Straight-Line Dress

from Fashion Service Magazine Spring/Summer 1921 pages 4 and 5.

          To see the fashions of today with the varied positions of the waist line evidencing Victorian tendencies, which include the Empire, the Directoire, and the Basque, on trembles a wee bit, as when stepping on a foot-bridge at night and not being entirely certain of the next step.
          It has been more than a score of years since we had so many types from which to make a selection. Some fashion folk say that the ready-to-wear garment makers are purposely effecting extremes to dissatisfy women folk, and thus forcing more generous buying. This play has been followed in dull business years or seasons to stimulate trade, but rarely is it so evident at the very outset of a new Fashion calendar.
          The banker at this time says save, but the merchant insists that to keep industry’s wheel turning one must empty the purse. The worthy word of both must be considered; hence, using great care in selection and buying cautiously will make possible thrifty saving, thus satisfying both merchant and banker.
          The Basque is ever adored because of its truly feminine charm; the Empire, on petite figures, is generally approved because of its exquisite coquettishness; the Directoire is especially admired for its dignity. But the American woman seems ever to hold faithfully to the straight-line type of dress, because of its general becomingness and adaptiveness to her particular needs.
          The straight-line type chosen for the first dress in this Service carries many of the new features and seems fashioned solely for the woman who likes one especially dainty dress for very special occasions.

Material and Pattern. – Your imagination will help you to visualize this dress made of dull violet-lavender crepe de Chine with hand-drawn hemstitched panel lines and dainty ruffles finished with picot edging, or of gray crepe de Chine, a color so fashionable now, or of white, flesh, or navy blue.
          This same dress made up in beige voile with shadow embroidery in brown is delightful to see. Gray with rose or blue shadow or cross-stitch embroidery is also very pleasing. The color can be just what you like; but the material must be soft to emphasize the daintiness of the style.
          If there is need for greater slenderness, all the ruffles may be omitted, a square- or V-neck effect used, and a very narrow “string of a belt” of self-material substituted for the sash.
          And now before we talk of amounts of materials or of pattern or cutting, we must consider the skirt length. Nice dresses carefully made will carry over for second best next year, and the length must be made safe for that reason. One prominent fashion man says, “Tell all to use deep hems. They are not only fashionable, but safe.” France has been trying for a year to introduce a longer skirt. Some of the shops are showing them, some fashion people are heralding them, but others say the short skirt will stay in until every woman and girl possesses at least one. Then they will go to the other extreme and have them as long and as narrow as possible.
          The skirt length sanctioned by the best shops seems quite ladylike, for it is from 2 to 3 ½ inches longer than the skirt of the past winter; that is, 7 to 11 inches from the floor.
          The cartoonists and the jesters give much attention to the youthfulness of our present-day fashions, ridiculing them in a half appreciative way. But none can decry the real charm in youthful costumes, even if the skirts are short, when they are dignified and becoming.
          Six yards of 40-inch material is ample for the average figure. The reason for this quantity is the plaits at the sides and the panels, which are separate from the waist and hang over the skirt in apron effect. Because of the straight skirt, no pattern is required, and the plain foundation-waist pattern will prove entirely satisfactory for cutting the waist portion.

Cutting. – First cut the skirt, measuring three full skirt lengths, plus the hem, which should be 2 ¾ to 10 inches deep, the depth depending on individual preference and the amount of material available. Split one length through the center lengthwise, and thus provide the front and back skirt panels.
          If you desire more fullness for deeper plaits than the two widths, or 80 inches, provide, use a scant extra half width at the back and arrange it so that the seams will come under the panel and be concealed by it.
          Cut the waist very plain, placing both center back and front on a fold of material. Cut an opening at the left-side front, from a midway point on the shoulder. Then apply a narrow facing and an extension flap as in a wash placket, so as to make the opening inconspicuous under the panel. The neck of the waist portion should be shaped in a becoming way after the panels are in place in the fitting. And a word about neck lines. Becomingness, rather than Fashion, should ever be a guide to their development. This season neck lines seem trying at best, so great care should be exercised in adapting the fashionable ones. We should not find fashions impossible for us, for always we can modify them to a point of individual attractiveness.
          Cut the waist panels the width of a scant chest measure, and make them 1 ½ inches longer than the waist portion measures from the shoulder line at the neck to the waist lines in front and back, respectively. Cut the ruffles on an exact crosswise thread and make them so that they will be 1 1/8 to 1 3/8 inches wide when finished and in place on the panels.

Construction. – Sew both skirt seams and press them open. Then put the hem in by hand, using easy, loose stitches so that the hem will not appear sewed. Hems must be more skillfully done now than ever before, for their chief charm seems centered upon the invisibleness of the stitches. Arrange the plaits, making ten or twelve ¼ - to ½ -inch plaits on each side, with ¾- to 1 ¼-inch spaces between. To determine on the size and spacing of the plaits, subtract the panel widths, less 8 inches, from the skirt width; divide the remainder equally, and divide this space into as many plaits as the amount will rightly make.
          If the seam with the placket opening comes under the panel at the left-side front and the other under the panel at the right-side back, the location of the plaits will be easily determined. Baste them accurately, all on lengthwise threads, and then press them.
          Next, plan to ornament the panels. If you are expert in making drawnwork, this will be very effective, but time is required to draw the threads, especially in silk, and to hemstitch. Very tiny, even cross-stitches varied at even distances by one large cross-stitch made with harmonizing or self-color thread is attractive; or, tiny hand-run pin tucks make a very smart and pleasing decoration. For Georgette or organdie, shadow embroidery in an attractive color provides an unusual trimming. Neatness and accuracy are the two considerations in ornamenting the panels. The pin tucks will prove easiest and safest for one not skilled in hand work.
          Have the ruffles picoted on the edge or finish them with a rolled hem. Join them to the panels in a French seam, using a tiny pin tuck on the right side to hold the seam back and in position, or use a facing in hem effect. If the ruffles are omitted, then all the panels should carry hems 1 ½ to 2 inches deep on the sides and 6 to 12 inches deep at the bottom.
          Join the foundation waist and the skirt to a stay belt, and attach the panels in fitting. Shape the neck edge of the panels as desired, binding the edges with a narrow bias binding and holding them in place with slip-stitches.
          Cut the sash on a true bias 12 inches wide, using soft satin, taffeta, or self-material hemmed or picoted on all edges. Fasten it at the left-side front or finish it with a bow or a looped sash.