under the pressure of necessity which opens up brain cells, steels the heart, hardens
the muscles, and like magic fire, licks up the dross of humanity, aimlessly floating
on the surface of life, awaiting a leader to melt and mould it at Fate's will into
clearly defined personalities, ready to serve. This point has been magnificently
proved by the war now waging in Europe.
Let us repeat; that from the beginning the story of woman's costuming proves her
many-sidedness, the inexhaustible stock of her latent qualities which, like man's,
await the call of the hour.
The foregoing chapters have aimed at showing the decorative value of woman's
costume as seen in the art of Egypt, Greece, Gothic Europe, Europe of the
Renaissance and during the seventeenth, eighteenth and nineteenth centuries. To
prove the point that woman is a telling note in the interior decoration of to-day, the
vital spark in any setting, we have not dwelt upon the fashions so much as
decorative line, colour-scheme and fitness for the occasion.
It is costume associated with caste which interests us more than folk costume. We
have shown that it is the modern insistence on efficiency that has led to appropriate
dress for work and recreation, and that our idea of the chic and the beautiful in
costume is based on appropriateness. Also we have shown that line in costumes is
in part the result of one's "form"--the absolute control of the body, its "carriage,"
poise of the head, action of legs, arms, hands and feet, and that form means
successful effort in any direction, because through it the mind may control the
It is the woman who knows what she should wear, what she can wear and how to
wear it, who is most efficient in whatever she gives her mind to. She it is who will
expend the least time, strength and money on her appearance, and be the first to
report for duty in connection with the next obligation in the business of life.
Therefore let us keep in mind a few rules for the perfect costuming of woman:
Appropriateness for each occasion so as to get efficiency, or
be as decorative as possible.
Outline.--Fashion in silhouette adapted to your own type.
Colour scheme.--Fashionable colours chosen and combined
to express your personality as well as to harmonise with the
tone of setting, or, if preferred, to be an agreeable contrast to
Detail.--Trimming with raison d'Ítre,--not meaningless
It is, of course, understood that the attainment of beauty in the costuming of woman
is our aim when stating and applying the foregoing principles.
The art of interior decoration and the art of costuming woman are occasionally
centred in the same individual, but not often. Some of the most perfectly dressed
women, models for their less gifted sisters, are not only ignorant as to the art of
setting their stage, but oblivious of the fact that it may need setting.
Remember, that while an inartistic room, confused as to line and colour-scheme can
absolutely destroy the effect of a perfect gown, an inartistic, though costly gown
can likewise be a blot on a perfect room.
***END OF THE
******* This file should be named 18901-h.txt or 18901-h.zip *******
This and all associated files of various formats will be found in:
Updated editions will replace the previous one--the old editions will be renamed.
Creating the works from public domain print editions means that no one owns a
United States copyright in these works, so the Foundation (and you!) can copy and
distribute it in the United States without permission and without paying copyright
apply to copying and distributing Project Gutenberg-tm electronic works to protect
the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a
registered trademark, and may not be used if you charge for the eBooks, unless you
receive specific permission. If you do not charge anything for copies of this eBook,
complying with the rules is very easy. You may use this eBook for nearly any
purpose such as creation of derivative works, reports, performances and research.
They may be modified and printed and given away--you may do practically
ANYTHING with public domain eBooks. Redistribution is subject to the trademark
license, especially commercial redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
Table of Contents: