Cutting and draping

by John W. Stephenson

PORTIÈRES · AND · APPLIQUÉS

As early as the year 1012 B.C., straight hanging portières for connecting doorways were employed in the temple built by King Solomon. In a modern house, portières are almost as important as doors. Aside from the ready-made portières, which are manufactured in a variety of patterns and materials, the demand for portière curtains specially adapted to various rooms has resulted in a profusion of made-to-order styles, a few of which we illustrate.

Among the fabrics most used are tapestries, brocatelles, damasks, velvet, plush, plain and figured velours, armures, fancy reps and serges, and for Summer furnishings, the lighter-weight fabrics, such as taffetas, art tickings, cretonnes, denim and sateen, in almost endless variety of shade and pattern.

In many cases the carpets and wall coverings are chosen and in place before the portières are considered. This is unfortunate for the drapery man, as it not infrequently happens that the unadvised or overadvised purchaser has chosen colorings that bear no relation to one another, so that to select a material for portières that will harmonize with the carpet at its base and also with the side-wall which it divides is a difficult proposition. Frequently the best that can be done is to employ an unassuming neutral color that will not offer a very decided contrast to either floor or side-wall, and then introduce the colors of these other furnishings in a modified form in the trimmings.

Where walls and floor are in harmony, or where the furnishings are chosen together, it is a safe plan to build from the ground up, allowing the portières to be slightly lighter in tone than the carpet, and the over-draperies and side-wall in lighter tones still. This applies equally whether the scheme be one of contrast, or analogy.

Considerable care must also be exercised as to the general effect of plain or patterned fabrics in relation to floor and side-wall. As a general rule avoid upright stripes for long, narrow doors, since the stripes accentuate the slimness of the portières. Likewise avoid cross stripes on short openings, as they decrease the height and increase the width. Plain self-colored materials look larger than figured materials unless the expanse of color is reduced by appliqué trimmings. Study the effect you wish to produce and plan accordingly.

Some of the fabrics mentioned above are reversible, having a finished surface on each side. These, as a rule, do not require lining unless too light in weight or out of harmony with the colors of the adjoining room. Other goods should be lined and—unless the goods are heavy enough without it—interlined as well.

Figure [113], on the next page, illustrates the most common type of portières made of a figured material and trimmed with a cord on one side and bottom of each curtain.

Assuming that these are made of a reversible or double-faced material, the goods are first spread on the table and the measurement of the portière marked out. If the curtain length as marked spoils the pattern at both top and bottom it is better to shift it up so that the bottom pattern may be perfect (or both bottom and top if possible), add about three inches to the net length of the curtain measurement and cut it; match the next length to this one before making the second cut. If it creates too great a waste and there should be more than one pair required of the same material (the pairs not required to match each other) cut a length for one of the other pairs and try the first pair again. If this is no better and there are no other sizes to cut, try the other end of the goods. Never cut to waste without trying every plan you know for avoiding it, as a little planning will often pay for itself in the amount of material saved.

PORTIERES AND APPLIQUES

Fig 113

Fig 113A Fig 113C

Fig 113B

Fig 114

Fig 114A

Fig 114B

Fig 114C

Fig 114D

Fig 114F

Fig 115

Fig 116

Fig 117

Fig 117A

Fig 117B

Fig 117C

Fig 118

Fig 119 Fig 120

Assuming still that this is reversible material and the matched lengths are ready for making, spread each length on the table and cut off the selvage or part of it, according to the width of it, and turn or fold the edge over as Figure [113A] to make a felled edge about three-eighths of an inch wide, which is slip-stitched as illustrated. Be careful that the stitches are taken between the threads of the goods and do not show on the reverse side.

Fell the curtains on both sides and bottom, taking care not to stretch the edge of the material in doing so, and leave the top as cut. When all felled around, lay the fabric on the table with the bottom of the curtain even with the end of it and the sides parallel with the table top, mark the length of the finished curtain on the table as A Figure [113B] and fold the top of the curtain over as illustrated, making a fold about two inches deep, which is stitched at X the bottom edge of the fold and at O one-half inch above it.

The cord is sewn on as illustrated by Figure [113C], holding both cord and curtain loosely, so as not to stretch either, and pulling the stitches barely taut.

A great deal of the difficulty in the hang of portières is caused by the way in which the cord has been put on, and too much care cannot be taken until one is expert enough to produce perfect results.

The right side of the curtain is considered to be that side from which the hems were turned, and the cord is sewn from the right side, the ends being securely fastened and sufficient fullness allowed at the corners to turn them squarely.

In portières, as in draperies, cut the goods to be made with the pattern running up, and the nap of pile goods running down. When not shirred to the width of the space the portières are pleated to the width, the pins being inserted between the two stitchings X and O, Figure [113B], and the pleats turning to the back edge of the curtain, as Figure [113].

Figure [114] is an illustration of how a pair of portières can be applied to a narrow door to give it the effect of greater width. Hung in this way and for this purpose all woodwork must be hidden and the pole projected forward far enough for the curtains to clear the face of the door frame.

An appliqué lace is illustrated as a trimming on the left-hand curtain (Figure [114]), and the curtains are lined on the reverse side with a fabric to harmonize with the surroundings in the next room.

To apply the trimming, the curtain is first tacked out flat on the table face upward, true and even with the square table edge, and a guide line ruled where the lace is desired to be.

Open-work appliqué trimmings are usually started from the corner, and the trimming so planned that where the mitre is made a perfect pattern is made and the surplus cut away. When all laid on in place the trimming may be either basted, pinned or cemented, after which it is taken up and sewn permanently. For pile goods a splendid method of holding the trimming in place is to spread some paste on a piece of paper and then press the wrong side of the trimming on to the paper until it absorbs a quantity of the paste, then lay it on the fabric in position and weight it until dry, after which it can be stitched.

After the trimming is stitched in place, lay the curtain on the table face downward and turn a half inch (or more if desired) over on sides and bottom, as illustrated in Figure [114A] and [114B], and tack it temporarily, taking care not to stretch the material, but keeping it smooth and straight with the table; turn the surplus down at the top to make it the length of the finished curtain, less whatever allowance is necessary for cord or fringe, which projects beyond the bottom edge, and so must be included in the length of the curtain.

Lay the lining over it, as Figure [114B], turning under sufficient at sides and bottom to make it equal to the width of the tapestry or chief fabric of the curtain. Tack only half of this, as illustrated, and then fold the free half back over the tacked half and knot—stitch the lining and fabric together, as shown in [114C]. Pass the needle between the threads of each material in such a manner that the stitch will not show through on the right side of the curtain, and knot it to one fabric only.

When all knot-stitched, using one, two or more rows, according to the weight, texture and value of the fabric, finish tacking the lining, turning under the edges as before and baste the fabrics together all around, using a stitch similar to that illustrated in Figure [114A], which holds the folded edge well in place.

Stitch the top across twice, as X—O, Figure 114E, and then pin the curtains temporarily to a try-pole to see if either side sags down and looks baggy. If it does so the bottom basting must be taken out and the excessive fullness allowed to hang free until both fabrics hang square and flat together; then pin the two fabrics about four inches from the bottom, so that neither can shift, lay it on the table, and, turning in the bottom evenly as at first, baste it once more and test it on the pole.

If flat and even this time without sagging, it may be removed and slip-stitched all around, holding the edges as basted and using the stitch illustrated in Figure [114D].

The curtain is then corded as explained in connection with illustration Figure [113C], and if the lining is a different color and sufficiently important to require it, the cord should either be a mixture of the two colors or two separate cords should be put on, each sewn from and matching the color of its own side.

If the tops are to be pleated and pinned, as Figure [113], the pins are inserted between the stitches X and O, Figure 114E; but if they are to be shirred, as Figure [114A], a tape is run between the stitches X and O, and hooks placed in between the tops, as A, Figure 114E, and sewn to the tape, after which the spaces between the hooks are stitched at intervals to keep the two fabrics up in position.

Where price limitations do not exist a more satisfactory portière can be made by using an interlining of sateen, canton, or shaker flannel the bottom of which contains small vertical pockets, as Figure [114F], which are filled with shot and sewn up. These are made by turning up the bottom of the lining about three inches and running it through the machine, as indicated by the arrow. It will be noticed that the pockets are heavier or a little closer together at the corners to increase the weight there and correct the tendency to flare common to a pleated or shirred curtain. This weighted interlining is placed in position before putting on the lining in Figure [114B], and is included in the knot stitching and basting; the edge of it, however, is trimmed even and lies between the turned-in edges of the two fabrics without itself being turned in. When weighted interlinings are used with extra-heavy corners the fabrics should be knot-stitched together, say four inches from each outside edge and down the middle for ordinary fifty-inch material (three rows in all). There is a tendency on the part of a great many fabrics to sag or stretch down with their own weight after hanging for some time. The best way we have found to correct this is to stretch the material between clamps, as Figure [115], allowing the tension to remain on the material for about twelve hours, after which it is made up in the usual way.

Figure [116] illustrates a pair of portières with a leather or embroidery appliqué corner which is applied as already explained for lace appliqué, making a very rich and effective portière. When made to order it is possible to have the embroidering done on the fabric itself, making thereby a better finished and more durable article.

The French heading illustrated in Figure [117] is made as explained by drawings 117 A and 117 B, showing the front and back views of the double box pleat which is opened out into the heading after having been sewn to the hook. This heading requires a special hook having upright arms which support the top of the heading and are something after the style of Figure [117C].

Figure [118] is an illustration of a tapestry panel made up as a portière by bordering it with a plain material, such as velours or plush; they are made with very little fulness in width, and are effective for den, library or smoking-room curtains.

A great variety of gimps, cords, edgings, galoons and appliqués are procurable for trimmings, each applicable to specific requirements, while a combination of two fabrics in the way of bands or borders, as Figure [118], and the right-hand curtain of Figure [114], is also most effective, and allows an assembling of colors and shadings not easily produced in any other way.

Figures [119] and [120] illustrate two kinds of portière poles for use on a doorway where it is necessary to have the portière swing open as a door, or with a door which it covers. The principle of each can be readily seen without explanation, and they serve a useful purpose where such fixture is desired.

Figure [119] is self-supporting, and is independent of the door unless provided with bracket X. Figure [120] is dependent on the door for support at one end, and is hinged just in line with the hinge of the door. The small bracket at the left of the hinge is equipped with a set screw, which holds the pole rigid, while the right-hand bracket is provided with a large opening through which the pole slides with the opening of door. Portières are usually made to just clear the floor, and should be suspended from rings which traverse freely on the poles. Appliqués look best on plain materials. Materials with prominent patterns are better without them.