Age : 12-14 Years

A yoke in relation to garments and household articles is a support.

Prehistorically, the covering of skin hung from a small support on each shoulder cut out of skin; this in time became woven - became a decorated shoulder emblem, and slowly expanded into circular, three-quarter, half supports or yokes, always being balanced in relation to the collar and collar-band.

And in .any renaissance movement in dress, this shoulder part has been seized to the modification or expansion of the purpose and use of the raiment.

The child should be led to see the meaning of the yoke as a support : and up to this point the teacher has forestalled the awakening by preparation through the graded Types.

Method

Associate with slip bodice type and measure accordingly. The material used may be a contrast, or the same stuff as the rest of the garment. The yoke may be circular, as in the Child's Pinafore (Diags. 114, 114A, 114B), square as in the Woman's Blouse or Nightdress (Diag. 115). All such yokes cut in one piece shaped to fit the neck, shoulder and bust are termed saddle yokes.

Method 134

Place the front of the paper pattern to the folded material if the garment is to have a back fastening; and if a front fastening, place the back of the paper pattern to the folded material. Cut out the neck curve, keeping fairly straight for 1 inch or 2 inches in the middle of the back and front (Diag. 116). Note the relation between shoulder and neck; cut down front opening, bust line, and shoulder curve.

Method 135

Yokes may be cut exactly like the slip bodice with shoulder seams, but while more economical with material this is less enduring for wear and tear. And as most strain lies on the width across the back, see that the selvedge runs across. Material may be gathered, stroked, and set in to any yoke, or, if thick in texture, pleated when used in under garments requiring frequent washing, or gauged (two or three rows of gathers sewn exactly parallel with about 1/4 inch between each row (Diag. 117).)

Method 136

Diag. 114B.

Method 137Method 138Method 139

The neck may be finished 1. Without neckband.

2. Standing up band.

3. Lying down collar. 1. Standing up bands.

In boys and men's garments two neckbands, length of neck plus 1/2 inch to 3/4 inch to allow for turnings and crossing over, are placed together, right sides facing. The ends and top edge are machined loosely to allow for shrinkage, then turned inside out and the shirt inserted between the two edges, and a row of machining done all. round the collar

(Diag. 122).

In chemises, or nightdresses. - A straight strip cut selvedge-wise 36 inches X 2 inches and doubled 36 inches X 1 inch should have the ends joined firmly and the opposite edges folded in 1/3 inch. Pin the band on the shoulders of the chemise, allowing about 2 inches more to the front half of the chemise.

Method 140Method 141

Note that the plain parts on either side of the shoulders be equally spaced. The band may be hemmed or machined all round on to the chemise, or finished by a front opening (Diag. 118).

Diagrams 119 and 119A illustrate blouse with high neckband finished with a piping and stitched.

(2) Lying down or turnover collars are shaped exactly like saddle yoke, rounded out the depth required, and either machined or hemmed into a narrow, straight band (Diags. 120, 121). Without a collar band, as for a man's nightshirt, the collar is stitched on to the yoke at back of the neck, and the front neck of the shirt is gathered up to fit (Diag. 122).

Wristbands

Cuffs of all kinds should have the warp or selvedge threads lying lengthwise, as most strain occurs there in actual wear.

Wristbands or cuffs, whether straight or shaped, should be doubled and machined or sewn by suitable stitchery known to the girl.

Wristbands 142

Diag. 120.

Wristbands 143

Diag. 121.

If shaped, the wrist measurement should be sloped up as in the sleeve type to suit the depth of cuff required (Diag. 123, a, b, c).