1920 Tuxedo-Scarf Dress Description
Dress StyleThe Tuxedo-scarf effect is a modification of the Tuxedo revers, which has become a factor in smart clothes. Coats, dresses, and evening gowns carry the Tuxedo line with success. It has many virtues in that it can be arranged to increase or decrease the width across the front, and especially through the shoulders, the slight figure using a more generous scarf effect than would be becoming to a stout figure.
Kimono or set-in sleeves may be used for this model. When a kimono sleeve is used, a loose panel of the kind illustrated is a commendable feature. Some backs are greatly improved by panels, while erect figures with thin shoulders may use the kimono without the panel with good success. Others should provide panels whenever possible.
The kimono type of sleeve should be carefully considered for becomingness and need. Such sleeves fitted as close as are smart this season are rarely comfortable when long. The short or three-quarter sleeves call for long gloves, and long gloves of right color are the very essence of smartness just now.
Material and Pattern.Silk materials, such as satin, crepe de Chine, crepe de meteor, and the novelty weaves of very fine texture are suitable for a dress of this style. As a pronounced vogue of satin is now prevalent, this was chosen in a popular brown, tete de negre, for this particular style. The trimming is of an unusual nature, both as to the kind, it being loop fringe, and the manner in which it is employed to form rosettes. Fringe of this kind consists of a series of loops made of heavy silk floss and held into a narrow, firm edge. Fine grosgrain ribbon may be substituted for fringe, if desired. The vestee and the trim- ming band that extends below the waist line are of tan Georgette embroidered with beads.
For cutting this dress for the average figure, 5 yards of satin, % yard of Georgette crepe, and 10 or 11 yards of fringe are necessary. For a waist lining, 1 yard of soft silk or, if preferred, light-weight lawn should be provided. A waist lining is almost a necessity in any dress that may not be laun- dered, for even though such a lining is not required for a foun- dation, it serves as a protection to the dress and prevents it from becoming soiled or worn too readily. If the lining is merely tacked in position, it may be easily removed from the dress so that it may be laundered frequently.
A special pattern does not necessarily have to be purchased for this style, as its features are very simple and may be easily developed. A plain-waist pattern, having either kimono or separate sleeves should be used as a foundation. Mark on this the vest line and also the back-panel section, provided a kimono foundation is employed. Then, to form the pattern for the tuxedo-scarf effect, experiment with muslin. Pin a lengthwise thread of this at the center-back neck line of the form, draw the material around toward the front, making it assume the roll that is desired, and turn under the edges to form a scarf effect that is becoming in regard to width. Finally, cut the outside and neck edges of the model to produce just the effect you desire. Form the cuff pattern from paper or muslin.
Cutting.First cut two straight lengths of material for the skirt, making each of these about 27 inches wide and the desired skirt length, plus allowance for the tucks and hem. For instance, if you desire tucks 3 inches wide, it will be necessary for you to allow 12 inches on each skirt length for tucks; that is, 6 inches for each tuck. It is advisable to draw a thread when cutting straight lengths of material, for this insures accurate results that are difficult to obtain otherwise. Most of the straight skirts have hems about 3 1/2 to 6 inches deep this season. At this time decide just where the tucks should be placed in the skirt to make it most becoming.
Place the collar pattern so that the front line comes on a lengthwise thread with a bias seam at the center back. Lay the
center back of the panel portion on a lengthwise fold and the side section of the waist pattern so that a lengthwise thread will extend from the neck end of the shoulder on a straight line to the waist line. This will make necessary a slightly bias seam at the back. Place the center of the cuff pattern on a length- wise thread, and in cutting provide for double cuffs.
For the belt, cut a bias strip of material about 6 inches wide and several inches longer than the waist measurement, and for the sash ends cut double strips of the same width and about 18 inches long. Cut the Georgette vest single, but cut the trimming band double so that it will be, when finished, a straight piece about 10 inches wide and 4 inches long.
Construction.Join the skirt gores with plain pressed-open seams, leaving the left one open at the top for a placket, and then baste the hem and tucks in position. Next, measure the correct front, side, and back skirt lengths from the lower edge of the hem, connect these points with a gradual curved line, and follow this line in running the gathering thread. A straight gathered skirt having tucks can generally be hung satisfactorily from the waist line, for if it is measured carefully, the length requires but little adjustment. Baste the center-back and under- arm seams of the waist.
Fitting.Fit the lining first; then, the kimono waist, noting especially the under arm. If it appears too baggy here, pin the seam a trifle deeper. If this does not seem to remedy the diffi- culty, remove the basting at the under arm and, if necessary, in the sleeve seam; also, you may find it advisable to take in the front of the seam a trifle more than the back in order to make the waist fit properly. Pin the back panel in position and turn under the edges to make it of a becoming width. Pin the ful- ness at the lower edge of the waist to an inside stay belt arranged to have the opening at the center front. Then pin the skirt to the belting, keeping in mind the fact that the waist and the skirt must be finished separately at the waist line from the center front to the left side seam, for the skirt placket is arranged at this point.
Finishing.Join the under arms with a plain pressed-open seam, and clip this at the under-arm curve. If you are using heavy material, it will be advisable to stay the under arm in the manner directed in your lessons. Face the back-panel edges and secure the panel at the neck and waist line. Then, in order to produce the soft effect so popular this season, secure the skirt tucks with fine running-stitches.
Next, make the collar, cuffs, and girdle. Make the cuffs double and slip-stitch the fringe in position, so that its finished edge is concealed just under the cuff edge. Face the collar with a very narrow bias strip and secure the inner edge with rather loose hemming-stitches that are barely discernible on the right side. Finish the girdle in the same manner, and apply the fringe to these pieces and also to the skirt tucks in the way in which it is secured to the cuffs. Make the girdle ends by folding the strips lengthwise through the center, right sides together, and stitching along the edge and one end. Then turn the strips right side out.
Make the fringe rosettes on a foundation of soft taffeta. Start arranging the fringe at the outside of the circle, which may be picot-edged, and lay and tack it in circular rows, each row just overlapping the preceding one, until the center is reached. Finish the center by tucking the end of the fringe under.
Bead the vest and trimming band. Slip the dress on and pin these sections, as well as the collar, cuffs, girdle, and rosettes, in position. Tack the girdle and rosettes carefully in place, so that they will not appear stiff; also, apply any other necessary finishing details.