In a low-neck evening gown the bertha or collar effect is put on according to the directions of the pattern. Turn in a seam at the top of the bodice, including the top edge of the bertha, the lining and outside waist. Baste the seam in place, then hem over it a facing of bias silk three-quarters of an inch wide. Be careful when hemming down the lower edge to catch through the lining only. Use this facing as a casing for a narrow ribbon, which should be drawn in when the waist is worn, holding it close to the neck.

THE DRAPING OF THE. GIRDLE completes the gown. All kinds of material are used, from the heavier velvets and cloths down to the sheerest chiffons, gauzes and ribbons. The girdle must, of course, harmonize with the trimming of the gown.

If the girdle is of silk or velvet, the material is usually cut on a perfect bias, and the edges hemmed or catch-stitched. Begin by pinning the center of the girdle to the center front of the waist, and draw very firmly toward the back from both sides of the front. It is best to pin a part of the draping on each side of the waist alternately, as sometimes the bias does not stretch evenly on both sides, and it may be found necessary to move the pins at the center front a trifle in order to make the bias draw more naturally. The draping is tacked to the lining wherever it is pinned. The back edges can be finished with a small shirred heading, which is allowed to extend beyond the hooks in order to cover them when the girdle is closed.

When the waist is to be worn inside of the skirt, the girdle is usually separate. Cut pieces of featherbone the desired length for the front, back and sides. Hooks and eyes are sewed firmly to the two featherbones used at the back closing. Cut a piece of belting an inch longer than waist measure, and turn back the ends one-half inch. Sew the featherbones at the back, dropping the bone one-half inch below the belt. The front bone is sewed to the middle of the belt, and the other bones at the sides and back. This foundation is now put on the figure, and the girdle draped over it.

THE. SLEEVES are considered by some people as the most difficult part of a costume. Great caution is necessary to keep them exactly alike from the time the sleeves are

cut until they are finished and sewed in the armhole. If not correctly cut and basted, one sleeve may be larger than the other. If they are not stitched in the armhole exactly alike, one may twist while the other hangs without a wrinkle.

The first step before cutting the sleeves is to study the pattern instructions. Measure the sleeve and arm and make alterations in the pattern, if necessary, as instructed in Chapter XIV, "The Use of Butterick Patterns." Be sure that the elbow of the sleeve comes in the right place.

Next, the sleeve must be cut accurately and carefully basted. The seams should be pinned even at both top and bottom, and the extra fulness of the upper back edge gathered in at the elbow. (Fig. 244).

Fashion Design Drawing - Lined Waists 11.jpg

To be very accurate, the pattern should have the outlet

seam marked with tailor's tacks.

Baste the front seam three-eighths of

an inch from the seam edge. The

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