Cutting and draping

by John W. Stephenson

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.