Needlework Economies

Needlework
Economies

EDITED BY
FLORA KLICKMANN
A Book of
Making and Mending
with Oddments
and Scraps

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edited by FLORA KLICKMANN.]

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NEEDLEWORK
ECONOMIES

The Flower-Patch
among the Hills

By FLORA KLICKMANN,

Editor of the “GIRL’S OWN AND WOMAN’S MAGAZINE,” etc.

With Photogravure Portrait of the Author.

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The Home Art Series

Needlework
Economies

A Book of
Mending and Making
with
Oddments and Scraps
EDITED BY
FLORA KLICKMANN
Editor of “The Girl’s Own Paper and Woman’s Magazine.”

London:
The Office of “The Girl’s Own Paper & Woman’s Magazine”
4 Bouverie Street & 65 St. Paul’s Churchyard, E.C. 4.

Possessing valuable flesh and bone-forming
properties, it is extremely nourishing and
easily digested.
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nutriment that enables mothers to nurse their babies. INVALIDS
and the AGED find it an ideal breakfast and supper food.
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Send for Free Booklet “ADVICE TO MOTHERS,”
Dept. N.E., KEEN, ROBINSON & Co., Ltd., LONDON, E. 1.

Edited by FLORA KLICKMANN

Preface.

War is a hard, stern teacher, and its lessons are bitter in the learning; yet some of its teaching we badly needed—and not the least important of its many lessons is the one it inculcated on the criminality of waste.

To so many of us “waste” was a word with a comparative meaning. What was waste in one woman was not necessarily waste in another, we argued. It was wrong for the factory girl to let her skirts drop off her for lack of mending; but not wrong for better-off women to discard their clothes directly they showed the least sign of wear, because they could afford to buy more, we said; and, besides, it made it good for trade—that was a favourite argument used by the extravagant to excuse their wanton waste.

But we have all learnt the value of economy of recent years: and we have seen how the saving and thrift of individuals may mean the salvation of the State. It will be a long time before we can ever return to that condition of easy-going plenty that we knew before the war. In any case the cost of all commodities will remain higher in price. The woman who can utilize oddments and make things with her own hands is the woman who will be making money, as she will be supplying one of the most expensive items of modern times—personal labour. The hints in this book are intended as suggestions, which can be developed in many new directions.

Part I.
Dress Economies.

The Brassiere.

The Brassiere, or bust bodice, is an essential garment for those who wish to keep the form neat in appearance now when the low cut corset is so much in vogue. It has the great advantage of correcting round shoulders in those who are inclined to stoop when walking, and prevents that ugly ridge so often seen in the back of the coat or blouse caused by the top of the corset.

The Crochet Trimming gives a pretty finish.

They are so very easily made that every woman and girl should make as many as she requires, for they are expensive articles to buy, and the garments one makes for one’s self are likely to outlast three or four of the bought kind and this, too, at about one-third the cost.

This Section of the Front shows the actual size of the Crochet.

The pattern for the Brassiere shown here is in three parts, the front, side-front and back. Half a yard of 36 inch wide linen or cambric is sufficient. The material used must be strong but fine, and linen is, of course, the best for wearing qualities.

Having cut out the sections, join all seams with a row of stitching less than a quarter of an inch from the edge, open out the seams flat and cover each with a casing made by a strip of the linen with the edge turned inwards, each should then be half an inch wide. Stitch close to the edge at each side. The three centre casings have buttonholes worked in the centre of the casing, in an upward direction, each an inch in length. These are to admit of a strip of whalebone, eight inches in length and which can readily be removed for washing.

Turn in a narrow hem at each side of the shoulder section and stitch in place. Make the insertion and place in position on the front, mark the lines at each side, cut the material along the centre where the various strips are to be, turn in a narrow hem and stitch all round. Then turn a hem all round the edge and stitch.

With an Irish Crochet Insertion.

With the crochet hook, put a row of 8 ch 1 d c into the edge of the hem from the lower edge of the back round to the opposite point and around each armhole. Into each loop put 7 ch 1 d c twice, with 5 ch 1 d c from loop to loop.

Sew a patent fastener to the top edge of the back, and a long strip of tape to the lower edge. The tapes are crossed at the back and brought round to the front to regulate the fit of the brassiere.

The Insertion.

This is the pretty Rose beading in Irish crochet, and is made with Manlove’s Irish lace thread, No. 50, with a No. 6 crochet hook.

Form 6 ch into a ring.

1st Row.—6 ch 1 tr into the ring, 3 ch 1 tr into the ring 4 times, 3 ch 1 s c into the 3rd of the 6 ch.

2nd Row.—1 d c 7 tr 1 d c into each loop.

3rd Row.—5 ch 1 d c into the d c between the petals in last row.

4th Row.—1 d c 10 tr 1 d c into each loop.

5th Row.—Same as 3rd, but 6 ch instead of 5.

6th Row.—1 d c 12 tr 1 d c into each loop.

7th Row.—8 ch, picot 5 of them, 3 ch 1 d c into the 3rd tr on 1st petal in last row; 6 ch, picot 5 of them, 1 d c into the 9th tr on same petal; 6 ch, picot 5 of them, 1 d c into the 3rd tr on next petal; 6 ch, picot 5 of them, 1 d c into the 9th tr on same petal.

8th Row.—Turn with 8 ch and repeat the 4 picot loops as in last row, for 8 rows of the 4 loops.

16th Row.—Turn with 5 ch, 1 tr into 1st loop, 2 ch 1 tr into each of the others, turn.

17th Row.—10 ch 1 d c into the 2nd of the 5 ch at the turning of last row.

18th Row.—Repeat the 4 picot loops over the 10 ch and form 5 rows. Then repeat the 16th and 17th rows and form 8 rows more of the picot loops.

Make another rose and join to the picot loops in the last row to correspond with the joining of the first one.

When the front strip is of sufficient length, make the strip for each shoulder and the front piece, joining each to the loops in the straight strip.

Make the straightening rows at each side with 1 tr 2 ch into each loop and petal along the sides, placing the trs so that the chs may form a straight line.

Work a 2nd row of 2 ch 1 tr into each space of 1st row, then finish with 3 d c into each space.

Now top-sew the insertion in place and join the shoulders with a flat “run and fell” seam.

Sew a piece of tape ending with a loop on the point of the front to fasten the Brassiere to the corset.

Beautiful Crochet on Household Linen

Edited by FLORA KLICKMANN
This is full of beautiful ideas for table cloths, toilet covers, curtain tops, sideboard cloths, tea cosies, dressing table runners. Uniform with this volume in style and price, and issued by the same publishers.

A Camisole Yoke of Embroidered Filet Net and Crochet.

From this diagram the Shamrock Design can be worked in darning.

Machine-made filet net was used in making this pretty yoke, on which the trefoil is worked in darning stitch with Tenax embroidery silk in a moss-rose shade of pink. Other lovely shades can be had in the Tenax silk, and blue, green, or mauve will answer quite as well. The shape is cut out from the net, allowing two meshes for a margin at all edges.

Using No. 70 Peri-Lusta crochet cotton, overcast the two rows of meshes left as a margin with an overcasting through each mesh, then with a No. 5 crochet hook work a row of d c all round the edges, 2 d c into each mesh.

Around the edge of the sleeve part, neck, and fronts of the yoke, work a row of 9 ch loops, 1 into every 4th d c.

Then into each loop put 7 ch 1 d c twice.

The trefoil is then worked in simple darning stitch. Have the wrong side turned towards you while doing the embroidery, as all fastenings of the thread must be made on this side.

The trefoil can readily be copied from the diagram.

This kind of trimming would also be pretty for a Blouse or Jumper.

A Pretty Camisole Yoke.

Use No. 70 Peri-Lusta Crochet for this pretty yoke.

Form 5 ch into a ring, into which put 8 d c, and close the row with a s c into the 1st d c, 6 ch 1 tr into next d c, 3 ch 1 tr into each d c, 3 ch 1 s c into the 3rd of the 6 ch to close a row of 8 spaces.

3rd Row.—5 d c into each sp.

4th Row.—7 ch, 1 long tr into the 1st ch (thread 3 times over the needle)—the 7 ch stands for a long tr—work off the loops of the long tr, two at a time, but retain the last on the needle; make another long tr through the same ch stitch, work off as before, then work off all the loops together. Make 7 ch, and repeat the 2 long tr through the 1st of the 7 ch, 1 ch, 1 d c into the d c over the next tr in the row below, repeat this long tr loop into the d c over each tr (8 loops).

5th Row.—6 ch, bring these up behind the 1st loop and fasten with a d c on centre of the loop, 10 ch 1 d c into centre of each loop.

6th Row.—12 d c over each 10 ch.

7th Row.—10 ch, 6 triple tr into the d c on centre of 1st loop below, 3 ch between the trs, * 10 ch, 1 d c over the d c on centre of next loop, 10 ch 6 triple tr with 3 ch between into the d c over centre of next loop, and repeat from *.

8th Row.—12 d c over each 10 ch, over each 3 ch put 1 d c 7 ch 1 d c.

To Join the Motifs.

Work the last row to the 3rd group of picots, form 2 of the picots as before; for the 3rd picot make only 2 ch, join to the 3rd picot on preceding motif with a d c, make 2 ch, then continue on to next picot on the motif in hands, and join the next two in the same way; 12 d c over next 10 ch, 6 ch 1 d c into the d c between the two bars on preceding motif after the joining, come back on the 6 ch with 2 ch, 1 d c over the centre of the 6 ch, 3 ch, 12 d c over next chs on the motif, then join next 3 picots as before and finish off the motif.

Twenty-three motifs are required for this yoke.

The extension of the front at each side is formed of a motif and the point. For the point, make the ring as in the centre of the motif, then 6 ch 1 tr into the 1st d c, 3 ch 1 tr into each of next 2 d c, turn.

2nd Row.—9 d c into 1st loop, 5 d c into each of next two, turn, and put three of the long tr loops into the d c’s over the trs in the same manner as in the motif.

4th Row.—Turn, 10 ch, 1 d c into top of long tr loop; put the 6 triple trs into the d c’s as before with the 3 ch between and the two 10 ch loops.

5th Row.—Make the picots and d c’s as in the motif, joining to the 2 lower groups of triple trs as before.

There are 23 motifs in all required, 4 for each front, 5 for the back, 4 for each shoulder and the two extensions.

To Re-sole Cashmere Stockings.

Stockings re-soled according to the following directions can be worn with slippers, and will be found comfortable.

Fig. 1.

Place the stocking as shown in Fig. 1, cut off the sole at the dotted line a—b; then cut off the toe at the line c—d. As the heel of the sole piece will not lie flat it must be slit, until, when laid out, it resembles fig. 2. Cut pieces to these patterns from the leg of another stocking, allowing turnings as follows:

Fig. 2.

Fig. 1, the toe piece, ½-inch at c—d where it joins the stocking; fig. 2. ½-inch all round except at the lines a—b, c—b, where ¼-inch only must be allowed. If the stocking is short this can be remedied by leaving the extra length required at fig. 1, a, and fig. 2, d, in addition to the turnings previously mentioned.

Machine the new toe piece to the stocking at c—d (fig. 1), open and press the seam. Machine a—b to b—c, of the sole piece (fig. 2), open and press the seam. Machine this new sole to the stocking, open and press the seam. Fasten down all seams with small slip stitches.

It is advisable to use mercerised cotton or silk, and to leave the tension of the machine rather slack.

Three Pretty Aprons.

In a Christmas parcel sent to me from Italy this year, I found two of the dearest little aprons I have ever seen—much less owned.

AN EASILY SLIPPED-ON APRON.

They were so very unusual and yet so simple of make, that I feel every girl who is fond of aprons would love to have one. To these two I have added one other, equally simple, and which costs but a few pence all told.

An Easily-Slipped-on Apron.

The first one of the three is one of the Italian ones, and is made of two yards of ordinary kitchen roller towel. This particular one is made from unbleached linen, utterly free from coloured stripes or borders.

From a two yard length of towelling, cut off a strip ten inches long, which will be used for the waistband.

At one end of the long length make a three inch hem, this being the front.

Now lay this strip on the table, and measuring 39 inches from the hem, make a dot with a lead pencil, and take this dot as the centre of a circle 33 inches in circumference, which also mark out with the pencil with the help of a compass. Next cut out this circle and neatly turn in the raw edge, making a tiny hem. At the back of the apron, that is the end unhemmed, make three pleats—one box pleat in the centre and two outward turning ones on either side of the centre pleat.

Cut the ten inch strip into two 5 inch ones, and join in the middle to form a long band. Fold this neatly in the middle and point one end, letting the other end be straight.

Join to the back of the apron and stitch on firmly by machine. Put a fastening in the form of a button and button-hole, or hook and eye, or patent fastener, on each end of the belt, to complete the apron.

Slip the head through the circular opening and let the apron fall on to the shoulders, and join the waistband in the front, and there you have the simplest and quickest made apron one could possibly imagine.

The decoration on my little apron consists of a design of three conventional red roses with green leaves and stalk, separated by 5 graduated dots, the largest being in the middle. This occurs across the foot of the apron, about half an inch from the front hem, and again around the neck, but three inches from the edge of the circle. Right round the circle is a line of stitching in brown silk, then a row of green French knots, and then another line of brown, making a narrow band.

In the centre of the belt is a large button covered in linen, and a single red rose, minus the stalk, worked on it.

An Apron with Smocking.

The second apron is also Italian, but this one is more suitable for needlework or knitting, when one’s frock is apt to pick up pieces of thread or fluff from the wool. It is easily made from a piece of white alpaca, 22 inches long by 27 inches wide. A straight piece of material is used, and the edges are scalloped in three inch wide scallops. Down both sides and along the bottom there is embroidered in white silk, a design of leaves, with a centre flower worked in Richelieu openwork, and the effect of this on the alpaca is really very beautiful.

AN APRON WITH SMOCKING AND RICHELIEU EMBROIDERY.

At the top the apron is narrowed by means of three groups of honeycomb or diamond smocking, terminating in points. A tiny pocket on the right hand side has also a little smocking at the base to correspond. This pocket is made from a 6 inch square of the material and is fastened to the apron by means of feather-stitching.

The band consists of a piece of alpaca, one yard long and about an inch wide. This band is stitched all around by machine.

A Pleated Work Apron.

A PLEATED APRON.

Last of all comes the little odd apron, but I should not be at all surprised if many of you did not prefer it to either of the others.

For this, one yard of zephyr is needed in a pretty check or plaid design, and a quarter of a yard of plain zephyr to match or tone in colour. One of the many that I have made was of white zephyr, with a plaid design of pale blue and brown. To go with this I chose a plain chocolate brown, and it really looked exceedingly pretty when finished.

From the yard of check material cut a strip three inches wide along the selvedge. Then from the remaining piece, cut a strip six inches wide on the width of the material. This will leave a piece 27 inches wide and 30 long. Most zephyrs run 30 inches wide in the single width.

Lay the material flat on the table and turn down a narrow hem, where the selvedge has been cut off, also making a hem the selvedge side as well. Then take two corners of the square and join them together to form a mitre, being very careful to match the design of the material. This forms a pocket, which is useful for holding anything. Next cut the plain material into three strips of 3 inches each, and join into one long piece. Then the 6 inch piece of checked zephyr should be cut into two pieces, each measuring 3 inches wide, and also joined into one long strip.

This leaves you with one long strip of plain, one middle-sized piece of check, and one shorter strip of check.

Take the short piece of check, which measures just a yard long, and cut off a piece of plain one inch shorter. Lay the plain material on top of the check, and tack them together with a line of thread down the centre. Fold the check material over the plain to form a narrow border either side, and stitch with machine. Leave one end of this band rough, and the other end round off, continuing the little border the same as the sides.

From the 60-inch strip of check, cut off a yard length, and the same from the plain, proceeding exactly as before, only finishing off one end quite straight. This makes the shoulder straps and band of the apron, and should leave two strips of material, one check measuring 24 inches and one plain measuring 18 inches. This latter cut into two strips one-and-a-half inches wide, and join into one strip again. Turn down either side of this strip to make a band, and sew along the top edge of the pocket, slanting each end to make a pretty finish.

When this is done, take a stitch with a needle through the centre of the pocket and the apron, and this prevents it from gaping.

Take the top of the apron next and lay in twelve half inch tucks, six going one way and six the reverse, but both facing in towards the centre of the apron. Before doing this, turn down the rough edge to make a neat heading. Sew on the two straps at either end of the top. From the remaining piece of zephyr, cut a strip one-and-a-half inches wide and the length of the top of the apron bib. Turn in each side and both ends, and stitch across the bib top to cover the straps.

To finish the apron, work a buttonhole in the rounded end of one of the strings, and sew a button on the other strap. Then take an iron and pleat the whole apron from top to bottom in half-inch pleats, using the stitched pleats of the bib as a guide.

When wearing the apron the straps should go over the shoulders and cross at the back, and come round the waist and button in the centre front.

The description of this apron may sound a little difficult, but it is really simplicity itself, and very quickly made, besides being very inexpensive.

Hardanger and Cross-Stitch

Edited by FLORA KLICKMANN
This shows some handsome Hardanger patterns, also Natural Designs in Cross-stitch for Violets, Cyclamen, Creeping Jenny, Nasturtiums, Daisies, Roses, Fern, Daffodils, Clover, Cherries, and Wild Birds. The book is uniform in style and price with “Needlework Economies,” and issued by the same publishers.

Utilizing Partly-Worn Garments.

Garments are often discarded as being of no use, just because they are worn in certain parts, whereas a little thought and careful cutting will often transform them into something quite useful. It is often possible, for instance, to make garments for the little ones by using the least worn portions of larger sized clothes. Partly worn woollen vests can be admirably re-made into babies’ pants.

To make these take the old vest and cut along the line A B, shown on the little diagram. This cuts away the most worn part of the garment. Curve out at the bottom, along the lines C D and E F.

The stitches required in the little garments are very simple. Join by seaming together the edges from D to E. Turn down a fold of about ½-inch round the curved portions, and herringbone or machine-stitch. At the top, turn down a hem of 1 inch, and stitch in the same way. Make two eyelet holes in the back of this, and insert a draw-string. A cosy little garment for baby is the result.

The original garment and what it eventually becomes. The lines and lettering show where the cutting is done.

A Use for Old Stockings.

A delightfully warm pair of bloomers for a little girl of 5 or 6 can be made from the legs of winter stockings, the feet of which are too worn for further mending. Two pairs are needed. First cut off the legs just above the darns on the heel, then cut up the back seam and lay them open. Now lay your pattern on, and you will probably find that you can just cut the four pieces, bearing in mind that the stocking will stretch, so can be cut considerably narrower than ordinary material. When the seams are machined up (once stitching is quite sufficient), and a hem, wide enough for elastic to be run in, made at the waist and bottom of the legs, you have as comfortable and cosy a garment as you could wish for. If the legs of the stockings are hardly wide enough for your pattern, corners can easily be cut from the ankle or front of the foot, and joined on to each piece. This sounds very lumpy, but the seams can be machined quite narrow (you find they don’t fray out at all), and being of wool are perfectly soft, and will not be noticed in the wearing.

Grandma was cutting out new garments from old, and her little grand-daughter was an interested spectator.

“Grandma,” remarked Mollie, “You do cut and contrive, don’t you?”

“No,” said Grandma, “first I contrive, and then I cut.”

Collars for Cold Days.

A COLLAR WITH LITTLE SHAPING.

Furs are a very expensive item at the best of times, and increasingly so just now. Yet some additional warmth at the throat and neck is very necessary in the cold weather. The difficulty is admirably settled in the collars here shown. Besides being warmer, they are a change from an ordinary scarf, and with a careful choice of colour, can give a very stylish finish to any coat.

A Collar with very little shaping.

This nicely fitting collar is worked in plain knitting with very little shaping, and is afterwards given a fur-like appearance by means of a Teazle Brush.

Materials required.

3 oz. Teazle Wool. Two No. 8 Celluloid Knitting Needles. A large button mould. Two or three dress-fasteners.

This Collar should be worked at a tension to produce about 6 stitches and 12 rows to the inch.

Cast on 45 stitches.

Work 8 rows in plain knitting.

* 9th Row.—K 5, turn.

10th Row.—K 5.

11th Row.—K 5, lift up the stitch before the next and knit it together with the next stitch (thereby preventing a hole), K 4, turn.

12th Row.—K 10.

13th Row.—K 10, lift up the stitch before the next and knit it together with the next stitch, K 4, turn.

14th Row.—K 15.

Continue in this manner, knitting in 5 extra stitches every alternate row, until all the 45 stitches are on one row again *.

Knit without shaping until the shortest side measures 9 inches.

Finish at the wide edge, then repeat from * to * once.

Knit 9 rows without shaping, then repeat again from * to *.

Knit 9 inches without shaping. Repeat from * to * once more.

A SAILOR-SHAPED COLLAR.

Knit 8 rows without shaping. Cast off.

The Button.

Cast on 3 stitches.

Knitting plain, increase once at the beginning of each row until 15 stitches are on the needle.

Knit 6 rows without shaping. Then decrease once at the beginning of each row until only 3 stitches remain. Cast off.

Raise the surface of each piece lightly with a Teazle Brush, until a fluffy effect is obtained.

To Save the Cost of Fur.

Cover the button-mould with the small round of knitting and sew it on the right front. Sew dress-fasteners in place on to each front.

If required the collar can be lined with silk or sateen.

A Pretty Sailor Collar.

This sailor shaped collar is a stylish addition to any coat, while at the same time giving the extra warmth so necessary during cold winter days. Worked in plain knitting the shaping will be found quite easy to follow.

Materials required.

3½ oz. Teazle Wool. Two No. 8 Celluloid Knitting Needles. A large button mould. Two or three dress-fasteners.

This Collar should be worked at a tension to produce about 6 stitches and 12 rows to the inch.

Commencing along the lower edge at the back of the collar, cast on 126 stitches.

Knitting plain, decrease once at the beginning and end of every 12th row until 4 stitches have been decreased at each side (leaving 118 stitches in the row).

Then increase once at the beginning and end of every 14th row until two increasings have been made at each side, making 122 stitches on the needle, and 76 rows (6½ inches) from the commencement.

The stitches now require to be divided for the neck opening as follows:—K 42, cast off 38, K 42. On the last 42 stitches, continue for the first shoulder piece as follows:—On the outside edge continue increasing once every 14th row, while at the neck edge, decreasing once every 2nd row until 6 stitches are decreased, then once every following 12th row until 3 more stitches have been decreased.

Knit back to the neck edge then, continuing to decrease once (at the neck) in every 12th row, shape for the front and shoulder as follows:—Knit to within 5 stitches of the shoulder edge, turn and knit back.

Knit to within 5 stitches from the end of the previous row (i.e., 10 stitches from the shoulder edge), turn and knit back.

* Knit to within 5 stitches of the end of the last row, turn and knit back. Repeat from * until only 5 stitches remain in the last short row.

In the next row the stitches require to be all knitted into one row again, but to prevent little holes from appearing at the turnings of the short rows a loop from the row below should be lifted up and knitted together with the next stitch above the turning.

Knit 8 rows without shaping. Cast off.

Join up the wool again at the neck where the 42 stitches were left, then work the second shoulder on these stitches to correspond with the first.

The Button.

Cast on 3 stitches.

Knitting plain, increase once at the beginning of each row until 15 stitches are on the needle.

Knit 6 rows without shaping. Then decrease once at the beginning of each row until only 3 stitches remain. Cast off.

Raise the surface of each piece lightly with a Teazle brush until a fluffy effect is obtained. Cover the button mould with the small round of knitting and sew it on the right front. Sew dress-fasteners in place on each front.

If required the collar can be lined with silk or sateen.

To Freshen a Last Season’s Jersey.

It is always the neck and wrist edges that show the first signs of wear on a knitted sports coat or jersey, and often a garment is discarded as done for just because these parts are shabby or out-of-date.

Have you ever thought of knitting an entirely fresh set of collar and cuffs to replace the soiled parts, or to be added to a collarless jersey or coat? The existing collar and cuffs can quite easily be cut away and the raw edges neatly buttonholed with wool before sewing on the new set.

You will probably not be successful in getting wool the exact colour of your jersey, so it will be best to use a striking contrast, such as purple on a pale blue jersey, or emerald green on a white one; or if you already have two colours in the jersey, or it is of a specially brightly-hued tint, black makes a pleasing contrast. And this year particularly contrasts of colour are very much in vogue, so that your re-modelled jersey will be quite fashionable.

Here is a practical little set that you will find quite easy to make.

The Collar.

This is of the ever-popular sailor shape that will be quite easily adapted to most garments.

“Sirdar” Sports Wool has been used for the making on No. 9 bone needles; or a 5-ply “Sirdar” Scotch Fingering would work up at a similar tension. Three ounces of wool will be sufficient for the set.

Abbreviations Used.

K = knit; P = purl; N = narrow (k two st together); st = stitch or stitches.

Commence from the back edge and cast on 78 st.

K 17 rows plain.

18th Row.—K 8, P to 8 st from the end of the row, K 8.

19th Row.—Knit plain.

Repeat the 18th and 19th rows twice.

24th Row.—K 8, P 4, * K 6, P 6, repeat from * 3 times, K 6, P 4, K 8.

25th Row—K 12, * P 6, K 6, repeat from * 3 times, P 6, K 12.

Repeat the 24th and 25th rows once.

28th Row.—K 8, P 10, * K 6, P 6, repeat from * twice, K 6, P 10, K 8.

29th Row.—K 18, * P 6, K 6, repeat from * twice, P 6, K 18.

Repeat the 28th and 29th rows once.

Repeat from the 24th row once, and then from the 24th to the 27th row once. This completes the pattern.

Other Ways of Renovating.

K 24 rows a plain and a purl row alternately, always working the 8 border st plain in every row.

Now to divide for the neck: K 34, and slip these st on to a safety-pin. Cast off 14 st for the centre of the neck, and on the remaining 34 st knit up the left front of the collar thus: Work 10 rows a plain and a purl row alternately, knitting the 2nd and 3rd st together of every row turned from the neck edge, and continuing the 8 plain border st.

Continue shaping in this way, decreasing also at the border side by purling the 10th and 11th st together of every 4th row turned from the border edge.

When you have worked off all but the 8 border st continue in plain knitting, decreasing from the neck edge only, until only 3 st remain.

Reverse the directions for the right side of collar.

Now pick up all the loops from the neck edge and K 6 plain rows.

The Cuffs.

Cast on 50 st.

K 13 rows plain.

14th Row.—K 6, P to 6 st from the end of the row, K 6.

15th Row.—Plain.

Repeat the 14th and 15th rows once.

18th Row.—K 6, P 4, K 6, P 6, K 6, P 6, K 6, P 4, K 6.

19th Row.—K 10, P 6, K 6, P 6, K 6, P 6, K 10.

Repeat the 18th and 19th rows once.

22nd Row.—K 6, P 10, K 6, P 6, K 6, P 10, K 6.

23rd Row.—K 16, P 6, K 6, P 6, K 16.

Repeat the 22nd and 23rd rows once.

Repeat from the 16th row to the 19th row once. This completes the pattern.

K 16 rows a plain and a purl row alternately, working the 6 border st plain in every row.

K 6 plain rows, cast off.

For a Collarless Coat.

Another simple way of freshening the neck of a collarless jersey coat is to work a strip of plain knitting 4 inches wide and 12 inches long, and stretch it along the neck edge. Cuffs can be worked to correspond.

A pretty striped effect for this style of finish can be arrived at by using two different shades of wool, and working first four rows of one and then four rows of the other.

The Modern Knitting Book

Edited by FLORA KLICKMANN
If you are interested in knitting, this is the book you should possess. It includes a number of directions for garments for men and women’s wear, and some delightful patterns for the little ones, to say nothing of the designs in fancy knitting for household use. The volume is uniform with this series, and issued by the same publishers.

The Use and Abuse of Gloves.

Never be tempted to throw away a pair of gloves, however old. That is, until you have decided on their utter uselessness. Because a glove has holey fingers, or a badly torn thumb, or a split palm, it does not signify that it is of no use except for house-work.

Our illustration will show what can be done with gloves that are “nearly hopeless” to most people.

To Mend a Glove worn Between the Fingers.

The first part to go is, as a rule, between the fingers. This more especially is the case with washing gloves, which have a tendency to shrink, and wash-leathers, unless splice-seamed, will always do this.

As the fingers shrink, the space between splits, and it cannot be sewn up because it would make the hand too tight and the fingers too short.

To remedy this, take a reel of strong thread and a small fur needle (three-sided needle) and make a fine net-work between the two fingers.

SHOWING THE LATTICE-WORK BETWEEN THE FINGERS, AND ALSO HOW TO APPLY A NEW THUMB

Button-hole the edge of the split as you form the lattice. Insert your needle in the edge of the hole and make one button-hole stitch; then take your needle into the other side of the hole with another button-hole stitch. Then two button-hole stitches, and take your needle up to the top edge of the hole, near where you began.

This forms bars about 1/16-inch apart, and with two button-hole stitches in between.

This completed, turn the glove and do the same thing across from side to side, knotting the thread each time it crosses the under-threads. By this means, a tiny net-work is made.

This net-work is elastic, and will wear and wash into shape and last as long as the glove itself.

Making a Neat Patch.

Next to the fingers, the thumb is the worst problem.

I find that opening carriage doors has an unfortunate knack of splitting a glove, where the thumb joins the palm.

If there is plenty of room, this split I can be neatly joined up, but the better plan is to patch it with a tiny piece of an old glove.

Taking Care of Your Gloves.

Tack the patch in, and then with fine silk the colour of the glove, button-hole around the edge of the tear, taking up the under-skin as well. This keeps it firm and neat, and the patch may be cut away underneath, just leaving a small margin for stretch.

Adding a New Thumb.

If the top of the thumb wears out, and is unpatchable, an entirely new one can be put in with very little trouble. I have an old piece of chamois leather, which I keep for this very thing, and it answers the purpose beautifully.

Cut out the torn thumb carefully, retaining the shape as much as possible. Split up the seam and lay it flat on the piece of leather or kid which you are using to mend the glove.

Cut around the pattern, leaving a tiny margin, as your sewing is not as fine as that done by an expert.

Then tack the new thumb into the glove around the base.

Button-hole this carefully in, and lastly button-hole the seam up the thumb and across the top. This will be found quite easy.

For coloured kid gloves, I buy scraps of kid from the boot maker, and you can procure quite a nice sized piece for a small sum, large enough to cut any size thumb and to leave a good few scraps for patching.

Always remember in putting on gloves to proceed slowly, pulling on the fingers first and half the palm next, and the thumb last.

Be as careful in taking off as in putting on, and pull each finger and thumb into shape.

A Patchwork Cloth made with “pieces” machined together and finished with some narrow insertion.

A Knitted Hat.

Materials Required.

For the hat illustrated a buckram shape was used with the brim slightly curled all round, and deeper at the back than the front, and having a tall crown; 1 ounce of purple wool, and 3 ounces of white 4-ply “Beehive” Scotch Fingering; five No. 14 long steel knitting-needles. The fifth needle is only required for the brim where there are too many stitches for three needles.

Hat shapes alter, of course, from time to time, but the general principles remain the same, and by a little adaptation, this can be made to suit any shape of the “sailor” class.

The Hat is white, and the Flower Pattern is worked in purple.

Directions.

Commence by casting on 2 st on each of three needles. Knit 1st row plain.

2nd Row.—Knit twice into each st, thus—knit the st, but retain it on the left needle, twist the point of the right needle round to the back of the st and knit the other side of this st, then drop the st off the left needle. Repeat into every st.

3rd Row, and every Alternate Row.—Knit plain.

4th Row.—* Knit 1, knit twice into next st, repeat from *.

6th Row.—* Knit 2, knit twice into each st, repeat from *.

8th Row.—* Knit 3, knit twice into next st, repeat from *.

Continue in this way, increasing the number of stitches in each section by 1 st before the increase until in the 46th row, there are 24 st in each section, that is 144 st in the row.

Knit 42 rows on the 144 st.

89th Row.—* Knit 11, knit twice into the next st, repeat from *.

90th Row.—Knit plain and repeat these 2 rows until the number in each section is increased to 20, then knit 10 rows of the 240 st.

Use the spare needle to take off some of the stitches, putting 60 st on each of the 4 needles.

Work in ribbing of knit 1, purl 1 all round for 16 rows, then cast off the stitches on 2 of the needles, continue on the other 2 the ribbing for the wide part of the brim, casting off 4 st at the beginning and end of every row (composed of the stitches on the 2 needles), until this piece measures 1½ inches, then cast off.

It will be necessary to fit the covering to the shape to see that it fits evenly, and to add or subtract a row or two perhaps to the part for each portion of the shape, while working.

Pretty and Durable.

Stretch the covering over the shape and tack along the line between the crown and brim to the shape, turn the wrong side of the hat towards you and gather up the edge of the covering to fit the shape along the edge of the crown. Sew the knitting securely to this edge of the shape. Headline the hat and press the brim with a warm iron, placing a damp cloth under and over it; iron until the cloths are quite dry.

The Band.

This is made in the new floral knitting, and gives a nice finish to a very useful and becoming hat.

Using the same kind of white wool and 2 needles, cast on 20 st and work 30 rows, 1 plain and 1 purl row alternately, so that there is a right and a wrong side to the band.

31st Row.—Knit 13 (using the white wool), tie on the purple wool close up to the 13th st, and knit 4 p (purple), then finish the row with white.

When using two or more colours in this class of knitting, one of the wools is stretched across the fingers of the left hand just as in crochet, and the wool for the stitch taken from this by inserting the needle under it and drawing the loop through the stitch you are knitting on the left-hand needle. Keep the different wools at opposite sides of your work, so as not to tangle them, and see that the wools on the back of the work are kept even and not pulled too tightly, otherwise the work will pucker.

32nd Row.—Purl 7 w (white), 1 p (purple), 12 w.

33rd Row.—Knit 11 w (always slipping the 1st st), 1 p, 8 w.

34th Row.—Purl 9 w, 1 p, 10 w.

35th Row.—Knit 9 w, 2 p, 9 w.

36th Row.—Purl 10 w, 1 p, 9 w.

37th Row.—Knit 8 w, 1 p, 11 w.

38th Row.—Purl 12 w, 1 p, 7 w.

39th Row.—Knit 7 w, 1 p, 12 w.

40th Row.—Purl 12 w, 1 p, 7 w.

41st Row.—Knit 7 w, 1 p, 12 w.

42nd Row.—Purl 12 w, 1 p, 7 w.

43rd Row.—Knit 7 w, 1 p, 1 w, 2 p, 9 w.

44th Row.—Purl 8 w, 4 p, 1 w, 3 p, 4 w.

45th Row.—Knit 4 w, 8 p, 1 w, 2 p, 5 w.

46th Row.—Purl 4 w, 5 p, 3 w, 4 p, 4 w.

47th Row.—Knit 6 w, 1 p, 2 w, 1 p, 2 w, 4 p, 4 w.

48th Row.—Purl 5 w, 3 p, 1 w, 3 p, 1 w, 3 p, 4 w.

49th Row.—Knit 3 w, 4 p, 2 w, 1 p, 2 w, 1 p, 7 w.

50th Row.—Purl 5 w, 4 p, 3 w, 5 p, 3 w.

51st Row.—-Knit 4 w, 2 p, 1 w, 8 p, 5 w.

52nd Row.—Purl 4 w, 4 p, 1 w, 4 p, 3 w, 1 p, 3 w.

53rd Row.—Knit 3 w, 3 p, 1 w, 4 p, 1 w, 3 p, 5 w.

54th Row.—Purl 10 w, 2 p, 1 w, 3 p, 4 w.

55th Row.—Knit 7 w, 1 p, 6 w, 3 p, 3 w.

56th Row.—Purl 2 w, 5 p, 4 w, 1 p, 1 w, 2 p, 5 w.

57th Row.—Knit 4 w, 4 p, 1 w. 4 p, 1 w, 3 p, 3 w.

58th Row.—Purl 4 w, 1 p, 1 w, 4 p, 2 w, 2 p, 1 w, 1 p, 4 w.

59th Row.—Knit 5 w, 2 p, 2 w, 8 p, 3 w.

60th Row.—Purl 3 w, 4 p, 1 w, 2 p, 10 w.

61st Row.—Knit 11 w, 3 p, 6 w.

62nd Row.—Purl 6 w, 1 p, 13 w.

Knit next 22 rows all white, then repeat from the 31st row three times more, ending with 30 rows of white.

Press this band on the wrong side as in the brim, turn in each end to form an angle, and secure on the wrong side with a few stitches made with the woollen thread, press the ends flat, then place the band round the hat in the manner illustrated and sew in place.

To Wash the Hat.

The covering and band are easily removed from the shape when it becomes necessary to clean the hat.

Make a lather of warm soapy water, immerse the covering and press and squeeze through the hands, but do not rub, until it seems clean, then squeeze out all the water possible and rinse in clean warm water, again squeeze as dry as possible, and place immediately before the fire until nearly, but not quite, dry. Have the wrong side turned out. Press on the wrong side with a hot iron until quite dry, pull into shape, and replace over the buckram.

The band, or covering, if it be made with coloured wool, should have a handful of salt added to the lather and rinsing water.

Design No. 8. This Stocking Top is described on [page 27].

Fancy Tops for Socks and Stockings.

Very pretty effects can be obtained for turnover stocking tops by working in plain knitting in two or three shades of wool. The designs illustrated are worked in grey wool, with black and white introduced just to show the contrast, and when worked in bright colours many of these would be very effective. For instance, saxe blue and a bright brown would be pretty on a grey sock, and emerald green and white on a navy sock is another combination; or the boy’s particular school colours can be introduced, giving a uniform touch to his rig-out.

These tops are not at all difficult to work, and can be added to any sock directions. They are best commenced with six or eight rows of ribbing, as this makes them set well, and when the fancy design is completed the work is turned before commencing the sock itself. Care must be taken to see that you have the correct multiple of stitches for the particular design chosen, and, if necessary, add the required number to give this after the ribbing, decreasing them to the original number again, to get the even rib before commencing the sock.

Another point that should be borne in mind is, that the wools must be allowed to run very loosely, or the design will become contracted. You can also quite easily prevent the wools becoming twisted together in the working, if in changing from one wool to another you weave the wools first over, and then under the shade previously used.

If you find you have the design contracted a little when finished, pressing with a hot iron over a damp cloth will often relieve this. In fact, all knitted garments are the better for being pressed in this way.

The directions given are for a sock for a boy of from six to seven years of age, and the leg measures 11½ inches to the base of the heel when the top is turned over; the foot measures seven inches from heel to toe.

A FINISHED STOCKING SHOWING DESIGN No. 1.

The Sock.

Abbreviations Used.

K = knit; P = purl; N = narrow (decrease a stitch by knitting two stitches together); St = stitch or stitches.

Materials required: 4 ounces of Messrs. J. & J. Baldwin’s 4-ply grey “Beehive” Scotch Fingering, a half ounce each of white and black wool, and four No. 15 steel needles.

With grey wool cast on 64 st, 22 on each of two needles and 20 on the third needle. Work in rib of K 2, and P 2 for 8 rounds. Work one plain round, increasing your number of st to 70, then commence the fancy top, using the three wools as follows:

10th and 11th Rounds.—4 grey (G), 3 white (W), 4 G, 3 black (B). Repeat.

12th and 13th Rounds.—2 B, 2 W, 3 G, 2 W, 2 B, 3 G. Repeat.

14th and 15th Rounds.—2 W, 2 B, 3 G, 2 B, 2 W, 3 G. Repeat.

16th, 17th, 18th, and 19th Rounds.—4 G, 3 B, 4 G, 3 W. Repeat.

20th and 21st Rounds.—2 W, 2 B, 3 G, 2 B, 2 W, 3 G. Repeat.

22nd and 23rd Rounds.—2 B, 2 W, 3 G, 2 W, 2 B, 3 G. Repeat.

24th and 25th Rounds.—4 G, 3 W, 4 G. 3 B. Repeat.

Work a plain round in the grey wool and decrease your stitches to 64 again.

Turn the work, and commence the sock in rib of K 3, P 1.

Work for 5½ inches, then commence shaping for the leg as follows: K 1, N, work in rib to the four last st of the round N, K 1, P 1.

Decrease in this way four times, with 7 rows between each decreasing.

Work an inch without shaping, then divide the st, putting half on to one needle for the heel, taking care that the decreasings made come in the centre of the needle.

The Heel.

Make an extra stitch, so that you have an odd number on the needle (you should then have 29 st), and knit and purl a row alternately (always slipping the first st) until you have worked the same number of rows as you have st on the needle, ending with a purl row.

K 16, N, K 1, turn.

P 5, Purl 2 together, P 1, turn.

K 6, N, K 1, turn.

P 7, Purl 2 together, P 1, turn, and continue in this manner until all the stitches have been worked on to one needle again.

Pick up 14 loops at each side of the heel, and commence working in rounds again for the foot, continuing the rib on the instep needles, but working in plain knitting for the under part of the foot.

In the first round narrow at each side, by taking the two lowest stitches picked up from the side of the heel flap together.

Repeat this decreasing three times, with 1 round between each. Continue the foot without further shaping for 3½ inches, when you will be ready for the toe.

The Toe.

Put half your st on the heel needle, and divide the remainder between the other two needles. Work the toe in plain knitting all round, decreasing at each end of the heel needle, and at the outer end of the other needles every other round, until you have only 20 st left in the round. Place these on to two needles, and cast off both needles together.

For the Small Boy.

Design No. 2.

For this pattern the number of st used must give a multiple of 8.

Design No. 2.

1st and 2nd Rounds.—3 G, 5 B. Repeat.

3rd and 4th Rounds.—1 B, * 1 G, 7 B. Repeat from *.

5th and 6th Rounds.—4 G, * 3 B, 5 G. Repeat from *.

7th and 8th Rounds.—1 G, * W, 2 G, 1 B, 1 G, 1 B, 2 G. Repeat from *.

9th and 10th Rounds.—3 W, 5 G. Repeat.

11th and 12th Rounds.—1 G, * 1 W, 2 G, 1 B, 1 G, 1 B, 2 G. Repeat from *.

13th and 14th Rounds.—4 G, * 3 B, 5 G. Repeat from *.

15th and 16th Rounds.—1 B, * 1 G, 7 B. Repeat from *.

17th and 18th Rounds.—3 G, 5 B. Repeat.

Design No. 3.

For this pattern the number of stitches used must give a multiple of 6.

Design No. 3.

Commence the border by working 2 plain rounds in the black wool, then 2 plain rounds in the white.

5th and 6th Rounds.—1 B, 5 W. Repeat.

7th and 8th Rounds.—1 W, * 3 B, 3 W. Repeat from *.

9th and 10th Rounds.—2 W, 1 B. Repeat.

11th and 12th Rounds.—1 W, 3 B, 1 W, 1 B. Repeat.

13th and 14th Rounds.—1 W, * 3 G, 3 W. Repeat from *.

15th and 16th Rounds.—5 G, 1 W. Repeat.

17th and 18th Rounds.—White.

19th and 20th Rounds.—Black.

4th Design.

For this pattern the number of stitches used must give a multiple of 10

Design No. 4.

1st and 2nd Rounds.—White.

3rd and 4th Rounds.—Black.

5th and 6th Rounds.—1 B, 1 W. Repeat.

7th and 8th Rounds.—White.

9th and 10th Rounds.—1 W, * 2 B, 3 W, 2 G, 3 W. Repeat from *.

11th and 12th Rounds.—4 B, 1 W, 4 G, 1 W. Repeat.

13th and 14th Rounds.—1 W, * 2 B, 3 W, 2 G, 3 W. Repeat from *.

15th and 16th Rounds.—White.

17th and 18th Rounds.—1 B, 1 W, Repeat.

19th and 20th Rounds.—Black.

21st and 22nd Rounds.—White.

Design No. 5.

For this pattern the number of stitches used must give a multiple of 11.

Design No. 5.

1st and 2nd Rounds.—White.

3rd and 4th Rounds.—Black.

5th and 6th Rounds.—3 G, 1 W, 2 B, 2 W, 2 B, 1 W. Repeat.

Effective Patterns.

7th and 8th Rounds.—1 W, 1 G, 1 W, 2 B, 1 W, 2 G, 1 W, 2 B. Repeat.

9th and 10th Rounds.—1 B, * 1 W, 2 B, 1 W, 4 G, 1 W, 2 B. Repeat from *.

11th and 12th Rounds.—3 B, 1 W, 6 G, 1 W. Repeat.

13th and 14th Rounds.—1 B, * 1 W, 2 B, 1 W, 4 G, 1 W, 2 B. Repeat from *.

15th and 16th Rounds.—1 W, 1 G, 1 W, 2 B, 1 W, 2 G, 1 W, 2 B. Repeat.

17th and 18th Rounds.—3 G, 1 W, 2 B, 2 W, 2 B, 1 W. Repeat.

19th and 20th Rounds.—Black.

21st and 22nd Rounds.—White.

Design No. 6.

For this pattern the number of stitches used must give a multiple of 8.

Design No. 6.

1st and 2nd Rounds.—4 B, 4 G. Repeat.

3rd and 4th Rounds.—4 G, 4 B. Repeat.

5th and 6th Rounds.—Black.

7th and 8th Rounds.—3 G, 5 B. Repeat.

9th and 10th Rounds.—2 G, * 2 W, 3 B, 3 G. Repeat from *.

11th and 12th Rounds.—2 G, * 1 B, 3 W, 1 B, 3 G. Repeat from *.

13th and 14th Rounds.—1 G, * 3 B, 2 W, 3 G. Repeat from *.

15th and 16th Rounds.—4 B, * 3 G, 5 B. Repeat from *.

17th and 18th Rounds.—Black.

19th and 20th Rounds.—4 B, 4 G. Repeat.

21st and 22nd Rounds.—4 G, 4 B. Repeat.

Design No. 7.

Only two colours will be needed for this design, and the number of stitches used must give a multiple of 8.

Design No. 7.

1st and 2nd Rounds.—Black.

3rd and 4th Rounds.—Grey.

5th and 6th Rounds.—1 B, 2 G, 4 B, 1 G. Repeat.

7th and 8th Rounds.—1 B, 2 G, 1 B, 4 G. Repeat

9th and 10th Rounds.—1 B, 2 G, 1 B, 4 G. Repeat.

11th and 12th Rounds.—7 B, 1 G. Repeat.

13th and 14th Rounds.—3 G, 1 B, 2 G, 1 B, 1 G. Repeat.

15th and 16th Rounds.—3 G, 1 B, 2 G, 1 B, 1 G. Repeat.

17th and 18th Rounds.—4 B, 2 G, 1 B, 1 G. Repeat.

19th and 20th Rounds.—Grey.

21st and 22nd Rounds.—Black.

Design No. 8.

This border works out a good deal wider than the others, and would perhaps be more suitable for a man’s stocking; or to reduce the width the stripes from each edge could be omitted. Stitches giving a multiple of 8 will be required.

1st and 2nd Rounds.—Black.

3rd and 4th Rounds.—White.

5th and 6th Rounds.—Black.

7th and 8th Rounds.—Grey.

9th and 10th Rounds.—5 G, 3 B. Repeat.

11th and 12th Rounds.—6 G, * 1 B, 7 G. Repeat from *.

13th and 14th Rounds.—2 G, * 1 W, 7 G. Repeat from *.

15th and 16th Rounds.—1 G, * 3 W, 5 G. Repeat from *.

17th and 18th Rounds.—3 W, 4 G, Repeat.

19th and 20th Rounds.—2 W, * 4 B, 1 G, 3 W. Repeat from *.

21st and 22nd Rounds.—3 W, 5 G. Repeat.

Fancy Tops for Socks and Stockings.

23rd and 24th Rounds.—1 G, * 3 W, 5 G. Repeat from *.

25th and 26th Rounds.—2 G, * 1 W, 7 G. Repeat from *.

27th and 28th Rounds.—6 G, * 1 B, 7 G. Repeat from *.

29th and 30th Rounds.—5 G, 3 B. Repeat.

31st and 32nd Rounds.—Grey.

33rd and 34th Rounds.—Black.

35th and 36th Rounds.—White.

37th and 38th Rounds.—Black.

Making a Child’s Overall from a Narrow Skirt.

Good quality washing materials for making children’s everyday frocks are now so very much more expensive than in pre-war days, that the economical woman who happens to have a number of washing skirts of the narrower type so popular a few years ago, would be wise to make some good use of them.

THE OVERALL THAT CAN BE CUT FROM A NARROW SKIRT.

While it is a comparatively simple matter for the woman who makes her own clothes to remodel a full skirt into a narrow design quite successfully, it is not so simple to adapt a narrow design to a wider pattern. Even if one could match the material, it is never wise to use new fabric with old, and the freshness of the new material would only give emphasis to the fact that the other parts were slightly worn.

Here is a suggestion that may not have occurred to everyone. Have you ever thought what really excellent little garments for the children can be made from the best parts of a cotton skirt? As an example, we are showing how the child’s overall illustrated can be cut from a two-piece skirt of quite the narrowest type (this design only measures 1⅜ yards round the hem) without even cutting into the parts that are likely to be the most worn.

Whether the skirt used is made of linen, piqué, casement cloth, or any of the stouter washing fabrics, it would serve admirably for making this little frock that can either be worn as an overall over another frock, or as a little summer play frock without another dress underneath.

The skirt made use of in this instance is a two-gored design, with a seam at each side, and to cut the pattern as shown on the diagram, the hem of the skirt should be unpicked, also the side seams from the waist to just below the hips, or just far enough to allow of the skirt being laid flat out on the table.

Easy to Make and to Slip On.

Take care to see that you have the skirt placed so that there is an even fold at centre back and front, and the side seams back one another, then lay on your pattern. You will see that in placing the sleeve portion it comes over the side seam of the skirt, giving you two seams in the sleeve instead of one, but the second seam will come on the under-arm so that it will not in any way spoil the appearance of the garment. The collar and cuff portions will need to be lined in order to neaten them, and you will probably find sufficient from the cuttings to cut these out again, or if not, a small piece of white calico could quite well be used for this.

A DIAGRAM FOR CUTTING OUT THE OVERALL FROM A SKIRT.

The back of the overall is cut down from neck to hem, and finished with a hem at each side, and fastened with buttons and buttonholes.

Many varieties of trimming could be used for a little overall of this description. French knots worked in a contrasting colour along the hem and round the collar and cuffs would be effective, or some simple cross-stitch animal designs would look well.

Use Clark’s “Anchor” Coton à Broder, No. 12.

A frock for a two-year old has been used as an example, but it would be quite possible to cut a larger size in a like manner, though it might be necessary to put a false hem of some other material.

Stitchery.

Re-footing made Easy.

A Hand-knit Sock showing the replaceable foot sections, and the method of reinforcing the heel.

This method of knitting hose renders it an easy matter to repair the heel and toe when these parts become worn. By simply undoing the end stitch of a row of crochet chain stitches, the sole, heel, or toe part can be almost instantly removed by pulling the thread and undoing the crochet. The chain stitches are used to join the different parts, which are worked separately and then joined together.

When the worn part is removed, a piece exactly the same size is knitted and joined to the remainder of the sock with the row of chain stitches. In this way the leg and instep portions, which seldom wear out, may be made to serve for two or three renewals of the parts exposed to wear.

It is just as easy to knit a sock or stocking in the new way as in the old, and the saving effected by the new way is great, especially now, when woollen thread is both scarce and expensive. The same may be said about cotton thread.

The sock or stocking is begun in the usual way, and may be made either plain or ribbed.

The sock illustrated is a full-size man’s sock, and the joinings are shown in the dark line round the heel, along the side of the foot, and across the instep at the beginning of the front toe part.

These joinings were made in black thread on the white sock in order to show the joinings, but in making a sock they must all be worked with the same thread as in the sock. Then the joinings are not visible on the outside, nor is there a seam on the inside, as the row of chain stitches forms a flat line.

Working the Leg.

In the sock shown here 80 st were cast on three No. 12 knitting-needles. On these were worked 4 inches of ribbing—1 plain, 1 purl. Then 5 inches of plain knitting with a back seam.

The Instep.

Divide for the heel, putting 20 st at each side of the back seam, all on one needle. Divide the 39 remaining st on to the two needles, and continue knitting on these (leaving the heel needle for the present), knit and purl alternate rows until the piece is 6 inches long. Put the 39 st on one needle, and leave this part aside for the present.

The Heel.

Cast on 41 st on a needle in “slip loops,” that is, wind the thread once round the top of the thumb, and take over the loop so formed on to the needle.

Renewing Worn Portions.

Knit the 41 loops, purling the 21st for the back seam, which is preserved for the entire heel.

Purl the next row, then knit and purl alternate rows until there are 24 rows in all.

Closing the Heel.

1st Row.—Knit to the 9th st after the back seam, slip the 10th st, k next stitch, pull the slipped stitch over, k 1, turn (leaving 8 st).

2nd Row.—Slip 1st st and pull back to the 10th after the back seam, purl 10th and 11th together, purl next st, turn and repeat these 2 rows until all the stitches at each side have been taken in. Cut the thread, leaving a short end attached.

The Sole.

There should now be 24 st at each side of the heel, and 23 along the top of it. Cast on a number equal to these, 71, with the “slip loops.” K and p alternate rows for 4 rows. Then decrease in every plain row in the 3rd and 4th st from each end, thus:—k 2, sl 1, k 1, pass the slipped st over, k to the 4th st from the end, k 4th and 3rd together, k 2.

Continue until the stitches are reduced to 39, to correspond with the stitches on the instep.

Knit this piece until it is exactly the same length as the instep portion.

How the new Toe and Heel for a Machine-knit Sock are worked.

The Toe.

Take two additional needles, cast on 20 st on one, and 19 on the other, following after those on the sole needle, making the “slip loops” as before. Join round, and k 2 rows plain.

Decrease in the next round thus:—k first 2 on the sole needle, sl 1, k 1, pass the slipped st over, k to the 4th st from the end of this needle, k 3rd and 2nd together, k 2.

Knit first 2 st on next needle, sl 1, k 1, pass the slipped st over, k remainder of needle, k next needle to the last 4 st, k 4th and 3rd st together, k 2.

Knit 6 rounds. Decrease as before.

Knit 5 rounds. Decrease. Knit 4 rounds. Decrease.

Knit 3 rounds. Decrease.

Knit 2 rounds. Decrease.

Decrease in every 2nd round until there are 11 st remaining on the sole needle. Put back and front needles together, and taking a corresponding stitch from each needle, cast off 2 together. Draw the thread through last loop and cut it, leaving a short end.

The Method of Joining.

Commencing at the back part of the leg portion, place the heel in position, having the wrong sides turned towards you.

With a No. 1 steel crochet hook, make a chain on the end of the thread, insert the hook through the 1st st on the heel, and through the 1st st on the needle of the leg portion, draw a loop through these 2 together, and through the chain on the hook, insert the hook through the next st on the heel, slip off the joined st on the needle, insert the hook through the next st on the needle, draw a loop through the 2 st and the loop on the needle, repeat to the end of the needle, then take up the foot part, and put it in place on the heel. Join in the same way, inserting the hook through corresponding stitches. Continue up the side, across the instep and along to the heel again. Fasten the thread, leaving about an inch of it. Work the end into the following stitches to conceal it.

It can be readily seen that when any part is worn and requires to be renewed, the joining thread can be cut and unravelled as far as required.

To Renew the Toe Portion.

Undo the chain stitches along the front, cut the sole part in a line with the front, unpick the threads to get an even line of stitches, pick these up on a needle, and knit the toe piece exactly like the first one. Join to the front in the same manner.

To Reinforce the Heel and Toe.

It is not generally known that these parts can be so reinforced that their durability is prolonged two or three times. The best method of doing this is shown in the sock illustrated.

“Star Sylko” No. 5, matching the colour of the sock, is worked into the lines of knitted stitches, using a darning needle for the purpose.

Take up one side of each st on the needle, draw the thread through, working in perpendicular rows, come back on the other side of the stitches down to where the 1st row was commenced, and so on. In this way the cotton thread is all on the outside of the woollen knitting, and receives all the friction from the shoe, while it never comes next to the skin. The dark strip down the heel shows where the strengthening stitches have been worked in.

To Re-Knit a Heel and Toe into a Machine-Knit Sock.

In the machine-knit sock the heel and toe are not made in the same way as in most of the hand-knit variety, but usually on the lines of the illustration at bottom of page. In the case of the heel, a portion of the leg has been worked to show how the heel is made straight on to this.

Repairing Machine-made Socks.

Cut away the heel at its base to the 1st decreasing st. Make a cut across the sole next the heel in a line with the 3rd decreasing at each side.

Turn back 3 rows under the sole, where they must be secured with a flat seam, using a piece of the same kind of thread and a darning needle. Pick up the stitches at the base of the heel on to a knitting needle. Fasten the thread and knit a row. Then purl and knit alternate rows, taking the first 2 st together in every row until the st are reduced to one-third of those in the 1st row.

Continue working a plain and a purl row alternately on these stitches, increasing by picking up a loop at the end of each row from the side of the flap just worked, until you have closed the heel, and have the original number of stitches on the needle. Join to the sole part with a row of crochet chain stitches.

The Toe Part.

This is worked exactly like the heel, picking up one-half of the st round the foot part. Knit the toe part as in the heel, working back to close the toe in the same way, then join to the front part with a row of chain stitches.

Band boxes covered with chintz to match the hangings give a pretty touch to a room. A large bow of plain colour serves to lift the lid. The waste paper receptacle matches the box.

How to Re-heel a Worn Sock.

When the heel only becomes worn out in a hand-knitted sock or stocking, it is an easy matter to replace the worn-out portion and the adjacent weak parts.

If possible, let the mending thread be a little finer in texture than that used in the stocking, and when not possible to match the thread in colour use white—in fact, many people prefer white heels and toes in their hosiery.

We are illustrating a grey sock re-heeled with white to show clearly how the work is done. Run a coloured thread through each stitch at the base of the heel in a straight line from side to side. In the same way run another piece of thread through the stitches at the top of the sole where it adjoins the heel “closing” portion, that is from the first to the last stitch on the centre of the heel to where the stitches at each side of the heel were raised.

Now count the number of rows in the heel before the “closing” was begun, and the number of stitches at each side of the back seam after the closing was finished. Take a note of these, as the piece re-knitted must fit exactly.

Cut away the worn part that you wish to replace from the second row inside the marking thread, and the second row from each side where the side stitches were taken up. Pick out the cut threads from each side of the heel until you come to the “raised” stitches, which you may leave for the present as they cannot ravel.

Pick out the cut threads from the rows inside the marking threads in the same way. The marking thread should be through every stitch so that they cannot ravel.

Take up the stitches at the base of the heel and re-knit exactly as it was before and close it in the same way. Tie the thread when the last row in the heel closing is done, cut it and work the end in through the stitches.

Thread a darning needle with a length of the same kind of thread and fasten the thread to the beginning of the heel at the right side. * Run the needle behind the next of the “raised” stitches on the sole at the base of that stitch, bring it back to the heel, and running it inwards through the first stitch where it was brought out bring it out through the next heel stitch and repeat from * up to the stitches on the needle which are connected to those on the thread in the same way, slipping off each stitch when joined. Work down the other side in the same way, fasten off the thread and cut it. Work in the end of the thread through a few stitches. Remove the marking threads. This heel will have no seam.

Slippers you can Make.

A PAIR OF MEN’S SLIPPERS.

Footwear, like everything else, is exceedingly high-priced at present, and to know how to economize in this direction is a serious problem. But have you ever thought of making your slippers? This is really quite possible. Indeed, there is no reason why very presentable shoes and slippers cannot be made at home. In nearly every household the materials are already at hand. Pieces of velvet, tweed, felt or cloth are all suitable, and to show what can be done in this way we illustrate here two pairs of comfortable slippers made from oddments.

The first is a neat pair made from a piece of left-over dress material, in black and white woollen check, a bit of red flannel for lining and some navy serge coating for the soles, which are formed over the usual cardboard. Then the pair of men’s slippers were built up on a pair of leather soles with fleecy lining. Grey tweed left over from making a boy’s suit was utilised, and a scrap of blue flannel shirting forms the lining.

SLIPPERS MADE FROM CHECK MATERIAL.

You will probably see the advantage of making these at home, and any comfortable old slipper can be cut up for a pattern.

They are made in the same way if you make the soles yourself, but with the purchased slipper sole there is a slight difference in the manner of attaching the upper.

The Check Slippers.

In cutting the upper, no turnings will need to be allowed for the upper edge, but allow a margin of a quarter-inch around the side which comes next to the sole. Cut both lining and material the same size.

The Sole.

Cut this out in stiff cardboard, then cut a covering for it from the lining material, allowing a half-inch margin all round. Place the cardboard on the centre, and draw the edges of the lining together from opposite sides with crossing stitches, using stout linen thread for this purpose and a coarse sewing needle. The cardboard must be covered smoothly and securely with the flannel and gatherings made at the heel and toe parts. The upper side of this sole is the inside of the shoe, and the stitching underneath. Now lay this sole on another piece of cardboard, and cut out the shape again just one-eighth of an inch larger all round. Lay this on the felt or piece of tweed intended for the outer sole and cut out the shape. Take the cardboard pattern for this sole and cut away a quarter-inch margin around. This smaller shape is put between the inner and outer soles when making up the shoe. Stitch up the side seams in material and lining. Press both seams out flat, place opposite to each other and tack the lining along the top edge to the check material. Now bind the edges together with a strip of ribbon or narrow tape. It is as well to stiffen the back of the slipper a little with an interlining of thin cardboard or tailor’s canvas.

Now take up the flannel covered sole and place the upper over it, having the smooth side of the sole turned from you; sew the edge of the upper very securely to the wrong side of the sole, putting the stitches into the flannel only, and about an eighth of an inch from the extreme edge. Lay the small cardboard sole over the one just put in and secure it with a couple of stitches, place the tweed sole on top of it with its edge overlapping evenly all round. Using thick black thread, the stronger the better, slip-stitch the sole through the inside edge to the upper where it turns in under the first sole. It is necessary to notch the edge of the cardboard stiffening where it overlaps the sole, in order to make it lie flat.

The Men’s Slippers.

The same directions apply to these with the exception of the mode of attaching the ready-made sole. Turn in both edges of the uppers and tack securely around, then top-sew together, place over the sole and stitch the sewn edges to the middle section of the sole, turning back the leather edge for this purpose. No binding was used for this slipper, but the lining had its edge turned in as well as the material, then the lining was tacked with the turned in edge coming a little above the material so as to form a narrow piping around the top.

Artistic Crochet

Edited by FLORA KLICKMANN
Contains beautiful designs in Crochet for useful and decorative purposes. It is uniform with this volume, and issued by the same publishers.

Mending a Man’s Shirt.

CUFFS FOR ATTACHING TO WHITE SHIRTS.

One of the many expensive necessaries in these expensive days is a man’s white shirt. In many cases the finished article is treble the price it was in 1914. This is partly due, of course, to the increase in the cost of labour, as there is a considerable amount of skilled work entailed in the cutting out and putting together of a man’s white shirt. And the high price is partly to be accounted for by the increased cost of materials.

But with all the care in the world, shirts will still wear out, and must somehow be replaced. Fortunately this difficulty is not such a serious one as it at first appears; a shirt can quite easily be renovated—and without having that amateurish look that so often just spoils things.

Repairing Shirt Tails.

The first parts to go, very often, in a man’s shirt are the tails. Well, the simplest way to deal with this is to cut them off right across, above the weak places. This is really far more satisfactory than patching. A piece of calico or longcloth from another discarded article is not difficult to get. Measure the same size as the portion cut off. Hem round three sides. Run and fell the fourth side to the shirt itself.

Perhaps you did not know, as I did not myself until recently, that many of the essential details which go to make up the shirt, can be purchased separately. In this way a weak front or collar, or the cuffs can be removed, a new one substituted, and you have a new shirt without its cost.

TWO KINDS OF COLLAR BANDS.

Cuffs are parts that soon show signs of wear, and frayed cuffs gives the shirt—and the man—a weary look. In this case, unpick the cuffs if possible, if not, cut them off close up. The new cuffs can be bought into which the sleeve is inserted, and the shirt regains its sprightly appearance. At the time of writing, the price of these cuffs is 6½d. and 8½d. per pair, and the result is well worth this small expenditure.

A FRONT FOR A SHIRT FASTENING AT THE BACK.

Another method of repairing the cuffs is to cut off the frayed cuff, and put on a narrow band. In this case, separate cuffs would be worn. You do not even need to make these bands yourself. They can be bought ready for use.

About Collar Bands.

Most women have, at one time or another, struggled with the shirt collar-bands of their menfolk. When it is your first one, you start off quite happily. After all, you say, it is a simple matter to cut such a band, and will only require a small piece of material. But you soon find out that it is not so simple as it looks, and, being shaped, needs more material than you had thought for. And when you have finished it, you have neither satisfied yourself, nor the owner of the shirt. Men often assume a superior indifference to clothes, but there are certain things about which no indifference is visible, one being the collar band of their shirt. Collar-bands are cut in a scientific manner, and even experienced workers, knowing that they are not very easy to make, will probably be as thankful as less advanced workers, to buy them shaped and stitched, ready for applying to the shirt. These collar-bands can be bought singly or in half dozens, and can be supplied opening at the front or back, according to the fastening of the shirt for which they are needed. The present price of these collar-bands is 3d. each. They are made in white calico, also in sateen for coloured shirts.

Fronts that you can Buy.

When Buttonholes are Torn.

“But,” says someone, “buttonholes are my trouble. You can’t, surely, buy new buttonholes to replace the broken ones?” True, but the case is by no means hopeless. If this is your difficulty two courses are open to you. Either refront the shirt, or else an additional front can be worn outside the white shirt. This latter plan would perhaps be too warm in the summer, though an extra front is a useful addition in the winter. The use of separate fronts and cuffs help to solve the ever-present laundry problem, as these can be sent to the laundry for stiffening and polishing, while the unstiffened shirts can be washed at home, thus effecting a very considerable saving in expense.

A FRONT FOR A SHIRT FASTENING IN FRONT.

If, however, the separate front is objected to, you can buy fronts for letting into worn shirts. There are two kinds, the front in one piece for shirts fastening at the back, and the dividing front for shirts fastening in front. These are supplied square, as shown in the illustration. There are two qualities, price 9½d. and 1/-.

To apply the new front, first tack it on to the old front, then cut it to the shape required, allowing sufficient margin to turn in a fell. Then cut away the unnecessary material at the back from the shirt, leaving here sufficient to turn in a fell. In this way you have practically a new shirt again.

These are the portions that are most likely to show signs of stress and wear. Should any rents occur elsewhere, a little patch must be added.

A Patch may be Necessary.

It is hardly necessary to remind you that it is better to mend and patch with material that is not quite new. Very often a pillow-case that is worn in one part will supply a sufficient amount of sound material for re-tailing a shirt.

In looking through the shirts of your menfolk, you will probably find one wants a new collar-band, another new cuffs, another a front, and so on. They will not all need repairing in every direction. But even if they did, and you had to get several new portions for one shirt, it would be well worth your while, as the cost of these portions is very slight.

Mending a Collar.

Men’s collars are among those articles that one had come to regard as useless as soon as they are torn or worn, and therefore at the first sign of disrepair to be replaced by new ones. Yet collars nowadays are a far more expensive item than they were a few years back; a frequent supply of new collars means a considerable outlay. Before discarding the torn collar, therefore, it is well to see if it is not possible to repair it, and it nearly always is possible.

A FLAP TEAR AND HOW TO MEND IT.

A BUTTONHOLE TEAR AND HOW TO MEND IT

The tear usually occurs in the little projecting flap for the buttonhole, either where this piece joins the main part of the collar, or the buttonhole itself. Two such tears are illustrated. Now either of these can be very easily mended with a piece of tape. First of all, wash all the starch out of the collar. When quite dry, tack a small piece of tape over the tear, as illustrated, and machine it in place. This makes a perfectly neat mend, and is quite easy to do. Moreover when the collar is starched again, the tape does not show.

The Wisdom of Preventive Mending.

We do not, nowadays, spend long hours bending over fine stitchery that is destined for no really useful purpose. To efficiently understand how to mend and how to make is our more practical aim. A distinctive and imperative branch of this knowledge is the art of preventive mending.

From the gracious days of our grandmothers, or our even more remote ancestors, comes a lavender-scented remembrance of patiently executed needlework, almost unbelievably fine; wonderful samplers were made and monumental pictures depicting Bible scenes were toiled over until the last of the innumerable stitches was filled in, and the triumph ready to be framed and hung up on the wall of the best parlour.

Some of us possess examples of these forgotten arts, bead necklaces so finely constructed that, entirely handmade and needle-threaded as they were, they altogether surpass the pretty ornaments of the present day, made upon apache looms. Samplers, too, we fondly cherish, if we are fortunate enough to have had one or two handed down from mother to daughter in our family.

The Day of the Ready-Mades.

But life to-day is more strenuous; the pride of the needlewoman must, in the majority of cases, have a more practical aim. We do not despise the lavender-scented sweetness and tranquility—sometimes we even sigh for the qualities that can only come to perfection in days of unhurried calm—but we recognise the every-day usefulness of the modern needlewoman and applaud the sanity of her methods.

Children may be taught that darning is really quite an interesting occupation.

Microscopic stitching is a delightfully interesting pursuit for the woman of leisure. The busy girl or the house-mother, harassed with many cares, would not find such sewing a sedative for tense and weary nerves; but the capable woman with quick, deft fingers and mind alert, finds it both interesting and exhilarating, in its practicality, to sit down and either make or mend something.

Mending and altering are two branches of the great art of Needlecraft which no woman can afford to despise in these days of ready-made frocks and shop-bought costumes. Turnings may be insufficient, buttons sewn on with too scant stitches, hooks and eyes trembling to fall off, but these deficiencies very easily can be put to rights. And the business girl would find herself sorely pressed for time to do the necessary shopping, matching trimmings, and the travelling to and from the dressmaker for fittings-on, while not her time alone but her pocket also would seriously suffer if the ready-to-wear gowns and walking-suits were suddenly to be banished from our drapery stores.

A shop-bought costume that doesn’t fit, however, isn’t cheap at any price. Learn, therefore, how to make alterations in the most common-sense and practical fashion, and take preventive measures, before the garment is worn for the first time, to overcome the little deficiencies that we may expect to discover in the “ready-mades.”

Tools for the Practical Needlewoman.

Chief among the aids for the practical needlewoman, taking first rank among her valuable assistants, comes the sewing-machine. For hard wear and every-day use machine-stitching is generally much neater and stronger than hand sewing, and the pace, of course, is far quicker. Her sewing-machine is a good friend to the busy woman who has most need to practise the art of preventive mending, for strength and speed are two of her chief demands.

It pays to understand one’s sewing-machine, and to treat it with tender care. Rough usage, or careless handling through ignorance of the rightful functions of the different delicate pieces may lead to dire disaster. A handbook of instructions is always given when the machine is purchased: cherish this book, for if it is mislaid you are at sea without your chart. The inexperienced girl who makes her early attempt to fathom the mysteries of the sewing-machine will find that a little personal instruction (which may be had at the depôt of her own make of machine) will be more helpful than an hour spent in trying to solve intricate problems by the aid of the printed page. Later on, however, the printed directions will read lucidly enough when her mind is conversant with the everyday workings of the machine, and an intelligent glance at her useful little handbook will disclose to her the cause and the remedy of the defective action.

Keep the machine scrupulously clean and thoroughly well oiled. To do this is again to recognise the wisdom of preventive measures. An un-oiled, dirty machine will always cause trouble in working, for when the parts do not run smoothly, dropped and uneven stitches are a frequent embarrassment.

Open and turn back, so that when the oil has soaked through the clogged dirt it may be carefully cleaned away.

The Sewing Machine.

Oil in every part, and open and turn back so that when the oil has soaked through, the clogged dirt may be carefully cleaned away.

A capacious mending basket is a necessity for the practical worker, and it is all the more convenient if it stands upon legs, table height, and can be carried about to be stationed just within comfortable reach of the mender’s right hand.

Her sewing-machine is a good friend to the busy woman who practises the art of preventive mending.

Keep always some tailor’s canvas for use as stiffening, buckram for millinery, white leno, and fine black lining, rolls of old linen and flannel for patching, stray pieces of lace, and left-over lengths of embroidery or insertions. Roll up all oddments in soft, clean muslin with tape or label attached, on which is written a list of the trifles to be found within your treasury.

If you frequently find your tape measure mislaid, try this plan, and thus prevent the long searching that interrupts your sewing. Cut as long a piece off your tape as will stretch from end to end of your machine, and paste it along the front edge of the stand. It thus will be always at hand when required, and will serve at any rate for all the shorter measurements required.

It is a good plan to assemble your hooks and eyes on safety pins. Slip the opened pin through the separate hooks and eyes, then when they are all securely dangling, firmly close your safety pin, and they are ready for use when needed and will not get tangled and twisted together as so often happens if they are kept in a box.

Keep odd buttons in glass bottles. No more hunting in the dark and dust! You can see the button for which you are searching, and by shaking the bottle can bring it near to the top, where it can be easily reached. Bone or pearl buttons for underwear, or any others that are not affected by exposure, may be securely fixed upon a hairpin. Straighten out one of the long hairpins, bend back one end about a quarter or half an inch, run the point through the holes, and when your buttons are neatly crowded together turn up the other end to hold them securely.

Aids to Strength and Durability.

We have heard that in China it is the custom to pay the family doctor to keep his patients in good health rather than to call him in only after illness has laid the sufferer low. Many of us applaud this system, but have neither the opportunity nor, perhaps, the courage, to defy conventions in England.

But why not pursue the same wise course in dealing with household mending? It works admirably.

Take that proverbial stitch that “saves nine” in very good time, even before there is any apparent need for for it, and you’ll find it will work miracles.

Preventive Mending.

Stockings, for instance. The toes and heels of children’s stockings may be neatly darned before they are worn for the first time, for this purpose using crochet silk or mercerised thread, which is less bulky and clumsy than wool. Insist on frequent change of hosiery, and forbid the wearing of any stocking that shows even the tiniest hole. To prevent those long running ladders which are almost impossible to mend, sew a band of silk or cotton, or a border cut from an old stocking, round each hem of the new pair. Hose supporters (chief cause of these destructive ladders) will seldom cut through this double band. Or another excellent plan may be adopted. Take a round brass ring and double crochet closely over it to make a soft, firm covering. Sew this securely into position upon the stocking top with neat, strong stitches, and always insert the clip of the suspender within this ring. You will thus make it impossible for the tension to strain the stocking beyond the area enclosed by the ring.

In the knees of children’s stockings small shields may be placed, pieces cut from other stockings and fastened in so neatly that they are quite inconspicuous and not at all uncomfortable.

The “ready-mades,” whether visiting frocks, walking suits, or underwear, as was hinted in a previous paragraph, cry out loudly for preventive mending. For instance, sleeves should be stitched in by machine, for on ready-made clothes the machine stitching is not always carefully done, and a weak place in the sleeve seam will quickly give way under strain and start an ugly tear.

Embroidery with scalloped or pointed edging should be machined strongly all round the extreme edges, the machine needle patiently following the circuitous course of the pattern. This will double the life of embroidered lace, preventing frayed untidiness and breaks, gaps and tears.

To prevent an embroidery flounce from ragging out before the petticoat itself is any the worse for wear, neatly hem the edge as soon as it threatens to fray or gets torn by an accidental mis-step, and add a bordering of Valenciennes or fine Torchon lace.

Buttons should receive careful attention when any ready-made garment is bought. The trimness of effect and the general prettiness of coat or costume may be entirely spoilt if one of a set of distinctive buttons is allowed to drop off and get lost. Therefore sew on all buttons at the time of your purchase. Stitch carefully with a strong thread; when you have sewn through and through the button half a dozen times, wind your thread round and round the strands which hold the button, between the button and the cloth, making a sort of shank. Treat boot and shoe buttons in the same way.

It is wise to strengthen bed-linen with broad tape laid on at the corners, inconspicuously stitched into position, so that an added firmness is given to the sheets where the clothes-pegs might do most damage.

Look closely into the wool-worked buttonholing at your blanket ends. You may, with advantage, stitch fresh buttonhole edgings that will keep the neat turn-over, when the blanket is in use, for a longer time than if the shop-bought edging were left to suffice.

Remember that half-an-hour spent weekly in preventive mending, will save the busy housewife hours of darning and patching later on.

For Keeping out the Wind.

The value of old Kid Gloves.

With furs advanced 80 per cent. in price in some cases, and every sort of leather and skin at a premium, it is evident that many who would like new furs, and a leather waistcoat for motoring, will have to forego these for a while, now that such items have become so expensive.

Those who are studying economy, however, will find an excellent substitute for the leather, and the fur skins, in the old kid gloves that have got beyond even the cleaner’s kindly aid. It is always the fingers and thumb that go; the remainder of the glove will be a serviceable bit of kid. These pieces can be used in a variety of ways, and since they are impervious to wind, they may save you many a chill—or more serious illness,—if you find a new thick winter coat beyond your purse in these hard times.

Cut off the fingers and thumb, remove the fasteners, cut the glove up to the top at the front opening, and spread it out flat—as you see in the small illustration. There will be a little fulness at the thumb-pieces, but this can be doubled over and stitched down flat.

Here is the piece of Glove with the fingers cut off.

This shows some of the gloves stitched on the flannel inter-lining.

Perhaps your thickest coat is not nearly thick enough for the piercing east winds that come to us in the early part of the year, finding out our weak spots.

For an Under-coat or Waistcoat.

If you wish to avoid the cost of a new big coat, why not make a small sleeveless coat, or a waistcoat to wear under your outdoor coat? For this you will need about 1½ yards of silk for the outside, some thin flannel for the interlining, and some more silk, or other suitable material for the lining. I suggest silk, because this slips on so easily, and the outer coat, in turn, slips on easily over the silk waistcoat. It takes so little material that in all probability you can get enough out of the silk lining of some discarded coat or underskirt. Then of course there are the old gloves. Cut out the silk, outer and lining, and the flannel, by the same pattern. Deal with the flannel first. Onto this stitch the pieces of glove—they merely want pinning in place first of all, and then run the machine round each fragment. Put them on as they will best cover the flannel, it doesn’t matter how irregular it all is, so long as the flannel is completely covered. It doesn’t look elegant, as you are doing it; that again, is unimportant, as it is all hidden by the silk. If you have not enough gloves for your needs, a few bits of chamois leather will help you out.

Then make up the little undercoat, with the glove-covered flannel as interlining, the kid against the lining, and you will find you have something that keeps out the wind in a way a woollen hug-me-tight could never do. And the glove-lined garment takes up so little room that it does not add to one’s bulk; in addition, it is very light in weight—a great advantage.

The idea is capable of various developments. A velvet stole edged with a little fur could be interlined in the same way. It would be light and warm, and a real comfort on cold days. It is quite surprising how the kid interlining adds to the warmth of a garment.

A chest protector, like the one we illustrate, is invaluable for the girl who has a weak chest, and is out in all weathers. This again is quite easy to make.

In a garment like this, or any large surface, it is as well to run the machine down the material after the pieces are all joined up; this “quilts” it and holds it together.

The back portion is a little longer than the front.

Showing the front of the Chest Protector.

For Men’s Waistcoats.

Many men complain that they feel cold at their back, even though they are wearing the thickest of vests. This is probably due to the fact that the material used in making the back of the waistcoat is many degrees thinner than that used for the fronts. The defect can be easily remedied, however, if you have three or four old pairs of gloves.

Cut out a piece of stout black lining, the size of the back piece of the waistcoat. Stitch the portions of the gloves to the wrong side of this lining. They will not need to come below the strap at the waist-line. Then turn in the edges, and apply this to the inside of the waistcoat (glove pieces inside of course), and run it neatly all round, taking care that it does not show above the top of the waistcoat at the back. It will keep it better in place if you run a line of stitching down the centre of the back, from top to bottom, after the lining has been run on all round.

You will have a perfectly neat looking garment that simply looks like a waistcoat with black lining at the back.

I advise this lining being put on by hand rather than by machine.

An Apron you can make from a Summer Skirt.

The attractive little apron illustrated on this page has been made with the expenditure of very little time and trouble, from a straight-gathered cotton voile skirt.

The simple gathered full type of skirt has been very popular for the summer frock during the last two or three years, and when this has lost its freshness for dress wear, the material will often be found to be in quite good enough condition to turn to account in the manner suggested.

At the top of the page the skirt is shown before its transformation; the two lower figures give the front and back views of the apron when finished, and you will see that it is quite a becoming little garment of the fashionable button-on-the-shoulder style, with straps crossing at the back.

To make the apron, first take your skirt and rip the gathers away from the band at the top, measure 30 inches from the centre front of the skirt folded together, and cut away the extra fulness from the back. The larger portion you have then forms the apron. If the skirt you are using happens to be one that fastens with a seam at the centre front, it will be best to use the back of the skirt for the centre front of the apron, to avoid a seam down the centre.

The Gathered Skirt which was used for the making of the Apron.

The back and front views of the finished Apron.

Unless the skirt is a very short one, you will find it will be quite long enough without making any alteration in the hem, but as most skirts have a fairly deep hem, it would be quite possible to let this down if necessary.

To form the curved sides for the under-arm, measure 12 inches along the top edge from the centre front, and cut a half-circle 7 inches deep and 12 inches across in each side of the apron.

Now take the piece you cut away from the back of the skirt, and from this cut a straight double strip 12 inches long and 4 inches deep for the front yoke band, and two further double strips each 17 inches long and 4 inches wide for the shoulder straps. Mitre one end of each of the shoulder straps and slant the other ends, taking 2 inches off the length for the outer edge of the strap. If your skirt should not be full enough to give sufficient material for the double straps, they could quite well be lined with some other material, or could even be made a little narrower.

Finish the back edges of the apron with narrow hems, also the armholes. Gather the front and place between the double yoke band. The backs are also gathered and placed between the slanting ends of the shoulder straps, putting the shortest part of the strap towards the back.

Cross the straps at the back of the apron, and fasten the mitred ends to the yoke band with buttons and buttonholes. Your little apron is then complete.

SPINNING WITH A DISTAFF IN BRITTANY.

Photo by
M. Parsons.

Knitting Your Own Woollen Spencers.

Provided you are fond of knitting and can work fairly quickly, you will find it a great economy to make your own woollen spencers.

If you are careful to select wool of good quality, you will be well rewarded for the time spent in making, as hand-knitted woollens can always be relied upon to show less shrinkage with constant washing than even the most reliable makes of all-wool woven underwear.

The Cross-over Front gives a double protection over the chest.

Here is a practical little design that is very easily made, and very comfortable for wearing, the cross-over front giving a double protection over the chest.

Materials required.

7½ ounces of 4-ply white A.A. “Peacock” Fingering, and 4 No. 13 steel needles.

Abbreviations used.

K = knit; p = purl; st = stitch or stitches.

The Back.

The body section is worked in one piece, and is commenced from the back.

Cast on 100 st.

Knit 20 rows of ribbing, 1 plain and 1 purl alternately.

Now commence working a plain and a purl row alternately, knitting plain the first 4 st and the last 4 st of both the plain and the purl rows. These plain stitches prevent the edges of the work from curling up, and give a flat under-arm seam.

Work 60 rows in this way, increasing 1 st in the 6th st from each end of every 15th row. Continue for 5 more rows, which will bring you to the armhole.

86th Row.—Cast off 12 st, p to 4 st from the end of the row, k 4.

87th Row.—Cast off 12 st, k to the end of the row.

Cast off 1 st at the commencement of each of the next 4 rows. This should leave you with 80 st on the needle.

Now work 49 rows, a plain and a purl row alternately, slipping the 1st st of every row. In these rows purl the return rows right across, omitting the four plain st at each end.

The Body Section when ready for joining up.

The Front.

To divide the st for the fronts, k 34 st on to a spare needle, cast off 12 st for the back of the neck, and on the remaining 34 st work one front as follows:

1st Row.—Cast off 2 st, k to the end of the row.

2nd Row.—Slip 1, p to the end of the row.

3rd Row.—Cast off 2 st, k to the end of the row.

4th Row.—Slip 1, p to the end of the row, then cast on 6 st to form the front border.

On these 36 st work 30 rows, a plain and a purl row alternately, working the 6 border st plain in every row, and slipping the 1st st when turning from the armhole edge.

In the next row increase 1 st in the 7th st. Work 35 more rows, and increase 1 st in the 7th st from the border edge in every 6th row.

Now in the next 4 plain rows increase 1 st in the 2nd st from the armhole edge, and after working the next plain row cast on 12 st for the front of the armhole.

Now work 60 rows, a plain and a purl row alternately, continuing the increasings from the front edge, with 5 rows between, and working 4 plain st in every row to form the seam from the armhole edge. In the 31st and 51st rows, k the 6th and 7th st from the armhole edge together to decrease a little to shape for the waist. Work 20 rows of ribbing; cast off. Reverse the directions for the right front.

To finish the neck, pick up the back of the 6 st, cast on for the border, k 80 rows; cast off. Stretch this strip round the back of the neck, and sew into position. Sew up the

(Concluded on [page 52]).

A Child’s Knitted Petticoat.

This little petticoat is made to fit a child of from four to five years, and measures 20 inches from the neck to the lower edge of the skirt.

This will fit a child of 4-5 years.

Materials Required.

Five ounces of Messrs. J. & J. Baldwin’s White “Beehive” 4-ply Scotch Fingering, 1 pair of long No. 10 bone needles, and a set of No. 11 steel needles.

Abbreviations Used.

K = knit; P = purl; O = over (put the wool over and make a stitch); N = narrow (knit two stitches together); st = stitch or stitches.

Cast on 291 st.

1st Row.—Plain.

2nd Row.—Purl.

3rd Row.—K 2, * O, K 4, K 3 together, K 4, O, K 1, repeat from * to the end of the row, ending with K 2.

4th Row.—Plain.

Repeat the 3rd and 4th rows 32 times, or until the skirt is the length required.

69th Row.—K 6, K 3 together, * K 9, K 3 together, repeat from * to the end of the row.

70th Row.—Purl.

71st Row.—K 5, K 3 together, * K 7, K 3 together, repeat from * to the end of the row.

72nd Row.—Purl.

73rd Row.—K 4, K 3 together * K 5, K 3 together, repeat from * to the end of the row.

74th Row.—Purl.

You should now have 147 st on the needle. Make a row of holes for the ribbon by repeating K 4, O, N, all the way along and purling a return row.

It measures 20 inches from neck to lower edge.

The Bodice.

Knit 48 plain rows, purling the 6th st from each end of the row on the right side of the work.

Now divide for the armholes thus: K 36 st on to a spare needle, K 75, and slip the remaining 36 st on to a spare needle.

On the 75 centre st continue as follows: K 1, N, K plain to the end of the row. Repeat this row 21 times, then work 40 plain rows without decreasing.

This brings you to the neck of the petticoat. To form the shoulder sections, K 15, cast off 23 st (or up to 15 st from the other end of the row), 1 on the remaining st, K 36 rows. Cast off. Work up the other shoulder in the same way.

Now on the 36 st at each side of the work, knit up the backs to correspond with the front, forming the armhole slopes by decreasing 1 st in the first 9 rows turned from the armhole edge in each case. When working the backs, cast off all the st when the neck is reached. Sew the shoulder strap from each side of the front to the 15 cast-off st from the armhole edge of each back, and finish the neck by picking up all the loops along the edge and working 6 rows of ribbing, making holes for threading ribbon in the third row.

The Sleeves.

Pick up on to the No. 12 needles all the loops round the armhole edge, and work 20 rounds, a plain and a purl round alternately, in every other round decreasing 2 st; these decreasings should be made over the top of the armhole slope at each side, thus forming a gusset for the under-arm. Finish with 6 rows of ribbing.

Woollen Spencers

(Concluded from [page 50]).

under-arm seams, leaving a half-inch opening above the ribbing in the right-hand seam.

The Sleeves.

Pick up the loops round the armhole edge on to 3 needles. Put 18 st from each side of the under-arm seam on to 1 needle (36 st in all), and divide the remaining loops on to the others.

Work 5 rounds, then in the next round decrease 1 st at each end of the under-arm needle. Repeat these 6 rounds twice.

Work for 8 inches without decreasing, then for the next 4 inches decrease 1 st at each end of the under-arm needle in every 6th row. Finish with 30 rows of ribbing, and cast off.

If you wish to have elbow sleeves, finish the sleeve with 15 rows of ribbing after working the 8 inches without decreasing.

The bodice crosses over at the front, and fastens with ribbon ties at the neck and waist. Thread the ribbon from the left front of the waist through the opening in the right-hand seam, and make a slot over the left seam, to correspond by knitting a small strap (12 rows on 4 st), and sewing it on to the seam just above the ribbing; thread the ribbon from the right front through this, and tie the ends together at the back.

A Practical Way to Teach Girls Dressmaking.

A GIRL WEARING THE FROCK SHE HAS MADE

Some of the ladies who have headed sewing parties, or collected garments for the soldiers and sailors, during the past few years, could a tale unfold of the mysterious articles that many very willing workers have produced in their anxiety to help. No sooner was war declared than hundreds of women, from every grade in society, stepped forward, ready to make something; but what of the shirts 6 ft. long, the neckbands made of flannel—not ones, nor twos, but dozens of them, calling forth a special warning from the daily Press?

And it must be borne in mind, that many of these needlewomen must have passed through our schools—elementary or secondary—and have spent a couple of hours every week, for six or seven years, “learning needlework”; likewise, the garments required were not novelties, they are worn by men in time of peace as well as war.

Such a result of “learning needlework” gives one “furiously to think.” Has the training in the schools fitted the girls for making and mending garments for themselves and others—remodelling old ones, and generally using the needle as a help towards comfort and economy in the home?

This brings us to a very pertinent question. Is it possible to give the girls at school such a training in the cutting out and making of garments that the work loses it terrors, and comes within the grasp of them all? Experience has proved that cutting out paper garments from elaborate diagrams, bristling with “inches in” and “inches down,” is of very small practical value. The secret of success lies in getting the girls to measure a real wearer, and then to make a pattern, which they can properly “try on” for themselves, from these measurements.

Take, for example, the making of a frock, such as the girl is wearing in the picture. This child of twelve or thirteen, was one of a class of thirty or forty, in which every girl made a similar dress for herself. All measuring, making of patterns, cutting out of the material, fixing and sewing—everything in fact, from beginning to end, was done by the girls themselves.

THE FIRST MEASUREMENT FOR THE YOKE.

To begin with, they arranged themselves in pairs, and each girl cut a yoke, cuff and sleeve pattern for her companion. It was not necessary to make a paper pattern of the skirt of the frock. No material was cut until the patterns were satisfactory.

A yoke is an exceedingly useful and necessary part of many garments, but it is not, as a rule, considered an easy thing to cut a pattern of one to fit a particular wearer; but these girls found it simple enough, by working on the following plan.

TESTING THE YOKE PATTERN.

The illustration shows one girl taking the neck measurement of her friend; this is the only one required for cutting the pattern. It should be found, by holding the tape loosely around the neck, so that the head moves easily with it in position.

GETTING THE WIDTH OF THE SLEEVE.

An oblong piece of paper—newspaper will serve quite well—measuring the neck length one way and one-and-a-half times the same the other, was then cut out. Thus, if the neck is 12 in., the paper will be 12 in. by 18 in. (See Fig. 1). The method adopted of getting the yoke from this, will be seen by following each step in the sketches. The two shorter sides were folded together as in Fig. 2, forming a double piece. The two top corners were brought over until they met in the middle, as in Fig. 3, and then the triangular pieces cut off, leaving a double piece, as in Fig. 4. Care must be taken in the next step to bring the slanting edge (A) next to the two open straight edges, over to the bottom edges D; thus A and D lie exactly over each other, and the second slanting edge B covers the fold C.

THE UNDER-ARM LENGTH OF THE SLEEVE.

Taking the Measurements.

The pattern begins now to look something like a yoke, and is soon complete. Two pieces must be cut off, one to form the neck and the other the shoulder. Fig. 6 shows clearly how this is done, and when it is finished a yoke pattern, as in Fig. 7, is the result. The illustration gives some idea of the “fit” of a yoke cut in this way. The girls were very critical about the neck and shoulder curves, and the width across the back and front; many little alterations were made before the pattern was considered satisfactory, and good enough to cut out the material from.

FINDING THE LENGTH OF THE SLEEVE.

Having made a satisfactory yoke pattern, the next thing to tackle was the sleeve. An oblong piece of paper was again necessary, and its dimensions were found in the manner shown in the two pictures. The measure was slipped loosely around the top of the arm, and three or four inches added to allow for the arm movement. This gave the width required, and the length was found by holding the measure on the top of the shoulder, as the girl is doing in the illustration, and then carrying it around the bent elbow to the wrist.

TAKING THE WRIST MEASUREMENT.

When this oblong was folded in half, lengthwise, it faintly resembled a sleeve, but, to shape it properly, two other dimensions were necessary. The next two photographs show the girls getting them. The length of the under-arm sleeve is about three quarters of the full length, and the wrist the same fraction of the width at the top of the arm. The girls discovered these things for themselves, and marked with the rounded end of the scissors, a slightly curved line from the wrist to the under-arm position. This double piece was then cut away.

The shaping of the top of the sleeve requires a little more judgment and care. The pattern was opened out flat, and a convex curve made from one side to the top, joining a slightly concave one starting from the other. Thus they obtained the foundation of any sleeve pattern. It can easily be made wider or narrower, longer or shorter, according to the dictates of fashion.

As the frock the girls made on this occasion had sleeves with cuffs, two or three inches deep, the pattern was shortened accordingly, before the material was cut.

The girls were only beginners, so they cut patterns of the collar and cuffs in paper, and fitted all the parts on the material before cutting out.

The cuff and waistband were straight pieces of material cut to the required sizes.

MAKING THE YOKE PATTERN.

Cutting out the Pattern.

For the collar pattern, the neck length was taken, as for the yoke pattern, and an oblong piece of paper cut out, this length one way and half of it the other. (See Fig. 1). This was folded in half to form a square, and creased across the middle, as in the diagram. One of the two open corners was folded over to the crease, and the triangular pieces thus formed were cut off, as in Fig. 3. A curved line was next marked, connecting one end of the slanting edge, A, with the bottom end, C, of the fold. By measuring the length of the slanting edge A, B, along the fold, a new point D was found, and a curve was made parallel to the first curve, connecting B and D (See Fig. 4). The double paper was cut along the curves, and thus the pattern of half the collar was obtained.

MAKING THE COLLAR PATTERN.

It was found that the collar for the frock fitted better when made in two parts and in double material. Thus, in cutting out the cloth, four pieces, the size and shape of the pattern, were required.

The length required for the skirt was found by fitting on the yoke pattern, and then measuring from the middle of the front straight down, adding two or three inches for the hem.

The frock in the illustration was made from double width serge, and it was found practicable to get the skirt from one-and-a-half widths, the other half serving for the yoke. The pair of sleeves came out of a full width. This planning and arranging involved no end of simple but interesting calculation, and the reality of it all made a strong appeal to the girls.

One point of supreme importance was most carefully impressed—that was—“the way of the cloth”; certainly, if this goes wrong, the garment is ruined, and just as certainly it is a thing that will never be mastered “theoretically”—it must be learnt by actually cutting out of material.

The cutting of the sleeves from one pattern is another bit of “practical politics” which arises when a garment such as this is being made. There is no reason why the pair should not be cut together, so long as the two right, or two wrong sides are placed together. The use of French chalk for marking out the pattern on the cloth was encouraged.

The making up of the frock afforded many opportunities for practice in neat, strong stitching, combined with beauty. Suitable cottons and needles were used, nothing finer than No. 40 cotton will stand the wear and tear of every-day life. Where possible, the sewing machine was used, but the parts sewn with it were first carefully tacked.

The question of decoration aroused no end of discussion and interest the whole time the frocks were being made, and urged many a slow worker on to greater efforts. The yokes, cuffs and collars were stitched with contrasting coloured thread, and the variety of decoration was delightful. Simple hand-worked stitches are generally more effective, as well as more economical, than bought trimmings.

Of course, any difficult stitch or piece of fixing—for example, the placing of the box pleats—was always practised on a piece of “scrap” material or paper, before the frock was tackled; but when the young needlewomen realised they were “trying” a stitch or a piece of fixing, because they needed to use it in the making of the frock, they put a good deal more zest into the work than if it was a mere “needlework exercise.” No new material was ever torn up for these practices—odd bits of any shape or size were used, and a bag of such pieces was always at hand, in sewing lesson, for this purpose.

On the score of both economy and efficiency, one would plead that the tearing up of good flannel and calico for the “sewing lesson” should be rigidly tabooed. Probably no other subject offers such unique opportunities in our schools for inculcating habits of thrift and economy, with increased efficiency in the teaching.

The distress of nations, with its awful promise of misery and poverty in the future, gives this branch of a girl’s education an added importance. Surely we must neglect no opportunity of improving it!

Books of Cheerfulness

By FLORA KLICKMANN

THE FLOWER-PATCH AMONG THE HILLS
AND
BETWEEN THE LARCH WOODS AND THE WEIR

The Art of Blouse Making.

The Blouse is fastened with eyelet holes and ribbon velvet.

With an up-to-date pattern and good material, the making of one’s own blouses is but a delightful pastime, as well as a very profitable one. The material for the blouse shown here cost very little, just a few shillings would, in fact, pay for the paper pattern, two yards of the material, a dozen little bone rings and two yards of narrow velvet ribbon for the lacings, but the cost of a similar blouse ready-made would be at least four times as much.

The various pieces were all cut out by a paper pattern, which was pinned on the material, and on which there was an allowance of a quarter inch margin. The collar, cuffs, and yoke were cut double. The last three items had their edges all turned inwards, to the depth of the margin allowed, then both pieces of each were tacked together with their edges perfectly even.

The little turned back cuff had the two pieces stitched together on the wrong side on the outer edge and sides, then turned inside out and the edges tacked flat. The inside edge was tacked in between the two pieces of the large cuff and secured with a row of stitching.

The sleeves were joined with a French seam, then both ends were turned into a narrow hem, which was tacked carefully. The edge at the lower end was gathered to fit the cuff with top stitch set evenly, and for this the same kind of thread as used in the faggoting was employed.

The fronts had the edges cased with a piece of the material for a depth of two inches. The back was joined to the fronts in the underarm seam by a French seam as in the sleeve, then the entire top portion of back and front and the armholes were turned into a narrow hem, and tacked securely, the front edges gathered as in the sleeve, to fit the yoke.

Narrow strips of stiff paper were tacked underneath the lines where the different parts were to be joined, and then the faggoting was commenced by beginning at the right front edge, as shown on this page.

Bring out the thread through the edge of the yoke, carry it down in a straight line to top front edge, and insert the needle down through the material, bring it out above the stitch just formed, which you draw up evenly, now repeat this stitch through the edge of the yoke one-eighth of an inch from the first stitch, and so on from one side to the other. Make all joining in the thread on the back of the hem.

When the faggoting is finished, the hems are worked with a row of stem stitch, which keeps them in place and gives a neat finish.

The eyelet holes were next worked, and the method is shown in the diagram. Quarter-inch bone rings are used. Place each in position on the material and tack around, then work over in close buttonhole stitch, having the top of the stitches resting on the material. The centre of the eyelet hole is cut away on the back. The front and cuffs are laced through these holes, which are set opposite each other, with narrow velvet.

At the waist line there is a narrow casing of muslin on the inside, to take the tape, tie-string or elastic, and the lower end is neatly hemmed. The edges of the collar, cuffs, etc., may have a row of machine, or hand stitching on the right side, or they may be joined by stitching on the wrong side and then turned out.

This shows the method of faggoting, the stem-stitched hem, and the raised eyelet hole.

Decorative Stitches for Children’s Clothes.

How to decorate the simple garments made at home is a question one frequently meets.

SOME PRETTY EFFECTS IN TACKING STITCH

Children’s overalls and frocks, little boys’ tunics, and blouses for the elder girls, usually need some trimming or decoration, and it is often difficult to find just the right kind. This is especially the case with coloured garments, and those for which lace is unsuitable. Many people like a little embroidery, but it is not always easy to get an entirely suitable pattern. Some require more time than the home worker is able to give, and some are more elaborate than is desirable for the garment.

A simple kind of stitchery is usually resorted to, and very often meets the case, and one may see little frocks and tunics of inexpensive materials, with quite a note of distinction given by the pretty stitching on the hems and bands.

The favourite and most frequently seen among the stitches so used, are the French knot, stem stitch and feather stitch. It is with the idea of suggesting other stitches and arrangements, that these diagrams and illustrations are given, and with attention to a very few simple directions, the most diffident worker may be sure of a good result.

One feature of decorative stitchery of this kind, is that it may also be constructional, that is, that where a hem is to be decorated, it need not first be stitched with the machine, the decoration does the work of the machine. This point is not always realised by the home worker, who usually makes the garment with the sewing machine, and then proceeds to decorate it, adding French knots and perhaps stem stitch to hide the machining.

Some machining is often necessary, but much can be dispensed with, without detriment to the garment, and this makes it possible to do, at any rate, part of the home dressmaking, away from the noise and busy atmosphere almost inseparable from a room dominated by a sewing machine.

EFFECTIVE BORDERS FOR CHILDREN’S FROCKS.

In making a little magyar overall, like that illustrated, for instance, the side seams and opening may be sewn with a machine, the hems and neck prepared as if for machining, and then the decoration applied. The home worker, whose husband has a rooted objection to having a sewing machine at work when he comes home in the evening, cuts out and machines part of her work during the day, and has only the pleasant part to do by hand in the evening, while she is free to talk, or listen to the day’s news.

The Belt and Sleeves.

HOW THE HEM AND SLEEVES ARE FINISHED.

The value of the simple tacking stitch as a trimming is not fully realised. On another page are shown some very distinctive effects in this stitch, and in the frock illustrated the stitch is used in conjunction with the Y stitch which is shown and described.

The worker who has not yet used the tacking stitch as a decorative stitch must be careful on a few points, however. The stitch must not be too long, and the length and spacing must be as even as possible.

A novice might make an experiment on a little garment of brown calico, holland or écru-coloured casement cloth.

THE STITCHES USED FOR THE BELT OF THE CHILD’S FROCK.

Turn up the hems on the right side of the garment, and with turkey-red embroidery cotton of medium thickness, make the first row of tacking about where the hem would be machined. The first row is the most important and needs the most care.

THE STITCH THAT IS COMBINED WITH TACKING STITCH ON THE FROCK BELOW.

As a general rule no tacking stitch used as a decoration should be more than half-an-inch in length, and the space between proportionately less. The space between may be equal to the stitch, or may be half or a quarter its length, but neither stitch or space should be longer than half-an-inch, or the result may be a series of long threads, apt to become loops if suddenly caught.

For the experiment, make the stitches about one-third of an inch, and the space between either the same or very small—about one-tenth of an inch. An inch measure at hand to test the first few stitches will quickly help the eye to guess the correct length of the remainder without effort. After the first row, the most difficult part is over, as the second and succeeding rows will be exactly the same length.

A CHILD’S FROCK DECORATED WITH TACKING STITCH AND Y STITCH.

Three rows of stitching close together will result in a pattern of red oblongs, with regular spaces between them. These may become squares if more rows are added.

All the illustrations on [pages 61] and [62] are based on the tacking stitch, and may be applied to the decoration of a hem, or the border of belt or neck.

Pretty Fancy Stitches.

An illustration on [page 63] shows the treatment of the two-inch hem on the child’s frock. The vertical bar repeated at regular intervals round the hem is filled with a variation of the Y stitch, the working of which is shown in diagrams A, B and C on [page 64].