The Charming Effect of Applique Cretonne Rosebud on Ottoman Silk - A Design for Collar and Cuffs - A Persian Form of Embroidery - Cretonne Designs to Select - How to Cut the Pattern Embroidering a Background - Lining and Finishing Off
Since the collarless corsage has come into vogue, it has so entirely proved its charms that it is likely to remain in favour.
It is improbable that we shall return to old tortures, even should fashion endeavour to lay down once again the decree, that the throat be encircled tightly by a high collar. Many women, too, have found out by adopting the collarless corsage how vastly both neck and throat have been improved, after discarding the old-fashioned tightness around the throat.
It is generally admitted that the final touch at the neck of a blouse is a very important matter, for a careless and unbecoming finish at the throat may ruin the entire tout ensemble of an otherwise well-dressed woman.
The simple circular " Peter Pan " collar, made of lace, muslin, or lawn, is a favourite with many ; but its very popularity lessens its virtues in the eyes of others, who reject, and possibly rightly so, that which can be bought by the dozen if the need be. Therefore an embroidered collar, which is original and quaint, with which to embellish a new blouse or costume, is described here. Embroidery plays a very important part in the dress decorations of the woman of fashion nowadays, hand embroidery on collars, cuffs, and panels being a distinctive feature.
The embroideries of the past may give practical ideas for the present day needlewoman who sets her hand to applique work.
As early as the sixteenth century applique-- work was much used - that is to say, one fabric cut into a design of flowers or animals was tacked down on to another fabric. Then a couching of silk covered the edges, and cord was sewn down over this; but the edges of the design could also be worked over in satin or buttonhole-stitch, to prevent their fraying.
Far earlier, however, the Persians were adepts at this form of embroidery, so, as so often proved to be the case, the newest work is only a revival.
We can adopt this ancient idea of applique work in a minor degree to embellishing our " chiffons," by using cretonne on Ottoman silk. It may sound a curious combination, but it has only to be seen to be appreciated.
A Pretty Collar
Procure some Ottoman silk, and for a collar which is cut something after the style of a sailor collar, with a fairly deep V in front, half a yard will be sufficient. This collar is a delightful one to use over a blouse of mousseline- de - sole, crepe-de-chine, chiffon or even simple muslin. The blouse should be made perfectly plainly, with perhaps a few tiny tucks down the centre - front, the sole trimming being the embroidered collar and turned back cuffs embroidered to match. To look really effective when turned-back cuffs are worn, the sleeve should end a few inches above the wrist.
The collar calls forth the skill of the needlewoman, but it is a simple idea requiring no very laborious filling-in work, whilst the result is charming. When the silk has been chosen, procure a remnant of cretonne with a ribbed surface to correspond with the Ottoman silk, having a design of small shaded pink roses and green leaves scattered over the surface. The colouring of the roses selected should be very soft and refined, the leaves a delicate green. The shaded colourings of the flowers should be matched exactly in rose-pink mallard floss, the tones of the leaves in soft shades of green.
Take a pair of sharp scissors, and for a collar rut out the sprays of flowers in pairs, matching them as nearly as possible in shape and colour, so that there will be a certain amount of uniformity of design when arranged. Six small sprays of rosebuds, with their leaves, will be required.
A collar of white Ottoman silk, on which is appliqued cretonne roses and leaves. These are lightly worked over in silks of the natural colours
Place a collar of a favourite shape, preferably one with a scalloped edge, on to the Ottoman silk, pin it down, and outline the shape with a pencil on to the silk. Unpin the pattern and lay it aside. A scalloped design may be bought and stamped all round the edge of the collar, if desired.
Tack the flowers on to the silk collar, and work over the edges of the roses with various shades of the rose-pink, and the edges of the leaves and stems in shades of green, using buttonhole-stitch. Keep the edges well covered, and the stitch smooth and even. Either an open or closed buttonhole-stitch may be used, but this point must be left to the individual taste of the worker.
Delicate stems may be worked in stem-stitch if the needlewoman further washes to embellish the collar, but this is not necessary. The markings on the cretonne leaves should be worked over in chain or stem-stitch in corresponding shades of green. The centres of the roses may also be effectively embroidered in silk, using satin-stitch. Outline the petals of the roses in gold tambour thread, working the thread right through the fabric. Buttonhole all round the scallops in palest rose silk, and embroider small knots profusely over the Ottoman silk background in the darker shade of rose.
The silk must be neatly turned in all around the scallops, and the collar lined with a thin Japanese silk. If cuffs are desired, they are made and embroidered in exactly the same manner.
This idea of cretonne applique need not be restricted to Ottoman silk. An embroidered collar and cuffs en suite would give a chic and distinctive finish to a smart tussore silk gown, and form a beautiful trimming. The idea is all the more valuable when it is realised that it is work which can be accomplished by one who, strictly speaking, is not an adept needlewoman.
Cretonne applique collars and cuffs could be effectively applied to a white linen tailor-made coat and skirt. The applique of cretonne on silk or other fabrics is a suggestion containing many possibilities for the ingenious and skilful worker.