Since there are many different types of bags and combinations of materials, care must be used to insure good results in cleaning and restoration.

Leather – The same methods as described for shoes can be used. If absolutely necessary to use dye, be sure to buff the bag thoroughly and use Lexol afterward. Test on a rag to be certain nothing will rub off on your good clothes.

Cloth – Includes cotton crochet, linen, and other washable fabrics. Follow instructions given in article on Care of Antique Garments for washing and sunning if white. If colored but faded, the bag may be re-tinted or if badly stained dyed a darker color. Dyeing can be tricky, and the color may turn out too bright, so remove from the dye a little before you think it’s the right shade. Bags of silk (either crochet or fabric) should be cleaned in cleaning fluid such as Varsol, again as described in Garments article.

Beaded – All types (solid beads and designs on fabrics) may be cleaned in Varsol. The silver frames on most of these may be shined using any good silver polish, or the treated dry cloth type is good where there may be danger of getting water or polish on a non-washable fabric. If some of the dangly bead trim is gone off the bottom of one of these purses, the only cure is to remove all of them and re-string, redistributing them evenly. If the purse has a rounded bottom, you may be able to stitch the uppermost ones to fill in the gaps, if not too many are missing. Some of these beads are too small for even a beading needle (heaven only knows how they were strung in the first place) – if yours are, stiffen the tip of the thread with nail polish, and use this as a needle.

Since authentic hats are so difficult to find, those you do have deserve the very best of care. You will find a stockpile of authentic ribbons, flowers, feathers, etc. invaluable, since so many old hats seem to have been stripped of their trimmings, or the trims are crushed beyond repair. For absolute authenticity, use only silk, velvet, or cotton trims, never rayon or nylon. If the hat is totally devoid of trim, study old magazines of the appropriate period for ideas.

Most velvet and velour-type hats seem to be made over a buckram base, and if these are crushed out of shape, they can often be helped by steaming from above and pushing gently underneath, holding in the proper shape until cool. Dust and lint may be removed by gentle use of a soft clothes brush. Steaming also helps revive any crushed spots in the velvet – brush against flattened area gently with a toothbrush while still damp.

Lingerie hats must be completely dismantled in order to be sure the frame does not rust when it is washed, and ruin the covering. This is quite a job, and if it will be some time before the hat will be reconstructed, a sketch should be made, with measurements, so that you can be sure everything goes back on correctly.

Straw hats may be cleaned by using a wet toothbrush, getting down into all the little cracks. If the straw is of more than one color, be careful not to get it too wet, and only work on one color at a time, to avoid running the colors together.

One of the most frequent complaints heard when an old dress, blouse, or other white cotton or linen garment is found is, "But it’s so yellow and dirty-looking!" Well, after fifty or sixty years of lying forgotten in the musty confines of a trunk in someone’s attic, it’s no wonder. Fortunately, whitening of such items is not really such a problem, and offers an interesting challenge that gives a real sense of accomplishment when one sees the dramatic change from dingy brown to sparkling white. After some twenty years of experimentation, the following methods have been found most satisfactory.

Check entire article for places requiring mending, as washing may sometimes aggravate the tears or weak spots. Mend neatly, reinforcing weak places with additional material if necessary. A recent innovation, at least for me, is a product called Stitch Witchery, available at most fabric stores – it is a bonding agent that looks like a thick cobweb, not an iron-on material, and must be used between two layers of fabric – an ideal situation for the antique clothes mender! On very delicate, sheer old materials, a thin fabric is the best choice for the "back-up" material. Somewhat heavier cloth may be used on heavier clothing, but generally to avoid undue stiffness, do not use anything too heavy. One of the best things I have found to use under very thin materials are the ordinary nylon headscarves so popular now – they can be had in a wide variety of colors, and are the sheerest fabric without holes, such as tulle has, that I have located. It may be desirable when using these scarves with Stitch Witchery, to press for a shorter period of time, to prevent bleed-though of the bonding material. Otherwise, just use as the Stitch Witchery directions indicate. If you have not used Stitch Witchery before, it may be helpful to practice a little with a scrap piece of torn cloth, similar to what you wish to mend. It is generally best to use old fabrics to mend in places that the fabric will show, or in replacing trim or other portions that are beyond repair, to avoid the "new" look. A used clothing store is usually an excellent source for such materials.

Wash gently by hand using a good mild liquid detergent – I find Palmolive to be the best. Change the soapy water at least twice, and let soak if extremely soiled. Rinse thoroughly numerous times, to remove all traces of soap. Do not wring, just gently squeeze the water out. Be very careful at all times in handling the wet garment, as wet material is particularly weak and the weight of the water is very hard on the fabric. Don’t worry if it doesn’t look too white yet!

Spread on the grass in the sun (the hotter and sunnier the day, the better). Keep wetting and turning the article over, exposing all surfaces to the sun. Sometimes, if the spots are particularly stubborn, this sunning process must be repeated for a number of days until the article is satisfactorily whitened. Bleach (chlorine type) is very hard on old fabrics and should never be used until all other methods have been tried. The newer sodium perborate bleach, Clorox 2, and such products as Axion, Biz, and Spray ‘n Wash may be used with caution, according to package directions, if the sun treatment fails, which happens only rarely. Of course, never use any of these methods on anything colored without trying on a hidden portion first, as the old dyes were none to stable.

For rust spots on white washables, try using lemon juice and salt sprinkled on the spots and place in the sun. If this fails, the spots may be made less noticeable by dampening them and rubbing with chalk after ironing.

After whitening, once again wash and rinse thoroughly. Garment may be rolled in several dry towels to absorb excess moisture. Dry garment, but do not hang up – a sling may be rigged between two clotheslines, using a sheet, and the garment laid on this to dry, thus preventing strain on the wet fabric.

• Clean light-colored garments first, darkest last. Fluid may be saved and used again if dirt is allowed to settle and clean portion is returned to can. Work must be done out of doors and away from any type of flame, using plastic gloves to protect the hands. Rubber gloves will swell if they are in the fluid for any length of time. A plastic or porcelain basin may be used.
• Check garment for spots and put a safety pin in each one so they may be located after the garment is wet.
• Immerse the article, squeezing the fluid through the fabric gently, keeping in mind wet fabrics are weak. Let soak a while, then gently squish and rub the placed marked by the safety pins, removing each pin as you go.
• Squeeze fluid from article and hang in the shade to drip dry – do this over concrete, as it will kill the grass. Heavy skirts and weaker fabrics may be hung over several hangers to keep the strain off the material as much as possible. Heavy drippings may be caught in the event it is desired to save the fluid for another time. Several days are usually required for the odor of the cleaning fluid to subside after the garment is dry.
• Press with a steam iron on the wrong side, or use a press cloth.

"The modes of the present and coming summer call for this artistic wearing of earrings and bracelets, as most in keeping with the slender silhouette. Earrings have their use not only to show the beauty of a dainty ear, but to draw attention to a softly tinted cheek, to develop the oval of a face and to contrast with a clear skin. Long earrings and round Gypsy hoops, glowing round earrings of Florentine coral, oddly shaped Baroque pearls, pendants of seed pearls, and of jet and onyx, are fashionable. And bracelets to display the grace of a slender arm, necessary to the days of short sleeves, are plain, chased, or hand-engraved, many beautifully stone-set, others wonderful flexible snake- and novel woven straps with buckles."
^{"Needlecraft" – April 1912}

Contrasts

"Almost inevitably we look for contrasts this season, and contrasts can be so handled as to be brilliantly successful. We have only to avoid garish color effects, and the attempt to copy exceptional combinations. Colored boots are being sold in prune, Russian green, russet-brown, and other colors. And with the afternoon toilette go shoes cut very low, and made to match the dress in color; or, should a black gown be worn, of any color introduced by the trimming or the belt. As a rule, it will be observed that black shoes are in good taste. The reason is not far to seek. They make the feet look smaller than when the shoe is of the colored variety. That is a good and all-sufficient reason for the choice."
^{"Needlecraft" January 1913}

"It is good fashion to wear a band of black velvet ribbon around the throat with either morning or afternoon costumes. A narrow band of black moiré ribbon fastened at one side with an antique paste buckle is often worn instead of the velvet."
^{"Needlecraft" – November 1913}

"Ostrich feathers are much in favor this season. Although the ostrich feather is quite costly it will serve for many seasons on both summer and winter hats." (Underlining mine.)
^{"Ladies Home Journal" – September 1906}

The most interesting of the new veils are imported. French women, it is said, are not paying much attention to veils this season, but American women always like them. They are called novelties. Like many new things, this novelty veiling is expensive – partly because it is a novelty and partly because it is well made. The mesh is of rather heavy cotton threads, woven together to form lace like patterns on various sorts of backgrounds. Some of the grounds are almost tulle-like fineness, and some are lined heavily with threads running parallel to one another, all in one direction, from end to end of the veiling. Some have checked backgrounds, squared off with heavy threads. This veiling is made in both black and white. These new veils are worn trimly and snugly fitted over the hat brim, and are then drawn over the face, slacked a little over the point of the nose and chin, and pulled in in folds about the neck. They are held together at the base of the hair with veil pins or hairpins. Unlike much that characterizes the present fashions, they are the epitome of neatness. If they are not drawn firmly and smoothly over the hat and hair, they are not smart. Lace veils, to be worn loosely with the larger hats, are still fashionable. They are as varied in design as in price, and that is saying a good deal. The preference is given to a design which shows a rather small, decided motif, repeated with mathematical preciseness. The big, showy all over design is not so much in favor as this small, equally striking pattern."
^{"Needlecraft" December 1913}

"To wash Battenberg lace, make a good suds of white soap and cleanse by ‘sousing’ the piece up and down, never rubbing or wringing it, rinse in several waters, and dip in very thin starch, squeezing out, not wringing. Place a sheet on the carpet and pin your doilies, centerpieces, or other work to this, being careful to pin out the points neatly. When dry, take a piece of cheesecloth, place it over the lace as it lies on the sheet, and press with a hot iron. Treated in this way, the lace will look almost as good as new, and will last for years." (Generally sounds all right, except I would use a good liquid detergent, such as Palmolive, and also would hesitate to use starch, as it may attract bugs which could eat holes." – Claire)
^{"Needlecraft" March 1913}

Lengthen Children's Dresses

"To lengthen children’s dresses when the material is yet good enough to pay for doing it, put a strip of insertion above the hem. Sleeves may be lengthened in the same way." (This idea could also be used to lengthen an antique adult’s dress, if only a little more length is needed. – Claire)^"
"^{Needlecraft" October 1914}

"When a somewhat long skirt is worn, perhaps for an evening, and under a wrap, it can be trimly shortened for the time being by tying a ribbon or hooking an elastic band rather snugly around the hips. The skirt is drawn up though this and allowed to blouse over, hidden by the wrap. This is a wet-evening hint." (Well, I guess that’s OK if you don’t mind having a slightly wrinkled skirt, but suppose that’s better than getting it wet! – Claire)
^{"Needlecraft" December 1913}

"An easy way to adjust snap-fasteners is to sew the ball-sections on first, and then cover the tops of them with chalk. A slight pressure will mark the exact spot where the socket-section should be placed."
^{"Needlecraft" September 1915}

^{"To iron a natural colored pongee so as to preserve it’s beauty, iron it only when it is perfectly dry and with an iron only moderately hot, as nothing scorches quite so easily as silk. Do not sprinkle pongee, as the water spots never iron out.
"Needlecraft" October 1914}

"To iron skirts – Do the flounces first, always taking the one nearest the top first, so that it may be laid back out of the way of mussing while ironing the next below or the under ruffle. Wherever it is possible, in ironing the combination of tucks and lace, or tucks and embroidery, iron the lace and embroidery on the wrong side, and then turn over and do the tucks on the right side, as they will be smoother and better finished.
^{"Needlecraft" February 1913}

"White or cream-colored ribbons or flowers which seem hopelessly discolored can be given a beautiful shrimp pink by dipping in water into which red ink has been dropped, the amount of the latter being determined by the depth of the color desired. Ordinary liquid wash-bluing used in the same way will tint feathers, wings, etc. a pretty pale-blue." (I’m afraid I’d have to be really desperate before I’d dare to dip most of the old flowers. – Claire)
^{"Needlecraft" December 1913}

"A lovely hair-ornament for evening is made by braiding loosely silk cord of three different shades the necessary length to crown the head. Make two rosebuds of silk to match the cord and sew these to one end of the cord. This ornament is fastened together by a hook and eye. A pretty color scheme is to have the cords of pink, green, and gold; the rosebuds of pink and gold shaded ribbon with green velvet leaves as a background for the roses." (This is why it’s always a good idea to save bits and pieces – you never know when some way to use them will surface. – Claire)
^{"Needlecraft" January 1913}

"Often a veil that is otherwise good will become torn at the edge of the hat-rim. Instead of throwing it away, thread a needle with two strands of dark hair, pass the needle between the broken meshes, draw them together to look like the original mesh, tie the hair in several knots, so that it will hold securely and clip the ends. Until you have tried this you have no idea what a neat bit of mending it is."
^{"Needlecraft" November 1913}

If the piece is embroidered, place the work face down on a thick towel and press on the back, so the design will stand out.

If starch is used, be sure it is not one of the synthetic, permanent types, as these may cause the fibers to break. Also, do not store a garment starched, as bugs love to each such fabrics. This is the reason for many of the little round "chomp" holes in many of the old clothes.

Do not store anything on hangers for any length of time, especially the heavier things such as beaded dresses, or sheer, delicate items. Light and dust are hard on old things, and the best way to preserve them is by storing in boxes, trunks, etc. Don’t overcrowd, but pack with tissue to keep deep wrinkles from forming. It wouldn’t hurt to throw in a few moth balls, as well.

It’s best to sew full hems and hems on dresses with trains by machine, as heels will catch on them less easily. Most of the old hems were machine stitched for this reason.

Re-sew all buttons and snaps, because they’ll let you down (and maybe out!) at the most inopportune times. Be sure to replace completely any snaps or hooks that have begun to rust, or look like they might have worn plating. Don’t forget to put hooks on the waist band of skirt and top to prevent that well-known malady, "gaposis"! By using the same spacing, you can interchange different blouses and skirts, thus increasing your wardrobe.