When Sue Began to Cook

July 12, 2022June 21, 2022 VintageJenny

On a rainy, dreary November afternoon, Sue complains to her mother that there’s nothing to do. Her brother is at a friend’s house, As for her best friend Ruth Ann — well, she cries all the time now that her mother has been sent away for her health. This is the beginning of When Sue Began to Cook, the last book in the Bettina storybook trilogy by Louise Bennett Weaver.

The complete title of the book is When Sue Began to Cook with Bettina’s Best Recipes. Bettina’s Best Recipes became the brand name of a whole line of cookbooks in the 1920s. Bettina was an authority on cakes and cookies, desserts, sandwiches, and salads. And each topic found its way into one of the Bettina’s Best Recipes cookbooks.

Like all the Bettina books, Sue’s story begins with some really bad poetry:

To every other little maid
Who longs to learn like Sue,
But feels a tiny bit afraid
It’s all too hard to do,
To all the little girls who sigh,
“I need a simple book
To help me!” “Here it is!” we cry,
When Sue Began to Cook
Dedication, When Sue Began to Cook, Louise Bennett Weaver and Helen Cowles LeCron

Bettina suggests that Sue invite Ruth Ann over for weekly cooking lessons. Then Bettina will teach them both to cook. The plan will occupy Sue at the same time that it gives Ruth Ann something to think about besides her sick mother. (In 1924 when the book was written, Ruth Ann’s mother probably has tuberculosis and was sent to Arizona for the dry air in hopes that it would cure her. The book, however, never says.)

Sue loves the idea, and runs to tell Ruth Ann about the new Saturday plans. The girls’ story unfolds from the notes that Sue keeps after each cooking session. Here are her notes from the first day:

I found Ruth Ann crying, as usual, but it didn’t take her long, after she heard about the Cooking Class, to hustle into a clean dress and hurry over. And oh, the cookies were delicious!
I intended to save mine for dinner tonight, but of course Robin and Ted came in perfectly ravenous and teased so hard that I had to give them ten or twelve apiece and that doesn’t leave many for Father when he comes. But how proud he’ll be to try his daughter’s first cookies. That is, the first ones I’ve made entirely alone, even to lighting the oven and washing the dishes afterwards.
When Sue Began to Cook, page 14.

As a first recipe, Sue and Ruth Ann make Cocoa Drop Cookies. Then the next week they start at the beginning and learn to make Frizzled Beef over Toast. This recipe is known regionally under many different names in the United States. Chipped beef, SOS, and S—- on a Shingle are but three of the ways people refer to this dish.

Each week Sue and Ruth Ann tackle a new recipe or cooking method, and they build a nice repertoire of recipes through the year. A winter Wheat Cereal with Dates progresses to gingerbread. Then spring brings Baked Ham with Browned Potatoes. The heat of summer brings recipes for Vanilla Ice Cream with Chocolate Sauce, Fruit Sherbet, and a Fruit Gelatin. Then the autumn rolls around again, with its traditional Twenties recipes for doughnuts, peanut brittle, and popcorn balls.

In Chapter 52, the last week of the year’s lessons. the girls present a party for their friends. They cook an entire meal from recipes in the book, and proudly present the fruits of their yearlong course.

When Sue Began to Cook makes a good beginning cookbook for teens interested in cooking history, for cookbook collectors, and for people who want to learn to cook simple recipes. Currently this book is unavailable in any free downloadable format, so you’ll have to search out a 1924 copy yourself.

If you’re new to the world of Bettina cookbooks, I wrote about the first one in the post A Cookbook Worth Reading.

Print Recipe

Cocoa Drop Cookies

Taken from When Sue Began to Cook, 1924.

Course: Dessert

Cuisine: American

Keyword: Bettina, cookies, Twenties

Ingredients

½ cup lard Mother says butter makes them too rich.
1 cup light brown sugar No lumps, remember!
2 eggs
4 tbsp water
1 tsp vanilla
2⅓ cups flour
4 tbsp cocoa Leveled off with a knife blade.
2½ tsp baking powder Leveled off with a knife, too. This is important.
¼ tsp salt All good cookies have salt in them.

Instructions

Mother had us each put the lard in a nice round-bottomed yellow bowl and cream it. (That means mash it down with a big spoon until it is very soft.) And then add the sugar and keep on creaming until the mixture looked all one color. Then we broke the eggs into a little dish and added them one by one to the sugar mixture. (Mother said to break and add them one by one so as to be very sure they were good.) Then we kept on stirring with the big holey spoon for two whole minutes. Then we added the water and the vanilla.
We put a little more than two and one-third cups of flour through the flour sifter and after it had been sifted once, we measured it out and took exactly two and one-third cups of it. Then we put it back in the empty sifter and added the cocoa, the baking powder and the salt. We sifted them through twice all together.
(Mother says we must always be very sure about the level spoonful. She had us take a knife and level the filled spoons off very carefully. This is important.)
We dumped the flour mixture into the bowl with the other things, and stirred just enough to be sure everything was well mixed.
Then we each greased our cooky-sheet with a clean piece of paper that had been dipped in a little lard. (Several pie pans will do instead, Mother says.) Then we took up a little of the cooky-dough on the end of the mixing spoon and scraped it oiff on the cooky-sheet with a knife. (She told us to be sure these little cooky mounds weren't too large; they oughtn't to be more than an inch across.) We dropped these bits of dough about three inches apart on the greased sheet and flattened each of them down a little with a knife that had just been dipped in warm water.
Then we baked the cookies in a moderate oven for about fifteen minutes. [Moderate oven: 350-375º F] Mother had us light the oven a few minutes ahead of time, and then turn it down so it wouldn't be too hot when the cookies were put in.
Chocolate or cocoa cookies burn easily, she said, so we looked at them often. Sometimes those on the edge of the pan got done first and had to be removed carefully and slipped onto another flat pan to cool. All our cookies couldn't be baked at once, so we kept the dough in a cool place (not near the stove!) until the oven was ready again.
As soon as the cookies were all finished and cool, we each packed them carefully away in a stone jar.

Notes

Your Afternoon Tea Shelf

April 21, 2022April 21, 2022 VintageJenny

top half of a tea cart, set with two cups and saucers, a creamer, a covered sugar dish, a large metal coffee server, and a bowl of fruit. From 1923.

What can you throw together when a friend stops by for a chat? If your pantry’s afternoon tea shelf is stocked, worry no more. Pull out a few tasty nibbles and treats you can combine quickly, assemble them on a tray, and pour the tea.

This idea comes from 1923, and like many ideas it needs resurrection from its current space, buried within the pages of a woman’s periodical. The general emergency shelf concept wasn’t new. It took its place among the solid advice offered to new homemakers: Always have a small shelf of ready to use foods for unexpected guests or that long day away.

Your Own Afternoon Tea Shelf

The afternoon tea shelf, however, gives a new twist to the idea. Especially if you like the idea of holding tea parties to entertain close friends, you might see the advantage in the suggestion. You clear off a shelf in your pantry or a small shelf in a corner cupboard that you don’t often use. Designate it the Tea Shelf. But what do you put on it?

Of course, you would include a box of crackers. Pour them into a bowl, set them out side by side covered with 1/4 slice of your favorite cheese, or spread with a bit of cream cheese and sprinkle with a flavoring spice like garlic, Italian seasoning, or your favorite mixture. (Better yet, combine the flavor with the cream cheese before spreading.) You may even want to include two boxes of crackers. Simple rice crackers always taste light and airy, while a heavier entertainment cracker like Ritz or an allergy-safe alternative creates a great base for simple spreads.

Another good idea is a box of favorite cookies that have a long shelf life. Oreos, chocolate chip, or Vienna wafers give you some ideas, but the cookie aisle is filled with options. Choose a favorite.

Easy Shelf Stocking Ideas

Here are some other ideas:

Make some cookies and store them on your shelf. It will ensure that you visit the shelf often as you eat them before they become stale.
Marshmallows, either mini or regular.
Chocolate in small bar or individually-wrapped form. You will want to unwrap the chocolate before you present it, however. Guests seem to have an aversion to opening sealed items.
Nuts, either one kind or mixed. Small containers don’t take up much space. This is not the time to buy a huge container of Costco peanuts.
A jar of marmalade or preserves.
Small jar of honey. Again, a small container works here. Store the 2 pound glass jar that you use for everyday cooking on another shelf.
Sugar, turbinado sugar, or brown sugar that you can use to sweeten the tea.
A small jar of mayonnaise if you don’t always have some in the fridge, for savory sandwiches.
Peanut butter
Dried fruit, with or without extra sugar: cherries, pineapple, crystallized ginger.

Once you have all these things, plus the refrigerated items you always keep on hand (like cream cheese), you can combine them into all sorts of novel treats.

Easy Combinations from Your Stash

Use the cookies as the base for a sweet sandwich. Take a couple tablespoons of cream cheese and stir in 1/2 teaspoon sugar and some melted chocolate or 1/4 tsp cocoa powder. Spread this on molasses cookies, vanilla wafers, or sugar cookies. Press two of them together to make a sandwich.

Stir a few chopped nuts into a spoon or two of honey and use that to glue two cookies together in a sweet sandwich.

To add spice to those plain table crackers, stir together some peanut butter, a teaspoon or two of half-and-half or full cream (if you have it on hand, milk or milk substitute if you don’t), and some confectioner’s sugar. Use it as a cracker sandwich filling. You can also mix peanut butter with honey for an excellent filling, or peanut butter and some leftover frosting from that cake you made a day or two ago (This is why I never throw away that 1/2 cup of leftover frosting. It may need to make its way to a cookie or cracker.)

Take a marshmallow, place it onto a cracker or round cookie, and stick it in the oven at 350° F for a few minutes until it puffs and begins to brown. Bring it out of the oven, and if you like, decorate the top with a nut or piece of dried fruit like a cherry or pineapple.

Bread slices, cut into 3/4-inch wide pieces, after de-crusting, can be toasted. Then while warm spread with butter and sprinkle with brown sugar and cinnamon. This is a grownup take on the ever-favorite childhood breakfast of cinnamon toast.

Adding Cake or Muffins

If you have time to whip up a cake (this is where boxed mixes can shine), bake it in one or two loaf pans. When it’s cool, cut it into thin bread-slice type pieces. Then mix together 1 cup powdered sugar with a Tablespoon or two of milk. Add whatever flavoring you like and stir in some chopped nuts for texture and added nutrition. Then use the frosting as a filling between two pieces of cake. Cut each sandwich into thin finger strips if you like.

Mini muffins can be made from the simplest recipe if you cut off the top, scrape out a bit, and fill the hole with a bit of marmalade or preserves before popping the top back on.

Savory Options for Your Table

Create a savory topping by mixing 2 hard boiled eggs, some diced or ground deli ham, a tablespoon or two of grated cheese, and either dijon mustard, mayonnaise, or a mixture of both to hold it all together. Spread on crackers, or take two to three slices of bread, remove the crust, cut into quarters, toast, and top with the mixture. Voila! Eight to twelve open faced sandwiches.

Top cheese crackers with mayonnaise mixed with nuts. Or spread them with mayonnaise mixed with minced celery. This, of course, will require a larger cheese wafer than your ordinary small 1-inch square cracker. If you have the small kind on hand, toss them into a bowl for free snacking.

Entertain with Impunity

Keep enough small, prepackaged things on hand that you can throw together a tea party at a moment’s notice, and with little to no anxiety. Life is too short to stress over cups of tea and finger sandwiches. Using only three of the ideas from this list will give you an inviting, tasty tea table. And because most of the ingredients came from your afternoon tea shelf, you have the time and energy to enjoy your friends.

If you want more complicated (and impressive) recipes for your afternoon tea party, check out this post on a collection of Recipes for Your Porch Party.

The Creative Corner · Vintage Fashion · Vintage Sewing

1920s Wardrobe Accessories

March 1, 2022February 19, 2022 VintageJenny

Large purple hat from 1924. It is decorated with big purple embroidered flowers and large green leaves. — Make a statement with a large decorated hat.

Once you create a Twenties wardrobe, capsule or not, what are the 1920s wardrobe accessories that pull it together? Last time I talked about creating a Twenties capsule wardrobe. In this post I’ll suggest some add-ons that will make a Twenties outfit stand out. Incorporate a few of these ideas, or use them all to really expand your wardrobe and its capabilities.

Keep in mind that the traditional Twenties wardrobe contained few pieces. Most people didn’t have a closet filled with clothing. Clothes were expensive. The Twenties saw a time of inflation before the Great Depression that had everyone complaining about prices of everything from meat to the clothing budget. Generally, your typical Twenties woman had two to three dresses she wore at home, a visiting dress, perhaps a travel outfit, an evening gown if she moved in those circles, and a few other pieces. Separates such as those found in a capsule wardrobe would be a godsend to someone like this.

So if you begin with six pieces consisting of a travel or business suit, one extra skirt, and three blouses or tops, what will finish your wardrobe? Add one piece at a time, with thought, and you will soon have a beautiful selection of period reproduction garments from which to choose. One of the great benefits is that you can choose what you like from the decade, without the pressure to update your dresses each time the calendar turns.

Hats, Hats, Hats

The most obvious 1920s wardrobe accessories are the small items that finish an outfit. The hat at the top of this post, for instance, would make anyone look twice. Or choose a hat like this one, that gives you more flexibility. This one could top a suit just as easily as an afternoon outfit.

Twenties millinery can be as challenging as learning to work with blocks and wires, or it can be as simple as using a Twenties crochet hat pattern and decorating it to match various outfits. Some fabric hats, such as turbans, used no infrastructure at all.

Charming Twenties spring hat from printed or embroidered fabric.

Bags and Bling

Once you have something to top off the outfit, so to speak, you need a portable container for your things. Here are some options.

Crocheted pouch handbag made in two colors of lavender. The main body is in a dark lavender mesh, while the bottom of the bag has a light lavender triangle lace with solid diamonds between. — A visiting handbag or small workbag for on the go

One of my favorites, I have this bag almost completed. When made with the size thread suggested, it comes out quite small, about eight inches in length. It would be enough to hold necessities for a day out, but little more. This is a general everyday bag or small workbag if you tat. Nothing much larger than a tatting shuttle, ball of thread, and current project will fit.

Twenties handbag made from knitted beads and deep beaded fringe. — Carry all the bling in your handbag!

This type of handbag was knitted with seed beads. It sparkled every time its owner moved, and these were very popular. Interesting to note, these were not touted as evening bags. This was another type of everyday handbag.

Twenties handbag with intricate beaded embroidery and a beaded fringe hanging from the bottom. — Bag with bead embroidery and netted fringe.

Here’s another example of a beaded handbag. This time, the beads are embroidered onto a satin foundation, and then beads are attached in a netted fringe pattern along the bottom.

…And the bling

Twenties woman with short curly hair wears a beaded or ribbon band across her forehead that looks somewhat like a falling star. — Hair band adds bling to this woman’s hairstyle

Hairstyle accents like this one added pizzazz to an outfit without requiring much storage space. 1920s wardrobe accessories like this dress up the outfits you have.

A dress belt made from ribbon circles and ovals. — Dressy belt made from ribbons.

Belts, sashes, and corsages made from ribbon helped to heighten the dressiness and flash of an ensemble without replacing the dress underneath it. The belt above is made completely from pieces of ribbon, and hand sewn. The dress ornament below is also made from pieces of ribbon.

Ribbon corsage from the Twenties. A large fluffy flower made from ribbon heads six long streamers. — This ribbon corsage leads the eye below the waist.

Ribbon corsages of all shapes and sizes attached to dresses, coats, capes, and hats to change the appearance to suit the wearer and the occasion. Often they were attached to long streamers or strips of lace and suspended from the low waistline of the dress, like this one. These additions pinned to the dress so they could be removed after the event, and they drew the eye away from a plain neckline.

Coats and Wraps

1920s winter coat with a high collar buttoned around the neck and the sleeves making part of a cape that falls down behind. The coat has a belt at the waist and is of a plaid material. — A coat makes your period outfit complete

If you plan to go outdoors at all, and you live in an area that produces cold air and snow, you are going to need a cover. This might be something like the spectacular cape coat illustrated above. Or you may prefer an article like a full cape. Long capes were often utilized for evening wear. They gave warmth without crushing delicate lace or ruffles.

You can’t get much more classic than this 1925 spring raincoat.

If classic is your goal, you might like this 1925 raincoat. With few alterations, these coats still appear in shops and online every year.

Sweaters and Overblouses

Knit dress from 1922. Image from Antique Pattern Library; link to free download below.

An easy way to add mileage to your wardrobe is to add sweaters and other knitted or crocheted items. Sweaters, tops, knitted dresses, shawls, and so on add versatility with just a few items. This knit dress with its matching hat is an example. You can find the entire book, with many sweater and knitted blouse options, from the Antique Pattern Library. View the images and download it here.

1920s photo of a woman in a knitted Twenties cardigan. It buttons down the front with large patch pockets on each side below the waist. — A longline sweater for cool days

A simple cardigan can alter your look at the same time that it provides warmth. You only need one, if you want any at all. A sweater like this makes a great 1920s wardrobe accessory.

A woman from the 1920s wears a — Simple Twenties top in filet crochet

Another option is a filet crochet blouse that can go over a Twenties chemise or underskirt you already have. Relatively simple to make and memorable, these little overblouses were quite fashionable in the Twenties.

Shawls and Wraps

Woman wearing an embroidered cashmere shawl. 1924. — Twenties embroidered shawl made from cashmere.

Add a shawl to your 1920s wardrobe accessories kit. A nice shawl dresses up an outfit and provides an extra layer if necessary. A shawl can be made from wool and fringed, like the one above, or it can be crocheted, like the one below.

This shawl can be used for dressy or not-so-dressy occasions. In fact, a large square shawl like this could see a lot of use in a Twenties wardrobe.

Making It Your Own

The best way to accessorize a wardrobe is to have a plan. My everyday modern wardrobe looks like it was assembled by a gerbil with ADHD. Don’t do that. Don’t be like me. Spend some time and determine what you want for the basics, and then build from there once you have it.

Looking at the cape coat above, for instance, makes me want to grab my pattern drafting paper and create one as the basis of my wardrobe. Perhaps that’s because I live in the Frozen North, and am looking out at a 12-degree Fahrenheit (-11 Celsius) morning as I write.

Weather aside, perhaps you have a dream and desire of holding historical tea parties. Then build your wardrobe around nice separates. Throw in a one piece dress if you like. Make sure you spend some time researching and making the most darling little tea apron you ever saw. It can be made from sheer organdy, or handkerchief linen, or a fabric you fall in love with. If that apron makes your heart sing every time you see it, you will enjoy every tea party you throw.

More suggestions

To see some options of other accessories for the Twenties wardrobe, take a look at A Gift of Handkerchiefs and Crochet a Twenties Wrist Bag.

The Creative Corner · Vintage Fashion · Vintage Sewing

Creating a 1920s Capsule Wardrobe

February 22, 2022February 19, 2022 VintageJenny

1920s woman in a skirt and matching suit jacket. The jacket has flared sleeves and hangs below her hipline. It is open in front. She wears a large hat with a large feather in the front. — Use a nice simple suit as the basis for your Twenties wardrobe.

If the fit and flare of the Twenties makes your heart flutter, look here for suggestions on creating a 1920s capsule wardrobe. As I’ve stated in an earlier article, the concept of the capsule wardrobe didn’t really appear until the late Thirties. Even though we’re still more than ten years ahead of the times, we can still use Twenties clothing to create a great versatile wardrobe.

You might think, after looking at various photos of 1920s clothing, that women wore nothing other than one-piece dresses. This is simply not true, which is a good thing for those who want to incorporate a 1920s capsule wardrobe into their costuming. Suits appeared at the business office, for various sporting events, and at the train station. They came into use quite often during travel because they made it possible to pack few clothes for many different days and occasion. Surprise! The 1920s capsule wardrobe at work during vacation and travel.

First, choose a suit as a foundation. It can be classic or faddish in styling, whichever you prefer. Either the suit above or the one below would prove a great starting point for a beginning 1920s wardrobe. All these photos date from 1922-1924, so they fit well together without trying to emulate the teenager “flapper” look. These are the clothes that real women wore in the Twenties before 1925.

Woman in a double breasted business suit with long skirt. 1922-23. She wears a close fitting hat on her head that matches the suit color. — This suit gives you a completely different look.

For a 1920s capsule wardrobe you only need one suit jacket to start with. The top example is more flirty and fun, while the bottom suit is more businesslike. Its jacket would work with a variety of skirts. Choose one that fits its intended wear. The best reconstruction in the world won’t work if you choose an after-five dress and all you attend are afternoon tea parties! You will look just a bit out of place wherever you go.

So, assuming that you plan to live during the daylight hours, a simple suit gives you a matching jacket and skirt. You could choose any color, from peach to dark brown, or from dark green to blue. Make it a color you like, and that you can build a wardrobe around. Remember, it’s hard to match pinks and reds with like colors unless the fabrics were designed to go together. It can be done, but it takes time, patience, and fabric swatches.

1920s striped skirt, almost ankle length, with a side front button and a small pocket placket at the right hip. — This skirt would look well made in either stripes as shown, or in a solid fabric.

This skirt blends well with the double breasted jacket. Or, if you prefer, here’s another, more dressy option.

1920s skirt illustration. The skirt hangs about six inches above the ankle, with drapes at both side seams that hang almost to the floor. — A slightly more dressy option to round out your wardrobe.

The skirt with side draperies on the bottom is actually much easier to construct than the tailored skirt above it. Either one would look nice as part of a small 1920s capsule wardrobe.

Of course, once you have your skirts all determined, you need blouses to finish the outfit. A 1920s capsule wardrobe shines here. Blouses and tops were popular, with distinctive designs and folksy embroidery. Here are some examples:

1920s illustration of long sleeve blouse with embroidered yoke. The sleeves tie at the wrist. — Blouse with embroidered yoke

1920s white long sleeve blouse with a long ruffly jabot that reaches almost to the waistline. The shirt has a soft turnover collar. — Make the jabot detachable and you have a blouse for a suit and one for an afternoon party.

Two 1920s blouses. One is a scoop — The scoop neck blouse works well with the flirty suit at the top, with or without the extra embroidery. Wear the blouse under the skirt.

With one suit, one extra skirt, and three blouses you have a total of six outfits, worn with or without the jacket. Because the jacket likely won’t work with all the tops you select, you can count on six ensembles instead of nine. Add a simple white silky top without too much decoration and the draped skirt above, and you have a nice dressy combination as well.

Once you have six workable pieces, enough to take up a few inches in your closet but no more, you can evaluate your new wardrobe and decide what additional pieces you need. In the next article I’ll give examples of add-ons that will take your small 1920s capsule wardrobe to the next level. Plus, it will become even more versatile.

History · The Magazine Rack

Ivy for Gold Star Mothers: a WWI Memorial

November 11, 2021October 13, 2021 VintageJenny

WWI photo of five service men clustered around an upright piano. The pianist plays a popular war tune while the there sing. One stands back, leaning on the piano, smiling. — Armistice Day: Remembering the boys who didn’t come home.

In the July 1920 issue of Woman’s Home Companion, a curious editorial snippet offered ivy to Gold Star mothers. The little article was so unusual that it caught my eye. Gold Star mothers lost their sons during World War I. The gold star established that this mother’s son enlisted, and this mother’s son died. The editorial said:

“Shortly after the declaration of the Armistice, in November, 1918, an American woman went over the Argonne battlefield with her husband. The sky was serene and the cannon had ceased to roar; but over and under and through everything was the ruin of war––the shattered, blasted trees, shallow ditches where men had taken hasty refuge, pits made by bursting shells, and mounds that still sheltered the dead where they had fallen.

The ivy

“But along with the gray desolation there was the hushed beauty and serenity of the ‘big timber’ forest itself. On the very top of one of the great hills the woman found some ivy growing. The broken branches of the trees around it were shriveled with the gases from the shells and blackened with fire; but the ivy was growing out again, a sign and symbol of life pushing forth anew in the midst of death.

He seemed so young to me, not yet nineteen, killed in action October, 1918.
a bereaved mother

“The woman dug up the ivy and carried it in a paper package on the five days’ motor trip back. In Paris, the French gardener at her friend’s house revived it. When it was time to sail for America, the ivy was at least alive. In her stateroom, homeward bound, she placed it near the air, and it suddenly began to grow. It has continued to grow ever since.

“Now there are hundreds of little ivy plants from that one shoot, and more are coming all the time.

The offer

“Any American mother whose son was lost in the war, and who would like to have one of these plants as a sign of green remembrance––and as a token from another American mother whose own sons are far too young to have been in the great war––is asked to write to Mrs. Frank Vanderlip, Scarborough-on-Hudson, New York. In writing, please give the boy’s name, regiment and number, and the mothers’ full name and address.”

The response

As I read the short editorial I felt my eyes burn with tears. And I wondered… what was the response? Did anyone take this lady’s offer and send for a plant?

Well, reading on, it seems that they did. The October 1920 editorial page contained an update on the ivy and the mothers who requested it. I’ll reproduce this part in full as well, because I think it brings us back to the real meaning of Armistice Day, and what it cost. It reads:

“Up to August 1st more than 400 mothers had asked fo these little plants, and been supplied. There were letters from every state in the Union.

With the hope that it will climb up to the window of the little room where my baby slept so few years ago. He was seventeen when he enlisted.
A bereaved mother

“A reading of these letters has been a most touching experience, and has brought a realization of the consequences of war which the dispatches from the front never did. Just what to call the little ivies seemed often puzzling, and the request might be for a spring, plant, cutting, slip, bud, seed, sprout, start, root, or shoot. But what matter? It was to ‘Plant on my dear boy’s grave’ or ‘With the hope that it will climb up to the window of the little room where my baby slept so few years ago. He was seventeen when he enlisted.’

They were so young

“Perhaps there is no thing in the letters more noticeable than the youth of those who have gone. ‘My boy was eighteen,’ the mother writes, or ‘twenty,’ or ‘twenty-two.’ There can be no quarrel with the use of the word boy. There is another term often used which tells this even more simply: my child. ‘He was our only child.’ ‘He seemed so young to me, not yet nineteen, killed in action October, 1918.’ And the brave attempt, old as sorrow itself –– which is the oldest thing in the world –– somehow to connect everything with the one one who is gone. ‘I think this piece, perhaps, may have come from the vine my boy may have seen there in the Argonne the morning he was killed.’

“The young ivy plants seemed to be good travelers. ‘It was hardly wilted’ came from as far away as Mississippi. ‘The sprout seems to be doing fine,’ writes another. And this, breathing enthusiasm and true optimism: ‘It is growing nicely. Had another leaf before a week.’ ‘I’m sure it will respond to affection. Flowers and plants know the touch of love quite as well as humans.’

“A pleasant thought cropping out in many letters is expressed by one mother when she says, ‘And when the ivy grows I will give slips to other Gold Star mothers, the same as you have done.’ In the meantime, Mrs. Vanderlip, whose ‘thoughtfulness, sweetness, and kindness’ is mentioned in almost every letter, has more baby ivy plants and she will gladly send them to those mothers who ask.”

Passing it on

Hopefully, those plants did thrive. And maybe some of the ivy for Gold Star mothers survived well enough to send cuttings to other Gold Star mothers, who treasured their little memory of green from France. Today many wear red poppies on Armistice Day to never forget. Hopefully the healthy green ivy helped these families to remember those lives cut so short by war.

Something a bit different

If the 1916-1920 time period intrigues you, you might enjoy Cinderella’s Confession. This dates from the same time period, and is an advertisement from 1919 changed the course of advertising history.

The Creative Corner · Vintage Needlework

Two-tone tatting patterns

November 9, 2021October 12, 2021 VintageJenny

Leaf and flower tatted in two colors. Bright pink and bright blue give contrast to the design of the lace. — Imagine this leaf and flower decorating a Twenties costume

Recently I wrote about two color tatting. You can find that post here. This time I will give the patterns for the flower and the leaf above. These two-tone tatting patterns were designed with color in mind.

Compared to the other two patterns these are much more difficult. You tat both of them in one round. In one way that’s nice because you don’t have to worry about a Round 2. On the other, however, you can see this means lots of twisting and turning in completing that round. This is not a pattern to complete in front of the television set, especially the leaf. The flower tats relatively repetitively once you get started.

As I mentioned last time, this pattern dates from September, 1927. I can’t imagine trying to complete this while chatting with a front porch friend. Actually, I don’t have to imagine it –– I attempted to begin the flower while chatting with another tatter and it took everything I had to follow the pattern and the conversation at the same time.

You may notice that the lines from the hexagon center seem wiggly. That’s because they are. In order to get this to lay flat you are either going to have to pull those center chains really tight, or remove 1 ds from both sides of each spoke. Or maybe both. I ended up with a cupped flower, which suits my needs exactly. I want to use this to decorate a Twenties style hat.

Without further ado, the patterns:

Hexagon/Flower two-tone tatting pattern

Fill two shuttles with two separate colors. Your rings will be one color and the chains another: thus, two-tone tatting patterns.

Make a ring of (3 ds, picot) three times, 3 ds, close. The middle picot should be a bit longer than the others. Reverse work.
Chain of (2 ds, picot) nine times, 2 ds. Reverse work.
Ring of 3 ds, join to last picot of previous ring, 3 ds, join to center picot of previous ring, 3 ds, picot, 3 ds, close ring. Reverse work.
Chain of (2 ds, picot) seven times, 2 ds. Reverse work.
Repeat Step 3.
Another chain like Step 2.
Ring of 3 ds, join to last picot of previous ring, 3 ds, join to center picot, 3 ds, join to first picot of first ring, 3 ds, close ring. This completes one compact group of four rings along the outside. Reverse work.
Chain of 5 ds, picot, 2 ds, picot, 9 ds. Reverse work.
Ring of 3 ds, picot, 3 ds, long picot (you will be attaching five more rings here), 3 ds, picot, 3 ds close ring. Reverse work.
Chain of 9 ds, join to last picot of long chain just made, 2 ds, join to next picot, 5 ds.
Ring like Step 1.
Chain of 2 ds, p, 2 ds, join to 8th picot of third long chain in preceding scallop, (2 ds, p) seven times, 2 ds.
Repeat from Step 3 around. When you get to the last long chain of the sixth scallop, join the 2nd picot to the 8th picot of the previous scallop as before. Also join the 8th picot to the 2nd picot of the first long chain to make a hexagon. In addition, join the last picot of the sixth center ring to the first picot of the first ring. Tie securely and hide ends.

This hexagon can be used for doilies, borders, or used as a single motif.

The Leaf

Everyone needs a good tatted leaf motif. Right? Especially if you are reconstructing vintage clothing or articles.

Two shuttles filled with two colors, as before. I knotted the ends to begin and then worked all the ends in later. This pattern begins with the top of the two rings on the far side.

Make a ring of 5 ds, (picot, 2 ds, picot, 7 ds) twice, picot, 2 ds, picot 5 ds, close. Reverse work.
Chain of 3 ds, picot, 2 ds, picot, 5 ds. Reverse work.
Ring of 4 ds, join to last picot of previous ring, 2 ds, join, (5 ds, picot, 2 ds, picot) twice, 4 ds, close ring. Do not reverse work.
Chain of 3 ds, picot, 2 ds, picot, 3 ds. Reverse work.
Ring of 5 ds, join to first picot of first chain made, 2 ds, join, (5 ds, picot) twice, 2 ds, picot, 5 ds, close ring. Reverse work.
Chain of 3 ds. Reverse work.
Ring of 5 ds, join to picot of second chain made, 2 ds, join to chain, (5 ds, picot, 2 ds, picot) twice, 5 ds close. Reverse work.
Chain of 3 ds. Reverse work.
Ring of 5 ds, join to last picot on ring to the side, 2 ds, join to next picot, (5 ds, picot, 2 ds, picot) twice, 5 ds, close, Reverse work.
Repeat Steps 8 and 9 until you have two more rings on each side. Do not reverse work.
After the last ring make a chain of 3 ds, (picot, 2 ds) three times. Reverse work.
Make a tiny ring of 3 ds, join to the side of the ring at the left, 3 ds, close. Reverse work.
Chain of 1 ds, picot, (2 ds, picot) 4 times, 1 ds. Reverse work.
Tiny ring of 3 ds, join to top of same ring, 3 ds, close ring. Reverse work.
Chain like Step 13 with 5 picots. Reverse work.
Tiny ring like Step 14 joining to next ring. Reverse work.
Repeat Steps 15 and 16 twice. (You should have 5 tiny rings total at this point.)
Chain of ds, picot, (2ds, picot) three times, 1 ds. Reverse work.
Tiny ring as before, joined to top of same ring as last ring. Reverse work.
Chain of 5 picots like Step 13. Reverse work.
Tiny ring joining to top of next ring. Reverse work.
Chain of 5 picots like Step 13. Reverse work.
Tiny ring joining to side of current ring. Reverse work.
Chain of 6 picots as before (add one more 2 ds, picot to make 6). Join to the top of the third ring you made (next in line as you progress around the leaf). Do NOT make a tiny ring to join. Then chain ds, picot, (2 ds, picot) twice, ds. Reverse work.
Tiny ring as before (3 ds, join, 3 ds) joining to the top of the next ring. Reverse work.
Chain of ds, picot, (2 ds, picot) twice, ds. Reverse work.
Tiny ring joining to top of next ring. Reverse work.
Chain of 6 picots. Reverse work.
Tiny ring joining to top of next ring. Reverse work.
Chain of ds, picot, (2 ds, picot) twice, ds. Reverse work.
Tiny ring joined to side of current ring.
Chain of 4 ds, join to 2nd picot of chain with which you started. Then for the leaf stem chain 6 ds, picot, 2 ds, picot, 12 ds, join to last picot made, 2 ds, join to next picot, 6 ds, join to picot where stem started, and fasten off.

As you can see this is a rather long set of instructions. Once you begin and get the rhythm you will be able to check every now and then to ensure you’re on the right track, stopping to count every couple rings or chains to make sure you’re in the right place.

How will you use them?

What uses can you imagine for these two pieces? Do you prefer them in two colors, or one?

The Creative Corner · Vintage Needlework

Tatting with Two Colors

October 28, 2021October 12, 2021 VintageJenny

A tatted leaf and flower in tatting. Both are created with vibrant blue and pink threads. — Effective use of color in tatting

Most of the time beginning tatters start with one thread color. For one thing, a single ball of thread is cheaper than two. Especially if someone embarks on a new hobby unsure if they will like it. As you can see above, however, tatting with two colors can be quite effective. Today I will give you patterns for several two-color designs.

Today many tatters incorporate color into their work. During the Twenties, however, almost all tatting was white –– or at least one solid color. That’s why the designs above caught my eye. They appeared in the September 1927 edition of Needlecraft Magazine.

You can see the influence of the 1920s in the leaf and the flower. These would look magnificent fastened onto a Twenties cloche or other style of hat as decoration. The leaves alone would bring a lively look to a Twenties outfit, marching in a vertical row down one side of a dress or jacket. If you pull the spoke stitches very tight, the flower should lie flat. (You may need to subtract a stitch from each spoke, however.) If you leave the spokes the tiniest bit loose, your tatting will cup like a flower. Your choice. Even in the original illustration the spokes did not lie completely straight.

Because a couple of these patterns are rather lengthy, I’ll present two this time and two in a later post.

You will need

For all these tatting with two colors patterns you will need two balls of thread in any colors. High contrast colors like the pink and blue I used work better, but if you want a subtle effect white and lavender, light blue, light green, or light pink would work too.

I tatted all these in size 20 thread. Use whatever size you enjoy working with, or the size that will best fit your final project.

I also used two shuttles, one filled with each color of thread, but you can use a shuttle and ball if you prefer. The most effective (and easiest) way of tatting with two colors is to use one color for chains and the other for rings.

A simple edging

Simple tatted edging of bright pink rings and bright blue chains in a straight line. — The simplest of edgings looks great in two colors

This edging is simple enough for any beginning tatter who knows how to make rings and chains.

Make a ring of (3 ds, picot) three times, 3 ds, close ring. Reverse work.
Chain of 3 ds, picot, 2 ds, picot, 3 ds. Reverse work.
Ring of 3 ds, join to last picot of previous ring, (3 ds, picot) twice, 3 ds, close ring.
Repeat from Step 2.

This makes a nice edging for handkerchiefs done in a fine thread, or anything else small that needs a trim.

Two rows of bright pizzazz

Deeper tatted edging in two colors. Most of the edging is bright blue. A bottom scalloped edging is formed of bright pink rings. — The original called for all rings to be the second color but it took away from the overall effect.

You never know when you will need a good scallop pattern. This one makes neat, orderly scallops to trim something special. It’s made in two rows. Originally the instructions said to make all rings the second color, but that broke up the color concentration in the scallops. So instead I completed the first row and attached the ball thread to my blue-thread shuttle for the second row. Then I made the rings with the shuttle and the chains with the ball.

Row 1

Make a ring of 4 ds, picot, (2 ds, picot) three times, 3 ds, close ring. Reverse work.
Chain of 6 ds, picot, (2 ds, picot) twice, 6 ds, picot, 2 ds, picot, 6 ds. Reverse work.
Ring of 3 ds, join to last picot of preceding ring, 2 ds, join to next picot, (3 ds, picot, 2 ds, picot) twice, 3 ds, close ring. Reverse work.
Chain of 3 ds. Reverse work.
Ring like Step 3, joining first two picots to last two picots of preceding ring. Reverse work.
Chain of 3 ds. Reverse work.
Repeat Step 5.
Repeat Step 6.
Repeat Step 5.
Repeat Step 6.
Repeat Step 5. (Six total rings made so far.)
Chain of 6 ds, join to last two picots of preceding long chain, 6 ds, picot, (2 ds, picot) twice, 6 ds. Reverse work.
Ring of 4 ds, join to last picot of preceding ring, 2 ds, join to next picot of preceding ring, (2 ds, picot) twice, 4 ds, close.
Repeat Step 2.
Ring of 3 ds, join the first two picots to last two of preceding ring, 3 ds, join to picots 3 and 4 of last large ring, 3 ds, picot, 2 ds, picot, 3 ds, close ring. Reverse work.
Repeat from Step 4 for the length required.

Row 2

Either use one color for the chains and the other for the rings as before, or tie on your ball thread and use that color for rings and chains for this row.

Make a ring of 5 ds, picot, 5 ds, join to first of 3 picots at top of long chain, (2 ds, join to next picot) twice, 5 ds, picot, 5 ds, close ring. Reverse work.
Chain of 5 ds, picot, 5 ds, picot, (2 ds, picot) twice, 5 ds. Reverse work.
Ring of 5 ds, join to last picot of previous ring, 5 ds, join to chain picot, (2 ds, join to next picot) twice, 5 ds, picot, 5 ds, close ring. Reverse work.
Repeat from Step 2 across.

Use them!

Need a thin narrow band and don’t have ribbon? Use tatting in two colors! Tat the first pattern in two colors for a great replacement. Looking for something a bit thicker? Make the first pattern twice, either connecting ring to ring or chain to chain. This creates two entirely different looks.

I’ll present the patterns for the leaf and flower in a later post. To explore other possible patterns that would look good in two colors, check out this post on Tatting with Rings and Chains.

The Creative Corner · Vintage Needlework

Projects Using Buttonhole Stitches

October 26, 2021September 27, 2021 VintageJenny

Last lesson we looked at buttonhole stitch embroidery. If you missed it, you can locate that lesson here. This time we’re going to look at projects using buttonhole stitches.

People rarely look at the buttonhole stitch and think Wow, I could create an entire project with that! Usually needleworkers use it as an edging. Let’s change that with our dive into Twenties projects using buttonhole stitches.

First, we have The Lonesome Pine pillow that was featured in the last lesson. You’ll find that the Lonesome Pine motif appears quite often in Twenties and Thirties needlework. The term appeared with the publication of a romance called The Trail of the Lonesome Pine in 1908. The book made quite a splash as a romance and it’s still in print.

The Lonesome Pine Pillow

A pillow made from heavy linen. On it is embroidered a pine tree on a hill. The hill and the tree area green. A sun sets in the distance. The sun is orange.

Here, in all its glory, is the Lonesome Pine Pillow. Isn’t it a beauty?

These pillows were often filled with balsam pine needles. It brought the fresh pine air into the room and smelled like the outdoors during months that those who lived among pine trees were stuck indoors.

You don’t have to fill your pillow with pine needles, though. You can use a pillow form or stuffing. That’s what I would do.

This pillow is made from a rough, relatively heavy fabric. The original instructions called for homespun, but you could use heavy linen, a drapery fabric in a neutral shade, or a heavy cotton.

Doing the embroidery

The article called for the pillow to be embroidered with yarn. By “yarn” they probably meant crewel wools, or wool yarn specifically spun and plied for hand embroidery. In the US, The Gentle Art’s Simply Wool is available from needlework shops. In the UK, you can’t go wrong with Appleton Wools. They’ve been around since William Morris was designing tapestries in the 1880s.

The entire 14 x 15-inch pillow is worked in simple buttonhole stitches. Although you can alter anything you like, this project means to be an easy introduction to using the buttonhole stitch as an art needlework stitch.

Use leaf-green for the pine tree and the grass, and two shades of tangerine orange for the setting sun: the darker shade for the two inner rows and the lighter shade for the two outer rows.

Work the sun first

The sun must be worked before the grass, because the grass covers the edge of the sun embroidery. For the grass use irregular long and short buttonhole stitches of varying length, from 1/4 to 1/2 inch, making each step 1/8 inch different from the one before or after. All the grass blades point straight up.

On the tree the needles hang down, with the purling of the buttonhole stitches resting on the upper end of the boughs. The bits of trunk which show are made with two or three vertical stitches.

Here’s how to do it:

Obtain a piece of fabric that measures 16 x 29 inches.
Fold the fabric in half and transfer the design. It should be centered side to side and about 1 1/2 inches from the fold. The fold will be the bottom of your pillow.
Embroider the design in buttonhole stitch using your green and orange threads.

When you’re finished, fold the fabric so the right side of the embroidery is on the inside and sew around the three sides, leaving a big enough gap that you can turn the pillow inside out. Use a 1/2-inch seam. Stuff with the pillow form or stuffing and sew the opening closed with a slip stitch. A 15 x 15 pillow form can be squeezed to fit into this cover, or you can shorten it an inch with the sewing machine and cut off the extra before stuffing it into the cover you embroidered.

If you don’t have a pillow form the right size, take an extra large 1 inch seam along the wider sides, making your pillow 14 x 14 inches.

The design

Here is the design for the pillow. Print the two single pages to fill an entire 8.5 x 11 inch page, then overlap to trace.

The work bag

A tote bag of heavy linen, embroidered with a multi colored bird with a long tail.

This work bag is a little more complicated than a pillow. It’s designed to carry a 1920s needlework magazine along with the materials you need for a project. Thus arrayed, you appear at the next sewing circle in style!

You can make the bag from the same fabric you used for the pillow. You need a piece of fabric that measures 14 x 34 inches. Cut one long 2 1/2 inch piece off the side, so your pieces now measure 2 1/2 x 34 and 11.5 x 34. The thin strip becomes your handles.

You will also need some kind of firmly woven cotton lining, a sateen or comparable fabric, cut 12 x 30. Choose a color to that harmonizes with your bag. Fold the fabric in half so you have a rectangle that measures 12 x 15, wrong sides together. Sew a 1/4 inch seam up each narrow side so the rectangle measures 11.5 x 15. Turn it right sides together, sew another 1/4 inch seam in the same place you did before (you’ve made French seams so they won’t fray). Leave it this way, with the right sides on the inside, and turn a 1/2 inch hem along the top. Press the hem and leave it until you need to insert it into the finished bag.

Handles first

Turn in 1/4-inch along each long side, and then fold in half lengthwise. You should have a strip 1 inch wide. Cut it in half so that you have two strips 1 inch x 17 inches.

Using a sewing machine, sew the strap together 1/8 inch from the long turned edges.

OR, if you prefer, you can cut them in half to measure 17 inches in length. Then sew with a 1/4 inch seam allowance along the long edges of each strap. Turn right side out, and press.

Now the bag

The instructions for this suggest that embroidery decorates both sides of the bag, and they are identical.

Print the design to fill a whole 8.5 x 11 inch page. Transfer the bird and lines twice, extending the lines to 2 inches from the top and bottom edges of the fabric.

The first half circle is included. Duplicate the smaller three rings of the circle in the appropriate places on the fabric.

Colors you will need

The bag calls for the same type of crewel yarn as the pillow above. Pearl cotton might work well in lieu of wool if you can’t find any or don’t have wool. Use size 5 pearl cotton.

tan
turquoise blue
brilliant orange
pale yellow
deep yellow
medium orange
brown

How to work the embroidery

Work the long tail feathers of the bird with close (together) buttonhole stitch. Bring the stitches close to the central vein of the feather and place the purls on the edges. With the blue, back stitch over every two threads using the blue. Make the back stitches close to the purling.

Work the front part of the bird with the blue in Brussels net stitch. Catch the stitches into the material at each edge, and let the center stitches float. Make the loops at the back of the neck shorter while you allow those on the breast to be a bit longer. This will help give you the correct curve. Finish the outer edge of the bird’s head and body with close back stitches in blue. Use these to hide the ends of the buttonhole stitches.

For the eye, make one chain stitch in bright orange.

The back of the bird, beyond the spread wings, is made from four rows of buttonhole stitch. The outer row is pale yellow, then deep yellow, followed by medium orange and brilliant orange last, closest to the front part of the bird.

The lower edge of the wings are outlined with a row of chain stitching in tan. The top row of each wing is buttonholed in brilliant orange. The next row down is brown. Then two rows of tan. Work the second row of tan into the chain stitches all across the wings. Just outside the chain stitches, work a row of back stitches in blue.

The borders

Work the outer row of the half circles in tan, with blue back stitches across each two strands, just as you did for the tail feathers. The next row is brown, the next deep yellow. For the larger half circles that contain four rows, make the inner row light yellow. Work all the half circles before working the straight vertical lines.

The straight lines which run from bottom to top of the bag are worked in tan. You will continue these tan lines on the handles. Work both sets of lines in fish hook stitch with the hooks facing the insides, towards each other.

Finishing the bag

Before making up the bag you need to turn a 1/4 inch hem all the way around. For the first two inches from the corners and across both ends, turn the fabric to the RIGHT side. This portion will fold to the outside to make the decorative flaps. For the rest of the bag turn the hem to the WRONG side. You will cut a small slit, just shy of 1/4 inch, into the edge of the fabric where you want to turn from back to front and back again.

If you are using a heavy fabric, you don’t have to sew a hem. Simply turn the 1/4 inch, press it, and pin it. Finish the entire edge with a blanket stitch, making the stitches a bit short on the sides. In other words, they need to be closer together than they normally would in a true blanket stitch. Use the photo as a guide.

When you get to the corners, space the stitches around the curve enough that you can fit a back stitch of blue between the stitches later. Finish off the top two inches of each bag with the blue back stitches before continuing.

Fold the bag together, embroidery facing out, and fagot the sides of the bag with blue. At the top of the bag, fold the flap down, and make a small buttonhole loop joining the front and back flaps together at the fold. Repeat for the other side.

Now tack the flap down with a few blind stitches.

The handles

Remember the handles that you finished first and set aside? If you haven’t already, embroider two strips of fish hook buttonhole stitch on each handle, 1/2 inch apart, in tan.

Attach the handles to the bag so that the embroidery lines are continuous up one side of the bird, across the handle, and down the other side of the bird. You will want them sewn more than 1/2 inch below the fold on the inside so that the lining covers the join.

The lining

You probably finished the lining at the very beginning while you were gathering supplies. If you have it ready, sew it in now. It should fit just inside the bag and sit about 1/2 inch below the top fold line.

You did it!

Whew! That was a lot of work. Do you like it? It’s a bit amazing, isn’t it, that projects using buttonhole stitches can turn out this varied.

Vintage Needlework

Buttonhole Stitch Embroidery

October 21, 2021September 26, 2021 VintageJenny

1920s photo of an embroidered pillow. A pine tree stands on a hill while the sun sets. Text: The Lonesome Pine Pillow. — This vintage pillow is embroidered completely with buttonhole stitch variations.

If you’ve never explored buttonhole stitch embroidery, you are in for a treat. Use this one stitch movement in many different ways for various effects. This is Lesson Four in the Beginning Embroidery Lessons series from 1927-28. If this is your introduction to the series, after reading this you may want to start at the beginning with Lesson One.

Buttonhole stitch

Although we know this stitch as the Buttonhole Stitch, it isn’t the stitch we use to actually work buttonholes. Very close, but not the same. This stitch — which you are probably familiar with if you’ve done any embroidery at all — is worked left to right, with the finished edge closest to you. You hold the loop still with your left thumb while passing the needle over it, and pulling it tight you get a nice little purl along the edge.

Made very close together and firm, this stitch serves well as a finished edge, with the rest of the fabric cut away (Hardanger embroidery and linen embroidery both use this technique). This way the finished edge doesn’t fray.

When you work the regular buttonhole over a turned hem, the stitches can be further apart. They still need to be even and regular.

Long and short buttonhole

Make this variation by alternating long stitches with short ones. If you like, you can change it further by taking two or three stepped stitches up to a long stitch and then two or three steps down. This creates more of a pyramid shape, and it goes in and out of popularity.

Blanket stitch

This version of the buttonhole stitch got its name from its use for thick fabrics like blankets. Too thick to hem normally, the blanket stitch held everything in place.

For this stitch, make regularly spaced buttonholes whose length is about the same as the space between them. One variation of this stitch is shown below. Complete the blanket stitch first, and then insert back stitches between the stitches. You can use the same color for both passes, or different ones.

Illustration of buttonhole stitch with back stitches in between each stitch.

Grouped buttonhole stitches

This variation actually begins with a chain stitch. Work the chain stitch line first, on one side of the space to be embroidered. Then work the buttonhole stitches into the lower loop of the chain stitch and into the fabric below. Leaving a little space between every two or three stitches makes a lacy effect.

If you like, you can work back stitch over each group of stitches close to the purl. Done in one color, this emphasizes the texture of the stitch. Done in two colors, it emphasizes the color changes. Making the chains and back stitches in one color and the buttonhole stitches in another can be very effective.

Circular buttonhole stitch

When filling in a circle or working a flower, the buttonhole stitch is worked around a center point. Take almost all the stitches in the same place, letting the buttonholes surround the edge of the circle. When doing circular buttonhole stitch, occasionally take a short stitch as you move around the circle so the stitches don’t crowd one another and pile up in the center.

Cretan Stitch

Image of New England stitch, a modified buttonhole stitch that makes leaves.

This filling stitch is based on the buttonhole stitch, but the purl comes in the center rather than at the edge. It’s also sometimes called the New England Stitch. These leaves appear often in the blue and white Deerfield embroidery as well as folk embroidery from central Europe.

To make this stitch, the needle goes in at the line, first on one side and then the other, and it comes out beyond the center line on a slant. Taking a stitch to the right and then to the left makes both the leaf shape and the center purl.

Buttonhole loops

Image of buttonhole stitches worked over a loop.

While you may be familiar with these to hold buttons in place on the back of a dress, they also function to heighten interest within an art needlework piece.

Little buttonholed loops are a happy addition to a flower. They provide good filler for narrow spaces, one loop after the other.

To make it, carry two or three threads across the fabric and then covered closely with buttonhole stitches.

Fish hook stitch

Image of buttonhole stitches worked vertically to resemble fish hooks.

This stitch gets its name from its appearance. A vertical buttonhole stitch works well for thin lines and flower stems.

To make this stitch, put the needle into the fabric and bring it out on the line, keeping the thread always on one side. For a different effect, throw it first to the right and then to the left like the illustration below.

Image of buttonhole stitches worked vertically, alternating from left to right, to look like fish hooks.

Fagoting buttonhole stitches

Image of two rows of buttonhole stitches worked parallel. In between them a thread laces from bar to bar to create a looped stitch between the two rows.

For wide stems or lines, work two rows of blanket stitches close together. Then join them with a fagoting stitch, work from side to side, passing the needle under the loop between the blanket stitches to unite them. This is also good for filling long, narrow leaves. Edge the leaves with chain stitch first to give them a finished look.

Brussels net stitch

Brussels net is also a variation of the buttonhole stitch. Made almost entirely on the surface of the fabric, work a row of stitches into those of the previous row. Work back and forth across the space, catching only the end stitches into the fabric.

This is actually a needle lace stitch rather than embroidery, but it’s useful for filling open spaces in embroidery.

Flower buttonholes

Buttonhole stitches worked in groups of three, with the long ends together to look like bells or flowers.

Here little groups of buttonholes gather like flowers. They sit completely detached from one another, sprinkled on the fabric.

Buttonhole stitches worked in groups of three along an edge. It looks like a row of flowers.

Or you can set them in a row for a dainty edging. This works well to cover a narrow hem with embroidery. Possible uses include handkerchiefs, dinner napkins, or underlinen like slips.

Next up

The next time I’ll give you a couple options for using these new stitches, drawn from the original article.

Parties and Visits · Vintage Entertainment

Vintage Halloween Party Games

October 19, 2021September 25, 2021 VintageJenny

Twenties illustration of two jack o'lanterns looking down at the head of a small child who is pretending to look scared.

You’re planning a great vintage Halloween bash. You gathered and made the decorations (in Halloween Party Part 1). You mastered the menu (in Halloween Party Part 2). But what are you going to do? That’s where the vintage Halloween party games list comes to your rescue.

Fortune telling

Fortune telling is, hands down, the favorite activity at 1910s – 1930s Halloween parties. Some partygoers read tea leaves, while others burned chestnuts in the fire in pairs to determine the “fate” of two partygoers. Others used special or not-so-special decks of cards.

An easy way to “tell fortunes” is to come up with a list of silly or serious fortunes. Print them one per line and cut them into strips, then fold them and put them into a bowl or Halloween container. Let everyone pull one and read their fortune to the group.

Another option is to designate one of the participants the Fortune Teller. This person should come dressed appropriately for the role, or assume it right before fortune telling time. A long cape is nice; a dark shawl would work too. This doesn’t have to be fancy to be vintage authentic. If your fortune teller is known among friends as a master of improvisation, then they can wing it with each seeker. Otherwise, providing a bowl of pre-made fortune slips like those mentioned above would help.

Costumes

Costumes can be fancy, not fancy, or not at all. If the idea of authentic crepe paper costumes interests you, this How to Make Crepe Paper Costumes from 1925 is a treasure of information. This, and several others like it, live at the Internet Archive.

The general idea behind costumes in the 1920s was thrift. Costumes could be made from almost anything as long as the materials didn’t cost too much. Since this usually proved a one-time wearing, the Twenties denizen wasn’t about to spend a lot of hard-earned cash on something that would end up in the fire or in the back of a very narrow closet. Manuals on masquerade from the period begin with a statement on purchasing the cheapest stuff available to make a costume that will only last one night. Whether a Santa costume or a Halloween harlequin, the feeling remained the same.

If everyone wears costumes of some kind, it’s traditional to send them home with some kind of prize. Possible categories include: Best Vintage Costume; Scariest Costume; Funniest Costume; Least Expensive Costume; Most Traditional Costume, etc. A great prize would be a taffy apple on a stick. They’re already taking home candy from the dinner table place settings, if you made the favors from a previous post. Door prizes during the Twenties were useful, ornamental, or edible. Think handkerchiefs, small potted plants, and seasonal food.

Candy pulling

Many autumn and winter parties included candy pulling during the Teens and Twenties, and Halloween parties were no exception. Candy pulling gave partygoers something to do and they took home some of the spoils. Odd as it seems, this is one of the vintage Halloween party games that people looked forward to. Taffy is easy to make and fun to pull with a group. Make sure you have a lot of cold butter on hand, or a nondairy equivalent, to keep the candy from burning your hands if you grab it when it’s too hot.

Here’s a recipe for pulled taffy:

Molasses Taffy

1 1/2 cups Molasses
1 1/2 cups sugar
1 1/2 teaspoons vinegar
1/2 cup water
1/4 teaspoon salt
3 Tablespoons butter

Combine molasses, sugar, vinegar, water, and salt into a large heavy saucepan. Place over low heat and stir constantly until sugar is dissolved. Bring to a boil, and keep at a light boil until the mixture reaches 240º F (soft ball stage).

Add the butter. Boil slowly until mixture reaches 265º (hard ball stage). Stir frequently while it reaches the target temperature.

Remove from the stove. Wipe any crystals from the top of the pan and pour the taffy quickly onto an oiled or buttered surface. You can use a shallow pan with sides, a platter, or a marble candy making slab.

Pull that taffy

Let set until cool enough to handle. Everyone pulls off a handful and works it between their hands, pulling it into a strand, folding back upon itself, and pulling again. You will pull and fold, pull and fold, pull and fold until the taffy becomes lighter in color and with a glossy, satin sheen. This will take a while… you and your party guests will pull for about 20 minutes.

If you find the taffy sticky, butter on your hands should help. Laughter and chatter add spice to the candy making time.

Once the taffy is soft, light-colored, and shiny, you can stretch it out into a long rope. Make it the diameter of the candy you want to eat. Use kitchen shears to cut the candy into bite-size strips, and roll in waxed paper squares.

Here’s a great little video that shows the process of making taffy.

Ghost stories

Telling ghost stories at Halloween parties is as old as Halloween parties themselves. Just like ghost stories were a tradition at Christmas time, they also became a tradition for Halloween.

Look no further than Project Gutenberg for more ghost stories than you could use in a lifetime of Halloween parties. Whether you want modern stories from the Twenties by Dorothy Scarborough or traditional stories by Charles Dickens, you have your pick at this Project Gutenberg page. Select a few of your favorites and be prepared to share them with your guests. Or enlist another partygoer who tells tales really well to locate a few stellar stories and share them with the crowd.

A few of these stories, told while everyone waits for the taffy to cool before pulling, will help while away the waiting minutes.

Or gather round the fire, turn the lights low, pass around the Witches’ Brew cider, and tell tales that will make your guests shudder in the half-light.

Best wishes

I hope you have a tremendous time with your vintage Halloween party games as you recreate a truly vintage Halloween party.