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diff --git a/11078-h/11078-h.htm b/11078-h/11078-h.htm new file mode 100644 index 0000000..5228fc8 --- /dev/null +++ b/11078-h/11078-h.htm @@ -0,0 +1,1598 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<meta name="generator" content= +"HTML Tidy for Windows (vers 1st November 2003), see www.w3.org"> +<meta http-equiv="Content-Type" content= +"text/html; charset=UTF-8"> +<title>The Project Gutenberg eBook of WHAT DRESS MAKES OF US, by +DOROTHY QUIGLEY.</title> + +<style type="text/css"> + <!-- + * { font-family: Times;} + P { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; } + HR { width: 33%; + margin-top: 1em; + margin-bottom: 1em;} + BODY{margin-left: 10%; + margin-right: 10%;} + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .note {margin-left: 2em; margin-right: 2em; margin-bottom: 1em;} /* block indent */ + .pagenum {position: absolute; left: 92%; right: 100%; font-size: 8pt; justify: right;} /* page numbers */ + IMG {margin:15px; padding:10px;border: 10px;} + // --> +</style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 11078 ***</div> + +<h1>WHAT DRESS MAKES OF US</h1> +<h4>By</h4> +<h2>DOROTHY QUIGLEY</h2> +<br> +<br> +<h4>Illustrations by</h4> +<h3>ANNIE BLAKESLEE</h3> +<br> +<br> +<h3>1897</h3> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<div style="blockquote">I am indebted to the editors of the New +York <i>Sun</i> and New York <i>Journal</i> for kindly allowing me +to include in this book articles which I contributed to their +respective papers.</div> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<a name="PREFACE."></a> +<h2>PREFACE.</h2> +<img src="images/005.jpg" align="left" alt="[Illustration]"> +<img src="images/007-1.jpg" align="right" alt="[Illustration]"> +<p>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."</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<img src="images/007-2.jpg" align="left" alt="[Illustration]"> +<p>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.</p> +<img src="images/008.jpg" align="right" alt="[Illustration]"> +<p>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?</p> +<p>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."</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>A word to the thinking is sufficient.</p> +<p>D.Q.</p> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<h2>CONTENTS.</h2> +<br> +<p>PREFACE</p> +<br> +<p>CHAPTER I.</p> +<p><a href="#chap1">HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR +HAIR</a></p> +<span style="layout-flow: horizontal; margin-left: 1em;">Style for +Wedge-Shaped Faces</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">Style for +Heavy Jaws</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">Style for +Eyes Set Too High</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">Style for +Eyes Set Too Low</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">Style for +Long Faces with Long Noses</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">For Faces +with Protruding Noses</span><br> +<br> +<p>CHAPTER II.</p> +<p><a href="#chap2">HINTS FOR THE SELECTION OF BECOMING AND +APPROPRIATE STYLES IN HEAD-GEAR</a></p> +<span style="layout-flow: horizontal; margin-left: 1em;">The Magic +of the Bonnet</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">Style for +Women with Broad Face and Heavy Chin</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">Style for +Women with Tapering Chin</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">Hat for +the Chubby Woman</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">For Women +Who Have Sharp and Prominent Profiles</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">For the +Woman with an Angular Face</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">Women Who +should Not Wear Horns</span><br> +<br> +<p>CHAPTER III.</p> +<p><a href="#chap3">LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED +IN MAKING COSTUMES</a></p> +<span style="layout-flow: horizontal; margin-left: 1em;">Style for +Tall Slender Women</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">The Coat +the Short Stout Women should Wear</span><br> +<span style="layout-flow: horizontal; margin-left: 1em;">The Cloak +or Cape for a Tall Women</span><br> +<br> +<p>CHAPTER IV.</p> +<p><a href="#chap4">HOW PLUMP AND THIN BACKS SHOULD BE +CLOTHED</a></p> +<br> +<p>CHAPTER V.</p> +<p><a href="#chap5">CORSAGES APPROPRIATE FOR WOMEN WITH +UNBEAUTIFULLY MODELLED THROATS AND SHOULDERS</a></p> +<br> +<p>CHAPTER VI.</p> +<p><a href="#chap6">HINTS ON DRESS FOR ELDERLY WOMEN</a></p> +<br> +<p>CHAPTER VII.</p> +<p><a href="#chap7">HOW MEN CARICATURE THEMSELVES WITH THEIR +CLOTHES</a></p> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<h2>WHAT DRESS MAKES OF US.</h2> +<br> +<hr style="width: 45%;"> +<a name="chap1"></a> +<h4><img src="images/chap1.jpg" alt="chapter 1"></h4> +<h3>CHAPTER I.</h3> +<br> +<p>HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR.</p> +<p>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.</p> +<p>Have we not Lord Chesterfield's word for it, that "No woman is +ugly when she is dressed"?</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<img src="images/no02.jpg" align="left" alt= +"[Illustration: NO. 2]"> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<br> +<p>For Wedge-Shaped Faces.</p> +<img src="images/no03.jpg" align="left" alt= +"[Illustration: NO. 3]"> +<p>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.</p> +<img src="images/no04.jpg" align="right" alt= +"[Illustration: NO. 4]"> +<p>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.</p> +<br> +<p>For Heavy Jaws.</p> +<img src="images/no05.jpg" align="left" alt= +"[Illustration: NO. 5]"> +<p>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.</p> +<img src="images/no06.jpg" align="right" alt= +"[Illustration: NO. 6]"> +<p>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.</p> +<br> +<p>For Short Faces.</p> +<p>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.</p> +<img src="images/no07.jpg" align="left" alt= +"[Illustration: NO. 7]"> +<p>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.</p> +<img src="images/no08.jpg" align="right" alt= +"[Illustration: NO. 8]"> +<p>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.</p> +<br> +<p>For Eyes Set Too High.</p> +<p>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."</p> +<p>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.</p> +<p>The Japanese type of woman should carefully observe the +foregoing hint.</p> +<img src="images/no08.5.jpg" align="left" alt= +"[Illustration: NO. 8-1/2]"> <img src="images/no09.jpg" align= +"right" alt="[Illustration: NO. 9]"> +<p>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 naïve, 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.</p> +<br> +<p>For Eyes Set Too Low.</p> +<p>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.</p> +<img src="images/no10.jpg" align="left" alt= +"[Illustration: NO. 10]"> +<p>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.</p> +<img src="images/no11.jpg" align="right" alt= +"[Illustration: NO. 11]"> +<p>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.</p> +<br> +<p>For Long Faces with Long Noses.</p> +<p>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."</p> +<p>The only type to which it is really becoming is the Italian. The +type with <i>matte</i> complexion, soft eyes, finely chiselled +nose, and delicately oval chin, look ideally sweet and feminine +with the hair arranged <i>à la</i> Madonna.</p> +<img src="images/no14-15.jpg" align="left" alt= +"[Illustration: NOS. 14 AND 15]"> <img src="images/no12.jpg" align= +"left" alt="[Illustration: NO. 12]"> <img src="images/no13.jpg" +align="right" alt="[Illustration: NO. 13]"> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<br> +<p>For Faces with Protruding Noses.</p> +<p>Women with decidedly protruding, or irregular, tip-tilted noses +should be especially careful in arranging their coiffures.</p> +<img src="images/no16.jpg" align="left" alt= +"[Illustration: NO. 16]"> <img src="images/no17.jpg" align="right" +alt="[Illustration: NO. 17]"> +<p>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.</p> +<img src="images/no18.jpg" align="left" alt= +"[Illustration: NO. 18]"> <img src="images/no20.jpg" align="right" +alt="[Illustration: NO. 20]"> <img src="images/no19.jpg" align= +"right" alt="[Illustration: NO. 19]"> +<p>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.</p> +<p>No. 19, which is a picturesque variation of the popular coif, +manifestly improves this type of face, and makes the nose appear +less obtrusive.</p> +<p>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.</p> +<p>NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE +PRACTICALLY APPLIED.</p> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<h4><img src="images/chap2.jpg" alt="chapter 2"></h4> +<a name="chap2"></a> +<h3>CHAPTER II.</h3> +<br> +<p>HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN +HEAD-GEAR.</p> +<p>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.</p> +<p>In regard to hats we are personally responsible and our follies +are upon our own heads.</p> +<p>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?</p> +<p>The Magic of The Bonnet.</p> +<p>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."</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<br> +<p>For Women with Broad Face and Heavy Chin.</p> +<img src="images/no22.jpg" align="left" alt= +"[Illustration: NO. 22]"> <img src="images/no23.jpg" align="right" +alt="[Illustration: NO. 23]"> +<p>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.</p> +<br> +<p>For the Woman with Tapering Chin.</p> +<img src="images/no24.jpg" align="left" alt= +"[Illustration: NO. 24]"> <img src="images/no25.jpg" align="right" +alt="[Illustration: NO. 25]"> +<p>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.</p> +<p>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.</p> +<br> +<p>Hat for the Chubby Woman.</p> +<img src="images/no26.jpg" align="left" alt= +"[Illustration: NO. 26]"> <img src="images/no27.jpg" align="right" +alt="[Illustration: NO. 27]"> +<p>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.</p> +<p>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.</p> +<br> +<p>For Women Who Have Sharp and Prominent Profiles.</p> +<img src="images/no28.jpg" align="left" alt= +"[Illustration: NO. 28]"> <img src="images/no29.jpg" align="right" +alt="[Illustration: NO. 29]"> +<p>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.</p> +<p>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.</p> +<img src="images/no30-31.jpg" align="right" alt= +"[Illustration: NO. 30 and 31]"> +<p>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.</p> +<p>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.</p> +<br> +<p>For the Woman with an Angular Face.</p> +<img src="images/no32-33.jpg" align="right" alt= +"[Illustration: NOS. 32 AND 33]"> +<p>The woman with the angular features presented in No. 32 should +not wear a sailor-hat or any hat with a perfectly straight rim.</p> +<p>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.</p> +<p>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.</p> +<br> +<p>Women Who should Not Wear Horns.</p> +<p>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.</p> +<p>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.</p> +<img src="images/no34.jpg" align="left" alt= +"[Illustration: NO. 34]"> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE +PRACTICALLY APPLIED.</p> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<h4><img src="images/chap3.jpg" alt="chapter31"></h4> +<a name="chap3"></a> +<h3>CHAPTER III.</h3> +<br> +<p>LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING +COSTUMES.</p> +<p>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.</p> +<p>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.</p> +<p>Everybody's need has been considered, but everybody has not +considered her need.</p> +<p>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.</p> +<br> +<p>Style for Tall Slender Woman.</p> +<img src="images/no36.jpg" align="left" alt= +"[Illustration: NO. 36]"> <img src="images/no37.jpg" align="right" +alt="[Illustration: NO. 37]"> +<p>The very tall, slender woman frequently ignores a jaunty jacket +and takes a long coat like that shown in No. 36.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>By selecting a shorter coat equally modish, as shown by No. 37, +the too tall woman shortens her figure perceptibly.</p> +<p>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.</p> +<br> +<p>The Coat the Short Stout Woman should Wear.</p> +<img src="images/no38-39.jpg" align="left" alt= +"[Illustration: NOS. 38 AND 39]"> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<br> +<p>The Cloak or Cape for a Tall Woman.</p> +<img src="images/no40.jpg" align="left" alt= +"[Illustration: NO. 40]"> +<p>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.</p> +<img src="images/no41.jpg" align="right" alt= +"[Illustration: NO. 41]"> +<p>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.</p> +<p>The one who can wear the long cloak in an unchallengeable manner +is the short, stout woman, shown in sketch No. 42.</p> +<p>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."</p> +<img src="images/no42-43.jpg" align="left" alt= +"[Illustration: NOS. 42-43]"> +<p>The military dignity she acquires by wearing the long cape is +becoming to a degree, and gives her distinction in form.</p> +<p>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.</p> +<img src="images/no44.jpg" align="right" alt= +"[Illustration: NO. 44]"> +<p>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.</p> +<p>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.</p> +<p>"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.</p> +<p>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.</p> +<p>NO MATTER WHAT THE PREVAILING MODE THESE RULES MAY BE +PRACTICALLY APPLIED.</p> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<h4><img src="images/chap4.jpg" alt="chapter 4"></h4> +<a name="chap4"></a> +<h3>CHAPTER IV.</h3> +<br> +<p>HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED.</p> +<p>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.</p> +<p>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."</p> +<p>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 <i>argot</i> of the theatre.</p> +<p>"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.</p> +<p>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."</p> +<p>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.</p> +<p>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.</p> +<p>"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.</p> +<p>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.</p> +<img src="images/no45.jpg" align="left" alt= +"[Illustration: NO. 45]"> +<p>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.</p> +<img src="images/no46.jpg" align="right" alt= +"[Illustration: NO. 46]"> +<p>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 <i>en évidence</i>. 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.</p> +<img src="images/no46.5.jpg" align="left" alt= +"[Illustration: NO. 46-1/2]"> +<p>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.</p> +<img src="images/no47.jpg" align="right" alt= +"[Illustration: NO. 47]"> +<p>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.</p> +<p>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.</p> +<img src="images/no48.jpg" align="left" alt= +"[Illustration: NO. 48]"> <img src="images/no49.jpg" align="right" +alt="[Illustration: NO. 49]"> +<p>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.</p> +<p>No. 50 is a felicitous cut for a street dress for a slim sister. +The jaunty bloused waist smartly conceals deficiencies in fine +points.</p> +<img src="images/no50.jpg" align="left" alt= +"[Illustration: NO. 50]"> <img src="images/no51.jpg" align="right" +alt="[Illustration: NO. 51]"> +<p>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."</p> +<p>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.</p> +<img src="images/no52.jpg" align="left" alt= +"[Illustration: NO. 52]"> <img src="images/no53.jpg" align="right" +alt="[Illustration: NO. 53]"> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<img src="images/no54.jpg" align="left" alt= +"[Illustration: NO. 54]"> <img src="images/no55.jpg" align="right" +alt="[Illustration: NO. 55]"> +<p>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.</p> +<p>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.</p> +<p>A basque cut high behind and on the shoulders apparently gives +height.</p> +<img src="images/no56.jpg" align="left" alt= +"[Illustration: NO. 56]"> +<p>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."</p> +<p>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.</p> +<img src="images/no57-58.jpg" align="right" alt= +"[Illustration: NOS. 57 AND 58]"> +<p>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.</p> +<p>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.</p> +<p>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?</p> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<h4><img src="images/chap5.jpg" alt="chapter 5"></h4> +<a name="chap5"></a> +<h3>CHAPTER V.</h3> +<br> +<p>CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED +THROATS AND SHOULDERS.</p> +<p>Despite the traditional belief that a décolleté +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.</p> +<p>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.</p> +<p>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.</p> +<img src="images/no61.jpg" align="left" alt= +"[Illustration: NO. 61]"> <img src="images/no62.jpg" align="right" +alt="[Illustration: NO. 62]"> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<img src="images/no63-64.jpg" align="right" alt= +"[Illustration: NOS. 63 AND 64]"> +<p>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 +décolleté 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.</p> +<p>Those who do not approve of the décolleté 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 crêpe, +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, crêpe, 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.</p> +<img src="images/no65-66.jpg" align="left" alt= +"[Illustration: NOS. 65 AND 66]"> +<p>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.</p> +<img src="images/no67-68.jpg" align="right" alt= +"[Illustration: NOS. 67 AND 68]"> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<img src="images/no69.jpg" align="left" alt= +"[Illustration: NO. 69]"> <img src="images/no70.jpg" align="right" +alt="[Illustration: NO. 70]"> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<img src="images/no71.jpg" align="left" alt= +"[Illustration: NO. 71]"> <img src="images/no72.jpg" align="right" +alt="[Illustration: NO. 72]"> +<p>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.</p> +<p>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.</p> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<h4><img src="images/chap6.jpg" alt="chapter 6"></h4> +<a name="chap6"></a> +<h3>CHAPTER VI.</h3> +<br> +<p>HINTS ON DRESS FOR ELDERLY WOMEN.</p> +<p>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, <i>As +a woman grows old the dress material should increase in richness +and decrease in brightness</i>. Handsome brocades, soft, elegant +silks, woollen textures, and velvets are eminently suitable and +becoming to women who are growing old.</p> +<p>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.</p> +<p>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."</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>Lace! Lace! Lace! and still more Lace for the old. <i>Lace is an +essential to the dress of a woman more than forty years of age</i>. +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.</p> +<p>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.</p> +<p>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.</p> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> +<h4><img src="images/chap7.jpg" alt="chapter 7"></h4> +<a name="chap7"></a> +<h3>CHAPTER VII.</h3> +<br> +<p>HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<img src="images/no75.jpg" align="left" alt= +"[Illustration: NO. 75]"> <img src="images/no76.jpg" align="right" +alt="[Illustration: NO. 76]"> +<p>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.</p> +<p>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.</p> +<img src="images/no77.jpg" align="left" alt= +"[Illustration: NO. 77]"> <img src="images/no78.jpg" align="right" +alt="[Illustration: NO. 78]"> +<p>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.</p> +<p>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 witbenumbed as the smart speller?</p> +<img src="images/no79.jpg" align="left" alt= +"[Illustration: NO. 79]"> <img src="images/no80.jpg" align="right" +alt="[Illustration: NO. 80]"> +<p>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.</p> +<br clear="all"> +<img src="images/no81.jpg" align="left" alt= +"[Illustration: NO. 81]"> <img src="images/no82.jpg" align="right" +alt="[Illustration: NO. 82]"> +<p>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.</p> +<br clear="all"> +<img src="images/no83.jpg" align="left" alt= +"[Illustration: NO. 83]"> <img src="images/no84.jpg" align="right" +alt="[Illustration: NO. 84]"> +<p>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.</p> +<br clear="all"> +<img src="images/no85.jpg" align="left" alt= +"[Illustration: NO. 85]"> <img src="images/no86.jpg" align="right" +alt="[Illustration: NO. 86]"> +<p>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.</p> +<br clear="all"> +<img src="images/no87.jpg" align="left" alt= +"[Illustration: NO. 87]"> <img src="images/no88.jpg" align="right" +alt="[Illustration: NO. 88]"> +<p>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.</p> +<p>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."</p> +<img src="images/no89.jpg" align="left" alt= +"[Illustration: NO. 89]"> <img src="images/no90.jpg" align="right" +alt="[Illustration: NO. 90]"> +<p>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.</p> +<p>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.</p> +<p>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.</p> +<img src="images/no91-92.jpg" align="right" alt= +"[Illustration: NOS. 91 AND 92]"> +<p>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.'"</p> +<p>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?"</p> +<img src="images/no93.jpg" align="left" alt= +"[Illustration: NO. 93]"> +<p>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 <i>cachet</i> of a fashionable tailor a suit may +have, or what its richness of material, the attitude "à la +decadence" of No. 93 would make the best clothes in Christendom +look shabby and unattractive.</p> +<img src="images/no94.jpg" align="right" alt= +"[Illustration: NO. 94]"> +<p>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 "à 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.</p> +<p>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.</p> +<p>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.</p> +<br> +<br> +<hr style="width: 65%;"> +<br> +<br> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 11078 ***</div> +</body> +</html> |