MILLINERY ~ THEORETICAL and PRACTICAL Instant Digital Download - PDF ebook - Welcome to our Crafting Books digital store Illustrated Simple and Concise Instructions For Mastering The Art of Millinery If you have any interest in Vintage Millinery Fashions then this is a great book to have in your collection. The original edition of this Rare book was printed in 1905 163 Pages of illustrations, diagrams and examples. By C. HILL CONTENTS Portions marked thus * are essential items not included in any other work on Millinery, and 'Covering Shapes with Material' and ‘Drawn Work’ are more fully treated. PART I. Bow-making 1 Wiring Lace 10 Bandeaux 11 Velvet Trimmings 12 Hemming Velvet 14 Straw Shapes 15 Pattern-taking 18 Head-linings 20 PART II. *Colour and Form in Regard to Clothing 23 *Drafting Shapes 30 *Drafting on Geometrical Principles 40 Toque Shapes 50 Making Shapes 57 *Draping Crowns and Toques 68 Wire Shapes 70 LIST OF ILLUSTRATIONS DIAGRAM I. Bows 3 II. Wiring Lace; Lace Fans 11 III. Covering Bandeau; Making Velvet-fold 13 IV. Wiring Straw Shape 16 V. Pattern-taking 19 VI. Head-linings 21 VII. Cutting Paper Pattern for ‘Flam’ Hat 31 VIII. ,, ,, „ Wide-fronted Flat Shape 33 IX. ,, „ ,, Oval-brim Hat 35 X. ,, ,, ,, "Gainsboro” Hat 36 XI. „ „ ,, ‘ Rolled-up’ Hat 36 XII. ,, ,, ,, ‘Poke’ Hat 37 XIII. ,, ,, ,, Ladies’ Bonnet Shapes 38 XIVa. ,, ,, ,, Child’s Hood 39 XIV. Drafts of Various Hat-brims 41 XV. Method of Obtaining Sideband to Fit a Given Head-size and Tip 44 XVI. Crown with ‘Dip’ 45 XVII. Draft of ‘Three-cornered’ Hat 48 XVIII.‘Cherry Ripe’ Hat 49 XIX. Drafts of a Toque Shape 50 XX. Toque Shapes 51 XXI. Flat Draft of a Turban Toque 51 XXII. Flat Pattern of Boy’s Tam o’ Shanter 53 XXIII. ,, ,, Baby Boy’s Tam o’Shanter 53 XXIV. Children’s Puritan and Dutch Bonnet Shapes 55 XXV. Flat Draft of a ‘Granny’ Bonnet 56 XXVI. ,, ,, ‘Victorian’ 57 XXVII. Shapes Suitable for Wide Heads 58 XXVIII. Placing Parts of Pattern on Buckram 58 XXIX. The Position the Hands should occupy when Making a Shape 60 XXX. A Beefeater Crown and a Bevelled Brim Boat 61 XXXI. The Position the Parts of Pattern should occupy on Velvet 63 XXXII. How to Make a Velvet-covered Hat 65 XXXIII. A Draped Toque 69 XXXIV. Corners as Bonnet Crowns 71 XXXV. Wire Shapes 75 XXXVI. Cased Silk for 'Liberty’ Hat-brim 79 XXXVII. Crown and Brim for ‘Liberty’ Hat 82 XXXVIII.The Different Sections of a Lady’s Drawn Hat 83 XXXIX. Drawn Bonnets 84 XL. Straw-working 87 XLI. Bandeau Headdress 91 XLII. Old Lady’s Cap 93 XLIII. Stitches used in Millinery 113 SUPPLEMENT I. The “Simple Fold” as a Trimming for the Brim of a Turban II. The “ Simple Fold ” as a Trimming for the under- Brim of a Hat III. The “Simple Fold” as a Trimming sewn crossway on the Brim’s edge IV. The “ Simple Fold ” as a Trimming arranged diagonally V. The “Simple Fold” as a Trimming on the Side¬ band VI., VII. The “Simple Fold” used as a Band to confine fulness VIII. The “ Simple Fold ” used as a Trimming looped at intervals IX. A Ribbon Whipped Hat Edge X. Material cased, then drawn diagonally between and formed into a Brim XI. Material gathered diagonally to form diamonds, drawn and arranged on a Brim XII. Material gathered in circles at intervals, drawn tight to form knobs, and sewn on Hat Brim XIII. Material gathered in spirals, in a set of three, so arranged that one comes to the centre and one each side of the Brim XIV. Material whipped on the under side, and so arranged on the Brim that it forms a series of puffs XV. A “Petal” Brim made of overlapping cloth petals XV.a A Brim formed of material whipped on the top edge, then gathered and drawn XVI. A tucked and drawn Brim XVII., XVII. a A tucked Brim having cords inserted XVIII.A Brim in “honeycomb” and “rucking” XIX. A “rucked” Brim XX. A “rucked” and gathered Brim XXI. A Brim arranged with crossway folds formed into crescents XXII. An under-Brim of material, the I in. wide tucks gathered thrice, and cords inserted at the edge of each XXIII.An under-Brim made with crossway folds XXIV. Chenille whipped over “support” wires to form a Brim XXV. Chenille taken over and under “ round ” wires with threadings between XXVI. Chenille taken diagonally over “round” wires to form a diamond pattern XXVI. A Chenille taken diagonally to form a diamond pattern and knotted at each point XXVII.Chenille buttonholed over “round” wires to form a Brim XXVIII.Chenille plaited, and used to cover a Bonnet Shape XXVIII.a ,, ,, ,, ,, a Brim XXIX. Chenille taken over and around Wire Shape in a design XXX. Chenille taken over wires and looped to form a raised design XXXI. Wisps of Chiffon taken over and under “round” wires to form figure 8’s XXXII.Chiffon gathered at both edges, then drawn and sewn on to a Brim diagonally, so as to form a shell pattern XXXIII.A method of covering a Wire Shape with fine straw XXXIV. Covering a Wire Shape with Tulle preparatory to the sewing on of the final covering XXXV. A “ruche” made by whipping over the tucked edge to form petals, and the inserting of running threads at the centre XXXVI. A “ruche” formed by flossing out the edges and box-pleating along the centre XXXVII. A “quilling” formed with double box-pleating XXXVII.aA Hat trimmed with a gathered ribbon quilling and a narrow box-pleated ruche at edge XXXVIII.A quilling formed by double ribbon, tucked at fold, and cased with cords inserted XXXIX. A “ruche” formed with triple running threads taken in waves through the centre XL. A “Tam” XLI. A “Plateaux” converted into a child’s close-fitting Bonnet XLII. A “Plateaux” converted into a crown for Hat XLIII. ,, ,, Bonnet XLIV. A “Flam” ,, ,, Toque XLV. ,, ,, Picture Hat XLVI. ,, ,, “Mushroom” shape XLVII. ,, ,, “Napoleon” ,, XLVIII. ,, ,, Child’s open-fronted Bonnet XLVIII. ,, ,, Marie Stuart ,, XLIX.a ,, ,, Victorian ,, L. ,, ,, Tricorne shape LI. One method of wiring a Tricorne Hat LII. A “Flam” converted into a “Marquise” LIII. ,, ,, New “Boat” LIV. A “peaked”“Tam” LV., LV.a A Ready-to-Wear Mushroom LVI. A “Marquise” shape LVII. A “Pork-pie" or Turban Hat PREFACE Among the variety of subjects taught in classes held under the auspices of Technical Education Committees, as well as various School Boards, in the counties and county boroughs, Millinery has deservedly won a popular place, though necessarily, from the wideness of its scope and the short experience of its teachers, it has proved a most difficult subject to master. The cry of teacher and student alike is for a manual dealing with subject matter that has hitherto proved too elusive for them to grasp, or not been included in their curriculum or training course. After many talks with teachers and students, and discussing the points of short comings, the author has endeavoured to compile a treatise which should be as concise and simple as possible, yet fully meet the demand, and thus makes no apology for offering the result of much wide and practical experience to the public, venturing to think that notes on Pattern - taking (Part I.); Colour and Form, Drafting on Geometrical Principles, and Draping (Part II.) ; Renovations, Trimmings, Stitches used in Millinery, Widths and Costs, and Identification of Materials (Part III.)— all subject-matter of the greatest utility to girls studying for business purposes, or to qualify themselves for the certificate of the City and Guilds of London Institute—more than warrant her in the assumption that this little book will prove a boon and friend to those who study its pages. And here she would like to utter a warning, yet encouraging, note, in order to correct the misapprehensions of such as take up the study of this subject with vague ideas, imagining it easier to assimilate and master than its kindred subjects, so that when they have learnt the technicalities of bow making, the method of arranging a few flowers, feathers, or a bit of lace, they suppose they have become mistresses of the whole art. She would like to inform them that ‘trimming’ alone is not millinery in the real sense, but only the fringe ; and the artist who cannot build confections made up of various comminglings of materials into charming form and shape cannot properly style herself a milliner. She only can justly claim the designation who, having well studied the multiplicity of trifles that are included in, and essential to, the creation of the made article, has through practice become an adept in building them on wire and other foundations. This plain statement of a recognised fact should not, however, discourage the novice, but tend rather to inspire her with determination to bring the requisite amount of perseverance and painstaking industry to the task that will assure her a certain success, and will evidence the possession of what our American cousins call ‘real grit.’ To her surprise, possibly, she will find herself able after a while to contemplate the mass of knowledge to be acquired with the calm complacence which will materially assist in keeping her level-headed, and in bringing the desired issue to her studies. Deftness, expertness, ability to copy, originate, and design come to the many but by constant, untiring effort, and though the genius may leap to fame at a bound, the steady, persistent plodder, like the fabled tortoise, will not be found far behind at the end of the race. It has been well said that nothing is much esteemed when lightly won, and to cease pursuing studies because they require more laborious effort than one expected, where, instead of a primrose path of ease, a thorny one of toil looms darkly before, is most discreditable ; bespeaks, indeed, a nature wanting in the very elements that make for success, and premise failure in almost any undertaking. *** NO PHYSICAL BOOK will be shipped to your address *** You can read this digital book on your iPad or Tablet with iBooks, or on your computer with Adobe Acrobat Reader (a free program). HOW TO GET YOUR BOOK: Your book will be delivered electronically within minutes after your order