In all large stores a skirt stand is an important factor in displaying goods. The one I use is easily made, is light and durable, and answers the purpose admirably. The illustration shows it perfectly and gives the dimensions. Drapings Nos. 1, 2 and 3, in Plate 1 are examples of the use of this stand.
For the convenience of decorators I give herewith a number of illustrations of drapings in common use. These need not be described in detail, for it would be a task well-nigh impossible. Each man must, by practice and study, work out the various details of draping for himself, for the graceful folds we so often see and admire cannot really be taught. If you ask a trimmer what his method is for making a certain effective draping, he will stare at you in bewilderment and say, “Why—why, I just give it a push here, and a twist there, and a yank sideways—and it’s done.” As a matter of fact, he don’t know how he does it, any more than a painter can tell you what particular sweep of the brush created his masterpiece. A delicate touch—an artistic eye; that’s about all there is to it. I show herewith many pretty styles of drapings, but beyond describing the materials you must work with and giving you the pictures to study, I can assist you no further. But do not be discouraged; try them. A little practice will no doubt enable you to duplicate any of them, and then I suggest you invent new drapings of your own, that fit your peculiar style and taste, for dress goods are susceptible to innumerable methods of display.
FIG. 4.
FIG. 4.
Given the proper stands, as before illustrated, draping is not so difficult as at first appears. In Fig. 4 I show a cylinder stand, with an upright attached that is used for many of the drapings that have a raised heading. The cylinder is made from papier mache or heavy straw board. Some forms are made to spread at the bottom, in the style a woman’s dress is hung. And sometimes a flat board, or a cross-bar is required, as will be explained further on. For fastening the material to the cardboard form use artist’s tacks, as they are convenient and do not injure the cloth. Fig. 4 (a) shows the cylinder with an upright stick tacked upon it to hold the puffed heading; (b) shows the first process in draping, (c) the second, and (d) the method of gathering the puffing at the head. In Fig. 4 (e) is shown the completed drape, which is both new and highly artistic. Fig. 5 is also very effective, and its construction may be followed in (a) and (b), and in the full draping (c). Fig. 6 is certainly an odd effect, and one that is just now growing popular. The method of gathering the fold is shown in (a), and the result in Fig. 6 (b). Fig. 7 recently originated in Germany, and is very graceful and pleasing. The method may be followed in (a) and (b) to the full draping in (c). In Fig. 8 the pansy, fans and butterflies are made from fancy silks arranged at the top of draped dress goods. Of course the colors must all harmonize. Simpler forms of draping are those in Figs. 9, 10, 11, 12, 13 and 14, and these are all made over cylinder form, and only skillful manipulation is needed to enable you to duplicate them. Figs. 15, 16, 17 and 18 are made over a cross-bar and the folds held in place by pins. This cross-bar may be fastened to a simple upright standard, or you may use a flat board, which is somewhat better. Fig. 19 shows a neat method of stacking piece goods, the top piece being used for the puffing. Fig. 20 is called a floor draping, and is made up over an upright standard.
FIG. 5. (a)
