim the serge very young members of the family, be the frocks seemed to radi frock at the left in the lower illustration. cause it has a quality quite es ate youthfulness and there The yarn may be of tan, gray, green, or sential for tiny tots, namely, fore made memories of red, according to its becomingness to the the ability to withstand fre summer brimful of plea wearer. Only at the fr ont is a panel used, quent laundering. The same sure for all of us. But for the plaited sections of the skirt meet in is true of chambray, linen, and thoughts of fall and or an invert ed plait at the center back. The medium-w eight cotton fabrics gandie dresses have so manner in which the girdle ties at the front that are especially little in common that only is copied from mother's newest dress. appropriate for chil for party wear can we dren. And so th e conceive of their having CHALLIS in • its quaint and charming main consideration in any usefulness; so our patterns that suggest the days of our the planning of a thoughts naturally revert grandmothers is making a much more de gingham frock is to to warmer and more ser cided appeal for favor this season than it select a style that can 1 viceable fabrics as the fall did last year, and as a re sult no youthful be laund ered easily ' and-winter season is fully launched. wardrobe can be consider ed as quite com and yet is not ordi- Winter fabrics and modes are certainly plete without at least one frock of this nar y in desi gn. These quali not without their charm, for in place of the fabric. The figured challis may be had in ti es are evident in the little airiness suggest ed by light summer dresses, light, dainty colors especially suitable for dre ss at the upper right which , the winter fabrics are in many cases of a dr ess-up occasions and also with very dark is of plaid gingham in shades of lilac and luxurious nature and the designs sugges backgr ounds, thus making them more ser green with trimming of lilac chambray. tive of a smart simplicity that is difficult viceable in character. Black challis having The development of the dress with the aid to attain with sheer materials. Then , too, sma ll red motifs is a great favorite in the of a plain one-piece pattern would really such a variety of very unusual trimming shops. Plain challis, also, is in evidence be quite simple, for the lower portion of the effects is now in vogue that winter gar and for some children will be found more skirt consists of an applied bias band of ments stand ljttle chance of becoming becoming than the figured. self-material. The yoke effect may be out monotonous. A very delightful dress-up or party frock lined on the plain pattern. is shown at the right in the lower illustra THERE was a time when practically the tion. This is of challis having a deep CLOSELY following coat styles for only use of blue serge in the wardrobe cream background and figures in which a grown-ups, many coats for children are of a very young girl was as a coat fab rather bright, medium blue predominates. of the wrap order, some following dolman ric, while for the older girl it went a bit Th e bindings that edge the neck, sleeves, lines and others being regulation cape further and was used for skirts and sailor tunic sections, and front belt portion are of sty les. The materials, also, carry a note of or Peter Thompson dresses. Now, serge -grosgrain ribbon of this same color and -luxuriousness that is evident in wraps for holds a very prominent position in the list the satin sash further carries out this color adults, but if this effect were carried to ex of dress fabrics that are popular; in fact, scheme. An interesting contrasting note is tremes, as it is in the mature styles, it it may be considered a very formidable afforded by the crochet ed rose motif, which would detract from the youthfulness and rival of any material intended for service, is developed from rose, blue, and green appropriateness of the style. And so a because serge fits almost perfectly into the ·pleasing medium is taken, and such ma service niche. terials as velvet, duvetyn , broadcloth, velour, Serge dresses show trimming of many and cheviot are given special favor. descd~tions , but wool floss is probably the There are few children's coats this sea most popular kind. Sometimes this is ap son that are content to be worn with a hat plied as embroidery work in the form of of contrasting color or even fabric . Some chain-stitching, blanket-stitching, or a mo go so far as to insist that the hat copy its tif worked in -a darning-stitch or some open mode of trimming, and the extreme is effect. Its newer use is for crocheted reached, as in the model at the upper motifs, which may be of one or several left, when the muff is made a partner colors following a block effect or forming in the scheme. In this case the ma- very attractive flowers. Sometimes the terial is of a rather deep shade of tan wool trimming is carried even further and broadcloth, the embroidery of a harmoniz forms crocheted or twisted girdles. ing shade of heavy brown silk floss, and the fur trimming of beaver, surely a set that R ED is used in abundance as trimming. would delight any feminine heart, regard This is true not only . of the wool em less of whether or not her social aspira broideries, but is noted in braid, bindings, tions have developed. and silk plaitings. For instance, narrow Patterns for wraps similar to this may be scarlet taff eta plaitings applied to vertical obtained from the well-known pattern com slashes made from the neck line of a very panies . Of these , McCall design No. 8784 plain dress and evidenced again as -cuff and is most nearly like the illustration.

FROM tip to toe sette . First, sew one end down directly at the inserting the needle at the center, seems to be the center of the foundation and then draw the bringing it out at the end of the petal fashion for ribbon cord up snugly so as to insure a neat center. over the looped thr ead, and then taking a rosettes, one of Then carefu lly slip-stitch each row of cord to couching-stitch over the loop, as the illustr a which is show n in the foundation tion shows, to hold it down securely. If the Fig. 1. T hey are so that the petals a re lar ge, an extra stitch may be taken us ed sing ly and in stitches will not in the center -of each, as shown. This may be groups, not only as trimming for show from the of thread of contrasting color, if desired. dresses, but as ornaments for bou right side. Hold doir slippe rs, as well as the soft, the cord as CARTRIDGE plai ting in its simplest form crushed hats so smart this seas on. evenly as pos- is illustr ated in Fig. 8. To make a rosette, first determine on the sible whi le sew- To make such plaiting, size desired. If it is to be used for dress ing, so as to FIG. s take ribbon or braid, ornamentation, cut out a circle of taffeta or have a perfect crease it crosswise, as at soft silk the size you think you want the ornament when the foundation is entirely cov a, every ¼, ¾, or I inch, rosette to be, using, if possible, the same color ered. Anything used for decoration should be according to the width that you will use for th e rosette. Place this on . perfect in every detail of workm anship. Slip of the ribbon or braid the garment to make certain that the size is the covering back abo ut 1 inch and cut the Frc. 8 and th e size of plaiting exactly right. Using this for cord away; then tuck the end of the cord cov desired. Fo r I-in ch ribbon, the plaits are a pattern , cut as _many pieces as ering und erneath the last rnw of cording and usu ally made inch apa rt . Then draw the you want rosettes. Then, from carefu lly secur e it in place. ¾ light -weight crinoline ribbon up to form the plait, keeping each plait an even distance apart and using the creased or cambric that has QLO VE -STIT CHING is shown in i:s sim- lines as a guide in making each the same size. be en cold- starched, plest form in Fig. 3. To make this, first Baste each plait in place with silk thread, as cut the same number make a row of machine couch- stitch ing or at b, so as to hold it secu rely . T ake very tiny of pieces, making back-stitching, using heavy rope silk or sof t s t i t c h e s on the these ¥s inch less all embroidery yarn. Then ove rcast each stitch the way around than with ano ther thread of the same or contrasting right side so that th e silk. Place the silk over these pieces, turn color, taking care to make the stitc h ju st easy they cannot pos the ¾ -inch edge over, and sew th e turn ed edge enoug h to have it shape in nicely and at th e ,;ibly show. down. Th en press from the wrong sid e to sa me time app ear secure. FI a t plaiting, insure a flat foundat ion. A more elaborate form of glove-st itching is F ig. 9, is made in Start making the rosette by first gathering shown in Fig: 4, the foundation of whic h is Fic. 9 much the s a m c the inside edge of the ribbon or, if possible, by made of a se way as cartrid ge pulling up a thr ead, as is sometim es done with rie s of slan ting plaiting. One-third more ri bbon is required, lace. Gathering the ribbon ju st enough to give st it c h es ar but the cr easing is done in the same man the desired fulnes s, proc eed to ranged in zig ner. As each plait is pressed down into sew it to the foundation, u sing zag fashion an d place, take a concealed stitch in the und er even basting- stitches . If the each of these neath fold at the end of the plait, as ribbon is less than ¼ inch wide, stitches couched shown, to hold it securely. you may begin at the outside two or thr ee and sew in toward the center, times to get the BINDING th e skin edge of fur is easy to as thi s makes fo r faster prog effect i 11 u s - accomplish, as Fig. 10 shows. First stitch ress where narrow ribb on is trated. T h i s a piece of linen tape or seam binding to the us ed. If scalloped ribbon or a kind of stitch fur side of the skin, taking every precaution width greater tha n ¼ inch is has many uses, Frn.6 to prevent either the tape or the fur from used, begin by arranging the espec ially when drawing. Make a scant ½ -inch seam allow FIG. 3 center as illu strated and then made of contrasting colors of silk floss or ance on th e fur and ½o-inch allowance on the work out to the out er edge, yarn. allowing the ribbon to extend ¥s to ¼ inch binding. Use a long machine stitch and silk The runnin g- or darning -stitch, shown in thread . beyond the foundation so as to conceal it en Fig . 5, .is used to bring out a decorative de tirely. \l'vhen the rosette is finished, sew its When the tape is stitched in place and the sign. This stitch is easy to make , works up stitc h is completed by running the handle of center to the ga rm ent with very loose stitches quickly, and gives pleasing results, especially the scissors firmly over the seam to press it so that it will not draw the material in nor if a simple, artistic design and a good com appear patchy · when in place. flat, turn the tape over to the wrong side, roll bination of color are used. ing the stitched edge in slightly. A CORD ro- R IBBONZINE embroide ry, which is illu s- This will make sette is trated in Fig. 6, is very prominently used the fur piece shown in Fig. 2. on some of the most appea r a trifle To make it, a r elabo rate dres ses and wider and give range the foun suit s. Fig. 7 illu s a much more dat ion the same trates the detail of a sa ti sfactory as for a ribbon lazy daisy-a good de edge . Fell the rosette. Then sign for ribbonzine. free edge of the Fie. 10 with covered Make each peta l by tape down to the skin with loose overcasting cord or silk forming a loop-stitch stitches that catch into the layers of skin, but cord, begin to similar to the chain- not through to the fur side. make the ro- FIG.4 stitch loop; that is, by FIG. 7

Vintage Notions Monthly ©2016 Amy Barickman, LLC but for the waist-line dresses a wider girdl e proves more satisfactory. Fig. 14 shows three types of finishes much favored just now. WEIGHTED The plain crushed girdle shown in (a) is edges are much picoted or th e hem edge turned to the wro ng used, especially for side and press ed into position. The joinin g is light -weight s i 1 k finished with a shirred headin g, which is se\ved and woolen dresses . to a piece of featherb one or three -cord ta pe

They hold a panel that has been covered with material like the (a) or a sash end in gir dle and fastened with hooks and eyes, th ese p 1 ace and fre F1G . 11 placed 1¼ to l ¾( inches apart. FIG. JS (b) quently aid greatly in getting just the right In (b) is shown a plain gird le with picot seam, as in (a), and the seam concealed be style effect. Fig. 11 shows ho.th the weighted openings throu gh which a contrasting color of tw een the outer skirt and the foundation . tape and the rou nd weight in place on a panel. ¾- inch rib bon is run, the openings being mad e L eaded tape, as shown, should be sewed to the The . round weight is covered with a small, 4½ inches apart, with a I-in ch joining seam so as to hold the foundation skirt circular piece of silk like that of the garment space b e t w e e n down and keep it in position . If th e material in regular button-mold fashion and then sewed th em. The j oin of the skirt is sheer, such as net or Georgette, to the place where weighting is required. On ing of such a make a fell seam on the inside of the founda a long edge, as a tunic or panel, it is advan gird le may be tion, as in ( b), so that the joining . will not tage ous to use th e roun d weights at the ends finished with a show on the right side . or corners and the taped weights along th e plain hem a n d edge. hooked together, T FOR tunic skirts, when a very narro w or I Weighted tape comes with white or black and the close foundatio n is used, it is sometimes covering, and this shou ld be covered agai n stitches desirable to · ha ve more fuln ess throu gh the with scam binding of light-weight silk or with taken ... _.... hips than is desired for the width of the lower mat erial like the garmen t. Tape should be put ca r efull y skirt. T o arrange for this, a drop skirt may on with easy stitches so that the edge to which so that be cut with 4 inches additi onal fulness at the it is sewed will not pull or draw in any place. the clos center back, this fuln ess pre ssed int o a cov Fig. 12 shows tape covered with silk and ar ing w i 11 (a) (c} ~red _plait, and the lower skirt then j oined,· as be incon- m Fig. 16, to the band effect. If a tunic · is ranged as a fold, F1G. 13 an excellent way spicuous. long, it is desirable to make the lowe r skirt in which to finish In ( c) is shown a type of waist- line finish portion double or with a facing deep enough a pane l that needs suitable for a short-waisted figure. It con to come up to the as nice a finish sists of a plain girdle made of two sections, drop skirt so as to onlining for on shoulders that are somewha t thi ck fre ing end turned in and over an ove rblouse dress. quently seems a problem. This is because th e casted togeth er. For ·such 0 A close-fitting pattern body takes up so much of the fuln ess and does a gird le, the skirt of the is used for the waist not allow the neck line to come up close dress should have its upper lining. The armhole enough fo fit a collar or neck finish properly . edge turned in to conceal FIG . 16 shou ld be cut large To overcome this, first adjust the waist cor the edge and then fasten ed enough to be easy. The back is 'usuall y allowed rectly on the figure . Then prepare a piece of neat ly to the waist . Then to come all the way to the neck, as a protecti on self-material like a . stand for a tailore d coat the gir dle sections are put to the overb louse . The front neck is cut round coll~r, cutting it 8 to 10 inches long and 2 ove r the wai st lin e to cover or square and I to 2 inches lower than the neck inches wide. Fo l.d it cro sswise throu gh the cen it and arran ged so line of the overblouse so that it cannot pos ter. Keep one eci~e straight and cut the other that the upper cor sibly show. A belt 1½ inches wide is used edge so that it will mea sure 2 inches at the ners will meet at at the bottom of the foundation waist to give fold and taper out to nothing at the straight the waist line at support and edge. Fit this shaped edge to the neck line of the center side. strength to the kiJ!!ono blouse, as in F ig. 13 (a), placing Buttons, tiny drop hold th e the fold of th e piece exact ly at the center back. tassels, loops of skirt in po Sew it in position, as in ( b). Thi s will, as in ribb on, or braid sition. The ( c), give a higher neck line at the back and may be used as skirt is produce a better fitting and more comfortable decoration for a lapped ove r collar and at the same time prevent the for girdle of this type. the waist lin mation of wrinkles. H AREM -SKIRT i ng an d finishes a r e joined with W AIST- LINE finishes ofte n seem perplex- shown in Fig . 15. two rows of ing, especia lly when they are strai ght and If satin or crepe stitching-. plain. In many cases, the waist-line finish is met eor is used, the The ove r very simple this seaso n. For instance, in one skirt and the foun blouse is piece or overb louse dresses, a narr ow sash belt (o) dati on m a y b e made sepa- of mat erial or ribbon seems much in favor, FIG . 14 joined in a plain rate. FIG. 1?

THE soft-draped, crushy hat dominates By MARY MAHON stay-wires out at each side and slip-stit ch the attention just now. This particular Department of Millinery the upper brim . along the edge of the hat appears in various forms, from the brocade. close-fitting turban to the large-sized material are used for both hats, but the brim hat, method of draping gives them a decidedly TODRAPE the hat shown in the upp er and it is de different look and at. the same time makes right-hand corner, pick up a pinch of veloped in the hat ·suitable for different types. the velvet about 1 inch deep in the direct velvet, The foundation of these hats is an oval du v etyn, shaped close-fitting turban with a brim and gor- that is 1 inch "in front and diminishes to 0 ¼ inch at the back. Two U-shaped stay ~: t/1 / ~: t~~ wires are attached to each side of the ~ f which t h_e crown as a support for the mat erial at the CO 10 r IS sides. The material required for the soft combined brim is a yards of 18-inch material, such in numerous as velvet or plush, or ½ yard of 42-inch ma ways' in order to utilize · terial, such as duvetyn or velour, while ¼ well the glint and glit yard of brocade is needed for the crown. ter of the metal. Vel vet is un questionably TO MAKE the brim for either hat, fold the material of the day. the material in half and cut off the four This much favor ed and corners so as to give two oval piec es with becoming fabric is found 21 inches as their long dimension and 17 in many varieties from inches as their other. Machine-stitch these the classi cal, short-pil e, together around the outer edge and they silk Lyons milliner's vel will th en be ready for the cutting of the vet to the new "peluc he head-size. It is extremely ,important that center front, 1½in ches from the side crown, de soie," or silk plu sh, which is very light thi s be cut just right. and crease it lightly out on each side .'to the in weight and easily draped. First cut a piece of paper oval shape edge of the stay-wires. Pin the ~elvet Incidentally, draping in millinery has with 8½ inches as the long dimension and around the wires so as to hold the fold .in become just as essential an art as draping · 7½ inches as the oth er, which will form a place. Then form another tuck in the same in gowns. Yet this, to be effective, re pattern for a head-size of abou t 25 inches. manner. Make the third and last tuck on quires materials having supple texture as La y this on the brim, as in the detailed il the under brim. Pin these tu cks securely well as considerable body to do it jus_tice. lustration, so as to allow 5 inches from the to the crown at the point where the top Good taste is particularly necessary in front edge to the head-size, 3½ inches at brim is slip-stit ched to the brocade, and draping, but it must be coupled with the the back, and 7 inches on each side. When then, in order to hold the folds in place, exercise of good judgment and a knowl it is pinned securely , insert your scissors at take a few kn ott ed stitches around the edge of correct line so as to avoid as much the edge of the paper through the two stay-wires at each side. as possible any tend ency to bulkiness or thicknesses of the material and cut around For trimming, a buckle or an ornament heaviness, which is apt to occur by using the edge of the paper. can be made out of a piece of the brocade too much mat erial or not working the ma Next fit the crown with the brocade by with two whips running through it. This terial at the proper angle and which pro - - covering · the top and running it down on hat is especially good for a tall, slender ~" duces an unbalanced hat and proves dis- the side crow!) about 1½inches. Shape th e girl that desires width at both sides. astrous to the general line. wires up flat against the side crown and slip the brim down over them, drawing the THE hat shown in the other illustration NEXT to line, the most important item under brim in at the head-size underneath is made in the same manner , except that that deserves thought and study in anq sewing it securely. Th en shape the it is draped high er in the front and the draped hats is the art of handling properly crown is made in four section's. After the such materials as velvet, duvetyn, or any crown is applied to the frame, the top of pile . fabric. To do this, it is necessary to the foundatiort frame is cut away so as to cultiivate a certain consciousness of touch; give a very soft crown. To obtain the high or, in other words, when grasping the ma effect at the left side, shap e the stay-wire terial, to hold it lightly but firmly, never up instead of out flat. pressing it between the fingers or squeez To proquce the draping of this hat, begin ing it in th~ palm · of the hand, because th e at the center front on the under facing, moisture from the hand is bound to mar lightly pin ch the material to form a close, the pile and in many cases ruin the fabric. puffy ridge, and continue in this manner Proper handling of materials may give a around to the left side, shaping it up and little difficulty at first, but it is bound to out at the direct side . In doing this work, come with practice. Still, all the while be careful to handle the material as little you are working with the material, try to as possible and not to press it in folds; handle it as little and as lightly as possible, rather, allow it to stand out in soft tufts. to caress it gently, as it were. On the right side, shape the stay-wire down and out a trifle to give a little width here. THE accompanying illustrations show The trimming consists of three jet nail two very simple and effective ways in heads caught in between the tufts, one on which a soft hat can be developed from a each side of the direct front and one a comparatively small amount of material. little to the left side, thus producing a very The same frame and the same amount of soft, crushy effect.

Vintage Notions Monthly ©2016 Amy Barickman, LLC Sunday-Night Suppers UST a short time ago, I heard an excel By LAURA MAcFARLANE creamed crab meat, a touch of color can be J lent housewife say that of all the meals Editorial Department provided by adding some chopped pimiento. she had to prepare, Saturday- and Sunday With shrimp, chopped mushrooms are much night suppers gave her the most difficulty. protein, but being less heavy than a meat used. For variety, any of these creamed This seemed a little strange from one who dish. Welsh rarebit has always been a dishes may be served in timbale cases or made such a success of her household du general favorite, probably because it can croustades instead of on toast. ties, so I asked her the reason. She said be prepared so advantageously at the table. that after striving for variety in a whole While the cheese sauce is cooking in one WHEN there has been chicken for a pre- week's meals, she found herself at a loss as of the grill pans, the bread on which it is to ceding meal, the left-over pieces can to what to have, and yet she realized that be served may be toasting near the coils . be utilized in club sandwiches for Sunday at least the Sunday evening meal should A grill, however, is not really a necessity, night supper. These are sure to please and have something different in tHe way of a for the rarebit c~n be prepared in the with a dainty dessert they may form prac menu. kitchen and served from there or poured tically the whole meal. Yes, that's just it. Something dainty and into a hot casserole and served at the table For such sandwiches, bread, lettuce, salad a little different. So much depends on the either on toast already made or on wafers. dressing, bacon, and chicken are needed. slight innovation that offers variety or Cut the bread in triangular pieces ·and toast pleases the fancy. Every day we have WELSH RAREBIT it on both sides. On a slice of toast, place conclusive proof of the magic influence ex (Sufficient to Serve Six) first a lettuce leaf, then a slice of chicken, 2 Tb. butter ! tsp. paprika erted by a contrast of color or a change of 1 Tb . flour ll lb. cheese cut into next a little mayonnaise dressing, and form in food. And what better time is 1 c. milk small pieces finally a few strips of broiled bacon . Cover ¼tsp.salt 6 slices toast there to put one's imagination and origi with a second slice of toast. If desired, a nality into play than the meal on Sunday Melt the butter and stir the· flour into it three-layer sandwich can be had by repeat night? Then the family circle is usually until smooth. Gradually add the milk and ing the first layer and using another piece complete and often there is a welcome cook for a few minutes; then add the salt, of toast on top. Thin slices of tomato add guest or two. And, too, the rush and hurry paprika, and cheese, stirring until the very much to club sandwiches. that too often characterize the week-day cheese is melted. Pour over toast or wa meals are not troublesome factors on Sun fers and serve. The finished rarebit GELATINE desserts are excellent ones day, so there is plenty of time for a delight should not be stringy. for this meal, for in addition to being ful social hour. dainty and refreshing they must be pre Sunday-night suppers need not be at all CREAMED dishes of various kinds can- pared several hours previous and conse elaborate; in fact, simplicity should dom not be excelled, especially if one wishes quently give the housewife no concern inate them, for after the usual heavy Sun to utilize a grill or an ovenette and pre when she is busy with other things. Fresh day dinner no one feels the need of any pare part of the meal at the table. Shell home-made cake, especially when made in thing very hearty. The chief things for fish, such as oysters, lobster, shrimp, and small form and iced attractively, never which to strive in this meal are daintiness crab meat, lend themselves very well to loses its popularity particularly with the of service, the "something-different" touch such dishes. Chicken, sweetbreads, and young folks. A combination of fruit goes that proves an inspiration to the housewife mushrooms also make good creamed dishes. well with cake of this kind. and a delight to the whole family, and a The foundation is a medium white sauce, A charming way in which to serve ice friendly feeling of genuine good cheer. that is, one made in the proportion of 1 cream and cake is to make sandwiches of cupful of milk to 2 tablesp oonfuls of but them. A plain unfrosted cake baked in JNHOMES that are wired for electricity, ter and flour and ½ teaspoonful of salt. loaf form is used and it is cut into long, . the electric grill is a . very valuable part _ In the case of creamed oysters, heat the narrow slices. Between two of these ·"of the table equipment, and if one is so oysters in butter until their edges begin to slices, a layer of ice cream is placed and fortunate as to possess such a utensil, no curl slightly, and then pour them into the over the whole is poured a sirup, such as fear need be felt that the hot cream sauce and sea butterscotch, chocolate, hot fudge, or meal in which it is used son to taste with salt and marshmallow, and a few nuts are added. will lack zest and enthu pepper. In preparing As a dessert, angel food or sunshine siasm, for · there is al- cake, though always ap -ways an interest awak pealing, becomes even ened when the actual more so when served cooking of the food can with sweetened and fla be observed. No~e of us vored whipped cream or are so grown-up as not with a marshmallow to respond to something sauce into which straw that really works. And berry Ju1ce has been how simple the use of stirred. Cream-puff and such a utensil makes the eclair cases, instead of serving of the meal, a being filled with a cream very important point on filling are often used Sunday night, for even as receptacles for ice though there is a maid cream and these satisfy in the home she is sel the most fastidious when dom on duty at this time . served with chocolate sauce. If there is not JF THE main supper time to prepare a dessert dish is to be a hot one, and French pastry can a cheese dish is a good be secured, this will selection, supplying, as prove a most delightful it does, the required change.

Vintage Notions Monthly ©2016 Amy Barickman, LLC First-Prize Contest Letter J WORKED in my father's store. We By BEULAH C. GRIMES fail to sell. And this is in itself a great _ carried a few trimmed and ready-to saving-not to have a big stock left at the wear hats. I became intere sted in mil end of the season. lin ery and wanted to go away to some My Millinery Course has been such a school to take a millinery course. But we The Five Winners help to me in so many ways. It is im were always so busy in the store that the possible to tell all on paper. It has helped opportunity never came. MMEDIATEL Y after we made the me to know how to dr ess myself-how In the fall of 1916 my father turned over I announcement in July that we would always to select the most becoming style th e millinery department to me, and said I give $200 in cash prizes to Woman'• and color and to advise others in their se could have what I could make . The first ln1titule 1tudenls for the beat fact 1tories lections . I have a host of friends and season I ju st did manage to pay my bills of what they have done, we r~eived customers who depend almost entirely on hundred, of lettera telling of the 1uc and have a few dollars left. I realized that me to select their hats and dresses. They cess with which our 1tudents are meeting. I must do something to increase my effi To 1ay the least, these letters have de say I know. Yes, I know-but the ciency or drop it all, because it didn't seem lighted us, as they show the sincerity Woman's Institute taught me. And it also possible to make enough to pay as it was . and earnestness with which our students taught me much that helps in buying and I was looking up the nam es of different take up their studies and profit by them. selecting my merchandise. In fact, I find schools and their location , when I came The judge• in this contest-Miss Ger myself using almost every day of my acro ss a Woman's Institute advertisement. trude B. Lane, Editor, Woman's Home life some idea, suggestion, or meth od in I wrote for informati on, became very much Companion; Mis1 Helen Koues, F aahion my business learned from my Millinery int erested, and, with the few dollars I had Editor, Good Howe/e eeping; and Mr. F. Course. . saved, made the first payment on my Mil Hutter, Fa,•hion Editor, McCall'• Maga With the money my Course enabled me liner y Course. I put all the time I could zine-in announcing the winners ex to make, I bought and furnished a pretty pressed the regret that there were not on the lessons during the months of De littl e home, for which I could today get more prizes to offer, The task of ex cember, January, and February. The first amining and passing on all these letter• $5,000 if I cared to sell, and bought $100 of March I dropped my lessons and went to was a large one, and we are pleased that worth of War Savings Stamps. I also took work with a new interest and with confi they were able to come to a decision in several nice trips and bought many dress es dence in myself. That season I made, time to announce the winners in this and things "dear to every girl's heart ," I trimmed, and sold several hundred hats to issue of I NS PIRATION. The winners are: dare say I would have done with out if it satisfied customers. In June I finished up hadn't been for the W oman's Institute and First Prize, $100 my lessons, and on July 5, 1917, I received its easy and convenient Course in Mil my diploma. Mrs, Beulah C. Grimes, M 2800 linery. In the fall of 1917, I sold about $650 Coats, North Carolina In the fall of 1918 I add ed to my stock worth of millinery; in 1918, about $1,500 Second Prize, $50 ladies' ready-t o-wear and opened up a worth; in 1919. about $2,500 worth; and in Mrs , Florence Bowen, CDFM 15199 regular "Ladies' Shop." Since that time the spring of 1920, $4,000 worth. 23 Grand St., Newburg, New York I have done a splendid business in ladies' Up until the spring of 1920 I had done all ready-t o-wear garments as well as in mil my work alone with the help of sales girls Third Prize, $25 linery. during the rush season. But my business Miss Marion Adams, M 24608 My home, my business, an assured in had grown so that I realized I must have Millheim, Pennsylvania come, and the confidence of my man y more compet ent help. So while in Balti Fourth Pr ize, $15 friends and cust omers are a part of what my Millinery Course has more last spring I engaged an expert trim Mrs. Nellie D. Everson, CD 16203 enabled me to have . mer, and we botli had all we could do to 70 Chapel Street keep up with the work. Mount Morris, New York This town is very small-only about 500 inhabitants-with a good surrounding Fifth Prize, $10 country trade, and I have had to work hard Mrs. Martha J. Tomlinson, CD 53942 to get and keep the many customers I now Sego, Grand County, Utah have . But I tried to follow closely the suggestions given in the Millinery Course in regard to advertising and I have in same hat if I had bought it in the crea sed my sales in three years from $650 wholesale showrooms. in one season to $4,000. With the knowledge gained from Knowledge gained from my Millinery my Course, I am enabled to take ex Course has . enabled me to save severa l treme ideas, modify and change, and hundred dollars each season on pattern ma.ke them into hats more appr oved hats alone. I make my own patterns. I go and suitable for my Southern tr ade, to market twice each year to select my and more salable. In my Millinery merchandise. \Vhile there I visit all the Course I was taught that each type of best showrooms and take notes. When I woman req~ires an individual hat. return to my own workroom, I copy any With this idea ever in mind, I have thing I have seen at from one-third to one studied my customers and their needs half the pr ice I would have paid for the until I seldom buy anything that I

SPEC IAL NOTI CE: For full information r~arding Courses in Sewing. Dreasmakina-. Tailor in&. Millinery . and Fooda and Cookery u taught by the Woman's lnstitute,addr caa all requests to the WOMAN'S INSTITIJTE OF DOMESTIC ARTS AND SCIENCE.5, Inc. DEPT. 21, SCRANTON, PA.

Each Issue of Vintage Notions Monthly includes a Fashion Service Supplement. You will read about the fashion styles popular in the early twentieth century and receive a collectible fashion illustration to print and frame.

The students of the Woman’s Institute would also receive a publication called Fashion Service. Where the Inspiration newsletter instructed them on all aspects of the domestic arts, not only sewing but also cooking, housekeeping, decorating, etc., Fashion Service was devoted entirely to giving current fashions with a key to their development.

Fashion Service prided itself on providing it’s readers with reliable style information and the newest fashion forecasting. The publication wasn’t just eye candy. The Institute stressed the importance of studying the fashions to benefit the sewer’s understanding of dressmaking. To quote founder Mary Brooks Picken, “Once the principles of design...and of construction… are understood, beautiful garments will result. This publication comes to you as an aid to this desired goal. Read the text of every page and reason out the why of every illustration and description that your comprehension of designing and construction may be enlarged and your appreciation made more acute.”

Today, these articles and illustrations give us a historically accurate view of what fashion really meant 100 years ago. Not only can we study these articles for an “of-the-time” style snapshot, but just as their students did, we can also learn to understand the principles of design and increase our sewing skills. In each issue, look for a collectible illustration in the back of the supplement! Slenderizing Siyles

Model 7.-For smartness and assured becomingness For an extremely stout figure, an armhole as deep as to the woman of very generous proportions, this design, illustrated might prove unbecoming, but it is suitable for in which a bit of redingote influence combines with moderately stout types or for a person having a proportion strictly modern ideas of slenderizing lines, is one that ately large bust that might be accentuated by close fitting cannot be easily excelled. of the armhole. Navy Roshanara crepe in plain and fancy weaves is the The applied drapery of the skirt is very simple, con material illustrated, the plain material being used for the sisting of separate front and back sections draped over a front panel, the sleeves, and the revers portion of the foundation skirt of the same fabric, the long edge of each collar, and the fancy material for the rest of the dress. of the draperies falling in cascade effect over the short Side seam lines at the front and back, besides giving edge of the other. a panel effect of decidedly slenderizing influence, provide About 6 yards of material is required for this model. a means of fitting and of removing excess fulness. The lower portions of these seams are decorated at the front Model 7C .-The soft texture and subdued luster of with buttons and at the back with braid loops. black crepe satin make it especially desirable for this long The cuff consists merely of a straight piece of material line model having its front portion cut in surplice, wrap finished separately and then slip-stitched in position. around fashion and held" with slightly draped fulness at For the average stout figure, provide 3¼ yards of the sides and its back skirt portion made of particular figured material 40 inches wide and I¼ yards of plain. style interest by full-length loop panels. No provision for these panels is made in the pattern Model 7A.-In both the design and trimming of this suggested for this design, but you will be able to form model, Fashion's latest edicts find delightful interpreta them very easily by using for each a straight piece of tion. The low waist line slightly bloused over a belt material twice the skirt length and from 15 to 20 inches effect formed by· cordings in the skirt, groups of pin tucks wide, folding this crosswise through the center with the forming front and back panel lines, the mere suggestion crepe side uppermost, and then cutting away a portion of of a drape held at the side with an attractive ornament, the upper thickness on a line extending from the lower the wrap-around effect and side closing with underlaid corner at the center back to within a few inches of the side piece of contrasting color, and the flared sleeve with side seam in the manner shown, thus revealing the glossy tight wrist band, are all fashion notes of merit. surface of the under portion. A soft, medium-brown woolen fabric similar to very In applying the cuffs, place the crepe side uppermost light-weight velour, with a tan material of similar texture to provide a note that harmonizes with the contrasting for the underlaid piece, provides an effective color scheme. effect in the panels. If the dress is made of heavier silk, The narrow lii:igerie collar, although a smart detail, may the panels should be single to avoid waist-line bulk. be omitted if you wish. Braid in Persian coloring trims the waist, forms a belt Material requirements for the average stout figure across the back of the dress, and covers the joining of the include 3 yards of 54-inch fabric and ¼ yard of material flare cuff. Of this trimming, 3¼ to 3¾ yards is needed, of the same width or ¾ yard 36 inches wide for trimming. and of the material, 6 yards will be required if double skirt panels are desired at the back. Model 7B.-Matelasse, the silk in blistered effect that has been receiving so much attention, brocaded satin, Model 7D.-Circular effects need not be shunned by or a plain silk in soft crepy weave, is suitable for this the generously proportioned woman for, in many cases, model. As to .color, taupe is a good suggestion, both a discreet use of flare may be made to draw attention from because of its continued popularity and its tendency to undesirable fulness in the hips. In this model, in which reduce apparent size. front and back panels provide the slenderizing influence, Because of the care with which a dress for the stout the side skirt sections are slightly flared, and the carrying woman must be planned and developed in order that it out of Fashion's decree of an uneven hem line adds to will be correct both as to design and fitting, the use of their becomingness. fabrics of excellent quality is advisable. Far better one Plain and brocaded satin in prune color, which is dress of serviceable material and suitable style that appears again popular, are the materials employed, I¾ yards of well through several seasons' wear, than two or more plain and 2 ¾ yards of fancy weave being needed. The dresses that evidence a sacrifice of expense and time in style might be very satisfactorily developed in one fabric, their development in order to permit more frequent such as Canton crepe, or better still in satin-faced Canton, changes in the wardrobe. the glossy side beii:ig used for the side portions and the A novel waist-line arrangement is effected in this crepy side for the panels of the dress. design by extensions cut in one with the back and joined In selecting the tassels, match the color of the dress, at the center front with gun-metal buckles. if possible, as decided contrast might prove undesirable.

Designs that combine conservative dressiness with to obtain a pa~tern very similar to the design, use a utility, materials that are soft and light in weight but kimono coat pattern, deepen the armholes, and mark that often are almost as warm as fur, and sufficient color the raglan seam line on it. Also, shape the yoke and collar variety to please every taste seem to be the outstanding in muslin. features of winter coat models. Cut the lining with the aid of the coat pattern, making As a rule, the styles that are classed as long coats are a generous allowance along the edges and allowing for a made to cover the entire dress in true cover-all fashion, plait to be merely pressed in position down the center back. but the coat that is several inches shorter than the dress is also being shown and this will likely become even more Construction and Fitting.-Baste the coat sections evident as longer skirts are adopted. Hip-length and together, first gathering the longer edge of the dart and three-quarter · length models are notable among sports then basting this to the shorter edge. Als9, gather the styles, and the short fur coat gives promise of extreme front neck line. popularity. Novelty in collar treatments, amplitude in At this stage, try on the coat to make sure that the sleeves, and cozy roominess are other points of interest. fitting of the muslin model was done correctly. Then, Among the favored coat materials are many that if you wish to make bound buttonholes in the coat, mark resemble camel's hair, these being used especially for the position for these. If you prefer, however, you may utility models, but fabrics of more velvety texture and put make merely simulated bound buttonholes and, in . this out under a great variety of names are generally used case, wait until the second fitting to mark for them. for coats that are more dressy in appearance. The model Before stitching the sleeve seams, remove the basting illustrated is developed from one of these velvet fabrics, and make the bound buttonholes. Also, make the bound which has merely a suggestion of a diagonal ribbed effect. buttonhole at the front closing. Then stitch and press Even though the material is but little different in texture or steam open the seams, according to the kind of material from those we wore last season, the color is decidedly you are using, and apply the front facings, interlining new, this being a bluish reseda, called Lanvin green. the fronts with a strip of canvas. The front of the coat is cut in one-piece effect with Also; interline the cuffs and the collar with canvas, the side waist-line fulness of the skirt portion held in a quilting the canvas through the stand portion of the collar dart that is corded QS a continuation of the low waist-line and extending the stitching beyond the line marked for joining across the back. A raglan seam extended to the the turn over. Then baste the collar to the neck line of waist line joins the sleeves and back waist portion, which the coat with close stitches and baste the cuffs in position, are cut in one, to the front. As if making up for the lack first catch-stitching a narrow bias stay strip of canvas of fur trimming, the novel chin collar is extended into within a seam's width of the lower edge of the sleeve. a shallow yoke effect and .the broad sleeves are provided If you desire an interlining for warmth through the with an unusual sort of cuff. Besides, the sleeves boast sleeves and the upper portion of the coat, use lamb's wool bound buttonholes and self-covered buttons following the or Canton flannel, cut this without seam allowance, and line of their seams in both the front and the back. baste it in position. Before securing the collar, cuffs, and interlining, try Material and Pattern Requiremenfs.-Supply, for the on the coat and make any adjustments that may be neces average figure, about 4 sary. Also, turn an even yards of 54-inch fabric line at the lower edge. for the development of CSows of Se(f-J'rCaterial u1re Smart To secure the interlin this model. For lining, ing, catch-stitch it along Bows of self-material are a striking factor of the season's you may use satin, crepe modes, as Model 8 shows, but they must be skilfully handled to the seams. Stitch the col de Chine, or brocaded achieve distinction. · lar and cuffs in position Chameleon velvet, one of the newest developments of the silk in colors that har season, and, as the name implies , changeable in color, is here in the usual manner. monize with the coat seen in the superb combination _ of Lanvin green, brown, and Catch-stitch the hem that fuchsia. fabric, about 4 yards of The high front coronet is covered with corded velvet. Join was turned at the lower 40-inch material being two bias strips of velvet 13 inches wide and run cords across the edge and then seam the entire piece · about 1 inch apart. Draw this corded material needed. For interlining, around the coronet, shaping it into the headsize and over the lining and slip-stitch this provide 1 ¾ yards of soft top edge, the tip of the crown being covered plain. in position. For the soft crushed bow, cut ·the velvet the same width as tailor's canvas. the piece for the coronet , a strip and a half being necessary, and Complete the coat by Do not attempt to cut to give it sufficient stiffness roll-hem a lace wire along each edge . sewing on the buttons and Then apply this in soft, easy folds the width of the coronet the material before mak across the back with a distending loop on each side. slip-stitching a cord cov ing and fitting a muslin Two Venetian, painted ; novelty ornaments applied on th e ered with the fabric over model. For cutting the front of the coronet make this turban a wee bit different. the waist-line seam, curv- muslin, if you are not able ing the ends as shown.

Vintage Notions Monthly ©2016 Amy Barickman, LLC Vintage Notions Monthly ©2016 Amy Barickman, LLC Look for a collectible print version at the end of this issue. Model BA.-A downy tan fabric, softer than camel's For the average figure, provide 3 yards of 54-inch hair in regard to both texture and appearance, fashions fabric, I¾ yards of wide fur banding, 2 ¾ yards of lining this utility model whose distinction lies chiefly in its sleeves, material, and I¾ yards of figured silk. pockets, and brown fur collar. ·Material such as this lends itself admirably to trimming of stitching, for the Model 8D.-For winter street wear, a more delight stitched lines appear embedded in the downy surface and ful combination than brown velvet and beaver fur, as give a raised effect between the rows that is very pleasing. shown in this model, would be difficult to imagine. The Average requirements include 3¾ yards of 54-inch design, with its low bloused waist line, shaped peplum, fabric, 3¾ yards of 36-inch lining, and a strip of fur and puffed sleeves, is decidedly of Russian inspiration. 18 to 20 inches long and 6 inches wide. Being a part of such a distinctive three-piece suit, the If you use a three-seamed raglan pattern for cutting dress, shown in the small sketch at the upper left , evidently out this model, you may form a sleeve pattern without the realizes the effort it must make to receive its share of center seam by laying the two sleeve pattern sections on attention, for it flaunts a brilliant yellow in its plaited muslin so that the upper portions of the seam lines meet crepe Roma waist portion and displays an embroidered or overlap a trifle through the curved sections, and then motif of orange and green. cutting around the outer pattern edges but not in the For the average type, 4¼ yards of 40-inch velvet, space between the lower portion of the center seam lines. 2 yards of li~ing, ¼ yard of wide fur banding, 2 yards of In fitting the muslin model, you may take out the surplus narrower banding, and I¾ _yards of crepe are needed. width at the lower edge by pinning the inside seam line to provide just the amount of flare you desire. Model 8E.-If one's proportions are too generous or one's years too numerous to permit the wearing of broad Model 8B.-When the cost of a fur coat is prohibi kimono sleeves or youthful Russian blouse effects, this tive, a fabric fur, if developed on similar lines, will prove need be no cause for regret when long-line models, such a very satisfactory substitute. as this, are made to evidence so much smartness and such A fabric in imitation of gray krimmer is used for this novelty of detail. Navy velours is the fabric of which the model , and although the design is one that finds favor as suit is developed, and squirrel, ever a delightful combina~ a separate coat, it is shown here as a part of a three-piece tion with navy, is used for the collar. costullle. A small sketch, just below the model, gives Covering the side front and back seam lines of the an idea of the frock, which might have its skirt portion jacket are narrow bias strips of self-material secured with of strawberry or Royal blue Kasha cloth and its waist por couching done in the form of cross-stitches taken at close tion of gray crepe de Chine or Canton crepe. The waist intervals. The underlaid sections in the lower portions is cut in kimono style with straps of the material confined of these seams are embroidered with silk floss and small in a wrist band forming a lower sleeve portion. The join wooden beads. A faced piece of material shaped some ing of the waist and skirt is in scalloped outline. what like a triangle adds novelty to the sleeve, one edge Provide 2 yards of fur cloth, 2 yards of lining of this being inserted in the outside seam of the two-piece material, I yard of 54-inch colored fabric, and 2 yards of sleeve and the other edge slip-stitched in position. crepe for this model. About 4 yards of 54-inch material, 2¾ yards of lining, ¼ yard of 5-inch fur banding, and 8 skeins of Model SC.-Suits of the regulation tailored type floss are needed for the average figure. seldom receive recognition among fall styles, but this does not imply that all suits are out of the running, for those Model 8F.-To be able to include a special wrap for of the three-piece variety .are assured exceptional popu evening wear in one's wardrobe is good fortune indeed, larity. for in planning it one need not keep the thought of utility This three-piece model, which is of toast-colored in the foreground, but instead, may indulge in a bit of duvet yn, besides its cuffs and flattering collar of brown luxury or in extreme s not permi ssible for day-time wear. wolf, has a trimming of corded bands , sections being used . Rub y-red chiffon velvet is the very lovely material at the under arm of the jacket and around the lower edge used for this cape and because of its beauty and its luxur of the skirt portion, which is draped and made in wrap ious nature no contrasting materi al is needed for trim around fashion. The kimono sleeves are of the bat-wing ming, the large flowers being made of self-fabric. These variety and are emphasized by the snugness with which the flowers almost completely cover the standing collar and lower edge is fitted. the wide band at the lower edge of the cape. At the extreme upper left, a full view of the dress is If you cut this cape with the aid of a pattern that does illustrated . This gives a better idea of the skirt drapery , not include the band at the lower edge, use merely a which is caught up with an ornament and shows a corded straight strip about I¾ yards wide for the band. finish at the waist line. The waist portion is of figured For the average figure, about 4 yar ds of 40-inch fabric silk in soft harmonizin g colors. and 2¾ yards of lining are required for this style.

14I I

8'7-

8 [, Vintage Notions Monthly ©2016 Amy Barickman, LLC <73Louses and Skzrls Model 9.-As the blouse novelty of the season, the foundation . The girdle of velvet matches its color and "jacquette," an example of which is shown here , seems its scallops with those of the chiffon and is finished at the to be the center of attraction. This is a coat-like creation, side with a large covered button and chenille tassel. almost invariably combining a long bloused effect, a snug For a person of average size, 4 yards of lace flouncing, fitting hip line, and silk of the matelasse or cloky variety . ¾ yard of chiffon, and ¾ yard of velvet are needed. The jacquette illustrated is of navy and gray striped matelasse with gray Canton crepe coll~r and cuffs. Model 9D.-Individualizing the more or less standard For wear with such overblouses, a skirt of plain type of surplice tailored blouse has proved not such a dif colored material attached to a camisole foundation , as ficult task in this model of knitted silk, in which Orion, a shown in the small sketch, is very satisfactory . The one medium dark blue, combines with a neutral gray of lighter illustrated is of heavy silk crepe in navy blue. This has tone. Blanket-stitching of Orion floss edges the collar , considerable fulness concentrated at the side in knife the applied sleeve pieces, and the strip that forms the plaits and plain front and back panel effects formed by the lower part of the belt. arrangement of the plaits. Average material requirements are 2 yards of 40-inch The blouse requires 2 yards of 40-inch material and ¾ material, ¾ yard of contrasting color, and 2 skeins of floss. yard of trimming, and the skirt, 3 ¾ yards of 40-inch material for the average figure. Model 9E.-Soft, narrow cordings indicate an unusual number of seam lines in this black crepe satin Model 9A.-With one's jacket merely opened, this blouse, but if desired, the two inside seams may be simu blouse, mad<: of a color that matches the skirt material, lated and the blouse cut as a simple drop-shoulder model. appears as a very conservative type, but the removal of Unusual sleeve treatment is another noteworthy point the jacket reveals sleeves of a bright contrasting color of the design, the lower portion being seamed along its and decorated in such a manner as to give the blouse a curved lower edge and the inside seam omitted so as to much more dressy appearance. provide an opening for the arm. The trimming of the As illustrated, the model is of navy Canton crepe, front panel is metallic-silver embroidery, a detail that is with sleeves of bright red Georgette embroidered in navy repeated with unique effect in the bound buttonholes. silk floss and gold metallic thread. The narrow fence Provide 2 ¾ yards of satin and I small skein of floss collar is held together at the opening with a simple buckle for the average figure. and a larger buckle secures the ends of the girdle, which is of self-covered cords slip-stitched together. Model 9F.-Prunella cloth in colors both somber and For the average figure, 1 Ysyards of Canton crepe , gay conti.nues to keep its hold among the most popular ¾ yard of Georgette , 4 skeins of blue floss, and 2 skeins skirt fabrics. In this model, it employes tan and brown of gold are needed. stripes in such a clever manner that it converts a skirt Model 9B.-The vogue for almond green has already of straight, simple cut int~ a design of no commonplace spread to blouse styles and provides a pleasing change of variety. As shown , a crosswise strip of the fabric is color. In this model of crepe de Chine, the green is inserted at the side, and this is edged with bias strips used for the lower portion of the waist and the slashed, arranged in herringbone fashion and extended into an puffed sleeves, and a light bisque color , for the front and opposite bias at the lower edge. back yoke effects and the upper portion of the raglan About I¾ yards of 54-inch striped fabric will be suf sleeves. Embroidery in almond silk floss combined with ficient for developing this model for the average figure if steel beads softens the joining lines of the two colors. you provide piecings in the bias strips about half way down the skirt and at the lower corners. In very heavy As a rule , 1 .½yards of one color of crepe and ¾ yard of a contrasting color, with 3 skeins of floss and I small woolen, such piecings would not be desirable, but in a bunch of beads, are sufficient for a model of this kind. medium-weight fabric, if made along the edge of a stripe and the seam pressed open, they will be scarcely evident. Model 9C.-The unique charm of this model depends principally on the manner in which blonde lace flouncing Model 9G.-Made of serge, Poiret twill, or Rosha is used to fashion sleeves of such a fasci~ating nature. nara crepe, in black ~r navy, this model would give a Following a recent style whim, these sleeves are cut in wealth of service for it belongs to neither the strictly bat-wing outline and the flouncing arranged in them so tailored nor the "dress-up" class and for this reason might that the scalloped edges meet over the center of the arm. be worn with blouses of very simple or rather elaborate Blending pleasingly with the lace, chiffon in a soft character. Triangular-shaped pieces inserted in the side medium brown, known as bobolink, edges the front and seams give a lengthened side and circular movement. back panels and in scalloped outline conceals the scalloped About 2 ¾ yards of material 40 inches or more in edge of the lace at the neck line, besides forming a camisole width is needed for the average figure.

The planning of home dresses is ever deserving of care extension strip about .¼ inch wide, tapering the width of ful attention, but particularly so when they are intended the seam on the placket edge ·to almost nothing at the for winter wear. If made dainty and becoming, they are lower end so that it will not form a plait nor undesirable bound to express a cheery bit of summeriness that will, fulness below the opening. Follow this same plan of at least partly, offset the depression sometimes caused by pinning the frilling, also ; then cover the inside edges of bleak and stormy days and thus be an influence for happi the frilling, as well as the joining of the collar and cuffs ness and contentment _in one's family. and the front neck line, with narrow bias facings. Points to observe in the selection of home-dress designs In applying the cross-stitching, be guided by the and materials are becomingness, simplicity, and attracti ve-. checked material and work out a pleasing design. ness. Also, it is important to consider whether or not the Make the sash double and tack this at the under arm. material will withstand frequent launderings and may be ironed quickly and easily. Model IOA.-For real utility and satisfaction, the surplice tie-on type of home dress is one that has stood Model 10.-Brown-and-white checked gingham steps the test of many seasons and is still assured of enthusiastic right out of summer styles to fashion this 'model, which is acceptance. That there remains, even yet, a way to vary trimmed in such an interesting manner with plain -colored this type is evidenced in this model of soft-blue crepe, gingham and cross-stitching. The side closing is accentu which depends for individuality on its puffed sleeves, a ated its entire length with frilling of the plain color, and collar and jaunty sash of white lawn, and trimming of another touch of the frilling is evident in the cuffs, which, rickrack braid, which follows a saw-tooth outline at the like the collar, are edged with bias strips of the ~ress front lower edge of the blouse portion. The back view fabric. The pocket is also edged with bias except at the illustrates a variation of the sleeve. bottom, and an extra strip run across it simulates a flap. The wide hem is a pleasing feature in a skirt as plain The straight gathered skirt is in two pieces. as this, but if economy of material is a very important For the average figure, provide 4 yards of material item, the hem may be made the usual width. 36 inches wide, ¾ yard of material of the same width Made with a wide hem, a style such as this requires, for trimming, and I skein of heavy mercerized floss. for the average figure, 4_¼ yards of material 36 inches Use a waist pattern having a side closing, as illustrated, wide, I yard for trimming, and 3_¼ to 4 yards of braid. and a straight two-piece skirt pattern, or merely cut two · Use a surplice kimono waist pattern in cutting out straight lengths of material for the skirt, making each of the waist portion of the dress and, unless you prefer a these the desired skirt length, plus hem allowance. straight finish across the waist line in front, leave extra For the sash, cut strips 3_¼ or 4 inches wide and pro material below the pattern line for the pointed effect. vide enough for a 2-yard length. For the pocket, cut For the skirt, cut two straight sections of material, a square 6_¼ or 7 inches on a side. making these of the width you desire. For the sash, pro After cutting out the dress, j~in the skirt sections, vide strips 5 or 6 inches wide and I yard long. taking care to match the checks accurately. Then gather In making the dress, seam the skirt sections together the waist line in preparation for the fitting. as directed for the previous style. Gather the back: waist ' After ·basting and fitting the waist, finish the seams line from one side seam to the other and finish the front ' as French seams; then gather the waist line. . waist line with a hem or a facing to provide a casing. If Make the collar, cuffs, and pocket ready for applica you wish , you may make a short placket on the left side tion by finishing them with bias strips cut about I inch seam or merely rely on the elastic in the front casing to wide and applied as facings to the right side. permit sufficient room to slip the dress over the head. Prepare the frilling by having the edge picoted, pro Join the under-arm edges of the waist with French seams viding a length equal to three times the finish~d lengths and the shoulder edges with plain pressed-open seams. you desire and then having the frill plaited. If you Pin the waist and skirt together ~cross the back waist prefer, you may finish the outer edge of the frilling with line in the fitting. Also, mark the pointed effect in the a tiny hem and merely gather the inside edge. front and pin the collar in position. In the second fitting of the dress, pin the waist and In finishing the dress, use a narrow facing over the skirt to a soft, narrow, inside stay belt made rather loose collar joining on the wrong side, extending this the entire fitting. After having adjusted the skirt fulness, provide length of the surplice portions. Face the lower edge of a placket opening by making a lengthwise slash about the waist, also, and apply the rickrack to all the edges, as 6 inches long, extending this from the waist line in line illustrated. The collar may be previously finished with a with the opening in the waist. Pin all the trimming tiny hem and the cuffs made double. details in place in order that you may observe the general After turning and stitching very narrow hems around effect and turn the skirt hem before removing the dress. the pieces provided for the sash ends, join them to the Finish the under edge of the placket with a double under-arm ends of the surplice portions .

Vintage Notions Monthly ©2016 Amy Barickman, LLC Model I OB.-A happy combination of materials for Model I 0F.-This model illustrates a dressier style house wear in cold weather is suggested in this style. of home frock, one that , because of its color and material, The fabrics used are chambray and checked gingham; the mauve figured silk, and its youthful and attractive ·design, color is a soft rose, warm and cheery in appearance; and is bound to appeal to one' s home folk or house guests. the design, fashioned as it is with long sleeves and com The front and back panels might be cut as separate paratively high neck line, is sure to provide comfort on pieces and the edges finished with bindings, or the panels a wintry day. The collar is of plain white gingham and might be merely simulated by strips of plain material the cross-stitching in rose color. appliqued over a plain, kimono, one-piece dress or by For the average figure, provide 3¾ yards of gingham , narrow tucks pressed toward the under arms after they I yard of chambray , and ¾ yard for the collar , unless are stitched. As illustrated , the collar and the pocket you prefer to make this of the chambray, also. One trimming bands are of white wash silk. skein of floss is sufficient for the cross-stitching. Any of the soft cotton prints would be suit able for this You may cut the dress in .one-piece slip-over style and style, or Japanese crepe might be employed. make a casing at the waist line for the bloused effect. · About 3¾ yards of figured material and ¾ yard for trimming are required for the average figure. Model IOC.-That pockets may add a distinctly decorative note · to a garment, as well as prove a decided Model I 0G.-The slenderizing lines of this style make convenience, is the impression th at this apron, or over it especially desirable for the woman of large proportions. dress, model gives. The color combination, also, is one that would not Cretonne in medium bright tones of brown, . having accentuate size-a medium grayed-green with soft ecru frequent touches of gold and black, is the material used collar and inserted pieces. The faced, scalloped edges for the bodice portion, pockets, and skirt trimming band provide, perhaps, the most intere sting details of the design. of this design, and everfast gingham in a harmonizing Materials suitable for the development of this style brown makes the straight gathered skirt portion, the bodice are harmonizing colors in cotton poplin , Japanese crepe, and pocket bindings, and the sash ends. linene, and chambray, 3 ¾ yards of one color and 1 ¾ As an apron, this style gives excellent protection; as yards of another color being required. an overdress , it might be used with shirtwaists or simple The pattern suggested for this design does not have dresses that are too worn for any other service. a back panel nor an inserted front section. If you are Provide 1 ¾ yards of figured fabric and the same hesitant about making the back panel, simply stitch amount of plain material for developing this design. scalloped strips down each side of the back. If you wish, In order to form the pocket pattern, experiment w ith you may cut the front on a fold , and afterwards slash the paper, cutting it of the size and shape you desire. center-front line, mark the scalloped edges and face them, and then stitch them over the strip of contrastin g color. Model I 0D.-Another type of apron that might serve as an overdress and afford an opportunity of wearing out Model I 0H.-Serviceabilit y and smartness combine blouses is this slip-over model. in a delightful manner in this frock of black satine, Navy-and-white striped percale is the very practic al having trimming of cretonne edged with green rickrack. material that is employed, but the design is lifted out of This design might be cut with the aid of the pattern the ordinary class by its trimming of bright-red rickrack sent with Tissue-Paper Patterns , Parts I and 2, the center · braid , which edges the deep neck and armhole lines and front being placed on a fold and allowance made for an extends from the lower edges of the skirt portion along opening at the center back. the side seams to pocket depth, where it turns toward each Provide , for the average figure , 3¼ yards of satine, side front to simulate pockets. ¼ yard of cretonne , and about 6 yards of rickrack braid. A style such as this requires about 31/s yards of 36-inch material and about 4¼ yards of rickrack braid. Model 101.-If one desires bright colors in ho~e frocks, a model such as this, developed from figured and Model I0E.-Plaid tissue having a background of plain percale in a soft orange, would surely appeal. bluish gray with stripes of soft rose and blue is the very This design may be cut with the same pattern as that dainty material used for this dress. The collar, cuffs, suggested for Model 10H, provided the pattern is folded and vest and pocket trimmings, as well as the pointed to remove some of the length in the waist portion. A edging, are of plain white flaxon. band of the figured percale edged with the plain is stitched .The material suggested, as .well as the general design; over the center front of the dress its entire length and with its long , close-fitting sleeves and trim collar and cuffs, trimmed with diamond-shaped buttons. The sleeves and makes this a dignified model for the mature woman. ·neck line are bound. The design requires, for the average figure, 4 ¼ yards For the average figure, 2 yards of figured and 2 ¾ of plaid material and ¼ yard of plain. yards of plain .material are neede:l for this design.

Model I I .-To combine the charm of dignity with practical smartness. Bands of tan cloth embroidered in winsome youthfulness seems to be the object of this black and mocha-colored wool provide the belt and cuffs . misses'! street frock for which navy Poiret twill is the and indicate the waist pocket and side closing, and this fabric employed and gay-colored ribbon, the trimming, same material is used for the collar. adopting as it does such an interesting arr angement on the For the average miss, 3¾ yards of jersey, ¾ yard front of the dress and also covering the joining of the of contrasting color, and 4 -skeins of floss are needed. sleeve. You may have the skirt steam-plaited in narrow plaits, This model may be cut in one- or two-piece fashion, or, if you wish, make wider plaits, being guided by the and the low waist line, in either case, provided with a pattern suggested for this design. The only waist opening casing in which elastic is inserted. The full-length side provided in this pattern is a center-front slash from the closing is emphasized at the neck and waist line by large neck line. If you prefer a side opening, as shown, hold jade buttons . the pattern up to the figure and crease along the.line you Other possibilities for this design may be found in wish the opening , and, in cutting, allow for finishing. serge or wool crepe of firm weave with fancy braid or applied hand-embroidered strips of contrasting material for Model I IC.-Two tones of peach color combine trimming. The long-line effect that is carried out makes with delectable results in this dance frock of Canton this style an especially good one for the girl of generous crepe and chiffon, the crepe providing the dress proper proportions. and the chiffon, the soft girdle and the panels, which fall In the average misses' size, the dress requires 2:)/4'.yards from wreaths of fabric roses placed over the girdle at each of material 54 inches wide and about 5 yards of ribbon side front. This dress, also, may be made in one- or two or braid for trimming . piece effect and a casing formed at the low waist line to provide the blouse. In a blouse as simple as this, the Model I IA.-Not the slightest claim to sophistication slashed sleeves stand out as a very interesting detail. is held by this piquant model, in which almost every The soft fabrics and long lines of this design make detail seems to be a spokesman for youth itself, Immedi it an excellent selection for the plump figure, but, for ately, it suggests its suitability for the slender miss--one the stout young person, the width of the blouse should be who lends to her costumes an air of smartness. broken arid the skirt panels confined under the girdle. An abundance of fulness and a hem cut to give a deep For the average miss, provide 3¾ yards of 40-inch pointed effect at each side front and side back are char cr~pe and I yard of chiffon. acteristics of the unusual skirt. This may be cut straight or circular, as you prefer, but a circular cut will produce Model I/ D.-One of the greatest joys of being in godet-like folds at the lower edge that are somewhat more one's teens, slender, and eligible for all sorts of good times, effective than straight fulness. is the privilege · of including party or afternoon frocks The long-waisted basque is but slightly fitted and has such as this in one's wardrobe. its opening at the center back . . The collar, which, by its To carry out the bouffant fulness, taffeta is really outline, suggests Puritan ancestry, is of white crepe de essential, the chosen color in this instance being celestial Chine and boasts a long, narrow ribbon tie such as is the blue, which is very similar to Copenhagen. Several rows delight of tender years nowadays. The novelty girdle of shirring at the upper edge of the skirt confine is of a red that contrasts most pleasingly with the dress the fulness for about I inche below the waist line, and material, which is of the wide tuck stitched cocoa-brown crepe satin. across the front several Of such material, about Simple 'Trimming Effects Favored inches below the shirring . 5 ¾ yards is needed for Front trim s are assertin g them selves in no uncertain mann er helps to give a distended the average miss. For and many smar t a nd youthful effects are obtaine d with quills of effect over the hips. The se lf-fabric, as is shown in Mod el 11. Here , a frame of medium the collar, about ¾ yard size a nd oval in shape has a dent in the right side front of th e snug basque has an un 1s required. slightly rolling brim. The top of the bri m and crown are covered usually soft neck finish plain with duv etyn in a shade matching the button s on th e dre ss, the under brim being of navy Lyon s velv et. · provided by a surplice lace Model I/ B.-Mocha Quills that are mad e by pas tin g t ogeth er two layer s of the vestee tied in a bow at the duvetyn and one of crinolin e a nd cutting th e edges t o r esemble colored wool jersey, that enlarged oak leaves , with the vein , or center rib, outlined with blue center front and an edging ever reliable school fabric, floss, are ap plied to the crow'n at the front, on e extending low and of brown fur placed out out beyond th e brim edge at the right side, while the other as sumes is appropriately used in an upward curve to the left side . side of this. this new · fall blouse, and Dir ectly oppo sit e in contour is th e coronet tu rban in Model About 5 yards of taf 1 lA. Brown Lyons velv et is used in developi ng it , the three by adding a knife-plaited slashes in the coronet bein g outlin ed with a side plai ting of . feta, I¾ yards of lace, and skirt of ample dimensions, cerise -tone metal ribbon to produ ce a .tricorne effect . I yard of fur banding are makes a school frock of needed for this model.

Model 12.-When youth goes to peasant styles for its costume, they provide a quick and easy method of trim fashion inspiration, it is ~ssured of a success that can ming. As shown in this model of blue serge, the braid seldom be credited to peasant influence in a grown-up outlines the vestee, follows long rows over the one-piece environment. And so we find many evidences of this front and back, and forms a wristband and trimming influence in junior fashions, the raglan sleeves and gathered piece for the sleeves. neck line, as shown, being the most adaptable of these. Beige-colored crepe de Chine is used for the collar and Toast-colored wool jersey, a material that because of vestee, but, if you prefer, you may make these of linen its serviceable nature is in keeping with peasant tendencies, or of self-material. Of contrasting material, you will was chosen in this instance, with navy grosgrain ribbon need ¾ yard; of the braid, about 5 yards; and of material a~ bindings for the neck, sleeve, and pocket edges. 54 inches wide, I¾ yards for a child of ten years. The bound opening at the center front is held together with tie ends of the ribbon, and the sleeves, which repeat Model I 2D.-V elvet, velveteen, or satine, according the slashed treatment, rely on tie ends of the ribbon, also, to the expenditure desired and the purpose for which the . for correct adjustment at the wrist edge. Such an abun dress is intended, might be selected for this design. As dance of pockets, even though they were of a very ordinary shown, it is of black velvet with applied bands of white nature, would delight because of their convenience, but, broadcloth gayly embroidered in running- and cross in addition, they take on greater importance by the stitches. As the embroidery is so very simple, it can be embroidery of wool in a tan much brighter than the fabric. quickly developed. The construction of the dress, also, For a twelve-year-old girl , provide 2 yards of 54-inch would require but little time, for the finishing of the under fabric, 6 ¼ yards of ribbon, and I small skein of yarn. arm seams, the hemming of the skirt, and the binding of the neck line and slash at the center back are the only Model l2A.-'Tis upon the manner of trimming this details that must be considered. dressy little coat that most of its individuality and smart Provide, for the average child of eight , I¾ yards of ness rests, and the nature of the material and the trimming 36- or 40-inch fabric, ¼ yard of contrasting material for selected will stamp it as truly patrician in character or as the bands, and 3 skeins of floss. a model of more serviceable intent. For instance, it might be developed from duvetyn in a tan familiarly Model / 2£.-Carried out in a monotone and yet known as pigskin, with trimming of strips of beaver fur, wholly lacking in any suggestion of monotony, this mocha or in blue or black velvet as a background befitting gray colored Canton crepe frock, with its simple blouse and squirrel. Aside from these very luxurious possibilities, it knife-plaited skirt, depends almost entirely on an ingenious would be really lovely in one of the downy wool fabrics use of self-colored moire ribbon for its individuality. This with rows of stitching or bands of embroidery taking the ribbon, in defining the side front closing and banding the place of the fur strips. lower edge ·of the sleeves, is interlaced in basket-weave In the twelve-year-old size, about 2 yards of 54-inch fashion, but around the waist line it is used simply in a material and 6 yards of fur banding would be required. double row without interlacing. Picot-edged or double strips of self-material might be substituted for the ribbon Model / 2B.-Intricate draperies, which require a with very satisfactory results. skilled hand in their development, can hardly be recon As a rule, 2 ¼ yards of 40-inch material and 7 yards ciled with youthful designs, but applied draperies of the of ribbon are needed for a ten-year-old gid. cascade variety are not nearly so sophisticated by nature and, as shown in this model, lend themselves charmingly Model / 2F.-Diamond-shaped black-velvet patches to little · dress-up and party frocks. forming the center of cross-stitch designs worked in heavy As illustrated, the dress is of Georgette crepe in a black silk floss furnish :unique interest in this little model mo.ss:rose pink. In pleasing contrast with the draperies of bright~red crepella. Besides the cross-stitch embroi are the unstitched plaits, which extend from the shoulder dery, single rows of darning-stitches in matching silk floss to the skirt hem at each side front and side back. The extend from the neck line and effect a front panel, and the · sash is of silver ribbon and the waist .trimming of very sash, extending through openings at each side front, also flat •varicolored roses. emphasizes the straight-line tendency. About 2 ¼ yards of 40-inch material and 2 ¼ yards Narrow collar and cuffs of cream-colored liner:i soften of ribbon are required for the average child of eight. the neck and sleeve edges, but as this light color would require frequent laundering, the collar and cuffs might Model /2C.-In making up dark materials for chil be omitted, the neck and sleeve edges finished with piping dren, one can scarcely resist using trimming braids in of velvet, and the embroidery design repeated on the sleeve. abundance this season, for besides being offered in such For a child of ten, provide I¾ yards of 54-inch delightful colorings and adding so much "life" to a material, ¼ yard for collar and cuffs, and 2 skeins of floss.

Vintage Notions Monthly ©2016 Amy Barickman, LLC 12 V Vintage Notions Monthly ©2016 Amy Barickman, LLC Model /3.-Not even the suggestion of a girdle Model IJC.-By the simple application of a wide restrains the impulse of this little bloomer dress, which band of henna jersey, this little romper suit of navy crepe aims to be just as comfortable as it is smart and colorful de Chine receives the prestige of a bloomer dre ss and, in appearance. And this is really quite an ambition, for at the same time, maintains the convenience of a one-piece, a combination of materials and colors so pleasingly unusual slip-on garment. Henna-colored wool cross-stitching as homespun and crepe de Chine, the one in a grayed orange follows the line of application of the band and also of the and the other in a brilliant orange, is bound to attract sleeves, which are likewise ~f the contrasting fabric. favorable attention. As illustrated, the homespun forms Two colors of one material, such as wool crepe, the front and back portions of' the dress and the sleeve Japanese crepe, or some other cotton material, might be trimming bands·, and the crepe de Chine, the bloomers, used for this design, or it might be developed entirely from sleeves, neck-line bindings, and quaint little pocket, which one color. When two fabrics are used, about I¼ yards masquerades as a tulip. Green wool-floss embroidery sup of 40-inch material, ¾ yard of 54-inch material, and plies a stem and leaves for the tulip . I small skein of floss are needed for a child of four . About ¾ yard of 54-inch fabric and I¾ yards of 40-inch material are needed to develop this design for the Model /JD.-When one's romper suit is disguised average four-year-old child. with a jaunty sailor collar and tie, its degree of masculinity shows such an appreciable increase that one feels justjfied Model I JA.-One's presence at a party is certain to in stepping beyond the restrictions of tender years. be a real contribution to the affair if one's frock happens As shown, the little suit is of washable corduroy in to be, like this model, of peach-colored crepe de Chine navy blue with white flannel collar and vestee and trim daintily ruffled and made further captivating by loops and ming of harrow black braid-ideal for dress-up occasions. ends of soft-Mue ribbon. Side yoke sections ·cut in one For every-day wear, the heavier cottons and linens or wool with the dress, besides furnishing an unusual point of crepe might be employed. Of material 40 inches wide, design, permit soft fulness over the arm and a more nearly 1 ¾ yards is needed for a four-year-old lad with ¾ yard straight grain at the lower edge of the skirt portion. for the collar and I¾ yards of braid. Ruffles are not included in · the pattern suggested for this design. For them, provide picoted strips 11/zto _·2 Model I 3E.-If one is the proud possessor of a inches wide and equal in length to one and one-half times diminutive brown squirrel neckpiece, there really is no the measurement of the portion of the skirt over which necessity for being concerned · about the design of one's they are to be applied. As illustrated, the ruffles are coat other than to be assured that it provides a very desir secured with machine hemstitching. · able setting for such furry loveliness. Tan broadcloth For a four-year-old tot, i ¼ yards of 40-inch material was the choice made in this instance , smocking in self will be sufficient if the ruffles are cut lengthwise . colored floss used to concentrate the fulness below the little round fitted yoke and cording supplied around the bottom. Model I 3B.-Any of the sturdier cottons or linens About 11/zyards of 54-inch material, 1¾ yards of lin or a woolen fabric, such as jersey, would make this a very ing, and 2 skeins of floss are needed for a child of four. serviceable little suit, especially if the choice of color is one that does not show soil readily. Ideal in every respect Model / JF.-Black braid and black wool cross-stitch for the small boy is the ing combine very effec combination that is illus- tively in trimming this trated, jersey cloth in tan Simplicity Accentuat ed far Youth simple little model of with neck, sleeve, and wool jersey in · a rather In the wide assortment of hats for t iny tot s, the simpl e littl e pocket bindings of a color cu ff brim st ands out as a decid ed favorit e. It is always grac eful deep tone of rose. At ful brown verging on an d the very embodiment of youth , because it is an ad aptable each side of the front, type for embroidery, flow ers, or fur trimming . henna. The buttons indi One particularly attractive design is shown in Model 13, the braid is applied in flat cating the opening, which developed in the new ton es of brown duvetyn and chenille. The double rows to simulate flexible cuff is made by cutting a bias strip of duvetyn 9 inche s permits the suit to be long , lining it with one layer of tarlatan, joining it in a ring, slashes, but on the belt, slipped over the head with and th en running two rows of shirring along each edge . The neck, and sleeve edges it scroll design is made with chen ille couched on. with metal thread. ease, are also covered with The shirring is then dra wn up to fit a I-inch, . duvetyn- covered, is used as a binding. the contrasting color. head-size band and appli ed on the inside. A circle of duvetyn To develop this model 11 inches in diameter has the chenille couched on in spiral eff ect For a wee lad of four and then attached to the band . for a child of six, provide years, about I¼ yards of As a ffoish , 3 strands of chenille, braided to form a rope Zl 1¾ yards of material 40 inch es long with a ball tassel on each end, is drawn around the 54-inch fabric and ¾ yard crown and tied at the right side with the tassel hanging off the inches or more in width, of contrasting color of the edge , thus forming a decidedly youthful trim. 6 yards of braid, and 2 same width are required. small skeins of floss.

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13 8 Vintage Notions Monthly ©2016 Amy Barickman, LLC After close observation and study of the new models for fall and winter, the impression gathered is that Venice and Persia are the founts from which a constant flow of ideas for quaint and picturesque hats pours forth. Of course, this inspiration comes directly from the "Grand Prix Ball," an event given in Paris at the close of the summer season. This year it was more than a ball-it was a scene of spectacular magnificence suggested by a reception given in the Eighteenth century by the Doge of Venice for the Persian embassy. The setting, head-dresses, and costumes reflected the color splendor of Persia artistically blended with the lavish beauty of contour that dominated all designs when Venice was the acknowledged fashion dictator. The combination of brown and black, of which the French are so fond, gladly joins forces with these influences. Next follow the deep coppery brown-reds, taken from the dark nasturtium, or wallflower, and the warm, glowing colors of poinsettia, geranium, and J aponais, which is likened to red Japanese lacquer. Chantilly color, a wonderfully rich, violet tone, appears to be starting on a long career that may continue throughout the winter; as is the prediction for the chameleon and various nacre tones, also. This changeable effect is shown in material and trim- . ming and. embraces · all the new Venetian colorings in greens, gold, and fra~boise-a sof! raspberry shade----as well as the blues and reds . of dull Persian and Paisley tints; a group of grays from a bright silver to taupe; and the new petroleum color, which is a dusky, gray green much easier to wear than the almond shade because it is a color that is more neutral when worn with different costumes. Irregularity of contour in both large and small shapes is evident. Venetian . influence is a strong feature in the tricorne treatment of pointed and slashed effects. The Persian influenc~ is manifest, too, in the small toque draped with rare old Paisley and metal brocades of past periods. Cut-off back and very long front, high crown pokes are sponsored by all clever modistes. The richness of millinery materials cannot be overstated, the leading fabrics being truly elegant Lyons velvet in black and colors; hatters' plush and panne, which occupy a close second place; and maline and Chantilly lace; which combine excellently with the heavier fabrics. Costly brocades, silver and gold antique, are used alone or in com bination with other materials in the making of br immed hats and Oriental turbans, these turbans being draped according to the country of their inspiration. Gaufre velvet, froisse satin, in fact, any crinkled or crushed material is much in vogue. There is no doubt that self-trimming, such as choux and flowers, in every conceiv able placement, is a leading note. Entire hats are made of cords and cord winding. All kinds of plumage fancies, pasted feathers, flowers, firefly pompons of clipped coque, burnt peacock, glycerined and natural ostrich in fountain .and pompon effects, are immensely popular, particularly when they receive unusual placement.

J NEW and distinctively graceful elegance is added to the present mode <:!,/J.. by the use of lace, it being the most individual form of adornment a woman can select. Alway , when fashion reaches its highest stage of beauty, it rediscovers the decorati ve value of lace in the making and trimming of hats and u es it very artistically , a is evidenced in several of the models shown here. Unusually smart is the black panne velvet tricorne of Venetian in piration show n in Model I. Sla hed at the sides and front , the edge of the brim is bound in silver galloon. A handsome black lace veil, decorated in border effect with a silver stitching of intricate design, is attached to the under brim aero the back in Venetian fashion, its voluminous folds falling in the form of a cape. In marked contrast with thi influence is the long-front, narro w-of-sides, and short-back poke in Model 2. A new style point empha ized is the use of the double brim, which is accompli hed by hirring gold metal lace on a wire founda tion and then attaching an extra brim on top, this being made by pasting two layers of chestnut-brown velvet to a layer of crinoline, cutting it from I to 2,¼ inche smaller, and binding the edge with gro grain ribbon. The bowl-shape crown i made by attaching a circle 13 inches in diameter to a 1 ¼ -inch wide head- ize band. For a simple but effective finish, two metal poinsettias are applied at the right ide back. Lovely in it studied implicity i the capeline of black shirred maline hown in Model 3, each row of the shirring being outline d with a heavy covered cord of black panne velvet. A bouquet of tin el flower is applied on the right side brim. Again , the accentuated points of Venetian influence are evident in Model 4. This brim take a Light droop downward from the head- ize and then a sumes the easy roll at the edge and forms a quatrecorne. Chantilly color Lyon velvet is used to cover the brim and make the bowl-shape crown. An ostrich blade of variegated color is arra nged to fall in a cascade at the right side. For dance wear, the clo e-fitting, cuff turban shown in Model 5 partakes of a many- ectional, head-conforming crown of ca hmere-tone metal cloth. The cuff and front- La hed coronet are of a light caramel-tone duvetyn. A croll design of cire soutache is used on the coronet and an oblong lace veil is draped to fall over the eyes and then continue down to the shoulder s on each side.

Vintage Notions Monthly ©2016 Amy Barickman, LLC _CJ-la-ls<:/ Grace/uf C:on~ur Model 6.-Standing out prominently as a very desir chenille cloth for the facing and top of the under brim. able fabric and possessing many possibilities for unique Sable brown velvet is used for the edge binding as well designs in novel sports sets, suede and kindred fabrics are as for the covering of the small-size extra brim that _flares establishing themselves in millinery. On account of its up from the head-size, a bias strip wide enough to fit from suppleness, suede is much seen just now not only in hats the head-size, over the edge, and to the head-size on top but in matching sets of short jacket, girdle, and bag, the being used for this brim. hat and bag set shown here being a popular example. The soft crown, which is made of the sable velvet in Attractive and delightfully becoming is this Chinese balloon fashion, is draped over an oval foundation. A turban with its flexible cuff brim and its high, six-piece, veritable shower of two-tone ostrich blades falls over the sectional crown developed in brown suede. The cuff edge brim at the right side back. is bound in No. 9 black grosgrain ribbon and the brim For the brim, I yard of bittersweet chenille cloth is is embroidered in oxidized and metal disks combined with required and for the top brim, the binding, and the crown, chenille, cire soutache, or plain silk thread in self or con I yard of velvet. trasting colors. The envelope purse is made of the same material, the Model /0.-A new novelty in fabric called satin cuir, edge of the lap being bound with the black ribbon and which is extremely shiny and closely resembles alligator the flap then embroidered in the same way as the hat, thus skin, is used to develop this high-front, · coronet turban. completing an exceptionally useful and artistic sports set. The coronet, . which has several decided ridges in the A suede skin of medium size is sufficient for both the hat front, is covered plain with the satin and finished around and the bag. the edge with a cord. A two-piece balloon crown is draped over an oval foundation. Model 7.-Poke outlines of irresistible charm dis The placement of the trimming, which is a huge pom tinguish many of the season's new models. Backless, with pon of burnt peacock, in the direct center front, is entirely its rather long front curving into a deep roll, this shape different from the flat effects to which we have been is entirely covered with shaded blue-and-silver cloth shirred accustomed, but with the advent of t~e high fur choker solid and is trimmed with a band-made rose of self it promises to become a favorite. material placed low at the right side. As this material is only 20 inches wide, this model The shirring is run on the length of the · £~bric, and requres I¼ yards for its development. 2 yards of 20-inch material is required. For the sake of contrast in either color or fabric, the rose may be made Model //.-With a narrow up-turned back, this of a different material, such as sapphire-blue velvet. broad-side shape of irregular contour emphasizes clearly that black hatters'-plush, hand -block shapes have not lost Model 8.-ln the wide assortment of wrapped tur any of their earlier prestige, but still continu~ prominent . bans, which have assumed such an important place in the among the most exclusive models. mode, the one of Persian inspiration is a favorite. Art For the trimming, which is applied at the right side fully draped with rich brocade in a series of graceful folds, back, . two ostrich pompons that have had all their original this model achieves height in the center front by the left characteristics removed by some clever process until they side drape swirling over to the right side, and it attains ate thin strands, spread out beyond the edge. distinction by a hanging bow at the right. A high-front, tam-foundation frame has its top · and Model /2.-One of the smartest and most umque vizor _brim covered plain with Lanvin-green duvenor. ideas for trimming is the new firefly ornament of stripped Then, it is garnished across the front with jewel beads, coque, which is used as a wreath · or in pompon effect on which also form a fringe on the ends of the bow. each side of the hat. For the drape, two bias strips of brocade, ¾ yard Mahogany-colored velvet is used to fit this easy-rolling wide, are laid in soft folds, the left side crossing the right brim that widens out at the sides. The semitam crown in front and the right overlapping the left at the back. is made of a circle of the velvet 14 inches in diameter, Of the brocade, 1 yard is needed, and of the duvenor, which may have a pin tuck run through its center from ¼ yard. front to back and another from side to side to divide it into four sections. This circle is then attached to a 1 ¼-inch Model 9.-That double-brimmed hats occupy a place head-size band and the firefly pompon applied at each side. of honor is a fact well illustrated by the various types dis For developing this model, I¼ yards of velvet is played. Being truly charming, this style permits of so required. many variations that there is no danger of sameness even if it becomes a general favorite. Model I 3.-Ribbon, one of the most delightful and Developed in a combination of colors and fabrics, thi~ satisfactory of millinery materials, insists upon its right broad-side, short-of-back mushroom chooses bittersweet to remain in vogue. And from present indications of the

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Vintage Notions Monthly ©2016 Amy Barickman, LLC quantities of metallized and plain ribbon, in both wide and off the face in front, widens out a trifle at the left side, narrow· widths, used in choux and bow effects, it is a safe and shapes down to a point at the right. prediction that ribbon will feature prominently throughout For the brim, two bias strips of velvet, Ysyard wide, the season. The straight-across-the-front bow shown here, are joined in a ring and are shirred along each edge with which accentuates double-side points, is only one of the two rows of shirring run ¾ inch apart. This is laid many effective placements that ribbon assumes. over the brim and attached to the head-size underneath; Navy blue Lyons velvet is used irr the construction then it is adjusted in soft folds and held in place by of this 4-inch cushion brim, which is applied to a 1-inch several stitches taken along the edge of the brim. Next, vizor-brim foundation. The brim is turned back to the it is drawn into the head-size on top so as to form a soft crown across the front and the broad-side bow of blue puff around the edge. moire ribbon is attached on the vizor brim so that it The crown is made in two pieces, a circle IO inches extends out several inches beyond each edge. in diameter being shirred around the edge and applied A four-piece sectional crown made of a combination of over the top of a regulation oval foundation in a soft effect. the moire and velvet, that is, two sections of velvet and Then the side crown is covered plain with a 5-inch bias two of the ribbon, is adjusted so as to allow the hat to strip and is joined to the tip by means of a corded edge. fit well down on the brow. A band of narrow metal ribbon is drawn around the For the bow and two sections of the crown, provide base and tied at · the back in a two-loop-and-two-end bow. 2 3/2yards of ribbon, and for the rest of the hat, 1 ¼ yards At the right side front, two large pompons of monkey of velvet. fur are applied. This clever imitation of plumage is arresting considerable attention, especially when its edge Model 14 .- The off-the-face type, here developed in is dyed in a different color. rosewood Lyons velvet, is another favorite that reappears The material requirements for this model are 1¼ each season. This medium-size foundation frame rolls yards of velvet.

Vintage Notions Monthly ©2016 Amy Barickman, LLC Vintage Notions Monthly ©2016 Amy Barickman, LLC Jersey MagicPattern: Bed Jacket •••••••••••••••••••••••••••••••••••••••••••••••••• • that were inspired by these vintage gems featured • • This is an original Magic Pattern, a project you cut • in the book The Magic Pattern Book, which I • out using diagrams instead of pattern pieces. These • • licensed with Workman Publishing. We have chosen • • were first created by Mary Brooks Picken for the • to keep the authenticity of this original pattern • Woman’s Institute’s student magazines, Inspiration • intact and therefore have not changed instructions • and Fashion Service. My book Vintage Notions: • • based on modern fabrics and techniques. Note at • • An Inspirational Guide to Needlework, Cooking, • the end of this pattern you will find helpful tips for • Sewing, Fashion & Fun featured 12 original Magic • • drafting pattern pieces. • • Patterns. Recently I have created modern patterns • ••••••••••••••••••••••••••••••••••••••••••••••••••• •

► ► ► HERE IS a wonderfully soft , l ½ in. wide for front and neck is com If there are additional pieces left from warm, comfortable bed jacket to be made fortable and generally becoming . A band underarm, make a pocket or two, first in a flattering pastel of wool jersey. This too wide may crowd at neck-too narrow cutting to size desired and applying a 1-in. fabric comes in a range of beautiful colors may look skimpy. band at top of pocket. Turn raw edges which will surely inspire you to make one Piece front band to make it necessarv under and slip-stitch pocket from wrong or more of these jackets for gifts. length , doing this so that seam comes at side so that no stitching shows on right. All you will need is l yd. to 11/s yds. of center-back or at shoulder seam. Press A little yarn or silk embroidered motif, 54-in. tubular jersey and a spool of match shoulder seams open . Appl y right side of or initials embroidered on, can add to ing thr~ad. band to right side of jacket. Stitch, using beauty of this type of jacket, or tiny bril To chalk out: A is at center or halfway a ¼-in . seam. Apply right side of sleeve liants sewed at intervals on the front can point on fold ( see diagram) . B is l in. to band to right side of sleeve and stitch, help to make it gay. right, C is directly opposite A on edge, using a ¼-in. s~am. Stitch underarms, and D l in. to left of C . Chalk a line B to stitching straight through sleeve ends. D. E is one-sixth of the neck measurement Press seams open. Turn raw edge of band plus ½ in. above B and F one-fourth neck back over seam at bottom of sleeve and measurement to left of B. G is one-sixth hem, putting in a ½-in . bottom hem. of the neck measurement plus ½ in. be Turn front band to wrong side and hem. low D . H is one-half the armhole meas edge down . urement plus 2 in. to left of A. Draw a straight line up from H to fold on oppo site side. I is one-fourth bust measure ment plus 3 in. above Hon this line. Mark DC curve at underarm as at f. Cut on shoulder line from B to D. Cut G sleeve and underarm, cutting on dotted line; cut front neck, curve F to E. BClA'\

BUST (Fullest Part} ...... ·-- WAIST ...... •..•.••...... __ ,~) HIP (Fullest Part) ...••.••..... ·-- ~\111,1, SHOULDER WIDTH OF CHEST...... ·-- _,,_~l ARMHOLE

FRONT WAIST LENGTH Shoulder to Waist ...... ·-- mz () ;,,; FRONT SKIRT LENGTH .... Waist to Desired Length...... __ 0 ~ ► FRONT FULL LENGTH c;;.... Shoulder to Floor ...... __

NECK (At Base} ...... ••.•...• ·-

SHOULDER HIP Neck to Armhole Line...... ·-- z m (I> ARMHOLE ...... •.•••.••••••• __ () ::c ;,,; ~ 0 ► C WIDTH OF BACK ...... •.... ·- ....en ,...... C 0 0 m BACK LENGTH 0 m ... Neck to Waist ...••.••.••••••• ·-- ~ .,, m... 0 .... BACK LENGTH ,- 0 m 0 Neck to Floor ....••••••••••••• ·-- z 0 G).... ,.. ::c .,, OUTSIDEARM ,.. Shoulder to Wrist (Arm Bent) ... ·-- 0 0 INSIDEARM Armhole to Wrist (Arm Straight).

UPPERARM (Fullest Part) ...... __ _

ELBOW (.Arm Bent) ..•.••••... ·--

WRIST .•.•••••••••••••••••... __

HAND (Closed) ••••••••••••.. ·--

Keep Accurate Measurements Making The Pattern Since the garments in this book are all cut from measurements, it If you have the least doubt about your ability to chalk out the is necessary to have accurate ones to follow. Keep a list of your garment on your fabric, then rough it out first with crayon or own measurements always at hand for ready reference. heavy pencil on wrapping paper or newspaper. Cut out the paper pattern and use it to cut your garment. Cutting from a diagram, Measurements for fitted garments should be taken over the type of you can be sure that the proportions are correct for your size and foundation garments you expect to wear with them. Remove dress, that the garment will be a good fit. jacket, or coat, which would distort the measurements. Do not take measurements too tight. Make all easy enough for comfort. The chart shows how to place the tape correctly for each measurement.

FOR women who have an expert knowledge By HILARION DOYLE IF the children are old enough, they might of sewing and yet do not care to do it Instruction Department be taught to use a sewing machine at this professionally, the teaching of sewing to small time , stitching seams and hems on it. Hav e groups at home opens an interesting and them practice on scraps of material until lucrative field. Young mothers, and some they can make a fairly even, straight stitch . older ones, who can do only the very plainest The Instruction Books, Simplified Sewing of stitching, would welcome an opportunity and Underwear and Lingerie, offer excellent to learn how to make frocks and suits for the suggestions for these lessons . youngsters as well as home dresses, aprons, Slips for them selves would involve more and simple afternoon frock s for themselves. exact measurements but would not be too Schoolgirls, too, who love dainty under difficult to attempt after the apron. Then wear and pretty frocks but cannot afford to bloomers, which have seams cut on the bias, pay the rather high shop prices, would be edges that are not perfectly straight, and keenly interested in a class of this kind. other points that make them ju st a little Business girls, who spend their days in a more complicated than a slip, could be man-made world, also turn to truly feminine undertak en. The class should then have occupations in their less frivolous hours at sufficient experience and practice to make plain home, but while interested in sewing, hesitate stood. If not, explain the more difficult ones dres~es for themselves. It will, of course , to attempt very much because of limited again so that no mistake will be mad e in the take many mor e than five lessons to accom training or experience. So there are many actual work. However, do not spend too plish this amount of work, but the time types to whom sewing dasses would appeal. much time in explanation, for your students will have been well spent. To undertake work of this kind requires, will be most interested in the practical applica of cour se, your being capable of handling tion of their new knowledge . Q LDER girls and women usually want to every phase of it. You should know not only Plan the work so that only a definite begin by making a dress, but this is too how to sew well, but also how to impart your number of lessons will be devoted to any one big an undertaking without practice and knowledge and skill to others. A pleasing project and mention at the beginning the experience. An undergarment, such as a slip manner that will make a mistake seem natural, time you expect to spend on it, for having a or pair of step-ins involving only th e simple r the corr ect ion clear, and th e method easy, is goal to reach in a certain time is always an stitches and seams, would be more appro an asset , and patience is absolutely required . incentive. The general aptitude of the class priate. One that could be cut without a For the best results, plan the work definitely will determine the time required for a par pattern would be most satisfactory for begin in advanc e and arrange a course of study in ticular article, so it can be gauged only after ners , it being necessary at this time to make accordance with the experience and ability working with the group once or twice . sewing appear ju st as easy as pos sible, and of the pupil s. Ba se the projects on th eir The length of the class period, too, will th e use of a patt ern might discourage the interests but select them so that you can affect the amount of work done, two hours less confident . In this class, machine sewing arrang e them in the orde r of their learning usually being most satisfactory. Less time could be begun imm ediately, for quick results uifficul t y; that is, see that the first lesson than this is apt to be too short and a longer generally appeal to busy women more than is within the comprehension of the average period becomes tiresome . does fine stitching. student and does not take previous training After the straight-line slip, a nightgown and practice for granted . T HE course of study followed will depend and a pair of bloomers calling for the handling entirely on the previous training aml of lines that are not so plain and straight, T HE first few lessons should be experimental experi ence of your pupils . Tho se who know would be the logica l step . Daint y tucking, to test the learning ability of your pupil s very little or nothing about sewing will have lace, or other trimming could be introduced. and determine the type of criticism that is to be taught the foundation stitches and After this valuable practice, a simple dress, necessary for the particular group and the seams, so the first project should involve only cut, of course, with a pattern, might be method of administering it . Then you can these. If your class consists of very young attempted . In some cases, thi s may be the complete th e plans for your course and feel girls, a sewing bag in which to keep all equip first time that a pattern has been used , so the that you have made them prop erly. ment and mate rial s would be a practical methods of checking it up for size, adjusting With students who enroll becau se they are and interesting first project . Besides teach it when nec essary, and laying it on the mate really anxious to learn, you will need to spend ing such fundamentals as straightening rial should be explained. Individualizing very little time in arousing interest in your threads, basting, the running- sti tch, the Tissue-Paper Patterns will be valuable for subject, while with those who join under back -stitch, and hemming, it would be an reference at this point. The fitting of the pressure it will be necessary to make the work article for which they would have immediate dr es.~will be th e newest and the most difficult very attractive . However, it is assumed that use and would thus provide a motive for phase of this project, so ample time will have every pupil will be motivated in some way, so working, an important point in teaching any to be devoted to it . devote the introduction entirely to preparing subject. their minds to understand the new material When a knowledge of the most essential C OURSES of study, such as these, gradu- by connecting it with some special interest or 'stitches has been established, something ally lead the pupil from the first simple previous knowledge. It is important that embodying a new stitch or method can be steps in sewing through each succeeding and every new idea or step in any process be undertaken . It is important to introduce a more difficult one and establish the funda presented as a direct development of the new idea at every lesson in order to keep up mentals in her mind by logical development last one or allied to some similar information the interest of the group and make each pupil of the subject . in the child's experience . This association look forward to the next meeting. The The charge to be made for this service of new ideas with old ones makes them easier second project for young beginners should be brings up a question that must be settled to grasp and helps to develop a valuable habit something flat with plain, straight lines, individually, for it would vary with th e of thinking problems out without assistance. such as a little apron for themselves or their circumstances and possibly the age of your mothers . A type of seam not used before, pupils. It is usually more satisfactory to B EFORE having a class apply informa tion, gathering, stitching a band over the gathers, charge a certain sum for a cour se of lessons, question them about it to see whether or binding, or possibly appropriate embroidery perhaps $5.00 for ten lessons for children, and not the new points have been clearly under- trimming might be the new features. $7.50 for grown-ups.

Originally published in Inspiration, 1927. First Aids to a Per/ ect Skin JNreading a recent book by Dorothy Stote, By BARBARA ELLISON powder and a splendid protection to the skin, "Making the Most of Your Looks," I was Department of Good Looks count era cting the dryi ng effects of bot h int erested in this comparison: overheated rooms and the cold, outer air. "Nat ure gives us a good skin to start with," to cleanse thoroughly and mold out the she writ es, "but a woman's face is like a tired look. This is for the normal skin, with a A NOTHER trouble that arises in winter is garden. Left to its elf, it encourages the special blackhead wash for the oily skin . chapped lips, so disfiguring and so pain weeds of wrinkles and worry lines to grow Th e second is a clear skin cream that purifies ful. Many lips are never without little until they choke the nat ural roses of · her and gently bleaches, clearing the skin and crevic es and lines, and in the winter these cheeks and the sweet blossom of her mouth . very gently stimulating the circulation. The often crack unless proper care is taken. At "But even when the skin has, through some third is a skin toning lotion that keeps the such a time, be careful what kind of lipstick cause or another, been neglected, one can pores invisibly fine and preserves the lovely you use. An available and valuable one is bring back much of its bloom," she adds . contour of youth by keeping the tissues firm. camphorized and may be had in white for "I have seen it happen time and again. Th e tho se who wish only prot ection and in red complexion, under th e right care, will take on for those who like to protect and color in one a cleaner, clearer appearance and the skin gesture. The white is very conv enient to will become fresher with a healthy glow. use before retiring and for thos e who have the Individual cases where there is sickness or nervous habit of biting their lips. Women some internal disorder are enti rely different who have grown attached to a special shade matters and, of course, requi re a physician's of lipstick and still wish to protect th eir lips care, but I am speaking of the normal, may use it, too, as a make-up base and follow average, healthy woman. with their usual color . "The face is the most exposed and therefore the most imposed upon part of the body. A ND now before I leave a subject of so We start out in life with a smooth, soft skin, much portent to every woman who is but as time goes on, it is th e face that begins humanly inter ested in looking her best , let to show the strain and to point to age. Thi s me give you Miss Stote's recipe for freshening first tell-tale sign of maturity or its approach the skin on those occasions when you are can be warded off and a badly wrinkled, dried• more than usually concerned about your looks . up skin can be postponed for years ." "I suppo se we have all experienced one of tho se unfortunate days when everything A ND what is the pric e of beauty in terms of seems to go wrong, so that by evening we are time? Mu st we give to th e care of the compfetely exhausted both nervou sly and skin a couple of hours a day?-an hour?-a physically," she writes . "It might not be half hour? No, ju st ten or fifteen minutes. so difficult if we could go to bed early and This devoted to a simple routine while you T HE best time to give the complexion its sleep away all those kinks, but it frequently dres s in the morning and undress at night, treatment is just before going to bed, when happens this is the very day when we have an will accompli sh wonders if you are persistent naturally the first step is to rid the pores of engagement for the evening , and we long to and regular, but , of course, if you follow a the dust and waste that have settled in them look our best . treatm ent faithfully for a week or two and during the day. For this, the cleansing "If one of these times comes to you, will then skip a week, you cann ot expect good cream is excellent. Rub it gently into the you see if you can claim for your very own a results very quickly. face with an up ward and outward motion and half hour, or more if possible, at th e end of Th e degree of drying and chapping varies leave it on while you are undressing; then the day? Her e is how to spend that blessed with each individual type of skin as does also remove it, also gently, with a clean, soft cloth period. Take a good hot bath, and while the inability to resist changes of temperature or an antiseptic absorb ent ti ssue, such as is the water is running, apply your cleansing and humidity. Due to its very nature, the made for th e purpose and can be bought in cream to your face. Remove it, and put on dry skin is more susceptible to climatic any drug store. Coarse, rough towels and the skin food. Close your mind resolutely changes than the oily. It is, however, vigorous rubbing are bad as the y stretch and to every worrying and annoying thought, and entirely unnecessary for either type to suffer pull the skin, causing it eventually to sag. get into the tub and relax. Do not have a to any mark ed degree if daily, all-th e-year• If your skin is naturally oily and you pr efer tense nerve in your body nor a disturbing round care is given . A skin thus kept in to wash the face, a special penetrative wash, reflection. Lie out in the tub as flat as you perfect condition will resist the drying effect or pore paste, is preferable to soap. This will can, and (if possible) do not even think. of constantly coming from the cold air out• thoroughly clean se the pores, remove black Remain there fifteen minutes, then take a side into steam-heated rooms and the havoc heads, and close and refine the skin texture. bri sk cold shower or sponge bath. Slip into of violent seasonal changes. Following the use of cleansing cream, the bed for ten or fifteen minutes, and, if you can, skin needs a mild stimulant. Put a few drops go to sleep. When you get up, remove the M OST skins need certain preparations daily of astringent on a piece of absorbent cotton cream with an astringent, take a piece of ice -to cleanse, to clear and bleach if there ' and pat it well into the face and neck. This and gently rub it over your face . Your body are freckles or sallowness, to feed the skin, removes all traces of the cream and freshens is rested and your skin is refreshed . and to tone and brace the tissues. But it is and tones the skin. "Now for some fresh lingerie. Brush extremely important that such preparation s For a very dry skin, I would advise follow• your hair until it is smooth and glossy, and be pure . Otherwise, you had better leave ing this with the application of a rich, oily, take time for its arrangement . Next, your your skin alone, for much harm can be done nouri shing cream; for a naturally oily skin, stockings and slippers, and last of all your with improperly compounded cosmetics or with a special nourishing cream without an frock. If you use powder and rouge, put th ose made from materials that irritate the oily base. Mold or pat thi s gently into the them on at the very end, blend them patiently skin surface. face and neck and allow at least a thin layer until your compl exion has a fresh, natural A simple beauty treatment that has been of it to remain over night. appearance . A touch of your favorite per• very successful and brought much fame to Incidentally, the pasteurized cream, to fume on your hands, your hair, and at each its creator, includes three preparation s. which I have referred, is excellent to use in ear, and you step forth. The feeling of fatigue The first is a cream, pasteuri zed by the way, the morning too, for it is a ~ood foundation for and strain has left you, and you are rested."

WOVE N bas- By HILARION DOYLE Break into small pieces one large kets of reed Instruction Department stick of amber sealing wax, cover and dried grasses with denatured -alcohol, and allow are found in ruin s to stand in a covered o f civilizations jar about twenty-four thousands of hours until wax dis years old . But, solves; thin with old as it is, this alcohol until it is craft ha s not lost its like water . Pin charm, and with the the bag on a flat latest developments in surface, right side novelty papers, sur up, -and brush prising results are pro lightly with the duced with this new wax mixture, medium. A specially covering only one prepared crl!pe-paper color at a time and twist that resembles not allowing the fine raffia is used for weaving over heav y g basktt wax to run from crl!pe-paper rope for baskets and over one to anoth er. dry, turn the bag cross-stitch canvas for bags and similar flat over and repeat on th e other side. articles . It is durable and lends itself to To compl ete the bag, apply a silk lining smooth, beautiful work. with a muslin interlining along the space be The lovely purse illustrated on the page can tween the edging and border, using guss ets if very readily be duplicated. Handl e the desired. pattern, which is stamped on light, open-mesh canvas, as shown, just as if you were em IN weaving baskets with crepe-paper rope broidering. Do the beading first; then work and crl!pe-paper twi st , follow the same the leaves, stems, and other designs with the principl es as in reed and raffia work, using crl!pe twist; and lastly fill in the background. Fig. 5 the rope like reed and the twist like raffia. To do the beading, string enough beads on a For the best results, both should be double . silk thread to cover the space and, starting at Hold the rop e firmly in th e left hand near the left -hand side of the design, catch the the end and hold the twist lengthwise of the thread in the canvas and couch it down rop e und er the thumb. Beginning about between every two beads. In using severa l ¾inch from the end of the rop e, evenly wind colors, alternate them. th e double strand of twist to the end; then bend this forward to form the small est possible BEFORE using the crepe twist, flatten it circle and fasten the end by taking a st itch by running it over the edge of a ·table. firmly aro und the oute r rope. Still holding When embroidering or weaving with it, make the coil in the left hand, wind the twist once the stitches just firm enough to lie smooth around the rope, bringing it inward toward without twisting; never jerk th e stitches nor Fig. 6 the body and passing the needle through the draw them tight. And never knot the twi st. cent er of the coil, making one long stitc h . Start a new thread by taking one or two small way, but with even stitches, as in Fig. 3, Wrap th e second row of rope, winding th e stitches parall el to the pattern lines and cover embroidering hori zontal guide lines with ver twist two or three time s around and then ing th em with regular stitches. In ending a ti cal stitches and vertical lines with hori zontal bringing t he needle through the previous row . thread, weave it back and forth several times stitches. At the corners, decrease th e length This makes th ree short stitches to one long on th e wrong side. of the stitches by following the diagonal line one, as Figs. 5 and 6 show. Embr oider the leaves with a long-and -short of the pattern. Th e shap e of the ba sket is determined at the stitch, as shown in Fig. 1, just as if you were A substantial edging is mad e by turning very beginning. If round, coil the rop e evenly; using floss. If veins are indi<;:ated, embroider the outer portions of the canvas down and if oval, pr ess th e sides close and allow the ends them over the finished leaves with a different back, as shown in Fig . 4, leaving only one more freedom. For a straight-ed ged, up color . row of mesh spaces beyond the embroidered righ t basket, place one strand directly above Before filling in the background, color borde r, and then catching the double thick another. If th e basket is to flare, let each small sections of it with crayon of a similar ness with a whipping-stitch in each mesh, using strand extend just a little outside the lower one. color to prevent the white canvas showing a double strand of the twist. Cut away the Weave in the design and colors as Fig. 6 through. Th en, working the back ground :mrplus canvas close to the stitches . shows . To join a color, break off the with a straight satin twist, leaving about stitd,, take each al 1 inch, and hold this ternate stitch one flat to the rope be mesh above or below yond the weaving. the other, as shown in Then place 1 inch of Fig . 2, making a saw the new color on the tooth edge between rop e, bring th e twist rows except along the close to the weaving, edge nearest the bor and continue winding. der, which is straight. Finish woven ar Make the border, ticles with a coating usually of a contrast of amber sealing wax Fig.I-Making saw-tooth- Pig. S- Makin g border, Fig. 4-Making tdgt ing color, in the same Fig. 1-Making leaves edge background using even satsn•slit ches with whipping-stitch, us as for the bags. ing double thrtad

"Home, dear home, Smalt though thou be, Thou art to me a palace."

.NOW you can have the home you've been dreaming about. Beauti ful--charming-inviting. A home that expresses the love of beauty you have in your heart. A charming, inspiring environment for your children. An atmosphere in which your friends will love to linger. You've seen just such homes. Livable rooms that speak warmth and welcome as you cross the threshold. Where the furniture in friendly, cozy groups invites you to visit. Lights soft and flattering---colors charm ing. Pictures, books, magazines, flowers---everything---reflecting the per 'The sonality, the taste, the refinement of the home-maker. Secrets of a O, it isn't money I For homes of (If The Homecrafters' Course in Interior wealth may be cold and uninvit J Decoration. Interesting , fascinating Friendly N ing. The simple cottage .is often a lessons. A famous decorator out of charming expression of beauty of warmth twenty-five years of rich experience brings Home and hospitality. to you, right into your own home, every thing you need to know to create "the Q" The secret of making any house a home of your dre ams ." J home lies in simple principles of color, of form, of balance and proportion. In (If If you want to m ake your old home FREEBooklet formation possessed by the successful J more beautiful, homelike , invitin g. interior decorator but never before avail 'rf you want to know how to use charm Woman's Institute able in conv enient form to the woman ing colors---to r earra nge or rem odel your Dept . 205F. Scranton. Pa. in the home. furniture ---to brin g real beauty out of Please send me your book let "The Secrets what you h ave. If you are planning a of a Friendl y Home, " and give me full inf or~ G Now, however, all -these intimate new home. If you want training that mation about your new co urse in Interior De corat ion. I understand that the Book let J secre ts of the Interior Decorator---how will help you to earn money as an Inte is sent to m~ FREE, without the slightes t to make even the mo st mode st rooms a rior Dec orator, send to the Woman's ob ligation on my part. living , breathing expr ession of hornin ess Institute for its fascinating booklet "The Name ha ve been set down in simple easy lessons Secrets of a Friendly H ome." It tells you that any woman can easily understand. all about this pract ical, interesting new Secrets of color , of lighting , of balance cour se and how it will help you to have Address she can apply in her own home . the home of your dream s.

Realizing the · great convenience of a Dress Form for every woman who sews, we have had a form designed and made SHIPPINGCHARGES for us from our own specifications. It probably conforms Add shipping charges to more closely to the proportions of the modern figure than any your remittance u.s follows; Zone 1 and 2.... 24c other form made. Sturdy, light-weight, no cumbersome skirt Zone 3 . .. •.. •. . • 42c section. Mounted on adjustable standard that can Zone 4 ...... 77c be used at any height. Packed in compact carton, Zone 5 .. ..• ..... 1.12 Only Zone 6 ...... •. . 1.47 may be stored in small space. Includes 44 page book Zone 7 ...... 1.8.J on "How to Use Your · Dress Form." Zone 8 ....•.•... 2.18 West of Mi&&issippiRivcr , In ordering, give measurements taken around bust, figure charges horn Chi waist, and hips. Be sure to take measurements cago; east of Mississippi, from Scranton. very accurately.

This Everfast Frock Peter Rabbit's Sun-Proof, Tub-Proof, Always Fresh Apron ONLY $2·79 55c Brings Everything Ready-to-Make-No Waste, No Worry to Finish It It's a task to buy material in one place, pattern in another, and trimming somewhere else. Save yourself such bother This child's apron is by taking advantage of our Ready-to-~Iake Service. We delightfully original and furnish material, pattern for the dres s illustrated, and floss quaint. Stamped on un for embroidery to harmonize, saving you time and money. bleach ed mu s 1 i n, it comes with floss for em Everfast gingham ·is one o-f the best possible choices for broidery and full direc• such a frock. Fast to soap an

Vintage Notions Monthly ©2016 Amy Barickman, LLC Originally published in Inspiration, 1927. -- What to Do Every social problem an swered in Science of Culture - - What to Say No need for mistakes m speech and grammar -- What to Wear · Tells you what to wear for special occasions --V oice, Tone, Diction Three subjects of impor tance among cultured people -- Secrets of · Drama , Art , Literature Know the best of the glories of the past SuperiortoAny Book of Etiquette Alone The Science of Culture

Four Wonderful Volumes That Bring You the Secrets of Social Ease, Grace, Beauty, and Personal Charm

XCEPT by intimate friend s and relati ves , you are judged In every walk of life, in every imaginabl e sit uation, it is th e E by outward signs-t he clothe s you wear, the way you act, cultured man or woman who stands out and compels success. the things you do and say, your voice, tone, and dict ion. How Let the Science of Culture direct you in the way of culture. important to put your best side foremost! Ho w necessar y that you have a reliable guide to show you the correct way to· do DO YOU KNOW--- everything! --- The common mistakes in speech and how to avo id Th e Science of Culture is such a guide. It bring s you the them? corr ect solution to all your social problems -h ow to gain a - -- How to improve your vocabulary? reputation for being a charm ing hostess, how to avoid embar --- What to do when paying a social call? rassing mistakes in gramma r and pronunciation, how to express --- How to develop and express personality? personality in dress, how to live so that your friends an d neigh --- How to judge character by the face? bors will say of you, "She is such a cultured woman!" --- What the cultured person should know about architec- You know yourself how almo st every day of your life some ture, music, drama . literature ? occasion arises when you wish you were sure you had done the -- -How to pronounce the names of famous musicians . right thing or said the right word to place the other person at painte.-s. as well as the titles of the great opera s? ease. Th e Science of Culture is so arranged as to correct you --- What to do to improve your memory? before,-not after your emba rra ssment. --- How to serve corn and artichokes to your guests? YOU NEED SEND NO MONEY! I - - - - CUT ALONG THIS LINE - Examine for 5 Days FREE! Woman's Institute, Book Departmen t, DP-4 Through a special arrangement with the publishers, the Scranton, Pennsylvania Woman's Institute is enab led to send you these book s for 5 day s' You may send me the Science of Culture for 5 days' free exam inatio n. free inspect ion. Thi s means. YOU NEED SEND NO After 5 days , I will eithe r return the books witho ut obligation or pay for them MONEY! Simply mark and mail the coupon below. The at the ra te of $2.50 at once and $2.50 for t wo more mont hs. (If paid at once, 4-volume Science of Culture will be sent at once. Examine it I need send only $6.75.) . 5 complete days . Put it to every test. After 5 days, you may return the books or pay for them at the rate of $2.SQ as r,,;ame first payment and $2.50 for two more months , $7.50 in all , Add ress instead of the regula r book-store price of $10. If paid in full at once, you need send only $6.75, a discount of 10 per cent. City ______State------Class Letters axd No ______I _J

Vintage Notions Monthly continues to share the work of Mary Brooks Picken and the Woman’s Institute which inspired my book Vintage Notions. Although the Institute was founded 100 years ago, the treasure trove of lessons and stories are still relevant today and offer a blueprint for living a contented life.

If you enjoyed this issue of Vintage Notions Monthly, visit AmyBarickman.com for more of my curated collection of vintage content including patterns and books for needle and thread, inspiring fabric, textiles & free vintage art. Be sure to subscribe to my Amy Barickman Studio YouTube Channel where I share fascinating sewing and fashion history along with timeless style and DIY technique for your modern making! .

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www.amybarickman.com Join my Community Subscribe to my eNewsletters Further your skills and enhance your knowledge with Follow my creative journey! fellow vintage-inspired creative spirits! Learn about new products, videos, special offers, Amy Barickman’s Vintage Made Modern Facebook Group and receive a FREE PDF gift filled with Amy Barickman Studio YouTube Channel Vintage Made Modern printable and ',, V a Cropped Jacket Magic Pattern. Amy Barickman Studio Facebook Page ' AmyBarickman Studio Instagram Inspiration Vintage Notions Monthly , Volume 1, Issue 10 (VN0110) All rights reserved. Printed in USA. No part of this publication covered by the copyrights herein may be used in any form of reproduced by any means—graphic, electronic, or mechanical, including photocopying, recording, except for excerpts in the context for reviews, without written permission of the publisher. Purchasing this book represents agreement that the buyer will use this book for personal use only, not for reproduction or resale in whole or in part. The original, rare content is in the public domain;however this restored and revised edition has been created from my personal collection and is protected by copyright. To reach Amy email [email protected]

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Vintage Notions Monthly ©2016 Amy Barickman, LLC This Issue Contains Inspiration newsletter October 1920 from the Woman’s Institute of Domestic Arts & Sciences founded by Mary Brooks Picken Z Fashion Service supplement, Part 2 Fall/Winter 1922 Z Magic Sewing Pattern– Jersey Bed Jacket Z Collectible vintage Fashion Service fashion illustration by Alice Seipp Z Various articles from Inspiration, 1927

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