Page:Every Woman's Encyclopedia Volume 1.djvu/399

 377 How often we hear the re- mark : " You can tell that is a French hat by the light- ness of the bow," and it is an undeniable fact that it is very difficult to acquire this light touch. Great care should be taken in handling such fabrics as velvet and silk, as if the bloom gets rubbed off, the trimming looks "messy " andunsmart. Some people are born with the artistic tendency, but an artistic training is also essen- tial in all matters relating to millinery ; and the well- known successful millinery houses of Paris and London always possess some man or woman designer, who has what can only be described Shows the model completely finished, the loops of the bow being lined with delightful contrasts in colour DRC8S as individuality of taste. It is this individuality that pro- duces those wonderful speci- mens of headgear that, used as models, procure for their firm such startHng prices — is by no means an uncommon sum to be given by Engli.sh and American buyers in well-known Parisian houses. It is, therefore, an error to suppose that any amount of feathers or beautiful materials can make a smart and marketable hat — the essence of success lies in the magic word " style," still better expressed by the French as "chic," and this is only attained by hard study and much practice. and Button-holes — PRACTICAL LESSOMS IH PRESSMAMIHG Continued from page 231, Part 2 By M. PRINCE BROWNE Exaviiner in Dressmaking, Tailoring, French Pattern Modelling, Plain Needlework, and Millinery, of the Teacher's in Training at the University College of South Wales and Monmouthshire, Cardiff ; the Ij)ndon Higher Technical Examination Centres, etc.; First Class Diplo7na for Tailoring; Diploma of Honour for Dressmaking ; Diplomci of Merit of the Highest Order for Teaching ; Silver Medallist, London Exhibition^ igoo ; Silver Medal ^ Franco-British Exhibition, igo8 ; Author of '•'■ Up-to-Date Dresscutting and Draftingy^ also ' ' The Practical Work of Dressmaking and Tailoring, " THIRD LESSON Slip'Stitching — Sewing — Overcasting — Herringboning — Button-holing ^* Fanning "—Feather-stitching Slip^stitching LIP-STITCHING is used to invisibly fasten down hems, facings, etc., and to X false tucks (cut on the cross) on to kirts, etc. If a hem is to be slip-stitched, turn down double fold, as for an ordinary hem, and ack it. Thread a needle with fine silk to match the material, take up a mere thread of it under the fold with the needle, and draw it gently through. Slip the needle into and along the inside of the fold, and make a short running stitch ; draw the needle through and again take up a thread of the material under the fold, and so continue to the end. Slip-stitching is worked from right to left. ' y Diagram 8 ■ 5ewing Sewing is a stitch used more fre- quently in plain needlework than in dressmaking ; it is, however, useful for joining two pieces of material together, after the raw edges have been turned in, such as the ends of neck, waist, and wrist-bands. Also for sewing cord to the edge of a garment. This stitch is worked from right to left, as shown in diagram 8. Diagram V Overcasting Overcasting is a stitch used to protect the raw edges of seams to prevent their fraying ; it somewhat resembles sewing, but is worked from left to right, instead of from right to left, and the stitches are made larger and further apart. They should form a row of slanting stitches all of equal size and depth, as shown in diagram q. Herringboning Herringbone-Stitch is used in dressmaking to fasten down the raw edges, when a false hem or a facing is to be put on, to keep the turnings in position and make them lie fiat. It can also be used on thick materials instead of hemming, to avoid the double fold of material. The stitch is worked from left to right, and forms two rows of stitches, the threads crossing each other diagonally.
 * ^io to £20 for a Paris model