FOR THE LOVER OF FINE STITCHERY

Ladies' Mirror, Volume I, Issue 9, 1 March 1923, Page 28

FOR THE LOVER OF FINE STITCHERY

by M.L.T.

byelet broidery

Modern Woman’s Dress

the modern woman dress exB P A w , „ * 1 -) nr*i. ’ „ :« _ -1, discussed question, and it seems we must answer it in the affirmative if we judge by what we see. But let us peep behind the scenes. The average woman has a certain amount of good taste and ability, especially when it is a question of supplying her own needs, and when Milady appears in a gown that looks as if it might have cost —well, anythingit does not mean that it has cost her that sum. No— she sees a perfect dream of a frock. She zvants it; the actual cost of material is perhaps the smallest item— and the knowledge of “how to do it” is less —for the Modern Dressmaking Salon, on the 3rd Floor, Ellison Chambers, Queen Street, knows how to do things for such reasonable cost. There is no doubt she has the latest methods in cutting:, fitting, and making, at her disposal and the brains behind this excellent business at her services for information on expert dressmaking to order, instruction in Home and Professional Dressmaking. Enquiries as to their three departments are always welcomed, and success assured by the simple methods employed by an experienced dressmaker, late of Sydney and Melbourne but at least knowledge is no burden, and why not have three frocks for the price of one?

TTYELET work, or Broderie Anglaise, never seems to lose its charm, and comes back with renewed interest to all lovers of quality in the world of stitchery. Modern brains have used the principle of this work and adapted it to many new uses and materials in a way that would make the needle-workers of the Victorian era open their eyes in wide astonishment. Very beautiful some of the new results are, just a suggestion of trail or conventional design giving a frock that effect of chic that home-made garments so often miss. Wool, linen and silk are all treated as a means to an end, with threads of every texture and colour. But that is all transitory at best a garment will only last two or three seasons—but the principle of eyelet work goes on for ever, and some of the old original work seems to also, if we may judge by various exquisite lengths of work or almost impossibly diminutive baby garments brought out for our admiration. “It belonged to my great, great ...” and there is certainly no doubt about the exquisite needlecraft; which one may still apply in simpler ways, to the needs of to-day. the three examples shown, two are worked on Old Bleach line n. and the wheat design runner on a hard finished Irish linen which launders beautifully, but makes much harder work for the needle. The edges are all interesting, and make charming trimmings by themselves. Points to remember in eyelet work are:—

1. Use a soft thread —not a springy one. 2. Run round each eyelet in fine stitches before cutting. 3. Do not cut any material out unless specially mentioned—simply split as required. In Fig. 1 the edging is worked in fine narrow button-holing, with a neat arrangement of overlapping points that blends in particularly well with the design. Fig. 2 has also a buttonhole edge, with a single “wheatcar” placed at even intervals along, fitting closely into the scallops; these are best made before the button-holing is done, as otherwise it is difficult to fit them snugly into place. The stems and leaves of the wheat are whipped over a padding thread, with variety given by solidly packed dots and plain satin stitch. Take up very little material when whipping, so that the stalk sits up on the surface. This runner looks delightful on dark polished wood, and we would suggest a whole toilet outfit be made to match—pillow shams, dressing table set, etc. The oval centre tray cloth is more elaborate, and is a combination of several stitches and contrasting design. The contrast also between the solid outlining of the leaves and stems and the cut work is most effective. The leaves encircling the design I are, like the wheat leaves in Fig. 2, packed with solid dots. Now - a - days, one is tempted to say, “Oh, I haven’t time to do that sort of thing,” but a needle worker who loves quality and endurance in her work will keep a piece at hand I a put at few to put a few stitches in when possible, knowing that it is work well worth while.