Flannel Strengthening Patch (Fig. 164).—This repair, as shown by the illustration, is in frequent requisition for thin places round the armholes, &c. Cut out a piece of fresh flannel the desired shape, tack it upon the material, and herringbone all round. The stuff, being so apt to stretch, needs the hand to be held rather loosely in working.
Joining
Joining.—In the alteration as well as the mending of garments, joining is in constant requisition; hence a neat and imperceptible mode is invaluable for all kinds of needlework. To this department belong herringboning, matting seams, net mending, laced and fine drawing, besides various ways of joining fur, canvas, carpets, and velvets.
The well-known herringboning is a most useful method of uniting two hemmed or stitched edges of flannel, list, or woven underclothing. It also replaces drawn-work insertion, in antimacassars composed of linen or embroidered strips, as well as in coloured handkerchief borders, where it unites squares, &c., of lawn or cambric. The lacey stitch adds to the ornament of the handkerchief, besides suggesting a pretty way of using up scraps. When not utilised for the join itself, herringbone stitches are often made on the right side of the material to conceal the seam. These are sometimes caught down with stitches in a contrasting tint, and at others worked over a braid.
Fur Joining.—When a piece of fur has to be divided into narrower bands, say about 4 in. in width, no scissors must be used. To separate it, lay the fur lightly on the table, hair downwards, and with a ruler and red chalk pencil mark out the divisions boldly on the skin. Take a sharp-pointed penknife, or, still better, a chisel, and, holding it quite perpendicularly, cut by the red chalk lines, resting the penknife against the ruler, in case of slips. Bear slightly when cutting, just enough to let the knife pierce quite through the pelt without touching the hairs. If this operation be successfully performed the skin will separate into bands with smooth, even edges, and the fur remain untouched. Before joining, two things have to be considered—the right way of the fur, and its various shadings. Some specimens, such as the skunk, chinchilla, and squirrel, graduate very much in tint; therefore a little contrivance is required for the ends to match as nearly as possible, and not to place a dark hue close to a light one. If this, however, cannot be avoided, let it be done regularly, in order that the colour shades off at equal distances and the fur has no patched-up appearance. With regard to the right way of the fur, the joining offers no difficulty in straight bands, but calls for some management in corners, &c., especially when the pieces in hand, being already worn, have slits or shabby spots that need replacing. Now the fur is quite ready for joining. Take a fine needle and smooth cotton or silk, bring the two edges of the pelt together, and unite them by a flat sewing, pushing back meanwhile any stray hairs. Do not pull the cotton too tightly, for fear of spoiling the skin.
Transferring.—In applying old or new woolwork to satin, cloth, or velvet, cut about ¼ in. beyond the design, turn under the edge and tack firmly on the foundation. Conceal the join by a silk cord, chenille, or rows of gold thread. Appliqué work suggests many good ways of utilising ancient needlework, that has lasted intact long after the ground is threadbare. The embroidery is cut out with sharp scissors, and lightly tacked to a fresh foundation; then secured with a kind of running, taken invisibly—a buttonhole, cord on net, herringbone, or any stitch employed in appliqué. Washing fabrics obviously require the firmest sewing. By such means, the well-known Swiss muslin embroidery is transposed, and antiquated collars, handkerchiefs, &c., are adapted to the reigning styles.
Canvas Joining.—Strips of Berlin woolwork frequently run too short for the purpose intended, and need joining to additional bands. To accomplish this neatly, overlap the edges for about 1 in., letting every bar lie exactly in a line with the one underneath. Tack them in place, and cover with cross-stitch in the groundwork colour, drawing the wool rather tightly at the join, to keep the double thickness as flat as the rest of the work. In the same way squares for Berlin wool carpets are united. Borders with a running or broken pattern are more easily connected, as the scroll, spray, &c., merely require matching; but with equidistant medallions or geometrical figures the necessary space has often to be made up by letting in strips of canvas. The same process can be applied to tapestry repairing, which now comes more within the sphere of ladies’ work, thanks to the introduction of the faded tints, so much admired. Time-worn or worm-eaten spots are cut away, and a piece of new canvas basted outside the hole. Then, with wool matching precisely each tint, the decayed part is copied in again, perhaps with the alteration of a stitch here or there, to make it meet unbrokenly the original work; if well done the replenishing cannot be detected. In woven tapestries the woof threads, after a lapse of years, give way, and countless slits make their appearance between the ribs. These may be effectually mended by drawing together the breaks, with crewels of the same colour, fastening off on the wrong side by passing the needle in and out 2 or 3 tapestry threads. If extremely worn a good strengthening is a backing of stout crash.
Carpet Joining.—Felts and all light fabrics are simply seamed by flat sewing; but in Brussels, Wilton, and thick piles the joins to lie smooth are connected by passing the needle in and out first one edge and then the other. Should the seam set full, dashing on a little water will rectify it. If in case of accidental burns, &c., the carpet has to be mended on the floor, the only available plan consists in placing on the patch, and securing both surfaces by darning. Repairing carpets when up gives the opportunity of strengthening patches, hems, &c., by felling stout webbing on the wrong side. When stair carpets require binding, the webbing matches the predominant colour in the pattern.
Matting Seams.—These are made in the following manner: Bring the two edges together, take a straight stitch over both, pass the needle slantwise under one edge, and through the adjacent one. Thus the right side presents a row of slight sewing, the wrong a series of sloping stitches taking in one selvedge only.
Velvet Joining.—Faults or cuts, &c., in velvet and plush are concealed by very careful seaming on the wrong side. The needle enters half the thickness of the material (Fig. 165), leaving no stitches visible on the upper surface, and the sewing is drawn till the edges just meet and no more. Care must be taken to work in all stray filaments that no fluffiness disturbs the smoothness of the pile. When finished make the seam still firmer by rows of darning, 4 or 5 stitches in height, and running parallel to the sewing; leave no loops, but pass a horizontal stitch from one darning line to the other (Fig. 166). The preceding is also adapted to satin repairing, though on account of the close shiny surface this cannot be quite as satisfactorily made. Complete the mending by passing the wrong side of the fabric over a cool iron, the steam of which raises the pile.