Silk Department Is One O F a and the L Rgest Most Important

D E P A R T M E N T S T O R E M ERCH AN D I SE MAN UAL S

T H E SIL K D E PARTM E N T

EL ! A B THOMPS N I . O o rme S o r e Te ac e Ste n r o e s N e w Yo i F r t h r, r B th r , rk C ty, m n s A . I a m a o n r o o n N . Y . In c o and . d S tr u r N . B kly , ; t o M c f Te ti e e an ise o u se s N e w Yo k Uni e rsit . x l r h d C r . r v y

NEW YORK THE RONALD PRESS COMPANY o i h 1 18 b C p yr g t , 9 , y TH E RON AL D P RE S S COMPANY wins S eries in Brhiratrh

ll h ime r to Mr s. en O e s e ss H ry , Mi V nia o e ss nne Mo r irgi P tt r, Mi A an and o h e o an z e s o f the g , t r rg i r D ep artme nt Sto re Ed ucatio n As so c a o n who d es n to e i ti , iri g giv gre ater o pp o rtunity fo r advance ment to co mme rcial e mp l oye e s and be li e ving that all busine ss e fﬁciency must rest up o n a so lid fo undatio n o f training and e d uc atio n gav e yea rs o f enth usiastic se rvice to the t n o f h b f esti g t is e lie .

E D ITOR’S P RE F A CE

This series o f dep artme nt store manuals h as been p re p ared fo r the p urp ose of imp arting de ﬁnite and authe n tic information to that growing army o f salesp eop le who — a re not satisﬁe d to be me re counter serve rs to those who re alize that the ir vocation is o ne o f dignity and and ha a fa e r the opportunity, t t to give s tis ctory s vice to custome r they must possess a thorough knowle dge o f the h n e h d a d ho w . goo s t ey sell , b st to sell t em These manuals w e re planne d and prep are d as the re sult of many months of teaching dep a rtment store salesp eop le in a numbe r o f large stores in N ew York and other e La e a e e a h d a citi s . t r s ri s of courses for te c ers of ep rt ment store salesmanship w as introduce d into the curricu lum o f the School of Pedagogy of N e w York Unive rsity . This gave additional opp ortunity for th e study of store conditions and nee ds from th e point of view o f th e a he Th the a he k h a s e e d te c r . us m terial in t se boo s be n tri out with the sale sp eop le in the store and also with those who have p roven themse lves to be successful te ach e rs . In seve ral store dep artments the subj ects o f color and de sign a re so important that a brie f state ment o f p rinci e e e a To a d a n f a p l s s ms nece ss ry . voi y con usion rising from varied statements the e ditor h as p ut the mate ria l v11 EDITOR’S PREF ACE

a d the a into a standa rdized form pp rove by uthors , insert ’ ing it before the author s applica tion to the merchandise

a e tre t d . We w ish to e xp ress our grate ful app re ci ation to the manufa cturers and e xp erts who have give n us such valu a and c — a ble counsel cordi al o op e r tion .

B EULA H E LF RETH KEN NARD. AUTH OR’S P RE F ACE

The salespeople in the Silk Departme nt should know th e a a a the d and a k m in f cts bout p ro uction m nufacture of sil , the ak Of a and the a h m ing p ile f brics , v rious ﬁnis ing pro h h k d a im cesses . But w ile t is nowle ge is of prim ry portance to those who sell merchandise it is also valuable h The a a h a ha to t e consumer . m nu l is t erefore pl nned so t t it may be of use to students of house hold arts and home

the h and the h economics both in sc ools in ome . The author is indebted to the editor of the series for the ch apters on the principles of color and ornament and de sign ; to Cheney Brothers for the valuable glossaries in the M E r . App endix and also for reading the manuscript ; to . M a k C a ew a . S S B rlow , tehli il orpor tion, for revi ing cert in ha and Mr U e d c pters ; to . Albert Blum, nit Piece Dye W k a or s for v luable information on dyeing.

F o r a o . a are due e d . C illustr tions th nks to B l ing Bros , r E e M a h Te h M s . ll n cGo wan ( ut or o f xtiles to t e M a a R M McB r ide a Co . nd . Co . cmill n , to obert

E I ! A P . M S L B THO ON .

CON TE N TS

I NTRODUCTORY D e sc rip tio n o f Dep artment Lo catio n Arrange me nt The Silk Ya rd Go o d s D ep artme nt Othe r De p artme nts in whic h Silk Fabrics a re So ld

SOURCES A N D CULT IVAT I ON OF S I LK

B ranch e s o f the Silk Industry So urce Of Silk Th e Silkwo rm Life Of the Silkwo rm Silkwo rm Dise a se s Sp inning a nd Making the Co c o o n Who le Co co o ns Pie rc e d Co co o ns Re e ling the Silk fro m th e Co c o o n Th e Pro ce ss Of Re e ling Wild Silk

RAW S I LK A N D SPUN SI LK Raw Silk Co nditio ning Silk Thro wing So rting S o aking Drying Winding D o ubling a nd Twisting Stre tc hing S p un Silk So urce s o f Sp un Silk x i x ﬁ CONTENTS

CH APTER PAGE Pro c esse s in the Prep a ratio n Of Sp un Silk Re mo v a l o f th e Gum fro m Wa ste Silk B eating and Op e ning Co mbing Insp ect ing Th e Sp inning Pro ce ss Drawing a nd D o ubling Twisting and Winding G a ssing o r Singe ing Use s o f Raw and Sp un Silk

WE AVI N G Wo ven Silk Wa rp and We ft Antiquity o f We aving Ra w Mate ria l Use d in Anc ient Times Origin o f th e Lo o m H and -Lo o ms Pa rt s o f th e H and - Lo o m Po we r - Lo o m s Wa rp ing o r Placing Silk Up o n the Lo o m B eaming Off Mo vement s o f the Lo o m

S I LK WEAVES Va rie tie s o f We aves Pl ai n We av e Rib We av e s Twill We av e S atin Weav e Ga uz e o r Leno Weave D o ubl e - Cl o th We ave s Pil e We av e The Pro ce ss o f Patte rn - Weaving A ntiq uity Of Pa tte rn- Weaving The Draw - Lo o m Imp ro ve me nt s up o n the Draw - Lo o m J acqua rd Th e Jacq ua rd Lo o m M e ch anism Of the Lo o m The Ca rd s Va rie tie s o f the J acquard Lo o m Figured Velvets CONTENTS xiii

DYE I NG S I LK Classe s Of Dyed Silk Y a rn- Dye ing Pro c e sse s B o i in - OE Sco utin o r S n l g , g, tripp i g Pro ce ss o f B o iling Off We ighting o f Silk We ighting Mate rial s Proc e ss o f We ighting with Tin Re su lt s o f W e ighting Wild Silk Classiﬁc atio n Of Dye s Mo d e rn Dye Stuff s Mo rd ants Ya rn - Dye ing Stre tching B lack Silk Piec e - Dye ing Printing M achine Printing Ways o f Printing Antiquity o f Vege table and Animal Dye s Art o f U sing Dye s Rega ine d in E uro p e Gr o wth o f Ind ustry in France D ec re a se in Co st o f Dye s Ame rican Dye s Mine ral Dye s Co al Tar Dye s ( A niline Dye s) Gro wth o f the Ind ustry

F I N I S H I N G P ROCESSES Va rie ty o f Pro cesse s Required Ca le nde ring Stiffe ning B reaking Te nte ring Gassing Mo iré Finish Sh o we r - P ro o ﬁng Pe rmanency o f Fini shes

ART IF I CI AL OR F I B ER S I LK Rea so n fo r Making Artiﬁcial Silk Diffe re nce B etwe e n Re al and Artiﬁcial Silk x iv CONTE N TS

CH APTER PAGE Kinds o f Artiﬁc ial Ma nufacture Histo ry Ch a racte ristics Il se s La unde ring Vege table Silk

MI ! T U I TAT I ADU T ATI N RES, I M ONS , L ER O S , A N D TESTS F OR S I LK

Mixture s Imitatio n s Ad ulte ratio ns Cha rac te ristic s o f Silk B u rning Te sts Micro sc o p ic Te st s Ch e mica l Te st s Othe r Misc e ll a ne o us Te sts We aving Te st s “ Te sts fo r Fe e l

P R I N C I PLES OF COLOR

Imp o rtance o f a Kno wl edge o f Co lo r to the Sal e s p e r so n Co mbinatio n s o f Co lo r s Th e Sp e ctrum Standa rd Co l o rs Prima ry Co l o r s Se co nd ary Co l o rs Ch a racte ristic s o f Primary Co l o r s Ch a rac te ri stic s O f Sec o nd a ry Co l o rs Lu mino us a nd So mbe r Co l o r s B ro ke n Co l o rs Abso rp ti o n and Re ﬂ ectio n o f Co l o r Co mp l e me nta ry Co lo rs Pro p e rtie s o f Co l o r H ue s Val ues Co l o r Scal e s Inte nsity Co l o r Harmo nie s Co lo r Unde r Artiﬁcial Light CONTENTS ! V

COLOR I N TH E S I LK DEPARTMENT Nece ssity fo r Kn o wl edge o f the Laws o f Co l o r H a rmo ny Co lo rs B e st Suite d to Diff e rent Typ e s o f Wo me n The Fa shio nabl e Co l o r Co nditio ns Affe c ting Co l o r E ff ec t o f Va rio us Light s o n Co l o r s E ff ec t o f the Mat e rial o n Co l o r Co lo r s fo r H o useh o l d De c o ratio n Sugge stio ns fo r Co lo r Scheme s

TH E PRI N CI PLES OF ORNA MENT A N D S I GN D e ﬁnitio n Of De sign Kinds o f D e sign s Patte r n De sign S o urc e s o f Patte rn De sign M o tive s o f D e sign Mate rial o f Patt e rn De sign Pl anning a Patt e r n Val ue o f Line in Patte rns Fo rms and Sp ace s

DES I GNS F OR SI LK Va rie tie s o f D e sign E l e me nts o f De sign Cl a sse s o f Patte rns Rectangul a r Step - rep e at Dro p - r ep e at Turn - o ve r Turn- a ro und Pro c e ss o f D e signing Dre ss G o o d s Patte rns Suitabl e Patte rns fo r Dre ss Go o ds Drap e ry Silk s Va l ue s o f D e signs That Take Hi sto ry o f D e signs fo r Silk Italian Art Frenc h Skill Jacqua rd We ave s xvi CONTENTS

S I LK YARD GOODS Cl assiﬁc atio n Armure B atiste

B o lting Cl o th B ro cad e B ro ch é Cach emire d e So ie Ch angeable Silk Cha rme use Ch iffo n Ch iffo n Taﬁeta China Silk Chiné Silks Clo th o f Go ld Crep e Crepe Charme use Crep e d e Chine Crep e Me te o r D ama sk Dre sd en Eo lie nne E p inglé Faill e Faille Francaise Fo ula rd Gauze G e o rge tte Crep e Glac é Gre nadine Gro s de L o ndre s Gro sgrain

India Silk J ac q uard Silks J ap ane se Silk J e r sey Cl o th Kikai Libe rty Satin Lo ui sine Marquise tte M ate l assé Me rveille ux CONTENTS xvii

CH APTER PAGE Messaline Mo iré M o iré Antique M o usse line d e So ie Organdie Otto man Pe au d e Cygne Pe au d e So ie Pekin Strip e Pl ush Po nge e Po p lin Re p S atin Sha ntung Sho t Silks Silk S e rge Surah Ta ff e ta Tull e ussah ussu o r u T , T r, T sso re Ve l o u r Ve lve t Vo il e No ve lty Silks

TH E VELVET DEPARTMENT

Va rie tie s o f Ve lv e ts Pl ush Qual itie s o f Ve lve ts H ist o ry Ce nte rs o f Ind ustry

TH E RI B B ON DEPARTMENT

V a rie tie s o f Ribbons Mate rial s W e aving inishin e n and n n F g , Dy i g, Pri ti g De signs Qualitie s and Line s Use s Av o iding Re mnants x viii CONTENTS

C H A PTER PAGE Ap p reciatio n and E nthusiasm Imp o rt ance Of Co l o r H i sto ry

! VI I TH E UM B RELLA AN D PARASOL DEPARTMENT

Mate rial s U se d in Umbre ll as a nd Pa ra so l s Divisio ns o f Sto c k ’ Fram e s Of Wo me n s Umbre ll as Co ve r s Stic k s and Handle s M anu fac turing Fo ld ing Umbre ll as Pa ra so l s ’ Me n s Umbre ll a s ’ Frame s o f M e n s Umbre ll as ’ o v e r s o f Me n s Umbre ll as C ’ Stick s a nd Ha ndl e s Of M e n s Umbrellas ’ Child re n s Umbr e ll a s Se ll ing Sugge stio ns Histo ry

! VI I I TH E H I STORY OF S I LK

D isco v e ry in Ch ina S ilk Culture in J ap an Chine se Silks J ap a ne se Silk S ilk in India Silk Pro d uctio n in E u ro p e E a rly A tt e mpt s in the U nit ed State s Ce nt e r s o f Raw S ilk Pro d uc tio n E uro p ean Ce nte r s o f Silk Ma nu fac tu re Manu factu re o f Silk in Gre at B rita in Libe rty Silk s Th e Manu facture o f Silk in th e Unite d States

SUGGESTI ONS TO SALESPEOPL E Arra nge me nt and Di sp l ay B ackgro und s V a rie ty in Arrangeme nt The In fo rmatio n N ee d e d by the Sal e sp e r so n H o w Muc h Ma te rial to Se ll to a C usto me r Quality a nd Va l ue s xx CONTENTS

L IST ‘OF IL L USTRATION S

Prep aring Leave s and Fee ding Silkwo rms l “ n l if - s ze S kwo m ead fo r o n fiis e i il r R y M lti g

2 S kwo m B e nn n o co on . il r gi i g C

o h E sca n f o m o co o n 3 . M t p i g r C

ee n S k n o Ske ns 4. R li g il i t i

The a n o o m 5 . W rp i g R

6 o ke ass n a S n e a h ead h o u h the . W r rs P i g i gl W rp T r T r g

He ddle Eye o f the H arne ss 36

e ave a 7. A W r t Wo rk

e a O f 8. D t il J acquard Loo m o n p age ) 2;

n 9 . Dyei g Silk 58

a I o . Di gram Indic ating Prima ry and Seco nd ary Co l o rs W i h he ue s in s and o n a s s o n a e 8 t T ir H , T t , C tr t ( p g ) 9

I I n n c an n r ~ e n . Arra geme t o f Re t gul ar a d D o p Rep e at Patt r s ( o n p age ) 1 2 1

1 2 Umb e a in s 1 62 . r ll Fitt g

1 Raw S k B und ed and B a e d 1 8 3 . il l l 7 SIL K D EPA RTM EN T

Ch ap ter I

INTRODUCTORY

Description o f D epartme nt In all modern stores the Silk Department is one o f a and the l rgest most important . It is a very e xten s ive department including portions of the stock in m any other sections o f the store . Silk is a staple fabric and is used in making many

a - - a articles in the re dy to we r and other departments, which are listed at the end o f the chapter .

Lo cation The location and arrangement of the silk yard goods f a a department are O primary import nce . In ne rly all stores the silks are wisely placed on counters under the windows where the light is good . The evening

Silks are in a special section lighted by electricity .

a a a These prec utions are re lly necess ry, as it is almost impossible to match fabrics for daytime wear by a rti ﬁ i l c a . S light, or for evening wear by daylight ome 2 SILK DEPARTMENT

times the Silk Department is moved to the second ﬂoor to secure better light and more sp ace .

Arrange ment

N a a a a a ext to favor ble loc tion , pleasing rrange

a ment of the silks is the Chief consideration . The s les people in the department a re usu ally experienced and

a a and a a in c p ble , the displ y r rely fails to be tempting

a its be uty, color, and variety .

Th e Silk Yard G ood s Dep artment In most la rge stores the Silk Depa rtment proper i s

a f a divided into sections . The pl n di fers in v rious

a s places , but the typical arrangement is somewhat follows Plain Silks ( either in colors and white or with white silks in sep arate section) White Silks Black Silks N ovelty Silks F o ulard and Wash S ilks E vening Silks Pongee Silks Velvets Chiffons

In these different sections both foreign and domestic r silks are usually sold . They a e cl assiﬁe d a s to color and prices . INTRODUCTORY 3

Oth e r Dep artments in w h ich Silk F abrics a r e Sold Besides the dep artment where only silk ya rd goods are a re sold , materials made o f silk found in many o f

a a the other dep rtments , as for inst nce Linings Ribbons

La and N ces , Veilings , ets

N a — a . eckwe r ties , scarfs , coll rs , etc Trimmings principally a rtiﬁcial silks

N — S a Art eedlework embroidery ilks , silk m teri als and a , rticles N otions sewing- silk Buttons silk velvet or plush - covered H andkerchiefs Hosiery Underwear Corsets

R a - - W a e dy to ear suits , co ts , dresses , blouses Millinery hats a nd ﬂowers Gloves Silk gloves Shoes Slippers

a nd S Bags silk velvet , ilk linings Umbrellas and Para sols

a all- S a nd a - S k Dr pery and Upholstery , ilk p rt il materials Ch ap ter II

SOURCE S AND CULTIVATION OF SILK

B ranch e s of th e Silk Indu stry The silk industry may be divided into four general branches

Of S I . The raising the ilkworms and production of

the cocoons . 2 Of S . The reeling the long ilk ﬁber from the whole cocoons ( from which a continuous thread

may be drawn ) .

3 . The manufacture of spun silk from the pierced

cocoons and other forms of w aste silk .

raw and 4 . The manufacture of cloth from both

spun silk .

The ﬁrst two branches o f the industry are carried o n in Asiatic or E uropean countries where labor is two cheap . The last branches are carried on exten sivel S y in the United tates , which has the most mod

ern machinery.

So urce o f Silk

S e e ilk , the strong st and most b auti ful o f the four 4 SOURCES AND CULTIVATION OF SILK 5

a a leading textile ﬁbers , is the ﬁl ment spun by silk k a a a . worm , sort of c terpillar, in m ing its cocoon There are between three and four hundred moths that produce Silk cocoons ; the one best- known and most widely cultivated is the Bombyx mori . Silkworms may be divided into two classes

I culti at silk rm a . The v ed wo is care fully r ised and fed on mulberry leaves . The color of the cocoon varies from white to different shades o f yellow and

a sometimes has a decidedly greenish cast . It is r ised a C F a S a a in Jap n , hina , Italy , r nce , p in , Austria , Indi ,

R a and L a ussi , the ev nt .

2 wil silkw or m a “ a a and . d The is found in Indi , J p n ,

re a a China . These worms a not c red for and usu lly

’ k a an a feed upon o a leaves . The t nnin d the iron s lts in the o ak lea ves affect the quality Of the threads and

can must be removed be fore the silk be properly dyed . tan and The cocoon is a light brown or in color, the

a are tan- a re thre ds , which colored also , coarser, and harsher , more uneven than the silk from the cul tivated S k a a il worm . Three v rieties o f silk are m de S — S and from the wild ilkworms pongee , hantung, tussah .

Th e Silkworm The silkworm has a small head and relatively l arge a are j ws . Inside the body and on either side the silk glands which terminate in small oriﬁces or sp ine rets 6 SILK DEPARTMENT

he under the j aws . The silk ﬁlament emerges from t spinerets as a gummy liquid and hardens immedi ately when it is exposed to the air .

n The Six The silkworm has sixtee legs or pads. front legs differ from the ten back ones and are used

are for catching the leaves for feeding . The back legs

n The has thicker a d shorter . worm twelve rings a round its body and there are nine black spots on each

a re . side of its body , which holes for breathing

F I - igure Shows a li fe size silkworm . The Silkworms live but two m onths during which time they pass through four stages of development I O . are a a The egg. The eggs l id nce or twice

00 00 . year, 3 to 5 at a time They take about ten days to a h tch . 2 . The worm . The worms hatched from these eggs live one month during which they grow from an of inch to 3 inches in length . a 3 . The Chrysalis . The worm spends three d ys in spinning the cocoon and then Changes to the Ch rysalis

a 2 0 a form , in which it rem ins for d ys .

4 . The moth . The moth emerges from the cocoon ,

a and . lives three days , l ys its eggs , dies The silkworm eggs are so small that or n F weigh only one ou ce . rom this ounce o f 1 00 1 0 un ma eggs , cocoons weighing from to 4 po ds y and 1 2 be expected , these will produce from 9 to pounds o f silk .

SOURCES AND CULTIVATION OF SILK 7

The excellence o f the silk depends largely upon the mulber ry leaves upon which the worm feeds ; the white F o r f mulberry is considered the best . the ﬁrst ew days the small worm Sucks only the juice from the leaf then it begins to eat the tender pa rt . The frontispiece Shows J ap anese workers preparing the leaves and feeding the S ilkworms during the ﬁrst week .

L ife o f th e Silkw orm

h a The worm as four molting se sons . At the end o f the ﬁrst week it stops ea ting for a few days while m l W it Sheds its skin or o tS for the ﬁrst time . hen it begins eating again it is very hungry and eats rapidly . When many worms are eating the noise sounds like a falling r in . A fter about four days the silkworm Sheds its skin

a a a second time , about four or ﬁve d ys l ter a third a time , and ﬁve or seven d ys afterwards a fourth time . W mo ltS henever it it stops eating for a couple o f days , a r ises itself on its hind legs , and remains quiet . The

S a The a kin begins to crack bove the nose . he d comes and out ﬁrst , then the whole body . As soon as the worm has cast o ff the old Skin it is ready to eat and a grow gain . It consumes an enormous quantity o f E leaves between the third and fourth molting . ach time it sheds its skin the worm becomes lighter in color 8 SILK DEPA RTMENT

Silkworm Disea ses

a There are m ny Silkworm diseases . At times the rooms where the Silkworms are kept are infested with the germs o f contagious diseases and the worms die a S before they are re dy to pin . These diseases are the result o f domestication ; the wild Silkworms are less subject to them . The silk growers must constantly watch for these diseases and any carelessness may cause the loss o f all the worms .

Spinning and Making th e Cocoon When it is ready to Spin the cocoon from the S ilk S which is secreted in its body , the ilkworm loses its

a and a appetite , shrinks little , is restless , moves its he d

a F a const ntly from side to side . in lly it raises itsel f

a and a a a on its hind legs , re ches up tt ches itsel f to

a branch which is pl ced conveniently near . It ﬁrst

S a throws out guy lines o f ilk , att ching itsel f to the in branch in this way . These guy lines , which are o f 1 f r i e o r a a a s . qu lity , are used l ter waste for spun silk F u ig re 2 shows a silkworm beginning its cocoon . D uring the time it is spinning the cocoon , the silk worm eats nothing . In spinning the cocoon the head o f the worm is thrown back and forth and the silk is

1 In re ar in g l ar ge numbe r s o f Silkwo rms it fre que n tly h appe n s that two wo r ms s in o n e c o co o n w ic n o s m o i T ese c o co o n s a re p h h e ve l p th e j ntl y. h “ n o wn b th e r a e n ame o f d u io ns Th i is fe io can k y t d p p . e s lk in r r as it n ot be r e e e in an e e n t l d v hre ad . SOURCES AND CULTIVATION OF SILK 9

formed like a ﬁgure 8 in regular rows up and down . The length o f the usable cocoon thread varies from

00 00 a 4 to 7 yards , seldom re ching yards .

W S a hile it i s pinning , the silkworm gr dually dimin

S and a a ishes in ize the inside thre d , which is the l st

spun , is thin and weak , so that it is treated as waste for S S pun ilk . The parts o f the silk ﬁlament are

I F . ibroin , which i s the silk thread and insoluble

a in boiling w ter .

r in 2 . Se ac , which i s the gum or glue holding the two silk threads together a s they come from the spinnerets below the mouth o f the silk se racin n worm . This i s soluble in boili g

w ater .

The S ilkworm changes to a Chrysalis while in the

and ta cocoon i f it is not killed it will , after a cer in f a s O . time , emerge a moth from one end the cocoon

a A fter le ving the cocoon the moths , which are small , w a few hitish , and h ve no mouths , live only a days , during which time the female lays from 300 to 400

eggs . Only a comparatively few moths which are needed

for reproduction are allowed to escape in this way. The m ajority o f them are stifled before it is time for

them to leave the cocoon . Two kinds of cocoons are

the result . I O SILK DEPA RTMENT

W hole Cocoons

In the whole cocoon the Chrysalis , or moth , has been a w a stiﬂed so that it c nnot force its y out . The stiﬂing f F i s e fected by placing the cocoons in a hot oven . rom the unpier ced cocoon a continuous length of silken

a ma a a co thre d y be reeled , and the thre ds o f sever l coons reeled together produce wh at i s called raw or reeled silk .

Pierced Cocoon s The cocoons from which the moths have escaped

a are c lled pierced cocoons . In coming out o f the cocoon the moth breaks all the threads a t one end ; con sequently a long thread cannot be reeled from the cocoon .

F S a igure 3 hows a moth esc ping from its cocoon .

Re e ling th e Silk from th e Cocoon The reeling o f the silk from cocoons is generally done by women and girls , and most often in the

a r a country in which the worms e r ised . It is done either in the homes o f the people or in the small fac

a ﬁl r tories c lled atu e s. There are three methods o f reeling Silk I . Primitive Silks reeled by this method are ca lled

Tsatle es - and a . It is a hand process the thre d is ir

a in a ha s c u u . reg l r size , th t is , it knots and b n hes The S n f n S kei s are frequently o f di fere t izes . SOUR CES AND CULTIVATION OF SILK I I

R l 2 e ree s. S e . By this method the ilks r eled in the primitive way are reeled over again and the result is a

r s moother and more reliable silk . The ereeled Silk

a comes from China and Jap n mostly .

ﬁl r S atu e s . 3 . team This is a system of machine

and reeling . The silk is smooth sent out in a much

- better condition than in the hand process . It runs better when used for making Silk fabrics in the high h a speed mac ines . It lso brings a higher price and is worth it , for it causes less trouble in weaving .

Th e Process of Reeling

1 ar e and . The cocoons sorted for quality color , each color and quality being kept by itself .

2 S at . The outside loose ilk , by which the worm ak o ff taches itsel f to the branches , is ﬁrst t en the cocoon and saved and used for spun silk .

are a 3 . The cocoons soaked in w rm water to soften the gum which holds the Silk together .

are 4 . The cocoons then brushed while floating in a the water , until a continuous fiber is obt ined , that is the loose fibers are caught in the straws of the brush and unwound until all o f the outside threads of silk have been taken o ff the cocoon and what is termed a long end i s found . Then . the threads from four or more cocoons are united and twisted to form a Single a a S thre d , bec use the thread from a ingle cocoon is too

ﬁne to use . 1 2 SILK DEPARTMENT

a The threads are wound on reel , a wooden frame

a a with arms . To form a comp ct and rounded thre d and to keep the thre ads from tangling a s they come

a a from the cocoons , e ch cocoon thread is p ssed through a ring be fore the several threads are ﬁnally brought together to form the one thread . This completed thread when made up into Skeins becomes the raw Silk o f commerce .

F igure 4 Shows the threads being reeled into Skeins .

G c a as reat are is necess ry in reeling , the threads from cocoons are not all o f the same thickness ; the silk as Spun by the worm is heavier at the beginning of the cocoon and much ﬁner and poorer at the end , varying more or less throughout its entire length . The person who h a s care o f the reeling must try to S a keep the ilk thread uni form , by dding a cocoon

a thre d from time to time , whenever the thread being c reeled grows thin . The thread must also be wat hed a a c re fully to avoid any bre ks . The form in which the reeled Silk is shipped vari es

f a d S in di ferent countries . In Chin an Japan th e keins

a n o ff are t ke the reels , twisted together , and made up into packages , called books , which weigh from 1 4 to 0 lbs . each . These are p acked in bales varying

1 00 1 0 E a and in weight from to 4 lbs . In urope n other countries the Skeins a re made up into bales without ” being put into books . These bales weigh about 2 00

SOURCES AND CULTIVATION OF SILK I 3

F I lbs . each . igure 3 shows the raw silk bundled and S baled for hipment .

Wild Silk Tussah Silk cocoons are softened with an alkalin substance and a re reeled in this damp gummy condi tion without being ﬂoated in water ; consequently the filaments do not cohere so well . The coloring matter is in the ﬁber and it is hard there fore to bleach this variety of Silk . S a S ilks m de from the cocoons of the wild ilkworms ,

a a a a as lready stated , are usu lly of a poorer qu lity th n those from the domesticated worm ; they are uneven

a a in texture , h rder to ble ch , and do not take dyes so well . But on the other h and they are often more dur a a S ble than the ordin ry ilk fabrics , probably because

no t a they are he vily weighted . These silks are cheaper because no care is taken o f

S a te the wild ilkworms , while the domestic ted worms a a M quire const nt ttention . uch time , however , is con sumed in collecting the cocoons . The ﬁnishing proc ess es are less expensive because the Silk is more o ften t used in its na ural color . Ch ap te r III

RAW SILK A N D S PUN S ILK

Raw Silk W hen cotton , ﬂax , or wool arrives at a factory the

a re a ﬁbers matted together and must be separ ted ,

a a combed out , and twisted into continuous thre d by a complicated process o f spinning . S u The ilkworms , however , have sp n their own threads and when the delicate ﬁlaments have been raw a a reeled from the perfect cocoons , the silk ppe rs in long ﬁne Skeins which are not only easier to manu n facture into yarn , but are stronger , than any spu

a thread of the s me weight . Wa S t raw ste ilk must be spun like the o her ﬁbers , but ” or reeled silk i s thrown in order to prep are it for weaving . The m anu facturers o f yarn from raw silk are called throwsters . The term throwing is used only r w S a in a ilk m nu facture .

Cond itioning Since silk is sold principally by weight and because it is necessary to determine the amount o f water it h as

a a . absorbed , its weight must be accur tely ascert ined

a a I I A certain mount o f moisture , bout per cent , is in a S allowed commercial pr ctice , but ilk will hold as 1 4 RAW SILK AN D SPUN SILK 1 5

a can much as 3 per cent without ppearing damp , and

r be m ade to absorb an even greate a mount . Too much f moisture a fects the strength and elasticity o f the silk . The process by which the moisture i s reduced to the “ ” ffi required standard is called conditioning . O cial conditioning houses are established in all the large e a cent rs of the silk tr de . When the bales containing the books o f raw silk

a are and re ch the manufacturer , they opened the skeins a re a a re h weighed ccura tely . They t en dried thor

n a a th e f oughly in ove s , weighed g in , di ference in

and th e a weight noted , dry weight of the full b le

n i worked out by proportion . The co dit oned weight of the bale is ba sed on th is dry weight plus the allowed a I reg in o f moisture I per cent .

Silk Throw ing The series o f processes included under th e term

silk throwing , consist o f Sorting Soaking Drying Winding Doubling and twisting

Sorting When necessary the skeins are sorted according to

S an d . color , ize , quality, and laid in piles 1 6 SILK DEPA RTMENT

Soaking In the process o f throwing some of the skeins are soaked to soften the gum before winding . In this a has c se lukewarm water is used , which in it some olive ’ O S a oo and . or ne t s f t oil , olive oil soap ther ilks are ” a a thrown bright , th t is , they are not so ked , but are wound without so ftening the gum .

Drying The skeins o f silk which have been soaked are either

a a a nd dried in hydroextr ctor , which revolves rapidly h S t rows the moisture from the keins , or they are hung

m - on poles in a s all steam heated room or closet .

W ind ing The process o f winding prepares the Silk for the w doubling and t isting . The Skeins are placed on a series o f reels on the a end front of the winding m chine , the o f each skein an S passing through eyelet to the bobbin . The ilk i s u wo nd up and down the length o f this bobbin . The thread passes through two ﬁxed plates which remo ve l irregu arities and knots . The machine is ﬁtted so that it stops immediately i f a thread breaks or anything

n . is wrong . O e worker can manage several machines

Doubling and Twisting The silk from the Skeins is so ﬁne that s everal RAW SILK AN D SPUN SILK I 7 strands must be put together and twisted in order to make a thread heavy enough for weaving. This process is called doubling and twisting . In the doubling several threads from as many bob

a bins are put together to form one thre d , which is a wound Upon a new bobbin . The doubled thre d is then twisted on another machine and again wound . In some modern machinery these two processes are combined . The number of threads and the twist are deter mined by the future use o f the Silk .

a There are three v rieties o f yarn . Singles are single strands o f reeled silk ; they may be

W a - a r e twisted or not . hen they are h rd twisted they a a an f used for m king g uze d chif ons .

Tr Two am is used for ﬁlling or cross threads . or more strands o f raw silk are put together and twisted slightly to fo rm one strand and then wound on bob is bins . A poorer quality o f Silk generally used for

a s - tram , strength is not required . Hard twisted tram e is used for the ﬁlling of cr pes . Or anzine t g is used for warp or lengthwise hreads , and must be strong . It is made from the better grades

- of Silk . A single thread is twisted with a right hand Of and twist , then two or three these are put together

a - a twisted with left hand twist , and so m de into one strong thread and wound on a bobbin . The luster is greater when the threads are slightly SILK DEPARTMENT

twisted . Tram there fore has considerable luster , while the luster o f organzine varies a ccording to the a mount o f twist used .

S S A fter twisting , the ilk is reeled into keins contain ing from 500 to yards according to the size o f

a no a the thre d . It is w ready for the dyeing and w e v ing processes .

S - - a ewing thread , or sewing silk , is m de by combining two strands o f twisted threa d into one h ard - twisted ” a N thre d . ( Se e manu al for otions Dep artment ) Ma chine - twist is composed of three strands of

a - a twisted threads united into a h rd twisted thre d .

Stretch ing This is a process usually employed only for sewing

S a a ilks . The twisted thre d from the bobbins is p ssed through water and over rollers which stretch the

a a a thread . Any uneven p rts are dr wn out , m king the

a S S a thre d a uni form ize . ilk th t i s stretched in the r gum has great brilliance or luste .

Sp un Silk Raw or reeled Silk was the only Silk used to any e a a a o considerable xtent until bout sixty ye rs g , when a h ad the process o f spinning by m chinery , which been a a a r pplied to the other textile ﬁbers for ne rly centu y , wa s found to be equ ally practical for silk which could n o t be reeled .

20 SILK DEPARTMENT

f . S a 3 ilk w ste , which comes from the di ferent

processes of manufacture .

. W . 4 ild silk cocoons , which cannot be reeled

5. Double cocoons , where the cocoons of two

moths are fastened together .

The waste S ilk is imported in bales and is received

a ma a by the factories in this form . Some b les y cont in O a e n all pierced cocoons . ther bales may be m de up tirely of long tangled waste from the reeling o f the raw S a ilk from the cocoons . These long t ngled cords are known as frisons . The bales are opened and the contents examined care fully , in order to remove as much dirt and foreign a subst nce as possible .

P roce sses in th e Prep aration o f Spun Silk The pro cesses are 1 R l . emova o f the gum 2 an . Beating d opening

3 . Combing

4 . Inspecting

5 . Spinning Drawing and doubling Twisting and winding

6 . Gassing or Singeing

Re moval o f th e Gum from Wa ste Silk AS waste silk must be spun it is necessary to remove RAW SILK AND SPUN SILK 2 1

can be . the gum be fore it handled This is , done by

a boiling, maceration ( or sch pping) , or chemical de gumming .

ff - a 1 o . . Boiling The silk is put in open mesh b gs and pulled up and down in boiling soapy w ater for a three or four hours . The softened gum p sses out k a through the meshes . The Sil is then tr nsferred to a

a w shing machine containing cold water .

2 . a a Sch ppe or ferment tion method . Schappe i s

F a rench for spun silk . In this process the w ste silk a a is put into tank of warm , so py water and le ft for two or three weeks until fermentation sets in and the

a the gum is loosened . I f the silk is not t ken out at right time the ﬁber is weakened and the silk loses some

of its luster .

C . 3 . hemical degumming In this process waste Silk

is degummed by soaking in an alkali or in a n a cid solu:

tion . The Silk loses about a quarter o f its weight when the um a a g is t ken out . It is next w shed in hot water

a . for about ﬁve minutes , then in cold water for longer

and . period , dried

B e ating and Op ening The silk is put into a machine which removes the

and n a as a dirt foreig m tter , such Chrys lis shells , sticks , n etc . a d opens up the ﬁbers and makes them more

ﬂex 1ble . 2 2 SILK DEPARTMENT

Combing In the next machine the silk ﬁber comes in contact with revolving rollers upon the surface of which a re

ﬁn e needles . These needles comb and straighten out

o ff S the longer fibers and pull the horter fibers . The “ ” silk comes out in the form o f Sheets or laps which may be combed several times . The short fibers which a re combed out are known as

ma a a a n noils , and y be used over g in for inferior

a S Uusuall a re qu lity o f ilk . y these made into goods which have no luster ; they are used mostly for upho l ste r y.

I nsp e cting The l aps or rolls o f silk ﬁbers are care fully inspected a n a n a d y impurities are removed by h nd . The work o f inspection is done in a dark room upon a table o f

a a a gl ss lighted from below , so th t impurities are e sily

a nd seen removed .

Th e Sp inn ing Process Draw ing and Doubling The drawing machine further combs and straightens and also draws out th e ﬁbers and forms them into

a continuous strands c lled slivers , which are like soft , a a loose ribbons . These p ss through other dr wing

a a a a re m chines , into which sever l o f the str nds fed a t as one time , and come out one continuous strand , the same Size as one o f the original number . In the RAW SILK AND SPUN SILK 2 3 l ast process the slivers a re wound on bobbins ready for the roving frame .

Twi sting and W ind ing In the roving frame the yarn is drawn from the

at. a a s bobbins the top o f the fr me , then twisted it

a S p sses from the bobbins to the pindle , and then wound on Spindle s at the bottom o f the frame .

Gas s ing or Singeing The ﬁnished ya rn is often roughened by lumps which are smoothed o ff by a process called gassing or

S a a as a ingeing . The y rn is run through g ﬂ me at so

a a high a speed th t the ﬂ me will not burn the thread , but will burn o ff all the loose ends . In the l ast process the thread is wound from the bobbins into skeins ready for dyeing .

Use s of Raw and Sp un Silk Raw or reeled silk is used in the manufacture o f ﬁne silk materials ( called broa d S ilks) and ﬁne sewing thread . a a S Spun silk is used in making co rse bro d ilks , knit

a and goods , hosiery , br ids and bindings , embroidery ,

S a s and crochet ilks . It is not so strong reeled silk it

' a s mu h luste r a does not h ave c , bec use it is twisted h arder than reeled silk and also because there are m any short ends projecti ng from the surface o f the yarn . 24 SILK DEPARTMENT

The tw o kinds o f silk a re o ften combined in the same

a a raw S a and m teri l , the ilk being used for the w rp the spun silk for the ﬁlling . Ch ap te r IV

WE AVING

Woven Silk

k n a t I f a piece of plain sil is u r veled , many leng h wise threads are found pla ced S id e by Side and inter h laced by one continuous crosswise t re ad . This cross

a m an wise thre d , which has been introduced in some

t a s ner from edge to edge , holds the leng hwise thre d

and o a a together in p sition , forming a m teri l which will be more or less durable a ccording to the strength and ﬁneness of the threads and th e way in which th ey are a interl ced . The simplest weaving consists o f two sets o f

: I the n a h a r e threads ( ) le gthwise thre ds , w ich ar a in and a re a e h e a h a r nged ﬁrst order c ll d t w rp t re ds , and 2 h a h a ( ) the crosswise t re ds , whic are c lled the

o a w o f , weft , or ﬁlling thre ds .

The ﬁlling threads as they are interlaced - across the

‘ wa rp threa ds are carried over o ne a nd under one ; in — the next r o w the thread s alternate under one a nd

e as E r o ov r one just in darning . ach w is pushed up close to the preceding o ne so that the cloth may be ﬁrm . 2 6 SILK DEPARTMENT

W a rp and W e ft

a The lengthwise , or warp , threads must be pl ced in r S position ﬁ st . ince the strain on these threads is

a and a a gre ter they need to be strong , each thre d is m de

two a up of or more str nds ﬁrmly twisted together , a a a h m king a heavier thre d th n t e weft . The weft is

S a h only lightly twisted into soft , thinner thre ds w ich can See C a be closely pushed together . ( h pter III on n organzine a d tram . ) F o r the durability of the Silk - and for the good ap

earance a al a o a p o f the m teri , it is of gre t imp rt nce in weaving tha t the difference between the warp threads a nd h ﬁ a F o r t e lling threads Should not be too gre t .

a th e a a and inst nce , i f w rp thre d were very strong h a a and a e vy and the ﬁlling thre d ﬁne we k , the silk

a would not we r well .

A ntiquity o f W eaving Weaving is one o f the oldest of the handicra fts and ll seems to have been practiced by a primitive people . In the more backward countries today there is hardly a savage tribe which ha s not in some way discovered

“ the a rt of making threa d and weaving it into cloth . They follow the same methods and use the same ap

liance s as V a can p those of ery early times , so th t it be seen ho w directly all the modern improvements in weaving are based on early discoveries .

Weaving was carried to a. high degree of perfection

28 SILK DEPARTMENT used the wool and hair which was Shorn from their

C S ﬂocks ; while the hinese had the monopoly o f ilk , and thei r Silk fabrics were the admiration -o f all who could buy them . An account o f the development o f the art of we av ing cannot fail to be o f interest to those who handle woven fabrics , and the principles of weaving and the power - loom of today will be better understood i f the

S he - more imple parts of t hand loom are described .

Origin o f th e L oom W here only the grasses and rushes were used , as in

a and a the weaving o f m ts b skets , they could be held

a a s w a s in place e sily , but soon as any length required , it was necessary to pl an some kind o f frame to hold the warp threads tight while the weft was interl aced a a s a a a cross them . This frame w univers lly c lled loom and was improved from time to time according to the needs and ingenuity o f the weaver . F igure 6 in the manual for the Cotton and L inen

Departments Shows a primitive loom . L ooms have been represented in the paintings and

a sculptures of ancient a rtists . The early poets llude to the loom and the operations o f weaving and needle a o i work . Illustr tions looms have been found in some

a E a of the ncient tombs in gypt , and looms also appe r in some very old paintings . These looms are in di f fe rent positions ; in one picture the warp is stretched WEAVING 29

on the ground , and a ﬁgure appears to be weaving a

S a . mat , while others how upright fr mes Although weaving was without doubt a domestic

G and R occupation in reece ome , there are fewer illus

r On tratio ns of the art than a e found in E gypt . two a ncient Greek vases the looms o f Penelope and Circe are pictured ; these are both represented as upright E o f . l oms , di fering somewhat from those o f gypt Nothing very deﬁnite can be lea rned from these pic lture s as to the methods by which the ancient peoples

and a . !procured their ﬁne be uti ful results However , Ithese re ferences prove that the occup ations o f weaving a nd embroidering were carried on extensively in the a and in ncient world were held high esteem . An interesting drawing in a London museum proves

had a and a nese looms for pl in weaving th t ,

a a a g v rious contrivances , they m de p ttern g looms on which they wove beauti ful Silk

and - L ooms In the most primitive looms the li fting o f the threads o f the w arp for the intersection o f the weft was done b was and a y the ﬁngers ; this slow work , very e rly in e history o f weaving a device was used by which e weaver could li ft the threads with his feet by ans of treadles attached to th e heddles through a ich the warp thre ds were inserted . 30 SILK DEPARTMENT

It is not known when this improved loom was ﬁrst : a Ch its used , but it is probable th t the inese were orig inato rs a a , bec use silk is so ﬁne th t it would be most

f a di ficult to pick up the w rp with the fingers . F rom the first attempts at weaving until the devel o ment - p o f power looms , all sorts o f devices were con stantl a y being added to the loom , not only th t the

' a i a a but also a we ving m ght be m de e sier , th t more com plicated weaving might be done and more beauti ful a f brics woven .

P art s o f th e Hand -L o om The hand - loom consists of the following pa rts : F rame Warp beam Cloth beam Heddles H a rness Reed or batten Treadles Shuttle

r a The f me holds the parts o f the loom .

war beam a The p , upon which the w rp threads are h a at t e a . wound before we ving , is b ck of the loom l m The clo th beam is a t the front of the o o . The

a a a a w rp thre ds , after they h ve been c rried through

and are a a the heddles reed , f stened to the cloth be m and the ﬁnished cloth is wound upon it . WEAVING 3 1

The heddles are either wires or cords having a hole or eye in the center through which the wa rp threads pa ss .

harness two The consists of or more sets of heddles . These sets o f heddles a re suspended from a beam which is a ttached to the loom a t about the center of

a the fr me . The r e ed or ba tten is composed o f a l arge number of

a a - w k h te wires set in fr me or . T ese wires , which

a ma a h a semble comb , y be set ne r toget er or f rther a a a part . The w rp thre ds p ass between the wires and the ﬁneness o f the cloth depends upon the width o f the

S a e a p ces between the wires . The re d is lso used for

a a ma pushing up the weft , so th t the thre ds y be close together and the cloth ﬁrm . The tr e adles which a r e connected by cords to the lh e ddle s a k e or h rness , are wor ed by the f et of the nd w eaver and move the heddles up a down . A ” Sh an e h h h the h a ed , op ning throug w ic s uttle p sses , is formed wh e n a series of a lternate threads is li fted at one time by the heddles .

shuttle The holds a bobbin , upon which the weft

1 a n a the a thre d is wou d . The shuttle is p ssed by we ver lback and forth between the two series of the wa rp

1 a a S thre ds m de by the hed .

Pow e r- L ooms

- ev The power loom was invented in 1 785 by the R . 32 SILK DEPARTMENT

E n E n C . dmu d artwright , an nglishma It was ﬁrst 1 1 used in the United States in 8 5 . In the development o f the power- loom the hand loom was used as a basis so that the parts o f the loom r a and the principles of weaving a e practically the s me . So m any contrivances have been added to the power a loom , however , that oper tions which were once per a formed by hand are no w accomplished autom tically . Among these are devices for holding a number o f Shuttles at the side o f the loom and for sending e ach in its turn a cross the warp with its own p articul a r color ; empty bobbins are automatically repl aced by

a if a n full ones , and the loom is m de to stop instantly y

a thread bre ks . Special devices are provided also for

the weaving o f complicated patterns .

Warping or Pla cing Silk Upon th e L oom The great looms o f our modern Silk factories must

a a - be prep red for weaving, j ust as the h nd looms were, a a by ﬁrst stretching the w rp thre ds on the loom . This process is called warping and ea ch warp thread is “ the s e t called an end , while cros wis hreads are known as picks . Bolts of cloth as they come from th e loom vary

E a greatly in length . ach individual warp thre d must n be as long as the ﬁ ished cloth . I f the Silk is to be very wide and o f rather ﬁn e quality , from to ends will be required

34 SILK DEPARTMENT

F 6 h and operation . igure shows workers passing a single w a rp threa d through the heddle eye of the

a h rness .

Move m ents of th e L o om

Three principles underlie the art of h and - weaving and they are also most important in modern power weaving

I S a w a . hedding , the r ising of part o f the rp threads a t one time to form an opening

through which the Shuttle passes .

2 a a nd . Picking , the throwing o f the shuttle b ck

forth through the shed .

a 3 . Battening , pushing the we ft thre ds close to a gether after the picking , in order to m ke a

ﬁrm texture .

In addition to the preceding movements two others should be mentioned

L o ff 4. etting , unrolling the warp from the warp beam to furn ish threa d for the forming of n ew Cloth . T 5. aking up , winding the cloth which has just been woven onto the cloth beam to make room l for the weaving of more c oth . Ch ap te r V

S ILK WE AVE S

Varie ties o f W e ave s The ﬁneness o f the silk ﬁber and its beauti ful luster

a a a a a h ve m de it suit ble for m ny v rieties of weaves . Those most used are Pl ai n Rib Twill Satin Gauze or leno Double—cloth Pile Pattern

Plain W e ave

a as a The pl in or tabby weave , it is sometimes c lled , is the simplest and is used for the l a rgest number o f materi als . Among the silks made with this weave are h ff a C a S a . in silks , India ilks , and t et s Two harnesses are ordinarily used in the loom in

a a a a — a S m king pl in we ves . but in the pl in we ving o f ilk a four or more are often used . In this c se the silk 35 36 SILK DEPARTMENT yarn is threaded through the different harnesses so that

s al h a ll they will act a two . H f the t re ds or a the odd

a a re a at a numbered thre ds r ised one time by m chinery , the shuttle carrying the weft or ﬁlling is sent quickly and t a through the shed thus formed , the we f thre d is beaten back against the cloth ; then the alternate threads the even - numbered threads are raised and the and shuttle is sent back again , so on .

Rib W e ave s The rib weave is the plain weave with a rib or corded effect made by va rying the Size of the threads h a the of eit er w rp or weft , or by use of a heavy ﬁlling h h over whic t e silk threads pass . As these heavy ﬁlling

“ h a a re t re ds o ften cotton or worsted , the weave of the

a a a wa a a m teri ls m de in this y is not alw ys satisf ctory , for the silk threads covering the ﬁlling may w ear o ff and a show the cotton underne th . Some of the materials woven with the rib weave are

a a a beng lines , poplins , grosgr ins, ottom ns , failles , reps ,

and moirés , others . Rib weaves are of two kinds

1 Wa . h rp rib , in whic only the warp yarns which

r a make the ribs a e seen . In this c se the ribs run across the fabric and a re formed by the a h we ft p ssing twice t rough the same shed . 2 F . illing rib, where only the ﬁlling yarns which

a are n m ke the ribs see , and the ribs run

SILK WEAVES 37

lengthwise o f the fabric . The ribs are formed by pa ssing the ﬁlling over two

and two under warp threads , passing once a S through e ch hed .

T w ill W e ave The twill weave is known by the di agonal lines S which run across the cloth. Some of the ilk m ate

a a th e are ri ls m de with twill weave plain foulards , h k s a . ur s , or sil serges The di agonal lines are formed by the way in which the a a E a ﬁlling thre d intersects the w rp . ch ﬁlling yarn passes over one and under two or more warp

a a a . thre ds , but not the s me set of threads e ch time E ach ro w begins o ne threa d in advance of the preced ro w ing ; the result is that diagonal ridges are formed .

Satin W e ave In the satin w eave the weft passes in succession over a and a one thre d under a group o f warp threads , com

E a mon number being seven . ch time the weft crosses the warp it p asses over and under different wa rp threads until it has been back and forth seven times ; then the ﬁrst ro w is repeated and each ro w of this next group of seven repeats the ﬁrst group and so on . In this w ay nearly all the warp is brought to the sur a an d a all a and f ce ne rly the we ft is left underne th ,

a s are l S the ties , they cal ed , ( that is , the ingle threads 38 SILK DEPARTMENT

at f a a crossed by the weft) , come a di ferent pl ce e ch time and are hardly perceptible so that the surface has the smooth and Shiny appearance chara cteristic of the a satin . After ﬁnishing process o f c lendering , or

i a pass ng between he ted rollers , this surface reﬂects the rays of light completely . Satins a re not always woven on seven o r eight threads ; there may be almost any number fro m ﬁve to

- twenty four , but seven threads , the repetition coming h ro w in the eight , seem to be used most commonly . The number of threads indicates the number of hed

th e a s dles required in loom , and satins are designated

- - ﬁve a . heddle or eight heddle s tin , etc In wea ving satins the wrong side of the satin is on h k tOp and t e face down . This ma es the process of a as a weaving e sier , only one heddle need be r ised for the ﬁlling thread to pa ss through ; whereas i f the fabric

a e were woven with the f ce up eight , ten , twelve , or mor s a a heddle or shafts would have to be r ised , ccord ing k to the number o f w arp threads to be s ipped . Although there is no record to Show when sa tin

wa s the C weaving invented , hinese were doubtless the a ﬁrst to devise this method . It is particularly ad pted a S S to the silk ﬁber , bec use the luster of the ilk hows much more than in pl a in weaves . The satin weave is the foundation of all modern

- S ad pattern weaving, as the satin ground hows to

40 SILK DEPARTMENT joined only at the two edges ; in this case a tubula r ’ fabric is formed , such as is used for men s neckties or cravats . 2 two in a . The cloths may be woven two separ te pieces , each having its own warp and ﬁlling , but the

“ a a i thre ds are interl ced at certain regular ntervals , fas

i the a ten ng two pieces together to form one materi l . This is the method used for double - faced ribbons and Silk materials which are backed to make them heavier and stronger .

Pile Weave

r Velvets and plushes a e known as pile fabrics . There are two methods by which the p ile may be pro u e d c d .

I r - . Velvets a e usually woven by the double cloth method two pieces o f cloth face to face . There are a e two sets of w rp threads ; ach warp has its own we ft , and in addition extra pile threads pass up and down o n from e set of warp threads to the other . The dis tance between the two sets o f warp threads determines the length of the pile . S Two huttles go back and forth across the cloth , carrying the ﬁlling for each set o f warp threads and at A S the same time binding in the pile threads . the

a weaving proceeds , kni fe travels in the same direction a as the shuttles and short distance from them , cutting e n two s o f the pile thr ads betwee the piece cloth .

SILK WEAVE S 4 1

These threads after being cut stand up straight and n Two vel form the pile or ap o f the velvet . pieces of a vet are thus woven t the same time . As they come from the loom the two pieces are wound on separate beams . t 2 . w no Another method of weaving velvet , hich is two much used now , is done with sets o f warp threads , in one set being for the pile . The pile is raised by serting wires into the shed under the pile thread and W across the warp threads . hen the wires are pulled a the W out , a sm ll kni fe on top o f the ire cuts the pile a the o r in loop , le ving ends standing straight , the case no of uncut velvet , the wires have kni fe on top but a n i are pulled out, le ving the loops u cut . The nserting of the wires and the pulling out o f the same is all done by machinery . In this method one piece o f cloth is woven at a time and the loops forming the velvet are on top and in S n ight . The warp a d ﬁlling threads may be either o f k sil or cotton . These form the back o f the velvet . The pile thread which forms the face o f the velvet is always of silk .

3 . Another method is used in making corduroy and s velveteen or cotton velvets . Two sets o f ﬁlling thread are - o ne The a used to of warp . extr ﬁlling thread f as wea orms the pile on the face o f the cloth , and the v ing proceeds it is cut by hand with a Special kind of kni fe along the length of the material . 42 SILK DEPARTMENT

Th e Pro ce ss of P a ttern-Weaving When designs or ﬁgures are wrought into a fabric is attem while it being woven , the process is called p weaving. Whether the warp is placed ih a simple frame and

- a the weft put in by patient hand l bor, or whether the work is done o n a complicated loom so constructed that the warp threads are li fted automatically for the

t to . wef or ﬁlling intersect , the principle is the same E ven in the most intricate patterns the effect is o b tained by only the warp and ﬁlling threads intersecting each other at intervals which differ a ccording to the design .

ma a A simple pattern y be m de by striping the warp , h a a f t t is , putting in thre ds o f di ferent colors when warp r ing the loom , so that when the ﬁlling is carried ac oss , th e contrasting colors will appear at regular intervals . Still other effects may be obta ined by weaving the ﬁll a S E a a ing lso in stripes . ome o f the old gypti n p tterns

a were m de by striping the weft or ﬁlling . In other

a and c ses gold , silver , brightly colored threads were a dded to the weft at certain intervals .

A ntiquity o f Pattern -W e aving Pattern- weaving by mechanical means seems to have been unknown to all the ancients except the Chinese .

E a The gypti ns had some methods o f weaving in rich , s h colored pattern whic are unknown to us , though SILK WEAVE S 43 e xamples o f their workmanship are to be found in

a a museums today . They lso pplied designs with the n eedle or by stenciling the fabric after it was woven .

a a a a s Their m terials were el borately decor ted , were

a a and a those o f B byloni e stern countries , but we have no evidence o f a mechanical contrivance to produce a s p ttern .

Th e Draw -L oom

- The origin o f the draw loom is not known , but the

a Of S e rliest record it comes from China . As ilk was ﬁrst woven in China it is almost certain that the loom

a - a for p ttern we ving was invented there and passed , a W a with silk m nufacture, to estern Asi and then into E urope . The principle o f the draw - loom is the same as that of the most el aborate Jacquard loom o f the present d a a a y. It simply provides mechanical contriv nce for the irregula r li fting of the wa rp threads . In the draw - loom vertical cords were attached to certa in threads o f w arp so that they might be drawn up separately according to the p attern which was to be a woven into the f bric .

had wo : S a The loom t mountings one , the usual h ft and a mounting needed to form the cloth , the other

a a a n h rness , c lled the dr w boy mounti g . by which a the sepa rate th rea ds were li fted to form the p tterns . The old - fashioned draw - loom also required two 0p 44 SILK DEPARTMENT erato rs : one to attend to the throwing of the shuttle across the warp , and the other , called the draw boy , to draw up the threads as previously arranged . The

the draw boy had a position near the top of loom , from which he could manipulate the harness assigned to him .

Improvement s upon th e Draw -L oom The ﬁrst improvement upon the loom was made in 1 60 M S F a 4 by . imblot , a renchman , who connected ” a a ! h sep rate series o f Cords , c lled the simple , wit the a neck o f the harness . This arrangement en bled the draw boy to handle the cords while standing at the S ide o f the loom .

During the seventeenth and eighteenth centuries , in both E ngland and F rance a number o f patents were taken out for devices by which the threads could be . manipulated by the weaver without the aid o f the draw

AS a 1 M a boy . e rly as 687 Joseph ason invented draw boy engine which could be worked by the weaver .

1 2 8 M F a a a In 7 . lcon made a chain o f perfor ted c rds through which the hooks li fting the warp threads

a would need to p ss , thus controlling the design auto maticall 1 6 M Vaucanso n y, and in 75 . made a cylinder was a secur over which a per forated paper band p ssed , ing the same result . This system o f controlling the a a thre ds not only made the draw boy unnecess ry , but reduced the number of harnesses and greatly increased

46 SILK DEPARTMENT

During the nineteenth century Jacquard ’s invention was considerably a ltered by British mechanics and was a a - d pted to the power looms . At present its use is

a gener l over nearly the whole of the textile industry .

Th e Jacqu ard L oom The patterns which can be woven on the ordinary

a - a re a a h rness looms limited in number , but the J cqu rd

' loom admits o f four hundred o r mo re changes in pat tern . The cost o f working on the Jacqua rd loom is a a a gre ter th n on the pl in looms , but the results are so

a and a a a a v ried s tisf ctory , th t its use is gener l through out the textile industry , especially in the weaving of

and a . silks , velvets , ﬁne l ces The principa l difference between the Jacquard loom and the plain harness - loom is that the Shedding in the

r a a fo mer is controlled from bove the harness , where s the shedding in the harness- loom is effected by treadles a a a at worked from below . By me ns o f the J cqu rd tachment to the loom , each one o f the hundreds or even thousands of wa rp threads may be operated sepa ratel an o n the y, without disturbing y other thread ma loom , and they y be li fted in the right order for the a form tion of any design . This wonderful invention governs all the operations a o f the loom . It makes the p ttern and ground of the

a a f bric , it ch nges in proper succession the shuttles a f n ad c rrying the di ferent colors o f the desig , and it SILK WEAVES 47 j usts many other deta ils all by means of holes which have been punched in certain order in a set o f cards .

Me ch anism of th e L oom The attention o f the visitor in the weaving room will be a ttra cted by the almost countless cords which rise perpendicul arly from the warp threads in the loom to th e a a N a tt chment overhead . e r the top o f the loom is a series o f per forated cards , tied together at

‘ the ends . These cards are in constant motion and by means o f them the design is woven into the cloth . The mechanism which brings the cards in contact with the threads is most ingenious and rather com m a plicated . It ay be e sily understood by a careful a a F u 8 study of the di gr m , ig re , in connection with the following explanation of the essenti al parts of the ma chine and their relation to one another . E ach cord ( A ) is fastened at its upper end to a k a hoo ( B ) . This set of hooks controls each individu l h warp thread by ra ising the harness cords . T ese cords ” a a C a h ve m il eyes ( ) ne r the lower ends , through w a a a a hich the w rp thre ds p ss , so th t when the cords ar e drawn up the warp threads rise also . The cords are pulled back into pl ace by weights called lingoes ( D ) ff E The gri e , or hook li fter ( ) , consists o f a series of bars or blades which li ft the sheds . The hooks r o m Te ti e s b o o man an d Mc G o wan Th e MacMilla F x l , y W l ( n o m an b c o ur e s o f th e au o s and ub is e s C p y) , y t y th r p l h r

u 8 e a o f ac ua d o o m Fig re . D t il J q r L

— — — D— i n o e E o s B o o Ma i . L C E e s o r i s. A N e ck C rd . H ks . l ye W ght g f F— e e s — x — G iif o r o L i te . r e H o e . G S in B o . H e e l e Eye . — k — r N dl pr g N d in K a o f e e e s . I Cyl d e r. C tch N dl 48 SILK WEAVES 49 work vertically and have a catch ( K) at one end which f passes over the gri fe . F The needles ( ) work horizontally . They are bent back at one end so that each needle may come in con th e G tact with spring in the spring box ( ) . There is an eye in the center o f each needle so that the hook s may pass through . The needles control the hooks .

- The hollow , four sided , revolving cylinder ( I ) makes one quarter of a revolution with each pick o f the pattern , thus placing one of its four sides in contact with the needle .

The cards pass over the cylinder , coming in place alternately and showing the p attern by pressing back those needles not needed to raise the shed .

Th e Card s The use of the cards may be better understood by cpmparing them to the perforated p aper roll of the

a a a - a the a mech nic l pi no pl yer . Just as tune pl yed on St the piano is cut in the rip o f paper , so the design to be woven in the loom must be cut in the series of cards a of the J cquard machine . The design for the woven silk is ﬁrst drawn in color

a on p per which is ruled for the purpose . The ruling

a a and a a is in str ight , vertic l , horizont l lines cross the

a a a a p per , forming small squ res ; the p ttern is c refully

a a pl nned to ﬁt into cert in numbers of squares , like de

- r signs for cross stitch embroide y . 50 SILK DEPARTMENT

The paper on which the design ha s been drawn is placed in an upright position on the machine used for

a a the perfor tion of the cards . Only bout an inch o f

a a and the p ttern shows at time , the line to be cut is indicated by a scale bar placed across the face o f the design ; the spa ces on this scale bar a re numbered from left to right and the numbers on these sp aces apply to

a the warp threads in the loom , the cards in the h rness ,

a s and their connecting hooks , rods , etc . , as well the

h a E corresponding spaces in t e pattern c rd . ach card k controls the motion o f the loom for one pic , that is , the ra ising of certain warp threads while the Shuttle passes once through the threads which form the shed . The card cutter pl aces a card in the machine and

a re by pressing certain knobs , holes perforated in the cards ; these holes correspond to the sp aces occupied by a the design on the line which he is copying . The sc le bar is then adj usted for the next line o f warps a nd

and a the next card is cut , so on until c rds have been

n a are cut for each line o f the desig . The c rds then laced together in their right order to form an endless

a e a chain . In we ving an elaborat p ttern the expense is increased by the use o f many thousands o f these cards .

Varieties of th e Ja cqu ard L oom There a re many va rieties o f Jacquard looms and ai a t these may vary in different p articulars . Some m SILK WEAVES 5 I

in at economy cards , others reducing the number of M needles and hooks . odern ingenuity is constantly a t and work to ﬁnd better less expensive methods . But a fter all , the essential principles o f the machine remain a pr ctically the same . I f the warp threads a re to be li fted , then some form o f hook or cord , or some simi lar device must be used , which in turn must be directed by either a card cylinder or some other appliance a ff equ lly e ective .

F igured Ve lvet s F igured velvets are also made on the Jacquard loom . Only such threads o f the pile a re li fted for th e inse r tion o f the wires ( see Pile Weave above ) a s are needed to form the ﬁgure , and other threads are left to be woven into the ground . A S f the pile threads are used in di ferent proportions , a they cannot all be placed on one warp be m , but are T a wound each on its o wn bobbin . hese w rp bobbins a are spread on frames , each bobbin being sep rately

and a a a weighted e ch cting independently , so th t the number of threads used varies with the figure . W a a hen pile figures appear on otherwise pl in f brics , the figures are generally woven in a sort o f a face filling effect and then cut with a kni fe as already de scribed . Ch ap te r VI

DYE IN G SILK

Classe s o f Dyed Silk The processes o f throwing ( see Chapter I II ) and dyeing a r e usually carried on in different mills by

f a entirely di ferent concerns , but some o f the l rger mills l complete a l the processes . Dyed silks are divided into two classes

I - . Yarn dyed goods , which have been dyed in the

skein before weaving .

2 - . Piece dyed goods , which are dyed after the silk

has been woven into Cloth .

Yarn- Dye ing Proce sse s The processes in yarn- dyeing are

Boiling- o ff Weighting Dyeing

B -Off Scout in o r S i oiling , g, tripp ng The raw silk is thrown in the gum and the gum

- ff S n is no w removed by the boiling o process . The kei s 52

54 SILK DEPARTMENT

a a - a and from h l f hour to three hours , they are t ken out dried or whizzed in a hydroextractor which removes all the moisture in a very short time . I f the silk is to “ ” a be pure dye, th t is , i f nothing but the color is to be a and th e a dded , it is dyed next silk is then w shed , dried , stretched , and ﬁnished .

W e ighting of Silk The removal o f the gum from either raw or spun silk in the boiling- o ff process reduces its weight about 2 and a ne 5 per cent le ves it very soft and light . O 1 6 2 pound ( oz . ) o f Silk will weigh 1 oz . a fter boiling

' o ff . As silk is sold by weight this loss is a serious one and to the manufacturer , it is perfectly legitimate to

2 . S make up the 5 per cent ugar o f lead , which is a was a a h rmless , once used ; tod y s lts o f tin and iron

are in solution and other injurious substances used , and o ften much more than the original loss o f 2 5 per an cent is added . A pound o f silk c be made to weigh nd 0 0 . a 4 or 5 oz or even more , the manufacturer gains by this process and puts on the market a n inferior a S k quality of S ilk . The result i s th t while a cheap il can be made , it will not wear well and soon splits and cra cks under its weight of tin and iron . This weighting is usually done before the silk is

ma a . dyed , but it y be put into the dye b th A manu facturer who wishes to deceive can a dd a s much a s 300 a per cent extra weight by the use of chemic ls . DYEING SILK 55

We ighting Ma teria l s

f a S k By using di ferent chemic ls , il s o f all colors can S a a a re be weighted . ome o f the weighting m teri ls a and salts of tin , iron , sodium , m gnesium , chromium ,

a and a a barium . Sug r , gelatin , glycerin , glucose , p r f

ﬁn are also employed . Those most commonly used are tannin , tin , iron , and sugar .

Pro ce ss of We igh ting w ith Tin The Silk is put into a bath o f salts o f tin ; this treat a f its a ment does not fect color . A fter rem ining in

a k a and this bath for sever l hours it is ta en out , w shed ,

a n dried . It is then p ssed through a solutio o f phos F a a a a nd . ph te of soda , g in washed , dried rom this

k ha s a a process the sil g ined bout oz . to the pound

r S ma a a s in of aw silk . The ilk y be p ssed sever l time succession through these two baths ; each time it ga ins in weight . N ext a bath o f silicate o f soda is given ; this a dds a little to the weight and is Cla imed to a dd luster and

a a strength to the goods . A ﬁn l w shing is given the

and a a a - silk it is re dy for the dye b th . D rk colored

S k can a a - il s st nd more weighting th n light colored ones , and a a re f o r a sa s lts of iron used d rk silks , while lts o f

are - tin used for light colored Silks .

Re sult s o f W e igh ting Weighting which is not properly done weakens the 56 SILK DEPARTMENT

a k w no strength o f the ﬁber so th t the sil ill t wear well . Many people cannot understand why a Silk petticoa t is I h a n n H ea v in shreds when t s bee wor very little . ily weighted Silk cra cks and splits a fter a short time

a n whether it is used or not . Perspir tio o ften unites with the chemical s in the s ilk a nd causes it to fall apart. Silks made many years ago before there was such excessive weighting would wea r for years and m any an heirloom gown is i n better condition than a last ’ year s dress .

Wild Silk

f d F o r The wild silks ( tussah ) are di ﬁcult to ye . this reason the genuine wild silks are usually sold in the

a natur l unbleached color .

Classiﬁcation o f Dyes Textile ﬁbers are divided into two l a rge classes

1 F . ibers o f vegetable origin, as cotton , linen , jute,

etc . 2 F k . ibers o f animal origin , as wool , sil , fur, etc .

Colors that will dye the a nimal ﬁber s will not dye

a a C a the veget ble ﬁbers , and vice vers . olors th t will

a all r i a dye one anim l ﬁber will dye othe an m l ﬁbers ,

a are a w a a yet tod y there dyes for e ch ﬁber, hether nim l a or veget ble , as silk dyes , wool dyes , cotton dyes , linen dyes . This is sometimes an advantage in dyeing DYEING SILK 57 m S a ixed silk and cotton goods ; the ilk t kes the dye , n and a the cotto does not , the result is th t i f a white stripe of cotton threa d is put in a S ilk fabric the cotton

a a S has will rem in white fter the ilk been dyed . Silk was originally dyed by means of vegetable col a s and oring matter, such logwood , Brazilwood , mad u der ; and animal products , s ch as cochineal .

Mo de rn Dye Stuffs There a re two classes o f dye stuffs

‘ 1 a . Basic or subst ntive colors 2 s . Acid color

!Basi c or substantive colors will combine directly a with the S ilk fabrics without the a id of a mord nt . Acid colors will no t combine with th e ﬁber unless a

a a no w mord nt i s used . The cid colors are widely used a is bec use most of the silk weighted with tin, which a s ct as a parti al mordant for the a cid colors .

Mordants A mordant is a chemical substance which unites with

and h a x the fiber wit the coloring m tter , fi ing the color in S a g matter on the fiber . ilk is usually dyed in “ bath containing the boiled - o ff liquor from the scouring in which th e gum was boiled out . A little a cetic a cid is put into the bath to neutralize it . SILK DEPARTMENT

Yarn-Dyeing In the dye room are long vats ﬁlled with the steam ing hot dye mixture which h as been prepared accord in r g to the desired color . The Skeins of silk yarn a e immersed by being suspended over sticks which rest

t S on the edge o f the dye va . These sticks and keins are moved constantly so that the dye may penetrate a every p rt . The depth o f color depends upon the t a leng h of time the Silk is in the dye . A fter it is t ken from the vat it is immersed in water to remove the n loose color a d then dried .

F S - igure 9 hows the process of ya rn dyeing .

- S a I f a light colored ilk is required , ble ching must

e S S a re preced the dyeing . The keins o f ilk either bleached with peroxide or put in a sulphur chamber .

Stre tch ing A fter the silk is dyed it may be pl a ced over a peg

a and and in the w ll twisted , pulled , stretched until it is

a ma o h so ft and glossy . A still gre ter luster y be s taine d by stretching the silk by machine . In thi process the skeins o f Silk are l aid between d amp cloth s. NVhen the silk has become thoroughly moistened the

r a two a . skeins a e pl ced over steel rms , which are then

a a and screwed p rt , thus stretching the silk holding it

a a . tight . Dry he t i s then pplied Although this process diminishes the ela sticity o f the silk it a dds n much to its brilli ancy a d luster .

60 SILK DEPARTMENT

Block printing was the next method employed and it E is still much used in urope . In block printing , the

and pattern is worked out in relief on wooden blocks , the color is taken up by pressing the blo ck aga inst the p ad on which the color has been previously prepared a one color on each pad and one block for e ch color . Good results are obtained in this way but the process

S a S a is low , for the p ttern is put on the ilk by pl cing a a A w one block at time in its place on the f bric . blo from a mallet prints the color on the fabric .

Mach ine Printing

M n a ost silk goods ar e o w printed by m chine . The design is engraved or etched on copper rollers ; there h is one roller on the mac ine for each color . I f there are eight colors in the pattern there must be eight a rollers on the m chine . The color , which is thickened

a at a with gum , is in trough the bottom o f the m chine and is supplied to the cylinders by rolls which turn in the color trough and aga inst the cylinder . Any sur plus is scraped o ff by a kni fe bl ade which is called a ” a en rav doctor . This le ves the color only in the g a a ing and this is t ken up by the cloth , as it p sses next to the cylinder . In order to set the colors , the cloth is steamed after printing and it is then wa shed in order to remove the gum used to thicken the , colors for printing . DYEING SILK 6 1

Warp printing is don e by printing the pattern di rectly on the threads o f the warp with rollers or f blocks . This gives the e fect of an indistinct design

a a on the silk fabric , bec use the ﬁlling thre ds , as they

a - a cross the w rp printed thre ds , cover small portions

o f the design . Dresden and chiné Silks are warp printed .

Ways o i Printing There are three methods o f printing patterns 1 . Application or direct printing . This is the print ing o f the pattern on the cloth , all of the colors being printed at once by means of engraved rollers as just described .

2 E a . xtract or discharge printing . In this c se the silk is ﬁrst dyed and the pattern is printed upo n the

a a dyed f bric by Chemic ls . The Cloth is then subjected

a and a a h a a to he t moisture . This c uses c emic l re ction to take place which either removes the color of the

a was a materi l where the design printed , le ving it white , or produces a new color by chemical combination . I f a a light color is required , a bleaching gent is put into th e a a and chemical . The materi l is then w shed dried a to prep re it for the ﬁnishing processes .

. R h a 3 esi st printing . By t is method the p ttern is ﬁrst printed on the goods with wax or some ch emical f fab which will resist the action o f the dyestu f . The 62 SILK DEPARTMENT ric is then dyed and washed in benzine or some agent which dissolves the wax or chemicals and brings out the design .

Antiquity of Vegetable and A nima l Dyes M ethods of extracting colors from plants , fruits ,

a and and b rk o f trees , their use in the dyeing of tex tiles were know n in prehistoric times . Dyeing was practiced in China in a most primitive way at a very

a L a a and e rly date . ter the manuf cture of colors e methods o f dyeing becam known in India , where they

was were much improved . The printing of textiles

a F B ab lo also pr cticed . rom India the art passed to y E nia and Assyria ; thence to gypt , where mummy cloths have been found which were dyed with indigo and a m dder . The Phoenician merchants imported Oriental dyestuffs and others o f their own manufac wa s ture into Greece . Tyrian purple the dye most

w as a a used by the Phoenici ans . It obt ined from sever l va rieties o f mollusks which are found in tropical seas .

The purple murex was the most common o f these . Green and blue dyes were also obta ined from Shell ﬁsh

a L of the murex f mily . ittle is known o f the methods employed by the Greeks and Romans .

A rt o f Using Dyes Rega ined in E urop e With the fall of the Roman E mpire the art of dye

wa s E a ing lost to urope , but it beg n to ﬂourish in DYEING SILK 63

Arabia and Turkey and was brought back to E urope by the importation of O riental products . Then Ven ice became famous for dyes and dyed goods . In the thirteenth and fourteenth centuries Florence reached the zenith o f her power and among her other a rts and h andicra fts famous dyed silks were produced .

a r G F F The t passed on to ermany , rance , and landers , and from F landers to E ngland .

Growth o f Industry in F rance In F rance the fostering o f the industry was due to

C a a i the olbert , f mous statesman who l ved during

L ! IV Two 1 6 reign o f ouis . centuries be fore , in 45 , Gilles and Jean Gobelin had established dye - works in

Paris . During the next century their descendants a a a dded a tapestry m nuf ctory to the original works . G a ea There the obelin t pestries , famous for their b uti

a e . ful , rich , and peculi r colors , wer made The most

a was - w no w be uti ful o f the dyes a greenish blue , hich is k Go . 1 66 2 nown as belin blue In , at the instigation o f

C a a the a olbert , the f ctory bec me the property o f st te and Gobelin tapestries were produced in much larger a qu ntities .

E a arly in the nineteenth century Chevreul , a gre t F rench chemist who had a pro found knowledge o f the o i science color and the dyeing industry, perfected the - vegetable dyes and discovered h o w to produce m any more color combinations . 64 SILK DEPARTMENT

De crease in Co st of Dye s Dyed goods were great luxuries and prohibited to

a most people because o f their exorbit nt price , but the invention o f the steam engine and steam weaving ma chines in E ngland led to mechanically driven apparatus

x a f a for e tr cting dyestu fs and prep ring them for use , an d this lessened the expense . The most important

and a C dyes were indigo for blue m dder for red . utch wa s a used for brown . Persi n berries were used for

ak a ff m ing extr cts of di erent yellows . These colors

fe w a i were used direct , in a inst nces in connection w th a mord nts , such as salts o f i ron , copper , and aluminum in the form o f sulphates .

A merican Dyes

After the discovery o f America new colors were o b fa ined reds from Brazilia n redwoods ; blues and

a a a a a bl cks from logwood ; cochine l , sc rlet extr cted M a . from fem le cochineal insects , exported from exico

Safﬂo we r f - and , or false sa fron : fustic , or yellow wood ; many other extracts from West India n and South

American plants also came into general use .

Mine ral Dye s

Dyes ma de from various mineral compounds have

a a been l rgely used . The most important is Prussi n a blue , discovered in the eighteenth century . It is m de DYEING SILK 65 from iron salts in combination with p otassium ferro cyanid .

Co al Tar Dye s ( Aniline Dyes ) The most important of recently developed dyes are r those made from coal ta . They are derived from a substance which results from the burning o f coal in a a W m king illuminating g s. ith the development o f 1 8 1 h the gas industry , which began about 4 , t ere came

b - as a a a y product known as g co l tar , which is obt ined

a IS a from so ft co l when it b ked in closed retorts . The r ff a ta a s a O . is condensed as the g p sses It is a bl ck , heavy mixture , resembling pitch and was formerly di f

ﬁcult S wa s a e to get rid o f , ince it considered o f no v lu . Chemists began experimenting with the product and as 1 8 f al early as 34 aniline dyestu f was discovered ,

i was a a though t not t ﬁrst known by th t name . In 1 84 1 the same product was discovered by a nother

at a 1 8 6 chemist and this time called aniline . The ye r 5 can properly be called the time o f the discovery o f the

W . . an coal tar dyestuff when Professor H Perkin , E nglish chemist , produced the ﬁrst aniline dye which was manu factured for c ommerci al purposes . The manufacture o f coal tar dyes is no w one of the largest and most scientiﬁc industries in the world .

Growth o f th e Ind u stry

E a Although the industry originated in ngland , in 66 SILK DEPARTMENT short time F rance was leading in the production o f aniline dyes ; then Germany and Switzerl and became

interested and , developed aniline dyes to the highest

f G a degree of e ﬁciency . ermany pr ctically held the a 1 1 monopoly o f the manuf cture to 9 4, when the war

a . beg n The other countries , including America , were dependent on Germany for the ﬁnished raw materi als a a c lled intermedi tes from which their dyes were made . Immediately following the outbreak o f the war the industries in this country were handicapped and the only solution seemed to be to wait until the end of the w a r was a a , for it thought th t only Germ ny could send

a a a a and the dyes . But as time p ssed Americ n c pit lists chemists and others have worked over the S ituation until America is turning out dyestuffs which are said E to be equal to those o f urope . Many people think that the colors and the perfumes a tar obtained are extracted directly from the co l .

e tar a a This is not the cas , for coal is mixture o f grea t m any products which are separated from each a re other by distillation . These products care fully

a and tre ted , combined Chemically with other chemicals that a re not present in the coal tar . The combination o f substances produces new chemical compounds

a a a known as intermedi tes . These intermedi tes , tre ted a v with other intermedi tes , or hea y chemicals , produce such substances as dyes , explosives , etc .

68 SILK DEPARTMENT

The principal ﬁnishing processes Calendering Dressing or stiffening Breaking Tentering Ga ssing Moiré ﬁnish

Ca lend ering

S E Calendering is practically ironing the ilk . ven the best Silk goes through this process . The material

a a a as is run between he vy rollers , usu lly he ted by g or

a A S a a a a f ste m . he t lw ys t kes some o f the sti fness

S 15 a a which ve r from the ilk , there lso cold process in y ‘ Ca heavy rollers are used . lendering not only smooths

S a the ilk , but dds gloss or luster .

Stiffening Silk which is too soft or Sleazy is p assed through a machine having coils o f steam pipes which send a j et

a of steam and glue a cross the goods . The glue f lls upon the material in a ﬁne spray and adds the ne ce s

M a a f sary stiffness . anuf cturers h ve di ferent stiffen

. S ing agents ome use a mixture o f glue , cocoanut oil , and glucose .

B reak ing Silk which has been stiffened artiﬁcially is put later F INISH ING PROCESSES 69 through a breaking machine which has rollers with

a A S buttons or small knobs of br ss ﬁtted in spirally . the silk passes between the rollers the Spiral knobs draw it S on the bias ﬁrst to one ide and then to the other , a breaking up the glue and making the m terial soft .

Te ntering

The tentering machine is usually a very long one . AS the silk m ay have shrunk a hal f inch or more in width during the previous processes , it is put on this a machine to stretch it to its origin l width . The silk is caught by its edges a nd held tightly while moving slowly ﬁrst over steamand then over dry heat from many gas ﬂames .

Gass ing The process is somewhat like that used in treating C S the yarn referred to in hapter III . The ilk is run swi ftly through a ma chine which may have gas jets

and . burning on both the top bottom , or only on top As the materi al passes over or under the fl ame the h S o ff fuzz , or s ort ends of the ilk , is singed and the S a surface is le ft smooth . The peed of the m chine is so great that the fl ame burns o ff the loose fibers with out injuring the silk .

Mo iré F inish The moiré o r watered effect can be obtained only 70 SILK DEPARTMENT

S a upon ilks woven with cord , and materials with a pronounced cord Show the effect the best . There are two ways of doing this I two . The selvages of the silk are folded together and the silk is then submitted to heavy pressure be W e tween heated rollers . her ver the cords come in contact with each other they become ﬂ attened so that

’ when the light falls upon the surface of the fabric it f is is reﬂected di ferently at these points . The result f the wavy , watered e fect . 2 . By the other method the Silk is run under pres sure through two heated rollers which have a gra in engraved upon them exactly corresponding to the grain h a o f t e silk . By drawing the silk to one side the gr in o f the roller crosses the Silk grain and crushes it when e ev r it strikes .

Show er-P ro o ﬁng Shower- proo f silks are put through a secret process which prevents them from being spotted by water This process does not inj ure the fabric nor affect its feeling or appearance .

Pe rmanency of F ini sh e s An artiﬁcial ﬁnish upon any fabric tends to disap pear when the material is in use . The gloss wears o ff ff es , sti ness is lost , and goods made smooth by pr sure become roughened by wear .

Ch ap ter VII I

ARTIF ICIAL OR F IB E R S ILK

Rea son fo r Making Artiﬁcial Silk S ilk is the most costly , as well as the most beauti ful ,

So —a of the textile ﬁbers . much hand l bor is required for the ra ising o f Silkworms and the gathering o f the

raw a silk from their cocoons , th t the product must

a a F o r a x e r i lw ys be expensive . this reason m ny e p ments have been ma de whereby a n imita tion or substi tute for the silk fiber might be produced by chemical processes . These experiments have succeeded to such an extent that severa l varieties o f artifici al or fiber silk resem bling Silk very closely a re no w made and are used in o i l stead true si k for many purposes .

Diffe rence B e tw e en Real and Artiﬁcial Silk

ff n The ﬁber o f silk di ers from that o f cotton , line ,

in its or wool both its length and structure . The length o f all these may be measured by inches , while n V silk is ma y yards long. The other ﬁbers when iewed under the microscope are composed o f tiny cells whose 72 ARTIF ICIAL OR F IB ER SILK 73

a k no walls m ke the firmness o f the fiber, while sil has such cellula r structure . 3 The spinning o f Silk by th e worm from the gummy n th e s substance in its own gla ds, and hardening o f thi substance on exposure to the air h as suggested to chemists that they might first produce a substance Slml lar in composition to the S ilk in the body o f the silk

h a worm , and t en force this subst nce through tiny tubes , n correspondi g to the mouths o f the Silkworms .

S fibro in a ince , or the silk fiber, i s nimal fiber, ex p e riments have been m ade with v arious animal sub

a h ad n st nces , but even i f they bee wholly successful ,

. a they are too costly to be practic l . The substance which is the ba sis o f all the artiﬁcial silk used in com merce is called cellulose , and is o f vegetable origin . Cellulose can be best obtained from either cotton or s in the wood pulp , though it occur other vegetable

ﬁbers .

Kind s o f Artiﬁcial Silk The three kinds o f artiﬁcial silk which hav e been commercially successful are :

I . N itrocellulose or pyroxylin silks 2 . Cuprammonium S ilks

3 . Viscose silks

o r a The ﬁrst tw o f these a e m de from cotton waste , while the third i s made from the pulp o f the Spruce 74 SILK DEPARTMENT

S V tree . Pyroxylin ilks are the oldest, but iscose silks are the cheapest and practically the only ones made and used in the United State s.

Ma nufa cture There a re a number o f agents used in dissolving the

u a cellulose , s ch as ammonia , alcohol , ether , and c ustic a alk lies . To produce pyroxylin silks nitrocellulose is dissolved a nd h C a in a mixture o f lcohol a et er . upr mmonium silk is produced by dissolving cotton cellulose in a solu tion o f ammonia and cupric oxide . F o r viscose Silk the wood of the spruce tree is 1 a h chopped and ﬁnely ground . It is then tre ted wit

a a a . c ustic soda and w ter, which c uses the ﬁber to swell The solution is next exposed to the action of ca rbon disulphid and the ﬁbers continue to swell until they

a a . are like a jelly , which e sily dissolves in w ter The

a . solution is viscous , or o f the consistency of mol sses F o r this reason the name viscose is given to the arti

ﬁcial silk product . The sticky m ass is forced through exceedingly ﬁne

a a a tubes o f glass or pl tinum , which termin te in w ter containing ammonium sulphid or ammonium chlorid .

1 It is said th at th e l e ave s o f th e mulbe rry tre e h ave b e e n expe rime nte d wi a nd w e n r e uc e to c e u o se i e th e be s basis fo r the ma in o f th , h d d ll l g v t k g a r i c ia si but s ince th e e a e s a r e n e e e fo r the Si wo r m s t e c an t ﬁ l lk, l v d d lk , h y S r o s It h as a so be e n fo un b fur t e e e r ime n n o t b e p a r e d fo th e r u e . l d y h r xp t in t a an so f wo o w i an swe r but th e wo o o f th e s r uce e e see ms g h t y t d ll , d p tr o th u o s e sp e cially adapte d t e p rp e .

76 SILK DEPARTMENT

th e . a 1 of all inventors He took out his p tent in 885. n o r He used cotton dissolved in alcohol a d ether . In der to carry on his work a fa ctory was opened at B e n O a sanco . thers who took out p tents were Du Vivier 1 8 L 1 8 0 1 8 S in 99, ehner i n 9 , Pauly in 97, and tern in

1 8 M . 98. any other processes have been tried

Ch aracteri stics Artiﬁci al or ﬁber silk has a very high luster and is / far more brilliant than real Silk . It takes dyes readily and many beauti ful colors are easily obtained . It is ff S and . not soft like ilk , but harsh sti to the touch As a a a a m terial it does not drape nor f ll in gr ce ful folds . When wet or submerged in water it feels like a gel ati nous substance . It is neither as strong nor as elastic as true silk . W a but hen wet it loses much of its natur l strength , it

a a a reg ins this when dry . A single y rn o f artiﬁci l silk

a a is usu lly made up of from ﬁfteen to twenty ﬁl ments ,

a a twisted very little . Artiﬁci l Silk can e sily be detected by unraveling a thread and noticing the many ﬁlaments

a a of which it is composed . These re dily separ te and do not have the twisted appearance o f real Silk .

II se s

F S rom artiﬁcial ilk are made dress trimmings ,

a a a p ssementerie dress br ids , hat trimmings ( m ny o f a which look like straw ) , neckties , hosiery, swe ters , ARTIFICIAL OR F I B ER SILK 77

a a and sc rfs , many beauti ful embroidery silks , dr peries ,

S a many of the ilk stripes , ﬁgures , or p tterns in fancy

so - a a - S mixed goods , or c lled p rt ilk goods .

- - k It is found in cotton and sil mixed goods , where its

a f a S k high luster m kes a very good ef ect . Artifici l il has not as yet been woven by itsel f into a strong , firm a ma a dress m terial , but y be found used as filling in material with a cotton warp . At the ribbon counter may be found ribbons made with a satin weave ; the warp is of cotton and the long threads of the satin weave are of fiber silk . This does not at present seem very satis factory as the artificial silk threads become roughened and lose their smooth a a ppe rance . Artifici al silk has recently been woven into a very

a a a has a k be uti ful g uzelike materi l , which metallic loo k at li e gold or silver . In light colors this is most a tr ctive . Experiments are constantly being made and artiﬁci al

silk is coming more and more into favor . The cost o f

a - a S production is bout one h l f that o f ilk , but much o f the materi al sold by the yard i s as expensive as silk . F iber Silk sweaters are very much less costly than silk sweaters ; fiber silk stockings a re less expensive than Silk stockings and wear better than a cheap silk stocking . Many hat trimmings are made o f artificial or fiber Silk ; some o f these are run through gel atin which sticks 78 SILK DEPARTMENT

a r the ﬁbers together and makes we ving unnecessa y ,

a giving a ﬁnish which resembles patent le ther . This

a treatment with gel tin is a quick process . Sometimes millinery Silk tulle or maline is made by

a pouring the paste or pulp over a ﬂat surf ce , rolling it n out thin , and marking it with rollers which a re e graved in such a way that the maline has the appear a a a nce o f h ving been woven . This m terial is satisfac

- lo w tory because it is good looking , its cost is , and it will last i f it is not wet .

L aundering Artiﬁci al Silk will not stand a high temperature and h it must be handled care fully when wa s ed or ironed . Hot water or hot irons inj ure real Silk and a re even

a S more inj urious to artiﬁci l ilk .

Ve getable Silk Some plants and trees have seed h airs or ﬁbers at h h a tac ed to the seeds . Among these is one w ich be rs a a pod , somewh t resembling the milkweed pod but a W o d l rger in size . hen the p is ripe it bursts open and a a S i s found to be ﬁlled with thin , tr nsp rent ilklike

- E ff a a . ﬁbers , less th n one h l f inch long orts have been has m ade to spin and weave these ﬁbers into cloth . It been found more satisfactory to combine them with w ool or cotton .

These ﬁbers are known as kapok . The trees are

Ch ap ter IX

MI! TURE S IMITATI O S L E R ON S , N , ADU T ATI , AN D TE STS F OR S ILK

Mix tures Silk is mixed with wool and with cotton in making

a a m ny materi ls . Among the silk - and - wool mixtures there are those

a : which have a silk w rp and worsted ﬁlling , as Gloria Henrietta cloth L ansdowne Bombazine

Moha ir is sometimes made o f a combination o f silk h a a wit hair from the angora goat . All these m teri ls ,

a . however , are usually sold in the Wool Dep rtment

a a There are lso corded silks , in which the he vy a ﬁlling for the cords is wool , but where the silk w rp threads completely cover them , as Bengaline Poplin

n in a Silk is also combined with cotto such materi ls , ! I O S 8 1 MI TURES , MITATI N , TESTS

Voiles Shantungs F o ulard s

Cotton- back satin Velveteens Silk muslins Silk ginghams Upholstery material s

a n as In most c ses the mixture is appare t , the mate

- a as a . ri ls do not have the same luster, all silk f brics In the a ma a all S others f bric y be e sily taken for ilk , par

i l rl h t cu a y when mercerized cotton is used wit the silk . Cotton is also used for the c ords in such corded material , as :

Poplin E olienne

Sometimes silk - faced fabrics are ba cked with a a a e m teri l o f another ﬁber , for xample wool , to make See C - C them heavier . ( hapter V for Double loth ” Weaving )

Imitations

a S Because o f its v lue , ilk has more imitations than an a a y other ﬁber . The princip l imit tions are

1 M S ﬁn . ercerized cotton , where a permanent ilky

ish has been given to cotton . This is some e times used as a substitute for silk . ( Se 82 SILK DEPA RTMENT

pages 36—38 o f manual for Cotton and ” L inen Depa rtments )

2 a a . . Artiﬁcial silk , m nuf ctured from cellulose

a ( See Ch pter VIII . )

S ilk- surfacing is a method o f treating cotton ya rn

a a to m ke it look like silk . This is done by so king smooth cotton ya rns in a solution o f pure silk made by dissolving silk remnants and other silk waste in some a cid . Be fore being placed in the silk bath the cotton yarn

a a i s soaked in some met llic acid solution , which c uses the silk solution to be more readily taken up . The a n v a y rn i s the dried , run between hea y rollers , g ssed ,

a n . S a a a d polished A ﬁne ilklike ppe r nce is the result . The cotton yarn is covered with a thin l ayer o f true

ha s a silk , but it little dur bility and can be used only for goods which will have little wear and no hard

a w shing . Many mercerized cotton fabrics are given n ames which lea d inexperienced persons to think that there is

a S some silk in the rticle . ome o f the names of these cotton materials which suggest the presence of Silk a re N ear silk Silkaline ’ F a rmer s satin Sateen

84 SILK DEPARTMENT

E n u d rance . Silk i f not heavily weighted will last for yea rs . i We ght. Silk is the lightest in weight of all textile

ﬁbers . A n a n bs o rptio . Silk absorbs w ter a d will take a grea t deal of moisture ; this quality makes it good for

ma ak a . a umbrellas , underwe r , etc It y be so ed in w ter without imp airing its strength . It is the only ﬁber which is p roof aga inst mildew .

B urning Test s

S Pure ilk burns slowly, with an odor of burning

a a k a h ir , and the ﬂ me goes out quic ly , leaving gummy

a a a subst nce . It is sometimes more s tisf ctory to pull out threads from both warp and ﬁlling and apply a k ma as a ma . tch to them , both thre ds y not be o f sil

S h and a nd a The ilk t read will swell boil . a little b ll will form on the end ; i f there are any cotton threads they will burn quickly .

Weighted Silk is easily detected by the burning test . When a match is applied to the sample the silk will burn away and leave an ash which retains the Sh ape o f h a . a s a the s mple This is the miner l weighting , which will not burn . Another form o f this experiment is to place a sample o f the silk on a small dish and leave it in a very hot oven for about an hour ; then the Silk will and be consumed the weighting le ft . Another simple experiment for weighted silk is to ! O S 8 MI TURES , IMITATI N , TESTS 5 place a sample in a glass bottle or test tube and with a pair o f pincers or a twisted wire hold the tube over a

a S a a a nd gas ﬂ me . The ilk will gr du lly be consumed the metallic weighting left in the bottom o f the bottle .

Micro scop ic Te sts Silk ﬁber under the microscope will be seen to consist of two threads held together by gum . o ff a Silk with the gum boiled will ppear smooth ,

a a . cylindric l; lustrous , and transp rent Wild silk has a broa d fil ament which is irregular in diameter with many lengthwise lines . S f pun silk is di ficult to distinguish , but the fibers are

a irregul r in form .

a S a a . Artifici l ilk has glassy , met llic look The fiber is wider than true Silk and looks something like a gl ass fl in R tube with ut gs . eal silk fiber is always twisted ; artificial silk is seldom twisted , but consists o f a num ber of parallel strands .

Ch emical Te sts Cultivated silk is destroyed in two minutes in a 40 a a per cent solution o f hydrochloric cid , but tuss h or

S a f wild ilk is not much fected . When a sample of wool - and - Silk mixture goods is put into a cold 1 0 per cent solution of caustic soda the wool is destroyed at once and the silk is affected more slowly . 86 SILK DEPARTMENT

The presence o f cotton or wool may be discovered by placing a sample in a 40 per cent solution of hydro

a chloric cid . The silk will be destroyed in two minutes

a and the other ﬁber will rem in untouched . Artiﬁcial Silks in cold 1 0 per cent caustic soda a re destroyed in about two minutes and true silks not so quickly .

Oth e r Misce llaneous Te sts Silk mixed with cotton or wool can o ften be detected

a a by the use o f the m gni fying gl ss . Whether the silk is reeled silk or spun Silk can be de te rmined by untwisting the ﬁbers and seeing whether

a they a re long or short . The thre ds o f spun S ilk also

a a and a a S dr w ap rt bre k more e sily than reeled ilk . ” A good Silk has body to it and will snap when a sh ken .

W e aving Te st s

Press the two thumbs together on the fabric and pull

— - a wa and ﬁllin wa . tight , both w rp y g y I f the material

a a . is not strong it will pull apart fr y out , or te r To ﬁnd out i f the materi al will pull away at the

a can se ms , see i f the threads be moved by pushing with a a a a the the ﬁnger na ils . I f the thre ds push p rt e sily

ma a . S teri l is not strong oft silks , otherwise good , C will sometimes draw in the seams . onsequently they

88 SILK DEPARTMENT

e was a it f lt heavy it considered superior quality, espe i l k c al y in a black sil . no w S This test cannot be depended on , for the ilk may be weighted with 50 per cent or even 1 00 per cent o f tin or iron and glue weighting , which will give it

o body s that it will feel heavy, look lustrous , and seem good to most people . a S E xperience in h ndling ilks is one of the best tests . S One can learn to know a good ilk by the feel o f it . Ch ap ter !

PRINCI P LE S OF COLOR !

Imp orta nce o f a Kno wledge of Color to th e Salesp e rso n Color is a matter of very great importance in a l a rge

a number of the dep rtments in the store . In order to an a sell textiles , china d glass , art embroidery , dr peries ,

a - - a rugs , re dy to wear g rments, millinery , and many other varieties o f merchandise intelligently , some fun damental The a c knowledge of color is essential . cep ted theories o f color and color combinations are therefore given here brieﬂy .

Comb ination s o f Colors There a re two ways of combining colors which pro

f : duce quite di ferent results . They are

The combination of colored lights . a The combin tion o f colored pigments or dyes .

W f re hen di ferent colored lights are combined , the W sult is a combination o f the two colors . hen colored

‘ T is c a te r c o n ta inin th e e sse n ia r inc i e s o f c o o was re ar e h h p , g t l p pl l r, p p d b h i o r n s s o th manua s o f is y t e e d t a d appe ar in eve ral f e l th se rie s. 89 90 SILK DEPARTMENT

are pigments combined , one color seems to absorb or

u r n a f co ntera ct the othe . O e expl nation o f the di fer

a m are ha ence is th t the pig ents never perfectly pure , t t a is , they cont in elements o f other colors and therefore cannot gi ve the same result as a combination o f the

Similar colored lights . All colors are produced by the effect o f light upon

a s t the nerves of the eye , and the eye sees hem , colors a h n are cont ined wit in the light itself , forming whe

a n . united white or colorless light , as in su light It i s only when pa rt o f the light rays are in some way ah sorbed or intercepted that we see the remaining rays as distinct colors .

Th e Sp ectrum

N early everyone has seen the band o f beauti ful colors which is form ed by a beam o f sunlight p assing

a The a f through prism . s me e fect is produced when ’ the sun s rays p ass through the ra indrops and we see

a ul a a the be uti f b nd or r inbow of colors in the sky . The theory is that a s the beam o f sunlight passes th e e a through prism , it is s par ted or split into the ele ments o f which it is made up and forms a band o f

a a colors inste d o f a white light . This b nd o f colored

a S light is c lled the pectrum , and the colors , whether

a are seen through the prism or in the r inbow , known m e . w as the sp ctru colors They are red , orange , yello ,

V . s green , blue , and iolet But when we see the e colors ,

9 2 SILK DEPARTMENT

Second ary Colors Seconda ry colors may be made by m i xing th e primary ones . They are

O a a and . r nge , m de by mixing red yellow

G a reen , m de by mixing yellow and blue . ! a . Violet , m de by mixing blue and red

Ch aracte ri stic s o f P rimary Colors

Of a ad the three prim ry colors , yellow is the most ” a a a c v ncing , th t is , seems to st nd out from its ba k

a n ground . It is ne rest to white a d possesses the a gre test power o f reﬂecting light . It imparts bril liancy in a greater or less degree to every compound into which it enters .

R a e d is the most positive . It represents w rmth as it

a and a a a a is brilli nt and cheerful , it ppe rs to dv nce R d V a a and a . e e somewh t xpresses ibr tion , ction , warmth . Blue is the most retiring of the primaries and

a a th e represents coldness , ppe ring to recede from

a a d eyes . It imp rts coldness in v rious egrees to eve ry color or hue into the composition o f which it n e ters .

The re ar e seve ral th e o r ie s c o nce rn ing th e n umb e r o f primar y co l o rs in . i but t e d o n ot a e r th e fac a b ue r e d a n d e o w c anno be l ght , h y lt t th t l , , y ll t in i n s o r e s b c o mb inin o t e r co o s w i e th e in s mad e p gme t dy y g h l r ; h l t t , s a e s nd ue s o f all o e c o o s e c e b ue r e d a nd e ow ma b e h d , a h th r l r x pt l , , y ll y bin o ns ma de by me an s o f suc h c o m ati . TH E PRINCIPLES OF COLOR 93

Charact e ri stics o f Se cond ary Colors

a Of the second ry colors , green , composed o f the pri n a ! maries blue a d yellow , is cool or w rm as it inclines to I a blue or yellow . Yet in gener l it is cool , cheerful , and

refreshing . O a and r nge , composed o f yellow red , is the most ” a advancing o f the second ries . It is composed of l two luminous colors and is considered the warmest and i m ll o st powerful of a the colors . It should there fore

Ibe used sparingly .

and Violet or purple, composed of red blue , i s the darkest of the secondary colors and is rel ated most rnearl h y to black . It reﬂects very little lig t and looks a still darker in declining light . It is a retiring color

and a a , lthough red enters into its composition , it c nnot s be classed a a warm color except in its redder hues .

a as a h a In yellow artiﬁci l light , such g slig t , it appe rs

. N ma brown ext to green , purple y be considered the most pleasing o f the secondary colors and has almost universally been considered the royal or imperia l color

a a a It is prob ble , however , th t the Tyri n purple , o f

w a h a a a hich we h ve e rd so much , ppro ched a crimson or a red , r ther than the deep and subdued color known as a purple tod y .

L uminou s and Somber Colors Colors are also described as 94 SILK DEPARTMENT

L uminous or warm Yellow Orange Red L ight green Somber or cold Blue Violet Da rk green Broken tones of luminous colors

B roken Colors Tertiary or broken colors are not found in the spec a two a trum , but may be m de by mixing second ry

a all h a un colors . They cont in t ree prim ry colors in equal proportions and are named a ccording to the pre dominating color

R a a . usset , or nge plus purple red predomin ting

O m a . live , purple plus green blue predo in ting C a — re do minat itrine , or nge plus green yellow p In g.

a a Besides the compound colors c lled terti ries , there are many other hues into which the three primary a a re colors enter . Among these the most ch racteristic

and a . brown , maroon , gr y a Brown requires black for its b sis , with a mixture

96 SILK DEPARTMENT

. S u of any color placed next to it ome colors , s ch a s yellow , it impoverishes .

all By its reﬂection o f light rays , white heightens or brightens the tone of any color which is placed close beside it .

Comp l e me ntary Colors

The color rays a bsorbed by any substance comple ” k ment , or complete , the ones reﬂected in ma ing white

. r light Therefore , they are called the complementa y colors . The complementary color of

Blue is orange , or red plus yellow . Red is green , or blue plus yellow .

Yellow is violet, or red plus blue .

In the diagram ( F igure 1 0 ) the complementary c ol ors are found by following the various lines a cross the circle to the opposite outer edge . These colors are sometimes supplied by the nerves of the eye itsel f which are wearied by looking too long a e x eri at one hue . This may be proved by simple p ment . I f a circular piece of red paper is placed on a white a at b ckground and looked steadily for a time , and then the eyes are turned toward a white surface , a green circle exactly corresponding in size to the red one ﬁrst TH E PRINCIPLES OF COLOR 97

a seen will appe r . A blue or a yellow Circle will pro

duce their . complementary colors in a similar man

ner . This exhaustion of the nerves o f the eye also ca uses a color to appear duller a fter one ha s looked at it a

a re long time . I f the nerves rested by another color — especially the complementary one they will become normal again . When the complementary colors are reﬂected from a r a nother color ather than a white b ckground , they a ch nge the hue of that color .

a To eyes which are f tigued by looking at blue , red

a a - in will appe r like an or nge red , yellow will be more

- tense, and green will appear as a yellow green . I f red has k w a a been loo ed at , blue ill ppe r as a green

- and a a blue , yellow as a green yellow , green will ppe r

. e a a a a blue After green , red will hav violet ppe r nce , n w a yellow will be more like ora ge , blue ill be violet

and a a - a a re a blue , or nge red or nge . These m tters of

a great importance in the displ y o f merchandise . The following rules Should be remembered

Red a ne r blue seems yellower . Red near yellow seems bluer . Red e n ar green seems purer and brighter . Red a near bl ck seems duller . Red a ne r white seems brighter . Red a a a ne r gr y is not Ch nged . 98 SILK DEPA RTMENT

RED 5 Q'

o m o o a r mo n in D e ss A u s e b Fr C l r H y r d l y, y c o u e s o f Ro be r M M cB r i rt y t . d e

a am Ind c a n the ma Figure 10. Di gr i ti g Pri ry a nd Se co nda ry o o s w h he ue s n s and o n as s C l r it T ir H , Ti t , C tr t

are a f Other colors fected in Similar ways . These effects are produced by the natural tendency

to see the complementary of any color , which in the case o f green intensiﬁes the red and in all the other cases changes its color by mixing their complementary

color with it .

1 00 SILK DEPARTMENT the numerals above the line represent the parts of t color ; those below, the par s o f white .

Color Scales

a The sc le o f any color, whether it be a pure color or a hue , consists o f all the tones from the lightest tint

ha a to the darkest s de . There are , for inst nce , scales

- - - o f green blue , purple blue, and gray blue .

Intensity

a Intensity is the strength of a color . The norm l or

a a a re st nd rd colors in full intensity . The intensity o f ” a color is reduced by graying it with its comple

a . a a ment ry color By the ddition of or nge to blue , or

ma a - in o f green to red , the color y be subdued to h l f

- a tensity or quarter intensity , and so on . I f a l rge a a a mount o f the complement ry is dded, the original

a color will be reduced to a dull gr y .

Color Harmonies Harmony in the combination o f colors may be of two kinds

1 a . H rmony of contrast .

2 m . . Har ony o f analogy or likeness

H armony o f contrast is between colors which are

a most unlike e ch other . It is perfect when the colors

a and are complementary . Blue and or nge , or red TH E PRIN CIPLES OF COLOR 1 0 1

are green , perfectly harmonious , one of the reasons for the pleasant sensation being that each one deepens k the color o f the other and ma es it purer . The true contra sting color o f any color may be found by fol h r lowing the cross lines in the diagram . The a mony of complementary colors is very bright i f the r G colors a e in full intensity . rayed or broken tones a a a m ke quieter h rmony . Harmony by contrast may also be secured with the

a S as ~ blue hues on e ch ide of the complementary color ,

- a e - with red or ng , or yellow or red with blue green or

- blue violet . The harmony of analogy or likeness is between

ma colors of the same or related color scales . They y be

1 f a . a a Di ferent sh des or tints o f the s me sc le , as and light red dark red .

2 f h - . t e a a s Di ferent hues of s me color , blue green

- and yellow green .

The ﬁrst is sometimes called a mono - chromatic or

- a a self color h rmony . The tints or sh des combined a should h ve enough variety to be distinct , but should not be so different as to lose their likeness and form a a a On a a h ar h rmony o f contr st . the di gr m these monies a re shown along each line from the full color to white . A dominant harmony may be formed by the use o f 1 02 SILK DEPARTMENT

u e - a n mber of hues of the sam color , as yellow green ,

a - and - gr y green , blue green , which blend because green is dominant .

Color Und e r Artiﬁcia l L ight All colors undergo more or less change under arti

ﬁ ial c light .

a Under gas or l mplight , which is much yellower

a and V a a . th n daylight , purples iolets often ppe r brown

Some of the darker hues are almost destroyed .

Blue is darkened . a Brown is m de warmer in hue .

Green is yellower .

Red a . , or nge , and yellow are all brightened

The inverted gas mantle gives a somewhat less yel lo w f a light , and therefore these e fects are somewh t less pronounced . The incandescent electric light gives a violet hue to a dd blue , and a reddish hue to brown . It seems to

a s a some red well s yellow to colors . The are light and Welsbach gas mantle h ave an excess o f blue, which is imparted to colors .

1 04 SILK DEPARTMENT

be m cerned , but colors may add or detract from its co n ing ess.

F o r al women with red hair black is the best color , though they can wear very dark blue, blue gray , or brown .

- — F o r middle aged women especially those whose hair is gray black , gray , mauve , and some of the sil h t e . very greens , are most becoming

S a tout women look l rger in white , and smaller in black , dark blue , dark green , and dark brown . a a A t ll , thin woman should not we r black nor very dark colors . ’ There are so many variations in the color of people s

and complexions , hair , eyes , that it is hard to give E a general rules . ach one should be studied to see wh t colors bring out the best points a nd neutralize the less a F beco m a . o r a f vor ble ones instance , green is usu lly

to blo ndes a ing . bec use it harmonizes with the yellow in their hair ( by analogy) and brings out the rose color in the complexion . ’ a The brunette s skin , on the other h nd , has more

S ma orange in it . ome shades of green y be worn by a brunettes , but the gre test care should be exercised in the selection o f the proper shade o f green , because the ’ a a a a brunette s complexion cont ins a gre t de l o f or nge , a ma and the green , cting upon the red of the orange , y

- n readily produce a brick dust app ea ra ge . Green there a fore is risky color for the brunette ; and so is violet, COLOR IN TH E SILK DEPARTMENT 1 9 5

which would neutralize the yellow of the orange and

heighten the red .

Th e F ash ionable Color

F a a W a s shion usu lly dictates the color , as ell the a h o w Sh kinds of fabrics , for e ch season and they ould

E a ne and so - be used . very se son has its w called ” a a f shion ble color, which is designed only to increase

M a a trade . o st women in order to be f shionable dopt new these colors , for the simple reason that they are new and ar are what other people e wearing. E veryone must know that color h as its effect upon

N o t all co m the appearance o f the complexion . lex i n a S p o s look equally well in the s me color . ome

ma ma . y be improved , while others y look very badly

a h the Yet lthoug majority of women know this , they ” continue to select the fashionable color . If women were only Willing to take the advice of

a a a a someone , perh ps the s lesperson , c p ble o f giving a

a a reli ble opinion , then the manuf cturer or the dyer an would not be able to decide on y one color, but would produce materials giving a choice o f colors .

Cond itions Affecting Color

a the Since it is by light th t colors are produced , a color of a body is affected in various w ys .

1 a a a . By ch nge from d ylight to artiﬁcial light , or

the reverse . 1 06 SILK DEPARTMENT

a By the properties of the materi l , as the bright ness o f the color varies according to the na

i . a . e . ture of the f bric , , silk , wool , etc Different individuals do not see color in the same

way ; some people are color blind , that is , their eyes are not sensitive to a particular color and they cannot distinguish red from

green or rose from mauve .

E ffect of Variou s L igh t s on Colors

Some colors which a re becoming by daylight are not

a — k so under artiﬁci l light ; and others li e green , yel lo w , and some shades o f red are more becoming at The f is night , as well as much more suitable . e fect especially noticeable with dyed fabrics . Colors selected for clothing Should be ﬁrst o f all be coming and also suited to

e a The season o f th ye r . d a The time o f y.

The function at which the dress is to be worn . G a ener l use .

Colors for evening wear Should always be Shown

d a a under artiﬁcial light ; for y wear , under d ylight .

E ff e ct of th e Material on Color

The weave and the ﬁnish of Silk change the appear ance of the colors , and luster is often added in the

1 08 SILK DEPARTMENT

Colors fo r Hou seh old Decora tion In selecting colors for a room it should be borne in mind that everyone is more or less sensitive to the ih

ﬂuenc E f e of color . ach color has a distinct e fect upon persons and produces different sensations in different moods . All intense colors , moreover, need to be modi ﬁ d e . In deciding on color combinations for a room the fol lowing facts must be considered T he Size o f the room .

The number o f windows .

The Size o f th e windows . T h e location o f room whether north south ,

east, or west . — The kind o f room whether living room , bed

room , etc . E ff ect o f adjoining room .

One should remember also that

Yellow and its varying tones will give light and

warmth . It is not needed where a room has n plenty o f su light .

Red will appear to give warmth . Pure red is ex

citing .

Blue Will appear to diminish the Size o f the room . Color harmonies in draperies or furniture- coverings ma y be very vivid , especially i f the room i s not bril liantl y lighted , but it is usually more satisfactory to COLOR IN THE SILK DEPARTMENT 1 09 have o ne dominant color with ha rmonies of likeness s harmo nics prevailing, and only touche o f the brilliant o f a contr st .

a - I f broken tones or colors o f h l f intensity are used , the harmony o f contrast may be more evenly distributed

h o between t e tw colors .

Suggestions for Color Sch eme s

a re I f a good color scheme is desired , there three reliabl e sources from which suggestions may be gained :

N a a ature among the ﬂowers , the utumn le ves ,

and S and the mosses lichens, the birds,the hells

minerals , the sunset . Museums where there are wonderful collections Old a o f t pestries , embroideries , etc . a a a a Pictures especi lly mong the J p nese prints , where color is Simply but daringly used with

unusual beauty and quality . Ch apter XII

TH E P RINCI PLE S OF ORNAME NTA ND DE S IGN 1

Deﬁnition o f Design Men are not satisﬁed with making things that are

r a a a ak merely useful . They a e lso trying lw ys to m e

a a r a useful things be uti ful , and e often willing to s cri ﬁ ce thin is . usefulness entirely , i f the g beauti ful A a wa s a a a v se origin lly a vessel to hold w ter , but m ny ornamental vases would be quite unﬁt for their original purpose . There i s some attempt at ornament in nearly all

a a E - an at m nu f ctured things . ven the dust p has a p

o n and k and a tern it , the itchen stove sink have orn k a a . a ment l br ckets The desire to ornament , or m e a a things be uti ful , le ds to design .

d ma a A esign y be merely the pl n for anything , but when we speak o f design we usually mean an orna mental or beauti ful plan .

K ind s o f D e signs Designs may be o f two kinds

1 T is c a e c o n ain in th e e sse n ia r inc i e s o f o name n and d e h h pt r, t g t l p pl r t s i n as r e a e b th e e i o a nd a e a s in se e a o f the manua s o f g , w p p r d y d t r p p r v r l l is se r ie s th .

I 1 2 SILK DEPARTMENT

produced by the methods of manufacture . To plait

a a k gr sses together, to we ve cloth , is to ma e patterns ma a which y be of lmost endless variety .

Source s o f Pattern D e s ign

N a th e ature has been c lled source of design , but we do not know whether men ﬁrst made p atterns j ust for

a a a the ple sure of seeing rep e ted lines and color contr sts , or whether they were trying to imitate wh at they saw a around them . I f we look at the decor tions on

a a - e e rly pottery or b sket weaving , which wer probably a we a be the ﬁrst forms of p ttern design , sh ll be led to lieve that the ﬁrst instinct was ornament and the imita

was . G a tion of nature second The reeks , who h ve

a a s a never been surp ssed artists , imit ted nature very

a a little in their p tterns , which usu lly consisted only o f beauti ful proportions and perfectly balanced rep etitions a of gr ce ful lines .

Motives of Design

ma The motives , or elements of design , y be either a a a a a . n tur l , convention l , or bstr ct N atura l designs imitate nature a s much as the mate a ri l will permit .

C a onventional designs suggest n ture , but are simpli ﬁe d and adapted to the purpose o f the ornament or the a p ttern . Abstract designs are made up o f rep eated lines and ORNAMENT AND DESIGN 1 1 3

patterns which have no intentional resemblance to

a al h a n tur forms , t ough sometimes it is h rd to draw a clear line between very much conventionalized nature and a s bstract pattern .

Mate rial o f Pa ttern De s ign

n are a u a nd Pattern desig s m de p o f lines , forms ,

a a . sp ces , which must be rranged in an orderly manner h s T ere mu t be points o f emphasis , rhythm , symmetry ll a a a . or bal nce , and h rmony of the parts Points of emphasis are those features o f the design a r which attr ct the attention . I f all the elements we e n a in equally prominent , the desig would be we k and f s are e fective . The points o f emphasi given prom

ine nce b by striking outlines , right color, or contrasted

features . Rhythm is the result of an arrangement or repetition of lines or units to form a continuous and rel ated e r n . a e a a mov ment Borders ex mple o f rhythm . Balance is the result of the arrangement of the p a rts of the design so that one p a rt will not be much more an prominent than other .

ar e the H mony is the ﬁtness to purpos , unity of all a the p rts , such as ﬁne proportions , values , and color .

Planni ng a Patte rn It may be supposed that a pattern - designer Chooses a a s and beauti ful ﬁgure , such a rose , simply scatters it I I 4 SILK DEPARTMENT

e s over the space it is to cover , making such chang s a h e wishes and repeating it at his plea sure . This is f ar a . from the case . I f he used th t kind of freedom ,

be e a the design would sure to hav irregul r lines , awk

ward spaces , and confusion . It would lack all the fea u m e t res which ak it design and not accident . On t a the contrary , the designer bases the s ructur l

a as lines o f his patterns on geometric l spaces , such the a a square , the tri ngle , or the di mond ; circles or other

are a . curved ﬁgures merely modiﬁed squ res , etc The square or diamond is the customary basis of Western E design , while the far ast has always pre ferred the

a tri ngle . The Size and repetition o f the design depend upon

a and the sp ce it is to ﬁll , the problem o f the designer

i s to make a plan which will ﬁll the sp ace perfectly .

a and He decides where the m sses lines shall go , where m s S a and bal the points o f e pha is h ll be , indicates the a nce and harmony o f the composition , but does not

a S a work out the det il . The size of his p ce determines

a s a the number o f repetitions , for inst nce the width of a W has at a textile materi l . hen he blocked out the p in a tern the designer sketches the lines , and gradu lly

a the perfect p ttern appears . In repeated p atterns it is necessary to observe cer t a in rules which a re less important in a single composi

R a a l : tion . epe ted p tterns shou d be I C . onventionalized the establish ed forms are

I I 6 SILK DEPA RTMENT

a a a a ma b ck in mounting, circul r f shion ; they y inter

a a s a a a s l ce , in str p work, or fret or key p tterns , such

the swa stik a . The direction o f the line Should ha rmonize with its

a Character . Str ight lines steady a p attern and curv

a an ing lines give it gr ce d freedom . One of the problems o f the designer is the composi ” ma a s a a tion o f line . This y be described the rr nge to a a ment of the prominent lines give ple sing, restful ,

and a h rmonious impression .

F orms and Sp ace s The forms of the pattern a re the units o f the de

' a l or n o r a sign , as natura conve tionalized ﬂower a L and geometric l ﬁgure . ine form have a Close con n i n ect o a a . , though they do not me n the s me thing I f

a lines are ﬂowing, the forms should be gr ceful ; i f the

are a a and lines ngul r bold , the forms should incline — more to the geometrical th at is the lin es of the ﬁgures and the lines o f the compositi on or design must harmonize . Two vari ations of p attern forms have come to us

far E from the ast .

1 . a a in Di per p tterns , which squares , circles , or other spaces a re ﬁlled tightly with patterns like

a a st rs , daisies , spots , or fernlike tr ceries which usually m ake a background for another

more prominent pattern . ORNAMENT AND DESIGN 1 1 7

2 a e . Inh bited forms , large ﬁgures , oft n ﬂowers

a a re all . or le ves , which covered over with

r a s al smalle patterns . Persi n ﬁgure o f the p

a ma a metto , for inst nce, y be m de up of tiny f a roses and leaves . The di ﬁculty o f det il in

large forms is thus solved .

Spaces in a design are as important as the forms .

' The beauty o f a pattern may be ruined by a wkwa rd and

a a regul r sp ces . I f the ﬁgures are crowded or ill

a a a a a a . b l nced , they c nnot be seen to dv nt ge I f they are too far apart they lose in effectiveness and the

a design is not well bound together . The sp ces form the setting of the units of design and are as much a p art of it as the forms . Borders form a very important p art o f most d e sign s . The border is the framework and binds it to ” gether . A good designer is known by his borders .

a a S I f the body o f design is el borate, the border hould ma be simple ; i f the ﬁlling is simple , the border y be

a a el bor te . Borders are only repeated lengthwise and are con t a a Th e a ﬁned wi hin ﬁxed m rgin l lines . p ttern o f the ” ma a a a border y run into the m rgin or st nd ste dy , h a ma and a . t t is , the units of design y be distinct sep rate ” ” are a - at These c lled stop , block , or turn over p S terns . ometimes the two types o f borders are com bin ed . I 1 8 SILK DEPARTMENT

Block or panel designs may be pl aced at certain dis tances apart with a ﬂowing pattern between them . Blocks or panels a re often used to help the designer n a r tur a corner without deforming his flowing p tte n .

1 20 SILK DEPARTMENT

I . Rectangular

2 - . Step repeat

! - 3 . Drop repeat

- 4 . Turn over

' - 5 . Turn around

Re ctangu lar

R a a r ectangul r p tterns a e the simplest . In these the . a a ﬁgures run across the materi l in a str ight line .

Ste p -rep e at Step - repe at patterns have every other ﬁgure a

and step lower , the first , third , fifth figures would

and a and be on one line drawn cross the material , the

nd S a S a . econd , fourth , ixth on nother

Drop -re p eat

- a and Drop repe t patterns do not move up down , but each succeeding ﬁgure is a little lower than the one to L a the left or right . ines touching corresponding p rts o f the ﬁgure would run di agonally a cross the cloth . This i s a common va ri ation ; it gives more freedom

a - than the rectangul r or step repeat .

Turn -over Turn - over patterns are made by doubling the p attern over on a vertical line so that the Sides meet exactly

W a - opposite one another . ith turn over pattern there DESIGNS F OR SILK 1 2 1 is usually a center space in which the design is not re ff nd a it a . versed . This keeps from being too sti form l

- w a a s a Turn overs reduce the cost of e ving, the s me

ma be b h S cards , reversed , y used for ot ides o f the pat tern .

Turn-around Turn- around patterns are m ade by placing the de

in f e ma sign di f rent positions . It y be turned half or t - a n hree quarters rou d , or upside down . The advantage o f these methods may be seen by studying the a ccomp anying diagram ( F igure in

u 1 1 an eme n f c an n - e a Pa Fig re . Arr g t o Re t gular a d Drop r p e t t te rns which the design which will repeat exactly on a mate rial 2 1 inches wide is seen to be limited to a three- inch a a 6 i ma tri ngle, while design x nches y be used in

’ a a a drop repeat . The l rge di monds represent the space ﬁlled by e ach unit o f a p attern with a drop 1 22 SILK DEPA RTMENT

a a repe t , the sm ll diamonds the space ﬁlled by a rec an ul r t g a p attern .

Proce ss of Des igning The design is first drawn as it will look in the fin i he d s goods . It must be suited to the weaves and tex tures for which it is to be used and the colors in which it will be developed . It is then transferred to point a u p per , which is very finely r led in each direction . . The pattern is enla rged on this paper so that every

a space represents a thread of w rp or ﬁlling . This is

S as re re highly killed work , the working design must p sent the actual threads and does not suggest the ﬁnished a a p ttern to an untr ined eye . Designs for Silk should bring out the beauti ful sur a o i a f ce the materi l , the depth o f color in velvet , and the clear color due to the luster o f the ﬁber . These

a a a ff a S al Ch r cteristics will m ke e ective p tterns in ilk , though in cotton goods the same patterns would be n dull a d ugly .

Dre ss Good s Patterns Designs for dress goods are usu ally much co nven i naliz a a a a re t o ed or bstr ct . I f n tural ﬂowers used

a re a . O they very sm ll therwise , unless the pattern is

- sel f color it is too pronounced . In ribbons much more ma a a s a re a freedom y be llowed , they used in sm ll

a - a ma quantities for decoration . W rp printed p tterns y

1 24 SILK DEPARTMENT

Values o f Designs Th a t Take Designers for ﬁne textiles are tra ined artists who re

a a S a ceive l rge sal ries . ome of the ﬁnest rtistic talent F and E a t w a in rance ngl nd is employed in his y. A “ ” pattern th at takes may mean a fortune to the mill

‘ that produces it .

a a - a The mills , therefore , h ve their own p ttern m kers a and guard their designs very je lously . These designs

a a and c nnot be protected by p tents , mills copy the de signs o f their competitors until foreign manu fa cturers have compl a ined that America n mills appropri ate their

r patterns a s soon a s the goods a e pla ced on the market . A S the copies are made in in ferior cloth the p attern is cheapened and is no longer popular in the more a a expensive goods . This accounts for m ny he vy a losses in novelty materi ls . Some agencies in Paris and other fa shion centers of E urope make a business o f supplying the new p at terns to American manu facturers who subscribe for h a mat them by t e ye ar or by the hundred . It then is ter of business Shrewdness to pl ace the pattern on the ’ a a a market e rly enough to supply the se son s tr de , but not soon enough to give competitors a chance to copy it .

History o f Designs fo r Silk The fact th at silk lends itsel f so readily to a rtistic o E a h treatment was taken advantage o f long ag . c histori c period since the twel fth century , when the DESIGNS F OR SILK 1 2 5

a a a S Ar bi n we vers ﬁrst worked their looms in icily, has

ma produced its distinctive style of design , which y be and i a studied more or less im t ted by modern designers .

Italian A rt In the ﬁfteenth century Itali an a rt reached the high

e est degree of perfection , both in design and techniqu , and all E a the inﬂuence extended over urope . The be u ti ful F lemish t apestries and ﬁgured and brocaded vel

a a vets show the inﬂuence o f the It li n Silk textiles .

F rench Sk ill The early F rench silk damasks can barely be distin

uishe d a S h th e g from those o f It ly . oon , owever ,

F n o n rench showed a individuality o f their w . Their

a a a a a designs were o f delic te , l celike ch r cter, with Sprays of foliage and bouquets gra cefully intertwined

- k with trellis li e forms . During the seventeenth cen tury a wavy ribbon was a feature of F rench design and and a with it stems ﬂowers were mingled , spr ys a nd a a a a a and g rl nds of ﬂowers were gr cefully rr nged ,

s the F rench convention of the rose wa ﬁrst developed . About this time came th e exodus of the most skilful F S a E a and a rench ilk we vers to ngl nd , they c rried with

On a a the E them this type o f design . th t ccount nglish and F h re a renc woven silks of that period a much like . h h F a During the eig teent century , rench rtists pro duced in their designs not only ﬂowers , birds , butter 1 26 SILK DEPARTMENT

a a ﬂies , but also ﬁgures and even l ndsc pes . Toward

a the end o f this period , however , the he vy brocades

a a a and d m sks were superseded by so ft , g uzelike fab

rics and simple cla ssic designs were used .

Ja cquard W eaves In the early nineteenth century came a ch ange in the

a - wa s technique o f silk we ving , the power loom intro duced and the Jacqu ard machine for Silk pattern- weav in - weav g took the pla ce o f the hand loom . Art in silk ing seems to have declined and began to revive only when a general system o f education in design was e s bli h d ta s e . By the end o f the century Great Britain was fore most in the design and manu facture o f fabrics for

a F has house decor tion , but rance is now , and been for h th e a an f t ree centuries , le der in designing d manu ac turing the most beauti ful and costly dress fabrics .

1 28 SILK DEPARTMENT

m ee a a but ore often o f cotton or linen . ( S m nu l for ” the Cotton and L inen Dep a rtments ) It is some

a ff times woven with sm ll dotted e ects .

B e ngaline

a a a . The name of this f bric comes from Beng l , Indi

a a k a It is a plain , he vy , corded f bric with sil w rp th read s so me threads . The cord is formed by weft f

S k a a times of il , but usu lly of worsted , running cross

are a the cloth . These entirely covered by the silk w rp threads so that none o f the wool is expo sed and the

a fabric shows only silk threads on its surf ce .

B olting Cloth

a - S This is fine , open mesh ilk cloth o f which bolters , ar a e . a or sieves , for si fting flour m de It is lso used k for fine fancy wor .

B roca d e

S a a a This is a rich ilk f bric , h ving r ised ﬁgures o f

a a re ﬂowers , foli ge , or other designs . These designs

and a ma a often woven in gold Silver . Broc des y lso be woven o f any material or combination o f colors . Brocades are classed as

Gold - thread brocades Silk - damask brocades

Gold and silver threads are prep a re d in diffe rent

a . wa s w ys In olden times a ﬂat , gilded ribbon used SILK YARD GOODS 1 29 over a silk thread which was o f a color as near that of S the metal as possible . kill was required to wind the metal around the silk so that the edges would lie a s

as a . M a close possible without overl pping In ilan , It ly , a secret process was used whereby the thread was F a golden on one side only . l t threads o f copper were a lso made . The Chinese used bands o f gilded paper i upon the s lk thread . At ﬁrst the name brocade w as given only when the

a a ﬂowers or orn ments were o f gold or silver , but l ter it wa s used even when no metallic threads were em ployed . In the thirteenth century brocades were manufac

ure t d L a . a a n in ucca , It ly The m nuf cturers were drive out of L ucca by the governor and w ent to a nother

a a new a and a pl ce , where they built f ctory invented

fi a a a . modi c tion of the broc de , which they called d mask Japan has for centuries taken the first place in the u ll c prod ction o f figured silks of a kinds , in luding bro

a c des .

B roch é

This is a F rench term for brocade .

Ca ch emire d e Soi e

F h hm r ah ( renc ; pronounced cas ee de sw . This silk fabric h as a ﬁne twill and is ﬁnished to look like cashmere . 1 30 SILK DEPA RTMENT

Ch ange able Silk ” Se e Glace , below .

Ch armeuse

“ S ee S S w atin Charmeuse under atin , belo .

Ch iffon

F a ( rench ) This is thin , sheer , transparent , open

a - a a . a mesh , pl in weave m teri l Both w rp and ﬁlling are

a - - a . h rd twisted single thre ds It is piece dyed , some

in a a a times printed d inty p tterns , and given so ft finish . The word chi ffon when used with other m ateri als and f signifies light weight soft finish , as chi fon taf ” ” a f fet , and chi fon velvet .

Ch iffon Ta ffeta f f ee a a . S T fet , chi fon below

Ch ina Silk

a - a S a This is a pl in we ve ilk with a beauti ful , n tural

a a - oo luster . It is supposed to be m de on the h nd l ms in China and is ea sily recog nized by imperfections which a re always found in h and - spinning and hand loom weaving . The name China Silk has be en used in the United

S a - a a tates for a Cla ss o f m chine m de silks , usu lly in

a in im pl in colors , although sometimes printed , made itation of the genuine China silks .

1 32 SILK DEPARTMENT

Crep e Ch arme u s e

- a h as This so ft, rich , piece dyed f bric a dull luster

an a a w a . d a glovelike feel . It is m de with a s tin e ve

Cr ép e d e Ch ine

a - This is soft , light weight silk with a ﬁnely crinkled effect . It is plain woven with raw or thrown silk warp and with the ﬁlling o f alternating twisfs of ha rd - twi st

- nd . tram . It is piece dyed a o ften printed This silk i s

n a and popular for underwear a d also for w ists dresses .

Crep e Me te or

SilK a a l This is a smooth , lustrous f bric with ﬁne twi l fa ce .

Dama sk This is a ﬁgured silk in which the ﬁgures a nd the

a a e ground are of contrasting weaves . It is usu lly m d a a n with s ti ground , the ﬁgures being woven in by

a a means of the J cqu rd loom .

Dresd en ”

See C a . hiné , bove

E olie nne

a S and This is sheer , ﬁnely corded fabric o f ilk wool , or silk and cotton .

E p inglé This is a F rench word meaning a slender pin or SILK YARD GOODS 1 33

a i wire . It is a ﬁrm f bric woven with ﬁne cords form ng S cross ribs . ometimes it is woven with single cords at regula r intervals and sometimes there a re two or three cords together in groups at uneven distances

a . S ap rt This ilk is used for ribbons and cravats .

F a ille

F f - e . n ( rench ; pronounced y This is a plai ,

S ﬂ at . soft , ribbed ilk with small , ribs

F a ille F rangaise

F f - - i ( rench ; pronounced y e frong saize . This s

a ha a f ille Silk made in F rance . It s two or more picks in a shed ; these are held in position by a special binder warp .

F o ulard F oul ard is a F rench word meaning Silk h andker chief ; the silk was originally used for handkerchiefs

h a a . only . It is a soft , t in dress f bric It is usu lly a two - -two a a it and twill we ve , lthough is sometimes

- a and a . pl in . It is piece dyed usu lly printed The de signs are large or small according to the prevailing style .

G auze

This fabric i s said to have h ad its origin in Gaza in a a - a c an P lestine , an import nt cloth we ving enter in i a n cient days . It s a thin , tr nsparent silk fabric wove 1 34 SILK DEPARTMENT

a Ga by the gauze or leno we ve . uze is dressed or sized

it a nd while is stretched then dried .

G e o rgette Crep e

a cré e f This is a thin , sheer silk h ving a ﬁne p e fect in the weave .

G lacé

F a is a This rench word , meaning gl zed , often p a two a a plied to silks m de of tones , th t is , with the w rp o f one color and the we ft o f another . These are sometimes called shot Silks and sometimes change a ble silks .

G re nad ine

- This is a plain or ﬁgured , open mesh dress fabric w a a ith g uze or leno weave . Gren dine may also be a t and s e m de o f wors ed cotton as well as Silk . It om times has stripes o f satin .

G ros d e L ondre s

F d e lo ndr ( rench ; pronounced gro , meaning

a S a gra in o f London . ) This is ilk dress f bric with

a a cross ribs , either with ltern ting coarse and ﬁne ribs ff or ribs of two di erent colors .

G ro sgra in

F - ( rench ; pronounced gro gran . The name o f F r os n a this fabric comes from the rench g , mea ing

1 36 SILK DEPA RTMENT

and a used for dresses , undergarments , especi lly for gloves .

K ikai

a a a S SO a This is J p nese ilk , not so ﬁne nor o f good quality as habuta i .

L iberty Satin This Silk takes its name from L iberty and Company

L a a of Paris and ondon . It is a soft , satin f bric , m de 8 1 2 raw S on or shafts, having ilk warp and spun silk

l - ﬁl ing . It is piece dyed .

L oui s ine

S a has a a a This ilk f bric coarse , uneven surf ce m de by weaving two or more wa rp threads together in a plain weave .

Mar quis e tte

a - a has This sheer, pl in weave f bric an open mesh

- made with a gauze or leno weave .

Mate las sé

These Silks have a raised pattern . They are usually o f one color and have a rich ﬂowered pattern showing e only by its slight relief or embossed appearanc .

Me rve ill e ux

See Satin merveilleux under Satin below . SILK YA RD GOODS 1 37

Me ssaline

M - - r essaline is a ﬁne , light weight , 5 shaft satin , v e y soft and brilliant . The back also has a luster .

Moiré This is the F rench word for clouded or watered

. C a S silks As explained in h pter VII , corded ilks are the only ones which can have the moiré or watered

ﬁnish .

Moiré A ntique In making moiré antique the pattern is engraved on a brass roller and the ma terial passed under great pres sure between it and another roller which has a plain “ 7 , a i surf ce . This is sometimes called long mo re .

The same method is also applied to moiré ribbons .

Mou ss eline d e Soie

- - b ( F rench ; pronounced moo sel een de swa . The name comes from the city of Mosul near the site

N . S of ineveh It is a heer , soft fabric of silk , similar f e to chi fon , but of more open weav .

Orga nd ie

a - ff This is light weight , transparent, somewhat sti

a silk m terial .

Ottoman The name of this fabric comes from the Ottoman or 1 38 SILK DEPARTMENT

E the Turkish mpire . It is a heavy , plain dress fabric to with large cords extending from selvage selvage . ma S w . The ﬁlling or cords y be o f ilk , ool , or cotton

Peau d e Cygne

( F rench ; pronounced p o de seen meaning ’ wa - S S . n s kin ) This is closely woven , satin weave a f bric o f so ft , lustrous ﬁnish .

Pe au d e Soi e

( F rench ; pronounced p o de swah meaning silk

- S . ﬁnished a kin ) This soft , satiny dress fabric has

dull luster and somewhat grainy appearance . It comes

- a . a a re in pl in colors The best gr des double faced ,

k W th e that is , they are ﬁnished on both sides ali e , hile

a - che per grades are single faced , ﬁnished on one side

only .

P ekin Strip e

This fabric ha s strong contra sting stripes which are a usually of satin and grosgrain altern ting .

Plush Plush i s a pile fabric with a much longer pile than

The e ma S . velvet . pil y be ilk , worsted , or mohair

S - a ilk is used in the seal skin plush , an imitation o f se l

skin .

1 40 SILK DEPARTMENT

1 a S — Si k . By the qu lity of ilk used better l pro

duces a better luster . 2 o — th e . In the ﬁnishing pr cess the pressing o f fabric between hot rollers or the calendering a process adds a ﬁnishing luster to the materi l .

i a a Sat n is the typical representative o f the s tin we ve . a a a w as a C a It is s id th t s tin m de ﬁrst in hin , but it is known to have been made in E ngl a nd in the thirteenth and fourteenth centuries and w a s probably m ade in

F and a a rance Spain before th t time . At this e rly time ,

a b a w a s prob bly ec use o f its high price , it little used , but by the eighteenth century it was in more general use .

' a There are many varieties o f s tin . Among these are :

S a tin char meus e i s a - - light weight , piece dyed , lus trous satin having a h ard - twisted wa rp and usually a

Spun silk ﬁlling .

S a tin co tto n- back a raw , is a lining satin with silk

a and - w rp cotton ﬁlling , piece dyed .

S atin damask h as a elabor te designs , sometimes in velvet . S atin d e chine is a s o ft satin with a crép elike ﬁnish S a tin d e lyo ns ( F rench ; pronounced de lee - o n a a L a me ning s tin o f yons) , is a ﬁne qu lity o f satin made at L F a all- S - and yons , r nce . It is ilk , skein dyed , very

has a lustrous . Another variety of the same name SILK YARD GOODS 1 4 1

twilled back , is much cheaper , thinner , has less luster , and is used to some extent for ﬁne linings .

S a tin d o uble- aced , f is a heavy , reversible satin , that

S a k a a a is , both ides li e , made by h ving a b ck w rp as well

“ a a as a f ce w rp . S a tin d uchesse ( F rench ; pronounced doo - Shess is a rich qu ality and heavy grade o f all- Silk satin dress

a a a and f bric , originally m de in bl ck only without a

a p ttern . S a tin fago nné h as a J acqu ard pattern on a sati n ground . S a tin mer veille ux ( F rench ; pro nounced ma ir - vay

i a a a a - yel me ning m rvelous s tin ) is ﬁne , close twilled ,

- sa tin fa ced Silk dress fabric having a glossy ﬁnish .

The twill is very imperceptible . S a tin r egence ( F rench ; pronounced ray- zhans has is one o f the most costly o f Silk dress fabrics . It a rich satin surface with ﬁne sunken lines extending a a cross from selvage to selv ge . S a tin rhadame ( F rench ; pronounced r ad - am is a satin the surface o f which is broken by ﬁne twilled lines which extend diagonally across the surface ; it is

a - a m de with Silk or cotton b ck . S a tin r oyal is a very ﬁne a nd expensive dress fabric ’ made o f pure silk and having a satin ﬁnish on both

E a a has sides . ch f ce ﬁne twilled or sunken lines ex i ma tending di agonally across the surface o the terial , rhadam a s in satin e . !1 42 SILK DEPA RTMENT

S atin surah is a medium heavy dress material with a a twilled surface and a s tin ﬁnish . S a tin taffe ta is a fabric with a satin weave on one S ff ide and a ta eta weave on the other .

Sh antung S This silk is named from the province o f hantung ,

C a a a - hin , where it i s m de . It is a rough pl in weave

a S . f bric made from tussah , or wild ilk It is a heavier a gr de than pongee .

Sh ot Silks

See G lacé above .

S ilk S e rge

a This f bric has a twill weave .

Surah

a a S a it This f bric i s n med from ur t , India , where was l a . ﬁrst made . It is light , so ft , twilled si k

Taffe ta

ff ta tah The word ta eta is derived from the Persian f ,

S . a to pin This is a thin , glossy silk fabric , either pl in

- a woven or cross ribbed , with cords so ﬁne as to ppear

- - a . plain woven . It is m de o f skein dyed silk The name was formerly applied to all plain Silks and is supposed to be an example o f the ﬁrst kind o f Silk n weaving k own .

1 44 SILK DEPARTMENT

S k shaggy . This fabric has a hort , so ft , thic pile face

- - - a a ma . and plain b ck . It y be all silk or silk and cotton See A great deal of spun silk is used for velvets . ( C ! V also hapter . )

Voile

S a - a This is a heer , semitransparent , pl in we ve fabric

S o o f ilk , w ol , or cotton , sometimes ornamented with stripes or ﬁgures .

N ovelty Silks N ew silks with new n ames or old Silks with new

a r O f n mes a e constantly appearing . ften di ferent m anu facturers have di fferent names for th e same Silk . Among some of the ne w names are

’ Will 0 the Wisp Crepe Kokette Samara Prints Crepe Velour Mayﬂower Prints Bolling Prints Satin F inish Satin Arcadia Taffeta Soiree Satin Majestic

M S a a odel ilks may be seen in the shops e ch se son , a F a bearing the l bel o f some famous rench dressm ker , has who used and in many cases designed that silk . SILK YARD G OOD S 1 45

Some of the names frequently seen Callot

Cheruit Jenny Paquin Worth

B ullo z Ch ap te r XV

TH E VELVE T DE PARTMENT

Varietie s o f Ve lvets The Velvet Department is usually a part of or near

a a v fab the silk y rd goods dep rtment . Although vel et

a re all a rics used to some extent the ye r round , they a re in most dema nd in the colder months and their

a a popul rity also depends upon f shion .

a - In this dep rtment are found all pile woven fabrics, n amely : Velvets Plushes Velveteens Corduroys

1 8 These materi als range in width from to 45 inches . Uncut velve t is velvet made with a looped pile which is left uncut . Mir r o r velve t is velvet which has had the pile pressed

ﬂa down t. P anne velve t is a light- weight velvet with the pile

ﬂ attened down .

Chi on ve lve t a ﬁ is lso pressed between rollers , but not 1 46

1 48 SILK DE PARTME NT

Qualitie s o f Velve t s All inexpensive velvets have a cotton back,but i f the h w pile is thick the back does not s o . A cheap velvet

h a with a t in pile will show the b ck .

k a h a Velvet with a sil b ck is expensive . It s a glossy

ff a - a a ﬁnish , is sti er th n the cotton b ck velvet lthough

and a lighter in weight , the found tion does not show on the right side i f the velvet is folded so that the pile

a sep rates . It is often better to use a good velveteen o f ﬁne luster

a a h a s and close pile th n poor velvet which a thin pile .

Hi story N othing i s deﬁn itely known o f the country from which velvet ﬁrst came nor of the people who were in

enio us a a g enough to pl n the method o f we ving velvet . It may have come from Central Asi a or perh aps from th e a China . It was not until fourteenth century th t

a a a i any historic l mention i s m de o f the f br c .

a a a Its e rliest uses were for roy l and st te robes , eccle

i a siast cal . vestments , and splendid h ngings The mate ri al was especi ally ﬁtted for these purposes because o f

n a nd a its rich depth o f color a d its soft gr ceful folds . In medieva l times the Itali a n velvets were a mong

a f the most m gniﬁcent . Different e fects were produced in these velvets by changing the length o f the pile on

a f the same fabric , that is , by h ving piles o f di ferent

’ a lengths ; by brocading with pl in silk , with uncut pile , TH E VE LVE T DEPARTMENT 1 49 o r with gold tissue ; and also by varying the color o f e el the pile . At this early period the most expensiv v in a Fl a nd e a G . vets were m de eno , orence , Venic in in 1 86 The ﬁrst velvet mill America was built 5, but since the enterprise w as unsuccessful it was given s e a a up a fter a hort tim , and until comp r tively recent years velvets used in the United States have been o f a e foreign m nu factur .

Ce nte rs o f Industry Genoa from medieval times to th e present day ha s produced vast quantities o f rich velvets . Cre felt and Lyons are the modern centers o f manu a f cture . In the United States velvets are no w made in Co n n i ect cut and in N e w Jersey . Ch ap ter x v1

TH E RIBBON DE PA RTME N T

Vari e tie s of Ribbons In the Ribbon Department may be found all the combinations o f color and weave seen in the Silk De

artme n a p t and some additional v rieties . The weaves and styles o f ribbons comprise

Ta ffetas Double - fa ced satins Moirés Velvet - and - satins Glacés Shot or ch angeable silks Satins Yarn - dyed Satin - and- fa illes Piece - dyed Gauze Dresden or chiné ( wa rp Ottomans printed ) Velvets Jacqu a rd designs Grosgrains Surface - printed Velours

Mate rials

R a ma ibbons may cont in cotton , they y be weighted ,

' and in h r ad s they o ften h ave t sel t e woven into them ,

a a but the princip l m terial is silk , and the quality used 1 50

1 52 SILK D E PARTME NT

E ach we ft or ﬁlling thread is called a pick ; the average

a 80 1 00 number o f picks to the inch r nge from to . Sa has a 0 f tin ribbon bout 9 picks , while ta feta has 1 2 about 0. Ribbons usually have some weighting material in the

dye to give them body , and some receive a l arge amount

o f glue or other sizing in the ﬁnishing processes . S f a oft ta fet ribbons require very little ﬁnishing .

S a re a atin ribbons c lendered to increase their luster . Gauze ribbons are made from schappe silk or silk

in the gum .

a are - The less expensive f ncy ribbons surface printed , but ﬁner varietiesa re either warp - printed or woven on the Jacquard machine . F o r warp - printed ribbons the warp is ﬁrst beamed an d then printed on rotary presses . They were for

- a merly block printed , when the warp was c ught to

an a gether by occasion l weft thread , then spread out on a a t ble , and the block designs imprinted on it . A fter W this it was put back in the loom and woven . arp

a a printing gives a soft , uncert in outline to the p ttern because the pl a in we ft threads cross it at so many ff points . Dresden or chiné e ects are given in this way. Jacquard designs in one or two colors are easily produced , the design being simply reversed on the wrong side ; but i f ﬂoral or other designs in several

a re colors to be woven , there are apt to be long , loose TH E RIBB ON DE PARTME NT I 53

a thre ds on the under side . These may be cut o ff a fter

a a the we ving i s ﬁnished , but this involves extr expense .

Des igns

a Designs in ribbons ch nge with every season , but the tendency o f fa shion has turned from the deﬁnite ﬂoral

a a and a p tterns to more convention lized ones , especi lly

a . C a a a the orient l designs hinese , J p nese , Persi n , In d a a nd R a a a i n , ussi n moti fs h ve been popul r , especially

a a E a in sport ribbons . In the l tter we h ve seen gypti n n ﬂ u tu a d H awaii an patterns . While there will be c a

a a a a nd tions , the prob bility is th t convention lized oriental patterns will continue in favor as the Ea st has always been the source o f the patterns which a re best

a a suited to textile m nuf cture . The fancy va rieties which vary in popularity from

a a re a and year to ye r the pl id , striped , dotted rib S a ar e bons . ilver and gold thre ds woven or used in

‘ silk ribbons in embroidery or stripes .

Qualitie s a nd L ine s Ribbons a re usually bought for their ornamental

a a v lue , not for dur bility ; there fore customers are not apt to ask about qu ality i f the ribbons are attractive and a k in design color . But soft , unweighted sil will show its beauty when gathered up or looped in bows , and n e even i f inte d d for only one season , the better

a quality is lmost always a wiser choice . 1 54 SILK D E PA RTME NT

The diversity o f staple lines which must be carried in a Ribbon Dep a rtment is greater than in almost any

One the a a Silk h as a other . writer in m g zine , , m de the following estimate of the stock of ribbons wh ich is necessary “ a as a a a a T king b sis six st ple we ves which , to

a meet consumer requirements , must be c rried from number tw o through all the intermedi ate numbers up

sa to one hundred lignes , in y one hundred colorings ,

a and ad and i f one t kes up a pencil p ﬁgures it out , it readily can be seen the bulk o f these staple stocks alone

assumes formidable proportions . Then i f you pile on to this bulk from twenty - ﬁve to ﬁfty numbers of fan

a a cies , the v rious lines o f w sh ribbons , and a dozen or

f a h so novelty e fects , the dem nd for which comes wit

a a a a a the se son , some ide can be obt ined o f wh t poor ribbon yea r means to the house doing business in that ” - end in the matter o f piled up stocks .

a re a a a o ff Broken lines lw ys hard to cle r .

II se s

R a a a a a ibbon is m teri l , however , which d pts itsel f readily to a great number of uses and an ingenious

a n n H airbo ws and s leswoman ca suggest ew fancies .

a a a and a girdles , camisoles , m ny v rieties o f b gs c ses ,

a a th e coll rs , novelties for the tr veler or home deco

a can a t a re r tor , be m de o f ribbon ; i f hese fancies dis

a add pl yed on the ribbon counter , they much to interest

I 56 SILK D E PARTM E NT

th e nants , each with a ticket giving price and quantity . u People are attracted , and us ally either buy remnants

or take the regul a r goods .

Ap p reciation and E nth usi asm Appreci ation of the beauty of th e ribbons makes the salesgirl enjoy her work and also makes her more at tra ctive to customers and a more successful sale sp er

son . Two young girls were selling ribbons in a de p a r tment where wonderful new ribbons in tinsel e f

fects a One were displ yed for the ﬁrst time . girl was

a reveling in their be uty , their exquisite coloring and

th e and a design ; other was blank cold , c red nothing for the beauty around her or the people who might be

a l at interested to buy . The enthusi sm of one wou d a an ff tr ct y customer to her , while the indi erence of the ff S a other would have the opposite e ect . uch enthusi sm ff i s especially e ective in selling expensive goods .

I mp ortance of Color It is especi ally important for the saleswoman in the Ribbon Depa rtment to study color and color combina

All a re tions . of the ribbons seen together on the a shelves and a good general effect is essenti l . In most o f the large stores pleasing harmony is secured and the customer is unconscious of anything but satis fac

tion . In other stores , however , the ribbons are so poorly arranged that a person would be very apt to TH E R IBBON D E PARTME NT 1 57

a a hurry p st the ribbon counter , though unaw re , per

a a h ps , o f the re l reason .

His tory Ribbons were not used as such in E urope until the h sixteenth ce ntu ry . Be fore t at time they were woven on the bands or borders o f ga rments and were narrow ”

a a a . like rib , hence the n me ribb nd When ﬁrst manu factured they were frequently made

a and and o f gilt , interwoven with thre ds of gold silver , E were expensive . Consequently the nglish p arli ament p assed an act forbidding their use by tradespeople and reserving the right to wea r them to the nobility . In the seventeenth century quantities of silk ribbons

a . were worn , especi lly by the men The pictures of tha t time show men wearing loops o f ribbons in great profusion all over their costumes . Th m and e ter s blue ribbon red ribbon , which are k a E n given a s mar s o f excellence , origin ted in g

a O o f land . The blue ribbon design ted the rder the

Ga E a th e rter , which is the oldest order in ngl nd , and

a red ribbon design ted the Order of the Bath , which is the next highest order . 1 Ribbons va ry in width from 4 inch to 1 2 inches . The custom o f numbering ribbons originated in E ng l and and was governed by the thickness of the E nglish

a a . penny , which was ne rly the size o f our silver doll r A number one ribbon was the width o f one o f these 1 58 SILK DEPARTME NT pennies set up on edge ; a number two ribbon was the width o f two o f the pennies set up edgewise ; a number seven ribbon was the width o f s even pennies ; and so on .

1 60 SILK D E PA RTME NT

leather or silk . The mountings are all very ﬁne . The runner ( the circul ar piece that slides on an umbrella

a nd stick carries the connections) is o f brass , either japanned or bronzed over . The second quality is of the same materials with somewhat lighter brass and mountings less highly

ﬁnished .

a a - The third qu lity has solid steel ribs , sm ll self tips ,

a the joints covered with cotton , an iron runner, and

a a a . zinc notch , j p nned bl ck

Cov e rs The covers o f the best umbrellas are of strong twilled silk in the next quality they are a mixture of

: - and - a - and materials silk wool , glori ﬁnished , or silk

Dr . cotton , or some ﬁne mercerized schreinerized cotton

h a r - h The c e pest a e of soft ﬁnis ed cotton materials .

Stick s and Hand les

k a re The stic s should be light and strong . They a a S a m de of m ny kinds o f wood . ometimes the h ndle a a as are is p rt of the stick , when twisted roots left or W the wood is soaked in w a ter and bent . hen the handle is to be o f metal or some fancy mounting , steel n ma an tubes are often used . The mou tings y be of y u E degree of l xury . ngraved gold and silver, carved

- - and a o f . ivory, inl id mother pearl are often found UM B RE LLA S AND PARA SOLS I 6 I

Manufa cturing

no w are The sticks, usually made of steel tubing , len th “ then S ﬁrst cut to the required g , the prings are

a fastened in . The slots for the springs are drilled by s a small circular aw and the springs riveted in pl ce .

a a The fr mework is then a djusted . The fr me of a silk umbrella consists usually o f 8 or 1 0 ribs and the same C s number o f stretchers . otton umbrella sometimes a 1 1 6 h ve 4 or ribs . The runner and ferrule ( the small metal cap at the end of the stick ) are slipped on the stick and the ribs and stretchers are drawn into pl ace by wires which

a p ss through the eyes at the ends . The ferrule is then

a a riveted to the stick , sm ll pieces o f le ther or cloth

r a the and ra a e f stened over joints , the f me is ready for

S a a . the cover . ome umbrell s h ve no ferrule

The silk for the cover is ﬁrst hemmed , then the pieces are cut in batches and sent back to the machine - room

to be stitched together . The completed cover is

a and ca slipped over the fr me , sewed to the ribs , the p

- or metal top piece a tta ched . The various small umbrella ﬁttings a re shown in F 1 2 igure .

F old ing Umbrella s Umbrella s which are designed to fold so that they

ma be a a a k a a co lla si y p cked in suitc se , or trun , h ve p d ble end which , when the spring is presse , sinks down I 62 SILK D E PA RTME NT

a into the steel rod . The hinged h ndle then folds over , An making a comp a ct bundle th e length of the ribs . other variety has hinged ribs also . The mechanism of these folding umbrella s is apt to en get out of order , though some people ﬁnd them irel a and are a t y satisf ctory , they great convenience to the traveler .

Parasol s Pa rasols may be divided into two classes : those n a nd and e which ca be used for both sun rain , thos which are so small or so fanci ful that they ca n be used only for the sun . The best parasols have ﬂuted steel ribs which ar e sometimes brass or nickel - plated or gilded and have

a a . tips of the s me color . The runner is o f br ss The

r joints a e covered with silk . Those o f a medium grade have solid steel ribs which ma a a and y be pl ted with br ss , the runner is of light

S a r m iron . ince p rasols a e smaller than u brella s and are a not intended to resist wind , the fr mes need not be a ff m de so strong . The more expensive ones di er from those o f medium grades chieﬂy in their ﬁnish and m a orna ent tion . The parasols intended for both sun and rain may

2 1 2 a a have ribs to 3 inches long . The more orn ment l

are 2 0 2 1 C ar a a ones to inches . overs e m de o f m ny varieties of material . Plain silk in green , blue , brown ,

1 6 UM B RE LLA S AN D PARA SOLS 3,

ecru , or black and white may be found in the larger are ones . They also dotted and striped , sometimes i with a satin stripe follow ng the outer edge . F a ancy parasols are made in every hue , with l rge and small patterns and sometimes trimmed elaborately

a S - a co v with quilled ribbon , fringe , or l ce . atin f ced ers are usually made with a silk we ft on a cotton wa rp .

P o n ee line are a g j n, and cotton parasols lso much

a . used , especially at the se shore or summer resorts a a The pongee or linen is either n tural color or ble ched , but the cotton covers are of every shade to imitate silk . Some parasol frames a re made so that different co v n E ers ca be used to match summer dresses . ach cover has little clips to fa sten it to the frame . Pa ra sol sticks a re more el aborate tha n umbrella

n r a sticks a d a e often very fr gile . At one time they were like shepherdess crooks with bows of ribbon ; at

a ma nother they represented golf sticks . They y be a very costly with ornament tion of gold , silver, ivory,

or inlaid jewels .

’ Me n s Umbre llas ’ Men s umbrell a s differ in quality rather th an in

an style . They are built for strength d service rather

a and are a e . than be uty , seldom much orn m nted

’ F rames o f Me n s Umb re llas ’ As the man s umbrella is larger it must have a. 1 64 S ILK D E PA RTME NT

ﬁr stronger frame than that for a woman . The st

a a a a qu lity fr me is simil r , except th t j oints are stronger an d the runner is o f hardened brass . The j oints are covered with cotton . The medium - grade umbrella is also strong and ﬂexi

has and a ble , but a steel runner somewh t h eavier ribs .

a re The j oints covered with silk or leather .

a a re a Inexpensive gr des m de with solid steel ribs , which a re necessarily heavy i f strong and have a a a j p nned iron runner .

’ Cove rs o f Men s Umbrella s ’ The best Silk covers for men s umbrell as are made in E a . a ngl nd I f m de o f pure , unweighted silk the cover is expensive , as it must be heavy to be completely

a - w ter proof .

‘ M o ixtures or union go ds , consisting o f wool and

S and a re m ilk or cotton silk , much stronger and ore satisfactory than the cheaper grades of silk . An E gyptian cotton wa rp a nd good silk weft m akes a

a - e h ndsome and strong cover . The yarn dyed mixtur s a re imported . Mercerized and schreinerized cotton is used for the

- ﬁn ish less expensive covers . A dull cotton , however , will look better than the schreinerized material a fter

h as it been worn some time , because the ﬁnish soon

a o ff Se e a a C L n we rs . ( m nu ls for otton and ine De p artments for cotton ﬁnishes . )

1 66 SILK D E PARTM E NT

N ame of Wo o d Wh er e Gr own m M alac c a cane Si a E u ro p e and Ame ri c a Franc e Midge n A ustra li a n n n he n E u o e M o unta in ash E gl a d a d N o rt r r p Mya ll - wo od A ustra li a h e n f Myrtl e N o rt r A ric a N ana c ane Alge ri a Oak E ngl and Oliv e Alge ri a Or ange Sp ai n and Alge ri a P almyra Indi a P a rtridge c ane Ch ina P a rtridge w o o d We st Indi es P e n ang l awye r Pe nang Pime nto W e st Indie s P o me gr an ate Alge ri a R ajah c ane Bo rne o R a ttan E aste rn Tro p i c s Snake w o o d Pe r si a and B r az il Thi stl e B riti sh I sl e s To nquin c ane Ch ina Wh ange e Jap an Whiteh o r n British Isl e s

Some of these wo ods are used in their natura l are and a ﬁnish , while others colored ﬁnished in m ny

f a di ferent w ys . The simplest handle is bent or curved by steep ing the wood in water until it can be given the desired a M a ﬂa . t a sh pe et l tops with disks or h ndles of horn ,

a e a bone , or ivory are lso us d , sometimes with hollow steel tube instead of a stick to connect the handle with the runner . UM B RE LLA S AND PARA SOLS 1 67

Umbrella s for men range in size from 2 6 to 30 inches .

’ Ch ildren s Umbrell as ’ Children s umbrellas and pa rasols a re made in a

a re number of gr des . The best ones a similar to those a r h a e a . a m de for women , but sm ller The c e per ones

v a and are often ery fr gile , though bright and pretty

s h when bought , oon lose t eir freshness .

Selling Sugge stions The sale of umbrella s and para sols depends very much on wea ther conditions and the latter stock is a u a u a particul rly ncert in . A dry hot s mmer will gre tly

a a a a incre se the s le of p rasols , not only bec use their

a a a a a sh de is more ppreci ted , but bec use m ny people go

r to resorts where pa ra sols a e used more than in town .

On a a da a a r iny y, especi lly in the c se of sudden

S - a a howers , medium priced umbrell s should be in prominent place nea r the door and pl ainly marked so that customers who have come out unprovided with

one may easily see both the umbrellas and the prices . When selling an umbrella with an expensive handle the saleswoman should suggest that it is possible to have the umbrella re - covered when the present cover a we rs out .

History Umbrellas are now regarded as a protection from the 1 68 SILK D E PARTME NT a a a r in, but that is a comp r tively recent use . Umbrel la s were first designed as a protection from the sun and the word umbrella comes from the Italian o rn b ll ” r e a a a a . , me ning little sh de In Asiatic countries the umbrella h as been for many centuries an emblem of royalty ; kings and princes have walked or ridden under its protection from pre historic times . The time a ssigned by the Chinese to the advent of the first umbrella antedates by years the Mosaic a a d te of the cre ti o n of the world . In India there is a legend that Vishnu was Shaded an a by umbrell when he visited the inferno . The Greeks introduced umbrellas into E urope and the Romans carried very elaborate ones made o f skin a E a or le ther . They were introduced in ngl nd about the r h ad n a a seventeenth centu y , but they bee f shion ble in Venice and F lorence and in F rance before that . Jonas H anway in 1 780 was the first man in E ngl and to use an umbrella as a protection from the rain . Hanway h ad traveled in the far east and brought his

a F o r a was co nsid umbrell from Persia . long time it

f a a an ered e femin te for man to carry umbrella , though women h ad been using them for sunshades . At one time huge umbrell as were kept in the halls o f country houses and were carried over the heads o f the ladies as they went from the house to the sedan

a a a had chair or c rri ge . These umbrell s frames o f

Ch ap te r XVIII

TH E HI STORY OF SILK

Discove ry in Ch ina

a The most be uti ful textile ﬁber , silk , was ﬁrst dis h a nat covered by the C inese . The silkworms were ural product of China and the cocoons were plenti ful . C S a According to hinese records , the ilkworms p

eare d H o an i was Em p in the garden o f n , who the ’ e ro r C a 2 00 and Si p of hin , 7 the emperor s wi fe ,

L - Chi am ing , who bec e interested in the cocoons , her sel f discovered a way o f reeling the silk from the co he coons and o f weaving the ﬁne thread into cloth . S is even no w worshipped throughout the Chinese E m pire as the Goddess of Silkworms . The secret source of the silk ﬁber was gua rded for

a a many ye rs , and lthough the silk was imported from

C o ne a was o hina . no , under pen lty of death , allowed t a c rry eggs of the silkworm to another country .

Silk Culture in Jap an Silk - weaving was known in Japan long be fore the

r A D a a Christi an e a . About the third century l rge number o f Chinese emigrated to Jap an where they 1 70 TH E HISTORY OF SILK 1 71 were given a section of the country i n which they

- might practice the Chinese method of silk weaving . Later they were ordered to settle in different parts of S the empire and to rear ilkworms , as well as to weave raw the product into cloth . F o r centuries the Chinese weavers led in silk culture

a - and promoted the industry in Jap n . The silk produc ing sections of the empire were required to pay annual E tribute of silk fabrics to the mperor . Japan and China have sha red the honor of being the

- greatest silk producing countries in the world . In 1 874 the Japanese E mpress Sho ken established sericulture ( silkworm culture ) in the imperi al palace and ever since that time it has received the fostering care of the royal family. A rearing house has been constructed , mulberry trees planted , and one chief ex

a n G a pert and ten ssista ts are employed . re t care is used in the selection o f these experts , most of whom

‘ are graduates o f local agricultural or sericultural schools .

Ch ine se Silks N o t only were the Chinese the ﬁrst to domesticate and a a the silkworm , but they invented looms ppli nces by means of which they carried the art o f weaving to a a high degree of perfection . They pl nned twills and

a a satin we ves , whereby the lustrous qu lity of the silk was a particularly displ yed , and their arrangements for 1 72 SILK DEPARTME NT

ornamental pattern- weaving have never been sur

passed . The most approved modern looms are in all essential points exactly the same as the compound draw- loom for pattern- weaving which is shown in an c C ient hinese pictures . China has always continued to be the greatest pro

duce r a and consumer o f silk f brics .

Jap ane se Silk

a a t C The J panese , who were p pupils o f the hinese , are the only ones who have ever approached th em in

excellence . The Chinese do not make any great point

S a a a o f exporting woven ilk , but the J p nese h ve for ’ a ye rs contributed largely to the world s markets . ’ Japan s export o f manu factured silk recently amounted G a a to in one year . re t improvements h ve a a e been made in machinery and weaves . J p nese cr pe

a a de chine and georgette are m de for the Americ n , E a a a a k urope n , and Austr li n m r ets , and in the ﬁrst three years of the war seven thousand pieces of silk were sent to the Allies for air- ships which require a

- well woven fabric of unusu al strength . Strict responsibility about ﬁlling orders has not al

a a w ys been shown , however , and the gre t demand and high prices have caused an inferior raw silk to be sent a broad . A Chinese organization called the General Guild of the Silk Trade o f Shangha i has taken up the question

1 74 SILK D E PARTME NT

dyed in beauti ful colors . It is said that the Saracenic and S a h a a l ma p nis we vers , whose be uti fu work y still a be found in the museums , obt ined their silk thread in

a Raw was C a this w y. silk not exported from hin until centuries la ter . At th e beginning o f the Christi an e ra raw silk wa s one of th e most valuable imports into the Roman E h h d mpire . Al thoug it a been used for centuries the

h ad . a a people no idea of its source They im gined th t ,

k ﬂax and the li e cotton , it might come from trees or

e ﬂow rs . Th e silk which the Romans used wa s sent from

C a a h hin overl nd t rough Persia . The long journeys were made by caravan s and many months were con

a a a sumed in the tr nsport tion , but the price obt ined th and more than covered e expense of the j ourney , brought a good proﬁt to the merch ants dealing in the silk .

A D R a E In the sixth century , when the om n mperor

a a war a Justini n eng ged in with Persi , the entire sup

raw k w as o ff a ply of sil cut , so Justini n determined to

h r a a ﬁnd the source of t e aw materi al . By p ying a l rge

two N a k o sum of money , he induced estori n mon s to g to China and to learn the mystery of the whole silk process . These monks traveled on foot through Persia and

a Ch a h a Indi to in , where t ey succeeded in le rning the ’ h a a secret . Alt ough nyone who c rried silkworms eggs TH E H ISTORY OF SILK 1 75

C a out of hina could be punished by de th , the monks hid severa l thousa nd eggs in their hollow bamboo staffs and a esc ped with their booty .

A . D. C a In 555 they returned to onstantinople , the c pi tal E a E of the stern mpire . They presented the eggs to Justinian and he a fterwa rd placed the monks in

a a ch rge of an industry which he established . By r is ing the price of silk he added much to his imperi al

a a a a nd tre sury . After his de th the monopoly ce sed

a the industry spre d to other countries . In the tenth century the Moors started silkworm

S a h e la e a culture in p in , w er it t r developed into most

a import nt industry . By the twelfth centu ry it had Spread to Greece and

a and the h F a w a s a It ly , in thirteent century r nce r ising k Silkworms and manu facturing sil .

h F a e In the sixteent century , lemish we vers w nt to

E a d and ta e the a ngl n s rt d industry , but the clim te did

e - s h F not se m suited to the ra i ing of t e worms . rom time to time attempts h ave been m ade to introduce seri

in E a a a a a . culture ngl nd , but they h ve lw ys f iled Cloth o f gold was used in E ngl and from the reign

E a a of dw rd I to the time of Henry VIII , th t is , from a the thirteenth to the sixteenth century . The we ring of this cloth wa s prohibited except to people of th e n obility . Silk w a s ﬁrst introduced on this continent through the Spanish conquest of Me xico in th e sixteenth cen 1 76 SILK D E PARTME NT

e tury , and plans were made to stablish sericulture in M r exico . Although silk was expo ted to some extent , the industry did not last long .

E arly A ttempts in th e Unite d States A few years a fter the settlement of the Virginia colony in 1 620 skilled men were sent for by the E ng S lish to start the raising o f ilkworms , but with little r esult . The most successful attempt at silk culture in the

wa s G American colonies in eorgia , but even there the P enns l industry was never a commercia l success . y

a and C k- a v nia onnecticut each tried sil r ising until , with

r the outbreak o f the revolution , the silk indust y was a suspended . A fter the war it was revived princip lly a as household industry . Silk culture h as been tried in this country from

Ma F a and Ca n a a ine to lorid to li for i , but for v rious

a ll f a a re sons a e forts have fa iled . The princip l obst cle has been the cost of labor which is so much higher here

a E a th n in urope and Asi . Between 1 837 and 1 840 there was a speculation in So a was mulberry trees throughout the country . gre t the excitement th at fruit trees were cut down to make room for the mulberries and enormous prices were

a and p id for the trees , but a severe winter set in killed most of them and put an end to the short - lived speen a l tion .

1 78 SILK D E PARTM E NT

- a a nd Ca a a . silk we ving are l is , P ris , Tours , Avignon

a F r a Most o f the be uti ful rench ribbons a e m de at St. n E Chamond a d St. tienne .

a F Itali an silk is the ﬁnest next to th t woven in rance . The city of Mil an ranks a fter Lyons in silk manufac

N a and C a re ture , while ples omo also thriving centers of the industry .

R a a S a a nd S a a a ussi , Austri , p in , witzerl nd lso eng ge k S a in the manu facture o f sil . witzerl nd is chieﬂy famous for the ﬁne ribbons and knitted goods pro duced at Basle and Berne .

Manufacture of Silk in Gre a t B rita in It is p robable that the early silk fabrics in E ngl and were made and used a s the background for the em broidery for which Engl and h ad been famous since the m a a iddle ges . In the middle ges the raw silk was no doubt obtained at great cost from the E a st and made into silk threads for the embroidery . In the seventeenth century a l arge number o f Prot — estant re fugees from F rance many of whom were — skilled weavers went to E ngland and founded an L at . S industry , the center o f which was ondon ince that time silk - weaving has continued to be an impor ta nt branch of the textile industry in Great Britain and of l ate years some o f the most artistic decorative h furniture silks have been produced t ere . At the present time the United Kingdom manufac

1 80 SILK D E PA RTME NT

a and a with the greatest c re cost , the industry is not

a n h a s a proﬁt ble one a d pr ctically died out . The raw silk exported from China and J apan comes

N e w to York , the distributing point for the country ,

w a San F a and S a raw by y of r ncisco e ttle . The silk

a and F a N from It ly r nce comes direct to ew York . Be fore 1 880 silk manu facturing in the United States w a s a a S a h as sm ll industry . ince th t time it grown a nd a S a developed r pidly . At present the United t tes l e ads all other countries in the volume o f silk manu f rin actu g.

a a a a Silk m nuf cture is c rried on in many st tes , but

N e w a N ew most extensively in Jersey , Pennsylv nia , m nu fac C . a York , and onnecticut The center for the N o raw a . . ture of g ods from silk is P terson , J The a a l rgest amount o f w aste silk is sent to H rtford ,

C Ma s onn and Boston , s , whence it is shipped to the

N e w E a a ngland mills , which lead in the m nu f cture of

n - sewi g silks . A list o f the leading silk manufacturers o f the

United States will be found in the Appendix . Ch ap te r XIX

SUGGE STION S TO SAL E SPE OPL E

Arrangeme nt a nd Disp l ay An appreci ation of the beauty o f the Silk Depart

sale sfo rce ment not only makes the enjoy their work , but also makes them more effective with customers ; the bright , interested person will sell twice as much silk

a s a and be twice v luable to the store . Much can be done in the arrangement o f the Silk

a a Department to m ke it attr ctive . Color and color combinations should form an inter e sting study for the salesperson in this department . Many striking and pleasing effects may be obtained by

a a care ful student of the laws o f color h rmony . The lustrous quality of silk a ids immeasurably in

W a re a the arrangement . hen silks or velvets displ yed a over ﬁxtures on or above the counter , their be uty is much - a ffected by the way in which the light strikes the glossy surface of the silk or the rich pile o f the velvet . The colors o f silks a re also very much changed in their appeara nce by the proximity o f other silks . Salespeople should understand the l aws of color har

and monies , return to the shelves , or fold up,silks , the colors o f which detra ct from those under considera i t on . 1 82 SILK D E PA RTM E NT

B a ckground s The ba ckground against which the silks are dis played is a nother most important factor in the a rrange

a ment o f the Silk Dep rtment . A list o f colors suit

h w s able for backgrounds is given herewit . It a com

- piled recently for the use o f window dressers , but it is

a a a a equally v luable for the dep rtment displ y . C ution

a must be observed , however , i f the dep rtment is

a a h a a a lighted by rtiﬁci l lig t inste d o f d ylight , bec use

some colors are brightened , some dulled , and some

an ch ged in hue .

Colo r of Go o ds Co mple Other S uita ble to be m e ntary B a ckgr o und Displaye d Co lo r Co lo rs

h e B ac k u e r e d b ue e e n b o wn W it l P rp l , , l , gr , r , gray a B c k B o wn b ue u e o an e r e d Gr y la r , l , p rp l , r g , B ack h e o w bu ff c e am o an e l W ite Y ll , , r , r g , light gray Re d e e n O e b ue wh e h nk Gr liv , l , it , lig t p i , yell o w e o w u e B ack b ue wh e da k b own Y ll P rp l l , l , it , r r , ric h gre e n B ue O an e e o w wh i e a e b ue re d l r g Y ll , t , p l l , O an e B ue u e o e e e n b ack wh e r g l P rp l , liv gr , l , it e en Re d hi e e o w o an e b o wn Gr W t , y ll , r g , r , p ink u e e o w a e nde o a n e c e am nk P rp l Y ll L v r , r g , r , p i B o wn Sa e e e n e o w c e am wh e r g Gr , y ll , r , it , gray O e a o o n Re d b o wn c e am wh e liv M r , r , r , it a ende e am B o wn u e d a k b ue da k L v r Cr r , p rp l , r l , r gray nk S aw e o w e e n b ue m a o o n Pi tr Y ll , gr , l , r Sa e B o wn a o o n o an e r e d u e g r M r , r g , , p rp l , white

1 84 SILK D E PARTME NT

a S and a a - a the rtiﬁcial ilk , lso bec use close weave f brics

a a a a a o f rtiﬁci l silk cont in nother ﬁber , usu lly cotton .

H o w Much Materi a l to Se ll to a Cu s tomer The salesperson should also know approximately h o w a a a suit co at much m teri l is needed for dress , , , ,

a O a re . a a w ist , sleeves , or vest ften the f ct th t silks

2 0 a 7 inches or 4 inches wide me ns little to a customer , and she is apt to purchase too little or too much and

a be gre tly inconvenienced . Since the styles o f costumes and the patterns of silks

a a an ch nge every se son , it is impossible to give y per manent and deﬁnite rules for the amount o f materi al

a a can th t should be sold . The experienced s lesperson often judge from the way the p attern runs on the silk a whether more or less m terial will be needed . The size o f the customer is another factor which must be

a a considered . The bility to judge the mount needed is a sure test o f knowledge o f style and design and ’ a a lso of the s lesperson s power o f observation .

Quality and Values In buying and selling silk its use and the service

a be which will be dem nded of it must be considered , cause the v alue o i a textile lies in the service it will

a a a a give , whether for ppe r nce , we r , or style .

a a I f the silk is needed to serve only short time ,

a a . a che p qu lity will answer I f , however , long , h rd SUGGE STION S To SALE SPE OPLE 1 85 wear is required a good quality must be purchased for a a f ir price . On the silk counter are fabrics varying in price a ccording to the qua lity of the silk . I f the customer a a sks why one piece o f silk is better than nother , the

a a a a a uns tisf ctory nswer in m ny c ses is , Because it ” a a a costs more , inste d o f the answer th t The qu lity is better because o f followed by an adequate ex

a a a pl n tion o f the re sons . It is well for the salesperson to know the true rea k sons for the high price o f some sil s , because such reasons are all clea r and convincing and really answer h t e inquiries o f the customer .

Re asons Why Silk Is More E x p e nsive Th an Oth e r Te x tile Ma te rials

The cost o f silk, as compared with other textiles , depends upon th e 1 raw a a . s . The cost o f m teri l Thi includes care and feeding o f the worms , gathering the cocoons , a and reeling the silk from the cocoons . The qu lity o f the silk depends largely upon the care taken in these processes .

2 C . a . ost of transportation There is pr ctically no ra w silk in this country .

C . a 3 . ost of dyeing The cost v ries according to the dye used and the treatment o f the silk . f C a . 4 . ost o f m nu facture The di ferences in the 1 86 SILK D E PA RTME NT price o f silks produced in this country depend l argely upon the nature of the twist ; a heavy quality of silk requires more threads twisted together and more proc

a k esses in twisting . The wearing qu lities o f sil de

a a h pend not only on good ﬁber , but on the equ l weig t

a th e h a a r e o f w rp and ﬁlling . A silk in which t re ds well - twisted wea rs better than one with little or no twist .

Know le dge o f Manufa cture

It is important for the salesperson to know all the

a ﬁ e r f char cteristics of the silk b its di ference in feel , a a a a ppe rance , strength , luster , etc . , before m nuf cture and a fter . The general processes of manu facture for standard

a k fabrics should lso be nown . I f the salesperson also understands substitutes and a a w an aid dulter tions used , it ill be in detecting them . The following brief outline gives th e essentia l points h upon which the information s ould be founded .

Valu e s o f Different K ind s o f Silk

1 a and . Qu lity value depend upon

( a ) A suitable proportion o f wa rp and weft . ( b ) The care taken in the various processes

o f preparation for weaving.

1 88 SILK D E PA RTM E NT

E ffe ct o f N a tural and Artiﬁcial L igh t o n Ma tch ing Colors D aylight is usually a ccepted as the sta ndard light f under which to match colors . There is some di fer

a a a ence of Opinion in reg rd to this st nd rd , however, a since d ylight is subj ect to many outside inﬂuences .

Th e a a morning light often c sts pinkish tinge , while a fternoon light is purplish ; smoke and dust in the air give a reddish cast to th e light ; and it is somewhat

a e th e ha lter d by s dows of clouds , buildings , and foli

a e a h a . a g Under cle r , noon sunlig t colors ppe r

a a r B e w rmer ; under north skylight they a e colder . cause o f th ese conditions many tones of color a re more

a a a a a s tisf ctory under rtiﬁci l light , bec use the proper ties o f ga s and electricity may be chemically a nalyzed a nd depended upon .

a a In gener l , it is easier to m tch somber colors

a k and all ha and blue , violet , d r green , s des of brown

a — in th e a a and gr y d ytime . The p le tints luminous

— a a nd — colors red , yellow , or nge , light green usu a a h lly ppea r to better a dvantage by artiﬁci al lig t . A

a a gre t de l depends , of course , on whether the gown in

Ma a question is for morning or evening wea r . ny gr ys which look normal at night have a brown or green tinge

a - in the d ytime . A violet blue , which is bright in the

a and a d ytime , looks very somber dull under artiﬁci l

light . It is hard to distinguish some o f the tints o f SUGGE STION S TO SALE SPEOPLE 1 89

and b blue green at night , ecause of the yellow tinge th a given by e rtiﬁci al light .

E ffe ct o f Surfa ce o f F abric on Match ing Colors I f the surfa ce is porous the light penetrates more

f a and a deeply , su fers more intern l reﬂections , re ches th e W and eye quite pure in color . ool silk ﬁbers which

a a a re a are nim l ﬁbers , tr nslucent therefore , the colors

a a and a re seem more brilli nt th n in linen cotton , which

a rel tively impervious to light . The nap of some fabrics ca uses them to Show a a a lat ch nge ble colors . I f it ends tow rd the light , the ter penetrates to a considerable depth and is deeply

na a a colored by multiple reﬂections . I f the p ends w y and n from the light , there is more reﬂection less pe e

i a a trat o n . ; therefore , there is lso less ch nge in color

E ffe ct o f Dye s in Ma tch ing Colors Materi als dyed with aniline dyes may be m atched better in the daytime beca use many aniline dyes h ave a

a a a th e ﬂuorescent appe r nce ; th t is , they possess prop e rty of giving o ff under some kinds of light a color different from their own and from the light in ques tion .

E ff e ct o f Adj a cent Colors In accordance with th e law o f complementary col

a and a r e af ro x im ors , m ny shades tints fected by the p 1 90 SILK D E PA RTME NT

o al ity of other col rs . This is especi ly true when neu tral or grayed colors ar e pla ced near colors of full in

F o r a a a . a a tensity inst nce , bl ck p ttern on red ground

— and looks blue green , white surrounding green looks

k F o r a th e a pin . this re son s lesperson should be ca re ful to put away all silks except the materi als that the

customer is considering.

Tone o f Color Colors at their full intensity are less affected than either th e lighter or deeper tones under a rtiﬁci al light ; but d aylight is sometimes needed to bring out the full beauty and richness of shades of color ; most p ale col ors and tints are wa rmed and heightened by a rtiﬁcial

light .

A ccurate Mea sure m e nt In selling yard goods a ccurate measurement is nec

a am ma h ess ry . An ex ple y be noted where four s ort

h a one a a pieces o f silk were boug t , e ch supposedly qu r Th a a . e ter of y rd in length silk pieces , besides being

a a h cut unevenly , e ch me sured from three to four inc es

a th e over the nine inches , in which c se loss to the store

- k was fully three eighths of a ya rd o f sil . Salespeople should avoi d m aking new folds and creases in displaying goods on counters and in putting

m a a W a the w y on shelves . hen wr pped for delivery , goods should be so folded a s to a void creases which

1 92 SILK DE PA RTME NT

It may be noticed with a few customers that price i s the chief obj ect ; in such case there is little that the al s esperson can do but ﬁnd the required price . Some salespeople make the mistake o f asking the customer

a wh t price she wishes to p ay.

and a Politeness kindliness , with disposition to

a a wa and a . ple se , lways win their y hold customer

Mak a re o f e no promises which doubtful fulﬁlment . ’ tr a Do not y to ch nge a customer s choice . Use your knowledge o f goods to the advantage of the purcha ser Be p ainstaking in showing goods and especially in a m tching samples . Le a rn to use bo th eyes and hands in forming judg s ments of the qualitie of silk . Ch apter XX

F N TH E S K CL ASSI ICATIO OF. TOC OF A TYPICAL SIL K DE PARTME N T

DIVI SION S

S a S k A . t ple il s 1 Wh . ite 2 a k . Bl c a C 3 . Pl in olors E n 4 . ve ni g Shade s N e S lk B . ov lty i s 1 F a . ncy 2 F a . oul rds and Wash e 3 . Pong e s h ff C . C e tc . i ons , D' e . V lvets

STAP LE SI LK S

1 Ma e a . t ri ls Armure Ba tiste B engaline B olting Cloth Brocade Broca de d Taffeta Cach emire de Soie Charmeuse Ch ina Silk Chiné Sil k Cor de d Silk 1 94 SILK D E PA RTME NT

Canton Crep e Crep e Charmeuse Crep e d e Ch ine Crep e Meteor Damask E oli enne E p inglé F a ille F aill e F rancaise Gla cé Silk Gros de Londres Grosgra in H abuta i India Silk Jap a nese Silk J e rs ey Cloth Kika i L ibe rty Satin L ouisine Ma te la ssé Me ssaline Moiré Organdie Ottoman Pe au d e Cygne Pe a u de Soi e Pekin Stripe Rep Satin

“ Satin Brocade S atin Cha rmeuse Satin ( Cotton - B ack) S atin Damask S atin de Lyons S atin ( Double - F aced) Satin Duchesse

1 96 SILK D E PA RTME NT

Brocade s Satin Me ta l Crep e Charmeuse Strip e d Silks Pla id Silks Silk Ginghams Cloth o f Gold and Silver Radium Silks

2 We a e . v s Pl a in Tw ill Rib Satin B roca de or Jacquard Double Cloth

3 . Colors N ormal Graye d All Tints and Shade s Combinations o f Color with Black White

F o ular ds and Wash Silks

1 M e a . at ri ls F o ular ds Crep e de Chine Ja p ane se and China Silks Habuta i F a S e a Ch k ncy trip s , Pl ids , ec s

2 We a . ves Pla in Twill J acquard CLA SSIFICATION OF STOCK

3 . Colors N ormal Grayed All Tints and Shades White

P o nge es

1 M . aterials Pongees Rajah Tussah Shantung Monk’s Cloth

a 2 . We ve s Pla in

3 . Colors N atural Pla in Tints and Shades White Bl ack Printed F igures

C I S TC C E . H FFON ,

Ma a I . teri ls Plain Chiffon Chiffon Cloth ’ Crep e Chiﬁ o n Ge orgette Crep e Ma rquisette Mousse line de Soie Gre nadine Tulle Gauze 1 8 S E E 9 . ILK D PA RTM NT

W a s 2 . e ve Pl ai n Gauze or Leno Colors All Tints and Shades B lack White Printe d F igures

VE LVETS

1 Ma e a . t ri ls Chiffon Ve lvet Corduroy Mirror Ve lve t Panne Ve lvet Uncut Ve lvet Ve lveteen Plush Ve lour

We a e 2 . v s Pil e Ja cqu ard

3 . Colors All Tints and Shades Bla ck White Stripes E mbosse d and F igu red Shot E ffects

200 SILK D E PA RTME NT

Cotton Cotton- and- Silk Mixtures d h 3 . Wi t s 1 1 2 Ta ffetas 4 to in . ( 6 6 6 ‘ 6 MOil‘ é ( 6 ( 6 Me ss aline ( C ( l Satins 6 6 Grosgra in 1 2 m Velvet . 1 2 i n Linge rie . 1 2 F ancie s in . 1 2 i n Broca des .

Tin sel 1 2 in .

4. Styles H air Ribbons Sash H at Ba ndings B e ltings L inge rie F o b and Watch Guard Milline ry Tinse l Decorative

e 5 . D signs Conventional F loral Strip es Checks

Dots , Pe rsian Dre sden Printed P ainte d Picot E dge CLA SSIFICATION OF STOCK 20 1

6 C . olors ta a Wh G a Red gigg Bl ck, ite , r y , , Blue , G e e L a in r en , Y llow , vender sg’am and Shade ﬁgiré Tints s Ve lvet Same Wa h a Wh k and s ble ite , Tints of Pin , Blue, L ave nde r Tinse l Silve r and Gold G d and S e Wh and a k Sa ol ilv r on ite Bl c tin, Moiré and Taff e ta ba ckgrounds N ove lties Dresdens and Stripes in Colors Tw o Tone d Se l f Colors

MADE GOODS

I . Articles Sash e s Girdles L inge rie and Tailore d Bows Table De corations Sp ort H at- B a nds Ribbon Sachets F lowers B ags

204 SILK D E PARTME NT

Macmil o me fe in o o n a a s c e o e E a e . H Li C l i l D y , Ali M rs rl

lan . Color and D esign

h r n e s o f a mo n and o n as t o f o o . E . T e P i cipl H r y C tr C l r, M do n B e 81 S o ns o n . h e e u . . C vr l G ll , L s s e M B ri e st 81 m n in e ud . c d a o o a o s . . C l r H r y D r , G A A l y , N

Co .

B n. o o ns uc o n . an . o s o C l r I tr ti , L Pr g t B f d n n E e a e s . Da . B . a s o o do d w . . v ry y Art , L i F y T t r , L nd n B se s f e n a e a ne . B o . o a o s . e C o . D ig , W lt r Cr G ll , L n L ma e e e s n and o o . a so on ns e en T xtil D ig C l r , W W t . g , Gr

nd o n . Co . o , L F B B sf L o e i me n e w Da . d n a u n Orn a s . . . a o N t r t , L i y T t r ( n d o ) . n e s n e w s D a B B fo d nd o n a e . . . . a s o P tt r D ig , L i F y T t r ( L )

e n Th e an Co . D sig . Pr g h nd a c l h n in e o a c e E . B a c e lde r e s . . Mac D ig T ry Pr ti , A n mill a . Dye ing P e ll E . e w Mc B r i d e n . . de e s an as o . Dy Dy i g, C N t C f e n and e e h e m s n o he w . a ua . a s M l Dy i g T xtil C i try, J M . M t

Wil ey. s m b c . . u me e n o f e e a . asse . Dy i g T xtil F ri , J J H ll C ll

L EADI N G SI LK MAN UFACTURE RS I N TH E UN ITED STATES

s o a S k o ks o n S k ush e s b o ad and n n A t ri il W r , L g il p l , r li i g

s and . . s ks e o u s e e s I l City, N Y il , v l r , v lv t c n k S nn n C0 un s k a ns Sc h a e Am e ri a Sil p i i g Sp il y r ( pp ) , 1 o de nc e . . S k n o s Pr vi , R il il Au ust Silk o ks a e de and na ow bbo ns g W r , P t r Wi rr ri so n ?I , J n B o o h nd fanc b o ad d e ss B e d s . Co . a n a l i g r , N rt Pl i y, r , r m o n ss n n n ks se n nd a a . a d S w a p t , M li i g il , i g e mbro ide ry silk s B ra ne d mst o n N ew E mb o de se w n kn i r Ar r g, r i ry, i g, it ondo n o nn n a nd c o ch e s ks L , C . ti g, r t il , d e ss s ks n n s r il , li i g APPE NDIX 205

h am a n S k s B o ok S un s k a ns S ch a e C pl i il Mill , r p il y r ( pp ) ,

l n h e ha . . s k o s s k no s y W it ll , N Y il t p , il il o h Man h e ne B s. So u S un s k a ns h o wn s ks C y r , t p il y r , t r il ,

ch e s e o nn. o anz ne ams b o ad t r, C rg i , tr , r , d e ss n n and tie s ks r , li i g il , c o tto n and silk mix ed o o d s c a a s ush e s g , r v t , p l , e e s d e co a e s ks v lv t , r tiv il , bbo ns u h o s e o od s ri , p l t ry g , h andke ch e fs mufﬂe s r i , r , h at band s d e ss and co at , r mm n s s k fo r insulat tri i g , il ing s ono o c e S k , ach ne w s se w n e m C rti lli il Mill N M i t i t , i g, o e nce uck S k Co . , b o de and kn n s k t il , Fl r r i ry, itti g il s a ss M .

o h e 81 ad swo h Co . D rty W rt , Pl ai n and J acquard dre ss

a e so n . . P t r , N J s ilks o n — u an S k Co . az e n n f n D p l il , H lt , Pl ai a d a cy p i e ce dyed P a . silks h e n o e S k Co . D rty il , H ry, B ro ad silks

a e so n . . P t r , N J c und e e e e Co . assa a n and anc s ks s k D T xtil , P i , Pl i F y il , il m e d oo d s N . J . ix g E m e k Co a e so n a n and fanc e s n p ir Sil P t r , Pl i y d r s a d P a tie s k bo nd a e . s . a N . J ; C r l , il h a B o a d k K . S s s e ; . an d m o E a . co m ss n gl , J H C , r il i i ’ m k n P a h o w n o . i , t r i g a a S k s B e thle a n and fanc b o a s G lli il Mill , Pl i y r d ilks h e m P a . , and S o ns o h n a e bbo ns d e ss and tie s ks H , J , P t r Ri , r il

so n . . , N J H aml e t Te xtil e Co W o on Pl ai n and fancy d r e ss lin k e n s s k so c . . s t , R I i g , il h n n m Klo ts o w Co . a bo o m ss o n h ow s e s T r i g , C r C i i t r t r d a e P a . l , e h h V a e S k s L ig ll y il Mill , Co mmi ssio n th ro wste r s B h e h e m P e a . t l , n n o d fanc d e ss s ks a so 81 . R o n a n an C . . M lli , H , L g Pl i y r il

I s an . d . . l City, N Y 206 SILK D E PA RTM E NT

h n a n and fanc b o ad s ks e k s Co . o M e y r Sil Mill , J Pl i y r il

h m o n P a . H . o a , N rt p t , n n c o ch e and e m n n ash S k Co . , , N e w Lo d o W il , K itti g r t b o d e s ks N e w o ndo n o nn . y L , C r i r il k a e so n B o ad s ks a a o n S Co . P r g il , P t r , r il

N . i e ss n n and tie s ks P at D r , l g, l , f o . i i i h o en x S k M . C P il g , bbo ns r so n and en ri e . , N . J , All

o w n P a . t , dd e a n and fanc d e ss and o and S k Co . Pl i y r P rtl il , Mi l o nn n ng s ks w n o . li i il t , C S k e e s o ss e Ve e Co . s c R i lv t , My ti , il v lv t nn C o . k nn ns o l S ks sa ns S e S o Wm. H i r , , il , ti ke a s o s . y , M B o ad ie n n and S us ue h anna S k s , t , q il Mill , r li i g n ed s ks u h o s e a o n Oh o p , y M ri , i ri t il p l t r go o d s n nd fan b o a and S chw a z e nbach ube 81 Co . a a c d r , H r , Pl i y r o bo ke n d e ss tie n n umb e a W . H , N . J . r , , li i g, r ll , and th ro wn silks S ew a k o E n P a a n and fanc d e ss s ks S . as C o . t rt il , t , Pl i y r il and th r o wing Th ﬁc k e V sco se Co . a cus a s i , M r Arti i l il k o o P a . H ,

GLOSSARY OF TE RM S USE D I N THE SI LK IN DUSTRY 1L

I E I m a o h f n P . a o w e a n s t a o a ACCORD ON L AT NG N rr p l ti g, i il r t t a cc o d i o n r . E S h n h f a n n hic u n ADVANCE SAMPL . S o rt l e gt s o p tte r s o w h b si e ss h a s be e n d o ne fu n sh e d in ad ance to bu e to be c ut u , r i v y r p in sam a t o p l e c rd s . E h In f h n . enc as o . A LA MOD ( Fr . ) i I ! I E D YE s f fas co o z a n s h e . e e s o e e i t AL AR N A s ri v ry t l r s. Ali ri c o o in n l r g p ri cip l e in th e ma dd e r ro o t .

- I S . h o unc n a E n e nc no e d O . h ANGLA ( Fr ; p r g gl y ) gli s . IL I E E S f o m benz e n h . o o n s e a e d o o e o f t e AN N DY C l ri g p r p r r l ,

1 T i is is u e b c o u r e s o f e n e o e s h s l t s d y t y Ch y Br th r .

2 08 SILK D E PA RTME NT

N A I E ma m ch n fo r e mb o de n u e s BoN z MACH N . A s ll a i e r i ri g ﬁg r d o n w o ve n go o s . k a an bo o k h e ne a d o f a s . s w e B . bun e s c OOK A l A i ti il J p ig , g r lly, k i ns h c o n ain n abo u 0 to 60 s e . a bo u to lbs . e ac t 4 , t i g t 5 h n d n n k a r h a i e C i a a n Ca to bo o s e e v r . B ox The ece ac e o n th e o o m in and o ut o f wh ch the shu e . r p t l l i ttl

p asse s .

ox o d s in h ch two o r mo e c o o s o r ma e a s ar e B WORK . Go w i r l r t ri l u in h in se d t e ﬁll g. E I h m n n n f o o d s be we en CALE ND R NG . T e s o o thi g a d p re ssi g o g t o nde o u o p r s r ll e r s.

r d ca o ns. a ebo a d b x . bb n bo e a e c a e CARTON . A p st r o Ri o x s ll rt b hin a a I l . so ATTY . A e se w e ght ﬁxe d by tre ty t ! ; s Al C C ” i kno wn hin as C . FE - S h sh ma k s in e ce —d e d o o d s d ue to CHA MARK . W iti r p i y g , u h nin r i me ro g e g o d sp l ace nt o f ﬁbe r s . I F r r E. a . CHA N ( . ; p . W rp IE S a f a mad in n h na r a CH I NA CURL . A v rie ty o w ste e r ee li g C i w si k l . Th a nd u d d n f a n ma k f a c r a s k CHOP. e br se to i e ti y y e o A si ti w il . S I Th h m n S f t k o nc o in h c co o . . e u a o e s w e se d t e o CHRY AL p p il r , l

E I . e a me n en to r aw si k to emo e n bs s u s CL AN NG A tr t t giv l r v i , l g , d tc . h m in f i n n o e T . e e o o s o s s a s e tc f o m wo e o s. r v g p t , t , , r v g - TAR S B ian c o o in ma e s e ac d f o m . e COAL COLOR rill t l r g tt r , xtr t r c a r o l ta . I am in m u h k o f COCKL NG . A d age silk go o d s fro irre g la r s rin age h in t e ﬁll g . C N Th k n u CO OO . e sil e c o ve ring th at the silkw o rm sp ins abo t ItseIf

I I I Th a m na k COND T ON NG . e e x c t d e te r i tio n o f th e we igh t o f sil . o n th ba I i no m o nd i h e S S o f ts a c i n i . bso u e d r e o . e a w r l it , , l t y g t us 1 1 e r en Th e m i o p l p c t . e t r s al so l o o se ly use d to c ve r e s s fo r i z b - ff t S e o o e c . t t , il , “ - - D E . F r . r . c o r d o n n s k f a d COR ONN T ( ; p ay. A il use d o r br i in kni n - - e tc . w h a ik S e a a k cab e e w s . e r s g, tti g, , it l l t i t v r l w il th re ad s are d o uble d and l o o se ly twiste d in o ne d ire cti o n a nd th re e o f th em are jo ine d and smartly twi ste d in th e re v e r se di e c o n r ti . T . h num n e be o f a a n nd ca n its a da e er o u d . COUNT r y r , i i ti g y r g p p “ I - E . F r . r co o o o d e k ssma e . COUTUR R ( ; p . t r A r r APPE NDIX 209

h - k Th unch . F r r . c r a o n . e sc oo o r c CRAQUANT ( . ; p g r p r n u i k i g so und p ro d ce d by tw iste d s l . E E I WI S am h a d - w s f r e d e ch ne E D E . d o c e CR P CH N T T Tr , r t i te r p i o k U u 0 u n e r inch s a to s . w r . lly 3 75 t r p IFF WI S h o n r a i k u n r CREPE OR CH ON T T. T r w w s l 20 to 100 t r s p e h mo r ss f r u In mak i n c Inc e o e o se c e e s chiffo ns e t . r l , g r p , , ’ WS EE ink in . e d ace s o o d s wh e n h e h a e bee n CRO F T Wr l p l g , t y v a o we d to d r in a c um e d a nd e a se d c o ndi io n ll y r p l c r t . T A n an a d n h f — r u U . s d e o B o ad k c u s a e us C y t r l gt go o d s. r sil t

60 d s . ibbo ns 1 d a 0 s . lly y ; r , y E E Th d h d h n CUT S LVAG . e e ge w e re p ie c e s h av e be e n sep a rate w e tw o o r mo e i d h s a r e wo e n o e h e r W t v t g t r .

- EG I . Th e bo i n o ff o r discha in o f th e um o r D U M M NG li g rg g g , r c m f m i k se i o s . , r l E IE m n n th . e nch c o n u se d a s a w e i h fo r d e e e D N R A Fr i , g t t r i i g siz e o f r k I i h d a i a ins e ua in aw si . t w e e 2 s l g 4 P r gr , q l g “ E n in Th w e i h no use d c a e d d e sh a s . e w gl gr g t , ll ” i nie w i h s a ms an d th n umbe f h e se w e i h s e . 0 e o r , g 5 gr , r t g t e ui e d to ba a nc e a sk e in o f 0 m e e s is th e de nie a e r q r l 45 t r , r g o r s z e o f h i k i id in b a n d e nie a e i t e s l . D v g y y r g i e s its a d a e e r lb g v y r g p . E SI k h d h o k ut in o o s . . a e n o r s e c t be w o e d o t e D GN A p tt r , t , r g “ E S SI F r i n . r d e s e s . D N ( . ; p . D g

I E E ma - ﬁ u r d ff c usua mad e in a d ia . s e e e D AP R PATT RN A ll g t , lly mo nd sha p e .

I - I I n in d c o n a c o h f m the D RECT PR NT NG . Pa tte r s p r te dire t l t ro o e r k r ll r s o blo c s.

IS E - I I Th e in in o n a d e d fab ic w i h ch e m D CHARG PR NT NG . p r t g y r t i l h h h h n in e d Same c a s t at strip o r d isc a rge t e co l o r w e p r t . n a s e xtract p rinti g .

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f h o t e ground are wo v en in to fo rm small ﬁgure s. M uch u se d in th ie - i a d e t s lk tr e . E n n m n u DOUBLE SCAL . A a rra ge e t o f Jacq a rd h arne ss whe re two nd wo k h uc in an n a e d e s o e e o d e a e n . r t g t r, p r g l rg p tt r E a in h ch he i b h n DOUBL WARP . A w rp w i t re s o t a face a d back wa rp . E I The w s n o f wa h e ad a un h ﬁl DOUP W AV NG. t i ti g rp t r s ro d t e l ing p icks by e mp l oying sp ecia l he ddl e s o r l o o p s call ed a o up s.

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2 1 2 SILK D E PA RTME NT

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fo r use in chiffo ns c e e s e tc . , r p , E S S e ie o f f ame s e u e d w h h e dd e s and HARN . A s r s r q ipp it l , mo un e d in a o o m h o u h wh ch the w a e nd s ass and t l , t r g i rp p , wh ch a s h e ar e a e na e a ise d a nd o w e e d o en the i , t y lt r t ly r l r , p ac ua d h a ne ss is d ffe w a rp fo r the shuttl e to p a ss . A J q r r i r e n a an d tly rr ge . E I a n m e fe c o n s w h e e a r o w o f w a HARN S S SK PS . We vi g i p r ti r rp

e nd s skip s o v e r ﬁlling thr ead s tha t th ey sh o uld be und e r . E F r h HAUT . ( r . ; p . Hig . h a —n - - ta h no v . r . o o o vo . HAUTE NOUVE AUTE ( F r . ; p t y Hig

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ibbo n mea su e s a nd wh ic h e ua s 0 88 E n sh nc he s . r r , q l 3 gli i DI h i h n r a io n f si k T e e i o adu e o . LOA NG . w g t g lt r t l ' h . h LOOM A mac ine in w ic h c l o th is wo ve n . I h h ne s e ed O . a n in a wa w its a s L OM MOUNT NG Arr g g rp , it r , r , m tc . i n a o o e ad fo r a m e we v . , l , r y g I m n S S . S k wh ch wh e n w o e n n o fab c s sho w s a LOU Y LK il i , v i t ri , y i h ~ c o o e d s eck s o n th e su fac e f h h l g t l r p r o t e c l o t . Low - I E fab c in th e a h n n . e e e c ss no t a a s o P L A p il ri v lv t l , vi g l g a i a in u h p l e s p l s . I E - I S h a c a MACH N TW T . T re d sp e i lly p rep a re d for use o n the sew i n mach n g i e .

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2 1 6 SILK D EPA RTM E NT

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- F E I a e n n e d o n w o e n fab ic . SUR AC PR NT . A p tt r p ri t a v r am r o f o o d s c ut ac o ss th e w d h o f S WATCH . A s p le o strip g r i t h b ic t e fa r . IF h e e o n wh ch S k ske ns a re s ead fo r un SW T . A lig t r l i il i p r nd in wi g. I E I RE S u e e mb o de e d o n c o h b the use o f a SW V L F GU . Fig r s r i r l t y h m swive l batte n o n t e l o o . b e n ada e d fo r we av SW IVE L LOOM . A lo o m w ith a swive l att p t n d u d i g e tache d ﬁg r e s o n go o s. uff m un d ch m c a o du SYNTH ETIC COLOR . A dye st c o p o de e i lly t p li ca e a na u a c o o n ma e t t r l l ri g tt r . 1 m 1 1 z av. E . h ne se me asu e o f a ue a o a e o . TA L A C i r v l p p r xi t ly 4, h is no o f si e but a n in diffe e n d is ic s . e e lv r , v ryi g r t tr t T r i a ro x i u n h u in S . o d s c a e . rre t c o in o f t e ta el . V l U g l p p ma r h a n n ae n fo r h e han ha 6 fo t e o a d . 88 t S e . 2 t ly 4 C t t l , 5 g i

ae but a e s w h th e c e o f si e . t l , v ri it p ri lv r h A . Sco ch wo o en s uff wo en he a e ns o f t e TART N A t l t , v in t p tt r

220 SILK DEPA RTM E NT

E E h mann n n h c W AV . T e e r o f i te rl aci g t e threads in a fabri . Th n u n e c o str c tio o r d e sign. E I Th n n f h f h h c W AV NG . e i te rlaci g o t e w e t wit t e warp in fabri n u i co str ct o n.

’ EF I‘ Th s h d in fab c Th n . c o w se ea s . e W e r s i t r a ri ﬁlli g. WEIGIi TI i Th o ad n use d to nc eas h h n k I . e l i g i r e t e we ig t a d bul 0 f Si ilp

I I . ansfe n s k f o m ske ns o n b b ns W ND NG Tr rri g il r i to o bi . m F . Sa e a s we f WOO t . - A m f o n in h d u n . n e ec c o e to a wa e d WRONG DRAW i p r ti l t , rp ha n be e n d awn h o u h h n h e dd vi g r t r g t e w ro g l e .

YE N . mo ne a un o f a an ha n a a ue o f c en s t ry it J p , vi g v l t , go

1 DE SCRI PT IVE OF C HARACT ERI STI CS OF F ABRI CS

P r o nu n cia tio n D e scr iptio n E nglis h

ab-at-ray Applie d to p atte rns with D e p r e sse d e e sse e ffe c s s un e n d pr d t . k ! A o u r h z h o o n - o r ff e ct T o d a a s ex a r e w e s. j Op k y, p o se d to th e n d ay Appl iqué ap -le e -kay A s d e signs ma de by stitch Appl ie d l aid o n in g bra idin g o n th e gar m n e t. A p p r ét ap -pray The s iz in g o r d r e ss in g ap Fin ish dre ssing o o s plie d to g d . B arr é bah -ray E ff e c ts o f a c ro ss-o ve r B a rre d

str ip e ch aracte r. Bayadere by-ad -a ir B r o ad and l ive ly cr o ss Bayad e re s r i s t pe . B o r d ur é bo r d -o o -r ay De sc r ibe s go o ds with a B o rde re d wo ve n o r p r in te d bo r d e r a e r n p tt . B o sse lé bo s-e l-ay P atte r ns made by e mbo ss E mbo ssed

ing. B o uclé bo o -cl ay Applie d to go o d s in whic h Curl e d ar e n ove lty yar n s sho w in cu o o s g rly l p . — B o u ill o n né bo o -yo n-nay A shir r e d o r rippl ed c i Shir re d gath fe e e et. r d

1 i o u e s o n o s T h s list is use d by c rt y f Che ey Br the r . APPE NDIX 2 1

D e scription Eff e cts wh e re the pa tte r n h as a stuffe d o r wadde d c a ac h r te r . o a u A s r i e o r e in of a i B y t p , dg g, P pe h o se c o r - i e c a r ac e d l k h t r. r i an br e - o n in T i n am is B ll t e y g Sh y . h s e B r ight give n to a c hiff o n -l ike fabr ic made o f nu w is e r aw si t t d lk . - - m n B r illanté bre e yo n tay S o e thi g ve ry iride s Gl itte ring c e n t . B r o ché br o -shay Sho w in g a c e rta in kin d o f u r e e ffe c ﬁg d t. B r o dé br o -d ay Figur e d in a m ann e r sim ilar to e m o i br de ry.

Mad e with diff e re n t sh ade s o f th e same o o r c l . am o n kam - -la -o h A r e e - o ne c ff a n a e e e c . ame e o n C élé y y th t gl t Ch l , a liz a r d that c hange s c o l o r ani e c an -e e l A o in e e ff e c wi ane - i e C ll j t d t, th C l k stripe s b r o ke n a t in te r va l s by k n o ts o r sma ll s ua r e s i e a bambo o q , l k e ffe c t . Can n e lé can -e l-la y Narr o w fancy br o ke n F l ute d s r i in s t p g . r ff Che c ke e d e e cts . A c e c o r o b c . h k , l k S o e ff e c s a s fr o m co n h t t , in o r s tr ast g c o l . Cha rmant shar-m o ng Use d wh e n so me th in g is Cha r min g sp e c ia lly da inty Charmeuse c h ar -me nz Applie d to a ce r tain ric h Charme r ie c - e fabr ic p e dy d . A cr e e -wa sa in p rp t . n i - V i -co n C e e C e n e e l e e s . h e i e F h ll h lv ty lk rd C ll ( r . ) A ca te r p illa r Ch ine sh e -na ur e so f in is inc o o e — in y Bl r d , t, d t t, C l r d t ge d as a war in e e ff e c p pr t d t . C a c a -ta e a r in o u ine we d e e a ne ss l rté l r y Cl tl , ll Cl r n e ﬁ d . 22 2 SILK D E PA RTM E NT

D e scr iption

C o l o re d by dye in g o r

o th e r wise . C o quillé co -ke e -yay Ma de w ith scall o pe d p at Sh e ll -l ik e scal s o te r n r e dge s . l o p e d COte lé c o -te l-lay Having d istinct ribs o r Ribbe d a s w l e . c rah -la E ff e c i e c ac e ass r a Cra que lé q y t l k r kl d gl . C ckl e d l ace l ik e Ma wi c r a e ff e c r a e d e th py t . C p d Appl ie d to a ve lve t Twill e d w e a e w i a wi e v , th t ll d bac k . i u r e br o a D amas e F g d c de . k d A c e c e -bo r a e rn o f r h k r a d . P tt s l a ge s qua r e s

‘ De l uxe d e l o o k s S o me th in g su pe r l ative ly Of l uxury fin e . De nte lé d o n -te l-lay Applie d to c e r ta in k in d s I nd e nte d o f s e dge . D n e o n -t e w o r ff c e t e d e n a ce e e ts . ll ll Op k , l y De ux to ns d e u to n g Wa r p and fill in g o f c o n tra stin c o o r s g l . Sc o c t r ta r n t h a n patte s. Pl aid ( Sco ttish) A patte r n with a c r u sh e d C r ushe d o r fl a n ff tte e d e e c t . Epin glé ar -pan g - gl ay La r ge l y a ppl ie d to fab r ic s C o rd e d havin g r ibs o f alte r n at in s iz o r c o o e s r s . g , l Exqu is e x - qu e e Of th e h igh e st ch a r ac Exqu isite

te r . Faco nné fah -so n -n ay Appl ie d to J ac quar d ﬁg d f br c s u r e a i .

Fan taisie fan -ta -z e e o ve t e ff e c o r S e cia N l y t. p l l i ua it y h gh q l y . Fe sto nné fe s-to n -n ay Appl ie d to c e r tain kinds S call o p e d o f s e dge . Fe utr é fe n-tr ay Use d to d e scribe th e Fe lte d furry back s o n so me sa in s t . Fl o co nn é ﬂ o -co n -nay Fab r ic s in which a ppear ﬂ ak e s o r tu fts o f co n tr astin c o o s g l r . “ I Fonc - - é fo n say Th us ro u ge fo ncé D e e p co l o re d i e c o o e l v r l r d .

224 SILK D E PARTM E NT

D escr iption E nglish

Span gl e S o win bi s ﬂ o we s Va r ie a e h g rd , r , g t d fr uits a s c e e e t . , l v , - An in o u o f s Passé p as say yth g t tyl e . Passe d o ut o i fa shio n - - - e l o o s A r o u us i e e ff e c . S a Pe l uché p hay gh , pl h l k t h ggy

Pe rc é p air-say A kind o f o p e n -wo r k e ff e c t - m o s s s P i o is e t c c wah S a a e a . e t ts p p p ll d t , p - A o o r n Pic o t p e e cc l pe d a ra ge me n t fo r e in dg gs . P iss le e -sa S o win a e r nate s r i e s Ple a e l é p y h g lt t p , t d smo o and u c e r e th p k d . Po intillé pwo ng-te e -yay Havin g a patte r n with D o tte d sma o in s o r o s ll p t d t . — c ad r e e -yay Patte r ns o f a squ ar e d Ch e c ke re d in k d . r ay-ay A ge n e ral name fo r strip Str ip e d

ings . - - R is i Rel evé r e l c v ay Figu r e s sho win g in str on g a e d n r e lief r ie f e l .

- - r o n g ve r say Patte r n s wh ic h r eve r se . r e h -p o o -say Pa tte r n s o f a r aise d ch ar

a cte r .

T r n e r o un u d d . F igu r e s o f a r o un d e d s a h p e . Ro n ge an t r o n g-z h o ng A s a patte r n m ade by Co r r o din g

e atin g o ut th e de sign . t n a r n B r ill ian t an d sc intilla i g . Sp kl i g Un du l atin g str ip e d e f Spir a l win ding

fe cts .

o m act r e sse C p ly p d . E ff e ct o f braidin gs o n

c l o th . n S ff e c Havi g a pe ckl e d e t. Dye d ; stain e d ; tin ge d i c o o r w th l . r - a i - s t ah v r Cr o ss o ve r e ffe ct . tr ah -vair -say Cr o sse d by stripe s in th e in ﬁll g. Ve o u vel-o o -ta o f e e t an d f e e l té y S t, v lv y r r n ss fr o m ha sh e . - ai i ve l o o Ro ugh face d and h ry . H a ry