CHAPTER IX
BRAIDS AND DESIGN—FAGGOTING—VEINING—ANTIQUE
SEAMS—KNOT INSERTION AND EDGING
“There’s nothing neere at hand, or fartherest sought,
But with the needle may be shap’d and wrought.”
Braids.—Braids in different widths are invaluable to the embroideress who wishes to execute rapidly a piece of work suitable for daily household use, which may possibly be exposed to the smoky and foggy city atmosphere, and on which she does not wish to expend much time, labour, or money.
Braids of various kinds and qualities—mohair, alpaca, woollen, cotton or silk—can be utilised in many ways, and for different objects, as well as for the finishing and decoration of hems and borders (Plates IX. and XII.).
Those which have an unbroken edge are the best for ornamental purposes. They may form the basis of simple geometrical patterns (Fig. 45); lines may be arranged to go in different ways, running vertically from end to end of a table scarf (Plate VI.), horizontally, as Plate III., or diagonally—the direction is immaterial; all are simple to arrange, with the exception of diagonal lines, which always require care in the placing and stitching, on account of the different stretching qualities of the braid and of the material. Sometimes the bands of braid are placed singly, sometimes in pairs, one braid—usually in a contrasting colour—being superimposed on the other. They may cross each other at right angles, they may entwine or interlace (Plate X.), or they may be formed into circles or spirals (Figs. 45, 51).
The manner in which braids themselves are made, with the twistings and interlacings of strands and groups of threads, is interesting; this renders them peculiarly suitable for the designing of interlacing patterns, both simple and intricate (Figs. 49, 50).
The word “braid” is taken from the verb of the old Anglo-Saxon “bregdan,” or “bredan,” signifying to weave, to entwine, to braid; the latter word bearing, in those days, the meaning “to plait,” a word which came into use at a later date.
The use of braid for decorative purposes has come down to us from very early times—it has always been used by Eastern peoples much more than by those of the Western countries. Some of the elaborately worked pieces of Indian and Persian work, where tinsel braids are freely employed, are things to marvel at.
The peasant costumes of many countries—particularly those for gala days—are made gorgeous by the addition of bands of brilliantly coloured braids, enriched in many cases by embroidery. Braids are used on uniforms, in an official sense, where they are considered as symbols of honour—the higher the grade, the more elaborate the decoration.
Care must be taken with the arrangement of these patterns—all curves must be exact, interlacing designs must be correct, the series of bands always passing alternately the one under the other.
The possibilities for the treatment of braids and bands, for the decoration and enrichment of them, open up an interesting field to the young designer. By comparing some of the plates it will be seen that much has been done in a simple way by the use of these braids and tapes.
Many of the old illuminated manuscripts show wonderful interlacing designs, many of which were copied or adapted by embroiderers of the period.
An old Venetian pattern book, published in 1562, gives beautiful examples of the letters of the alphabet worked first with an outline in narrow braid, an elaborate twisted design being then woven in and out of the double lines with a narrow braid, with the help of a tapestry needle; the delicate points and finishings of the letters being finished in satin stitch.
Perhaps the best way to go about a design in which bands of braid are to form the foundation of the design would be to take one form and try how it might be adapted to suit the conditions of space and material. A border for a circular form is simpler in construction than one for a square—the corners of the latter always requiring special attention—but after a few preliminary trials it will be readily seen what the possibilities are.
Interlacing Knots.—Interlacings of knots and bands are always interesting, and the working out of these designs should be a profitable exercise for a beginner. There is such variety in their construction, such simple or intricate patterns to be made out of these continuous and interlacing lines, that all craft workers have found in them a ready means of ornamentation. Knot designs of a simple kind may be applied in the form of braids and cords to many useful articles of domestic use; the most direct way to work out some elementary designs would be to take a length of soft cord and some pins, and using the back of a cushion as a foundation, or a covered table, pin out a geometrical design—a square would be suitable for the first attempt—and develop it. The first square might have the braids twisted into small loops at the corners, the second might have the sides indented or looped, and so on. Make a series of these with every possible variation; then all could be drawn in a note-book, in squared paper—for the sake of ease and accuracy. The ends of the cords or braids should be pinned together in order to form a continuous band.
The next step would be to interweave a second length of cord into those already formed. Care is necessary to interlace the bands, so that each passes over and under the other in regular rotation. This second band might take the form of another square, set the reverse way, or a circular form might be introduced. When all possibilities have been worked out, they also should be noted. By degrees more complicated and intricate knots may be attempted.
Sometimes an elaborate form may be worked out on paper to begin with, then interlaced and pinned out in cord. The embroideress will find a note-book and a square of canvas very useful for reference, also as aids to memory: in the former, she can make notes of designs and suitable detail, of colour schemes taken from pictures, materials and embroideries, suggestions for finishing and fastenings of garments, little notes and quotations suitable for embroidery—all sorts of interesting matter which the eye is quick to see but which the memory cannot always recall at the right moment. In the square of canvas or coarse linen, divided into sections, might be worked some of the more interesting or unusual stitches, or groups of stitches; or pleasing combinations of stitches and colour might be preserved as the opportunity occurred. These might serve to suggest or recall methods and varieties suitable to some work in hand.
Faggoting.—Faggoting is a stitch which is used to connect two edges, particularly such edges as require a dainty finish, or to fill in an open space, or to serve as a foundation for some interlacing stitch. It is much used for joining ribbons, braids, or thin materials, such as ninon, chiffon, or crêpe.
Method:—Prepare the material for faggoting by tacking it on to a piece of stiff toile cirée, glazed calico, or if that is not at hand, stiff brown paper will answer the purpose. This is done in order to keep the edges at an equal distance. The width of the space may vary from one-quarter to three-quarters of an inch; the joining thread should vary in thickness—the wider the space, the thicker the thread. Draw two parallel lines on the foundation as a guide, if necessary, and tack the material to these lines. If a braid or ribbon or any material with a finished edge is used, there is no need for turnings, but with a raw edge it is necessary to turn in three-eighths of an inch and to press them with an iron before starting.
To work the stitch, begin at the upper end of the left-hand corner with a small stitch; cross to the opposite side; take a stitch, keeping the thread under the needle; work alternately from side to side, always inserting the needle from the outside. Keep the stitch regular, the same size and the intervals of equal distance.
Faggoting is practically a herring-bone stitch, but the needle is inserted vertically. See [Plate I]. and compare the stitchery in blue which forms a line up either side. It forms the foundation for many interlacing stitches of which there are quite a variety adaptable to various purposes.
Fig. 25.
By interlacing threads as in Fig. 25, where the dotted line represents the interwoven thread, the whole of the foundation stitches can be covered. It must be done in rows, one after the other. The first row is drawn much tighter than the one in Fig. 25, each successive row being placed on the outside of the previous row, till eventually the faggoting foundation has almost disappeared.
A very good line of raised stitchery can be worked on to a foundation of herring-bone stitching. The threads are laced in, one row at a time, as shown in Fig. 25. See [Plate XIV]., where it is worked round the outer edge, also in the nightdress case ([Plate XI].), where it forms the narrow inner border.
“Point d’Alencon.”—Faggot or Russian is one of the stitches used in the making of point lace or Honiton point. As a lace stitch, it goes under the name of “Point d’Alencon.” It is used to join the braids; it also makes one of the principal filling stitches for leaves or oval spaces.
Fig. 26.
Veining (Fig. 26).—Fig. 26 shows a well-known joining stitch, which looks well if done in a twisted silk, wool, or linen. It makes a pretty insertion, and adds much to the appearance of a seam. It is a narrow line stitch, therefore the two edges of the material should not be too widely spaced. Prepare the edges in the same manner as for faggoting and tack them on to a stiff foundation.
Method:—Fasten the thread to the edge of the material; carry the needle across to the opposite edge; insert it under and bring it through the material; twist the thread twice round the needle and insert it on the opposite side from underneath, as shown in the diagram; oversew a few stitches along the edge to carry the thread into position for the next stitch. This insertion is useful for joining braids, for dress fitments and other purposes; it is much in vogue for the joining of thin materials, such as chiffon and ninon or crêpe; these require to have a fold laid and pressed before being tacked on to the paper.
A very pretty addition to a border, whether for a piece of ornamental work, for the edging of a collar, the joining up of a bag, or for the foot of a jumper, is made by inserting between the material a line of gold tinsel or velvet ribbon, braid, or even material of a contrasting colour. This must be tacked on firmly to a foundation of stiff calico or brown paper, then attached by an insertion to the edges of the material.
Fig. 27.
This stitch, whether used as an insertion or as a filling, must also in this case be carefully arranged and regularly worked, otherwise the appearance of the work is spoiled. The threads should in all cases be tightened sufficiently to give the necessary firm twist to the line. To obtain the technique of many of these insertion stitches it is only needful to practise them for a few minutes on a piece of material as a preliminary to the actual working of them. This enables the worker to see what size of thread to use, and it gives her the opportunity of trying and comparing various colours without the irksome task of unpicking.
Fig. 27 is worked much the same as Russian stitch (Fig. 25), except that it is worked closer and the thread picked up by the point of the needle before it is inserted on the opposite side—this twisted faggot stitch is really a combination of the veining and faggot insertion and is used for the same purposes.
PLATE IX.
THREE COLLARS. ([See page 162.])
Fig. 28.
Antique Seam (Fig. 28).—In earlier times, when the linens were woven in narrower widths, the seams were always connected in a more interesting method than at the present day, when, if a flat seam is wanted, the selvedges are invariably oversewn. One of the older methods is shown in Fig. 28. It makes a firm, flat and decorative row of stitching. For the joining of selvedges of bed-linen a narrow slanting stitch sewn in white was used; for more decorative purposes a coloured and a larger straight stitch was used, as Fig. 29. To work, lay the two selvedges parallel to each other and tack or pin them quite flat. Begin on the left side and insert the needle from below on the right and left sides alternately; in this way the threads cross each other between the selvedges. In connecting a very thin material in this way it makes a good finish.
Fig. 29. Fig. 29a.
Fig. 29 gives an effective stitch for a decorative joining of two edges. It may be applied to bands, cushion covers and household embroideries generally.
To work:—Prepare the seams by placing the two selvedges flat on to a stiff foundation, say quarter of an inch apart; secure the thread on the left upper edge; insert the needle at the lower edge a little to the right; pull through with the thread to the right of the needle; make a little stitch, as Fig. 29; pull through with the thread under the needle. This makes a good firm insertion; a thick twisted thread is the most suitable. Fig. 29 shows the insertion rather widely spaced. Plate XII. shows this stitch worked in wool, where it is applied to the edges of braids, which form the foundation for a useful collar.
Fig. 30.
A Useful Edging.—Fig. 30 gives a knotted loop stitch which is again borrowed from the many useful lace stitches. It is an edging which may be worked in silks, flax, cotton, threads, or wools. In Plate XII. it forms the finish to the braid collar, where it is worked in thick cotton thread. This loop stitch makes a charming insertion if worked on to the edges of any suitable material—narrow ribbon or hat straws. The working of the stitch is clearly shown in Fig. 30. The two edges are joined with an interlacing stitch of a contrasting colour, with raffia, cord, or narrow ribbon. Bands of hat straw could be joined in this way and made up into delightful light and economical summer hats. The shape could be then placed over a foundation of wire and the brim stiffened with wire, button-holed on to the straw with a silk, flax, or raffia thread.
A Collar of Braid.—Plate XII. illustrates an interesting piece of work, built up of oddments of skirt braid, silver tinsel, braid, silks and wools.
Very charming dress and coat fitments may be made in this way, and all sorts of scraps and remainders of trimmings and braids, silk patches and patterns may be utilised. The construction is very simple. The best way to set about the making of these braid collars, cuffs, or bands is to cut out the desired shape—the exact size wanted. The pattern is then placed on to a piece of glazed calico and the outline traced firmly upon it. A still more direct method is to cut out the pattern in stiff brown paper and utilise it as the foundation on which to tack the braids. Care must be taken to have the shape correct before starting to work with the materials. This being assured, arrange a braid or cross-bar of material round the outer part; tack it at the outer edge with bright-coloured wool on to the paper foundation, then adjust the bars and panels, allowing the ends of the braids to slip under the outer braid. Circles or squares of ribbon, velvet, or tinsel, placed in the most important parts and tied to the outer edges with lines of braid or ribbon, which, in turn, might be connected with open stitchery, fork-pin insertion (Fig. 73), or some small beads, are very pretty. All give scope for individual taste and ingenuity in colour and material. If the collar is on the round, the outer bands must be flexible, in order to take the curve nicely.
The collar in the illustration has for the outer row a skirt braid of a soft dove grey. It is tacked in place with a line of couching in royal blue wool, sewn on with a silk thread—reel twist is very good—of the same colour; the stripes of cream-coloured braid are ornamented with coral-coloured wool in long stitches, tacked down the centre to form a point. The smaller panels have been placed in position previously; they consist of chequered silk ribbon in grey and heliotrope. All the short lines are connected with Russian stitch worked in coral wool, the bands of cream braid being laid on over them and then sewn down; finally the inner edge of the border is couched down. The edges are now all tucked out of sight, the brown paper is cut away from the back, all ends, edges and tags are secured and made neat with tiny overcasting stitches, and the collar may either be lined or sewn on in place without lining, as the case may be.
It is often necessary to confine the cut edges of the broad braid, in order to prevent them from spreading, by winding a thread round and tying it just above the part to be cut—this often saves time and trouble in the long run.
PLATE X.
A TEA-COSY COVER ([See p. 112].)