OCR Text |
Show reel iKat nur newest suner-duner I Jure- cure for those Starching Joes ill happy woman shortens those )ry hours by starching right. fTT HESE AIDS ON the starching prc-I prc-I I ecu of home laundry may prove ' beneficial in saving the homemaker time and toil, so she can stop crying those starching blues. This is a complete guide aou'U want to save and paste up somewhere in the laundry. How much starch is used depends entirely en-tirely on the preference of finish. Starched clothes need less washing and stay cleat longer because starch prevents soil from imbedding itself in the fabrics. This is especially true of children's clothes and work clothes. This does not mean that they have to be stiffly starched. Many fabrics require just sizing, or just enough starch to return them to their original finish and freshness. DON'T FORGETi 1. Clothes must always be evenly damp to be starched properly. The drier the clothes, the stiffer the finish. 2. In preparing the starch paste use cold or tepid water, never hot water. 3. The starching mixture must always have a smooth consistency. 4. Starch evenly, making sure that all surfaces are reached in all-over starching. 5. Closely-woven fabrics require light starching. 6. Sheer cottons require medium starching. starch-ing. 7. Loosely-woven fabrics require heavy . starching. 8. Sizing is grand in cotton tablecloths, rayon fabrics, mattress covers; in fact, any material which has lost its "newness." 9. If hot starch is used, keep it covered to prevent the formation of a film on the top. 10. If cold starch is used, be sure materials mater-ials are quite damp and the iron very hot. 11. Starched clothes require more dampness damp-ness for ironing than non-starched fabrics. They should be dampened with warm water and be allowed to stand for at least 2 hours before ironing. 12. If you starch in your washer, automatic auto-matic or conventional, be sure that fabrics are of similar material and require the same degree of light starching. INDIVIDUAL PROBLEMS 1. Sheer curtains unless permanently finished, need a light starching to give them that crisp new look. Also, place all the curtains in the starch together to insure even stiffness. 2. Lingerie which includes garments such as panties, slips, nightgowns, may be staiched lightly.'' It adds just enough sizing to give them that new look and they will stay fresh-looking longer. 3. Make certain shirts are starched correctly and dampened evenly. Collars, cuffs and front bands should be starched with a medium solution starch. 4. When starching lace collars and cuffs, and lace doilies, here's a good rule to remember: First measure your piece carefully, care-fully, making an accurate tracing of it on a heavy white paper. Then in lukewarm light suds, wash. Rinse 3 or 4 times. No matter how soiled, if you use several light oapings, lace will come white under gentle treatment. Starch to consistency desired and dry on the paper. If you prefer a creamy color give final rinse in weak tea and starch solution; or for a warmer color, use weak coffee. Leave the lace in the rinse 3 minutes, 5. Slip covers should be starched. Chintz that has lost its glaze may be given a glossy finish also by starching. STARCHING TIPS DISSOLVING STARCH: Use cold or tepid water; never hot water. COOLING STARCH: Keep vessel covered cov-ered (to avoid scum formation) until solution solu-tion is cool enough to handle. DIPPING CLOTHES: Use a large pan for starching. Dip and squeeze damp (not wet) garments until fully saturated. Dip articles in order of stiffness desired; whit pieces first. Wring out each piece over the pan containing starch so it can be used again for remaining pieces. SPRINKLING CLOTHES: While drying, clothes should be hung up straight and as free from wrinkles as possible. When dry, sprinkle evenly and lightly with warm water. Roll each piece tightly and smoothly and lay all together in a covered bowl or tub for several hours, or overnight for even moisture distribution. If ironing is postponed post-poned or interrupted, place bundle in the refrigerator to keep clothes moist, and prevent pre-vent mildew. IRONING: Flat pieces should be ironed parallel to selvage edges. Embroidered pieces should be ironed wrong side tip. Shirts and blouses should be ironed in this order: wrong side of cuffs, right side of cuffs, sleeves, wrong side of collar, right side of collar, yoke, back, front sides ith buttons, front side with buttonholes. Dresses Dres-ses should be ironed in this order: sleeve",, collar, waist and skirt. WHEN TO USE COLD STARCH: For very sheer materials or for small pieces like collar and cuff sets, etc. Cold water starch permeates the fabric satisfactorily and saves time. ; mm fc. hr. ct. I. ro st- j V r HE EVOLUTION OF the tie as a uaiw uai as lar as inau , himself. Man has constantly deco-his deco-his neck clear back to the davs when ung teeth and bones of savage beasts id his neck as symbols of his conquests. d so on down through the ages, neck-1 neck-1 in one form or another, has run Jamut from bones and metals, heavy iings of linens and brocades, lace and jed ruffs to trim present day fashions K rayon, nylon, wool and other blends ;brics worn in Windsor knots, four-ia- nd bows. Ties are History itself! ie Persian Palm design that is used in paisley tie designs, a favorite among men to this day, was brought from Persia to England by Drake's sailors in 1580. They used small pieces of the material to tie up their pigtails. The Croat troops, who came to France as Mercenaries in 1600, brought the first bright colored fancy neckpieces with them. During the Thirty Years War, their neckpieces neck-pieces were adopted and were called cravats after the Croats. The cravat was introduced into England by Charles II in 1660 after his return from exile at the French Court Charles II loved ties so much that he was known to have paid as high as $600 for a single tie. The fashion ot wearing cravats was brought to a sudden end by the French Revolution. Wearing of a cravat then was enough to make one suspected of being an aristocrat Only Robspierre and his friends were allowed to wear ties. - - ' According to Byron, the undisputed leader lead-er in London fashion in the early 17th Century was Beau Brummell, who dressed as if it were a sacred ceremony, climaxed by the knotting of his white tie. The Prince Regent, later George IV would often come to witness the ceremony. Etienne Demarekky, a French gentleman of the early 1800's conducted a school on how to tie a tie. About the same time, courses were started in London, and these classes were attended both by gentlemen of the day and valets. Napoleon, who always wore a black tie, went strictly formal to the Battle of Waterloo in 1815, for be is said to have worn a white tie. During the Napoleonic wars in the late 18th Century, red faces were considered an indication of great health. Frequently ties were pulled tight to make the face flush. It also made the wearers eyes protrude pro-trude like a frog's. This is reputed to be the origin of the name "Frog" as applied to the French. Collars and ties made of steel were issued to Officers of the U. S. Marines in the early 1800's as a protection in warfare. At the same time, enlisted men were issued leather collars. And that gave the nickname, "Leathernecks' which they are still called to this day. During the late 17th Century, the cravat worn with several windings around the neck was credited with saving many officers from sabre cuts. When Antoine La Salle, a French general was struck in the neck by -a pistol ball, the camp physician found the pistol ball lodged in the thick fold of his cravat. The cravat was still enormous in 1800 and covered the chin in the manner common -at the time of the "Incroyables", a fashionable fashion-able set of British dandies. It usually consisted con-sisted of a square piece of cloth folded in triangular fashion and passed around the neck several times. About 1815 the high peaked starched shirt collar, the ends of which stuck up around the wearer's cheeks, was worn with a white cravat lightly folded. Neckties were either arranged by the wearer or were made up; in the latter case they were fastened at the back. George IV introduced introduc-ed the fust ready-made cravat in 1829. It become known as the "Royal George" tie. Long ties began to be worn about 1840. They were passed around the neck twice, and hung down in broad expanse which sometimes completely covered the shirt front They were either arranged with pins or brought ready-made. Back in 1850, turned down collars became be-came fashionable worn with neckties tied in a loose broad bow in the manner which had been affected by artists, but by 1860 the necktie was very much reduced in size, becoming no more than a narrow band with a tiny bow, which was usually made up. And then about 1890 neckties reverted to a flowing artistic appearance.. The long tie worn in tbe nineties was similar in character to that customary today. The French name "legate" is an illusion to the sailor's knot with which it is tied. Very important forms of ties were introduced in-troduced in 1914; the butterfly bow and ?' M .'.w.mX . , ,.,-.. j i 1 1 This combination of stock collar and tia worn with ruffled shirt, frock coat and fancy weakit was all the rage back in the 1850'. the long tie with the sailor's knot, both of which are still worn. The most important invention for the neckwear industry came in 1920, when Jesse Langsdorff worked out a resilicrt construction using a floating stitch which permits the tie to spring back into shape after knotting. It also reduced the bazarJ of tearing the tie when pulled out of the collar. Eighty-five per cent of all ties sold are bought by women and less than 1 per cent of all ties told are returned or exchanged. -V T U;n2r strains of petunias, amar-j this activity," Rohbock's Sons' j |