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+The Project Gutenberg EBook of What Dress Makes of Us, by Dorothy Quigley
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: What Dress Makes of Us
+
+Author: Dorothy Quigley
+
+Release Date: February 13, 2004 [EBook #11078]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WHAT DRESS MAKES OF US ***
+
+
+
+
+Produced by Stan Goodman, Dave Morgan and the Online Distributed
+Proofreading Team.
+
+
+
+
+
+WHAT DRESS MAKES OF US
+
+By
+
+DOROTHY QUIGLEY
+
+
+Illustrations by
+ANNIE BLAKESLEE
+
+
+1897
+
+
+
+
+    I am indebted to the editors of the New York _Sun_ and
+    New York _Journal_ for kindly allowing me to include in
+    this book articles which I contributed to their
+    respective papers.
+
+
+
+
+PREFACE.
+
+Did you ever observe, dear comrade, what an element of caricature lurks
+in clothes? A short, round coat on a stout man seems to exaggerate his
+proportions to such a ridiculous degree that the profile of his manly
+form suggests "the robust bulge of an old jug."
+
+A bonnet decorated with loops of ribbon and sprays of grass, or flowers
+that fall aslant, may give a laughably tipsy air to the long face of a
+saintly matron of pious and conservative habits.
+
+A peaked hat and tight-fitting, long-skirted coat may so magnify the
+meagre physical endowments of a tall, slender girl that she attains the
+lank and longish look of a bottle of hock.
+
+Oh! the mocking diablery in strings, wisps of untidy hair, queer
+trimmings, and limp hats. Alas! that they should have such impish power
+to detract from the dignity of woman and render man absurd.
+
+Because of his comical attire, an eminent Oxford divine, whose life and
+works commanded reverence, was once mistaken for an ancient New England
+spinster in emancipated garments. His smoothly shaven face, framed in
+crinkly, gray locks, was surmounted by a soft, little, round hat, from
+the up-turned brim of which dangled a broken string. His long frock-coat
+reached to just above his loosely fitting gaiters.
+
+The fluttering string, whose only reason for being at all was to keep
+the queer head-gear from sailing away on the wind, gave a touch of the
+ludicrous to the boyish hat which, in its turn, lent more drollery than
+dignity to the sanctified face of the old theologian. Who has not seen
+just such, or a similar sight, and laughed? Who has not, with the
+generosity common to us all, concluded these were the mistakes and
+self-delusions of neighbors, relatives, and friends, in which we had no
+share?
+
+I understand how it is with you. I am one of you. Before I studied our
+common errors I smiled at my neighbor's lack of taste, reconstructed my
+friends, and cast contemptuous criticism upon my enemies. One day I took
+a look at myself, and realized that "I, too, am laughable on unsuspected
+occasions."
+
+The humbling knowledge of seeing myself objectively, gave me courage to
+speak to the heart of you certain home truths which concern us all, in
+homely language which we can all understand.
+
+That you may discern the comicality and waggery in ill-chosen clothes, I
+have endeavored to hint to you in these talks some of the ways gew-gaws
+and garments make game of us.
+
+May you discover that your dress is not making you a laughable object;
+but if, by any chance, you should note that your clothes are
+caricaturing you, take heart. Enjoy the joke with the mirth that heals
+and heartens, and speedily correct your mistakes.
+
+The lines of your form, the modelling of your face, are they not worthy
+of your discerning thought? Truly! Whatever detracts from them detracts
+from sculpture, painting, and poetry, and the world is the loser.
+
+A word to the thinking is sufficient.
+
+D.Q.
+
+
+
+
+CONTENTS.
+
+
+PREFACE
+
+
+CHAPTER I.
+
+HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR
+
+    Style for Wedge-Shaped Faces
+    Style for Heavy Jaws
+    Style for Eyes Set Too High
+    Style for Eyes Set Too Low
+    Style for Long Faces with Long Noses
+    For Faces with Protruding Noses
+
+
+CHAPTER II.
+
+HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN HEAD-GEAR
+
+    The Magic of the Bonnet
+    Style for Women with Broad Face and Heavy Chin
+    Style for Women with Tapering Chin
+    Hat for the Chubby Woman
+    For Women Who Have Sharp and Prominent Profiles
+    For the Woman with an Angular Face
+    Women Who should Not Wear Horns
+
+
+CHAPTER III.
+
+LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING COSTUMES
+
+    Style for Tall Slender Women
+    The Coat the Short Stout Women should Wear
+    The Cloak or Cape for a Tall Women
+
+
+CHAPTER IV.
+
+HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED
+
+
+CHAPTER V.
+
+CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED THROATS AND
+SHOULDERS
+
+
+CHAPTER VI.
+
+HINTS ON DRESS FOR ELDERLY WOMEN
+
+
+CHAPTER VII.
+
+HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES
+
+
+
+
+WHAT DRESS MAKES OF US.
+
+       *       *       *       *       *
+
+CHAPTER I.
+
+
+HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR.
+
+The pleasing, but somewhat audacious statement of the clever writer who
+asserted, "In the merciful scheme of nature, there are no plain women,"
+is not as disputable as it may seem. Honest husbands, to be sure, greet
+the information with dissenting guffaws; gay deceivers reflect upon its
+truth by gallantly assenting to it, with a mocking little twinkle in
+their eyes; and pretty women, upon hearing it, remark sententiously
+"Blind men and fools may think so." Discerning students of womankind,
+however, know that if every woman would make the best of her
+possibilities, physically, mentally, and spiritually, it would be
+delightfully probable that "in the merciful scheme of nature" there need
+be no plain women.
+
+Have we not Lord Chesterfield's word for it, that "No woman is ugly when
+she is dressed"?
+
+It is no unworthy study to learn to make the best of, and to do justice
+to, one's self. Apropos of this, to begin--where all fascinating
+subjects should begin--at the head, it behooves every woman who wishes
+to appear at her best, to study the modelling of her face that she may
+understand both its defective and perfect lines. By a proper arrangement
+of her hair a woman can do much to obscure or soften her bad features,
+and heighten the charm of her good ones.
+
+Romancers have written, and poets have sung, of the bewitchment in
+nut-brown locks, golden tresses, and jetty curls. Every woman, if so
+inclined, may prove for herself the transfiguring effect in a becoming
+coiffure. In fact, the beauty of a woman's face and her apparent age are
+greatly affected by the way she wears her hair.
+
+A most important detail that too few consider, is, the proper direction
+in which to comb the hair. Women literally toss their tresses together
+without any attention to the natural inclination of the individual
+strands or fibres. They comb their hair "against the grain." Those who
+do so never have beautifully and smoothly arranged coiffures. Each
+little hirsute filament has a rebellious tendency to go in the direction
+nature intended it should, and refuses to "stay where it is put," giving
+the head in consequence, an unkempt and what is termed an "unladylike"
+appearance. The criss-cross effect resulting from combing and arranging
+the hair contrary to "the grain" is conspicuously apparent in the
+coiffure of no less a personage than Eleanora Duse, who, as may be seen
+from the picture, pays little attention to the natural tendency of the
+dark tresses that cover her shapely head. The bang has the dishevelled
+appearance of a pile of jack-straws. The side-locks instead of being
+combed or brushed to follow the contour of the head, fall loosely and
+fly in opposite directions.
+
+[Illustration: NO. 2]
+
+The difference in appearance between the women of the smart sets in
+America and those of less fashionable circles is due, in a great
+measure, to the beautifully dressed coiffures of the former. A
+hair-dresser arranges, at least once a week, the hair of the modish
+woman if her maid does not understand the art of hair-dressing. Many
+women of the wealthy world have their maids taught by a French coiffeur.
+
+A wise woman will adopt a prevailing mode with discretion, for, what may
+be essentially appropriate for one, may be fatally inappropriate for
+another. In adjusting her "crown of glory" a woman must consider the
+proportions of her face. She should be able to discern whether her eyes
+are too near the top of her head or, too far below; whether she has a
+square or wedge-shaped chin; a lean, long face, or a round and
+bountifully curved one. She should be alert to her defects and study
+never to emphasize nor exaggerate them.
+
+Why, through stupidity or carelessness, make a cartoon of yourself,
+when with a proper appreciation of your possibilities you can be a
+pleasing picture? It is just as glorious to be a fine picture or a poem
+as it is to paint the one, or write the other. Indeed, a woman who
+harmoniously develops the best within her has the charm of an exquisite
+poem and inspires poets to sing; and if by the grace and beauty of her
+dress she enhances her natural endowments and makes herself a pleasing
+picture, the world becomes her debtor.
+
+In the important matter of becomingly arranging the hair, the following
+sketches and suggestions may hint to bright, thinking, women what
+styles to choose or avoid.
+
+
+For Wedge-Shaped Faces.
+
+[Illustration: NO. 3]
+
+[Illustration: NO. 4]
+
+The least-discerning eye can see that the wedge-Shaped face No. 3 is
+caricatured, and its triangular proportions made more evident, by
+allowing the hair to extend in curls or a fluffy bang on either side of
+the head. Women with delicately modelled faces with peaked chins should
+avoid these broad effects above their brows.
+
+It is obvious in the sketch No. 4, that the wedge-shaped face is
+perceptibly improved by wearing the hair in soft waves, or curls closely
+confined to the head and by arranging a coil or high puff just above and
+in front of the crown. This arrangement gives a desirable oval effect to
+the face, the sharp prominence of the chin being counteracted by the
+surmounting puffs.
+
+
+For Heavy Jaws.
+
+It may readily be seen that a woman with the square, heavy-jawed face
+pictured by No. 5, should not adopt a straight, or nearly straight,
+bang, nor wear her hair low on her forehead, nor adjust the greater
+portion of her hair so that the coil cannot be seen above the crown of
+her head. The low bang brings into striking relief all the hard lines of
+her face and gives the impression that she has pugilistic tendencies.
+
+[Illustration: NO. 5]
+
+To insure artistic balance to her countenance, and bring out the womanly
+strength and vital power of her face, her hair should be arranged in
+coils, puffs, or braids that will give breadth to the top of her head as
+shown by No. 6. A fluffy, softly curled bang adds grace to the forehead
+and gives it the necessary broadness it needs to lessen and lighten the
+heaviness of the lower part of the face. A bow of ribbon, or an aigrette
+of feathers, will add effectively the crown of braids or puffs which a
+wise woman with a square jaw will surmount her brow if she wishes to
+subdue the too aggressive, fighting qualities of her strong chin.
+
+[Illustration: NO. 6]
+
+
+For Short Faces.
+
+The sisterhood who have short, chubby faces should, in a measure,
+observe certain rules that apply in a small degree to those who have
+heavy chins.
+
+As may be observed even with a casual glance, the little short-faced
+woman depicted by No. 7, causes her round facial disk to appear much
+shorter than it really is by allowing her hair to come so far down on
+her forehead. She further detracts from her facial charms by wearing
+"water-waves." Water-waves are scarcely to be commended for any type of
+face, and they are especially unbecoming to the woman who is
+conspicuously "roly-poly." The round eyes, knobby nose, and round mouth
+are brought into unattractive distinctness by being re-duplicated in the
+circular effects of the hair. This mode of dressing the hair makes a
+short face look common and insignificant.
+
+[Illustration: NO. 7]
+
+Do you not see that this type is immensely improved by the arrangement
+of the coiffure in No. 8? By combing her hair off her forehead her face
+acquires a look of alertness and intelligence, besides being apparently
+lengthened. She can wear her bang in soft crimps brushed back from her
+brow, if this plain arrangement is too severe.
+
+[Illustration: NO. 8]
+
+
+For Eyes Set Too High.
+
+A low forehead is supposed to be a sign of beauty in woman. The brows of
+the famous Venuses are low and broad. Perhaps for this reason many women
+wear their hair arranged low upon their foreheads. Whether the hair
+should be worn low on the brow depends chiefly on two things,--"the
+setting of the eyes, and the quality of the face."
+
+[Illustration: NO. 8-1/2]
+
+A good rule to observe is the artistic one, to the effect that "the eyes
+of a woman should be in the middle of her head." That is, if an
+imaginary line were drawn across the top of the head and another below
+the chin, exactly midway between the two the eyes should be set.
+
+The Japanese type of woman should carefully observe the foregoing hint.
+
+Observe No. 8-1/2. Nature has not been artistic. The eyes are too near
+the top of the head. The defect is exaggerated and emphasized by the
+wearing of the hair low on the forehead. In some faces of this type the
+face is brutalized in appearance by this arrangement. The expression and
+whole quality of the countenance can be greatly improved by arranging
+the hair as shown by No. 9, which is the soft Pompadour style. The
+Duchess of Marlborough, formerly Consuelo Vanderbilt, frames her naive,
+winsome face, which is of the Japanese type, in a style somewhat like
+this. Her dark hair forms an aureole above her brow, and brings into
+relief the dainty, oval form of her face. Even simply brushing the hair
+off the forehead without crimp or roll will improve the appearance of
+this type of face and give it a better artistic balance.
+
+[Illustration: NO. 9]
+
+[Illustration: NO. 10]
+
+
+For Eyes Set Too Low.
+
+Women whose eyes are set too far down in their faces should adopt a mode
+of arranging their hair exactly the opposite of those whose eyes are set
+too near the top of their heads.
+
+It is apparent that No. 10 exaggerates the distance of her eyes from the
+crown of her head, and makes them appear to be set lower than they
+really are by building her hair high, and by brushing her bang back so
+severely from her brow. A bald forehead is rarely becoming to any
+woman. A few stray curls or soft waves lend grace to even the most
+perfect of brows.
+
+[Illustration: NO. 11]
+
+By bringing the hair down over the forehead, as suggested in No. 11, a
+woman with this type of face can easily improve her appearance. By this
+graceful arrangement her face loses the childish and sometimes stupid
+expression that is peculiar to the type, as may be discerned in No. 10.
+When the hair is properly arranged this element of childlikeness lends a
+certain appealing sweetness not unattractive even in the faces of
+matured matrons. By dressing the hair low so the coil does not appear
+above the crown, as in No. 11, the eyes are apparently properly placed.
+
+
+For Long Faces with Long Noses.
+
+The woman who wears her silken tresses arranged on either side of her
+head, draped like curtains from a central parting, is to be envied if
+she can do it and yet look young and pretty. She is the Madonna type and
+seems to possess all the attributes of gentleness, modesty, and
+meekness, and angelic sweetness that are supposed to characterize the
+distinctively feminine woman. This is the ideal style of coiffure much
+bepraised by man, because, according to a bright modern Amazon, "it
+makes a woman look so meek."
+
+[Illustration: NO. 12]
+
+The only type to which it is really becoming is the Italian. The type
+with _matte_ complexion, soft eyes, finely chiselled nose, and
+delicately oval chin, look ideally sweet and feminine with the hair
+arranged _a la_ Madonna.
+
+[Illustration: NO. 13]
+
+Long faces of the form pictured by No. 12 exaggerate the longness and
+leanness of their faces by wearing their locks like looped curtains. A
+long nose with two long lines on either side of the cheek seems longer
+than it is, as the observer may discern three lines instead of only the
+nasal one, and the impression of longness is emphasized. Not only is
+the length of the countenance made more noticeable, but years and years
+are apparently added to the actual age.
+
+That No. 13, which shows a parting and soft waves that do not come below
+the ears, is to be preferred by a woman whose features are of this
+character need hardly be explained. The improvement in looks is quite
+obvious.
+
+[Illustration: NOS. 14 AND 15]
+
+No. 14 is an example of a misguided woman of the pudgy type who, for
+some inexplicable reason, arranges her hair in the Madonna style. It is
+utterly unsuited to her face. Unless her ears are deformed this style of
+hirsute lambrequins should not be worn by a full, round-faced woman.
+The arrangement sketched in No 15 adds effectively to her appearance,
+not only making her look younger, but less inane.
+
+[Illustration: NO. 16]
+
+
+For Faces with Protruding Noses.
+
+Women with decidedly protruding, or irregular, tip-tilted noses should
+be especially careful in arranging their coiffures.
+
+Any woman who arranges her hair as in sketch No. 16 caricatures her
+facial defects by increasing the too protuberant lines of her nose. The
+distance from the end of her nose and the tip of the topmost knot of
+hair is too long for either beauty or intelligence. The shape of her
+head acquires idiotic proportions, and her nose is placed entirely "out
+of drawing" and is obtrusively conspicuous when seen in profile. This
+type of woman is generally classified among the inquisitive, bright, and
+energetic. She should aim to modify the unhappy angularity of her
+profile as well as to repress her gossipy tendencies. The graduated coil
+of hair and waved coiffure, shown by No. 17, are most felicitous in
+their effect on this type of face.
+
+[Illustration: NO. 17]
+
+[Illustration: NO. 18]
+
+No. 18 reveals an error in an opposite direction. The snubbed-nose girl,
+by fixing her hair in a bun-like coil, gives the impression that her
+coiffure is held by invisible strings by her nose, which gets a more
+elevated look than it otherwise would have, because of the bad angle at
+which the coil is placed.
+
+[Illustration: NO. 19]
+
+No. 19, which is a picturesque variation of the popular coif, manifestly
+improves this type of face, and makes the nose appear less obtrusive.
+
+A woman should carefully study the contour of her head from every side;
+the modelling of her face; the length and inclination of her nose; the
+setting of her eyes; and the breadth and form of her brow, and adopt a
+becoming coiffure that will give artistic balance to her face, and never
+absolutely change the style whatever the mode in hair-dressing may be.
+In England, the court hair-dresser years ago studied the character of
+the head and face of the Princess of Wales, and designed a coiffure for
+her which she has never varied until recently; then she merely arranged
+her fringe lower down on her forehead than she has ever worn it before.
+The general style, however, she preserves intact, and wears her hair,
+and has for many years, as is shown in the picture--No. 20. Her
+daughters, who have faces the same shape as hers, dress their coiffures
+similarly. In never changing the style of arranging her hair, the
+Princess of Wales owes in no small degree her apparent air of
+youthfulness.
+
+[Illustration: NO. 20]
+
+NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER II.
+
+
+HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN HEAD-GEAR.
+
+Closely allied to the subject of hair-dressing is that of head-gear.
+Indeed many of the hints regarding appropriate coiffures for certain
+styles of faces are equally applicable to the selection of suitable hats
+and bonnets. The choosing of millinery is the more momentous of the two,
+of course, for I need scarcely remind you that Nature left us no choice
+in hair. No matter what its color or texture we desire to keep it and if
+we are wise we will make the best of it.
+
+In regard to hats we are personally responsible and our follies are upon
+our own heads.
+
+The power of caricature being greater in hats than in hair-dressing, is
+it not fit that we should give careful and intelligent consideration to
+the selection of our millinery that the ugly lines in our otherwise
+beautiful faces may not be at the mercy of mocking bunches of ribbons,
+comically tilted straws, or floppy bits of lace?
+
+The Magic of The Bonnet.
+
+Once upon a time, I think that was the exact date, there was a man
+distinguished in a certain kingdom as the ugliest person in the realm.
+According to a blithe romancer, he was so distinctively unpleasing in
+form and feature that he challenged the attention of the king who, in
+whimsical mood, made him a royal retainer. The man so conspicuously
+lacking in beauty enjoyed his eminent position and privileges for some
+time. But even ugliness, if it attain distinction, will excite envy in
+the low-minded. A former associate of the unbeautiful man in invidious
+temper brought the news one day to the king, that there was an old
+woman in his domain that was uglier than the lowly-born man who by
+kingly favor held so high a place. "Bring her to the court. Judges shall
+be called to decide. If she is uglier she shall stay and he shall go,"
+was the royal mandate. When the old woman appeared she was easily
+decided to be by far the uglier of the two. At the critical moment when
+the king was upon the eve of dismissing the man from his retinue, a
+friend of the unfortunate shouted, "Put her bonnet on him!" This was
+done, and lo! a fearful change was wrought. By unanimous acclamation he
+was declared to be "the ugliest creature on earth."
+
+The old woman, true to the instincts of her sex, refused to wear her
+bonnet again. Like many of her sisters of modern times, she had not
+before discovered the possibilities in a bonnet to enhance the beauty of
+the face or decrease its charms.
+
+If woman could see themselves objectively, as did the old woman, they
+would keenly realize the necessity of considering the lines of hat or
+bonnet in relation to those of their faces, and would learn to obscure
+defects and bring into prominence their prettiest features.
+
+As there are a few rules to govern what each type should select, every
+one of the fair sisterhood has an equal opportunity to improve her
+appearance by selecting in the millinery line the distinctive adornment
+suited to her individual style.
+
+[Illustration: NO. 22]
+
+
+For Women with Broad Face and Heavy Chin.
+
+By a curious law of contrariety the woman with a broad, heavy chin seems
+to have an ungovernable penchant for trig little round bonnets, or trim
+turbans with perky aigrettes, like that in sketch No. 22. By obeying
+this wilful preference she obscures whatever delicacy may be in the
+modelling of her features and brings into conspicuous relief the
+ugliest lines of her face. Her chin is apparently increased in heaviness
+and the broadness of her face is made prominent. She could easily have
+restored the artistic balance to her facial lines by wearing a large
+hat, rather heavily trimmed, as in No. 23, thus effectively modifying
+the strong curves of the chin and signally improving her appearance. If
+a woman's face is fairly proportioned, not too short for its breadth,
+and she can not afford plumes, this type of woman can still give a
+becoming balance to her face by adopting hats that are trimmed with
+flamboyant bows that flare horizontally across the hat, diverging from a
+central knot in the from.
+
+[Illustration: NO. 23]
+
+
+For the Woman with Tapering Chin.
+
+[Illustration: NO. 24]
+
+The woman who is the exact opposite of the type with the ample lower
+jaw, but whose chief disadvantage lies in her broad, manly brow and tiny
+tapering chin, should avoid all horizontal trimmings, bows or broad
+hat-brims. It is clear, in No. 24, that such trimmings increase the
+wedge-like appearance of the face and give it the grotesque suggestion
+of an ordinary flower-pot in which grows a sickly plant. This type can
+perceptibly improve upon nature by choosing the style of hat and
+neck-gear shown by No. 25.
+
+[Illustration: NO. 25]
+
+The crinkly ovals that form the brim of the hat, and the soft, graceful
+arrangement of the hair in front that decreases the too broad effect of
+the brow, and the full fluffy ruff snuggled up closely to the chin,
+produce a pleasing transformation of the meagre-looking original that
+to the uninitiated seems little short of magical. The broad, cravat-like
+bows, and the flaring ones known as "incroyables," were beneficently
+wedge-like faces and throats that have lost the seductive curves of
+youth.
+
+
+Hat for the Chubby Woman.
+
+[Illustration: NO. 26]
+
+That amiable type of woman formed conspicuously upon the circular plan
+often unconsciously impresses the fact of her fatal tendency to
+rotundity by repeating the roundness of her globular eyes, the disk-like
+appearance of her snub nose and the circle of her round mouth, and the
+fulness of her face by wearing a little, round hat in the style
+portrayed by No. 26.
+
+[Illustration: NO. 27]
+
+The curls of her bang, the feathers in her hat, the high collar of her
+jacket make more significant the fact that her lines are not artistic
+and that her face is unbeautifully round. She can enhance her charms and
+apparently decrease the too spherical cut of her countenance by adopting
+the mode illustrated in No. 27. The angular bows on the hat, the
+geometric lines of the broad hat-brim, the precise cut of the lapels on
+the corsage, the neat throat-band and V-shaped vesture--all insinuate in
+a most engaging way a dignity and fine, high-bred poise totally
+obliterated by the circular style of dress erroneously adopted by the
+misguided woman in No. 26.
+
+[Illustration: NO. 28]
+
+
+For Women Who Have Sharp and Prominent Profiles.
+
+In buying a hat many of the "unfair sex"--as the modern wag dubs the
+progressive sisters who wish to have all man's rights and privileges and
+keep their own besides--never seem to consider their heads but from a
+front point of view. In consequence, as sketch No 28 hints, a head seen
+from the side frequently appears, if not idiotically, very
+inartistically, proportioned.
+
+[Illustration: NO. 29]
+
+Occasionally a hat presents as comical an effect in a from as in a side
+view, as may be seen in No. 29. The wearer was an elderly woman with
+gray hair which hung down in a half-curled bang on either side of her
+thin face. Her hat which was simply "dripping" with feathers suggested a
+fanciful letter "T" and exaggerated the thinness of her face in a
+remarkably funny way. The feathers overhanging the brim increased the
+broadness of the hat, and looked singularly waggish fluttering against
+the spriggy-looking projections of gray hair. The rules for the
+wedge-shaped face, as may readily be discerned, apply here.
+
+[Illustration: NOS. 30 AND 31]
+
+Women who have sharp and prominently outlined profiles have a curious
+tendency to choose hats, the brims of which project too far forward in
+front, and turn up too abruptly and ungracefully in the back.
+
+As shown in No. 30 the protruding brim gives the head and face the
+unattractive proportions of the capital letter "F." The length of the
+nose is emphasized by the line of the hat-rim above it and it appears
+unduly obtrusive. The flat arrangement of the hair and the curve of the
+hat-brim in the back also exaggerate the obtrusive qualities of the
+features. By choosing a hat somewhat similar to the one sketched in No.
+31, the unattractive sharpness of the profile is modified, and the
+alert, agreeable quality of the face, that was obscured by the
+shelf-like brim, becomes apparent. The observer feels, if he does not
+voice it, that it is a progressive spirit advancing forward instead of
+an ungainly head-piece that looks like a curious trowel.
+
+
+For the Woman with an Angular Face.
+
+[Illustration: NOS. 32 AND 33]
+
+The woman with the angular features presented in No. 32 should not wear
+a sailor-hat or any hat with a perfectly straight rim.
+
+The sailor-hat or any style bordering on it should be selected with
+utmost discrimination. This mode is unbecoming to a woman more than
+forty; or, to one who through grief or worry prematurely attains a look
+of age, or to one whose features are irregular. The straight brim across
+the face is very trying. It casts a shadow deepening the "old marks"
+and instead of being a frame to set off, it seems to cut off, the face
+at an inartistic angle.
+
+The woman with angular features, as may be seen by No. 33, can wear with
+impunity, and always should wear, a hat the brim of which is waved,
+turned, twisted, or curved in graceful lines. The uneven brim of her hat
+makes an effective complement to the angularity of her chin, which is
+further softened by the feathery ruff that encircles her throat. The
+curves of the ostrich plumes, and the studied carelessness of the
+arrangement of her coiffure, subdue the angles of her face which are
+brought out in unbecoming prominence by the sailor-hat.
+
+
+Women Who should Not Wear Horns.
+
+The velvet horns on either side of a hat, the steeple-like central
+adornments that were once much in favor, and the Mercury wings that
+ornament the coiffure for evening dress, produce some startling,
+disagreeable, and amusing effects not altogether uninteresting to
+consider.
+
+Faces in which the eyes are set too near the forehead acquire a scared
+look by being surmounted by a bonnet upon which the trimming gravitates
+to a point in an arrangement not unsuggestive of a reversed fan, horns,
+or a steeple.
+
+The most unpleasing developments result from the wearing of the
+horn-like trimmings either in velvet or jet. If the face above which
+they flare has less of the spiritual than the coarse propensities in it,
+the grotesque turns and twists in the head-gear emphasize the animality
+in the lines characteristic of low-bred tendencies, and the whole
+countenance is vulgarized. One face acquires the look of a fox, another
+of a certain type of dog, and so on.
+
+The most amusing exaggerations of distinctive facial lines are produced
+by Mercury wings. The good-natured woman of the familiar type depicted
+in No. 34 brings every bovine attribute of her placid countenance into
+conspicuous relief by surmounting her face with the wings of the
+fleet-footed god. The cow-like form and serenity of her features are
+made laughably obvious.
+
+[Illustration: NO. 34]
+
+Short, delicately-faced women can adorn their coiffures with Mercury
+wings with most charming results. Wings, or perpendicular bows, add
+length to the lines of the short face, giving it a certain suggestion
+of refinement and distinction that is wholly destroyed by the wearing of
+any trimmings that show at the sides.
+
+NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER III.
+
+
+LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING COSTUMES.
+
+Mme. La Mode, much misrepresented as are all who are embarrassed with
+world-wide popularity always considers when designing fashions that
+women vary in form, as in mood. She suits all needs, although this fact
+has never been cast to her credit. With a beautiful sense of
+adjustment--as obvious as that in Nature, that projects the huge
+watermelon to ripen on a slender vine on the ground and swings a
+greengage plum on the stout stem of a tree to mature in storm or
+shine--Mme. La Mode, arbiter of styles, balances her fashions.
+
+Never came the big hat without the small bonnet. Accompanying the long
+cloak is the never-failing short cape. Side by side may be found the
+long coat and the short, natty jacket. This equilibrium in wearing
+apparel may be traced through all the vagaries of fashion.
+
+Everybody's need has been considered, but everybody has not considered
+her need.
+
+The short, stout woman passes by the long coat better adapted to her
+and seizes a short jacket--a homeopathic tendency of like suiting like,
+sometimes efficacious in medicine, but fatal in style.
+
+
+Style for Tall Slender Woman.
+
+The very tall, slender woman frequently ignores a jaunty jacket and
+takes a long coat like that shown in No. 36.
+
+To even the sluggish fancy of an unimaginative observer she suggests a
+champagne bottle, and to the ready wit she hints of no end of amusing
+possibilities for caricature.
+
+The very tall woman should know that long lines from shoulder to foot
+give height, and she must discerningly strive to avoid length of line
+in her garments until she dons the raiment of the angels.
+
+[Illustration: NOS. 36 AND 37]
+
+Horizontal lines crossing the figure seem to decrease height, and should
+be used as much as possible in the arranging and trimming of the tall
+woman's garments.
+
+By selecting a shorter coat equally modish, as shown by No. 37, the too
+tall woman shortens her figure perceptibly.
+
+The belt cuts off from her height in a felicitous way, and the collar,
+also horizontal, materially improves the size of her throat. The high
+collar, such as finishes the coat, in No. 36, adds to the length. Those
+who have too long arms can use horizontal bands on sleeves most
+advantageously.
+
+
+The Coat the Short Stout Woman should Wear.
+
+The short jacket that so graciously improved the appearance of the
+slender specimen of femininity is sinister in its effect on the short,
+stout woman, in sketch No. 38. It should be the study of her life to
+avoid horizontal lines. Length of limb is to be desired because it adds
+distinction. Her belt, the horizontal effect of the skirt of the jacket,
+the horizontal trimming of the bottom of the skirt, all apparently
+shortening her height, tend to make her ordinary and commonplace in
+appearance.
+
+[Illustration: NOS. 38 AND 39]
+
+If her hips are not too pronounced she can wear the long coat, shown in
+picture No. 39. The V-shaped vesture gives her a longer waist, and the
+long lines of the revers add to the length of her skirt. If her hips are
+too prominent, she should avoid having any tight-fitting garments that
+bring the fact into relief. She should not wear the long coat, but she
+can effectively modify it to suit her needs, by only having a skirt, or
+tabs, or finishing straps in the back. If her jacket or basque is
+finished off with a skirt effect, it is best to have the little skirt
+swerve away just at the hip-line, half revealing and half concealing it.
+
+The front should be made in a jacket effect, finishing just at the
+waist-line and opening over a blouse front that will conceal the
+waist-line. It is best for the too short, stout woman to obscure her
+waist-line as much as possible, to apparently give her increase of
+height.
+
+To put the waist-line high up adds to length of limb, and, of course, is
+to be desired, but the fact that what is added below is taken from above
+the waist, should impel careful discrimination in the arrangement of
+this equatorial band.
+
+
+The Cloak or Cape for a Tall Woman.
+
+The long circular cloak is another graceful garment that can be worn
+with charming effect by the woman of classic height, but should never be
+in the wardrobe of a very tall woman except for use at the opera, when
+its service is chiefly required in the carriage, or when its wearer is
+sitting. It is so obvious, in sketch No. 40, that the vertical lines the
+folds of the cloak naturally fall into give a steeple-like appearance to
+the tall woman it enfolds, that it is scarcely necessary to comment upon
+it.
+
+[Illustration: NO. 40]
+
+That her judicious selection should have been the short cape, which
+comes, as all capes should, to be artistic, well below the elbows, is
+clearly illustrated in picture No. 41. The horizontal trimming very
+becomingly plays its part in the generally improving effect.
+
+[Illustration: NO. 41]
+
+The one who can wear the long cloak in an unchallengeable manner is the
+short, stout woman, shown in sketch No. 42.
+
+By wearing the short cape with circular, fluffy collarette, sketched in
+No. 43, she gives herself the look of a smothered, affrighted Cochin
+China chicken; or, as an imaginative school-girl remarked of her mother
+who wore a cape of similar style, "she looks as if her neck were
+encircled by bunches of asparagus."
+
+[Illustration: NOS. 42 AND 43]
+
+The military dignity she acquires by wearing the long cape is becoming
+to a degree, and gives her distinction in form.
+
+By remembering that horizontal trimmings apparently decrease the
+height, and that vertical lines add to it, those who desire to appear at
+their best will use discernment in dividing their basques with yokes, or
+corsage mountings at the bust-line or frills at the hip-line.
+
+A flounce on the corsage at the bust-line, another at the hip-line, and
+yet another at the bottom of the shirt, increases the impression of
+bulkiness most aggressively and gives a barrel-like appearance to the
+form of a stout woman that is decidedly funny, as may be seen in sketch
+No. 44.
+
+A study of the lines of the form will not only aid one in adopting a
+more becoming style of dress, but will sharpen the artistic
+perceptions, thus adding to the joy of life.
+
+[Illustration: NO. 44]
+
+"A beautiful form is better than a beautiful face" and should be clothed
+so that its lines may appear at their best, and not be exaggerated and
+caricatured. The figure is seen many more times than the face, and the
+defects of the former are more conspicuous than those of the latter.
+
+Do not be unjust to your beautiful body, the temple of your soul; above
+all, do not caricature it by selecting your clothes with
+indiscriminating taste.
+
+NO MATTER WHAT THE PREVAILING MODE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER IV.
+
+
+HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED.
+
+She was from the middle-West, and despite the fact that she was married,
+and that twenty-one half-blown blush roses had enwreathed her last
+birthday cake, she had the alert, quizzical brightness of a child who
+challenges everybody and everything that passes with the
+countersign--"Why?" She investigated New York with unabashed interest,
+and, like many another superior provincial, she freely expressed her
+likes and dislikes for its traditions, show-places, and people with a
+commanding and amusing audacity.
+
+Her objections were numerous. The chief one that made a deep impression
+upon her metropolitan friends was her disapproval of Sarah Bernhardt's
+acting. The middle-Westerner, instead of becoming ecstatic in her
+admiration, and at a loss for adjectives at the appearance of the divine
+Sarah, merely perked at the great French artist for some time and then
+demanded, querulously: "What's the matter with her? Why does she play
+so much with her back to the audience? I don't like it."
+
+It was a shock to the adorers of Sarah Bernhardt to hear her so
+irreverently criticised. They loyally united in her defence, and sought
+to squelch the revolter by loftily explaining that the actress turned
+her back so often to the audience because she had such a noble, generous
+nature and desired to give the other actors a chance. "She lets them
+take the centre of the stage, as they say in the profession," remarked
+one of the party, who prided herself upon being versed in the _argot_ of
+the theatre.
+
+"But she plays with her back to the audience when she is speaking and
+acting, and everybody else on the stage is still but herself,"
+petulantly insisted the Western Philistine, showing no signs of defeat.
+
+The situation was not wholly agreeable. The worshippers of Sarah could
+say nothing more in justification of her turning her back on them, but,
+with true feminine logic, concluded, "If Sarah Bernhardt turns her back
+on the audience it is right, and that is all there is to say."
+
+Just at this dramatic moment a voice from the adjoining row
+providentially interposed. The voice belonged to a well-known exponent
+of physical culture, who was never so happy as when instructing the
+intellectually needy. She said: "I will tell you why she plays with her
+back towards the audience more than any other actress upon the stage
+to-day." The middle-Westerner, no less impressed than her metropolitan
+friends, listened eagerly.
+
+The exponent of straight backs and high chests explained didactically:
+"The back is wonderfully expressive; indeed it is full of vital
+expression. Bernhardt knows this better than any other actress because
+she has studied statuary with the passion of a sculptor, and because she
+understands that, not only the face, but the entire physical structure,
+is capable of expressing dramatic emotions. Strong feeling and action
+may be strikingly revealed by the back. Imprecations, denunciations,
+even prayers, seem to be charged with more force when an actress
+delivers them with her back turned, or half-turned to the audience.
+
+"Bernhardt's back expresses a storm of fury when she imprecates
+vengeance," said the voice of authority. "Not only on the stage is the
+expression of the back discernible, and a knowledge of its character
+valuable, but in every-day life in drawing-room and street. How many
+women consider their backs when they dress? Look at the backs here
+deformed by laces and fallals," she went on contemptuously. "The
+majority of women never look below their chins and I believe not one in
+ten ever looks thoughtfully at her back," she said emphatically.
+
+The dramatic value of a well-poised, expressive back may only concern
+the thousands of young women who are aspiring to be a Sarah Bernhardt or
+a Rachel; but a knowledge of what constitutes a properly and
+artistically clothed back should be of interest to all women in
+civilized countries.
+
+That there is much truth in the assertion that "the majority of women
+never look below their chins, and not one in ten ever looks
+thoughtfully at her back," every observer of womankind might testify.
+
+[Illustration: NO. 45]
+
+The open placket-hole and sagging waist-band, sketched in No. 45, is an
+all too familiar sight that advertises the fact that too few women take
+even a cursory look at their backs. Fathers and brothers who wish to
+protect their womankind from adverse criticism frequently give impromptu
+lectures upon this very subject, as this slovenly arrangement of skirt
+and basque is not only seen in Grand Street, Second Avenue, and equally
+unfashionable quarters, but in Fifth Avenue where the modish set are _en
+evidence_. If the dainty safety-pin displayed in No. 46, goes out of
+vogue, the time-honored custom of sewing hooks to the waist-band of the
+dress, is always in fashion. Indeed, many women prefer this way of
+connecting separate skirt and waist to using a conspicuous pin. This is
+almost too trivial a detail to discourse upon, but it is as true that
+details make dress as it is that "trifles make life"--and neither life
+nor dress is a trifle.
+
+[Illustration: NO. 46]
+
+The offence in No. 45 is more the result of untidiness than of a lack of
+artistic discrimination. Nos. 46-1/2 and 47, on the contrary, outrage
+the laws of art, and display ignorance of the value and beauty of lines.
+
+No. 46-1/2 might serve to conceal a deformity of the shoulders. That
+really seems its only excuse for being. The full, ugly, straight pleat
+that falls to just below the waist-line lends neither grace nor style to
+the figure. It is too short to give the distinction and dignity that
+handsome wraps with long lines almost invariably do, although they seem
+to add age to the form. There is a hint of youth in this ungraceful
+jacket to be sure, but it is not especially attractive in its suggestion
+of youthfulness.
+
+[Illustration: NO. 46-1/2]
+
+[Illustration: NO. 47]
+
+No. 47, with a line at the neck-band, crossed bands in the centre of the
+shoulders, and lines across the back, is obviously inartistic. The back
+of a Venus, even, would be detracted from by such criss-crossed effects.
+Happy the woman who has so shapely a back she can afford to allow her
+waist to fit smoothly and plainly, unbroken by any conspicuous lines. If
+bands must be used to remedy the deficiencies of ungenerous Nature, let
+them be at the neck and waist; and if the back is unconscionably long, a
+band, or fold, or ruffle across the shoulders is to be commended.
+
+[Illustration: NO. 48]
+
+No. 48 reveals a glaring error frequently made by the thin sisterhood. A
+tall, slender woman with a long waist, should not emphasize her length
+of lines by wearing pointed or V-shaped effects. The V-shaped
+arrangement, either in cut or trimmings, apparently increases her
+"longness and leanness." She should aim to shorten her waist instead of
+lengthening it as the basque finished with a point obviously does. The
+drooping sleeves elongate her shoulder-lines, and bring into clearer
+relief her meagre proportions. She can easily improve her appearance by
+adopting either style of gown portrayed by Nos. 49, or 50. The broad
+belt at the waist-line in No. 49, and the flamboyant lace or braided
+piece that adorns the shoulders, perceptibly adds to her breadth and
+decreases her length.
+
+[Illustration: NO. 49]
+
+[Illustration: NO. 50]
+
+No. 50 is a felicitous cut for a street dress for a slim sister. The
+jaunty bloused waist smartly conceals deficiencies in fine points.
+
+The tall, thin sisterhood should eschew pointed effects and study to
+attain apparent breadth by using trimmings arranged horizontally. Bands
+of velvet, braid in waved lines, ruffles, and not too deeply cut
+scallops, may be used effectively by the very slender, who sometimes
+appear as if they are "without form and void," as the earth was "in the
+beginning."
+
+[Illustration: NO. 51]
+
+No. 51 is an exposition of the mistake made by the sturdy sisterhood of
+stout and pendulous proportions. It is plain to be seen that the fluffy
+ruche at the throat-band, and the ruffle at the shoulder, and the
+spreading bow at the waist, and the trimmed sleeves, add bulkiness to a
+form already too generously endowed with flabby rotundity. Corpulent
+women must forego the swagger little basques or any sort of short,
+flounced effects below the waist-line.
+
+[Illustration: NO. 52]
+
+[Illustration: NO. 53]
+
+Nos. 52 and 53 are eminently adapted to the matron of ample dimensions.
+One observer of beauty-giving effects has not unadvisedly called the
+waist-line "the danger-line." A stout sister, above all others, should
+not accentuate the waist-line. She should conceal it as much as
+possible. The coat back of No. 52 apparently lengthens the waist.
+
+The same effect is produced by the arrangement of ribbons in No. 53, and
+by the long-pointed basque. V-shaped effects and long-pointed basques
+are as becoming to those burdened with flesh as they are unbecoming to
+tall, thin women.
+
+Long, graceful folds and draperies are admirable for the stout
+sisterhood, who should avoid short sacques and tight-fitting garments
+that give the on-looker an uncomfortable impression; there is too much
+in a small space. Very light colors and thin textures that billow and
+float should be eschewed by the large, fleshy woman who wishes to give
+the impression that she possesses the lines of a finely modelled statue.
+She should avoid puffs and any suggestion of the pulpy and clumsy, and
+be careful not to sub-divide the body of her dress by plaits or braids
+laid on horizontally across or above the bust, or below the hips.
+Horizontal lines invariably decrease the height; for that reason stout
+women should not wear dresses cut square in the neck, but should adhere
+to the graceful V-or heart-shaped cut which has a tendency to give
+length.
+
+The rotund woman with a short waist, sketched in No. 54, may improve her
+figure, as shown in No. 55, by choosing belts and collars the exact
+shade of her shirt-waists in summer, and by not cutting off her height
+by any sort of outside belt on winter gowns.
+
+[Illustration: NO. 54]
+
+[Illustration: NO. 55]
+
+Tall, stout women should forego high heels on their shoes, high hats,
+and striped dresses. Although stripes increase the effect of height,
+they also add to that of breadth. A plain cloth basque and skirt of
+striped material make a happy compromise and can be worn with becoming
+effect by a stout woman.
+
+[Illustration: NO. 56]
+
+A basque cut high behind and on the shoulders apparently gives height.
+
+A very stout woman should never wear double skirts or tunics or dresses
+with large sprawling patterns, such as depicted by cut No. 56, which
+suggests furniture stuffs. A large woman who had a fancy for wearing
+rich brocades figured with immense floral designs was familiarly called
+by her kind friends "the escaped sofa."
+
+White, or very light colors, should never be worn by the stout; they
+greatly increase the apparent size. Large plaids should also be
+eschewed. Small checks and plaids may sometimes be becoming.
+
+Neither the too thin nor the too stout should adopt a style of gown
+that caricatures the form as does the voluminous wrapper, finished with
+a box-pleat, as shown in No. 57. There is no grace in straight lines.
+
+[Illustration: NOS. 57 AND 58]
+
+No. 58, which accentuates the height of the over-tall, thin woman, is
+better adapted to enhance the charms of a woman of finer proportions.
+The bony and scrawny, of the type of No. 58, seem to have a perverse
+desire to wear what makes their poverty in physical charms only more
+conspicuous. A woman of distinction in Boston, who is exceedingly thin
+and tall, wore Watteau pleats so frequently, even on reception and
+evening gowns that she was dubbed by a wag "the fire-escape," a title
+which so strikingly characterized her style, that the term was adopted
+by all her friends when they exchanged confidences concerning her.
+
+The garment with the Watteau pleat is not unlike the princesse gown
+which is a very trying style except to handsomely proportioned women. A
+tall, well-developed woman, such as shown in sketch No. 59, adorns the
+princesse gown and attains in it a statuesque beauty. In suggesting
+statuary it fulfils the true ideal of dress, which should hint of
+poetry, art, sculpture, painting. The massing of colors; the arrangement
+of lines, the quality of textures, the grace and poise of the wearer--do
+not these hint of picture, statue, music?
+
+
+
+
+CHAPTER V.
+
+
+CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED THROATS AND
+SHOULDERS.
+
+Despite the traditional belief that a decollete corsage is a tyrannous
+necessity of evening dress, a woman not graciously endowed with a
+beautifully modelled throat and shoulders may, with perfect propriety,
+conceal her infelicitous lines from the derisive gaze of a critical
+public.
+
+Women are indebted to that gentle genius, La Duse, for the suggestion
+that a veiled throat and bust may charmingly fulfil the requirements of
+evening dress, and also satisfy that sense of delicacy peculiar to some
+women who have not inherited from their great-great-grandmothers the
+certain knowledge that a low-necked gown is absolutely decorous.
+
+The women who does not possess delicate personal charms commends herself
+to the beauty-loving by forbearing to expose her physical deficiencies.
+Unless it is because they are enslaved by custom, it is quite
+incomprehensible why some women will glaringly display gaunt
+proportions that signally lack the exquisite lines of firm and solid
+flesh.
+
+A throat like a ten-stringed instrument, surmounting square shoulders
+that end in knobs that obtrude above unfilled hollows, is an unpleasing
+vision that looms up conspicuously too often in opera-box and
+drawing-room.
+
+[Illustration: NO. 61]
+
+The unattractive exhibition 61, is a familiar sight in the social world.
+How insufferably ugly such uncovered anatomy appears in the scenery of a
+rich and dainty music-room may be readily imagined by those who have
+been spared the unpleasing display. It is so obvious that shoulders
+like these should always be covered that it seems superfluous to remark
+that this type should never wear any sleeve that falls below the
+shoulder-line.
+
+[Illustration: NO. 62]
+
+The sleeve falling off the shoulder was invented for the classic
+contour, set forth in No. 62. Nor ribbons, nor lace, nor jewel are
+needed to enhance the perfect beauty of a fine, slender, white throat,
+and the felicitous curves of sloping shoulders.
+
+One whose individual endowments are as meagre as are those presented in
+No. 61 may improve her defects by adopting either style of corsage,
+shown in sketches Nos. 63 and 64.
+
+A woman's throat may lack a certain desirable roundness, and her
+shoulders may recede in awkward lines, and yet between these defective
+features the curves may have a not unpleasing daintiness and delicacy in
+modelling that can be advantageously revealed. A modish velvet
+throat-band, such as is shown by No. 63, is one of the most graceful
+conceits of fashion. The too slim throat encircled by velvet or
+ornamented with a jewelled buckle or brooch is effectively framed. The
+unsightly lines of the shoulders are covered, and just enough
+individual robustness is disclosed to suggest with becoming propriety
+the conventional decollete corsage. The Princess of Wales is as constant
+to her velvet or pearl neck-band, as to her especial style of coiffure.
+Her throat, in evening dress, never appears unadorned by one or the
+other of these beautiful bands that so cleverly conceal defects and
+seem to bring out more richly the texture and coloring of handsome bare
+shoulders.
+
+[Illustration: NO. 63]
+
+[Illustration: NO. 64]
+
+Those who do not approve of the decollete style of dress, or whose
+ungraceful proportions might well be entirely concealed, can wear with
+appropriateness and benefit the corsage shown in No. 64. This has much
+in its favor for a slender body. The upper part of the waist may be made
+of chiffon or crepe, which is beautifully--one might say
+benignly--translucent. It has an insinuating transparency that neither
+reveals nor conceals too much. The neck-band of velvet or satin, full
+and soft, apparently enlarges the throat. The sleeves may be in whatever
+style in cut prevails. This costume carries perfectly into effect the
+requirements of evening dress, and may be worn with equal fitness to
+formal functions or to informal affairs. A coat-sleeve of lace, crepe,
+or chiffon, beflounced at the wrist, may be inserted under the short
+satin sleeves when the occasion does not require gloves. The soft, white
+setting of thin textures around the throat and shoulders clears the
+complexion and brings into relief the pretty, delicate lines of a
+refined face.
+
+[Illustration: NOS. 65 and 66]
+
+It is plain to be seen that the unattractive specimen of femininity,
+No. 65., with the long, wrinkled neck and sharply lined face is
+unbecomingly costumed in the V-shaped basque and corsage which
+apparently elongate her natural lankness. A charming and always
+fashionable yoke-effect that she can wear to advantage is shown by No.
+66. This style of corsage is equally effective for a too thin or a too
+muscular neck. The filling is of tulle.
+
+A square-cut corsage is most becoming to the woman whose narrow
+shoulders have a consumptive droop. The angular cut apparently heightens
+the shoulders and decreases their too steeple-like inclination. The
+round cut, if it frames a full throat, is also an effective style for
+sloping shoulders. The V-shaped cut is most becoming to the short-necked
+woman, whose aim should be to increase the length of her throat.
+
+It is not only the too thin neck that needs to be clothed with
+discrimination. Throats and shoulders that are too robust are improved
+by being covered. The arms and shoulders, however, are often the chief
+beauty of a fleshy woman, and it is to her advantage to give them as
+effective a setting as possible.
+
+[Illustration: NO. 68]
+
+[Illustration: NO. 67]
+
+As is obvious in No. 67, the stout woman apparently increases her
+breadth by wearing a flamboyant corsage, and she hides the most
+exquisite lines of her arm with her sleeves.
+
+The princesse style of gown, in No. 68, gives her apparent length of
+waist. The modest lace flounce that falls in vertical folds decreases
+her formidable corsage. The knotted twist of silk reveals the full
+beauty of her arm.
+
+[Illustration: NO. 69]
+
+In dressing the throat there are a few rules to be remembered. A too
+long, stem-like neck may be apparently shortened by a standing ruff or a
+full, soft band of velvet. The tight, plain band of velvet should never
+be worn by a woman with a very slim neck, as is plainly discernible in
+sketch No. 69.
+
+[Illustration: NO. 70]
+
+The plain, military collar emphasizes the thinness of the slender
+woman's throat; but the soft crushed fold of velvet apparently enlarges
+the pipe-like proportions of the thin woman's neck, as may be seen in
+sketch No. 70. The tight-fitting collar should not be worn by the
+corpulent woman with a thick neck, as is shown by sketch No. 71.
+
+[Illustration: NO. 71]
+
+The thickness of the throat of the woman pictured in No. 72 may seem due
+to the folds of the velvet, which give a pleasing hint of a slender
+throat, a delusion not to be despised by the woman burdened with flesh.
+
+[Illustration: NO. 72]
+
+All the sisterhood,--stout, thin, long-throated, or short,--should know
+the hour when the withering touch of age begins to shrink the soft,
+round curves distinctive of the full, sweet throat of healthful youth.
+No regretful vanity should be allowed to glamour their eyes to the fact
+that Time has them by the throat, to put it melodramatically. The wise
+woman will not please herself with a fatal delusion. She will realize it
+is illusion she needs-yards of it--lace or velvet, or any beautifying
+texture that will conceal the deadly lines of age.
+
+
+
+
+CHAPTER VI.
+
+
+HINTS ON DRESS FOR ELDERLY WOMEN.
+
+Dress has much to do with a youthful or aged appearance. Shawls and long
+mantles that fall from the shoulders give even youthful figures a look
+of age, because the lines are long and dignified and without especial
+grace. Beautiful wraps, or coats that do not come very far below the
+hip-line, can be worn becomingly by elderly ladies, neither emphasizing
+their years nor making them appear too frivolously attired. There is a
+smack of truth in the maxim, _As a woman grows old the dress material
+should increase in richness and decrease in brightness_. Handsome
+brocades, soft, elegant silks, woollen textures, and velvets are
+eminently suitable and becoming to women who are growing old.
+
+Black, and black-and-white, soft white chiffon veiled in lace,
+cashmeres, and such refined tissues should be selected by those in "the
+first wrinkles of youth." Grays combined with filmy white material, dull
+bronzes lightened with cream-tinted lace, are also charmingly
+appropriate. Pale blue veiled in chiffon is another grateful
+combination.
+
+White should be worn more than it is by old ladies. It is so suggestive
+of all that is clean, bright, and dainty; and if there is anything an
+old lady should strive to be in her personal appearance it is dainty.
+Exquisite cleanliness is one of the most necessary attributes of
+attractive old age, and any texture that in its quality and color
+emphasizes the idea of cleanliness should commend itself to those in
+their "advanced youth."
+
+Little old thin women, large ones too, for that matter, who are wrinkled
+and colorless, should not wear diamonds. The dazzling white gems with
+pitiless brilliancy bring out the pasty look of the skin. The soft glow
+of pearls, the cloudlike effects of the opal, the unobtrusive lights of
+the moonstone harmonize with the tints of hair and skin of the aged.
+
+Elderly women should not wear bright flowers on their bonnets or hats.
+Fresh-looking roses above a face that has lost its first youthfulness
+only make that fact more obvious. Forget-me-nots, mignonettes, certain
+pretty white flowers, the palest of pink roses, or the most delicate
+tint of yellow veiled with lace are not inappropriate for those who do
+not enjoy wearing sombre bonnets and hats which are composed only of
+rich, black textures. Lace cleverly intermingled with velvet and
+jewelled ornaments of dull, rich shades are exceedingly effective on the
+head-gear of the old.
+
+Those who are gray-haired--and indeed all women as they grow old--should
+wear red above their brows instead of under their chins. A glint of rich
+cardinal velvet, or a rosette of the same against gray hair is
+beautiful.
+
+Lace! Lace! Lace! and still more Lace for the old. _Lace is an essential
+to the dress of a woman more than forty years of age_. Jabots, ruches,
+yokes, cascades, vests, and gowns of lace, black or white, are all for
+the old. Rich lace has an exquisitely softening effect on the
+complexion. Thin women with necks that look like the strings of a violin
+should swathe, smother, decorate, and adorn their throats with lace or
+gossamer fabrics that have the same quality as lace. These airy
+textures, in which light and shadow can so beautifully shift, subdue
+roughnesses of the skin and harshness in lines. Old Dame Nature is the
+prime teacher of these bewitching artifices. Note her fine effects with
+mists and cobwebs, with lace-like moss on sturdy old oaks, the bloom on
+the peach and the grape. Nature produces her most enchanting colorings
+with dust and age. Laces, gauzes, mulls, chiffons, net, and gossamer
+throw the same beautiful glamour over the face and they are fit and
+charming accompaniments of gray hair, which is a wonderful softener of
+defective complexions and hard facial lines.
+
+Too much cannot be written upon the proper arrangement in the neck-gear
+of the aged. The disfiguring wrinkles that make many necks unsightly may
+be kept in obeyance by massaging. No matter what the fashion in
+neck-gear, the aged must modify it to suit their needs. An old lady
+with a thin, pipe-stem neck should adopt a full ruche and fluffy, soft
+collar-bands. I cannot forbear repeating that tulle as light as thistle
+bubbles, either white or gray or black, is exquisitely effective for
+thin, scrawny necks. The fleshy, red neck should be softened with powder
+and discreetly veiled in chemisettes of chiffon and delicate net.
+
+Old ladies may keep in the style, thus being in the picture of the hour;
+but it is one of the divine privileges of age that it can make its own
+modes. Absolute cleanliness, cleanliness as exacting as that proper
+nurses prescribe for babies, is the first and most important factor in
+making old age attractive. Rich dress, in artistic colors, soft, misty,
+esthetic, comes next; then the idealizing scarfs, collars, jabots, and
+fichus of lace and tulles. Old people becomingly and artistically
+attired have the charm of rare old pictures. If they have soul-illumined
+faces they are precious masterpieces.
+
+
+
+
+CHAPTER VII.
+
+
+HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES.
+
+Although in the dress of man there are fewer possibilities of caricature
+than in that of woman, yet, "the masterpieces of creation" frequently
+exaggerate in a laughable--and sometimes a pitiable--way, certain
+physical characteristics by an injudicious choice of clothes.
+
+As the fashion in hair-dressing does not grant man the privilege of
+enhancing his facial attractions; nor of obscuring his defects by a
+becomingly arranged coiffure; and, as the modes in neck-gear are such
+that he cannot modify the blemishes of a defective complexion by
+encircling his athletic or scrawny throat with airy tulle, or dainty
+lace, that arch-idealizer of pasty-looking faces; and as he has forsworn
+soft, trailing garments that conceal unclassic curves and uninspiring
+lines of nether limbs, it behooves him to be more exactingly particular
+even than woman in the selection of his wearing apparel.
+
+Far be it from me, however, to remind man of his many limitations--in
+dress. That he can never know the rapture of donning a becoming spring
+bonnet, nor the pleasure of possessing "real lace" things, nor the
+sensuous charm of being enwrapped in caressing furs, or sleazy, silken
+garments as exquisite in color and texture as beautiful, fresh flowers,
+only delicate consideration for his feelings constrains me from
+expatiating upon at length.
+
+I would rather be able to remind him that he can make his limitations
+his advantages, than reveal to him what he misses in not being a woman.
+
+To treat of this important subject adequately and convincingly, one
+would require the masterly discernment of a skillful and accomplished
+tailor, the experienced knowledge of a well-dressed man, and the alertly
+critical perception of a loving woman who, even in the matter of
+clothes, wishes the dearest of men to her, to do full justice to himself
+and her ideal of him on all occasions.
+
+Although certain of the foregoing qualifications must needs be lacking,
+nevertheless this timorous pen, with more trepidation than courage it
+must be confessed, begs to call attention to a few obvious details in
+masculine attire that caricature, more or less, peculiarities in the
+forms and features of men.
+
+To be sure, in the matter of head-gear man is not conspicuously at the
+mercy of burlesquing ribbons, flowers, and feathers, and he has fewer
+opportunities than women to make himself ridiculous, yet a few
+suggestions regarding certain shapes of head-gear for certain types of
+faces, applicable to women are equally applicable to him.
+
+The same rule that applies to the women of the wedge-shaped type of face
+applies to the man of the wedge-shaped type, as may be seen in sketches
+Nos. 75 and 76. It is obvious that the youth depicted in No. 75
+detracts from the manliness of his face and emphasizes the pointed
+appearance of his countenance by wearing a hat with a broad brim
+projecting over his ears. This style of hat appears more frequently in
+straw than in any other texture, but the effect of a wide, projecting
+rim is the same in any material. No. 76, it is plain, improves the
+appearance of the long, slim-faced man. An alpine hat would not be
+unbecoming to him, the high oval of the crown forming a balance for the
+lower part of the face.
+
+[Illustration: NO. 75]
+
+[Illustration: NO. 76]
+
+The man with a pugilistic chin should endeavor to select a hat that will
+not make his heavy jaw as prominent as does the stiff derby, in No. 77.
+
+[Illustration: NO. 77]
+
+A soft alpine hat, or one somewhat of the style of No. 78, improves his
+appearance. The high crown and wide, gracefully rolling brim
+counter-balance the weight and prominence of the jaw.
+
+[Illustration: NO. 78]
+
+Apropos of the minor details of man's garments, the button as a feature
+of clothes has never been fully done justice to. It is a sustaining
+thing we know, something we can hang to, fasten to, and even tie to.
+That properly placed buttons contribute to our mental poise and
+therefore to our physical repose, is hinted in that absurdly engaging
+story, anent the smart boy who was the envy of his spelling-class,
+because he always stood first. You remember, no doubt, that an envious
+but keen-eyed classmate observed that the smart speller worked off his
+nervous apprehensiveness by twirling the top button of his coat as he
+correctly spelled word after word, day in and day out; and how the
+keen-eyed one played the part of a stealthy villain and surreptitiously
+cut the button off the coat. And do you remember the dramatic ending?
+How the smart one on the fatal day sought to "press the button" and
+finding it gone, lost his wits completely and failed ignominiously? Many
+of us when we have lost a sustaining button, have we not felt as
+ridiculously helpless and wit-benumbed as the smart speller?
+
+[Illustration: NO. 79]
+
+We all sub-consciously acknowledge our dependence upon buttons, but not
+many of us, evidently, have observed that even buttons have a certain
+possibility of caricature in them; and that they may add to, or detract
+from, the appearance of manly forms. The consideration of properly
+placed buttons may seem trivial to you, but if you will observe sketches
+Nos. 79 and 80, you may discern that a thin man may apparently increase
+his breadth and add a certain manly touch to his figure, by changing the
+buttons at the waist-line of his coat. The buttons placed so near
+together, in No. 79, really make his toothpick proportions too obvious.
+His back is made to look broader by placing the buttons wider apart, as
+shown in No. 80, and changing the cut of his coat-tail.
+
+[Illustration: NO. 80]
+
+That the fat man may also present a more attractive back to his enemies
+by considering the placing of his buttons, may be seen in drawings Nos.
+81 and 82. The buttons decorating No. 81 are placed so far apart that
+they increase in an ungainly way the breadth of the back at the
+waist-line. If they are placed nearer together, and the seams graduated
+to meet them, they give the illusion of better and more desirable
+proportions, as may be seen in No. 82.
+
+[Illustration: NO. 81]
+
+[Illustration: NO. 82]
+
+That the thin man may also present a more imposing and broader front to
+the world, is suggested in sketches Nos. 83 and 84. The contracted look
+of the coat in No. 83 is somewhat due to the buttons of his
+double-breasted coat being placed too closely together. The slender man
+who wishes to give the impression of being broad-chested may have the
+buttons on his coat placed a little farther apart than fashion may
+allow, as shown in sketch 84. The proportions may be easily preserved by
+a careful adjustment of the shoulder-seams and the seams under the arms.
+
+[Illustration: NO. 83]
+
+[Illustration: NO. 84]
+
+[Illustration: NO. 85]
+
+The waist-line is not so much "a danger line" to man as to woman, yet
+man should not wholly ignore his equator. If he is long-waisted he can
+apparently balance his proportions by having his skirt shortened, as in
+No. 85, and his waist-line raised the merest bit. If he is too
+short-waisted he can lengthen his skirt and lower his waist-line, as
+shown in No. 86. In the one he escapes appearing too long and lanky in
+body, and in the other he obscures a lack of becoming inches that tends
+to give him a dumpy appearance.
+
+[Illustration: NO. 86]
+
+If you study your fellow-men you will observe that few are really
+perfectly proportioned. One man will have the body of a viking on the
+legs of a dwarf, or one will have the legs of an Apollo supporting the
+short body of a pigmy. The man who has a kingly body, too broad in
+proportion to his legs, as shown in sketch No. 87, should endeavor to
+modify his physical defect by the careful selection of his coats. He
+should have his coats cut to give him as much length of leg as possible.
+A skilful tailor will know just what subtle changes and adjustments to
+make. The improvement in appearance and gain in height is pictured in
+sketch 88. The coat being shorter and the waist of the trousers being
+raised a trifle, the man's limbs seem longer, which is an improvement.
+Long lines tend to give elegance and grace in bearing. Another thing for
+the too robust type of man to consider is the style of his trousers. No.
+87 hints what he must not choose. Such brazen plaids only make him
+appear offensively aggressive in size. Long, fine lines, such as shown
+in No. 88, give an impression of length and apparently lessen the width.
+
+[Illustration: NO. 87]
+
+Too long lines, however, are almost as undesirable as too short ones.
+Over-tall, thin men sometimes make themselves look like telegraph poles
+or flagstaffs by wearing short coats that expose in a graceless way the
+whole length of their limbs. They suggest cranes and other fowl that
+give the impression of being "all legs."
+
+[Illustration: NO. 88]
+
+When the legs are proportioned more like a stick of macaroni or a lead
+pencil than the shapely limbs of an Adonis, they appear exceedingly
+funny when surmounted by a short coat, such as pictured in No. 89. A
+famous general in the Civil War did not despise cotton as a
+fortification to protect him from the onslaught of the enemy. The
+over-tall, thin man, who is not unsuggestive of a picket, should not be
+ashamed to fortify himself with cotton or any other sort of padding that
+intelligent tailors keep in stock. He should build his shoulders up a
+bit and be generally, but most carefully and artistically, enlarged. His
+coat should be lengthened, as in sketch go, to cut off just as much of
+the longness of limb as can possibly be allowed without destroying
+artistic proportions. The very tall, thin man who unthinkingly wears a
+very short coat should be brave and never turn his back to his enemy.
+
+[Illustration: NO. 89]
+
+If he wears black and white check trousers and a short blue coat, he
+should travel with a screen. A man in just such a rig attracted no end
+of comment in a fashionable hotel. The caricaturing effect of his
+trousers and coat were unspeakably comical. The wearer had a face as
+grave as an undertaker's and the air of a serious-minded college
+professor; but he had the nondescript look of a scarecrow composed of
+whatever available garments could be obtained from the cast-off wardrobe
+of summer boarders in a farmhouse.
+
+[Illustration: NO. 90]
+
+Coats assuredly have the power of making cartoons--living, jocular
+cartoons--of their wearers. It would hardly seem necessary to call
+attention to the fact that a man of huge dimensions should not wear a
+short coat, such as shown in sketch No. 91, yet his type is too
+frequently seen attired in this style. A man so dressed certainly seems
+the living exemplification of the definition of a jug, namely, "a vessel
+usually with a swelling belly, narrow mouth, and a handle, for holding
+liquors." It cannot be reiterated too often that a large, stout man
+should aim to acquire the distinction and dignity given by long lines.
+If his body is proportioned so he really has neither length of torso nor
+of limb he must pay more attention to the cut of his clothes and attain
+length in whatever artistic way he can. The long coat, as may be seen
+in sketch No. 92, not only apparently adds length but it conceals too
+protuberant curves.
+
+[Illustration: NOS. 91 and 92]
+
+Of course, character counts far more than clothes, we will all agree to
+that, but at first glance it is a man's clothes that impress people.
+Clothes affect our behavior somewhat. For instance, "When the young
+European emigrant, after a summer's labor puts on for the first time a
+new coat, he puts on much more. His good and becoming clothes put him on
+thinking that he must behave like people who are so dressed; and
+silently and steadily his behavior mends." Of course, there is an
+uplifting truth in George Herbert's maxim, "This coat with my discretion
+will be brave," yet, I am inclined to think that the majority of men who
+will stop to consider will agree with Emerson, who says, "If a man has
+not firm nerves and has keen sensibility, it is perhaps a wise economy
+to go to a good shop and dress himself irreproachably. He can then
+dismiss all care from his mind, and may easily find that performance an
+addition of confidence, a fortification that turns the scale in social
+encounters, and allows him to go gayly into conversations where else he
+had been dry and embarrassed. I am not ignorant,--I have heard with
+admiring submission the experience of the lady who declared 'that the
+sense of being perfectly well dressed gives a feeling of inward
+tranquillity which religion is powerless to bestow.'"
+
+A popular clothier in New York, understanding this trait of his
+fellow-men, voices this same sentiment in his advertisement in this
+succinct way: "Seriously now. Have you ever stopped to think that if you
+wear good clothing it adds much to that independent, easy feeling you
+should have when you come in contact with other men?"
+
+I think it was Lord Chesterfield who said: "A man is received according
+to his appearance, and dismissed according to his merits." There is a
+bit of truth in this we would all admit, I have no doubt, if we studied
+the question. Clothes affect our own poise, ease, and attitude toward
+others and the expression of others toward us, but, after all, we rely
+upon the man or woman instead of upon the impression we receive from the
+clothes. The garments, after we have noticed them in a superficial way,
+are chiefly interesting to us, because they are arch-betrayers of the
+physical and mental poise of the man. No matter what the cut of the
+cloth, no matter what _cachet_ of a fashionable tailor a suit may have,
+or what its richness of material, the attitude "a la decadence" of No.
+93 would make the best clothes in Christendom look shabby and
+unattractive.
+
+[Illustration: NO. 93]
+
+This too familiar carriage of the American man makes one wish to have
+the power to reverse the faces--as Dante did those of the false
+prophets, so those who stand "a la decadence" might see what ridiculous
+figures they cut in drawing-room and street. The curved backs and
+rounded-out shoulders would make fair-looking chests, and the flat
+chests would represent respectable-looking backs.
+
+A man owes it to the spirit within him not to stand or walk in such an
+attitude. He should brace up and keep bracing up persistently,
+unremittently, until he attains a more manly bearing.
+
+[Illustration: NO. 94]
+
+The wholly alive fellow pictured in sketch No. 94 would make homespun
+look elegant. His chest is forward. He does not sag in front at the
+waist, protruding his abdomen in not only an inartistic, but an
+unhealthy manner; but he strides masterfully forward with an air of
+inspiriting "aliveness." The perfect poise of his attitude is not
+unsuggestive of the Apollo Belvedere--the model for all men--a picture
+of which every college boy should have to place beside the prettiest
+girl in his collection of pretty girls, to constantly remind him to
+carry himself like a young god.
+
+
+
+
+
+End of Project Gutenberg's What Dress Makes of Us, by Dorothy Quigley
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