Page:The cutters' practical guide to the cutting of ladies' garments.djvu/52

44 method is used very frequently for the bodice, but the more general way is to arrange the bodice with the pattern running in the same way as diagram 22, and the skirt on the bias. Much might be written on the varieties of checks, but our readers know their varieties and the many beautiful blends in which they are made and which makes them so attractive; so we will pass on to

The artistic effect of these is undoubtedly to create width at the expense of length. In the case of the former style, it is merely a series of flounces arranged one above the other on the foundation; with the later style the skirt

Figure 55.—Flounces or Tucks.Fig 56.—Braided Skirts.would be cut very much longer than was needed. For example: for every 3 inch tuck desired, the skirt must be cut 6 inches longer, so that our readers can soon calculate the necessary quantity required in accordance with the number of tucks desired. This style of skirt would most probably be made up without a foundation. In a modified style this is a very popular skirt for young ladies who are still growing, the one great recommendation being, the flounces can be let down as they grow taller: but as the ladies' tailor does not do much for this class we will pass on to deal with

Braid is always a favourite style of ornamentation with the high-class ladies' tailor; and, when nicely done and the braid of good quality, it needs nothing else to stamp the garment as a high-class production. Braid is generally arranged on symmetrical designs, that is, the one side is an exact repetition of the other, only in reverse. When the ladies' tailor has to braid a skirt, he either has to get a ready prepared design that can be transferred to the material with a hot iron, or has to design one himself, which, if he has any idea of drawing, is a very easy operation. Let him take a daisy and a few leaves, or any other flower, and then blend them together, and he will soon get a very pretty design. Having got this he folds his paper over and pricks it through with a good sized pin; this gives him the other half of his design of the same pattern as his original drawing, but reversed. He then places this pricked design on his cloth, in the position he desires the braiding to be, and sprinkles some white powder over it—finely scraped pipeclay will do, but it is rather coarse, and French chalk is preferable. Having carefully gone over every pin-hole with this, he removes the paper design, and then proceeds to fill in his design in a more substantial way. Take some flake white and mix it with a little gum and water, and mark round the design indicated by the spots with a quill pen, any part that may not be quite distinct being easily obtained by a reference to the design. Having got the outline distinct, the putting on of the braid is a very simple process, always trying to arrange the stitches so as not to show. If possible, a strand of the braid should be used for sewing. Use care, be patient, and the result will reward you. The braid mostly used is a narrow Russia, though some very artistic results are got by using different kinds of braid, some of which are of a very ornamental character, and show up a decided contrast to the narrow Russia, and in this way are useful in working in designs of leaves and flowers. Very much more might be written on this subject of skirts and skirt drapery, but we have already extended our remarks somewhat, this being a subject that is not so well understood as other branches of the tailoring trade, but a little practice and a little experiment on the lines we have suggested will soon simplify what may appear a difficult matter, and pave the way for success. We will now conclude this section by a few hints on