Chapter 46 - Mending

Pressing Suggestions | Stains | Care Of Clothing | Fabric Weaves | Man-Made Fabrics | Booklets | Personal Record

Mending can be fun if you treat it as an art and work for careful, durable, flat finishes. Study the weave of the fabric and try to duplicate it. Try to get as invisible a finish as possible except where you are making a decorative mend. In order to mend, you must have a basic knowledge of the hand stitches, although you will find that the running stitch is the one you will use most often. Stitches are usually short and fine. Rows of stitching are uneven to prevent definite lines from showing and to insure an invisible finish. Work from the right side most often to blend in your work.

Your work box contains much of the same equipment as for regular sewing, plus a darning egg, a hoop for machine darning, mending liquid, mending tape, rubber tissue, darning threads and needles, a crochet hook, buttons, snaps, hooks and eyes, tapes, and scraps.

Inspect your clothes regularly and try to prevent big jobs by the familiar stitch in time. These are likely spots to check:

1. Seams. Narrow seams may have to be stitched a little deeper to make them hold. If the edges fray, stitch a line near the edges and overcast them. Two rows of stitching prevent fraying and stretching.

2. Stitching. Rip out and resew broken or drawn stitching.

3. Hems. Re-hem when necessary if threads catch or seem unusually loose. Check and re-stitch hems on household linens also.

4. Dangling threads. Catch and fasten off such threads before further damage occurs.

5. Bindings and facings. See if they are sewed on securely and re-stitch if necessary.

6. Pocket corners and placket edges. Reinforce with tape or stitching if they seem weakened by wear.

7. Fastenings. Check and re-sew buttons, snaps and hooks and eyes. Rework raveled buttonholes.

Patches are used where a hole has been made. Cut a patch on the straight of the goods and match it to the lengthwise and crosswise yarns in the garment. Match design and pattern in the fabric very carefully or the patch will stand out like a sore thumb. When inserting a patch into a washable garment, wash new material until color is the same as the color of the garment. The washing will also shrink the patch.

Hemmed patch: This is a strong mend used primarily for washable garments. Trim the tear to a rectangle. Clip diagonally at corners from ¼ to ½ inch, and turn edges under slightly beyond the ends of the clips. Crease sharply or press. Cut the patch about one inch larger than the hole, making sure to match the design. Baste the patch in place and slip stitch in place from the right side, catching the stitches in the very edge of the crease. Turn to the wrong side and turn the edges of the patch under ¼ inch, snipping a little off at the corners to prevent excess bulk. Slip stitch to place seeing that stitches do not show on the right side.
 
Catch-stitched hemmed patch: This is a variation of the hemmed patch and is used for heavy, less firmly woven materials, such as some drapery and slip-cover fabrics, bedspreads, and thin blankets. Cut the patch and machine stitch twice around the outside. Baste the patch in place and slip stitch on the right side. On the wrong side, catch stitch the raw edge of the patch to the article being repaired.

Flannel patch: This is used for flannel or other firm fabrics that do not ravel. Cut out patch as for hemmed patch and baste in place. Catch stitch on wrong and right sides without turning in edges of patch or hole.

Lapped or under laid patch: This patch is used when sturdi-ness is more important than appearance. Make hole rectangular or round, round for greatest amount of stretch as in knit goods and elastic garments. Cut away ragged edges and baste matched patch to position. Darn by hand, working the stitches in over the edges even beyond the joining, or stitch by machine where a stiffer and stronger mend is desirable.

Thermoplastic or pressed on patches: Straighten edges of hole, put in patch cut from hem, and from wrong side, press on mending tape over patch. Use another piece of mending tape in place from which patch was taken, as the hem. Follow exact directions given with the tape.

Inset patch: This patch is used for silks and rayons and other fabrics to be dry cleaned, rather than washed. Cut around damage, clip in corners, as for a hemmed patch, and turn edges under. Baste matched patch in place, leaving a small seam allowance, and making sure that patch fits into the hole exactly. Overhand, from the wrong side, the two folded edges together. Overcast raw edges and press patch flat. Or, the patch may be finished by machine. Baste the patch in place, using long slip stitches and contrasting thread, which will later be removed. On the wrong side, stitch by machine exactly on the line of hand stitching. Trim off extra material, clipping corners to remove bulk, and press. Work over machine line on right side with very tiny stitches to conceal the seamed edge.

Darns are used for worn places, tears and snags. Try to get yarns from the fabric itself, lengthwise ones from seam edges and crosswise ones from the hem. Some machines have a special darning arm or a darning foot to facilitate darning by machine.

Plain darns: Used for hose and for small holes in woven fabrics. Trim away ragged edges. Use a darning egg for a stocking; otherwise keep the material flat. Run threads beyond the edges of the hole, taking very tiny stitches. Fill in the lengthwise threads, then run in the crosswise threads, as in weaving, over and under. Leave stitches loose at the end of rows to prevent a tight appearance.

Straight tear: Work back and forth over the tear, running stitches loosely and unevenly on all sides beyond the tear. Reinforce the tear by working over a piece of firm net on the inside. Finish by working vertical stitches on the inside.

Three-corner tear and diagonal tears: Made like straight tears. Any tear that is too ragged to be darned inconspicuously must be trimmed and patched with a suitable patch.

Pattern darn: This is used for materials with a distinct weave and tries to reproduce this weave. Study the weave carefully.

Machine-darned tear: Study the directions on your machine for darning. On some machines, a feed cover plate is used and the presser foot removed. Or, the feed may be lowered with no special cover used. The fabric is inserted in an embroidery hoop with the edges of the hoop wrapped to insure tightness. A machine darning foot is used with certain machines. Stitching is worked back and forth over tear. Darning over tears can be done quickly on the zigzag machine, for the needle moves from one side of the tear to the other. This kind of darn is used only when appearance is second to sturdiness.

In knit wear, two kinds of mends will take care of most of your needs. The knit stitch mend is inconspicuous and will have elasticity. The blanket stitch mend is easier to do but shows more and has no give. Make a cut in the worn spot and ravel the edges to give a squared-off area, with a straight line of loops at top and at bottom. Catch each loop as you unravel, working the needle into the side of the fabric. Pull in a crosswise yarn and work over it with loose blanket stitches, one for each knitting stitch. Pull in another crosswise yarn and work over it continuing until the hole is filled in.

For the knit-stitch mend or stocking-web darn, as it is also called, fill in the hole vertically with threads that catch the top and bottom loops. Work across the rows, putting the needle into two loops as shown in the illustration. Make stitches match looseness or tightness of stitches in the article you are mending.

Dropped stitches can be picked up with a crochet hook and fastened at the top with small overhand stitches. Large areas can be mended by knitting in a piece.
 
Special mends:

Buttons: To prevent strain on a button which receives much use, sew the button on with a shank.

Where cloth under a button has torn away, put a small inset patch on wools, rayon’s, and silks, and on cottons make a strong hemmed patch.

1. Make the shank by laying a pin or two across the top of the button. Sew several times over the pins and through the button and material.

2. Pull out the pins, lift the button, wind the thread beneath the button, and fasten off. Length of shank needed depends on thickness of the suiting.

3. For even greater protection, sew a tiny stay button directly under the top button but on the inside of the suit. Sew through both buttons at the same time and make a shank in side the top button long enough to allow the buttonhole to fit underneath without strain on the cloth.

Zigzag machines have the needle so spaced that it may be used to sew on buttons simply and rapidly.
 
To repair a hole: Set in a block of matching material. If you have no extra matching material on hand, enough can be cut from the inside facing of a vest or coat. Replace that material with another of similar color and weave.

1. Cut with the grain of the goods around the hole. If it is next to a sleeve seam, rip the seam open and let one side of the finished block go into the seam. Press the piece you cut out and use it as a pattern for cutting and matching the new piece to be set in. Cut the patch piece about ½ inch larger all around than the pattern so as to have ¼ inch for seams. Clip each corner of the hole diagonally. Turn the edges under ¼ inch. Baste and press lightly.

2. Lay the patch on the inside of the sleeve under the hole with the pattern matched exactly. Pin in place. With contrasting thread hem the folded edge around the hole to the patch.

Take stitches about ⅜ inch apart through the edge of the fold. These stitches are to serve as a guide line for seaming by machine from the wrong side.

3. Now turn to the inside of the sleeve and stitch the patch in by machine on the line of the contrasting thread. The seams on all sides of the patch have to be the exact width allowed, or the patch will not lie flat.

4. Steam press the seams open and miter or clip out the bulky corners.

5. On the right side hide the seam line with the rantering stitch used to finish the repaired collar roll. This strengthens and hides the seam line.

Pinholes: Work an eyelet where a heavy pin or brooch has left a hole.

Underarm wear: For a small patch, set in a shield-shaped matching piece of material, leaving a double seam allowance on the patch edge to make up for the seam allowance that is taken out of the bodice. To make a panel patch, cut out the underarm section from the sleeve down to the waist. Using this as a pattern, cut, match, and seam in a new piece.

Worn spots: Do preventive darning or reinforce the underside of a thin spot with a piece of matching or similar material. Make sewing as invisible and flat as possible. Worn elbows on long-sleeved dresses can be cut off making short sleeves.

To mend a thin elbow: Cut a piece of cloth or rayon lining large enough to cover the underside of the entire thin spot. Baste in place. Tack with rows of loose tailor's basting. Make the rows of basting parallel to the lengthwise grain of the cloth, about ½ inch apart—closer where the cloth is very thin.

On sweaters, decorative patches of felt or leather, or novelty patches that you can buy, are sewed on to the outside.

Worn plackets: To replace worn sleeve plackets, rip stitches joining the top of the placket to the sleeve. Continue ripping under the fly side, detaching from the sleeve and the cuff. Select a replacement material for the placket to match in shade, weight, and weave. Place the right side of the material to the inside of the sleeve opening. Match the end of the material to the bottom of the sleeve. The other end of the placket will be turned under and brought to a point. Stitch the placket to the sleeve, taking a ¼-inch seam. Fold over and top stitch over the seam, turning in a ¼-inch seam allowance. Slide the placket between the cuff, and top stitch. Stitch across the top of the placket holding the fly piece.

Worn or ripped linings: In replacing sleeve linings, stitch at wrist and fell into place by hand at the armhole. Be sure that after being felled the lining is smooth and not twisted. Small tears or holes are patched or darned. If the lining is worn at the underarm, rip at the seam, sew on a patch or shield, and re-stitch .

Pulled out lingerie straps: When the garment attached to the strap is torn, set in attractive diamond-shaped or triangular patches set in with Bermuda fagoting (see p. 179).

Frayed, worn, or torn collars: Where collars are only slightly frayed, a row or two of stitching close to the edge is sufficient.
 
If parts of the collar show wear or rips, top-patch or darn the collar. Where the collar shows extensive wear along the outer edge, put on a bias binding. Stitch to the wrong side first, fold to the right side, and stitch along the edge.

Where the collar is well worn put on a new top collar. Stitch the top collar first to the top on the underside, fold to the right side, fold in the seam allowance at sides and bottom, and stitch into position.

In the case of heavy collars, generally worn, remove the entire collar and replace with a matching one, or replace the top collar with a new one if the under collar is in good shape. To replace the collar, machine stitch the top collar to the neckline of the garment, and fell down the under collar by hand.

Turning collars: In the case of lighter weight garments, badly worn or damaged collars are turned. The collar is removed with a sharp blade and turned. For collars without neckband or reversible shirt collars, seam underside of collar to neckline (A), fold top side of collar over seam and top stitch into position (B). For collars with neckband, seam collar to outside of neckband (A), close by stitching inner neckband down to collar with top stitch (B).

Replacing collars: Worn or damaged collars are removed and replaced with matching ones following the procedure outlined above. Replacement collars are obtained from unrepairable garments.

Worn hems on coats and jackets: The following methods are used to repair worn hems on the subject items:

If sufficient length is available, the hem is ripped, cut off above the damage and re-hemmed (B). The new raw edge thus resulting should be bound (C) or turned under.

Worn or damaged material on the hem edges is darned.

Heavy garments are bound. The garment is spread on a table with the inside up. Using a ¾-inch binding, place it along the bottom edge, beginning at the buttonhole end. Fold end of binding over % inch. Beginning ½ inch from bottom edge of the garment, backstitch across the ⅜-inch fold and continue stitching ½ inch from the bottom along the entire length. Stop stitching two inches from the bottom end of the garment. Cut off the binding ¾ inch beyond the inside lining on the button end. Fold the end of the binding over ⅜ inch. Continue stitching to the end of the binding and backstitch the fold. Turn the garment over so the outside is up. Fold the binding to the outside of the garment. Turn the binding under ¾ inch; make sure that the fold on the end of the binding is turned under before beginning to stitch. Backstitch the end fold and stitch along the entire length ¾ inch from the bottom of the garment. Stop stitching two inches from the end of the binding.

Fold under the end of the binding ⅜ inch. Continue stitching to the end of the binding and backstitch the fold.

Wear guards: Wear guards protect trouser legs from the rub of shoes. To make them, use heavy tape about ⅝ inches wide or cloth cut from the leg seams. Turn down cuff, and baste the guard on just inside the leg, next to the fold that will be the bottom edge of the trouser. Stitch by machine along both edges of the guard. Turn the cuff back and tack it into place.

To put the wear guard on to trousers without cuffs, first rip hem open. Baste, then stitch a guard on just inside the lower edge of the leg—on the hem side of the bottom crease (1). Then re-hem the trousers (2).

Shields: When wear and perspiration cause holes under the arms of suit lining, tack in new shields to avoid staining of the outer material of the coat. Make underarm shields of fabric that matches or is similar to the jacket, or make shields of rayon lining.
 
To make shields, cut two pieces of wool cloth to shape and sew under each armhole. Bind all around with rayon. Rip arm-hole lining just far enough to tack shield into place (1). Slip stitch shield to the coat lining around the outer edge (2). Sew the lining back in around the armhole.

To lengthen trousers: Pick out the tacks at the side of the cuff and rip open the lower edge. Spread the cuffs out full length. If the cuffs have never before been repaired or adjusted, there will be three sharp press lines. The top crease marks the length which the trousers have been, so measure from

this line when you mark a new length.

Measure from the top crease the amount you want to lengthen the trousers (1). Mark around the leg with tailor's chalk. Then steam out the old crease lines. Make a new plain cuff or a French cuff, depending on how much you want to lengthen the leg. If you are adding one inch or less to the trouser length, finish again with a plain cuff. If trousers are lengthened more than one inch, finish with a French cuff.

To make a plain cuff finish: From the chalk mark, measure down l¾ inches and mark a line around the trouser leg (2). Mark another line l¾ inches below that. Pick up, fold, and baste along the middle chalk line. Pin the first and third lines together and baste. Steam press.

Now fold to form the new cuff along the line where the third and first chalk lines are basted together. Baste to hold the cuff in place and press. To finish the cut edge, which is turned up inside the trouser leg, turn the cuffs down again, baste and stitch by machine. Finish with a wear guard,

then tack the cuffs at the side.

To make a French cuff: If it is necessary to lengthen the trousers more than one inch, use a French cuff. From the chalk line that is the guide for the new length (1) make two more lines, one l¾ inches above the first line, and one l¾ inches below the first line (2). Fold on the center line and baste. Lay this fold against the top line and baste. Fold and baste along the lower line, which marks the bottom of the cuff. Steam press.

Turn the cut edge up inside the pants and turn in so that it just meets the top fold. Trim off extra material. Join the two folds with hand stitches about ¼ inch apart so they won't catch on shoes. Put in a wear guard. Steam press and tack cuffs at the side.

To shorten trousers: Pick out the tacks at the side of the cuff and rip open the lower edge. Spread the cuffs out full length.

From the top press crease, which marks the old length, measure the length which the leg is to be shortened. Mark around the leg at the new length with tailor's chalk. Steam press to take out creases (1).

From this new line, measure down and draw two more lines l¾ inches apart. Make a fourth line l¾ inches below this, and cut away excess material below this line (2).

Finish as a plain cuff. Pick up, fold, and baste along the middle chalk line. Pin the first and third lines together and baste. Steam press.

Fold to form the new cuff along the line where the first and third chalk lines were basted together. Baste to hold the cuff in place and press.

To finish the cut edge, which is turned up inside the trouser leg, turn the cuff down again, baste and stitch by machine. Finish with a wear guard, then tack the cuffs at the side.

To let out or take in seat: Most trousers have a generous seam allowance at the back rise. This seam may be reseamed to make the seat smaller or larger. Do this before you rip out the old stitching, then rip the old seam and steam press the new seam.

If there is any doubt about the fit, baste the new seam line, rip out the old stitching and fit the trousers before stitching.

To let out too-short crotch: Rip the inseams down from the crotch point about 12 inches. Open the back and front rise slightly—just so the seam allowances of the inseams are free. You will find plenty of seam allowance for this purpose if there have been no adjustments made previously.

Let out the seam as needed and re-sew, tapering off to meet the old stitching lines of the inseams. Press open, then re-seam the front and back rise and press again.

Frayed pocket edges: If the edges of side pockets are slightly frayed, but not along the full length of the opening, rip the inside facing apart from the pocket edge a little beyond the worn part. Turn in the worn edges, slip stitch them together and finish as before.

If the edges are more worn, trim off the worn parts of both the facing and the pocket, but be very careful to keep a straight line. Re-seam the facing to the pocket edge by machine, using a very tiny seam. Roll the seam line so that it is barely inside the pocket opening, then baste and press. Stitch the pocket edge by machine once or twice, depending on how it was finished in the first place.

The entire pocket edge is frayed: If the pocket is worn along the entire edge, cut the bars at each end and rip the seams open for a few inches, just above and below the pocket. Rip the facing from the pocket mouth. Trim off the worn part. Make certain to keep a straight line. Re-seam. If the facing is badly worn, rip the other side of it away from the cotton pocketing and turn that side out to the pocket edge. Re-seam the facing to the pocket mouth with right sides of the two pieces together. Turn facing back into the pocket with the seam line just inside. Baste, press and stitch as it was before you ripped it. Resew the seams above and below the pocket. Bar pocket ends by stitching back and forth to strengthen.

To replace inside pocket: Turn trousers inside out and rip out stitching that holds pocket to waistband. Cut a paper pattern for the pocket. Mark the side that is to be laid on the fold when you cut the new pocket. Allow about ¾ inch for seams when you cut.

Cut off the old pocket next to the two wool facings just inside the pocket mouth. This leaves in some of the old pocketing that is stitched back of the wool facing. If this part of the old pocket were ripped out, it would be more difficult to put in the new one.

Worn hems on trousers: If the bottom of cotton or wool trousers is frayed at the edge but has sufficient length to permit turning a new hem of l½ inches and still retain cuff size, cut off the bottom and turn a new hem.

Where the length of the trousers does not permit cutting away the damaged part, open the hem and stitch a seam above the frayed edge. (See A.) Re-hem so that the seam does not show on the right side (A). (See p, 230.)

If the inside hem is badly damaged, cut it off and apply a new facing (B). Then re-hem the trouser leg (B).

Re-hem cotton and wool trousers, where appearance is secondary, on a lockstitch machine. If appearance is of primary importance, wool trousers are felled by hand.

Cuffs: With a worn cuff, carefully take out the stitches along the edge of the cuff and open the seam on the edge. Trim the frayed edge off about ¼ inch, tapering off around the curve. Turn in trimmed edges about ⅛ inch and machine stitch. Stitch around the cuff and do a second line of top stitching like the original finish. The cuff will be shortened by such a small amount that it will not make a difference.

Blankets: Replace worn out bindings with new ones. An old blanket can be finished at the edge by trimming off the frayed part, running two lines of machine stitching and then finishing with blanket stitches.

Gloves: Mend with the same kind of stitch originally used in hand-sewn gloves. With leather gloves, use two needles to copy the original stitch. Thread both ends of the thread through needles. Make a stitch, bring the needle on the other end of the thread through the same hole, in order to get the same effect on both sides. Or, blanket stitch each side of a tear, then blanket stitch the two edges together where the original stitch is like a fine

buttonholing stitch.
 
Hosiery: Mend a run with an Over handing stitch. Certain stores will do this for you. Darn holes over a darning egg.
Bras, girdles, slips, overalls, and play clothes can be mended most effectively with a zigzag stitch which catches both sides of the tear.

Pressing Suggestions

Pressing a garment gives it the finished, professional look which is so important. Therefore determine the proper temperature for the fabric and plan to press as you work.

Pressing is a basic part of sewing. It is not the same as ironing because it depends on pressure and steam to do the work rather than on the movement of the iron. The process is principally one of lifting the iron and putting it down on a damp cloth.

Here is the equipment you will need: an ironing board a sleeve board (the sleeve board will do for most work if a regular ironing board is not available) an iron two press cloths one of heavy muslin one of light muslin
(all starch and sizing should have been removed by laundering) sponge pan of water small camel's hair brush tailors' cushion velvet board

Keep the ironing board open near your machine as you sew. Everything you do will work more easily if you press as you work.

Make certain that your ironing board is smooth, soft and well padded. You can make your own pad with old Turkish towels, but make certain that all the starch has been laundered out of the muslin covering.

Except for ordinary cottons and linens, press everything on the wrong side. Woolens, silks and rayon’s will require a press cloth between the iron and the material. Rayon’s require very little heat and may be damaged by a hot iron. Silks may take a slightly higher temperature. Cottons, woolens and linens require a hot iron.

Always press lightly to avoid causing a shine. If a shine does appear, it can usually be removed by rubbing with a rough, damp cloth. Napped materials may be stroked with a fine wire brush, the type that is used in cleaning suede shoes. This is used to raise the nap to its original position.

Buttoned materials should be pressed from the wrong side with extra padding (Turkish towels will do) to allow space for the buttons.

Embroidered material should be pressed on the wrong side with extra padding underneath.

Curtains, laces, dotted Swiss cottons and novelty fabrics particularly, should be pressed from the wrong side.

For woolens, use a heavy dry cloth over the material, and a lighter cloth (which has been wrung out of water) placed on top of the dry cloth.

Linens should be very damp and ironed with a hot iron.

Napped materials are pressed on a velvet board or by running the material over a damp cloth placed over an upended iron. Steam is used to remove wrinkles from napped fabric garments wherever this is feasible.

Double napped fabrics may be pressed by turning the end of the flexible velvet board over both sides of the fabric, and steaming through it.

Whenever you move the iron, try to follow the grain of the material as closely as possible.

Press each seam, tuck and dart as you finish it. This not only gives you a neater job but makes working much easier. Never join one seam to another before it has been pressed. You may dampen the seams with a brush and place a cloth over them. A damp sponge is used to dampen the press cloth itself.

If you are afraid the iron may leave an impression, dip your brush in water and run it down the seam, then press over the damp cloth. Fabrics which may show the marks of the seams through, are pressed with strips of paper under the seam edges.

Press darts toward the center front or the center back of the garment. When this cannot be done, slash and press open, then overcast. Press underarm darts downward.
Press hems by placing a damp cloth over the skirt.

Press small pieces over a sleeve board. If no sleeve board is available, you may use a rolled magazine or a rolled towel.

Tops of sleeves are pressed with the tip end of the iron.

When sleeves have already been stitched into the armscye, press by moving the iron toward the sleeve over a sleeve-board or over a sleeve cushion. Insert a damp cloth between the iron and the sleeve.

Press pleats, after hem is sewed and pleats have been basted, over a slightly dampened cloth.

When the garment is finished, give it a final pressing. Smooth out, shrink in and blend all the joining so that the finished dress has all the smoothness of a professionally finished product.

Stains—And How To Remove Them

Stain Removal

Remove stains as soon as practical, before they get a chance to set. Follow these steps: (1) Determine, first, the cause of the stain. (2) Determine the type of fabric—particularly whether it is washable or non-washable. Consider the fiber, the color, the type of dye. (3) Then determine the method you will use. (4) Test any chemical you plan to use on a seam or other sample of the fabric. If you plan to wash the material, remove stains before washing. Remember: Hot water will set some stains such as egg, blood or meat juice. Soapy water will set some stains like tea, coffee and the juice of most fruits.

In general there are three basic methods of removing stains from non-washable fabrics: (1) Sponging or swabbing with solvents like carbon tetrachloride or benzine. (2) Bleaching with hydrogen peroxide, oxalic acid or Javelle water. (3) Dry cleaning with a paste made of absorbent powders like French chalk, white talcum powder or Fuller's earth.

The following chart lists accepted methods of removing the most common stains:
 
Stain
Adhesive Tape, Blood, Sugar
Candle Wax
Chewing Gum
 
White Cottons or Linens only Soak fresh stain in cold water. Wash in warm suds. For stubborn stains, use salt water solution (¼ c, salt to 2 c. water). Crumble off excess wax. Place stained portion on blotter and press with hot iron. Sponge with carbon tetrachloride. Rub with ice, scrape off gum. If stain remains, sponge with carbon tetrachloride.

Any Washable Colored Fabric Sponge with carbon tetrachloride.
Sponge with cold water. Wash in lukewarm suds.
Same method as for cottons and linens.
Chill with ice and scrape off gum. Sponge with carbon tetrachloride or other solvents.

Stains—And How To Remove Them

Stain
Adhesive Tape, Blood, Sugar
Candle Wax
Chewing Gum

White Cottons or Linens only Soak fresh stain in cold water. Wash in warm suds. For stubborn stains, use salt water solution (¼ c, salt to 2 c. water). Crumble off excess wax. Place stained portion on blotter and press with hot iron. Sponge with carbon tetrachloride. Rub with ice, scrape off gum. If stain remains, sponge with carbon tetrachloride.

Any Washable Colored Fabric Sponge with carbon tetrachloride.
Sponge with cold water. Wash in lukewarm suds.
Same method as for cottons and linens.
Chill with ice and scrape off gum. Sponge with carbon tetrachloride or other solvents.

Stain
Chocolate, Cocoa
Cod Liver Oil
Coffee or Tea
Cream or Ice Cream
Eggs Or Meat Juice
Fruits or Fruit juices

White Cottons or Linens only

Sponge with carbon tetrachloride; then with warm water. If stain persists, work in pepsin powder, allow it to remain for 30 minutes, then sponge off with water.

For fresh stains, sponge with carbon tetrachloride; then wash in warm suds. Bleach old stains with hydrogen peroxide. Rinse well. Or use solution of 2 tablespoons of banana oil in a cup of soap jelly.

Pour boiling water from height of 2 or 3 feet through stain, from reverse side. If stain persists, bleach with hydrogen peroxide. Rinse well. Do not use soap first; it may set the stain.

Soak in cold water. Remove. Treat as fruit or chocolate stains. Wash in
warm suds. Rinse well.

Soak in cold water. Wash in hot suds. Avoid hot water first; it may set
stain. If persistent, sponge with carbon tetrachloride.

Pour boiling water from height of 2 or 3 feet through stain from reverse side. If stain persists, use hydrogen peroxide. Rinse well. Avoid soap; it may set stains.

Any Washable Colored Fabric

Wash in lukewarm suds. Remove cream spots with carbon tetrachloride.

Wash in warm suds. For old stains use carbon tetrachloride or other solvent, or hydrogen peroxide bleach.

Sponge with warm water. If stain persists, apply warm glycerin, let stand ½ hour, rinse well. Wash in warm suds.

Sponge with cold water. Wash in lukewarm suds. Use carbon tetrachloride if stain persists. Sponge with cold water. Wash in lukewarm suds.

Sponge with cool water. If stain persists, apply warm glycerin, let stand a few hours, rinse well. Wash in warm suds.

Stain
Paint
Scorch
Tobacco Juice

White Cottons or Linens only Scrape off fresh paint and wash in warm suds. If stain has dried, soften with oil, lard, or Vaseline; then sponge with turpentine or banana oil. Wash in warm suds. Moisten, expose to sunlight. Repeat several times. If stain persists, bleach with hydrogen peroxide. Rinse well. Woolens and silks may respond to water alone. Sponge with cold water. Work in glycerin. Let stand for 30 minutes. Wash with soap and water.
Any Washable Colored Fabric Follow methods for cottons and linens.

Can seldom be removed. Brush woolens with fine sandpaper.

Sponge with denatured alcohol.

Suggestions For The Care Of Clothing

The clothes you make and the clothes you buy will look nicer and last longer if you care for them properly and intelligently. Listed here are some suggestions for clothing care:

1. As soon as you remove garments, hang them on hangers which are properly shaped.

2. Never hang clothes in a closet while they are still wet.

3. Clothing should be hung in a dry, cool, well-ventilated place.

4. Where possible, avoid wearing the same clothes for two successive days. Allow the wrinkles to work out.

5. Brush frequently to remove dust and lint. Brush in the direction of the nap.

6. Avoid damage to your clothes through perspiration. Shields attached to underarms, astringents used where practical, will give some protection.

7. Remove stains and dirt as soon after they appear as possible. Never store an un-cleaned garment for the season.

8. Remove dust from serge with the sticky side of adhesive tape.

9. Remove dirt from suede with emery cloth.

10. Remove shine from blue serge, black silk, etc., with cheesecloth dipped in vinegar.

11. Dry raincoats by hanging immediately in a dry, cool, well-ventilated place.

12. Avoid friction points that will wear out furs and good clothes rubbing jewelry or handbags, tight joints, etc.

13. To brighten furs, shake thoroughly, but take care to avoid breaking leather.
14. Hosiery should be washed before the first wearing and after every wearing in lukewarm water and mild flakes. Keep sheer stockings in a lined box to avoid rubbing.

15. Felt hats should not be hung on a rack when wet. Brush after each wearing with a soft bristle brush.

16. Straw hats exposed to rain should be pushed out, with sweatband turned out, and allowed to dry resting on the sweatband.

17. Shoes should be kept in a cool, dry place. Polishing helps to preserve them. If dried too rapidly, shoes will shrink.

18. Before washing, sort clothes in packs which require approximately the same kind of laundering.

19. Soak clothes overnight, if possible, to loosen dirt. Do not soak unless colors are known to be fast.

20. Woolens, silks and rayon’s, should be washed in lukewarm water and never rinsed in cold water. A few drops of vinegar in the rinse water for silks will add luster.

21. Bathing suits should be rinsed, after each wearing, in lukewarm water and mild soapsuds. Avoid hot iron. Never pack away suit while any part is wet.

22. Foundation garments should be laundered in accordance with manufacturers' directions. Usual solution is lukewarm water and mild soapsuds. Avoid rubbing, twisting, wringing and excessive soaping.

23. Lace curtains should be measured before being washed. Avoid rubbing. Squeeze and work in suds. Dry curtains on stretchers or spread a sheet on the floor.

Dictionary Of Fabric Weaves

ALBATROSS (wool, cotton). Plain weave. Soft, light, sheer. Pebbly surface. Cotton has slight nap. Used for infants' wear, negligees, nuns' dresses.

ANGORA (cotton warp mohair filling). Plain weave, high finish. Used for men's coats.

ANTIQUE SATIN. Satin weave. Heavy, dull luster. Used for draperies, upholstery, bedspreads.
ASTRAKHAN (wool, mohair, cotton). Woven or knitted. Soft, thick, spongy. Usually with cotton back, wool or mohair face. Lustrous, curled, thick pile yarns. Used for coats, trimmings.

BALLOON CLOTH (mercerized cotton, silk, linen). Plain weave, strong, coated with rubber to be waterproof. Durable, smooth high luster. Used for shirts, dresses, treated for airplanes, balloons.

BASKET WEAVE (2 threads or more interlaced at right angles). Weave looks like a basket. Used for women's dresses, draperies.

BATISTE (wool, high quality mercerized cotton, spun rayon, silk, linen). Plain or Jacquard weave. Soft, sheer, often printed. Hard texture, luster. Used for lingerie, handkerchiefs, infants' wear, ladies' collars, dresses, heavier types for foundation garments.

BEDFORD CORD (wool, rayon, cotton, silk). Wide ribs run lengthwise. Warp yarns float on back. Similar to pique. Used for suits, topcoats, riding clothes, slacks, uniforms, draperies, upholstery.

BENGALINE (silk, rayon, combed cotton, wool). Rib runs crosswise. Filling is coarser than the warp, slightly heavier than poplin, compact texture. Used for dresses, coatings, ribbons, draperies, men's shirts.

BIRD'S-EYE (linen, cotton, rayon. Also a worsted fabric). Clear finish with small indentations on the face suggesting a bird's eye. Used for diapers, towels.

BOLIVIA (wool, may also have mohair, alpaca, etc.). Satin weave. Soft, velvety nap. Tufts run in diagonal or vertical rows. Used for coats, suits.

BOMBER CLOTH (cotton). Firm twill weave with two fine warp yarns to one heavy fill yarn. Used for draperies.

BOUCLE (wool, rayon, cotton, silk, nylon, linen). Two fine yarns twisted with a thick yarn. Covered with loop at intervals to give nubby effect. Woven or knitted. Various weights. Used for draperies, coats, suits, dresses, sportswear.

BRILLIANTINE (silk, worsted, rayon, mercerized cotton, mohair). Varies with fiber and finish. Silk is light, loosely woven, slips easily. Cotton has a fine yarn in the warp and a loosely twisted yarn in the fill. Used for dresses, linings, suits.

BROADCLOTH (worsted or wool). Open twill weave. Close uniform texture. Pile is permanently pressed down in one direction.
Smooth, lustrous, velvety. Used for dresses, women's suits and coats.

BROADCLOTH (mercerized cotton, spun rayon). Fine crosswise rib made by weaving several warp yarns together. Used for men's shirts, shorts, pajamas, summer jackets, women's and children's dresses, gowns, pajamas, draperies, tablecloths.

BROCADE (silk, rayon, cotton, nylon). Embossed effect obtained by Jacquard weave. Low relief. Fill yarns float over the warp. Used for draperies, upholstery, dresses, ties, blouses, corsets.

BROCATELLE (silk, rayon, linen, cotton). Jacquard weave. High relief embossed effect. Lightly woven. Stiff. Pattern is formed by the warp yarns. Used for draperies, upholstery, dresses.

BUCKRAM (cotton, linen, sized to stiffen). Mesh. Thicker ply yarn than crinoline. Heavy buckram made by gluing two fabrics together. Used for stiffening, shaping, bookbinding.

BUNTING (worsted, cotton). Loose, porous, thin. Used for flags, banners, curtains.

BURLAP (cotton, jute, hemp). Plain weave. Coarse, heavy. Used for sacks, floor covering, backing, furniture covers, draperies.

BUTCHER'S LINEN (heavy cotton, rayon). Plain weave. Strong, stiff. Looks like linen. Used for aprons, coats, dresses, children's clothes.

BYRD CLOTH (mercerized cotton). Close, firm, twill weave. Wind resistant. Usually finished to resist wind and water. Used for snow and ski suits, sport jackets, raincoats.

CALICO (cotton). Plain weave, light, coarse, inexpensive, usually printed on one side. Sized to crispness but this washes out. Used for dresses, skirts, curtains.

CAMBRIC (linen, cotton). Plain, fine, firm weave, bleached or dyed-in-piece goods. Smooth, soft finish. Used for handkerchiefs, children's dresses, slips, underwear, nightgowns.

CANVAS (cotton, linen). Firm, heavy, plain weave. Stiff. Various types. Used for sails, flooring, awnings, shoes, art, needlework, furniture, covers.

CAVALRY TWILL (woolen or worsted). Strong, rugged, has raised cord. No set weave. Hard texture. Used for slacks, sportswear, military suits and coats.
CHALLIS (wool, spun rayon, cotton). Plain weave. Durable. Soft, pliable, light. Medium weight. Drapes well. Used for women's dresses, blouses, negligees, children's dresses, men's shirts, ties, draperies, linings.

CHAMBRAY (cotton, linen). Plain weave. Smooth, lustrous. Changeable color effect obtained by weaving white filling with colored yarns. Variety of weights. Used for fine children's dresses, men's shirts, women's dresses, blouses. Heavier types for mattress ticking, work shirts.

CHENILLE (cotton, wool, silk, rayon). A yarn with a pile all around. "Similar to a caterpillar." Used for rugs, women's robes, trimmings, bedspreads.

CHEVIOT (worsted, spun rayon). Rough. Similar to tweed but with heavier yarn. Close. Used for suits, overcoats.

CHIFFON (silk, nylon, fine highly twisted cotton, rayon). Plain weave, light weight, sheer. Difficult to handle. Drapes well. Durable. Difficult to launder. Soft or stiff finish. Used for drape over silk, fine dresses, blouses, scarf’s, trimmings.

CHIFFON CREPE (silk or rayon). Plain weave. Sheer, soft, crepe texture. Used for dresses, lingerie, handbags.

CHIFFON VELVET (rayon). A soft, lightweight velvet. Used for quality dresses.

CHINA SILK (silk). Plain weave. Threads are irregular. Used for linings.

CHINTZ (cotton). Plain weave. Bright prints. Surface glaze remains after washing. Used for furniture covers, curtains, draperies, dresses, smocks, housecoats.

CIRE SATIN. Satin weave. High luster like leather. Usually in metallic colors. Used for dresses.

COCHLE (cotton, rayon, wool). Shriveled effect. Used for dresses.

CORDUROY (mercerized cotton, rayon). Ridges in the warp or fill or both. Yarn pile runs lengthwise. Used for slacks, suits, dresses, jackets, shirts, sportswear, draperies, bedspreads, upholstery.

COTTONADE (cotton). Twill weave. Heavy, firmly woven. Speckled stripe alternating with dark stripe. Similar to covert. May be napped at back. Used for linings, work clothes.
COVERT (wool or worsted in 2 shades of color, rayon, cotton). Twill weave, light weight, durable. White and colored yarns alternate in warp and filling. Speckled appearance, medium or heavy weight. Wool is used for men's topcoats, women's coats and suits. In cotton, used for men's shirts, women's dresses, sportswear, uniforms, draperies, bedspreads.

CRASH (linen, cotton, rayon, wool, jute). Open weave, soft, lustrous, absorbent, rough texture. Durable. Usually white dyed in plain colors or stripes. Used for dresses, draperies, upholstery, towels.

CREPE (highly twisted yarn, silk, rayon, cotton, wool, nylon). Woven with alternate right and left hand twisted yarns. Varieties have crinkled texture or smooth surface. Used for fine dresses.

CREPE BACK SATIN (silk, rayon, nylon). Satin weave, crepe-twist filling. Reversible. Used for dresses.

CREPE CHARMEUSE (silk, rayon). Satin weave. Dull luster. Drapes well. Used for fine dresses.

CREPE de CHINE (silk, rayon). Soft, finely crinkled, smooth, lustrous. Used for dresses, blouses, lingerie, curtains.
 
CREPON (silk, rayon, wool). Plain weave. Heavy, wavy lengthwise ribs. Used for dresses, lingerie, handbags.

CRETONNE (cotton, linen, rayon). Plain, twill or satin weave. Firmly woven. Usually has bright large patterns. Used for draperies, furniture covers.

CRINOLINE (cotton). Open, mesh of fine low grade yarns. Usually sized and stiff. Used for stiffening, linings, bookbinding.

DAMASK (silk, rayon, linen, cotton, wool, mohair, nylon). Jac-quard weave. Figured material in which the design is woven fiat into the fabric. Firm, lustrous, reversible. Warp yarns float over the fill. Used for tablecloths, napkins, draperies, bedspreads, upholstery, evening wraps.

DENIM (coarse, hard twisted cotton). Twill weave. Stiff, durable, smooth, resists water, snags, tears. Woven with colored warp and white fill yarns to give a speckled appearance. No. 2.20 denim weighs 2.2 yds. to the pound. Heavy denims have low numbers. Light denims are classified by ounces to the yard. Used for work clothes, upholstery, drapes, sport clothes.

DIMITY (mercerized cotton, linen). Plain weave. Thin, sheer, crisp, corded or check effect. Similar to lawn. Dyed, printed or white. Used for dresses, blouses, ladies' neckwear, lingerie, curtains, bedspreads, table scarfs, lampshades.

DOESKIN (wool, rayon, cotton). Satin weave. Fine napped, lustrous, soft finished. Used for suits, sportswear, uniforms.

DONEGAL (wool, rayon, cotton). Plain or twill weave. Yarns have colored nubs. Looks like tweed. Used for women's coats and suits, sportswear.

DOTTED SWISS (cotton). Plain or lappet weave. Sheer with crisp finish. Used for children's dresses and bonnets, women's dresses, aprons, blouses, neckwear.

DRILL (cotton). Twill weave. Heavy, firm. Right to left diagonal. Used for middies, women's uniforms, sportswear, work clothes, linings, slip covers.

DUCK (cotton, linen). Plain weave. Closely woven, durable. Varies in weight. Generally lighter than canvas. Used for sportswear, work clothes, awnings, tents, sails.

DUVETYNE (wool, rayon, silk, cotton). Twill weave. Suede finish, thick, lustrous, smooth, with deep nap on both sides pressed into fabric. Feels like felt. Used for women's coats, suits and dresses, men's sports coats.

ELASTIQUE (rayon, wool). Ribs in groups of two on face. Hard texture. Diagonal left to right. Used for suits, coats, slacks, military coats and suits.

END-and-END CLOTH (cotton). Plain weave. Pincheck obtained by alternating different colored yarns. Similar to chambray. Used for shirts, children's wear.

E*PONGE (wool, rayon, cotton, silk). Similar to ratine. Spongy, knotty surface. Used for dresses, women's suits, draperies.

FAILLE (silk, rayon). Has a crosswise rib weave. Fill is stronger than warp. Feels soft. Similar to grosgrain. Used for dresses, coats, blouses, curtains, draperies.

FAILLE: TAFFETA (silk, rayon). Stiff, crisp, has fine crossrib. Used for dresses.
FELT (fur, wool, cotton, rayon, hair). Thick, compact. Made by pressing loose fibers under heat and moisture. Used for hats, table covers, linings, etc.

FLANNEL (wool, worsted, cotton, spun nylon, spun rayon). Simple plain or twill weave concealed by a dull finish. Soft texture. Napped. Used for suits and coats, dresses, skirts, jackets, shirts.

FLANNELETTE (wool, wool and cotton). Printed and napped on one face only. Used for pajamas, baby blankets, diapers.

FLAT CREPE (silk, rayon). Plain weave. Smooth, soft, slight crinkle, flat appearance. Used for dresses, lingerie, handbags.

FLEECE (wool, wool and cotton, cashmere, camel hair, mohair, alpaca). Heavy, compact, soft. Has long nap. Durable but often bulky. Woven or knitted. Used for coats.

FOULARD (silk, rayon, cotton, wool). Plain or twill weaves. Light weight with soft finish or fill. Drapes well. Usually printed with small figures. High luster. Used for ties, dresses.

GABARDINE (wool, combed cotton, rayon). A fine, tight twill weave which gives single, diagonal lines over face of cloth. Hard texture, lustrous. Used for men's and women's suits, coats, raincoats, uniforms, men's shirts.

GAUZE (cotton, rayon, silk). Similar to cheesecloth, but more closely woven, sheer, transparent. Used for bandages, trimmings, curtains.

GEORGETTE CREPE (silk, rayon). Plain loose weave. Pebbled effect. Sheer, less crinkled, harder, less lustrous than Crepe de Chine. Used for dresses, blouses, negligees, lingerie, curtains, bedspreads.

GINGHAM (highly twisted, mercerized cotton, rayon). Plain close weave. Fine or medium yarn. Dyed or printed in stripes, checks or plaids on both sides. Average texture 64 x 66. May be sheer. Used for housedresses, aprons, children's dresses, sportswear, pajamas, men's shirts, curtains, draperies, spreads.

GLASS TOWELING (highly twisted linen, cotton, rayon). Plain loose weave. Usually has red or blue stripe or check. Used for towels, table covers, kitchen curtains.

GRENADINE (hard twisted cotton, rayon, wool, silk). Loose leno weave. Dyed yarns produce stripe or check. Used for dresses, ladies' neckwear, curtains.

GROS de LONDRE (silk, rayon). Close rib weave. Ribs run crosswise in alternate heavy and thin ribs. Used for dresses, evening dresses, blouses, curtains.

GROSGRAIN (silk, rayon, cotton). Rib weave with heavy filling cords. Rounded rib runs crosswise. Hard finish. Used for ribbons, women's coats and suits, vestments, dresses, trimmings.

HARRIS TWEED (wool). Imported from Scotland. Distinctive, homespun appearance. Used for suits, coats.

HERRINGBONE. Any fabric woven to resemble fish backbone. Staple. Used for suits, coats, dresses.

HOMESPUN (wool, rayon, cotton). Plain loose weave. Undyed, crude, coarse, heavy, uneven. Looks home loomed. Used for drapes, slipcovers, women's coats and suits, men's sportswear, children's coats.

HONEYCOMB or WAFFLECLOTH (cotton, rayon, wool). Honeycomb weave. Rough texture. Raised geometric pattern. Used for towels, novelty dress fabrics, bedspreads.

HOPSACKING (cotton, wool, rayon, linen). Open weave, usually basket weave. Hard, rough, durable texture. Homespun appearance. Used for sportswear, draperies.

HUCKABACK (linen, cotton). Huckaback weave. Firm, durable. Yarns float over large areas creating absorbency. Used for towels, quilting, draperies, shirts.

JASPE CLOTH (rayon, cotton). Plain weave. Warp has threads of many colors, fill, one color. Gives effect of multicolored stripes. Firm, hard, durable. Used for draperies, upholstery.

JEAN or MIDDY TWILL (cotton). Strong, twill or herringbone weave. Firm, clear surface. Finer than drill. Used for children's play clothes, work clothes, sportswear, linings.

JERSEY (wool, cotton, rayon, silk). Plain knitted fabric. Originally made on a circular machine, now also made on a tricot machine. Vertical rib. Elastic. Used for undergarments, dresses, sweaters, sports shirts, gloves.
LACES. The warp and filling are twisted to make a fabric. Warp runs crosswise, filling lengthwise; made by hand or machine in many types. Used for ladies' neckwear, trimmings.

LAME (metal with silk or rayon). Glittering metallic yarns used in background, pattern or both. Glitters. Used for draperies, evening wear, blouses, trimmings, millinery.

LASTEX (rubber with cotton, wool, silk, rayon). Yarns are wound around rubber core. Used either as filling or warp or both. Stretches. Soft, thin. Used for girdles, bathing suits.

LAWN (fine cotton, linen). Plain weave. Light, sheer, soft, semi-crisp. Used for children's clothes, dresses, blouses, lingerie, ladies' neckwear, curtains.

LENO (cotton, silk, rayon, nylon, wool). Open weave as for gauze. Used for curtains, wrappings.

LINSEY-WOOiSEY (linen or cotton and wool). Wool is the fill. Loose, coarse, usually highly colored. Used for sports clothes.

LONGCLOTH (cotton). Close plain weave. Similar to nainsook. Used for lingerie, children's wear, men's shirts.

MADRAS (long staple cotton, rayon). Plain or Jacquard weave. Has yarn-dyed woven stripes in warp. Thin, lightweight, tightly woven. Used for men's shirts, pajamas.

MAROCAIN (rayon). Plain weave, stiff, crisp. Closely set creped ribs. Heavier than canton crepe. Used for dresses, blouses.

MARQUISETTE (cotton, rayon, nylon). Fine, firm, open (leno) weave. Sheer. May be soft or crisp. Lacy effect. Used for evening wear dresses, children's dresses, curtains.

MATELASSE (spun rayon, cotton, silk, wool). Jacquard weave. Double fabric. Raised surface joined to back fabric gives quilted appearance. Back fabric shows long floating yarns. Used for upholstery, draperies, dresses, women's suits, evening wraps.

MELTON (wool). Twill or satin weave. Thick, close, felted, smooth surface. Usually in plain colors. Used for hunting equipment, coats, uniforms.

MERINO (wool plus cotton). Knitted. Used for undergarments. Not to be confused with Merino lambs which give finest wool.

MESSALINE (rayon, silk). Loose satin weave. Light, high luster. Used for dresses.

METALLIC CLOTH. Metal threads in the design. Used for dresses, draperies, pocketbooks.

MILANESE (silk, rayon, nylon). Knit, sheer, has fine diagonal rib, little elasticity. Run proof. Used for lingerie, linings.

MILIUM. Metal spray on fabric. Like aluminum foil in insulation, it radiates body heat back, makes thin fabrics warm. Silver colored on reverse side. Dry-cleanable. Used for coat linings. Light, warm.

MOIRE (rayon, cotton, silk). A wavy line added in the finish, usually on a ribbed cloth. Used for draperies, formal dresses, suits, bedspreads, trimmings on taffeta, ribbons.

MONK'S CLOTH (cotton). Loose, basket weave, coarse. Used for draperies, furniture covers.

MONTAGNAC. Has floating filling yarns. Soft, bulky, lustrous. Nap in small curly tufts. Used for coats.

MOSQUITO NET (cotton). Net. Coarse firm mesh. Used for protective coverings.

MOURNING CREPE (silk). Plain weave. Dull finish. Used for dresses, lingerie, handbags.

MOUSSELINE de SOIE (rayon, silk). Plain close weave. Crisp, sheer. Harder than voile. Used for trimmings, evening wear.

MULL (cotton, rayon, silk). Plain weave. Sheer, soft, lustrous. Softer than lawn. Similar to batiste in finish. For children's wear.

MUSLIN (cotton). Plain weave. May be bleached or unbleached. Wide variety of weights. Sized. Used for making patterns, sheets, pillowcases, bedspreads, underwear, dresses, uniforms.

NAINSOOK (cotton, mercerized cotton). Plain weave. Light, soft, slightly lustrous. Similar to batiste, cambric, long cloth and dimity except for finish. One side may be calendared. Used for infants' wear, lingerie, ladies' neckwear, blouses.
NEEDLEPOINT (wool bouclé yarns). Knots appear to cover the entire fabric. Close, firm, finely nubbed. Woven. Used for women's coats and suits.

NET (cotton, linen, rayon, silk, nylon). Twisted mesh. Varies widely from fine to coarse, sheer to full. Used for draperies, trimming, curtains, millinery.

NETTING (cotton, linen, nylon). Knotted in fisherman's knots. Used for draperies, sportswear, trimmings, bags.

NINON (silk, rayon.) Plain weave. Thin, smooth, crisp. Heavier and harder than chiffon. Used for evening dresses, scarf’s, curtains.

NUN'S VEILING (wool). Soft, thin. Hard feel, white or plain colors. Used for dresses.

ORGANDIE (combed long staple cotton, rayon). Plain weave, sheer, stiff, crisp, transparent. Difficult to launder. Used for dresses, blouses, ladies' neckwear, curtains, bedspreads.

OTTOMAN (rayon, silk, cotton). Heavy, has wide flat ribs running crosswise. Hard texture. Used for women's coats and suits.

OXFORD CLOTH (cotton, rayon). Plain or basket weave. Two yarns in the warp and one heavier yarn in the fill give heavy feel Used for shirts, pajamas, dresses, sportswear, draperies.

PAISLEY CLOTH. Overall scroll designs. For coverings, shawls.

PANNE or SLIPPER SILK (rayon, silk, nylon). Stiff, dull luster, heavy. Used for dresses.

PARACHUTE FLARE CLOTH (rayon, silk, nylon). Fine, soft, featherweight, high luster. Used for lingerie, blouses, parachutes.

PERCALE (cotton). Plain, close weave. Higher thread count than muslin. Used for sheeting, curtains, dresses, men's shirts.

PERCALINE (cotton). Plain weave. Light, high sheen. Finer than percale. Sized and calendared. Used for linings.

PIQUE (combed, corded or mercerized cotton, rayon, silk). Wales or ribs run lengthwise. Used for ladies' neckwear, dresses, sportswear, bedspreads, draperies.
PLISSE (cotton, rayon). Plain weave. Puckered chemically in stripes or checks. Used for dresses, lingerie, curtains, bedspreads.

PLUSH (silk, rayon, cotton, mohair). Higher and less dense pile than velvet. Used for draperies, upholstery, corset linings.

PONGEE (silk, cotton). Plain weave. Soft, mercerized finish. Average 72x100. Uneven yarns. For dresses, shirts, curtains, pajamas.

POPLIN (silk and wool or worsted, cotton, rayon). Rib weave runs crosswise. Staple. With water repellent finish for outdoor wear. For dresses, blouses, shirts, suits, gowns, draperies, uniforms, etc.

RADIUM (rayon, silk). Plain, firm, close weave. Smooth, supple, soft. Used for dresses, lingerie, linings.

RATINE (rayon, silk, wool, cotton). Plain weave or knitted. Spongy, bulky. Nubbed fine and thick yarn twisted together with a fine yarn to give a nubby effect, coarse. Used for women's coats and suits, dresses, blouses, curtains.

REP (silk, rayon, wool, cotton). Plain or rib weave. Rounded ribs run crosswise. Many warp yarns to each fill yarn. Used for draperies, upholstery, apparel.

ROMAINE CREPE (silk, rayon, wool). Plain weave. Heavy crepe. Used for dresses, evening wear, lingerie, handbags.

SAILCLOTH (cotton, linen, jute). Light canvas. Used for awnings, slipcovers, draperies.

SATEEN (cotton, rayon, created by use of mercerized cotton or calendaring). Satin weave with more filling on surface. High luster. Plain or printed. Used for draperies, bedspreads, upholstery, robes, slips, linings, pajamas.

SATIN (silk, rayon, cotton, nylon). Smooth, lustrous, soft. In variety of forms. Used for women's apparel, linings, draperies, upholstery, bedspreads, trimmings.

SATIN CANTON (rayon, silk). Satin weave. Soft, medium weight, high luster, crepe back, with pebbly ribs. Used for dresses, lingerie.

SCRIM (coarse cotton, linen). Plain open weave. Lightweight, durable. Used for curtains.

SEERSUCKER (cotton, rayon). Crinkled lengthwise. Crepe stripe effect. Light, crinkly. Need not be ironed. Used for dresses, housecoats, men's summer suits, women's uniforms, blouses, bedspreads, curtains, slipcovers.

SERGE (worsted, silk, cotton, rayon). Has diagonal lines usually discernible on both sides. Heavy, clear, hard texture. Storm serge is coarse. French serge is soft; staple. Used for suits, uniforms, coats, dresses, upholstery.

SHANTUNG (cotton, rayon, silk). Plain or twill weave. Has small, irregular raised lines in filling. Rougher than pongee. Used for dresses, ladies' suits, blouses, sportswear, pajamas, curtains.

SHARKSKIN (worsted, rayon, cotton). Has small color effect designs in weave to resemble skin of shark. Basket or twill weave. Durable. Uses de-lustered yarn. Springy feel. For suits, sportswear.

SURAH (rayon, silk). A lightweight twill weave. Lustrous. Woven in stripes, checks, or plaids. Used for dresses, blouses, ties.

TAFFETA (silk, rayon, nylon, wool). High, crisp texture. High lustrous finish. Fine, firm, plain weave. Cross ribbed effect. Used for dresses, lingerie, negligees, slippers, evening wear, draperies, curtains, bedspreads, pillows.

TAPESTRY (silk, rayon, wool, cotton). Jacquard weave. Rougher than damask. Draperies, upholstery.

TARLATAN or ARGENTINE CLOTH (cotton). Plain open weave. Lightweight. Transparent, stiffened slightly. Used for curtains, displays, stiffening, fancy dress costumes.

TERRY CLOTH (cotton, linen). Loops on face or back or both. Absorbent. Used for towels, robes, draperies, bedspreads.

TICKING (firm cotton or linen). Any close weave. Usually striped, though it may have a pattern. Sized and calendared to stiffness. Finished to be water repellent and germ resistant. Used for mattress and pillow covers, upholstery.

TRICOT (wool, worsted, silk, nylon, cotton). Knit. Lengthwise chain stitch. Slight elasticity. Strong. For underwear, dresses.

TRICOTINE (rayon, wool). Twill weave. Diagonal rib. Similar to cavalry twill in wool. Used for sportswear, suits, uniforms.
TROPICAL WORSTED. Twisted yarns. Firm open weave. Weight 6-8 ounces per yard. Used for summer suits.

TULLE (silk, rayon). Net. Close, hexagonal mesh. Used for evening dresses, veils, trimmings.

TUSSAH. See Shantung.

TWEED (wool, worsted, rayon, cotton). Plain, basket or twill weaves. Rough texture with homespun effect. Monotone tweeds use two shades of one color. For suits, coats, skirts, dresses, sportswear.

TWILLS. Cloth with a diagonal line in weave. For clothing.

VELOUR (wool, cotton). Satin or twill weave, soft, heavy with close nap or pile weave. Also in plush. For coats, dresses, draperies.

VELVET (silk, rayon, cotton, wool, worsted). Close pile weave. Back is plain. Varies greatly in quality and type. May be transparent, brocaded, antiqued, heavy, light. Used for dresses, trimmings, draperies, ladies' skirts, coats, blouses, hats, bedspreads, upholstery, handbags, shoes.

VELVETEEN (cotton, rayon). Yarns are floated and cut to form a pile. Used for dresses, ladies' coats, ladies' suits, negligees, children's coats, draperies.

VENETIAN CLOTH (cotton, wool). Fine twill weave. Similar to Melton but medium weight. High luster. Used for men's wear, linings, topcoats, dresses.

VOILE (wool, cotton, silk, rayon). Sheer, open weave. Light, transparent. Drapes well. Has pronounced ribs. Used for lingerie, ladies' neckwear, blouses, curtains, bedspreads.

Dictionary Of Man-Made Fabrics

ACETATE (Acele, Arnel, Avisco, Celaperm, Chromspun, Color-spun, Estron). Derived from cellulose by the action of chemicals. Feels like silk, does not wrinkle, washes well, dries quickly, can be permanently pleated. Used extensively for clothes and lingerie and is combined with other fibers for wash-and-wear qualities.

ACRYLIC (Acrilan, Creslan, Orion, Zefran). Made from a chemical called acrylonitrile. Very soft, warm, and bulky, mildew-proof and mothproof, washes easily and dries very quickly. Used for knitted articles, furlike fabrics, blankets, carpets, lingerie.
AZLON. Made from regenerated proteins of corn, peanuts, milk. Very soft, blends well with other fibers. Used for knitted coats, suits and blended with wool.

GLASS. Made by extruding molten glass in continuous filaments. Does not burn, absorb, shrink, stretch, rot, mildew. Used for draperies, insulation, and to reinforce plastics.

MODACRYLIC (Dynel, Verel). Blend of vinyl chloride and acrylonitrile. Pleats and creases permanently shaped by heat and pressure, soft, quick drying, moth- and mildew proof. Used for deep pile fabrics for rugs, warm clothing blended with other fibers for furlike look.

NYLON (Caprolan). Partly derived from coal or petroleum. Very strong and elastic, quick drying. Used for hosiery, lingerie, jackets, dresses, carpets, upholstery, tires.

NYTRIL (Darvan). Made from a chemical substance derived from ammonia and natural gas. Soft, wrinkle resistant, easily cleaned. Used for knitting yarns, fur like fabrics and in blends for coats and suits.

OLEFIN. Composed of chemicals (ethylene, propylene, etc.) similar to paraffin. Lightweight, scratch resistant, easily cleaned. Used for auto seat covers, outdoor furniture covers, leather-like articles.

POLYESTER (Dacron, Fortrel, Kodel, Vycron). Made from dihydric alcohol and terephthalic acid. Strong, easily washed, dries quickly, resistant to shrinking, creasing, scratches; holds its shape. Used for wash-and-wear clothing (combined with cotton), cord, filters.

RAYON (Avisco, Avron, Bemberg, Coloray, Colorspun, Cordura, Cupioni, Fortisan, Jetspun). Made from regenerated cellulose from trees, cotton and woody plants. Strong, absorbent, easily dyed.

Used for clothes, blended with other fabrics for clothes, rugs, tires, etc.

RUBBER. Made from natural or synthetic rubber. Combined with other man-made fibers to create elasticity. Stretches but retains shape. Used for foundation garments, swimwear, elastic, combined with other fibers to make stretch garments and hose.

SARAN. Composed from vinylidene chloride from salt water and petroleum. Resistant to weather, chemicals, flame; moth- and mildewproof. Used for auto seat covers, outdoor furniture, screens, luggage, carpets and material.

SPANDEX (Lycra). Made from a chemical called segmented polyurethane. Stretchable, strong, retains shape, resists acids. Used for foundation garments, swimwear, stretch clothing.

VINAL. Derived by a chemical process from limestone and coke. Highly resistant to chemicals, fungi, mildew; water repellent. Used for rainwear, swimsuits, fishing nets, surgical thread.

VINYON. Made from vinyl chloride. Resistant to chemicals, bacteria, moths, water, sun. Used for fishing nets and lines, filters; combined with other fibers for heat bonding.

For man-made fibers, use synthetic thread (Dacron, nylon) for hemming, but cotton thread may be used for seams.

Use clay chalk for marking. Wax or carbon may not come off.

Use a looser machine tension and a medium to long stitch (10-12).

Booklets To Help You Sew

The pamphlets listed below were prepared by various government agencies. They are available from the Superintendent of Documents, Government Printing Office, Washington 25, D.C. A check, money order, postal notes or special coupons must be sent in advance. Coupons may be purchased at the rate of 20 for $1.00 and used for the purchase of any government document.

A B C's of mending. Rev. 1946. 23 p. il. 10¢. Catalog No. A 1.9: 1925

Coat making at home. 1941. 27 p. il. 15¢. Catalog No. A 1.9: 1894

Dresses and aprons for work in the home. Rev. 1947. 1948. 16 p. il. 5¢. Catalog No. A 1.9: 1963

Fabrics and designs for children's clothes. 1937. 24 p. il. 10¢. Catalog No. A 1.9: 1778

Fitting dresses. Rev. 1946. 29 p. il. 10¢. Catalog No. A 1.9: 1964

How to tailor a woman's suit. 1946. 24 p. il. 15¢. Catalog No. A 1.38: 591

Making a dress at home. 1944. 24 p. il. 10¢. Catalog No. A 1.9: 1954

Mending men's suits. Rev. 1946. 24 p. il. 15¢. Catalog No. A 1.38: 482

Pattern alteration. 1945. 40 p. il. 15¢. Catalog No. A 1.9: 1968

Slip covers for furniture. Rev. 1943. 26 p. il. 10¢. Catalog No. A 1.9: 1873

How to make your ironing equipment last longer. 1942. 2 p. 5¢. Catalog No. A 1.59: 11

Sewing machines, cleaning and adjusting. 1943. 24 p. il. . Catalog No. A 1.9: 1944

Stain removal from fabrics, home methods. Rev. 1942. 30 p. il. 10¢. Catalog No. A 1.9: 1474

Personal Record Of Measurements