(1919) A Complete Course in Millinery

Class XJ^jO:
Copyright N"_/î^
CDEffilGHT DEPOSIT.
A COMPLLTL COURSE
IN MILLINERY
Twenty-four Practical Lessons Detail-
ing the Processes for Mastering the
ART OF MILLINERY
A Text Book for Teachers of Millinery. A
Guide for the Millinery Workroom. Especially
Compiled to Provide Complete and Practical
Lessons for the Student in Shop or School or
at Home. Incorporates all the methods which
experienced Milliners employ to lighten their
tasks and make easy the most difficult processes
Founded on Lessons in Millinery from

THE ILLUSTRATED MILLINER, NEW YORK
Arranged by Julia Bottomley, 1914
Revised by
Emma Maxwell Burke, 1919
Published by
THE ILLUSTRATED MILLINER CO.

NEW YORK
1^ 1^
Copyrighted 1919
by
THE ILLU5TRATLD MILLINLR CO.
New York
Entered According to Act of Congress

In the Office ot the Librarian of Congress
Washington, D. C.
All Rights Reserved
A Revision of Practical Millinery Lessons

Copyright 1905
Grosvenor K. Glenn
Copyright 1914
THL ILLU5TRATLD MILLINLR CO.
C
*/
Edition of 1919 "^Z y '
©CI,A5668y5
A COMPLETE COURSE IN MILLINERY
INDEX TO LESSONS
Preparation for Lessons .....
The Work Table .
^
Tools and Findings Necessary .
Lesson T . . . To Make a One-Piece Wire Frame

Lesson II. . . To Make a Two-Piece Wire Frame
Lesson III . . The Stitches Used in Millinery
Lesson IV . . To Cover a Wire Frame .
Lesson V. . . Covering Hat Foundations

Lesson VI . . Sewing Braid in Fancy Forms ,
Lesson VII . . Lining the Crown

Lesson VIII. . Making Hat Bandeaux
Lesson IX . i Making Buckram Frames
Lesson X . . Varying the Buckram Frame
Lesson XI . . Emergencies in Frame Making
Lesson XII . . Covering the Buckram Frame
Lesson XIII. . Brim Finishes .
Lesson XIV . . Covering the Crown.

Lesson XV . . Folds and Hems
Lesson XVI . . Brim Bindings .
Lesson XVII . French Design Work

Lesson XVIII . Five Different Crowns
Lesson XIX . . Draping Crowns and Velvet
Lesson XX . . Transparent Hats
Lesson XXI . . Transparent Brims .
Lesson XXII. . Bows and Other Fancies .
Lesson XXIII . Shirrings, Rosettes and Buckles

Lesson XXIV . Wiring Ribbon .
Lesson XXV . . Bows and Rosettes

Lesson XXVI . Renovating Stocks
Steaming Velvets and
Steaming Malines
Renovating Flowers
Tinting Flowers
Cleaning Laces .
Tinting Braids .
To Make Various Colors

A COMPLETE COURSE, IN MILLINERY
lfi.fv
PREPARATION FOR LESSONS
Light — Necessary Supplies — Tools
When taking up the study of millinery, one should approach it
neither with fear nor an overconfidence.

A lady once said, "To see a velvet hat, its perfect binding, its ar-
tistic folds, smooth surfaces and delicate curves, with never a
its
stitch showing, nor a hint of its supporting structure, fills me with

awe, as in the presence of a "mystery."
But be it remembered that what has been done by one human
being, in all ordinary cases, can be accomplished by another, with
persistence and care.
The hat is not made at one "fell bound," but little by little the
art is acquired, each step following the last in natural sequence and
each step neither difficult nor unpleasant.
To approach the subject in this spirit is never to feel fear.

The overconfidence usually comes with the tiatural milliner.
There no such person
is One may possess a natural aptitude for
!
the art, but when the assumption is made that the person in ques-
tion "only needs a lesson or two, for she makes all our hats at home,"
you can safely depend upon the fact that the hats look it!
A man may deem himself a natural carpenter, but he does not
dare to build a house until he has learned how to lay the foundation,
raise the superstructure, put in the chimney, weatherboard and roof
it, and then the interior finish has to come afterward.
In making a hat, it is equally necessary that a person be skilled

in making the frame, strongly bracing it, padding the edge, and then
putting on the velvet, silk or braid, in a workmanlike way. The
finishing comes on the outside, in the choice of trimming, which
must be made in a certain manner, and arranged for artistic effect.
The "natural milliner" is especially hard to teach, because of
preconceived opinions, which are usually wrong. So the first step
is to unlearn before beginning instruction.
Taste and ability vary in individuals, and no one is so glad to

discover one or both as the instructor, who will do everything in her
power to develop them.
These lessons are in daily use in hundreds of classes in Domestic
Arts, in school everywhere. They have been most carefully revised
for this edition. Thousands of students have qualified for the
trade, hundreds have opened businesses of their own. Others
have used the lessons for self-instruction. All have been equally
successful.
If each of these lessons is mastered in turn, the next one will
not be difficult. With an open mind and cheerful heart we will
now look to the necessities for beginning.
Good Light Very Essential

Light is the first requisite. Light, and lots of it. Not the direct
rays of the sun, but a strong light diffused through a thin curtain or
frosted glass. The position is preferable if the light could fall over
the left shoulder.
A table for our work is the next consideration. A plain kitchen
table with a drawer fills all requirements. Cover it with a sheet or
some white cotton cloth, doubled several times. Be careful that
the cloth has no nap to rub off on velvet. Secure the cloth by a
few tacks underneath the table edge. These can be easily removed
so that the cloth can be washed.
Do not make the mistake of using oilcloth, for no oilcloth made
but will gather an infinitesimal dust, which will show on white velvet
or a clean duster, when
rubbed over the oilcloth surface.
it is
Have low enough, so the feet come squarely

a comfortable chair,
on the floor, without undue pressure on the edge of thei seat. For one
who sits long hours too much care cannot be given to the nature
of the chair. The old fashioned wooden Windsor chair is preferable
to any other because the seat never sags, causing pressure on the
edge. If the seat is too hard, use a thin cushion.
The furnished with a small piece of hard wood
table should be
into which have been driven a half dozen headless wire nails for a
spool rack. The wood should be sufficiently heavy and broad to
hold the spools upright and not turn over. This rack will hold the
four spools which will be enumerated later, and the two empty nails
are for colored thread, as it may be needed.
A flat tray for pins is better than a cushion, for when the pins
are being taken out of a piece of work it is very much easier to put
them on a tray than to stick them in a cushion, and they are no
harder to get when used.
The following list comprises the necessary furnishings for a
beginner
1 spool of white millinery thread No. 24
1 spool of black millinery thread No. 24
1 ordinary white sewing thread No. 60
1 spool ordinary black sewing thread No. 60
1 paper of millinery needles No, 5
1 paper of sharps No. 8 for fine work
1 apron, 1 tape line, 1 notebook, 1 pencil
1 pair of shears, 8 inches long
1 pair smaller scissors, with sharp points
1 wooden foot rule, 1 pair of millinery pliers
1 paper of pins, 1 piece of white brace wire
1 piece of black brace wire, 1 spool of black tie wire
1 spool of white tire wire, 1 spool of uncovered tie wire
Other materials can be purchased as needed. It is well to keep

a basket on the table, with all the tools of construction in it.
flat
A few aluminum thimbles are always a convenience, for it never

pays to expend time in hunting anything. The spool rack, basket
and pin tray should be kept on the table, and with the work on hand
can be covered at night with a cloth. The remainder of the furnish-
ings can be placed in the drawer of the table.
The work table should always be near a gas plate or stove,

where a pressing iron can be heated or a tea kettle boiled for steam.
Millinery Thread
Millinery thread is specially prepared for the art of hat making.
It is well twisted and heavily waxed so that it will glide through

fabrics easily. It unwinds like wire and must always be caught in
the slit of the spool.
Millinery Needles
No. 24 millinery thread requires a No. 5 millinery needle, and
these are the sizes used in all the heavier parts of hat construction.
The thread is made so strong in order that fewer stitches may be
required, and the length of the needle is for reaching spaces that
otherwise could not be covered.
A COMPLETE COURSE. IN MILLINERY
Threading the Needle
When threading the hold the thread taut between the
needle,
thumb and hand and cut the thread on the bias.
fingers of the left
This gives it a point which be careful not to touch, and it will go
through the eye of the needle without any trouble. If the thread is
broken off, cut square or dampened, it will loosen the wax, fray and
make it difficult to thread.
When finer thread is required,
never use silk. Silk thread is an
abomination to the milliner, although it sometimes has to be employed
because a color cannot be matched in any cotton thread. When silk
is used for gathering it frays out and breaks. A knot made of it
is liable to slip. For the same reasons the mercerized cotton thread
is not desirable. Get the fine, hard twisted cotton thread for* fine
work; it can be depended upon.
Millinery Wires
As to the ordinary frame or brace wire may be
wires, the
covered with silk or cotton, but never get that which is covered with
paper or a slack, flimsy cotton covering that frays at sight. The
wire must be firmly covered, to make a good frame. If the braid or
fabric to be used in the construction of the hat
is such that the?
frame will not show through, the uncovered wire can be used.
tie
But if it is transparent or has interstices that will^ reveal the frame,
the tie wire must be covered to match thei brace wire. Covered
tie wire is never as strong as the uncovered, and consequently has
to be used with greater care or it will break under the twisting of

the pliers.
The Useful Notebook
Nothing is more useful than a notebook. There are constantly
coming up items worth preserving, which if fastened to paper will
stay with you, while otherwise they would vanish away.
Millinery Pliers
It is economy to buy the best millinery pliers and scissors. They
should be of the best steel, as they last a lifetime. See that the tip
of the plier will hold a tie wire, so that it can be twisted. Sometimes
the wire cutter on the side of the blade holds the tip of the pliers
apart,when they are almost useless for frame making.
With these preparations we are now ready for the first lesson.
8
jg^p^
leaving about one-quarter of an inch, which press down with
the pHers.
The one-piece frame is much simpler than the two-piece

frame. If the headsize of a one-piece frame fits as it should,
the crown is necessarily not very large, and if fashion dictates
a largecrown the headsize must be correspondingly large, and
a bandeau used to make it fit the head.
A frame is made of regular frame wire, either silk or cot-

ton covered, but we designate the wires that run up and down
and those that run around the frame by different names.
The wires that go around the frame on the outside and

give its real shape are called stay wires. Those that proceed
from the crown center to the brim edge are called brace wires,
because they brace the stay wires in position. When the crown
is separate the stay wires at the top and bottom are called re-
spectively the crown top and the crown base. The outer stay
^H.
Figure 3
Tie wire twisted. To be cut Figure 4

near intersection. Placing the " head size " wire.
wire of the brim is called the edge wire, and the circle that
comes next to the head is called the headsize. In a one-piece

frame the headsize and the crown base are the same wire.
10
The One-Piece Frame
Cut four pieces of frame wire from a bolt, each 25 incher^
in length. It will be easiest to straighten out each 25 inches as

you cut it. Hold the end of the wire in the left hand, letting
the rest of it curve out and downward. Pass the wire through
the right hand, with the thumb pressed hard between the first
and second fingers, holding the fingers the least bit apart. Draw
the wire through the fingers, pulling by the left hand, until it is
straightened perfectly. Never try to do this by sudden bends

along the wire's length, or it will be in notches. Take the f oui^
pieces of wire, form them into a bundle, side by side, tie them
in the middle with the tie wire wrapped about them three or
four times and twisted up, not too tightly,, as the wires must
now be spread out, as shown in Figure 5. Bend down each end
one-half of an inch. At 4 inches from the tied center bend
each wire downward at right angles to make the side crown.
This should be 3^ inches long. Then bend the wires outward
at right angles to form the brim. Take a wire 26 inches long
and overlap it 2 inches and secure each end with tie wire. Slip
this over the crown and secure to each brace wire at the head-
size. Let the brace wires be equally distant from each other.
(Figure 4). The overlapping wires denote the back of the
frame. Make a second circle the same size as this first one and
place about the crown top, putting the overlap at the back.
it
Cut a piece of wire 53 inches long, overlap the ends 2 inches,

and fasten with tie wire. This is the edge wire. Place the
circle within the downward turned ends of the brace wires, and
press the brace wires firmly about the edge wire with the pliers.
Let all overlaps be at the back. This gives the main structure
of the frame, but needs three more wire circles to complete
it
it, one between the edge wire and the headsize, another on the
side crown between the headsize and the crown top, and the
n
lastbetween the crown top and the center of the crown. These
three wires are secured with tie wire wherever they cross a
brace wire. This completes a one-piece frame (Figure 6),
Figure 5— Brace wires tied with tie Figure 6 — Wire placed midway between
wire at center and spread apart. wire and headsize.
which can be varied as to size or shape of brim or crown, as

fancy may dictate.
A curved crown top and sloping side crown may be fash-
ioned by making the first of the brace wires into the desired
shape and forming the three others by the first.
In a like manner the brim may be made narrow or wide,
drooping or turned up or given any fancy shape.
By practice one soon acquires the faculty of shaping a one-
piece wire frame to meet any demand of fashion.
12
LESSON II
To Make a Two-Piece Wire Frame

The standard shape for a two-piece wire frame- is the
sailor, which can be modified and changed to almost any other
form. We will first make a round, flat-topped crown with
straight sides.Cut four pieces of wire each 16^ inches long.
Put them side by side in a bundle, tie them in the centre with
tie wire, then loosen up so they may be spread out as shown in
Figure 5, in Lesson No. 1 (see page 12). Turn all the ends
downward at right angles for a half inch; 41^^ inches from the
center, turn down the wires at right angles to form the s'ide
crown, which will be 3^ inches high. Take 27^ inches of wire,

overlap it 2 inches, making a circle. Secure the ends with tie
wire. Lay this circle over the turned-down ends of the brace
wire, press the ends about the circle with the pliers, keeping the
wires equally spaced. Then make a similar circle to place
about the side crown where the top begins and let all overlaps
be in the back. Put one more stay wire between the headsize,
and the crown top and the center of the crown. Secure all
Figure i — The circular brim. Figure 2 —The elongated brim.

13
these with tie wires, allowing 2 inches overlap in each instance.
This completes the crown. Cut a piece of wire 53 inches long
and another 26^ inches long, overlap each 2 inches and fasten
with tie wire/ Make complete circles of each. Place the
smaller one, which is the headsize, within the larger one, which
is the edge wire. Have them equally distant from each other
at all points. Measure the distance from the headsize to the
edge wire and cut eight wires that length, plus 1 inch. This
allows ^ inch at either end of these brace wires to turn over
the headsize wire first and the edge wire. Put them all on the
headsize wire first and then secure them to the edge wire,
pressing them down firmly with the pliers. It is easier to space
these wires by fastening first the wire in the back, which will
come middle of the overlap of the headsize then the one
in the ;
in front and next the two side ones. The four intervening
wires are then easily placed. One more stay wire is needed
between the headsize and the brim edge. This is put on the
upper side of the brim and secured with tie wire. All overlays
come in the back. (See Figures 1 and 2, page 13.)
Wiring the Brim

if the braid to heavy or for any reason extra
be used is
stability is desired, double wire the brim edge.

This is done by
cutting a wire the same length as the brim edge, placing it
underneath the edge and wrapping the two wires together with
thread. Take your needle, put a double thread in it, and knot
the ends. Slip this knot over the two wires and pass your
needle under the wires and between the threads just above the
knot. Cinch it up and this gives a good anchorage for the
start. Put the needle around and around the two wires, dis-
posing the thread at even intervals. This makes a firm edge,
and one that will hold any shape in which one desires to bend
it. Remember in constructing a frame that the stay wires are
14
always outside of the brace wires except on the edges, as the
brace edge, or the headsize. This completes the two-piece frame
How the Brim May Be Varied

To vary this shape take the brim first. Make the headsize
as before directed, fasten on the eight brace wires and bend
them in any shape desired; next put them on the edge wire,
fastening it to each of the eight wires in turn, all the while
carefully preserving the desired shape. Close the edge wire
last and then brace with one or two wires between the edge
wife and the headsize. If one side is to turn up it may be nec-
essary to cut some of the brace wires longer than others. If a
drooping brim is aflfected the edge wire is simply contracted.
Practice will soon make it easy to develop any shape the mind
may suggest.
Varying the Crown

The crown is varied by taking a piece of wire and making
the exact outline desired. Then cut four of these wires and
allow ^ inch on each end to turn over the headsize wire. It
may be a round crown or only rounding at the crown top, but

there is no limit to the shapes it may assume. In an oblong
crown the brace on the sides than from the
vires are shorter
front to the back. The headsize
of any frame does not fit
well when it is perfectly round. If the brim in Figure 1 is
pulled from front to back, it will assume the shape shown in
Figure 2, and can be made to fit any shaped head and hot
change the fiat brim. The headsize of the brim is necessarily
always a little smaller than the headsize of the cr6wn, in order
that the crown may on the brim. An allowance should
set
always be made in fitting the brim headsize for the braid or

fabric of which it is made must turn up into the headsize and
moreover there will be two thicknesses of the hat lining about
15
the headsize. For that reason the headsize should be larger
than the required size when An average way to de-
finished.
termine this is to insert twounder the wire, when plac-
fingers
ing it about the head to get the headsize. This v ill allow the
right enlargement. When the brim headsize is oval, the head-
size of the crown should correspond and ain ng err
' i
the consequence as shown in Figure 3.
Figure 3 —The round en
Frames which are to be cove erials

which are not transparent can be m . wire.
But if they are of open work or mi trans-
parent material, covered tie wire mpletes
instruction on the wire frame.
16
LESSON III
., The Stitches Used in Millinery
Now, as our wire frame is completed, we will learn some

oh4i& stitc'-;' S'Me. must use, in covering the frame, and in sub-
^tq ot le' millinery.

ne mplest is the running stitches, shown in
Fig. 5 in shirrings or gatherings. The stitches
can ^ needle, until it is full, before drawn

it is
thrc the fabric is light and thin. There is
-^-
^lGUf?E I
unning Stitch
never vo thicknesses of cloth used in gath-

*r
ihows the back stitch, which is used in sewing
Fl&UfTE 1
Drop Stitch
. 17
two thicknesses of fabric together in a seam. In sewing to-
gether strips of velvet or cloth, or anything that requires a
stout seam, the back stitch is most efficient. The first stitch
is taken the same as the running stitch; it is pulled clear
through, and the next stitch, thrust in, at the middle of the
fabric, taken up by the first stitch, and completed the same dis-
tance in front of the termination of the first stitch, at the be-
ginning of the second stitch is behind it. This repeated, n **ig
each stitch back of the last one, gives us the process oi tick
stitching.
Overcast Stitch
Figure 3 is the overcast stitch, and is used to join selvage

edges, or to overcast the edge of brims or crown base. The
stitch is made by throwing or casting the thread over an edge,
and drawing the needle through, always in the same direction.
In gathering laces and very light materials the overcast stitch
is often used.
Figure 4 shows the feather stitch. It is used to hold down
a hem, or for ornamentation. It is really made by sewing back-
ward, and runs toward the right, while all others run toward
IS
Feather Stitch
the left. At the extreme left of your hem, or row of orna-

mental work take one running stitch toward the left and draw it
clear through. Move toward the right at an angle of 45 degrees,
and take another running stitch toward the left. The third
stitch is made at the same angle toward the right, but we swing
back on a straight line from the first stitch, and so it goes on,
swinging from side to side, and progressing to the right all the
time.
The feather stitch is used to sew ribbon wire to ribbons,
and the edges of flat seams are often secured by it. In fancy
work it is one of the most ornamental stitches.
Buttonhole Stitch
The buttonhole stitch, shown in Figure 5, is used to finish

edges, secure wires, or as a finishing stitch to fasten the end of
19
thread. It is employed work. For buttonholes the
in applique
stitches are placed close together, making a firm edge.
The slip stitch is one of the most important and the stitch
most frequently used in millinery work. Its main object is to
lay a flat hem without turning under the last edge, thus making
only two thicknesses of the goods, instead of three. Take up
the least possible threads, with the needle on the back of the
goods, then slip the needle under the raw edge that is turned
over for the hem, and let it be quite a distance from this edge,
where the needle comes through, so it will not pull out. Then
again, take a second small stitch and thrust through upper flap
again, as shown in Figure 6. If this is properly done, it will
not show the stitches on the right side at all in velvet and very
little in other fabrics.
Slip Stitch
The blind stitch. Figure 7, is used where we want no stitch

to show at all on either side. The sample shows two edges
brought together with this stitch, so all the thread will disap-
pear from view when it is drawn up tight. Insert the needle
in the tube-likeedge of the fold, take the length of a good sized
stitch and bring the needle out just under the edge of the fold.
Exactly opposite, insert it in the other fold, on its edge, take
thesame length stitch and bring across to the needle in the
same manner as the first stitch. Take the needle across toi the
20
fold opposite in a straight line, and insert again. Repeat this
process and draw the edges together as you go. If the thread
is not taken across from one fold to the other in a straight line,
but is allowed to slant, it cannot be pulled tight enough to causa

the thread to disappear. Remember this point, for it is the fre-
quent mistake of blind-stitching. This stitch can be used for
a hem by taking up the smallest portion of the fabric just even
with the turned under edge of the hem, draw the needle
through and exactly opposite on the hem itself insert the needle
on the edge and let it slide along in the tube-like roll of the
goods, the length of a good-sized stitch and bring out on the
Blind Stitch Stab Stitch
edge of the hem, and opposite it on the fabric take another tiny
stitch, cinch it up and all the thread will disappear. The blind
stitch isused not only for hems but for putting in facings for
brims, making
rolled edges and drawing together the turned in
edges of velvet hat brims. In the latter case the stitches can be
made of the same length as the edges are brought together.
Thestab stitch. Figure 8, is only used in sewing a heavy
fabric,such as buckram, or when sewing on trimmings. The
needle goes clear through, the thread following, and then back
in the same manner, both strokes being required to make the
one stitch.
21
The saddlers' stitch, Figure 9, is used for making folds
holding together turned-in edges to make a seam. The needle
is passed through the edge as in the slip stitch, and then through
Saddler's Stitch Lacing Stitch
the opposite edge the same way. Go back and forth in this
manner, sewing toward the left and each stitch advancing in
that direction at an angle of 45 degrees.
The lacing stitch, Figure 10, is used exactly as the sad-
dlers' stitch, and is made like it, only a small running stitch is
taken up on either edge, instead of a slip stitch.
The tie stitch, Figure 11, is used for putting on trimming
Tie Stitch.
or securing loops of ribbon, or for any purpose which needs but

the one stitch. A
hat is seldom finished without use of a tie
stitch. It may be used to secure a leaf, flower, fold or lining,
22
and the crown is often fastened to the brim by tie stitches only.
It is made by passing the needle through and back again as in
the stab stitch, tying it twice and cutting off short. If great
strength is desired, use double thread.
The hidden stitch, Figure 12, is used when a hat crown is
sewed on to the brim. Whether the tie stitch or the stilting

stitch is employed it must come through the fabric of the brim,
where a stitch is most undesirable. If the thread, usually dou-
ble, is brought through on the under brim, if it be firmly
pulled to the right, it will make a tiny opening in the fabric

where the needle first came through, and while the thread is
held very taut, insert the point of the needle in the tiny hole
at the thread base, incline the needle at a different angle
from which it came through in the first place, and when the
thread is drawn back through the hole it will disappear en-
tirely if no portion of the fabric has been allowed to come
between the thread base and the needle point. If the threads
of the goods are slightly disarranged they can easily be put in
place by the needle point.
The stilting stitch (Figure 13) is used in sewing brim
edges together or in -sewing the braid on the upper side of a
Stilting Stitch
A concealed stitch very much used

Hidden Stitch in millinery work
23
hat brim, where the needle necessarily passes through the
braid on the lower side of the brim, and the stitching must
be concealed on both sides. The stitch is made by inclining
the needle at an angle of 5 degrees and sewing back and
forth toward the left at this angle, as shown in the sample.
The least possible thread is visible. The needle is supposed
to take the posture of a boy walking on stilts, hence its name.
The sliding stitch (Figure 14) is simply a loop of the
thread, slid along by the needle and drawn into a knot. It
is used where it is impossible to take a stitch and the only

way to fasten the thread is to slide this loop along and se-
cure with its knot. It is particularly useful where the hat
lining is drawn together.
/^
ymmmrmmm
FIGURE 15
Sliding Stitch Blanket Stitch
The blanket stitch (Figure 15) is exactly like the but-

tonhole stitch, except that the thread is thrown over the
point of the needle from left to right, while in the buttonhole
stitch the thread is thrown from right to left. The blanket
stitch makes a softer edge than the buttonhole stitch and is
more desirable in most millinery work.
24
LESSON IV
To Cover a Wire Frame
We will now take our two-piece wire frame and cover
it with mull or crinoline for a foundation upon which to sew
the braid. If the braid to be used covers well, crinoline is
the better of the two, as it is a little stififer than* mull, but if
the interlining will show through, mull will look better than
the crinoline. Some of the fancy straws and hair braids
have such wide interstices that it is often best to cover the
frame with a cheap mercerized lining fabric that looks like
silk, and has as much body to it. This generally matches
the straw in color, and is usually used on the upper side of
the brim and the outside of the crown. Transparent hats of
chiffon, and maline are made differently and will be
lace
considered later. Whatever interlining is chosen, place the
front of the brim in a bias corner of the goods and let it lie
smoothly over the upper side of the brim. Secure by turn-
ing the goods over the brim edge and pinning it there. First
No. I Crown frame partly covered
put in a pin, on the straight of the goods at right angles, and

its opposite. This leaves the four bias places between, where
all wrinkles can be taken out. Put in the pins about an inch
25
apart, being careful not to pull the goods, so as to cramp the
brim or change its shape.
Cut off the surplus goods, leaving ^
inch overlap around
the brim edge. Oevrcast it as shown in the picture. Then
cut the headsize, leaving about ^
of an inch to sash, and turn
over the headsize wire. Overcast the same as the brim edge.
This is clearly shown in the diagram. Next the crown must
be covered. If the top is flat, cover the same as the brim;
that is, place the front on a and pin it first
bias of the goods,
on the straight of the goods, and then on its opposite, next
on the straight, at right angles, and then on its opposite, and
then secure the four bias pieces between. Use pins one inch
No. 2 Crinoline — covered wire brim

apart and cut away the goods, leaving ^ of an inch over the
outer wire of the crown top. Overcast this as shown in
illustration. The reason for pinning the interlining on the
straight of the goods first is that it cannot pull out of shape,
26
across it, or in its length; but on the bias it can always be
pulled into another form. If the top of the crown is round-
ing, the fulness can sometimes be taken up by pulling and
smoothing down the bias places in the goods, or the covering
may" be slit, as shown in the picture, lapped over and stitched
up until the parts will not hold the thread, when you must
change to a lock stitch, across the seam, as shown in the
sample, near the crown top. If this fulness is laid over in
plaits it will be found very hard to manage and get smooth,
as it nears the center of the crown. Next cut a piece of the
goods long enough to go around the side crown and to
overlap one inch. Let it be also one inch wider than the
side crown is high. Turn in half inch on the edge, which
goes next to the crown top and around the side crown,
pin it
just even with the outer wire of the crown top. Lap it over
the extra inch, allowed in measuring around the side crown
and sew it together^ with long stab stitches. Sew the side
crown on next to the crown top, with long stitches on the
right side, as shown in diagram. At the headsize turn under
the goods, pin it and overcast. The frame is now ready for
the braid.
We will next consider the covering of wire shapes that

may be varied from the sailor. As mull is more pliant than
crinoline, it is better for these irregular forms. If the crown
is round or bell shaped, it is sometimes covered with one
piece. This can be done when the braid will not show
through. Place a straight piece of the mull at the front of
the crown, turn it under at the headsize and pin. Then pin
the goods, at right angles to the front. Now drape down the
opposite side similarly; next the two straight places in all
the fulness possible at the four bias places, between the
27
four straight points that are pinned, and form each bias
place into five plaits, all turning the same way.
This takes up the fulness. Another way is to slash the
bias places and lay one fold of the goods over the other, as
in the sailor crown top. This is more apt to ravel. A third
method is to cut out small gores and then overlap. In any
case, the crown is overcast at the headsize after it is pinned
and the fulness disposed of. Suppose the brim is turned up
all around, as in some turban shapes. Then the mull is
placed on the under side, next to the face. The bias is put
to the front, and pinned in the four straight places of the
goods. What fulness can be taken up by stretching is dis-
posed of, and if more remains it is plaited over, slashed and
overlaid, or a gore taken out. Then overcast around the
brim edge, and manage the headsize, as in the sailor. In
fluted brims, or those that flare much, it is often necessary to
insert a gusset wherever needed. Many milliners prefer to
cut out plaques for covering the frames before beginning the
process. In that case measurements must be taken from front
to back and from side to side and a plaque cut out large enough
to cover and allow an inch extra. The only difficulty in this
method is that the plaque will stretch so much on the bias
that its form is changed more or less and the goods may
come short at one point and have to be cut away at others.
It is not so economical as when pinned from the whole piece
of goods. These varied forms can be covered with crinoline,

only it little more care and management, but with
takes a
practice any frame can be smoothly covered.
28
LESSON V
Applying the Covering to Hat Foundation
We now have the wire frame, made and covered with
crinoHne or mull, and will proceed to sew on the braid.
Sometimes it is fashionable to bind the brim edge with the
braid. If the braid is straw, turn in 3^ inch on the end. If
it is lace, or hair braid, tie the end and turn it in. Begin on
the brim edge, in the back, and let the braid extend equally,
on both sides of the brim edge. Sew it around, near the
edge of the braid, back and forth, with a stab stitch, about
^ inch long, on either side. When the braid comes around
to the place of beginning, turn it under on the end and bring
the first and second ends together flat and sew them down.
The first row of braid sewed on the under side of the brim.
is
Begin in the back, at where the binding began.

the point
Turn in the end of the braid if it is quite wide, and let the
edge o fit project over the brim edge, stitching just within the
brim edge wire, with the small stitch, on the under part of
the brim, and the long one, on its top. Stitches y^ inch apart
will hold it nicely. When the complete circle of the brim is
made, end it by turning in the braid for înch and sewing
the two ends down flat. Then stitch the edge of the braid,
nearest the headsize, with long stitches on the under side of
the brim, and short ones on the upper. Whenever silks, vel-
vets or braids are to be held in place, and the stitching will
not eventually show, the long stitch is put on the right side,
because it does more toward holding the fabric in place. For
instance, this row of braid is sewed with the small stitch on its
outer edge, because it will show, and the long stitch on its inner
edge, because it wants to be held firmly and will be covered
with the next row of braid.
29
The second row of braid starts in the back, is turned un-
der, and stitched down, with the edge nearest the brim edge,
overlapping the first row of braid sufficiently to hide the
stitches on its inner edge.
Sew it on with the small stitch, on the right side, and the
long stitch on the wrong or upper brim side, making the sew-
ing come, as nearly as possible directly above the stitching,
on the inner edge of the first row when around, finish it the
;
same as the first row. Continue this process until the under-
brim is completed to the headsize. If the last row is too
wide, let it extend up into the headsize, for the headsize wire
must always be covered with the braid, and it must extend up
into the crown far enough to be siitched to the braid that
extends from the upper side of the brim and held in an
upright position toward the crown top. This makes a founda-
tion to sew the crown lining to. If one side of the brim
is wider than the other or the brim is of irregular shape, the
last row of braid will have a bare space near the headsize.
Fill this in, with short lengths of braid, overlapped like the
outer circles, and let the ends extend up into the headsize.
The upper side of the brim is sewed on exactly the same

as the lower one, only the stilting stitch is used, so it will
not show on either side. As either the upper or lower side
of the brim must be sewed through, in order to get the braid
on both sides, it is best to sew through the under side, so
there will be the least sewing on the upper side. If the braid
is one inch or under in width it can be laid on flat at the be-
ginning instead of turning under the and when the
end,
circle sewed around it
is can be gradually sloped toward
the headsize untilit comes to the regular overlapping width
desired, and from that point it will go around row after row
as shown in the picture. When the brim edge is not bound
30
with the braid it is by sewing together the project-
finished
ing edges of from above and underneath. The
the braid
stilting stitch is used in small stitches. This makes a neat
finish. If a braid is stiff and brittle, steam will soften it, or
wrapping it about with a wet bath towel, wrung out as dry
as possible.
If the braid is colored in light hues and may run with
moisture, put a dry cloth about the braid first, then wrap the
damp towel around and let it lie a while before using. In
it,
high altitudes it is sometimes necessary to dip the braid in

water.
There is no rule laid down by a milliner but what can
be modified and changed, so as to give great variety. Take
Crown foundation,^ ]
covered
When the crown and the brim

have been finished separately,
they are sewed together in place
Brim section of frame, after

braid is applied
the brim edge as an example. It may be finished by bringing

together the braid from above and below, or it can be bound
with the braid of the hat, or with silk or velvet, which might
31
be in the color of the braid, or the hue of the trimming. In
each case the looks and general expression would be entirely
different.
Covering the Crown

We will now consider the crown. To cover a bell shaped
crown, it is easiest to begin head-
in the back at the
size. Let the finished edge of the braid be down and slope
it gradually from underneath the headsize wire until the
lower edge of the braid lays smoothly along the headsize
wire.
Then go round and round toward the crown top, sew-

ing the lower edge of the braid first with the small stitch on
the right side and the long one on the wrong side. The upper
edge of the braid is sewed on with the long stitch on the right
side. When the crown tip is reached, the braid is brought

around in a complete circle, and applied so it makes a round
rosette for a finish, as shown in the illustration. Stitch this
finishing rosette down very smoothly. In hair braid and
some of the soft straws this finishing circle can be made by
drawing up the braid on its gathering string, but if the braid
is stiff it has to be formed by laying it in plaits, all coming to a
common center.
If the crown is straight on the sides and flat or round:

ing on top, sew the top crown first, starting in the back, at
the crown top edge, and letting the braid project about ^
inch over this crown top edge. When once around, slope
the braid gradually into the second circle, as in brim sewing,
and finish with the rosette at the crown top. This rosette
is never separate, but is a continuation of the braid until it
curls around on itself. Next begin on the side crown at the

back next to the crown top edge. Let the finished edge of
the braid be up and project Va. of an inch above the crown
32
top edge. There it will meet the finished edge from the top
of the crown, and these edges are in contact, extending out-
ward in a little ridge, and are stitched together with small
stilting stitches. When the first circle about the side crown
is completed, gradually slope the braid down until its fin-
ished edge covers the stitching on the lower edge of the first
row. Proceed row on row in the same manner until the

braid run under at the headsize.
is
The crown is now sewed on the brim, with long stilting

stitches that do not show on either side, and the hat is com-
plete. Some use a tie stitch in putting on a crown, but un-
ess there is a fold or trimming to go about the crown base
these stitches are not desirable. It takes about 8 stitches of
this kind to secure the crown to the brim.

In sewing any kind of braid on a curve the finished or
outer edge is and the inner or plain edge is
slightly stretched,
drawn up on it will lie smooth and
the gathering thread so
natural. All the braid must be placed and pinned before
sewing. Next lesson will be on fancy ways of sewing
braids.
ZZ
A COMPLETE COURSE h\ MILLLXERY
LESSON VI
Sewing Braid in Fancy Forms
After learning sew the braid on the frame smoothly
to
it is well to have some variations of its use,
as there is a
vast field open to imaginative genius in inventing beautiful
and decorative forms for the use of braid. For this purpose
a pliable braid is the best, although a stiff braid, by the aid of
Various ways of using*straw braid ornamentally
steam, or moisture, from being wrapped in a damp cloth, can

be made to assume various forms also hair braid is par-
;
ticularly fine, for round swirls, being drawn up on the gather-

ing string, on the plain edge. But for general purposes a
medium braid is preferable, neither so stiff as some straws nor
34
so lacy as hair braid. The braid we choose must have a
gathering string, or if it has not one must be run in its plain
edge, before making the swirls.
Straw Leaves
The first form to consider is that of straw leaves, as
shown in the picture. Take the end of the braid for the stem
of the leaf. Double over a plait, toward the stem, letting it
bag out a little; never pull it straight. Leave a plain piece

of the braid, about its own width; then make another plait,
diagonally across the braid, leave another space, the width

of the braid, and form another plait, whose inner base shall
come exactly to the inner base of the plait just before it.
This last plait will stand straight with the midrib of the
leaf. Leave another space, the width of the braid, and form
another plait diagonally, and whose inner base will come to
the other two. The depth of these plaits must be determined
by the width of the braid, and will be so formed that the top
of the leaf will lie flat, and the inner edge of the braid going
down to the stem again, will overlap the inner edge of the
braid, as went up to form the top of the leaf. This stitched
it
together forms the midrib of the leaf, a last plait is taken at

the base, like the first one, only opposite, each of them draw-
ing in toward the stem; stitch this last plait and wrap the
thread around the raw ends several times and the leaf is fin-
ished.
These leaves may be used around the crown at the head-

size, sewed as shown in the illustration, or stood upright,
one after another, and their base covered with a folded or
plaited braid. They can be sewed in a circle on the top of a
crown or used to ornament the brim. Fancy can suggest mul-
titudinous forms for their use. When sewing them on be
35
careful not to lose the expression by sewing them down too
flat ;
yet they must be secure.
brim is smaller than desired, a plaited edge adds to
If a
its and embellishes its looks. In the picture are two
size
—
designs the side plait and the box plait. They are stitched
under the braid at the upper brim edge, and then the braid
from the under side can be fastened with a stilting stitch,
sewing through and through. These plaits can be used to
decorate the crown edge, or by putting them on each side of a
braid, a band for the base of the crown is formed for a trim-
ming effect. Cabochons can be made by sewing these plaits
around and around a disk, using the tight curled cabochon for
a center. Many pretty effects can be studied out along the line
of cabochons. The one shown in the picture is made by
doubling the braid and curling it around on itself, sewing it
through and through on the under side and the end, finally
taken gradually down underneath, then by pushing the center
up from the under side it gives it a slightly curved appear-
ance. Cabochons are used at the base or fastening end of
feathers, or loops of ribbon, or for purely decorative pur-
poses of their own. They are sometimes made small and used
in rows, like buttons, giving a tailored effect.
Another Pleasing Use for Braid

Braid is sometimes sewed, with the edges raised up, and
stitched together in a ridge instead of overlapping like shin-
gles on a roof. shown in the picture and is particularly
This is
nice to give the lightsand shadows of a braid. It is best in

sewing it on a hat to baste down each row as you go to the
place desired. It will not do to try to sew the edges to-
gether, and sew through the hat to place the braid at the same
time. It destroys the effect. The basting should be done
just below the ridge and a very little way from it. This par-
36
ticular sev/ing can be made
in one piece and stretched over a
crown top, shows its full beauty.

where it
Braid can be sewed in circular form by lapping it around

a pencil lengthwise and stitching together the edges with the
saddler's stitch. If the pencil proves too small for the width
of the braid, take a round stick of the proper diameter and
just so the edges of the braid will come together for stitching.
A wire can be run into this circular braid and it can then be
bent into the shape of quills and it makes a fancy trim, fas-
tened with a corresponding cabochon. It can be used in rows
around the crown base for a band, or if a cord is drawn
through it it can be curved into all manner of shapes for all
manner of decorations.
The swirls, made by pulling up the drawstring tight and
Various ways of using straw braid ornamentally

2>7
having the outer edge so it will lie smooth, are made in one
continuous piece by bringing the braid over on itself and
going on to the formation of the next circle, after the first is
completed. See the sample in the illustration. Hair braid
takes especially well to this treatment. It makes beautiful
side crowns and can be used on the brim also.

There is no end to the different forms that braid can be
manipulated into by simply keeping your eyes open to the
beauties of nature and the devices of men, found all about us
in the every day world.
38
LESSON VII
Lining the Crown
After making the wire frame, covering it with crinoline

or mull, and sewing on the braid, in plain rows, or fancy
shapes, we come to a very mooted question in millinery. It
is this : Shall the crown be trimming is put

lined before the
on or not? The best of milliners can be found contending
warmly on either side of this subject. One says: Line the
crown before trimming the hat, because it is apt to crush the
bows of ribbon, or muss up the flowers if it is done afterward.
The other side says: If the lining is put in first it is f re-
Figure No. I
Lining Sewed in
with
Overcast Stitch
quently stitched through, in spite of all care, and is a con-
stant aggravation. Whichever way you may choose you will

probably wish you had tried the other. As a sort of com-
promise, some milliners put in the lining first, and then fold
it into as tight a roll as possible, beginning at the raw upper
edge, and pinning it, to confine the roll while trimming. Like
most compromises, it has the virtue of neither side.
39
The present lesson will be on putting in the lining, and
you can trim before or after it is placed, as you please. Per-
sonally, I prefer putting in the lining after trimming.
Materials for Hat Linings

The lining is made of different fabrics, according to the
style and material of the hat. Light, soft silk makes the best
lining, while many of the mercerized cotton fabrics made espe-
cially for this purpose are good for commoner use. For trans-
parent hats, as chiffon, lace, maline or net, we line either
with the same material as the hat, or something equally thin

and delicate.
The lining may be cut lengthwise, in which case it will
not ravel so easily, or crosswise, or bias. Measure the headsize

and allow two extra inches for the length of the lining, as it will
take up a little of the fulness by sewing, be one ever so
careful. Its width is from the headsize to the inside center
of the crown. Ast he lower edge of the lining is sewed around

the headsize and the upper edge is turned in to hold a draw
ribbon, considerable material is taken from the width of the
lining so much so that a spot at the inner crown center would
;
be left bare. So cut a piece of the lining fabric 4 inches

square, place middle directly over the inner center of the
its
crown, sew around its edge, taking long stitches on the

it
inside of the crown, and very short ones on the outside. The
piece of goods is called the crown tip, and in stores bears the
name of the house or firm.
How to Adjust the Lining

Take the side lining in the long piece and turn in one edge
half inch for a hem. Run a thread along it, leaving space
for a tiny ribbon by which to draw it up.Fold one end of the
lining in for half inch. Let it be folded over on the same
40
side of the material as the hem was. Put this end fold
exactly in the back of the crown at the headsize, with the raw
edge of the lining length, extending into the crown. Sew from
right to left, continuing around to the place of beginning.
Hold the lining smooth, but do not draw it too tight. Two dif-
ferent stitches are used for this purpose. The first is shown
in illustration No. 1, the overcast stitch. Remember this stitch-
ingmust be done on the wrong side of the goods, and the top
hem for the ribbon must be turned down on this side, too.
Then when the lining is turned up into the crown, the right
Figure No. 2
Sewing in Lining
with
Buttonhole Stitch
side is exposed. The second stitch used in putting in a lining

(illustration No. 2) is the buttonhole stitch. The overcast
stitch is liable to show when theturned up inside of
lining is
the crown, as the material sometimes slips on the thread, but

the buttonhole stitch, when drawn firmly outward, forms a
continuous thread, to turn the lining over and is preferable for
that reason.
To finish the lining tuck the last end under the folded
end, sew firmly to place and baste the two ends together by
41
taking a long stitch on the under side and the smallest possible
one on the right side, and as near the edge of the turned under
will be inserted. Run the ribbon through this hem with a
metal runner, beginning at the lapped over end, and when it
end as will hold. Continue this to the hem, where the ribbon
comes around to the same point again thrust it through the
goods on the right side, so it can be tied in a pretty bow
Fasten it to the crown top, with a tie stitch under the bow,
and another tie stitch directly opposite it in the circle which
the side lining will form, exposing the crown tip.
In cases where the smallest stitch will show on the top

of the crown, make the lining wide enough to gather in a tight
knob at the top, over which place a small flat bow of narrow
ribbon. The top of the lining is folded in for half inch and
the stitching done along the edge at the place of folding. Take
a long stitch on the right side, and a small one on the wrong
side, and when it is drawn tight it throws the fulness inside
and leaves no aperture at all.
When the lining sewed about the headsize before the

is
trimming is placed, the upper edge of the lining must be left

open until the trimming is done and then closed the last thing.
42
LESSON VIII
Making Hat Bandeaux

In order that a hat may stay on the head at a cartain
angle, or to reduce the headsize or increase a bandeau it,
must be used. The word bandeau means band or fillet

a
around a cap. So it defined the headsize of the cap, and
consequently can be applied to the headsize of a hat, as a
hat is merely a cap with a brim to it.
A bandeau is made on
buckram foundation. Never
a
use rice net or any of the more pliable fabrics, as they are
unsatisfactory. The buckram is wired all around as shown in
Figure 1. The next step is to sew the wire beginning in the
middle of the top, with an overcast stitch, keeping the wire
even with the buckram edge, and allowing the ends to overlap
about an inch, bringing the finishing end under the end of
beginning. Use the usual No. 5 millinery needle and strong
millinery thread. These foundations are made of various
shapes to produce different effects. It may be a straight strip,
all around the headsize, merely lifting the hat up from the
head. Sometimes a bandeau is cut perfectly round, as shown
in Figure 5, and is then called a halo. This is used to reduce
the headsize. The halo has to be used when the crowns are
very large, and the headsize so proportioned that it would
let the head clear into the crown top of the hat.
A halo is sometimes basted in, against the side crown,

to keep the head from coming too far into the hat. The sides
of the halo may be slanting, instead of lying flat, in which case
it fits the head better, and keeps the hat more firmly in
place.
The sloping efifect can be accomplished by slitting the buckram

from its outer circle almost through to the inner one, and
43
Figure I. Bandeau stiffened with wire
Figure 2. How edges of velvet are drawn with long stitches
Figure 3. Bandeau covered with bias strip
44
overlapping the outer edges to get the required slant. Or a
paper pattern can be cut of a halo, and treated in the same
manner, and then cut across it, so it will lay out flat. Use this
for a pattern for the buckram, thus making it in one continu-
ous piece.
If a bandeau is to tilt is put on
the hat at an angle, it
either side, or at the front or back*. any direc-

Generally, if
tion is required, it is a tilt from the left side, and a trimming

of flowers or ribbon covers the bandeau. The comfort of a
hat depends upon the fit of the headsize. If it presses on the
forehead, or any angle sticks into the head, it is almost un-
bearable. To obviate this, it is better to fit all bandeaux. Put
the hat on the head, find its proper position, whether it needs
to be tilted, brought up higher, or pulled down. Then take a
finger and slip it about the headsize where the bandeau will be
placed, and by gauging on the finger the distance from the
headsize of the hat to the line where the lower edge of the
bandeau will come, you can estimate the shape of the ban-
deau itself, and cut a stiff paper pattern as nearly the re-
quired form as possible. Leave an extra inch at the top of

the pattern, and pin this extra inch within the headsize.
This paper can be fitted by insets or overlaps so it will press
evenly everywhere, and then the buckram can be cut by
this pattern.
By curving the upper edge of the side bandeau so it is
concave it can be made to flare out, more or less, as desired.

Sew the wire on the rough side of the buckram, and let this
side be away from the head, so the wires cannot be felt. To

cover a bandeau, baste velvet on the rough side of the buck-
ram and let it extend one-third of an inch beyond the edges as
is demonstrated in the illustration (Figure 2). Draw the
edges together by long stitches, sewed back and forth, as in
Figure 2. Next remove the bastings. Always cover the
outside, which is the rough sMe, with the velvet first, then
45
baste a bias piece across the inside. Cut it off around the
edge, letting the end project about one-third of an inch. Turn
in the edges, and bhndstitch it on. This forms the hning of the
bandeau. In covering such a bandeau as is shown in Figure
2 it is often necessary to slash the goods to make it and in
fit,
some cases the goods will lay over in plaits, and when this
occurs, it is best to cut out a gore to make it lay smooth.
The more regular bandeau can be covered with a bias
strip, twice as wide as the widest part of the buckram foun-
dation,and allow half inch beside, to turn in the two edges,
as shown in Figure 3. Fold the velvet about the buckram
and beginning at one corner, fit it carefully, and cut away all
unnecessary velvet except the quarter of an inch to turn in on
either edge. Bring both edges together after they are turned
in,and overcast them together, so that the seam will come on
the outside, as it will be ridgy, like a rope, and should be next
to the head. It is shown in Figure- 3.
Sometimes the bandeau is cut from the buckram with a

continuous piece, going up into the headsize, as Figure 4. This
Figure 4. Bandeau with tab extension
extension is not wired or covered, but runs up into the crown

to stiffen it for the trimming. If the hat is of soft substance,
as hair braid, chiffon or lace, such support is necessary, and
should be shaped so that the trimming will cover it.
46
A COMPLETE COURSE IX MILLIXERY
Figure 4 shows by dotted lines one of the many ways in
which it may be cut off, and then basted to the crown. The
bandeau part is covered with velvet or some fabric. ,
If a halo is flat it may be covered by placing the buck-

ram foundation on a flat piece of velvet, basting it down and
cutting the velvet around the outer edge, leaving quarter of
an inch projection for a turn-in. Cut out the headsize, leaving
quarter of an inch beyond the edge of the buckram. The two
Figure 5. The halo bandeau
edges are held in place by stitching back and forth, as in

Figure 2, and need not be lined. The halo is shown in Figure
5.
There is one other kind of bandeau which is used in the

back of a hat, to extend down on either side of the knot of back
hair. It is used to hold flowers or some decoration.
made from narrow strips of hat lin-
Soft bandeaux are
ing, sewed around the headsize and finished at the top with a
hem through which a ribbon is drawn. By loosening or
tightening the ribbon, the head is let more or less into the
crown. If it is a matter of reducing the headsize, however,
the soft bandeau is not satisfactory, as it leaves the head
so it will move all about, while at the same time it may be
securely pinned to the hair.
47
A COMPLETE COURSE TN MILLINERY
LESSON IX
Making Buckram Frames
The standard shape for a buckram frame is a Gains-
borough, and one having mastered its construction can
easily learn to vary it to other shapes.
^f^gur?.A
16 inches
SgnLure
>
8 inches
Figured'
J6 inches
The first thing is to learn to cut the pattern, as Figure

I. Fold it across the middle as Figure 2. Fold it once
48
more, making it Now do the
a square again, as Figure
3.
rest of the folding from the center at a. Fold diagonally

across from a to b, as Figure 4. Then fold a c to a h, — —
—
measure the line a c, and mark the same length from a,
along the line toward d, as Figure 5. Draw a line from
d to c, that shall be at all points equally distant from a,
which means it will be very slightly curved as Figure 6.
Cut along this line from d to c and open it out, and you
will have the round disk, Figure 7, which makes the pattern
for the buckram brim of a Gainsborough hat.
The headsize in pressed hats and bought frames is
sometimes round, and as few human heads are of that
form, we have many hats that press on the forehead, and
leave gaps on the side, and never feel comfortable, nor stay
on well. This is all unnecessary. Take a piece of stiflf
paper, or better still, of cardboard, and cut out a headsize
that perfectly fits the head. Make it a little larger than
the perfect fit, to allow for a thickness of velvet, which must

come into the headsize from this under side of the brim,
and also for the lining. By placing two fingers within the
headsize, the measure will be perfect when finished. Lay
the headsize pattern on the brim disk, so that the center of
49
the headsize will be exactly over the center of the brim
disk. Mark around it and cut it out to the line.
Now lay the pattern of the brim on a piece of milliner's
buckram. Cut around the outer edge. Mark around the
headsize and lift the pattern. Cut out the headsize, leaving
an inch of the buckram all the way round within the head-
size mark. This is to slit and turn up in the crown, as in
Figure 7. The smooth side of the buckram is always the

upper side of the brim and the outside of the crown.
Fashion changes the outlines of the brim, making it
longer from front to back and from side to side, but the
round brim is the standard one. Likewise, the headsize is
sometimes placed nearer the front and again it may be
nearer the back, but the center is the conservâtive place
for it.
Take brace wire, the kind frames are made of, and sew
it around the edge of the brim, placing it on the upper side
50
A COMPLETE COURSE L\ MILLINERY
of the buckram just so it will not show from the upper
side.
Overcast it, as Figure 8, using No. 5 millinery needles
and No. 24 D millinery thread. Any needle and any thread
woulJ do, but the milliner's thread, which is heavily waxed
and made of great strength so each stitch will tell, is far
prefeiable to any other thread, and the milliner's needle
has the long reach that no other needle has.
^'^
Figure 8 —The Gainsborough crown
The wiring should begin in the back and when around,
overlap the wire two inches and keep it flat by overcasting
one and the next stitch, placing between the wires.

stitch
Never let one wire get on top of another, for it would make
a bulge in the fabric, with which you cover the frame.
If the brim is as large as the 16-inch Gainsborough,
double wiring of the edge will be necessary. Put on the

second wire within the first one, overcasting one stitch, over
the brim edge, and the next stitch inserting between the
wires. The ends have two inches overlay, and are stitched
down flat as the first one is, and as close to it as possible.
Next wire the headsize, around the marked line, on
the right side of the buckram.
Begin in the back and overlay the wire two Inches,
stitching it down flat. One more brace wire is needed be-
51
tween the headsize and the brim edge. It is put on with
the usual overlap, and secured by a stitch from the under
side of the buckram, which merely goes through on one
side of the wire, and directly across and down on the other
side, the long stitch being on the under side. This is done
in order to leave as little thread on the right side as pos-
sible. The brim is now finished.
The regular Gainsborough crown is high and straight
on the sides, and flat on top. Fashion greatly modifies it
now, and the soft crowned variety seems to be liked the
best. If it is desired to have it conform enough to go
around the headsize, which is probably longer than it is

wide, take a piece of straight buckram 2^ inches wide, and
Figure 9—The Gainsborough Brim, wired
wire,
long enough to go around the headsize, outside of the
allow quarter of an inch space between the wire and crown,
for the velvet covering of the crown will be turned in
there.
Overlap the buckram an inch and stitch down smoothly.
52
Wire both top and bottom overcasting, so the wire can
not be seen from the right side. Allow the usual overlap
of wire, which secure so it will lie perfectly flat. Take the
headsize you cut in the pasteboard and lay it on a piece
of paper and mark around it. Cut the paper thus marked,
allowing one inch outside of the marked line. This will
give a pattern for the crown top. Make it out of crinoline,
and lay it in small plaits around the edge, about two inches
apart, and all folded in the same direction. These plaits
should be of the same depth and made so that they will take
up enough of the fulness so that this crown top will just fit
into the upper wire of the side crown. Stitch down the
plaits smoothly and tack the crown top inside of the upper
wire of the side crown (see Figure 9) and the frame is
completed.
DUCHESS OF
DEVONSHIRE
The World Famea Portrait
by
Thos. Gainsborough
which is responsible for
fixing the artist's name on
this character of hat
53
LESSON X
Varying the Buckram Frame
We will now consider the varying of the flat buckram
frame, and show first what can be done with the round
Gainsborough brim.
Suppose we should wish a drooping shape. The brim
in that case would be slashed from the brim edge to the
headsize, leaving just enough cloth to hold it together at
the headsize. Then overlap these slashed sections at the
No. I. Slashing and overlapping the brim. No. 2. The drooping brim, ready to be turned
brim edge, and all in the same direction, as shown in Fig. i.

Stitch them around the brim edge, and the shape will be
more or less drooping, according to the amount of overlap.
It will be found that a very little overlap will make quite a
drooping brim, and it is better to slash the brim in many

places and overlap but slightly, rather than to cut in few
places and make the overlap large.
In doing the latter, the brim edge will be scalloped and
54
A COMPLETE COURSE /;Y MILLINERY
irregular. Should the droop desired be very slight indeed,
the brim can be slashed in only a few cuts, say four, but the
overlap must be small, and
if a greater droop is wanted, it
should be obtained by more slashes rather than greater

overlaps.
If the drooping brim is made of an old straight one this
method is necessarily used, after all the wires are removed,
except the headsize wire. But if the drooping brim is to be
cut from new buckram, make a pattern first, like the Gains-
borough brim, and slash and overlap the pattern until the
desired droop is attained, then cut one slash clear through the
headsize and lay the pattern out flat, as in Figure 2,
line,
and lay on the buckram, and cut. the brim in one continu-
it
ous piece, allowing one inch extra on either edge, where

the last slash was made, for an overlap, to join the brim
together, at the back.
As by overlapping, and so contracting the brim edge,
No. 3. Making a portrait brim by expanding it No. 4. Transforming a hat into a turban brim
we can make the drooping brims, so by putting in gores or

gussets, and thus expanding the brim edge, we can make
rolling or turned up shapes, as in Figure 3. This one inset
55
will serve to make a hat turn up in the back, or roll on the
side, and give all sorts of delightful curves to the rest of
the brim.
Changing a Hat Into a Turban
Figure 4 shows how the brim may be slashed, and
turned up, and overlapped, to change it into a turban, and
also explains how the brim edge can be given little slashes
of the same depth and overlapped to make a standing edge.
Figure 5 shows a ripple brim made by the inset of many
gores at regular intervals. By experimenting with overlaps
and gussets, all sorts of results may be produced. They
No. 5. Gussets produce a'ripple effect No. 6 Sloping the crown by means of plaits
should first in stiff paper patterns and sewed to shape

be cut
and head before cutting from the buckram.
fitted to the
Generally the fancy buckram shapes are purchased
from the manufacturers, but it is very essential that every
milliner should know how to produce varied shapes from
the plain piece of buckam, as there may be places and times
when she could not procue them in the usual way, when
badly needed, and for the home economist it is always well
to know how to change last year's shape into this year's.
56
Removing Dents in a Used Shape
If the shape has been used, and dents are in it, they
can commonly be removed by holding the shape over the
tea kettle spout for a few moments and pressing it into the
proper form with the fingers. If this process is not suffi-
cient for the brim, wipe a slightly dampened cloth over it,
and press with a very moderate iron and with a piece of
tissue paper or thin cloth between the buckram and the
iron. If the buckram is made too damp or the iron is too
hot it will stick.
If there are overlaps or gores in the frame and it is to

be covered with velvet smooth plain form, one thickness
in
of flannelette or thin sheet wadding, laid on the upper side
of the brim will hide all irregularities. It should be cut so
it smooth and not overlap in any place.
will be perfectly
In making a soft crown or a stiff one, the side crown is
often sloped, sometimes contracting as it goes toward the
crown top and sometimes flaring out. These results can be
accomplished by slashing the plain straight side crown as
in Figure 6, and then the broader edge can be placed next
to the headsize, if a contrasting side crown is desired, or the
narrower edge can be used next to the headside, and the side
crown will then flare at the crown top. If it is desired to cut
the side crown in one piece, fit a straight pattern, that is slashed
and overlapped as Figure 6, on the buckram and cut it in one
continuous piece, allowing one inch on either end for the over-
lap in closing it, at the back.
The brim edge itself can be changed in shape anywhere
and to any amount. It can be shortened in the back by cut-
ting away a long sloping portion, or in the same manner
the front can be shortened, on either or both sides. The
brim edge will have to be cut down if a turban or toque is
57
made out of a plain Gainsborough brim, otherwise it would
stand up too high. Take a plain Gainsborough brim, shorten
it to half its width in the back and let it gradually widen to
the brim edge in front, then slash the back from the brim
edge to the headsize, and overlap at the brim edge until it
almost droops into the neck. Next slash directly in front
from the brim edge to the headsize, overlap at the brim
edge, and a poke brim will be produced. It may need more
or less overlapping in the front or back tofit any certain
face,and the brim edge can be changed slightly to make it

more becoming.
Remember, lastly, that there is no limit to the possibili-
ties of a plain piece of buckram with gussets and overlaps.
Typical Hat of Rococo Period (1770)
58
LESSON XI
Emergencies in Frame Making
Before leaving the subject of frame work, we will have

a few suggestions for emergencies. Suppose you suddenly
need a round crown and none are at hand or procurable.
If you have a mold or form, and buckram, one can be
made nicely by setting overnight. The mold is commonly
made of plaster of Paris, held together with hair fibres of
some sort. However, there are workers in fine hard woods,
who supply many forms for milliner's use.
A piece of buckram that will extend an inch beyond
the mold, clear around, is cut from the roll. The pattern
can be obtained by measuring the mold fom the headsize
to the center at the top of the crown, and over the opposite
side to the headsize again. This will give the diameter of a
circle, which can be cut from paper, allowing the extra inch
around its edge. Place this pattern on the buckram and cut
it out. Pass the buckram rapidly under a faucet, shaking
ofif every drop of water that will come, then place it on the
mold, with the center of the buckram over the center of

the top of the mold.
To Make Buckram Pliable
A very water makes buckram pliable so it can be

little
easily stretched. In fact, after a few moments standing it

seems to get wetter and wetter all the time. So be sure it
has not too much moisture to begin with. Draw down the
buckram across the straight of the goods and again across
the straight of the goods at right angles, dividing the buck-
ram into four equal parts. The straight of the buckram
59
will not stretch very much, but the bias will. Pull down the
bias at the bottom and work it down from the top, and the
opposite (bias) side treat in the same way. Then take the
bias sides at right angles and pull them down in like man-
ner. ISi'early all the creases can be worked out, with pa-
tience, and when finally it is as smooth as possible, take a

good stout string and tie it very tight, about an inch above
the bottom of the mold. This string can be turned over
and over as you work it downward, all the while getting
tighter and tighter. Stop at the bottom, where the string
will stay, when the crown is taken off of the mold, and will
mark the place to trim off the buckram, and then sew on
the wire around the headsize.
If this crown is made in the evening and allowed to set
until the next morning it will be almost dry, and in the
proper state to take ofif the form.
It may stick a but by careful work can be re-
little,
moved without It must dry perfectly

spoiling the shape.
before it is trimmed off about the headsize, and the wire
sewed on, when it is complete.
Suppose you were in the country, away from all marts
of trade, and had no buckram. Take crinoline, and if it
were the stiff kind, one thickness is first taken, exactly as
the buckram was dampened and then put over the form.
Go over it with a brush and shellac, weak glue, or flour
paste, if nothing better offers. Put on a second layer of
the crinoline, exactly as the first, only the last layer is not
treated to the shellac or glue. Work out all the wrinkles
possible and tie the string, as in the buckram. Be sure the
shellac, glue or paste isput on lightly, not making the
crinoline too wet, or it will adhere to the mold. If no mold
is available, it is astonishing what forms one can get from
60
common household utensils. One can make a pretty crown,
stretched over the bottom of a serving dish. There are al-
ways bowls, cans, pitchers or pans, that can give shape to

a crown. If the utensil proves too shallow, make the upper
portion of the crown and piece it down with paper, getting
the proper slope, and use the paper as a pattern to cut out
buckram or whatever stiffening material is at hand and sew
it on the bottom of the crown.
The crown made of crinoline should be treated just as

the buckram in its finishing. When the crinoline is soft and
rather flimsy it takes three thicknesses to make a good
crown. Put the sizing or stiffening over the first and sec-
ond layers, but not over the outside one. Colorless shellac
can be bought at the drug store and dissolved in alcohol and
kept in a bottle for instant use, or a regular white shellac
can be purchased already prepared. In the wholesale mil-
linery houses, a milliner's shellac absolutely colorless will
be found on sale. It can be used for many things besides
frames. Two ribbons may be shellacked together to give
two-toned effects. It is also used to lacquer leaves and
quills.
shape is desired and there is no mold to
If a special
form it, make
crown or brim of very strong wire, placing
a
the stay wires not more than an inch apart, and let the tie
wires be twisted together on the opposite side from where
the buckram will be used. The tie wire would necessarily
make a little hump in the buckram, which is to be avoided.
Use this crown or brim just as you would a mold, and it
will be found useful.
Willow mesh is also used for crowns, and when dipped
in sizing can be stretched into almost any shape. It must be

carefully handled as it ravels easily. It is liked for col-
lapsible crowns.
61
Copying a Buckram Frame
Suppose a copy of a buckram frame must be had at
once, with no chance of molding overnight. Take the crown

first. The mold, wire .frame or buckram crown itself, which
is to furnish the pattern, is laid over with soft brown paper,
pressed down carefully from the top toward the base, work-
ing the fulness into as few creases as possible. When the
paper gives a perfect imitation of the shape of the mold,
wire frame, or buckram crown, mark all the creases with a
lead pencil, both where the fold is laid back on itself and
where it meets the goods under it. Remove the paper,
straighten it out, and cut out all the superfluous paper con-
tained in the creases. Lay this pattern on the buckram,
allow a quarter of an inch margin beyond all the penciled
lires for overlapping. Bring these overlaps of the creases
together so that the penciled lines will be exactly over each
other, and stitch in place. Get the distance from the top of
the crown to the headsize all around and cut off the buck-
ram at the headsize and wire it. There may be little pro-
jections or fulness where the creases begin in the buckram.
Dampen the finger very slightly, place some hard round
object underneath and press down firmly from the right side
and the projection will disappear.
You will find this quickly made frame a perfect copy.

The brim has been spoken of at length in former les-
sons, but to recapitulate, the fiat brim can be always
draughted directly on the buckram and cut from it. It can
be given the various shapes by overlaps and gussets. It
can also be molded on the convex side of a wire brim, used
as a mold. The buckram in that case is dampened and
stitched or pinned down around the edge.
62
Ifyou wish to give a curve to a straight buckram brim,
slash thebuckram across its grain and bias to the curve
you wish to make. Make two slashes about 2 inches apart.
*Mje.
Take a moderately hot iron and pass over the buckram.

liftingup one edge of the iron and curving it in the direc-
tion desired. For instance, if the side brim is to be curved,
slash it twice on the bias, then place the iron on its edge
at the headsize and move toward the brim edge, giving the
iron a rounding movement. Experiments with making
curves with an iron, cutting patterns and molding crowns
will lead to wonderful results if persisted in.
Before we leave this subject we will suggest a substitute
for a bandeau. Take a piece of crinoline, roll it into a tube,

one and a half inches in diameter, stitch it so it will not
unroll but so the hollow tube is preserved. Place it at the
headsize within the hat lining and secure it with a few tie
stitches. It will be pliable and will adjust itself to any head.

63
Tissue paper can be used in the same way, but is not so
satisfactory, as it packs in time and is rather heating.
To make an oblong pattern for a flat buckram brim, cut
the round disk, as shown in the former lesson. Take a
larger piece of paper, place the disk upon it, and draw a line
around its edge (see Figure A). Determine how much
longer the pattern is to be, and mark the distance from
final
the brim edge at Figure B. Slip the disk over to Figure B

and draw a second circle around its edge. Place the flat of
the forearm opposite the center of the two circles, and put-
ting a pencil on the brim edge at C, with a free hand rr.ove-
ment, holding the flat of the arm as an axis, make the dotted
line D. Turn the pattern, and make a similar line E. This
cut out will give the elongated sides, or a brim longer front
and back, according to how the crown is piaced. The extra
width is determined by how far over the second outline of
the disk is drawn from the first.
64
LESSON XII
Covering the Buckram Frame
After considering the construction of the buckram

frame and its variations we up the covering
will next take
of it. The brim edge of a buckram frame is sharp and cut-
ting and must be padded before the velvet is put on. Any-
velvet too badly damaged for exterior use may be cut into
and commencing at the back,
bias strips, half an inch wide,
placed evenly over the edge, swinging back and forth, with
stitches about one-third of an inch on either side. When
bringing the ends together do not overlap them, but bring
Covering the buck-

ram foundation of
the crown and brim
them together and cut off squarely, so they meet, and there
will be no double thickness. This is called rough binding,
65
Old velvet, silk or cotton fabrics can be used, and prefer-
ably should be cut on the bias. The under brim may have
a thickness of crinoline, flannelette or sheet wadding, laid
over it,keep the wires from showing through the velvet.
to
It should be caughtdown by stitching it to the binding of
the brim edge, after it has been carefully pinned in place.
Cut it off even with the brim edge.
Applying the Fabric to the Brim

Now the brim is ready to cover with velvet. Place the
bias of the velvet at the front of the upper side of the brim.
Secure it to the brim edge with a pin, which we call the
placing pin. Smooth out the velvet over the brim, so the
goods on the bias, from the front to the back. Put
will lie
in a pinon the brim edge, where the straight of the velvet
comes, next to the placing pin. Follow the straight of the
goods to the opposite side, and pull it sufficiently to make
the velvet very smooth. Put a pin in the brim edge to se-
cure Next pin down the straight of the goods, at right
it.
angles, in the same manner. The four bias spaces between

can now be pulled down until the velvet smooths out per-
fectly, then pin it in place. These pins should be all around
the brim edge, about one inch apart, and all pointing toward
the center of the brim. Cut ofif the velvet, so it projects
half inch beyond the brim edge. Turn it over the brim
edge and catch it down to the rough binding In short
stitches, as shown in illustration.
Stitch around the headsize wire with stitches half an
inch long on the right side and short ones on the under
side. Let this stitching come just under the headsize wire
from the direction of the brim edge, and to take up all ful-
ness place the needle at an angle of forty-five degrees to the
66
brim and come back from the other side at the same slant.
This draws the velvet under the headsize wire and makes
the stitching disappear.
Facing the Brim
Next put the velvet on the under side of the brim. Take
a bias of the velvet, and pin it at the front of the brim, un-
derneath. Smooth out the goods, pin it so the bias goes
across the center of the underbrim, then pin the velvet on
the straight of the goods next to the placing pin and stretch
it across on the straight of the velvet to the other side.
Then take the two straight places on the brim edge that are
at right anglesand secure them in the same way. All the
remaining fulness can be taken up as the four bias places
are drawn down and secured. Cut off the velvet, leaving a
projection of half inch beyond the brim edge. Turn this in
even with the upper edge and blind-stitch it to the velvet of
the upper brim, on the very brim edge. The stitches should
be even and about a quarter inch long. Watch that the thread
as it comes from the upper into the lower velvet edge is
so arranged as to come straight across, in which case it en-

tirely disappears as the two edges are drawn together. For
if the thread is slanting it will show. Baste around the
headsize, about an inch outside of the headsize wire, and
use a fine needle, as it has to go through the velvet on the
upper side of the brim, and as small punctures as possible
are desirable. Use the fine thread, because it has to be re-
moved and leaves less markings.
Cut out the headsize of the under and upper velvet,
leaving an inch to turn up into the crown and baste it into
the headsize above the wire with long stitches on the inside
next to the head. If it should bind, slash it, as the buckram
67
was slashed. Straighten the slashed buckram in the head-
size so that it will stand up withiA the crown. Take the
two thicknesses of velvet with it, and overcast them to-
gether around the upper edge, keeping the upright position.

The crown is Rip out the top crown,
next to cover.
take out the small plaits and smooth it out with the hand
or press it with a very moderate iron. The markings of the

plaits must not be obliterated. Baste this lining of the top
crown to the wrong side of the velvet, with the bias at the
front, and cut it out. Lay over the plaits as marked on the
lining, and baste them down again. Cut a bias piece of the
velvet as wide as the side crown, with an added inch on
either edge, and long enough to go around the side crown.
A little of the width will be taken up by stretching the vel-
vet around in place, and the extra width that is left will b€
lapped over the top and bottom edge, making the lapovers
even.
Start in the back, cut the bias velvet across from top
to bottom of the side crown, turn in half inch, and pin it
down. Stretch the velvet from this point around the side
crown, drawing it tight enough to lay nice and smooth, and
bring the end to the place of starting. Cut it off square,
turn in half inch and blind-stitch it to the piece that is laid
under at the beginning. The lapovers may be laced back
and forth from the upper edge to the lower edge on the
inside with the saddler's stitch, which will be found in the
lesson on "Stitches."
The rough binding of the side crown is a matter of
dispute among milliners. Some use no binding at all, some
bind the upper edge and some bind both edges. If the .
rough binding is used, the overlaps on the side crown can be

secured to the binding with the same stitch that is shown in
68
sewing the upper velvet of the brim to the rough binding. In
any case, the stitching on the side crown velvet must not be
seen from the- right side.
Now tack in the top crown, and this can be done with
a long stitch on the inside and a short one brought through
barely over the top of the side crown, but toward the crown
top, and enough on the inside so it does not show from the
outside. With the long millinery needle this can be accom-
plished and draw it up tight with the stout thread and all
stitching will disappear.

Place the crown on the center of the brim. Take a stitch
under the side crown where it lies on the brim, and then
thrust the needle through the brim with a stilting stitch.
Pull the thread firmly to the right, on the under side of the
brim, and it will make a tiny opening in the fabric, where
the needle first came through. While the thread is held
very taut, insert the point of the needle into the tiny hole
at the thread base, incline the needle at right angles from
which came through the brim, in the first place, and the
it
thread will be drawn back through the hole and entirely

disappear no portion of the fabric has been allowed to
if
come between the thread base and the needle point. This
is called the '^Hidden Stitch." (See lesson on ''Stitches.")
If the threads of the goods are slightly disarranged by pull-
ing the thread they can easily be put in place with the
needle point. This stitching is continued around the crown,
and finally secured within the headsize.
A crownput on with a tie stitch, when a fold is to
is
be placed at the crown base to hide the stitches, but even

then the hidden stitch should be used on the under side of
the brim.
In a few exceptional cases the crown is sewed on be-
69
fore the under side of the brim
is covered. Some silks and
other closely woven materials show every prick of the nee-
dle, and then we sew on the crown first and cover the under
side of the brim afterwards. It is an awkward job at best

and is rarely necessary.
In many of the bought frames there is an upward pro-
jection of the brim, around the headsize, that makes it pos-
sible to sew the crown to the headsize without leaving
stitches that will show after the lining is sewed in. If the
material on the underside of the brim is left loose at the
headsize and the crown is small enough to fit close to the
headsize of the brim the fabric from the under brim may be
held back sufificiently to sew the crown to the brim head-
size, and afterwards the fabric from the under brim may be
carefully smoothed into the headsize and stitched to the
slashed buckram that stands upright within the headsize.
Lastly, the lining is put in as shown in a former lesson
and the Gainsborough hat is complete.
Mid -Victorian Styles i860 70
70
LESSON XIII
Brim Finishes
Most of the variations of a brim covering are intro-
duced by covered wires. The illustration shows three sec-
tions of the brim, each exemplifying a different method of
No. No. 2
No.
brim covering. In No. i heavy cable wire is sewed to the

upper side of the brim on its brim edge, but not over it, for
71
the circumference does not want to be increased. When
the ends of the wire come together, after going around the
brim edge, do not overlap them, but let them touch, making
a complete circle.
Cable wire is the largest millinery wire used, and is
covered with a cotton filling, and then wound around with
silk thread. It will usually allow a needle to go through
the filling, and the wire should be caught on its underside

and tacked to the brim edge, for an overcast stitch, unless
it went in very closely under the wire, would prevent later
the proper use of the velvet covering.

Next put on the velvet or fabric of the upper brim, as
instructed in former lesson. Take strong thread, prefer-
ably of the same color as the velvet, and stitch the. velvet
down close under the cable wire, on the side toward the
headsize. Take stitches one-quarter of an inch long on the
right side, and incline the needle outward, toward the brim
edge, at an angle of 45 degrees, and go through the buck-
ram and make a short stitch on the under side. When the
thread is drawn tight it will disappear under the cable wire.
After this is completed, take the velvet over the cable wire,
down under the brim edge, and fasten it to the rough bind-
ing of the frame, as formerly shown. Be sure that the vel-
vet or fabric is perfectly smooth over the wire, without a
wrinkle. The wire will now stand on the brim edge, making a
clearly defined finish.
The underbrim velvet is now brought up, turned in, and
blindstitched to the upper side, the stitching coming through,
!>n the upper side, at the crease under the cable wire.
The cut shows a cable wire inserted between the upper
and lower covering of the brim. This cable wire Is covered
separately with a bias piece of velvet, and is then sewed to
72
the velvet from tlie upper side of the l^rim, where it is brought
over the brim edge, and secured to the rough binding. The
wire projects shghtly beyond the brim edge, and is fastened
to the velvet, with the same stitch used in securing the velvet
to the rough binding.
Lastly, the velvet from the upper brim is brought up and
turned in against the wire ;and the upper brim velvet! and the
lower brim velvet are blindstitched together, going through the
velvet that covers the cable wire, and letting the wire project
beyond the blindstitching. This makes a plain, substantial and
well made brim edge.
Inserting the Brim Wire

No. 3 shows where the raised and covered cable wire is
set far in from the brim edge. The upper side of the brim
is first covered with the velvet, from the headsize to where
the raised wire is wanted. This should be marked off before-
hand with a pencil, describing! a circle at a regular distance
from the brim edge. Allow one-quarter of an inch extra for
the wire to rest upon. It should be carefully basted dow^n
around this edge, far enough
in so there will be no danger
of its Cut out a circle of paper, having the diameter
frkying.
of the brim, as you were taught in a former lesson on the
Gainsborough hat. Cut out the center of this pattern, while
it is folded, so that it will leave a circle extending from the
brim edge, and overlapping the velvet from the headsize

by one inch. Lay the pattern on the velvet and cut it out,
allowing one-quarter of an inch on its outer edge to come
over the brim edge and be secured to the rough binding on
the frame. Place this circle of velvet on the brim and
baste it down one-half inch from the brim edge. Put the
cable wire under the inner edge of this circle of velvet, pass
73
the velvet over it, and tuck the edge well under the wire. This
edge sometimes has to be clipped with little gashes, that it may
stretch sufficiently to lie smoothly. Now stitch down the vel-
vet under the wire, inclining the needle at an angle of forty-
five degrees toward the headsize, and making the stitching
from the side of the wire nearest the brim edge. The stitches
should be one-quarter of an inch long, with the short stitch
on the under side. When the thread is tightly drawn it will
disappear. This gives a truly stylish finish to a brim, and as
many wires can be introduced as desired, one fitted circle of
velvet being overlaid by another.
If the distance between the wires is small, a bias piece of
velvet could be used instead of the circle. The bias piece
should be stretched on the outer edge, and held in as small
space as possible on the wire, yet it must be smooth. The bias
piece, used in this way. always necessitates a seam in the back,
which must be made by turning in each end and blindstitching

them together. This does not leave so nice a finish as the
smooth circle. The cable wires may be placed anywhere, from
between the upper and lower brim coverings to the headsize.
Great ingeniousness may be displayed in their arrangement.
74
LESSON XIV
Covering the Crown
To cover the crown with any fabric requires the same
treatment for a flat top crown, the bowl shape, or the
rounding elongated one.
The straight of the goods is brought down in front and
folded under the headsize wire and pinned in place, then
the fabric is carried up and over the center of the top
crown
on the straight of the goods. Turn
to the back, all the while
it under the headsize and pin down as in front.
Pinning the Fabric to Place

Next, the two straight places in the goods at right
angles to the front and back are drawn down on the sides
The stiffened
crown, ready
to join to
brim.
and turned under the headsize wire and pinned in place so

that it will divide the space around the headsize into four
75
equal parts and also equally dispose of the fulness of the
goods. Afew inches on either side of the direct front the
fabric can be drawn down and pinned under the headsize
without leaving any crease near the crown top. This space
depends upon the pliability of the cloth. The more pliable,
the larger the space that will lie smoothly at the front and
over the crown top to the back pinning. The same is true
of the sides, and if the crown is oval, the plain spaces on
the sides will be larger than the front and back. Pin all
these four smooth places down firmly and you will find all
the fulness is confined to small spaces, four in number.
These are all on the bias. Pull the goods down firmly to
the headsize. Each space is now covered by five small
plaits of the goods and are laid in the same direction in
each of the four spaces. These plaits are laid so that they
touch at the bottom and spread out toward the crown top
like the ribs of a fan. You will find by experiment that
any direction can be given to these plaits in proportion as
you pull the fabric on the upper or lower side of the plait.
To lay them exactly takes patience and care, but can be
readily done with practice.
The headsize may be finished with a binding, as in the

illustration, or overcast and the stitching hidden later with
a finishing fold or the milliner's fold, and often the headsize
is completed by simply turning under the goods and sew-
ing it around with the stilting stitch, without any other finish.
The soft crown was explained in fhe covering of the
Gainsborough hat. A heavy wire covered with the goods
adds much to the appearance of a soft crown, when it is
introduced at the top of the side crown. That can be done
in the same manner in which it is used on the brim edge.
That is, it. may be inserted under the fabric of the side
76
crown itself and stitched down to make the edge finish at
the top of the side crown, or the wire may be covered
separately and sewed between the side crown and the
in
crown top. Sometimes a heavy wire is also placed as a
finish at the headsize. It can be introduced in either of the
ways described relative to the wire at the top of the side
crown.
The Two-Piece Crown Covering
Another method of covering the crown is that in which
two pieces of velvet or other fabric are used, one to cover
the crown top, and another, cut on the bias, for the side
crown. Take a round crown or an oval one, as shown
in the illustration, mark off a line 3 inches above the
headsize wire, completely around the crown. This will de-
fine the base of the crown top. Place a bias of the goods
at the front and on this line and pin it there. This is the
placing pin. Next take the straight of the fabric, on the
right front, let it run across the crown top to the left back,
on the straight, and secure both places with pins on the
line drawn for the base of the crown top. Draw down the
goods at right angles and pin on the line. Now you will
find that the four, remaining spaces can be drawn down to
the line at the base of the crown top until all creases will
disappear and the crown top will be perfectly smooth. Pin
it down at the line carefully and stitch it around with a
stitch one-quarter of an inch on the outside and very small

on the inside.
Stretching the Goods to Assure Smoothness

Cut a bias strip of goods long enough to go entirely
around the side crown and, to turn in half an inch on either
end where it comes together. This piece must be
77
broad enough to turn one-third Inch on both the
upper and lower edge. To make smooth it
it perfectly
will have to be stretched around the side crown, and as
this always lessens the width, it is best to stretch it around
before cutting to get some estimate of its width. If the side
crown outward as
slants toward the headsize,
it goes
stretch the goods most on its lower edge so it will fit the
side crown. Commence in the back and turn in the end of

the bias piece half an inch, then turn in the upper edge one-
third of an inch and pin it around the crown top at the
drawn line, so it will nicely cover the stitching that holds
the crown top. This bias side crown must be fitted as you
go, stretching the lower edge if it flares or so disposing
the fabric that it will cover smoothly any irregularities.
When it is around, turn in the end for half an inch, make
the last turn in at the top, and bring the two ends together
and blindstitch them down from the base of the crown top
to the headsize. The upper edge of the side crown may be
blindstitched to the crown top, or a few stitches may be
used to hold it in place and keep it from slipping down.
Turn under the lower edge, inside of the crown, and
overcast it about the crown base, if it is to be finished later
with a fold about the crown base which will hide the stitch-
ing; and if not, sew it down with the tiniest stitch possible
on the right side, just above the crown base wire and a
stitch about one-quarter of an inch long on the inside of
the crown. A wire of any size may be inserted under the
upper edge of this bias side covering and sewed down in
the manner before described. These things are matters of
taste.
78
LESSON XV
Folds and Hems
Before leaving the velvet work wê will consider several
lines of embellishment where the velvet is used for decora-
tive purposes.
First, we will take the folds. The finishing fold, desig-
nated by Figure i in the illustration, is a narrow bias piece
of velvet, with the edges turned over on to the wrong side,
No. 2. The milliner's fold
See Lesson III page 17

Stitches Used in Millinery
and held together with the saddler's stitch (see lesson on

Stitches). This finishing fold is used at the base of the
79
crown to hide the sewing, when the crown is put on with
visible stitches. It is drawn around the crown base, tight
enough to decrease the width of the fold, but not so much as
to detract from its beauty. Turn in the ends at the back
and blind-stitch them together. If there isto be an orna-
ment or bow placed anywhere about the crown, let the
finishing fold end under the ornamentation. In such event
the ends do not need to be turned in, but cut them ofif
smoothly, where they come together, and sew them down

firmly with visible stitches.
This fold sometimes placed at the top of the side
is
crown as a or by slightly stretching one edge of the

finish,
fold, it may be laid around the brim near its edge, or any-
No. 3. The triple fold
where from the brim edge to the headsize as taste may

suggest. In using it in this manner it is blindstitched in
position on its stretched edge only.
The Milliner's Fold, seen in Figure 2, is made of a
wider piece of bias velvet than the finishing fold. The edge
is turned over from the right side for the width of one-third
of an inch and stitched in place on its lower edge with the

long stitch on the side of the turned over edge, and the
80
short stitch on the right side of the velvet. Take the other
edge of the velvet that has not been used, turn it over in the
same manner as the first edge, and make it of the same
width, but do not stitch it down until you bring it up on to
the first edge which is folded over, then blindstitch the sec-
ond edge to the first, leaving enough of the first to look like
a cord above the second.
The milliner's fold can be used for the same purposes

as the finishing fold, but when it is placed about a brim
must be stretched on the plain edge, away from the corded
as there is too much sewing to admit of much elas-
efifect,
ticity.
These two folds are best adapted to velvet or silk, but

can be used when made of any fabric provided it is not trans-
parent.
The Triple Fold
The third illustration shows the triple fold. This takes

a wider length of bias velvet than either of the two former
folds. The edge is turned over and stitched down like the
commencement of the two other folds and should be the
same width. A small seam is now made in the velvet, paral-
lej to the turned over edge, and on the wrong side of the
goods. This seam must mark the termination of the oppo-
site edge of the fold, and this edge must be of the same
width as the first edge, and must also equal the width of
the middle section of the completed fold. The middle sec-
tion begins with the small seam (which must be held in di-
rection toward the first turned over edge) and terminates
with the turned in edge of the goods, which is blindstitched
to the first turn over, leaving the three sections of equal
width. Its construction can be seen in illustration.
81
Figure 4 shows the mourning folds, and they are par-
ticularly nice for crape or very soft goods of any kind. These
No. 4
Mourning folds
folds are sewed on some base, as buckram, rice net, crino-

line, etc. The first fold is placed over the edge of this base,
as a binding, and is stitched through and through, with
equal stitches on either side. All the stitching on the mourn-
ing folds should be made as near the lower edge as will
hold the goods firmly. The next fold is a bias piece, dou-
bled,and sewed on by its lower edge, with the long stitch
on the right side. The fold must be so placed that it will
cover the sewing at the lower edge of the binding, and each
succeeding fold must cover the stitching that holds the fold
before The velvet of the last fold is made longer on one
it.
side than on the other, and this long side is taken over the
edge of the base and tacked down on the wrong side of the
base. The long side makes the outside of this last fold.
The folds when completed should be of equal width. The
name mourning fold is misleading, as they can be used
equally well for hat bands, girdles, belts, or for dress trim-
ming, and can be made of silk, satin, velvet, crepe or any
fabric that will not show the stitching. They may be made
in any number or width, and can be sewed directly on the
side crown of a hat.
82
The Slip Stitch Hem
Next we hems used in mil-
will consider the various
linery. The and most important is the slip-stitch hem
first
designed to be used where no stitching is to be seen upon
No. 6
pile on the right side. Draw the thread through, and sHp
the needle under the turned over edge, nearly to its top,
so that by no chance the raw edge could ravel out. Thrust

the needle through, draw down the thread diagonally, and
take another small stitch in the backing, and slip the needle
under the turned over edge, as before. This gives a flat
hem of only two thicknesses, and no visible stitches, and is
No. 7
The Blind Hem
very useful in millinery. It may be used in any goods, but

stitches are most easily hidden in fabrics with a nap.
The Cross Stitch Hem

The cross stitch hem (Figure 6) is laid like the slip
stitch hem, but is held in place by the cross stitch, some-

times called feather stitch (see lesson on Stitches) and the
84
A COMPLETE COURSE LY MILLINERY
thread is never visible on the right side. The blind hem is
made by turning over one-half inch of the goods on to the
wrong side, and then tucking under the edge of the piece
that is brought over from the right side as Figure 7. The
needle is then inserted in the tube thus formed, and along
itslower edge. Bring out the needle barely under this edge,
pick up a few threads of the backing, exactly opposite the
place where the needle comes through, insert again in the
tube and continue this stitching, remembering all the time
that stitches must be directly opposite so that when the
thread is drawn taut all the stitching will disappear. Hence
it is the blind hem.
The Cord Hem

The cord hem requires a wider piece of velvet than the
former hems and is shown in Figure 8. A cord is covered
No. 8. The Cord Hem

with silk, or some other material, usually in colors. It is
placed one and one-half inches from the edge of the goods,
and basted down, with the cord itself farthest from the edge.
The velvet is then drawn over the cording from the edge
until it covers all but the narrow cord itself. Have it lie
smoothly, holding the rough edge of the cord in a pocket-

like fold of the velvet. Sew down the velvet so that the
cord projects. This must be done with stitches sufficiently
85
short to hold it must be turned
firmly in place, as the velvet
back again toward the edge and brought over and around
the velvet pocket that holds the rough edge of the cording.
Here it is slip-stitched, cross-stitched or blind-stitched
down. This gives an edge of black velvet, for example, a
cord of color, and both together make the cord hem. It is
used when some color scheme is being carried out. Suppose

the black velvet hat was trimmed with a pink, red or gold
rose, and loops of black velvet were to complete the garni-
ture. If they were finished with the cord hem, using the
color to correspond with the rose, it would give a note of
distinction. All these little schemes help to develop some
dominant note in millinery, as beautiful and appropriate
words transmit and embellish our thoughts.
Figure 3 shows a wider binding, and is called the half-
stretched binding. One edge of this binding is slipstitched
and the other is left raw, just as it was cut. The first thing
to do is to measure this binding, to find where it must be
stretched. The raw edge has to be sewed to the under side
of the brim about one-third of an inch from the edge of both
the binding and the brim edge. Measure the one-third of
an inch that will extend from the raw edge of the binding
to the place where the sewing will come. Then measure
one-third of an inch back to the brim edge, as the slip-
stitched edge of the binding will be turned up and over the
brim edge to the upper side of the brim. At the point where
the velvet reaches the brim edge, hold it firmly by the fore-
finger and thumb of the right hand and place the forefinger
of the left hand underneath and the thumb above, and pull
and stretch the velvet toward the left, along the line where
the brim edge will come, being very careful not to stretch
either the slipstitched or the raw edge. Sew the raw edge
86
on the under side of the brim edge, one-third of an inch
from it turn the binding over on the upper side, and it will
;
lie smoothly, on account of the stretched brim edge.
The Full-Stretched Binding
Figure 4 shows the full stretched binding, the best one that
is made. Both edges of this binding are slipstitched, and
it is pulled and stretched, in the center of its width, as de-
scribed in Figure Cut the end of the binding square
3.
across, turn it in, and pin it at the back of the brim edge,
with equal widths on the upper and lower sides. Stretch
a little piece with the forefinger and thumb of the left hand,
smooth it down with the right, and place another pin by
sticking it clear though the brim and binding. Continue
thus around the brim edge, turn in the last end of the bind-
ing and blindstitch the ends together. Sometimes the bind-
ing widens out at the ends. Place them at the correct widM^
on the upper side, rip a little of the slip-stitching on the
under side and take up the extra width. It is only a matter

of patience, for by this process it can be made perfect. If
the binding has to be pieced, make the seam with the
straight run of the goods, which will give a bias efifect across
the binding. Press the seam open carefully with the hands,
as velvet will not stand an iron. It is best to place the piec-
ing and the closing seam on the sides of the brim, as it is
never desirable to have a piecing in front. The closing seam
should be made on the bias, to correspond with the piecing
seam. The closing is done with a blindstitch.
The full stretched binding is sometimes put on with
wires. Then no slip-stitching is done on the edges of the
binding, but they are left just as they are cut. The binding
is stretched in middle of its length and pinned down about
^7
A COMPLETE COURSE L\ MILLIXERY
the brim edge, very tightly and smoothly drawn, and with
the binding of equal width on both the upper and lower
brim. It is basted down about one inch from the raw edges
of the binding, a wire is slipped under the edge, the velvet
tucked under the wire with a darning needle, and it is
stitched in place with thread the color of the velvet, and if
black it should not have a shiny finish. Never use silk, as
it frays, breaks and works loose. The method of sewing
down a wire is explained in a The needle is
recent lesson.
inclined at an angle of forty-five degrees under the wire, the
made one-quarter of an inch long on the right side,
stitch is
and very small on the wrong side. When the thread is
drawn up tightly it will entirely disappear under the wire.
In putting on the full stretched binding with two wires sew
on the under one first. The upper one is then sewed down,
making the under stitch in such place as it will not show,
hidden by the lower wire. Each stitch much be watched
and made with care. The wired full stretched binding makes
a very attractive edge for the brim.
The Extension Shirring for Broadening the Brim
To finish a brim edge, or more especially to make a

brim larger, extension shirring, shown in Figure
we have an
5. This consists of a bias piece of velvet, which may be
simply gathered on the turned in edge, or a small tuck may
be taken and a cord or wire be inserted when gathered or

tucked and ready to be put on. It is sewed barely over the
brim edge, on the upper and lower side, with the stilting
stitch. It is very scant as to fulness, making merely an un-

dulating line, instead of a rufifle.
This makes a narrow brim wide, and is often used to

carry out a color scheme, being the color of flowers or feath-
88
ers used to garnish the hat. If the extension shirring is very
wide, it needs support. Lace wire bent into the form shown
in Figure 6 and sewed around the upper brim, within the
wiring of the brim edge, will support the brim extension,
as this ruffled edge is slipped over the wire, one thickness
above, and one below, and sewed on with a stilting stitch,
so as to conceal the wire completely.
By putting on this extension shirring and giving a dif-
rent curve to a brim edge, an old hat may be made to look
decidedly new.
Before and After adding extension Brim

LESSON XVI
Brim Bindings
The first binding on a buckram frame is the rough
binding, which serves a two-fold purpose. It pads the brim
No. 1. Rough Binding
edge, and keeps the buckram from cutting the outside vel-
vet, and it also acts as an anchor to the velvet of the upper
No. 2. Round Binding

90
brim,when it is brought over the brim edge and stitched
down, as explained in a former lesson.
No. 3. Half-stretched Binding
It is made of bias velvet, stretched smoothly and tightly

around the brim edge, and sewed on with stitches one-
quarter of an inch long, on either side. Here is a good place
No. 4. Full-strelched Binding
to dispose of old and discolored velvet, but there must be

no overlapping when piecing is necessary, merely bring the
91
ends together so they touch. Otherwise it would make a
thick, knotty place on the brim edge.
The other three bindings are for the outside finish of
the brim edge. When we use any one of these it is only
No. 5. Extension Shirring
necessary to bring the upper and lower velvet of the brim

even with the brim edge. To do this, pin the upper velvet
in place as described in a former lesson ; baste it down with-
No. 6. Wire Support for Brim Extension
in one-half inch of the brim edge, with the long stitch on

the upper side, cut the velvet ofif even with the brim edge
and overcast it all around. Treat the velvet on the under

92
side of the brim in the same manner. Be sure and trim the
velvet even with the brim edge, for if it projects ever so
and then is overcast,
little, it will be lumpy, and show
through the binding.
Figure 2 shows the round binding. This is the narrow-
est and most economical binding in use. It is made of a
bias strip, which is slightly stretched, and sewed on the
upper side of the brim near its edge. The stitches should
be one-quarter of an inch long on the upper side ,and small
on the underbrim. Bring the velvet over the brim edge,
turn in the raw edge and blindstitch it down. This makes
a truly round binding. Its width can be gauged by measur-
ing the velvet on the upper and lower brim edge, and add-
ing to that the turn in on each edge of the binding. The
round binding is only recommended where economy is the
object.
93
LESSON XVII
French Design Work
The plain manner of manipulating velvets has now been
carefully considered, and the next step is to learn some of the
more fancy methods.
French design work consists of sewing different patterns
into the velvet, and allowing the proper fulness for their per-
fect development.
The first design shown in Figure 1, is called the chrysan-
themum pattern, and Figure 2 shows the tracing done on the
wrong side of the velvet, to be followed in the stitching to pro-
duce Take an ordinary sized glass tumbler, turn it
this effect.
bottom side up, and draw -your pencil around its rim as it lies
on the wrong side of the velvet. Put a dot in the center of the
circle, and from it draw circular lines, as shown in the diagram,
watching that the line next to the circle made by the tumbler,
shall be properly spaced. Take a fine short needle, and No. 50
thread the color of the velvet. Begin in the center and secure
the thread firmly, as the gathering depends upon this fastening.
Sew only three short stitches at a time, following the design,
and after the second round is made, draw up the thread as tight
as you can. From this point on do the gathering less and less
tightly until the outer circle is completed. The center will then
stand up like a cone as it has to be drawn so very tight in the
center in order that there shall be any fulness on the outer
edge. When the gathering is properly arranged a small hole is
punched in the buckram, upon which the velvet is to be placed,

and the top of the cone is pulled through the hole and given a
slight twist. This arranges the radiating lines of the gathers
more gracefully. Stick pins around the outer circle, just as it
.
94
should lie on the buckram, take your needle, secure the center
in its place and then tack down the outer circle. If any one part
sticks up too much near the center, stitch it in place in the folds
of the gathering, so it will not show. Press a refractory place
down on the buckram, if it needs it, and take a stitch which
must always point toward the center. Sewing crossgrain would
be ruinous.
For a flat brim, or the upstanding brim of a turban, eight
designs will be found sufficient. One in the front, one in the
back, two on the sides, at right angles, and finally, one between
each of all these. That makes the eight. They should be on
No. I. Chrysanthemum design.
the upper side of a fiat brim, or the outer side of a turned

up brim. In velvet we allow one and one-quarter of its length
for all gathering. This will be found sufficient for the design
work. Measure around the edge of your brim, and it will re-
quire one and one-quarter times that amount in length to go
around it. It should be a bias piece, as wide as the upper
95
and lower brim, with one-quarter added. The velvet is one
continuous piece, from the headsize over the upper side of the
brim, down over the brim edge, over the underbrim to the
headsize again. So with one-quarter added for the length and

one-quarter added to the width you have the dimensions of
the piece of velvet required for the brim. It will probably take
two pieces of the bias velvet to make the brim. Sew them
together in two diagonal seams so that it will make a circle
of the velvet. Mark your first design for the front, and it
should be in the middle of one of the bias pieces, so that the
seams will be on the sides. Double the velvet in two, length-
wise. Take one for the upper and the other for the lower
side of the brim. Allow enough for a seam at the headsize,
and piit the designs equally distant from where this seam will
come, to the brim edge. Space the eight designs, sew them,
put them on the brim, and the fulled velvet between the de-
signs, and around them must be caught with the smallest of
96
stitches from the under side, to make the velvet He in graceful
contour. It is easier to by sticking pins v^here
determine this
later the stitches will be taken. Gather the velvet at the head-
size, on the upper and lower side and stitch it in place.
A round or oblong crown is covered with a single piece
of velvet, the dimensions of which are determined by measur-
ing the crown from front to back, and from side to side, and
adding one-quarter to this measure.
One design is made exactly in the center of the top
crown. Six are grouped around this one, so their outer rim
is as far away as the diameter of the design. If the crown
is very large, six more may be added, the same distance below
the first it was from the central design.
row, as The figures
of the second row should alternate with those of the first row.
The making of such a hat necessitates the use of a fin-
ishing or milliner's fold at the base of the crown. This is one
of the most beautiful and artistic effects known to millinery.
The chrysanthemum design can be made of any size. A
crown top may be completely covered with one design. In
such a case, do not forget that the center must be drawn up so
much more by the gathering, in order to have any fulness on
the outer edge. If the crown top is oblong, add a few curved
lines at the front and back, coming into the circle, at their
beginning and ending.
Chrysanthemums no larger than a half dollar, may cover
a crown top, making one in the center, and grouping six about
it to conform to the shape of the crown top. This can be
used with a plain side crown, which would be a separate piece.
These designs can be sewed on crinoline, and used in soft
crown tops, but they are not so effective as when sewed to
firm buckram.
Beside the chrysanthemum pattern we have the crossbar
and double crossbar, shown in Figure 3 and Figure 4. The
97
lines in the diagrams simply denote how the seams should be
placed and can be laid off on the velvet, by a white thread,
in long stitches on the right side. The seam itself is a double
in the velvet, made on the line of the white thread on the right
side. Begin on the edge of the double, slope gently downward
until the seam is one-eighth of an inch wide. Sew it at that
width until near its termination, where it is sloped upward
to the edge of the double again.
Be careful in making the seams across each other, that
you do not sew through the gathering threads, or they could
not be drawn up. After the design is all seamed, draw the
seams up, just enough to ruffle the velvet slightly and suffi-
cient to make the designs stand out clearly, then thread the
loose ends of the seams, and run the needle through to the
wrong side, and fasten securely. The fulled velvet, about
the designs, should be disposed of, as in the first pattern.
These designs can be made large or small, as desired.
The last pattern shows the spider web in Figure 5. To
make it, you first determine where you want the center of the
web. Place a pin at this point, double the velvet in a straight
line, so that the center pin will be as nearly in the middle of
the double as possible.
Determine how large you want the web, and place two
pins equally distant,from the center pin, one on each side,
and both along the double. This will give the diameter of
the web. Place four pins, two on each side of the double, so
that they shall be equally distant from each other, and the
two pins placed along the double, with the center pin. They
must also be the same distance from the center pin as those
on the double. These six straight lines, radiating from the
center, to the six pins, should be marked with white thread,
in long stitches on the right side. Mark off three slightly
curved lines, between each two straight ones, as shown in the
diagrams, and stitch them with the white thread also.
98
Commence with a fine needle, and fine thread, the color
of the velvet, and seam along the first double from A to B, be-
ginning with the edge of the velvet, and getting wider, gradu-
ally, until at the center the seam should be one-eighth of an
inch wide, then decrease from the center to B and draw up the
seam, so that it lightly waves the velvet. Fasten the end
securely, even with the edge of the double. Sew the other
four straight lines, commencing at the outer edge
separately,
and ending in one-eighth of an inch seam in the center.
The curved crossing lines, between the six just sewed
should be slightly gathered, each one separately, and the whole
design pinned down to the foundation of the hat, and then
stitched in place. The curved seams are then chain-stitched,
in heavy embroidery silk, in a contrasting color to the velvet,
or some tint or shade of the same color. The center of the
web is finished in a jewel, or with beads, spangles, "jet or any-
thing that taste may suggest. These webs may be made large
enough to cover the top of a crown, and can be elongated in
design to fit the crown of that shape.
All of these designs must be sewed with short stitches,
and exact work done in their embellishment and mounting.
Hand-made appli-
que motifs on an
odd turban
99
LESSON XVIII
Five Different Crowns
As Fashion comes and goes, there are five shapes of the

crown, that appear periodically, as something startlingly new.
The first is the Gainsborough proper; by that I mean
the crown shown in the Gainsborough portraits. This crown
is straight on the
sides, circular in form, and flat on the top.
It isalways a high crown, but its proportions vary somewhat
although the usual width of the side crown is three-quarters
the diameter of the top. Thus, if the crown top has a diam-
eter of 8 inches, the height of the side crown would be three-
lourths of 8 inches, which equals 6 inches.
The true Gainsborough hat is not supposed to come
down on the head, as is often the style for years together,
but it is perched jauntily on the side of the head, the wide
straight brim given sweeping and graceful curves, and the
whole structure loaded with plumes, irtistically placed in flow-
ing line.«.
The top crown is cut in circular form of any required

tometer, in the same manner as the Gainsborough brim. It
«s wired around its circumference, even with the edge. The
wiring is done on the rough side d
the buckram, leaving the
smooth side for contact with the velvet, or any fabric cover-
ing. The side crown is cut in a continuous straight strip, of
equal width, and is closed by an overlap of two inches at the
back. It must be fitted so it will exactly go around the crown
top, and neither squeeze the top nor leave the slightest open-
ing. Close the overlap of the side crown, with long stitches,
wire the headsize, on the inside, even with the edge, then wire
the upper edge just the width of the wire below the edge itself,
100
The original Gainsborough Hat
SO that when the crown top with its wire is put within the
side crown the wire of the crown top will rest on the wire
of the side crown, as upon a shelf. Next, stitch the crown top
and side crown together, with long stitches driven through
from the crown top to the side crown, going under both wires
and holding them together. Repeated stitches of this kind
make an overcast all about the crown.
Curving the Crown Top

Sometimes the slightest curve is desired in the crown
top. This can be effected by cutting out a piece of sheet wad-
ding the size of the crown top and pulling off a thin layer on
the edge all around and placing the side that has been torn
next to the crown top. This makes the least bit of fulness
and takes away the severity of the straight lines.
101
The velvet or fabric is placed with the bias to the front
of the crown top, and stretched and pinned on like the Gains-
borough brim;, extending down on the side crown for one-
third of an inch. After it is pinned perfectly smooth it is
stitched around on the side crown far enough from the edge
of the velvet so that it will not ravel, and yet not so near the
top that the stitching will show, when the side crown velvet i:'.
put on. Make the stitch one-third of an inch long on the right
side and very short on the wrong side. See that the stitch on
the right side holds down the goods without any puckers or
they will later show in a bunch through the fabric of the side
crown.
Cut a bias strip of velvet wide enough to cover the side
crown, turn in j/^ inch on either edge. You must also allow
which lessens its width. After
for the stretching of the velvet,
one edge of the velvet is cut on the bias it can be stretched
and pinned about the side crown, to get some idea of the de-
sired width before the other bias edge is cut from the piece
of goods.
Turn in half inch at the top edge of the bias piece; com-
mence in the back of the side crown, pin it down, and stretch
it about the crown top and exactly even with it. There are
two methods of closing it in the back of the side crown. If
the velvet is sufficiently wide, cut off the ends square, and turn
them in one-half inch on either end. Turn down the ^ inch
coming around the crown top, that is immediately in the back,
after the ends are turned in, so that the lap-under on the ends
will not show at thecrown top after the side crown is closed
at the back. This closing is done with blind stitching, com-
mencing at the top of the same, piercing the needle through
the buckram and back, so that the stitching may never slip
down. The bottom of the side crown is finished by turning
102
A CO MP LUTE COURSE L\ MILLINERY
under the velvet into the headsize of the crown and stitching
it with a fine needle and thread, barely above the bottom wire,
making the long stitch on the inside of the crown and the
small one on the outside. The stitches should be one-half inch
long on the inside and the smallest that will hold the fabric
on the right side. This finishes the true Gainsborough crown.
The Puritan Crown

The second form of crown is the Puritan, and is very like
the Gainsborough, only the side crown is sloping slightly,
hence making a smaller crown top. This is sometimes called
the ''sugar loaf" crown, as it has the exact shape of the cone, in
which that commodity used to be sold, except that the top is
cut squarely off.
Any picture of the Pilgrims will give a vivid idea of this

peculiar headpiece, and as instructions have been given for
cutting a sloping side crown, the Puritan shape can be easily
reproduced by slashing the side crown of the Gainsborough
from its upper edge nearly to the headsize and overlapping.
After getting the proper slope it can be cut from buckram in
one continuous piece, and a flat top can be fitted into its upper
opening.
The Puritan crown is sometimes made with a flat oval
top, and is used with all shapes of brims.
The third of these crowns is the beretta, which was pri-
marily taken from the priest's cap of that name. It is usu-
ally cut in four pieces and put together wîth a heavy cord in
the seams. The top is nearly flat, and can be brought back
to the headsize with gathers or after the top is of sufficient
size the four pieces can be sloped in so they will exactly fit
the headsize, where they are sewed narrow band about

into a
the head. The true beretta is not very large on the top, but in
103
its modifications for millinery it is corded or not, and is some-
times cut plain and round, and either gathered or plaited into
the headsize. We
have the artist's beretta made this way,
and one side. This crown can be made with
slightly pulled to
the head band, making a complete hat that way, or it can be
used on a brim of any size or form.
The fourth shapeis the Tam o' Shanter, which is ordi-
narily cut in two round disks, in one of which is cut out the
headsize. The two are put together with a heavy covered
cord between the edges, or it can be made of one larger round
piece, turned under on itself and plaited or gathered into the
headsize, when there is no difference between it and the be-
retta but a name.
The mortar board is the fifth form of crown. This, in
its most severe form, used by scholars, is a square piece of
pasteboard, covered with cloth on both sides, and a long droop-
ing tassel, on one side of the point, which is directly in front
and seems disposed to cloud the vision of one eye. This board
is attached to a round close-fitting skull cap at its top. The
fastening is sufficiently strong, so the four points cannot vary
in position.
For the millinery trade this crown is varied, so that a

square piece of buckram the required size of the board may
have a round center cut out of it so that the narrowest parts
of the buckram will be only two inches wide. In many cases
the four corners are reinforced with a triangular piece of
buckram and a small wire, called lace wire, is sewed around
the four sides of the outer edge. This braces it, but yet leaves
it very pliable.
The cloth stretched over this frame may be divided into
four equal parts, starting in the center, and running to the
four points. It may be corded in the seams, and instead of
104
flat it may be rounded slightly toward the center.
being rigidly
The buckram will hold the corners firmly and a bias strip of
the goods may be sewed around the edge of the board, with
or without a cord, as desired. The bias piece can then be
drawn up to fit a head band, leaving the bias piece wider oppo-
site the points of the board, and gradually narrowing down
in the spaces between, so that the bias piece will pull equally
into the headsize. When this is worn the head will make it
curved over the top, while the points stand out well defined. It
can be used with or without a brim.
By noting these different suggestions for crowns many
and varied effects can be produced.
Increasing the height of a shallow crown by trimming.
105
LESSON XIX
Draping Crowns and Velvet on Concave Surface
Periodically the smooth velvet on the crowns is wrinkled

into strangeand mysterious shapes. Sometimes it is but little
elevated above the buckram foundation, and at others it is
given a prodigious height, at the back of the crown top, on
either side or both, or in front.
These humps and valleys must have some foundation for
support, and they must be disposed in an artistic manner, or
it will prove the step from the sublime to the ridiculous. In
the illustration we see exemplified various ways of supporting
the folds.
When fashion justifies the elevation of the back of the
crown top, and also dictates that it should extend slightly
backward from its base, the wire support portrayed will hold
it firmly in place. It is necessary to first line the crown with a
strip of buckram 3 inches wide, extending from the headsize

in front to the headsize in the back. When the curve comes,
at the commencement of the crown top, cut the buckram strip
from each side, leaving only a small space in the center. Let
the slit be in conformity to the curve, and when the buckram
is pressed in place the slit pieces will overlap each other, so
that this extra piece of buckram will lie snugly against the
crown for its whole length. Stitch the bracing piece firmly to
the crown and you have a firm foundation for the supports.
These wire supports are made of one piece, and the wire is
crossed at the base and spread out in two triangular flanges
like duck's feet, forming a substantial foundation.
The larger wire support can be made pointed as in the
106
illustration, or it may be broad across the top and set parallel
to the width of the crown top, coming down to the base, with
the two wire sides of equal length.
uc
Other supports are made of buckram and wired on the
upstanding edges. One-half inch, including the wire ends, is
turned outward at the base to conform to the shape of the
crown top, where it is desired to use it.
If the supports are made as shown in the illustration the
velvet can be taken where and the bias

it is cut square across,
corner can be turned in for 3 or 4 inches, and the two sides
on the straight brought together like a cornucopia, and it can
then be slipped over the wire standard at the back of the
crown. This brings the bias down the middle of the draping
on the crown top, and this main rib may be made in curves.
The side supports will hold another fold of the fulness. These
folds should be carefully arranged so that they converge at
the front and hold them in place by pins, thrust straight in
through the crown top.
About the hardest thing in millinery is to give a perfectly
flowing and careless effect, when the goods must be so secured
that it will hold in place against wear and weather.
After the draping is finished, and the pins placed, not
always bringing the velvet in contact with the crown, take a
long needle and fine cotton thread, the color of the velvet, and
beginning on the under side of the crown top stitch through
the velvet at the places pinned, being very careful not to pull
the velvet down when returning the needle into the crown top.
Many places the thread will have to be carried along parallel
to the crown top in order to secure the folds exactly in place
and not pull them down. Especially is this the case when com-
ing to the main rib of the draping. The needle must go under
the long connecting wire, but never make a draw in the vel-
vet. The on the right side
stitch at all times is the smallest
possible and becomes invisible, as it sinks into the pile of the
velvet.
103
The crown can be laid on smooth or in folds or with
side
a shirred upstanding edgeand various forms of shirring down
the whole side. Anything that taste may suggest or the con-
tour of the face justify can be used. If one possesses very
little originality one may select some prettily draped crown
and copy it. Such suggestions can always be found in a good
millinery magazine.
A smart and even way
to drape a crown is to lay five
plaits at the front of the crown top. Let each plait be one-
half inch deep and lay them all in the same direction so that
they barely come in contact with each other and do not over-
lap. Drape the plaits so that they widen apart as they reach
the middle of the crown top, and at that point secure them
with pins stuck straight in between the plaits. At the back of
the crown top make five similar plaits, only in the opposite
direction. Pin them exactly in place, as the front ones are,
remove the pins in the center of" the crown top, and you will
find that the reversing of the plaits makes a fine fluted effect.
The plaits must not be drawn too tight, and a few fine stitches
will hold them in place. The side crown can be treated the
same as in the case of the high draped crown top.
There is no end to the variety of designs that can be pro-
duced by the use of supports, wires, shirrings, folds and draped
goods.
Many shapes present a concave surface on the upper or
lower brim. The velvet must be placed upon the concave sur-
face, be it up or down, before the other side of the brim is
covered. Let us take a tricorne, for instance.
Place the bias point of the goods at the front point of
the brim and on the upper side. Let the velvet at the front be
from the bias point so that when the velvet is
sufficiently far
pressed down to conform to the shape it will still reach the
109
brim edge at all points and allow one-half inch beyond it.
This must be done very carefully. Next pin the velvet to the
front point and with forefinger and thumb of each hand work
the velvet down, stretching it on the bias, either lengthwise or
crosswise as required to fit the form. Pin the brim edge and
thrust pinsstraight through the velvet and buckram else-
where. Only place a small portion of the velvet at a time.
Then take a small needle and fine cotton thread, the color of
the velvet, and starting on the wrong side stitch through to
the right side and back again with as small a stitch as will hold
the goods to the buckram. The stitch should be invisible
when the velvet is brushed at the completion of the stitching.
Stitch back and forth across the front point, making the
stitches one-half inch apart and each row one-half inch dis-
tance from the last. All the time keep fitting the velvet, and
if any one place "blisters" so as not to touch the buckram and
put in an extra stitch to hold it down.
Work the velvet toward the back, and after it progresses

enough on each side to begin to cover the headsize, cut out the
headsize just that far and no farther. Nothing is more de-
ceiving than the exact place of the headsize, and it can only
be cut out safely little by little as the fitting proceeds.
As the back is reached, the velvet in the headsize will

stand up ir^ a ridge, getting higher toward the back.
At last
the velvet must be brought together at the back and cut in a
straight gash from the headsize to the brim edge, allowing
one-half inch on either side for a turn-in.
The remaining part of the headsize is now cut away, the

back turned inland blindstitched together, and the final fine
stitching done to hold down the velvet in the back.
Velvet can be fitted in this manner over almost any
no
shape, widening or narrowing the velvet in the bias of the
goods.
Lastly, the velvet is taken over the brim edge and stitched
down rough binding as in the Gainsborough brim. The
to the
velvet of the underbrim is pinned in place at the brim edge
and can be fitted smoothly by pulling the bias of the goods.
Baste it with fine needle and thread, about one and one-half
inches from the brim edge. The velvet should now be trimmed
away, leaving one-lialf inch projecting beyond the brim edge.
This is turned in even with the brim edge and blindstitched to
the upper brim.
A dip in the crown top or a concave side crown can be
covered in the same way as the brim, only in the crown top the
fitting begins in the center.
Hat manufacturers employ a colorless millinery adhesive
for applying the velvet, securing it over a form or mold with
great pressure. The old-fashioned glues often injured the pile
of the velvet, and it could not be raised without loosening the"
velvet from the frame. The new improved millinery adhes-

ives are wonderful time savers in the milliner's workroom, but
in spite of their perfection they are a perilous thing in the
hands of the amateur, as one ''smutch" of the fluid on the fin
gers or too much of it under the velvet is apt to produce a
pressed down spot, that to try to correct is to make worse.
Before attempting to use the adhesive, it is not only advisable
but absolutely necessary to experiment, taking the more tedi-
ous method of sewing the hat until one has become sufficiently
conversant with the use of the adhesives.
Ill
LESSON XX
Transparent Hats
The first of the transparent hats to be considered is the

chiffon hat, that is, a hat made of chiffon folds. The initial
step is therefore the cutting of the folds. Lay the chiffon

out straight on a table, with the end of the piece towards you.
Take this end and fold it along the selvage of the left hand
side. This gives a true bias on the right hand side. See that
it does not pull out longer than its natural width on the bias
line.
Take the bias on the right hand side and fold it back on
the piece of chiffon until the bias comes even with the far-
thest point, where the chiffon lies with double thickness. The
chiffon is now in one fold of four thicknesses and the fold
must be of uniform width, but its ends will be irregular.
Again, take thq bias on the right hand and fold it to the left,
until it is even with the first bias that was made. Repeat this
process unil the fold is of the required width, which is usu-
ally about 3 inches. Be sure that this folding is done exactly,
so no part has stretched, or it will come out uneven when the
folds are cut.
Take a fine needle and fine thread and stitch down the
middle of the folded piece of chiffon with stitches two inches
long. Watch that the stitches do not misplace the folds. Now
take the scissors and cut directly across the fold any width
desired, and when it is unwound it will be a bias strip of
equal width all its way, if the process has been properly man-
aged. The always cut off and the strips are sewed
selvage is
together with a very small seam, which is pressed open with

the fingers. Fine thread is used entirely in making a chiffon
112
hat. After the seams are sewed, pull the whole piece across
its zvidth and roll it up very lightly, when it is ready for use.
Cutting Chiffon
The theory of cutting chiffon can be exemplified with a
piece of paper, which may be folded across its bias, and folded
again and again according to directions. It can be basted
down and cut across, and one can more readily see the process
because the paper does not stretch, as the chiffon surely does.
The chiffon hat is made on a wire frame, which is covered
with a plain piece of chiffon. where
First on the underbrim,
it is pinned and overcast around the brim edge, and
in place,
headsize, extending over the brim edge wire for one-quarter
of an inch. Then the upper brimi is covered in the same man-
ner, making two thicknesses of the chiffon for a foundation
for the folds. The first fold is put around the brim edge as
a binding, extending equally on the upper brim and the lower.
This is stitched to it^ place, with equal stitches on both sides,
and as near the raw edge as it can without fraying out.
The next fold is doubled its full length, and be very care-
ful not to stretch it lengthwise. It is laid on the upper side
so it will project over the brim edge about one-eighth of an

inch. Stitch in place along the raw edge, with equal stitches
on both sides, and one-quarter of an inch in length. The next
fold is put on the under brim in the same manner as the one
on the upper brim, and the stitching must come exactly in the
same place as that of the upper brim. The next fold is put
on the upper brim, so that its edge will nicely cover the sewing
on the raw edge of the first double fold. The raw edge of this
last fold is sewed on like the others, and the next fold is
placed right under it on the underbrim, so the sewing of the
two folds will come in the same place, and this process is
continued to the headsize. (See illustration.)
113
When
a fold is begun the ends are turned in before it is
folded, and when the fold terminates it is finished in the same
manner, so the turned in ends come together in the back. A
constant endeavor must be maintained to keep the raw edge
of each fold froni stretching, in fact, it should be held the
smallest bit full, to allow the doubled edge to curve around
freely, to conform to the curve of the brim.
If the under side of the brim is to be? covered with a

shirred facing, only the upper folds needs to be put on, one
after another. If the folds of the upper brim are narrow,
they are sometimes made in a continuous strip, beginning a
little to the right of the exact back, going completely around
the brim edge to the place of beginning, where it should slope
gradually upward toward the headsize to make the second
round, and the extra thickness of the first fold, that will show
under the beginning of the second, should be cut away.
upper and lower brims are both covered with folds,
If the
the slight projections beyond the brim edge should be tie-
stitched together about every two inches with very fine thread,
so that those outer folds will not flap in the wind. Take a
small stitch to the on the under fold, and through only
left,
one thickness. Exactly above it take a small stitch to the

right in he upper fold, and tie them together, but not so tightly
that it will draw.
The crown is covered with two thicknesses of chififon, to

correspond with the brim, but in this case both thicknesses are
put on the outside of the wire form. The crown top is pmned
in place and overcast. The
crown is fitted by a straight
side
piece of chiflfon, doubled, if crown is straight. If
the side
the side crown slopes slightly the doubled chifYon can be drawn
tightly around it from the front, where it should be pinned
to the back, where it will end slightly on the bias and where
114
it. will have to be overlapped and stitched down. Then stitch
it in place where the crown top begins and overcast the head-
size.
If the side crown slopes more than can be taken smoothly

up by pulling the chiffon toward the back, cut out a paper pat-
tern to fit the side crown, and lay it on the doubled chiffon,
so that the doubled edge of the chiffon will be at the top, and
extending beyond it, where the upper edge is curved. Cut out
the bottom, allowing an extra half inch to turn under at the
headsize; cut the ends so they will overlap.
Leave the doubled edge of the chiffon until the chiffon
ispinned around the crown top, then the extra projection can
be cut away. Close the overlap in the back, stitch around the
crown top and overcast about the headsize.
Applying Chiffon Folds

The folds are put on the crown the same as on the upper
brim, beginning at the headsize in the back, and ending with
the gathering of the fold into a round rosette for a finish at
the very tip of the crown, or again, if the fold is sufficiently
narrow, the crown can be covered in one continuous piece,
going round and round the crown, and finishing with the
rosette.
Beautiful effects can be produced by varying the chiffon

folds with transparent braids. A fine or fancy straw hat is
sometimes given an underbrim lining of chiffon folds. In
such a case a crinoline lining is cut exactly to fit. This is
covered with plain chiffon and the edge bound with a chiffon
fold, and then the succeeding folds laid on one after another
as before described until the headsize is reached. The en-
tire lining is then pinned on the underbrim and stitched to
place on its edge with the stilting stitch. When stitched at
the headsize the lining is complete.
115
Maline hats are made in the same way as the chiffon, only
the folds of maline are made of straight strips turned in from
both edges of the length until they meet. Then the outer
The
various
stages of
covering
hat brim
with
folds.
edges are folded together, and a fine basting run along the mid-
dle of the fold, when it is ready for use. This folding gives
four thicknesses of maline. Frequently a gathering thread is
required on the upper edge, where the sides come together.

Maline folds can be used with braids also, or with bands of
fancy straw leaves, as shown in fancy braid sewing.
Lace hats can be made on wire frames, covered smoothly
with chiffon or maline. If the lace is narrow, itcan be slight-
ly fulled by pulling up the draw string on its upper edge and
116
sew it from the brim edge to the headsize, each round slightly
overlapping the last enough to hide the sewing. The lace
should project a little over the brim edge, and it is preferable

to only put the lace on the upper brim and finish the under-
brim with a shirred lining of chiffon, maline or net. A crown
can also be made of the lace.
In metallic laces it is often desirable to have no frame

covering under the lace. The; frame should match the lace
in color, that is, if the lace should be silver, the frame should
be made and if the lace should be of gold, the
of silver wire,
frame should be made of gilded wire. When these wires can
not be obtained, a common white wire frame can be treated
to a liquid wash that will produce a silver or gold effect and
can be bought at any drug store. If some certain color is
wanted, a white wire frame can be changed to any shade or
tint by mixing tube paint and gasoline and painting it, or,
better still, dipping it in the dye. The lace, too, can be col-
ored, but it must be immersed, all at one time, and the paint
and gasoline must be thoroughly mixed and poured off into
a second vessel, so there will be no sediment to produce spots.
It takes very little of the tube paint and considerable of the
gasoline, and it must never be used near a fire.
If the metallic lace Is wide enough to reach from the

headsize to the brim edge, gather it into the headsize with
sufficient fulness so that smoothly at the brim edge.
it will lie
Stitch it to the headsize wire, and again at the brim edge,
letting any scallops project beyond the edge wire. If the me-
tallic lace is not wide enough to cover the whole brim, see that
a wire is so placed that meet the gathering string after
it will
the brim edge is pinned If it only takes two widths
in place.
of the lace to reach the headsize they can be overlapped at
this middle wire, but if the lace has to be pieced out toward
117
the headsize after the brim edge is secured and the gathering
of the first row of the lace has been fastened to the wire
between the brim edge and the headsize, the wire can be cov-
ered with a narrow finishing fold of velvet or satin.
The crown top may be covered with straight pieces of
the lace, runningfrom front to back, with the two plain edges
of the lace coming together across the middle of the crown
top. These plain edges can be covered with a narrow finish-
ing fold of silk or satin also.
The crown may be made with the scalloped edge of
side
the lace standing up around the crown top and finished at the
headsize with a finishing fold. If it should require two widths
of the lace for the side crown they can be managed in the same
manner as in the brim.
A shirred net hat can be sewed directly on the wire frame.
The strips may be cut crosswise, bias, or along the length of
the net. In the last case we get the smallest amount of seams.
The strip for the brim should be three times as long as the
brim edge and as wide as the brim, and any projection beyond
the brim edge, multiplied by two, for the net has to go both
on the upper and lower brim. Then allow two inches extra
for the turn in at the headsize, one inch for the upper brim
and one inch for the lower brim.
Suppose it is desirable to have the net extend in a frill
for one inch beyond the edge wire, and that the brim is five
inches wide then we will cut a strip fourteen inches wide,
;
two inches for the extensio?i beyond the edge wire, ten inches
to cover the brim proper, and two inches to turn in at the
headsize. Double the strip of net lengthwise and run a gath-
ering thread arotmd it one inch from the doubled edge and
open out the two thicknesses, and put the net around the
brim, one thickness above and one below the wires, and the
frill extending one inch beyond the edge wire. Divide the
118
4 COMPLETE COURSE IN MILLINERY
fulness into four equal parts, pinning the net in front, at the
back and; at the two and dispose the gathers equally.
sides,
Draw up the thread and fasten
it. Now pin the two thick-
nesses of net together, just within the brim edge wire. Run
a stitching in the net and through both thicknesses, close to
the brim edge wire, and after the complete circle is made draw
up the thread and miake it fast. This encases the brim edge
wire in the net, and each wire may be similarly treated by
running a gathering thread on both sides of it. This process
is shown in the illustration.
At the headsize, gather the net on the top and under brim
separately, and stitch them together afterward. The crown
is covered with a strip as long as three times the distance
around the headsize, and as wide as the measure from the
crown tip to the headsize, plus one inch for a turn in. Sew
the strip together in a small felled seam, and turn in one-quar-
ter of an inch on one edge, and gather it very tight, as near the
doubled edge as possible. Sew it to the centre of the crown
top with the seam of the net in the back.
Put a gathering thread where the crown top begins and

another at the headsize. If any more gatherings are desired,
let them come directly over the extra wires on the crown top
and the side crown. Dispose the fulness evenly and baste the
net to the wires with small stitches on the right side, and
stitches one-half inch long on the wrong side, but make the
thread encircle the wire by taking one little stitch above the
wire and the next belozu it, so that the shirring will stay in
place.
With laces, malines, chiffons and transparent straws of

allvarieties of quality and colors, wondrous designs can be
produced that delight the artistic eye.
119
LESSON XXI
Transparent Brims and Brim Extensions
Transparent brims and brim extensions come in style
periodically as the wheel of Fashion turnson its round. The
transparent sprung brim is generally made of maline or chif-
fon. If the uncovered wire is used for the brim edge, it can
be cut to any sized circle desired and the ends fastened with
a metal clamp, which can be purchased with the wire. Use
the pliers in pressing down the clamp, after the wire ends are
inserted, and then cut a wire headsize. It is best to cut the
maline on the straight. Take the piece of maline, fold it over
on its length to twice the width desired for the brim (measur-
ing from the headsize to the brim edge) and cut it off long
enough to go around the edge wire, very tight, and lap over
an inch.
Put the middle of this strip around the edge wire, pulling
it firmly into place, and where it laps over stick in a pin, near
the brim edge, to hold the ends together.

Be careful that the maline does not slip on the edge wire.
Now draw the fulness of the maline to the headsize, keeping
each layer of the four thicknesses equally taut. Run a strong
thread through the maline, as near the headsize as possible.
Let the stitches be small, to avoid wrinkles. Draw the thread
up and the nmline will straighten out flat. Fasten the thread
so its circle will be complete, and the maline smooth and
firm. If maline seems refractory and too stiff to lay smoothly
about the headsize, the least touch of steam at that point will
elongate the holes of the mesh and make it spread out flat. Be
very careful not to use too much moisture, and be sure it only
touches about the headsize. Cut away the superfluous maline
120
A COMPLETE COURSE IK MILLINERY
in the lap-over, from the headsize brim edge, so that
to the
there will be only one inch lap-over and do not attempt

left,
to turn it in, for it will never show if the edge is left raw, and
it would show by the extra thickness if it were turned in.
Place the headsize wire on the upper side of the brim, and
overcast it to the maline, using small stitches, and keeping the
fulness of the maline as smooth as possible. Turn the extra
A smart hat, always in style, and

especially desirable for evening or
restaurant wear. The interesting
feature is the irregular brim of
some sheer fabric shirred to wire.
The trimming of fine strands of
plumage may be replaced by flow-
ers or any preferred garniture
maline up into the headsize and the brim is now ready for
the crown.
If the uncovered wire is used for the brim edge it is usu-
ally finished with a round binding (see Lesson on Bindings)
of silk, satin or velvet. If the binding is not to be used, the
wire of the brim edge should correspond in color with the
maline. If a white covered wire is used and tied with covered
tie wire, the whole can be colored any tint or shade, with tube
paint and gasoline.
A transparent brim extension is usually put on a wire

frame before the braid or cloth covering is arranged. Sup-
pose the brim is composed of three wires, namely, the brim
edge, the headsize, and the wire between these two. Make the
circle for the transparent extension to lay outside of the three
wires, and as far beyond the brim edge as desired.
121
Fold and cut the maline to go around the extension the
same as in the transparent brim, making the strip wide enough
to go over the extension wire and to reach up on both the
outer and under sides to the middle wire of the frame proper.
Gather the maline at the middle wire of brim and overcast
it to that wire and also to the edge wire of the frame. All
four thicknesses of the maline may be placed on top of the
wire brim, or the brim may be slipped in between these thick-
nesses, leaving two above and two below. In this case the
maline is gathered twice, once above the second wire of the
brim and again below it.
After the extension is adjusted very tight and smooth,

the braid, crepe or silk for the wire brim proper can be sewed
on.
Transparent brims and brim extensions can be made of

net, maline, chiffon or lace. Sometimes a transparent brim
edge is made of a wavy hair braid, prettily scalloped, or a
lace edge may hang straight down.
If a transparent extension is desired on a pressed straw,
there are ordinarily a few rounds of milan forming a brim
revers on the upper side of the brim, which can readily be
ripped off, the transparent gathering sewed down, and the
milan circle replaced to hide it.
Some on the headsize

milliners use four wires, fastened
and extending brim edge for additional supports for
to the
a transparent brim. In such a case, two thicknesses of the
maline go above the wires and two below them, and two gath-
ering threads are required at the headsize.
The brim extension is made in a different manneri by ex-
tending four of the eight wires, fastened on the headsize of
the wire brim, until they are clamped down on the edge of the
122
extension. This gives four wire supports to the outer circle,
but detracts from its beauty somewhat.

Various and effective are the many conceits made from
transparent and diaphanous materials, and for grace and
beauty they have no equal.
A Famous
Millinery
Classic
The Lady
MufF
with the
by
Mme. Vige'e
Lebrun
123
LESSON. XXII
Bows and Other Fancies
The Single Alsatian Bow

The Alsatian bow, see Fig. 1, is the foundation bow of
all bows. This basic factor, with its myriad variations, has
filled the world with the art productions in that line.
Take one yard of 4-inch ribbon and fishtail both ends.

This is done by folding the ribbon in the middle lengthwise, at
the ends only, making the selvages come together. Next bend
the middle of the end out to the selvage so that the upper edge
of the end will be parallel and just even with the selvage.
Cut across the diagonal double and it gives the notched efifect
called fishtailing. If the diagonal cut is slightly curved out-

ward it will relieve the eye of the severity of the straight line
and give a better efifect. If the ribbon is the same on both
sides an Alsatian bow is always constructed like the letter
*'Z." It is divided into three parts, one end is laid on the
table, then the ribbon is folded back upon the first layer, and
the last third is folded back over the second layer. It is then
adjusted so that the fold of the ribbon at the ends will come
half across the fishtail, and when this is done the whole three
thicknesses are doubled over and creased all together, right
across the middle of their length. This will mark the three
places for plaits.
Unfold the ribbon and take the marked line for plaiting
nearest to the fishtail of one end. Hold the ribbon firmly in
the left hand at this place with the thumb on the upper side
of the ribbon and the fingers on the under side. With the
thumb of the right hand make a small plait and push it be-
tween the thumb and fingers of the left hand. After the plait
124
ribbon is different on the two sides, the folds, after plaiting,
are arranged a little differently, as shown in the illustration
No. 3, so as to keep one side uppermost all the while.
The center of the bow is plaited very fine, and sewed
down at the back, on the middle of the bow. Bring the rib-
bon over on the right side and reverse the plaiting, where it
will go under again on to the back of the bow. As each plait
is made, run the middle finger of the right hand up from
underneath, making the fluted effect for the bow center shown
in Fig. 2.
Fasten this end underneath, tie stitch the loop and end
on either side of the center, so they will hold in proper place
and the bow is done. All tie stitching in bows is done at
half the length of the loops. If it is placed too near the end
of the loop, it gives a stiff expression to the whole bow.
Two of these single Alsatian bows, without the center
pieces, are used to construct the double Alsatian bow. They
are laid side by side, and one edge of the plaiting in the middle
of each is sewed to the other, so that the center will lie flat.
Then a center piece is put on, as in the single Alsatian bow,

and the loops and ends are arranged and tie stitched, so they
will alternate. This completes the bow, which is in itself
enough trimming for any large sun hat.
These Alsatian bows can be made of any width ribbon,
so that the same proportions are observed and they may be
used for hats, dresses or the hair.
One more Alsatian bow should be mentioned, that is,
the standing Alsatian. This, together with the single, double

and fancy Alsatian, gives a fair idea of these bows ; and they
form models, whose variations are numerous and delightful.
The standing Alsatian is made of a single Alsatian bow,

with a loop made of 10 inches of ribbon, and an end seven and
125
The Alsatian Bow From Start to Finish

126
one-half inches long, directly behind loop and the end
it. The
is laid pull it on the upper side
into place with the right thiur.b
of the ribbon, and the forefinger on the under side, with only
one thickness of silk between them. Then give a gentle but
firm stroke parallel to the selvage and away from the plait,
and the ribbon will fall into beautiful folds, displaying the
lights and shadows of the silk to perfection. Continue these
plaits, all folded in the same direction, until the selvage is
reached. Sew down the plaits with millinery thread so that

they will retain their exact place, and if the plaiting takes too
wide a space throw the thread around it and cinch it up,
keeping the sewing flat the while, never let it cinch up into a
roll.
Next plait the marked place in the center of the ribbon.

Here the plaits must be reversed. For if they were made in
the same dirction as the first line of plaiting and the two were
brought together to make a loop of the ribbon, one side of the
selvage would stand wide open and the other would be en-
tirely closed. But if the plaiting is reversed at the second
marking the loop will be open equally on both selvages. To
make the second plaiting, it is easier for most persons to turn
the ribbon around and repeat the process of plaiting exactly
the same as it was in the first place. A few persons can go
straight down a piece of ribbon plaiting to the right or left in-
discriminately. The same side of the ribbon must always be
kept uppermost. It is the effect we want, and do not care
for the method. The third plaiting is reversed from the
second.
When it comes to putting the bow together, fold it ex-
actly as you did when laying oflf the places for plaits. The
plaits will all come together in one place, with a loop and an
end on either side. Sew the plaits together, one on top of
another, and arrange the bow so that the ends will be diagon-
127
ally across from each other, and the loops the same. If the
are fastened at the center of the single Alsatian, so they will

stand straight up from the bow. The end is sloped from its
A variety of Fancy Trimmings. See Text
128
tip, atone selvage, to the other selvage at the height of the
top of the loop. Three centers are used in the same manner
as described in making the center of the triple bow, one about
the standing part, and one about each plaiting of the single
Alsatian bow. These centers are made like all others, only
one end is plaited diagonally across thel ribbon, making one

edge longer than the other. All these longer edges go to the
center, where they are caught together with a and single stitch
the needle thrust through to the wrong
and thread se-side
cured. This completes the standing Alsatian, and it is very
useful for trimming the front of a large hat. •
The Maltese Bow

Make two single Alsatian bows of ribbon from two to
three inches wide. Lay the bows across each other, at right
angles, and fasten in them the center. This makes a Maltese
cross in itself. Put the usual plaited piece across the center
diagonally, and another like it, at right angles to the first,
making another Maltese cross of the centerpieces. This com-
pletes a very pretty bow. Maltese bows are usually used in
pairs to trim a hat. One on the left front, and the other at the
right back. They should rest against the side crown, with
the ends slighly touching the brim. If one of the ribbons com-
prising the center is parallel with the side crown, the posi-
tion of the bow is These bows may be of ribbon or
correct.
ribbon velvet, and a hat would need no other trimming when
it has a pair of Maltese bows.
The Shell Edge

The shell edge, shown in Fig. 1, is made of No. 5 ribbon,
and gathered with thread to match the ribbon in color. Never
use silk or mercerized thread for gathering as they both fray
and slip. Use hard twisted cotton No. 50.
129
Get the diagonal across the ribbon by folding the selvage
across its width, as shown in Figure 2. Secure the end of the
thread firmly and use a running stitch (see lesson on stitches)
which must be small and even. When you get across the
diagonal, point the needle so go under the selvage, and
it will
when beginning the next diagonal, commence above the sel-
vage, in order that the thread will go around the selvage each
time. Otherwise the selvage would flare out, and destroy the
unity of the shells. Continue the sewing back and forth
diagonally, draw up the thread gently, arrange the shells by
forcing the point of a finger under each of them ; then see
that they are regularly distanced, and not too close together.
Take six shells, all on one side, catch the selvage exactly
in the middle of the and from underneath, and draw
shells,
them and fasten them, making the center of the flat

together,
rosette Figure 3. The six shells on the outer edge
shown in
should be evenly disposed, and where they overlap, they are
fastened. The rosette may be made independently of the
edge, or it may be but a continuation of it.
This shell edge is one of the most useful ornamentations

found in millinery. It is pretty around a crown base, over a
crown top, about a brim edge, either on the upper or lower
side, and makes a fine heading for folds of chiffon, crepe, or
maline. It is useful for ornamenting baby caps, and is one

of the most effective trimmings for a dinner waist, around a
full-dress neck, or on sleeves, where it terminates in the flat
rosette. It finishes the front seams of an evening skirt, and

the flat rosette makes an artistic end near the hem. The
uses of this simple device are legion, and all are pleasing and
beautiful.
The Shell Shirring
The shell shirring shown in Figure 6 is made of thin piece
silk. The top is folded over to the width desired for the
130
shells, and a thread run along this line to mark it. It is man-
aged exactly as the ribbon in the shell edge. Diagonal mark-

ings are laid off between the upper edge and the marking
thread, and these are followed in cotton thread, with the run-
ning stitch. Go over the upper edge in the same manner, as
the selvage was crossed in the shell edge.
The second line of shirring is made by basting a tuck of
the same width as the first row of the shirring. The tuck
is then laid off diagonally, and sewed exactly as the first row
of shirring. When the threads are drawn up, and the shells
pulled into place, by inserting the finger under each one, and
the whole is basted to a firm foundation it gives one of the
most lovely effects that can be imagined.
The shell shirring is of especial use, in covering a hat
brim, on either or both sides, or it can be laid on a side crown,
or across the crown top. It is also beautiful on an evening
waist, on vest! and sleeves.
The Flat Reed Shirring

The flat reed shirring is made of a straight piece of silk,
folded back on itself to the width of the shirring desired. In

the sample, Figure 4, there are two groups of shirring, so the
silk must be folded back far enough to cover
both. Leave a
margin of the silk at the top, the width of the little ruffle that
is wanted for a heading, and run a gathering thread through
both thicknesses of the silk to define this width. Do not

draw up this thread, but run another under it, and one-quarter
of an inch distant from the first. Continue this process until
the desired numbers are made. These threads should be se-
curely fastened where they begin, and should all begin from
one side. Take a cord, cotton soutache, or common wrapping
string, so it is large enough, and run it through a darning
needle. Tie a knot in the end, and turn the needle, eye first,
131
and put the cord through the casings made by the stitchmg
in the silk. Keep the silk smooth all the time, never allow
it to pucker. Cut off the cord, leaving an inch projection be-
yond the silk. Run all the casings in this manner. Leave
a space of the silk, and run the second group of shirring. This
is done exactly like the first only there are but two or three
casings in the last group. Put in the cord, and then stitch
down all the knots in the cord, so it will not pull through the
casings. Pull up the cords, arranging the fulness evenly.
Next pull the threads carefully, one by one.
The picture shows a small portion near the thread ends,
where the silk is not drawn up, so that the construction may
be fully understood.
The Round Reed Shirring
The round reed shirring is made by folding over the

silk at the top, sufficiently to run a thread, and make the de-
sired ruifle at the top. After that, the silk is used in a single
thickness, and made into tucks. Use three-eighths of an inch
of the silk, for each tuck, and space them one-quarter of an
inch apart. Make five or any number wânted, leave a space
of the silk, and run two or three more tucks. These tucks
are run with cord, exactly as in the fiat reed shirring, then
they are fastened, pulled up, and arranged in the same way.
The round reed shirring is showp in Figure 5.
These two shirrings are called reed shirrings because in

the past they were run with reeds, instead of cords. These
reeds were something like rattan.
Reed shirrings will do nicely for hat brims or underfac-
ings, or can be used on evening dresses or waists.
There is a rule for shirrings which is tabulated as fol-
lows Measure the length to be covered with the shirring, and,
:
of velvet it takes one and one-quarter times that length; of
132
slik it takes one and one-half times that length; of chiffon it
takes twice that length; of maline it takes three times that

length.
In, the case of making these reed shirrings a very thin
quality of silk was used, and it took of the silk, one and
three-quarter times the distance to be covered.
The Dimpled Rosette

This rosette takes one yard of two-inch ribbon. Cut off
twenty inches, space it off into five parts of four inches each,
and leave it in one continuous piece. Begin at one end, and
plait it, reverse the plaiting at four inches distant, and keep
on reversing the plaiting every four inches until the twenty
inches are consumed. Turn the ribbon on the wrong side,
take the second plaiting, and bring it up to the first, and fas-
ten them together, making a loop. Then comes the third
plaiting, which is fastened to the second, and so on to the end
of the twenty inches. This givesi five loops of four inches
each. Take the center loop and bend the top inward, at each
selvage, until the selvages meet. Secure them togther with
a tie stitch.
Tie-stitch each side of the loop, just where the selvage
comes up from the bottom of the loop, and begins to turn in
toward the center. TreatJ the center loop, and the ones on
each side of it, in the same way.
This is putting in the dimples.
The remaining sixteen inches of ribbon cut in two pieces.
Lay each of these p?.eces off into two loops of four inches each.
Form the loops in the same manner, as the longer piece, and
spread them apart, like the ribs of a fan and fasten them on
either side of the central loops, so as to make a complete cir-
cle of the six flat loops, as shown in Figure 7.
133
Conventional Lily Bud
The conventional lily bud is used when net and
jet need
a color motive, which in this case would be the

under the silk
net. For instance, the bud might be a rich red or orange, and
veiled with the black net, and ornamented with the jet circles
and stem, it would make a distinguished and striking note on
a black hat. The lily is shown in Figure 8 and its pattern is
gîven in Figures 9 and 10.
Endless are the combinations of colors, and the variety
of ornaments that can be employed to produce chic and novel
effects in millinery.
Checker board Weaving

in —
Ribbon a perennial favorite
134
LESSON XXIII
Shirrings, Rosette and Buckles
(See page 138)
—
Buckles can be made in any shape round, square, oblong,
oval, or any fancy form. Cut out a pattern the exact size
and shape desired, pin on buckram, and cut the^ buckram
it
to the pattern. Wire and inner edges of the buck-

the outer
ram with lace wire, placing the wire even with the edges, on
the rough side of the buckram. If the buckle is to be made of
velvet, baste the smooth side of the buckram to the wrong side
of the velvet, so that the velvet will project one-quarter of an
inch beyond the buckram, around the inner and outer edges.
If the form of the buckle will permit, the velvet should be on
the bias.
Take the fancy shape shown in Figure 1. First turn down
the velvet over one of the blunt outer points, then fold it in
from each side of the point, and stitch the velvet through
these three turnovers or flaps. The velvet projecting on the
inner edge must be slit at the corners and turned up on to the
buckram. Do not cut the corners too far up, or they will
leave raw edge through which the buckram foundation will
a
most likely sh.ow\ Now stitch back and forth as shown in
the illustration, and when the bias velvet must be caught from
the inner edge be sure and let the needle catch far enough
from the raveled edges so that the thread cannot by any chance
pull out. Each projecting corner is treated like the first, and
the long sides of the buckle are laced together as shown in
Figure 1, along with the buckram, wiring and projecting
velvet.
Figure 2 shows the completed buckle, ornamented with
135
soutache braid and jet. A wire can be sewed on the under
side, across the opening of the buckle, either lengthwise or
cross-wise, and ribbon may be placed over the wire projecting
on either side of the buckle.
A buckle can be used to advantage in various places in
hat trim,niing or on belts, coats and dresses. Buckles can be
made of straw, silk, satin, velvet, chiffon folds, lace or small
flowers, and their beauty enhanced by the addition of beads
or embroidery. There is no end to their diversity.
The Plastron Rosette

While this rosette is made of any size, the ribbon should
never be over two inches wide, or the center will not make up
nicely. First, a round disk from buckram and a dot
is cut
made in its center. From this dot are drawn radiating lines
terminating at the edge. These are used as guides in making
the center. Bind the disk with a narrow strip of the ribbon
from which the rosette is to be made.
Take one end of the ribbon and plait it in the same man-
ner used in making the loops for bows. Sew this plaited end
on the under side of the disk even with the ribbon binding.
The under side of the disk is the rough side of the buckram.
Bring the ribbon over on the right side of the buckram and
leave two inches to form a loop and plait it across the width
of the ribbon, reversing from the plaiting at the beginning.
Fasten this plaiting down on the right side of the disk
as near to its edge as possible; at the distance of 1 inch from
this second plaiting make the third, reversing from the sec-
ond. When it is completed, push it up nearly to the second,
and sew it to the buckram. That process gives the puffs
seen in the center. Continue in this manner, reversing the
and sewing the puffs down the line toward
plaiting each time
the center as they are made.
}36
The moment the puffs begin to diverge from the Une
because of being crowded, cut off the ribbon and begin another
row at the edge of the disk, making the loop first and the puff's
afterward.
Sometimes only one or two puffs can be made before
they diverge from the line, and in any case the row is never
carried beyond the center.

Watch that the ribbon is not plaited too closely in mak-
ing the loop, or it will take up so little space on the edge of
the disk that the loops will overlay each other. When clear
around the edge the last puff is made by plaiting the end of
the ribbon and turning it under and catching it down to the
buckram so that it makes a puff like all the rest.
The Plastron Rosette is made large enough to cover the
whole top of the crown, or so small it merely holds a quill in

place. It is sometimes sewed on the under brim of a large hat
at the left back, or it can be used on the girdle. It is one of
the most satisfactory rosettes, as it displays the lights and

shadows of silk so very effecively. The Plastron Rosette and
its construction is shown in Figure 3.
Pin Shirring
The shirring shown in Figure 4 is called pin shirring and
is the finest shirring made. It is used in all mourning goods,
especially crepe. It is also a delightful embellishment for a
baby bonnet, or the underfacing for a hat. It can be turned
to various uses in dressmaking as well.
Pin shirring composed of a series of small tucks
is
varied according to taste. There may be five or seven tucks,

then an interval of plain goods, and another group of two or
three tucks.
If the silk is intended for the underfacing of a hat, mea-
sure off one inch at the top facing, turn half of it back. That
137
138
will make a fold halt-inch wide. Run a gathering thread
through it, just so far above the raw edge, as will prevent its
raveling. This will make a ruffled edge, approximately one-
third of an inch wide. The tucks are usually about one-
eighth of an mch wide, that is, taking a quarter of an inch of
silk, which is doubled when the tuck is formed. Whatever the
width of the tucks, it is duplicated in their distance apart. If

the tucks are one-eighth of an inch wide, they are placed one-
eighth of an inch from each other. They are each run with
a drawing thread, which is firmly secured at its beginning,
and all tucks are run in the same direction from right to left.
There are no cords or strings used in these tucks, but they
are simply drawn up by the gathering threads which make
the tucks, and the goods will fall into graceful, wavy effects.
A small space has been left, without drawing up the threads,

so that the constructive stitching may be seen.
With a needle or and wavy fulness of this
pin, the fluted
shirring can be equally spaced and made both even and most
beautiful.
The quantity of silk required to cover a given space can
be ascertained by referring to the table for shirrings.
Cartridge Shirring
This shirring is done over a round pencil, as shown in
Figure 5. Only three stitches are required to hold each flut-

ing in place. The ribbon or velvet must be sewed on some
stiff background. If it should be buckram, first secure the end
of the ribbon to it with three stitches — one
middle and in the
the other two near the selvage of the ribbon on either side.
Place the pencil under the ribbon and bring the needle through
the buckram and ribbon, with the needle at exact right angle
to the buckram and barely touching the pencil, as it goes up-
ward. If the needle should be in a sloping position it would
139
bring the flutings too close together or too far apart, accord-
ing to the way the needle was inclined. Make the stitching
up one row and down the other until the required length of
shirring is made.
The cartridge shirring, if placed around a small crown,
makes it can be made upon a bridle, which is
look large. It
merely a piece of buckram laid around the crown and about

a half inch away from it. The buckram should be cut the
height of the crown and the ends stitched together making a
circle. Cover the rough or inner side of the buckram with silk,
bringing it over the edge on the side where the shirring is
placed. This conceals the buckram entirely. It is preferable
to have ribbon velvet for the shirring, as it stays in place bet-

ter than the plain ribbon and hides the stitching.
The cartridge shirring may be sewed directly on the
crown in the manner described if the sides are perpendicular.
If the sides are sloping but the line is straight,, instead of
curved, the shirring can still be used by quilling
around the it
top first and gradually spreading out each fluting toward the
headsize. Keep each fluting in a straight line from the head-
size to the crown top.
The cartridge shirring can be introduced in short lengths

in a continuous straight hat band, or it can be utilized in dress
trimming.
The Honeycomb Shirring
The honeycomb shirring shown used pri-

in Figure 6 is
marily for evening hats. Suppose on the top of
it is to be put
a( crown. Cut out the silk, satin or velvet in the shape re-
quired, allowing one-quarter extra in length and width foi

shirring, according to the table given before. Crease a diago-
nal line across the goods, and others parallel to the first, and
about one and one-half inches apart, until it is all laid off in
140
one direction. Now crease a line directly across, and at right
angles to the others and make the rest of the lines parallel to
this one and one and one-half inches from each other. This
lays off the goods into squares.
Take a fine thread and with small stitches

fine needle and
run the creases that run one way. Commence with the
all
needle on the same side each time, and see that the thread is
firmly secured at the beginning.
After all the threads are run one way turn the goods at
right and run the creases from that side, making

angles,
squares of the fabric. In running the second group of threads
be sure and go under the first set, where they cross each other,
so that when it comes to drawing up the threads they will
run freely from both directions.
Next put the goods on the crown top. Pin the goods at
the knots of thread on one side, where the shirring begins,
leaving a fulness between the pins, according to the amount
given in the shirring table. Draw the threads up, making the
fulness one-quarter more than the distance covered, and fas-
ten the ends of the thread about the pin which holds down
the goods diagonally across from the place of beginning. Af-
ter all the threads are secured in one direction, treat the cross-
ing threads in exactly the same manner. With a long pin and
a little patience the pufYs can be arranged so they will fall
into place and can then be easily stitched to stay.

A very ornamental effect is produced by using gold or
silver thread for the shirring and sewing a pearl bead wher-
ever the threads cross. A hat with this shirring needs very
little trimming, as the needlework is too handsome to hide.
141
LESSON XXIV
Wiring Ribbon
All bows which have loops that stand upright must be
wired. This done in three different ways. A lace wire can
is
be laid near the edge of the ribbon, and the selvage brought
over it, and blind-stitched down with small stitches. This
method is shown in Figure 1. Catch the selvage on the very
edge, lay it over the wire and take up a thread of the ribbon,
just opposite the stitch in the selvage, and draw them together.
Then put the point of the needle inside of the fold and take
up a thread of the ribbon, simply to draw the sewing thread
out of sight, and then repeat the first stitch. If the sewing
thread was not drawn back under the flap of the selvage, it
would show all the way down the hem. The wire is only used
on one side of the ribbon, and should be put in before the
loop is made.
In the case of wiring an end, the wire should be extended
along one side to the very tip.
The second way of wiring ribbon is shown in Figure 2

where the regular ribbon wire is used. This consists of two
or three small wires enclosed in a tape. This wire is caught
to the center of the ribbon and can be secured with a feather
stitch, or nierely by tie-stitching it occasionally. Either stitch-
ing should be done on the inside, and only on the back of the
loops, and this wiring cannot be used for the ends at all.
The third way to wire ribbon and the most substantial is

to make a frame work, as shown in Figure 3, and place the
ribbon over it. Let the selvage of the ribbon be far enough
away from the wire so that by no chance the wire will be ex-
posed. Tie stitch the wire to the ribbon, three times at the top,
142
A COMPLETE COURSE LY MJLLJXERY
Wiring Ribbon and some popular trimmings

Figures
i, 2, 3, 4, 5, 6. See pages 142 to 147.
143
and at each side, on the back of the loop on the inside. This
leaves no stitching on the front of the loop.
In the illustration, the ribbon, which is turned back so as
to show the wire framework, should be brought forward over
the top wire, plaited and sewed down at the base. Be careful
not to draw the ribbon too tightly over the structure, or it
looks stiff and loses all expression. Neither must it be too
loose, or the front of the loop will flap like a sail.
The two wire flanges shown at the bottom are to be used
when the loop of ribbon is upright, on the top of a hat, in
which case the flanges are bent around to lie flat on the crown
top. The ribbon is eventually draped around the base, so as
to conceal the wire structure. It is best to have a piece of
buckram sewed underneath the crown top and extending down

either side for a firm foundation for the upright loops and
wire.
The Simple Rosette
One and three-quarter yards of 4-inch ribbon makes the

simple rosette. If the ribbon is wider or narrower, the length
of the ribbon required is more or less in proportion. Turn m
the ends of the ribbon for one-half inch, and double the whole
piece in the center of its length. This throws the two selvages
together. Take a millinery needle and stout thread and run it
along the length of the ribbon, about one-eighth of an ipch

from the selvage, going through both thicknesses of the ribbon
The stitches should be one-eighth of an inch long. Be sure
that the end of the thread is well secured, as all depends
upon its strength the fulness is drawn up. Draw it up
when
as tight as possible and dispose the fulness in four layers, on
the under side, where the selvage and gathering come. For-
merly a rosette was made by coiling the gathering round and
144
round, but the lights and shadows of the silk are much better
displayed by arranging the gathers thus
A /
A much fuller rosette can be made from the same ribbon
by turning in the ends and folding it lengthwise, as described
in the first instance, but the gathering thread is run one-eighth
of an inch from the middle crease and through the two thick-
nesses of silk. This throws all the selvages to the edge of the
frill. It is not so rich in effect, but fuller.
The Woven Band

The woven band shown in Fig. 5 is made of No. 3 rib-
bon. It can be made of any width of ribbon or any number
of strips can be used. The one in the illustration has seven

strips. The ends of the strips are first sewed to a narrow
piece of buckram, so closely that they touch each other. The
strips are laid out straight, and the one on the left hand is
turned up and over at right angles. The second strip is laid

over the first, the third is laid under the first, the fourth is put
over he first,and so on alternating until the end piece of the
first strip lies straight out on the table at right angles to the
rest.
The second, and all of the other five strips, are treated
exactly as the first. When they all extend at right angles to
the rows that were laid out first, take the upper ribbon on the
right, bend it up and over on itself at right angles, bring the
second over the first, the third under the first, and proceed with
them all, as was done in the first instance, working the ribbons
back to the left hand side. So the work goes on until the band
is made of the required length. An estimate can be made of
the zvidth by the number of strips used, and of the length,
by folding one ribbon back and forth on the bias, keeping the
folds at right angles, and at the width determined upon, until
the length desired is attained. That will give the length of
one strip, and it is then easy to estimate how many will be re-
quired for the number of strips wanted.
146
This band is most effectively made of two contrasting
colors, pink and blue, gold and red, or of different shades of
one color, as purple shading to lavender.
When a sailor hat is trimmed with such a band made of
silk or velvet ribbon, closed with a quill and cabochon, it is
very fetching.
Smocking
Smocking produces the eft'ect shown in Figure 6. Take
the silk or any goods desired, crease it in folds one-quarter of
an inch apart. Put the first crease against the second crease,
and just even with it. Let the needle pierce from underneath
through one crease, and then stitch the second to it, sewing
through them both three times, making a small knot. Now
run the needle along the first crease underneath for about three-
quarters of an inch and pierce it through to the right side, at
the top of the crease, and stitch the second crease to it, with
three overcast stitches.
Continue in this manner until the first alid second creases
are fastened together at equal distances. At the end where
this is finished thrust the needle through the second crease, half
way between the knots of thread already made. Draw up the
third crease to the second and overcast with three stitches.
Slip along the under side of the second crease, again equally
distant between the knots of thread in the first and second
creases. Pierce through the second crease at its top and bring
up the third crease and stitch the second and third together.
Continue in this manner to the end of the second and third
creases. The third and fourth creases are sewed together ex-
actly opposite the first and second, and the fourth and fifth are
fastened opposite the second and third, and this process is
repeated until the required amount of smocking is made. It
is beautiful for the tops of crowns, especially on evening
147
toques. In the latter case it may be stitched with gold thread
or heavy embroidery silk in the same or contrasting colors
of the silk or satin upon which it is used. Small beads are
sometimes introduced where the joining of the creases is made.
Hat bands often have an inset of smocking, and for neck
yokes of waists or bands on the sleeves nothing is prettier.
A modernized version of the First Empire Hat, characterized by hand work-

Shirring, Plaiting and Smocking.
148
LESSON XXV
Bows and Rosettes
Figure 1 is the Triple Bow, because everything about it is
in groups of three.
There are three groups of loops, with three loops in each
group, and three centers, as a finishing touch to this bow. It
takes one and three-quarter yards of ribbon three inches wide

to make The short loop is made of five and one-
the triple bow.
half inches,and the two loops under it, take respectively six
inches and six and one-half, inches. The two under loops can
No. I The Triple

Bow. Formed by
three clusters of
three loops.
be made in one continuous piece, the loops separated out, and

stitched so they will stay that way, when the short loop is
placed over them.

When the three groups are made, fasten them together at
their base, merely stitching the edges together, leaving a hole

in the center. Otherwise it cramps the center. Each loop must
be made with little plaits at its base, all laid in the same direc-
149
tion and pulled by putting the thumbs on the upper
into place,
side of the ribbon, and the forefinger on the under side, with
only one thickness of the silk between the thumbs and finger,
and then give a gentle but firm stroke parallel to the selvage
of the ribbon, and away from the plaits, and the ribbon will
fall into beautiful folds, displaying the light and shadow of the
silk to perfection.
The other end of the loop must be plaited in the same man-
ner, only the plait must lie in the opposite direction.
When these two ends are brought together to form the loop
it will be found that the selvage of both sides will part equally.
Whereas, if both ends were plaited alike, one side of the selvage
would stand wide open, and the other would be tightly closed.
The center is composed of three separate strips, which
go individually around each group. The end of one of these
center pieces is plaited very fine, so as to take little space, and
straight across the width of the ribbon. The other end is
plaited in the same way, but slightly diagonal, so as to make
the upper selvage shorter than the lower. Each time that a
plait is made on it is reversed in direction from
the diagonal,
the and as you hold it firmly in the right hand,
first plaiting,
run your middle finger from underneath to the middle of the

center, allowing only one thickness of the silk over the finger.
This produces the fluted efifect, in the middle of each center.
The lower edge of the center, being longer than the upper edge,
it extends downward, so that a needlemay be drawn through
the exact middle of the bow, and the three selvages, from the
three drooping edges of the centers, can be caught with one
stitch each, drawn together, and sewed fast on the wrong side.
One hole will be visible in the middle of the bow.
bow is useful for the hat, and may be turned into
This
a stickup, by doubling the length of the loops in one group.
150
The triple bow looks well on the corsage and can be used in
many delightful ways.
Double Butterfly
The Double ButterflyBow, shown in Figure 2, takes one
and one-half yards of three-inch ribbon for its construction.
No. 2. The double

Butterfly Bow; an ef-
fective trimming sim-
ply constructed.
^ //
The two standing pieces are cut separately. The lower

one is sixteen inches long. Double it in the middle, across its
151
width and measure off four inches from this center, along one
of the selvages. Turn down the ends diagonally to the eight-
inch selvage point and cut off the ends along this slope. If
the line along which you cut is slightly curved outward, it
will add to the artistic effect, although it be scarcely discern-

ible to the eye.
Next plait the piece along the middle line, in very fine
plaitsand throw the thread around them, and cinch them up.
Turn up the pointed ends so they face each other, and throw
one more loop of the thread around the center, just above
the plaiting to make a little stem.
The second standing piece is made exactly like the first,
but its length is fourteen and one-half inches. This doubled

in the middle, gives two pieces seven and one-quarter inches
long. Mark off three and one-eighth inches, from the center,
along one selvage, and cut to the point of the seven and one-
quarter inch selvage. From this the process is identical with
the first standing piece.
The second piece is now laid over the first one, and
stitched down. A small tie stitch in each piece secures the
ends and makes the proper parting of the points at the top.
A piece of ribbon twenty-two inches long,
is divided into
five parts,each one being four and one-half inches in length.

This is kept in one continuous piece. It is plaited and stroked
as before described, at one end of the ribbon, and the plaiting
reversed at the first four and one-half inches, and this alter-
nating is repeated every four and one-half inches until the
whole piece is used. Turn
on the wrong side, bring the
it
second plaiting up to the end and stitch them together,

first
making a loop. Form the next loop, and stitch it at its base
to the second plaiting, the fourth to the third and so on to the
end.
152
This gives five loops, more or less elastic, so they can be
arranged in a half moon about the base of the standing pieces,
or they may be alternated, one inclining upward and the next
downward, or they may be in a straight row. In any event,
catch the middle loop first) in its position, at the center of the
base of the uprights, and then curve the ends, as desired, and
stitch in place. were sewed solidly together, they
If the loops
would not would stay in a solid lump.
give, but
The double butterfly, if used as a stickup, must be wired

along the inner selvage of the standing pieces. This can be
done before they are plaited, simply bringing the selvage over
the wire on to the wrong side, and blind-stitching it down.
The Aeroplane Bow

The Aeroplane Bow, shown in Figure 3, requires fourteen
inches of ribbon two and one-half inches wide. It is made
No. 3 The Aeroplane Bow

in two pieces. The lower one is the longer. It is seven and
one-half inches in length. Double it measure
in the middle,
off 2 inches from the center along one selvage, and slope the
ends, as in the Double Butterfly. The smaller piece is 5 inches
153
in length, double it, across its width, mark off one and one-
eighth inches along one selvage, from the double, and slope its
ends in like manner to the first.
These two pieces are plaited very small, in their centers,
and laid side by side with the short edges together.
Fasten them by a few stitches on the edge of the center
of each piece, and take a separate piece of ribbon to cover
this stitching, and complete the bow. This should be plaited
at the top so that it would spread out ,and then the plaiting
should be reversed at the bottom, and drawn very tightly to-
gether so as to give this center of the bow a heart-like appear-
ance.
Four of these bows, about the crown of a hat, and con-
nected by a ribbon whose plaited ends are hidden under the
bows, make a snappy trimming. The bows are placed equally
distant from each other starting at the left front, and are so
disposed on the side crown that the longer ends lie partly on
the brim.
The Sunflower Rosette

The Sunflower Rosette, shown in Figure 4, takes three
yards of ribbon, anywhere from one and one-half to two
inches wide. If you ask for ribbon one and one-half inches
wide, you will be told there is no ribbon made of that width,
and you ask for two-inch ribbon, it will not measure that
if
the rosette. Cut sixteen pieces, each six inches long. This
requires two and two-thirds yards of the ribbon. Each of these
pieces must be fishtailed at either end. This is done by fold-
ing the ribbon in the middle, lengthwise, so the two selvages
come together, then at the end, bend the center of the ribbon
out to the selvage, so that the upper edge of the end will lie
parallel and just over the selvage. Cut across the diagonal
double, and it gives the notched effect called fishtailing. Next
154
from top to bottom, and then
fold the ribbon in the middle,
fold again across from side to side. Bend the
its center,
notched ends upward together and then part them out, until
one overlaps the other, for about one-third of its width. This
isshown in the first fold of ribbon, at the side of the rosette.
Take one small plait at the bottom, as shown in the second
No. 4. Sunflower rosette.
fold of ribbon, and stitch it in place. All sixteen pieces are

similarly treated, observing carefully all the while, that all
the points of the rosette are in the same direction that the
overlapping end always comes from the same side, and that
the plait at the bottom is of the same depth, and in the same
direction, with each part.
155
The sixteen pieces are then laid together, overlapping
each other at the bottom, by half their width. When the
lower part is sewed into a ring, the upper part is tie stitched
into position, about half way from the center to the outer or
notched edge. The made through the lower side
tie stitch is
of each notched piece, and merely pierces one thickness below

it, so no stitches are visible from the outside.
This rosettesupposed to be made of yellow satin rib-
is
bon, and the center covered with a brown velvet button, made
over a wooden mold, however, it can be made of ribbon of any
color, and finished in the center with a piece of the ribbon
shirred in the middle, and once on each side, and drawn up to
fit around the central hole, as shown in the diagram.
Two of these rosettes, made in contrasting colors, may be
used on a crown top to good efifect, half of each one resting
flat on the crown top, and the other half sticking straight up
like a cock's comb. The rosette is appropriate for a wide
brim, or made of smaller ribbon, it can cover a quill end.
The Tailored Ladder Bow

The Tailored Ladder Bow, shown in Figure 5, is made
of ribbon the^ same width as that of the sunflower rosette.
Each bow requires five and one-quarter' inches of ribbon. Turn
in one-quarter of an inch at each end, as shown in the piece
of constructive ribbon "A," turn under the lower corner, and
bring down this end, along the lower selvage, as also shown in
"A." Now double the bow lengthwise, and the flap that
comes over to the lower selvage must be fastened by insert-
ing the needle from, the back about the center of the side of
the flap, and let the needle pass along in the diagonal fold of
the side of the flap, until it is very near the bottom, where it
should pierce the ribbon on to the wrong side, where it can

be secured. Both ends of the bow, being finished in this way,
156
the center is put on perfectly flat, and should be of the same
width of the bow. These bows may be used in groups of three
and connected by a ribbon, folded to the exact width of the
bow center.
A totally different effect can be given by making two

little plaits under the bow center, both laid in thesame direc-
No. 5 The Tailored Ladder Bow
tion. The center, also, has one plait at each end reversed
from each other, which raises the middle slightly.
These bows may be used singly, in pairs, or threes; the

connecting piece may be omitted and they can be made of silk,
velvet, leather, or any fabric, that is not transparent. They
are unique for the corsage of a dress, or singly, can be worn
at the neck.
The Water Lily Rosette

The Water Lily Rosette is made of one and one-half or
two-inch ribbon. There are sixteen pieces, each five and one-
half inches long, which are fish-tailed, as in the sunflower ro-
sette. Take each of these pieces, and lay them in two plaits,
157
lengthwise, each plait taking half the width of the ribbon.
Let the plaits be in the same direction, and press them in place
with a moderate iron. Take two pieces, lay them across
each other, at right angles, and stitch firmly together, in the
center. Two more pieces, at right angles are placed over the
first ones, so as to space this beginning of the rosette into
eight parts. Then the rosette is built up, always with two
pieces at right angles, so spaced asj' to fill all the interstices
No. 6. Water-lily Bow.
A smart hat trimming,

always in style
of the ends. four pieces are caught with the thread

The last
over their center, and cinched down firmly in the middle of

the rosette. Too much stress cannot be laid upon the neces-
sity of using very strong thread and pulling it very tight in
this construction.
After the rosette is sewed, go over each petal with the
fingers, pulling it sharply upward and arranging the general
appearance artistically, when it will be found to closely resem-
ble the water lily, from which it gets its name.
This is a very pretty rosette for children's hats, or for
the hair. It can be made in different shades of the same color,
or in contrasting colors. It is useful to the millinei to use up
short ends of ribbon. This rosette is shown in Figure 6.
158
LESSON XXV
The Fancy Alsatian Bow
The Fancy Alsatian Bow is made of two pieces of three-
inch ribbon, each of which is eight and one-half inches long.
The ends are all fishtailed, and both pieces plaited, in the mid-
dle of their lenp^th. They are then laid across each other, so
No. 7. Fanq: Alsatian Bow

the ends will be slightly apart. Sew the two pieces together,
where they cross each other. Take fifteen inches of the ribbon,
159
and lay it off in five sections of three inches each. Plait it
exactly as in the Double Butterfly Bow, but do not bend it

into a crescent. Place the loops in the center of the two
crossed pieces, and sew down the middle loop first, then the
end ones. The central loop can be curved like the letter "S,"
and its ends stitched down, so that it will retain its shape.
This bow, when made larger, is beautiful for hat trimming,
or made of narrower ribbon or velvet is fine for the neck.
A version of the Alsatian A novelty Butterfly Bow, cleverly

Bow, used as front trimming placed
160
LESSON XXVI
Renovating Stocks
Either the private pupil or the professional milliner will

find it invaluable to understand renovation. After a season in
which much of the stock has been stored away, the milliner
finds material creased, flowers flattened, and feathers out of
shape; it is a great satisfaction to know how to restore them
to their first freshness.
Put water in a tea kettle, so that it will barely reach the
point where the spout begins. Always have the spout perfect-
ly free to conduct the greatest quantity of steam. Suppose it
is new velvet which has become badly creased as soon as :
the kettle steams with force, let two persons hold the velvet,
one at either end, and do not take a space of more than a
yard at once. Clasp it on the selvage, in the four places neces-
sary to hold it spread out firm and smooth.
Pass it over the
steam as near the spout as possible not to touch it. If it is
touched by the spout it may make a line on the velvet. Pass
the velvet back and forth over the steam, at all times hold-
ing it very taut and firm. The back of the velvet should in
all cases be next to the spout, and the steam pressing through
the fabric raises the nap, and erases all evidences of crease.
When this is accomplished, be very careful not to touch
the nap of the velvet, for it is saturated with moisture, and
will easily press down. Lay the piece on a table until it dries.
If there are other creases, repeat the process till it is all smooth.
Steaming Velvet
If the velvet has been used before, and the creases come
from wear, they are harder to eradicate, but it only takes time
161
and patience. If repeated efforts as described do not take out
the creases, heat an iron moderately hot, rub a damp cloth
over the back of the velvet, and pass the velvet over the face
of the iron, as it sets up straight on the table. This will some-
times raise the nap, and obliterate the lines, when nothmg else
will, as the steam is then generated in the velvet itself. Care
must be taken that the material is not bent around the iron
too much, or it will make new lines on the iron's edge. Silks
and other fabrics can be renovated the same as velvet.
Steaming Velvet Hats
If a velvet hat looks dowdy, it can be steamed on the out-
side, but not so as to soften the buckram on which it rests.
Passing rapidly! through the steaming vapoi, so it will only
touch the outside, and watching that no thumb marks are left,
the hat will be greatly improved. Another method is to take

a common paint brush, dip it in gasoline, and brush the velvet
with This not only freshens the velvet, but cleans it also.
it
Braids, provided they are not filled with too much sizing, are
greatly benefited by slight application of steam.
Treating Maline and Chiffon

So much thrown away that is capa-
light filmy material is
ble of being turned to good use if the possessor but understood
renovation. Take maline and chiffon for example: if they are
held firmly and treated exactly like the velvet, they will smooth
out and can be used for retrimming. They do not require so
much steam as the velvet, for the slight stiffening they possess
readily melts before the steam, and only takes a moment to
reset.
Very often the edge of the maline has to be cut off because
it cannot be held so the steam can straighten it without burn-
ing the fingers. That is something that always must be guard-
ed against. Maline has a raw edge anyway, so it does no harm
162
A COMPLETE COURSE /A' MILLINERY
to cut the edge with scissors. Try renovating a chififon veil
and see how greatly it will be improved.
Renovating Flowers
Flowers are fine subjects for renovation. If they are new
and only shopworn, a slight breath of steam and a touch of
shapijig fingers will restore them perfectly. If they are crushed
and dirty, a bowl of gasoline will cleanse them. If it is a rose,
turn petals downward and souse the flower up and down until
clean. If one bath does not do it to satisfaction, try another,
and even then, if it still shows streaks, they will disappear in
after treatment. Xcvcr take the flower from the gasoline to
the steam, or you will have a fire. Clean them one day, and
let them air till the next. If the cloth of the flower is of good
substance, silk, batiste, linen, velvet or chilTon, it will come
out beautifully when finished. Some of the very ravelly, sleazy
flowers, no one could better, and if they are stiff and filled with
paint it is the same. The flowers that are soiled from use
should first be thoroughly cleaned with gasoline and dried.
The next day put them to steam and work with them straight-
ening the petals and getting good form for the flower. Mix
tube paint, the kind used for landscapes and portraits, with
gasoline, until the tint or shade is made that is desired. Dip
in the flowers, turning them and looking to see how the dve is
taking.
To Mix the Colors

It will be best to mix these colors with a bristle brush and
pour off into a bottle and cork very tight. If it is done in a
bowl, at the time of coloring, there is apt to be particles of un-
dissolved color at the bottom, and if it adheres to the flower,
itmakes a dark splotch. If it has to be done quickly, mix the
color and gasoline with a bristle brush and strain through a
163
very thin cloth. The work must be done swiftly as the gaso-
line evaporates very fast. Pour more gasoline in if the solu-
tion diminishes too rapidly.
Tinting Flowers
Let us suppose it is a rose of batiste we are coloring : We
dip it and make it a delightful pink, first. Then take a little
camel's hair brush and mix a bit of the tube paint on the side
of the bowl, making a darker shade, and touch the center of
the rose, and a streak in the middle of the petals, from the
stamens toward the point of the petal, going but half way the
length. Do this while the rose is yet very damp, and the color
will diffuse and blend perfectly. If the petals of the rose are
to be darkened on the edge alone, immerse the flower first in
the color for the body of the rose, then have a saucerful mixed
of a darker hue, turn the rose with the petals down, and merely
dip the tips in the second solution before the first is dry. Place
the rose on the edge of a table or shelf, and set an iron on the
stem, so that the rose will hang downward till dry. The edges
of the petals may need attention after the flower is per-
fectly dry. Take a and clip ofif
small pair of scissors
all projecting threads, but do not go around the petal
in a continuous cut and leave it looking like it had been
shaved. Take the small clips with the scissors held at

different angles, or if the cut has to take all the edge,
pass the edge between the forefinger and thumb, after-
wards fluting it outward a little, and this will dispose the
threads so the petal will not look too set. If the form of the
rose has been injured by the coloring process, after it is per-
fectly dry it can be re-formed by steam. The steam will not
injure the color. Should the rose be half blown, and open
too much with little rubber band around it until
steam, put a
it dries. Should the flowers be small and surrounded with
164
foliage, so that it is not easy to dip them in color, apply the
paint with a camel's hair brush.
White Flowers Color Best

White flowers necessarily color best, but all light ones
even when shaded, take the paints in a very satisfactory man-
ner; and even dark flowers that have some light spaces are
greatly improved.
The green leaves of foliage will only stand a touch of
steam, when they can be smoothed out with the fingers. If
separated from the wire in the middle of the leaf, apply a little
adhesive. Feathers can be renovated by passing through a

vigorous spout of steam very quickly and then shaking in
warm air. Be careful not to wet them too much with the
steam.
Cleaning Laces
Black lace can be cleaned with pure gasoline, and when

rinsed in a second bowl usually looks better than when pur-
chased, as all evidence of the sizing is washed from the back
of the lace, without diminishing its crispness. Fold the lace
until it go into a bowl and souse it up and
will conveniently
down, until thoroughly washed. Black mesh veils can be

renovated the same way. Silk in ribbons or yard goods can
be beautifully colored with tube paint and gasoline. A white
scarf of silk, maline, or chiffon can be given shaded ends, by
dipping the end first in gasoline, and then in two shades of
the color, which will blend when the ends are damp. White lace
can be made to take most attractive colors, and is one of the
most satisfactory fabrics to renovate. Clean it with gasoline
first, if it is soiled, and immerse it, all at once, in the paint, so
that it will color evenl;v. The color when damp- is more vivid
than when it is dry so allowance must be made for that fact.
165
A COMPLETE COURSE LN MILLINERY
Dyes to Match
A fashionable dressmaker matches laces to the color of
her dresses. She buys a fine cotton lace, colors it, uses small
beads, and heavy embroidery silk to outline the design and
charges dollars per yard in the bill, where it costs her cents;
but her knowledge and artistic taste have made an original
thing of beauty, well worth the money..*
Some hat braids take these colors nicely, and some not
Be very careful that no drop of water gets into the coloring,
or it would spoil everything. In the use of these colors, too
much stress cannot be laid upon the danger of mixing hre and
gasoline. l\ever on any account bring the gasoline near a
blaze and do not try to re-form the flowers that have been
colored until they have dried for a day.
To Mix the Colors

The following list gives the names of the tube paints, and
the coloring they will produce by mixture with gasoline
Tube Paint Color Prduced

Mauve Violet
Naples Yellow Cream Color
Geranium Lake Pink
Prussian Blue Light Blue
Black Gray
Burnt Umber Brown
Lake and White Rose
White and Brown Chestnut
White, Blue and Lake Purple
Purple Lake Lavender
Indigo and Lamp Black .... Lead Color
Black and Venetian Chocolate
White and Green Bright Green
Light Green and Black .... Dark Green
166
Red and Yellow Orange
White and Yellow Straw Color
White, Blue and Black Pearl Gay
Chinese Blue .... Chinese Cloth Color
Chrome Green Nile Green
Raw Sienna Yellow Brown
Deep Chrome Bright Yellow
Alizarin Carmine Bright Red
Venetian Red Brick Red
* Velvet, chiffon, maline, batiste and cotton laces color the best of any
fabrics.
CAUTION. Do not use gasoline in a room zvhere there is a lamp or

gas burning or a fire. Never strike a match in the same room
zvhere the gasoline mixture is being used!
167
THEdeveloped
MILLINERY INDUSTRY
as by
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offers the intelligent woman a
pleasing vocation and a successful
business career.
We have a constant need in our es-
tablishments for women of this class.
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One Idea from it is Worth More to You

Than the Cost of a Year's Subscription
Every issue profusely illustrated with portraits of

pattern hats and coming popular styles. A prolific
array of pictures of hats showing novelties in
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Three out of four dealers making a real success out
of the miilinerv business read ILLUS- THE
TRATED MILLINER.
Explicit dimensions for making all hats; careful
descriptions of materials, colors, trimmings, etc.
The New York Fashion Letter in ILLUS- THE
TRATED MILLINER is a clear, concise digest of
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Our Paris correspondent naturally has access to all
of the finest ateliers and reports new features and
developments a month ahead of othêr magazines.
Every month we produce the peli-and-ink sketches
of every novelty seen in Paris. .
Our "Lessons for. Beginners" and, "The Copyist"

assist materially in developing apprentices.
$6.00 THE YEAR

•
PUBLISHED M
The ILLUSTRATED MILLINER COMPANY
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THE ART AND CRAFT OF
RIBBON WORK
The Most Wonderful Book
on Ribbons Ever Published
Beautifully colored pictures, showing every detail of con-
struction and the final finished articles.
Contains hundreds of pictures of beautiful Conceits, Rib-
bon Ornaments for Hats, Corsage Bouquets, Coiffure and
Lingerie Decorations; all carefully described and made
eas}^ to copy. Illustrated details of machine-made Garni-
tures and Motifs for Millinery.
Below is tabulated a partial list of its contents, but the
value of this book cannot possibly be appreciated until
you actually see the book itself.
Decorative Bows Hops Rosettes and Cravat
Sash Lattice of Roses Cocades Aeroplane
Corsage Ribbon Fruit, Etc. Sunflower Fleur-de-J-iys
Lingerie Wheel Ladder
Slippers HoUday Novelties Wheel
-3. ^ , . Sunburst
Girdle, Etc. Pin Cushion Toy-Top Cascade
Hat-pin Holders Pin -Wheel Pyramid
Flower Making Sewing Cases
_ _ Morning-glory Machine-Made
Large FuU Blown Collar and Cuff Maltese Cross
Rose Sets Motifs
Star Fish
Moss Rose Vanity Bouquets Meteor
Cherokee Rose Candle Shades Buckle Motif, Etc. Triple DahHa
Corsage Rose Tie Racks Uraduated
Pompon Rose Fan Bags Bows for All Pur- Pond Lily
Wild Rose Ribbon Containers poses and All Ear of Corn
Passion Flower Book Marks Occasions Scalloped Band
Poinsettia Powder Puff Con- Millinery Bows Braided Band
Violets tamers Butterfly Six-tier Rosette
Snow-ball Catchall Bags Alsatian Double Crescent
Lily. Picture Frames, Rose Cross Wasp Crysanthe-
Dahlias Etc. Crescent mum, Etc.
Examine this Wonderful Book

"The Art and Craft of Ribbon Work" will be sent
to you for examination. Keep it five (5) days;
then, if satisfactory, mail us Two ($2) Dollars.
The Illustrated Milliner Company

656 Broadway, New York City
Please send me a copy of "THE ART AND CRAFT OF
RIBBON WORK." agree to remit
I Two ($2) Dollars or
return the book in Five Days. - .
Name Street
City or Town State
EVERY MILLINER SHOULD
HAVE THIS BOOK
1000 and 1 Secrets On
How to refreshen shop worn goods. hats, flowers, feathers, furs, silks.
How to tint and dye flowers, velvets, laces, chiffons, malines, rib-
feathers, beaver hats, felt hats, straw bon, etc., and turn them into money,
hats, braids, laces, malines, chiffons, How to make their shops, shop
felts, silks, ribbons, velvets, etc. windows and showrooms more at-
How to clean soiled felt and straw tractive.
THE MILLINER'S GUIDE

Is the greatest "ready-reference"book ever compiled for
the Millinery Workroom, and no milliner can well afford
to be without it. It contains 1000 and 1 tested receipts,
plans, schemes and secrets for increasing the efficiency
of the workroom and developing a healthy, growing
Millinery Shop. These are the secrets of America's
foremost Millinery Manufacturers, Jobbers and the finest
and most prosperous Retail Millinery Shops.
Examine this new book at our expense
and see what it contains.
Sent on approval with the understanding that it may be carefully examined
for five days. Then either return the book or send $1.25 in payment for it.
THE MILLINER'S GUIDE

Price $1.25
Published by
The Illustrated Milliner Company

656 Broadway, New York, N. Y.

(1919) A Complete Course in Millinery

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Class XJ^jO:

Founded on Lessons in Millinery from

THE ILLUSTRATED MILLINER CO.

Entered According to Act of Congress

All Rights Reserved

A Revision of Practical Millinery Lessons

THL ILLU5TRATLD MILLINLR CO.

Lesson T . . . To Make a One-Piece Wire Frame

Lesson V. . . Covering Hat Foundations

Lesson VII . . Lining the Crown

Lesson XIV . . Covering the Crown.

Lesson XVII . French Design Work

Lesson XXII. . Bows and Other Fancies .

Lesson XXIII . Shirrings, Rosettes and Buckles

Lesson XXV . . Bows and Rosettes

To Make Various Colors

When taking up the study of millinery, one should approach it

neither with fear nor an overconfidence.

stitch showing, nor a hint of its supporting structure, fills me with

To approach the subject in this spirit is never to feel fear.

In making a hat, it is equally necessary that a person be skilled

Taste and ability vary in individuals, and no one is so glad to

Good Light Very Essential

Have low enough, so the feet come squarely

Other materials can be purchased as needed. It is well to keep

A few aluminum thimbles are always a convenience, for it never

The work table should always be near a gas plate or stove,

It is well twisted and heavily waxed so that it will glide through

But if it is transparent or has interstices that will^ reveal the frame,

to be used with greater care or it will break under the twisting of

The one-piece frame is much simpler than the two-piece

A frame is made of regular frame wire, either silk or cot-

The wires that go around the frame on the outside and

Tie wire twisted. To be cut Figure 4

comes next to the head is called the headsize. In a one-piece

in length. It will be easiest to straighten out each 25 inches as

straightened perfectly. Never try to do this by sudden bends

Cut a piece of wire 53 inches long, overlap the ends 2 inches,

brace wire. This completes a one-piece frame (Figure 6),

which can be varied as to size or shape of brim or crown, as

To Make a Two-Piece Wire Frame

crown, which will be 3^ inches high. Take 27^ inches of wire,

Figure i — The circular brim. Figure 2 —The elongated brim.

Wiring the Brim

stability is desired, double wire the brim edge.

How the Brim May Be Varied

Varying the Crown

may be a round crown or only rounding at the crown top, but

always be made in fitting the brim headsize for the braid or

the consequence as shown in Figure 3.

Figure 3 —The round en

Frames which are to be cove erials

., The Stitches Used in Millinery

Now, as our wire frame is completed, we will learn some

^tq ot le' millinery.

Fig. 5 in shirrings or gatherings. The stitches

can ^ needle, until it is full, before drawn

thrc the fabric is light and thin. There is

never vo thicknesses of cloth used in gath-

ihows the back stitch, which is used in sewing